Snapshot: Evaluating your own improvement as a photographer

(c) Mercedes Déziel-Hupé, 2011.

"Be good to yourself. Be critical, in order to improve, but also, recognize what you have accomplished" Harry Nowell said to me during our latest class.


During the course of the Professional Program, which serves as a certificate of Photography, one needs to follow a minimum of five workshops, 40 hours of shadowing and four one-on-one classes. Having completed my shadowing and classes months ago, I have been taking privates to discuss my progress and learning. As the end of my Pro Program is fast approaching, I'm filled with a little nostalgia, a bit of anxiety and a worry... am I good enough?

Victoria. (c) Mercedes Déziel-Hupé, 2011

Sure, I can usually manage to calm myself down with reasonable explanation, but I can't help getting a little antsy. "You have accomplished a lot in barely a year..." Harry told me. "I'm sure you could teach me a lot about photography. I'd like to learn." Scott said to me the other day at Bate Island. He was shooting on my Nikon D3000 and I was shooting on a 35 mm Minolta SLR.


"You are completing a certificate, not a PhD," I told myself.

I also look at my first photos and some from 6 months ago. I suppose in this respect, a photo blog is incredibly useful... It allows you to monitor your progress visually and chronologically. "Oh, it seems I've mastered the concept of depth of field after X amount of months..." or "Wow, I don't know when or how, but seems I can now freeze motion (or any goal you had)".

Peek-a-boo. (c) Mercedes Déziel-Hupé, 2011

I updated my tumblr photo blog and was astonished by how some of my photos - but mostly the ones I set out to get as part of a project or vision and not just random shots - are technically better, compositionally stronger and my exposures are now only sometimes slightly off... as opposed to "always" and "terribly".

I must say that my experience with film - although limited - is forcing me to slow down and reflect on the creative and technical processes of photographing. Of 48 photos (2 rolls of film), I can safely say from seeing the negatives that at least a third are overall successful and at least half are well exposed, if not anything else extraordinary (i.e. subject matter, composition).

Knowing this, I'm encouraged to shoot more and with the end of my program, comes a certain level of freedom to shoot for myself. Perhaps that through this new perspective, my photography will reach new levels and allow me to freelance occasionally.

Darkroom Tales

I've been taking the School of Photographic Arts: Ottawa (SPAO) Film Photography Bootcamp with David Elden. The course is well constructed as it involves two theoretical classes on history of photography and aesthetics, then three hands-on classes including shooting, developing and print making.

This week-end was the Fringe Festvial and of course, Rib Fest. While I passed on the meat parade, I did join in on the Fringe. I'm only a little disappointed I hadn't taken my camera. But then again, I'd had my fill of photography for the day...

A Darkroom with Ilford light filters

Yesterday, while my boyfriend was licking BBQ sauce off his fingers, I was wiping developer, stop and fix from mine as I swooshed around my contact sheet in bins of solution. I'm a new vegetarian - not quite a year yet - so I could pass on rib fest and he was happy not to have to worry about me finding something of interest for myself at such an event. I would've been okay regardless, but I was filled with excitement, knowing that not only I could skip out on Rib Fest, but I would be in a darkroom learning all about the chemistry behind all those images I hold dear.

When I got to class, I was nervous. I'd shot my two rolls of film (24 frames) thinking they were 36... I was anxious at having to admit I'd "broken" the reel. I was afraid of "not doing it right". Our instructor was not only informative but also patient and kind. I was relieved to discover that I'd done nothing wrong at all! I found the developing tank and bobins to look quite foreign and the idea of standing in a pitch black room with seven other strangers and scissors kicking around to "cut the film" once it has successfully been loaded was a bit nerve wracking. As it turns out, processing film is a lot like "doing laundry" as Dave put it. There are many simple steps that become like second nature. I must say I very much enjoyed the less messy bit involving timed exposure lights and red safe lights. As this is a class, we accomplished in 4 hours: developing our film, making test strips and printing our contact sheets. In two weeks, we actually make our second contact sheet and print our photographs. 


IE University Darkroom (mediacampus.ie.edu)

Once I left SPAO, I met up with Scott in Meatland, where he was waiting for me with a clean shirt and sandals I'd asked for... Awe. I guess I'm ok with him eating meat. Afterall, there's bone marrow on the film emulsion, so despite my best efforts, some parts of living are just not that ecofriendly. So to appease my conscience, I attended the Fringe and supported the local arts scene. An improv play and a comedy duo later, I'd laughed and reflected on my generation: Y. If I take my cue from stand up duo Chris N Peter Save the World, then I should sleep just fine, because I, my friends, already compost.

Reflections Post CDF

Last week, I attended three out of four nights of the Canada Dance Festival. I saw Montreal's Jacques Poulin Denis as well as Lara Kramer, Vancouver's 605 Collective and Ottawa's own Bboyizm, led by Crazy Smooth.




