a few types o' portraits

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!

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.

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.

Now, I'm not saying Jim isn't naturally gorgeous... but these photos took a lot of forethought! Which is because, unlike some casual snapshots of a friend, these are carefully planned press shots for the one and only Grizzly Jim Lawrie. 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!

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.

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.

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.

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.)

summer shots (and a thought on retro)

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 these ones 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!

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.

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 city-sky-gazing, 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.

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.

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.

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?

more from the beautiful wedding of sarah and creg (aka craig)

I recently posted ten unconventional wedding portraits 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.

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.

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.

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.

And then it happened! They got married. What a stunning couple.

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.

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.

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.

all aboard the soul train

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 feel, 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.)

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.

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.

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.

And then came the after-party.

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.

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.

And then I kind of lost my shit.

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.

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.

But I have to finish with just one more photo.

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.

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.