Changing It Up

     This may be a strange post to write in the height of the fall colour season. Yes, I know that the fall colour season is actually winding down, but, due to an unseasonably mild autumn, the colours locally haven't really reached their peak as of this writing.

    I love the fall colour season. Scenes that I've photographed dozens of times  seem to take on a fresh dimension simply with the advent of glorious colour. Like the brilliant foliage that surrounds me, I too, am going through some changes.

    I once complained to a good friend that ''All I do is live in a pretty little town and take pretty  pictures.'' In retrospect, that statement may be a little harsh. But, to some degree it expresses a restlessness in the content of the images that I'm creating. For me, there's kind of a disconnect. Essentially, what I'm doing is pandering to the viewers of my work. I'm giving them what they want. Pretty colour pictures of beautiful scenes are what sells in marketing prints and postcards. They garner the most "likes" and comments on social media. I'd be a liar if I said that I didn't appreciate the attention they provide.   Another friend once asked if I considered myself an artist.  I just gave her my stock, self deprecating answer. ''Nah, I'm just handy with a camera.'' However, to my mind, that's not good enough. If I'm to consider myself an artist, or, at the very least, a student of the arts, I should be able to articulate something a little more substantive than ''Look at this. It's pretty!''

      For some time, I've been fascinated by the work of photographers like Garry Winogrand,  Robert Frank, Walker Evans, Vivian Maier and a slew of others. The power of their work goes beyond basic pictorialism to a more powerful expression of each photographer's view of the world they photograph. In exchange for  ''Look at this. It's pretty!'' one gets,  ''Look at this. It's interesting!''  The latter statement describes more  the direction I want to explore photographically. It's not necessarily a "street photography" aesthetic but a more comprehensive view that goes a bit beyond the "pretty picture".

    This is not to say that I'm abandoning whatever style of photography I do now. I will always have an appreciation of beautiful light illuminating a picturesque landscape or scene. Furthermore, I see nothing wrong with sharing the beauty of a sunrise or sunset with friends on social media. I just want to take a step beyond the conventional assessment of beauty. It's a new direction, not an abandonment of the old one. Stay tuned. This could be interesting!

                ...more later

         As usual, if you like what you see here, feel free to hit ''like'' and share it to the media platform of your choice. Also, stay tuned for my ''Photographic Friends'' feature appearing here in two weeks. It's going to feature a bit of the back story and some beautiful photos from the awesome photographer, Heather Cardle. 

 

    

    

Photographic Friends Dean Ellis

    On July 19 of this year, I sat down with Dean Ellis to interview him for this post which was supposed to be published on Aug. 15, 2021. Unfortunately some circumstances intervened in my life and I'm only now able to present the post. Although I've only known Dean for a few years, the ''interview''  was really just a long conversation between a couple of old shutterhounds. Dean acquired his first camera (an Ansco twin lens) from his grand mother at the age of 5. I bought my first camera with grocery store coupons (an Imperial Instant Load 126)  at the age of 9. Together, we have a combined experience of more than a hundred years behind the camera. That's a lot of memorable photographs, a whole pile of cameras and lenses and an even bigger pile of stories and crazy experiences to share.  I recorded our conversation on a small digital  recorder and the conversation ran for more than two hours! Yet, we still have  stories to tell, some  great photos to share and some even better photos to take in the future. Hell, we're just getting started! 

Dean Ellis Photo by Heather Cardle

    There are people that you meet in life with whom you feel an instant connection. They may be about the same age and have similar interests and experiences. In talking with them, you can completely relate to what they're saying. Case in point, when interviewing Dean for this  post, he talked about canoeing in Algonquin Park with a Mamiya RB67 mounted on a low tripod, in the canoe with him. That statement probably wouldn't mean much to most photographers these days. To an old school photographer like me, what Dean was talking about was impressive. To begin with, the RB67 is a beast of a camera! It is a large, all metal, medium format camera that used 120mm roll film versus the more common 35mm film format of the day. It made images on roll film that were 6X7 cm (60X70mm). By comparison, a 35mm camera made images that were only 24X36 mm. Weighing in at over 2kg for the body alone, (minus a lens and film back) the RB67 was one of the largest roll film cameras made. It was so big that, to make a vertical (portrait mode) image, you didn't turn the camera, but rotated the film holder at the back of the camera! Hence the camera name, RB (rotating back)  67(6X7cm image size on negative.)

    So why would anyone use such a large camera? Quite simply, the much larger negatives it produced required much less enlargement to create an equivalent size print. Medium format negatives could provide substantially better resolution and image detail in the final print. The fact that Dean used such a beast of a camera in a canoe is no small feat and is a pretty solid indication of his commitment to making high quality photographs. 

     When he told me that he had used an RB 67 in a canoe in Algonquin Park, that's all he needed to say. I knew exactly what he was talking about. When you've been at this game as long as we have, you can communicate in shorthand. 

