"The photographer is an armed version of the solitary walker reconnoitering, stalking, cruising the urban inferno, the voyeuristic stroller who discovers the city as a landscape of voluptuous extremes. Adept of the joys of watching, connoisseur of empathy, the flâneur finds the world "picturesque."— Susan Sontag, On Photography, p. 55
I was born in the Kananaskis, Alberta, Canada, my grandfather was a homesteader near Blue Rock. The Bow Valley has been my life.
After working as the Art Director at Chinook Plastics, where I supervised and produced the architectural signage for large projects such as the Cave and Basin in Banff and the University of Calgary I moved on to a career at Art School (Alberta University of the Arts) where after 6 years of study I taught painting and drawing. (c.v.)
By editing to create fleeting moments of exaggerated light, colour and pattern, my contemporary approach to digital painting has created a body a work that is brimming with nostalgia for my first homes, the street, and the mountains.
The works are similar in spirit to Nouvelle Vague:
“From this passion for cinema they developed a belief in the theory of the auteur: that is, a conviction that the best films are the product of a personal artistic expression and should bear the stamp of personal authorship, much as great works of literature bear the stamp of the writer.” © 2008 Simon Hitchman
“(An artist) makes liberal use of artistic license to significantly embellish or change the circumstances of real-life incidents by any means possible” – Rosalind E. Krauss.
With my emphasis on feeling, I’m a personal history expressionist. I relate to Alice Neel, who as “A successor to the expressionism of Chaim Soutine, Edward Munch, and Ernst Ludwig Kirchner, Neel used distorted drawing and invented color to reveal the character beneath each sitter’s physical
appearance. (© Artsy)”
I use the camera, editing software, a formal education in painting aesthetics and a lifetime of fine art practice to reveal what lies beneath; the poetry of existence.
Getting great street shots is much more than just a matter of chance. Michael Freeman details the optimal strategies for anticipating the action before it happens, and the fastest techniques that ensure you're ready with your finger on the shutter for that critical moment. A thorough overview of which equipment is best suited for each particular style lets you make the most of the gear you have, even in the most challenging lighting conditions. And a series of exercises keeps you engaged and alert to the creative potential of countless scenes throughout your daily life.
Beyond the gear and technique, you will also learn to think like a street photographer - recognising not just captivating scenes with engaging subjects, but also innovative angles from which to capture them, all with the split-second instinct of a professional.