Provenance
Painters, Printers, Sculptors, Photographers, Sound Engineers and Poets ... we can often become familiar with artists' work but not the indivuals themselves.
With Provenance I wanted to create portraits of artists behind the art. I chose to present them decontextualised from their art practice so as not to influence or distract you, the viewer, from the presence of the person in front of you.
The portraits were created through a combination of medium format film photography and modern digital techniques. My first major show for 2017 is on now at the Huw Davies Gallery, Manuka Arts Centre until the 10th of September. Thank you to everyone at PhotoAccess who has been fantastic in the preparation for this show.
The Portraits
The Artists (and the Backs of Their Heads)
The Invitation
Shoot: Lisa Richards Live
On a ridiculously hot evening in January I had the pleasure of photographing Lisa Richards at Smith's Alternative in Canberra City. Lisa was promoting her new album A light from the other side and playing songs from her multitude of other, excellent releases. Astute readers will know that I contributed artwork to this album along with a number of other professional media photos.
Lisa was joined on stage by Matt Nightingale on double and electric bass and Jeannette Bradley on banjo and fiddle. It was a lovely intimate performance and well suited to the Smith's Alternative venue.
Lisa's album (and her other releases) are available from her website.
Cell Block 69 - Live at The Basement
The incomparable Cell Block 69 performing live at The Basement - 16th December 2016 ... what a show!
Model Shoot: Casey Edwards
- Model: Casey Edwards
- HMUA: Deni Jordan Hackett
- Styling: Lydia Downe
- Photographer: Geoffrey Dunn
Rapturous and RAW Artists
Recently did a shoot for Liza Alwast of Rapturous who is putting together a show for RAW Artists here in Canberra. Liza collects and works with fine textiles to create stunning dresses and couture. The show is one component of the TREND show presented at the Belconnen Arts Centre from 6:30pm on Friday 17th June 2016.
The shoot was conducted in a studio setting with Marina modelling. I have created a number composite images (substituting background images et al) to create a more interesting setting. These one's aren't particularly hard to pick ;-)
Thankfully, Liza has provided me with a ticket to the event and of course I'll be taking my camera so stay tuned for more from Rapturous ad Raw Artists :-)
Links
Back & Forth
'In Sequence'| PhotoAccess members' exhibition - Back & Forth
I have a new piece in the first Member's Show of 2016. Entitled Back & Forth, the work comprises a sequence of 7 images looped and presented in a digital frame. It looks mesmerisingly cool. The opening is next Thursday (28 January) at 6pm at the Huw Davies Gallery.
Some gallery blurb about the show
The first PhotoAccess members’ exhibition for 2016, 'In Sequence' presents works creatively addressing the notion of sequence and narrative in photography. For many artists, photography is not only about single images, but relationships between multiple images. A sequence of images can tell a particular story or narrative, create a sense of visual poetry, or suggest movement and time passing. 'In Sequence' aims to showcase a variety of approaches to the notion of the photographic sequence, using traditional, experimental and digital photographic techniques.
• Opening: 6pm 28 January 2016
• Where: PhotoAccess - Huw Davies Gallery, Manuka Arts Centre
• When: 28 January – 21 February 2016
Pigman's Lament
Yesterday morning I shot a series of promotional photographs to support an upcoming production at The Street Theatre. The production is called Pigman's Lament and stars Raoul Craemer in a taxing solo performance. The story revolves around a man who is physically haunted by the memory of his dead grandfather. Raoul, who you may remember from the Beard/No Beard headshot series from earlier in the year, plays both roles.
The brief for the promotional image called for the expression of the duality extant in the central character ... to somehow combine the rational present character with that of the man beyond the grave. I chose to take two shots and merge them together to form this dualistic one ... Raoul's hand reaching from behind his head and contorting his face emphasises the extension of this nasty force from the past. The picture will appear on all promotional materials for the production and I'll post a picture of the poster when it gets printed.
