Check Out The Amazing Story of Photographer of Binh Danh

LATIN AMERICA IN BLACK AND WHITE no.16 - Artist, Gil Abelha - Salvador de Bahia, Brazil

I met artist Gil Abelha when my guide Francois Duc took me to visit him at his studio. Gil is one of Bahia's treasures and a successful, well known artist. Click here to see more of Gil's work.

Gil Abelha, Salvador de Bahia, Brazil
©Michael G.O'Brien

LATIN AMERICA IN BLACK AND WHITE no.15 - Living treasures of the Pelourinho

People are the main reason that Latin America attracts me. Along the way, good fortune has been with me, allowing me to meet fascinating people at every step. When time is limited and a place is totally new to me, I hire a guide to lead the way. As fate would have it Francois Duc, a local guide extraordinaire, connected with me and made my stay in Bahia productive. For instance, we met Ascendinha (below) while exploring the inside of an old cathedral where we found a passageway into the bowels of the huge structure. The back basement wall had crumbled and opened up to a view of the Bay of All Saints. This is where Ascendinha had lived for the past twenty years. She was in her 90's, was sharp minded and friendly. She gave me permission to make these pictures.

Ascendinha, Salvador de Bahia, Brazil
©Michael G.O'Brien

Ascendinha's livingroom,
Pelourinho, Salvador, Brazil
©Michael G.O'Brien

LATIN AMERICA IN BLACK AND WHITE no.13 - Salvador, Brazil, Upper City near Praca de Se

The colonial architecture of Salvador is gorgeous and reminded me of being in Cuba. I decided to photograph Salvador in black and white - it had been done in colour better than I could ever do it. I brought a dozen rolls of Kodak Hi-Speed Infrared 35mm film with me on the trip. This is one of the resulting images.

Salvador, Brazil - Upper City near Praca de Sé
©Michael G. O'Brien

LATIN AMERICA IN BLACK AND WHITE no.12 - Hotel Solara in the Pelourinho district of Salvador, Brazil

Although I never stayed at the Hotel Solara in the Pelourinho district of Salvador, Brazil, I walked past it everyday and would pop in to get some water or a snack. People were friendly with me, so it was one of the little landmarks I used during my stay in Salvador. It was right after Carnaval so people were tired, but this child had lots of energy! This image always reminds me of how intense was the sunlight those days. There was a real heat wave that went up to 40 - 45C some days - too hot even for the Brazilians who mainly stayed cool in the shade.

Hotel Solara in the Pelourinho district of Salvador, Brazil
©Michael G. O'Brien

LATIN AMERICA IN BLACK AND WHITE - no.11 The Mercado Modelo , Salvador de Bahia, Brazil

These photos were made during a trip to Bahia, Brazil in 2001 - I'd been on a life changing visit to Brazil once before in 1976 - now 25 years later I was returning to Bahia to see if I could find someone that was very special to me. A mentor /spiritual teacher I'd met in Brazil and lost touch with in the 80's. I didn't know if they were alive or dead. More about that as these posts from Brazil unfold.

A lot happens in 25 years - for instance in 1976 the red dirt road from the airport was lined with shanty towns - now it was a 6 lane highway lined with high rises - some of them truly extraordinary buildings. However, many things remained the same so it didn't take me long to orient myself and start visiting the old haunts that I loved in Salvador; like the Mercado Modelo and it's famous wrap around elevated restaurant. The food is ok - the views are spectacular. 

Mercado Modelo, Lower City, Salvador, Brazil
©Michael G.OBrien

LATIN AMERICA IN BLACK AND WHITE - no.10 - Big Mama 1952 Chevrolet Wagon Tin Woody?

Each day that I stayed in Havana was a new adventure - I had no agenda - knew nothing about the place and was sick as a dog most of the time. But I was still excited and was hungry to see everything I could. Whenever I wasn't walking I was driving around in a big, bad classic car. When this one passed us I had to record it - it was a thrill to see these iconic cars actually in service as taxis. Cubans shared them and paid very little to get anywhere in the city. I'm not positive but I think this one was a 1952 Chevrolet Tin Woody - a seriously beautiful machine with curves in all the right places.

