I have this theory that it’s good to bumble. That way you
bump into stuff you didn’t know, or forgot, existed….

This week I was rooting thru a few hard drives, looking
for some specific image. While I was there, in these hard
drives, I bumped into a bunch of other stuff. I pulled a
few of them out and am throwing them up on drool.

Long live bumbling!


I have this funky upstairs front room. Not really a studio, I
call it a work room. But I do use it for shooting from time
to time.

I actually prefer that room to a studio. I find studios so
antiseptic. My front room is anything but…….




Every so often I go on notebook making sprees. Just messing
around. Tape, a bunch of test prints and a bit of time (the 4th
dimension, don’t forget) and you end up with a notebook.

I don’t know what it is about these things, perhaps the fact that
they aren’t antiseptic, but folks seem to love ’em.

Here’s a page spread.



A few years ago I was asked to photograph Supt. Ralph Erfle for
an article on cops who had been shot in the line of duty.



I was staying and shooting in some hotel in P.E.I. a while ago.
During lulls in the shooting I set out to find and photograph
some of the hotel’s maintenance workers.



My old friend Jody Benjamin asked me to shoot her for the
cover of her upcoming album. We ended up shooting it in
the washrooms at The Atomic Rooster.

The shot involved me shooting down from one cubicle into
the next one where Jody was sitting (on the commode) with
her leg up, boot flat against the door. A standard barroom
procedure for women, I’m told, because there are no locks
on the doors and who wants an intruder to barge in when
you’re stranded, just sitting there?

So, we’re in the can and this is what I’m saying: “Pull your
panties down. Good, now spread your legs. Spread them
wider. Your panties are still too high, pull them down more”
and so on. You get the idea.

There weren’t too many folks in the restaurant while we
were shooting but, when we came out of the bathroom
everybody there looked at us and grinned.

Here’s me and Jody in the can. To see the cover you’re
going to have to wait for the album, which is being mixed,
even as we speak, in Baton Rouge, Louisiana.



Okay, got my shiny new Nikon D3x this week. And, did I mention
I also picked up the new Nikon 50mm AF-S f/1.4 prime lens to
slap on this baby?


Every review I read raved about the camera’s superior image quality
and totally complained about just how much of the fabulous moolah
one would have to shell out to get that quality.

Well, I don’t know about you, but when it comes to quality, especially
the quality I deliver to clients, Tony Fouhse Foto spares no expense.

I have to say, the first files out of this machine pretty much blew me
away. They come straight out of the camera at about 16×20 inches,
300 ppi. Massive.

But wait, that’s not all. Nikon have done something special to the AA
filter (the thingy in front of the sensor which, I believe, has 24 million
lenses in it, one for each pixel in the sensor). The bottom line is that
the pix this thing produces are the closest thing I’ve seen to what actual
film looks like. The gradations are great, the rendering is realistic, the
color is concise…..blah. blah, blah, add your own alliteration here.

A 100% view, screen capture. No sharpening, no post production at all

Somewhat more than 100%, no post production

Of course, the thing is just a tool. It’s not like it will make me a better
photographer, or anything. It won’t. But, believe me, there will be a
certain je ne sais quois about the images the camera produces that will
have some little effect on what the “product” looks and feels like. And
that’s what I wanted.

Finally, I want to let any drool readers know that, even tho this baby produces
real film-like files, I’ll still be shooting film for certain applications. Now, tho,
it won’t be because the film looks better. No, it’ll be because of the process
of shooting film is so different from pounding out digital shots. The magic
and mysteries, the great unknowingness of the process of shooting film, still
really, really turns my crank.


This is a detail of a lovely, hand written note that I received this week from
a client. Thanks Jean.




This year’s Applied Arts Photography and Illustration Annual hit the
newsstands this week. As usual……lots of stupendous photos along
with the occasional head-scratcher.

Also…..I’m sure that there were tons of great submissions that didn’t
make the cut just because of the vagaries of the jury system. (Ask O.J.
Simpson about that, the vagaries of the jury system, the next time you
bump into him).

I suggest you pick it up, give it the good-old once-over and make up
your own mind. And, remember, what with this new interweb thingy,
there are lots of other places to mine for fotos. Just don’t get so hung
up looking that you forget to go out and take some pix for yourself.

So, without further ado….here’s my stuff in the annual:



Next, here’s a page from HELLO! magazine. Member of Parliament
Ruby Dhalla. She’s on someone’s list of the 50 most beautiful people
in Canada.

