Tag: <span>analog photography</span>

Yonge and Dundas, Toronto, 1980 – © Avard Woolaver

Back when I was growing up in the 1970s my grandfather George Mason used to wear a dress hat on special occasions, or when he went into town. I always thought they looked cool, and probably tried them on from time to time. When I moved to Toronto in 1980, I noticed that older men were still wearing these hats. Perhaps took note of them and photographed them because of my grandfather.

I always assumed men wore dress hats, or “business hats” to hide balding heads, or to protect them from the elements. But it seems, in history, hats were a thing for other reasons. According to Deborah Henderson, a costume designer and the author of four books about men’s headwear, “Throughout history, people wore hats to indicate their social position in the world. Any trade—postman, engineer, pilot—had its own cap. Even lawyers, in the ’50s, all wore fedoras.”

Why did men stop wearing dress hats? An article from Esquire magazine suggests that nobody has pinpointed one sole reason why men stopped wearing hats. One reason could be the rise in automobile use. “With low roofs meaning you couldn’t wear a hat while driving and generally had no need to cover your head anyway, personal transport often negated the need for headwear.”

Another reason could be the stigma associated with WWII. “Another theory posited suggests that the hat suffered a serious decline after the end of World War II because it was an unwelcome reminder of the time people had spent in uniform. Men who fought did not want to wear hats with civilian clothes after the war.”

Benjamin Leszcz writes in Canadian Business, “A potent social signifier, hats identified a man’s role in society. (Hence the idiom of “putting one’s [insert profession] hat on.”) Little surprise, then, that the individualism of the ’60s and ’70s rejected the rule-bound world of hats, embracing anti-establishment afros, flowing locks and blow-dryer-enabled atrocities. By the late ’80s, the hat stigma faded, and every couple of years since, fashion journalists proclaim the hat’s comeback. Today, hats are runway stalwarts, and classic brands—like Borsalino, Stetson and Biltmore, which until recently was based in Guelph, Ont.—are holding steady. But hats will never entirely come back. The shift is decisive: historically, men wore hats to fit in; today, men wear hats to stand out.”

These days when I visit Toronto the people I see wearing dress hats are thirty-something hipsters going for that vintage look.

George Mason, Stanley, Nova Scotia, 1979 – © Avard Woolaver

.

dress hats
Nathan Phillips Square, Toronto, 1982 – © Avard Woolaver

.

Yonge and Dundas, Toronto, 1983 – © Avard Woolaver

.

Parliament Street, Toronto, 1981 – © Avard Woolaver

.

Crazy Joe’s Flea Market, Toronto, 1983 – © Avard Woolaver

.

Dundas West and Keele, Toronto, 1982 – © Avard Woolaver

.

Street Vendor, Yonge and Gerrard, Toronto, 1981 – © Avard Woolaver

.

Spadina Avenue, Toronto, 1982 – © Avard Woolaver

.

Yonge Street, Toronto, 1980 – © Avard Woolaver

.

Nathan Phillips Square, Toronto, 1982 – © Avard Woolaver

Film Photography Photography

Avard Woolaver, Toronto, photos resemble paintings,
Elm Street at Yonge (looking west), Toronto, 1982  © Avard Woolaver

Sometimes photos resemble paintings–whether it’s the lighting, the subject matter, or the mood. Some photographers recreate paintings as photographs like Laura Hofstadter with her self-portrait series. Also many painters use photographs as a reference when they paint.

I had always thought that this 1982 photograph of Elm Street in Toronto looked like a painting, but no painter came to mind. Then my social media friend Amy Dix suggested that it looked like something by English artist L.S. Lowry. I could immediately see the similarity. 

The above photo was taken from the rooftop of Sam the Record Man–the iconic record store. These days it’s the location of The Ryerson Student Centre, an amazing creation of function and design. In 2018, I managed to get a photo of Elm street  through a window, maybe on the 4th floor. It’s great to compare the old with the new, and see the changes over the past 36 years.

Avard Woolaver, Toronto, photos resemble paintings,

Elm Street at Yonge (looking west), Toronto, 1982, appears in the book Toronto Flashback (1980-1986) and is available through Blurb Books.

Blogging Photography

Avard Woolaver, Montreal, 1983, Kodachrome,
Montreal, Quebec, 1983 © Avard Woolaver

When taking photos I look for good light, and try to get an interesting moment, if possible. But there is also a matter of composition–how to divide the space. There are no hard and fast rules, but I often attempt to divide the frame into three or more sections. I first saw this in the photographs of Tony Ray-Jones and Lee Friedlander. There was a lot going on in the frame–a kind of unified complexity.

This  photo was taken in Montreal in 1983. My friend Stephane is on the right and we were off to celebrate Saint-Jean-Baptiste Day. I’m glad I got this Kodachrome moment.

Blogging Photography

Avard Woolaver, Toronto, Kodachrome, Lakeshore Boulevard, Gardiner Expressway, traffic,

© Avard Woolaver

A moment captured on Kodachrome. It was taken on a pedestrian walkover that crosses Lakeshore Boulevard and Gardiner Expressway. The warm light in the late afternoon was a perfect match for this reversal film that was known for its red/magenta cast.

I knew Paul Simon’s song Kodachrome before I got into photography, but didn’t know anything about the film itself. I would discover its magical qualities a few years later. Here is what Songfacts says about the song: “Paul Simon was working on a song with the title “Coming Home” when the word “Kodachrome” came to him. He had no idea what it meant, but knew it would make for a much more interesting song than “Coming Home.” The song became an appreciation of the things in life that color our world, and a look at how our memories are framed to fit our worldviews. Simon sometimes sings the line “Everything looks worse in black and white” as “Everything looks better in black and white.” He changes it a lot, and claims he can’t remember which way he wrote it.”

Kodachrome started in 1935 and effectively ended in 2010, when it was no longer possible to have it processed. Competition from Fujichrome and Ektachrome (which are easier to process) brought a decrease in sales, and the emergence of digital in 2000 signaled the end of the film. But once upon a time, Kodachrome roamed the earth–in cameras, camera bags, and pockets. It was with me when I traveled around Germany in 1978, Asia in 1989, and Europe in 1993. My faithful companion.

Photography Toronto

New York, Avard Woolaver, Fifth Avenue, B.Altman and Company, 1983, street photography,

© Avard Woolaver

This photo was taken on Fifth Avenue in New York City in 1983. Walking around New York City with a camera is something I’ve only done twice in my life. Both times were unique and memorable. There is so much happening on the streets, and so many interesting locations.

The mannequin is in the store window of B. Altman and Company, a luxury department store chain founded in 1865. By 1990, the business was closed. In 1985 this Fifth Avenue building became a New York City landmark. It is now occupied by City University of New York, New York Public Library, and Oxford University Press. The Altman Foundation carries on as one of the largest private philanthropies in New York.

From the series: New York City – Flickr album

Photography