Publications | Graine de photographe

RICHARD JOHNSON PARCOURT LE CANADA POUR PHOTOGRAPHIER LES CABANES DE PÊCHEURS | Graine de photographe, by Lili | October 7, 2016

>> Read complete article and see more images on Graine de Photographe

November 02, 2016 by Martine Côté

Donation | $13 000 to support Nyota and Wezesha

$13 000

Is the total amount of money raised on September 21st, at the Gardiner Museum during the 5th annual Art Auction to support Nyota and Wezesha, which empower destitute youth in Kenya to become leaders through education. 
 
Ice Village # 53, La Baie Des Ha! Ha!, Saguenay River, Quebec, Canada, 2014 was the last of the pieces to be presented. The dessert!
 
Scotia Bank had announced previously that they would match the hammer price for the Ice Village. So when the auctioneer Stephen Ranger mentioned the final hammer price, $6 500, we knew our piece would have a great contribution for the cause.   
 
It was an amazing evening, we were honoured to be part of it and contribute.
  • Total amount of money raised | $13 000
  • Framing | Museum Glass with Black Shadowbox Frame
  • Size | 27" x 60"
  • Edition | 2 of 6

About this collection

Johnson's Ice Villages Series explores the resilience of ice fishing communities in Canada. Photographed as wide panoramas, each location reveals unique solutions to cultural and geographical differences. 

Located along the lower part of the Saguenay River in Quebec Province, La Baie Des Ha! Ha! is a popular ice fishing destination. The shoreline, acting as a hinge, is constantly cracking and moving while it adjusts to a vertical displacement of 6 feet every 11 hours as a result of local tides.

October 11, 2016 by Christophe La Fontaine

Limited Edition Archival Photographs in context

Have a look to some of our Limited Edition Archival Photographs framed and hung on a wall.
  
HOK office | Richard Johnson
HOK offices, Toronto. 
 
 
Duntroon Residence, Ontario.
 
The Glen Tavern, Georgetown, Ontario.
 
Architect | Jennifer Turner
Photos | © Bob Gundu
 
Architect | Kyra Clarkson
Photos | © Steven Evans
 
October 05, 2016 by Richard Johnson

Q & A about the Ice Huts series

The Ice Huts series generates interests and all sort of questions that are a real pleasure to answer. We found particularly interesting this Q & A with Heidi Volpe for the Modern Farmer magazine. So we share it here. However, if you have any other questions about the work or the gallery, let us know!

© 2016 Richard Johnson

How long has it taken you to go from coast to coast in Canada for this body of work, and do you add to it each year?

I knew there was a story to be told in 1991 when I was first introduced to the ice fishing community on Lake Timiskaming, bordering Ontario and Quebec. The idea percolated for many years and in winter 2006-2007 I decided to get out and investigate further. The logical starting point was just north of my home in Toronto, Lake Simcoe. It was an overcast, snowy day and there were many huts out on the newly formed ice. I set up my tripod and began to capture elevational views and 3/4 views, basically circling each hut from the same height in a style known as typological study, common  to my earlier bodies of work, Water Towers and Garbage Bins of Wassaga Beach. I returned several more times during different weather conditions and it became clear that overcast, snowy light was the best fit to describe the isolation within a square format. The following year I was in Prince Edward Island in February for an architectural interior shoot and I noticed an ice fishing village across the bay from my hotel. Surprised and delighted, I wondered if it was popular in every province, and that is when the coast to coast narrative began. I would need to travel to 10 provinces and search for locations while holding onto the overcast, snowy aesthetic for consistency. This would take years, as I was to discover. Out of 52 weeks, there are only 3 weeks of possible shooting in many locations given my restrictions for continuity. In 2010, I began to incorporate the landscape into large format panoramas talking about community and place. This series is entitled Ice Villages. It seems that every year I peel away another layer about the culture, the people, the regional architectural requirements that make ice fishing a quirky yet popular winter phenomenon.

I know you are an architectural photographer, what drew you to the ice huts and do you shoot interiors?

