tag:blogger.com,1999:blog-47932725930848219962024-03-14T06:02:59.885-07:00ozphotoreviewEvents in fine-art photography in Australia and overseasozphotoreviewhttp://www.blogger.com/profile/05955455242704658018noreply@blogger.comBlogger33125tag:blogger.com,1999:blog-4793272593084821996.post-62274971573474431122012-11-06T22:50:00.001-08:002012-11-06T23:42:26.962-08:00The Cloud Made Whole<strong>Connie Zhou Reveals The Cloud's Intricate Beauty</strong><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKYZviY5TU6LyZ6i6SSvywy_WTmG8t55KYSktRwtYTSJO9IQWTkkXbE3j_UIEBp0X6XBoqmTDkw7v9N2q-hoJwUK1Mb40MRPlCZE1LzvTdAOZUuD76lfICirtLRJMsV_OJT6cq3gT0kXoR/s1600/Connie+Zhou+Image+Google+Computers+008.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKYZviY5TU6LyZ6i6SSvywy_WTmG8t55KYSktRwtYTSJO9IQWTkkXbE3j_UIEBp0X6XBoqmTDkw7v9N2q-hoJwUK1Mb40MRPlCZE1LzvTdAOZUuD76lfICirtLRJMsV_OJT6cq3gT0kXoR/s400/Connie+Zhou+Image+Google+Computers+008.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><strong>Copyright Photographs by Connie Zhou for Google</strong></td></tr>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzm1V8O2txiqAagBJ3udxczw_f7wOjIB13e_7jBlJXFIpthdEsSWWDlYRior25mMqWEXFvEHuy4UZRIliI9IU879vNfThUFZQA8qFu11Uyv4rVYzjsru0VU89kzxgBc2tohyphenhyphen8gh1_iGtbq/s1600/Connie+Zhou+google_pry_22.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzm1V8O2txiqAagBJ3udxczw_f7wOjIB13e_7jBlJXFIpthdEsSWWDlYRior25mMqWEXFvEHuy4UZRIliI9IU879vNfThUFZQA8qFu11Uyv4rVYzjsru0VU89kzxgBc2tohyphenhyphen8gh1_iGtbq/s400/Connie+Zhou+google_pry_22.jpg" width="400" /></a>I used to think of <em>"Cloud Computing"</em> as a fragile, abstract idea that was claimed to be <em>the next big thing</em> in IT. Now, in an era when the word <strong>Google</strong> has evolved from noun to verb, Shanghai-born U.S. photographer <strong>Connie Zhou's</strong> elegant, formal views of the massive computer installations of the search giant literally give metallic flesh to this idea. With her simple, formal images, Zhou <a href="http://www.conniezhou.com/">www.conniezhou.com/</a> embraces the future of public computing, as present in massive installations as far apart as the U.S. and Skandinavia. In each photograph Zhou captures the acres of necessary hardware that bounds to our attention at the click of a mouse - anywhere in the world. Interestingly, Zhou did not resort to the orthodoxy of a Perspective Control lens in order to keep her verticals perfectly aligned. Instead she elected to control these essential architectural requirements in the post-production of each image, taken, incidentally, using a conventional wide angle lens. So much for the optical magic developed by PC lensmakers. There is also the sense in these magical colour images that her observations mimic, for example, the paths of electronic particles, as rendered by electron micro photography. For a revealing interview with Connie Zhou please open this link to U.S. <strong>Popular Photography <a href="http://www.popphoto.com/gallery/connie-zhous-images-inside-googles-massive-data-centers">http://www.popphoto.com/gallery/connie-zhous-images-inside-googles-massive-data-centers</a></strong><br />
<strong>Last Week for Ralph Gibson's Silver Sorcery</strong><br />
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<tr><td class="tr-caption" style="text-align: center;">Photo by <strong>Andrea Blanche</strong></td></tr>
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Photograph's greatest gift can often be its simplest. A photographer's vision can craft compositions which can create illusions, either in tone and colour, that defy literal interpretation. <strong>Ralph Gibson</strong> <a href="http://www.ralphgibson.com/">www.ralphgibson.com/</a> is one of a select group of photographers - <strong>Henri Cartier-Bresson, Diane Arbus, Robert Frank</strong>, to name three others, who have changed, sometimes subtly, sometimes blatantly, the way we see. Once, when asked what her photography meant to her, Arbus gave a seemingly opaque reply, <em>" Why, my photography is a process of recognizing with I have never seen."</em> So it is with Gibson. In compositions sliced by ridges of savage highlights and deep shadows, the American has created works sculptural, sensual and mysterious. <strong>Point Light Gallery </strong><a href="http://www.pointlight.com.au/">www.pointlight.com.au</a> are to be commended for bringing Gibson <em>(pictured, above left)</em> to Australia - both for this exhibition which finishes this weekend and a series of workshops given by this remarkable photographer.<br />
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ozphotoreviewhttp://www.blogger.com/profile/05955455242704658018noreply@blogger.com12tag:blogger.com,1999:blog-4793272593084821996.post-33345625075369935782012-08-13T21:31:00.000-07:002012-08-14T01:27:40.405-07:00Jeff Carter on ABC TV tonight<strong>Jeff Carter's "Inland Heart" On View Tonight</strong><br />
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<tr><td class="tr-caption" style="text-align: center;">Photo: <b>Robert McFarlane</b></td></tr>
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In a revealing documentary <em>"Inland Heart: The Photography of Jeff Carter",</em> directed by <strong>Catherine Hunter</strong>, the enduring photographic vision of the late <strong>Jeff Carter</strong><em> <b>1928-2010</b> (pictured, above and right)</em> will be examined on <strong>ABC TV1</strong>'s Artscape program <a href="http://www.abc.net.au/arts">www.abc.net.au/arts</a> at 10pm tonight, Tuesday, August 14th. Hunter, who also directed a critically acclaimed recent documentary on painter <strong>Margaret Olley</strong>, examines the extraordinary legacy left by Jeff Carter after more than half a century roaming the <em>"Inland Heart"</em> (and occasionally the cities) of Australia. Carter's brutally honest, compassionate, unsentimental vision reflected Australian life from a unique point of view - his own travels. There is little in Carter's simple, strongly composed photographs that he had not experienced first hand himself - either as a young man <em>"humping his bluey"</em> around Australia - or working the land himself, on his country property, <em>"Foxground"</em> in Southern New South Wales, Australia.ozphotoreviewhttp://www.blogger.com/profile/05955455242704658018noreply@blogger.com2tag:blogger.com,1999:blog-4793272593084821996.post-14938745874781966722012-04-16T01:23:00.007-07:002012-04-16T23:10:29.353-07:00Redefining The Australian Landscape<span style="font-size: large;"><strong>Burnt by Sun and Flame</strong></span><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhg8ioLtn4X6Kvh8zrw5p4UL1smz9ItCpsq9KrJayTWoix3CS0fo1Uu24nTDZPhr33VFkHG0-alk5gglSUVFkAQ5e79P9a4yc2E7N21rE7J06sT6s4I2p_RNGAa3nwqAO0j61YSWJAy3qpX/s1600/090307_D3X_6217orange_hori+John+Gollings.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhg8ioLtn4X6Kvh8zrw5p4UL1smz9ItCpsq9KrJayTWoix3CS0fo1Uu24nTDZPhr33VFkHG0-alk5gglSUVFkAQ5e79P9a4yc2E7N21rE7J06sT6s4I2p_RNGAa3nwqAO0j61YSWJAy3qpX/s400/090307_D3X_6217orange_hori+John+Gollings.jpg" width="400" /></a></div><span style="font-size: large;"><strong>John Gollings</strong> <a href="http://www.gollings.com.au/">www.gollings.com.au/</a> has an enviable reputation as a fine architectural photographer and also an acute observer of the Australian landscape - both urban and rural. Recently Gollings re-photographed Gold Coast vistas he had previously documented dedades before - with telling results. Now Gollings, in a new exhibition at <strong>Edmund Pearce Gallery</strong> <a href="http://www.edmundpearce.com.au/">www.edmundpearce.com.au</a> in Melbourne, has observed the elapsed effects following bushfires - creating highly graphic black and white and colour images that suggest both the terror that must occur when fire sweeps through the country - but also, ironically, fire's other role in effecting the land's renewal. In a perceptive essay in the exhibition catalogue <strong>Monash Gallery of Art</strong> Director <strong>Shaune Larkin</strong> comments <span style="border: 1pt windowtext; color: black; font-family: "Arial","sans-serif"; line-height: 115%; mso-ansi-language: EN-AU; mso-bidi-language: AR-SA; mso-border-alt: none windowtext 0cm; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU; padding: 0cm;"><em><span style="font-family: Times, "Times New Roman", serif;">"These pictures address a number of Gollings’ primary concerns as a photographer ... they demonstrate the regenerative power of nature, evident in the traces of life beginning to emerge in the face of a bushfire’s terrible blackness. They also reiterate Gollings’ long-standing interest in documenting the power of nature, again registered in the indications of regeneration and the fact that such tremendous beauty can be found in places of chaos and destruction."</span> </em></span></span><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtE6MQhvnlsEplgpzT9gXT8g7NwrP9o7gXee7WryxG2ktNGe1zr2lkgY34wea914sM8TirrivedI0nOSl1xde_0tAsqtPe2yP5Zwlvv85ELjf-8JABHyNbrikO9IX0odr0J3jyLSGsIWAJ/s1600/BW+John+Gollings+landscape.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtE6MQhvnlsEplgpzT9gXT8g7NwrP9o7gXee7WryxG2ktNGe1zr2lkgY34wea914sM8TirrivedI0nOSl1xde_0tAsqtPe2yP5Zwlvv85ELjf-8JABHyNbrikO9IX0odr0J3jyLSGsIWAJ/s400/BW+John+Gollings+landscape.jpg" width="400" /></a></div><span style="font-size: large;">Gollings' pictures, taken from the air only a week after the Black Saturday bushfires, reveal the burnt landscape in its most graphic, injured mood. <em>(pictured, top)</em> Through Gollings' eyes, scorched earth resembles a giant's stubbled cheek, bisected by a road that simultaneously resembles a curved scar - or the classic serpent from Aboriginal mythology<em>.(pictured, above)</em> There are also other surprises hidden within the photographer's tightly textured observations: trees whose crossed, broken branches resemble crucifixes. In Gollings' colour images there is the irresistable feeling that the photographer playfully references Australian painting's most astringent poet - <strong>Fred Williams</strong>. </span><br />
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<span style="font-size: large;">Edmund Pearce are also showing <em>"Australian Gothic"</em> a series of wry observations by <strong>Jane Brown</strong> who celebrates Australia's obsession with elevating creatures from nature to larger than life, iconic status. <em>(pictured, above)</em></span><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdSU4ea5mpYJUS73gvSf9KdgBcxNg7A6jyVLxYnX3R409abxvFHqM_OK0_wvZ6X6zcVZD35WepfmVTRFiPUacwIKszrCfwMXS-fUU-dInA6jsITxRgcxJDLnPBF70FrMV-FXL-JUQ6D5Hr/s1600/Jane+Brown+Aust+Gothic1.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdSU4ea5mpYJUS73gvSf9KdgBcxNg7A6jyVLxYnX3R409abxvFHqM_OK0_wvZ6X6zcVZD35WepfmVTRFiPUacwIKszrCfwMXS-fUU-dInA6jsITxRgcxJDLnPBF70FrMV-FXL-JUQ6D5Hr/s200/Jane+Brown+Aust+Gothic1.jpg" width="165" /></a></div><span style="font-size: large;">Brown's distinct gift for photographing sensed human presences in unpeopled landscapes and interiors can clearly be seen in this sombre image. <em>(pictured, right)</em> Further evidence of this unique vision can be found on her website <a href="http://www.janebrownphotography.com/">www.janebrownphotography.com</a> When interviewed in the <strong>Weekend Australian Review</strong> on August 6-7, 2011, Brown commented <em>"<span style="font-family: "Century Gothic","sans-serif";"><span style="font-family: Times, "Times New Roman", serif;">I find it interesting how monochrome is used to differentiate the living and the dead, the past and the present. It has an ability to transcend the constraints of time, memory and death. I examine this a lot in my work – landscapes seem to have vestiges or traces of past life and memorials become otherworldly.” </span></span></em><em>Until May 12</em></span><br />
<span style="font-size: large;"><strong>A TEAR IN THE FABRIC OF AUSTRALIAN PHOTOGRAPHY </strong></span><br />
<span style="font-size: large;"><strong>Richard Millott 1946-2012</strong></span><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5eoLVCl7eXuvG_kJGLbG8nLfxIlT0JJEI-ekH-CcICMRj8YrleXHnI-O4FnlqWvzQbkHgYoRIRNAN78Ry1oP5xll9iMYzooEi514pXiN8Ek_CL5lxthuZ9u0HZ3dICMpvE2CodCxGTDuS/s1600/default-richard-Maillot.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5eoLVCl7eXuvG_kJGLbG8nLfxIlT0JJEI-ekH-CcICMRj8YrleXHnI-O4FnlqWvzQbkHgYoRIRNAN78Ry1oP5xll9iMYzooEi514pXiN8Ek_CL5lxthuZ9u0HZ3dICMpvE2CodCxGTDuS/s320/default-richard-Maillot.jpg" width="228" /></a></div><span style="font-size: small;"> </span><span style="font-size: large;"><em>Reading <strong>Rob Imhoff's</strong> detailed tribute to Richard Millott (pictured, right)) it was obvious that Australian photographers, and perhaps especially those in Melbourne, are part of a community - an extended family that mentors, nurtures and indeed constructively criticises. I did not know <strong>Richard Millott</strong>, but it is clear the positive influence he had and the many lives he affected. Ed.</em></span><br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt; mso-layout-grid-align: none; mso-pagination: none; tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-align: justify;"><span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;">Prominent Australian photographer <strong>Richard Millott</strong> died in Melbourne of cancer on 14<sup>th</sup> March following a four-month battle with advanced <span lang="EN-US" style="color: #222222; mso-ansi-language: EN-US; mso-bidi-font-family: ArialMT; mso-bidi-font-size: 13.0pt; mso-bidi-language: EN-US;">melanoma</span>, which he fought with courage, dignity and good humour until the end.</span></span></div><div class="MsoNormal" style="margin: 0cm 0cm 0pt; text-align: justify;"><span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;">Richard was a giant among his peers, not only did he physically tower over them but his innate ability as a photographer was second to none. A master of his craft, Richard could match the best when it came to fashion and beauty photography in the 1970’s. Inspired by global giants such as <strong>Richard Avedon</strong> and <strong>Barry Lategan</strong>, Richard could emulate the highest global standards and yet leave his own unique indelible mark of perfection.</span></span></div><div class="MsoNormal" style="margin: 0cm 0cm 0pt; text-align: justify;"><span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;">I first met Richard when he wandered into the Chapel Street South Yarra studios of <strong>Brian Brandt & Associates</strong>, now <strong>Bridie O’Reilly’s Irish Tavern</strong>, in late 1972. At the time Richard had just completed 2<sup>nd</sup> year of the 3 year BA photography course at RMIT under the guidance of noted photographer <strong>Michael Wennrich</strong>. Richard was a mature age student who after completing year 12 at Carey Grammar, had spent four years working as a wharf labourer, dishwasher, taxi driver and, in his own words, general tramp, searching for his place in society. His flat-mate at the time, photographer <strong>Graham Nicholson</strong> who worked with <strong>Henry Talbot</strong> at <i style="mso-bidi-font-style: normal;">Newton (Helmut) & Talbot</i>, sparked Richard’s initial interest in photography. This occurred at a time when he had a desire to work in the film industry and was persevering with the idea of getting a job at the ABC. In a cover-story that I wrote for the Institute of Australian Photography (IAP) Magazine in 1973 Richard commented that <i style="mso-bidi-font-style: normal;">“Because of our bureaucratic society and its vicious ‘Who you know’ outlook, I became extremely frustrated and decided to seek full time enrolment at RMIT”</i></span></span></div><div class="MsoNormal" style="margin: 0cm 0cm 0pt; text-align: justify;"><span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;">In his first two years as a student at RMIT Richard found a direction in a profession that he believed would give satisfaction to himself and others. He learnt to balance both the technical and the practical demands, and became a great believer that technique should be used only as a vehicle for one’s imagination. </span></span></div><div class="MsoNormal" style="margin: 0cm 0cm 0pt; text-align: justify;"><span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;">In late 1973, after completing third year at RMIT, Richard joined the <i style="mso-bidi-font-style: normal;">Brian Brandt & Associates</i> stable of photographers that included <strong>Brian Brandt</strong>, <strong>Peter Bailey</strong>, <strong>Klaus Wimhoff</strong>, <strong>Douglas Coates</strong> and myself. Richard quickly bypassed the usual <i style="mso-bidi-font-style: normal;">assistant training period</i> and built his own impressive list of clients that included leading fashion and beauty companies. </span></span></div><div class="MsoNormal" style="margin: 0cm 0cm 0pt; text-align: justify;"><span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;"><strong>Angie Heinl</strong> teamed with Richard during this period in what became one of the professions great mentor/assistant relationships and in turn Angie, with Richard’s blessing and encouragement, went on to become an outstanding photographer in her own right.</span></span></div><div class="MsoNormal" style="margin: 0cm 0cm 0pt; text-align: justify;"><span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;">Stylist, <strong>Carol Silk</strong>, then wife of photographer <strong>Rennie Ellis</strong>, was another important member of the personal team and further support came from the in-house colour lab (CPL Services) headed at the time by <strong>Herman Bauer</strong> and B&W lab operated by <strong>Di Lancashire</strong> and <strong>Ross Dufty</strong>. <strong>Diana Gribble</strong>, later a founding partner in publishing company <strong>McPhee-Gribble</strong>,administered the bookkeeping, <strong>Karen Lewis</strong> managed the office and <strong>Paul Stedman</strong> tried his hardest to manage the photographers during this halcyon period in Richard’s life. </span></span></div><div class="MsoNormal" style="margin: 0cm 0cm 0pt; text-align: justify;"><span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;">Late in 1973 I shared a house in Evansdale Road Hawthorn with Richard and his partner, <strong>Tina Blomfield</strong> (now <strong>Millott</strong>). I have fond memories of our time at Evansdale Road where an eclectic group of Richard, Tina and my friends would visit. Tina’s dog, an Afghan named <span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: ArialMT; mso-bidi-font-size: 13.0pt; mso-bidi-font-weight: bold; mso-bidi-language: EN-US;"><strong>Veruschka</strong>, added another dimension to our domestic life and her endearing </span>playful behaviour was always a delight, particularly when we walked in the nearby park. Richard and I would regularly drive into the CBD for lunch at <strong>Pellegrini’s</strong> Italian/New York style Bistro in Bourke Street or their back-restaurant in Crossley Street where we often observed the then Prime Minister <strong>Gough Whitlam</strong> enjoying the exquisite Italian cuisine. A visit to Pellegrini’s was often followed by a pleasant stroll through the <i style="mso-bidi-font-style: normal;">The Paperback</i> and <i style="mso-bidi-font-style: normal;">The Hill of Content</i> bookshops at the top end of Bourke Street where we both managed to acquire intellectual fodder and material for our respective photography libraries. Following frequent long nights working in the darkrooms at 462 Chapel Street, Richard and I would race each other home, he in his Mini-Moke and me in my Fiat. Arriving with amused expressions on our faces, we would have breakfast and retire for some sleep, often as Tina was making her way off to work. Both Richard and Tina were regulars at various social functions including the monthly MADC (Melbourne Art Directors Club) luncheon and <strong>Mogg’s Creek Moving Clickers</strong> film weekends at Lorne. Later in 1974, following Richard and Tina’s purchase of a house in North Melbourne we retreated from the Evansdale Road premises. At their new home Richard and Tina became avid supporters of the local North Melbourne Football Club and were regular visitors to games.</span></span></div><div class="MsoNormal" style="margin: 0cm 0cm 0pt; text-align: justify;"><span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;">On the 26<sup>th</sup> October 1974 Richard & Tina were married and held a reception in the front Studio at 462 Chapel Street, I had the pleasure of taking the official group 8x10 B&W portrait. It could be said that Richard and Tina’s greatest achievement was to combine their busy professional lives with the raising of four wonderful children, Ashley, Amber, Celeste and Jenna. In 1983 the family moved to Kew where they were closer to the childrens’ school.</span></span></div><div class="MsoNormal" style="margin: 0cm 0cm 0pt; text-align: justify;"><span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;">On leaving <i style="mso-bidi-font-style: normal;">Brian Brandt & Associates</i> in the mid 70s, Richard joined <strong>Bob Bourne</strong> & <strong>Peter Gough</strong> at <i style="mso-bidi-font-style: normal;">Still Picture Company </i>(later <i style="mso-bidi-font-style: normal;">Paradise Pictures</i>). Later he moved into a partnership with fellow ex-RMIT student <strong>Derek Hughes</strong> at 264 Park Street South Melbourne. At this time another ex-RMIT student and close friend Wanda Tucker joined Richard as studio manager, and shortly after he and Derek leased the historic former Wesleyan Methodist Church at 167 Fitzroy Street, St Kilda. Fellow RMIT Student, photographer <strong>Nick Bernardo</strong> joined the studio during this time and Richard became a pillar of support as Nick fought his own battle with cancer. In 1987 the partnership dissolved and Richard took over the magnificent premises. Subsequently Richard succumbed to the landlord’s desire to develop the site as residential apartments and he relocated his business to Lord Street Richmond. In 2007 the studio was closed and Richard based himself from home in Kew. </span></span></div><div class="MsoNormal" style="margin: 0cm 0cm 0pt; text-align: justify;"><span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;">During his career Richard inspired and nurtured the careers of many, he gave generously of his time to enhance the professional status of Australian photography and had strong association with both the <strong>AIPP </strong>(Australian Institute of Professional Photography and <strong>ACMP</strong> (Australian Commercial & Media Photographers) of which he was a founding member and later a director.</span></span></div><div class="MsoNormal" style="margin: 0cm 0cm 0pt; text-align: justify;"><span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;">Our sympathies go to <strong>Tina</strong>, the children, <strong>Ashley, Amber, Celeste, Jenna</strong> and their extended families. Richard, the gentle giant who was seen and admired by many as an honourable, well-principled, down-to-earth human being leaves us with cherished memories that will stay forever.<span style="mso-tab-count: 6;"> </span><span style="mso-bidi-font-size: 10.0pt;"><o:p></o:p></span></span></span></div><span style="font-family: Times, "Times New Roman", serif; font-size: large;"> </span><br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt; text-align: justify;"><i style="mso-bidi-font-style: normal;"><span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;">This obituary was written by AIPP ‘Honorary Life Member’ & ACMP Patron <strong>Rob Imhoff</strong> at the request of close friend <strong>Ian McKenzie.</strong> <o:p></o:p></span></span></i></div><span style="font-family: Times, "Times New Roman", serif; font-size: large;"> </span><br />
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</div>ozphotoreviewhttp://www.blogger.com/profile/05955455242704658018noreply@blogger.com5tag:blogger.com,1999:blog-4793272593084821996.post-1002601387249931252012-03-06T20:47:00.005-08:002012-03-25T18:39:37.633-07:00Days of Miracle and Wonder<span style="font-size: large;"><strong>"Boys With Guns" are everywhere, it seems</strong></span><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEii_Tqx3nV-5_iPrm0orHfTpYfgPKjpIIK1CPLb-oVuuHAMMe-zwo4IE0542XU-qzCVC2D-n-kCbOd1Mk-KpNfV0qQNkNB_IZ6M072ZFOoxvVdb90eUHFCmwE6sgYmQg_2vGtZmr9FOPw_n/s1600/Prudence+Murphy+Photograph+Boys+with+Guns.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="295" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEii_Tqx3nV-5_iPrm0orHfTpYfgPKjpIIK1CPLb-oVuuHAMMe-zwo4IE0542XU-qzCVC2D-n-kCbOd1Mk-KpNfV0qQNkNB_IZ6M072ZFOoxvVdb90eUHFCmwE6sgYmQg_2vGtZmr9FOPw_n/s400/Prudence+Murphy+Photograph+Boys+with+Guns.jpg" width="400" /></a></div><span style="font-size: large;"><strong>Prudence Murphy's</strong> timely, droll observations of boys role-playing with guns seem to have found an appropriately national stage. These quiet, but slightly ominous views into the combative games played by boys can be seen as part of <strong>Fotofreo</strong>'s <em>"Divergence: Photographs from Elsewhere"</em> component in the renowned, month long, expansive photography festival in Fremantle </span><span style="font-size: large;"><a href="http://fotofreo.com/">http://fotofreo.com/</a></span><span style="font-size: large;"> her photographs are also to be seen on the other side of the continent, at the<strong> Queensland Centre for Photography</strong>. <a href="http://www.qcp.org.au/">www.qcp.org.au/</a> <em>"Backyard #1"</em> from this series has, incidentally, been shortlisted for the 2012 <strong>Josephine Ulrick and Win Schubert Photography Award </strong><a href="http://www.theartscentregc.com.au/whats-on/whats-on-items/2012-josephine-ulrick-photography-award">http://www.theartscentregc.com.au/whats-on/whats-on-items/2012-josephine-ulrick-photography-award</a> Works from the series have also been published in the Summer 2012 issue of <strong>Ampersand Magazine</strong>. </span><a href="http://ampersandmagazine.com.au/buy/"><b><span style="line-height: 115%;"><span style="color: blue; font-family: Times, "Times New Roman", serif; font-size: large;">http://ampersandmagazine.com.au/buy/</span></span></b></a><span style="font-size: large;"> It seems Murphy may have touched a nerve with her gentle, questioning imagery. At the <strong>Midlands Railway Workshops, Perth</strong>, <em>until April 15.</em></span><span class="apple-style-span"><span style="color: #010101; font-family: "Arial","sans-serif"; font-size: 10pt; line-height: 115%;"> </span></span><span style="font-size: large;"><strong></strong></span><br />
