In this very special conversation with photographer Geoffrey James (GF), we have the privilege of exploring his latest work, Canadian Photographs, which offers a deep and candid look at the soul of Canada through his unique lens. At Luminous Landscape, Canada holds an extra special place in our hearts, as our site had its beginnings in the Great White North and so many of our cherished members call Canada home.
As James focuses his camera on the often overlooked and in-between spaces that frequently go unnoticed, he reveals the essence and story of the country. His photos range from the raw energy of a demolition derby in Quebec to the contemplative views from train windows crossing the nation, presenting a portrait of Canada in all its unvarnished glory.
James, Welsh-born but now a long-time and loyal Canadian resident, has documented landscapes and urban spaces with passion and perception for over 40 years. His work has been exhibited to international acclaim, and his accolades include the prestigious Governor-General’s Medal for Visual and Media Arts.
We at Luminous Landscape, with our strong Canadian roots, consider it an honor and pleasure to share his insights into his process.
Below, we’ve compiled James’s illuminating responses to questions about his techniques, creative decisions, and experiences while sharing his heart and soul into crafting Canadian Photographs.
Technical Questions
- What camera system did you primarily use for Canadian Photographs?
Geoffrey James / GF: “I used digital Leicas—M9, M10 with older 35 and 28 mm lenses, and Q1 and Q2 for the train photos.”
- Your approach to composition when shooting from train windows?
GF:“Shooting from the train is less a question of composition than of clay pigeon shooting. Most of the photographs were made at around 2000th of a second at 100 kph. Put the camera up against the window and use live view. Keep shooting or you miss the good one.”
- How do you approach lighting in your street photography versus landscapes?
GF: “Light is the same for any subject. It can be the time of day and the time of year. I make no distinction between city and country.”
- Preferred time of day for shooting in urban environments?
GF:“Same as above, time of day and year matter more than location.”
- What’s your post-processing workflow like?
GF: “Lightroom with no presets. I know nothing about color theory and play it as it lays. Most of the Leica files are excellent to begin with.”
Artistic Process
- How has your approach to capturing the Canadian landscape evolved?
GF: “I’ve never really thought of myself as a landscape photographer. Early on, I focused on European formal gardens using large-format black-and-white cameras. Later, I moved onto projects like the Asbestos-mining landscape of Quebec and the US-Mexico border. I tend to evolve karmically—one thing leads to another.”
- How do you decide when to include people in your landscapes?
GF: “Photographing people in the street is tricky. I work with wide-angle lenses, so I have to get in close—no sneaking around with a telephoto. Only once has someone questioned what I was doing. I generally wear a nice jacket, no camera bag. Being older helps, I think.”
- How do you balance fleeting moments with more composed shots?
GF: “It’s all the same process. I favor fluidity and spontaneity. Much depends on where you’re standing, and Robert Capa’s old line—’if your pictures aren’t good, you’re not close enough’—still holds.”
- Challenges in representing Canada’s diversity in your images?
GF: “All you have to do is walk around any Canadian city with the lens cap off.”
- How did being Toronto’s Photo-Laureate influence your photography?
GF: “Being Photo Laureate gave me the license to do what I wanted, like photographing the Rob Ford mourners, but it didn’t change my photography. I could have used social media more, though.”
Project-Specific Insights
- Were there any surprising locations or subjects?
GF: “The project may have germinated in Sudbury. I attended a symposium there and took 30 photos one day, traveling by bus. Other memorable experiences include the Shawville Fair in Quebec and the Good Friday procession in Toronto’s Little Italy. Saskatchewan’s subtle landscape also blew me away.”
- How did you decide which images to include in the final book?
GF: “The editing process took months. I had help from David Cyrenne, a smart young designer without my baggage. At times, I wondered if anyone would be interested in these pictures. But people seem to realize that this is what Canada looks like. I cover topics like urban growth, exurban sprawl, and indigenous representation. But I wouldn’t presume to define Canadian identity.”
- Tell us about an image that’s particularly meaningful to you.
GF:“Crossing the country by train, I was struck by Saskatchewan’s landscape. It was more subtle than I expected.”
- What impact do you hope the book has on viewers?
GF: “I hope it opens people’s eyes to Canada’s variety. Not just the postcard views, but also the in-between spaces.”
- Any tips for photographers embarking on long-term projects?
GF:“Steely resolve, patience, and hard work. Look at colleagues like Rita Leistner, with her portrayal of tree planters, or Louie Palu’s work on the militarization of the Arctic.”
General Photography
- Advice for landscape photographers looking to incorporate more urban or human elements?
GF:“Just walk around with your lens cap off.”
- How do you stay creatively inspired over such a long career?
GF: “My evolution tends to be karmic. One project leads to another.”
- Are there any emerging technologies or techniques that excite you?
GF: “I work with what I know, but I’m always curious.”
- How do you handle ethical concerns in street photography?
GF: “Get in close with a wide-angle lens. If someone objects, just delete the image.”
- What’s the role of photography in shaping national identity?
GF: “It’s tricky. Canada is too vast and varied to pin down, but I hope photography can open windows to different parts of the country.”
You can meet Geoffrey James at his upcoming book events, including the Canadian Photographs launch at The Polygon Gallery in North Vancouver on October 29, 2024. It’s an exciting chance to hear from the artist himself and see how he views the country some people home.
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