     Based in Brantford, Ontario,  Dean is not only a photographer, but a prolific artist as well. For him, the camera is just another tool for creative expression.  Creativity runs through him like a primary component of his bloodstream. He is a member of the Paris Photo Collective and has had showings of his work at various galleries and venues including the Crawford Collective, the Robertson Fine Arts Studio and Gallery and the McMaster Art in the Workplace Exhibit at McMaster Innovation Park in Hamilton, Ontario. He also regularly has work on display at the Paris Bohemian Gallery in Paris, Ontario. You can see more of Dean's photography here. https://www.facebook.com/search/top?q=dellisartphotographix                  You can also check out more photography and his artwork here  https://www.facebook.com/search/top?q=dellisart%20studio

    Dean got his start in photography at the ridiculously young age of five when he acquired his first camera from his grandmother. Since then, photography has always been a big part of his creative productivity. His first influences were his mother and grandmother, both talented artists. An interest in art has been a constant in his life. He holds a degree in fine arts from the University of Guelph. Photographically, he has been influenced by the work of such notable photographers as Ansel Adams, Robert Mapplethorpe, Georgia O'Keefe as well as Edward and Brett Weston.

    Dean's own style in photography is eclectic. He photographs whatever interests him or catches his eye. He often will combine a series of his photos and present them as a collage.

    Formally trained in visual arts, he is well aware of the rules of composition and will use them if they suit his purpose. But, he is never encumbered by them. He doesn't pander to his viewers but allows himself complete freedom to create as he sees fit. In his words, ''A true artist doesn't really care what other people think about what they're doing.'' He will alter his photographs in post if it suits to enhance the mood or message he is trying to portray, but he is never heavy handed about it. He also has a fascination with other photographers making photographs.  If you're out for a photo walk with him, chances are there's a picture of you peering through a camera on the internet somewhere. Trust me. I speak from experience!

A recent get together of some members of the Paris Photo Collective
L-R;  Haether Coombs, Gord Barker, Tammy Doogan, Ryan Eltham, Dean Ellis

Me setting up the above shot.
I'm using my camera bag as a makeshift tripod.
Jim Domke would be proud!
Photo by Dean Ellis 

    In spite of his formal training and the accolades he has received as an artist and photographer, he is never arrogant about what he does. For Dean the joy is found in the act of creation. He is generous and helpful with his time and resources when it comes to helping other creatives. I can remember a couple of meetups of the Collective where we got into moving light photography. Dean walked patiently back and forth  dozens of times swinging a string of lights or spinning a flashlight on a string. The rest of us locked open the shutters on our cameras to catch the patterns of moving light. As of this writing, I still have a Russian made Helios 58mm f2 lens with a Fuji X adapter that he leant to me to try out. That should make for some interesting shots! If you're involved in doing anything that's visually creative,  he's a great guy to have in your corner. 

      I've noticed at meetings of the group or when we're  out making photographs, that Dean almost always has a smile on his face. He's like a kid. He's playing with stuff. He's trying out an idea, he's expressing a visual concept. He's creating. Even if the group meetup is nothing more than a bunch of us sitting around a table at a local café, the smile is still there.  He's in his element. He's talking with people who love creating stuff almost as much as he does. It's that intensity, that artistic honesty, that joy found in the act of making art that is the very definition of the man. The creative world is a much better place for having  a man like Dean Ellis in it.

...more later

        

    

      

    

    

    

    

         

I'm Back

   So it was Sunday morning and I was sitting by the dam here in Paris, Ontario. I had taken a few photos that I planned to post on Facebook a little later. I was thinking of taking  the short mosey downtown to treat myself to a nice breakfast. The air was cool and the reflections on the river looked great.  I know that I've done similar shots to these in the past, but I don't care.  I just wanted to capture the whole vibe of the morning. 

   

    The vicissitudes of life tend to interfere with creative endeavors. Or, in other words. ''How do you make God laugh?  Have a plan.''

    This past summer has been a tough one for me and, unfortunately, I needed a break from some self imposed pressures, including this blog. I apologize to my regular readers for not publishing a post or the ''Photographic Friends'' feature for the month of August. But I guess that, in some shape or form, I'm back. It's past Labour Day and like most of my fellow shutterhounds, I'm looking forward to the autumn colour season. I mean if you can't make a decent  photograph in the fall, perhaps it's time to scrap the camera and take up macramé!

     Last Saturday I went for a short photo walk with some members of the Paris Photo Collective. The walk was organized by Haether Coombs. Haether is a relatively new member of the group. I met Haether and her friend, Tammy Doogan, earlier in the Summer when they were doing some wildlife photography at Jedburgh Pond near Ayr, Ontario. I was travelling light that day. (well light-ish!) so rather than wildlife, I just managed to get some nice reflection shots of the pond. 