Big Chevy, Havana, Cuba
©Michael G. O'Brien

LATIN AMERICA IN BLACK AND WHITE - no.8 - Man with Girl near El Malecon, Havana, Cuba

As I walked around Havana with my camera I felt totally safe during the daytime - night was another story. I ran into this man with a girl on his shoulders and was curious, but didn't ask about their relationship. Even after a few weeks in Havana I'd adopted the Cuban trait of not asking questions. Now I really wish I'd asked. I don't usually talk about equipment, however, as a photographer that also teaches I'm always asked by novices, "what kind of camera did you use for this picture etc etc?" This was made with a Nikkor 28mm lens - my favourite focal length for street photography. It always helps me include exactly what I want in the frame and, over the years, has become an extension of the way I see.
For instance in this image the element of composition I'm using is dominant foreground/contributing background. Even when this lens is at 2.8 it gives me enough sharpness in the background to keep it as part of the picture whilst still allowing for a shutter-speed that's fast enough for this kind of flat lighting. This is important to me for my style and working method on the street.
The 28mm Nikkor is light and small, which means unobtrusive in the streets - again, just the way I like it.

El Malecon, Havana, Cuba
©Michael G.O'Brien

LATIN AMERICA IN BLACK AND WHITE - no.7 Barrio Chino - Gateway to Old Chinatown in downtown Havana, Cuba

The Gateway to Barrio Chino
in downtown Havana, Cuba
©Michael G O'Brien

One of the things that I love about walking around Havana is the constant surprises relating to the history of the place. Seeing this gate honouring the Chinese community that had been there really touched me in some way. There was no Chinese people in sight in that place. When I asked what happened to all the people from that community, people evaded my question; in my limited experience with Cubans I found that answering direct questions about history has caused people too many problems so they avoid them like the plague.

LATIN AMERICA IN BLACK AND WHITE no.6 - Big Papa Dodge

Anyone visiting Cuba is, like me , struck by the vintage American cars seen everywhere. It's like being in a time warp.....this is all about to change. For many reasons, the owners of these cars lavish attention on them, in a way that we haven't really seen in North America since the Big American Dream days of the '50's. It's ironic, to me, that in the land of the Revolucion and given the in your face animosity towards America, that we see this kind of care given to the icons of America. Yet so much of it is practicality with a dollop of affection for these old beauties from the golden age of the automobile. They are works of art and they are made of metal so can be repaired with expert welding and spare parts. The engines are also built to last and dead simple to repair compared to what we have today; add to this the fact that people can't afford new cars and the U.S. blockade and you have a country full of vintage cars in flawless condition.
Every morning I'd watch as my neighbour in Havana washed his '57 Dodge while smoking cigars, sharing the daily news with his buddies and taking in the morning sun. It's a special part of the culture and a source of pride and joy for the owners of these Big Papas.

LATIN AMERICA IN BLACK AND WHITE no. 5 - Staircase, Havana, Cuba

I spent days wandering through Old Havana. Often I'd just stick my head into the doorway of an old building and get a glance of the dilapidated staircases which I found endlessly fascinating. Each building seemed to have one that was totally unique.

Staircase, Havana Viejo, Cuba
©Michael O'Brien

LATIN AMERICA IN BLACK AND WHITE no.4 - La Vieja Guardia

The Old Guard

While staying in Havana, Cuba, I had an apartment near the Plaza de la Revolución. The day this picture was made it was the anniversary (birthday) of José Marti the fabled poet grandfather of the Revolution. Tens of thousands school children were assembled in the Plaza while speaker after speaker came out to the podium to deliver firebrand communistic, anti-capitalist speeches; some of them looked like they couldn't have been older than twelve. In front of me, a man proudly stood at attention, as if still honouring the spirit of the now totally failed revolution; as if everything he'd sacrificed was worth it to just to see these children relatively free from poverty and oppression.
Seeing this children's political rally summed up my ambivalent feelings for Cuba - it seems to me at once sinister and innocent. However, the rally provoked a question in me - are we really any different than the Cuban regime or do we just indoctrinate our children with different ideals while it seems that conformity is really the chief goal.

