Text and photos by Peeter Põldre
The four days of KESKfEST in Toronto provided a rich variety of photo opportunities. While my typical event photo galleries are archival/documentary in nature, focusing mainly on performers and speakers, this article and its photos provide a more whimsical look at some of the subjects the camera captured.
I adopted a one-camera-two-lenses approach during these hectic days. I anticipated that I would be able to change lenses in a safe (no dust, no wind) environment at each venue. I needed low-light lenses for the tent and church and enough reach (telephoto ability) to deal with both the choir concert and Valguspidu at the Mattamy Centre. My lenses were both f2.8 aperture, one at 24-70mm, the other at 70-200mm. I shot between two and five frames per second to lessen the chance of closed eyes.
“… the Mattamy Athletic Centre proved to be easy to navigate, between a few areas just below the conductors and then to a central point high up on the east side opposite the choirs. It only took 10,000 steps.”
Over the course of four days, the camera clicked a total of just over 6,000 times. I have labelled each photo in the accompanying photo gallery with a theme, though most could fit into several categories. For me, by far the most important is “Rehearsal.”
The ability to arrive early to determine the optimal photo locations, check focusing abilities, and take photos in a more relaxed setting is invaluable. This was critical for Valguspidu as one of my priorities was balancing the need to capture photos of choir conductors while also doing justice to all the other action from both ground level and higher up. Fortunately, the Mattamy Athletic Centre proved to be easy to navigate, between a few areas just below the conductors and then to a central point high up on the east side opposite the choirs. It only took 10,000 steps.
Photo gallery
“Behind The Action” refers to images taken from atypical perspectives, especially during rehearsals. It also includes a few images taken while venues were being set up. “Close Up” images are intended to be more focused on human interactions. “Cropping” can be used to direct the viewer to a specific, perhaps unusual, aspect of an image. “Familiar” images are those of people or groups well-known in our community. The “Famous” category is for special guests to KESKfEST, especially if they are in a more casual or relaxed setting.
You’ll notice that I render some photos into black and white, such as Hirvo Surva and Triin Koch when they are conducting. This is intended to convey formality, as colour is absent and the eye (hopefully) focuses on the face. All the “People” images were taken in a more casual setting. “Reflections” are a favourite subject for many photographers as are “Shadows.” Finally, “Vignetting” is an editing tool that serves to both highlight the subject as well as blur the edges.
While taking photos involves a lot of preparation, it is also important to acknowledge the importance of luck. For example, when Hirvo Surva recognized the presence of Ants Toi in the audience, I just had to turn around and find Ants and his wife Inga within easy camera range.
Finally, I would like to extend my sincerest thanks to those who kindly provided me with media credentials, including Ellen Valter and Kaili Colford from KESKUS, and Kai Kiilaspea from Eesti Elu / Estonian Life.
