tag:blogger.com,1999:blog-30993269329849379732024-03-14T08:58:18.732+11:00endless bags of dirty laundryfilm photos + accompanying musingsgretahttp://www.blogger.com/profile/17031639680932538759noreply@blogger.comBlogger129125tag:blogger.com,1999:blog-3099326932984937973.post-12642276986347217282013-08-25T18:18:00.000+10:002013-08-25T18:20:27.418+10:00why film? part two<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
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<tr align="right"><td class="tr-caption">lomo lca+, 2013 </td></tr>
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In <a href="http://endlessbagsofdirtylaundry.blogspot.com.au/2013/05/why-film-part-one.html" target="_blank">part one</a> of my investigation into my reasons for exclusively using film, I set up the questions surrounding my assumption that, generally speaking, film offers a closer representation of the real than digital technology. And there were a lot of questions, and a lot of contradictions. This surprised even me. It also led to a lot of introspective thought on my part, as I searched all the logic in my head to try to find answers. I've always known why I love film: its honesty. I just had to figure out why I so steadfastly believe that film and honesty are inextricably linked.<br />
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Before I go into my conclusions, I want to take a moment to explain why honesty in my photography is so important to me. Photography is, among other things, an art form. As such, creative people have long been pushing the medium - both with film and digital technologies - to produce wonderful, fantastical images that are very obviously not representations of reality. Some artists, such as Jeff Wall, employ meticulous staging and production techniques to challenge our very assumptions of truth in the image. All of these approaches to photography are valid. Many artists create brilliant, important work by presenting visual untruths.<br />
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In most of my work, however, I aim to capture actual truths. I mean this both in the journalistic sense, where my social and travel photography documents people and places as they exist at a moment in time, and in a more literal sense, where I aim to keep my (sometimes staged) portraits and press shots free of any post-production manipulation. It is the medium's ability to capture an image of reality, as Bazin discussed, that draws me to the camera again and again. And I think this implication of truth in the image, and particularly in photojournalism, is why we collectively feel so cheated when a journalistic image is exposed as a hoax, or even as a manipulated version of reality (such as the war photos of freelance photojournalist Adnan Hajj, which were <a href="http://en.wikipedia.org/wiki/Adnan_Hajj_photographs_controversy" target="_blank">revealed to be heavily doctored</a> after being published globally via Reuters).<br />
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<tr align="right"><td class="tr-caption">nikon f4, 2013 </td></tr>
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<i>But Greta,</i> you might say, <i>your multiple exposures don't represent truth! The world doesn't look like that! </i>And you would be right in the sense that during the gig depicted in the above photo, for example, there were not two identical guitarists on the stage. However, in all my multiple exposures, each image within the frame is a representation of truth, and usually there is some 'real' connection between the exposures (for example, a person and the environment they're in, or, as above, the same person mere moments apart). Furthermore, the process of exposing such images - all within the camera, on film - is also keenly related to truth and authenticity. But more on that in part three.<br />
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Digital is just as capable of being honest with us as film is. There is no reason why a digital camera can't capture as much truth as a film camera can. And, as we have seen, film cameras (and film photos that have been digitally edited after the fact) are just as capable of telling untruths as digital cameras. So - back to the issue at hand - why do I (and others) more readily associate film with truth, and digital with deception? My reasoning can be separated into two distinct arguments: the psychological and the practical.<br />
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<tr align="right"><td class="tr-caption">splitcam, 2013 </td></tr>
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<b>psychological factors</b><br />
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Most of us have grown up with scores of family photo albums. Those enormous tomes, with pages where the plastic sheets peel away to unleash faded prints laid over cut newspaper (lest they stick to the board), mapping out pieces of lives once lived. Some prints have rounded corners. Some are torn. Some have that strange textured surface, like a miniature grid. Maybe some are really old - cracked black and white wedding photos of great aunties, or baby portraits of Grandpa. There may be sepia, and dust marks or scratches. There may even be a few photos with strange multiple images because someone forgot to wind on the film. There will be dated fashions: long hair and crocheted bikinis of the seventies; smart hats and daytime gloves of the fifties; mullets and fluoro colours of the eighties. There are picnics, birthday parties (complete with Women's Weekly party cakes), camping trips, Christmas trees, grinning kids with missing teeth, dress-up days, first days of school, weddings, debutante balls, pregnant bellies, bassinets. All of these common events appear to create a distinct tapestry of life. Each family has a different history; each album is filled with an enormous array of stories unique to those lives.<br />
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But for all the myriad variations that exist from family to family and album to album, each of these exorbitantly heavy, dust-covered epics have something in common: when we look at the images within, we <i>know </i>that they are real. Mum <i>did</i> bake that swimming pool cake. Your sister <i>did</i> wear those fluoro leggings. Your grandpa <i>was</i> wearing a dress for his 1920s baby portrait. There was no Photoshopping when your parents got married in 1976. No-one airbrushed the pimples on your cousin's chin when he won that under-18s footy trophy in 1989. These photos show us life through the poor-quality lenses of our family's past.<br />
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<tr align="right"><td class="tr-caption">diana, c. 2009 </td></tr>
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<tr align="right"><td class="tr-caption">holga, 2012 </td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj35UDd_W2yF4bX_Lm_2JTeWgFFuY1vMyTfzenRun8f9L-HVLYUfgKYEHE3l5iRkEU3jhtHBa3JntphsnJlhs0mNuhV9MuEJcrEERmlkh_6HDEBQ2ySt-vQRSP5CThYuN0oJOFVLnlGfZ4/s1600/D1000003.JPG" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj35UDd_W2yF4bX_Lm_2JTeWgFFuY1vMyTfzenRun8f9L-HVLYUfgKYEHE3l5iRkEU3jhtHBa3JntphsnJlhs0mNuhV9MuEJcrEERmlkh_6HDEBQ2ySt-vQRSP5CThYuN0oJOFVLnlGfZ4/s400/D1000003.JPG" width="400" /></a></td></tr>
<tr align="right"><td class="tr-caption">holga, 2012 </td></tr>
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It is for this reason that when we see the faded colours, the vignetting, the soft focus and/or the multiple exposures that are now synonymous with Lomography cameras and other analogue toy/plastic cameras, we feel that we can trust them more than, say, a glaringly flawless digital image. Whether it's conscious or not - and I suspect in most cases, it isn't - our attraction to analogue aesthetics is a rejection of the superficiality inherent in so much digital technology. We collectively crave a return to the real. I have no doubt that this accounts for the unprecedented popularity of Instagram - the retro aesthetic that the app employs combines with its primary function of taking 'instant' photos to present a modern-day version of the Polaroid; a real moment in time, captured in a few seconds and instantaneously broadcasted to the world, with no time for trickery (apart from the regimented filters, which in turn contribute to the psychological acceptance of truth in the image... get it?!).<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRQqdp2KOaj8_X12FC1W5XfXzTCXgowAXuIu9bIVYfkLtN2DZ-ir2yM9gfUelM-xtBfKg05pxcfb3oVwvKyo9VY30zv-iWBWQwpT7-N16FTc9YDoZFuemF6AjtyPaWNCgqgp9fLpQfVic/s1600/F1000032.JPG" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="267" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRQqdp2KOaj8_X12FC1W5XfXzTCXgowAXuIu9bIVYfkLtN2DZ-ir2yM9gfUelM-xtBfKg05pxcfb3oVwvKyo9VY30zv-iWBWQwpT7-N16FTc9YDoZFuemF6AjtyPaWNCgqgp9fLpQfVic/s400/F1000032.JPG" width="400" /></a></td></tr>
<tr align="right"><td class="tr-caption">nikon f4, 2013 </td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiA7bGe3iG7PYAyLfjrpWju2NWK4craZNHUp-qNU2zf0tZceh6AD-ZfEts1S-D8z5cpkW0WPN-zSJmDGJFEh4dITEQulL8N4ETA7gxmJ3yy06hCWb8V0LCjths9pfjiPci5QumsqAmxHaM/s1600/F1030005.JPG" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="267" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiA7bGe3iG7PYAyLfjrpWju2NWK4craZNHUp-qNU2zf0tZceh6AD-ZfEts1S-D8z5cpkW0WPN-zSJmDGJFEh4dITEQulL8N4ETA7gxmJ3yy06hCWb8V0LCjths9pfjiPci5QumsqAmxHaM/s400/F1030005.JPG" width="400" /></a></td></tr>
<tr align="right"><td class="tr-caption">nikon f4, 2013 </td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCQhlQPIrh5S6ORp4hX9gvisCKvp3zmYMWd9ew9OQYtZXAOqFV6X3QIosyi-0DPkh8CRhyucpEmN35LZcGNxICZ17UsyWyW58QQ2ZCipTCbJEEp4okQM-8WBs3Qcq3lr8Ox3EkWOI81qU/s1600/F1000036.JPG" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="267" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCQhlQPIrh5S6ORp4hX9gvisCKvp3zmYMWd9ew9OQYtZXAOqFV6X3QIosyi-0DPkh8CRhyucpEmN35LZcGNxICZ17UsyWyW58QQ2ZCipTCbJEEp4okQM-8WBs3Qcq3lr8Ox3EkWOI81qU/s400/F1000036.JPG" width="400" /></a></td></tr>
<tr align="right"><td class="tr-caption">nikon f4, cross-processed slide, 2011 </td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXjCgEW-uHYtdL0sXVA9HkYDkSTCDnzC5nqNokSSMZVgsbFPqGH554sD55s_PIXiPPYCLhLV-8TxTKIddkJuSJp7AFVW9DIga6-2i-a7V3WQmsRriktO_uqyZTCsICTxDb0thLDTesWm4/s1600/F1000018.JPG" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="267" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXjCgEW-uHYtdL0sXVA9HkYDkSTCDnzC5nqNokSSMZVgsbFPqGH554sD55s_PIXiPPYCLhLV-8TxTKIddkJuSJp7AFVW9DIga6-2i-a7V3WQmsRriktO_uqyZTCsICTxDb0thLDTesWm4/s400/F1000018.JPG" width="400" /></a></td></tr>
<tr align="right"><td class="tr-caption">nikon f4, cross-processed slide, 2011 </td></tr>
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<span id="goog_1914023288"></span><span id="goog_1914023289"></span>To a lesser extent, the subtle analogue characteristics that are often present in 'professional' film cameras (such as high-end SLRs) function in the same way: the grain of a high-speed film, the complex saturation of a cross-processed slide film, the tiny specks of dust that attach to the negative during scanning, a carefully considered in-camera multiple exposure. Many of these things are sometimes considered to be imperfections, but to me, they are precisely the opposite; they are perfect because they denote the truth.<br />
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<i>Coming up in part three: practical factors.</i>gretahttp://www.blogger.com/profile/17031639680932538759noreply@blogger.com0tag:blogger.com,1999:blog-3099326932984937973.post-50062961628679328302013-06-22T10:24:00.000+10:002013-06-22T11:05:55.909+10:00experimenting with some new gods<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfvs845JgJVBjmqDkvJ312iFgNjF7J95bHBWgGjYB0_S9ez2OLN_3ReIL1DtYKLOJnbwo-TxF1YVwZpzFLaKLV1Z7bugkQ9JHrEkPOahOZavn9aRvjv2vbO0kiD9J6T4tuuRMNlQ5Bw4c/s1600/F1000020.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="267" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfvs845JgJVBjmqDkvJ312iFgNjF7J95bHBWgGjYB0_S9ez2OLN_3ReIL1DtYKLOJnbwo-TxF1YVwZpzFLaKLV1Z7bugkQ9JHrEkPOahOZavn9aRvjv2vbO0kiD9J6T4tuuRMNlQ5Bw4c/s400/F1000020.JPG" width="400" /></a></div>
I've been progressively pushing the experimental aspects of my live photography lately. This is not to say that far-out, psychedelic effects are always better than a straightforward shot; that is most certainly untrue. But sometimes, they are as good, if not better. Sometimes, an experimental photo represents the music and/or the artist more closely than a traditional photo could. <br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhn925XbwFJlG1veQM2flSeHu3A3gg62Mt-0gRw9k-Y6p5b0Rl41meDW_mWI0PcSYWfpOxels8tvq12D4_0Ct65wqOd5p_C0X4WnLs80P08lqsArQ1G6zljY0ZzQiVzP5hVP_BEMYXxQmM/s1600/F1000021.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="268" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhn925XbwFJlG1veQM2flSeHu3A3gg62Mt-0gRw9k-Y6p5b0Rl41meDW_mWI0PcSYWfpOxels8tvq12D4_0Ct65wqOd5p_C0X4WnLs80P08lqsArQ1G6zljY0ZzQiVzP5hVP_BEMYXxQmM/s400/F1000021.JPG" width="400" /></a></div>
I'm not sure if that is necessarily true of these shots of New Gods, which I took recently at Ding Dong Lounge in the city. I went there with the specific intention to try out some new techniques. This is partly because I thought New Gods - with their interesting instrumental work and sometimes erratic frontman - would suit a less conventional approach to live photography. It is also because I need to become more familiar with these effects, and hone my skills, so that in future I can make informed decisions as to which shooting mode will be more effective - and so I will have a reasonable idea of what the results of this unconventional style will look like.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1P4MFSDODtqM9AGlNAwF0qZOtjQonZ1TTVvqd_krHIFbHqPA72PmWUGTLjUHBpT_ZamWTCdaTGGCJgGu_Ry1ZhfamI6S2YWGz3JwiIMJrhkvAb3IAW__3NnHZPJu4ZA66_Fzl_49_5EE/s1600/F1000016.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="268" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1P4MFSDODtqM9AGlNAwF0qZOtjQonZ1TTVvqd_krHIFbHqPA72PmWUGTLjUHBpT_ZamWTCdaTGGCJgGu_Ry1ZhfamI6S2YWGz3JwiIMJrhkvAb3IAW__3NnHZPJu4ZA66_Fzl_49_5EE/s400/F1000016.JPG" width="400" /></a></div>
<span id="goog_1499802140"></span><span id="goog_1499802141"></span>I think the photo at the top of the post captures something of the band and the performance more effectively than the second two. Even though none of these three communicate movement, which is something that I generally love in live shots, the top image is somehow more evocative - all the pretty lights dominating the top third of the frame, the gorgeous lighting on Richard's face (left), and the fact that Dominic is still the focus, but in a more subtle and collaborative way. A talented songwriter backed by a devoted unit of musicians, perhaps. There's something very intimate about the shot, which I think comes from its composition. It evokes warmth (camaraderie, perhaps?), and a richness of sound that seems apt for the music, whereas the other two deceptively sparse.<br />
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Again this one feels quite sparse, and I don't think it's a great representation of the band. But it is an interesting effect, and in trials like these, interesting is all I ask for.<br />