<span style="font-size: large;"><strong>Eleanor, Muse to Harry Callahan, dies at 95</strong></span><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEildBrQDPmI3_g9ZEuvKfZBa32DpUOojkm-EFoJvJNYhsMTg9ctPgv6OKOSP0NmS6iZDwggpibvTMV8QKvgZfWOZbyR0eS8YT7RPWCg4wQlkHT4toHaInCQjigYSCIdGVG8bQa9VWB3MMEq/s1600/callahan_eleanor_chi49.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEildBrQDPmI3_g9ZEuvKfZBa32DpUOojkm-EFoJvJNYhsMTg9ctPgv6OKOSP0NmS6iZDwggpibvTMV8QKvgZfWOZbyR0eS8YT7RPWCg4wQlkHT4toHaInCQjigYSCIdGVG8bQa9VWB3MMEq/s320/callahan_eleanor_chi49.jpg" width="313" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRQ6UtIYbXdlum2KXYKMOT4-otsorDwwbTcwLlpQLLjMHHUCJSGzLkh-v436SXzWuDSkAq31wtuCxiv77XtS8KEGLWIQbUMZxUZZwwrEtpJfM-ePd-YQkH3Tx9S1NVHK-IYtYwmbOfXds0/s1600/Eleanor+Chicago+1948+courtesy+Pace+MacGill+Gallery+NY+Photo+by+Harry+Callahan.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRQ6UtIYbXdlum2KXYKMOT4-otsorDwwbTcwLlpQLLjMHHUCJSGzLkh-v436SXzWuDSkAq31wtuCxiv77XtS8KEGLWIQbUMZxUZZwwrEtpJfM-ePd-YQkH3Tx9S1NVHK-IYtYwmbOfXds0/s320/Eleanor+Chicago+1948+courtesy+Pace+MacGill+Gallery+NY+Photo+by+Harry+Callahan.jpg" width="233" /></a></div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2bklzyxF9TJB-CubNw1x5gIdbUDXsSpn__lMK-ypsTQhNfKum6ntFP2MKsehlpYk_Z0YbpqYj682Cp-gh3KoZuBDsuSHTJ4ejb-qWgzMwkM_48oWttRbbvXINMjER8WaepJvcRqIb6rZ4/s1600/Eleanor+New+York+1945+courtesy+Pace+MacGill+Gallery+NY+Photo+by+Harry+Callahan.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2bklzyxF9TJB-CubNw1x5gIdbUDXsSpn__lMK-ypsTQhNfKum6ntFP2MKsehlpYk_Z0YbpqYj682Cp-gh3KoZuBDsuSHTJ4ejb-qWgzMwkM_48oWttRbbvXINMjER8WaepJvcRqIb6rZ4/s200/Eleanor+New+York+1945+courtesy+Pace+MacGill+Gallery+NY+Photo+by+Harry+Callahan.jpg" width="158" /></a><span style="font-size: large;">Some photographers' lives have been defined by their partners. One thinks of the exquisite journey into modernist imagery forged by <strong>Alfred Steiglitz</strong> with legendary painter <strong>Georgia O'Keeffe</strong>, as well as the sensual resonances to be found in <strong>Edward Weston's</strong> photographs, both clad and nude, of <strong>Charis Wilson </strong>and <strong>Tina Modotti</strong>. Now <strong>Eleanor Callahan</strong>, partner and lifelong muse of American photographer <strong>Harry Callahan</strong> (1912-1999) has died, at 95. <strong>Richard B. Woodward</strong> of the NY Times provide this moving tribute to her life with a visibly devoted photographer husband. <a href="http://www.nytimes.com/2012/02/29/arts/design/eleanor-callahan-photographic-muse-for-harry-callahan-dies-at-95.html">http://www.nytimes.com/2012/02/29/arts/design/eleanor-callahan-photographic-muse-for-harry-callahan-dies-at-95.html</a> Callahan's photographs of his wife are a vivid tribute to the idea of pursuing the universal that lies within the prosaic. While his wife was by no means a classical beauty, Callahan nevertheless saw in her, as writer <strong>Vladimir Nabokov</strong> once said, <em>"the divinity within the detail."</em> Photographs of his life-long companion find extraordinary sculptural beauty within Eleanor Callahan's somewhat opulent flesh. Her face, undistinguished by stereotypical beauty, neverthless revealed, through their intimate visual dialogue, a timeless, moving serenity. Harry Callahan proved that beauty, indeed, was in the eye of <em>this </em>beholder. Callahan then showed he had the heart, and talent, to bring her beauty to our eyes.</span><br />
<span style="font-size: large;"><strong>Two Lewis Morleys Shine at Gallery 88 </strong></span><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYGge8s8haUE59teAngZw_GtnJdl_OKVADP5AmsA2eyWOjjVwbMCyWCMcB9dtS9RBwXc4yP77r_p_OF6lxw3mfrXemtYvykm4YZ7oI9Q01kB_EcZCcp0lI0XRfUrtjuaDZ1tbPZeVF3164/s1600/lewis_P_publicity-1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYGge8s8haUE59teAngZw_GtnJdl_OKVADP5AmsA2eyWOjjVwbMCyWCMcB9dtS9RBwXc4yP77r_p_OF6lxw3mfrXemtYvykm4YZ7oI9Q01kB_EcZCcp0lI0XRfUrtjuaDZ1tbPZeVF3164/s320/lewis_P_publicity-1.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4EjWMKRahYhC1ncg8n-KDXEHp5FXLDmvmAqjE5jY5L7-FwqGqRqlK79GRGiN1SNzFOoeYOE5BbX0JpptaRSrzrWS_Re9NPutfdHXEj7xZCyPQZJQYWueB5iSUAaapDZZm2o3QWQP9Jknn/s1600/lewis-F-publicity-1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4EjWMKRahYhC1ncg8n-KDXEHp5FXLDmvmAqjE5jY5L7-FwqGqRqlK79GRGiN1SNzFOoeYOE5BbX0JpptaRSrzrWS_Re9NPutfdHXEj7xZCyPQZJQYWueB5iSUAaapDZZm2o3QWQP9Jknn/s320/lewis-F-publicity-1.jpg" width="320" /></a></div><span style="font-size: large;">Gifted concept model-maker and </span><span style="font-size: large;">distinguished film-worker <strong>Lewis P. Morley</strong> <em>(pictured, top)</em> shares the stage with his celebrated photographer father <strong>Lewis Morley</strong> <em>(pictured, above)</em> in an entertaining, unpredictable exhibition <a href="http://www.youtube.com/watch?v=3eUVAvRozpc">http://www.youtube.com/watch?v=3eUVAvRozpc</a> at <strong>Peter McMahon's</strong> Gallery 88 in George Street, Redfern. Both father and son possess differing imaginations that roam freely - from Morley Senior's precisely observed street graffiti, as exquisitely rendered as any of Australian painter <strong>Sydney Ball's</strong> totemic colour images <a href="http://www.sydneyballart.com.au/paper/drawings.htm">http://www.sydneyballart.com.au/paper/drawings.htm</a> - to Lewis P. Morley's beautifully constructed models and graphic works, some of which have appeared in Hollywood films. That their imaginative visions blend so well is a tribute to the space Peter McMahon has fashioned from the gallery's former incarnation - a classic Redfern street corner pub. <em>From March 15</em></span><br />
<span style="font-size: large;"><strong>Gary Heery Reinvents Himself, Yet Again</strong></span><br />
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<tr><td class="tr-caption" style="text-align: center;"><em>"Undergrowth No 1",</em> Photograph by <strong>Gary Heery</strong></td></tr>
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<span style="font-size: large;">A visit to <strong>Gary Heery'</strong>s website </span><a href="http://www.garyheery.com/"><span style="font-size: large;">www.garyheery.com/</span></a><span style="font-size: large;"> suggests that this accomplished editorial, advertising and corporate photographer and celebrity portraitist simply refuses to be categorised. After last year's successful, poetic exploration of high speed flash imagery of exotic native birds, coupled with archetypal images of <strong>Equus, </strong>our ancient friend, Heery is back at <strong>Shapiro</strong>'s welcoming gallery space </span><a href="http://www.shapiro.com.au/"><span style="font-size: large;">www.shapiro.com.au/</span></a><span style="font-size: large;"> in Woollahra, Sydney with <em><strong>"Undergrowth"</strong></em>, a strange, sometimes bleak, but always interesting exploration of the female nude. <em>"I have been surrounded by beauty and beautiful women all my life. This series of highly detailed photographs is a reflection on the fragility of beauty in the natural world."</em> declared Heery. Working in collaboration with celebrated international artist/stylist <strong>Michelle Jank</strong> <a href="http://www.michellejank.com/">http://www.michellejank.com/</a> and <strong>Grandiflora</strong> </span><a href="http://grandiflora.net/"><span style="font-size: large;">http://grandiflora.net</span></a><span style="font-size: large;"><strong> </strong>run by his wife, arguably Sydney's premier floral artist, <strong>Saskia Havekes, </strong>Heery has fashioned a series of nudes that suspend female figures within transparent cocoons filled with flowers - simultaneously evoking <strong>Pre-Raphaelite</strong> painting and the necrogenic fantasies of Belgian Surrealist <strong>Paul Delvaux</strong>. <em>Until March 18</em></span><br />
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman","serif"; line-height: 115%;"><span style="font-size: large;">LOUPE Winners To Tour Sofitel Hotels</span></span></b><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHyAfmK0mvBLZwXAm9_1X8YHGmmQKgdk1bzEvjwExJ69RLUigT1sNtVecS9lJDr310tjHT3gQcOJkeiq_MhfJcgmrMuGc25d8ODsAZqWNf5RIu0vNq3kFVndKpkhDXzvmUKa3oZd__F-l0/s1600/Darter+Bird+by+Jackie+Dean.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHyAfmK0mvBLZwXAm9_1X8YHGmmQKgdk1bzEvjwExJ69RLUigT1sNtVecS9lJDr310tjHT3gQcOJkeiq_MhfJcgmrMuGc25d8ODsAZqWNf5RIu0vNq3kFVndKpkhDXzvmUKa3oZd__F-l0/s400/Darter+Bird+by+Jackie+Dean.jpg" width="355" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">'Darter Bird, Dora Creek, Morrisset' by <strong>Jacqui Dean</strong> Open 2011</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnldvYXI1o_bSQhtXujofRSGKmw-uGKL-yKs1uZ0gnGp0t6rK-gM-x5-leh-VjZcWLe0Xoy29TYc8MUy2JVfZbfNAAOQ0m6STfJPQZFsfcL9pmFClBvmNOwsFXJi-Zs84MiCUG-4oYSMxq/s1600/Vi+Wilson+Loupe+amateur+Image+of+the+year+2011.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="128" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnldvYXI1o_bSQhtXujofRSGKmw-uGKL-yKs1uZ0gnGp0t6rK-gM-x5-leh-VjZcWLe0Xoy29TYc8MUy2JVfZbfNAAOQ0m6STfJPQZFsfcL9pmFClBvmNOwsFXJi-Zs84MiCUG-4oYSMxq/s200/Vi+Wilson+Loupe+amateur+Image+of+the+year+2011.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Photo by <strong>Vi Wilson</strong> Amateur winner 2011</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4PoHsXU1nyLri5u1m6zKBWIDDANcDuM3jmWnI4-MftLcnzpkJpwXjRCbdR7QwLCp6zio5sIMcIPMiFZOiAFSnaSPpH4tgQcEciOk1d5zCu-v_C4g54hbhiEaEp_Xi6yFdjBTl2H-rDLlM/s1600/Stillness+of+Motion+Silver+room+groups+Photograph+by+Chris+Herzfeld+Loupe+award.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="297" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4PoHsXU1nyLri5u1m6zKBWIDDANcDuM3jmWnI4-MftLcnzpkJpwXjRCbdR7QwLCp6zio5sIMcIPMiFZOiAFSnaSPpH4tgQcEciOk1d5zCu-v_C4g54hbhiEaEp_Xi6yFdjBTl2H-rDLlM/s400/Stillness+of+Motion+Silver+room+groups+Photograph+by+Chris+Herzfeld+Loupe+award.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><em>'Stillness of Motion'</em> Photograph by <strong>Chris Herzfeld</strong> LOUPE</td></tr>
</tbody></table><div class="MsoNormal" style="margin: 0cm 0cm 10pt;"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman","serif"; font-size: 14pt; line-height: 115%;"></span></b><span style="font-family: "Times New Roman","serif"; line-height: 115%;"><span style="font-size: large;">The innovative Loupe photography competition </span><a href="http://www.loupeawards.com/"><span style="color: blue; font-size: large;">www.loupeawards.com</span></a><span style="font-size: large;"> are honouring the winners to their Open and The Medium Format Art Prize of their contest with a touring exhibition beginning at the <b style="mso-bidi-font-weight: normal;">Sofitel Melbourne on Collins</b> in Melbourne and then touring Sydney, Brisbane and Gold Coast Sofitel hotels. Sydney architectural photographer <b style="mso-bidi-font-weight: normal;">Jacqui Dean</b> </span><a href="http://www.deanphotographics.com.au/"><span style="color: blue; font-size: large;">http://www.deanphotographics.com.au/</span></a><span style="font-size: large;"> has already carried off the prestigious (and lucrative at $20,000) <b style="mso-bidi-font-weight: normal;">2011</b> <b style="mso-bidi-font-weight: normal;">Open Prize</b> with her precise, monochrome capturing of the exquisitely feathered form of <span style="mso-spacerun: yes;"> </span>a female, predatory <b style="mso-bidi-font-weight: normal;">Darter Bird <em>(</em></b><em>pictured)</em> observed performing its apres-submarine hunting ritual of unfurling soaked feathers to be dried by the sun. There were many other outstanding entries including finely observed and detailed high speed dance images made using the <b style="mso-bidi-font-weight: normal;">LEAF</b> camera’s massive <strong>80 megapixel</strong> sensor and a series of sensitive landscape photographs.</span></span></div><div class="MsoNormal" style="margin: 0cm 0cm 10pt;"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman","serif"; line-height: 115%;"><span style="font-size: large;">In Japan, <i style="mso-bidi-font-style: normal;">Kaizen</i> Still Rules</span></span></b></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzUDD7c-K33oJdtcjRPrhGEvokgYE6CiJtD53iCF5qnS-ugM9m_7FIXGlYyN2EcjX4lPpGtLzqDkXdltlJdW3AcRUG4Ws1_FFBCfyyeeaOz9xWBtgmqpEUG989tNxJKDyVv2jNYsItq_MW/s1600/Chistmas+Helen+and+Biggles+Finn+and+Maddy+corrected.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="font-size: large;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzUDD7c-K33oJdtcjRPrhGEvokgYE6CiJtD53iCF5qnS-ugM9m_7FIXGlYyN2EcjX4lPpGtLzqDkXdltlJdW3AcRUG4Ws1_FFBCfyyeeaOz9xWBtgmqpEUG989tNxJKDyVv2jNYsItq_MW/s400/Chistmas+Helen+and+Biggles+Finn+and+Maddy+corrected.jpg" width="400" /></span></a></div><div class="separator" style="clear: both; text-align: center;"><br />
</div><div class="MsoNormal" style="margin: 0cm 0cm 10pt;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNs6Pc3o86yxDeJJ0ZLjNgaYC9YNZXhcTZ_CJHyDTBGbRPUlCXQPTlJSZbtbtTORtbBKjtZGAKg-wUGXyBeZ9rl_RgygIS02Euf26mwhNv6FshNWzz9XCiXZTHU259yPJuBF0qhYRU7J-p/s1600/SONY+A77+Panorama+HORTAS+046.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="font-size: large;"><img border="0" height="113" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNs6Pc3o86yxDeJJ0ZLjNgaYC9YNZXhcTZ_CJHyDTBGbRPUlCXQPTlJSZbtbtTORtbBKjtZGAKg-wUGXyBeZ9rl_RgygIS02Euf26mwhNv6FshNWzz9XCiXZTHU259yPJuBF0qhYRU7J-p/s400/SONY+A77+Panorama+HORTAS+046.jpg" width="400" /></span></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgO3j75kq5Okr8Cwu6xZJ9ZpzBNucOVqDQD7lXCPvxgLPnXDW8BltG0ItZxgoLK-k7IjJKE7sn9Yc6dvJtAghX-a9Y0X9vjKbTRJ8Qlbl0duOBDZgV5PD5ey4VUW6-GWQz-_aiHPRCT5VGA/s1600/hok-1b.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="font-size: large;"><img border="0" height="147" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgO3j75kq5Okr8Cwu6xZJ9ZpzBNucOVqDQD7lXCPvxgLPnXDW8BltG0ItZxgoLK-k7IjJKE7sn9Yc6dvJtAghX-a9Y0X9vjKbTRJ8Qlbl0duOBDZgV5PD5ey4VUW6-GWQz-_aiHPRCT5VGA/s200/hok-1b.jpg" width="200" /></span></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIm04adD56-3QMJf4qhBKUdj3bpjcIaedNN8sjMxYZAu98f2wWBs-E7DdRDrgVessRac-NyoU4BVesTAeEbJA3a4WsK0FSk_gonx4SnYGWkmwx-1lTgaDQYS-G1k8lRsc_yukpJjPwczyA/s1600/sony-alpha-slt-a77-review-6.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="font-size: large;"><img border="0" height="133" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIm04adD56-3QMJf4qhBKUdj3bpjcIaedNN8sjMxYZAu98f2wWBs-E7DdRDrgVessRac-NyoU4BVesTAeEbJA3a4WsK0FSk_gonx4SnYGWkmwx-1lTgaDQYS-G1k8lRsc_yukpJjPwczyA/s200/sony-alpha-slt-a77-review-6.jpg" width="200" /></span></a><span style="font-family: "Times New Roman","serif"; line-height: 115%;"><span style="font-size: large;"> As stated in a previous blog, there is a Japanese word <i style="mso-bidi-font-style: normal;">“Kaizen”</i> which means the capacity for constant improvement. Commonly thought to have been introduced after the end of World War 2, “Kaizen” has been at the forefront of Japan’s postwar march toward economic primacy. I prefer to think that it has long been embedded in Japanese culture - in the way, for example, that <strong>Ukiyo-e</strong> masters such as <strong>Hokusai</strong> <em>(pictured, right<strong>,"The Great Wave of Kanegawa</strong>))</em> <b style="mso-bidi-font-weight: normal;">Hiroshige</b> and <b style="mso-bidi-font-weight: normal;">Utamaro</b> regularly printed their wood-block images using hand-carved wooden plates that had to be accurately <i style="mso-bidi-font-style: normal;">in register</i> for more than <i style="mso-bidi-font-style: normal;">ten </i>colours. Precision and excellence were long ago ingrained in pre-20<sup>th</sup> century art and craft in Japan. We are seeing examples of </span></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVodLksS3f675eiLs5XUsF6cXfWF3_AN5njowcOdq5oMXW_Var9tVW0ZHRvbc9UPIckqEEig9SdBp6K80irqLcpEA0ytJpIENdEoJprGt3BMfheR8iwTuWMo65tPHr6VlvNrE4k3xaeFDS/s1600/SONY+DSLR+A77+display.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="133" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVodLksS3f675eiLs5XUsF6cXfWF3_AN5njowcOdq5oMXW_Var9tVW0ZHRvbc9UPIckqEEig9SdBp6K80irqLcpEA0ytJpIENdEoJprGt3BMfheR8iwTuWMo65tPHr6VlvNrE4k3xaeFDS/s200/SONY+DSLR+A77+display.jpg" width="200" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAi3rW2li8bBSox4MGwgfHIYreJoN4n4jpRIM6-dhlPr_eGUeew_wphau-8XlStSO3AQs9cWh_YpuFVRXShuWv4W97mZH3uC3Xkk-_FFgKIkAfLJS6GRCVI5zbRAtJ6e5ySGC_jOvWISzV/s1600/SONY+DSLR+A77+control+dial.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="133" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAi3rW2li8bBSox4MGwgfHIYreJoN4n4jpRIM6-dhlPr_eGUeew_wphau-8XlStSO3AQs9cWh_YpuFVRXShuWv4W97mZH3uC3Xkk-_FFgKIkAfLJS6GRCVI5zbRAtJ6e5ySGC_jOvWISzV/s200/SONY+DSLR+A77+control+dial.jpg" width="200" /></a><span style="font-family: "Times New Roman","serif"; line-height: 115%;"><span style="font-size: large;"></span></span></div><div class="MsoNormal" style="margin: 0cm 0cm 10pt;"><span style="font-family: "Times New Roman","serif"; line-height: 115%;"><span style="font-size: large;">this commitment to excellence constantly in the cameras being introduced by the major Japanese manufacturers – with perhaps no more vivid example than Sony’s recently offered <strong>A77 DSLR</strong><em>.(pictured, above left)</em> This is a camera designed and built to challenge the expectations of established digital SLR users. Using a translucent, stationary mirror and the same 24 megapixel CMOS APS-C sensor as their very compact NEX-7, the Sony A77 is very much a camera for the demanding advanced amateur or professional. Featuring a standard zoom lens from 16-50mm, (24-75mm in traditional terms) the A77 invites the user to be more ambitious in their low light picture-taking by incorporating a fast, constant f2.8 aperture. The lens also performs impeccably, from its maximum aperture down. There are, however, some additional controls on the A77 dial on the camera’s top deck that suggest other remarkable imagery of which this DSLR is capable. Along with the usual settings for Program, Aperture priority and Shutter priority, there is a Sweep Panorama symbol as well as a nod toward to the </span></span><span style="font-family: "Times New Roman","serif"; line-height: 115%;"><span style="font-size: large;">future of photography with a 3D setting. This is surely<em> “Kaizen”</em> at its best. Picking up the Sony A77 DSLR for the first time reminds you that this is a substantial camera, especially when equipped with a constant f2.8 zoom lens. The camera feels like it means business at around 1.4kg (with lens) and responds sweetly to the first press of the shutter release. Shutter noise is appropriately subtle for a camera with a stationary translucent mirror. That the camera also can effortlessly shoot at 12fps is a further bonus for those photographing either sport and family. I took the A77 to a family Christmas gathering and photographed my great grand-nephew and niece <strong>Finn</strong> and <strong>Maddy</strong>,<em> (pictured, above)</em> who seem more like brother and sister than cousins. </span></span><span style="font-size: large;"></span><span style="font-size: large;"><span style="font-family: "Times New Roman","serif"; line-height: 115%;">I also made several simple portraits – of accomplished </span></span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFBgqO0nghgwzWYGfgG20pOUMTwS4Ch1p6iz22w737KGrzO-_WR6tOMrp1LDFEfMugnVPh_TyVqMBVat1kT4ryYwXN8VtYzM_5WGnHPnm9bn8BFk8__W-R9RhAbaK7lb0rIfOdFZzJTzHn/s1600/MIRA+SOULIO+FILM+DIRECTOR+HALLETT+COVE+9+JAN+2012+108.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/AVvXsEjFBgqO0nghgwzWYGfgG20pOUMTwS4Ch1p6iz22w737KGrzO-_WR6tOMrp1LDFEfMugnVPh_TyVqMBVat1kT4ryYwXN8VtYzM_5WGnHPnm9bn8BFk8__W-R9RhAbaK7lb0rIfOdFZzJTzHn/s400/MIRA+SOULIO+FILM+DIRECTOR+HALLETT+COVE+9+JAN+2012+108.JPG" width="266" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Adelaide film-maker <strong>Mira Soulio</strong> </td></tr>
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<span style="font-size: large;"><span style="font-family: "Times New Roman","serif"; line-height: 115%;">Adelaide film director <strong>Mira Soulio</strong> <em>(pictured, left)</em> when she visited me to deliver the DVD of her latest film, a documentary on street photography entitled <em>“The City – The Street”</em> which explores the urban observations of such Australian masters as <strong>David Moore</strong>, <strong>Rennie Ellis</strong>, <strong>Carol Jerrems, Mark Kimber</strong> and <strong>Roger Scott</strong>. I can only say Sony's camera performed precisely as it should. One warning however: I accidentally left the display setting on where all functions for which the A77 is set were visible on the fully articulated LCD screen on the back of the camera. So comprehensive are these notations that the screen becomes crowded with typography <em>(pictured, left)</em> and quite distracting if you are simply attempting to monitor the screen’s image of a recently made picture. I also have one small gripe </span></span><span style="font-size: large;"><span style="font-family: "Times New Roman","serif"; line-height: 115%;">regarding the camera’s on/off switch, positioned around the shutter release. It requires a conscious effort to turn the camera on and off, whereas the detent should be more simple and positive to use. </span><span style="font-family: "Times New Roman","serif"; line-height: 115%;"><strong>Sweep Panorama</strong>, as Sony has coined their in-camera stitched panoramas, is now de-rigeur for most of their cameras – from those costing around a hundred, or over a thousand dollars. I took the Sony A77 to lunch at one of Adelaide premier beachside restaurants – <b style="mso-bidi-font-weight: normal;">Hortas </b>at Nourlunga Beach <a href="http://www.hortas.com.au/">www.hortas.com.au/</a> and applied the Sweep Panorama to the simple, careless beach vista enfolding just in front of the restaurant.</span><span style="font-family: "Times New Roman","serif"; line-height: 115%;">When U.S. songwriter <b style="mso-bidi-font-weight: normal;">Paul Simon</b> once sang, of our time, that <i style="mso-bidi-font-style: normal;">“these are days of miracle and wonder …”</i> he could have been writing of an era when today’s cameras, for example, conceal such an abundance of features that we are challenged to use them intelligently – whether either making simple, accurate observations, or recording such spectacles that invite the use of <strong>Sweep Panorama.</strong> The camera also has<strong>,</strong> of course the capacity to record <b style="mso-bidi-font-weight: normal;">Full HD</b> video (with three choices of frame speeds) And the Sony A77 continues to surprise us, with the promise of 3D imaging and also inbuilt GPS - just in case we forget where we once stood.</span><span style="font-family: "Times New Roman","serif"; line-height: 115%;"><strong>Ted’s Cameras</strong> <a href="http://www.teds.com.au/">www.teds.com.au/</a> <span style="mso-spacerun: yes;"> </span>are currently selling the Sony A77( body only) for $1899.95<o:p></o:p></span></span></div>ozphotoreviewhttp://www.blogger.com/profile/05955455242704658018noreply@blogger.com0tag:blogger.com,1999:blog-4793272593084821996.post-69371793456982120722012-03-06T17:40:00.001-08:002012-03-06T17:40:59.550-08:00ozphotoreviewhttp://www.blogger.com/profile/05955455242704658018noreply@blogger.com0tag:blogger.com,1999:blog-4793272593084821996.post-12061636688725160912012-02-14T23:56:00.000-08:002012-02-16T00:27:35.587-08:00Redefining The Momentary<strong><span style="font-size: large;"><span style="color: red;">STOP PRESS</span>: ARTEXPRESS is Coming!</span></strong><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-8Gr1zaGf9wbNVzW6BPWZXE2dz2PGJjjBv6mVXdFkJm6fVclitmwvtrLD_VHPsZD88W9VVn49-kA3wKjQ_Fgr5QFtNkdH5DTDwStGFOE38hhyphenhyphen63zXddHrOwwZGzHTWus8HOsksCW11yvz/s1600/artexpressL+Jordan+Munns+Long+After+I+Am+Gone+Detail+R+Georgia+McGlennon+Stigmata+detail.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="145" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-8Gr1zaGf9wbNVzW6BPWZXE2dz2PGJjjBv6mVXdFkJm6fVclitmwvtrLD_VHPsZD88W9VVn49-kA3wKjQ_Fgr5QFtNkdH5DTDwStGFOE38hhyphenhyphen63zXddHrOwwZGzHTWus8HOsksCW11yvz/s400/artexpressL+Jordan+Munns+Long+After+I+Am+Gone+Detail+R+Georgia+McGlennon+Stigmata+detail.jpg" width="400" yda="true" /></a></div><span style="font-size: large;">An exhibition which is perennially one of Sydney's best opens at the <strong>Art Gallery of NSW</strong> <a href="http://www.artgallerynsw.gov.au/">http://www.artgallerynsw.gov.au/</a> on February 22. <strong>ARTEXPRESS</strong> will display works submitted for the 2011 NSW HSC Visual Arts Certificate examination and provides ample proof that <strong>Oscar Wilde</strong> was, for once, wrong when he wrote <em>"Youth is wasted on the young."</em> Past years have shown that the students have approached their various art genres (including photography and photo-media) with energy, invention and burgeoning talent. Not to be missed. <em>Until April 22</em>.</span><br />
<strong><span style="font-size: large;">Melbourne's Queen of Darkness</span></strong><br />
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<span style="font-size: large;"><strong>Katrin Koenning</strong> <a href="http://www.katrinkoenning.com/">http://www.katrinkoenning.com/</a> has established a unique form of street photography - observing human figures suspended within urban canyons - capturing her strolling subjects as random rays of light illuminate their paths through pools of darkness. <em>"</em><span style="font-size: small;"><span style="font-size: large;"><em>Once, while venturing through the city in search for faces and light,"</em> recalled Koenning, <em>"I came across this place in the Melbourne CBD. Light reaches it directly for only 20 minutes a day, around lunchtime, when people rush away from work to get sandwiches and coffees. During these few minutes, a transformation happens ... faces are illuminated, dust twirls through rays of sun, cigarette smoke becomes an almost glistening silver- blue against dark buildings."</em></span> </span>There is timelessness in Koenning's interpretation of these moments - with her subjects appearing preoccupied as they make their way across Melbourne's streets. Katrin Koenning is one of a number of Australian fine-art photographers finding inspiration in depicting city life (<strong>Trent Parke</strong>, <strong>Gary Cockburn and</strong> <strong>Narelle Autio</strong> are three others with similarly passionate concerns for <em>"the street"</em>) Koenning also chooses moments in which her subjects often seem passionately internalised, as if slightly bruised by light's sudden intrusion on their journey. Koenning is currently exhibiting <strong><em>"Thirteen:Twenty Lacuna 2009-2011", </em></strong>a suite of colour images which remind us that the street remains one of the most timeless challenges photography can offer us - capturing any city's <em>ancient</em> aspect freshly, while paying homage to social arenas as defining as any found in cities as disparate as New York, or Pompeii. At <strong>Edmund Pearce Gallery </strong><a href="http://edmundpearce.com.au/">http://edmundpearce.com.au/</a> Melbourne, until February 18.</span><br />
<strong><span style="font-size: large;">The Language of Time</span></strong><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiReEHk6oHjQCdJHhR611HxN43u668jtDlEUerI-pqptewQ4GpdF4Dcmfsz4xBi8TxCPyve7CpK5XF99YlCbhAjqUc_IgxbHrtfV9mdcfzoQegzchMTmTZ5k8JnFYYUCKhzSj-ks0I_CkBq/s1600/Conor_O'Brien_Looking_2008-09+HR.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="400" sda="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiReEHk6oHjQCdJHhR611HxN43u668jtDlEUerI-pqptewQ4GpdF4Dcmfsz4xBi8TxCPyve7CpK5XF99YlCbhAjqUc_IgxbHrtfV9mdcfzoQegzchMTmTZ5k8JnFYYUCKhzSj-ks0I_CkBq/s400/Conor_O'Brien_Looking_2008-09+HR.jpg" width="272" /></a></div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><span style="font-size: large;"><strong>Conor O'Brien's</strong> </span><a href="http://www.conorobrien.com.au/info.htm"><span style="font-size: large;">http://www.conorobrien.com.au/info.htm</span></a><span style="font-size: large;"> recent exhibition at the <strong>Australian Centre for Photography </strong></span><a href="http://www.acp.org.au/"><span style="font-size: large;">http://www.acp.org.au/</span></a><span style="font-size: large;"> was noticeable for this artist's continued prosecution of the most interesting, and deceptively simple of ideas. O'Brien's photography re-examines the moment, the most fundamental verb in photography's visual gramm</span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfWNqCcwc91vLNTZACMmfHjwhj2CrRWAj37Fxyd-QSGkyUBMawtFMm61Lbnv_ZXh_f6dtQxMtoTjrkEpzXeYYWJbxs1fsbJ6vgK3V3MznZQGFCN7hEwFpsOXEf2RmWdxnv5kK98CNF7Scq/s1600/Conor_O'Brien_Kate_River.jpg" imageanchor="1" style="clear: right; cssfloat: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="font-size: large;"><img border="0" height="320" sda="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfWNqCcwc91vLNTZACMmfHjwhj2CrRWAj37Fxyd-QSGkyUBMawtFMm61Lbnv_ZXh_f6dtQxMtoTjrkEpzXeYYWJbxs1fsbJ6vgK3V3MznZQGFCN7hEwFpsOXEf2RmWdxnv5kK98CNF7Scq/s320/Conor_O'Brien_Kate_River.jpg" width="220" /></span></a><span style="font-size: large;">ar, through pictures (almost all in colour, from memory) of the most simple, resonant kind. In this photograph<em> (pictured, above)</em> O'Brien has portrayed a graceful young woman with her back to camera, standing before another constant within visual art (especially <strong>Surrealism</strong>) - a door. The picture explicitly renders the young woman's form without further reference to either voyeurism or visible eroticism. And yet this picture suggests a decision is being taken and that the moment this photographer has captured is pregnant with possibilities. Many years ago <strong>MOMA</strong> photography curator <strong>John Szarkowski</strong> (1925-2007) said something very simple which somehow stayed in my mind. Having observed the rise of great picture magazines such as<strong> LIFE</strong> and<strong> LOOK</strong> which showcased the best of American photojournalism Szarkowski said, and from memory I must paraphrase:<em> 'up til now photographers have excelled in photographing what <strong>happens</strong> - now I would hope they begin to address what<strong> exists</strong>.'</em> (my emphasis) By saying this Szarkowsky seemed to allude that photographers look beyond the narrative - to go beneath what happens and photograph the other layers available to this remarkable medium. I would suggest that part of this hidden agenda is photography's own form of Surrealism - practised, ironically, by such supreme masters of observing what <em>happens</em> as <strong>Josef Koudelka</strong>, <strong>Sebastiao Salgado</strong> and the pioneering master himself, <strong>Henri Cartier-Bresson</strong>. Conor O'Brien seems not to be a documentary photographer in the style of these exalted three, but he does capture qualities in a scene that are less than visible, at first glance. If that worn cliche <em>'a picture is worth a thousand words'</em> is worth anything then pictures such as the two images <em>(pictured)</em> here suggest the photograph as a visual <strong>novella</strong>, so resonant with imagined, incomplete paths are they.</span><br />