For me, an ice fishing hut is the most fundamental expression of architecture. It is designed and built by the owner. It is transportable. It is shelter with a hole in the floor serving a common purpose. Yet with a similar list of design criteria each one is uniquely different; a testament to the owner's personality. I shoot the interiors when possible, but it is more difficult than you would imagine.

How do you deal with the obstacle of limited space for the interiors?

The limited space can be handled with wide angle lenses, however, my square format framing (from the exteriors) has challenges inside. I always try to include the augured hole(s) in the floor but sometimes they get cropped out. And then there is the issue of the fishermen inside, toasty and warm. These aren't portraits and I would rather the huts be empty. 

Is it difficult to be invited in for an interior? 

Actually going inside a heated hut is not ideal when you are bundled up and on the move. Its like a jogger at a red light: they don't rest, but actually keep jogging on the spot. As well, the equipment doesn't like the extremes of cold to hot and back again. Lots of sensitive electronics and optics that get condensation then frosty can lead to issues you don't want to deal with. And of course there is  no polite way to turn down a drink, which can easily move on to several. When I find an area with a good number of huts and the weather is overcast and snowy, I try to get as much done outside as possible. The next day might be sunny and then you've missed those opportunities. As the focus of this body of work is an architectural study, I am less interested in portraits and having people in the shots, especially the interiors. Also, the extreme wide angle lenses can stretch people at the edge of the frame in unflattering ways. 

How long do you spend in one location? Do you have a snowmobile to get around?

The amount of time varies depending on the number of huts and the weather. I prefer to drive to locations for several reasons, the most important being the discovery of gems along the way. I also can carry my full kit of gear: lenses, a sled, additional boots and other bulky items. When flying everything has to be stripped down to regulation size and weight which results in compromise. I do fly to locations west. However, my starting point in Toronto allows me to drive to locations east. I've driven to Newfoundland twice which is 36 hours and includes an overnight ferry cutting through 6' of ocean ice with lots of white out conditions along the way. A snowmobile would be helpful for some situations but hauling it around all the time would make me less agile and unable to navigate the backroads which often lead to wonderful surprises. So I walk a lot. Snowshoes and a sled with my gear pulled behind. Once I spot a location I will study the huts with binoculars to see if they are worthy of the possible hour long walk to get out. I  keep to daylight hours, which in winter ends at 430pm. After that its easy to lose your orientation and find your way back off the ice, especially if the weather turns. Even the wind can reduce visibility with blowing snow, which, ironically, is what I search for. Google is not a reliable back up as cell service is often non existent or spotty.

Do you have a favourite hut or village that you've photographed?

I have many favourites but one that comes to mind is Ice Hut # 556, Ghost Lake, Alberta. The rocky mountains are in the background and the hut is like a log cabin, hand hewn timbers with a little smoke stack. Quintessential Canadian.

Beside retouching yellow snow, do you do any additional work on the images?

I get asked this a lot. When conditions are ideal you are 85% there: light snow, soft (distant) background, bright colours. Because I shoot digital, there are a million ways to process the files from the source data a raw camera file gives you. Grey and white and snow are very tricky to render what the eye sees. I tweak the saturation and contrast a bit, all part of the processing options. Remember Ansel Adams would play with processing temperatures to achieve greater detail in the shadows. Same principles apply: its about rendering a scene to what you experience in the moment, beyond what a basic average metered exposure will achieve. A fresh snowfall always covers up the often gritty surroundings of a clear day.

How much equipment do you bring along and it's there any techniques you have for protecting gear from the elements and keeping your hands warm?

Those little hand warmer pouches in mittens are the only way to last any length of time. Fiddling with large format lenses, shutter releases, focusing knobs all require bare fingers for articulation. popping them back into a warm mitten brings frozen digits back to life. Otherwise, layered clothing. Walking distance in thick snow pulling a sled works up a sweat even at - 20 (celcius). Keeping all the heavy items on a sled allows you to be mobile and lighter than if you had a back pack, which would be unsafe in certain ice conditions. Its all about spreading the weight around.

October 04, 2016 by Richard Johnson

Tax deduction for purchasing Canadian works of art

Good news: purchasing Canadian works of art at Richard Johnson Gallery could allow you to claim a tax deduction! Simon Gareau, Lawyer, D.E.S.S. Fisc. Senior Manager at Raymond Chabot Grant Thornton gives us answers about it in his instructive Works of Art and Taxes article.