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I actually really like this, and I think it's because of the strange, out-of-focus exposure of Dominic (the yellow figure), which again adds warmth to the image. Together with the lights, it creates a lovely atmosphere - almost dreamlike. I also like that Sam is in it - which is rare, because thanks to stage position and poor lighting, drummers are frustratingly difficult to include in live shots. However, the shot doesn't include Richard, so it's not an image of the whole band.<br />
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That movement I was talking about?<br />
<br />
This technique is very new to me, albeit a pretty organic extension of my multiple exposure work. It's not a perfect image by any means, but with its chaos leading to an emotive cry from Dominic at the far right of the frame, it contains a lot of promise. This technique is one that needs a lot more practice - and one that will definitely be getting it.<br />
<br />
(PS: Part Two of my investigation into film vs digital is well underway, and should appear in the coming week. I just wanted to give some photo love to the internet in the interim.)gretahttp://www.blogger.com/profile/17031639680932538759noreply@blogger.com0tag:blogger.com,1999:blog-3099326932984937973.post-55422327861340448912013-05-26T20:36:00.002+10:002013-05-26T20:46:14.089+10:00why film? part one<span style="font-size: large;"></span>
<span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_gZ40p-dl64Seoj9qTvMycjdYJXsLn3sYO6QYCeX9dRv6-oUgalA8EjYMVFscBvuTUAyTtZbaU-zwrLzYIjRst3RxhQW9VXR1ZjXXIf009SKzfAPtY_XkZfjRiMcR_IQSyNwplYwUGGM/s1600/F1000008.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="267" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_gZ40p-dl64Seoj9qTvMycjdYJXsLn3sYO6QYCeX9dRv6-oUgalA8EjYMVFscBvuTUAyTtZbaU-zwrLzYIjRst3RxhQW9VXR1ZjXXIf009SKzfAPtY_XkZfjRiMcR_IQSyNwplYwUGGM/s400/F1000008.JPG" width="400" /></a></span>
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</style><span lang="EN-GB" style="font-family: "American Typewriter"; font-size: small; mso-fareast-font-family: "Times New Roman";">Why film?</span><br />
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<span style="font-size: large;"><br /></span></div>
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<span lang="EN-GB" style="font-family: "American Typewriter"; font-size: small; mso-fareast-font-family: "Times New Roman";">It's a question that I get asked a
lot. And I ask it of myself even more often. It's something I've been thinking
hard about, and trying to articulate, for the longest time. The closest thing
to an answer I've ever been able to achieve is less an explanation than a
feeling. A very strong feeling that I just have no interest in taking up
digital photography. An extremely strong feeling that I am just in love with
film. But this hasn't satisfied my intense curiosity on the matter.</span></div>
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<span style="font-size: large;"><br /></span></div>
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<span lang="EN-GB" style="font-family: "American Typewriter"; font-size: small; mso-fareast-font-family: "Times New Roman";">While buying and testing out my new
(film) camera - the most expensive one I've bought yet - the question seemed
more relevant than ever. While I don't yet have a single, definitive answer,
here I'm going to attempt to explore one of my strongest suspicions as to the
reason I continue to stubbornly snub new (digital) forms of photography.</span></div>
<span style="font-size: large;"><br /></span>
<br />
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</style><span lang="EN-GB" style="font-family: "American Typewriter"; font-size: small; mso-fareast-font-family: "Times New Roman";">The core of this suspicion is my
very general belief that film just seems more real than digital. When I have
tried to explain this in the past, I haven't been able to get much further than
the logic that film is a physical medium - the image is there on the strip of
negative, permanent and concrete. Digital, on the other hand, begins and ends
in the virtual realm. It's made up of ones and zeros, and open to a plethora of
manipulation and dishonesty within ubiquitous programs like Photoshop. Digital
photography has opened the medium up to a world of effects, techniques and
methodologies that allow images to be spectacularly manipulated. In many ways,
this is a wonderful thing, as artists can create images that simply couldn’t be
achieved before. But it also means that our default position when we see a
remarkable image is to suspect (at best) or assume (at worst) that it has been
digitally manipulated. From famous hoaxes (such as the 9/11 tourist photo, see
that and more <a href="http://www.complex.com/pop-culture/2010/03/Complexs-50-Favorite-Moments-In-Photoshop-History/9-11-tourist" target="_blank">here</a>)
to celebrities that have been airbrushed to within an inch of their lives
(there’s a good collection <a href="http://www.smosh.com/smosh-pit/photos/10-celebs-and-after-photoshop-gifs" target="_blank">here</a>),
the ubiquity of Photoshop in modern media, and photography, means that
photographic images can’t really be trusted. Or, as Erik Voons writes in his
introduction to the ‘New Realities’ issue of <i style="mso-bidi-font-style: normal;">Guide to Unique Photography</i>, ‘while fully embracing digitization
and accepting that the plethora of synthesised images will continue to grow, it
has nonetheless become difficult (if not impossible) to make a distinction
between pictures that are “real” and those that have been altered.’</span><br />
<span style="font-size: large;"><br /></span>
<br />
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</style><span style="font-size: large;"> <span lang="EN-GB" style="font-family: "American Typewriter"; font-size: small; mso-fareast-font-family: "Times New Roman";">It wasn’t always this way. In fact,
when photography was in its infancy, it was prized for precisely the opposite.</span></span><br />
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<span style="font-size: large;"><br /></span></div>
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<span lang="EN-GB" style="font-family: "American Typewriter"; font-size: small; mso-fareast-font-family: "Times New Roman";">André Bazin was one of the most
influential cinema theorists of the twentieth century. He co-founded French
cinema journal <i style="mso-bidi-font-style: normal;">Cahiers du cinéma</i> in
1951, which would permanently alter the direction of modern film theory (case
in point: its much-debated auteur theory is still taught in film schools
today). In 'The Ontology of the Photographic Image', Bazin posits that
photographic technology changed the face of creative representation by, for the
first time, enabling reality to be visually duplicated. While traditional art
forms had been representing reality for centuries, the photograph presented a
way to '[completely satisfy] our appetite for illusion by a mechanical
reproduction in the making of which man plays no part'. While obviously man
does play a part in the composition and the act of taking the photograph,
Bazin's point is that subjectivity ends there; unlike in, say, painting, the
image is a mechanical duplication of life rather than a hand-made
interpretation. In his words: </span></div>
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<span style="font-size: large;"><br /></span></div>
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<span lang="EN-GB" style="font-family: "American Typewriter"; font-size: small; mso-fareast-font-family: "Times New Roman";"><i>For the first time, between the
originating object and its reproduction there intervenes only the
instrumentality of a nonliving agent ... The personality of the photographer
enters into the proceedings only in his selection of the object to be
photographed and by way of the purpose he has in mind. Although the final
result may reflect something of his personality, this does not play the same
role as is played by the painter.</i> </span></div>
<span style="font-size: large;"><br /></span>
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</style><span style="font-size: large;"> <span style="font-size: small;"><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "American Typewriter"; mso-fareast-font-family: "Times New Roman";">That's
it!</span></i><span lang="EN-GB" style="font-family: "American Typewriter"; mso-fareast-font-family: "Times New Roman";"> I thought. <i style="mso-bidi-font-style: normal;">That's the difference between film and digital! That's what I love
about film! </i>This logic can surely be applied to the film vs digital debate:
the extensive post-production that so often occurs in digital photography is
akin to the painting in Bazin’s analogy. Film is truth; digital is a warped
version - a subjective interpretation - of that truth.</span></span></span><br />
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<span style="font-size: large;"><br /></span></div>
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<span lang="EN-GB" style="font-family: "American Typewriter"; font-size: small; mso-fareast-font-family: "Times New Roman";">But the more I thought about it, the
surer I became that, unfortunately, it is much more complicated than that.</span></div>
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<span style="font-size: large;"><br /></span></div>
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</style><span style="font-size: large;"> <span lang="EN-GB" style="font-family: "American Typewriter"; font-size: small; mso-fareast-font-family: "Times New Roman";">The problem with this simplistic categorisation
is that film photos mostly end up in the same format as digital photos. Every
piece of my work you've ever seen has most likely been on a computer. Even if
you've seen a framed, physical print of mine, it has been printed from a
digital file scanned from the negative. Which means that film photos are just
as easily Photoshopped as digital photos.</span></span><br />
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<span lang="EN-GB" style="font-family: "American Typewriter"; font-size: small; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">Furthermore, even before negatives were being
scanned and converted into jpegs, photos were being manipulated; photo hoaxes
go back to the <a href="http://www.museumofhoaxes.com/hoax/archive/display/category/photography" target="_blank">nineteenth century</a>.
Vroons acknowledges that ‘there hasn’t really been a moment in which claiming
the recording of the “real” was not problematic’, pointing out that ‘as soon as
Hippolyte Bayard photographed a staged scene of himself as a drowned man (Le
Noyé, 1840), he introduced his audience to the need for a sceptical eye.’ Indeed,
much of my own experimentation revolves around in-camera manipulation. Even
Bazin <a href="http://www.film-philosophy.com/vol6-2002/n1bazin" target="_blank">acknowledged</a> the issue of photographic trickery just a year after writing
‘The Ontology of the Photographic Image’, investigating how reality and special
effects interact in cinematic form.
</span>
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<span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9u2DCAOyYBx1Qo6cszqe09lVzh3E6xGWvRxK-Q2iaOcLgHV9ahxb5_PlpD52kNqjxSwVId3FRYUieBTFcsRMyh0JwvZMdFN_hyqVt3ne8ZtRyNATHhNJph1F4IrNADW6qyuKTGAVkjK4/s1600/F1000022.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="267" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9u2DCAOyYBx1Qo6cszqe09lVzh3E6xGWvRxK-Q2iaOcLgHV9ahxb5_PlpD52kNqjxSwVId3FRYUieBTFcsRMyh0JwvZMdFN_hyqVt3ne8ZtRyNATHhNJph1F4IrNADW6qyuKTGAVkjK4/s400/F1000022.JPG" width="400" /></a></span></div>
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<span lang="EN-GB" style="font-family: "American Typewriter"; font-size: small; mso-fareast-font-family: "Times New Roman";">So what does it all mean? How can I
maintain that film photography is closer to the Real than digital photography
when there is so much conflicting evidence? Will Part Two of this blog post
answer these questions? (Hopefully the answer to <i style="mso-bidi-font-style: normal;">that</i> question is ‘yes’.)</span><br />
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gretahttp://www.blogger.com/profile/17031639680932538759noreply@blogger.com0tag:blogger.com,1999:blog-3099326932984937973.post-5604109368833544392013-05-22T22:16:00.003+10:002013-05-22T22:23:45.179+10:00musical bits and pieces<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkNQuuBWoIy4Qyzaf1w3S2iHHrd2wgMqk5mS8-jcArW18VuP_iYPKKNIIEpvWJat31QfVnBKuTEvtEN9VaMmtcVETPPfCis4EqfcO_Awbchp49hWnFXMoaS2jQYh9yUQtskK90xJQ3Q-c/s1600/F1020012.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="267" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkNQuuBWoIy4Qyzaf1w3S2iHHrd2wgMqk5mS8-jcArW18VuP_iYPKKNIIEpvWJat31QfVnBKuTEvtEN9VaMmtcVETPPfCis4EqfcO_Awbchp49hWnFXMoaS2jQYh9yUQtskK90xJQ3Q-c/s400/F1020012.JPG" width="400" /></a></div>
For better or worse, music has been preoccupying my lenses of late. I have some very specific music- and non-music-related projects coming up, but before I get to that stuff, here is a relatively arbitrary collection of images from various music-themed shoots/events.<br />
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In my last post, I wrote about the recent shoot I did with a singer/songwriter. It was a wonderfully successful day, and in good time the final images will show up here in all their glory. Until then, I'm choosing to display a few nondescript shots. This one wasn't planned; I was walking down to the backyard to shoot from a low angle and I noticed his hand resting on the railing. I know it's quite a plain image, but there's something about it that I love. I think perhaps it's because the formality of the black-jacket-white-shirt sleeve contrasted with the relaxed state of the hand intrigues me. The gumtrees and the old verandah railing are also very Australian, and that's always nice.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_W7oFB108V_aLdTPjHylN345Tewkq1cqyxe6JjU4dmgT8G2AF8-GHq1qsCYpeIOlzPm04FdKdWkQ8_9-kjBoMPOCU5VlWcbSPJGU5OMSJUSioIJ3kQY7-Pwco_VGbBcaqlonFuBqUE7o/s1600/F1000020.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="270" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_W7oFB108V_aLdTPjHylN345Tewkq1cqyxe6JjU4dmgT8G2AF8-GHq1qsCYpeIOlzPm04FdKdWkQ8_9-kjBoMPOCU5VlWcbSPJGU5OMSJUSioIJ3kQY7-Pwco_VGbBcaqlonFuBqUE7o/s400/F1000020.JPG" width="400" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigR0tRlQS4pLLjK5LXCN_bud3fzasBDnIvRtgdfcKgOyuBUlbdd42BvPjKx-RDCvVxhep7cfYwLgJpeX55r3OiiVyg5J20Ir8aSsPlTn5PxDGP0ZXoNkjH-wnmc9xIVcdz6nmDUkVqVMo/s1600/F1000032.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="268" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigR0tRlQS4pLLjK5LXCN_bud3fzasBDnIvRtgdfcKgOyuBUlbdd42BvPjKx-RDCvVxhep7cfYwLgJpeX55r3OiiVyg5J20Ir8aSsPlTn5PxDGP0ZXoNkjH-wnmc9xIVcdz6nmDUkVqVMo/s400/F1000032.JPG" width="400" /></a></div>