<span style="font-size: large;"><strong>MAGNUM's Eve Arnold Dies at 99</strong></span><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihhVVOzSKdX8mjvpR-mf0-korLGBrghqJAVM9MNpMqZet6lM2v9ezXfUgUFF1zv16koNktrTA917Cvx2inLFBP7t13UY2MoVfaWL-hP3OwIjwXLUg7OJueHevrEttHixjPtMRIBfja-cP5/s1600/Eve-Arnold+photographing+Marilyn+Monroe+LA+1960+Photograph+by+Dick+Rowan.jpg" imageanchor="1" style="clear: right; cssfloat: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="120" sda="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihhVVOzSKdX8mjvpR-mf0-korLGBrghqJAVM9MNpMqZet6lM2v9ezXfUgUFF1zv16koNktrTA917Cvx2inLFBP7t13UY2MoVfaWL-hP3OwIjwXLUg7OJueHevrEttHixjPtMRIBfja-cP5/s200/Eve-Arnold+photographing+Marilyn+Monroe+LA+1960+Photograph+by+Dick+Rowan.jpg" width="200" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOL-ZPtHHMQGnG9PD65Xzn-c7Md8ipeWAf5VEfd6YyPuHjetIPmg2Wd0cwCohpGYVPqKNxaqgV8hqhynTuyNoa7qjljaNJ8Cp7htAlaVhT7LqQdv8g4mAk0kObaT_z6_Fqlt2B-Snwlk9h/s1600/Marilyn-Monroe---fragile+Photograph+copyright+Eve+Arnold+Magnum.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="192" sda="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOL-ZPtHHMQGnG9PD65Xzn-c7Md8ipeWAf5VEfd6YyPuHjetIPmg2Wd0cwCohpGYVPqKNxaqgV8hqhynTuyNoa7qjljaNJ8Cp7htAlaVhT7LqQdv8g4mAk0kObaT_z6_Fqlt2B-Snwlk9h/s320/Marilyn-Monroe---fragile+Photograph+copyright+Eve+Arnold+Magnum.jpg" width="320" /></a></div><span style="font-size: large;">It is with great sadness that we mark the passing of <strong>Eve Arnold, </strong>one of the most remarkable, talented members of <strong>Magnum</strong> <strong>Photos</strong>. Arnold's career coincided with Magnum's ascendancy as the world's premier photographic cooperative and amongst many memorable assignments was her perceptive, intimate essay on <strong>Marilyn Monroe</strong> <em>(pictured, above left)</em> on location during the 1961 filming in Nevada of <strong>John Huston's</strong> <strong>"The Misfits".</strong> This led to further, affectionate collaborations with Monroe, seen here <em>(pictured, above right)</em> during a photographic session in Los Angeles. </span><span style="font-size: large;">Britain's<strong> Guardian</strong> newspaper carried the following obituary. </span><a href="http://www.blogger.com/post-edit.g?blogID=4793272593084821996&postID=1206163668872516091"><span style="font-size: large;">http://www.blogger.com/post-edit.g?blogID=4793272593084821996&postID=1206163668872516091</span></a><br />
<strong><span style="font-size: large;">Of Serpents and Marooned Maidens, at MOSSGREEN </span></strong></div><em><span style="font-size: large;">The photographs of Rennie Ellis (1940-2003) are making a welcome return to their public, this time at MOSSGREEN Gallery in Melbourne on February 10th, with an exhibition mischievously named T.I.T.S. "This Is The Show" which references the dark days in Melbourne when nightclubs could only legally advertise adventurist strip shows by using initials only - which collectively might then suggest something else entirely. In this spirit MOSSGREEN, with the Rennie Ellis Photographic Archive </span><a href="http://www.rennieellis.com.au/"><span style="font-size: large;">http://www.rennieellis.com.au/</span></a><span style="font-size: large;"> are presenting a selection of Ellis's affectionate, unsentimental observations of a vibrant Australian subculture from four decades ago. It was my pleasure, as a friend and contemporary of Rennie Ellis, to contribute this short essay for the invitation to visit MOSSGREEN Gallery.</span></em> <br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7bjHCYEfzteyaqEnlwmse4YSyL-WTfVkI33a6aiTfh-QrQ2qXwXq2-xhh6cHeVzhjWCYEnjEWD4vHmcN35a_jjcgB0g1tCHCWlhWQ9mJuv1Fpfg3jo77GHW3SVMVxL7G_a97M-GjgRL5S/s1600/Spring+Lunch+1992+Copyright+Rennie+Ellis+Archive.jpg" imageanchor="1" style="clear: left; cssfloat: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="263" sda="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7bjHCYEfzteyaqEnlwmse4YSyL-WTfVkI33a6aiTfh-QrQ2qXwXq2-xhh6cHeVzhjWCYEnjEWD4vHmcN35a_jjcgB0g1tCHCWlhWQ9mJuv1Fpfg3jo77GHW3SVMVxL7G_a97M-GjgRL5S/s400/Spring+Lunch+1992+Copyright+Rennie+Ellis+Archive.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><em>"Spring Lunch 1992"</em> Copyright<strong> Rennie Ellis Photographic Archive</strong></td></tr>
</tbody></table><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><span style="font-size: large;"></span><a href="http://www.mossgreen.com.au/"><em><span style="font-size: large;">http://www.mossgreen.com.au/</span></em></a></div><div class="MsoNormal" style="margin: 0cm 0cm 10pt;"><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><span style="font-size: large;"><span style="line-height: 115%;">For the last four decades of the Twentieth Century, <strong>Rennie Ellis</strong> (1940-2003) was a deeply influential figure in Australian photography, sometimes impolitely but always affectionately drawing our attention to the dreams and fables revealed in his observation of everyday lives. Ellis was an unsentimental ‘eye’ watching profound changes flowing through Australian society – and nothing drew his gaze more potently than the emergence of eroticism, or sometimes simply nudity – in public. Rennie Ellis didn’t only photograph women nude – sometimes men appeared in his pictures, impressive in their musculature - but never with the mythic power he would reveal in the unclad forms of women. </span><span style="line-height: 115%;">There is one photograph in this suite of images that suggests, beyond its considerable narrative documentary strength, what women may have meant as subjects for the elegant, genial and always acutely observant presence that was Rennie Ellis. In <em>“Spring Luncheon 1992”</em> thirteen men stand around a circular restaurant dinner table. <em>(pictured, above)</em> Dressed conservatively in business suits and ties, all gaze, except one, toward an almost totally nude blonde woman sitting on a white table cloth in the middle of their beer bottle-strewn table. They seem bemused by the good luck that has propelled this beautiful young woman out of the kind of mythology that once created <strong>Botticelli</strong>’s <em>“Venus”</em> - onto their table – leaving her smiling at Ellis like a mischievous mermaid found trapped in a fishing net. Ellis instinctively contrasts the perfection of the young woman’s form with the mundanity – even impotence – of the men’s’ stances as they seem helpless to do little more than marvel at her beauty – and its close proximity with the province of dreams.</span></span></div></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjW2hJKFbUe-RUmJLXMmE_3s_UjdA9YqRfVr-soSZUzjeKoHs5_mFPFcTGUaoan44vSxIvjt2OW8iDJ6tlN9hm5xTvhPOTyB-XvqQsueXinZqLzw6Dg0joq-wXKKqqHCasvfA2HxpfhRePL/s1600/Snake+woman,+Kings+Cross++1970-71+Copyright+Rennie+Ellis+Archive.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="font-size: large;"><img border="0" height="400" sda="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjW2hJKFbUe-RUmJLXMmE_3s_UjdA9YqRfVr-soSZUzjeKoHs5_mFPFcTGUaoan44vSxIvjt2OW8iDJ6tlN9hm5xTvhPOTyB-XvqQsueXinZqLzw6Dg0joq-wXKKqqHCasvfA2HxpfhRePL/s400/Snake+woman,+Kings+Cross++1970-71+Copyright+Rennie+Ellis+Archive.jpg" width="262" /></span></a></div><div class="MsoNormal" style="margin: 0cm 0cm 10pt;"><span style="line-height: 115%;"></span><span style="font-size: large; line-height: 115%;">The mythic alliance between women and serpents is also strongly implied in <em>“Snake Woman, Kings Cross 1970-71”</em>,<em> (pictured, left)</em> the only photograph in which Ellis’s focus is capable of being deflected from sharply rendering female nudity, as his camera instead focuses on the flat, malevolent head of a python as the serpent tries to pull away from the dancer. </span><span style="font-size: large;"><span style="line-height: 115%;">Rennie Ellis also finds a casual counterpoint to women’s roles as erotic dancers in observations such as <em>“Backstage Dressing Room, The Ritz, St Kilda 1977”</em> where nudity, and by inference eroticism, are only incidental to this beautifully observed moment expressing the close fellowship women find when working together. Ellis’s pictures are present in this exhibition almost exclusively in black and white, a documentary medium that suits his direct, sometimes pungent observations well. There is, however, one impressive exception.<span style="mso-spacerun: yes;"> </span>By observing <em>“My Bare Lady, The Ritz, St Kilda 1977”</em> in colour, Ellis achieves an almost <strong>Degas</strong>-like delicacy, momentarily dismantling any preference I might have felt for his black and white images. In showing <span style="mso-spacerun: yes;"> <strong>T.I.T.S.</strong></span><em><strong>“This is the show … by Rennie Ellis”,</strong></em> <strong>Mossgreen Gallery</strong> offer a vivid, revealing segment of the extraordinary archive created by Rennie Ellis, of which the National Gallery of Australia’s Senior Curator of Photography <strong>Gael Newton</strong> once said, “the record will speak for itself over time … as it (the archive) ages it will surprise us with its depth and significance.” </span><span style="line-height: 115%; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-latin;"><strong>©</strong></span><span style="line-height: 115%;"><strong>Robert McFarlane</strong> 2012 </span></span><a href="http://www.ozphotoreview.com/"><span style="line-height: 115%;"><span style="color: blue; font-size: large;">www.ozphotoreview.com</span></span></a><span style="line-height: 115%;"><span style="font-size: large;"> <em>Until March 3</em></span></span></div><div class="MsoNormal" style="margin: 0cm 0cm 10pt;"><span style="font-size: large; line-height: 115%;"><strong>One Door Opens ... Another Closes</strong></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7FSlzJ_QXQ1CJooxOhyphenhyphenwrSR5G9XQ1mnYVLuj-qPjgtS-AZMA15SgKzemGLQfR9uo3YCalDZTS19LiVTgIGyEASlr_KtzTa6tRHImro8j_wz3_sW-dR2pqCju1IH6RTKWvNHW8jHCphT4h/s1600/Native+LtoR+Tim+Hixson+Sally+McInerney+Peter+Solness.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="font-size: large;"><img border="0" height="178" sda="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7FSlzJ_QXQ1CJooxOhyphenhyphenwrSR5G9XQ1mnYVLuj-qPjgtS-AZMA15SgKzemGLQfR9uo3YCalDZTS19LiVTgIGyEASlr_KtzTa6tRHImro8j_wz3_sW-dR2pqCju1IH6RTKWvNHW8jHCphT4h/s400/Native+LtoR+Tim+Hixson+Sally+McInerney+Peter+Solness.jpg" width="400" /></span></a></div><div class="MsoNormal" style="margin: 0cm 0cm 10pt;"><span style="line-height: 115%;"><span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;"><em>"Native",</em> an exhibition featuring four different artists, each with complementary visions, is coming to the end of its run and will sadly close at <strong>Syndicate</strong>, 2 Danks Street, Waterloo this Saturday.<em> "Native"</em> is curated by <strong>Sandy Edwards</strong> of <strong>ARTHERE</strong></span></span><a href="http://www.arthere.com.au/"><span style="font-family: Times, "Times New Roman", serif; font-size: large;">http://www.arthere.com.au/</span></a><span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;"> and features works by <strong>Tim Hixson</strong>, <strong>Sally McInerney</strong>, <strong>Anthony Amos</strong> and <strong>Peter Solness. </strong>All<strong> </strong>are presenting colour landscapes which seem linked by both strength and delicacy of colour, an affection, indeed, love of landscape and four noticeably individual visual signatures. Seeing work with this degree of evolved vision underlines how varied and unpredictable Australian landscape photographers are. Far from merely transferring the seductive U.S. West Coast visions of photographic legends such as <strong>Edward Weston</strong> and <strong>Ansel Adams</strong>, Australian landscape photographers are establishing their own dialogue with the very different vistas they face on this continent. <em>Until February 11</em></span></span></span></div><div class="MsoNormal" style="margin: 0cm 0cm 10pt;"><span style="font-family: Times, "Times New Roman", serif; font-size: large; line-height: 115%;"><strong>IMAGING DAYS OF MIRACLE AND WONDER</strong></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLGOrQLw7Uzp1ctO34Pt8D5shGKFofyhrOFh_4inPXOxINHvJdTp-7VXyDp0-mV4CaUdyWFOPKPJP6X11dW9KSuPLYC3j45y5rMs5aGuihjGOShpVqBgq-x5PQ3Z3dQpJXsbArj50ekHTR/s1600/Nikon+DSLR+D800E_24_120+lens.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" sda="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLGOrQLw7Uzp1ctO34Pt8D5shGKFofyhrOFh_4inPXOxINHvJdTp-7VXyDp0-mV4CaUdyWFOPKPJP6X11dW9KSuPLYC3j45y5rMs5aGuihjGOShpVqBgq-x5PQ3Z3dQpJXsbArj50ekHTR/s320/Nikon+DSLR+D800E_24_120+lens.jpg" width="281" /></a></div><div class="MsoNormal" style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; margin: 0cm 0cm 10pt;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgx7gnvjZ1f090yWvXP4L4xk6S84ZDWm4OZB3Lyp_hX5493YIr-C8WlVcrHRxaJRJ6Rqdt-995MH_HumeC9KbbzsF-S6oqUf5UzgSgMaCSH77wadbp8FkuNr0X_HqznMOWkPxu7Grv64Cht/s1600/Canon+SX260+-+camera_Low+Res.jpg" imageanchor="1" style="clear: right; cssfloat: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" sda="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgx7gnvjZ1f090yWvXP4L4xk6S84ZDWm4OZB3Lyp_hX5493YIr-C8WlVcrHRxaJRJ6Rqdt-995MH_HumeC9KbbzsF-S6oqUf5UzgSgMaCSH77wadbp8FkuNr0X_HqznMOWkPxu7Grv64Cht/s320/Canon+SX260+-+camera_Low+Res.jpg" width="227" /></a><span style="font-size: large; line-height: 115%;">There is a word in Japanese for constant improvement and it seems that despite suffering three major catastrophes that would have crippled less diligent nations, Japan's</span><span style="font-size: large;"> commitment to constantly bettering their renowned cameras and lenses continues unabated. As U.S. songwriter <strong>Paul Simon</strong> once wrote - of the astounding era in which we now live <em>- "These are days of miracle and wonder ..." </em>A small press release filtered into my inbox announcing that Nikon </span><a href="http://www.nikon.com.au/"><span style="font-size: large;">www.nikon.com.au/</span></a><span style="font-size: large;"> were bringing out their D800E DSLR<em> (pictured, left)</em> featuring a sensor of <strong>36 Megapixels</strong>. Another release, this time from <strong>Canon</strong>, </span><a href="http://www.canon.com.au/"><span style="font-size: large;">http://www.canon.com.au/</span></a><span style="font-size: large;"> heralded a new <strong>Powershot</strong> <strong>12.1 megapixel</strong> pocket camera, their <strong>SX260</strong> with a <strong>20x zoom</strong> (giving effectively a remarkable 25-500mm range) and the now obligatory ability to shoot <strong>1080p Full HD</strong> video. Canon have coupled the new high sensitivity <strong>CMOS</strong> sensor with <strong>DIGIC 5</strong> image processing within the camera. There is now no plausible excuse for not adequately recording the lives of our families - with built in <strong>GPS-</strong><strong>tagging</strong> allowing for no excuses as to where the picture was taken. As events deteriorate in what distinguished Bangladeshi photojournalist <strong>Shahidul Alam</strong> </span><a href="http://www.shahidulnews.com/"><span style="font-size: large;">http://www.shahidulnews.com/</span></a><span style="font-size: large;"> correctly calls <em>"The Majority World",</em> such small, capable, unobtrusive cameras are less conspicuous, as indeed are the now ubiquitous smart cameraphones used to document appalling events unfolding daily in the latest chapter of the Arab Spring - <strong>Syria</strong>.</span><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEia6PQHxf6QRUUQTpt-o2T8crQmIUTya5uAnFfFvXF0s6zEja_rezDA_1ogNSUGo3O68cHOFegO8Wd2F1oNoHw9LzQgB4kRf10tM1UWfdaKCihbvIf9_VpE7SMFxTMSBXbEXcnDFB2qVgcr/s1600/EF+24-70MM+f2.8II+USM.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" sda="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEia6PQHxf6QRUUQTpt-o2T8crQmIUTya5uAnFfFvXF0s6zEja_rezDA_1ogNSUGo3O68cHOFegO8Wd2F1oNoHw9LzQgB4kRf10tM1UWfdaKCihbvIf9_VpE7SMFxTMSBXbEXcnDFB2qVgcr/s200/EF+24-70MM+f2.8II+USM.jpg" width="130" /></a></div><span style="font-size: large;">Canon also announced that the fine workhorse of a lens for their full frame EOS DSLR's, the 24-70f2.8L lens, has been redesigned and areas of its already high performance improved. Canon have added the suffix II to the lens to indicate the latest generation of will now be known as 24-70mmf2.8LII.</span></div><div class="MsoNormal" style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; margin: 0cm 0cm 10pt;"><span style="line-height: 115%;"><span style="font-size: large;"><strong>Text Copyright Robert McFarlane 2012</strong> </span><a href="http://www.robertmcfarlanephotos.com/"><span style="font-size: large;">http://www.robertmcfarlanephotos.com/</span></a></span></div><div class="MsoNormal" style="margin: 0cm 0cm 10pt;"></div>ozphotoreviewhttp://www.blogger.com/profile/05955455242704658018noreply@blogger.com0tag:blogger.com,1999:blog-4793272593084821996.post-65939478605939387122011-10-21T09:03:00.000-07:002011-10-27T20:35:35.988-07:00Video Transcending Difficulties of Its Making<div style="color: #444444;"><b>A Tyrant's Departure - Democratically Observed</b></div><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXwDUIOReufF1Qd1pTW_5WR7YlanlENPPB7VAiGgtE6VBANSXMzEtSHfrw2kJ15yhDIPqDsKsUKJEN7fPVBqbg2JK0eoLB_jeMAtlRMtXcj_X-J2X_vIQ0NMHjG06p7GITD2wAK8NTgQrb/s1600/Qaddafi+Sarkozy.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXwDUIOReufF1Qd1pTW_5WR7YlanlENPPB7VAiGgtE6VBANSXMzEtSHfrw2kJ15yhDIPqDsKsUKJEN7fPVBqbg2JK0eoLB_jeMAtlRMtXcj_X-J2X_vIQ0NMHjG06p7GITD2wAK8NTgQrb/s320/Qaddafi+Sarkozy.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>Happier Times</b> - <b>Qaddafi</b> with France's President <b>Sarkozy</b></td></tr>
</tbody></table><div class="MsoNormal"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgny98_BqUNnybl5A8u42wCPHOMu3sV3sP6pNvKpsOg5r7CQ6Awjkrr72LXnJCcRk3g8kfW3b-pFj4_lBW0uBoX2IVTcA9SG0wHf7BeV8waE4HIu7MtvgYjHTJNrC3dj1rbjT-WSNaW9Kgk/s1600/Qaddafi+video+article-2051361-0E785C0200000578-270_634x464.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="146" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgny98_BqUNnybl5A8u42wCPHOMu3sV3sP6pNvKpsOg5r7CQ6Awjkrr72LXnJCcRk3g8kfW3b-pFj4_lBW0uBoX2IVTcA9SG0wHf7BeV8waE4HIu7MtvgYjHTJNrC3dj1rbjT-WSNaW9Kgk/s200/Qaddafi+video+article-2051361-0E785C0200000578-270_634x464.jpg" width="200" /></a><span style="font-size: small;"><b>Muammar el-Qaddafi’s</b> death in <b>Sirte</b> on October 20th brought an instant glimpse into the world’s medieval past – with a death seen as initially sudden, then as grotesquely paraded as any execution centuries ago in <b>Elizabethan Tudor England</b> might have been. Being hung, drawn and quartered could have been a more formal way of dying than that finally experienced by <b>Muammar el-Qaddafi</b>, as witnessed in intricate, ghastly detail on the internet (and seen briefly on the <b>New York Times</b> <a href="http://www.nytimes.com/2011/10/21/world/africa/qaddafi-is-killed-as-libyan-forces-take-surt.html">http://www.nytimes.com/2011/10/21/world/africa/qaddafi-is-killed-as-libyan-forces-take-surt.html</a> before being withdrawn). Terrible images, jaggedly observed by phone video, somehow suggested, in one contradictory sequence, that Qaddafi was being cradled as any casualty of war, but with his death imminent, so serious were his visible head wounds.<a href="http://www.dailymail.co.uk/news/article-2052178/GADDAFI-DEATH-VIDEO-Moment-Libyan-dictator-killed-bullet-head.html">http://www.dailymail.co.uk/news/article-2052178/GADDAFI-DEATH-VIDEO-Moment-Libyan-dictator-killed-bullet-head.html</a> The former Libyan leader’s shining, profusely shed blood, lit by sunlight falling on the careening vehicle in which the Colonel was being transported, suggested the final assault on his life had occurred only minutes before. But as the chaotic, shuddering camerawork deteriorated to something below sub-competence, did the Libyan leader’s head then seem to move slightly to indicate he still lived? The camera then panned away to a meaningless, blurry traveling shot of rapidly receding sand accompanied by a sound track of crackling gunfire, heard against frequent <b>Arabic</b> cries proclaiming the greatness of <b>Allah</b>, apparently from an ecstatic young man with a pronounced gap between <a href="http://www.youtube.com/watch?v=sb82x9nvug8&feature=player_embedded#t=45s">http://www.youtube.com/watch?v=sb82x9nvug8&feature=player_embedded#t=45s</a> his front teeth, whom we later glimpse several more times. As the camera's angle swerved further away from the vehicle, the youth’s cries were drowned out by more gunfire from automatic weapons. (Has anyone else noticed that insurgents, especially during the <b>Arab Spring</b>, seem to have inexhaustible supplies of bullets, so fond are they of firing triumphant volleys into thin air.) This phone video, shot with as much discrimination as the random aerial gunfire, now slowly panned back and addressed the stricken leader who raises and inspects his bloodstained hand. Attempting to pause this chaotic footage did not help in my understanding of the ex-President’s dire predicament, but the video did succeed, with its crude visual style, in making me realize I had witnessed a shift in history - a tyrant’s departure, rendered with none of the skill we have come to expect from renowned conflict photographers such as <b>David Dare Parker</b> <a href="http://www.daviddareparker.com/">http://www.daviddareparker.com/ </a>, <b>Don McCullin</b><a href="http://www.contactpressimages.com/photographers/mccullin/mccullin_bio.html"> http://www.contactpressimages.com/photographers/mccullin/mccullin_bio.html</a> and <b>Steve Dupont </b><a href="http://www.stephendupont.com/">http://www.stephendupont.com/</a><b> </b>for example<b>. </b>There was, however, an impressionistic veracity that was difficult to question. Here was death, democratically rendered by phone video (as indeed it had been throughout the <b>Arab Spring</b>) with no concern for sentimentality, cinematic skill or even rudimentary composition. For more coverage of the video and the public's response see </span><a href="http://christwire.org/2011/10/youtube-gaddafi-death-video-is-causing-some-controversy/"><span style="font-size: small;">http://christwire.org/2011/10/youtube-gaddafi-death-video-is-causing-some-controversy/</span></a><span style="font-size: small;"> Even so, the sequence was still profoundly shocking, transcending any <i>‘compassion fatigue’</i> we may feel for arenas of global suffering in general - and this once seemingly intransigent conflict, in particular. This </span><span style="font-size: small;">unvarnished </span><span style="font-size: small;">footage conveyed the death of a leader, one of several <b>Middle East</b> rulers who have made a habit of publicly shooting their own dissident citizens - but this time killed by his own subjects. <i>“Those who live by the sword …shall die by the sword … ”</i> wandered into my thoughts, for a moment. But in the rawness of its video witness, this unforgettable sequence amplified the reality of his passing and made an ongoing human tragedy more real. The savagery of revenge meted out to Qaddafi also suggested that perhaps a dispassionate, painstakingly legal trial would have been more beneficial in the long run for <b>Libya</b> - instead of an impatient, brutal death delivered with such obvious relish by his opponents.</span></div><div class="MsoNormal"><span style="font-size: 14pt;"><span style="font-size: small;">Text <b>Copyright Robert McFarlane</b> 2011 <a href="http://www.robertmcfarlanephotos.com/">www.robertmcfarlanephotos.com</a></span></span></div>ozphotoreviewhttp://www.blogger.com/profile/05955455242704658018noreply@blogger.com13tag:blogger.com,1999:blog-4793272593084821996.post-33832420824581343502011-10-18T21:34:00.000-07:002011-10-19T01:55:17.669-07:00Brummels Lives! Planetary Views, Digital Silver Printing, McCullin's Words & Fujifilm's X10<div style="color: #666666;"><b>The Spirit of Brummels </b><b>- and Rennie Ellis - </b><b>endures. </b></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-hW08yAAEBa66f4Nz8WNnActLAlQs-vrzQKD88HASstfrtNq3ql8rvp-9fD0xqb5gKc5zTygL0Fh5AvhLwScT_hv-s06GqB_PToGbbVg40dAlc2pJstPkkPUdt9luC9z3Mi4HqAOpuquA/s1600/Carol+Jerrems+Brummels+Gallery+1975.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-hW08yAAEBa66f4Nz8WNnActLAlQs-vrzQKD88HASstfrtNq3ql8rvp-9fD0xqb5gKc5zTygL0Fh5AvhLwScT_hv-s06GqB_PToGbbVg40dAlc2pJstPkkPUdt9luC9z3Mi4HqAOpuquA/s320/Carol+Jerrems+Brummels+Gallery+1975.jpg" width="211" /></a></div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoaMg9atwPy0kww24W1IbRAultFhAOjlrqTgQVs0Bl1VwP425VIHpOFAN6gZexi3Y-OP59PqJIWXvs-5_fdUKR-uooKWvDDGud_dDeUVU9O_J9OikgrpY-5bZoUovq6uOof2raxanca3V0/s1600/brummels_david_moore+Landscape+Nude.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="128" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoaMg9atwPy0kww24W1IbRAultFhAOjlrqTgQVs0Bl1VwP425VIHpOFAN6gZexi3Y-OP59PqJIWXvs-5_fdUKR-uooKWvDDGud_dDeUVU9O_J9OikgrpY-5bZoUovq6uOof2raxanca3V0/s200/brummels_david_moore+Landscape+Nude.jpg" width="200" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAbPHX_-XhRMDvXuLvTFrUL_ki4oRWikKNNhT_0QJuio5HjptNhQ9WSc9jMR__EweZg9XwzCxLuvKS_nWOvgeOCvPx-X9-WayCeN1F_0vQbbLrk42P57tgE8G5vvbX5r95Vxpu4DVbkgyn/s1600/Brummels+Invite.gif" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAbPHX_-XhRMDvXuLvTFrUL_ki4oRWikKNNhT_0QJuio5HjptNhQ9WSc9jMR__EweZg9XwzCxLuvKS_nWOvgeOCvPx-X9-WayCeN1F_0vQbbLrk42P57tgE8G5vvbX5r95Vxpu4DVbkgyn/s200/Brummels+Invite.gif" width="135" /></a><b>Monash Gallery of Art</b> <a href="http://www.mga.org.au/">http://www.mga.org.au/</a> are mounting a survey of the content and enduring influence of <b>Brummels </b>photography gallery (arguably Australia's first - the <b>Australian Centre for Photography</b> would open a year later, in 1973 ) Brummels<b> </b>paved the way for the current wave of excellent commercial exhibiting spaces throughout Australia now showing photography as fine-art. The late <b>Rennie Ellis</b> (1940-2003), <a href="http://www.rennieellis.com.au/">www.rennieellis.com.au/</a> that compulsive diarist and charismatic observer of the Australian way of life, foresaw photography's coming prominence as a dynamic art form and founded <b>Brummels</b>, sited above a restaurant of the same name, in Toorak Road, South Yarra, Melbourne in 1972. Ellis maintained that photography had long been neglected in Australia as a form of artistic expression and Brummels would, he said <i>"continue a trend that is widely accepted in London, New York, San Francisco and Amsterdam where photography galleries had been popular for several years." </i>Brummels, under Ellis and Assistant Director, fellow photographer <b>Robert Ashton</b>, quickly became a social arena in which many now legendary Australian photographers showed their work for the first time. The late <b>Carol Jerrems</b> <i>(pictured, above right)</i> appears at her exhibition at Brummels in 1975 ( in a photograph taken by Ellis) as a stylish, confident young woman wearing a loosely tied blouse, black leather boots, frayed denim shorts - caught returning the photographer's gaze with her characteristic aura of opacity and charm. Indeed Ellis's observations of Brummels at MGA capture the gallery's Seventies social ambience and suggest strongly their exhibiting photographers took their work seriously, but not themselves. Ellis's eye for the bizarre captures three very diverse photographers - <b>Jerrems</b>, the late <b>Athol Shmith</b> and <b>Rob Imhoff</b> (wearing a set of clearly faux front teeth) locked in an awkward embrace at the gallery. Brummels Gallery was eventually compelled to seek sponsorship from Pentax, becoming the <b>Pentax Brummels Gallery</b> before finally closing its doors in 1980. If you want to see ample visual evidence of a new wave of Australian photography that then included artists such as <b>Jon Rhodes, Wesley Stacey</b>, <b>Sue Ford</b>, <b>George Gittoes</b>, <b>Ponch Hawkes, Ian Dodd</b> with seminal works by other established figures such as <b>David Moore</b> <a href="http://www.davidmoorephotography.com.au/">http://www.davidmoorephotography.com.au/</a> <i>(his "Landscape Nude 1" is pictured, above, left)</i> and <b>Henry Talbot, </b>the comfortable drive to <b>Monash Gallery of Art</b> at Wheeler's Hill is a must. In an appropriate coincidence, noted film-maker and photographer <b>Paul Cox</b> (who opened Brummels first show in 1972) will also open the MGA exhibition on October 22. <i>Until January 22nd, 2012.</i><br />