As a matter of fact, we can read that: "Whether they are individuals, partnerships, corporations or trusts, taxpayers who acquire an eligible work of art can claim an annual capital cost allowance equal to 20% of the amount paid for federal purposes and 33 1/3% of the amount paid for Quebec purposes."

Amongst eligible works of art, the Lawyer mentions: "Prints, etchings, drawings, paintings and other similar works of art whose cost is not less than $200. 

This is our good news for the reason that our Limited Edition Archival Photographs are prints! [+] Read the complete list of eligible works of art.

However, certain conditions apply, as we can read in Gareau's article:

  • "The work of art must have been created by an artist who was a Canadian citizen or permanent resident at the time it was created;"
  • "The work of art must have been acquired from a person with whom the purchaser was dealing at arm’s length;"
  • "The work of art must have been acquired solely for the purpose of generating business income, for example, to decorate the reception area, a conference room, hallway or a shareholder’s office, and be visible to the enterprise’s clients."

What if you sell or donate your works of art in the future? [+] Find more answers here.

 

// This blog post is general information and cannot be considered as a legal advice. We invite you to discuss your situation with a professional.

September 13, 2016 by Richard Johnson
Tags: Art Gallery

Donation | Art auction for Kenya Wezesha Education

On September 21st, you are invited to the Gardiner Museum to join the 5th annual Art Auction to support Nyota and Wezesha, which empower destitute youth in Kenya to become leaders through education. 
 
You can purchase tickets ($175) at nyotaartauction@gmail.com. Ticket purchasers will receive a tax receipts of $125. For more information or to make a donation, go to www.speroway.com/wezesha.

    For the Art Auction during the evening, which will be led by Auctioneer Stephen Ranger, we are donating a framed Limited Edition Archival Photograph: Ice Village # 53, La Baie Des Ha! Ha!, Saguenay River, Quebec, Canada, 2014.
    • Price | $4500
    • Framing | Museum Glass with Black Shadowbox Frame
    • Size | 27" x 60"
    • Edition | 2 of 6

    About this collection

    Johnson's Ice Villages Series explores the resilience of ice fishing communities in Canada. Photographed as wide panoramas, each location reveals unique solutions to cultural and geographical differences. 

    Located along the lower part of the Saguenay River in Quebec Province, La Baie Des Ha! Ha! is a popular ice fishing destination. The shoreline, acting as a hinge, is constantly cracking and moving while it adjusts to a vertical displacement of 6 feet every 11 hours as a result of local tides.

     

    August 31, 2016 by Richard Johnson

    The Taylor Group | Miele at Interior Design Show in Toronto

    The relationships we build with clients have them return as new projects emerge. They want to invest wisely and efficiently to get the best results. We deliver images consistent with marketing needs so goals can be reached. 
     
    Year after year The Taylor Group calls on Richard Johnson Photography for marketing images of their latest designs. The Miele booth at the Interior Design Show (IDS) in Toronto is an example. One of the larger 40'x40' booths, they win Best of Show awards every year. 
     
    These images represent 5 years of collaboration from 2011 - 2015.
     
     
    ©2016 Richard Johnson Photography | The Taylor Group, Miele  ©2016 Richard Johnson Photography | The Taylor Group, Miele  ©2016 Richard Johnson Photography | The Taylor Group, Miele  ©2016 Richard Johnson Photography | The Taylor Group, Miele  ©2016 Richard Johnson Photography | The Taylor Group, Miele  ©2016 Richard Johnson Photography | The Taylor Group, Miele©2016 Richard Johnson Photography | The Taylor Group, Miele  ©2016 Richard Johnson Photography | The Taylor Group, Miele  ©2016 Richard Johnson Photography | The Taylor Group, Miele
     
     
     
     

    Collection | Portals of Passion, Vermont Diptychs, USA, 2012

    We loved, sir – used to meet:
    How sad and bad and mad it was
    But then how it was sweet!”   
    -Robert Browning

     

    [On this map, the different places where Portals of Passion were photographed.]