La Vieja Guardia
Plaza de la Revolución
Habana, Cuba

LATIN AMERICA IN BLACK AND WHITE no.3

Amigos hanging out in one of the quiet
 neighbourhoods of Havana, Cuba
©Michael O'Brien

LATIN AMERICA IN BLACK AND WHITE no.2

Waiting for the Bus, Havana, Cuba
©Michael O'Brien
Waiting for things in Cuba is a way of life;
nothing is 'on time' or dependable the way we expect things
to be in the developed world - yet somehow the bus always shows up.

LATIN AMERICA IN BLACK AND WHITE

“

When words become unclear, I shall focus with photographs. When images become inadequate, I shall be content with silence.”....Ansel Adams 

La Rampa Servicentro
Havana, Cuba
©Michael O'Brien

JOEL MEYEROWITZ: "WHAT YOU PUT IN THE FRAME DETERMINES THE PICTURE"

Listen to photo icon Joel Meyerowitz talk about how his intention is to photograph the unspoken relationship between things.....

TAKE PART IN OUR DIGITAL PHOTOGRAPHY WORKSHOP SURVEY

A Closer Look (at what really interests people) In addition to being a photographer, I teach at a local College, lead my own workshops, lecture at camera clubs, and provide private lessons as well as long term private mentoring programs to photographers. In that capacity I get asked lots of questions. However, 'what else do you teach?' is the most frequently asked question that I field as a teacher of photography. The most truthful answer I can give to that question right now is, 'that depends on what people want to learn.'  CLICK HERE TO TAKE OUR SURVEY Offering new digital photography programs through the college is not an option so I present a much wider variety of subject matter and learning opportunities through my workshops, my private instruction and coaching. It is not easy to guess what people really want in a workshop so I'm putting this survey out to see if I can get enough feedback from people to help me develop and implement a photography workshop agenda for the next six months. It depends on what subjects are truly important to those who would actually commit to registering in and attending a workshop...To find more specific answers to that question, this newsletter contains a quick survey that asks my readers to answer 7 questions. This is a completely anonymous process. CLICK HERE TO TAKE THE SURVEY I would really appreciate it if you take a few minutes to complete the survey. It will help me understand what courses and workshops I might offer that will help people in the 6 month program that I'm developing right now. Your feedback is invaluable to me and, once again, the survey process is anonymous.

OUTSIDE THE ROYAL ONTARIO MUSEUM AT NIGHT IN TORONTO

In Toronto we affectionately refer to the Royal Ontario Museum as the R.O.M. The ROM has a dedicated staff of scientific and research people. The collections are extensive and massive. I salute the ROM for staging some brilliant photo exhibitions, such as Sebastiao Salgado's 'GENESIS' exhibit a few years ago. I forgive any of it's failings - I love going to the ROM. This image shows the modern Crystal addition to the old structure. For all their work on the building, I wish they could replace the little ROM sign at the front entrance, certainly we can show our city in a better light than that.

AN HOMAGE TO STREET PHOTOGRAPHY - A POST SERIES BY MICHAEL O'BRIEN

The following series of posts are my homage to the art and craft of street photography. At the core I'm a self taught photographer whose roots are in street photography. This passion of mine quickly spread to include urban night photography and urban landscape. I love street photography because the subject is always shifting, the action is always unfolding and 'surprises' are seen as gifts....photographic gold. This is good stuff to build your chops with. This base skill set prepared me well for everything that I did afterwards; the portraits, weddings, stage, studio, documentary and nature work. I had no one to tell me I shouldn't do all these things, so I just kept doing it.

While my current work revolves more around themes found in the natural world, I still take my camera to the streets on a regular basis - whether it's to high impact field trips in the courses I teach at local colleges, to the workshops I lead or to the travel I do, I still draw on the skill set I formed on the streets. It keeps me sharp, flexible and open to the exciting world of discovery through the lens.

