"OPTICS" features different variations of photographic lighting and techniques. Presented in landscape and cityscape artworks, our March exhibit will give you ethereal visions of places and locations in and out of the city.

Taha Shanouha

Artist Statement

Being a newcomer here to Canada and Toronto specifically, everything looks interesting and everything is exciting. For the last 6 months, I've been capturing all the beauty of this gorgeous city, and 

I'm excited to show how someone new sees the city around them. These images represent the daily life of the city of Toronto, from the CN tower, to the snowy days and nights full of people and streetcars and some unforgettable moments.

Artist Bio

A Lebanese photographer who recently made Toronto his new home. A graduate of computer science turned photographer, Taha’s journey started back in 2018 when he discovered photography as a way of therapy to battle depression. Living in a country where trouble seems to be attached by the hip, Taha’s goal was to take photos to showcase its beauty and wonder. From street and landscape photography to shooting Behind the scenes for some of the biggest Lebanese movies and theater performances, Taha’s hobby has gradually turned into a profession. And he is looking to prove those who doubted him wrong by showcasing his work in bigger countries and cities. 

In relation to our theme “Optics,” how would you describe the play and use of light in your photographs?

I say when it comes to my night photography I look for specific sources of light that can help provide a certain mood to my photos, while in the day I'm either looking for the sun or trying to find interesting contrast in colors. This method makes your subject pop and leads the viewer's eye towards what you want him to see. In some cases it could be towards the cityscape itself, in others it could be a person crossing the street or the streetcars in Toronto. I always try to make my photos look like paintings or scenes from movies.

You said that photography helped you to battle depression, do you see it as another way to communicate your thoughts and intentions?

Photography is a way of therapy for me, it helps me express feelings, thoughts and emotions that I can't with words or with writing. I would say it is my outlet when it comes to battling tough times and hardships.

What’s more exciting and unique about taking photographs in Toronto compared to other cities you’ve been to?

I've been to several cities around the world, but Toronto's diversity is definitely where it shines. A city full of immigrants and locals living in harmony, and since I do street photography mostly, you can see the influence from areas like Chinatown, Little Portugal or even Greektown. Not to mention the sheer size of the city, making exploring every angle, nook and cranny such a great adventure. This is definitely the biggest city I have lived in, and wherever I look there is something that catches my eye. There is always something happening in this city, whether people are just walking around and going about their day or if it's a concert, basketball game, hockey game etc... 

Henry Hawkins

Artist Bio

Henry Hawkins is photographer and visual artist based in Toronto, Canada, Henry’s work draws inspiration from nature, and the pursuit of connection between our inner and outer worlds.

Growing up in a big city, he always cherished the moments he was able to escape the fast pace and be amongst the simplicity of the outdoors; spending summers canoe tripping around Northern Ontario, planting trees in Alberta, exploring the shores of New Brunswick, or hiking in the mountains of British Columbia. Henry’s body of work is influenced by his deep love for the Canadian Landscape; celebrating the diversity and richness of nature from sweeping vistas to Earth’s natural patterns.

Particularly drawn to scenes that evoke tranquility and wonder, Henry aims to transport the viewer through romanticism and escapism, to find a deeper appreciation for the beauty and fragility of our Earth. Through his work, he ultimately hopes to inspire new connections with the natural world, and love for the simple wonders of our planet.

In relation to our theme “Optics,” how would you describe the play and use of light in your photographs?

Light is a crucial element in nature photography, as it can affect the mood and tone of a photograph. The type and quality of light can create different effects, from soft and gentle to dramatic and high-contrast. The direction and angle of the light source can add depth and dimension, and various techniques can be used to manipulate light for a desired effect. Ultimately, the use of light in nature photography can enhance the natural beauty of the subject and convey a particular emotion or atmosphere.

What inspires you to take nature landscapes?

I have always been deeply inspired by nature, even though I grew up in a big city. Nature was my escape from the concrete jungle, and I have been fortunate enough to have parents who recognized the importance of spending time outdoors. They took me on canoe trips when I was a kid, and I spent most of my adolescent years working at a summer camp in the Georgian Bay area of Ontario, Canada. These growing experiences in Northern Ontario truly fostered a love and appreciation for our planet at a young age.

