It’s winter in Canada–a good time to post a selection of snow photos. It a wonderful sight to see the landscape transformed by a blanket of fresh fallen snow. In the following poem Emily Dickinson makes mention of the snow sifting down, making an even face of mountain and plain.
Taking snow photos is a good way to connect with the season, and enjoy the absolutely unique qualities of winter. On windy days, photographing snow is a good way to photograph the elusive wind. There are amazing shadows cast on sunny days, and an abundance of soft textures. I like to go out around twilight time when the snow is coming down. It’s a good opportunity to use a flash to freeze the snowflakes.
Snow by Emily Dickinson
It sifts from leaden sieves, It powders all the wood, It fills with alabaster wool The wrinkles of the road.
It makes an even face Of mountain and of plain, — Unbroken forehead from the east Unto the east again.
It reaches to the fence, It wraps it, rail by rail, Till it is lost in fleeces; It flings a crystal veil
On stump and stack and stem, — The summer’s empty room, Acres of seams where harvests were, Recordless, but for them.
It ruffles wrists of posts, As ankles of a queen, — Then stills its artisans like ghosts, Denying they have been.
These are some documentary photos taken in New York in 1983. Documentary photography can be defined as style of photography that provides a straightforward and accurate representation of people, places, objects and events, and is often used in reportage. It can be both significant and relevant to history and historical events as well as everyday life.
For me, documentary photos are ones that are taken without manipulation, or staging. My urban photographs from the 1980s, taken in Toronto, New York, Japan, and Asia are largely street photographs, but are also documentary in that they capture life as it is. And the passage of time makes them more interesting, and valuable, as documents of another era. The above photo, for example, shows a man sitting at the entrance to B. Altman and Company on 5th Avenue. It was the flagship store of a luxury department store chain that opened in 1906 and closed for good in 1989. It’s nice to have a record of this iconic store.
A recent article by Authur Lubow in the New York Times titled, Life As It’s Seen, Not Staged makes the point that documentary photography, which fell out of favor with the rise of manipulated images, is making a comeback. An exhibition at the International Centre of Photography highlights young photographers share “a commitment to portray life as they discover it in the world at large, without staging or manipulation; and by so doing, find and express themselves.” Lubow also makes the point that “nothing is weirder than a straight photograph of an uncanny subject.” In short, truth is stranger than fiction.
In my early sixties, I sill find everyday life endlessly fascinating, and continue to capture it with my documentary photos. They help me make sense of the world we live in, and also help me remember the places I’ve been, and people and things I’ve seen.
Here are some Toronto street photos from the 1980s. They are images that I scanned quite recently, and have not been previously posted or published. There is a certain satisfaction for me in re-discovering these photos that I took so long ago. They tell me a lot about how much the world has changed, and I myself have changed. And, conversely, they also remind me that so many basic things in the world remain unchanged.
As we cannot travel back in time, photographs are a way to come face to face with the past–to reconnect with it without actually going there. Photographs are also a good memory aid. There is so much information crammed into our brains that forty year old information can slip away very easily. It’s funny that I can remember very clearly taking some of these photos, yet others are a complete mystery. I only know that I must have taken it for a reason. A few photos in this post were taken for a school assignment at Ryerson called “Exploration of the frame” – new and novel ways to frame photos. I’m not sure if I succeeded.
These Toronto street photos bring me joy and feelings of nostalgia. It’s hard to separate them from the memories that surround them: good times with friends at school and at parties, endless hours in the darkroom, the joy of being young and alive with a head full of tunes.
Toronto In Colour: the 1980s is my recent collection of Toronto photographs, and is now available at Blurb Books. A recent feature on a popular Toronto site BlogTO has brought my photos to a new audience. I thought I’d post a few of my favourites, as well as some outtakes from the book.
In the years 1980 to 1986, I shot about 800 rolls of film, most of them street photographs. Of the thousands of photos only about 10% were in colour. I tended to look for different scenes when I had colour film in my camera–usually Kodacolor II, but sometimes Ektachrome or Kodachrome. I would think in terms of “light and colour” rather than “tones and the moment.” So, I sought out slightly different subject matter than when shooting in black and white.
