I keep some flat junk in my small upstairs studio, rough stuff. I use it for backgrounds.

I’ve found that if you have the right background (which consists of standing in the right spot
and aiming the camera in the right direction from the right distance) you’re half way there.
Just insert the subject, make sure the light’s right, the moment righteous. It also pays to
actually think about what you want to do and to be very aware of perspective and what’s
in the frame. Oh yeah, you’ve got to engage the subject, too, if they’re human.

Easy, right?

As a rule I prefer going on location to shooting in a studio. Studios are typically too antiseptic
for me. I think that that’s why I keep rough backgrounds in my studio.

Here are a couple of studio shots using some of that flat junk I collect. The wood with the paint
was my next door neighbour’s bench top until he got a regulation-type bench. The white one is
a paper-covered/ink-stained door I use as a table in my workroom when it’s not being a backdrop.

Both these shots were done using available light. The gal is Sacha, a singer. The plum was shot last
week for Burnt Toast magazine.

(click on images to enlarge)




I’ve often thought that photographs and poems have a lot in common.

Poems and photographs…..think about it.

But what, you ask, does this have to do with open car doors?

Open car doors, if you ask me, are pretty poetic in and of and by themselves.
They’re a framing device, a trick and a metaphor all rolled into one. If you drive
a car there’s always one around.

Over the years I’ve shot my fair share of open car doors.







My friend Guy Bérubé throws some interesting parties. I know this. That’s why I asked him
if I could set up a photo studio at one of his bashes.

I was given a room that measured 10 x 18 feet where I set up a seamless backdrop and a light.
Around about 9:00 p.m. folks started showing up. A line formed outside the studio/room and
over the next 4 hours I photographed 27 people/groups. That’s one “sitting” every 8 minutes.

It was easier than it sounds because the people wanting to be photographed were ready, willing
and able to act snappy, follow directions and make way for the next person/group in line. Plus,
the vibe was better than good and every thing and body seemed real fluid.

The next day I started rooting through the images. I did one edit (down to 20 photos) which will
be shown for one night only at Guy’s gallery: Gallery La Petite Mort (September 23rd, ’06, 7 to 10).
I didn’t want to publish those images here so decided to throw some out out takes onto tonyfoto/drool.
That’s one of the swell things about having a blog: it’s a place for rejects, Plan “B”, BIGFUN and research
and development.

After I put together the 10 images below I started to think of them not so much as out takes but, really,
just another bunch of shots from one room one night.

(click on images to enlarge)