Mario worked as Director of Communications to Canadian Liberal Leader Michael Ignatieff. His office was a short way down the hall from mine. I saw him almost every day, and often worked with him directly whenever my tasks involved communications. He was always friendly — the kind of guy who can be humble and down-to-earthly human in a political world where many others are too full of their own importance.

I don’t normally speak publicly about what goes on behind our office walls, but I don’t think I’m revealing any secrets to say that many of my co-workers at the Liberal Research Bureau were demoralized after the 2008 election defeat of leader Stéphane Dion. A new management team initially brought in by Mr. Ignatieff was smart and energetic, but lacked experience and made mistakes. Then, last fall, Peter Donolo was brought in as Chief of Staff, and he brought with him a management team of stars. One of the brightest of these was Mario.

Mario had a witty sense of humour. It came through in media reports. Invariably a reporter would quote an unnamed “Liberal source” who had some sharply clever response that mocked the bungling of the Harper Conservatives. To anyone who knew him, it was obviously Mario. At meetings, Mario could be decisive and quick to get to the point, but then he would let go a wry comment that would have us all in stitches.

I admired his approach to communications. All too often Conservatives twist and distort the facts, spinning small events and big lies. Liberals earnestly struggle through the weeds of issues, attempting to make logical, but obscure arguments that are lost on the public. Not Mario. He could instantly zero in on the essence of an issue, saying in simple terms why it matters to Canadians. He had an inner gut for public opinion. I never once heard him call for twisting or torquing an issue, but I often heard him urge sensible restraint when colleagues became a bit too enthusiastically partisan. Whenever he questioned my work, I knew after a little reflection that his instincts were right.

I remember when the tragic earthquake struck Haiti and Mario seemed emotionally shaken, quickly realizing how serious it was. In quiet tones, he told us it looked very, very bad, and above all we should not try to exploit this tragedy for partisan purposes. This was a time to be supportive of effective action, while being respectful of those on the government side who would be front and centre of Canada’s response to the tragedy.

I regret that I never got to know Mario as a close friend. From the moment we first chatted, I knew we shared many common interests. We were close in age — boomers in an office dominated by 20 and 30 somethings. We shared the cultural reference points of those who came of age in the 1960s and 1970s. Both of us had a fascination for the world outside Canada — particularly Latin America, where he had served as Ambassador to Costa Rica and in other diplomatic roles in Mexico and Venezuela. I had hoped that one day we would chat about our common experiences abroad, but that’s a conversation that now will never happen.

Not too long ago Mario asked me if I would mind doing him a small favour not related to work. He wanted me to scan electronically some papers for him that he needed to insure a motorcycle. As I scanned the papers, I had a thought — not quite as strong as a premonition, but clear nonetheless — that riding a motorcycle in and around Ottawa was a risky activity, and I hoped he would be okay.

The last time I talked to Mario was a chance meeting in the washroom where he told me he had been out exploring the countryside and had discovered Perth, a town west of Ottawa that I also like very much. He said that while looking at photos on the Internet of local places to travel to, he’d been surprised to come across so many of my shots. I vaguely thought it would be fun if I had a motorcycle, to tag along on his explorations.

But then Thursday morning I got a call from a colleague who gave me the sad news shortly before it broke in the media. I was away in Quebec on a French immersion course and couldn’t share the grief with colleagues and friends who knew Mario.

Today I drove through that intersection at Scott and Parkdale near my home where Mario’s life was taken from him at the age of 52. There were eerie police markings still on the pavement showing where the SUV stopped and where Mario landed. I felt an anger at the attitude of so many SUV drivers who seem to feel that because their vehicles are bigger, they own the road. But most of all, I felt a profound sadness about the waste of a life of a man in his prime, an amazing man I would have liked to know better.

While this can result in interesting light when the sun is very low in the sky at the beginning or end of the day, most of the time it just results in harsh shadows and washed out highlights. And subjects often squint in the bright sun, making them less attactive.

A better solution, where possible, is to photograph subjects in open shade. This can be against a north-facing side of a building, or under a picnic shelter or anywhere else that’s not in the direct sunlight, but where reflected sunlight can enter from all directions to illuminate the scene. The shade of trees can be used, but often there’s a dappled light coming through breaks in the leaves that can ruin the shot.

Some photographers use translucent white panels between the sun and the subject. This works really well, but usually involves an assistant to hold the panel, or some kind of set-up with light stands to suspend the panel. Great light, but a little impractical for a lone photographer looking for candid shots.

