LOCATION (1 of 3)

I have a list in my head of kool spots that I might use for shoots. I suppose
every photographer does. It’s just a matter of waiting for the right gig to
come along that will suit one of the spots on my list.

When I was asked by Ottawa Magazine to shoot ace crime reporter Gary
Dimmock I immediately thought of this spot I drive bt at least 4 times a
week. Right downtown, soaring columns that are vaguely reminiscent of
fascist architecture, with some nooks and crannies thrown in to the mix.

Of course, having a sweet location is just the beginning. You’ve got to
know what you want to do with it.

In this case I knew I wanted the pix to look a bit ominous and kind of
night-y, if you know what I mean. These were shot just before noon,
but I used the good old Profotos and my trusty Honda generator to
overpower the daylight.

Doesn’t hurt to have a subject like Gary, either. Came to the shoot
looking nicely disheveled and brought the right vibe with him too.

LOCATION (2 OF 3)

There are other times when the location is the actual subject of the
shoot. You’re directed to a specific place and the only control you
have is to pick the angles and perspective.

Case in point: this shoot I did at Calypso Water Park, for Report on
Small Business magazine.

Outtake from Calypso shoot (and, yes, all the landscapes were shot with 4×5 film)

The shoot was further complicated by the fact that we were sent on
this shoot a month before the park actually opened. If it had been
open it would have been (as we say in the biz) a turkey shoot. What
with hundreds and hundreds of people lined up, waiting and sliding,
all in their bathing suits.

As it was, we recruited some brave souls to come by the park, brave
a cold(ish) early May morning to slide and pose.

Opening spread

The shot of owner Guy Drouin, was done a few days before the main
part of the shoot; the only time he was available. I was called about
his availability less than an hour before the shoot, bombed out to the
park (a 45 minute drive), had 15 minutes to find a spot and set up.
Then I had about ten minutes of his time to shoot, before he had to
rush off to the airport to tend to some other business.

Needless to say, the location was quickly picked and I squeezed off
some shots before he left (and the rain started).

Another outtake

LOCATION (3 OF 3)

Often, given the type of images I’m called on to produce, I walk
into a place, meet the folks I’ve been asked to photograph and
must find locations, on the spot, that will make interesting
backgrounds for portraits.

Typically the folks I’m about to shoot tell me that there are no
interesting locations in their office. I always beg to differ.

When you put a frame around bits and pieces of the world it’s
amazing what can happen. As well, once you add light, it all
changes some more.

Here are 4 location portraits I shot a week or so ago for a
corporate client. Theirs was a pretty typical office, sort of
nondescript. But every place has perspective and nooks
and crannies. Of course, finding locations is really just
a trick. The real job starts when the subject, flesh and
blood, walks into that location.

GREATER MIDDLE EAST PHOTO BLOG

I have a friend, who prefers to remain anonymous, who thinks
that the Middle East is underrepresented when it comes to
the fotoworld. So s/he decided to do something about it.
And as you droolers know, drool luuuuvs it when folks get
off their sorry asses and do something. Anything.

So, a big drool shout out to Greater Middle East Photo Blog.
Not only is this blog going to shine a light where light where
light seldom penetrates, but (judging from the first bunch of
posts) it’s going to do it in a most interesting way.

I insist you go here and look.

NATIONAL MAGAZINE AWARD

Another drool shout out, too, to Domenic Macri, art director at
Report on Business magazine. He just won GOLD at the National
Magazine Awards for best cover. I took the cover foto.

Of course, I can claim absolutely no credit for the award since
my foto had nothing to do with the cover.

Confused? Go here for an explanation.

Thanks, though, to Clare Jordan, the photo editor who assigned
me and to Domenic and the crew at RoB for using their creativity
and for caring.