Prints can be purchased directly from me. You can buy them through the website using the "Buy Now" or "Add to Cart" buttons on the product pages. You can also contact me via email to place an order.
No, I do not have gallery representation. Prints can only be purchased directly from me.
Certain prints hold a greater value to me because of the subject matter, the style or manner in which they were created, or the personal sentiments I've attached to them. Because of this, for those specific prints, I've decided to limit the numbers produced. I don't necessarily expect you to agree with this decision but I'm hoping that you'll feel as strongly about them as I do and recognize that owning one of a very finite number of copies makes it even more special to us both.
Whether a print is offered as a limited edition or an open edition, I still try to make them affordable for everyone.
No one knows for certain exactly how long a print will last as there are so many variables involved, from the ink and papers used in the print, to the framing materials, to the light, temperature, and humidity in which the print is displayed. However, I do my best to ensure that the prints will be durable and long-lasting by selecting the highest quality materials available to me.
My prints are created using archival-quality pigment inks on paper that's acid and lignen-free. Both of these should help to ensure that you'll enjoy the prints for many, many years to come. Prints identified as "photographic prints" are printed on high-quality semi-lustre paper. The "fine art prints" are printed on a thick, high-quality, cotton rag paper that's acid and lignen free.
To further ensure the longevity of your prints, they should be framed using fully-archival materials, including backing boards, mats, tapes and glue, and they should be protected by UV-blocking conservation glass, especially if they are to be displayed in direct sunlight. Please note that all prints are sold unframed, and without mats or backing boards.
For fine art prints, the additional paper leaves room for a title and signature below the print.
For all prints, the extra trim will make it easier for you to mat the prints before framing. It can be a struggle to work with mats when their opening is barely a few millimetres smaller than the image size. Trust me, you or your framer will appreciate the larger paper dimensions!
Customers with frames whose dimensions exactly match the image size (not paper size) will have to remove the excess trim prior to framing.
No. All prints are sold unmatted and without backing board. This makes it easier for the buyer to choose their own mat and framing options.
The basic price shown for the prints does not include shipping. However, if you purchase a print through the website by using the "Add to Cart" button, a shipping fee is automatically added. If you want to pick up the print instead of having it shipped to you, please contact me and I can invoice you separately without adding the shipping charges.
All prints are priced and shipped unframed.
The rule of thumb for matting and framing is that mats (colour) should compliment the print, and frames (style and colour) should compliment the decor of the room in which they are displayed.
To ensure the longevity of the print, all framing material (mats, backing board, glues or tape) should be archival quality and acid and lignen free. Further, prints should be protected by UV-blocking conservation glass, especially if they will be displayed in direct sunlight.
Most of my images are available to be licensed - for a fee - for use by other individuals, companies, or organizations.
Certain images are not available for licensing. This includes images created for media assignments where the client holds the copyright, as well as any photos that show clearly identifiable people.
That depends on the usage. Before giving you a quote I would need to know how the image will be used, for how long it will be used, where it will appear, and how many copies will be available if it is used for print.
In general, image licensing fees will be based on the CARFAC Minimum Recommended Fee Schedules but I reserve the right to charge more if necessary.
Do you work for free? Probably not, and neither do I.
I strongly believe that my work has value. If you are interested enough to inquire about it, then so do you and you should be willing to compensate me for its use.
Exposure has little value in the real world. Why? Because most people who see an image in a brochure, poster, calendar, or elsewhere don't bother to look up the name of the artist to contact them for further information. Exposure is only worthwhile when someone follows through by contacting the artist and actually buying one of their works of art. That rarely, if ever, happens. I might consider it if I could take your exposure and spend it at the grocery store or gas station, or use it to pay my bills, but I can't. Businesses don't accept exposure for payment, only cash, and the same goes for me.
I am up-to-date on my vaccinations and I am willing to wear a mask if requested.
No. My courses and workshops are for personal interest only.
I've been a photographer, both amateur and professional, for over 30 years and I've offered photography courses and private lessons for more than a decade. Further information about me and my work can be found on the About page.
We can meet any time of the day, any day of the week, subject to prior commitments. I believe the lessons should be arranged around the student's schedule, not mine. I try to make myself available days, evenings, and weekends, to best suit the needs of the student.
Please contact me (email is usually best) so we can find a time suitable to us both.
Most of my students prefer it for the convenience. There's no rush to get home, look after chores, and then rush out again for a class. I travel to them and arrive when they are ready to begin. Most people also find their home to be a more comfortable and relaxing environment for them to learn in.
