Portraits

Q: Tell us about the Native Press in the 1970s.

It was a political time. The Dene and Inuvialuit were beginning to make themselves heard. Judge Berger was listening to people in communities talk about the pipeline. It was an amazing time.

The newspaper put its heart and soul into covering First Nations Issues. We interviewed and photographed the leaders and people who visited from the communities. It was wonderful.

Q: How did the newspaper use portraits?

At the Native Press we had a column called Our Elders because First Nations people honour and respect their elders. When I travelled I looked for elders to photograph. To put them at ease, I would photograph them at daily tasks: making dry meat, doing beadwork.

I would see how the light fell on their faces. Was it dark and mysterious? Should I move them outdoors so more light would fall on them?

Q: How do you prepare for a photo?

It is important to let the Elder, or a relative, suggest ideas for the portrait. For example, when I went to take this photograph of Madelene Zoe, a family member said to her: "Put on your shawl." I thought the black shawl was interesting.

I always check the surroundings to see if they are too busy. That can be distracting. But sometimes the surroundings give a wealth of information about the person in the photo.

Q: Tell us about your photo of Sarah Simon.

One time I was flying into Fort McPherson, sitting next to an elderly woman with a kerchief. When I arrived I found out that I had left everything except my camera in Inuvik. Sarah said: "You can stay at my house. And here's a nightie. I just washed it." So sweet.

I wanted to capture her face surrounded by her bright scarf and the fur of her parka, so I invited her to step into the sunlight. This was a very northern portrait.

Q: The lighting of Eliza Cli's portrait is exceptional...

When I went to take a portrait of Eliza Cli, I invited her to sit closer to the window. The dark room behind her created a little studio. She turned her face toward the outdoors, and the light picked up her features, her eyes and her hair.

This is how you grow as a photographer: as you explore, you learn new skills.

Q: Is the light always directly on the face?

I took this photo of Faye Nadia of Fort Simpson in a geology workshop. The natural sunlight to one side 'bounced' off her white pants to create secondary light on the shadow part of the face.

Note the brilliant highlight reflecting off the magnifying glass on to her eye. You can create bounced lighting to fill-in shadow areas with a light-coloured reflective surface.

Q: What about the photo of Nora Simpson?

You have to decide what details you will include, or exclude, from the image. Some years ago, I photographed Nora Simpson of Weekweti. I wanted to capture her life as a busy grandmother so I aligned her sewing machine and her grandchild.

The light from a side window created what’s known as the classic '3/4 modelling light' on the side and across her face, creating a triangle of light on her cheek.

Q: Why do you shoot people from behind?

We sometimes think that portraits only show faces. But it can also be important to show hands. Hands at work play a supporting role.

In this image of Eileen Beaver, her husband was helping her braid her hair. The braid formed a circle as he reached out to help her. I asked them to pause, so I could capture that fleeting moment.

Q: Can a photograph capture emotions?

Yes. I was once asked to photograph an Elder because his family didn't have any images of him. He was in hospital. When we got to the Elder's bedside, his son told me: 'He can't sit up.'

As the son leaned over to help his father, I took a picture. It captures more than the Elder, it tells the story of a family in a sacred moment of love and respect."