When most people think of the Canadian Rockies, they think of epic soaring peaks above turquoise crystalline lakes.
And those are the kinds of pictures most of us want to take to share with family and friends.
But two Canmore photographers prove there is so much more to see in the Rockies than the obvious ‘big picture.’
Pam Jenks and Lee Nordbye have a photographic exhibition at artsPlace in Canmore that celebrates intimate and detailed scenes in the Rockies that most of us would overlook.
Their show, It’s All In The Details, invites viewers to slow down, look around and appreciate the intimate beauty that nature offers to those willing to see.
Most of their images are made of distant scenes with a telephoto lens to abstract the landscape into simple lines, patterns and textures.
The Rockies.Life (TRL) recently caught up with the two busy photographers to ask them questions about how they distill such graphic and surprising views from the Rockies’ big landscapes.
TRL – While most photographers come to the Rockies to shoot the grand landscape, the two of you focus on intimate details of the mountains and forests most people overlook. When did you first begin moving ‘beyond the obvious’ and exploring the ‘beauty in the unseen?’
Lee – My love affair with the [telephoto] lens started in 2016 with a personal challenge. I met a friend at Vermillion Lakes for sunset. Knowing the wide-angle shot of [Mount Rundle} reflecting in the lake with Rundle in the background was one of the most iconic shots in the Rockies; I challenged myself to find different angles.
After only being at the lake for a few minutes, I pulled out my 70 to 200 mm [telephoto lens]. I got a shot that I love to this day. From that point on, I started looking for more detailed-oriented shots.
Pam – I also started moving beyond the obvious in 2016.
When I retired a few years before that and decided to get a little more serious about photography, I aimed to capture those big, beautiful landscapes with leading lines and perfect light. The problem was that when I held the camera up, I couldn’t figure out how to compose those shots. My eye just couldn’t see it unless someone else pointed it out. After a couple of years of frustration, I realized I was much happier zeroing in on details and textures in the landscape. It was a big revelation when I permitted myself to leave the sky out of my photos.
TRL – How has your creative vision developed since you began focusing more on texture, tone and abstraction?
Lee – My vision for capturing the Rockies’ nuances began after my exhibition, Below the Peak, in February 2020. I put together 11 photos of stories that did not include a peak, thinking this was a one-shot deal. However, after the exhibition, I began to capture more detailed stories every time I went out.
Pam – My vision has evolved from taking photos of small, intimate scenes close to me to using a long lens to take intimate scenes on a larger scale from further away.
TRL – Your photos stand out from the crowd and are easily recognizable due to your personal styles. If you had to describe your personal style, how would you do so?
Lee – I would describe it as a bold photographic style that highlights the intimate details and nuances of the natural world.
Pam – I think my photographic style could be described as abstractions of nature, where details and textures are more important than the actual subject. However, sometimes, I also like to shoot abstractions of manmade structures.
TRL – Each of you makes images that rely heavily on compositional elements such as line, form, texture, and contrast. What are the main compositional tools you use in your work?
Lee – I don’t look for one specific thing when I am out. I shoot what speaks to my heart and gives me butterflies in my stomach.
Pam – Like Lee, I don’t head out shooting with goals to shoot specific compositional elements; I just go with what feels right and appeals to me. But when I review the photos I’ve taken, they rely heavily on lines (usually diagonals) and texture, so I’m sure that is what I’m looking for subconsciously.
TRL – Because your styles are more abstract and artistic, how do you find the general public responses to your work?
Lee – It depends on how you define the general public. I do not get a massive response if it is based on the general social media response. The response is always very positive if you define the general public as those who see my work in print, whether it is an exhibit or a customer. This is one reason I have become such a big proponent of printing your work. It comes alive vs. looking at your phone or computer screen.
Pam – I was very nervous about this show because I asked myself this exact question and really didn’t know what to expect. But as Lee said, there is something magic about getting images off of the computer and onto large prints that really brings them alive. And having them hung in a gallery designed for art with good lighting also helps. The response to the printed images has been fantastic. Seeing people looking at the photos and commenting positively is great; I’ve even made some sales!
TRL – Pam shoots in colour and Lee in B+W, but you are both united by shooting details with longer lenses. Once the show was printed and hung, how do you feel your two styles complement each other?
Lee – Our love for showcasing intimate details and exploring the Rockies beyond the road binds the show and us together as friends.
Pam – We’ve hung the show so that Lee’s images are mostly on one side of the gallery and mine on the other. It makes for a really great contrast, with bright colours on one side and black-and-white on the other. However, they are tied together because of the abstract nature of the photos and the fact that there is no sky to be found in any of the images (except in reflections). It also ties together because we framed the photos the same way.
TRL—Of course, other photographers will want to know about gear, but let’s keep it simple: If you could only shoot with one lens for the rest of your life, what lens would you choose and why?
Lee – Okay, I know you are looking for a one-lens answer. Unfortunately, I cannot do this. It is a depends answer. It is my 100 mm to 500 mm lens for car adventures or small hikes. It allows me to capture more unique perspectives of the Rockies simply by zooming in. If I am on a big adventure (height, distance, or both), it is the Canon F4 70 to 200 mm lens. It is so compact yet versatile sitting on top of a mountain.
Pam – There is no question about this for me! It would be my RF 100-500mm lens. This lens is often on my camera when I’m on a serious photography outing and is often in my pack if I’m hiking with friends. I can zoom in on details from afar and shoot wildlife I come across along the way. If I want to capture a broader scene, I can always use my cell phone.
TRL – Finally, just a few details: How many prints are in the exhibit in total? What are the sizes of the prints? Who did the printing? Are the prints for sale if anyone is interested in purchasing the work?
Lee and Pam – The exhibit has 24 prints, 12 from each of us. Royce Howland Print Studios in Calgary did the printing. Hannah from Framed on Fifth in Calgary, the framing. Our prints are all 16 by 24 inch. The main difference is that Lee’s are printed with a 3″ white border around them and framed to about 24×32, while Pam’s have a 2″ border and are framed at about 22×30 (with one photo that is slightly bigger because it was more of a panoramic format image). All prints are for sale.
To contact Lee, visit his website, Facebook, and Instagram pages, or contact him directly at lee@leenordbyephotography.com.
Pam can be reached through Facebook or contact her directly at jenksphoto@gmail.com.
Their exhibit at artsPlace is on display until August 25.
