A small print

[Geoffrey James]

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Greatly to my surprise, i was informed by the Canadian postal system that they were going to use an image of mine in a series celebrating Canadian photography.  The real surprise for me was the choice -- a portrait made in 1970 of the painter Alec Colville, long before I was a practising full-time photographer.  It was either the M2 or the M3,  with a 35 Cron. I was writing about Colville for Time magazine -- I was a staff writer -- and I took the picture to accompany the piece. (Normally I didn't do this, because it did some of my photographer friends out of work.)  I scouted the location beforehand,  and when I took Colville there,  he figured out what I was doing, which was to make an image in the spirit of his painting. He asked me if  I had had visual training,  to which I replied"none whatever." One of the tricks with stamps is you have to have something that works really small, which may have been why they chose it. But I am just passing this on for fun.

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[FredR]

Cool.  Quite the honor!

 

Fred

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[Geoffrey James]

Fred ,  It was a complete surprise.   The funny thing is that we are paid in stamps and neat postcards with our images.  I have become a correspondent again. 

[Michael Hiles]

Very nice.

 

How did they come across your picture?

 

BTW - reminds me of the horse on the tracks in the National Gallery.

[Geoffrey James]

Michael, I am not sure but I think there is a print in the collection of the stillS division of the NFB, which became the CMCP, which is now part of the National Gallery. There are people who advise and a selection committee but I have no idea who they are.