Security shutter for the El Mocambo Club
 on Spadina Ave. Toronto
©Michael O'Brien 2009

STREET PHOTOGRAPHY - NOT NECESSARILY STRAIGHT PHOTOGRAPHY

Street photography doesn't have be straight photography - it's opened up to include exploring mystery in all it's forms. Night time on the streets gives us ample opportunity to do this with all the little things that come to the fore in darkness. Like the person who walked through the image below.

WINDOWS ARE LIKE TIME CAPSULES - SOMETIMES THEY CAPTURE A MOMENT THAT NEVER RETURNS

Even before seeing the work of Eugene Atget windows drew me in. I love them; they are everywhere in the urban landscape and always different. In his book 'Window Shopping Through The Iron Curtain' photographer David Hlynsky presents a culture in transition with his excellent series on windows. Check it out.

Walking with my camera sometimes I'd rather interact with the spaces on the street than the people - windows are one of those spaces.

Victims of Fashion
Queen Street East, Toronto in the 90's
©Michael G.O'Brien

SOMETIMES BUILDINGS ARE THE MOST INTERESTING CHARACTERS IN A NEIGHBOURHOOD

For me street photography includes all subject matter, however, the buildings of a community often provide reference points, good memories, and historical touchstones for a city. The 'Paradise' is one of those places for me. The Only in Paradise Café used to be at 360 Queen Street East. It was a colourful place that fueled many a good party for the neighbourhood. It is now gone but not forgotten.

The 'Only in Paradise Café'
formerly at 360 Queen Street East, Toronto
©Michael O'Brien

TRAVEL PHOTOGRAPHY IS JUST STREET PHOTOGRAPHY SOMEWHERE ELSE

Does street photography become something else when you are visiting another country? Maybe or maybe not. For me, most of the skills and approach are the same, however, making pictures in another culture increases the chance you may be stepping on some else's toes. Being unaware of the invisible boundaries in another culture can lead to conflict when using a camera - do some research before whipping out a camera....and be respectful as a matter of course.

In Salvador de Bahia, Brasil, where this photo was made, people were ok with being photographed. With street photography it's always better to be aware of your surroundings, no matter where you are.

Hotel Solara, in the Pelourinho
Salvador de Bahia, Brasil
©Michael G.O'Brien

THE POWER OF LIGHT - A DIGITAL PHOTOGRAPHY WORKSHOP WITH MICHAEL O'BRIEN AT THE ROYAL ONTARIO MUSEUM

I've been leading workshops full of photographers through the ROM for over ten years now. The subject matter (sometimes quite creepy) never fails to amaze me - it's endless really. So is the number of unusual lighting scenarios. It's warm in the winter, cool in the summer, the staff are friendly and the extremely photogenic Royal Conservatory of Music is right next door. After my morning talk we make photographs for several hours. Then we get together so we can review and discuss the images. Oh - sometimes we eat too. 

From the 'Collecting' portfolio
©Michael O'Brien

From the 'Collecting' portfolio
©Michael O'Brien

From the 'Collecting' portfolio
©Michael O'Brien

From the 'Collecting' portfolio
©Michael O'Brien

From the 'Collecting' portfolio
©Michael O'Brien

LAKESHORE - Toronto, Ontario

Minus 24 Celsius - Lake Ontario - near Toronto, Canada

Minus 24 Celsius - Lake Ontario - near Toronto, Canada
Usually our winter temperatures shows a 'wind chill factor' to include the effects of the wind. This day there was just a hint of a breeze - enough to get the vapors rising off the Lake swirling. It was one of the coldest days I can remember since moving here in 1982.

LAKESHORES

Lakeshores
Lake Ontario,Toronto,Canada
©Michael G.O'Brien 2016

PHOTOGRAPHY MENTORING PROGRAMS: WHAT ARE THEY?

"….a mentor's influence can help drive and motivate a photographer's learning process..."

