A photographer's Algonquin story FONTHILL, ONTARIO As far as mistakes go, burberry quilted jacket outlet this was a useful one.
Daylight was just waking up when photographer Peter Ferguson launched his kayak into the waters of Lake of Two Rivers at Algonquin park. It was September 2005. The time of year when the cool nights and warm water combine to create those misty, early morning images reminiscent of Ontario's north. He came with the usual arrangement of equipment a point and shoot around his neck, and a knapsack with his favourite SLR and 300mm lens (nothing bigger because he often has to manoeuvre the kayak with paddle in one hand, and shoot with camera in the other), all strapped with bungee cords onto the kayak deck. The 63 year old retired elementary school teacher is about as comfortable in the park as he is sitting in the backyard of his Pelham home. He's had three exhibits of his natural photos in The Algonquin Room in the park's Visitors Centre. And his photographs have appeared in magazines, and in the park's newsletter. In his viewfinder, on the left, an outcrop of trees seemingly sprouting from bare rock and back lit with the warmth of a rising sun, jutting out into the water. It wasn't until he saw it on burberry classic shirt his computer at home after the trip, that he wondered if its soft, sepia tone was actually achieved not by photographic expertise, but by having his camera on the wrong setting. He has vague recollections of playing around with the buttons earlier that morning. Needless to say, it's become a favourite during his exhibits. The photo reminds him of Canadian painter Tom Thomson, who died under mysterious circumstances in July 1917. His body was found in Canoe Lake. And discount for burberry it prompted Ferguson to think: "What if Tom Thomson had a camera?" And so began his quest to capture Algonquin scenes with his camera, in the same spirit Thomson painted them with his brush. The lonely trees. The isolation. The windswept, turbulent sky. "That illusive Canadian feeling of being alone in the wild," he says. On a good day in Algonquin, he'll take up to 2,000 frames. Many of them are of wildlife. Interactions between them. And behaviours that only time and patience allow him to see. "Once you get over the idea of 'I have to drive around and chase the wildlife', you'll find a spot that you enjoy," he says. "Usually, everything comes to you." His style is more sit and wait than get up and go. At times, for hours. He often brings an inflatable cushion. The result are photos that no one else gets: a loon swimming underwater, a cow moose with triplets (the third youngster wandered out of the bush when the crowds of people left), a moose asleep in burberry clearance store front of him, and a family of loons that conveniently swam past early one morning giving him just enough time to capture the photo on his point and shoot camera. If there's a moose on the side of the highway, he'll stop and wait until the crowd leaves (usually once they effectively scare the animal into the bush). Typically, it will reappear and deliver a solo performance just for Ferguson. During one 39 day trip, between Labour Day and Thanksgiving of 2005, his mornings followed a strict routine. 60, on his way for a coffee. Every morning, the photographer in him would be consumed with one thought as he drove past a spot of the road with striking white birch trees and maple leaves that seemed to deepen in colour every day that picture needs a moose. On Day 35, the moose complied.
Ferguson pulled over to the side of the road, got out, and waited. And. waited.
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