Book Introduction to Toronto In Colour: the 1980s
There is a feeling of freedom walking around a city with a camera. At 62, I still have that feeling but it was more pronounced when I was in my mid twenties, studying photography as a student at Ryerson Polytechnical Institute. I took a lot of photographs in my early years in Toronto, capturing street scenes and ordinary aspects of daily life that happened to catch my eye. American photographer Henry Wessel sums up my approach in this way: “Part of it has to do with the discipline of being actively receptive. At the core of this receptivity is a process that might be called soft eyes. It is a physical sensation. You are not looking for something. You are open, receptive. At some point you are in front of something that you cannot ignore.”
I had no way to anticipate how significant these Toronto photos would seem to me 30 years later. They show things that no longer exist, even though it hasn’t been that long. Without necessarily trying to, I caught images of buildings, cars, fashions, gadgets that are no longer part of our world. Toronto’s entire skyline is utterly changed, part of the inevitable growth and evolution.
Back in the 1980s I would shoot a roll of film (usually black and white), process it a few days later and make a contact sheet. After that I might make an enlargement of one or two of the strongest shots, and then move on. The contact sheets may have been reviewed from time to time when I was preparing for an exhibition, but basically I didn’t look at them for years and years.
Looking back, I wish I had taken more colour photos, but I’m thankful for the ones I have. There were reasons for not shooting much colour. First, there was the added cost; second, I didn’t have much access to a colour darkroom to make prints. And in those days black and white was the preferred medium for fine art and documentary photographers. Ernst Haas was one of the few to exhibit colour photographs. William Eggleston, Stephen Shore, Edward Burtynsky and other colour specialists were just emerging, and colour photography was not yet fully accepted in the art world.
There is a sense of hyper realism in a colour photograph, like looking at a Technicolor movie, that you don’t get with the more abstract black and white view. Japanese photographer Shin Noguchi is one of my favourites. Chuck Patch writes, in the introduction to Noguchi’s In Colour in Japan, “He prefers shooting in colour, because he says, black and white distances his audience by interjecting a layer of artifice between the viewer and the ‘Real World.’” And there’s also the psychological component of how the colours make us feel. Toronto In Colour: the 1980s is a collection of colour photos not seen in the three Toronto books I assembled previously; many of these images, in fact, haven’t ever been posted or published at all.
I spent a few days in Moscow in late June, 1993. My journey began in Kobe, Japan and a ferry ride to Shanghai, China. After that I made my way to Beijing where I caught the Trans-Siberian to Moscow. I had been working in Japan and decided to return to Canada heading westward across Asia and Europe, rather than the usual flight to Toronto.
My impressions of post-Soviet Russia were that it was generally run down and in disrepair. People in Moscow were quite friendly and welcoming, though some of them were suspicious of my picture taking. Shelves at the supermarkets were quite bare and my morning breakfast was lard on bread. I felt sorry for the women selling dogs and cats outside the train station, trying to earn a living. The economy was in rough shape and American dollars were preferred over Rubles. I got a drive across the city in an ambulance; the driver was earning extra money using it as a taxi. It seemed that the free enterprise system had yet to catch on. It also seemed to me like the wild west.
At the same time there was a great sense of art and history everywhere–amazing architecture and museums. The Moscow metro has some extravagantly designed stations such as Electrozavodskaya that resembles a museum rather than a subway station. In 1993 a metro fare was the equivalent of one cent. There were lots of buskers and street performers on the tourist filled Arbat Street. Some young people were playing American blues songs–a sense of the pervasiveness of American pop culture. I did some street photography there, as well as around the Kremlin.
1993 was the year of the Russian constitutional crisis— a political stand-off between the Russian president Boris Yeltsin and the Russian parliament that was resolved by military force. This took place in early October. The ten-day conflict became the deadliest single event of street fighting in Moscow’s history since the Russian Revolution–147 people were killed and 437 wounded. The country was in a state of drastic change.
Perhaps my photos don’t capture this sense of unrest and transition, but they serve as a document of life in Moscow a few years after the the dissolution of the Soviet Union in December 1991.
More photos this series are in the Moscow 1993 menu. I will be posting colour photos from this series at a later date.