I'd never heard of Immigrant Union before going to see them play, but I always like the challenge of shooting something or someone I'm unfamiliar with. Unlike bands such as Money for Rope, Royal Headache and Saskwatch, all of whom I love and whose songs I am extremely familiar with, shooting an act unknown to me means that I have to make decisions in the moment, with no forethought or preparation. I'd loaded black and white film just before the performance and I immediately regretted it when the smoke machine came out and the colours came alive through the haze. While colour film would definitely have been interesting, though, the smokiness still makes the lighting more dramatic with this black and white film (in the second shot), and I think that the first shot would look less appealing in colour. I still would have preferred colour for the night, but I guess what I'm saying is, there were a few interesting results regardless.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVB7syHWZcL6rst_EKz5Ye5S23EOEtGgeBBxOgbVx1oT0ZsSaDZ2tcIy7LuDDCbM5ovdDwHIPZtznDpgBJ-kxN2Z_4EB_D0Bk0Fz4HCGnzf9ufwg3ltTI45ZZlYQQbXCf9fliIur4mxdk/s1600/F1010025.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="268" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVB7syHWZcL6rst_EKz5Ye5S23EOEtGgeBBxOgbVx1oT0ZsSaDZ2tcIy7LuDDCbM5ovdDwHIPZtznDpgBJ-kxN2Z_4EB_D0Bk0Fz4HCGnzf9ufwg3ltTI45ZZlYQQbXCf9fliIur4mxdk/s400/F1010025.JPG" width="400" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLgHpBhSC9mAwp5ge29Mmh0ggkIZxo9yNvrm_qCrL9a1av6D5B4IjVj6edRnv3l3bnjmJJC8phXm3oX9Oe22vGTn_0uwRQPUDog-ddBnNooXDw_tzkhyphenhyphenerKJfMhQFsO-9zve-8Rl_rdFg/s1600/F1010015.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="270" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLgHpBhSC9mAwp5ge29Mmh0ggkIZxo9yNvrm_qCrL9a1av6D5B4IjVj6edRnv3l3bnjmJJC8phXm3oX9Oe22vGTn_0uwRQPUDog-ddBnNooXDw_tzkhyphenhyphenerKJfMhQFsO-9zve-8Rl_rdFg/s400/F1010015.JPG" width="400" /></a></div>
As incredible as the action on the stage can be, the audience can be pretty appealing too. Both of these shots were taken at a small music festival in South Gippsland. There was a very convivial atmosphere throughout the crowd, and the festival in general, and the lighting from the stage was giving all the happy faces such lovely colours. The first shot is slightly out of focus, but the softness is in keeping with the cloud-covered moon. While technically this is significantly flawed, it has a special feeling to it, and I love the deep blue of the night sky against the magenta of the stage-bathed crowd. There's not a whole lot to say about the second shot here - it's just really cute.<br />
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There'll be more coherent thoughts and collections from me soon, but I think that taking some time to pick out a few photos that maybe don't fit in with them is a great thing to do. Because they're interesting at least, lovely (or cute) at best, and I don't want them to get lost in the depths of the photo library and be forgotten.gretahttp://www.blogger.com/profile/17031639680932538759noreply@blogger.com0tag:blogger.com,1999:blog-3099326932984937973.post-42771048085906437242013-05-12T13:41:00.003+10:002013-05-12T13:41:54.419+10:00ordinary<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8DE1Gm5o0xiZ_UPKA3G9GkzzNRlNBzEUhK0ytm5ZEtVQRbDTOWFVZxcV9MX0nHYj8_YAS90UfylnJjKtFWL1QcwhEsAw8kuC56dHCnYADY7u4i_PmXuCurZAvAxB3PiF7B6ef2QNK0fI/s1600/F1000036.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="267" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8DE1Gm5o0xiZ_UPKA3G9GkzzNRlNBzEUhK0ytm5ZEtVQRbDTOWFVZxcV9MX0nHYj8_YAS90UfylnJjKtFWL1QcwhEsAw8kuC56dHCnYADY7u4i_PmXuCurZAvAxB3PiF7B6ef2QNK0fI/s400/F1000036.JPG" width="400" /></a></div>
Contrary to the title of this post, I think these images, and the things within them, are anything but. I'm aware that it's potentially a bit redundant to say that there is beauty in the ordinary; it's been said and demonstrated a million times (including a few times on this blog). But I'm also aware that so much of my output lately is of overtly <i>extra</i>ordinary content - live shows, newborn babies, weddings - so I felt it would be a good idea to balance that with some everyday visual observations.<br />
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This first image, for example, is of perhaps the least ordinary person in the whole world: my mum. But the wooden deck, the cute deckchair cover and the comfy slippers encapsulate her typical Sunday morning, and perhaps speak to many of our typical weekends: comfort, modesty, relaxation. Certainly sitting out on the deck in a dressing gown sums up a lot of the time I spend at my parents' place, so this image is absolutely a representation of the everyday for me, in that context. It's a beautiful image, though, both because of how much I treasure the person and the activity within, and for its aesthetic simplicity. The natural tones, the composition, the lines of the planks, the slight vignetting thanks to my new LC-A+: it all works, and so visually and otherwise this is a wholly successful photo.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitr2rVuqDekoX0CcJyz6fgQelJjqQedCdVwEYL6b7b4yP620iSvaJFoceFFs220nm7v18Jo9BCzEwuR_7izPnkb4zgOb1wJ3BNFOOzpSz2QuOjq0AYFinSJCkBVuDkitskXQvn6-G3w4c/s1600/F1010017.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="268" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitr2rVuqDekoX0CcJyz6fgQelJjqQedCdVwEYL6b7b4yP620iSvaJFoceFFs220nm7v18Jo9BCzEwuR_7izPnkb4zgOb1wJ3BNFOOzpSz2QuOjq0AYFinSJCkBVuDkitskXQvn6-G3w4c/s400/F1010017.JPG" width="400" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbjy4GmFCljA5X6vwOeLGleXalxs82oM6iOn7e6VpvqtptSxUIxfHv_6tj54B7PPGDtSj6zn47Mla-b_Pws7RMAPVP_zGrdXhoa0pdVMRR22Ui2XuU55QEpNjE79Jaq24Vm1L28E7DYTc/s1600/F1010020.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="267" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbjy4GmFCljA5X6vwOeLGleXalxs82oM6iOn7e6VpvqtptSxUIxfHv_6tj54B7PPGDtSj6zn47Mla-b_Pws7RMAPVP_zGrdXhoa0pdVMRR22Ui2XuU55QEpNjE79Jaq24Vm1L28E7DYTc/s400/F1010020.JPG" width="400" /></a></div>
I recently did a solo shoot with a singer/songwriter which went for quite a few hours. We were shooting at his house and we were going about it in a pretty leisurely fashion, so much so that he decided to take a break to cook lunch. He was happy for me to shoot during lunch and the kitchen had beautiful natural light, so I got in close for a few aspects of the process. Heating oil in a pan, chopping tomatoes; an old stove, 1970s tiles, Keen's Mustard Powder on the shelf: we all know this. They are pieces of our collective everyday, and as such they simultaneously mean the same to all of us, and evoke a unique set of memories or meanings for each of us. I adore these photos, and especially the tomatoes shot, with its stunning window lighting.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimANgRiiG3OxOmAsCH6QEsyF-BokFc2eCOrtlQhPEdrinoXH_H4wyp_jLy0OaukMRh8YGX-_krLGjT4-k-OwJTfwhZpLY-ZN3T6qwbVEKaLY1aSVL2jbXkcP1Hx7yP2Fz1TGICMc_htmM/s1600/F1010027.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="268" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimANgRiiG3OxOmAsCH6QEsyF-BokFc2eCOrtlQhPEdrinoXH_H4wyp_jLy0OaukMRh8YGX-_krLGjT4-k-OwJTfwhZpLY-ZN3T6qwbVEKaLY1aSVL2jbXkcP1Hx7yP2Fz1TGICMc_htmM/s400/F1010027.JPG" width="400" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyBXMVx6939SzSAmoYnZbqabpskIZF5-ixb-VVhRrH6lhDBGhrikdkACNLZGQWYmKSuKEH-ItpE7dOq9JSYHDcSvZwYjhxnyoqt3NwQOOMg-0OSF86NOskwgD8USmZ6uu5xuXScfaFHCk/s1600/F1010032.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="268" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyBXMVx6939SzSAmoYnZbqabpskIZF5-ixb-VVhRrH6lhDBGhrikdkACNLZGQWYmKSuKEH-ItpE7dOq9JSYHDcSvZwYjhxnyoqt3NwQOOMg-0OSF86NOskwgD8USmZ6uu5xuXScfaFHCk/s400/F1010032.JPG" width="400" /></a></div>
More everyday - this time, an early afternoon in a place that exists on the cusp of urban and suburban, authentic and gentrified. A cafe - and it could be one of hundreds that scatter the suburbs surrounding inner-city Melbourne - with some gorgeous light streaming in; and a decidedly suburban car wash - a blue man against a brilliant blue sky. What is especially fascinating about the second shot is that the sign's 'shadow' makes it appear as though the sky is a fake - a backdrop to some kind of surreal theatre set. The strange markings that have appeared on the negative enhance this odd effect.<br />
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These are all photos of ordinary, day-in-the-life objects and occurrences. But there's a reason that images such as these are perennially appealing, and hold a special place in many hearts. Though the subjects are ordinary, they make up the bulk of our experiences. As such, I don't think they can be dismissed or discounted in any way. gretahttp://www.blogger.com/profile/17031639680932538759noreply@blogger.com0tag:blogger.com,1999:blog-3099326932984937973.post-75872003005600452372013-04-26T11:41:00.000+10:002013-04-26T11:41:15.065+10:00(more) money for rope<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEQZb6NXOtPzVKB4LWQlyQamR6RECpUMM68xLQmx5pRF3Q7WK5FlgS3gRuzFAcCksszJe864IkmVa_6LGuDada9BKYiq2ThcAigot0ghiO_RP0f-lZ3q0qAU9jkQIVQEt6Pn37eH23guw/s1600/F1000012.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="268" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEQZb6NXOtPzVKB4LWQlyQamR6RECpUMM68xLQmx5pRF3Q7WK5FlgS3gRuzFAcCksszJe864IkmVa_6LGuDada9BKYiq2ThcAigot0ghiO_RP0f-lZ3q0qAU9jkQIVQEt6Pn37eH23guw/s400/F1000012.JPG" width="400" /></a></div>
<span id="goog_7266434"></span><span id="goog_7266435"></span>It's been a while since I've posted here I know. I've been working on a whole lot of stuff, including a pretty mammoth post about my obsession with film. But seeing as that is evidently taking its sweet time to come together, I thought I should just give you some photos to look at.<br />
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It's no secret that Money for Rope are one of my favourite bands. And I don't just mean one of my favourite <i>Melbourne</i> bands - I mean one of my favourites in general, anywhere. It's also no secret that I love Saskwatch. So when the two bands announced a tour together it was a given that I would be there with my camera. God knows I've taken enough photos of Saskwatch, though, so I just shot MFR - though Saskwatch still manage to make their presence felt via the bass drum.<br />
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Last time I shot a MFR live show I did so in <a href="http://endlessbagsofdirtylaundry.blogspot.com.au/2012/12/taking-it-live.html" target="_blank">black and white</a>, which turned out great. I think the black and white really suits the music - rough grain for the dirty garage soul rock. But variety is always a good thing, so I shot them this time in colour. The lighting was great and, let's face it, their performance always makes for awesome images, so I don't feel that colour was a bad move.<br />
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Their lead singer, Jules, has been in a chair for a while with some kind
of rockstar injury (!), but bloody hell he owned that
primary-school-chair-and-moonboot combo harder than I thought possible.
So fun to watch. (I heard that he fell off the chair later on during the set - and continued to rock it horizontally - but I had put away the camera and moved to the back to hear it better. Damn.)<br />
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So here you go - some cool photos of a ridiculously amazing band. See you at the <a href="https://corner.ticketscout.com.au/gigs/1325-money-for-rope" target="_blank">Northcote Social Club in May</a>? Yeah I will.gretahttp://www.blogger.com/profile/17031639680932538759noreply@blogger.com0tag:blogger.com,1999:blog-3099326932984937973.post-39281205196905555212013-03-22T11:54:00.002+11:002013-03-22T16:25:05.681+11:00sweat 'til you can't sweat no more<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguJrdVNvUq6mHz0dYIoA5N8gro1gny4wTfUAmnP1mMtdZfYWh3Dc-ycgp0CeR7peJQlrJCk4CzD3OTWPaFrlWubvM69CTLYgiIydSjTgGqCh8fj_k6y0kX9l5Ehp1QEYLVWqy2KhBnGZk/s1600/F1010021.JPG" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="268" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguJrdVNvUq6mHz0dYIoA5N8gro1gny4wTfUAmnP1mMtdZfYWh3Dc-ycgp0CeR7peJQlrJCk4CzD3OTWPaFrlWubvM69CTLYgiIydSjTgGqCh8fj_k6y0kX9l5Ehp1QEYLVWqy2KhBnGZk/s400/F1010021.JPG" width="400" /></a></div>
I'm
sure there are other, more insightful similarities between the two gigs
I saw and photographed last week, but in my mind and memory, there is
one thing that unites them above all else: sweat. I'm not just talking a
bit of upper-lip moisture, either. I'm talking about drenching my
shirt, stinging my eyes, trickling down the back of my neck, threatening
to drown my camera every time I looked through the viewfinder. I
actually didn't realise I was capable of producing that much sweat.
Twice in one week.<br />
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Both
shows occurred during Melbourne's March heatwave, both were in venues
that are notoriously warm when things get busy, and both were at
capacity. The first was Saskwatch returning to Cherry for the first show
of their March residency (above). The second was Royal
Headache playing a wonderfully intimate show at the John Curtin Hotel
(top). <br />
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I've
been using the grainy black and white a lot for live stuff lately, and
to be honest I think it's my go-to for this kind of thing. In large
part, that's because it's the most capable film I know for low-light
situations, but I also love it because it's different from most other
black and white live stuff you see around the place. In the first guitar
shot here (Royal Headache), it's kind of washed out and grey, and in
the second (Saskwatch) it's got a lot more contrast. Usually I always
prefer high contrast, but sometimes it's nice to have some variety, and
there is something charming about the greyer image; again, the almost
faded grainy look is just very different from most stuff I see, which is a positive .<br />
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I
only used black and white for Royal Headache, but for Saskwatch at
Cherry I decided to embrace the red curtain and shoot some slide as
well. The way I shot and processed it really brings out extreme contrast
and extra red, which again, makes them quite different from a lot of
live stuff out there. Don't get me wrong - I am not against
'regular'-looking film, but with a type of photography (live music) that
so often looks the same, it's important for me to experiment
with how I can bring something new to the images. The intense
contrast+red in these shots isn't my favourite effect in the world, but I
do think it has potential, and in the second photo of these four, I
think the lighting and contrast works beautifully, especially on Nic's
face (centre).<br />
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As with the black and whites above, the first two photos here show how the
same film and shooting conditions can produce pretty different results.
The first of the two is really high contrast, while the second is a lot
less intense, and red almost looks faded. I think in this case, I like
the second, faded look better. Having said that, LOOK AT THE THIRD ONE!
