.July ‘26.
~ balance: composure & composition ~
Two aspects come to mind—Composure & Composition. Whether you are capturing the moment as it happens, or approaching the moment as it unfolds. Sometimes things happen so fast the only option is to capture the moment from the perspective you have. On the other hand, approaching a moment as it plays out has the potential for a more dynamic perspective. I am often looking back at frames I settled for and seeing the image I could have made. So it begs the question: can a frame that surrenders itself to the immediate proximity of the moment deliver what is intended and is it capable of conveying enough feeling in contrast to a frame that was thought out swiftly? Or is it really just a moment by moment circumstance? We know both to be true, but we can be hard on ourselves with expectation and comparison. The necessary evil that drives us outside to capture or prove to ourselves some sort of capability.
Learning to identify the moment becomes a balance of composure and composition—to position yourself to the frame as it arrives. Likely an overthought and another meaning street photographers may burden ourselves with. Only to echo back, frames shot with intention may not translate as imagined, while a one-off frame evokes more feeling than your subconscious may have picked up on. Are we [as photographers] privy to partial control… staging candid moments with balance & composure, timing and positioning? I'm not sure it's something to chase or something to depend on—perhaps just something to lean into when the opportunity arises. Whatever it is, you know it when you see it [feel it]. When the universe calls will we be able to pick up the phone? Is this even making sense? Articulating ongoing thoughts is difficult to distill, even upon revision; so forgive me if it comes off as senseless rambling. I’m emptying the tank, month after month in an attempt to digest and understand a large volume of varying frames in a short period of time. It’s always refreshing to revisit them months from now, and celebrate or cringe at the work and ramblings.
That being said, I lay out my monthly frames as they happen. I’ve always included the ABC-sides and discard the D’s to demonstrate the scenes as they unfold and as I approach them. Honestly, I need to put the frames somewhere for my own sanity. It’s practice in reflection—However, I’ve started to question if the abundance of photos diminishes the value of some frames. Volume for volume’s sake isn’t a measure of skill or value… so I’ve started to review the pile with more scrutiny as I build the Monthly 35mm. And although the frames may still seem loosely sequenced here, my goal is always to compile for a project at the end of the year—concluding the trilogy of my three year journey. The process of Seasonal Aperture Disorder proved it is always interesting to see what fits where and enhances or complements another. That’s really the homework and discipline. Making the work for the sake of the work.
Kentmere 400
Kodacolor 100
UltraMAX 400
Gold 200 [expired]
VISION3 50D
VISION3 200T
VISION3 500T
Always be Pushing
Starting with some classic Street here are two frames that represent how I feel when I’m out there—half blind & pushing the boulder up the hill.
Growing up a gamer, I tend to attribute difficulty ratings to my hobbies and their adjacent environments. For example, in street photography, I may rate street fests or Dundas Square as “easy mode.” There is a relaxed social acceptance of photography in public and more action.
In contrast, quieter neighbourghoods, streets, or parks have a higher difficulty rating. As for The Beach, I have always considered it Hard Mode. Much of that is due to the nature of the space. It is a very personal yet very public place. Many people are guarded —of course—due to the sensitivity of clothing & children. However, the beach is a beautiful place with many activities to document.
Now, I’m by no means Martin Parr out here, but I wanted to break my fear down. As with any difficulty, it decreases the more time you spend there. I found that if I join the beach and slowly introduce the camera, it was much more welcomed. Rather than strolling the beach fully clothed, camera in hand.
As with anything, if you act with composure and don’t shy away from the fact that you’re taking photographs, people tend to accept it. Getting involved and engaging doesnt reduce the candid moments, it disarms people and provides some comfort.
Salsa on St. Clair—I brought my camera for the disipline of always carrying it, but I was reluctant, as I was tired of the street fests. The point of departure was to meet a friend and watch Norway v England. Post-game we strolled through immensely crowded streets to the tune of salsa and pockets of dancers. It was a mix of beauty and frustration. As we’re making our way eastbound, near some tents a scrum breaks out—woman and man yelling and water being exchanged between the two in bouts of tosses. for a moment, it seems to fade and one party is dragged away…
Then SUDDENLY the man comes flying back and tosses a cup about the size of a Big Gulp full of [assumed] water at the group of women—all hell breaks loose—a full blown melee. Hair pulling, fists are flying and words are being exchanged. Then I realized I had my camera.
“This is exactly the action I’m looking for,” I thought.
So I stepped right into the action and did my best to f8 and be there, all while hoping I don’t get caught in the mix. I was happy to capture one frame with a clear fist, but it all happened so fast I had low expectations. It is hard to be intuitive in a street fight. The frame with a woman shouting and pointing was followed by a punch square in the blonde woman’s face, almost to fats to capture also while watching the mayhem.
Dinner and a show, only to be enhanced with a shooting. We were about a half block away when it happened, yet with all the noise and crowds it was barely apparent anything happened at all. We only found out as we walked westbound to leave. There was even an alarm or urgency among the people. More of a circle pit around the body and emergency personnel.
It would seem that the city is desensitized to this sort of violence, which is terribly unfortunate especially in a place for cultural celebration and families.
There isn't much else to say. It's a damn shame. But as a photographer, there is a certain obligation that comes with documenting life as it happens. Being able to separate yourself from the ordinary while being witness to moments most people would turn away from.
Some local street for a bit. Found a balance between the viewfinder and hip shooting, that blend of taking the shot rather then worrying about being close enough from last month resolved itself. Part of the reason I give weight to reflection through these Monthly 35mm’s.
I’ve continued to be curious about spaces at night. This month I ventured home to visit places I spent time during my youth or streets that I biked or drove down with friends, usual routes. Unable to capture them all, as I’m uncertain how they would be as a frame or how to even capture these places. For the most part, I know they don’t convey or evoke much emotion, and the same goes for the open spaces below. I am just discovering this for myself and seeing what works. I am torn between what is a compositionally acceptable photograph, and what I see within the space. It is very similar to how I approached street—at first, it was people walking through a frame. Eventually into gesture, emotion, and story. Either way, it is very interesting to me, and it is a breath of fresh air to step away from the streets and disappear into the fields and wander around in the middle of the night. Even if it feels weird to the single car at 3am seeing someone with a tri-pod and shutter cable.
Headed back to niagara to shoot some quieter moments. I needed to take a break from the city, something has been calling me home. I wanted to explore spaces I spent in my youth, a friends field we threw parties, burned wood, the brouhaha’s. still much to be discovered and revisited. I really didn’t know what to expect with results. As mentioned, basic compositional photographs. Every time i peered through the viewfinder I wasn’t sure if it was worth hitting the shutter, but I could sense something was there…. results below.
