I'm a Toronto photographer, specializing in portraits.
—families, headshots, or just making your events more personal—
(my October-to-March beard)
A little background...
In grade two, I was given a little Kodak 110 for Christmas. I immediately began snapping shots of my friends at school—many of us earnestly packing holstered six-guns over our Wrangler bell-bottoms at the time.
I'm pretty sure you'd get arrested for any of those things today.
Since then, I have learned one great truth in life, and it is this: people love posing for photos... so long as the photographer is seven years old.
As they become adults, folks get shy when they see a camera. That's why some of us shutterheads spend a month's pay on a long telephoto lens. Wouldn't want to get too close, right? Scare people off.
Except, "close" is where the action is; and, more importantly, where the emotion is. And if emotion isn't there, let me tell you, the shot ain't worth it.
Being a portrait shooter seems to go hand-in-hand with being a people-person. I love getting to know people; over a beer, or over a tripod... makes no difference to me. Everyone has a good story in them. And a good photo can tell that story.
"The Four Levels of Comedy: Make your friends laugh, Make strangers laugh, Get paid to make strangers laugh, and Make people talk like you because it's so much fun."
"The Four Levels of Photography: Shoot your friends, Shoot strangers, Get paid to shoot strangers, and inspire people to shoot because it's so much fun."
Flash forward to 2006. Ugh.
All my film gear was stolen. But, it turns out, I was actually given a terrific gift. Right after I installed bars on the basement windows, I went out and bought a digital SLR and decided to make the jump to pro. And I got into "it" again, in a big way.
I had done the darkroom thing—timers, fumes, burning-and-dodging—but I was far more seduced by digital. I sorta miss film (the way old folks miss boarding school, I guess) but I only dabble in it now. Digital is way fast, powerful, and really flexible. But in the end, equipment is only as compelling as your vision.
Cameras come and go; they're only tools. Your eye is the only gear that matters in creating an image—something photographers and clients see equally.
And if you can get two visions in sync, you can make magic.
(That's my family... they rock. Looks like we're due for some new shots!)
So let's chat. You and me; over a coffee, or over the phone.
Tell me who you are, what you're looking for in a portrait. Maybe you just want a killer headshot for work? Maybe there's a family reunion around the corner?
Or maybe, instead of another 10,000 snapshots on a computer, you want that one great portrait—the one your kids will fight over when you're gone.
I've got a hunch if you've read this far, you and I are going to get along just fine.
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