<div style="color: #783f04;"><span style="font-size: large;"><u style="color: red;"><b>Late News:</b></u></span><br />
<div style="color: #274e13;"><span style="color: black; font-size: small;"><b>Gordon Undy opens at Point Light</b></span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhj8511d9wuS33m_q_MtbUaoDjxIaDe6suNWNaLYnJijBH97hVfG8CvuGUwH_xpRiKc_ebGhUVbFJ1B-F8GUZHjUYZFx5p_vI6HaOFPXTboUZxoZX6hKQC7t_0mOyMLiUov5n_hCp7Zp2sq/s1600/Sundown%252C+Nth+Stradbroke+Island%252C+2011+by+G+Undy.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="290" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhj8511d9wuS33m_q_MtbUaoDjxIaDe6suNWNaLYnJijBH97hVfG8CvuGUwH_xpRiKc_ebGhUVbFJ1B-F8GUZHjUYZFx5p_vI6HaOFPXTboUZxoZX6hKQC7t_0mOyMLiUov5n_hCp7Zp2sq/s400/Sundown%252C+Nth+Stradbroke+Island%252C+2011+by+G+Undy.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>"Sundown, North Stradbroke Island 2011"</i> By <b>Gordon Undy</b></td></tr>
</tbody></table><span style="color: black; font-size: small;">Well, why wouldn't he be at <b>Point Light</b> <b>Gallery</b>? As a card-carrying, traditional analogue photographer and co-founder (with wife <b>Lyndell</b>) of this influential, welcoming Sydney space <a href="http://www.pointlight.com.au/">http://www.pointlight.com.au/</a> Undy has championed the virtues of photography drawn from it's distant origins - <b>Albumen</b>, <b>Salt prints, POP paper</b>, and of course classic fibre-based <b>Silver</b> printing. Mention digital photography to Undy and it's a little like asking the <b>Devil</b> to afternoon tea. (though ironically the veteran gallerist recently delighted in revealing to me the fine photographic performance of his <b>Apple iPhone</b>.) When I looked at the first pictures sent to me from the gallery I thought <i></i>one</span><span style="color: black; font-size: small;"><i> (pictured, above)</i></span><span style="color: black; font-size: small;"> was of the underbelly of some vast sea creature, witnessed far too intimately by Undy. Such are the illusionist tendencies of photography - but I soon reconciled it to be a landscape, transformed by the simplest, most abbreviated of compositions. <i>Until November 13</i><b> </b></span><br />
<span style="color: black; font-size: small;"><b>Larcombe's "Beneath The Square Mile" opens in Adelaide</b></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjc72uNHPS0AeicxBI0V4qskBFPC1-1Sxt0z2t3bmZw1FF-5AgWvvQove7KnG-4E7BMn0Bz1m68pyXTdFMK2s09x4LKgo4_ci-5nx5q3gTES_ZRqB6t_lzF8Dw-kqzKTzPVmsIVQJ7XiyRU/s1600/Randy+Larcombe+110316_SUB_CITY_TRIP1_072.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjc72uNHPS0AeicxBI0V4qskBFPC1-1Sxt0z2t3bmZw1FF-5AgWvvQove7KnG-4E7BMn0Bz1m68pyXTdFMK2s09x4LKgo4_ci-5nx5q3gTES_ZRqB6t_lzF8Dw-kqzKTzPVmsIVQJ7XiyRU/s320/Randy+Larcombe+110316_SUB_CITY_TRIP1_072.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhISLIZlT9to_4vpsobWVXgg59dJ0z73-D6_7jFC9LD0cgWS2nP7lwkeejn80M3iV5ipBhsb1yMgRRr1rf4FGX9FtL1v1HV6fa0OmP7NUgBE-YDMgsGDAWmsARtCWPy55SJoON4AAHT6Ak5/s1600/Randy+Larcombe+110503_SUB_CITY3_0063.jpeg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhISLIZlT9to_4vpsobWVXgg59dJ0z73-D6_7jFC9LD0cgWS2nP7lwkeejn80M3iV5ipBhsb1yMgRRr1rf4FGX9FtL1v1HV6fa0OmP7NUgBE-YDMgsGDAWmsARtCWPy55SJoON4AAHT6Ak5/s200/Randy+Larcombe+110503_SUB_CITY3_0063.jpeg" width="150" /></a></div><span style="color: black;">Accomplished </span><b style="color: black;">Adelaide</b><span style="color: black;"> documentary and corporate photographer </span><b style="color: black;">Randy Larcombe</b> <a href="http://www.randylarcombe.com.au/"><span style="font-family: Times;">http://www.randylarcombe.com.au/</span></a> <span style="color: black;">is drawn to revealing the hidden skeins of energy that flow beneath our city</span> <span style="color: black; font-family: Times;">streets and make 21st century life possible.<b><i>"Beneath the Square Mile"</i></b> at <b>AP BOND Gallery </b></span><span style="font-family: Times;"><a href="http://www.apbond.com/">http://www.apbond.com/</a><span style="color: black;"> documents the network of subterranean electricity power stations that, says Larcombe, <i>"we walk over every day. There are sixty substations in the (</i></span></span><i><span style="color: black; font-family: Times;">Adelaide</span></i><i><span style="color: black; font-family: Times;">) city square mile. I am fascinated by this and want to reveal the unseen, the hidden infrastructure our lives are reliant on."</span></i><span style="color: black; font-family: Times;"> Larcombe's photographs <i>(pictured, above and right)</i> <span style="font-size: small;">immaculately render, in colour, these hidden, labyrinthine refuges of seemingly opaque technology where one false, uninformed step might lead to disaster. They also reminded me a little of the melancholy documentation of the remaining control rooms at </span></span><span style="font-size: small;"><b><span style="color: black; font-family: Times;">Chernobyl</span></b><span style="color: black; font-family: Times;"> and their basic use of </span></span><span style="font-size: small;"><span style="color: black; font-family: Times;">blatantly </span></span><span style="font-size: small;"><span style="color: black; font-family: Times;">20th century technology<i>. Until October 29th.</i></span></span><br />
<b style="color: #444444;">The Nikon AIPP Caravan Comes to Adelaide</b></div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-s8c3te8QUfKspUg3eTaB0Sg1Jh9Kv2o6fGHSQq8lU43iAn39gD_dmtb1gkFUM8ltA8YcDuOynre47WCXCvHGinhM8TJnTNiigjyliiBqB-d-FivS1qy58MVLSJcvoLfXSIzXD1Y2FCjX/s1600/Michael+Coyne+in+Pakistan.jpeg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="212" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-s8c3te8QUfKspUg3eTaB0Sg1Jh9Kv2o6fGHSQq8lU43iAn39gD_dmtb1gkFUM8ltA8YcDuOynre47WCXCvHGinhM8TJnTNiigjyliiBqB-d-FivS1qy58MVLSJcvoLfXSIzXD1Y2FCjX/s320/Michael+Coyne+in+Pakistan.jpeg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Photojournalist <b>Michael Coyne</b> on location with his <b>Fujifilm X100</b></td></tr>
</tbody></table><div style="color: #783f04;"><span style="color: black;">As a part of the comprehensive<b> Nikon AIPP Fringe Event </b><a href="http://www.aipptheevent.com.au/">www.aipptheevent.com.au/</a> in Adelaide, there will be a screening on Saturday, October 22nd at the <b>Mercury Theatre</b>, Morphett Street, Adelaide of two very different, important films on photography - <b>Annie Leibovitz'</b> <i>"Life Through A Lens"</i> and <b>Edward Burtynsky's</b> <i>"Manufactured Landscapes."</i></span> <span style="color: black;">This will be followed by talks given by four photographers - <b>David Dare Parker</b> <a href="http://www.daviddareparker.com/">www.daviddareparker.com/</a> <b>Michael Coyne</b>, <i>(pictured, above)</i> <a href="http://www.michaelcoyne.com.au/">http://www.michaelcoyne.com.au/</a> <b style="color: black;">Randy Larcombe</b> </span><a href="http://www.randylarcombe.com.au/"><span style="font-family: Times;">http://www.randylarcombe.com.au/</span></a><span style="color: black;"> and <b>Robert McFarlane</b> <a href="http://www.robertmcfarlanephotos.com/">www.robertmcfarlanephotos.com</a>. Parker will discuss the growing importance of photofestivals, such as <b>Ballarat (BIFFO) </b><a href="http://www.ballaratfoto.org/">http://www.ballaratfoto.org/ </a><b>FOTOFREO</b> <a href="http://www.fotofreo.com/">http://www.fotofreo.com/</a> and <b>HeadOn</b> <a href="http://headon.com.au/">http://headon.com.au/</a> The remaining three will discuss projects they have or are currently, working on.</span> <span style="color: black;">Bookings can <i>only</i> be made through <b>Milton Wordley</b> <a href="http://wordley.com.au/">http://wordley.com.au/</a> at <u><span style="color: blue;">milt@southlight.com.au</span></u> and the cost includes a fine lunch. Full details of the AIPP's many other speakers - including <b>David Burnett </b>and <b>Jenny Brockie</b> can be obtained from the <b>Australian Institute of Professional Photographers</b> (<b>AIPP</b>) website (above)</span><br />
<b><span style="color: #444444;">Two Important </span></b><b><span style="color: #444444;">Sydney </span></b><b><span style="color: #444444;">Gatherings this week.</span></b><br />
<div style="color: black;"><b>Mary Meyer</b> <a href="http://www.meyergallery.com.au/">http://www.meyergallery.com.au/</a> and <b>Sandy Edwards</b> <a href="http://www.arthere.com.au/">www.arthere.com.au/</a> are inviting photographers and their associates to an urgent meeting this coming <u><b>Thursday, October 20th at 6.30 pm</b> at <b>Syndicate</b>,</u> 2 Danks Street, Waterloo hosting an open discussion on <i>"Photography's Place in Australian Culture"</i>, which will be chaired by prominent documentary photographers<b> Juno Gemes</b> and <b>Dean Sewell</b>. <i>"It's time,"</i> they say, <i>"to talk about the big picture and set in place a strategic framework as a response to (Federal Minister for the Arts) <b>Simon Crean'</b>s proposals on creating a <b>National Cultural Policy</b>."</i>, as outlined in the discussion paper at<span style="font-family: "Times New Roman"; font-size: 12pt;"> <a href="http://culture.arts.gov.au/discussion-paper">http://culture.arts.gov.au/discussion-paper</a> <span style="color: black;">What makes this meeting especially urgent is that ten weeks ago the Government has set a <b><u>deadline</u></b> for submissions to be in by <u><b>midnight this Friday, October 21st.</b></u> Sadly, I was unaware of this, which makes any submissions both urgent and important. Full details of how and where to make submissions can be found at the Government Website (above)and it is expected the meeting will create an agreed proposal to be put to government.</span></span></div><div style="color: black;"><b>Tedeschi to speak on Illusion & Allusion at AGNSW</b></div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSCmb4UWNEKIN61gp-u90gGpvLELLeEwyATwE2GzfcSpVTKl48aDz8jAsp40EQw0yfGQuB-KlqKmwwq_ODUsSJlvIMWhWQD1y3dwDjlVLTt5QIpgOXHZwjNLlR6TCuGAp-jdhM1Zs9lzjP/s1600/Apotheosis+by+Mark+Tedeschi.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="212" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSCmb4UWNEKIN61gp-u90gGpvLELLeEwyATwE2GzfcSpVTKl48aDz8jAsp40EQw0yfGQuB-KlqKmwwq_ODUsSJlvIMWhWQD1y3dwDjlVLTt5QIpgOXHZwjNLlR6TCuGAp-jdhM1Zs9lzjP/s320/Apotheosis+by+Mark+Tedeschi.jpg" width="320" /></a></td></tr>
<tr style="color: black;"><td class="tr-caption" style="text-align: center;"><i>"Apotheosis"</i> by <b>Mark Tedeschi</b></td></tr>
</tbody></table><div style="color: black;">Differences between truth and fiction occupy much of <b>Mark Tedeschi'</b>s time during his daily work as a Crown Prosecutor in NSW Law Courts. But Tedeschi is also literate in truths of a more elusive, visual kind. As an accomplished photographer, represented by the <b>Josef Lebovic Gallery </b>at <a href="http://www.joseflebovicgallery.com.au/">www.joseflebovicgallery.com.au</a> Tedeschi has consistently been exploring allegory and metaphor in his pictures and regards <i>"<span style="font-family: "Times New Roman"; font-size: 12pt;">photography is an exceptionally versatile art-form for conveying emotional subject matter, subtle meanings and profound, underlying connections between elements." </span></i><span style="font-family: "Times New Roman"; font-size: 12pt;">Tedeschi will be speaking at 6.30 p.m. on Wednesday, October 19th in the <b>Centenary Auditorium</b> at the <b>Art Gallery of NSW</b> <a href="http://www.artgallery.nsw.gov.au/">www.artgallery.nsw.gov.au/</a> and bookings (on 02 9225 1878) are essential. Refreshments will be served.</span></div><b>Seeing Beyond Infinity - Fredericks' SALT Project at ACP</b></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyE7H1wNBuH0ZOR2HrNuHaMGLvF6RCVNE7QRM5k3shXJnuhSiU9A5ZW1peBmcjxzJ4MWPk380A-AOWrJzOHIn6KFoB9xmZ9Y9yBCyz67TbGfiYXf-fbWj6rCV9yAiWrTxeYKFrE0dt1uTj/s1600/Salt+Star+trails+195.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyE7H1wNBuH0ZOR2HrNuHaMGLvF6RCVNE7QRM5k3shXJnuhSiU9A5ZW1peBmcjxzJ4MWPk380A-AOWrJzOHIn6KFoB9xmZ9Y9yBCyz67TbGfiYXf-fbWj6rCV9yAiWrTxeYKFrE0dt1uTj/s400/Salt+Star+trails+195.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"></div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYy1zNgDN_QGAGBE7fpm_lHlMkGJ_RpfEBvmxQqGnH-yT3YYaNqJZKTvZ1igtSkPvGe688sQ3x6RUkKnv3B99wvtNmOzTvOgj2vpFda5-o2Ttlk-aY3PpbC2C7qljYkTKnfVhJoCi-AwPU/s1600/Salt+300+Tent+and+Bike.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="167" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYy1zNgDN_QGAGBE7fpm_lHlMkGJ_RpfEBvmxQqGnH-yT3YYaNqJZKTvZ1igtSkPvGe688sQ3x6RUkKnv3B99wvtNmOzTvOgj2vpFda5-o2Ttlk-aY3PpbC2C7qljYkTKnfVhJoCi-AwPU/s320/Salt+300+Tent+and+Bike.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>Murray Fredericks' tent and bicycle base-camp at Lake Eyre</b></td></tr>
</tbody></table><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div>The suite of pictures <i>(pictured, above)</i> created by <b>Murray Fredericks</b> during seven years of visiting <b>Lake Eyre</b> dislocates most orthodox expectations about landscape photography. No single dynamic visual element intrudes into the foreground - indeed there is little sense of separation between foreground and background in many pictures. Fredericks <a href="http://www.murrayfredericks.com.au/">www.murrayfredericks.com.au/</a> pays seamless homage to space and light in these photographs and departs markedly from any familiar landscape photography influences. The three common elements in the <b>SALT Project 1993-2010</b>, on display at the <b>Australian Centre for Photography</b> <a href="http://www.acp.org.au/">www.acp.org.au/</a> from October 14th are space, light and of course colour. In addressing these constants, Murray Fredericks <i>(pictured, right)</i> goes beyond conventional artistic aspirations to produce spectacular imagery emanating a curious mix of splendour and humility. How can you not look at this photographer's picture of star trails arcing across the heavens above a seemingly alien, arid plain - and not sense our fragile standing within this planetary home - as well as humanity's unique ability to know its tiny place in the Universe? In the <b>SALT Project 1993-2010</b>, and its companion body of work <b>HECTOR</b>, on exhibition at<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaSIImxw9rlJFcAWRUfm0Yiml4sBaF1SALF0Rcp7mTWVEllxsleyuZ3LtTknlT8l9ppI25CP3wsd9PqjlQagmPIchz0_tvf6hq-MQw2xJGKep7J7wAkulondDhvIOGl7RXe5EhK-HLkBij/s1600/Hector+8+with+lightning.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/AVvXsEhaSIImxw9rlJFcAWRUfm0Yiml4sBaF1SALF0Rcp7mTWVEllxsleyuZ3LtTknlT8l9ppI25CP3wsd9PqjlQagmPIchz0_tvf6hq-MQw2xJGKep7J7wAkulondDhvIOGl7RXe5EhK-HLkBij/s400/Hector+8+with+lightning.jpg" width="318" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCl4bBEGNqZBl5HPBDXcczcRtKHl0xIzI3o4g8MaIDxZnxog80CibuU3J1_HBml6CQ3zdbunEySxyMZzNildDc2wk_JHMS1ISQBOfKrcpf8eC3YGsMGcDhvFZ21ay6j3HGXvOX_SZfvkE6/s1600/Fredericks+b%2526w.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCl4bBEGNqZBl5HPBDXcczcRtKHl0xIzI3o4g8MaIDxZnxog80CibuU3J1_HBml6CQ3zdbunEySxyMZzNildDc2wk_JHMS1ISQBOfKrcpf8eC3YGsMGcDhvFZ21ay6j3HGXvOX_SZfvkE6/s200/Fredericks+b%2526w.jpg" width="136" /></a></div>Sydney's <b>Annandale Galleries </b><a href="http://www.annandalegalleries.com.au/">www.annandalegalleries.com.au/</a> Murray Fredericks transcends most fundamental verities of landscape photography - while addressing a common ambition of visual artists - to depict the skin that light gives to their subjects. If SALT is about limitless plains and skies, then HECTOR reveals the sky's incomparable power, when convulsed by weather.<i>(pictured, above)</i> Using black and white photography's unique luminousity and tonality, instead of SALT's subtle colour, Fredericks again addresses vistas far greater than ourselves - the legendary storms that rage through skies above Northern Australia.<i>"HECTOR draws its title from an affectionately named atmospheric phenomenon that produces (some of) the world's biggest thunderstorms over the Tiwi Islands, north of Darwin,"</i> explains Fredericks. In HECTOR, this photographer shows us, as eloquently as in SALT, a very different, voluble sky - caught raging above distant, northern seas. <i>At the Australian Centre for Photography until November 19th and Annandale Galleries until their Summer Closing in December</i>.<br />
<div style="color: #666666;"><b>Blanco Negro introduces Digital Silver Printing</b><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiecUgn-VI9-Rp_geeyG02IICIeCiImTvB4xTCSpEtYJ1lTK40NesmKcwD5Jw69NhtrzyunDDJU8gU2xd92mTN3RmWS-f4SbuySYV0h5Y-W2taU2HqvEO98aUUQwefJMVHRvDRiDs1WJLm/s1600/Digital+Enlarger+Blanco+Negro+web+size+image.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiecUgn-VI9-Rp_geeyG02IICIeCiImTvB4xTCSpEtYJ1lTK40NesmKcwD5Jw69NhtrzyunDDJU8gU2xd92mTN3RmWS-f4SbuySYV0h5Y-W2taU2HqvEO98aUUQwefJMVHRvDRiDs1WJLm/s400/Digital+Enlarger+Blanco+Negro+web+size+image.jpg" width="400" /></a></div><div class="MsoNormal"><span style="color: black;">For those of us who have embraced the digital revolution and thought any silver printing we might do in future would be from our archive of old, familiar black and white negatives</span><b> - </b><span style="color: black;">not so!</span><b> </b><span style="font-size: small;"><span style="font-family: inherit;"><span style="color: black;">Sydney's fine B&W processing lab <b>Blanco Negro</b> <a href="http://www.blanconegro.com.au/">www.blanconegro.com.au/</a> are introducing archival, fibre-based silver gelatin printing from </span><i style="color: black;">digital files</i><span style="color: black;">. Blanco Negro's director and master printer </span><b style="color: black;">Chris Reid</b><span style="color: black;"> recently announced that they have acquired a </span><b style="color: black;">De Vere 504DS Digital Enlarger</b><span style="color: black;">. </span><i style="color: black;">"Put simply," says Reid, "this enlarger replaces a conventional negative carrier with a high resolution Liquid Crystal Display that simulates a negative. The enlarger's computer then converts digital files into a virtual negative on the LCD panel, through which light is projected." </i><span style="color: black;">Reid adds reassuringly</span><i style="color: black;"> </i><span style="color: black;">that</span><i style="color: black;"> "the De Vere enlarger can then project the image on to the base-board in the same way a film enlarger projects a negative. The image to be printed can be</i><span style="color: black;"> </span><i style="color: black;"> focused, sized and cropped in the same way as in a conventional enlarger, with contrast being controlled both in <b>Photoshop</b> and the enlarger's dichroic filters." </i><span style="color: black;"> </span></span></span><br />
<span style="font-size: small;"><span style="font-family: inherit; font-size: small;"><span style="color: black;"> </span></span></span><span style="font-size: small;"><span style="font-family: inherit; font-size: small;"><span style="color: black;"><b style="color: #666666;">POSTSCRIPT:</b> As good and truly archivally lasting as today's current generation of prints made by digital inkjet printers are (check <a href="http://www.wilhelm-research.com/">http://www.wilhelm-research.com/</a> if you need reassuring) there is an unmistakable feel, (patina if you will) about silver gelatin prints - and some art galleries and museums simply prefer <i>"silver"</i> because familiarity with this now-ancient print-making process has brought not contempt, but respect. I would imagine (and I have not yet consigned any of my digital B&W images to this printing process) it could prove to be a very seductive exercise. Blanco Negro's <b>Carisse Flanagan</b> adds<i> "now the desktop and darkroom can be as one." </i></span></span><span style="color: black; font-family: Times,"Times New Roman",serif;"><span style="font-size: small;"> </span></span></span><br />
<span style="font-size: small;"><span style="color: black; font-family: Times,"Times New Roman",serif;"><span style="font-size: small;"><b>Blanco Negro</b> will be exhibiting examples of digital images printed on silver gelatin by some of Australia’s finest photographers including <b>Stephen Dupont</b>, <b>Andrew Quilty</b> and <b>Benjamin Ong</b>.</span> <i>From October 13</i></span></span><span style="font-size: small;"><span style="font-family: inherit;"><i><br />
</i></span></span></div><b>Digital Gets Serious With The Street</b></div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBzpy5E2UCCX7IpNRy1DlPmKVVk5xBk3kRjukhZztmkL4MOYTr8XYkU1nPXT_7vDQWd-PgPL_KJAdfD-vFL7-Dr39RjbxC-9TxHeUvcuGxbD8rnCk-NybR5YgwTxBYrC_GtNa-bMpM2eIP/s1600/New+Fujifilm+X10+front+view.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="216" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBzpy5E2UCCX7IpNRy1DlPmKVVk5xBk3kRjukhZztmkL4MOYTr8XYkU1nPXT_7vDQWd-PgPL_KJAdfD-vFL7-Dr39RjbxC-9TxHeUvcuGxbD8rnCk-NybR5YgwTxBYrC_GtNa-bMpM2eIP/s320/New+Fujifilm+X10+front+view.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>Fujifilm's recently announced X10</b></td></tr>
</tbody></table><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEJFa07tUUIhBfczGbYxfnT404u84e2gKd1O0B3u9t_Da8fAEos4y1hMjqq7YEE20_jJwK8PWtc3I6xeRH5FJE6q0zBnJaDqyeZPuzVlrgi5edWJ8iJL-CZL5T5uFNWB6-Xqi-uGnaIrsa/s1600/X0810_W_lens_BK%25281%2529.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="104" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEJFa07tUUIhBfczGbYxfnT404u84e2gKd1O0B3u9t_Da8fAEos4y1hMjqq7YEE20_jJwK8PWtc3I6xeRH5FJE6q0zBnJaDqyeZPuzVlrgi5edWJ8iJL-CZL5T5uFNWB6-Xqi-uGnaIrsa/s200/X0810_W_lens_BK%25281%2529.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>Nikon Vi System 1 camera</b></td></tr>
</tbody></table>In creating cameras such as the <b>Canon Powershot G12</b>, <b>Nikon's P7100</b> and more recently, <b>Fujfilm's X100</b>, camera manufacturers are finally acknowledging that photographers who want to document life as inconspicuously as possible need compact, high quality cameras with wide, fast lenses - and most importantly <i>viewfinders</i>. <b>Nikon</b> <a href="http://www.nikon.com.au/">www.nikon.com.au/</a> have just announced their <b>"1 System"</b>, notably, the <b>Nikon V1</b> with built-in viewfinder <i>(pictured, right)</i> as part of their new, remarkable mirrorless interchangeable lens system. Equally recently, <b>Fujifilm</b> <a href="http://www.fujifilm.com.au/">www.fujifilm.com.au/</a> have introduced a new camera - the <b>X10</b> - with great similarities to the <b>X100</b>, but which now features an even wider, fast lens (<b>28f2</b>) which zooms to medium telephoto.For anyone who grew up photographing with rangefinder cameras such as the <b>Leica M</b> series, the <b>Canon 7</b> <a href="http://www.canon.com.au/">www.canon.com.au/</a> and <b>Nikon's SP</b>, cameras such as the <b>Fujifilm X100 </b>exude a certain familiarity - possessing a fast, exquisitely sharp lens (at every aperture) and classic rangefinder responsiveness - but with digital's imaging facility. These may turn out to be the good old days - it is, after all, the image that counts and these new cameras improve picture-making.<br />
<div style="color: #660000;"><b>Don McCullin Unloads</b></div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjwWpqgVX0y0jgeBnoRxuoDjVg9tDMmtFe3T04vj6P1I8ObTElnJH7ljmbkpwcoef4rsf_F1cgLCdmZyLKVDWq7J3euZPh04eHq9_hfPy-kRti1kuCguOCoRifCLwjGCCF19eO7qjki3mi/s1600/McCullin+1969.JPG" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjwWpqgVX0y0jgeBnoRxuoDjVg9tDMmtFe3T04vj6P1I8ObTElnJH7ljmbkpwcoef4rsf_F1cgLCdmZyLKVDWq7J3euZPh04eHq9_hfPy-kRti1kuCguOCoRifCLwjGCCF19eO7qjki3mi/s200/McCullin+1969.JPG" width="131" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Don McCullin, London, 1969 </td><td class="tr-caption" style="text-align: center;"> </td></tr>
</tbody></table><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjo9gM6W2MTZREh9xc5O583e-FFYHBwZmNofPfcQNrf0Z2LzLK2yI4ai08neu9Np3ugVwrn-bhGLG4iavFa6m12P1UTVlvdRDjRvvvj9OHCZOeQMJQ3p2t61McwDV90uvSl6H5k40RWwkdZ/s1600/biafra+by+Don+McCullin.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjo9gM6W2MTZREh9xc5O583e-FFYHBwZmNofPfcQNrf0Z2LzLK2yI4ai08neu9Np3ugVwrn-bhGLG4iavFa6m12P1UTVlvdRDjRvvvj9OHCZOeQMJQ3p2t61McwDV90uvSl6H5k40RWwkdZ/s200/biafra+by+Don+McCullin.jpg" width="127" /></a>In a revealing interview sent to me by fine-art still-life photographer <b>Anna-Maryke Grey</b>, <b>CNN's</b> <b>Mairi Mackay</b> <a href="http://www.cnn.com/2011/10/08/world/europe/don-mccullin-war-photography/index.html">http://www.cnn.com/2011/10/08/world/europe/don-mccullin-war-photography/index.html</a> interviews celebrated war photographer <b>Don McCullin </b><a href="http://www.contactpressimages.com/photographers/mccullin/mccullin_bio.html">http://www.contactpressimages.com/photographers/mccullin/mccullin_bio.html</a><b> </b>who speaks candidly, at length, of his experiences as one of the great survivors of documenting armed conflict in the 20th Century. McCullin, whom I photographed in 1969 ( <i>pictured left)</i> when we were both covering British Heavyweight boxer <b>Henry Cooper's</b> last fight for different London newspapers, remains mystified about the reasons for man's in humanity to man, but as committed as ever to passionately exploring his photography. In the CNN interview he also discussed his recent, poetic and seemingly atypical documentation of the last architectural traces of the ancient Roman Empire in his book, <b>Southern Frontiers</b>. As McCullin enters his eighth decade, it is also worth noting that if French doctor <b>Bernard Kouchner</b> (who worked for the <b>Red Cross</b> during the <b>Biafran War</b>) had not been so moved after seeing an achingly sad McCullin 1969 picture of starving African albino children in Biafra <i>(pictured)</i> we perhaps would not have had the incomparable (but necessarily apolitical) humanitarian organisation <b>Medecins Sans Frontieres</b>.<a href="http://www.msf.org.au/">http://www.msf.org.au/</a><br />