 

Members of The Paris Photo Collective
Photo-walk Sept. 18, 2021
l-r; Haether Coombs, Gord Barker, Tammy Doogan, Ryan Eltham, Dean Ellis

    

    Since then, both Tammy and Haether have become members of the group and have been posting some excellent pictures on the Facebook page. We were joined that morning by veteran photographer and artist Dean Ellis and a new member to the group, Ryan Eltham. Ryan just recently bought his first serious camera and is already doing some pretty amazing photography. As is usual in this group, there were a lot of laughs, some exchange of photo knowledge and some very good photographs made.

Dean and Ryan in action
Paris Photo Collective
Photo-walk Sept. 18, 2021

Tammy and Haether
Paris Photo Collective
Photo-walk Sept. 18, 2021

     What has always amazed me about the Paris Photo Collective, is the sense of camaraderie and joy we all take in sharing our love of the craft. Right from the beginning, every meetup of the group feels like a get together of old friends. There's good conversation, some good natured kidding, and then the cameras come out and things get a tad more serious. Even newcomers to the group are quick to pick up on the vibe. Just an awesome group of people who happen to dig making beautiful images. In my experience, I've never seen a camera club like it! Hopefully as things loosen up, we'll be able to get together on a more regular basis. 

     So that Sunday morning, sitting by the dam, I reminded myself for the ten thousandth time of how lucky I am to live where I do and make the pictures I make. Best of all, I get to do it all with the encouragement and support of some really good friends. 

I'm back. 

         ...more later 

P.S. The long awaited Photographic Friends post featuring Dean Ellis will be published on Saturday, October 9, 2021.

     

Black and White In The Digital Age

     It seems most of my photographic friends are heavily enamored with nature photography. I guess that it kind of goes with the season. Summer is an awesome time to be outdoors enjoying the abundance of life. It seems every time I open a social media feed, I'm inundated with a plethora of bird pictures, wildlife images, flower pictures, and photos of nature in general. 

     Don't get me wrong. I have a tremendous appreciation of the wildlife and nature genre. I know how much dedication and skill is required to photograph wildlife and the beauty of the natural world around us. I am seeing some amazing work from some highly skilled shooters.

    Maybe it's the rebellious streak in me, I tend to zig when others zag. I've been shooting a lot of black and white lately. While most of my photographic compatriots are trekking down trails and paddling lakes and rivers to capture the abundant colour, wildlife and overall beauty of the summer season, I'm hitting the mean streets of Greater Metropolitan Paris, Ontario (among other places) to capture the gritty life of the urban jungle! Yup! I'm a tough-ass street photographer in small town Ontario! On the plus side, I'm usually not too far away from a really good cup of coffee.

    

    Like I said earlier, I've been shooting a lot of black and white lately. I honestly believe that every photographer should spend a good chunk of time shooting predominantly in black and white. Perhaps six months to a year at least. I did my first tour of black and white duty back in the dinosaur days of film and, in some ways, I'm still doing it. By eliminating the saving grace of colour, my visual acuity opens up. I no longer have the pretty colours to save what would otherwise be a boring picture. I'm forced to start utilizing other visual elements. Things like composition, contrast, shape, form, line and texture.

 

      One of the questions I ask myself when looking at a colour photograph is, "It's a nice shot, but would it hold up in black and white?" It's not necessarily the main criteria for judging a photograph, but it's a good place to start. Here's an example. 

    Regular readers of this blog will recognize the above photo. It was featured in a blog post from March of this year. https://refractivereasoning.blogspot.com/2021/03/on-photographic-expression.html  

Here's the same shot in black and white.

        In my opinion, the colour photo has a little more impact simply because it features the beautiful golden colour of the light against a dismal overcast sky. However, despite the lack of colour, the visual elements are still there. We've got the contrast of a blast of light coming through an overcast sky, the reflection of light on the wet pavement and concrete bridge rail, the roadway, sidewalk and bridge rail all providing depth to the image and functioning as leading lines to the buildings downtown. The black and white version still stands on its own. Some viewers might even prefer it to the colour shot.

    Here's an even more radical example.

    Ok it's a sunrise photo. It's absolutely gotta have the beautiful gold and orange colours right? Not necessarily. Again, good composition comes into play.                                                                  

     The silhouette of the tree is placed almost perfectly on the line of the rule of thirds and the quilted sky in gray still provides enough interest to engage the viewer. Admittedly it doesn't have quite the impact of the original in colour, but it still stands on its own as a very good shot.

    The beauty of digital photography is that achieving a good black and white look is easier than ever. I've completely made the switch to mirrorless cameras and I've never been happier. Most mirrorless cameras feature an electronic viewfinder. So if the camera is in a black and white mode, I can see the subject or scene in all its monochromatic glory before I even trip the shutter. 

     Also I shoot Fujifilm cameras. They have digital film simulation modes that actually allow me to achieve results that are as good if not better than what I could produce after spending hours in a darkroom in the days of film. That huge gulping sound you may have heard is a whole lot of film photographer/darkroom tech pride being swallowed. I don't care. Photography is a results oriented activity. In the words of American photographer Garry Winogrand, "It's about the work. It's always about the work. "In the words of Gord Barker, "No one cares how you got the shot as long as it's a good shot!" Not entirely true. I care about how you got the shot. But, then again, I'm a full blown photofreak!