As I got older, my obsession for the outdoors grew, and so did my love for photography and adventure. Whether I'm in a local park or exploring a remote wilderness area, I find myself surrounded by inspiration. Being in nature allows me to disconnect from the stresses of daily life and connect with the beauty of the natural world.

Through photography, I am able to capture the beauty and wonder of the natural world in a way that can be shared with others. My hope is that my photographs can inspire others to appreciate and protect the natural world, just as it has inspired me. In nature, I find a sense of peace, a connection to something greater than myself, and a deep appreciation for the beauty of the world around us.

How do you find inspiration when you are outdoors? Do you usually imagine an image in your mind or do you take time to compose?

I’d say usually a bit of both. Most of the time on a photography trip I’ll have images in my head of what I ant to capture, but a lot of the time there are moments that inspire me on the spot, and a lot of my favorite photographs are those ones that happen spontaneously. Nature always has a way of surprising me, and often it can’t be predicted.

Do you have a favorite element of nature or a theme in creating images? How does this influence your style?

It’s hard to choose a favorite, because I love it all. A style I’m definitely drawn to and you’ll see in a lot of my work, is long exposure nighttime photography. There’s a certain challenge and excitement involved in being out at night; the conditions are always different. Often times the most rewarding parts of photography for me is the unveiling of the long exposure photos I capture at night. The surprising beauty that’s lit up by my camera and unseen to the naked eye.

Patrick Kilburn

Artist Bio

Patrick Kilburn’s journey into photography began decades ago as a youngster, when his father introduced him to his own love for the art, having converted a spare bedroom into a wonderfully mysterious darkroom. In those pre-digital days, He fondly remembers them both excitedly watching the final steps – when a photograph ‘appeared’ before their very eyes under red light in the chemical trays before hanging it up to dry. To Patrick, that was just magic.

Years later, his passion for photography was rekindled with the advent of digital cameras, just after his eldest was born. Since then, Patrick has been helplessly captivated by the creative enjoyment and technical challenges that it brings! His passion lies in exploring nature, travel, and landscape photography; in finding precious opportunities to sling his gear over my shoulder and head out to capture something wonderful.

It has been Patrick’s great privilege to observe the world around him – encouraged by family and friends, as well as other creatives whose passion for photography inspires his own. Patrick’s aim is to build a photographic art collection which in turn motivates him to continue capturing, creating and evolving as an artist. Patrick’s work is, simply put, life inspired.

In relation to our theme “Optics,” how would you describe the play and use of light in your photographs?

For this exhibition, I chose photographic works of mine which present several ways in which natural - or ‘available’ - light can be used to give life to a composition. Natural light at different times of day – sunrises and sunsets in particular - can bring out incredible colour hues and gradients which are often spectacular! Several of my displayed images celebrate the beauty of natural light in this way. ‘Fire on Ice’ and ‘Ice Crystal & Evergreens’ exemplify this well. And when there’s a relative absence of sunlight, chances to capture darker, more dramatic and mood-evoking scenes are what I look for. ‘Pea Soup’ is a great example of this, as are ‘Reflecting at Peggy’s Cove’ and ‘Fallen But Not Forgotten’.

Our Canadian seasons also uniquely affect naturally available light, providing me with opportunities to capture distinctively different scenes throughout the year. I love each of them! I’m always looking forward to the next season while doing my best to capture the one we’re in to the fullest. As the amount of natural light changes in terms of its duration and its angles at different times of year, compositions change in interesting ways. As a photographer, I have become acutely aware of where and when to find natural light during different seasons, and I use that knowledge to plan for shots accordingly.

And finally, I feel lucky to be able to take advantage of dramatically changing weather phenomena. One of my works, ‘A Winter Blow’, is a great example of how intense wind and blowing snow can completely transform and otherwise ordinary looking Toronto cityscape view by incorporating a type of long exposure ‘light painting’ technique to create something really unique.