Text Copyright <b>Robert McFarlane</b> 2011 <a href="http://www.robertmcfarlanephotos.com/">www.robertmcfarlanephotos.com</a>ozphotoreviewhttp://www.blogger.com/profile/05955455242704658018noreply@blogger.com1tag:blogger.com,1999:blog-4793272593084821996.post-21341241226635715202011-08-29T04:18:00.000-07:002011-08-29T04:18:03.980-07:00The Divinity Is In The Detail<strong>BIFFO IS BOFFO at BALLARAT</strong><br />
<div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoJ8YZrqMowl-AGaHOFIaz_1XjxopCdkLeA1Okzo9WhSShbAFDXieEWd8c0q05lntjSiQm_xBFBkmDKQCTUM_YwAoAKRnUpMrWCpK32t5UKpSSUchJUiCVx5YuvaK35YKUFpT1FTlshhEj/s1600/BIFFO+Brian+Duffy+picture+of+David+Bowie.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="400" qaa="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoJ8YZrqMowl-AGaHOFIaz_1XjxopCdkLeA1Okzo9WhSShbAFDXieEWd8c0q05lntjSiQm_xBFBkmDKQCTUM_YwAoAKRnUpMrWCpK32t5UKpSSUchJUiCVx5YuvaK35YKUFpT1FTlshhEj/s400/BIFFO+Brian+Duffy+picture+of+David+Bowie.jpg" width="395" /></a>To paraphrase legendary U.S. showbiz newspaper, <strong><em>VARIETY</em></strong>, the <strong>Ballarat International Photo Biennale's</strong> program is <em>"Boffo", </em>according to <strong>BIFFO</strong>, as the Biennale <a href="http://www.ballaratfoto.org/">http://www.ballaratfoto.org/</a></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgohsckXFFRNP3OYzsfAjDxuUCdEYPUMYadqDi_c1vGlYj9WGj-11ukFN-NMyEj8Dym2iVtzRgWz2_fkbiHv1Z9HuHKyUEkyqHcFjDZ5gaKPDl3sSRvx4Gx0fvHP8lx-OAsWzqIY-tJyD56/s1600/BIFFO+Mountaineers+and+Crevasse.jpg" imageanchor="1" style="clear: right; cssfloat: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" qaa="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgohsckXFFRNP3OYzsfAjDxuUCdEYPUMYadqDi_c1vGlYj9WGj-11ukFN-NMyEj8Dym2iVtzRgWz2_fkbiHv1Z9HuHKyUEkyqHcFjDZ5gaKPDl3sSRvx4Gx0fvHP8lx-OAsWzqIY-tJyD56/s200/BIFFO+Mountaineers+and+Crevasse.jpg" width="175" /></a></div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"> appears to want to be called. The core program appears to have something for everyone - from the melancholy, richly ochred, erotic images of Czech masters <strong>Jan</strong> and <strong>Sarah Saudek</strong> to an influential British photographer from the 1960's <strong>Brian Duffy</strong> (1933-2010) who I thought had been forgotten. During my five years in London in the early 1970's, I quickly discovered Duffy was a key figure in British editorial photography but all too often pigeonholed as solely a fashion photographer. This display at <strong>BIFFO</strong> reveals Duffy as a man who seemed to effortlessly inform his fashion photography with the visual grammar of photojournalism but could also turn either to documentary observation (witness his resonant B&W picture of one of the notorious <strong>Kray</strong> twins) or startling, stylised portraiture - as this image (<em>pictur</em><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIzwHxXybAI2jMERUKqReJj2LlWrhNKEo44UWYbsx5X3w9Xpj6nqIKpYVRXpOWSsY9FfFL8Jnht4hqpuyrTRg6Ijb-LVJTKCfdX-hi8b_nq_ReFvZ43S5vctKShgev8a0bUyIZNLeU_LjK/s1600/BIFFO+Jack+Picone+Rain+Dance.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><em><img border="0" height="200" qaa="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIzwHxXybAI2jMERUKqReJj2LlWrhNKEo44UWYbsx5X3w9Xpj6nqIKpYVRXpOWSsY9FfFL8Jnht4hqpuyrTRg6Ijb-LVJTKCfdX-hi8b_nq_ReFvZ43S5vctKShgev8a0bUyIZNLeU_LjK/s200/BIFFO+Jack+Picone+Rain+Dance.jpg" width="132" /></em></a><em>ed, above) </em>of <strong>David Bowie</strong> shows. Australia <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPKAC5kfqDS_J2OWLTOT4Rqjiq5O5z3FC7YVJRfik6zUS8_ynpzEH8UKr8ktQIyySLoMFTdj34abhlyoohPxUgwt0RP-8NL2Wqccl2-471C6XDFTjebmTq-ON1zAN6hg41jgMyaYOwuQTN/s1600/BIFFO+Nude.jpg" imageanchor="1" style="clear: right; cssfloat: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" qaa="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPKAC5kfqDS_J2OWLTOT4Rqjiq5O5z3FC7YVJRfik6zUS8_ynpzEH8UKr8ktQIyySLoMFTdj34abhlyoohPxUgwt0RP-8NL2Wqccl2-471C6XDFTjebmTq-ON1zAN6hg41jgMyaYOwuQTN/s200/BIFFO+Nude.jpg" width="148" /></a>is also well served by the talented images present by <strong>John Gollings</strong>, <strong>Frances Mocnik, Heather Dinas </strong><em>(pictured, right)</em> and <strong>Jack Picone</strong><em> (pictured, left, an observation from Picone's <strong>Nuba </strong>essay).</em> There was also work by a photographer whose pictures arrested me for their perfect expression of perhaps the most difficult form of adventurism of all - mountaineering. <strong>Alfred Gregory's</strong> timeless image of a distant line of climbers bypassing a vast crevasse <em>(pictured, above right)</em> is surely one of most definitive images drawn from this challenging vocation. <strong>Frances Mocnik</strong> also challenges viewers in a different way with her visual essay exploring death and rituals associated with dying in her remarkable suite of B&W images <em>"The Night That Follows Day".</em> And this is only the core program at BIFFO. Another 70 photographers are showing their work in this Biennale. Clearly, a journey to Ballarat will prove rewarding and should not be missed. <em>Until September 18</em></div><strong>William Yang: A Perfect Witness for Pina Bausch</strong><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhv8FOU0IDbxqdfWXOXWh2tEbIZAy5IXoLDt3mIGn2aXgdn4pQb_-Cp6P_OIJquKFVFdiEpvGmS8r_kWiIaOlwT45YdbKWyOKiU5x20b_vywAA46NWAuAhodwzcKWwvmQOH4PIvBEtJU-1w/s1600/Pina+Bausch+1980+11+bw+adjk.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="257" qaa="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhv8FOU0IDbxqdfWXOXWh2tEbIZAy5IXoLDt3mIGn2aXgdn4pQb_-Cp6P_OIJquKFVFdiEpvGmS8r_kWiIaOlwT45YdbKWyOKiU5x20b_vywAA46NWAuAhodwzcKWwvmQOH4PIvBEtJU-1w/s400/Pina+Bausch+1980+11+bw+adjk.jpg" width="400" /></a></div>During the 1982 <strong>Adelaide Festival of Arts </strong><a href="http://www.adelaidefestival.com.au/">http://www.adelaidefestival.com.au/</a> <strong>William Yang</strong> documented two performances by the dance company of the late <strong>Pina Bausch</strong> (1940-2009)<strong> </strong>, capturing the elusive and enigmatic camera-shy choreographer's "<em>Kontakthof" </em>and "<em>1980". (pictured, above and right) </em>Yang's extensive experience in documentary and theatre photography enabled him to capture intimate and inspiring moments between Bausch and the performers as she directed two of her greatest works. Yang commented "<em>In an interview she was asked how she chose her dancers, and her reply, as I remember was – if I could somehow love them. Her work had a huge impact on m<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEju5oBLx9c6pjllJf8EQN-uJRF-fr-AE9Dlcl4zL8-6jc9hot3-WKH1xDxP1VxUq2wyaFmjOX_WgWk0jam-BJm2xlN9Ljqzjgu3S2EuK-RQLWMQvHD53zI0E_dhKa3LvnBrY2d3vT6AnZM9/s1600/kontakthof+%25236+adjk+Pine+Bausch+by+William+Yang.jpg" imageanchor="1" style="clear: right; cssfloat: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" qaa="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEju5oBLx9c6pjllJf8EQN-uJRF-fr-AE9Dlcl4zL8-6jc9hot3-WKH1xDxP1VxUq2wyaFmjOX_WgWk0jam-BJm2xlN9Ljqzjgu3S2EuK-RQLWMQvHD53zI0E_dhKa3LvnBrY2d3vT6AnZM9/s320/kontakthof+%25236+adjk+Pine+Bausch+by+William+Yang.jpg" width="206" /></a>e. It was the first time I fully engaged with a dance work, albeit dance theatre, on a level of feeling, emotion and intellect.”</em> Yang has also created an unsurpassed archive of photographs documenting Sydney social life with a strong emphasis on Sydney's artistic and gay community - as well as the Chinese presence in Australia. In the last two decades he has also made photography as a <em>performance on stage</em> his own, with his best known work <em><strong>"Sadness"</strong></em> (1992) being made into a film by <strong>Tony Ayres</strong> in 1999. The <strong>Sydney Opera House</strong> are exhibiting Yang's photographs in the Western Foyer during its astonishingly diverse Spring Dance 2011 Season. <strong>William Yang</strong> will give a talk on September 3 following <strong>Pina Bausch: A Celebration. </strong><a href="http://www.sydneyoperahouse.com/whatson/pina_a_celebration.aspx">http://www.sydneyoperahouse.com/whatson/pina_a_celebration.aspx</a><br />
<strong>Philip Quirk Sees The Big Picture</strong><br />
<div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">By photographing the opposing northern and southern facades of Oxford Street, Paddington, <strong>Philip Quirk</strong> <a href="http://www.philipquirk.com/pqp/">http://www.philipquirk.com/pqp/</a> is addressing that broadest common denominator of civic life - the street. One only has to look at the remains of life in <strong>Pompeii</strong> or the avenues of great lost cities recently documented by famed war photographer <strong>Don McCullin</strong> in his book<em> "Southern Frontiers",</em> <a href="http://www.suite101.com/content/southern-frontiers-by-don-mccullin-reviewed-a206215">http://www.suite101.com/content/southern-frontiers-by-don-mccullin-reviewed-a206215</a> to realise the street - either now or two thousand years ago - defines our daily existence. </div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGvuKS2iJEeNqojGhREevnkXbWx9mP2EfVp3OCX1_YRlzix8dE9EBjtIWDvReW_Q_iHf1UrJAMIoWJmKuc5brrhHmpJ5a1VkJVPDfnqJq07GVr7zOqD58hsCJW3OLnWZfJ9vpnadLfxuTj/s1600/Oxford+Street+Profile+sequence+Photographs+by+Philip+Quirk.jpg" imageanchor="1" style="clear: left; cssfloat: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="89" qaa="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGvuKS2iJEeNqojGhREevnkXbWx9mP2EfVp3OCX1_YRlzix8dE9EBjtIWDvReW_Q_iHf1UrJAMIoWJmKuc5brrhHmpJ5a1VkJVPDfnqJq07GVr7zOqD58hsCJW3OLnWZfJ9vpnadLfxuTj/s400/Oxford+Street+Profile+sequence+Photographs+by+Philip+Quirk.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><em>"Oxford Street, Crossing William St, Paddington"</em> by <strong>Philip Quirk</strong></td></tr>
</tbody></table><br />
<div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><em>''People use the street for their specific needs,"</em> Quirk told the Sydney Morning Herald's <strong>Linda Morris</strong> recently, <em>"whether (it is) for business, pleasure, shopping or traversing the suburbs.They become familiar with the street and presume it will remain the same but change is inevitable and ongoing. The more we use our streets, the less we see them as they are.'' </em>In <em><strong>"Oxford Street Profile",</strong></em> the accomplished Sydney photojournalist presents</div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">the popular Sydney avenue in amazing detail. (eschewing digital, Quirk recorded his scenes using a 5"x4" sheet <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVKI0skMbPdpaHEQ7dSE_kFzo_NwwxVLlnIMPRH0RczH1Y6Kgnafeoyp3xBz4YT0OH169vdIRqCfhg4ias9JHkIc9Z-Kd9LvR9P2jThyphenhyphen5yBlnArWdwHdQcdMTgjWsaF_JT_1VNBnq2OI9h/s1600/Don+McCullin+Southern+Frontiers.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" qaa="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVKI0skMbPdpaHEQ7dSE_kFzo_NwwxVLlnIMPRH0RczH1Y6Kgnafeoyp3xBz4YT0OH169vdIRqCfhg4ias9JHkIc9Z-Kd9LvR9P2jThyphenhyphen5yBlnArWdwHdQcdMTgjWsaF_JT_1VNBnq2OI9h/s1600/Don+McCullin+Southern+Frontiers.jpg" /></a>film-fuelled view camera) <em>"I was amazed by how much information a 5"x4" negative contained"</em> says Quirk. This photographer also avoided the current trend (whether using scanned film images or digitally shot files) of using software to neatly stitch together his progressively taken street scenes <em>(pictured, above)</em> The results have an unlikely spontaneity and are printed as a sequential strip of images which are available as a single, concertina-folded book. In creating this project, Quirk acknowledges inspiration from <strong>Ed Ruscha's</strong> 1966 documentation of every building on <strong>Sunset Strip, West Hollywood, California</strong> <a href="http://www.medienkunstnetz.de/works/sunset-strip/images/2/">http://www.medienkunstnetz.de/works/sunset-strip/images/2/</a> Quirk's take on Oxford Street is now on view, appropriately, at the <strong>Barometer Gallery</strong>,13 Gurner Street, Paddington and can also be seen online at <a href="http://www.oxfordstreetprofile.com/">http://www.oxfordstreetprofile.com/</a> This exhibition has been produced in conjunction with the <strong>Josef Lebovic Gallery</strong> <a href="http://www.joseflebovicgallery.com/">www.joseflebovicgallery.com/</a> <em>Until September 5.</em> </div><strong>Photographic Books Are Changing</strong><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBCo7yGRJVu-E_ZO6zttEqLbrSyTMVRx_gNdkU8qOwlTdONA2De9SZ9xvSYh1s-NDMG1GJDNAvK4cD8REeSgO_O5GMO5DFTkHNl2jl4CactmxSJql6jt5oHjwWT7NJ38KYqmeG4pZa8-lh/s1600/blog+august+september+016.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="185" qaa="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBCo7yGRJVu-E_ZO6zttEqLbrSyTMVRx_gNdkU8qOwlTdONA2De9SZ9xvSYh1s-NDMG1GJDNAvK4cD8REeSgO_O5GMO5DFTkHNl2jl4CactmxSJql6jt5oHjwWT7NJ38KYqmeG4pZa8-lh/s400/blog+august+september+016.jpg" width="400" /></a></div>In producing his recent book, <em><strong>"PORTRAITS FROM THE EDGE - PUTTING A FACE TO CLIMATE CHANGE"</strong>,</em> photographer <strong>Jon Lewis</strong> <a href="http://www.jonnylewis.org/">http://www.jonnylewis.org/</a> continues his long committment to photographing some of the crucial social and environmental issues of our time. (Lewis was involved with the early years of <strong>Greenpeace</strong> <a href="http://www.greenpeace.org/australia/en/">http://www.greenpeace.org/australia/en/</a> in their campaign against whaling, for example) The new book is interesting for a number of reasons - it shows that Lewis has extended his documentary vision to exploring more fluid, spontaneous observations as well as producing his characteristic, confronting portraiture in which subjects address the lens very directly. This approach works well with the citizens of <strong>Kiribati</strong>, one of the first Pacific island communities to be affected negatively by global warming. In this book, with beautiful reproduction and p<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEhwHz6b_JmZeFOHWdulC5bHrSN7Fbzc57O9WFKfrC7M_jPAyCZO7aJFEI9jUPbHuekegIASMjsPUe-7TwvfpdtsymI6BnXRJY94jVglqWrI4mR2PLhpOwa2gW9nR8nYYuMrKvDL_hbts3/s1600/blog+august+september+020.jpg" imageanchor="1" style="clear: right; cssfloat: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="145" qaa="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEhwHz6b_JmZeFOHWdulC5bHrSN7Fbzc57O9WFKfrC7M_jPAyCZO7aJFEI9jUPbHuekegIASMjsPUe-7TwvfpdtsymI6BnXRJY94jVglqWrI4mR2PLhpOwa2gW9nR8nYYuMrKvDL_hbts3/s320/blog+august+september+020.jpg" width="320" /></a>roduction by <strong>Momento</strong> <em>(details from two double page spreads, pictured)</em> Lewis presents Kiribati's citizens unvarnished and unstereotyped - working, playing and leaving the viewer with a sense of the unique rhythm and nature of islander life. This book is also an example of the new publishing and printing techniques being currently pioneered by organisations such as <strong>Momento</strong> and <strong>Blurb</strong> <a href="http://au.blurb.com/">http://au.blurb.com/</a> where the cost and practicality of publishing a book are managed by digital publishing - i.e., cutting your cloth by simply producing one, a hundred or a thousand books - whatever the budget allows. Lewis's book was one of several prize-winning books acknowledged during the recent <strong>Head On Festival</strong>. Details of the winners can be found at <a href="http://momentopro.com.au/photobookawards">http://momentopro.com.au/photobookawards</a> <br />
<strong>The Sue Ford Archive is Online</strong><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiG25bH9c2kyWtYWb3dfF7jZHJ-u2Pqif0kB488yPqrCPgXWVAC-DoeNDdecUF3JAJX7aQ_VBPoKymX2ciIgoGqe2rmWLYfDOWp1YqmOMCzS4ghQkhsRZNfTjkvzr9BQBMKRzUW1zh4Y50G/s1600/Sue+Ford+Self+Portrait.jpg" imageanchor="1" style="clear: right; cssfloat: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" qaa="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiG25bH9c2kyWtYWb3dfF7jZHJ-u2Pqif0kB488yPqrCPgXWVAC-DoeNDdecUF3JAJX7aQ_VBPoKymX2ciIgoGqe2rmWLYfDOWp1YqmOMCzS4ghQkhsRZNfTjkvzr9BQBMKRzUW1zh4Y50G/s200/Sue+Ford+Self+Portrait.jpg" width="151" /></a></div>I recently received a note from <strong>Ben Ford</strong>, the son of <strong>Sue Ford </strong>(1943-2009) to let me know that her photographic archive was now online at <a href="http://www.sueford.com.au/">http://www.sueford.com.au/</a> The Melbourne woman <em>(pictured, right)</em> was a force in Australian photography for several decades and her untimely death robbed our photographic community of a passionate artist who possessed a vivid, poetic vision. Ford's elapsed portraits, showing the changes in a subject's face after as little as a decade, form an important element within the history of Australian fine-art photography. For those wishing to explore her remarkable life's work, including her film-making and photo-media, this evolving website is most welcome.<br />
<strong>The Occasional, Irresistable Photograph</strong><br />
<div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><strong>David Flanagan</strong> <a href="http://www.davidflanagan.com.au/">http://www.davidflanagan.com.au/</a> is one of the quiet achievers of Australian photography - dedicated to landscape photography during the era in which <strong>Richard Woldendorp</strong> <a href="http://www.richardwoldendorp.com/">h</a><a href="http://www.richardwoldendorp.com/">ttp://www.richardwoldendorp.com/</a> has set the standard for all. However Flanagan follows his own vision, establishing a way of seeing that I first encountered and reviewed at <strong>Marrickville's Addison Road Community Art Gallery</strong> <a href="http://www.addisonrdcentre.com.au/">http://www.addisonrdcentre.com.au/</a> in Sydney. Like Wol<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBiuZ75xp3dF69TNAMi_WSH3xv2UJgCRuj2Cyi25Utp6pNjogIYgP_Dc1ZMdhuM_jWMCxW5d5yMo9hvy0alz0XjNhTOFvWwITHc9A8NGWRNxoESOcxLajuXNdhDxF6Ierg6eRibhRjkLjf/s1600/Aerial+Landscape+1+by+David+Flanagan.jpg" imageanchor="1" style="clear: right; cssfloat: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" qaa="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBiuZ75xp3dF69TNAMi_WSH3xv2UJgCRuj2Cyi25Utp6pNjogIYgP_Dc1ZMdhuM_jWMCxW5d5yMo9hvy0alz0XjNhTOFvWwITHc9A8NGWRNxoESOcxLajuXNdhDxF6Ierg6eRibhRjkLjf/s200/Aerial+Landscape+1+by+David+Flanagan.jpg" width="152" /></a>dendorp, Flanagan is sensitive to the anthropomorphic, sculptural forms within the Australian landscape <em>(pictured, right)</em> but the vision he explores is expressed in subtle black and white, whereas Woldendorp's vision seems mostly committed to colour. Flanagan's elegant way of seeing also seems fraternal with pioneer U.S. aerial master photographer <strong>William Garnett</strong> (1916-2006) <a href="http://www.nytimes.com/2006/09/09/obituaries/09garnett.html">http://www.nytimes.com/2006/09/09/obituaries/09garnett.html</a> whose B&W photographs revealed the sensual forms that can emerge from the planet's surface when seen at altitude.</div><strong>Cindy Sherman Tops The Bill.</strong><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKqG7VngoCE0wfAgE6oFhGTLU6iNn6BYo6x-004tNMC_6momzTahGSh8_SV6-SOhY3lvlHNfMzyjvn96Tsy4USK3c2XSCqzvvoUv6PXWlUMdrO8YyR94HvbHBH1g2gCv5FIDwmG05qb0ON/s1600/Cindy-Sherman-Untitled-1_5-2m-3_89m.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" qaa="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKqG7VngoCE0wfAgE6oFhGTLU6iNn6BYo6x-004tNMC_6momzTahGSh8_SV6-SOhY3lvlHNfMzyjvn96Tsy4USK3c2XSCqzvvoUv6PXWlUMdrO8YyR94HvbHBH1g2gCv5FIDwmG05qb0ON/s400/Cindy-Sherman-Untitled-1_5-2m-3_89m.jpg" width="400" /></a><br />
A 1981 Colour Copier Print by <strong>Cindy Sherman</strong>, <em>"Untitled 96"</em> <em>(pictured, above)</em> has established the highest price - <strong>$USD 3,890,500</strong> - ever paid for a photograph at auction, eclipsing <strong>Andreas Gursky's</strong> <em>"99 Cents II, 2001"</em> which sold for <strong>$USD 3,346,456</strong> at <strong>Sotheby's</strong> in London in 2007. Sherman's photograph was sold at <strong>Christies</strong> to prominent New York art dealer <strong>Phillipe Segalot</strong>. The picture's former owners had bought the Sherman print as one of an edition of ten in 1981, when the American artist's career was in its infancy. As an artist, Sherman plays an intriguing game with her audience - presenting herself as the central archetype in tableaux meant to illuminate and parody the transience of fame - the kind of notoriety so efficiently purveyed by American media, especially Hollywood. But look carefully at a Sherman image and the joke she is playing with the viewer can be seen, shimmering just beneath the surface. I confess to first being underwhelmed and singularly unimpressed by this artist's imagery until I saw a relatively unkown work of hers at Sydney's <strong>Museum of Contemporary Art</strong> at Circular Quay. Instead of drawing from her more familiar <em>faux</em> Hollywood film stills imagery, Sherman presented herself as no less the mother of the <strong>Messiah</strong>, seen firmly balancing her infant in her arms - the <em>chosen </em>one. This photograph heavily referenced religious art but her meaning seemed clear: there was, in this essentially unremarkable looking woman, always the possibility of divinity - and in this image Sherman firmly pricked fame's bubble.<br />
<div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><strong>Helpless In The Presence of Beauty</strong><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBJq1ZOW6B4Z30v98RcibfzQKWFznzTGDfzbF6-cBnQYzhTcVz0FZm7SmOh1IyuKHXhqBOUgbcDEa8GdEAsUan1OY6fnXTdBcSfL3S09-aOSI4I04vWKatiuA7BV7M3g2DeJrwR1-g5in7/s1600/Wal+Richards+double+exposure.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="397" qaa="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBJq1ZOW6B4Z30v98RcibfzQKWFznzTGDfzbF6-cBnQYzhTcVz0FZm7SmOh1IyuKHXhqBOUgbcDEa8GdEAsUan1OY6fnXTdBcSfL3S09-aOSI4I04vWKatiuA7BV7M3g2DeJrwR1-g5in7/s400/Wal+Richards+double+exposure.jpg" width="400" /></a></div><strong>Wal Richards</strong> led a blameless, simple life in historic <strong>Maryborough</strong> in Victoria. <a href="http://www.abc.net.au/local/photos/2011/08/10/3290337.htm">http://www.abc.net.au/local/photos/2011/08/10/3290337.htm</a> Physically and mentally disabled from birth, he was remembered by residents fondly as a lonely character who always dressed neatly and could often be seen standing beside his bike at a place in the town known as <strong>Moore's Corner.</strong> Richards was also a perennial presence at local weddings."<em>He was part of the town. Wal used to deliver messages ... simple things ... (because) he couldn't read or write. He was a man of very few words but who (still) understood money."</em> remembers <strong>Betty Osborn</strong>, the secretary of the town's historical society<em>."He used to visit old Mrs Chadwick and get the names of who were getting married. She would (also) tell Wal how to get to the churches and he often cycled over thirty kilometers to Avoca and places like that. There wasn't a wedding around Maryborough unless Wal was there."</em> But the secretary of the <strong>Maryborough Historical Society</strong> <a href="http://home.vicnet.net.au/~mbhs/">http://home.vicnet.net.au/~mbhs/</a> also recalled the surprise, when Richards died in 1996, of discovering thousands of wedding photos, spanning five decades, as no one in Maryborough (ever) thought he had film in his camera. <em>"Everyone put up with Wal ... he was at one of my daughter's weddings and I remember him shaking quite a lot ... when I knew him in the 70's, 80's and 90's Wal shook so badly we just did not think he (could have had) a film in his camera. But when his photos were discovered, after he died, in packing cases in a shed in his backyard, we were amazed. Everyone had seen Wal at the weddings, and (we found) most of his photos were qui<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKnlf0392kcBs0nVHYESlFB8mo9OYzLr0y4zixqZf_xg9X8Oecx9GmaM5BwZ3B8DHcPvrU5nSHhCmxtHoxOiFvVUoZrEgVUEl-Po9lbHYJKqvACusxzGlbf1TVFYkNcvJRu9gh1ZDpSZMQ/s1600/Wal+Richards+Photo+Unknown+Bridesmaids.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="198" qaa="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKnlf0392kcBs0nVHYESlFB8mo9OYzLr0y4zixqZf_xg9X8Oecx9GmaM5BwZ3B8DHcPvrU5nSHhCmxtHoxOiFvVUoZrEgVUEl-Po9lbHYJKqvACusxzGlbf1TVFYkNcvJRu9gh1ZDpSZMQ/s200/Wal+Richards+Photo+Unknown+Bridesmaids.jpg" width="200" /></a>te interesting, because people didn't realise they were bein<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgsXonWC0SvIZ9eNTQIgHVtN4cL6BpMFN3WIUcGb19zjxIkrn12IB7J8rGEPSuWz8RUSyBSDlFNN4ruLorRlY9d51nAtV_NdBJqjx0I3zCyqpgAg1h6Y-b8oXsp72bZFUoHWqKgMPlvqLx/s1600/Wal+Richards+Photo+unknown+bride_webmax.jpg" imageanchor="1" style="clear: right; cssfloat: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="199" qaa="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgsXonWC0SvIZ9eNTQIgHVtN4cL6BpMFN3WIUcGb19zjxIkrn12IB7J8rGEPSuWz8RUSyBSDlFNN4ruLorRlY9d51nAtV_NdBJqjx0I3zCyqpgAg1h6Y-b8oXsp72bZFUoHWqKgMPlvqLx/s200/Wal+Richards+Photo+unknown+bride_webmax.jpg" width="200" /></a>g photographed. So they were more natural."</em> No one, not even his relatives, knew why Richards photographed so many weddings. <em>"I think he just loved the occasion,"</em> suggested Osborn, <em>"perhaps the girl all dressed for the event mesmerized him. But he never spoke to anyone. And after a while the wedding photographers that were there realised Wal had to have his turn, too, and they were very good (about it). But no one took him really seriously."</em> Osborn added that only yesterday a woman visited the Historial Society who had been married in Maryborough in 1963. Knowing Wal had been at the wedding, she asked, 'do you have a photo?' <em>"I told her we had over 20,000 pictures,"</em> said the secretary, <em>"and only some had been identified. I handed her one album and believe it or not, she found her wedding photo. And it's the only photo she has of her wedding! The beauty of Wal Richards' shots was that he just caught it ... " </em><strong>Wal Richards</strong> was 67 when he died in 1996.<br />
<strong><span style="color: #990000;">POSTSCRIPT:</span></strong><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPHovgR0GyJhu3Vry9hz_JKI6LFsTEtEAb9By3st5D0PbvfJGV-nvDIRYuSGMmU62fMWZqJmM6a5xO3PHwbO_JD3RpgA68_sTdCGnN1MKzBHt2fj0blZoReKLYSvJ8pJyYNqz9wnSF2mEb/s1600/Wal+Richards+the+cycling+photographer+on+the+job+Photograph+by+Mary+Osborn.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" qaa="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPHovgR0GyJhu3Vry9hz_JKI6LFsTEtEAb9By3st5D0PbvfJGV-nvDIRYuSGMmU62fMWZqJmM6a5xO3PHwbO_JD3RpgA68_sTdCGnN1MKzBHt2fj0blZoReKLYSvJ8pJyYNqz9wnSF2mEb/s200/Wal+Richards+the+cycling+photographer+on+the+job+Photograph+by+Mary+Osborn.jpg" width="200" /></a></div>The photographs of <strong>Wal Richards</strong> <em>(pictured, left, in Betty's Osborn's photograph)</em> are perhaps the perfect expression of an obsessive, intuitive, photographer who possessed little technical skill, but was still able to divine a woman's beauty on that most symbolic of days. There is also an almost autistic feeling of <em>"otherness"</em>within these pictures - that Richards is compulsively observing a world he senses he may never enter, but whose emotional importance he feels he <em>must</em> acknowledge with his camera.<br />
