Toronto is home to Ontario Place, which was once a park that had splash pads, rides, a Legoland, and more. It was opened in 1971 and hugs Lake Ontario. It was closed in 2012 for redevelopment and, since then, has largely languished as successive governments have suggested ideas but none have come to fruition. Ontario’s official motto is “A Place to Grow”, and by extension Ontario Place itself is a place that has since grown up and is now slowly wasting away due to government neglect.
It’s also one of my favourite places in the city to visit and photograph, and especially during the pandemic when it has been relatively quiet and free of people. It’s both a very calming location and one that has very interesting buildings and urban ruins to photograph.
It’s getting warmer in Toronto which means that people are inclined to be outdoors; there are more cyclists and skateboarders in Toronto than I think ever before, and they’re all using the paths that are typically used predominantly by people who are walking or jogging.
Each year, I’ve managed to find or access or photograph a new part of the park that’s succumbed to lack of upkeep, and this year is no exception. An enterprising soul laid down some boards to cross over into part of the flume ride which meant I could see it for the first time! I suspect that it’ll only be a matter of time until a provincial government finally gets its way and tears down these ruins.
I’m sure that more and more people will be using the park this year it’s limited attractions, and especially as more Torontonians get vaccinated. While I’ll miss feeling like the park is my own, it’ll be terrific to have another part of the city return to normality.
(All photos shot using an iPhone 12 Pro and Fuji x100f, and edited using my presets in Darkroom.)
Welcome to this edition of The Roundup! Enjoy the collection of interesting, informative, and entertaining links. Brew a fresh cup of coffee or grab yourself a drink, find a comfortable place, and relax.
I’m the (very) proud new owner of a Fuji X100F. The X100 series is what really drew me back to photography five or six years ago. I had the original X100 and, as someone who was coming from a camera phone, it was incredibly frustrating! The knobs and dials were cool but I had no idea how to use the camera. As I wrote, personally, at the time:
… the Fuji is awesome looking. But I can’t take a decent shot whatsoever with it at the moment. It’s going to take me a while to just understand the relationship(s) between the various settings in order to get some decent shots from it.
That camera ended up getting sold to pay rent and food, sadly, but my want for a replacement never left. In its stead I’ve used (and loved) a Sony RX100ii and an Olympus EM-10ii, and it’s on those cameras that I’ve learned an awful lot about photography. I’d be lying if I said I’d used more than 20% of their capabilities. However, over the past several years I’ve shot tens of thousand of photos with them and so have a better appreciation for framing, composition, and generally the kinds of settings that I’ll need for different shooting situations.
I was still a bit trepidatious about the new X100. The 35mm focal length hasn’t, typically, been my absolute preferred focal length (that honour belongs to the 50mm focal length), but I’m starting to think that part of my concerns around 35mm have been linked to what a micro four-thirds sensor showcases as 35mm. Specifically, with the X100F I can see just enough more that I don’t feel as compressed as I do shooting with the equivalent focal length on my Olympus. And, of course, I am absolutely adoring the colour that I’m getting out of the Fuji!
You can learn the technique, but passion is cultivated through dedication, love, pride as respect in your work.
Great Photography Shots
I am forever in love with the colours that people pull out of street scenes in Japan; it’s part of why I’d like to visit Japan or, perhaps more likely, Hong Kong once/if things settle there. Portela’swork in Kobe, Japan, is just stunning.
Music I’m Digging
For my first monthly playlist of 2020, I’ve actively gone through older albums that I know I enjoy and selected what I love. As such, there’s some diversity in when tracks were published, though in terms of the actual genres it’s ahead as normal: R&B, alternative, and some singer/songwriter dominate the tracks.
Neat Podcast Episodes
Oppo-A Huawei Executive Defends Their Record // This is, without a doubt, one of the most aggressive Canadian interviews I’ve heard about Huawei. Fundamentally, it seems like a core issue with these kinds of interviews, generally, are that journalists are ill-prepared to develop and run a series of parallel lines of argumentation, and then conclude at the end with assessments of what the responses to all those parallel lines ultimately constitute. Even with some of the weaknesses in the interview I think that it is, hands down, the best interview with a Huawei executive on the appropriateness of Canada relying on the Huawei’s equipment in next-generation mobile networks.
How 17 Outsize Portraits Rattled a Small Southern Town // Burch’s article does a good job in both outlining how much work goes into public art projects—the process that goes into them is as, if not more, important that the output—as well as how public art can initiate important and needed social dialogues.
Is Duty-Free Dead? On the Trail of Travel-Exclusive Unicorns // As someone who now searches through duty free shops hunting for novel whiskies, Goldfarb’s article on the relative dearth of interesting drams rings depressingly true. While I did find a truly unique bottle of Danish pleated whiskey in Copenhagen last year I’m hard pressed to think of anything interesting I’ve otherwise come across in the past year or two of flying. In contrast, just four or five years ago I could routinely find drinks that were entirely unavailable in the regions I lived in. Sad times…
The Shadow Commander // The assassination of Qassem Suleimani sent reverberations throughout the world, as governments held their breath while wondering what consequences would follow from the American action. But what was evident in the media following the killing was that few people truly appreciated who he was, what he had done, or why the Americans would want to kill him. This older article in The New Yorker does a good job in explaining his life, how he became a powerful power broker in the region surrounding Iran, and how he exercised this power to kill or undermine American and Western interests for decades. While it stops well short of justifying the American assassination—it was written seven years before the action—it does help non-experts better appreciate some of the thinking that presumably went into the military decision to want to kill Suleimani.