605 Collective. (c) Wendy D Photography

 
I could probably say a lot about how fantastic this edition of the CDF was and how relevant its programming was. I think it's more important to give a few key comments about the artists who performed as it says more about canadian dance.

I've blogged about Jacques Poulin Denis and relayed interviews with Helen Husak and Kevin Ormsby from Kashedance as well as with Brian Webb, the artistic director from the CDF.

Kashedance



A few things were particularly memorable, in my view, in Kramer's, 605 Collective's and Bboyizm's choreographies.

Kramer's Fragments retold the story and more importantly, the emotions felt by her mother when she attended residential schools in Manitoba as a child. The first part of her show was very slow moving and much less focused on dancing, but the second half was very well constructed; it featured blood stoping facts on audio clips and very compelling choreography and music. The latter merged both contemporary and traditional aboriginal music and movement.

605 Collective. (c) Wendy D Photography

The second half of that evening's program presented 605 Collective's Inheritor EP, exploring the relationship with time, age and the concept of heritage in all forms, whether cultural or genetic. This group of five dancers was incredibly energetic and fun. Their range of performance extends from contemporary and ballet to hip hop  and martial arts. Their 3-piece number progressed towards more dynamic sequences and seemed to explore different aspects of heritage, such as genetics, environment and individuality. Their closing piece was definitely the one that had the crowd moving in their seats; it presented the dancers in a combination of choreographed group sequences and selected seemingly improvised solo jams, hence the notion of individuality within a group or set circumstances.



BBOYIZM

The Festival's very last show was offered to an Ottawa troupe: Bboyizm. The show, IZM, was about introducing the audience to the essence of hip hop culture - a very contemporary wave. The group, although mainly composed of male dancers, showcased the talents of three b-girls who held their own in a style that usually plays to the male physique and strenghts. Crazy Smooth (aka Yvon Soglo) opened the number with a small prologue and an introduction to hip hop and how it's a concrete representation of cultural disapora and ideally, of cultural dialogue. The athleticism, the aesthetics, the reflection and the sheer fun that went into pulling this together and sharing it with the audience was truly inspiring.





Double Bills at the CDF

Helen Husak

Last night, Helen Husak premiered her choreography Fight or Flight then, Kevin Ormsby and his company, Kashedance, presented Recalcitrare. You can see the interviews with these artists and with Brian Webb, Artistic Director of the Festival.

Helen Husak Interview

Kevin Ormsby Interview

Brian Webb Interview


Tonight, the CDF's double bill includes Vancouver's 605 Collective's Inheritor EP and Lara Kramer's Fragments. This promises to be a dynamic and fresh show.

CDF opening hits bullseye with Jacques Poulin Denis' Cible de Dieu

The Canada Dance Festival opened last night. The National Arts Centre's Studio welcomed Montreal contemporary choreographer Jacques Poulin Denis. His piece, Cible de Dieu (Target of God) was both compelling and a perfect choice to launch this year's program.

Jacques Poulin Denis. Photo: Joffrey Rivard

The choreographer walked on stage and addressed the crowd, introducing his performance. At first, we think that he is truly speaking for himself, but we soon realize that he plays a character who happens to be a dancer. 


The piece speaks of delusion and defeat. How he handles the struggle is what throws us off while reminding us that we all have our  bag of problems. He faces challenges with sound and props, feelings and memories and engages the crowd, every step of the way. For instance, the performer asks spectators to hum his song so that he "can perform anyway". At every turn, something goes wrong, but the show must go on. All he needs is "a little adaptation". He also recounts anecdotes that are either humorous, nostalgic or sorrowful.

Jacques Poulin Denis in Cible de Dieu

He takes the audience through a range of emotion, tracing his character's experience. Jacques Poulin Denis believes that it's important for the crowd to feel something during his piece, rather than to simply reflect on it. In doing so, he feels that the audience accompanies him in getting back to basics, to what is important and to what it means to be human. This charismatic artist's work is brilliant and accessible.

Canada Dance Festival Opens Tonight

It is coming to the stage tonight: the 2011 Canada Dance Festival.


The festival opens with Montreal artist Jacques Poulin Denis, who will be dancing his Cible de Dieu choreography (Target of God). The number is meant to convey the struggle and victory of the artist over challenges. The dance will bring performer and audience together through compelling movement and dialogue. As a CDF volunteer, I will be meeting Poulin Denis today to interview him about his work and his participation in the festival. Stay tuned for the video posted on Youtube!

605 Collective - Canada Dance Festival website

The CDF will also showcase Kashedance, Helen Husak, Lara Kramer, 605 Collective and Ottawa's own BBOYIZM. The festival runs every evening at 7:30 p.m. from Wednesday June 15 to Saturday, June 18 at the National Arts Centre. Check out the schedule here.


I'll be attending most of the shows and blogging about them. If you prefer to see the shows than to read about them, then get your ticket before it's too late! This is the best quality/price ratio in contemporary dance so if you like this artform or this type of event, don't miss out.