What an incredible image to have shot and not photoshopped or anything -
just to have the red of the curtain and the red of the stage lights and
the film producing this intense two-tone effect. I love this.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiia_tIlLIbmOQN7xxNCyv5HlKOJN2keGDuGGI5NW2jJAhI_N894CfhbcB751oovwm3fxA3uavpG2RA9dB7JHwTzHn0s8smb_2SIkw1ZI2q-P8lFGAALBELEMQ_D7iFT_b8FvtwREiAPuc/s1600/F1000012.JPG" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="267" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiia_tIlLIbmOQN7xxNCyv5HlKOJN2keGDuGGI5NW2jJAhI_N894CfhbcB751oovwm3fxA3uavpG2RA9dB7JHwTzHn0s8smb_2SIkw1ZI2q-P8lFGAALBELEMQ_D7iFT_b8FvtwREiAPuc/s400/F1000012.JPG" width="400" /></a></div>
I
just want to take a moment to celebrate this really animated image of
the horn section. They're usually tucked away behind their very large
and obscuring mic stands, so it's difficult to get a dynamic image
of all of them. At this moment, they came out to the centre of the stage
during their cover of Robbie Williams' 'Kids', and encouraged the
audience to sing the refrain. It's particularly appealing to me because
they're all active: Liam and Will are singing, Nic is wiping the sweat
off his face, and Sam is encouraging the crowd to sing it loud. Great.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCSg7nNnAnti3pYZvdHasK_7s2xBai8gogvequhiye1odG4Og7Ajkixw3aaNYNiDuxJznXNG8XUUKM85GUFReRlaPSXDZKib5ZbYcMlb7HmQ9_goR7InLIzWzo48ClV6xTKQLxJz5muWQ/s1600/F1000032.JPG" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="267" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCSg7nNnAnti3pYZvdHasK_7s2xBai8gogvequhiye1odG4Og7Ajkixw3aaNYNiDuxJznXNG8XUUKM85GUFReRlaPSXDZKib5ZbYcMlb7HmQ9_goR7InLIzWzo48ClV6xTKQLxJz5muWQ/s400/F1000032.JPG" width="400" /></a></div>
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In
my ongoing attempt to get something slightly left of centre, I often
try to get in close and focus on small details that still capture the
energy or some other essential part of the performance. Olaf's
keys-playing is a good example, and works well here because you can see
Rob's guitar in the background so the shot's a bit more dynamic. But
really, the stars here are the ones of Nkechi. She's such an incredible
photography subject when she's on stage, because the way she moves and
the way she physically sings are mesmerising. If it weren't for all the
dancing this band commands of its audience, I'm quite sure people would
just be transfixed on Nkech the entire time. These images of her arm and her hand on the
mic stand here are just two examples of getting in close to capture
elements of her physical performance. I'd love to do this more with her,
because by God, there are a lot of things to capture.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4VozW5Otxd0mzmtLkCUvO6tVCcMBeksiJBUAWFjGbDtT5Yf9ovbg3RDOAVFIM5OW8J0JimJgmMa2uvXlk-Ts-1iJX-hFNGdypIVzEyXqF0Y3ux4x698K2ciRvyAMlG4XCA34D9IU0JoI/s1600/F1000005.JPG" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="267" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4VozW5Otxd0mzmtLkCUvO6tVCcMBeksiJBUAWFjGbDtT5Yf9ovbg3RDOAVFIM5OW8J0JimJgmMa2uvXlk-Ts-1iJX-hFNGdypIVzEyXqF0Y3ux4x698K2ciRvyAMlG4XCA34D9IU0JoI/s400/F1000005.JPG" width="400" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNKqiM5bWXLgv0n_1LyhhRmMRdXTjOFk8EpA1Lnzj_mjLagPBjKb599LRVxKfBZRN3b1xbUIqnKJ8G3nRAzUePQ_ASJJP4tjlxjWc35JA0xA0YoNO6jVekI_gJBRCGn2hN-g3UTviWeMk/s1600/F1000026.JPG" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="268" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNKqiM5bWXLgv0n_1LyhhRmMRdXTjOFk8EpA1Lnzj_mjLagPBjKb599LRVxKfBZRN3b1xbUIqnKJ8G3nRAzUePQ_ASJJP4tjlxjWc35JA0xA0YoNO6jVekI_gJBRCGn2hN-g3UTviWeMk/s400/F1000026.JPG" width="400" /></a></div>
Royal Headache's lead singer, Shogun, is mesmerising in an
entirely different way. He alternates between pacing frenetically across
the stage and pausing to crouch and focus on singing intensely and
beautifully. I was right up the front for this gig, which was great for
shooting, but not great for my physical well-being; Shogun's freneticism is nothing
compared to the brutal energy of Royal Headache's die-hard fans, who
evidently love to shove, stage dive, crowd surf and smash shit. But I
was tough! I was going to get my shots! A kick to the head, a stranger
falling onto my lap and a million little bruises all over me weren't
going to deter me! And my persistence paid off; apparently Shogun wasn't
so sure of my physical capabilities and eventually insisted that I get
onto the stage to shoot in order to be a bit safer. <br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHEV71t_J_gEO4ZBcG-P9iyRQzdtm98bAyUu2cy_W4OfRKTTG9jxpPqKTVSsAoylx6-o2rKfy3MFq0PW_lfSPR7-sanBl17Vo4JRx5QWIZRTxYgeZzSCjoseEN0JkS_JF79lWtLvCKoew/s1600/D1030006.JPG" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHEV71t_J_gEO4ZBcG-P9iyRQzdtm98bAyUu2cy_W4OfRKTTG9jxpPqKTVSsAoylx6-o2rKfy3MFq0PW_lfSPR7-sanBl17Vo4JRx5QWIZRTxYgeZzSCjoseEN0JkS_JF79lWtLvCKoew/s400/D1030006.JPG" width="400" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglzkLluqmxyfBp0llxNyV4bApvbzfq8rEE31x6sKE-sqCw5KcQP6uDwiKqprukX0D_wIiNtHYvh8hDyPfs9DC_97gceJjKJAXMQ2PZEn405FauVxT1UoKvkKPUsduKi3DS7Rcuaq2U4mc/s1600/D1030009.JPG" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglzkLluqmxyfBp0llxNyV4bApvbzfq8rEE31x6sKE-sqCw5KcQP6uDwiKqprukX0D_wIiNtHYvh8hDyPfs9DC_97gceJjKJAXMQ2PZEn405FauVxT1UoKvkKPUsduKi3DS7Rcuaq2U4mc/s400/D1030009.JPG" width="400" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEist9odcLaa450a8Rm5UrHdV2IeLkuF4agZp09Pwa18XdT2JoFoOeSjpxLh4cEB9ZxjlQPChaSQIp9hE46IfbYuvZxGR9XKSYun5lHx20fIilIAxLOG2hGxDpUzEyh77nKPX5kRDSHRpo8/s1600/D1030010.JPG" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEist9odcLaa450a8Rm5UrHdV2IeLkuF4agZp09Pwa18XdT2JoFoOeSjpxLh4cEB9ZxjlQPChaSQIp9hE46IfbYuvZxGR9XKSYun5lHx20fIilIAxLOG2hGxDpUzEyh77nKPX5kRDSHRpo8/s400/D1030010.JPG" width="400" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikDBihkN1UCgm6Iyhw81QcUH2ZtWxbDhNdeDFfEHhyphenhyphen9TSu895a_gNLnc5QsnLq463KAEmAFBRkHO0qkP60za4-cJiNgiK-Kj8F4loDBZhY6-NSYNQknNKioGMHb-OO3m5rJO-M0yf-7Hw/s1600/F1010016.JPG" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="267" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikDBihkN1UCgm6Iyhw81QcUH2ZtWxbDhNdeDFfEHhyphenhyphen9TSu895a_gNLnc5QsnLq463KAEmAFBRkHO0qkP60za4-cJiNgiK-Kj8F4loDBZhY6-NSYNQknNKioGMHb-OO3m5rJO-M0yf-7Hw/s400/F1010016.JPG" width="400" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsDEduaour88S34vVhabzU5hYVxXXBXJlbMe7i9Gg28_0VhQ7uKV078Hlwj6cYiZowtmWIwiaHrpTD0WpB-kXUzeicdJ93iRjHm-xB9kPLqtLbp3fJBWpCQLRKnOhNEiTh9iLjFD1TKC0/s1600/F1010022.JPG" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="267" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsDEduaour88S34vVhabzU5hYVxXXBXJlbMe7i9Gg28_0VhQ7uKV078Hlwj6cYiZowtmWIwiaHrpTD0WpB-kXUzeicdJ93iRjHm-xB9kPLqtLbp3fJBWpCQLRKnOhNEiTh9iLjFD1TKC0/s400/F1010022.JPG" width="400" /></a></div>
I
think this selection captures the energy in the room quite well. The
square shots were taken on my Holga, using a flash - which I don't
ordinarily do for fear of annoying people but I don't think any of these
people even noticed it; with all that activity a flash of light is the
last thing on their minds.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqzYmwh-UjI0883dEcRfG5WV5tAMPG7B2VrNTqNP-zIEA65IeeWdWq_wkLKuyT7WhgKyncUgNXJ0m-FUBgX4Dqm3K6UxWomJ49ipfnwlMqF0KKl0Kf5WsZmwO_a7B8Rjrk5lRqS_LShYw/s1600/D1030008.JPG" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqzYmwh-UjI0883dEcRfG5WV5tAMPG7B2VrNTqNP-zIEA65IeeWdWq_wkLKuyT7WhgKyncUgNXJ0m-FUBgX4Dqm3K6UxWomJ49ipfnwlMqF0KKl0Kf5WsZmwO_a7B8Rjrk5lRqS_LShYw/s400/D1030008.JPG" width="400" /></a></div>
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These
capture the more subdued moments in the set, where the energy relaxed
momentarily in anticipation of the next adrenaline surge. I feel really
lucky that I was close enough to photograph Shogun like this; it's rare
in any live situation to be literally face to face with a performer. In
this case he knelt right in front of me to sing a little. Just perfect.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbTpMRByuHKBcwXW-AfOraD8CbxtLDVGgAWv793QtP_Q9GxihfHGpLdlAluPz_TxojXjQpsVV7E0x7RPUXQVgf9us-LOe19MzK9mQJM6H08R-3kClqi3Y62ahFoxKf5kgyYIiz3MuALqw/s1600/F1010026.JPG" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbTpMRByuHKBcwXW-AfOraD8CbxtLDVGgAWv793QtP_Q9GxihfHGpLdlAluPz_TxojXjQpsVV7E0x7RPUXQVgf9us-LOe19MzK9mQJM6H08R-3kClqi3Y62ahFoxKf5kgyYIiz3MuALqw/s400/F1010026.JPG" width="400" /></a></div>
I
wasn't sure about this one when I first saw it, but actually I really
love it. The focus is on the guy in the audience, who is sweaty and
looks exhausted, but also looks like he's loving it. Then you see the
blur that is Shogun, and the movement implicit in that blur betrays the
energy of the performance, giving us some idea of why the dude in the
crowd may be so sweaty and satisfyingly exhausted. It just works really
well for me.<br />
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These
are just a few more I had to include. Like I think I've made clear
above, they're basically an awesome band to watch and to shoot. I took a
lot of photos but I felt that I couldn't stop because if I did I'd miss
something amazing. These also represent a success story in terms of
shooting at the Curtin, because in the past I've found the lighting
really difficult. I think this film is the key. (Or shooting with a
flash in rare cases.)<br />
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Both of these shows were
incredible, and a privilege to shoot. Engaging performers, great
musicians, responsive crowds and all-round awesome music is a pretty
good combination for getting good shots, despite any technical obstacles
that can (and do) arise.<br />
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So what I'm saying, in conclusion, is this: the sweat, the bruises, the exhaustion - one hundred per cent worth it. gretahttp://www.blogger.com/profile/17031639680932538759noreply@blogger.com0tag:blogger.com,1999:blog-3099326932984937973.post-28673139060460954042013-03-04T22:16:00.002+11:002013-03-04T22:19:44.792+11:00a few types o' portraits<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiymAcXddj7NvGoZtoueqThOIoLHZ6kACKGpdLs0QQUiTpxCAkATx6sQ-nXiiJgwwIrhCgPz6XinA9wrjjzMiEoWIsONqXHqieKmAxOX_wuX9zhtqhCHGd9Py32TGiUUAAjEMjfN_9lYcM/s1600/F1000005.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="267" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiymAcXddj7NvGoZtoueqThOIoLHZ6kACKGpdLs0QQUiTpxCAkATx6sQ-nXiiJgwwIrhCgPz6XinA9wrjjzMiEoWIsONqXHqieKmAxOX_wuX9zhtqhCHGd9Py32TGiUUAAjEMjfN_9lYcM/s400/F1000005.JPG" width="400" /></a></div>
One of my friends recently had a baby. This is relatively new for me; despite being 'of age', very few of my close friends have come to procreate. (Yet.) So when I told this friend that I would love to come and meet his baby, he invited me over and asked me to bring my camera. YES!<br />
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I've never shot newborns before, but I figured that there can't be much to it - they look so damned cute regardless of what the camera does. And I was right! What a beautiful picture of a beautiful baby.<br />
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Here's a couple with Dad a little more involved. They're so lovely, and one of the nicest things is, they really don't need a lot of forethought or analysis; they are gorgeous simply because of what is in them.<br />
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Now, I'm not saying Jim isn't naturally gorgeous... but these photos took <i>a lot </i>of forethought! Which is because, unlike some casual snapshots of a friend, these are carefully planned press shots for the one and only <a href="http://www.facebook.com/grizzlyjimlawrie" target="_blank">Grizzly Jim Lawrie</a>. I'd never purposely gone after sun glare (aka lens flare) before, and I wasn't sure how easy it would be to achieve. But we both agreed that regardless of actual glare, we wanted to capitalise on the early evening golden sunshine - my favourite kind of light. As it turned out, the flare worked pretty beautifully too!<br />
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The first two of Jim are being used as press photos. I liked this one, but he thought it looked like he was holding some kind of intergalactic weapon. Fair enough.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6hol6d35RWHFYZmHQiJuSFqJXaKCKHNliLU21eNbboj7qaeVTkekyO3RjxJI532njdURYGWIJuJOdZ3fjf0K-NSwqvBzhYwKc1xWX7rqUNwiD084Hvc08d6Bp082cKVWUO64hE_eA_lg/s1600/rachel+3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6hol6d35RWHFYZmHQiJuSFqJXaKCKHNliLU21eNbboj7qaeVTkekyO3RjxJI532njdURYGWIJuJOdZ3fjf0K-NSwqvBzhYwKc1xWX7rqUNwiD084Hvc08d6Bp082cKVWUO64hE_eA_lg/s400/rachel+3.jpg" width="347" /></a></div>
So in the first instance, it was a friend's baby, where I could shoot however I wanted - very natural, very spontaneous and organic. Then there was the music press shot, where creativity is still prized, but you work within certain boundaries to achieve a previously agreed-upon goal. Now we have what is perhaps the least flexible type of portrait I've ever done: the actor's headshot.<br />
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I did quite a lot of research to figure out what kind of guidelines, or rules, existed when it came to professional headshots. My understanding is that agents and casting directors (is that what they're called?) generally don't want anything too 'different' - which for me means no grain, no wacky angles, no warped colours, no candid moments. It was an interesting challenge, and I think this image was a good result. I shot Rachel from above because everyone looks better like that (there's a reason all the stupid girls take their selfies with arms stretched up to the bloody ceiling), and I used a film with natural tones and fine grain. Look who knows if this is a desirable outcome in terms of the industry - but you can see her face, she looks pretty, it doesn't look airbrushed, and it doesn't look like she's advertising toilet spray. Also, Rachel likes it. So as far as I'm concerned, it's a winner.<br />
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Is there a conclusion to this somewhat strange mixture of portraits? Well, I guess it's that portraits vary a lot! But perhaps also this: even the most straightforward, rigid type of portrait can engage if you connect with your subject and capture something of who they are. (OK I guess that's not technically a conclusion, in that I haven't specifically discussed it in the body of the post, but I still think it's true so it will remain my final thought.)gretahttp://www.blogger.com/profile/17031639680932538759noreply@blogger.com0tag:blogger.com,1999:blog-3099326932984937973.post-90053533707561751862013-02-15T11:15:00.000+11:002013-02-15T11:15:26.282+11:00summer shots (and a thought on retro)<div class="separator" style="clear: both; text-align: center;">
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If I take my Holga down to the beach I usually load it up with slide film so I can exploit the brilliant blues of the ocean and the sky, which come out beautifully with some cross-processing action (like in <a href="http://endlessbagsofdirtylaundry.blogspot.com.au/2012/01/some-thoughts-on-beach.html" target="_blank">these ones </a>I posted a while ago). But this time, I decided to use some old colour film just for something different. I didn't think I'd love the results, but I really do! The wonderful fading means the yellow of the sand is tonally very similar to the blues, which I think makes for a lovely, harmonious image. And the cute factor of little Cash certainly helps the photo's appeal!<br />
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I guess this shot is somewhat boring, but at the same time it's pretty classic: the unpretentious shoreline of the seaside town in which I grew up. Actually, that's not boring at all.<br />
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So I needed to use up my film here because I was near the photo place and wanted to drop it off for development. I've long had a fetish for <a href="http://endlessbagsofdirtylaundry.blogspot.com.au/2009/10/look-up.html" target="_blank">city-sky-gazing</a>, so I thought I'd just get this slightly dated skyscraper on this slightly dated film. One thing that is interesting about this, which is due to overexposure on my part, is that the sky was totally clear - a brilliant blue. The washed-out result here, though, somehow suits the building I think. Nothing brilliant about it - which in this case is a good thing.<br />
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Before I ventured into the city and looked to the sky, I was out visiting a friend at North Coburg. I had never really been there before, and like a lot of older (un-gentrified) suburbs, it has plenty of visual quirks. So I shot these while waiting for the tram. I didn't realise that they would overlap - but this is a happy accident that often happens with the Holga, et al.<br />
