My Wish You Were Here series aims to challenge the viewers’ attention in a subtle way by finding everyday scenes with elements of whimsy and surrealism. Like Rene Magritte, and Lee Friedlander, I want to make the familiar seem a little strange, but without Photoshop and image manipulation. These photos come about through observation, using juxtaposition, reflection, typography, and scale.
This project has been ongoing for several years now, and also have a black and white series called Wish You Were Here – Monochrome Dreaming. As 2020 has been such a strange and unusual year, I thought these 2020 photos, since the start of the pandemic, may be appropriate for the times.
Here is the introduction to the book, self published in 2018: “When I was a teenage boy in the mid-Seventies, living in rural Nova Scotia, I spent hours studying the album covers created by Hipgnosis, the London-based design group. This was before I grew interested in photography, but, as LPs like Pink Floyd’s “Wish You Were Here” or “Ummagumma” played on the turntable, I scrutinized the covers, trying to penetrate the mysteries of the evocative, layered visual compositions. My “Wish You Were Here” is an ongoing photographic project that’s been in the works for several years. I aim to capture images that have a sense of the surreal yet are readily seen in everyday life. Additionally, I try to capture the sense of whimsy and humour that I liked about those album covers. The images come about through observation, rather than with Photoshop or other manipulations. For me, that’s an important aspect of the project–there’s no manipulation of the image. Reflections, juxtaposition, and scale all come into play.”
When doing street photography in 1980s Toronto, I often walked around the Yonge-Dundas area, or along Queen Street West, or sometimes Kensington Market. I rarely walked around Bay Street because I didn’t have much interest in the corporate world. But in the fall of 1981, I had a school assignment to do a slide show. The subject I chose first was a boxing club in Cabbagetown, but the lighting was too dim. The Toronto Stock Exchange seemed like a better choice. Establishing shots were needed (people going to work on Bay Street), and I spent a few hours one morning photographing men in suits, many carrying briefcases. They’re kind of grim and serious, but professional, and dressed to look sharp. There seemed to be very few women in the crowds.
These photos have lain dormant for almost forty years, and I’m fascinated at seeing them again. A few could almost have been taken in the the 1950s, not the 1980s. Some of the men are in their sixties, meaning they could have been born before 1920. Perhaps they were young children during the Spanish Flu pandemic of 1918, or maybe they fought in WWII. When you look at history in terms of generations, 1920 was not that long ago.
Business suits are still worn on Bay Street, but dress codes have become more flexible (especially since the emergence of the tech sector in the early 2000s).
Leanne Delap wrote in the Toronto Star about the shift from three-piece suit to smart casual:
The news earlier this month that the venerable stuffy-suit investment bank Goldman Sachs has adopted a “flexible dress code,” may mark the end of the Bay Street business suit as we know it. America’s fifth largest bank, Goldman Sachs is one of the best-known “white shoe” institutions, a neat old-fashioned term that used to denote century-plus old provenance, and ultra-conservative mannerisms.
A leaked memo sent to Goldman Sachs staff was vague about why changes in the workplace dress were taking place. But it is most likely about a generational shift as a youthquake has come to suit land. More than three-quarters of Goldman Sachs employees were born in 1981 or later, which is a whole lot of millennial and Gen Z preferences to placate for any firm that wants to retain top talent.
The series “Toronto Gone” puts a focus on things that have disappeared–buildings, businesses, parking lots, cars, people that used to be a part of the city in the 1980s and 1990s prior to the condo boom, and before the widespread use of computers and cell phones.
In the 1960s and 1970s, Lee Friedlander evolved an influential and often imitated visual language of urban “social landscape,” with many of his photographs including fragments of store-front reflections, structures framed by fences, posters and street signs. For the past forty years my own photos have focused on the social landscape, and I owe a lot to Lee for setting me on this course.
I’ve been a fan of Friedlander since I discovered his photographs in the 1970s, in a Time-Life book called Documentary Photography. The writer described the photos as chaotic: “There is a brooding message of disorientation, of something having gone askew in these pictures.” For me, his photos are bursting with creativity, intelligence and deadpan humour–they seem to be the visual equivalent of jazz music. He welcomed foreground obstructions such as poles and trees, and also his own shadow, as a way of creating visual interest. When I was a student at Ryerson, I used to look at a leaf through a book of Lee photos before going out to take photos. He has been one of my main sources of photographic inspiration over the years.
Eric Kim writes in his blog: “Friedlander was interested in capturing “The American social landscape.” This included photographs that included people and also photographs that didn’t include people. I think one of the biggest cruxes in my street photography career so far is the idea that all of my shots had to include people.