Through a formal mentorship people have access to in-depth instruction, guidance, feedback, context, and unique opportunities to refine their craft on an ongoing basis. That means addressing all the main areas in the practice of photography that are relevant to someone's interests and goals. Equally, if not more, important is the shaping of artistic direction and vision. With focus and commitment a mentor's influence can help build momentum and motivation in a photographer's learning process

"…..where mentoring differs from classroom courses is in the ongoing dialogue that builds between the mentor and mentee….."

Where mentoring differs from classroom courses is in the ongoing dialogue that builds between the mentor and mentee. Our mentorship programs offer personal attention and support on a constant basis, whether it's through in-person meetings, phone calls, emails,or Skype. This results in an intense immersion in photography and the creative process. We can see dramatic gains in understanding as photographic talents are transformed into working abilities. An aspiring photographer chooses someone to be their mentor because they trust them and want to learn from them directly.

"….the focus is on your needs, the program's flexibility builds on individual learning styles "

During a consultation at the beginning of the program specific goals are clarified, agreed upon and understood. After that the photographic work/projects/assignments done are evaluated in order to measure progress. Attainable goals are set with action plans and deadlines…..they're important! We review the process to ensure that activities are relevant to the mentee's aspirations. A suitable timetable and schedule is set up.

Three, six and twelve month programs are available.

 Examples of Proposed Program Outcomes

• To have a basic grasp of the scope of photography
• Creating a personal style
• Development of talents and gifts into abilities
• To develop confidence in technical skills
• Strengthened compositional skills
• Strengthened ability to tell visual stories with one or a series of images
• Increased ability to use the exposure controls of the camera
• Expanded knowledge of basic on camera flash technique
• Enhanced ability to recognize and use light in creative ways
• Confidence in researching, purchasing, or renting appropriate equipment
• Creation of a finished body of work/portfolio based on assignment driven shooting
• Improvement of portrait technique and style

Examples of What a Mentorship Might Include

• A pre-workshop consultation 
• Development of a plan based on your vision for the intended direction
• Unlimited access via phone, email, skype etc. 
• One 3-hour personalized coaching session per agreed period. For example: every week, bi-weekly or every month 
• Guidance in all areas of your photography 
• Creative renewal and discovery 
• Uncovering and shaping your artistic direction 
• Review/critique of past bodies of work, looking for threads and themes 
• Portfolio building or review, critique and analysis 
• Guidance in setting up a blog or web site 
• Preparing and editing an on-demand published book 
• On-going review of your artistic development 
• Custom photo assignments and exercises 
• Image review and critique of assignments, based upon your personal goals 
• Image editing and corrections using Lightroom and Photoshop etc. 
• On-camera, off-camera flash 
• Photo shoots done together 
• Road trips
• Review and analysis of tools used: camera system,computer, software, printer 
• Technical advice and training 
• Introduction to Black and White darkroom skills 

Usually, our starting point is to sit down together to create an outline for the mentoring program based on what we've learned together after a conversation about your aspirations and goals. The structure of the program is co-created. This means that before we start, we agree on the date and theme/topic of each three-hour session in order to make best use of our time together. As the creative process moves along the program usually evolves.The program can revolve around project based assignments done with my guidance, selected readings or in-person one to one instruction. This is all supported with unlimited phone, email contact. Of course the whole point is that there's ample flexibility to allow for each individual's learning style. 

For further information or an estimate please contact Michael O'Brien by email:

michael@michaelobrienphoto.com

__________________________________________________________________________________________________________________________

Testimonial for the Mentoring Program

by Paul McCormack

"I wanted some ongoing, constructive 

feedback, commentary, and guidance…." 

"I met Michael after completing several photography courses. I understood the fundamentals quite well but realized that ‘something’ was still missing in my quest to be a better photographer—I wanted some ongoing, constructive feedback, commentary, and guidance for my work from someone I could trust. When I met Michael I immediately appreciated his passion for photography, and sensed he could help me fill out my learning experience.

"During an initial meeting the two of us sketched out a framework for the mentorship that suited both of us. Then Michael started giving me project-driven assignments to work on with his guidance. Our initial plan evolved as things moved along and I gained more clarity and momentum with my photography, until I was developing my own projects with confidence.