<strong>The Poetry Found Within Decay.</strong></div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsatrEQrquZZkOMPtSu8Ilxp4KTtoQT3JSx9EiZKX06HvNY_r_z8q7As3pQUiMGCXVv-vkRGjuzzLRj_xhQnJJvD32jySkcKMYmp8XnrezsKAWxh1Kg8QiFTrENuQr1E4pJDE3CAeScbYU/s1600/Sally+McInerney+Photograph+AWY+087%252C+Koorawatha+2009.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="290" qaa="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsatrEQrquZZkOMPtSu8Ilxp4KTtoQT3JSx9EiZKX06HvNY_r_z8q7As3pQUiMGCXVv-vkRGjuzzLRj_xhQnJJvD32jySkcKMYmp8XnrezsKAWxh1Kg8QiFTrENuQr1E4pJDE3CAeScbYU/s400/Sally+McInerney+Photograph+AWY+087%252C+Koorawatha+2009.jpg" width="400" /></a><strong>Sally McInerney's</strong> recent exhibition in Sydney, at Chippendale's <strong>Pine Street Gallery </strong> <a href="http://www.cityofsydney.nsw.gov.au/pinestreet/">www.cityofsydney.nsw.gov.au/pinestreet/</a> presented perhaps her most coherent, resonant series of observations of nature and industrial detritus. McInerney's images carry the notion that photographs can vividly convey a sense of industrial archeology. This accomplished photographer and writer's poetic eye homes in on the beauty that slowly emerges from everyday objects in terminal decay - from a discarded car steadily oxidising into a relic of primitive automotive technology in <em>"AWY 087" (pictured, above)</em> to the peeling walls and unread books she observes in <em>"Local Scene, Koorawatha 2011",</em> taken in the farmhouse <em>(pictured, left) </em>in which her late mother, eminent Australian photographer <strong>Olive Cotton</strong> (1911-2003) once lived with her husband, pioneering Environmentalist. <strong>Ros<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9lWPmEOJlZtauh5e7hezDeQwpdDoqHHOAwGzcxyKlZUi7NcOJYSdTCriM4sIrotld-QIcAYGqPJxdMBzkVKujItrzNPt864frxLNVreyXBfJDv0eTmn6hpOUIGK9ziwoBb0bJBha2razR/s1600/Sally+McInerney+Photograph+Local+scene%252C+Koorawatha+2011.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="138" qaa="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9lWPmEOJlZtauh5e7hezDeQwpdDoqHHOAwGzcxyKlZUi7NcOJYSdTCriM4sIrotld-QIcAYGqPJxdMBzkVKujItrzNPt864frxLNVreyXBfJDv0eTmn6hpOUIGK9ziwoBb0bJBha2razR/s200/Sally+McInerney+Photograph+Local+scene%252C+Koorawatha+2011.jpg" width="200" /></a>s McInerney</strong>. This artist has a similarly unv<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjjxVyAjrZBbnOjDsfJ4X9KJsXil6l9BMgdSqdqQpsj_ICIoEz14xw1G0bU33syTRX3t1L-nbdRkyFOP3o5BrgBVtDdoM_cyOQnRLFDRw4nn7OgWPUbRDo0CWfwdCLRPfJDuIajQd8hNCl/s1600/Sally+McInerney+Photograph+The+Quarry%252C+Young+2011.jpg" imageanchor="1" style="clear: right; cssfloat: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="133" qaa="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjjxVyAjrZBbnOjDsfJ4X9KJsXil6l9BMgdSqdqQpsj_ICIoEz14xw1G0bU33syTRX3t1L-nbdRkyFOP3o5BrgBVtDdoM_cyOQnRLFDRw4nn7OgWPUbRDo0CWfwdCLRPfJDuIajQd8hNCl/s200/Sally+McInerney+Photograph+The+Quarry%252C+Young+2011.jpg" width="200" /></a>arnished eye when she comes to looking at the Australian landscape - showing, in <em>"The Quarry"</em> cause and effect as seen in <strong>Nature, </strong>where a substantial boulder rests in an unlikely position on the side of a hill<em>.(pictured, right)</em> McInerney's picture suggests that it was not always quiet and pastoral in this place and that great forces had repositioned this stone, ages ago. Regrettably I only saw this exhibition in high resolution online (it concluded at <strong>Pine Street Gallery</strong> on August 22) but McInerney is represented by the <strong>Josef Lebovic Gallery</strong> <a href="http://www.joseflebovicgallery.com/">www.joseflebovicgallery.com/</a> - where these memorable images may now be accessed in archival print form.</div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><strong>Finalists announced for $25,000 MGA Bowness Prize</strong></div><div class="separator" style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; clear: both; text-align: center;"></div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVQ-gd2XHDhM6IRffAXKS6rkM3Rc_0BBSLF9N3zqSlajWO95fP3cEyhKUU3HaKFtm6A0Xo48YpweJT3133tVENdZVwPd3o29tv5eqxSj3aUrMWS4qJIxsLhQEVUQ4PQQkFLWm9WSABz8Fr/s1600/Natalie+Grono+larger+file+from+Sea+Dreaming.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="266" qaa="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVQ-gd2XHDhM6IRffAXKS6rkM3Rc_0BBSLF9N3zqSlajWO95fP3cEyhKUU3HaKFtm6A0Xo48YpweJT3133tVENdZVwPd3o29tv5eqxSj3aUrMWS4qJIxsLhQEVUQ4PQQkFLWm9WSABz8Fr/s400/Natalie+Grono+larger+file+from+Sea+Dreaming.jpg" width="400" /></a></div>Australian photographers are blessed with a remarkable variety of rewarding photography prizes - from the currently most lucrative <strong>$100,000 Moran Contemporary Photographic Prize </strong><a href="http://www.moranprizes.com.au/">www.moranprizes.com.au/</a> to <strong>Head On</strong> <strong>Portrait Prize </strong><a href="http://www.headon.com.au/">www.headon.com.au/</a> and of course the <strong>William and Winifred Bowness Prize, </strong>whose<strong> </strong>finalists are currently on view at <strong>Flickr</strong> and that consistent venue for fine photography - the <strong>Monash Gallery of Art </strong><em>Until October 16.</em> <a href="http://www.flickr.com/photos/monash_gallery_of_art/sets/72157627195241511/">http://www.flickr.com/photos/monash_gallery_of_art/sets/72157627195241511/</a> (<em>pictured, above</em> <strong>Natalie Grono's</strong> memorable evocation of childhood. From her series <em>"Sea dreaming 2010")</em> <strong>The William and Winifred Bowness Prize</strong> is an initiative of the <strong>MGA Foundation.</strong> <a href="http://www.mga.org.au/exhibition/view/exhibition/66">http://www.mga.org.au/exhibition/view/exhibition/66</a> (<strong>Errata:</strong> our apologies for a previous edition of this blog in which we inadvertently published Canberra photographer <strong>Lee Grant's</strong> winning entry in the <u>2010</u> <strong>William and Winifred Bowness Prize</strong>)<br />
Text Copyright 2011 <strong>Robert McFarlane</strong> <a href="http://www.robertmcfarlanephotos.com/">http://www.robertmcfarlanephotos.com/</a></div>ozphotoreviewhttp://www.blogger.com/profile/05955455242704658018noreply@blogger.com0tag:blogger.com,1999:blog-4793272593084821996.post-79844441865137357492011-08-09T21:57:00.000-07:002011-08-10T00:53:15.031-07:00The Face, The Street and Henri Cartier-Bresson<strong>ARENA magazine: "Photography and Public Space" </strong> <br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwFm6kQKAGbCR9cZkJVPKi49o7Yy7KDEpzRy8Bi6AnPojs1lq_97LJRImT7TI7hhpXWtHJS5vAHC3Z5N4q5cHpGZPa3pj5JJuSsa44btKsKO8DFkVEAQ1xYRkL4fOBHe_0RnaB9ci1zUI3/s1600/The+Kiss%252C+Bourke+St.+1978+by+Rennie+Ellis+couresy+the+Rennie+Ellis+Photographic+Archive.jpg" imageanchor="1" style="clear: left; cssfloat: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="261" naa="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwFm6kQKAGbCR9cZkJVPKi49o7Yy7KDEpzRy8Bi6AnPojs1lq_97LJRImT7TI7hhpXWtHJS5vAHC3Z5N4q5cHpGZPa3pj5JJuSsa44btKsKO8DFkVEAQ1xYRkL4fOBHe_0RnaB9ci1zUI3/s400/The+Kiss%252C+Bourke+St.+1978+by+Rennie+Ellis+couresy+the+Rennie+Ellis+Photographic+Archive.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><em>"The Kiss, Bourke Street, 1978"</em> <strong>Rennie Ellis Photographic Archive</strong></span></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;">Photograph: <strong>Robert McFarlane</strong></span></td></tr>
</tbody></table><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">Issues facing photographers who work in the public domain <em>(pictured)</em> - creating visual histories of our times (such as Melbourne's remarkable diarist, the late <strong>Rennie Ellis</strong> (1940-2003)<a href="http://www.rennieellis.com.au/">http://www.rennieellis.com.au/</a> ) are not going away. (Distinguished photojournalist <strong>Michael Coyne</strong> explores this issue further on in this blog) Now, in the spirit of open debate <strong>ARENA </strong>magazine <a href="http://www.arena.org.au/">http://www.arena.org.au/</a> will host a discussion at their <strong>Project Space</strong>, 2 Kerr Street, Fitzroy, Melbourne, chaired by <strong>Melissa Miles,</strong> on Tuesday, August 16th, at 6 p.m. In a recent issue of <strong>ARENA</strong> Miles, together with <strong>Jessica Whyte,</strong> made this timely, acute observation: <span style="font-family: Times, "Times New Roman", serif;"><span style="color: black;"><em>"In recent years everything from terrorism to paedophilia has been used to rationalise the restriction of photography in public while the social changes and anxieties that inform the restrictions, such as shifts between the public and the private, are obscured. Photography is uniquely suited to showing us un-encountered aspects of public life, and its power to make visible is central to the ways we structure, negotiate and experience the public and the private." </em>Miles, a lecturer in <strong>Art, Design and Architecture</strong> at Monash University, will talk about this area of vital concern and Monash University's <em><strong>"Photography as a Crime"</strong></em> project. For further details, phone <strong>03 9416 0232</strong> or <strong>0437 960 510</strong> or go to <strong>ARENA</strong> magazine's website. <a href="http://www.arena.org.au/">http://www.arena.org.au/</a> </span></span><br />
<span style="font-family: Times;"><strong>STANDING YOUR GROUND, ON THE STREET</strong></span><br />
<span style="font-family: Times;">Just received this link from <strong>Hong Hong</strong> documentary photographer <strong>Bob Davis</strong> <a href="http://www.bobdavis-photographer.com/">http://www.bobdavis-photographer.com/</a> <em><strong>("Faces of Japan"</strong></em> 1978 <strong>Kodansha</strong> International) </span><span style="font-family: Times;">via <strong>Robin Moyer</strong> <a href="http://www.robinmoyer.com/portfolio.html">http://www.robinmoyer.com/portfolio.html</a><a href="www://robinmoyer.com/"></a> about a fascinating exercise carried out recently by six photographers acting on behalf of the <strong>London Street Photographers Festival</strong>. All were assigned to photograph, on the street, in public, in different parts of London as part of a <strong>LSPF</strong> project <strong>"STAND YOUR GROUND"</strong>. Their filmed reactions, and those of police and officials, perfectly express the dilemmas faced by photographers working in public spaces today, worldwide. Caused partly by the paranoia created by recent terrorist acts in London, there was general confusion about what rights photographers have to document what is before their cameras. The London police, oddly, come out as the most reasonable of inquisitors into the world of photographing on the street - having, after all, to enforce the law - which clearly still allows the taking of photographs in public in Britain. Full details of this are included in the clip.</span></div><strong>The Phenomenology of The Face</strong><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjD38pDPvghUJcCdzWcsUDmz4xwRerdXDJvXxk6kCsqmT9jvB-9rTO5QlpC7fCwvpjOuRMTNX0m426Xygx0TslVSV6YBni5jBFvz_LFRSOEyyclbEWXub1vuzQTb80XlVV8IiJWlhSsWpga/s1600/Wendy_Hughes_B-S_Campbell.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjD38pDPvghUJcCdzWcsUDmz4xwRerdXDJvXxk6kCsqmT9jvB-9rTO5QlpC7fCwvpjOuRMTNX0m426Xygx0TslVSV6YBni5jBFvz_LFRSOEyyclbEWXub1vuzQTb80XlVV8IiJWlhSsWpga/s200/Wendy_Hughes_B-S_Campbell.jpg" t$="true" width="134" /></a></div>Actor and Photographer <strong>Stuart Campbell</strong> (1951-2009) spent most of his life making faces - either as one of Australia's finest character actors, or in his less well known role as a photographer. Campbell never paraded his talent with the camera but his <em>"eye"</em> was highly sought after by fellow actors and 'showfolk'. Just how much delight Campbell took in the portrayal of his peers is currently on show at the mezzanine level of the <strong>Wharf Theatre</strong> of the <strong>Sydney Theatre Company</strong>. <a href="http://www.sydneytheatre.com.au/">http://www.sydneytheatre.com.au/</a> Recently seen on exhibi<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdqEWe8DrqlW0VkNbKCns7LBXTA6YSkK3z5wHGq5GmKhYCaiHpqBoLzoCKp3HZhfzGhdVY7FvyNrdUtseYDNI74hNY88v-oqy__wA0P9j0lw2q33QUzFG3SpWEB9ICgTasVTTCubUXK4Dx/s1600/Mel_Gibson_B-S_Campbell.jpg" imageanchor="1" style="clear: right; cssfloat: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="134" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdqEWe8DrqlW0VkNbKCns7LBXTA6YSkK3z5wHGq5GmKhYCaiHpqBoLzoCKp3HZhfzGhdVY7FvyNrdUtseYDNI74hNY88v-oqy__wA0P9j0lw2q33QUzFG3SpWEB9ICgTasVTTCubUXK4Dx/s200/Mel_Gibson_B-S_Campbell.jpg" t$="true" width="200" /></a>tion at Canberra's <strong>National Portrait Gallery</strong>, where one of his subjects, author and friend <strong>Lee Tulloch</strong>, commented "<em>Stuart Campbell’s gifts as a photographer were many but what made him unique was his ability to disarm his subjects with outlandish wit, shocking them out of their self-consciousness so that they revealed more of themselves than they had ever intended."<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQwF2-qbB9GGJ9-ldSBTcYkBpkP-ohcZWmbv4K6V-tvUoTiHL1dwq0tHGmWoJONfXWtCr9TtSp8BXpkJBO5AVAJqePK9ZoSWbWxL4JNCIAq5nVkp6xyc1zjjpd67clYCAzbvfF7y2mSr5X/s1600/Ron_Haddrick_B-S_Campbell.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="133" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQwF2-qbB9GGJ9-ldSBTcYkBpkP-ohcZWmbv4K6V-tvUoTiHL1dwq0tHGmWoJONfXWtCr9TtSp8BXpkJBO5AVAJqePK9ZoSWbWxL4JNCIAq5nVkp6xyc1zjjpd67clYCAzbvfF7y2mSr5X/s200/Ron_Haddrick_B-S_Campbell.jpg" t$="true" width="200" /></a></em> Campbell had the simplest of photographic techniques - lighting that gave each sitter's face a luminousity and compositions that gave sculptural form to each person's body language. It is hard to escape the view that his portraits became essentially a vibrant dialogue, with each sitter eventually offering up the most intimate aspects of their personalities to Campbell's camera. This photographer was also clearly a devotee of classic black and white analog photography, reinforced by rich, traditional darkroom printing. Campbell was equally at home photographing men or women, whether the manic <strong>King Lear</strong> like antics of celebrated stage actor <strong>Ron Hadd<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgd7zTWGMcyEBZb7Kic-HTVzfxuDgy0CyLHLjUy0L7s1Rve2yBlKfov233DdkGyMcXXQIL1naRzPreu2CWYT82SWw11OHzPCn52UbeZZ8Chtr8L5e132dzgecXgo3aJOMKXmLAzCsGHwBxJ/s1600/Belinda_Giblin-S_Campbell.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgd7zTWGMcyEBZb7Kic-HTVzfxuDgy0CyLHLjUy0L7s1Rve2yBlKfov233DdkGyMcXXQIL1naRzPreu2CWYT82SWw11OHzPCn52UbeZZ8Chtr8L5e132dzgecXgo3aJOMKXmLAzCsGHwBxJ/s200/Belinda_Giblin-S_Campbell.jpg" t$="true" width="160" /></a>rick</strong><em>,(pictured, above left)</em> the unmistakable, defined <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxndhx3NmM00kyhJL1cKV6cC7lwZAo2bkALDs4QUiSSxR234Z6RZiu5kaYA5i8RX4cIt8xaj1A9z-ZqMKjfOviTeaiEkZz42HaFFVNrYdch-bSWhQThEPSML9WPwJS9333xqbf6xkCp-JP/s1600/Little_Nell_B-S_Campbell.jpg" imageanchor="1" style="clear: right; cssfloat: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxndhx3NmM00kyhJL1cKV6cC7lwZAo2bkALDs4QUiSSxR234Z6RZiu5kaYA5i8RX4cIt8xaj1A9z-ZqMKjfOviTeaiEkZz42HaFFVNrYdch-bSWhQThEPSML9WPwJS9333xqbf6xkCp-JP/s200/Little_Nell_B-S_Campbell.jpg" t$="true" width="134" /></a>planes of <strong>Belinda Giblin's</strong> face <em>(pictured, left)</em> or the stillness he captured in <strong>Wendy Hughes'</strong> extraordinary face, early in her career<em>.(pictured, above left)</em> One of his most memorable images is of legendary Australian performer, <strong>Little</strong> <strong>Nell</strong>, pressed against the rough texture of a wall<em>.(pictured, right)</em> This unforgettable picture, with its partial nudity, is as hard to categorise, and as unforgettable, as Little Nell herself. Campbell's working life also paralleled that of <strong>Mel Gibson's</strong> Australian career, and we see an impossibly young Gibson in an early Campbell photograph.(<em>pictured, above right)</em> I first heard of this exhibition through a call received from film director <strong>Gillian Armstrong</strong>, a close friend of Campbell. After Campbell's death in 2009, Armstrong was instrumental in presenting his archive to the <strong>National Portrait Gallery</strong>. <a href="http://www.portrait.gov.au/site/exhibition_subsite_stuartcampbell.php?pagenum">http://www.portrait.gov.au/site/exhibition_subsite_stuartcampbell.php?pagenum</a>= Considering that Campbell had photographed many of the key figures in the renaissance of Australian film and theatre from the 1970's onwards, they were delighted to offer an exhibition, <em><strong>"Between Light and Shadow",</strong></em> which only finished in July. A spokesperson for Sydney Theatre Company said there is no closing date planned for the Stuart Campbell exhibition, at this stage. <em>On display on the Mezzanine at the <strong>Wharf Theatre</strong>, Pier 4-5, Hickson Road, Walsh Bay, Sydney. </em><br />
<strong><span style="background-color: white; color: #666666;"><u>POST SCRIPT:</u></span></strong><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEUCfp2c7Q2A7tShRnoIdQEcCIfAoSf-Y55G8uHzXzRSNUt8dIT4Lq1jFtB1mrB4KEgHV_gLow_vvuZU9qYH2-dFFiFJpHTi_MLt7F2tp2zGBEUpytyEXo-phnkM2C84k3zeefOY7plUqe/s1600/Self_Portrait_B-S_Campbell.jpg" imageanchor="1" style="clear: right; cssfloat: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="133" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEUCfp2c7Q2A7tShRnoIdQEcCIfAoSf-Y55G8uHzXzRSNUt8dIT4Lq1jFtB1mrB4KEgHV_gLow_vvuZU9qYH2-dFFiFJpHTi_MLt7F2tp2zGBEUpytyEXo-phnkM2C84k3zeefOY7plUqe/s200/Self_Portrait_B-S_Campbell.jpg" t$="true" width="200" /></a></div>I last saw <strong>Stuart Campbell</strong> <em>(pictured right, in a self portrait)</em> while I was working as a stills photographer on the set of the 1996 film <strong><em>"Dating The Enemy",</em></strong> which starred <strong>Claudia Karvan</strong> and <strong>Guy Pearce</strong>. Stuart Campbell had a small role playing, ironically, a photographer pursuing Guy Pearce's television celebrity character, in the intrusive style of the <strong>Paparazzi.</strong> While the director, <strong>Megan Simpson Huberman</strong>, was preparing for the scene in which Campbell would secretly photograph Pearce in Sydney's Hyde Park, Pearce wandered up to Campbell as he was busily assembling his impressive camera outfit, adding a very long, expensive looking, fast lens, for the scene to come. Idly making conversation, Pearce asked Campbell whether the camera and lens belonged to him. <em>"No,"</em> answered Campbell, a little shortly, <em>"they were supplied by the film's producers."</em> Looking at the impressive array of lens and camera, Pearce casually continued, <em>"bet you wish you could take them home." </em>Campbell, who never made a secret of his gay sexuality, looked up at Pearce and replied, <em>"No, but I wish I could take you home."</em> The conversation abruptly ended there and Pearce moved away to diligently prepare for his next scene.<br />
<strong>JESSE MARLOW TOPS "LONDON STREET PHOTOGRAPHY FESTIVAL"</strong> <br />
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<tr><td style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-HjfzIoIUgapkbQUqpT0NauBwyhSXpVSj8PaLw2J-ofIPOOd6n9toG3n0O3KcKBBiB-PvDNQq0dnHwmUdlJUWLWMWM1wZOHbvLM79ROaJ9ujtrQhwA7-VERG4Q6YsF9OMTMMmcJD2I_tI/s1600/BOLOGNA-HORSE+by+Jesse+Marlow.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="256" naa="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-HjfzIoIUgapkbQUqpT0NauBwyhSXpVSj8PaLw2J-ofIPOOd6n9toG3n0O3KcKBBiB-PvDNQq0dnHwmUdlJUWLWMWM1wZOHbvLM79ROaJ9ujtrQhwA7-VERG4Q6YsF9OMTMMmcJD2I_tI/s400/BOLOGNA-HORSE+by+Jesse+Marlow.jpg" width="400" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcim406hAjfqZZJ_UeVxgM7NCAicx_TaJc9JXygZEV01veD19nqvdA5oCXFK4PcUNfnAuyjDNguIp7YrDGVHjpCe2IkzkNF1EZD1nAS1cIB9TpERQKMXCH7rDu6iBuoj0Am_HY-A_8Ctcp/s1600/NilsJorgensen_Jesse+Marlow+winner+London+Street+Photography+2011+Award.jpg" imageanchor="1" style="clear: left; cssfloat: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="260" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcim406hAjfqZZJ_UeVxgM7NCAicx_TaJc9JXygZEV01veD19nqvdA5oCXFK4PcUNfnAuyjDNguIp7YrDGVHjpCe2IkzkNF1EZD1nAS1cIB9TpERQKMXCH7rDu6iBuoj0Am_HY-A_8Ctcp/s400/NilsJorgensen_Jesse+Marlow+winner+London+Street+Photography+2011+Award.jpg" t$="true" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><strong>Jesse Marlow</strong> L and <strong>Hannah White</strong>, R, the Event's Coordinator</td></tr>
</tbody></table>No stranger himself to the photographing on the street, Adelaide photographer <strong>Gary Cockburn</strong> sent me this link from Edinburgh <a href="http://londonstreetphotographyfestival.org/contact">http://londonstreetphotographyfestival.org/contact</a> where he is pursuing his long term project of documenting their <strong>Fringe Festival</strong> (along with Adelaide) <strong>Jesse Marlow</strong> <em>(pictured, above)</em> has a growing reputation as one of Australia's finest younger photojournalists (Marlow was selected recently for the <strong>World Press Photo Masterclass</strong> and has been critically well received for his droll observations on the visibly injured in his book, <em><strong>"Wounded" </strong></em>and an earlier book, <em><strong>"Centre Bounce",</strong></em> which documented indigenous AFL football in Central Australia<em><strong>.</strong></em> Marlow has now been announced as the winner (with <strong>Phillip Cheung</strong> as Second Prize Winner) of <strong>London's 2011 Street Photography Festival.</strong> To see Marlow's winning portfolio, go to <a href="http://www.jessemarlow.com/portfolio/dont-tell-them-show-them-page/">http://www.jessemarlow.com/portfolio/dont-tell-them-show-them-page/</a> <em>(pictured, above, one of his award-winning selection)</em> Ironically I also recently received a link to an eloquent article written by acclaimed Hong Kong-based <strong>Black Star</strong> photojournalist, <strong>Michael Coyne</strong>, on the increasingly difficult environment faced by photographers working in the street. <a href="http://rising.blackstar.com/of-street-photographers-spies-perverts-and-pedophiles.html">http://rising.blackstar.com/of-street-photographers-spies-perverts-and-pedophiles.html</a> The street is the environment that defines a society. Consider how visually (and historically) poor we would be without the astonishingly agile, accurate observations of photographers such as <strong>Henri Cartier-Bresson, Josef Koudelka</strong> and <strong>Robert Frank</strong>. A society is greatly defined by how we are seen to live and restrictions on recording urban human activity are nothing if not shortsighted, stupid and in some cases, sinister. How would the revolutions currently unfolding in the Middle East have fared, had people agreed to such suppression? <br />
<div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><strong>HENRI CARTIER-BRESSON IS COMING TO BRISBANE.</strong></div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">Coincidentally, photographs by arguably the greatest street photographer of them all, <strong>Henri Cartier-Bresson,</strong> will soon be seen in Brisbane with the mammoth exhibition, <em><strong>"The Man, The Image & The World"</strong></em> <a href="http://qag.qld.gov.au/exhibitions/coming_soon/henri_cartier-bresson">http://qag.qld.gov.au/exhibitions/coming_soon/henri_cartier-bresson</a> opening on August 27 at the Queensland Art Gallery. On exhibition for three months, this extraordinary display shows how <strong>Henri Cartier-Bresson</strong> (1908-2004) charted the currents of artistic, cultural and political change within the 20th Century and promises to be the most expansive display of the great photographer's work yet seen in this country. Combined with QAG's other shows of <strong>Surrealism</strong> and <strong>Matisse</strong>, a journey to Brisbane would seem to be essential within the near future.</div><strong>Text Copyright 2011 by Robert McFarlane </strong><a href="http://www.robertmcfarlanephotos.com/"><strong>www.robertmcfarlanephotos.com</strong></a>ozphotoreviewhttp://www.blogger.com/profile/05955455242704658018noreply@blogger.com0tag:blogger.com,1999:blog-4793272593084821996.post-43993482661229247712011-07-30T23:36:00.000-07:002011-07-30T23:51:03.792-07:00Masterworks From Three Centuries<strong>An August full of Nuance, Whimsy - and Menace.</strong><br />
<div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><strong>STILLS Gallery</strong> <a href="http://www.stillsgallery.com.au/">http://www.stillsgallery.com.au/</a> have entered the new month with an exhibition<em><strong>"Artificial <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZZ8zQ0xQRuyYC25oXBXfqMp_KryHIWuf75N2p8LqwPrFzoSAftMNMp69MkGiP7Ts-jB0anyX9LgN_oIRZ6zwgTToO86jZjTL5_EKy_ygjTXbaWZGt_eKKTyNQMmxlvz4DYdWiKVdE-BrF/s1600/Basketball+2008+by+Paul+Adair+courtesy+STILLS+Gallery.jpg" imageanchor="1" style="clear: right; cssfloat: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZZ8zQ0xQRuyYC25oXBXfqMp_KryHIWuf75N2p8LqwPrFzoSAftMNMp69MkGiP7Ts-jB0anyX9LgN_oIRZ6zwgTToO86jZjTL5_EKy_ygjTXbaWZGt_eKKTyNQMmxlvz4DYdWiKVdE-BrF/s1600/Basketball+2008+by+Paul+Adair+courtesy+STILLS+Gallery.jpg" t$="true" /></a>Spacial Systems"</strong></em> by <strong>Paul Adair</strong>, inspired by his 2009 residency in Los Angeles. This might suggest Adair has returned to Australia filled with the joy of <em>art theory</em>, and with the pictures to grimly prove it. Fortunately there is an innate desire in Adair's deceptively simple pictures to entertain and sometimes confound the <br />
viewer's perceptions, as in his earlier work, <em>"Basketball 2008"</em> <em>(pictured, right).</em> A.S.S. (as Stills Gallery has called Adair's new show) promises to reveal a further evolution of this photographer's vision. <em>Until September 3 </em>STILLS Gallery are also showing <strong><em>"Plant Life"</em></strong> and<em><strong> "Precarious",</strong></em> an exhibition and film by artist <strong>Merilyn Fairskye</strong> that explore the aftermath, a quarter of a century later, of the nuclear disaster at <strong>Chernoby</strong>l. After recent events in Japan, this exhibition will have special significance.<em> Also until September 3.</em></div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOFFBVBNt_KTn46cGsTY8ZxouNUOUW547fZslzEDJPtrlpNEkIdY4x3_xnkFznm_SiFTK_PnXrl9Oybg0ElDb9M2ahlkca49bBsTLktM56QLYq3j-6QrimvWSI3aIGPfIW9Rxy1j3kFRWm/s1600/sillavan_tony_dark_wind.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="115" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOFFBVBNt_KTn46cGsTY8ZxouNUOUW547fZslzEDJPtrlpNEkIdY4x3_xnkFznm_SiFTK_PnXrl9Oybg0ElDb9M2ahlkca49bBsTLktM56QLYq3j-6QrimvWSI3aIGPfIW9Rxy1j3kFRWm/s200/sillavan_tony_dark_wind.jpg" t$="true" width="200" /></a>At <strong>Point Light Gallery, </strong><strong>Enrico Scotece</strong> has curated <strong><em>"Shadow Play"</em></strong>, featuring the black and white photographs by eleven photographers (all traditionally printed on fibre-based paper) that explore moments more inferred than spelled out. Looking at Tony Sillavan's <strong><em>"Dark Wind"</em></strong> <em>(pictured, left)</em> with its corrugated waves of wind blown grass, I thought immediately (though I admit somewhat laterally) of French writer <strong>Francois Mauriac's</strong> description of bleak rural France in his 1927 novel, <em><strong>"Therese Desqueyroux"</strong></em>. <a href="http://www.pointlight.com.au/">http://www.pointlight.com.au/</a> <em>Until August 21</em><br />
<strong>Australian & International Photography in Sydney</strong> <br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqktyYdp2SFWUli4SJAPjbboLkrxvBd-BBqmer0TiKGO2WzYI0UOAwHwIFN2oFREuLclARWin86Z9pUoegrBAmYLFDwi9BCE8DUUWiyhq8cu0605U2-sQmtyCAtKifLbLo9q-pqYdrn3qY/s1600/Lynn+1976+Photograph+by+Carol+Jerrems+from+the+Josef+Lebovic+Gallery.jpg" imageanchor="1" style="clear: left; cssfloat: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqktyYdp2SFWUli4SJAPjbboLkrxvBd-BBqmer0TiKGO2WzYI0UOAwHwIFN2oFREuLclARWin86Z9pUoegrBAmYLFDwi9BCE8DUUWiyhq8cu0605U2-sQmtyCAtKifLbLo9q-pqYdrn3qY/s320/Lynn+1976+Photograph+by+Carol+Jerrems+from+the+Josef+Lebovic+Gallery.jpg" t$="true" width="213" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Photograph by <strong>Carol Jerrems</strong></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTRMDHmEaxGdahJgYftf4Pmy9AhIOHrT6FIA78pjvxqgM6z5JLJm_E6w82W11cyfV2fldbja6SyBTUwnKmNa3tIt6NeiHFxqAEQSFhZ9214P1d_XiPaBWXuY_mGdmcoF25W194IVcFjyPr/s1600/Henley+UK+Low+res+Photograph+by+David+Potts.jpg" imageanchor="1" style="clear: right; cssfloat: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTRMDHmEaxGdahJgYftf4Pmy9AhIOHrT6FIA78pjvxqgM6z5JLJm_E6w82W11cyfV2fldbja6SyBTUwnKmNa3tIt6NeiHFxqAEQSFhZ9214P1d_XiPaBWXuY_mGdmcoF25W194IVcFjyPr/s200/Henley+UK+Low+res+Photograph+by+David+Potts.jpg" t$="true" width="143" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Photograph by <strong>David Potts</strong></td></tr>
