Ian Blurton & Future Now

I THINK IT TURNED OUT PRETTY WELL. If you’d told me ten years ago that I’d be shooting LP and 7″ single covers in 2019, I’d have said you were crazy. By the time I shot my first album covers thirty years ago the CD was taking over; every record cover I shot made it into the world 5″ square and not 12″ (except for the odd record that also came out on cassette, but that didn’t last long.)

Ian Blurton is a legend in Toronto’s music scene (and likely all over Canada) but he probably doesn’t love hearing it all the time. I’ve known him for over thirty years, and two years ago he told me that he was working on a solo record. He asked me to shoot artwork for the project, and last week the first single from Ian Blurton’s Future Now was released. I actually think this is the first 45 cover I’ve ever done.

I met Ian by High Park after sundown on a warm early summer day and we went for a wander through the park looking for the moon behind the trees. Our rough inspiration was the cover of Paranoid by Black Sabbath, but that ended up more as a mood setter than anything else once we were deep in the park.

I knew that my go-to camera at the time – my Fuji X30 – produced impressive results in low light, but I was pushing it a little bit in the deep shadows under the trees of the park. Ian had brought along a pair of glasses with little LED lights attached, and they were supposed to be the highlight in each frame, a hot spot under the hood of the parka Ian would put on every time we stopped at a likely location.

Ian chose a night with a full moon, hoping we’d get a shot like the one that ended up on the cover of the 45. Even without the moon in the frame, moonlight filled in the sky that would otherwise be black. My favorite shot is probably the one just above, but I’m grateful that Ian and Yeah, Right! records were willing to go ahead with a photo dominated by blacks and dark grays.

It was an altogether pleasant evening; Ian and I talked about how our work ends up finding us. I was planning the end of the old blog by this point, and had quietly decided that I was back at photography again. Ian has never lost his commitment to the work that found him, and spends most of his time producing, recording and playing music. There’s a reason why he’s a (sorry, Ian) legend.

I waited another year to hear from Ian about the record, and last winter he called about a promo shoot with the band he’d put together for the project – drummer Glenn Milchem, bassist Anna Ruddick and guitarist Aaron Goldstein. He suggested Riverdale Park as the location, with its view of the city and the sky, on another night with a nearly full moon.

I didn’t want to rely on the moon and streetlights so I brought along my simplest lighting rig – a pair of Coast LED maglights and light stands. The shot above was taken with my phone as a note to help plan the double exposure I knew I’d want to do with the Blood Moon or Wolf Moon that was due later that weekend. It was freezing that night, so I worked as fast as possible.

We did a reprise of the shoot for the single cover when Ian pulled out a set of little LED lights for everyone to put on, though Anna – the only non four-eyes in the group – had to hold hers in place. Fans of Ian and the band will be seeing more of this shot this summer as it’s being used for promo and posters.

The sky was clear a couple of nights later when the Wolf Moon was due. I was grateful to see it rise from the east and come into view right above my backyard, where I set up a tripod and my old Olympus E30 – the only camera I own that has a lens long enough (70-200) to get a close shot of the moon. After some trial and error – I’ve never really done much night sky shooting – I was able to get a bright, sharp shot of the Wolf Moon.

Combining the band shot with the moon was a challenge; every option with the moon roughly the size it would have appeared in the sky above Toronto looked a little underwhelming, so I kept making it larger and larger. The shot above is the most dramatic – and unrealistic – and remains my favorite at the end.

It’s nice to work with people you like. So far almost all of the work I’ve done for musicians since I returned to shooting has been with friends, and it’s been both pleasant and rewarding. I’d like to hope this doesn’t change; I’m too old to do work that I don’t enjoy, and having discovered a third act to my career – one I didn’t imagine happening even a few years ago – I’d like it to remain as satisfying as possible.

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Snapshots

At home, 2018

I TAKE PHOTOS ALL THE TIME. Especially since the day I noticed I had a camera on my cell phone, long before I got the Fuji X30 that’s become my favorite camera. My hard drives are full of random folders of shots – pictures taken as I make my way through the world.

I don’t know if it’s because I’m a Kodak kid, but I’ve been fascinated by snapshots for years – since before I ever took photos seriously. I’m not sure if most photographers feel this way, but I always want to find a way to tap the artless feel of snapshot photos for my own work (when appropriate.) I think I’ve been doing this too long to really take what most people would call a snapshot, but I love the snapshot aesthetic too much to take that option off the table.

AGO, 2016
Willowbank, 2016
Edwards Gardens, Toronto, 2017
Albright Knox Gallery, Buffalo, 2019
High Park, Toronto, 2016

These shots are an informal, pick-and-mix record of things I’ve seen and places I’ve been for the last three or so years, back to when I was still doing my old blog and not really sure where all of that was leading me. At some point my friend Jonathan Castellino loaned me his Leica V-Lux 4 for a few weeks, which produced the next four shots:

Chinatown, Toronto, 2016
High Park, Toronto, 2016
Black Creek, Toronto, 2018

These photos were taken “off the clock” – while out with my family, or killing time wandering around town. The Black Creek shot was taken while Chris Buck was taking my portrait; the shots below at Oshawa Autofest, where I was helping my friend Alex sell t-shirts at his booth.