Absolutely! Weather permitting, of course. A classroom or living room is great for reviewing the camera, camera settings, and other technical details but the field is usually the best way to apply that knowledge. We can work in the student's yard or meet at nearby parks or trails.
Private lessons are intended for individuals but I'm willing to take on small groups up to a maximum of four people. Please note that the pricing per individual remains the same.
I have no plans to at the moment.
Pricing is for students located in the Greater Moncton area. I'm willing to travel outside of the area but additional fees to cover my travel time and mileage will apply.
Students are welcome to travel to Moncton, at their own expense, to meet up with me providing we can find a suitable location for the lessons (I do not have an office or studio of my own that's suitable for hosting the lessons).
We may also be able to cover some lessons virtually, using FaceTime, Zoom, or Microsoft Teams (although in-person lessons work best).
Yes, lessons can be conducted via Zoom, Microsoft Teams, or FaceTime. However, in-person lessons usually work best.
Not necessarily. I've had students take lessons prior to purchasing a camera. However, part of the lessons is teaching you to find and adjust the settings on your camera so that you can apply the techniques and theory you've learned. That's hard to do without a camera.
I don't. There are so many makes and models available, each at different price points and with different features and options. It's difficult to recommend any one model in particular.
My suggestion is for students to visit their local camera store, like Ivan's Camera here in Moncton or Henry's Camera in Halifax. The sales staff can show you the different models, explain their features, and hopefully find one that's best suited to your budget and needs.
That's a tough question to answer.
Mirrorless is the wave of the future, and the big brands (Canon and Nikon) are moving aggressively into the market. In doing so, they are quickly dropping their DSLR lines of cameras and accessories, which are becoming harder and harder to find new. Other brands, like Sony and Fuji, switched to mirrorless some time ago.
If you want to keep on top of the new technology, and ensure that you will be able to purchase lenses and other accessories in the future, than mirrorless may be best. Unfortunately, at the moment, there are limited offerings from some manufacturers, and many of them are quite pricey. It will take a while for the companies to build their product lines and fully cover both the consumer and professional markets.
DSLRs are still a good choice of camera. The problem is that some manufacturers have stopped making not only the cameras but also lenses and other accessories. While it's still possible to find some of them new, most of the products are quickly becoming unavailable as existing stocks run out. However, if you have access to a DSLR and accessories, there's no reason why you can't stick with it for the time being. And, as more people make the move to mirrorless, a lot of DSLR lenses and accessories will find their way into the used market. Finally, there are adapters available that allow you to use DSLR lenses on the newer mirrorless cameras, so you can continue to use your existing lenses even if you switch to mirrorless down the road.
Every photographer should have a cleaning kit. Your kit should include: A blower; a LensPen; dedicated lens cleaner; and dedicated lens tissues. The blowers and LensPens (LensPen is a brand name - there are other companies that make a similar product) are usually stocked by most stores that sell cameras. Lens cleaner and lens tissues are specifically made for cleaning camera lenses - you can't substitute Windex and Kleenex! Look for the cleaner and tissues at your local camera store. These products can be purchased individually or in kits.
It's always good to have extra memory cards and a spare battery.
You should also have a camera bag, not just to carry your gear but also to store it. A camera bag will keep your gear free from dust when you're not using it.
Other types of accessories will depend on the types of photography you do, and not all accessories are suitable for every photographer. Common items include: lens filters (protective and polarisers); monopods and tripods; and on-camera flashes and studio strobes, to name just a few. What you need will be dictated by what you like to do. For some accessories, you can start cheap and buy better quality products as your photography improves. For others, you should do your homework and try to buy the best you can afford right from the start, as things like monopods and tripods can serve you for years so you want something that will both last and do what you need for years to come.
There's a ton of stuff available online, and a lot of it is free. Some Google searches will turn up a lot, and feel free to browse through as much as you can. However, If you have a Canon or Nikon camera (and even if you don't), I highly recommend visiting their websites. They both have learning sections that explain everything from the basics of photography to more advanced techniques, while also providing helpful information on their cameras, lenses, and accessories. Keep in mind that the fundamentals of photography, and many techniques, are the same regardless of the brand of camera you use - you can learn about depth-of-field or subject posing just as easily from a Canon website as a Nikon one.