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<div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">Now fully resettled in a former bank building in Anzac Parade, Kensington, the <strong>Josef Lebovic Gallery</strong> <a href="http://www.joseflebovicgallery.com.au/">http://www.joseflebovicgallery.com.au/</a> are currently showing an extensive selection of Australian and International photography from the 19th, 20th and 21st Centuries. <strong>Josef Lebovic</strong> has long had a penchant for photography's first century and this exhibition is no exception, with extensive portfolios depicting life in Australia, especially, during photography's absolute infancy. It is the 20th century work, however, that shows a series of strong calibrations of the muscular new art form in this country - with works by <strong>David Potts</strong> <em>(pictured, right)</em><strong> David Moore</strong>, <strong>Max Dupain</strong>, <strong>Roger Scott, William Yang, Josef Vissel</strong> and a photographer with a distinctive way of seeing and style of printing - Melbourne's enigmatic <strong>Robert Besanko.</strong> <em>(pictured, below left)</em> This photographer has a unique visual signature, especially when portraying the female form and once an image of Besanko's is seen, it lodges stubbornly in memory - ever sculptural and alluring. Another Melbourne enigma, the late <strong>Carol Jerrems</strong>, is represented by one of her, and Australian photography's finest portraits, especially of a woman - <em>"Lynn"</em> <em>(pictured, above left)</em> I confess this picture of a confident, intense young Australian w<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh476Eu5yFlYfpfRjsv7hHDz-_e8pyYPXgezr9sKN9mpZbDlJSESxtUSB7TqzW2lkweM8epByOEREvKE_RfiPw8pVtjgZ5CRPNG4gfj1XM2JCyNn-vW7s-JhRGdwcF-xVtW3-V_vIioVdLQ/s1600/Denise+No+3+Low+res+1976+Photograph+by+Robert+Besanko+from+Josef+Lebovic+Gallery.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh476Eu5yFlYfpfRjsv7hHDz-_e8pyYPXgezr9sKN9mpZbDlJSESxtUSB7TqzW2lkweM8epByOEREvKE_RfiPw8pVtjgZ5CRPNG4gfj1XM2JCyNn-vW7s-JhRGdwcF-xVtW3-V_vIioVdLQ/s200/Denise+No+3+Low+res+1976+Photograph+by+Robert+Besanko+from+Josef+Lebovic+Gallery.jpg" t$="true" width="138" /></a>oman resonated with me so strongly that in 1994 I selected it as the catalogue cover image for <em>"Critic's Choice",</em> a personal survey of the <strong>Art Gallery of NSW</strong> <a href="http://www.artgallery.nsw.gov.au/">www.artgallery.nsw.gov.au/</a> Photography Collection that I curated at the time.It's wonderful to see it again in Josef Lebovic's gallery. <em>(in the spirit of full disclosure I should also declare that as a photographer, I am represented by the Josef Lebovic Gallery)</em> <em>Until August 13.</em></div></div></div><strong>Australian Talent Flowered in Manhattan, Long Ago.</strong><br />
<div class="separator" style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkcOSETksiIqIBQsOPdCN7JzOH2KH2iPAb52S0_ebYwyORnoaMB7iWTf0XBXd8rbo38BOjNFV8wXE3gcLkAG1XP-bdb5C5BBmP8Ll20Jew1QWVThE5BQxUxvPTEzurc-jSI9ZuuLMhUT47/s1600/Anton+Bruehl_Model-Ruth-Curlett-in-red-sun-hat--1936_1000.gif" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkcOSETksiIqIBQsOPdCN7JzOH2KH2iPAb52S0_ebYwyORnoaMB7iWTf0XBXd8rbo38BOjNFV8wXE3gcLkAG1XP-bdb5C5BBmP8Ll20Jew1QWVThE5BQxUxvPTEzurc-jSI9ZuuLMhUT47/s200/Anton+Bruehl_Model-Ruth-Curlett-in-red-sun-hat--1936_1000.gif" t$="true" width="150" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdiAbadUMYXgtlfLQgIlfXHFNnFqrOGj-IFSdWPZlQMCFwYlpIIYQLCidJNpmHjr9g3OOmXgzOEb90NRm20A3EmPXsftJZY8N-7i6y9JabW-qj4mrXBL50yDWDbPLG9QbpHoGrFuG26MzX/s1600/Anton+Bruehl_Knitted-to-order-sport-clothes-1932_1000w.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdiAbadUMYXgtlfLQgIlfXHFNnFqrOGj-IFSdWPZlQMCFwYlpIIYQLCidJNpmHjr9g3OOmXgzOEb90NRm20A3EmPXsftJZY8N-7i6y9JabW-qj4mrXBL50yDWDbPLG9QbpHoGrFuG26MzX/s200/Anton+Bruehl_Knitted-to-order-sport-clothes-1932_1000w.jpg" t$="true" width="153" /></a></div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="clear: right; cssfloat: right; float: right; margin-bottom: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMH7Ue5C09-nfDjo-Zz5swRttvNK2CIu2TLrkevyfC3NqiHVyOfLH_Mj5MSkV-T4AOb2iNoWSsb1WKv6ZXEUfOU5w1hnjkvVt98p8yoSpG34rJAxExpT4_jjb28C1Cw5n5hm8vgOGm3ZPk/s1600/Anton+Bruehl+HR_Swimsuit-advertisement-1951_1000w.jpg" imageanchor="1" style="clear: right; cssfloat: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMH7Ue5C09-nfDjo-Zz5swRttvNK2CIu2TLrkevyfC3NqiHVyOfLH_Mj5MSkV-T4AOb2iNoWSsb1WKv6ZXEUfOU5w1hnjkvVt98p8yoSpG34rJAxExpT4_jjb28C1Cw5n5hm8vgOGm3ZPk/s320/Anton+Bruehl+HR_Swimsuit-advertisement-1951_1000w.jpg" t$="true" width="254" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><em>Swimsuit advt</em>, 1951 Photograph: <strong>Anton Bruehl</strong> </td></tr>
</tbody></table><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><strong>Anton Bruehl</strong> was born to immigrant German parents in Naracoorte, South Australia in 1900, and emigrated to the United States nineteen years later. Coming from a country where his German father, a skilled Physician, Surgeon and Opthalmologist, effectively lived and practiced his profession under the political cloud of being a possible German sympathizer, it is perhaps not surprising that Bruehl, with his brother Martin, travelled to the United States to find a new life, and eventually, a new home for their parents. However, within a decade Bruehl had transformed his own life, turning a hobbyist interest in photography into a profession where he pioneered an elegant, graphic and for the times, erotic use of colour photography in magazines. After initially getting work as as an electrical engineer, Bruehl saw an exhibition by the students of legendary U.S. photographer <strong>Clarence H. White</strong> at the NY Art Centre that would change his life. <em>"My hobby had (also) emigrated and I read ... books and attended exhibitions,"</em> he recalled in <strong>Gael Newton's</strong> book <em><strong>'In The Spotlight'</strong></em>. <em>"I found it (White's Student Exhibition) very impressive."</em> Bruehl sought out White and persuaded the eminent photographer to teach him privately. Nothing if not decisive, the next day Bruehl took six month's leave from his employers, <strong>Western Electric</strong>, and determined <em>"to try for a full time career in photography". </em>He never went back. How brilliantly the young Australian succeeded is on exhibition in the <strong>National Gallery of Australia</strong> <a href="http://www.nga.gov.au/">http://www.nga.gov.au/</a> touring exhibition <em><strong>"Anton Bruehl - Into The Spotlight"</strong>,</em> at Melbourne's elegant <strong>Monash Gallery of Art </strong><a href="http://www.mga.org.au/">www.mga.org.au/</a> until September 11. Bruehl would master not only the technical demands of large format colour photography for reproduction (he would work extensively for pioneering magazine publisher <strong>Conde Nast</strong>) but would develop a style of photo illustration for advertising, that in hindsight, shows some kinship for the affectionate portrayal of Americal life employed by illustrator <strong>Norman Rockwell</strong>. The difference with Bruehl was in his portrayal of women. Using elegant, sometimes surprisingly explicit nudity, the charming young Australian produced subtly coloured images that eschewed sentimentality and, at their best, gave their subjects unmistakable erotic appeal. When one photograph <em>(pictured, above left)</em> of model <strong>Ruth Corlett</strong>, quite obviously nude and wearing only a bright red, circular hat, was deemed too risque for the US Postal Service and moved from the cover of U.S. <strong>VOGUE</strong> to inside the magazine, Corlett drily protested, defending its tastefulness, as <strong>Gael Newton</strong> noted, saying, <em>"(but) I was adequately clad in Mr. Bruehl's best shadows."</em></div>Beneath Bruehl's elegant colour fantasies and his complex theatrical tableaux, there was also yet another photographer waiting - capable of mastering austere, beautifully exposed and printed observations of society - specifically, a series of images which Bruehl made in Mexico, and which he then published in luxuriant, finely reproduced book form. Photographs of <strong>Anton Bruehl</strong> at the peak of his career reveal a handsome young man apparently enjoying life by taking playful, yet professional delight in the elegance and beauty of his subjects. This exhibition is not to be missed. <em>Until September 11 and afterwards in January 2012 at the Queensland University of Technology Art Museum.</em><br />
<strong>TAKE - A Fine New Avenue for Australian Photography</strong><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjYZdsU32cbp2s8Ff1gfKPEpmmkkIoHYwUys1VSmfmZkhJA02KcH4hpUkR6NUEPBGnhlQIIqx_qv7e5KP3RZFQK1yfi-tyibXE607cdD0jvv9hEgLiub0WXykcpgysjp5xRQt2bxHU2Gmz/s1600/issue-one-cover+TAKE+magazine.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="305" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjYZdsU32cbp2s8Ff1gfKPEpmmkkIoHYwUys1VSmfmZkhJA02KcH4hpUkR6NUEPBGnhlQIIqx_qv7e5KP3RZFQK1yfi-tyibXE607cdD0jvv9hEgLiub0WXykcpgysjp5xRQt2bxHU2Gmz/s400/issue-one-cover+TAKE+magazine.jpg" t$="true" width="400" /></a></div>Austalian photographers now have a new, well reproduced and designed magazine in which to showcase their photography. <strong>TAKE magazine</strong>. Part of a stable of magazines which also includes the excellent, provocative art magazine <strong>EMPTY</strong>, <strong>TAKE</strong> <a href="http://www.takephotomag.com/">http://www.takephotomag.com/</a> will be published twice a year and offers a series of portfolios of fine, contemporary Australian and International photography. Once again, seen en masse, it is difficult to escape the conclusion that photography in this country produces some remarkably individual visions - such as those of <strong>Adam Ferguson</strong>, <strong>Lisa Wiltse</strong>, <strong>Martin Mischkulnig</strong>, <strong>Jessica Tremp</strong> and <strong>David Flanagan</strong>.<br />
<strong><u>Gone But Not Forgotten</u></strong><br />
<div class="separator" style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgC9l1m2YmiVutuWS1Ec_lLtcItPOhkVe2RlR0bWlVwkyY7usYBVJGTveletkVP8Kg5oRSgqOH-KQT4YJblTxFLUSyMMtFoFswPY_EMpLBV769j6wqTgYVzHaqMWScruL5rWz7mz4wpMORO/s1600/Ella+Dreyfus+Low+Res+Articulate+instal1.JPG" imageanchor="1" style="clear: right; cssfloat: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="149" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgC9l1m2YmiVutuWS1Ec_lLtcItPOhkVe2RlR0bWlVwkyY7usYBVJGTveletkVP8Kg5oRSgqOH-KQT4YJblTxFLUSyMMtFoFswPY_EMpLBV769j6wqTgYVzHaqMWScruL5rWz7mz4wpMORO/s200/Ella+Dreyfus+Low+Res+Articulate+instal1.JPG" t$="true" width="200" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi199BGc3Jc8_A4kYMeD7YsBNafjc4A5wYIqrPjhtLNObTQ3plRpjMVHtkg5noGRFMC0ZE5zcprBxd0SXuOM0Lv57TrknIKqkcYv9tIq_DalTKIYrRl7oBydM6HDTtay4UffOfi7jPLbGNY/s1600/Prudence+Murphy_Low+res+Backyard+%25231.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="295" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi199BGc3Jc8_A4kYMeD7YsBNafjc4A5wYIqrPjhtLNObTQ3plRpjMVHtkg5noGRFMC0ZE5zcprBxd0SXuOM0Lv57TrknIKqkcYv9tIq_DalTKIYrRl7oBydM6HDTtay4UffOfi7jPLbGNY/s400/Prudence+Murphy_Low+res+Backyard+%25231.jpg" t$="true" width="400" /></a></div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">Two remarkable exhibitions that have since closed but which should not be forgotten are <strong>Prudence Murphy</strong>'s <em><strong>"Boys with Guns", </strong></em>an<em><strong> </strong></em>exploration of boys and their traditional obsession with playing games featuring guns, <em>(pictured, above)</em> and seen recently at the <strong>Monash Gallery of Art</strong> and <strong>Ella Dreyfus</strong>'s remarkable colourist visions <em><strong>"To See Beyond What Seems To Be",</strong></em> recently shown at <strong>Articulate Project Space</strong> <a href="http://www.artwhatson.com.au/articulateprojectspace/to-see-beyond-what-seems-to-be">http://www.artwhatson.com.au/articulateprojectspace/to-see-beyond-what-seems-to-be</a> <em>(pictured, above right)</em> in Sydney. Both artists are difficults to categorise, with Murphy <a href="http://www.prudencemurphy.com/cv.html">http://www.prudencemurphy.com/cv.html</a> showing her series of droll obse<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiuLUxj1tNiMBLYwg3Sb8bXsyyzgRz6YNXH1m8SdRK-I4u763tFpQbb1kd4TtAcY_sjUXM-SugZheZIqkK4gDsbxttchJl4WjF-mTTqZYRc2Dvx2l5cDZdKmO4uGFvLGhZCNpNykUunUFH/s1600/Low+res+Lloyd+Rees+1982.JPG" imageanchor="1" style="clear: right; cssfloat: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="134" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiuLUxj1tNiMBLYwg3Sb8bXsyyzgRz6YNXH1m8SdRK-I4u763tFpQbb1kd4TtAcY_sjUXM-SugZheZIqkK4gDsbxttchJl4WjF-mTTqZYRc2Dvx2l5cDZdKmO4uGFvLGhZCNpNykUunUFH/s200/Low+res+Lloyd+Rees+1982.JPG" t$="true" width="200" /></a>rvations of young boys playing with weapons - while Dreyfus, well known for her portraits and unsentimental, brutally honest nudes, showed a series of seductive images suffused with colour, but little defining detail. <a href="http://www.elladreyfus.com/news.php">http://www.elladreyfus.com/news.php</a> Looking at her photographs I thought immediately of two artists from very different centuries - <strong>J.M.W.</strong> <strong>Turner</strong> with his vistas overwhelmed by colour and suppressed definition; and <strong>Lloyd Rees</strong>, whom I photographed in 1982<em>.(pictured, right)</em> With his fading eyesight, Rees (1895-1988) was reduced, as he diligently rolled his sleeves up to paint every day, to creating a wan <strong>Impressionism</strong>. </div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><strong><u>POST SCRIPT for "Boys With Guns"</u></strong></div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">When looking at the seemingly trivial domestic vistas in which Prudence Murphy's young subjects play out their fantasies, I was drawn to thoughts of the recent ghastly mass atrocity in <strong>Oslo</strong>, and reminded myself that it was perpetrated by an open-faced, handsome young man, nourished, we are told, by fear, prejudice, a love of guns and the explicit, mimetic games he played incessantly on his computer.</div><strong>Text Copyright 2011 Robert McFarlane</strong> <a href="http://www.robertmcfarlanephotos.com/">http://www.robertmcfarlanephotos.com/</a>ozphotoreviewhttp://www.blogger.com/profile/05955455242704658018noreply@blogger.com1tag:blogger.com,1999:blog-4793272593084821996.post-41717048458822013632011-07-27T02:42:00.000-07:002011-07-27T03:08:39.287-07:00How Far Have We Come? <strong>Mick Rock - Exposed, and Extended at Blender</strong><br />
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<tr><td class="tr-caption" style="text-align: center;">Singer <strong>Debbie Harry</strong> of <em>Blondie </em>Photograph by <strong>Mick Rock</strong></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjq7mpBP024LnKkadnkn0QfDv5K8yLzfRt5BpxeHDOCwoXlQlY7uGlR-1zZMgNMVEx9eswF-xg7wc1NjUUvunIeuip7oCyg0aw1ya9XtyCP-yUqxqH7dSqeVGvxWevCGLIZwaF4t6uuZJjN/s1600/exhibitionimage-BowiePrayerWindowscMickRock2.jpg" imageanchor="1" style="clear: right; cssfloat: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="209" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjq7mpBP024LnKkadnkn0QfDv5K8yLzfRt5BpxeHDOCwoXlQlY7uGlR-1zZMgNMVEx9eswF-xg7wc1NjUUvunIeuip7oCyg0aw1ya9XtyCP-yUqxqH7dSqeVGvxWevCGLIZwaF4t6uuZJjN/s320/exhibitionimage-BowiePrayerWindowscMickRock2.jpg" t$="true" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><strong>David Bowie</strong> Photograph by <strong>Mick Rock</strong><br />
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</div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">Photographs by <strong>Mick Rock</strong>, known as <em>"The Man Who Shot the 70's"</em>, are on display at <strong>Blender Gallery</strong> for another three weeks <span class="843242906-30102007"><span class="843242906-30102007"><span class="468121705-27042010"><span style="font-size: x-small;"></span><a href="http://www.blender.com.au/exhibitions/mick-rock-exposed/">http://www.blender.com.au/exhibitions/mick-rock-exposed/</a> </span></span></span>in Paddington Sydney. The exhibition was to finish this weekend but because of public interest, Director <strong>Tali Udovich</strong> has extended the show until August 20th. Mick Rock is perhaps the most stylised and conceptual of rock photographers, but still capable of simple, honest reportage when required. <strong>Blender Gallery</strong> appear to have happily gone over to the <em>'dark side'</em> and now describe their gallery as "<span class="843242906-30102007"><span class="520201709-16042009"><em>Specialists in Music Photography & Rock 'n' Roll Prints".</em> This would appear to be a good thing as Rock and Roll's pervasive presence in youth (and not so young) culture deserves passionate, critical exposure. In the past Blender Gallery have done this regularly through exhibitions including photographs by <strong>Ethan Russell</strong>, H<strong>enry Diltz </strong>and<strong> </strong>Australia's <strong>Tony Mott, Philip Morris </strong>and <strong>Bob King</strong>. </span></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijOEglOXcvG8oD02XXXs7jn5GUu9Hy7BE3CPtMUd9NckL4tf3numhYG_oaTyySpY_ptT6RW0T9B2kX4X1YNz7sdTebhC8D52Cv-NhofbmlkUk9VbnEBvaJnyHMJH56KasJrOWutzGmxeAZ/s1600/exhibitionimage-DebbieHarrySmileArtMultiplecMickRock2.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijOEglOXcvG8oD02XXXs7jn5GUu9Hy7BE3CPtMUd9NckL4tf3numhYG_oaTyySpY_ptT6RW0T9B2kX4X1YNz7sdTebhC8D52Cv-NhofbmlkUk9VbnEBvaJnyHMJH56KasJrOWutzGmxeAZ/s200/exhibitionimage-DebbieHarrySmileArtMultiplecMickRock2.jpg" t$="true" width="165" /></a></div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><span class="843242906-30102007"><span class="520201709-16042009"><span class="textexposedshow"><span style="font-family: Arial;"><span style="font-family: Times, "Times New Roman", serif;">With this exhibition, Blender Gallery also launched Mick Rock's latest publication, <strong>"MICK ROCK - EXPOSED - The Faces of Rock 'N' Roll".</strong> Everyone from rock culture's past four decades are here - </span></span></span><span style="font-family: Arial;"><span style="font-family: Times, "Times New Roman", serif;"><span class="textexposedshow"><strong>Queen</strong> and its melancholic leader, the late <strong>Freddy Mercury</strong>, <strong>Syd Barrett</strong>, <strong>Lou Reed</strong>, <strong>Blondie</strong>, <strong>Iggy Pop</strong>, right up to the current <em>Queen of Art Rock</em>, <strong>Lady Gaga</strong>. (I recently caught her latest television performance by chance, on <em>Saturday Night Live</em>. Suitably extravagantly clad, Lady Gaga sang brilliantly, proving she is much more than just her amazing visuals.) In his book, Mick Rock contributes a revealing introduction, offers detailed captions for each picture but also includes an essay by eminent British playwright <strong>Tom Stoppard</strong>. (The book is on sale at Blender Gallery at its recommended retail price of $50.00)</span></span></span> </span></span></div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><span class="843242906-30102007"><span class="520201709-16042009"></span></span><strong>Fast, Digital Compact Cameras continue to surprise</strong></div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"></div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2MA2GKJhVzZ4mLJHmbNg4A7flG6E4HGZeyimcWlSY5G31BDayDL4aSbeoOL2cZ2KSnKvbZ3f0m3eQ0ZBBQECsNHQxP3iPv8OU6up3CHLGmMBNYnZcD5lqkmN88vMCvv-pZI9qSb-24aKe/s1600/Nikon+SP+with+35mm+f1.8+Nikkor+lens.jpg" imageanchor="1" style="clear: right; cssfloat: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="146" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2MA2GKJhVzZ4mLJHmbNg4A7flG6E4HGZeyimcWlSY5G31BDayDL4aSbeoOL2cZ2KSnKvbZ3f0m3eQ0ZBBQECsNHQxP3iPv8OU6up3CHLGmMBNYnZcD5lqkmN88vMCvv-pZI9qSb-24aKe/s200/Nikon+SP+with+35mm+f1.8+Nikkor+lens.jpg" t$="true" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><strong>Nikon SP</strong> camera with 35mmf1.8 Nikkor</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzA3RCtGtWg8eJu74toWi8rL50aQ88wyRgNf1FB4Jh4IobZKAQo8TdfEVPVL_MvshcUTAR0zdZN67JnChf0Xp_9SDwIqAt09KuvQAtwhiCE68ab_SOfCa6Rg4duQpqnZ08RUwfJEo638B7/s1600/Nikon+P300+front+view.bmp" imageanchor="1" style="clear: left; cssfloat: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="148" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzA3RCtGtWg8eJu74toWi8rL50aQ88wyRgNf1FB4Jh4IobZKAQo8TdfEVPVL_MvshcUTAR0zdZN67JnChf0Xp_9SDwIqAt09KuvQAtwhiCE68ab_SOfCa6Rg4duQpqnZ08RUwfJEo638B7/s200/Nikon+P300+front+view.bmp" t$="true" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><strong>Nikon Coolpix P300</strong> digital camera</td></tr>
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<div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">The new generation of compact digital cameras with fast wide angle zoom lenses started with <strong>Samsung's</strong> <strong>EX-1</strong> and continued with new models from <strong>Olympus</strong> and <strong>Canon. </strong>(<strong>ozphotoreview</strong> has already favourably reviewed Canon's fine <strong>S95</strong>) This trend continues with Nikon's outwardly modest <strong>Coolpix P300.</strong> <em>(pictured, left)</em> However, this simply styled camera has a number of surprises in store. I quickly found it remarkable for both versatility and image quality. After travelling with this camera to Sydney and using it under a wide variety of lighting conditions I came to the conclusion that fast digital compacts, having roughly the same dimensions as a pack of playing cards, were capable of equalling (perhaps surpassing) the versatility of the great 35mm rangefinder workhorses from a half century ago - such as <strong>Canon's VIT</strong> and the <strong>Nikon SP</strong><em>.(pictured, above right)</em> If this seems an ambitious claim, consider the fact that the Coolpix contains essentially the same focal lengths within its zoom lens as a Nikon SP with 25, 50, 85 and 105 lenses, but also shoots HD video. However the <strong>SP</strong>, favoured by many <strong>LIFE</strong> and <strong>LOOK</strong> photojournalists in the late 1950's and early 1960's, was equal to any picture-taking situation in its era. With its fast 35mm, 50mm and 85mm lenses, this camera represented the pinnacle of Japanese coupled-rangefinder camera design. (Nikon S rangefinder cameras began their life as picture-taking instruments clearly derived from pre-war <strong>Zeiss Contax </strong>cameras. Constant improvements at <strong>Nippon Kogaku</strong> quickly transcended the original German design) But after the Nikon SP reached its peak, there would be no more Nikon rangefinder </div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6hecC9KNUWLrUjn9KlvE92dtfJ_KVU-2XpUMwfh-j2DTSiM4bJRJfCW39JF0RHEYeFqKrg-b3dch38cxe71wAkCRccPcd6wm_KQUDDuUw5DwwIeerTSYlQdjY7SOL2uyovUb0BWuUU-db/s1600/blog+pic+2+NIKON+p300Martin+Sharp.JPG" imageanchor="1" style="clear: right; cssfloat: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6hecC9KNUWLrUjn9KlvE92dtfJ_KVU-2XpUMwfh-j2DTSiM4bJRJfCW39JF0RHEYeFqKrg-b3dch38cxe71wAkCRccPcd6wm_KQUDDuUw5DwwIeerTSYlQdjY7SOL2uyovUb0BWuUU-db/s400/blog+pic+2+NIKON+p300Martin+Sharp.JPG" t$="true" width="300" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"> <strong>Martin Sharp</strong> at <strong>"Wirian"</strong> Photograph by <strong>Robert McFarlane</strong></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEie0VA2ul8GpoXu-6MWxK82S4BLpc40nX0Iog6XPQWfcMU3uZj-IYGsco5Tif2vF4n_pjdiGl6AGuwAdjVitXTCfdSNWlkmpVcHwX3px15_z0xmUbZWldLqfGqJByx9KXEJ8wtVU1sDDceP/s1600/Blogpix+BW+Tiny+Tim+in1.JPG" imageanchor="1" style="clear: left; cssfloat: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEie0VA2ul8GpoXu-6MWxK82S4BLpc40nX0Iog6XPQWfcMU3uZj-IYGsco5Tif2vF4n_pjdiGl6AGuwAdjVitXTCfdSNWlkmpVcHwX3px15_z0xmUbZWldLqfGqJByx9KXEJ8wtVU1sDDceP/s320/Blogpix+BW+Tiny+Tim+in1.JPG" t$="true" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><strong>Tiny Tim</strong>, Luna Park 1979 Photograph by <strong>Robert McFarlane</strong></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuyeX0q5F5yS5wHZZT1u_ts3icJ_HWrBKgMAgN42cHUgXF10XJXvGySW4dNhqJtBL8GPk0Z3ha354BUXRXPMOv2RpEDXawyy1KAC2KDLGQ07GtKZ0akH8EiCBAbaq1h6N16mOhI8Df-he8/s1600/Nikon+P300+Michelle+Pic.jpg" imageanchor="1" style="clear: left; cssfloat: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuyeX0q5F5yS5wHZZT1u_ts3icJ_HWrBKgMAgN42cHUgXF10XJXvGySW4dNhqJtBL8GPk0Z3ha354BUXRXPMOv2RpEDXawyy1KAC2KDLGQ07GtKZ0akH8EiCBAbaq1h6N16mOhI8Df-he8/s200/Nikon+P300+Michelle+Pic.jpg" t$="true" width="150" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Psychologist <strong>Michelle Sexton</strong></td></tr>
</tbody></table> <br />
<div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">This would mark the beginning of another tradition: the introduction in 1959 of a new camera that would quickly become famous for its extreme durability - the <strong>Nikon "F"</strong> <strong>35mm SLR</strong> (but that's another story) Using its advanced viewfinder, the <strong>Nikon SP</strong> could accomodate lenses </div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; text-align: left;"><tbody>
<tr><td style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBe2TLuMp0N0GzlNIu9-uP3FAX7ISKueFu0CySm2IQjlwLtAnJEU2nftSn8FrowcAF0P3aRzCuRCPVVohZOFR8rh3B7SDUl-me7bSoLMZfaA7PdM6Q-qnaRySNSesbaCtVr-dSN5Eqb0T6/s1600/Nikon+P300+Jade+at+First+Drop.JPG" imageanchor="1" style="clear: left; cssfloat: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBe2TLuMp0N0GzlNIu9-uP3FAX7ISKueFu0CySm2IQjlwLtAnJEU2nftSn8FrowcAF0P3aRzCuRCPVVohZOFR8rh3B7SDUl-me7bSoLMZfaA7PdM6Q-qnaRySNSesbaCtVr-dSN5Eqb0T6/s200/Nikon+P300+Jade+at+First+Drop.JPG" t$="true" width="150" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><strong>Jade</strong>, taken with Nikon <strong>P300</strong></td></tr>
</tbody></table>from 28mm wide-angle to 105mm telephoto-and longer using a mirror box. And between 35mm and 85mm, lens speeds commonly ranged from 1.4 for the 50mm, to f1.5 for the fastest 85mm medium telephoto.(there was even a rare 50mm f1.1 Nikkor) Photojournalists loved the speed and quality of these lenses, and the ability to accurately frame and focus using the SP's excellent rangefinder. Much of the turbulent political history of the United States in the 1960's would be recorded by men and women using this camera. I thought about the Nikon SP, surely one of the most elegant camera designs ever, and its remarkable capabilities when I picked up the diminuitive Nikon Coolpix P300. The zoom ratio of the P300's Nikkor lens was modest (4.2X) but the speed and angle of view at its widest setting was not - f1.8 and the equivalent of 24mm. Neither was the len's sharpness. When I visited an old friend, artist <strong>Martin Sharp</strong>, while in Sydney, I made a few simple portraits of this remarkable painter, printmaker, film director and writer at his Bellevue Hill home - the sprawling mansion <strong>"Wirian"</strong> - filled with a half-century of Sharp's remarkable artistic output. (I had enjoyed the privilege, in January 1979, of being one of the photographers invited by Sharp to document the presence in Sydney of U.S. singer <strong>Tiny Tim</strong>.) Sharp was directing <em>"Street of Dreams"</em> a definitive documentary film of <strong>Tiny Tim</strong> (1932-1996) in performance at Sydney's <strong>Luna Park</strong> showing the remarkable troubadour breaking the <strong>World's Non-Stop Singing Record</strong>. (<em>pictured, above</em>) As I photographed Sharp, I periodically checked the sharpness of the Coolpix P300 pictures on the very fine resolution LED monitor, I was surprised and delighted by their sharpness, colour balance and appropriate contrast. Clearly this camera, with its 12 megapixel backside-illuminated <strong>CMOS</strong> sensor, was capable of making pictures of professional publication quality. I would later make a series of spontaneous portraits of a lawyer friend, <strong>Jade</strong>, in the bright, contrasty light of Sydney's Redfern streets (and also a close-up portrait of Adelaide psychologist <strong>Michelle Sexton</strong> taken indoors under more subdued light) that illustrated this camera's qualities well. Sharpness, contrast and colour balance all proved exemplary. Enthusiastic amateurs and professionals alike can take confidence in this latest member of the new generation of pocketable cameras - while also noting the Coolpix P300 shoots full <strong>1080 HD</strong> video. (the Coolpix sports a built-in stereo mike and includes the increasingly popular <em>panoramic</em> mode) Picture-taking menus were simple and I found myself only occasionally drawn to the User's Manual.<br />
