On the Point Grey campus of the University of British Columbia stands the Reconciliation Pole, carved by Haida hereditary chief and master carver 7idansuu (Edenshaw), known also by James Hart. The pole was raised on 1 April 2017 in a grand ceremony.
Above the “residential school” are several standing figures holding each other’s hands; a young girl with a bright red tunic was carved by Susan Point. Their feet aren’t shown, representing the lack of grounding and abundance of abuse. A blight on the nation’s history, the Canadian government stole an estimated 150-thousand indigenous children from their families, forcing them into residential schools across the country. Countless people, family generations, and once intact regional cultures were systematically destroyed, amounting to a state-sanctioned program of cultural genocide.
The Reconciliation People is a small step in not only an admission of guilt, but a part of the forward-moving process of remembrance by Canadians and reconciliation between First Nations and the national government.
Digital crop of the image above.
I made the photo above on 22 Aug 2019 with a Fujifilm X70 fixed-lens 18.5/28 prime with settings 1/280-sec, f/16, and ISO1000. This post appears on Fotoeins Fotografie at fotoeins DOT com as https://wp.me/p1BIdT-kBS.
A Coast Salish artist from Musqueam First Nation in Vancouver, Susan Point is highly acclaimed, both nationally and internationally. About her sculpture Point writes (City of Vancouver):
“Fusion” is an artwork that marries mediums and cultures … as well as legends. It also, metaphorically, fuses natural imagery with modern methods. The sculpture is contemporary yet unmistakably Salish. As this development sits in traditional Musqueam territory and is close to the banks of the Fraser River, my conceptual art piece is based on the theme of “people of the Grass” as well as the “Salmon People” which is uniquely Musqueam. The human element within the salmon has universal appeal that symbolically relates to all peoples. The faces are revealed with traditional Salish elements. Overall, the forms represent a living thriving culture and our historical legacy; as well as this unique community today … giving a sense of place and a landmark that respects the past, present and future.
I made the photo above on 5 Dec 2020 with a Fujifilm X70 fixed-lens 18.5/28 prime and the following settings: 1/1000-sec, f/11, and ISO1000. This post appears on Fotoeins Fotografie at fotoeins DOT com as https://wp.me/p1BIdT-kJI.
A Coast Salish artist from Musqueam First Nation in Vancouver, Susan Point is highly acclaimed, both nationally and internationally.
“… Point designed this pod of swimming whales. She said that the word ‘consonance’ implies harmony and agreement among the components or a dialogue or repeated sounds. Whales dominate legends that show the interconnectedness of all life and are used extensively in First Nations art. The artist also repeated a theme used in other art she has created: the need for respect and an obligation to care for the whales and each other.”
“Public Art in Vancouver: Angels Among Lions”, by John Steil and Aileen Stalker, 2009.
I made the photo above on 5 Dec 2020 with a Fujifilm X70 fixed-lens 18.5/28 prime and the following settings: 1/500-sec, f/8, and ISO1000. This post appears on Fotoeins Fotografie at fotoeins DOT com as https://wp.me/p1BIdT-kJE.
• A Coast Salish artist from Musqueam First Nation in Vancouver, Susan Point is highly acclaimed, both nationally and internationally.
• Connecting the landscape with the Musqueam people, the red-cedar sculpture is in the shape of a tall old-growth tree stump for the trees in the surrounding temperate rainforest; the central wavy-like features represent the waters of the Fraser River.
• Sculpture installed 2009 at Vancouver International Airport, (landside) inside the covered passage between the Canada Line station and the domestic terminal.
I made the photo above on 5 Dec 2020 with a Fujifilm X70 fixed-lens 18.5/28 prime and the following settings: 1/500-sec, f/11, and ISO1000. This post appears on Fotoeins Fotografie at fotoeins DOT com as https://wp.me/p1BIdT-kJB.
Above/featured: South portal, Lions Gate Bridge – 25 Jun 2021.
I wrote about how the Fujifilm X70 fixed-lens prime has been great for my photography. Fujifim prides itself on good to faithful reproductions of film simulations (film-sims). For the most part, I’ve used the default or “Standard” setting, equivalent to the “Provia” film-sim which is one of 11 film-sims built into the X70.
I learned about other film-sims, particularly those applicable to the older X-Trans II sensor that’s in my X70 camera. I’ve been interested in digital reproductions of “old” colour slide film, and seeing how images over a variety of subject matter appear with a film-sim that looks a little more like “old school film”. Ritchie Roesch describes in Fuji X Weekly the differences between the Kodachrome II and Kodachrome 64 film-sims; the former resembling the look of Kodak film from the 1960s to the mid-1970s and the latter echoing the final version of the film-type from the mid-1970s to 2009.
At locations throughout metropolitan Vancouver, I’ve made the images below using the “Kodachrome 64” film-sim with this recipe to apply the following settings:
- ‘Classic Chrome’ built-in film-sim
- Dynamic Range: DR400
- Highlight: +2 (High)
- Shadow: +1 (Medium-High)
- Color: 0 (Medium)
- Sharpness: 0 (Medium)
- Noise Reduction: -2 (Low)
- White Balance: Daylight; 0 Red, -3 Blue
- ISO: Auto up to 3200 (or fixed to 1000)
( Click here for images )