"This program is designed

to fit my schedule and interests…"

"Michael’s command of the craft and technique of photography is matched by an intense inquiry into why we photograph what we photograph. This brought something very crucial into my journey as a photographer; namely, some direction, depth, and meaning. This program is designed to fit my schedule and interests: it motivates me to shoot when I really don't feel up to it or feel I don't have the time. I found it very helpful having the ability to contact Michael at anytime by phone, text, or email. His ongoing support has become a huge part of the journey, and it’s helping me advance and be more purposeful in my work. I come away from our ongoing dialogues with insights and the inspiration to keep exploring. cont...

'Motel Room'
From the ABANDONED series 
Photo courtesy of Paul McCormack
©Paul McCormack 

"It's really opened my eyes

 to the scope of the medium…."

"Working with Michael has helped me stay open and curious as to why photography is important to culture, to society, and to me. He's introduced me to the work of many great photographers previously unknown to me. We’ve viewed dozens of exhibits, and I now appreciate the technical and aesthetic underpinnings of these works. It's really opened my eyes to the scope of the medium, to my own potential, and how to improve my own photography. 

"Now I have more definite ideas 

about what’s possible…"

"It's also given me a broader context in which I can place my own work, so that now when I sit at my computer to fine tune and craft my images in post-production, I have more definite ideas about what’s possible and about what I want. This saves me huge amounts of time, and since I’m a busy professional, this is important. Michael openly shares his own working methods through demonstration in the field when we shoot together, and he guides me, through example, to develop my own workflow and style.

"In photography we look at the humanity that is around us, we interpret, we capture, and then we reflect. For me, it is Michael’s powerful understanding of humanity and his ability to teach students how to capture such reflections through photography that make him such a great mentor.

"I have worked with Michael in his role as a mentor for the past 18 months. He is extremely generous with his time, his insight, his knowledge, and his love to coach, teach, and mentor. My mentoring relationship with Michael has been an invaluable experience and one that I look forward to continuing for years to come."

sincerely

Paul McCormack

ONGOING.....PRIVATE SESSIONS: PATHFINDER PORTFOLIO REVIEW/COACHING SESSIONS WITH MICHAEL - DOWNTOWN TORONTO, CANADA

These private sessions are designed to give people constructive feedback about their photographs. The sessions are custom tailored to the individual and people at any level of photographic experience will benefit. Actually, beginners can save huge amounts of time by getting some guidance and direction for their work early on, while the more experienced can benefit from feedback by someone with a seasoned eye.
During the session we take a look at, and provide feedback on current portfolios/projects. This can involve advice on what to show, how to show it and the best way to sequence your images. We'll look deeply into individual or sequences of photos while offering comments and guidance. We can build a portfolio or series from existing work, finding hidden themes running through your photography. We can also provide solid recommendations for the final look and feel of a portfolio, printing methods and available portfolio building materials such as mat boards, mounting methods and portfolio cases. 

Alternately if you'd rather have suggestions for projects or assignments we can find what will fuel your passion for photography. Message us for more information.

michael@michaelobrienphoto.com

Following are some words written by a client after a session. Shown in it's entirety to give a clear picture of how a review can unfold.

"Michael, that feedback session was a very helpful and stimulating discussion for me. I was feeling pretty lost with my images - happy, but stumbling around without much direction.

"Now I feel like I can see patterns in my work more clearly, and my imagination about where I can take things has been opened up wide. Now there is a direction. I can't wait to get back to work on my stuff....also, I think your suggestion to write about what’s behind my photos is another way of engaging on a deeper level, and of continuing to find the threads running through things.

"I could imagine doing another session some months down the line when I've been able to pursue a few concepts that materialized while you analyzed my photos.

"You definitely have a gift for being gentle and supportive, yet frank and very real.  You are good at helping people find or recognize their vision - I can now see how that works.  You were indeed careful not to close any doors, yet still able to draw attention to what is strongest or most original.

"Thanks so much for the follow up summary with all the informative links you emailed me today - I suspect I could use a bit of guidance when it comes to finishing and presenting my photographs." 

Katharine A.
film industry professional