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REPORT from BOREAL BASH

Tony | August 18, 2013

BOREAL BASH

JUST SO YOU KNOW

Rob Hornstra and Don Weber were going to be in Toronto,
conducting a workshop. The folks from the Boreal Collective
thought it might be a good idea to plan an event around that
event, if you know what I mean.

Thus was Boreal Bash conceived. Three evenings of free talks
and a couple of days of portfolio reviews. All to be held in a
slightly seedy Italian restaurant, Ciros. Perfect.

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Ciros

PORTFOLIO REVIEWS

The event was financed by holding the reviews. For $30 you
got to meet 4 reviewers (your choice, first come first served)
for 1/2 an hour each. Thirty bux!!! These things usually cost
200, 300, more, dollars.

And you weren’t showing yer work to pretenders, hobbyists
or any other form of attention-seeking foto-wankers, either.
The community rallied behing this thing and the reviewers
included Don Weber, Clare Jordan, Myles Mccutcheon, Erin
Elder, Chris Wahl, Louie Palu, Ronit Novak, and so on. All
industry leading photo editors and photographers. And
you got to sit ouside and drink beer while you were at it.

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Getting ready for portfolio reviews

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Don Weber talking with Chloe Ellingson

The vibe was lively, collegial and full of good humor. The
place was crawling with fotogs, folks interested in fotografy
and industry-types, too.

THE TALKS

The talks were standing room only and a video and audio
feed was available on the back patio for the overflow.

The Boreal Collective folks are photojournalists and/or
documentary fotogs. The people they invited to talk were,
for the most part, those who are interested in telling stories
with fotos, interested in politics and the wide world beyond
their bellybuttons. (This, as opposed to what seems to be
the prevalent mode of foto-practice in Kapital City, where I
reside: the production of inward looking, beautifully rendered,
capital “P”, fotografs that are meant to be precious in and of
themselves.) I loved it when Don W. said of the rejection on an
image from the final edit of his book, Interrogations: “It’s just
a fucking picture. I loved it but it didn’t fit so we cut it and then
went for pizza. I love pizza”.

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Laurence Butet-Roch speaking

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Rob Hornstra and Don Weber

But I don’t really want to give you a precis of what was said. You
had to be there. If you were you were lucky. If not, too bad.

Boreal Bash was an unforgettable event, one of those rare times
when everything comes together, when fellow travelers converge
and something great happens. Learning. Friendship. Warmth. Growth.
Plans were hatched, thoughts were thought and questioned, there
were visions and revisions. Lots of talking and laughing before,
between and after the talks, too. Everyone was amazed by what
was happening.

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Aaron Vincent Elkaim and Brett Gundlock

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Clare Jordan

I’ve been to stuff like this before, some were good, some were
sort of stupid. But, like I said, this Bash was exceptional, the
stars aligned and something magical happened.

And then it was over. The crowd drifted away, each person, I’m
sure, happy to have been there and grateful to the Boreal folk
for making this happen.

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Don Weber, Johan Halberg-Campbell and Rob Hornstra

But it wasn’t really over.

Some of us walked to an empty lot in otherwise occupied Toronto.
We lit a rebel fire, talked and wondered some more. Shot the shit
and roasted marshmallows.

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And then, when the time came, I climbed through a hole in the fence
and onto the tracks that will take me where I want to go.

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Boreal Collective: XXXX
Rob Hornstra: XXXX
Don Weber: XXXX

WORKSHOP

I will be holding a one nite workshop this coming Thursday.

The title is: “LIVE A LITTLE” and the subtitle is: “Tactics and strategies to
add risk to your photography”.

Now, some might think I want you all to go out and be mini-me’s, head
to the rough fringe and see what happens.

Not true.

I believe that the only way to progress as a serious fotografer is to be
true. . .true to yourself and how that “yourself” relates to whatever it
is you want to explore fotografically.

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So this workshop will look at ways and means for the participants to
get out of the doldrum of their fotografy, get out of doing what you
do because everyone else is doing it that way, or, maybe, because
that’s just they way you are used to doing it. Your groove has become
a rut.

