The essential mystery of Christa is revealed in the windows of a stately home.

1. What driving force motivates you as an artist and keeps you going?

Beauty drives me. I owe that to my mother, who all the time, everywhere, was constantly pointing out to me what was beautiful, fields, clouds, art, architecture, trees, streams, waterfalls, sunrises and sunsets, animals, birds and people. In my photography I strive to bring together beautiful elements to present a creative whole.

2. Can you tell us about your creative process, from the initial idea to the final result?

I look for inspiration for my shoots in all kinds of places: in what I see as I travel around; in art galleries and books; in public art; in nature; in the photography of others that I see online. Sometimes the models with whom I work make suggestions.

Once I have an initial idea, then it’s a matter of putting the other idea components together. For example, if I’ve seen an inspiring venue, I imagine what kind of theme would work well there, and from the theme, what kind of wardrobe, who would be the right model. Sometimes it goes in quite the opposite direction. I might have an offer from a model, and I try to imagine what theme would work well with the model, sometimes based on conversations with the model, and from the theme, what wardrobe and venue.

Once I have the basic idea components together, I start planning the minute details. Nearly always it involves a prior visit to the venue, especially if it’s an outdoor venue, and even if I’ve been there before. That’s because you never know what might have changed on the ground. There might be construction blocking the venue; the rules might have changed about access; the place might be covered in litter and I might have to clean up.

Planning the details involves conversations with the various members of the team. Typically the members of the team have useful input, coming up with suggestions or critique that make the planning better. There are typically at least three people in my team and sometimes four: the model(s), the hair and make-up artist, the assistant, and me. Some of the time the HMUA is my assistant.

When I’ve got the details lined up, a prepare a Call Sheet with all the details laid out, I send them out to the team so we all know all the logistics and timetable for the shoot.

When the shoot has taken place, then it’s a matter of editing the pictures, getting them outtothe team, and usually submitting some for publication.

3. What challenges have you faced in your career so far, and how have you overcome them?

My main challenge is making money from photography, and honestly, I haven’t overcome it. I still spend way more than I make. It’s fortunate for me that I have some savings from a prior career.

4. What led you to choose Mob, and what are your career aspirations in this field?

I like Mob Journal for two main reasons. It’s Canadian, I’m Canadian, and I like to support business and the arts in this country.

Mob Journal has identifiably higher than average aesthetic tastes. That appeals to me. I consider it a high honour to have my work accepted by Mob.