Visual Calculus in Photography Spotlight 1


March 3-31

Opening March 3 from 6-9pm

Alain Laforest | Catherine Aboumrad | Daniel Miller | Guy Glorieux | Guy Lafontaine

Jean Lauzon | Marie-Reine Mattera and Emmanuel Joly | Robert Slatkoff


“Visual Calculus in Photography” is a one-time reunion of a chosen group of talented photographers who have built for themselves a solid reputation through their personal research, exhibition, writings and publications.

This exhibition emphasis the importance of image construction/composition in photography. A visual space where each photographer places the various elements that they wish to photograph in an orderly/chaotic fashion. A clear aspect of visual balance, a unique set of geometry rules, a distinct set of elements juxtaposition is present for each image.

For each photographer, a complex mental equation gets resolved when constructing their various images. As if, they get both sides of the complex visual equation at hand resolved, in perfect balance. An equation for which only they have the solution.

Guy Lafontaine


How do you begin to construct an image?

I do not see image creation as an easy thing, it’s a journey. I first need to be in the proper mind set and absolutely need to have the appropriate light. I try to be in an open state of mind where I leave the door wide open for whatever comes my way. Once something gets my attention, I will proceed to mentally construct an image and then proceed with the picture taking part. Both sides of a mental equation become perfectly balanced, the visual puzzle is resolved. Part using formal image composition rules and part letting my instinct take over. The hunting and catching is not always fruitful, but rewards me with when I least expect it.

Catherine Aboumrad

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How do you begin to construct an image?

Before the image, there is a strict protocol. The medium format film camera is placed on a tripod whose head is free to rotate. Every 10 minutes, I push the camera to turn on itself, and leave it to stop in a random position. This game lasts an hour, the time of the photographic exposure. The parameters are always the same: a film speed of ISO 100, an aperture of F/22. To be sure to have the greatest depth of field possible and that all elements in the image are in focus, I use the hyperfocal distance. I have mindfully chosen the protocol for making the image and I have studied with care the routine to adopt, therefore I suffer the results of my own parameters.

Daniel Miller

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How do you begin to construct an image?

When taking pictures, the different elements which will compose my scene are not already in their particular places. Indeed, I have in mind a potential image which is actually created slowly in relation to a specific spot of the scene. This could be a passerby who will arrive at my focus point in a few seconds. It could also be a car that will certainly have had the time to pass by – or not – my point of interest. Of course, I have to adapt to either possibility. Sometimes it is a point at which two people should meet and look at each other for a fraction of a second. This is how a potential image arises in my head which only becomes a reality the moment I snap the trigger. My photographs are opportunities that I anticipate, and then, try to cease upon.

Guy Glorieux

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How do you begin to construct an image?

When I look at my photographs, I find they are the result of a complex process that brings together the Heart and the Mind, the Why and the How, the Spirit and the Matter in a unique combination.

It was Sam Tata, I believe, who once said that to make an image it takes a photographer, a camera and a subject … willing to be photographed. More important, in my mind, in the construction of a significant photograph it is the emotional charge which arises between the photographer and the scene being photographed. It is this charge which in turn will reach the viewer.

Once established, the photographer’s vision must be transformed into a printed image. It requires decisions about what kind of camera, what optical characteristics (telephoto or wide-angle), what medium to record and print with (pixels or silver), what size the final work? Will it be a color or black and white photograph? This is the mechanics of image-making and the way these questions are answered will have a big impact on the outcome.

But, in the end, what really counts is the “love-factor” binding the subject and the photographer at the instant when the shutter is triggered.