No matter what you are interested in fotografing, I believe that there
is a way for fotografers to learn a better, or at least different, way to
approach the subject. That involves risk. Not necessarily physical risk,
but maybe some emotional risk. But without risk there is no reward.

So come on down and live a little. (95 bux, 25 if you are a student.)

Enroll here: XXXX

FROM the STUDY on POST-PUBESCENT MANHOOD by STACY KRANITZ

STRAYLIGHT Press is pleased to announce that the Stacy Kranitz book,
“FROM the STUDY on POST- PUBESCENT MANHOOD” is now shipping.

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Sending the pre-orders to their new homes

Small in size (5 1/4 x 8 1/4 inches) but packed with imagery (80 fotos)
and dense with emotion, this book is limited to 100 copies.

Here’s a link to an very interesting interview Stacy did with Mother Jones
magazine. She talks about the process of shooting a story for them about
Meth in Kentucky. The fotos are amazing, too. XXXX

And some shots of the book. Each one is signed and numbered by Stacy.
Buy it here: XXXX.

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LIVE THROUGH THIS in VICE

VICE interviewed me about LTT. Lots of rarely seen fotos in the slide show.

See it here: XXXX

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UNTITLED

Tony | August 10, 2013

Taking another week off. Back next week with a report from
Boreal Bash.

If you are in Toronto today (Sunday the 11th) drop by and
listen to Laurence Butet-Roch (all the way from Paris, where
she works for Polka magazine), me, and Rob Hornstra (all the
way from The Netherlands.) Monday it’s Clare Jordan (PE for
magazines at the Globe and Mail) and Don Weber (Vll).

The talks are free.

Boreal-Bash2013_Workshop_creative_v4

SUMMER

Tony | August 4, 2013

drool is taking a couple of weeks off. It’s summer, don’t you know.

Before I unplug, three reminders:

STEPH & ME in TIME magazine: XXXX

BOREAL BASH: XXXX

LIVE A LITTLE: XXXX

Tune in August 18th for the lowdown on the Bash.

And now. . . .a foto.

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Civil servants protesting outside the Prime Minister’s Office, Ottawa, 2013

LIVE A LITTLE

Tony | July 28, 2013

BACK TO THE EDITING BOARD

Decided to make a bunch of OFFICIAL OTTAWA proof prints. Just
to see where I’m at with that.

You can look at ‘em on the computer as much as you want, but if
you’re serious about the good-old foto-sequence, if you really want
to see what you’re doing, you’re going to need prints.

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Before

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After

This is a before and after of my editing board. But it’s not really an
“after”, it’s just another “before”. Because what happens now is a lot
of looking and moving around of prints. They will assume different
configurations and mini-sequences and clues will be discovered.

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National War Memorial, Ottawa, 2013

LIVE A LITTLE

I want to remind folks in the Kapital City region that I will be holding
a one nite workshop at Gallery La Petite Mort. August 21st.

The title is LIVE A LITTLE and the subject is how to add more risk to
your photography.

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Rideau Street, Ottawa, 2000

I suggest anyone who feels some nagging doubt about how boring
and predictable their life, and subsequently their fotography, is
should attend.

Sign up and live a little. One of two things will result. . . .

1/ your life and photography get more complicated, interesting
and better.

2/ you attend but chicken out on implementing what you learned
and you become even more dissatisfied with your life.

Take the risk here: XXXX

LIFE’S WORK

Years ago I converted my darkroom to a storage space. Stuff,
mostly my work, got thrown there. . . .semi-organized.

Now, approaching the end of a massive reorganization, purge
and general sort-out, it looks like this.

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Neg files, portfolios, some printed pieces and DVDs

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Framed prints and boxes of work prints (which are full and hold approx 1500 prints each)

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Boxes of exhibition prints and contact sheets

Doesn’t look like much, does it? But one of the great things about
fotografy, as opposed to, say, painting, is just how compact thirty-
five years of work can be. Compact but dense.