You mentioned the word ‘magic’ when telling the story of you and your father processing an image from a film. Do you still feel that kind of magic with digital cameras? Or is it a totally different experience?

This is a great question! The truth is I never really explored the technical aspects of capturing and developing images on film at the time when I was that young, mostly just watching my father. Later though, like anyone who took pictures before the digital days, I either had to take my point and shoot camera rolls of film into a shop to get them developed, or develop them myself as my father did. I didn’t really have the space nor the means to set up my own darkroom, so the first option was the one that I always went with.

The ‘magic’ returned to me when digital photography was introduced, I was pursuing a technical career with IBM Canada, and had become more technically minded. I was also considerably older by this time, had started a family, and I had become more motivated perhaps to capture moments and immerse myself into ‘developing’ photographs I had taken using a computer. I became quite fascinated by how the settings I was using in my digital camera would affect how they would appear on my computer screen. I think it was then when I started to seek out more in-depth knowledge about the physics of light and how cameras work in order to become a better photographer. It’s been exciting to me to explore the magic of this art ever since!

Having said all this, something I would like to do at some point is go back to exploring film photography. Essentially get back to the roots of this art, very much putting to the test the skills and understanding of proper compositions and exposure settings in a less digital, more organic way. I have photography friends who shoot both digitally and using film, and I see how their choice of subject composition and the magic of light positively impacts their work.

Do you have a dream location or a destination you haven’t been able to take photos of so far? Where and why do you feel the need to capture that place?

Like a lot of passionate photographers, I have a pretty long bucket list of destinations that I would love to not only shoot, but experience! I’ve been fortunate to see parts of Canada, enough to understand that there’s a lot to celebrate from a regional, topographical and climate perspective. Canada to me is an endless well of opportunity to explore, and I intend to see much more of this beautiful country in future.

In terms of destinations abroad, I’d really love to visit Iceland and Scandinavia. Iceland because of its unique if not harsh and dramatic natural landscapes which include black sand beaches with diamond ice shoreline formations, volcanoes, and with any luck, Aurora Borealis! I understand that photography there is very challenging because of the dynamic nature of the landscape, weather factors, and light. But I’m ready to embrace that challenge! Scandinavia appeals to me I think mostly because I was born in Sweden and spent a few memorable summers there as a youngster. It’s in my blood. I’m curious about learning more about its culture as well as its diverse landscapes. I would very much like to go back to see (and of course capture) the beauty of my country of origin with more experienced and mature eyes. And while in the area, providing there’s enough time, I can't imagine any photographer not wanting a chance to experience and shoot the fjords of Norway. Another big draw for me.

I’d also love to explore the many other countries of Europe. Having been lucky enough to cruise around the Mediterranean, I’ve been treated to incredibly beautiful sights of the coastal areas especially. Some of my portfolio celebrates this beauty, since I had by then already started to explore photography in a more dedicated way. While enjoying excursions off ship, I was able to get an ‘overview’ of the countries we visited, but often during the middle part of the day when light is harsher and arguably less than ideal.If I’m ever able to return, I’d love to put down roots in a few places for a week or two at a time, and really experience them as seen in the more subtle and beautiful light of morning and evening. 

And then there’s the Far East. And Oceania. And so many other parts of the world… Time and resources permitting, I hope to see as much of this ‘big blue marble’ as I can. My bucket list is long!

What inspired you to take reflections or incorporate symmetry of images in your photographs? Does it relate to your own expressions?

I really appreciate that you noticed these elements in my work, as I’m very conscious of them. Visually, I’m very drawn in particular to trees and reflections which display natural symmetry. This is especially true when they present together for a potential photographic composition. When I see trees, I think about how their root structures give them strength enough to stand and grow. Drawing a parallel of this observation to myself, I think of what gives me strength enough to keep standing – core family and friends, life affirming experiences, and hopefully a good sense of groundedness, as it were.