      Working in black and white is akin to learning a new language. Someone once told me that you know you're becoming fluent in a new language when you begin to think in that language.  I'm kinda getting that way with black and white photography.  I used to look at a scene through the camera and think ''I wonder how this would look in black and white.'' Now, much of the time the camera is preset to black and white when I put it to my eye and I think, ''I wonder how this would look in colour!'' For me, black and white is as much  a default go to as colour is. 

Ok so this shot was taken in Cambridge not Paris but you get the idea

    So while my compatriots are out in the boonies, composing lovely photos of wildlife and nature, I'll be working the hard gritty streets of small town Ontario. You know, where the denizens do such strange things as eating ice cream, sipping iced coffee on outdoor patios, chatting with passersby and walking very friendly dogs. 

    Wish me luck, It's a jungle out there!

                                    ...more later

     

     

    

       

    

    

     

Photographic Friends - Luvern Mornin

    Don't ever tell Luvern Mornin that she can't do something! She will prove you wrong nine times out of ten. Case in  point. I remember the two of us getting together for coffee and some  photography. For us, those two things always seem to go hand in hand. We don't do ANYTHING without coffee!  We grabbed a couple of take-out coffees and she asked,  ''Where do you want to go? '' I responded with something like ''I don't know. Let's just see what's out there." We ended up in her car, cruising the backroads, looking for an interesting scene or something ... anything... to photograph. Late afternoon light turned into golden hour. As we crested a hill in the road, she pulled the car over to the side. ''I want to get this'' She grabbed her camera and got out of the car. I got out too.

    The light was beautiful. Golden late afternoon light was reflecting off the pavement of the road and the power lines stretching off in the distance. We had parked beside a gravel quarry. To our right was a short slope to the edge  of the property. It was festooned with a seemingly never ending line of ''No Trespassing'' signs. Without a second thought she started to climb the slope and walk a little ways past the signs. I called out, ''You probably shouldn't go in there!'' She pretended not to hear me. I contented myself with taking a few nice shots from the relative security of the shoulder of the road near the car. 

     When we got back in the car, we used the back screens of our cameras to compare our pictures. My pictures were pretty good. ("Pretty ain't good enough!) Her's were great! I had photographed a beautifully lit road. By working a little harder and finding a better angle, she had photographed the same road but in context to the scene through which it travelled. Her photos were more dynamic. They had more depth. Where I had taken a couple of shots, she had composed a photograph! I asked her if she was concerned about going a bit  beyond the "No Trespassing" signs. Her response was something to the effect of "Nah. What's the worst that could happen? They'd throw me out?"  The lesson was not lost on me. Sometimes you've got to take a chance and work a little harder to get the shot. As a photographer, I used to think that I knew how to work a scene. Then I met Luvern Mornin.                                                              

     Luvern Mornin is a freelance photographer and journalist currently living in Brantford, Ontario. She is a founding member of the Paris Photo Collective and also serves as co-chair of the group.   (full disclosure; I am the other co-chair.) She has photographed and written  extensively about the comedy scene in Brantford for BScene Magazine. She has had a successful  showing of her personal work at the Boho Gallery in Paris, Ontario and has displayed her photos at other venues in the Brantford area. She is also  known for her work as an advocate for the homeless in Brantford and has published a series of interviews with them on her Facebook page, Back Of The Room Photography.   https://www.facebook.com/Luvernn.A.Mornin

    Luvern got her start in photography literally on the job. Fascinated by the burgeoning comedy scene in Brantford, she borrowed a friend's Nikon D5100 to photograph the performers doing their acts in various comedy clubs. In 2016 she acquired her own Nikon D5100 as a birthday gift from her father. The performers liked her pictures and began using them for their own promotional purposes. They were different. Not the usual headshots that were used for promotions.  It wasn't long before she was picked up by BScene Magazine to write a column and photograph the comedy scene. She also did promotional photography for the magazine and its advertisers. 

    Luvern 's photographic brand, stemmed directly from her work shooting in the comedy clubs. Her style, when photographing the comedy performers, was to stay at the back of the room utilising a fairly long lens. It allowed her to photograph the comedians without being too close to the stage and interfering with their interaction with the audience. Photographically, it takes a lot of skill to shoot in the low light levels of a comedy club. You only have the stage lighting (if that) to illuminate your subjects. Using a flash would be too distracting.   When looking for a way to brand her work, she created a Facebook post asking for suggestions. A friend who knew her style of shooting suggested, ''Back Of The Room Photography'' and the brand was born.  