Often there’s simply no alternative but to shoot in direct sunlight. In such cases, it’s best to try to put the sun behind the subject (but not aiming right at the lens, where it will cause flare), and then to light the subject with a fill flash. The fill flash will even out the light a bit, softening it in effect. It fills in shadows, like those under a hat brim, or around someone’s eye sockets and nose. It also increases the light on the subject in cases where the sun is behind them, so they aren’t silhouetted, but you can still sometimes get nice rim light from the sun behind.

Fill flash is one of the few times when the on-camera pop-up flash works reasonably well. That’s because it’s just fill — it’s not the main source of light. If you use a hot shoe flash, you can often leave the flash on the camera, with or without a diffuser. Sometimes you’ll want to reduce the flash output a little so the effect of the flash is less noticeable.

Below are a few shots where I used fill flash to advantage:

July 1 Canada Day in Ottawa is often very sunny, and this is especially the case shortly before noon. It’s a good time to take pictures of people celebrating, but harsh sunlight often makes people’s faces very contrasty with light and shadows.

In this picture of a girl getting her face painted, the sunlight was extreme, but was coming from behind the girl. Using a fill flash softened the light and shadows on her face, and almost gave the impression of shooting in open shade. In a few pictures in this series, my flash failed to fire, and the result looks very different with harsh shadows across her face. Using a fill flash in bright sunlight, it’s important to keep in mind the sync speed of the camera. On my Nikon D300, the sync speed is 1/250 of a second. Sometimes, especially when you want to soften your background, you need to use a higher speed than that. In such cases, it’s essential to make sure your camera is set to allow the flash to use Auto FP High Speed Sync, a setting that allows the flash to be used at faster shutter speeds.

The photo above was taken this month at the Medieval Festival in Osgoode, Ontario, just south of Ottawa. Here I was right in blazing afternoon direct sunlight, and there was no choice for this shot. I got down low and shot upwards so as to get a bit of the “victim’s” face and better show the action. And I used a fill flash in my hot shoe with no diffusion, and cranked it up an extra EV (f-stop). While it got rid of some of the harsh shadows on the subject, it still wasn’t enough to eliminate the shadow under the rim of the hat of the boy throwing a wet sponge. It’s not easy to overpower the light of the bright sun with a single flash.

In this picture of a soldier waiting to do battle in a re-enactment of a battle from the Seven Years War at Ogdensburg, New York, I also used a fill flash. The effect here is very subtle, and it would be difficult to tell just from looking that a fill flash was used. You still see a sharp contrast on his shoulder (viewer’s left) between the sunlit and shaded areas. In this case, the background was much brighter, and all the fill flash did was add a little light to the subject to reduce the gap in exposure between subject and background. Still, it improves the photo.

The sun is a very powerful element in outdoor photography, but sometimes we need to use a little bit of “sun” from our camera bags to control the light a little better.

In Quebec, the term “flâneur” has negative connotations — like vagrant, vagabond or loiterer. Some stores even post signs saying “defense de flâner,” suggesting they don’t want kids hanging outside the doorway after making their purchases.

In Europe, the term “flâneur” has other connotations. My photo contact referred me to the Wikipedia entry discussing the term “flâneur” as Charles Baudelaire intended it, meaning more of a “gentleman stroller of city streets” or someone who is a detached observer of city life. The article goes on to discuss how street photography has become a modern extension of the 19th century urban observer.

Montreal is a wonderful city in which to be a “flâneur” in Baudelaire’s sense of the term. It has such a vibrant mix of cultures set against exciting architecture, both modern and old.

As for street photography, Montreal presents a unique challenge. Quebec has the most restrictive laws against street photography in North America. Essentially, you can be sued if you publish a photo of someone without their consent and if they are identifiable. The exception, which seems to allow news photography, is if the photo serves the public interest (whatever that means). It’s a vague term that presumably suggests that art and documentation of city life are not in the public interest, whereas news reporting is. Whether or not a court would actually rule that the photo damaged a person is beside the point – few photographers can afford to go to court, so the law instead becomes a tool of blackmail. It’s as though the fundamental freedom of expression guaranteed by 2(b) of the Charter of Rights and Freedoms has only limited validity in Quebec.

Of course privacy is also a right, and I’ve seen some street photographers who cross the line in that regard. But I tend to think that if a person is doing a public activity in a public place, they should be fair game for a documentary style of photographer.

Being unprepared to challenge Quebec’s law, I reluctantly change my photography style in Montreal. I tend to shoot people in ways that they are more anonymous, either by using motion blur, or photographing from behind. And I take more pictures of buildings and non-human subjects. That’s not to say I’ll always obscure people’s identities if they’re doing a public activity in a public place, but I usually err on the side of caution. And sometimes the results work well.