Reflections stop me in my tracks whenever I notice them, not only for their interesting visual appeal, but also because they too remind me that in a way, we all have another ‘side’ to who we are. I’m of the opinion that we all have a true self and a projected self - a reflection, one might say – of who we are not only others but also to ourselves. For me, trying to synchronize them can sometimes be difficult to achieve as I try to navigate my day-to-day existence. As an artist, I need to keep this balance in mind as I evolve my photography. I want to show images that aren’t just visually appealing in some way, but also represent the way in which I see – or want to see - the world around me.

Perhaps the best example of what I’ve shared here is my signature piece titled ‘A Matter of Perspective’. It explores ‘reflection’ and ‘symmetry’ both visually and metaphorically. I created this abstract composition during the depths of the covid-19 pandemic during lockdown. It was my attempt to explore and convey my conflicting thoughts about the ‘duality’ of positive and negative elements in my life as well as the lives of those important to me. I noticed that my eye was naturally drawn towards the darker, negative reflection of the positive side of this composite image, and I noted that I needed to make a conscious effort to ‘focus’ upon the positive side itself. This work became my daily reminder to try to look for the positives in life everyday. It helps to keep me grounded.

I’m truly grateful for this opportunity to exhibit my work. It has been a tremendous and interesting learning experience preparing for this showcase, and I’m well aware that there is no way I could have done so without the tremendous support of my parents, my family and friends, and my photography community peers from whom I have learned so much. Big thanks to the great people at Print Partner for working with me to produce quality prints of my work, and of course to Twist Gallery for inviting me to participate in this group exhibition!

France Phonlakrit Lapjaturapit

Artist Statement

As an urban photographer, I am constantly drawn to the vibrant energy and diversity of the city. It was my move to Toronto that ignited my passion for capturing the unique beauty and complexity of urban spaces. Through my lens, I aim to uncover the hidden gems and unexpected moments that often go overlooked in our bustling metropolises.

Each click of the shutter is an opportunity to uncover a new perspective and a new story. But more than just a means of capturing the world around me, photography has become a deeply fulfilling pursuit. It is a way for me to connect with my surroundings, to find meaning and purpose in the most unlikely of places. And it is my hope that through my work, others will be inspired to see the world in a new light and to discover the beauty and wonder that lies within the city.

Artist Bio

France Lapjaturapit is a Toronto-based photographer and multimedia creator from Thailand. From a young age, France was passionate about the arts and creative expression, and he used to draw, paint, and write stories. Currently, he is studying Media Communications at Humber College. After moving to Toronto, France was inspired to pursue photography, and he quickly developed a style characterized by vivid colours and interesting perspectives. He is deeply inspired by modern style, and he loves to explore the city and document its diversity and beauty. France always looks for creative ways to express his vision, and his goal is to create something unique for the world.

In relation to our theme “Optics,” how would you describe the play and use of light in your photographs?

My use of lighting in photography varies depending on the location, time of day, and mood I'm trying to convey. I prefer to shoot on a clear day, especially during golden hours and sunset, when the light is warm and beautiful. However, some of my work was shot in a dark environment and with artificial lights, which can give off an interesting feeling when compared to daytime photography. It is heavily influenced by the story I want to tell.

What do you find unique or inspiring about photography versus other forms of art that you previously made?

Photography is the most realistic way to capture something we can see with our eyes before clicking the shutter button. Photography can be done anywhere, which gives us the opportunity to travel, explore new areas, and connect with our surroundings and environment. When I photograph, I use a variety of senses, such as observing and being aware of the conditions, lights, and fleeting moments. Capturing that one shot that stands out among the other shots I took on the same shoot requires a lot of steps. Drawings and paintings, on the other hand, are more abstract, capturing your ideas in a different format and may require more time to complete one good piece. I mostly have to sit and stay still for long periods of time, which prevents me from going out and experimenting with different elements.

In your series of photographs, your perspective on each work stands out. How would you describe this style and the element it brings to your cityscapes?

My photography style is characterized by vivid colours and different elements such as people, nature, buildings, etc. Using different focal lengths can help bring out different emotions. I intend to show a wide range of elements including the styles that I can do.

How does living in the city influence your work and how you express your style in the images you create?