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I joined them together just to get an idea of what the whole image looks like. I'm not sure if I prefer them separate or together! But I do very much like them, regardless of their presentation. In the first solo image, and in the joined image, I think the repeat of the 'O'Gormans' signage, at different scales, is pretty charming.<br />
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I wonder about the validity of photographing these kinds of kitsch artefacts; I mean, it's not exactly original. But I tend not to overthink my photography, so worrying about being original or otherwise is never at the forefront of my mind. Rather, if something appeals to me visually, and I can envisage it as a photograph, that's all the justification I need. However, if I was forced to justify these kinds of images as more than just trading in on the retro-cool factor of the objects, I would say that living in the inner north, too often beautiful remnants of our childhoods and markers of a suburb's character are demolished to make way for something that will one day be a childhood remnant, and come to define the suburb anew, for someone else. It's sad, but it's inevitable. The reality is, these things in the photo(s) will one day be gone. Even the generic beach shot above depicts a shoreline that will undoubtedly shift with the changing tides and coming seasons. And what is photography for if not to capture a time and a place - to prove that it existed and to prove that we were there, and to hold onto it and value what we have here and now?gretahttp://www.blogger.com/profile/17031639680932538759noreply@blogger.com0tag:blogger.com,1999:blog-3099326932984937973.post-59754991834005764552013-02-03T13:52:00.004+11:002013-02-03T13:52:59.887+11:00more from the beautiful wedding of sarah and creg (aka craig)<div class="separator" style="clear: both; text-align: center;">
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I recently posted <a href="http://endlessbagsofdirtylaundry.blogspot.com.au/2012/12/ten-unconventional-wedding-portraits.html" target="_blank">ten unconventional wedding portraits</a> from the wedding of my friends Sarah and Creg (I just can't bring myself to call him Craig, though for the record that is his name). Some of those images are pretty out there in terms of capturing something that is in fact really traditional. But I did actually take a lot of more photos, many of which are much closer to 'wedding photos' (but I still like to think they have something of a unique flavour). While I adore the oddball shots I posted last time, I wanted to share some of the others from the day, because the day was, and the photos are, very beautiful.<br />
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It's a special thing to be around when a group of really close girls prepare to send one of their own down the aisle, into a new chapter in life. There are so many quietly touching moments, whether it's the bride putting her shoes on, or drawing a diagram of the altar set-up.<br />
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These two shots are particularly gorgeous. Sarah looks so radiant interacting with her flower girl (and now niece). And the second shot shows Sarah embracing her mother for the last time as an unmarried person. In addition to depicting a lovely moment, I think the natural, warm colour tones make this photo pretty special.<br />
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I was staying at the same house as Creg the night before the wedding, and when I got up the morning of, I found the kitchen of this normally very busy household empty and exceptionally quiet. Except for him. Sitting at the computer, writing his vows. I just had to take the shot.<br />
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And then it happened! They got married. What a stunning couple.<br />
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The chapel and reception venue were on a hill that overlooked a beach sunset, which made for some excellent photo opportunities. The whole thing was very modest, in a perfect, charming way. <br />
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This is Creg and his best mate and best man, Andrew. Such a lovely photo. If you look closely, it's kind of out of focus. But I don't think it detracts from the image. In fact, it adds a lovely softness to it that almost suits the golden glow that the setting sun is bathing them with.<br />
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Then it came to one of favourite parts of weddings, in terms of both photographing them and partaking: the party. It's always a good time to get uninhibited shots of the guests, leading to some gorgeous, vibrant photos. The last one, of the groom and his men, is one of my highlights from this part of the event. It was late, everyone had had a big day and a few drinks. It's fitting, then, that there are closed eyes, funny faces and selective blurring. But it's still so beautiful because it captures the closeness, and the connection (or mateship), that obviously exists between these guys. And even though weddings are about two people making the ultimate connection, they are also, crucially, about celebrating the important connections you share with everyone in your life. And judging by the day they had, Sarah and Creg have many very special ones.gretahttp://www.blogger.com/profile/17031639680932538759noreply@blogger.com0tag:blogger.com,1999:blog-3099326932984937973.post-58535133698703241752013-01-22T22:54:00.001+11:002013-01-25T18:05:43.979+11:00all aboard the soul train<div class="separator" style="clear: both; text-align: center;">
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If you know me at all, or even if you have read about the photography project I did with Saskwatch, then you would probably know that I love soul music. What I love about soul music is, in a broad sense, similar to what I strive for in my own work: raw emotion, honest beauty. And is there anything more beautiful and passionate than someone taking their innermost emotions - from the darkest lows to the ecstatic highs - and screaming them to the world, all the while backed by overwhelming music that is written to do exactly the same thing? In visual arts as in music, while I care very much about technical skill, I have always prioritised emotion over pure aesthetics; if something doesn't make me <i>feel</i>, then no matter how technically good it is it will never truly captivate and impress me. And that, in a nutshell, is why I am so drawn to soul. (This is not to say soul artists are technically lacking; on the contrary, the extraordinary bands boast some of the best musicians in the business.)<br />
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While most people associate soul music with the greats of eras past, there is a thriving modern soul scene at home and abroad. We're super lucky here in Melbourne to have the likes of Clairy Browne and the Bangin' Rackettes and Saskwatch, among many others, to call our own. We have Cherry's weekly soul night; like an old friend, it's comforting to know that you always have somewhere to go when you get the urge to dance until your feet blister. We have many fine record stores specialising in soul, perhaps none more prominent than Northside Records, whose commitment to funk and soul and has surely played a part in our city's love affair with the music.<br />
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January has been a big month for fans of soul music in Melbourne, for a few reasons. But for my money, one reason outweighs all others: SHARON JONES AND THE DAP-KINGS. The First Lady of modern soul brought her Kings to our shores for a few really special shows. While Sydney was lucky enough to get the extended Daptone family in what must have been one mind-blowingly phenomenal show - several bands on the Daptone label opening the Sydney Festival with a free (!) musical extravaganza known as The Daptone Super Soul Revue - Melbourne got some love too. Sharon and the Kings played an incredible show down south, near where I come from, at an outdoor amphitheatre in a large park in the middle of the country. Saskwatch and Clairy Browne also played, and I went along with my whole family.<br />
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The following week, the Corner Hotel played host to Sharon Jones and the Dap-Kings over three sold-out nights, only this time, she brought her Dap-tastic friends the Menahan Street Band and Charles Bradley, who supported the main act on all three nights. I went along to the third night, and it was a phenomenal show. I was so thrilled to witness Charles Bradley, the Menahan Street Band and Sharon Jones and the Dap-Kings perform on the same night.<br />
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And then came the after-party.<br />
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<span id="goog_244146088"></span><span id="goog_244146089"></span>I headed to Cherry with a few of my Saskwatch pals, which is great in itself because did I mention I love Cherry's soul night? There were whispers that a few of the Dap-Kings would make an appearance but I wasn't holding my breath, especially when a couple of hours passed without any royalty in sight. But even aside from the potential appearance of the Kings, it was definitely a gathering of various Melbourne soul people: a few of the guys from Clairy Browne, Northside chief Chris Gill, the now-institutional Cherry soul DJs, the Saskwatch lunatics, a whole lot of soul fans.<br />
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It got to about 1:30 or 2:00 when someone asked me how my night was. 'It would be better if I saw a bloody Dap-King!' I joked. 'Like that one there?' he replied as he pointed towards the door.<br />
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And then I kind of lost my shit. <br />
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Now let me explain. When I say I lost my shit, I don't mean I ran around screaming like a crazed groupie. I lost my shit on the inside, not because these people have some kind of perceived fame, but because I was quietly overwhelmed to be in the presence of artists whose work I admire and respect so completely. They were all very courteous and polite, and happy to have their photos taken, which is always lovely. They were down to earth and content to shoot the breeze with anyone who approached them. <br />
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What an incredible night, a wonderful thing to be a part of, and a very special thing to be able to capture on film. It was an honour to meet these guys, and to see them play twice in one week. The visual record of the night that you see above captures it pretty nicely I think.<br />
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But I have to finish with just one more photo.<br />
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Yep. That's me and Sharon. Her songs have meant more to me in the past year than most other music I know. You can hear her strength and feel her pain when she sings about all the triumphs and hardships she's been through in her life. I was relatively calm when I approached her because I was confident that she would want to hear how she has made a positive difference in someone else's life. I expected a brief exchange characterised by courtesy, friendliness and maybe even some gratitude. But in fact, she gave me so much more. I won't go into the details of our conversation, but suffice to say she offered some very personal advice about my life that I will absolutely heed.<br />
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She is an inspiration - proof that you can go as far as you want to as long as you have passion, ambition and dedication. And those are things I am going have to remember as I pursue my own creative endeavours. I know there will be times in the future, as in the past, when inspiration like that will be one of the few things that will keep me going. And while I will never lose the memory of getting that advice and inspiration firsthand, or the memory of the feelings that came with it, it certainly doesn't hurt to have these glorious images to keep those memories extra fresh. gretahttp://www.blogger.com/profile/17031639680932538759noreply@blogger.com1tag:blogger.com,1999:blog-3099326932984937973.post-61869539374713233012013-01-17T22:37:00.001+11:002013-01-17T22:39:14.191+11:00push it (push it good)<div class="separator" style="clear: both; text-align: center;">
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So I've been trying my hand at live photography lately, as you would have gathered if you read my last post, and it's been quite the challenge. This is largely because when shooting dark environments like those on a stage, it can be very difficult to get enough light through the lens; if you don't, you can end up with a black mass rather than an actual image.<br />
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There are several ways to do this, all of which I am still exploring. There are long exposures, which lets a lot more light in, but unless you have a very motionless subject you'll get little more than a blurry mess. That can sometimes be a good thing, but it's not a viable solution across the board, especially when performers tend to move. A lot. There's fast lenses (that allow you to shoot at really wide apertures), which are fantastic but, unfortunately, lenses are damn expensive so I don't have a never-ending supply. Besides which, a fast lens will only get you so far.<br />
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The final option (at least, as far as I understand) is the film. Fast films are much more forgiving in dark conditions. But if you find you still can't make it work with a fast film, you can always push it.<br />
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Pushing film is something I always meant to experiment with but for some reason never got around to until recently. It involves simply 'tricking' your camera by telling it that the film you're using is faster than it actually is, then processing the negatives according to the faster speed. The result is more grain, higher contrast and more light on the film. When I began looking at live photography, this seemed the perfect time to try it out. And the fact that I love high contrast and big grain was a bonus. The first time I tried it was when I shot Saskwatch live for the first time, but I'll post those photos separately another time. The results were mixed, but promising, with some gorgeous, exciting results. The same could be said for the above shots, which I took when Boomgates launched their album at the John Curtin Hotel late last year. I used two different types of film, which you can probably tell from the shots, and pushed both of them. While there were a lot of shots that didn't work so well, I think the above images are pretty interesting. They capture various aspects of the performance, and they look different to most live photography.<br />
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A friend of mine asked me to shoot his new band, Farrow, at The Workers Club a couple of weeks ago, so I took along a roll of colour film and, again, pushed it to make sure I could capture enough light. The lighting at the Workers is evidently pretty good (only a few dark corners), so the results were for the most part successful. While they are perhaps less unusual than the Boomgates shots thanks to the venues' respective lighting demands, they are still quite unique, with that glorious grain and contrast.<br />
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This is one of my favourite films to shoot with, and it's perfect for live stuff because it's super fast. Despite being extraordinarily tired after the night of my life at (and with) Sharon Jones the night before (more on that in an upcoming post), I took my camera along to New Gods' first Melbourne headline show at the Northcote Social Club. Again, there were some less successful results, but among them were some really interesting shots, such as those above. I particularly like those of Sam, the drummer, as the dramatic lighting on his profile is extremely evocative. I also adore the way this film makes any direct lighting glow.<br />
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And there you have it - my adventures in live photography and pushing film thus far. There are some misses, for sure, but there are also plenty of hits - or at least the promise of many more hits to come.<br />
<br />gretahttp://www.blogger.com/profile/17031639680932538759noreply@blogger.com0tag:blogger.com,1999:blog-3099326932984937973.post-8175168601917842542012-12-28T11:19:00.002+11:002012-12-28T11:19:55.871+11:00taking it live<div class="separator" style="clear: both; text-align: center;">