If you're looking for a book, my favourite is Understanding Photography by Bryan Peterson. He covers the basics very well and in a way that's easy for beginners to follow and understand. He also provides a lot of helpful tips and tricks for intermediate photographers. The book isn't required for my photography lessons but I do recommend it to all my students.
I prefer to teach the basics, which is the foundation for all types of photography. I can offer advice on certain genres of photography, including: sports, landscape, and wildlife.
I do not teach: portrait photography, wedding photography, flash photography, or studio lighting. I do not believe in teaching subjects in which I have little to no experience or expertise.
I can offer basic lessons in Adobe Photoshop, which is my preferred image editor. I do not teach advanced techniques.
I am unable to offer instruction in Adobe Lightroom or other editors (Affinity, Capture One, Luminar, etc.) as I do not use them for my own work.
That being said, many of the basic items we tweak during editing (exposure, contrast, saturation, etc.) are available in all of the editors. I can show you how they work in Photoshop (Adobe Camera Raw, actually) and that knowledge can easily be transferred to other editors such as Lightroom. However, I am not able to demonstrate more advanced features of the other software.
Like the photo lessons, the workshops are intended to be 1-on-1. And, like the photo lessons, they are available on-demand and can be scheduled at any time.
Please contact me (email is usually best) if you would like to book one of the workshops.
You should have a computer with some form of digital asset management (DAM) software installed. Some editing suites, like Adobe Lightroom, have a built in DAM component but many don't. If your editing suite doesn't include a DAM component, than I'd suggest installing Adobe Bridge. It's available for free, even if you don't have an Adobe subscription (you will need to sign up for an Adobe Creative Cloud Account, but you don't have to pay for a subscription and won't need to provide a credit card). The techniques you learn in Adobe Bridge can be applied to Lightroom, Photo Mechanic, and other DAM software.
You should also have memory card with a few photos on it that you can download and work on during the workshop. They don't have to be good photos, or a lot of photos, you'll just need a few for the demonstrations. Make sure any important photos have already been downloaded and backed up prior to the workshop.
Finally, you should have a plain text editor. They are pre-installed on most computers - TextEdit on Mac and Notepad on Windows-based machines.
You'll need a computer with a copy of Photo Mechanic 6 or Photo Mechanic 6 Plus. You don't need to purchase the software in advance as it has a free (totally free, no credit card required) 30-day trial. For most photographers, Photo Mechanic 6 (not plus) is sufficient.
You should also have memory card with a few photos on it that you can download and work on during the workshop. They don't have to be good photos, or a lot of photos, you'll just need a few for the demonstrations. Make sure any important photos have already been downloaded and backed up prior to the workshop.
Finally, you should have a plain text editor. They are pre-installed on most computers - TextEdit on Mac and Notepad on Windows-based machines.
Yes, but it depends on the type of event.
I no longer do what's referred to as "on spec" work, where I get paid from print sales to parents and participants. In my experience these types of events rarely earn enough revenue to cover my time, effort, and expenses. This is especially true nowadays when everyone has a camera and everyone takes photos for themselves - the event photographer no longer has an exclusive market.
I am willing to discuss events that pay me a flat rate for the work. However, please note that I'm very protective of my copyright and will only assign it to others under very special circumstances.
No. I am not a portrait photographer.
No. Never. Absolutely not.
Yes, but it depends on the type of event.
I no longer do what's referred to as "on spec" work, where I get paid from print sales to participants. In my experience these types of events rarely earn enough revenue to cover my time, effort, and expenses. This is especially true nowadays when everyone has a camera and everyone takes photos for themselves - the event photographer no longer has an exclusive market.
I am willing to discuss events that pay me a flat rate for the work. However, please note that I'm very protective of my copyright and will only assign it to others under very special circumstances.
Please contact me and we can discuss the terms. Be prepared to show the terms in writing.
Rates will vary depending on the terms and conditions of the assignment.
If you are a legitimate media or advertising company you can contact me and we can discuss the terms.
If you are one of the so-called photography companies that have crept up these past few years, offering photographers a paltry rate for short assignments that include turning over all RAW files, editing decisions, and copyright, don't even bother getting in touch with me.
The online galleries were shut down a few years ago.
The images are still available in my archives. Unfortunately, not all of the archives are fully searchable so I may not be able to find a particular subject. This is especially true for the dance photos since I wasn't able to tag individual dancers by name. Feel free to contact me if you are looking for someone specific but I can't guarantee I'll be able to find them for you.