Living in Toronto has been a great source of inspiration for me to explore and capture the unique characteristics of each neighborhood. Every corner of the city has a different style and atmosphere, which motivates me to go out and discover new perspectives. I particularly like to include the CN Tower in my shots, as it not only represents Toronto but also adds charm and dynamism to the image.

Although I can be quite shy when it comes to taking candid shots of people on the street, I have found other ways to express my style by capturing objects and scenes that catch my eye. The energy and bustling life of the city have been my ultimate inspiration, and I feel fortunate to live in such a vibrant and dynamic place.

Bryan Stewart

Artist Statement

Bryan Stewart is an emerging artist based in Oakville ON Canada whose practice is based on observation and transformation of the normal to the noteworthy. Using both digital and film photography, Stewart’s wide-ranging subjects are tied together by an overarching curiosity to notice, experiment and share. 

He has previously exhibited work at Gallery 44, Capture Oakville, and Gallery 1313, as he has had photos published in three issues of Humana Obscura, a literary arts magazine. In his latest work, impressionistic and abstract photography is used as a means of interpretation and expression, to create images that give new perspectives to familiar objects and scenes.

In the 6 images presented in Optics at Twist Gallery, multiple images taken at varying angles around the subject are recomposed to yield a new viewpoint on three common trees and three well-known Toronto landmarks, to create unique one-of-a kind images.

In relation to our theme “Optics,” how would you describe the play and use of light in your photographs?

I'm very attracted to the shadows and almost all my favourite images include shadowy and dark elements in them. I find that most subjects have a depth that can only be best expressed by incorporating shadows into the images. This could be the physical depth of the scene but often times inclusion of shadows helps build the mystery and story created in the image.

You have a series of compelling abstract & impressionist images in your exhibit, what attracted you to this type of photography?

First, I love the approach because it allows me to capture unique images that really can't be replicated and the style allows me to take recognizable or ordinary subjects and present them in very interesting and different ways. Take the Gooderham Building photo for example. That is probably one of the most photographed buildings in Toronto, but I feel like my image is unlike any other I've ever seen. Second, the rich history of abstract and impressionist art gives me a lot of inspiration about how I approach photography, as a means to express my point of view, what to include or exclude from an image and how the large forms come together.

How do you select your subjects and is there an overall theme for your photographs?

There is no real method to selecting subjects, as my interests are always changing, but across all my work I'm definitely interested in exploring transforming normal to noteworthy. Trees, or flowers, or street scenes are regular things in our daily lives, and I like to imagine how I might transform those normal things to something extraordinary by changing perspective or looking from multiple points of view.

What captivates you the most about taking patterns of light and images?

I think when I focus on the light and patterns there is an interesting opportunity to put my personal point of view into the image. Whether I play with long exposures to smooth out time, or use camera movement to enhance dynamics, or I overlay multiple frames to show the many sides of a subject at once I am able to create something unique and different.

Joseph Salvoni

Artist Statement

I’ve been a hobbyist photographer for over 25 years, starting when my parents got me an SLR film camera for my 14th birthday. Most of my time in photography has been with film, but a few years ago I switched over to digital, venturing into a whole new world of shooting and editing. There is nothing better than being out on the street, alone with my camera, capturing a moment that materialized before me, as if by magic. Street photography is my primary focus and passion, but I’ve also taken many cityscapes and landscapes over the years, some of those presented here today.

I’d put these photographs under the umbrella of “Lone Perspectives”–most of them long perspective shots, the rest featuring unusual angles and framings that play with perspective while still conveying the overall theme of isolation and loneliness. The photographs are also a mix of digital and 35mm film scans that, when viewed together, accentuate the contrast between the modernity of cityscapes and the simplicity of landscapes (city meets country/digital meets analog). I’ve positioned these photographs close to each other in a repeating and symmetrical interlocking pattern to draw attention to the interconnectedness and slim separation of the urban and rural worlds.

In relation to our theme “Optics,” how would you describe the play and use of light in your photographs?