     Regarding her work as an advocate for the homeless, Luvern was well aware of the problem in Brantford. Most people, when encountering the homeless, just try to avoid eye contact and walk on by. At best they might stop long enough to shell out a buck or two to help them. Luvern decided to take steps to actually help  them. Marshalling her skills as a writer and photographer,  she met with individual homeless people one on one to interview them and get their stories. She wrote up these stories and published them on her Facebook page. (See link above.) The pictures she published along with the stories were not of the homeless people themselves, but rather of objects or scenes that helped illustrate their situation. Her aim was to provide them with a voice and not exploit them.                                                                

    She often volunteered her time at soup kitchens or drop in places. She used her car to help get people  to medical appointments and counseling sessions. She sometimes used her own resources to help them find temporary accommodations.    

     In talking with Luvern regarding her work with the homeless, she related a story. On a cold winter's day she had volunteered to work at a drop in centre. When she got there she found that a large pot of coffee had been brewed. She noticed that most of the homeless people were milling about but no one had coffee. Although the coffee was ready, no cups had been provided. The homeless people,  already in dire straits,  were in no hurry to experience the further indignity of having to ask for a cup. Luvern asked the paid staff member if she could provide some cups. She received a noncommittal answer.  Eventually Luvern located the supply cupboard and put out the cups herself. It's an insignificant story perhaps, but it is indicative of the huge disconnect that exists between the resources available, and the relatively simple steps needed to administer them. I mean a large pot of coffee is pretty much useless unless cups are provided to serve it! It applies to all aspects of the work in aid of the disadvantaged. 

     It is that disconnect. That "us and them" mentality that caused Luvern to take a hiatus from her advocacy work due to a degree of frustration and burnout. However,  there can be little doubt that her efforts made a difference. I mean just the stories themselves are a powerful testament. 

     Luvern is a very dynamic photographer. Going on a photo walk with her is always an experience. One minute your walking along, chatting amiably, and then, within seconds she is gone. Something has caught her eye. You look around and spot her crouched down, her signature Nikon D5100 up to her eye. She's working the scene or subject in front of her, finding the best angle, using her skills and camera to create an image that satisfies  her eye. She shoots with intent. She has mastered the photographer's dual mindset of single minded purpose , getting some good shots, coupled to an open minded approach to the photographic possibilities of all of her surroundings. When she is shooting, she is completely in the moment and, invariably, that moment is successfully captured in her camera.                                      

 

     It was bit of a no-brainer  for me to pick Luvern for this first "Photographic Friends" feature. (Thank God she agreed to it!) She exemplifies both aspects of the title so well. She is a very imaginative and capable photographer as well as a caring and steadfast friend. She is one of the most dynamic people I know and more than once has (figuratively) kicked my butt to get me out of my doldrums and back into creative action in the practice  of this  photographic craft we  love. 

....more later 

     

 

  

Gear-Centric

     I had an interesting experience a while ago while out and about.  I was at our local drugstore picking up a few essentials of existence. A trio of young ladies (well, younger than me) were in the store as well. Two of the three were carrying vintage cameras.  One had a very nice looking Canon FTB and the other had an Olympus OM-2. I complemented  the owner of the FTB on her camera and mentioned that I used to sell those cameras back in the day. She asked if I could help her. She had taken the lens off the camera and was struggling a bit to re mount it properly on the camera body 

     There's a trick to putting  the original Canon FD mount lenses on the camera. On the original  FD mount  lenses, there is a mounting ring at the back of the lens that needs to be locked into position before mounting it onto the camera.  So, swivel the ring til it locks. Line up the red dots on the camera and lens and give it a twist. Voila!  I'm a photographic hero in a drugstore! Big deal. So I have a vast and intricate knowledge of vintage camera gear. That and a couple of bucks will buy me a cup of coffee. (Mmm..coffee...I'll  be right back.)

My old Canon TX.  Roughly the same vintage as the Canon FTB. They don't build 'em like this any more! Note the silver coloured ring at the back of the lens where it joins to the camera body. That ring has to be locked before mounting the lens to the camera. This camera was given to me by my good friend Kaitlynd, a very talented artist and designer. Check out her Instagram here. https://www.instagram.com/kaitlyndwaffles/

      I come by this knowledge of old photo gear quite honestly. For a good chunk of time, early in my photographic journey, I worked for several different photo retailers in the dinosaur days of film. It was both a good and bad experience. Good, in that working in a camera shop  is probably the best place anywhere for learning the nuts and bolts of  photography. To sell photographic gear, I had to learn how each piece of equipment worked and also how specific pieces of gear applied to specific situations and processes. Hey, it's nice to know what you're doing. Bad in terms of not learning the anesthetics of the craft due to too much focus on equipment. To this day, I'm a self admitted gear junkie. 

     As I stated in a piece I wrote a while ago, ''You would be hard pressed to find a creative activity that relies more on technology than photography or filmmaking.''  https://refractivereasoning.blogspot.com/2021/02/its-all-about-camera.htm  However, having some really nice camera gear and the knowledge of how to use it, will only allow me to achieve some nice,  properly exposed, sharp, boring pictures. There's 

more to it than that. Ultimately, photography, at its best, can convey a vision, an emotion, a story or a personal aesthetic. It can evoke a visceral reaction to a scene or situation captured by the photographer. As the incomparable Henri Cartier Bresson said in a 2000 interview with American journalist Charlie Rose, ''Lucidity doesn't come with words all the time.'' https://www.youtube.com/results?search_query=henri+cartier+bresson 

Hanging flower baskets downtown.
Summer is officially here.

