Shooting still photographs has always been a grounding force in Paul Mitchnick’s life. Originally from Hamilton Ontario, Paul is a Vancouver based cinematographer who has been passionately involved in making photographs and movies since high school. His film work has taken him around the world and on every trip he travels with his still camera.

Regardless of what field he is shooting -- stills or motion pictures -- the narrative content of Paul’s work is of utmost importance. His urban and rural scenics are more than ‘I am here’ photographs. They capture the human condition -- their mood and texture enhance the subjects. Until its recent demise, infrared black and white has played a huge part of Paul’s photographic repertoire.

This is the first time that Paul has exhibited his photographic work. These infrared images are a small sample of the hundreds of photographs he has made over the years and he sees these images as part of his ongoing desire to tell stories.

Paul’s cinematography assignments include work on many Hollywood features; The Pledge, Xmen 2, Fantastic Four, and Dreamcatcher to name a few. His Canadian DOP credits include such independent films as the award winning Fetching Cody and his early documentary shooting on groundbreaking projects such as Hookers on Davie belie a gritty reality and a sense of place to his work. Paul has the distinction of shooting the first Feature Film to come out of Saudi Arabia – a country with no theatres.

“In the 7th grade, we had two hours a week of a subject called library. One was supposed to read books but week after week, I looked at photographs in ancient copies of National Geographic. I had even bookmarked some of them for revisiting. Beyond the wonder presented to a 12-year-old boy’s eyes, it was the stories these photos told that kept me coming back. My photographs and approach to cinematography are all rooted in that.

I‘ve shot hundreds and hundreds of images on infrared black and white film. My still camera has traveled on motion picture assignments all over the world, as well as in my very own neighbourhood. The human condition, its interpretation, and a fine technical eye are what I bring to my images.

Sadly, the advent of digital has made infrared film obsolete. No longer does light excite silver in the infrared process, thus making my images all the more precious. I hope you respond to viewing the photographs with the same joy I had in shooting them.”

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