All photography is the capturing of light, what that light reveals as well as what’s hidden in its absence—I always keep this in mind when composing an image. The feeling that a photograph conveys can change significantly based on the time it’s taken, and the quality of the light at that moment, so I try to keep an open mind and shoot at many different hours of the day. Often, the images I end up keeping and returning to are the ones that combine striking light, story, and framing. Without the right lighting a good photograph can never be great, it’s a vital part of what I’m hunting for when I’m searching for a shot.

Do you always follow a theme when shooting and what do you usually look for in capturing a moment? How do you usually find locations and spots around the city?

I don’t look for a theme, I’m happy with what presents itself, whatever, whenever, or wherever that might be. Street photography is my main passion, and a large part of my love for it comes from its spontaneity. I plan very little. I’ll have a rough idea of the area I’m intending to shoot, but I’ll more than likely hop off the bus early instead because I see something interesting through the window, or I will trail behind a curious character at a random subway stop. I always feel like I’m waiting for a moment to reveal itself to me, and it can be thrilling to see all the elements of a good photograph come together before me just before taking the shot. Some days I’ll go out and get nothing, and then other days everywhere I look there are scenes worth capturing, it’s part of what keeps me doing it.

How would you describe your experience in switching from film cameras to digital photography?

I still have a lot of love for film photography, the amount of thought I have to put into each attempt, and the reward when a shot comes out well, but I’m able to do so much more with digital, in particular when it comes to editing, which I now love on the same level as shooting. With digital there are more attempts to get the shot, and then there is complete control later when editing. Film just can’t offer that, and often costs more. Going from a DSLR to mirrorless feels in many ways like when I went from film to DSLR; it’s amazing to me how much more I can do with a mirrorless camera, it’s like having a computer that takes photos instead of a film camera that’s been converted to digital. I’m very excited by the possibilities and have already seen many of the benefits.

What motivates you to take landscapes and cityscapes? How would you describe the experience versus when you’re doing street photography?

I like all kinds and styles of photography, but I wouldn’t say I’m particularly motivated to shoot landscapes and cityscapes. While they often lay at the periphery of street photography, when I see the opportunity to get a striking image of anything I’ll try to take it. It’s interesting that many of the photos I’ve presented were taken on the way to shoot something else. I think I ended up taking most of these because of a fascination with long perspective shots which are offered most readily by cityscapes and landscapes. I’ve been shooting for a while now, so I happened to have built up a collection of these kinds of shots that fit well within the overall theme of the exhibition.

John Jennings

Artist Bio

John Jennings is an Ottawa-based photographer, who has been taking photographs from a very young age. He was able to turn his passion into a career, working as a commercial photographer at a marketing agency throughout the day, with a focus on headshots and portraits, events and products. When he isn’t working commercially he takes to the streets to capture both street photography and cityscapes. He loves the ability to capture images of people going about their business, and the opportunity his camera gives him to capture iconic monuments and beautiful architecture. He is a firm believer that photography is a means of documentation, and a way to preserve moments that may only happen once. He strives to see beauty in everyday life and hopes that his photography will help others see the same.

Artist Statement

This display of photographs spans both Toronto and Montreal. There has always been a draw to these cities, and when I am given the chance to photograph them there is never any hesitation. Both cities provide me with such an incredible backdrop to capture the photography I love most, Street and Cityscape. As someone who grew up near Toronto I always have a nostalgic feeling when walking the city's streets, seeing the CN tower or walking along the harbor. With the opportunity to come back to Toronto and showcase my work, there was never any doubt I had to share two of my favorite photos I captured most recently in the city.

Montreal is a city that I started to visit in more recent years, but regardless the artistic influence of the city grabbed hold of me and didn't let go. Some of my most cherished photos come from trips to Montreal. I love this city for its blend of old and new architecture, as well as its heavy European influence. Walking the cobblestone streets of old port, or exploring side streets in the Plateau, the vibrancy of Montreal keeps me coming back and always finding something new to photograph.

In relation to our theme “Optics,” how would you describe the play and use of light in your photographs?

