Shjaane Glover’s photography is like an old friend who went on a trip to the mountains and just came home different. They’re still your bud, still holding onto all those memories and times that brought you together, but with something extra: an experience, an aura, a sense of seeing, or having seen, the world at large. There’s no resentment, no jealousy, just a newfound sense you’re proud of them for breaking loose. Their very presence emboldens you to seek that same kind of global enlightenment. That’s inspiring stuff.
From surfing, hiking, and exploring, to turning his lense on the commercial and retail world with unabashed mastery, Shjaane’s work has a gratitude and a flow to it we couldn’t help but love. We caught up with him this spring to discuss his process, his work, and his outlook on life. Enjoy.
Rr: Give us a bit of backstory into your photographic journey – how did you get started snapping photos? What, or who, inspired you?
I started off like a lot of others: spending my days skating at the skatepark. I quickly realized I wasn’t going to be the next Andrew Reynolds, so I decided to pick up a camera to document the other homies. A family friend who worked for the National Post gave me his old Nikon D1H, and I began photographing the people at the park. At the time, I was really inspired by skate photography, especially photographers like Patrick O’Dell. From there, I went on to study at Sheridan and earned my Bachelor in Photography, where I discovered artists like Gregory Crewdson, Philip-Lorca diCorcia, and Diane Arbus – photographers who reshaped the way I saw storytelling through images. After that, I worked in the advertising industry and started photographing for brands as well as musicians and other artists, which further shaped my approach to photography.
Rr: Your work has what I call an ‘active lifestyle patina’ – a vibe I’ll liken to a well cared for rawness, like if you were to do a headlight restoration on a loved ‘97 Tacoma. From a photographer’s perspective, this kind of visual identity doesn’t happen by accident. Tell us how you manage to capture people and places in such a light. What does your creative process look like?
I love that description, I can definitely see my love for adventure showing up in my work. My creative process is about finding the sweet spot between rugged authenticity and photographing with intention. If you can make it look timeless all the better! I’m drawn to real moments, real personalities, and the rawness of life especially in a world that’s moving further from it. I typically have two approaches. One is spontaneous, more of a street style, going out with my camera and seeing where the day takes me, embracing whatever unfolds. The other is more intentional: researching a subject or place and capturing them in a way that truly reflects who or what they are. When it comes to portraits a big thing is trust. When people trust you, they relax, and when they relax, you get that unguarded, effortless energy that makes a shot feel real.
Rr: We’ve profiled some really talented photographers in the past, all of whom have a deep affinity for light – you’re no exception in that your work plays with light in a unique way: it’s warm and organic, but also has a squeaky clean, almost corporate edge to it (I mean this as a compliment!) giving it a really adaptable presence. How does light play into your decisions as you line up a shot, or get into the editing room to add your post-production signature?
Light is everything; it’s the foundation. It’s what I am drawn to most when I look at any photograph. I’m always chasing light, paying close attention to how it plays in each scene. I even use an app to track the sun’s position throughout the year. I still feel like I have that younger skater in me. Just instead of searching for skate spots, I’m always on the lookout for interesting scenes with great light. When I’m creating light, I focus on mimicking natural light, yet I like to bend the rules of traditional portrait photography. I have a lot of experience in commercial photography and artificial lighting, so it’s natural that some of those habits carry over into my personal work. When editing, I mainly do a lot of dodging and burning. Just to bring up my lights and darken my shadows.
RR: It’s clear from checking out your portfolio and socials you’re dedicated to sport, whether that be hiking, surfing, or exploring outdoor spaces. What about the outdoors compels you to bring your camera along for the ride? What are some of the challenges you’ve encountered shooting this kind of subject matter?
The outdoors has always been a huge part of my life and a natural extension of my creativity. I’m always weaving my passions into my photography. Whether it’s traveling, hiking, surfing, songwriting, exploring or storytelling, each one shapes how I see and document the world. I bring my camera along to share that feeling, the vastness, the energy, the sense of freedom that comes with these moments. As for challenges, the most challenging is always logistics and weather. Photographing winter surfing is definitely the trickiest. The elements can be pretty gnarly, and it’s always windy. But if you layer up right, you can hang out on the point for a couple hours, snap some shots of the crew catching some cold ones.
Rr: Next is music – you’re a musician yourself, and I was admiring your photo work from the inaugural Four Winds Music Fest – so I wonder if your insider’s knowledge of live events, songwriting, and performing has influenced how you shoot concerts and festivals. Do you find yourself thinking about what the musician might appreciate visually when you’re shooting a live performance? Do these artforms overlap?
Four Winds was a blast! These art forms definitely overlap, and a lot of what I do blends together. As a musician myself, I think about how the performer wants to be captured, often considering how they might appreciate the shot. The best photos of musicians are the ones where you feel connected to them, where their personality shines through. I treat it like a portrait session at times, especially when shooting from a long lens. It can be intimate and feel like just you and the performer in that moment. The challenges of low light, fast-paced changes, and capturing personality in such an intense environment are challenges I enjoy. They are also mostly lovely people to be around.
Rr: What’s your go-to camera set up these days and why?
These days, my Canon R6 Mark II paired with either a 50mm, 70-200mm, or 24-70mm lens, depending on the shoot. For everyday carry and raw moments, I love using the Olympus Stylus Epic or my Fuji X10. They’re compact and perfect for when I want something quick and easy. For lighting, I have four mono lights with various modifiers. This set up seems to do the trick!
Rr: Tell the people what projects you’re working on right now, and where they can find your work.
Currently, outside of my music, I’m working on a mix of projects, including lifestyle and branding shoots. For personal work, I’m focused on capturing the surf community around Georgian Bay and always looking for new personalities to shoot portraits of. You can find my work at shjaane.com or on Instagram.
Interview by Nelson Phillips