                                                                                                                                                                

Morning Conversation

Nith River Bridge

Ladies By The River
Cambridge, Ont.

                                                                                                                                                           

    

    There are  communicative aspects of photography that can't be learned in a camera store. They are the aspects of the craft that are currently my centre of focus. (Pardon the pun.) I've got the gear, I've got some skills. The question is,  "Do I have the vision? "  Time will tell. 

...more later

     

 

     As usual, if you like what you see here, feel free to like and share it on the medium platform of your choice.

Special Announcement: I know a lot of people who have an interest in photography. Everyone from full time pros with decades of experience to beginners just starting out. I've decided to add an additional blog post each month with the feature entitled ''Photographic Friends.'' It will include  interviews with people that I've met on my photographic journey as well as featuring some of their work along with links to their websites or social media pages. I think it will be interesting to hear from other practitioners of the photographic craft and celebrate their work.  Hey, it shouldn't just be about me all the time! 

    The first ''Photographic Friends'' post will be published on July 10, 2021 and will continue to be published on the second Saturday of each month after that.  My regular blog posts will still appear on the last Saturday of the month. Stay tuned. I think that this is going to be a very interesting project!  

     

The Camera Bag Conundrum

      by Gord Barker with commentary from Jim Domke

    

    Okay, I can almost hear regular readers of this blog saying, ''Yup, he's finally lost it. He's writing a piece about camera bags! The Covid 19 isolation has finally got to him. He's writing about what might be considered the least important piece of gear in photography.'' 

    I beg to differ. If there's one thing I've learned in my years behind the lens, it's that the difference is in the details, even when it comes to gear. It doesn't matter how good a camera setup you've got if you can't comfortably get it to the location you want to photograph. Similarly, a warm, weather resistant jacket and a good pair of walking shoes or hiking  boots can contribute more to the photo of the year than the best pro series camera. Any system used in human creativity is only as good as its weakest link.

      I own too many camera bags. There. I said it. The first step in addiction recovery is to admit that one has a problem. I strongly suspect that I'm not the only photographer with this problem. Perhaps I should start a support group. ''Hi, I'm Gord and I have a camera luggage addiction.'' Chorus of fellow shutterhounds; ''Hi Gord!'' ......  But I bought another one.

    But wait, I can explain! It's really not my fault! Up until a few weeks ago, I had talked myself out of it. The story starts with my birthday. I have reached that awkward age where I pretty much already own everything that I really want or need. Anything else that I might want falls into the category of being far too extravagant for consideration as a birthday gift. ''Whaddaya want for your Birthday?''  ''A Ferrari would be a thoughtful gift.''  ''Yeah.... That ain't happenin'.''

    Before my birthday, I had been considering yet another camera bag as a gift to myself. But, in consideration of the statement made earlier,  I had talked myself out of it. My  birthday, this year, consisted of the acquisition of a new Fujifilm baseball cap and a traditional dinner of  southern barbecue ribs ordered in from a local rib joint that does them up right. I was content.

    But, then I saw a Youtube video that kind of triggered me. I follow Peter McKinnon on Youtube. McKinnon is Youtube royalty and rightfully so. He is a brilliant photographer and videographer/filmmaker. He has a fanbase that is massive. I will happily admit that I've learned a thing or two from his tutorials. Often his videos have inspired me to get off my butt and get creative in my photography. My only complaint against him is that, lately, he tends to use his huge following as just a massive market for merchandising. Yup. You guessed it. He brought out  another camera bag.

     The McKinnon bag is a backpack style. It's got a lot going for it. From what I can see, it is almost completely waterproof. The outer shell seems to be made of a very impressive waterproof material. The interior seems to be infinitely configurable with what they're calling the ''cube system''. It's a series of padded trays that can be set up in advance to accommodate whatever bits of gear might be required for the day's photographic / video activities. It sounds good in theory, but seems a little bit gimmicky to me. I could easily see myself inadvertently leaving a piece of needed gear at home because it was in one of the other ''cubes''.

    Long story longer, I didn't buy the McKinnon bag for two reasons. 1) It's a backpack. I don't particularly like backpacks for camera gear. If the primary purpose of an outing is photography, I much prefer to work out of a shoulder bag. The problem with a photo  backpack is that I have to stop and put it down to access my gear. I do have a photo backpack that has a belt at its base. It allows the bag to be slung  around to the front on my waist so I can get at my stuff through a padded back panel. I find this whole sling it around the waist thing to be a bit awkward. First of all, I'm a skinny guy. It's a little touch and go whether my scrawny waist can support eight to ten pounds of camera gear on a slightly slack belt!  I'm just thankful that the regular belt I use everyday can keep my pants up. So far, no embarrassing incidents. Well.... at least none involving my pants!  2) The whole idea of the McKinnon bag kind of irked me. I'm an old school kind of guy. I cut my photographic teeth using fully manual, mechanical film cameras. I mean, how much technology is really required to schlep around some camera gear? 

