Field Work
“Te George River has its guardians: the cold, the wind and the blackflies!” explains Jean-Louis Courteau. “I have painted in Laurentian marshes and the jungles of
Guatemala but I’ve never seen so many voracious little vam- pires as on the George. Tey made sketching and painting on the spot a challenge. And when the temperature dropped enough to keep them at bay then Tshiuetin—the north wind—took their place. But this puts you in a state of mind that lets you paint more than what the eyes see. What you experience in the field inevitably goes into the work.”
Field Study and Painting of Eagle Peak
“Tere’s a feeling of loneliness and a little bit of danger that gives the landscape a dramatic feeling. Tat drama is what I’m trying to get in the painting.” —Jean-Louis Courteau
Gary McGuffin: Photographer as Artist
“Photography is the coming together of pleasing light and lines, but it’s not just a case of technical ability, you have to show how your subject relates to its surroundings. How do you present your subject to tell a better story than the one you initially see in the viewfinder? Can you position the camera differently to show how the caribou relates to the river, or should you open the aperture and blur the background? Te photos you make on a canoe trip are different from ones you would make if you
dropped into the same place on a float plane. If it takes you three weeks to get some- where, it changes how you see things when you get there. I’m really happy when I’m in the creative zone. As the sun gets low and the light gets
soft I become oblivious to everything else. Tat’s when I say, ‘Joanie, you’ll have to set the tent up tonight.’ And I’m gone.”
—Ian Merringer C ANOE ROOT S n 31
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