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<span id="goog_2027246946"></span><span id="goog_2027246947"></span><span id="goog_507393010"></span><span id="goog_507393011"></span>While I've taken the odd live photo using a flash before, I have only recently started to explore shooting live music without additional light sources. Because I only shoot with film and I don't have super huge lenses, I assumed that I couldn't achieve anything worthwhile. But the more I look into it, the more I see that there are a lot of interesting things I can do with the right film, the right settings and my modest cameras.<br />
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I have by no means mastered this; there is still a lot of trial and error happening. But seeing as the only way I have ever learnt anything photographic is through trial and error, I decided to stop worrying and start shooting.<br />
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I was pretty keen to make it to Money for Rope's album launch, as they are an incredible live band and never fail to turn it on when the chaos hits the stage. But I thought I might as well shoot it, too, so I went along with my camera and a couple of really fast rolls of film. I didn't know what to expect, and certainly there were a lot of lessons in there (read: failures). But these shots here are among the most successful and interesting. I like the dramatic lighting, I love the grain, and I think the movement visible in some of the shots works pretty well (especially the first and third shots).<br />
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What I've discovered is that when you're shooting with modest equipment, not using a flash, and only using film, you are almost completely at the mercy of the stage lighting and (of course) the performers. The lighting at Ding Dong was pretty good, though inevitably the guys at the front of the stage get more exposure in terms of light and photographs. That said, I luckily managed to capture the two drummers at times.<br />
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If I had a fancy digital camera with lots of lenses and I was possibly using a flash, I certainly would have taken very different photos. They would be crystal clear, they would be sharp, they would be probably in colour, and they would look a lot like many other great live photos that come from professional photographers shooting gigs like this. But they wouldn't have the gorgeous grain, they wouldn't have the atmospheric movement, they wouldn't have the little imperfections that film inevitably includes, and they wouldn't have the same level of character. They wouldn't look different, and they wouldn't look like my photos.gretahttp://www.blogger.com/profile/17031639680932538759noreply@blogger.com0tag:blogger.com,1999:blog-3099326932984937973.post-59712921351666009202012-12-15T13:54:00.000+11:002012-12-15T13:57:24.752+11:00meredith haze<div class="separator" style="clear: both; text-align: center;">
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For those who have been, and even some of those who haven't, the Meredith Music Festival (and its sister, Golden Plains) is instantly recognisable in photos due to several of the Amphitheatre's iconic features that pop up in happy snaps all over the place twice each year. The hill, the Pink Flamingo bar, the dead painted tree (which I'm sure has been given some kind of name other than that sad and sorry description), the ferris wheel, the stage. Even the crowd - a mixed bag of young trendsters and old rockers and everything in between, sometimes thrusting their shoes skyward - is somehow almost distinguishable from many other festivals.<br />
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These things pop up in my photos, too, and I think that their presence makes any other descriptive properties unnecessary. This means I can take marvellously unclear photos like these, and they still very strongly convey a specific time and place.<br />
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I'm not going to write any more because, well, if I'm honest with you, I'm very tired and anything I write now will be a bit sub-par. But I want to share the photos. So here they are.<br />
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<br />gretahttp://www.blogger.com/profile/17031639680932538759noreply@blogger.com0tag:blogger.com,1999:blog-3099326932984937973.post-41489490060646807242012-12-03T22:26:00.000+11:002012-12-03T22:26:36.552+11:00ten unconventional wedding portraits<div class="separator" style="clear: both; text-align: center;">
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When Craig and Sarah asked me to travel to Adelaide to be their 'official' wedding photographer, I kind of freaked out. I've taken photos <i>at </i>a wedding before, but never in any kind of official capacity. So many questions flew through my head: What if they don't like the results? What if my cameras break? What if I get the settings wrong? What if I catch the flu the week of the wedding? What if I panic and can't do the job?<br />
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Earlier this year I met with Craig and Sarah to talk about it. I expressed my reluctance but they assured me that they knew my style, loved my style, weren't after anything too conventional, were open to experimentation, and were happy to collaborate on ideas while also leaving creative control to me. I said I wasn't comfortable taking photos during the ceremony; they told me they would ask someone else to shoot that part. I told them I didn't like the idea of taking large family portraits, or photos of all the groomsmen holding up the bride (and other tacky cliches); they said they were absolutely happy not to have those photos. So I agreed, and my first paid wedding job was essentially underway.<br />
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They are both extremely creative people - Sarah is a marvellous illustrator and Craig an excellent musician - and it was this creative understanding, for lack of a better description, that sealed the deal for me. Being able to really experiment while shooting the wedding, and to have them not only accommodate it but wholeheartedly embrace it, was kind of a dream come true.<br />
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Having said all that, I have to confess that these first two shots were accidental! I was using a new camera for the first time and had the settings all wrong without realising. I thought they wouldn't work out at all and just wrote those ones off, but when I got them back I was thrilled and pretty amazed at the results. The complete lack of any detail gives them a gorgeous, dreamy feel. The top one especially is totally haunting. Without context, I wonder if you would even recognise it as a bride and groom? Probably just, with that full white skirt - but only just. I adore these shots and am so pleased to now know how to achieve them (intentionally).<br />
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It wasn't just accidental experimentation that took place; the rest of the images were absolutely intended to be as far as possible from your standard wedding photo.<br />
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Well this I am just in love with. The double exposure is classic Greta, if I do say so, but there is so much more to the image: the sun glare bathing the whole thing in muted gold while also concentrated on the couple, as though the light shines just for and on them; the clouds and the beach being visible but not outstanding; the very natural body language between the two - a lovely moment of everyday communication on a very extraordinary day.<br />
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And speaking of classic Greta... you know if you've ever read this blog before that I have a photographic foot fetish, so I insisted that they take off their shoes and let me see the feet in all their glory. And why shouldn't they be the star of the show? Don't they look wonderful? Sometimes I really do think that feet say just as much as, if not more than, any face.<br />
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Another dreamy, nondescript image. Wedding in the sky. With many of these beach photos I really had to try to work around the very harsh sun: it hadn't set enough to be soft and golden, so I ended up shooting a lot of silhouetted images. In a lot of cases, like this one, it was a good move.<br />
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I HAVE WANTED TO TAKE A PHOTO JUST LIKE THIS FOR AT LEAST TWO YEARS. It was a vision in my head that planted itself there back when I was experimenting with <a href="http://endlessbagsofdirtylaundry.blogspot.com.au/2010/11/more-psychadelic-palm-trees-from.html" target="_blank">psychedelic palm trees</a>, but until now I had never executed it. But here it is! Excellent outcome.<br />
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I don't love this one as much as some of the others, but it still holds interest because the bride and groom are in it, but only just visible. It's a great concept, but perhaps not as wonderfully executed as it could be. But a good basis for experimentation nonetheless.<br />
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I love <i>absolutely everything </i>about this photo. Craig gave a beautiful speech at the reception, and afterwards left it sitting on a bench, open just like that. His final words were his dedication to his new wife - said once to her, and once to everyone else as a prompt to raise glasses and toast her. And that is the essence of everything he said, of everything he felt and of the purpose of the day. Here is Craig's love for Sarah. I adore the selective focus, the muted, deep colours, and the stunning grain. And it is hands down one of my favourite portraits of the day. Moving even further from the feet concept, this demonstrates to me how a stunning, powerful portrait doesn't need to include any people at all.<br />
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This is another of my favourites. I'm actually quite in love with it, and it never fails to make me feel and react when I see it. Some context: Craig had just removed the garter from Sarah's leg using his teeth, and it was hanging from his mouth. Again, a stunning unconventional portrait of new husband and wife. The composition, the soft focus, the colours, the grain: it all <i>just works</i>.<br />
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Perhaps this is the most conventional of all of these, but it's still quite unusual in the sense that it's not posed, you can't see their faces, and it's so dark that you're not sure of exactly what's going on. In fact, they were walking out of the reception and about to leave to spend their first night together as husband and wife. So it's really the last anybody saw of them - the image we were left with. In that sense, it's lovely. And the dark background adds an unusual element of mystery. Definitely not a word used to describe most wedding photos.<br />
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Of course, I did actually take some photos where they were both fully visible. Plus a lot more than that. But in the interest of diversity, here are the experimental shots. The ones that Sarah and Craig encouraged me to take, and the ones that we all love to bits - in some cases even more than the conventional shots (you know, like the ones with their faces). I am just so grateful that it was a <i>required</i> part of what they wanted. It really makes me feel pretty strongly that when it comes to my photography for others, the best results come with open minds and willing collaboration.<br />
<br />gretahttp://www.blogger.com/profile/17031639680932538759noreply@blogger.com0tag:blogger.com,1999:blog-3099326932984937973.post-32427636637319918832012-11-26T21:53:00.000+11:002012-11-26T21:53:06.639+11:00hot, split and faded<div class="separator" style="clear: both; text-align: center;">
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I went to Adelaide recently to shoot a wedding for my lovely friends Craig and Sarah. But these are not those photos. Rather, these are photos from the day <i>after </i>the wedding. Me and my girls had a little time before our flight back to Melbourne, and it was pretty hot, so I asked Adelaide native Megan to take me down to her local beach, as I had never been to a beach in South Australia's capital. Even though I was suffering with complete camera fatigue after shooting twelve hours the previous day, I just couldn't resist taking one of my cameras to capture one of my favourite experimental photography landscapes.<br />
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These photos present an interesting combination: my new plastic camera (which I introduced <a href="http://endlessbagsofdirtylaundry.blogspot.com.au/2012/08/welcome-to-family.html" target="_blank">here</a>) and an expired film. Not only are the images overlaid, but in a more subtle departure from 'regular' colour photos, they are quite faded. From what I can tell, one of the most common effects of expired film is desaturation. I think it works quite well in these images - especially in the top one, where the decidedly daggy and old-fashioned fabric that constitutes a makeshift tent adds to that evocation of an era gone by.<br />
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The other thing that stands out to me about these images - particularly the two immediately above this text - is the seamless transition between the two layers. It's especially effective in the bottom one, which is why I included it even though there is an unseemly black mark in the top corner (my fault).<br />
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The two exposures in these ones are a little more obvious. It's a different effect to those with more subtle transitions, but I find both styles interesting and beautiful. In the bottom photo here I particularly like the fact that there are two very distinct images, but they are closely related; you can look at one at a time, then see the whole 'picture', so to speak - walking along the beach eating ice-creams while scores of others enjoy the sand.<br />
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Hahahahahahaha! This is not subtle nor necessarily beautiful in the conventional sense, but it is hilarious. I got very excited when I saw a giant shark statue at a holiday apartment complex near the beach, and I decided to create my own tribute to <i>Jaws</i>. I don't usually go for jokey images but this is pretty priceless. <i>Look out, young couple on the beach! Jaws is after you!</i><br />
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They aren't as important as the wedding photos from the day before, but I sure am glad that I took out the camera one last time to capture the Adelaide beach. And Jaws.gretahttp://www.blogger.com/profile/17031639680932538759noreply@blogger.com0tag:blogger.com,1999:blog-3099326932984937973.post-21424939467056131722012-11-13T21:28:00.000+11:002012-11-13T21:28:23.458+11:00city in the sky<div class="separator" style="clear: both; text-align: center;">
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I don't want to say too much about these because for one, I'm not sure what to say about them. And secondly, I'd rather they speak for themselves. I think they are incredibly evocative, and simultaneously reminiscent of and completely different to anything I've done before. It's too soon for me to articulate anything specific about them (I only just picked them up tonight); my first impression is emotional rather than intellectual.<br />
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So that's all.gretahttp://www.blogger.com/profile/17031639680932538759noreply@blogger.com2tag:blogger.com,1999:blog-3099326932984937973.post-10759010764783723752012-10-21T14:52:00.000+11:002012-10-21T14:52:49.189+11:00looking back at sydney<div class="separator" style="clear: both; text-align: center;">
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If I get a new roll (or rolls) back that I want to post about, I usually choose the most interesting images, then basically forget about all the others until I have to go back through the library for some reason. This weekend was one of those occasions, and I've been revisiting my photographic memories of Sydney.<br />