Oshawa Autofest, 2016

I guess I have some pretty predictable obsessions – clouds on the horizon, behind bits of skyline or parkland or striking intrusions, like the camera cranes at an auto race. These are notes – visual post-its; I see these things all the time, so I feel pretty happy when I have the wherewithal to capture them with a camera every now and then.

Honda Indy, Toronto, 2018
University Avenue, Toronto, 2016
Port Credit, 2018
Albright Knox Gallery, Buffalo, 2019

And every now and then I get to indulge the street photographer I’ve never really let myself be, like at the Yayoi Kusama show at the AGO with my family. I can’t help but catch these scenes out of the corner of my eye; sometimes I remember to bring a camera.

Yayoi Kusama, AGO, 2018
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The Discarded

THE DISCARDED RELEASED THEIR THIRD RECORD – AN EP – LAST MONTH. It was also the third record I’ve worked on with Joel, Jared and Caden, a collaboration I haven’t had with anyone since Jane Bunnett in the ’90s. There’s something altogether pleasant about working with an artist on their visual image over the long term, and only part of it has to do with a sense of trust that’s probably felt disproportionately by the photographer.

I’d known Joel since the heyday of the the Queen West music scene here in Toronto – a community of groups that I always felt would have been better known, in a different city, in a place where major record labels weren’t branch plants of their parent corporation, or during (and not before) the digital revolution that changed the way music is made, distributed and marketed. After Joel ended up living with his two oldest sons after a divorce, they pulled a sort of post-indie Partridge Family and formed a punk band. When a record was imminent, he contacted me about doing publicity photos for his group.

Not From This Town is the first part of an ambitious project – the first act of a punk musical, or what we children of the ’70s used to call a “rock opera.” I’m not sure if it was meant to be this explicit, but the cover of act one ended up pulling in the influences and anxieties experienced by any new group; the Abbey Road visual shout-out was definitely something Joel and I talked about when planning the shoot, but the reference to The Who’s My Generation cover only became apparent when the band had moved a couple of blocks up Bay Street and I framed them standing in front of Old City Hall.

We ended up taking care of the two big shots in almost no time – the advantage of a bit of planning, I suppose. But with the rest of a weekend morning to burn, we headed out to other locations, like the front of the Concourse Building on Adelaide West, an art deco gem that was very nearly demolished a few years ago, J.E.H. MacDonald murals and all.

Out next stop was the ferry terminal by the foot of Yonge Street, where we had a vague plan to get shots of the band with the skyline of “This Town” behind them. We bought tickets and rode back and forth to Ward’s Island while I shot the band in various spots around the boat. My favorites turned out to be one along the railing, the band as weary and wary as any band will look, and another underneath the ceiling stuffed with flotation vests.

Back on shore, we wandered back to the car, where I posed Joel and his sons with one of the old island ferries in the background and I shot them having a moment probably as much like a family as a band.

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Cemetery

Lambton.Jewish.Cemetery.09.2018_08
Lambton Jewish Cemetery, Toronto, Sept. 2018

I THOUGHT I KNEW THE WEST END PRETTY WELL BUT I DIDN’T KNOW THIS CEMETERY WAS THERE. A job had taken me out to a decidedly wealthy area on the “good” side of the Humber (I grew up on the “bad” side) and I saw the gates to the Lambton Jewish Cemetery from the bus stop. I’m a sucker for cemeteries (I live next to one) so I had to go inside and, even better, I had my camera bag with me.

The Lambton Cemetery is a conglomerate of several burial grounds. There are the cemeteries for synagogues – Junction Synagogue, Beth Jacob, Ostrovster Synagogue, Beth Aaron – and various burial societies like the Grand Order of Israel, Kol Yankov, the Ostrovster Young Mens Society, the Sons of Abraham and (my favorite) Hebrew Men of England. There are recent graves, so the cemetery is still active and well maintained.

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Every cemetery is full of stories, though reading them is like trying to figure out a book with just its last page. I probably wouldn’t have noticed all of the Fishmans grouped together if I hadn’t been drawn to the arresting sculpture of an infant on one of their stones. It’s hard not to be moved by the graves of children. And then there are the Holocaust memorials – long lists of names of relatives whose names are all that could be recovered. A cemetery is a quiet place until you notice all the remembrances around you, gently pleading for your attention.

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Northumbria

Northumbria.live.12.2018_07

I SPENT THE FIRST TEN YEARS OF MY CAREER IN AND AROUND MUSICIANS. Toronto had a great – and undersung – music scene in the ’80s and ’90s, and many of my friends from that scene are still performing and recording. Guitarist Jim Field was a mainstay on the scene back then, and last Sunday he and bassist Dorian Williamson played a gig for the release of Vinland, the latest from their group Northumbria.

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I don’t love shooting live music – I’ve explained that in the old blog – but it’s not easy to do, and every now and then it’s time for a challenge and trying to get a decent photo in dim, changing light with a subject who isn’t paying attention to you will make you work hard as a photographer. Jim and Dorian sounded great, and it was refreshing to photograph a show without having to work around microphone stands. Check their record out – if you like that sort of thing you’ll love what they do.

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