Of course, she’s been in the news non-stop this week, but not for being


Wide view of the setup:


Out take:




The Ottawa Citizen suggests you go out to see my exhibit at
La Petite Mort Gallery. I do too.




Any drool readers who live in Ontario are probably aware
that TVO is running a bunch of photography-related films
this month. In conjunction with CONTACT, the Toronto foto

A couple of days ago I watched a film about Tierney Gearon.
I’m pretty sure it was titled: The Mother Project.

I’ve been aware, and in awe, of Ms. Gearon’s photography
for a while now. But seeing the chaos and kind-of madness
she puts herself into (and thru) to produce the work was a
real eye-opener.

Her subject matter is her family, and she certainly doesn’t
use any rose-colored filters when she shoots them. It’s a
hard look. An exhibition of her work at the Saatchi Gallery,
in London, almost got her arrested.

I’m pretty sure most folks wouldn’t have the intensity,
obsessiveness and just plain craaaazy talent to do what
she does. But it’s a good thing people like her exist and
shoot. We can all look in and draw our own conclusions.

Her latest work, Explosure, is a series of multiple exposures
that totally blow my mind.

Go here and look. (Click on “Exhibitions”.)

Untitled. copyright Tierney Gearon

Untitled. copyright Tierney Gearon



And, I guess the only way to follow Ms. Gearon’s work is to go
in the total opposite direction…….towards geekdom. After all,
the aim of drool is to be a weekly magazine-type thingy, as well
as, lets be honest, a promotional tool for yours truly. Besides,
I’m in camera-buying mode this week.

So, if you don’t want the pure art of Tierney Gearon polluted by
crass commercialism STOP READING HERE.

Still reading? Thought so……

I dropped my trusty Canon ELPH SD600. Bust!

I just can’t live without one. So I marched right down to the
camera store and picked up a new one. It’s gold colored.


While I was there I also ordered me a brand-spanking-new Nikon D3x.
24 MEGApixels of resolving power. Once I get it, you’ll be treated to
a geekfest of gloating about just how great it is. (I’ve tested the sucker
and, believe me, the files are amazing.) (But I still like film, too.)

Tools (for a tool.) What can I say?


A short drool this week. I was so busy whipping my show into
shape. Last minute edits and printing. Framing. Hanging. A bit
of gardening……


I was reading Sarah Milroy’s review, in the Globe and Mail,
of photographer Scott McFarland‘s work. This sentence
jumped out at me:

“Gardening and photography have much in
common, both involving the weeding out of
extraneous details and the enhancement of
others to create the desired whole.”

View of Vale of Heath, Looking Towards Hampstead, 2007. copyright Scott McFarland


Some scenes from my opening at La Petite Mort Gallery, Friday
nite. I would have shot more but I was WAY distracted, what with
all the schmoozing and the meeting and the greeting and the
so on and the so forth……

Partial installation view

Some people

The video crew (Ben and Chris), being shot by the stills guy (Remi).

Fateema (Ottawa Magazine) interviewing Sarah, Sarai and Alli

Guy kissing cristina

My work room the day after the opening, gotta clean up


There’s an interesting interview with Martin Schoeller over
on Charlie Fish‘s blog.

I got this thru Rob, over at APhotoEditor. And I’m going to
further bite Rob’s style by using the same pull-quote from
the Schoeller interview that APE used. Not because I’m lazy
(tho I can be), but because this quote pretty much sums up
how I think photographers should work.

“If you want to be a photographer, be
a photographer ten hours a day instead
of spending five hours retouching some
half-ass picture you don’t like in the first

I first became aware of Schroeller’s work about a year ago. In
fact, it was his series of close ups (what I call his BIG HEADS)
that inspired me to shoot the USER: Women series the way I did.

Howard Terrence and Eminem. copyright Martin Schoeller

I find it interesting that, even tho he inspired me, even tho we
used very similar methods, there is a big difference between his
shots and mine. (And, here, I don’t want to compare his great,
famous work to mine. As Jack Kerouac said: “Comparisons are
odious”…..but.) His shots are purposely devoid of personality.
After all, he came up in the Dusseldorf School of Photography.
Under the influence of Bernd and Hilla Becher he veers towards

Me, I shoot for soul and personality in my shots.


Here’s a USER: Women out take.

April. from USER: Women, Ottawa 2008