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I've been to Sydney a few times now, and each time I find new things to photograph. And each time I also photograph the House and the Bridge extensively (an obsession I have documented <a href="http://endlessbagsofdirtylaundry.blogspot.com.au/2011/04/how-to-make-landmarks-look-different.html" target="_blank">in the past</a>). These images aren't the best, but they still hold some interest. The first of these three shows a group of school kids, most likely on an excursion, who had stopped exploring for a lunch break. I don't love the middle image but the third one is kind of fascinating in its ambiguity; it's actually an extreme close-up of the Opera House facade (the wonderfully arranged tiles) exposed over a long shot of the House.<br />
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Still in the Harbour, but focussing on less famous views, these two make the most of the unusual slide film colourings. The sun looks fabulous in the first one, while I love the second one just because I love the architecture of Circular Quay Railway Station - and the great typeface.<br />
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And now to the Gardens. The middle image, showing bats in a palm tree, is a bit bland and indistinct for my liking, and the bottom image is, for lack of a better word, ugly. The top image, though, really appeals to me. I think it's partly because it seems different from a lot of my other photos; it's not the kind of photo I often take. It was just a pretty amazing scene: these two girls sitting on a ledge and seeming to have the whole of Sydney at their feet. It's a simple photo but that's one of the reasons I adore it.<br />
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So there are hits and misses here. Some perhaps better left in the archives, no doubt. But with the benefit of distance and hindsight, there are also some lovely images, and memories, that don't deserve to be forgotten.gretahttp://www.blogger.com/profile/17031639680932538759noreply@blogger.com0tag:blogger.com,1999:blog-3099326932984937973.post-38231403589030590362012-10-14T13:26:00.001+11:002012-10-14T13:26:54.424+11:00a trip to panama<div class="separator" style="clear: both; text-align: center;">
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I've been doing so many bits and pieces for other people lately that I haven't had much time to work on my own projects. In one way that's great, because I'm always flattered and honoured when I'm asked to shoot for other people. But it's also potentially frustrating when I'm not getting the chance to shoot my own stuff. Sometimes, though, what I do for others gives me the chance to also do what I really love, without many restrictions. </div>
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I recently did a shoot for Eagle and the Worm, and we took a lot of photos for press purposes. For a variety of reasons, they didn't work out as well as we had all hoped, and for other reasons, I don't think they will be used. Which isn't a bad thing - if work that I don't love doesn't get used, it's almost a blessing in disguise. But that doesn't mean it was a fruitless exercise. For one thing, I always learn a lot with each new project. And, more importantly, after we did the press stuff, I got to shoot them just hanging out. And these photos I am completely in love with.</div>
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When Jarrad and I were looking for a location for the shoot we were kind of stumped. I had recently been to the Panama Dining Room for the first time, and I was blown away by the beauty of the place, and especially the stunning arched windows - I really wanted to photograph it. So I suggested it to Jarrad, who got in touch with the restaurant, and luckily they gave it to us for a Saturday afternoon.</div>
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It isn't just the windows and the interior design that I love about these photos. I was using a film that I hadn't tried before and the contrast and smoothness is so gorgeous. Then there is light - the way it glows, and the way it falls so naturally on the subjects. </div>
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And let's not forget the subjects themselves. Everyone was pretty relaxed seeing as it was the end of the shoot. After having a camera pointed at you for hours on end I suppose you get used to it, and perhaps the initial discomfort gives way to a kind of nonchalance. While I like the long shots that include most members of the band and make the most of the glorious windows, I have to say it's the individual portraits that I like best. I'm just going to show you one each of all of them, because they are pretty stunning:</div>
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<span id="goog_430988035"></span><span id="goog_430988036"></span>Phew. See what I mean? What an amazingly photogenic bunch. Things like this remind me that while I love to experiment with all kinds of photo types in all kinds of situations, the power of a simple, black and white portrait is hard to beat. There were so many great photos from the three rolls I took for these shots; it was one of those rare occasions where there were more winners than losers. As a result, it's difficult to choose which ones to post and which to leave out. So at the risk of throwing the image-to-word ratio of this post way out, I'm going to finish with a few more of my favourites, because they say as much as any words I could write about them.</div>
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gretahttp://www.blogger.com/profile/17031639680932538759noreply@blogger.com0tag:blogger.com,1999:blog-3099326932984937973.post-55004626526860839872012-10-02T21:43:00.002+10:002012-10-02T21:43:58.284+10:00a portrait of a band (an ode to soul)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgP_CHEWpaSmZlTQ5Tde7loFbhznTyo61L-dook1gDkEjEDlZ5s2O_iPvJM8ugeUS0uUfEboqvV-hnhwBby4fDNhqKcM1GdMeUPDIcv0bydxz6bh_9cTWQPGTl0ePuwcaZpZ-PRHq7-24E/s1600/IMG_0153.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="267" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgP_CHEWpaSmZlTQ5Tde7loFbhznTyo61L-dook1gDkEjEDlZ5s2O_iPvJM8ugeUS0uUfEboqvV-hnhwBby4fDNhqKcM1GdMeUPDIcv0bydxz6bh_9cTWQPGTl0ePuwcaZpZ-PRHq7-24E/s400/IMG_0153.JPG" width="400" /></a></div>
Though I have done a couple of significant photo shoots with
Saskwatch, the band didn't ask me to shoot these images. In fact, I
asked the band if they would allow me to take them.<br />
<br />
This
is an important distinction, and let me explain why: when I am asked to
take publicity shots for a band, they usually come to me with some
pretty strong ideas and we work together to achieve a visual
representation of how they see the band, and how they want others to see
the band. It's a really wonderful collaborative process. In this case,
on the other hand, I had an extremely strong idea for a <i>portrait</i> of the band – <i>my </i>interpretation of the band, quite separate from (and perhaps even contradictory to) how they see themselves.<br />
<br />
There's a slight danger here that people may take my interpretation of the band as <i>the band's </i>interpretation
of the band. Image is so important in the music industry, so I was
reluctant to even post these photos in case they were misinterpreted.
But I figure that if I explain it really clearly in this accompanying
text then it is probably OK. Plus the band is happy for me to post them,
even though they are not images they would ever choose to publicise.
And besides – how many people really read this? Hmm?<br />
<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7IuLlEa7sq4DL5Rybn9qZdigdmbm1FsiuQvfjxwUKOKHk3Hb5LwBmJt-NeHS-dwsgccdmBuEgbOsU09wZKdYVz3pndAsF7HIJliyPQvKmwEvkaIuDs3CtZniXOJyF7KWYq9VSUZt1n7E/s1600/saskwatch+letters+7.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="267" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7IuLlEa7sq4DL5Rybn9qZdigdmbm1FsiuQvfjxwUKOKHk3Hb5LwBmJt-NeHS-dwsgccdmBuEgbOsU09wZKdYVz3pndAsF7HIJliyPQvKmwEvkaIuDs3CtZniXOJyF7KWYq9VSUZt1n7E/s400/saskwatch+letters+7.jpg" width="400" /></a></div>
Why
did I want to take these photos? No money changed hands. The band won't
use them. The preparation took a lot of time, effort and expense (the
letters are handmade using hand-cut A3-sized foam board, a lot of glue,
and LED lights covered with cellophane. This was not an easy task).
What's in it for me?<br />
<br />
Perhaps it's my stubborn nature; I
had this idea in my head a long time ago and, unlike many ideas that
develop in my mind, this one wouldn't weaken. The more I thought about
it, the more determined I was to do it. I suppose I also wanted to
undertake a project where I was composing a portrait of a band instead
of a person (or group of people). This band has no shortage of unique
personalities within it. But this is not a portrait of Olaf, Ed, Tom,
Liam, Nkechi, Rob, Nic, Sam and Will. This is a portrait of Saskwatch. I
was excited to realise a vision that had become so clear in my head.
And despite the extreme effort required and the limited actual
usefulness of these shots, I am so thrilled that I followed it through.<br />
<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwoMbF05uudP9W0NI1xLidtqiBBixfyH_VDa3khQtvrYXZY_cxmj4e7bsiYevGXwSbY3ZW4mmj9TBWsokD8rlkXoyIqGQLaTsKFLS-GdZJ0LOISnAk8J0k05l3AzCAlkXIaaYDRb858To/s1600/saskwatch+letters+4.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="267" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwoMbF05uudP9W0NI1xLidtqiBBixfyH_VDa3khQtvrYXZY_cxmj4e7bsiYevGXwSbY3ZW4mmj9TBWsokD8rlkXoyIqGQLaTsKFLS-GdZJ0LOISnAk8J0k05l3AzCAlkXIaaYDRb858To/s400/saskwatch+letters+4.jpg" width="400" /></a></div>
So, what <i>is </i>my interpretation of the band?<br />
<br />
Seeing Saskwatch play live floors me every time – and I've seen them play <i>a lot</i>
– because the sounds that these nine people make are so consistently
powerful. It is music the way I think it should be:
when they drop back and allow Nkechi's vocals to gently break hearts,
it's exquisite, and when the band slowly builds to (or hits the crowd
straight up with) its full power the adrenaline in the room is palpable.
The songs are composed and performed in a way that inescapably
captivates people – at times it feels as though your pulse is responding
directly to the sounds – and they make me fall in love with music again
each time I hear them.<br />
<br />
This is not mere hyperbole; I
want to convey the power of the music as a means to explaining the
visual approach I took. I wanted the band's name in lights because the
music presents such an assault on the emotions: just like a blinding
neon sign, the music's power is unavoidable and undeniable. It's no
coincidence that soul music has been traditionally associated with
vibrant, knock-your-socks-off aesthetics. The lights, the sequins, the
matching suits, the impeccable make-up, the irresistible album art:
these consistent visuals that accompanied the soul of the sixties and
beyond did so because they visually communicated the impact of the
music. Soul unapologetically manipulates your emotions in the most
glorious way. Who can listen to Otis Redding's voice and not share his
exquisite pain or infectious happiness? Who can hear Aretha Franklin
lament being in an abusive relationship and not immediately understand
what it might be like to never love a man (the way I love you)? And
anyone who witnessed Charles Bradley at Golden Plains earlier this year
and wasn't immediately moved by his heartbreaking voice, even if they
had never heard of him before, might actually have no soul.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6Ja2INvR4ROeWsS5opoiGQQMmFtub1TRYCTnQwe7caK8B02Go3CpLsPKQ4QYRcukNvTrUceO12C8d9aZDQgJQXho1YzEsbsftJY3wyorDXGkxmERUWjZClHCvncdOdRRHrDX2A4b3SaI/s1600/saskwatch+letters+8.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="267" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6Ja2INvR4ROeWsS5opoiGQQMmFtub1TRYCTnQwe7caK8B02Go3CpLsPKQ4QYRcukNvTrUceO12C8d9aZDQgJQXho1YzEsbsftJY3wyorDXGkxmERUWjZClHCvncdOdRRHrDX2A4b3SaI/s400/saskwatch+letters+8.jpg" width="400" /></a></div>
Having
said that, there is a difference between the approach to visuals that
classic soul bands took and the approach that Saskwatch takes. Where the
former announced themselves as a very specific genre, Saskwatch lets
the music speak for itself. A recent review of a live Saskwatch show
applauded the music wholeheartedly but criticised the members'
appearance and onstage presence, suggesting that they should incorporate
more synchronised moves and more impressive (perhaps matching?)
clothes. I think this is an ignorant and uninspired opinion. I don't think the band
is a revivalist band. While soul was arguably most prominent several
decades ago, that doesn't automatically tie today's soul to the
superficial elements (such as costume and band art) of those older
artists. Though it's a route many bands today seem to take – from
skivvy-wearing sixties-sounding rock-n-rollers to long-haired
seventies-loving dirty garage rockers – it is absolutely <i>not </i>essential,
and to assume otherwise is narrow-minded at best. Regardless of music
style, each band should form its own unique identity.<br />
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It
is for this reason that I absolutely didn't want the focus to be on the
band members. The juxtaposition between the powerhouse letters, which
represent the music this band puts out, and the modesty, obscurity or
total absence of the band members is what I was trying to achieve. I
shot them in their casual clothes instead of the slightly less casual
clothes they wear when they perform. I shot them during soundcheck and
told them to pretend I wasn't there: no poses, no orchestration, no
focus on their 'performance'. I used long exposures to reduce the
clarity of the people, and intensify the strength of the lights.<br />
<br />
In
many ways I think the photo at the top of this post achieves my aims
most successfully. While the letters represent the incredible music,
there are no people. But there are instruments – because if nothing
else, the people in this band are nine extraordinary musicians whose
instruments represent their finely honed craft. Combined, these
musicians (represented by the instruments) make this music (letters).<br />
<br />
Like
most of these images, the shot at the top features the iconic red
curtain of Melbourne's Cherry Bar, which is where Saskwatch has played
countless residencies over almost three years. These photos were taken
during the band's last ever Cherry residency, so I'm really pleased to
be essentially capturing a significant point in the life of Saskwatch:
acknowledging and farewelling what some have referred to as the band's
'home'.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh53EC57DvRzZ05M4UKA8LTlq4-C1mYg_uDWJQSZaMkEuPz77hF5fobLloGlak3UeItZsx8S5-Rh-jdOyOLDaZHAJMY39Tzw5JohzOCqx99HxijF1g5ECS4xe7FHTt0oJt0KkG2o31YEPY/s1600/saskwatch+letters+2.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="267" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh53EC57DvRzZ05M4UKA8LTlq4-C1mYg_uDWJQSZaMkEuPz77hF5fobLloGlak3UeItZsx8S5-Rh-jdOyOLDaZHAJMY39Tzw5JohzOCqx99HxijF1g5ECS4xe7FHTt0oJt0KkG2o31YEPY/s400/saskwatch+letters+2.jpg" width="400" /></a></div>
While
the top image most successfully meets my thematic aims, from an
aesthetic standpoint I think those with the band members on stage are
equally successful. The lack of visual performance is a really gorgeous
contrast to the letters: a group of (mostly) modest musicians at work –
getting on with making excellent music, not buying into the hype that
this kind of music can bring about.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfn12gqrj7DyXLPOFWzU1XnBEZUMdmNJ71EjN6Kd-WatlVncKZMNRS1HK_sPmUEa_he9df_gU2T9rDqsFvud9wFv67Vbv4i5a4pRxHBK6MCzgKFzQCLwPsSJb28CPPkAzuAhUCOu60c6E/s1600/saskwatch+letters+1.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="267" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfn12gqrj7DyXLPOFWzU1XnBEZUMdmNJ71EjN6Kd-WatlVncKZMNRS1HK_sPmUEa_he9df_gU2T9rDqsFvud9wFv67Vbv4i5a4pRxHBK6MCzgKFzQCLwPsSJb28CPPkAzuAhUCOu60c6E/s400/saskwatch+letters+1.jpg" width="400" /></a></div>
And
from a purely aesthetic point, this image is very close to my
favourite. I absolutely adore the fact that every band member is blurred
– except Nkechi, whose gorgeous stillness captures what her performance
is often capable of: quieting chaos; bringing the freneticism of a
bustling gig to a complete standstill with her restrained power.<br />
<br />
So
these are my portraits of a band. There was no collaboration, just a
group of musicians who were willing to allow me to shoot them for my own
purposes. It was such a worthwhile exercise for me – a chance to really
construct something from scratch (literally and figuratively) in order
to communicate a very specific perception. It also helps me to define
the important difference between creating a visual representation of a
band's self-imposed image, and creating a very subjective
interpretation. This is certainly the most significant photographic
project I have worked on this year, and it provides encouragement for me
to pursue other ideas that are not designed to serve other people.