If you look at some of Friedlander’s best work, many of them don’t include people. Rather, he focuses on signage, interesting sculptures, numbers, words, letters, cars, and other intimate objects. I think this is actually what makes Friedlander’s work stand out from all of the street photographers from history; the fact that his photos that don’t include people still have so much humanity– and tell a lot about American society.”
Everyone has their own visual take on the world. My photos represent my own vision of the social landscape that has evolved over time. It’s important to give a nod to those who inspired you. Most of the photos in this post were taken quite recently. Lee has been on my mind.
In 1980 (exactly 40 years ago today), when I’d only been living in Toronto a few days, Elton John played Maple Leaf Gardens, two blocks from my apartment. I bought a scalper’s ticket for $5, thinking that the concert had already started–but I was lucky; it hadn’t. He walked on to the stage and said, “I dedicate this concert to Terry Fox.” The place erupted with a standing ovation. Terry Fox had recently been forced to end his run, near Thunder Bay. We knew the whole country was rooting for him, and Elton John’s words gave us a sense that, indeed, the entire world was. That wasn’t true, of course; Terry’s run was a Canadian event. But it was incredibly powerful for Canada. The musical highlight that night, for me, was his cover of John Lennon’s “Imagine.” I’ll never forget that concert.
Terry Fox is my hero. He had such vision, courage, and stamina to continue running every day, even though he must have been in pain. He had no idea that his plan and vision would touch so many people and raise so much money over the years.
Sadly, on September 1, 1980, 11 kilometres outside Thunder Bay, Terry was forced to stop running because cancer had appeared in his lungs. He passed away on June 28, 1981 at age 22, but not before realizing his dream of raising $1 for every Canadian – $24.17 million.
Terrance Stanley FoxCCOD (July 28, 1958 – June 28, 1981) was a Canadian athlete, humanitarian, and cancer research activist. In 1980, with one leg having been amputated due to cancer, he embarked on an east to west cross-Canada run to raise money and awareness for cancer research. Although the spread of his cancer eventually forced him to end his quest after 143 days and 5,373 kilometres (3,339 mi), and ultimately cost him his life, his efforts resulted in a lasting, worldwide legacy. The annual Terry Fox Run, first held in 1981, has grown to involve millions of participants in over 60 countries and is now the world’s largest one-day fundraiser for cancer research; over C$750 million has been raised in his name, as of January 2018.
Fox was a distance runner and basketball player for his Port Coquitlam, British Columbia, high school and Simon Fraser University. His right leg was amputated in 1977 after he was diagnosed with osteosarcoma, though he continued to run using an artificial leg. He also played wheelchair basketball in Vancouver, winning three national championships.
In 1980, he began the Marathon of Hope, a cross-country run to raise money for cancer research. He hoped to raise one dollar from each of Canada’s 24 million people. He began with little fanfare from St John’s, Newfoundland and Labrador, in April and ran the equivalent of a full marathon every day. Fox had become a national star by the time he reached Ontario; he made numerous public appearances with businessmen, athletes, and politicians in his efforts to raise money. He was forced to end his run outside Thunder Bay when the cancer spread to his lungs. His hopes of overcoming the disease and completing his marathon ended when he died nine months later.
In addition to being the youngest person ever named a Companion of the Order of Canada, Fox won the 1980 Lou Marsh Award as the nation’s top sportsman and was named Canada’s Newsmaker of the Year in both 1980 and 1981. Considered a national hero, he has had many buildings, statues, roads, and parks named in his honour across the country.
The COVID-19 pandemic has made the annual community fundraising runs a no-go. So a virtual version will be held on Sept. 20, with the theme “One Day. Your Way.” You can participate and donate here: https://terryfox.org/
I have always been monochrome dreaming. Since first picking up a camera, I have been interested in recording odd scenes; photos that make you do a double take. In the early days, I didn’t concentrate on it very much. I’d take a photo whenever I came across something unusual. It wasn’t until I got a digital camera in 2006 that I began to actively look for everyday scenes that make the familiar seem a little strange.
With a digital camera, I could experiment more–take many photos of the same scene in order to change the angle of a reflection or align elements perfectly. My image making went from taking a one-off of a particular scene to exploring the scene more fully to get the best possible shot. In this post I show a few early examples from Toronto in the 1980s, and then some more recent examples.
In my Wish You Were Here series, I aim to challenge the viewers’ attention in a subtle way by finding everyday scenes with elements of whimsy and surrealism. Like Magritte, and Friedlander, I want to make the familiar seem a little strange, but without Photoshop and image manipulation. These photos come about through observation, using juxtaposition, reflection, typography, and scale. My new project, “Wish You Were Here – Monochrome Dreaming” shows black and white images that aspire to challenge and entertain the senses.