    Back in the 80's, ( I can almost hear some of my younger readers rolling their eyes.) I was a founding member of the Cambridge Photo Secession. We were a group of young photographers who shared a studio space and a well equipped darkroom in Cambridge, Ontario. (We didn't know how good we had it!) One of my studio partners had a Domke camera bag. (an original F2 I believe) I was always amazed at the amount of gear he carried around in it. In working with him on a few shoots and photo projects, it seemed like he was prepared for anything. As I remembered it, the bag itself was a fairly straightforward design made out of sturdy canvas with a simple webb strap. Despite my friend hauling around a ton of gear in it, he never complained and claimed the bag was quite comfortable. Of course we were all a lot younger then!

   I did a little research on line. Yup, the Domke company, now owned by the Tiffen company, still make  the original design F2 canvas camera bag. From what I could see from the pictures on line, little (if anything) had changed since Jim Domke started marketing them in the late 70's.  I also found that one of my favourite camera shops, Downtown Camera in Toronto, had them in stock available on their website. Maybe it was a feeling of nostalgia. Maybe it was a reaction to the McKinnon offering that just had too many bells and whistles. And the store had it in green, one of my favourite colours. Anyway, out came the credit card and with a few clicks of the mouse, it was on my doorstep 48 hours later. Did I mention that I have a camera bag addiction? 

     Anyway, I unboxed it and set it up the way I wanted. I loaded it with two camera bodies, three lenses and some assorted accessories and took it  for a walkabout. It's an awesome bag. Anyone who's been into photography for a while, knows that sometimes you find a piece of equipment that just feels "right" the moment you start to use it. For me, the Domke F2 camera bag falls into that category. 

     I was so impressed with the bag that when I got home, I did a little more research. The Domke F2 and indeed the whole Domke line of camera bags have achieved almost legendary status in the world of photography. Photojournalists and serious photographers around the world swear by them. I decided to try to  contact Jim Domke and get  some background on the line. I already knew some of the story but was hoping to get a little more detail from the man himself. Jim Domke graciously responded to my message and kindly answered my questions sent to him in subsequent messages.

    Jim Domke is an award winning American photojournalist and also the designer of the famous line of camera bags that bear his name. He studied journalism at the University of Missouri. In his career, he has worked for the Greely (Colorado) journal, the Aspen (Colorado) Times, Newsday, the San Francisco Examiner, the Philadelphia Inquirer, and the Fort Worth Star-Telegram. Now retired, he divides his time with involvement in environmental issues, he's a contributor to the website Greensource DFW and also is a proponent for the preservation of the American Post Office. You can check out his website here https://www.jgdomke.com/  Click on Postal Preservation and you will be treated to a  series of black and white photos of post offices in Texas. These pictures are a masterclass in black and white photography and the capture of architectural detail. I think that I've been around photography long enough to recognize a true labour of love when I see it. The archives section of his website features images from a career in photojournalism that provide an interesting take on the times in which they were made.

    So how does a guy with a solid career in photojournalism find himself the designer of what would become an iconic piece of photo equipment? Quite simply, he couldn't find a camera bag that adequately met his needs. Back in the mid to late 70's the soft sided camera bag , as we know it, didn't exist. Most camera bags of the time were hard shelled cases covered with either leather or vinyl. They were clunky, poorly designed contraptions. Inside, they offered hard dividers or clips to secure the equipment and provided little, if any, way for the user to configure them to their needs. Although they usually came with a strap, you didn't want to carry one on your shoulder. They had a nasty tendency to bounce off your hip as you walked along and made simple tasks, like boarding public transit or just getting through a doorway an awkward experience. When I started working in the camera shops, we still stocked a few of these monstrosities. We couldn't give them away!

     At the time, there were some soft sided bags for photography. However, they were usually too small to accommodate a camera with a lens attached. They were called "gadget bags" and were designed to carry small accessories and maybe a few extra rolls of film for a day's shooting. A working pro would often carry two camera bodies, two or three lenses, a flash unit and upwards of ten rolls of film for a day on the job. The "gadget bag" was hardly adequate. 

     Some photographers would improvise by using canvas fishing bags. These were a little bigger than the average gadget bag but offered no dividers for keeping gear organized. They usually had a couple of small pockets on the front but that was about it. In the words of Jim Domke, "I'd been using an Orvis fishing bag and started from there. Had to have webbing run all the way around bag was something many of us had been doing to fishing bags.  Canvas fishing bags!  Nylon was strong but too thin. Canvas soft and right thickness. Flexible to bend around body..."  Side note here. The idea of running webbing all around the body of the bag for extra support is a feature still found on Domke camera bags today. Also most of the bags in the lineup are still made out of canvas. Canvas fishing bags were a workaround solution. But, they tended to wear out quickly and offered no way of organizing photo gear. The design parameters for a new bag were starting to take shape. 

