I was born in 1947. After a career in labour relations, I "retired", giving me the opportunity to become reacquainted with my first love. (I was one of the early photographers to take the then radical approach of using a 35mm SLR film camera for wedding photography.)

Although I specialize in classic Hollywood style black-and-white portraits, I also work with colour doing fine art photography, digital photo painting, special event posters, digital retouching, and boudoir photography.



    Netflix–the best entertainment bargain that there is. I highly recommend the series “The Killing”–a great story combined with marvelous photography in-and-about Seattle. (I had no idea that it rains so much there. Even just watching, I felt my hair was getting wet.)

    Should you wish to hone your subtitle skills while watching a thriller, then I recommend the adventures of Lisbeth Salander in the Swedish movie trilogy “The Girl With the Dragon Tattoo”, “The Girl Who Played with Fire”, and “The Girl Who Kicked the Hornet’s Nest” (in that sequence). I just wish she was real and was my good friend.



    I’m heavily into Eastern philosophy given that I teach Jnana Yoga–a yoga that will definitely not help you overcome your back problem, but will help you stop identifying with your body and your mind, should you ever wish to do this. Yes, I readily recognize it is boring for most people so I don’t proselytize door-to-door as it could put my life in danger. LOL

    My legal surname is one I recently chose so as to indicate that which I teach. The word is the Sanskrit sound for “non-attached”, as in “not wrongly identified with”. Over some forty years I’ve read many books containing Sanskrit philosophical terms, thus I failed to anticipate that the pronunciation of my name would confound others; so, for what it is worth, it is pronounced “ANNA-sock-tah”.



    As a photographer, I prefer to capture faces that are made noteworthy, not by a beauty gene, but by a display of inner character. My goal is to produce images that outwardly display an aspect of the client’s inner self.

    Although I specialize in classic Hollywood style black-and-white portraits, I also work with colour doing fine art photography, digital photo painting, special event posters, digital retouching, and boudoir photography.

I have a fresh, new approach in that I don't ask you to pay me up front; instead, it is only after you have seen the images that you decide whether you wish to pay me or not. The risk is all mine.

The process begins in my studio where you and I do a photo shoot that takes between 60 to 90 minutes. You are welcome to bring a friend, but I ask please that it not be your lover, your spouse, your life-partner or even your business partner, as experience has shown that the presence of such an individual will likely prevent you from giving me your full attention, and hence prevent you from looking your best for my very jealous camera.

I will later review the images and retouch three of them, in keeping with the retouching guidelines that you and I will have previously discussed. I will provide you with your own online, password-protected gallery, to which I will upload the images. You are entitled to release your password to anyone whose opinion you value.

Each image in your gallery will be watermarked with the name of my studio. In addition, the online image will only be composed of 72 dots per inch, which is a resolution intended for Internet use. Should you decide to buy an image, you will pay my minimum studio and retouching fee of $345 in total, which covers the two images I have so far completed and put in your gallery. You will additionally pay for the cost of each item you select, such as an 8 x 10, a 16 x 20, framed or unframed, or a stretched art canvas, etc. Each such item will be created using a 300 dots per inch image, and will not have a watermark; but, I will put my signature and studio name in a discreet size in the lower right hand corner of the work.

The significant aspect of my approach is that you need not pay any money unless you fall in love with one of my creations, and understand it to be an investment in yourself.

The one problem I forsee is that because there is no risk, some people will book a shoot and then fail to attend. This will hurt me because I will have lost the opportunity to book that time slot with someone who is serious. So when you book, I will ask for a $50 dollar deposit. If you fail to attend the photo shoot, then you forfeit the money. But if you do attend and later buy an item, then the $50 will be credited against that cost. In the unfortunate (and I hope unlikely) event that you aren't overwhelmed by an image, and hence don't buy anything, I will refund your $50. I hope you feel this is fair, and that you understand why I just need to protect myself against those few who book time but are not serious.

To book your photo shoot, or to ask any questions, you may reach me at 519-266-6755. I always keep myself busy, so if you get my voicemail, just leave your name and number and when would be a good time for me to call. Or if your prefer, tell me when I shouldn't call.

I'm very low key so you need have no fear that I will pressure you. But as you can see from this section, I can be long-winded. Gosh, so much writing. Where are the graphics???

Michael Anasakta.

About this Blog: Not surprisingly it will be about photography, with a smattering of other issues that interest me, and I hope you too.


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    Here is the oldest surviving permanent photograph of the image formed in a camera. It was created in 1826 or 1827 by the French inventor Joseph Nicéphore Niépce. It is a view from a window at Le Gras (Saint-Loup-de-Varennes, France).

    The photograph was produced on a polished pewter plate. The light-sensitive material was a thin coating of bitumen, a naturally occurring petroleum tar, which was dissolved in white petroleum, applied to the surface of the plate and allowed to set before use. After a very long exposure in the camera (traditionally said to be eight hours, but possibly several days), the bitumen was sufficiently hardened in proportion to its exposure to light that the unhardened part could be removed with a solvent, leaving a positive image with the light regions represented by hardened bitumen and the dark regions by bare pewter. To see the image plainly, the plate had to be lit and viewed in such a way that the bare metal appeared dark and the bitumen relatively light.

    I think we can agree that this was less than an ideal process for portrait photography. Imagine, 8 hours plus for an exposure that we now obtain in 125th of a second. But this marks the beginning.


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    I subscribe to CNN news updates. When I logged on to my email today, I found the following  update:


    At least 29 people were treated at hospitals after two Metro-North passenger trains collided during rush hour in southwestern Connecticut, hospital officials said. Three of the injuries were deemed serious.

    Amtrak said it had suspended travel between New York and Boston. Bridgeport Mayor Bill Finch said travel headaches could persist for weeks.


    Okay, I have to ask, who is Mayor Bill Finch to make a medical prognosis?


My downtown studio// 84 York Street
London, Ontario

Telephone // (519) 266-6755

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