AROUND FOUR YEARS AGO MY YOUNGEST DAUGHTER started taking classes at the Art Gallery of Ontario. I volunteered to take her on weekend mornings, which usually meant I had a couple of hours to kill just when the gallery opened. At first I used it as an excuse to wander around the neighbourhood with my camera, but after a while I began sticking to the galleries, taking pictures of the rooms and the gallery goers – making photos of people looking at art. I would start the morning with a coffee in the Galleria Italia and then slip into the adjacent rooms of Canadian art to start my furtive shooting.
At least a year or so ago my daughter was definitely too old for me to be taking her to class, but it had become our ritual, and frankly I had come to enjoy those two hours every week, lurking around the AGO with my camera, stalking my subjects. But with her last class just before Christmas she was officially too old for the kids’ art programs. She’ll likely be back to take portfolio classes in high school, but my excuse to spend every weekend sneaking my photos was over.
These photos are a selection of the best shots I took in the gallery last year. At some point in the last four years a random challenge turned into a bit of an obsession, and I realized that I was creating a series – an ongoing project I’ve christened “Right Behind You.”
I also took photos at other art galleries, and when I was on travel junkets – any place where people went about the business of looking at things, individually or in groups. I suppose the whole project actually began over thirty years ago, with some photos I’d taken in the Museum of Modern Art in New York City, before I had any idea that I’d make photography my career.
As someone who’s specialized in portrait photography, this was a challenge – anti-portraits, of people who didn’t know their picture was being taken, most of them shots with their faces turned away from the camera. If I was shooting this on film, I might have used a Rolleiflex or a Leica rangefinder; cameras with nearly inaudible shutters. In the digital era I’m even luckier – my beloved Fuji X-30 has a virtually silent electronic shutter, and an LCD screen that folds out for waist-level shooting. It’s basically a street photography challenge, confined to a single venue, with most of the variables of shooting on the street – crowds, the clutter of buildings in the background, changing conditions of light and weather – removed.
Of course, there’s nothing stopping me from heading back to the AGO on my own. But perhaps it’s time to take my little project to some new venues, maybe back out into the streets. What I do know is that setting myself this challenge regularly has helped keep my reflexes sharp and my eye in practice. But the melancholy part is that this particular series of photos marks the end of a discrete period of my time as a father.