Whether this kind of project will have any worth beyond that remains to
be seen. But that's OK with me.gretahttp://www.blogger.com/profile/17031639680932538759noreply@blogger.com0tag:blogger.com,1999:blog-3099326932984937973.post-29508154338851705712012-09-23T20:44:00.001+10:002012-09-23T20:44:45.355+10:00when is it not ok to shoot?<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8kF0j4qkfYR7DsUHL5O3bt5bo222NbjMBObzxcpb6YH_MhAbePpsLyxrknfdQpkX7ifusH6OuanGb1fTvi_1AUq4C8bM_iP7-ZCH2IIlekG2FjhfCr_b_6wB3IHEJ4GlPvi1qhiP52_c/s1600/D1000011.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8kF0j4qkfYR7DsUHL5O3bt5bo222NbjMBObzxcpb6YH_MhAbePpsLyxrknfdQpkX7ifusH6OuanGb1fTvi_1AUq4C8bM_iP7-ZCH2IIlekG2FjhfCr_b_6wB3IHEJ4GlPvi1qhiP52_c/s400/D1000011.JPG" width="400" /></a></div>
According to the Arts Law Centre of Australia (<a href="http://www.artslaw.com.au/info-sheets/info-sheet/street-photographers-rights/" target="_blank">ALCA</a>), 'there is no right to privacy that protects a person's image, and "taking photographs of people in public places is generally permitted'. As a photographer who is interested in taking candid photographs of strangers in the tradition of social photography, this information is crucial to know. It basically means that if you're taking photos out on the streets (street photography) or at an event (festivals, parades, concerts and so on) for non-commercial purposes (i.e. not to be used in advertising), you are within your legal rights to capture the image of a stranger and use it within the realms of your photography. This seems very reasonable and pretty straightforward, right?<br />
<br />
But there is a particular kind of social photography that I am drawn to that unfortunately delves into the grey area of the above definition. The ALCA goes on to say the following in regard to the rights of 'street photographers':<br />
<br />
<i>it is an offence punishable by a fine or imprisonment to photograph a
person to provide sexual arousal or gratification if the person is
undressed or engaged in a private act in circumstances where a
reasonable person would reasonably expect to be afforded privacy, and he
or she has not consented to being filmed. A private act includes using
the toilet, bathing and engaging in sexual activities not ordinarily
done in public.</i><br />
<br />
Like any law speak, there are some terms in there that need close interpretation. In this case, it's <i>reasonable</i>/<i>reasonably</i> and <i>ordinarily</i>. How these terms are defined determine whether or not certain types of photography are legal or not. Specifically, I am referring to <a href="http://endlessbagsofdirtylaundry.blogspot.com.au/2011/01/2010-party-retrospective.html" target="_blank">my interest in after-dark social photography</a>, where people drink alcohol, let go of their reservations and show sides to their personalities that may not otherwise come out. Sometimes, this lack of inhibition leads to some very public displays of affection, often with relative strangers.<br />
<br />
So here's the question: if two people are drunk and making out in a bar (etc.) after midnight, is this a situation where 'a reasonable person would reasonably expect to be afforded privacy'? Furthermore, if there is making out, and perhaps even some groping, does that constitute 'sexual activities not ordinarily done in public'?<br />
<br />
One argument could go along the lines of: they were in a dark club or bar - perhaps even a dark corner or booth in a dark club or bar - and everyone else was probably drunk and thus wouldn't pay much attention (or remember), so they could potentially argue that they felt they were in a reasonably private space and therefore should expect to be afforded privacy. Furthermore, it could be argued that the activities they were engaging in were of a sexual nature and 'not ordinarily done in public'. To take it even further, if they were engaging in something that was morally wrong (such as infidelity) or legally wrong (such as drug-taking), publishing incriminating photos may even be bordering on defamation.<br />
<br />
I think in realistic terms, however, the opposing argument is more valid: a bar <i>is</i> a public space in that it is open to the public; if two people were engaging in intimate activities in full view of the other patrons then they understand, drunk or not, that they will be seen and are not in fact in a private space; and, perhaps most pertinently (for better or worse), the ubiquity of cameraphones and official nightclub photographers has made after-dark drinking holes more public than ever. Enter (and grope) at your own risk.<br />
<br />
OK, so let's say it's legal (though I will be seeking further advice before publishing any potentially reputation-damaging images online or elsewhere). Is it ethical?<br />
<br />
And here we enter another grey area. So, hypothetically, a photo may not break any laws, but what if, in an admittedly extreme scenario, it broke up a marriage? Got someone fired? Made them a laughing stock among their peers? These are unlikely considering that I'm referring specifically to my own small-scale, artistic purposes, but with the global accessibility of the internet it's something that must be taken into consideration.<br />
<br />
I'm not sure that I have a conclusion to this question of ethics. I probably won't until I start exploring it in practical terms - that is, taking the shots. My guess is I will aim to obscure faces through composition, though this may not always be possible. (The above photo is an example of this, though I don't love this shot.)<br />
<br />
In the meantime, I'll be doing another kind of research, starting with this blog entry: what's the general consensus on this among my own peers? How do people feel about being photographed when they are at their most exposed? How would I feel about it?<br />
<br />
Exploring these questions in theory and practice is a fascinating and potentially dangerous exercise, but one that will hopefully be worthwhile.gretahttp://www.blogger.com/profile/17031639680932538759noreply@blogger.com0tag:blogger.com,1999:blog-3099326932984937973.post-65082220595434143032012-09-02T21:52:00.000+10:002012-09-02T21:52:51.126+10:00how's the serenity<div class="separator" style="clear: both; text-align: center;">
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When we boarded an old motorboat to go on a sunset billabong cruise just outside of Darwin, I couldn't help but think of Darryl Kerrigan and his love of Bonnie Doon. Maybe it was partly because of the smell of two-stroke, or the fact that I was with my family, just like Darryl was at his beloved holiday spot. But mostly, it was the serenity.<br />
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The sun was setting on another perfect day in the Darwin Dry and an uncanny stillness permeated the billabong. This serenity most likely comes from the fact that the billabong is so far from any kind of extensive civilisation, and as a result the place takes on an almost spiritual quality. It was a lovely thing to just drift past and through the picturesque lilypads, seeing anything above water level reflected in the billabong's pristine surface.<br />
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Even the wildlife seem to be in perfect sync with the atmosphere, as they act like the boat cruising past doesn't exist. From the enormous eagles overlooking their territory to the little waterbirds hopping delicately from pad to pad, the birds and animals give you the sense that you're witnessing nature in its untouched state. Even old mate didn't blink an eye when the boat sidled up beside him, preferring to remain in his mottled shade and, like us, enjoy the serenity.<br />
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Soon after the orange fireball crept below the horizon, the boat picked up speed and headed back to the banks with uncharacteristic haste. This was because, the guide explained, at a very precise point during each day's farewell, the billabong becomes completely overtaken by infinite swarms of mosquitoes. And so we disembarked and scurried back to the car before our exposed skin was eaten and all traces of that billabong feeling disappeared. <br />
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But the feeling remains here, in these lovely images. Another piece of Territory magic from the place that just keeps on giving.gretahttp://www.blogger.com/profile/17031639680932538759noreply@blogger.com0tag:blogger.com,1999:blog-3099326932984937973.post-5719270600680867412012-08-26T15:58:00.002+10:002012-08-26T17:00:55.734+10:00welcome to the family<div class="separator" style="clear: both; text-align: center;">
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Quite by chance, I came across an unusual toy camera that I had never heard of before. It was designed as a novelty camera - presumably before Photoshop was widespread - that allowed you to divide the frame in two horizontally so that two images merge into one, overlapping slightly in the middle. The reason I believe it was a pre-digital novelty item is because according to the packaging, the highlight of this camera is its ability to put a dog's head onto a person's body - something incredibly simple to do on a computer, and something that very few people would buy a cheap film camera just to do. <br />
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At the risk of disappointing you, I have to confess that I did not buy this camera to create strange canine-human hybrids. Rather, I was intrigued by the idea of merging two images without overlapping them completely; unlike a standard multiple exposure, this camera allows you to keep the top and the bottom as a single image, with only the middle combined. In some ways this makes it more interesting than a straightforward multiple exposure, because it takes a while to figure out what's going on: the top and the bottom look normal, but there is definitely something strange happening.<br />
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Admittedly, this is something that could also be done quite easily in Photoshop. So why use a dodgy old film camera? Well, a few reasons. Firstly, there's no way that I would sit down at my computer and put some street lamps over a Hungry Jack's neon sign. I wouldn't think to do it, and I wouldn't waste my energy on something that isn't very spectacular. But out on the street, when you can't see the results and you are figuratively (and sometimes literally) in the dark, you have to shoot on instinct, and spontaneously. All the 'work' is done in that moment, and it's exciting not knowing what the hell it's going to look like. And sure, the image above isn't great, but it's still <i>interesting</i>, and it's a reflection of what I saw at that time. It allows no time for post-production perfectionism or self-doubt. This is one of the greatest things about dodgy, experimental plastic cameras, especially for someone who is prone to perfectionism (e.g. me).<br />
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I would never take the time to digitally construct these two images. I like to shoot in the moment! And doing so early one winter morning has given me two pretty successful representations of one of my favourite CBD photographic locations, Bourke Street Mall. The second one is particularly impressive to me, because the transition between images is pretty seamless, making the oversized tram timetable really unnerving above the small seated woman. The image at the top of this post is another Bourke Street success - I particularly like that the GPO tower is pointing right at the rays of sun in the top image.<br />
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Seeing as these images are all from my first test roll, I'm pretty pleased with the results. Not because I think they are all wonderful, but because they reveal some of the effects this camera is capable of, and the potential for creating an entirely new array of unusual, layered film images with absolutely no Photoshop necessary. Thank goodness.gretahttp://www.blogger.com/profile/17031639680932538759noreply@blogger.com0tag:blogger.com,1999:blog-3099326932984937973.post-40820300541274485392012-08-12T20:04:00.000+10:002012-08-12T20:04:08.381+10:00two people<div class="separator" style="clear: both; text-align: center;">
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I've been thinking a bit lately about the connections people make with one another. Two strangers, for example, meet and become close. They share a lot and grow to care immeasurably for one another. They take a kind of journey together. Sometimes a long one, sometimes a short one, sometimes a never-ending one. Or to put it another way, each person shares part of the other person's journey.<br />
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My first relationship was a very serious one, and very long one. When we came to the end of our time together, we went in wildly different directions: he chose tradition, family and stability, and I chose personal exploration, career progression and, for lack of a better word, creativity. In the immediate aftermath of the relationship I was struck by how incredibly strange this was. For so many years we were travelling down the same path, and sharing that journey, and then this fork in the road seemed to appear out of nowhere, and sent us in completely opposite directions. I'm sure there is a lot that could be read into that situation, but I'm not going to attempt to analyse potential mistakes made or judge my younger self for her decisions. I now look back at that as a very simple situation: we took one another as far as we possibly could; at a certain point, we could accompany one another no further. Our paths just went in different directions.<br />
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I think this basic principle is applicable to many relationships - and to their beginnings and their endings. Sometimes, as is the case with the relationship I just referred to, the two paths end up being so far apart that they simply don't intersect in any way anymore, and so the two people leave each other's lives absolutely, and often for good. Is that a good thing? I don't know. Perhaps in some way it is - though I don't doubt that such judgement could only be made on a case-by-case basis. On the other hand, sometimes the paths - while diverging - remain in the general vicinity of each other, and so the two people remain in each other's lives in some other way.<br />
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My sister's path aligned with Hugh's for a while last year. Because I live in another state, I didn't spend a lot of time around the two of them - though I did spend a week in Darwin while they were seeing one another. They got along really well for the most part, but they also bickered a lot. They seemed to get on each other's nerves. Despite this, they were tremendously comfortable with one another, like they had known each other for many years (and perhaps this also explains the bickering). I think the second photo shows that comfort and lovely familiarity. The first photo, which shows them sharing a beer over a game of chess, shows the friendship - or perhaps mateship is an even more suitable word - that they had.<br />
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In my opinion, they weren't right for one another. It seemed like it was often a rocky road that they were on. But they did see one another through a small period in their respective lives, and I have no doubt that that was largely positive for both of them, in the broader scheme of their lives. Lately, Hugh has shown up in my sister's life again in a different form: helping her out while she goes through a bit of a tough time. They remain in each other's lives as friends, which is a really lovely thing.<br />
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After they broke up earlier this year, I was reluctant to post these two gorgeous photos because I thought it might be painful for my sister. But in light of the way things have panned out, I think it's a great lesson that can only be positive: people come in and out of your life, and their role in your life changes, but different doesn't mean bad. And sometimes - maybe even most of the time - different works out pretty well.gretahttp://www.blogger.com/profile/17031639680932538759noreply@blogger.com1tag:blogger.com,1999:blog-3099326932984937973.post-84799038008252733612012-08-05T17:18:00.000+10:002012-08-05T17:19:05.804+10:00mel & jules<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi87LAL-dgGnq6CzIHH8paOX4oWv5TND96N8U5J0ihABfG1Ue1afvPoj_RETWjH3Y-AEGnR8DN5S5gDWre2rpX05vtFQaztmxJT7l5cYTK2fo0LcXRuRco2KFrAylh1MfZlDQM-y1BZyCY/s1600/D1000009.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi87LAL-dgGnq6CzIHH8paOX4oWv5TND96N8U5J0ihABfG1Ue1afvPoj_RETWjH3Y-AEGnR8DN5S5gDWre2rpX05vtFQaztmxJT7l5cYTK2fo0LcXRuRco2KFrAylh1MfZlDQM-y1BZyCY/s400/D1000009.JPG" width="400" /></a></div>
There are several reasons why I think this photo is pretty special. For one, Mel is a great friend of mine, and she herself is pretty special. Also, I took this on her birthday, and isn't it always nice to have a visual memento of such an occasion?<br />
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While Jules isn't a great friend of mine (at this point) because I have only recently met him, I already like him very much. He is not only a friendly, funny person, but he adores Mel (very important) and from all accounts he makes her happy (very<i> very</i> important). Both of these things come through in the image - in their body language (facing each other and Jules embracing her) and in Mel's gorgeous, genuine smile.<br />
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Moving away from sentimentality, the portrait is also successful (or at least interesting) because of its layers. Obviously the yellow is the primary image, but the other two layers, though more difficult to find, add visual (and sentimental) interest to the image. The blue layer, which is the easiest of the two to see, shows the two of them interacting with someone else (by the look of it) - it is a candid, casual, social shot. Once you've focused on the blue image, it's really difficult to see the red one - it must be some kind of optics thing that I have no idea how to explain. But then all of a sudden it appears to you, and you realise you're seeing Mel about to kiss Jules. It's so subtle - a private moment that I really didn't have any right to capture - but its lovely intimacy is a really special element to the overall portrait.<br />
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So cheers to Mel and Jules - the kind of couple that it's genuinely heartwarming to witness.gretahttp://www.blogger.com/profile/17031639680932538759noreply@blogger.com0