     

    Essay by Heather Oxley

    If home is where the heart is, then love must be a place. The desire to make public our private feelings is an urge as ancient as the cavemen and women who carved their stories into rock. But with village community, came permanence of place. Passionate love became geographically situated. People built landmark structures to lend physical presence to their communities. These structures introduced an architectural element into the canvass of human passions; a space for secret meetings and lovers’ Rendez-Vous. This tension between public place and private passion is evident in Portals of Passion to reveal undercover love on the communal bridge.

    The transitory nature of a bridge coupled with its cover provides the perfect architectural metaphor for a secretive fleeting passionate moment. Equally transitory is the viewers’ response to Portals of Passion. As spectators, we pass through the artist’s exhibition, then exit out into the light with our thoughts. While in the gallery, time is fluid; though the images belong to the moment, they refer to the past and imply the future. The imagery stimulates sentimental love and nostalgic memory; for whom amongst us has never carved the initials of a lover somewhere at some time? As we contemplate our secrets, it is only human to flash to the future and wonder: What ever happened to our past crushes?

    The artist’s latest exhibit unites us emotionally, for “art is a jealous mistress, there is properly no history; only biography. All mankind loves a lover” (Ralph Waldo Emerson). No two loves are the same, some are fleeting, others prolonged. The feelings we experience are always personal to each lover. While Johnson’s images do not manufacture passion, they do propose to each one of us that, even though we may not be presently in love, we once were and still yet could be.

    Johnson frames his photographs as diptychs to provoke us to actively engage with his images both publicly and privately. The use of single-point perspective entices the viewer through and beyond to a landscape framed by the bridge profile. Johnson`s tight focus on the lovers' carvings invite us to consider the commonality of human passions as we remember our personal stories. His choice of the ubiquitous iPhone camera facilitates a visual immediacy that captures a fresh perspective of this subject's essence.

    Richard Johnson’s Portals of Passion is timelessly human because the honesty of his images is judged not by the actual fulfillment of fantastical love, but by the relevance of their sentimental romance to each spectator. The images speak to this secret place within all our hearts where lovers’ dreams dwell. For what man or woman has never been passion’s slave? The artist’s photographs take us all to the bridge where we can dive into our memories and contemplate, “for thy sweet love remembr’ed such wealth brings, that then I scorn to change my state with Kings” (William Shakespeare, Sonnets).

    [+] Discover Portals of Passion collection.

    August 04, 2016 by Richard Johnson

    Donation | $2 500 raised at the auction for Camp Oochigeas

    For more than 30 years, Camp Oochigeas has been providing magical camp experiences for children with and affected by childhood cancer.

    $2 500 is the amount raised with Ice Hut # 504, Shields, Blackstrap Reservoire, Saskatchewan, 2011.

    -/\-

    Ice Hut # 504a, Shields, Blackstrap Reservoir, Saskatchewan, Canada, 2011 | Limited Edition Archival Photograph | © 2007-2016 Richard Johnson Photography Inc. | richardjohnsongallery.com

    Ice Hut # 504a, Shields, Blackstrap Reservoir, Saskatchewan, Canada, 2011

     --+++--

    • Edition: 1 of 25
    • Year: 2011
    • Dimension: 20" x 20"
    • Print Type: Digitally Printed on Acid Free Premium Photo Satin Paper with Pigment Inks
    • Value: $1,150
    • Hammer price: $2,500
    July 12, 2016 by Richard Johnson

    Doors Open Toronto :: Amazing experience

    Our first participation to Doors Open Toronto was amazing. 200 persons stopped by our place to visit and get information about the building and the gallery. Bravo to DOT organization, it is a huge event and we were proud to be part of it. A special thanks to our volunteers who came during the week-end to make of this event a success.

    And we were prepared!

    • Building plans and interesting facts about it were printed for our visitors
    • Our volunteers were ready and well informed
    • We had a strategy so that everybody could see and learn a maximum of details while discovering the building
    • Ice huts per province were on the Gallery walls
    • Smiles and laughs in abundance

          

    July 11, 2016 by Richard Johnson