As a photographer, light is super important and it's something I notice whether I have a camera in my hand or not. Street photography is fun because you can only control yourself in relation to the light, you can't control the actual light/sun. So I try to observe how the sun's light interacts with my surroundings and I photograph whatever catches my eye. I think my best examples of this in my installation are in “Shadow Break” with the sliver of light cast along the building's facade, and creating those 2 pillar-like shadows. In “Smoke Fire Escape'' where I used the sun as a backlight to really accentuate the smoke from the windows, something I would have not been able to do if the sun was in front. Finally in “Vanhorn St.” using the shadow in front of me to virtually frame out the building, and hide the street which isn't the focal point of the image.

For you, photography is a form of documentation and a way to preserve moments. Do you also see this as a medium to express yourself and your views? and why?

I think it's for sure a way I express myself, maybe not in an angsty artist way, but in a way where every photo I share is an unaltered representation of something I witnessed, when you see my photos you are seeing what I saw. My street and cityscape photography is never photoshopped, the most I will ever do is make it black and white. I live by the photojournalist rule of nothing removed or nothing added. I think my views are represented to an extent, but regardless I try to stay neutral and again take on this documentarian mindset where I don't let what I believe or feel affect a moment, photographing the most natural elements of the streets is always my goal.

You’ve turned your passion into a career, what keeps you passionate about photography in and out of the work scene?

Photography is my passion, and I think one thing that has really helped me stay passionate about photography is not forcing it, forcing creativity really just leads to frustration and self doubt, so being able to step away for a couple days and reset I find it really helps. That isn't to say I am any less passionate about it, I just know that forcing myself isn't going to produce the results I want. On the contrary to this though, I think consistent execution of creative ideas, whether they work or not has also helped keep my passion alive. I also don't view photography as work, I love to do it on a daily basis, so as they say do what you love and you won't work a day in your life. Finally on that note, over the years in both the personal and professional sphere, I have not become complacent, I am always striving to learn new things and techniques and I use that new found knowledge to advance all my work. With only being 25, if I knew everything about photography by now, the next 50 plus years would be pretty boring.

How do you usually connect with your subjects? How would you differentiate your experience inside the studio when you're on the street?

Connecting with subjects in my studio work is pretty straight forward. The great thing about running a business is there's lots of meetings! So anyone who comes to the studio for headshots, portraits or lifestyle photos has already met me, we have probably talked about more than just photos, and the day of the shoot isn’t the first time we have met. This makes it a lot easier for both parties to interact and get some great photos. When I am out shooting on the street I take the fly on the wall approach, people see me as a random guy with a camera, I snap my photo and I move on. I don't usually talk to people, they kind of just end up in my photos. Unless someone really catches my eye, in that case I will stop chat and ask to take their photo. Both types of photography I do on a regular basis, personal and professional, require me to take different approaches when interacting with subjects to get the result I want.

Wesley Bethel

Artist Bio

Wesley Bethel has worked for the city of Toronto in the Emergency Services Sector for the past 15 years. This dynamic work environment has allowed him to see and experience many different situations in life that have influenced his own unique perspective of the world around him.

Learning about the art of photography has provided an expressive outlet where he brings this same unique perspective to the camera lens, capturing moments in time and infusing them with his own aesthetic style. Wesley really enjoys the extra creativity that can be applied when shooting double and multiple exposure photography, as truly unique, one-of-a-kind images can be created. He firmly believes the possibilities are limitless when one is willing to take on the challenge of interpreting life through a lens.

Artist Statement

I wanted to thank Nadia Kakridonis and her staff for providing me with the opportunity to participate in my first Art Exhibit. Having my photography images displayed in the Twist Gallery “OPTICS” Exhibit is a real privilege.

For this series of images, I wanted to present them mainly in Black and White with a darker, raw vibe. The stark contrast across the neutral colour palette is used to further accentuate this point. The addition of small amounts of colour can be viewed as “light in the dark”. If we choose to view light as hope, we can be reminded that light can be found even in the darkest of moments.

Optics is running until March 25th! Make sure to visit Twist to see all the amazing work in person!

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