There were, predictably some outtakes too ;-)
The production details
Pigman's Lament - The Street Theatre - Early 2016
- Starring: Raoul Craemer
- Director: Paulo Castro (Stone/Castro - Portuguese National Theatre, Schaubuehne Berlin, Chunky Move)
- Playwright: Raoul Craemer
The One Project
Toward the beginning of the year I had lunch with my friend Hilary Wardaugh, an accomplished photographer around Canberra, and she described a project she was putting together. Hilary explained that she had a Nikon FM-2 manual film camera with a 50mm f/1.8 lens laying around and was planning to load a film into it, compile a list of photographers and pass the camera to each photographer and ask each one to take a picture. Once the picture has been taken, it became the photographer's responsibility to contact the next person on the list and arrange to get the camera to them. At the end of this process, about 3 months, Hilary will get the film developed and scanned. Each photographer will their digital negative and can process it as though preparing a print in the darkroom ... that is curves and levels and filter colours but no pixel based PhotoShop edits et al. The processed negative will be passed back to Hilary who will then arrange printing of the image for the purposes of exhibition. Two shows are currently lined up for the prints, one local (at the Huw Davies Gallery in Manuka) and one in Sydney (as part of the Head On Photo Festival).
The camera travels in a box containing the list of photographers, a cable release and a book in which the photographer is encouraged to write a short piece about their picture. The project is called The One Project.
So far so good... the only stipulation was that our picture had to be a portrait!
No pressure... it's only a single frame... I mean it's not like the other twenty-odd photographers are all accomplished photographers (they are!) and will be doing their very best as well... reading through the book I smiled when I saw that everyone else was obsessed with light, exposure and focus ;-)
I wanted my portrait to be of my artistic collaborator Marina. I have photographed Marina extensively over the past two years and together we came up with the idea that often you only have an impression of someone through the images you see of them. So I put together a grid of photos I have taken of Marina and projected them digitally across her face and arms and splashed across a dark background the pictures resemble stained glass. I set my digital camera to emulate the manual settings of the FM-2 and to act as a light meter for correct exposure. The effect is one of an essentially dark shadowy image with bright pictures shaping contours but ... visible upon closer inspection ... you see Marina illuminated and looking out from the shadows. It looks great.
Then it was swap the camera over on the tripod, recompose and recheck the settings (and recheck them again!) ... I re-posed Marina and got the composition right and while she was looking perfect I felt it was right pressed the shutter release ... pa-tchang! Done! In my excitement however I had failed to warn Marina I was about to take the picture and she thinks she may have blinked but can't recall where the blink may have been in relation to the exposure. I'm sure it'll be fine! I do feel like a goose though! My main concern is that given the dark nature of the photograph (light-wise not emotionally-wise!) and the different response of the film to shadow and highlight my contribution to the project may in fact just turn out to be a black frame! But then that's the risk you take in trying something less safe I guess :-)
The photos I took with the digital body look great and I would include them in this post but I don't want to publish anything until I see how the film version came out which won't be until November. I'll do a contrast and compare then as a separate post :-)
But I would like to thank both Hilary and Marina. Marina firstly for being my muse and sharing her art, ideas and vision so freely with me ... my world simply wouldn't be the same without her in it. And Hilary for coming up with the idea of The One Project and making it happen, for the necessary artistic angst and discipline (well OK maybe I didn't take home all of the discipline lesson) this project inspired in me.
On the Inside Looking Out
I've written before about those special moments when a picture reveals itself right before your eyes. Some days when you're ready to take a photograph ... to capture something special a scene can prove elusive ... there are, I believe, times when it's almost as though you have to be 'open' to a photograph's materialisation. By that I refer to perhaps a process or state of mind whereby you as the photographer are open to the image that present itself to you. It's like realising there is an image waiting in front of you or even anticipating an image's appearance ... this one represents one of those moments
Back story: A recent trip to Melbourne, Marina and I had just been to visit the Masterpieces from the Hermitage: The Legacy of Catherine the Great exhibition at the National Gallery of Victoria. Marina had wandered outside and I went to retrieve my camera bag from the cloakroom. As I walked across the foyer of the gallery toward the exit I noticed this young girl outside touching the glass of the water wall with her finger. I quickly reached into my camera bag, grabbed the camera and took a few pictures (before her father came and dragged her away from an anticipated episode of soaking). This one was my favourite... on the inside looking out.