     According to Jim Domke, ''Where most thought of a camera bag as simply a place to store the gear, I saw it as a tool to be able to find and get at the best lens, film, accessory quickly and get the photo.''... "The goal was to be able to get at all your equipment without having to stop and set the bag on the ground. My thinking has been that when I see a picture I want to take it as fast as I can before it goes away... That requires being fast at finding the filter you now need or changing from the wide angle to a telephoto lens quickly. Using it while shooting meant having one hand holding the camera and only one hand to open the bag and get at the lens you need. Spring clips can be opened with one hand and closed with one hand. Can't say that for plastic. No flap on front pocket. Just gets in the way. Pocket in main flap, don't waste any space. Size of bag was based on those old 35mm lenses, but wanted it to fit under plane seats and be able to carry in crowds and not get noticed.''

    Part of the incentive for Domke getting into the camera bag business was a strike at the Philadelphia Inquirer in 1977. Needing to supplement his income, Domke took his design and started a part-time business. With an initial order for 20 bags, Domke found an awning maker in Philadelphia to make them up and the rest, as they say, is history. The bags caught on with photojournalists and working photographers. Not fancy, but well designed and purpose built to do the job. More than forty years later, the design is still popular with photojournalists and serious photographers all around the world. Domke bags are also now the official camera bag of the White House News Photographers Association.    

    So I've been using the Domke F2 Original camera bag for a few weeks now. Here's my take on it. First off, it's very well made. When I took it out of the box I couldn't find a loose thread or a stitch out of place anywhere. The bags are still ''Proudly made in the USA'' and it shows. The workmanship is excellent. When I first contacted Jim Domke about the F2 he said, ''The old F2 Original Bag holds too much.'' He's right. If I were to shovel in all the the gear this thing will hold, I wouldn't want to take it out of the house! Jim uses the smaller F5 model which was originally designed as a belt bag.  But, I don't own a car, so I like having room for some extra stuff when I'm out and about. The huge end pockets will easily accomodate a water bottle or a small thermos of coffee and some trail snacks. I live in a country where there's often snow on the ground for six months of the year. It's nice to have space for an extra pair of dry gloves or a toque. The design of the bag is a bit dated. It doesn't have a padded pocket for a laptop or small pockets for spare SD cards. I don't care. I don't take my laptop out when I'm shooting and I usually stow spare SD cards in a little wallet that comes with the lens cleaning cloths that I use. Unlike some bags on the market, there's lots of room for small items like spare batteries, pens, a small notebook etc. It's a bag that will easily accommodate my needs. 

The Green Monster. My new Domke F2 Original camera bag

                                                                                                                                                   

     I like the look of the bag. I got mine in the olive green colour. It kinda looks like something I might have picked up at an army surplus store. It is a rugged straightforward design that doesn't draw too much attention. It's a bit old school, but so am I. The strap is made out of a very comfortable cotton webbing which has some rubber strands woven into it to help keep it on my shoulder. The canvas used to make it helps to conform the bag to the side of my body. It snuggles in like an insecure lover. Despite its size, it's a  comfortable bag to use. It's big, but it doesn't feel big when I'm carrying it. Overall, I'm very happy with it. 

     I guess that if there's a backstory here, it's that  "Necessity is the mother of invention.'' Jim Domke needed a better camera bag to do his job. He designed one. He needed to supplement his income during a labour disruption. So he took his designs and started a small business which grew. In an age where we can get almost anything we want, we tend to throw up our hands in frustration if we can't. Jim Domke faced his problems head on and solved them himself. It's a kind of self reliance and self confidence that we don't often see anymore.

     In my contact with Jim, he told me a story about being sent to cover the 1977 power blackout in New York City. He arrived about noon and there wasn't much happening. He later discovered some looting going on and returned with a great photo. However the newspaper wouldn't run the photo until they confirmed the situation with NYC police. They had trouble contacting the police due to the power outage. Sort of a Catch 22. Great photo of the power outage, but can't use the photo due to the power outage!  Eventually they got confirmation and ran the photo in the morning paper. But the evening news beat him to the punch as the power was restored about 10:00 p.m. 

    I love stories like this. In my opinion, as a photographer, if you don't have a few good stories behind some of the shots you've taken, you're not trying hard enough!  

    And that's the cool thing about this piece of equipment. Yeah, it's just a camera bag. But there's a great story behind it. It's a camera bag that was designed  over forty years ago and is still in production. It is still a good, hard working piece of equipment today. It's a product that has achieved almost legendary status amongst the photographers who have created their own stories while using it. 

     I'm very fortunate. I've got some very good camera gear and a very cool camera bag to haul it around. Time to go out and create some stories of my own. 

     ...more later 

    

   As usual, if you like what you see here, feel free to hit ''like'' and share it on your favourite media platform. The deal is, If you keep readin' 'em, I'll keep crankin' 'em out!