Turning the Lens to the Present to Build the Future — Wayne Simpson Photographs Phoenix of Sarnia Reserve
Wayne Simpson is a professional wedding, portrait and landscape photographer based out of Owen Sound, Ontario. Wayne’s creative work graces our home, and we feel privileged to consider Wayne our friend. When we saw his most recent project, we knew we couldn’t keep Wayne’s work to ourselves — we had to share this original series with oopoomoo readers. Wayne’s project has deeply touched us as we are about to embark on our own creative journey. Read on to discover Wayne’s personal connection to a disturbing reality for Sarnia Reserve First Nation residents in Ontario.
Q: You are known for your landscape, wedding and family portrait shots, but this series is a little different from some of your work. Where did the idea for the project originate?
A: I’ve actually been thinking about this project for over a year and was only recently able to pull it together. There are several factors that play into why I wanted to do this shoot:
I grew up visiting my Mom on the reserve as a small kid (about 8 or 9 years old). I still remember driving through there at night and seeing all the lights and flare stacks with flames burning – it felt like we were driving through hell and it scared me as a kid. Part of me wanted to make an image that got some of that feeling across.
I still have lots of family living in the middle of all these refineries and I fear for their health and the future of the youth. Just google “Sarnia Reserve” and you will find all kinds of troubling information.
It also really hurts to see the land/water turned toxic. There are small rivers that the kids used to swim in that are now marked as toxic with signage… it’s just so sad.
Q: How did you visualize this scene/story in your mind?
A: This shot was taken on a concrete island between a major 4 lane intersection and an off-ramp. If you were to look in the opposite direction, the reserve starts about 15 meters from here.
I’ve always been amazed by the close proximity of several of the refineries, but I chose this particular spot because I liked the busy hydro lines and old cracked asphalt and also knew that the sun would be rising in exactly the right spot. Knowing the location well and figuring out the direction of light allowed me to communicate the mood I wanted with the introduction of supplemental lighting. It’s not often that I can say a shoot went exactly as planned, but in this case it did!
Q: Tell us a bit about the girl in the picture. Who is she?
A: This little girl’s name is Phoenix Sky Cottrell. Phoenix is 6 years old… but I think her soul is much older! She has a certain mature and quiet manner about her which really draws you in. We left it up to Phoenix to decide if she wanted to do the shoot at 5:30 am to use the best light and she was all in! She was actually excited about the idea! I’m 100 percent certain that she is destined for great things!
Phoenix and her mother have taken part in several Idle No More demonstrations and care deeply about the environment and health of the people, so they have given me permission to share these images.
Q: What kind of lighting set up are you using? Why?
A: In this shoot I wanted to keep the lighting very simple and practical. I used my elinchrom Ranger with a deep octa as a modifier. I wanted to keep things simple, fast and easy so I didn’t waste any time messing around with gear and risk loosing the interest of Phoenix.
I wanted to show the refinery as a dark and ominous presence behind her and utilize some of the early morning colour in the sky. To accomplish what I visualized the shoot looking like, lighting was a must in this particular case.
Q: Describe the morning of the shoot. How did you decide to place your model?
A: The morning of the shoot was quite chilly and very calm. It was very refreshing to not have to deal with harsh light and high winds blowing my light over! I wanted to showcase the great natural light behind Phoenix but also keep my light at least a little bit natural looking. I made a conscious decision to put my light on the same side of her as the sun to keep things as natural looking as possible.
Q:Any tips you want to share about working with ‘real’ people (as opposed to models) in shooting a personal portrait project?
A: I believe that if your personal project is meant to communicate a specific idea which is affecting actual people, it’s best to use those affected people in the images to make it authentic. The images will lack depth if the subject is not personally invested in your project as well. If the project is meant more as a creative release then models are great!
Q: Where do you hope to see this project going?
A: I’m hoping to come up with a series of images depicting environmental challenges facing local reserves, but who knows… it could turn into more than that! After seeing the attention that this work has already received, I’m really hoping to use my vision to bring awareness on more of an emotional level. I could be wrong, but I feel that pulling at people’s emotions with images would garner more long-lasting attention than numbers on a page.
Stay tuned to Wayne’s website for further work in this inspiring series!