The exhibition at the NGV is spectacular btw ... should you find yourself in Melbourne ;-)
Barriers: Skull with water drops - Series One
He's back on the drops again! This time in experimentation for a show coming up in November with my artistic collaborator Marina Talevksi. The show is to be called Barriers: break or break through and features a skull or representations of a skull or many skulls or many representations of the same skull ... we haven't quite decided yet ;-)
Barriers will be our second formal exhibition together after 2 Tens & A Tomato in 2014. Suffice to say that the show features skulls and in preparation for this I experimented on the weekend with some waterdrop refraction images featuring a skull... trying to get an image of a skull to refract in a water drop. It was tricky but I'm rather pleased with these initial results. You can check out my other forays into drop refraction photography in my WaterPlay gallery :-)
Oh Japan 3 - Tokyo
Today I'm presenting some of my favourite images of Tokyo from a trip made in early July. This post is the third in my Oh Japan mini-series. First up some 'archi-stracty' and city based pictures. I loved walking around with a camera at night. It rained the first few nights were there and this made the streets nice and shiny and reflective ... perfect for neon colour goodness!
In terms of people pictures ... well my goodness there were an awful lot of people! In the picture below of the business man walking through an alley in Shinjuku, he may look like the only person around but, directly behind me was one of the busiest intersections in Shinjuku and there were literally three or four thousand people crossing and or going about their business!
Coffee started out being an issue upon arrival in Japan ... there was always Starbucks if things got desperate ... but then we discovered BOSS Coffee! Sold in supermarkets and as shown here in refrigerated vending machines everywhere, BOSS Coffee changed our Japanese experience utterly. Comprising one or two shot of espresso (with or without milk or sugar) in a little can ... these were fantastic! Can't find out how to buy them in Australia ... there'd be a massive market for them here.
And then there was the escalator wonderland underneath the Tokyo SkyTree! What an awesome space this was... like a drawing from MC Escher!
Pocket Places: Paths into inner Canberra
Ever shot a poet on a bicycle? No? Well neither had I until week before last. Canberra poet PS Cottier (whom you may remember from this shoot) got in touch with a fun request:
"I just found out that I am having a small chapbook published about
riding the bikepaths of Canberra. It has some autobiographical
elements and is a prose piece in a series called Pocket Places. The
publisher asked if I have a suitable colour photo of myself on my
bike. I said I have some lovely photos with a parasol (and we may
use one from that session) but none of me riding my bike."
So, after a glass of wine at local pub/cafe The Front we set off on a little soiree on the bike paths of the Inner North. Here's a selection from our wander.
The book will be called Paths into inner Canberra, to be published by Ginninderra Press of South Australia. (GP began in Canberra 19 years ago but moved to Port Adelaide in 2008.) It will be part of their new Pocket Places series, and will be available here for the enormous price of $4. It will be about 24 pp in length.
Links
Headshots: Raoul Craemer 2
As promised back in this post, I present the clean-shaven headshots of actor Raoul Craemer...
Raoul certainly looks different sans beard and though he wanted the shots to be simple and neat, the photo where I asked him to mess up his hair has an edgy look to it that I just love. That one is easily my favourite of the session. I like it slightly more in monochrome too.
Here's a contrast;
It's likely a little too late now, but I still think the beard works. What do you think?
Shoot: The Second Movement show band
Last week I had the opportunity of taking a few pictures for the The Second Movement show band when they got together for their mid-week rehearsal.
A little history... The Second Movement played in and around Canberra in the late 60’s and early 70’s and were resident band at the Civic Hotel Lounge. The group became resident band at the Deakin Inn when it opened in 1969. The band played at the Deakin Inn up to six nights a week for four years until they retired in 1974.
In 1967 the band signed a recording contract with EMI and recorded two singles, which were released nationally. The singles were produced by Robert Iredale (who was Johnny O’Keefe’s’ record producer at the time). The singles had moderate success and made it into a few top 40 charts.
After a thirty years’ absence the original band (there were some personnel changes in the early seventies) decided to get together for a 30th anniversary party bash at the Southern Cross Club Canberra. Some of the band members hadn’t played in a band since the band retired in 1973. Others no longer lived in Canberra so the logistics of a reunion offered many challenges. However the project went ahead and the night was a huge success. The band enjoyed themselves so much it was decided to continue the band which would make itself available for the occasional booking.
Ostensibly to create a few simple pictures to refresh their website, the session was fun and enjoyable and a lovely bunch of guys the majority of whom have been playing together for more than 40 years! The band member whose house was used as the rehearsal space restores old Jaguar cars ... he had an absolutely gorgeous red E-Type Mk2 that you can see the band posing with in a couple of the photos.
The band did insist in standing outside in the bright noonday sun which caused a little squinty action but the sunshine and blue sky certainly set off their matching blue stage suits! I did manage to convince them to pose together in the back shed where the featured image was shot ... that one's my favourite from this little shoot.
Links