"Raw Streets, Real Stories"

 

"Raw Streets, Real Stories"

A photo’s got a way of telling the truth, raw and unvarnished. Those ads, posters, and pop culture scraps slapped on walls, poles, and benches—they’re the voice of the streets, plain and loud. They shout what we want, what we fear, what we dream, all in big letters and bright colors, right out in the open. They’re made to catch your eye, sell you something, or make you feel something, but they’re not meant to last. That’s the beauty of it—they’re here today, gone tomorrow.

Shooting them as-is, no fancy angles or cleanup, is about respect. You’re not just taking a picture—you’re freezing a moment in time, locking it down before it fades into yesterday. A ripped poster, graffiti scrawled over a billboard, a sun-faded ad half peeling off the wall—these things are alive. They tell stories about who we are and what we care about, even if we’re just passing by without looking.

This ain’t about art galleries or pretension. It’s about catching the heartbeat of the everyday, the grit and grind of the world around us. You shoot it straight, let it speak for itself, and the picture does the rest. Simple, honest, and real.

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LEGAL

This documentary/art project focuses on the use of advertisements featuring female faces in public spaces to critique gender representation and consumer culture. It aligns with Canadian copyright law's fair dealing provisions, particularly for artistic expression, social commentary, and criticism. Canadian courts recognize that the use of copyrighted material for these purposes is protected, as seen in cases such as CCH Canadian Ltd. v. Law Society of Upper Canada (2004), which affirmed that artistic and educational uses could qualify for fair dealing.

The project involves photographing advertisements in public spaces, utilizing the freedom of panorama principle, which allows for the photography of public art and advertisements visible in public areas. This principle was acknowledged in the case of Leclaire v. Société des établissements de plein air du Québec (2009), where the court recognized that public photography is permissible without explicit permission if the material is in public view.

The project’s non-commercial intent, aiming to foster reflection on advertising’s role in shaping cultural perceptions, further strengthens its position under fair dealing, where profit is incidental. Additionally, the ethical considerations of critiquing gender portrayals in advertising reflect a broader societal discussion, which is a recognized form of artistic expression.

In summary, the project is legally protected under fair dealing for artistic expression and commentary, while respecting ethical boundaries related to public space and representation.