<div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><strong>"Pope Alice" Returns to the ACP.</strong></div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhE68ArfZw6YyheMjVpkymuLgEgnjubW2XcnGxw-kmMUNFCqWuyyYUWA0XVdUiUznwOTi-j12Xt8j-sMcJiyjY533s49kEWNKIjWp8vdewXN4jYTUq_W5QJS5Omz7KvG-bhmu-T94kQw6wg/s1600/Pope+Alice+%2528Lake+Galilee%2529+Photograph+by+Luke+Roberts+ACP.jpg" imageanchor="1" style="clear: left; cssfloat: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="85" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhE68ArfZw6YyheMjVpkymuLgEgnjubW2XcnGxw-kmMUNFCqWuyyYUWA0XVdUiUznwOTi-j12Xt8j-sMcJiyjY533s49kEWNKIjWp8vdewXN4jYTUq_W5QJS5Omz7KvG-bhmu-T94kQw6wg/s400/Pope+Alice+%2528Lake+Galilee%2529+Photograph+by+Luke+Roberts+ACP.jpg" t$="true" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; text-align: center;"><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><strong>"Pope Alice"</strong> at Lake Galilee, Qld. Photograph by <strong>Luke Roberts</strong></div></td></tr>
</tbody></table><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">The <strong>Australian Centre for Photography</strong> <a href="http://www.acp.org.au/">http://www.acp.org.au/</a> is currently showing two exhibitions which encompass important perimeters of current art practice: <strong>Luke Roberts</strong> is presenting <strong><em>AlphaStation/Alphaville,</em></strong> yet another courageous, unsentimental exploration into personal identity, as well as revisiting one of his most potent creations - the elusive, mythic and slightly ominous presence of <strong>Pope Alice.</strong> <em>(pictured, above)</em> Inspired, and perhaps provoked by his strict Catholic upbringing in Queensland, Australia (and Roberts' reaction to the Catholic Church's abhorrence of homosexuality) Pope Alice now has a wandering life of her own in the hands of this dedicated artist. Typically, Roberts has added an extra, ironic touch to his panoramic evocation of the celestial Pontiff - by photographing her at Lake Galilee. Not the same body of water as in the Holy Land, but in a remote, waterless part of Queensland. <em>Until July 23</em> <strong>Practising What You Preach, and also Show.</strong> </div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; text-align: center;"><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgy1jIZd18dXechx9O6oZgtIIdGy_9ZDK2cT_mshHgMwN16SsoVacadJ4KTUVxerhmYxu8dNoduaOpqnZXRv7xTxFuiN-jxIj-Cq7iwGZfiFM83yu_ItYsajugnwiUeMtIJ4F5QTaV7cCYn/s1600/Lock_Steve_Lighting.jpg" imageanchor="1" style="clear: left; cssfloat: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="141" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgy1jIZd18dXechx9O6oZgtIIdGy_9ZDK2cT_mshHgMwN16SsoVacadJ4KTUVxerhmYxu8dNoduaOpqnZXRv7xTxFuiN-jxIj-Cq7iwGZfiFM83yu_ItYsajugnwiUeMtIJ4F5QTaV7cCYn/s200/Lock_Steve_Lighting.jpg" t$="true" width="200" /></a></div></td></tr>
<tr><td class="tr-caption" style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; text-align: center;">Photograph by <strong>Steve Lock</strong></td></tr>
</tbody></table><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"> </div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhO7kuVZlhH0QkK2EF5Wxofnqp8J_HNRgNMeXzRAkQyuntOZ3Z-IcpSaUQZPRHSpfYyZojnh-JIUt9zdSzQuFBgVHAqVpbnNYkH3Pnn2u6XQTXzIj82kIG4-P-WZ1_mpu0POrB53IaOEF2X/s1600/Photograph+by+Angela+Rose+Woods+ACP+Advanced+Photoshop.JPG" imageanchor="1" style="clear: left; cssfloat: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="175" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhO7kuVZlhH0QkK2EF5Wxofnqp8J_HNRgNMeXzRAkQyuntOZ3Z-IcpSaUQZPRHSpfYyZojnh-JIUt9zdSzQuFBgVHAqVpbnNYkH3Pnn2u6XQTXzIj82kIG4-P-WZ1_mpu0POrB53IaOEF2X/s400/Photograph+by+Angela+Rose+Woods+ACP+Advanced+Photoshop.JPG" t$="true" width="400" /></a></div></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">Photograph by <strong>Angela Rose Woods</strong></div></td></tr>
</tbody></table><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">On display at the same time as the sadly soon to finish exhibition by <strong>Luke Roberts</strong>, is work by the students at the Australian Centre for Photography. This current exhibition reveals at least two of the extremes of modern photography - images which could only be produced in the age of Pho<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDtzkxIyP8oI79yqLga30WUDnLE2DM5KP5IsbenCxsmncykIon3_RR4EgOLrJtlZ-kiqN_k7C4k9wnWQurJkOVQpbfBYcuLrHiLYdgEARJbqKSWmUDAQvwcBpWO7Qc3fw34z8vyf7DzuIU/s1600/get-on-down-a-decade-of-rock-and-roll-posters.jpg" imageanchor="1" style="clear: right; cssfloat: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDtzkxIyP8oI79yqLga30WUDnLE2DM5KP5IsbenCxsmncykIon3_RR4EgOLrJtlZ-kiqN_k7C4k9wnWQurJkOVQpbfBYcuLrHiLYdgEARJbqKSWmUDAQvwcBpWO7Qc3fw34z8vyf7DzuIU/s200/get-on-down-a-decade-of-rock-and-roll-posters.jpg" t$="true" width="135" /></a>toshop - and pictures so fluid, observational and brilliantly narrative, <em>(pictured above left)</em> that thoughts of artifice simply do not occur. And as the former husband of brilliant illustrator, <strong>Kate Burness</strong> (her remarkable 1973 <strong><em>Rolling Stones</em></strong> poster was featured in <strong>Get On Down</strong> <em>(pictured, right -</em> with the book using <em><strong>Martin Sharp</strong>'s brilliant poster for <strong>Jimi Hendrix</strong></em> <em>as the cover image</em>) <a href="http://www.poster-books.com/music/get-on-down-a-decade-of-rock-and-roll-posters.shtml">http://www.poster-books.com/music/get-on-down-a-decade-of-rock-and-roll-posters.shtml</a>) I am aware of the skills possessed by talented, imaginative artists. But when I saw the wonderful photo-illustration created by <strong>Angela Rose Woods</strong> <em>(pictured above)</em> I had to acknowledge what may be dreamed, can now be made real through software such as <strong>Photoshop</strong> <a href="http://www.adobe.com/products/photoshop.html">http://www.adobe.com/products/photoshop.html</a> challenging the traditional draftsmanship and classical colourist skills possessed by artists such as Burness.</div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><strong>But There's More! Coming Attractions at the ACP.</strong> </div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1tUDPGIJMIABVvzm-zmVWMy8rGLtkSGvxbLIJgCNcFl3nmXLsunnEnGmjB-iQUJZxhsHHdGnSCDbHJw4dNAqOV6W83V1YiFzgUdd0b-xJnq4k92AAAXCvr_bOMGcGyHVpEoMsr9XQ8lb6/s1600/Lloyd+Godman+from+Entropy+at+the+ACP+Sydney.jpg" imageanchor="1" style="clear: left; cssfloat: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1tUDPGIJMIABVvzm-zmVWMy8rGLtkSGvxbLIJgCNcFl3nmXLsunnEnGmjB-iQUJZxhsHHdGnSCDbHJw4dNAqOV6W83V1YiFzgUdd0b-xJnq4k92AAAXCvr_bOMGcGyHVpEoMsr9XQ8lb6/s400/Lloyd+Godman+from+Entropy+at+the+ACP+Sydney.jpg" t$="true" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Photograph by <strong>Lloyd Godman</strong></td></tr>
</tbody></table><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"></div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">Starting on July 29th are two exhibitions that exploit photography's traditional strengths. In Gallery 3, <strong>Lloyd Godman</strong> will present <strong><em>Entropy</em></strong>, a suite of colour photographs that illustrate how the Australian bush regenerated after the tragic Victorian bushfires of 2009. <em>(pictured, left)</em> Accompanying Godman will be <strong><em>Disappeared by Remained</em></strong> an exhibition of Korean photographers (one of retiring ACP Director <strong>Alasdair Foster's</strong> achievements has been to embrace the reality of Australia's presence in Asia and the Pacific) The artistry of the Korean people is often overlooked when considered in context with their phenomenal capacity for imaginative hard work (a contemporary Korean saying proclaims <em>'we are the only people who make the Japanese look lazy!) </em> </div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi87Tb0IAF4PO7_YjWnqYFuPvF77gnP-w0uRvnzgFFm-F2AtSQntTSQPgGNoGKnY3xZuATIr5Nj_MXvr2aq-oye2H7nfQw3j7zveYsYHBylUrSUwrpXuuMsh6eDJPJ8R42TaO9N8egcmhSj/s1600/Kangwoongu.JPG" imageanchor="1" style="clear: left; cssfloat: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="131" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi87Tb0IAF4PO7_YjWnqYFuPvF77gnP-w0uRvnzgFFm-F2AtSQntTSQPgGNoGKnY3xZuATIr5Nj_MXvr2aq-oye2H7nfQw3j7zveYsYHBylUrSUwrpXuuMsh6eDJPJ8R42TaO9N8egcmhSj/s200/Kangwoongu.JPG" t$="true" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Photograph by <strong>Woon-Gu Kang</strong></td></tr>
</tbody></table><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"> </div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUfQLCw8YaDvrv58x1m2PDuRqfClNmLImLQRSMpQgK7CoAMJrFGBxc7zf4tYBMel9E97kJqjJqOsoAiBleAOzXOMUi_QDRW_lkddScB_fgrQXuuQuqCLN8j2RsFGR8T5ZfvOKxTB3AosPt/s1600/Kimkichan04+from+ACP+2011+exhibition.jpg" imageanchor="1" style="clear: right; cssfloat: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUfQLCw8YaDvrv58x1m2PDuRqfClNmLImLQRSMpQgK7CoAMJrFGBxc7zf4tYBMel9E97kJqjJqOsoAiBleAOzXOMUi_QDRW_lkddScB_fgrQXuuQuqCLN8j2RsFGR8T5ZfvOKxTB3AosPt/s200/Kimkichan04+from+ACP+2011+exhibition.jpg" t$="true" width="131" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Photograph by <strong>Ki-Chan Kim</strong></td></tr>
</tbody></table><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"></div> <br />
<div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><strong><em>Disappeared but Remained</em></strong> offers the work of three distinguished Korean photographers: <strong>Woon-Gu Kang</strong>, <strong>Ki-Chan Kim</strong>, and <strong>Gap Chul Lee</strong> in an exhibition curated by the <strong>Museum of Photography, Seoul</strong>.</div> <br />
<div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">Each understands the idea that every photograph, in some way, is an elegy for a past experience or person. Defying global artistic trends, Korean photographers pursue what their spokesman called, <em>"the essential characteristic of photography: the representation and preservation of reality. The photographers ... (and) focus on documenting disappearing moments, places or objects (within) the radical social change of South Korea’s rapid industrialization and westernization."</em></div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><strong>Just out: 2011 Compendium of Australian Photographers.</strong></div><div class="separator" style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgd7VWDp731RUDrr8Mvb5OrIT5x0b-DBoJ5u8U93e4dCF4z0ah59MGeJKwj9yVUEwDA6MGaoE24mpUlAnzk9filOvSOsELYlSyb2gOg7-gdt08ijPJY0szY-IQwgR0me5imdOrG4uNKCXDi/s1600/Compendium+2011+Samantha+Everton+Page.jpeg" imageanchor="1" style="clear: right; cssfloat: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgd7VWDp731RUDrr8Mvb5OrIT5x0b-DBoJ5u8U93e4dCF4z0ah59MGeJKwj9yVUEwDA6MGaoE24mpUlAnzk9filOvSOsELYlSyb2gOg7-gdt08ijPJY0szY-IQwgR0me5imdOrG4uNKCXDi/s200/Compendium+2011+Samantha+Everton+Page.jpeg" t$="true" width="200" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgV2X2Kz3Ezl_GQE3WhH_njMbdpgk2NbgqE-yFQ6Rhw68dlZuPi7uGuPVEanuydr0Wmn8v2cM6McgV3cUKHqhPdevoEKO-xW3Ly2XLgItTixe0Komn2TuZzwmlLUxKI4sZyBbNZUru1hNQg/s1600/Compendium+Cover+2011.jpeg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgV2X2Kz3Ezl_GQE3WhH_njMbdpgk2NbgqE-yFQ6Rhw68dlZuPi7uGuPVEanuydr0Wmn8v2cM6McgV3cUKHqhPdevoEKO-xW3Ly2XLgItTixe0Komn2TuZzwmlLUxKI4sZyBbNZUru1hNQg/s200/Compendium+Cover+2011.jpeg" t$="true" width="200" /></a></div> <br />
<div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">Just off the presses in China is a remarkable addition to Australian publishing - a beautifully designed and reproduced book which contains the work of the vast majority of photographers (over 130) who exhibited in recognised Australian art galleries during 2011<em>.</em> Each photographer supplied one photograph and accompanying text with their contact details. <strong>The Compendium</strong><em>(pictured, left and right)</em> was created by <strong>Mary Meyer</strong> and <strong>Bob Kersey</strong>, founders of the <strong>Meyer Gallery</strong> <a href="http://www.meyergallery.com.au/">http://www.meyergallery.com.au/</a> and becomes, after the quickest reading (a copy arrived only hours ago) a uniquely valuable source of reference for the current (and annual) state of this dynamic Australian art. To obtain copies, please contact <strong>Mary Meyer</strong> on <strong>0409 971 940</strong> or visit <a href="http://www.thecompendium.com.au/">http://www.thecompendium.com.au/</a> to find out how to participate in future editions.</div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><strong>Text: Copyright Robert McFarlane 2011 <a href="http://www.robertmcfarlanephotos.com/">http://www.robertmcfarlanephotos.com/</a></strong> </div>ozphotoreviewhttp://www.blogger.com/profile/05955455242704658018noreply@blogger.com1tag:blogger.com,1999:blog-4793272593084821996.post-42955432299895807862011-06-11T23:43:00.000-07:002011-06-13T23:02:53.926-07:00The Unchanged, and Adorned Landscape<strong>Greg Weight's Night Masterpiece on Show in Melbourne</strong><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJVKajunh292AEVkmVtb0bKK2JkMSUQGex8PnHEcYmriGIwl2xx0qmpCi32u42Wb2a8E3irIRrnmxLJNMsSN26vpQHthmEgp-or4JfuXEkmijmmqZLFTri2RHYSXZZzGMaron7mWcpTQW0/s1600/Greg+Weight+HD+East+of+Emily.jpg" imageanchor="1" style="clear: left; cssfloat: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJVKajunh292AEVkmVtb0bKK2JkMSUQGex8PnHEcYmriGIwl2xx0qmpCi32u42Wb2a8E3irIRrnmxLJNMsSN26vpQHthmEgp-or4JfuXEkmijmmqZLFTri2RHYSXZZzGMaron7mWcpTQW0/s400/Greg+Weight+HD+East+of+Emily.jpg" t8="true" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">"East of Emily with meteorite 2009" Photograph by <strong>Greg Weight</strong></td></tr>
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<div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"> <br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiD_Yt1Of7us2cyPZyQQRLg7YxeyBsPC3hJwgJ7Dus24QsicWs_k6pLz6AFE2oVCsXSF1Ujd41MGHM5HBT9EGmOeryWmxWB3tWEvInSsFS6PifDv2rhGyLnd-eYLnPfqTGV-sSmNzKz7xsB/s1600/Greg+Weight+HD+Formations.jpg" imageanchor="1" style="clear: left; cssfloat: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiD_Yt1Of7us2cyPZyQQRLg7YxeyBsPC3hJwgJ7Dus24QsicWs_k6pLz6AFE2oVCsXSF1Ujd41MGHM5HBT9EGmOeryWmxWB3tWEvInSsFS6PifDv2rhGyLnd-eYLnPfqTGV-sSmNzKz7xsB/s400/Greg+Weight+HD+Formations.jpg" t8="true" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">"Formations 2010" Photograph by <strong>Greg Weight</strong></td></tr>
</tbody></table> <strong>19th</strong> and 20th Century Australians of European origin grew up nourished by the fiction that this continent's heart was dead - a lifeless, threatening landscape completely opposed to the residual, mythic imagery of a European Arcadia from whence we came. This pervasive fiction has been, however, consistently eroded, firstly by our painters - from <strong>Fred Williams</strong>, <strong>Arthur Boyd</strong> and <strong>Sidney Nolan</strong> to the seemingly photographic-inspired visions of <strong>William Robinson </strong><a href="http://www.evabreuerartdealer.com.au/robinson.html">http://www.evabreuerartdealer.com.au/robinson.html</a> Photographically, the inner, beating heart of Australia has been unsentimentally recognized by a generation of 20th Century photographers from - <strong>Wesley Stacey</strong> <a href="http://www.photo-web.com.au/wesley/intro1.htm">http://www.photo-web.com.au/wesley/intro1.htm</a> and <strong>David Moore</strong> <a href="http://www.davidmoorephotography.com.au/">http://www.davidmoorephotography.com.au/</a> to the more recent, epic 21st Century visions of <strong>Murray Fredericks</strong> <a href="http://www.murrayfredericks.com.au/">www.murrayfredericks.com.au/</a> and <strong>David Flanagan</strong>. <a href="http://www.davidflanagan.com.au/">http://www.davidflanagan.com.au/</a> The poetic, planetary, aerial abstractions of <strong>Richard Woldendorp</strong> <u><a href="http://www.richardwoldendorp.com/">http://www.richardwoldendorp.com/</a></u> offer an even more seductive alternative. Woldendorp makes no attempt to gild Australia's lily; instead this Dutch-born Western Australian has captured the Australian landscape as he finds it, but through a deeply informed, artistic vision. It is impossible to look at Woldendorp's photographs of a raw, Australian landscape, taken from the air, without gathering painterly references from generations of Australia's greatest 20th Century artists - especially including indigenous painters . To this mix of artists comes yet another unique vision. Visual veteran<strong> Greg Weight </strong><a href="http://www.gregweightphoto.com.au/">www.gregweightphoto.com.au/</a> - equally literate in photography, sculpture and painting (Weight's partner, appropriately, is accomplished painter and <strong>GalleryEast</strong> director <strong>Carol Ruff </strong><a href="http://www.carolruff.com/">http://www.carolruff.com/</a> The Sydney-based photographer brings a simple, poetic vision laced with humility, to portraying our land. Weight's pictures entrance the viewer by intimately conveying, for example, the feeling of standing in a distant Australian landscape after dark, beneath a luminous inland night sky. Weight's colour image of a serrated ridge, with its spindly trees caught against a darkening canopy <em>(pictured, above)</em> through which a falling meteorite traces a faint line of light, is nothing less than a masterpiece. There is another, disparate string to Weight's artistic bow, however. This veteran artist has also attempted the seemingly impossible - supplementing the Australian landscape with a form of installation art - by subtly altering the vistas he photographs. By positioning a series of alien, bound, tree-like structures <em>(pictured, below)</em> Weight unexpectedly adds to our sense of the Australian landscape, while also acknowledging his understanding of Indigenous Australia and our art in general. Weight asserts that <em>"they appear in concert with each other and ... the landscape. With their branches tied, ... landscape beyond becomes more visible ... more sculptural. Placed by nature. Shaped by hand."</em> The central desert of Australia is enormous and alive, adds Weight and making these photographs was, he maintains simply, <em>"a very small and ephemeral gesture to do with contemporary intelligence in a timeless place."</em> At Melbourne's <strong>Australian Galleries</strong> <a href="http://www.australiangalleries.com.au/">www.australiangalleries.com.au/</a> until June 26<br />
<strong>The Co-Parent of Digital Photography Dies at 86</strong><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPvaI8GDn_eSmfAdg6TisoGiX6oEc-Gdx3Gx25CdFEhoMhE5siGw-H0l4Urpe7p_F7VNOt-mGoPJMNf-J065VzKrik-ZOXU2MdJpHQDJESx122UAsjOAgbNEFpuYvtP8rItkEjzw_utWCX/s1600/111171_Willard+Boyle+NEW.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPvaI8GDn_eSmfAdg6TisoGiX6oEc-Gdx3Gx25CdFEhoMhE5siGw-H0l4Urpe7p_F7VNOt-mGoPJMNf-J065VzKrik-ZOXU2MdJpHQDJESx122UAsjOAgbNEFpuYvtP8rItkEjzw_utWCX/s320/111171_Willard+Boyle+NEW.jpg" t8="true" width="214" /></a></div><strong>2009 Nobel Prize for Physics </strong>Laureate <strong>Willard Boyle</strong> 1924-2011 (<em>pictured, left</em>) the co-inventor (with fellow Nobel laureate <strong>George E. Smith </strong>1930<strong>-</strong>) of the <strong>Charge-Coupled Device (CCD),</strong> which first made digital photography possible, has died in Wallace, Nova Scotia, Canada on May 7. Boyle's achievement in co-creating the charge-coupled device in 1969 effectively ushered in a revolution in photography. <em>"After making the first couple of imaging devices,"</em> remembered Boyle, <em>"we knew for certain that chemistry photography was dead."</em> Boyle reportedly told his artist wife <strong>Betty</strong> on the day he and Smith had worked on the CCD concept, <em>"George and I did something special today."</em> Later Boyle recalled that the two physicists' discussion had lasted little more than an hour, during which he and Smith 'batted some ideas around' and came up with the CCD. <em>“We realised here is something that is pretty interesting because it will for the first time enable technology to store photographs ... transmit them and use them somewhere else.”</em> Boyle, a Canadian, had already enjoyed a long, distinguished career as a physicist, which included (with <strong>Don Nelson</strong>) inventing the first continuously operating <strong>ruby laser</strong> in 1962, during his time working at America's legendary <strong>Bell Labs</strong> in New Jersey. In another, earlier, very different career, Boyle flew <strong>Spitfires</strong> for the Fleet Air Arm in the <strong>Royal Canadian Navy</strong> during the Second World War. (at war's end, Boyle was undertaking training landing Spitfires on aircraft carriers.) Boyle was also director of Bell Labs' <strong>Space Science and Exploratory Studies</strong> in 1962 and helped select the U.S. lunar landing sites. Later sending of images from the 1969 Moon landing to Earth used his newly designed CCD technology. <br />
<strong>The Redefined Moment</strong><br />
<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVGLPZcimbiM5Gd_LNONhigEgn9kmhBKilWRcn67FFAk_QBXpk8qkNwsDqOlneL1QyEyPHxSsXSIVy7hKoy2xG6OyKJw0Xf5gWH-ptJSSUVGV6vHWklYb7EEVFO6gDr2MTyRU0j14Ov95H/s1600/Darren+Harris+Resurgent_web.jpg" imageanchor="1" style="clear: left; cssfloat: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVGLPZcimbiM5Gd_LNONhigEgn9kmhBKilWRcn67FFAk_QBXpk8qkNwsDqOlneL1QyEyPHxSsXSIVy7hKoy2xG6OyKJw0Xf5gWH-ptJSSUVGV6vHWklYb7EEVFO6gDr2MTyRU0j14Ov95H/s400/Darren+Harris+Resurgent_web.jpg" t8="true" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">"Resurgence 2010" Photograph by <strong>Darren Harris</strong></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZ6o_owskL461RZiB-V4TqD6lgfW-0IxHHM4TzOTo134sfXfedvxxtfx9ooCbb1Xrcz7v439Z9VPUvWWUreixlAmrBBqcqX5e8n-qjNKqhn3FpPpdKS1VHcAQDRKtGJawjNrYBaZr1IQiq/s1600/Tony+Egan+Bob+Kersey+Jenny+Templin+Mary+Meyer.jpg" imageanchor="1" style="clear: right; cssfloat: right; height: 246px; margin-bottom: 1em; margin-left: auto; margin-right: auto; width: 321px;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZ6o_owskL461RZiB-V4TqD6lgfW-0IxHHM4TzOTo134sfXfedvxxtfx9ooCbb1Xrcz7v439Z9VPUvWWUreixlAmrBBqcqX5e8n-qjNKqhn3FpPpdKS1VHcAQDRKtGJawjNrYBaZr1IQiq/s400/Tony+Egan+Bob+Kersey+Jenny+Templin+Mary+Meyer.jpg" t8="true" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><strong>L</strong>to<strong>R:</strong> Tony Egan, Bob Kersey, Jenny Templin, Mary Meyer</td></tr>
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<div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"> While I was last in Sydney I visited a gallery that primarily shows photography, the <strong>Meyer</strong> <strong>Gallery</strong> <a href="http://www.meyergallery.com.au/">http://www.meyergallery.com.au/</a> to see <strong>Darren Harris's</strong> <em>"Psychological Portraits",</em> a series of black and white images that provided impressionistic portraits of humanity's most inner landscapes. Reminiscent at first glance of South African artist <strong>William Kentridge's</strong> remarkable black and white drawings, Harris, who has a background in psychology and counselling, created images which extended and layered the photographic moment <em>(pictured, above)</em> While at the gallery I noticed that <strong>Mary Meyer</strong>, her partner <strong>Bob Kersey</strong> and <strong>Tony Egan</strong> <a href="http://tonyeganphotography.com/about.html">http://tonyeganphotography.com/about.html</a> and <strong>Jenny Templin</strong> <a href="http://www.sydneycommunitycollege.com.au/tutor/200"><em>http://www.sydneycommunitycollege.com.au/tutor/200</em></a><em> (pictured, above, in a picture I made with the impressive <strong>Nikon Coolpix P300</strong> which I am reviewing for a future blog) </em>were all captivated by a website for the late <strong>Vivien Maier </strong><a href="http://vivianmaier.blogspot.com/">http://vivianmaier.blogspot.com/</a> whose photographic archive has only recently been discovered. Maier's artless, heartfelt style reflected a lifelong committment to documenting everyday life, and marked <strong>Vivien Maier</strong> (1926-2009) as a truly memorable amateur - in the best sense of that word.<em> Darren Harris's exhibition closes June 11.</em><br />
<div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><strong>Distilled Moments from Another Century.</strong><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihpXajWrh5kGYvP-qcjgHI50IVcBcvlVIZki10-tM39ztTwMYZBJS4eiBsfVXy-fijtYPUBgD-TrVUEhBqCG1l8WmscdrublEs3POPCYBEySlDC4jJxd20WUxBlCSorCufWL6TVUk9GWI2/s1600/05_stacey_01.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihpXajWrh5kGYvP-qcjgHI50IVcBcvlVIZki10-tM39ztTwMYZBJS4eiBsfVXy-fijtYPUBgD-TrVUEhBqCG1l8WmscdrublEs3POPCYBEySlDC4jJxd20WUxBlCSorCufWL6TVUk9GWI2/s320/05_stacey_01.jpg" t8="true" width="264" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfwsjfu0Ed_rOc2l8o2GPLjsgPjnA1Tb1Ca7aEviBgYa4fV6q42B0I7YpFyPwnHI915c14TXGXm3GhDvAaX2xTkLWJtGjHSpbuhUysskZ8SAKiAdX9T3J6rcsvStrHd1AahX_hnsXiMbDb/s1600/05_stacey_02.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfwsjfu0Ed_rOc2l8o2GPLjsgPjnA1Tb1Ca7aEviBgYa4fV6q42B0I7YpFyPwnHI915c14TXGXm3GhDvAaX2xTkLWJtGjHSpbuhUysskZ8SAKiAdX9T3J6rcsvStrHd1AahX_hnsXiMbDb/s1600/05_stacey_02.jpg" t8="true" /></a></div>One of the great strengths of Australian fine-art photography is the freedom with which artists pursue the most personal, differing visions - from, for example, the fabricated emotional fantasies of <strong>Polixeni Papapetrou</strong> <a href="http://polixenipapapetrou.net/">http://polixenipapapetrou.net/</a> to the exquisite, but differing still-life images of <strong>Marian Drew, </strong><a href="http://robingibson.net/artists/marian-drew">http://robingibson.net/artists/marian-drew</a> <strong>Anna-Maryke Grey</strong> <a href="http://www.anna-maryke.com/">http://www.anna-maryke.com/</a> and <strong>Robyn Stacey </strong><a href="http://lightjourneys.net.au/artists/robyn-stacey/">http://lightjourneys.net.au/artists/robyn-stacey/</a> Where death frequently permeates Drew's meticulously constructed tableaux, Grey and Stacey deal with the residual evidence of lives lived fully, long ago. Any new exhibition by Robyn Stacey always radiates visual evidence of her continuing love affair with colonial Australia. The mature vision of this artist conjures feelings of an era where silicon was only found in sand on the beach, and if you called someone, hopefully it meant they were within earshot. At <strong>Stills Gallery</strong> <em>until June 25 </em><br />
<a href="http://www.stillsgallery.com.au/exhibitions/index.php?obj_id=main&nav=1">http://www.stillsgallery.com.au/exhibitions/index.php?obj_id=main&nav=1</a><br />
<div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><strong>"Received Moments" opens at Orange on June 17</strong></div> <br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXkadaNneqZXXY0_pCcoEo5gY-qNXaFSjO2aAEKnjMUr8D18AnP_WCqkrnX_W-tJDOjkE4SIL-5aW1nRX9Kmvv_8cFBX1IphclIKcuMen648lG5sUybcomxFJmzDmhMqtkn6rGoqrUe_n8/s1600/backstage+christmas+eve+paradise+strip+club+kings+cross+c+1964+photograph+by+robert+mcfarlane+copy.jpg" imageanchor="1" style="clear: left; cssfloat: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="241" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXkadaNneqZXXY0_pCcoEo5gY-qNXaFSjO2aAEKnjMUr8D18AnP_WCqkrnX_W-tJDOjkE4SIL-5aW1nRX9Kmvv_8cFBX1IphclIKcuMen648lG5sUybcomxFJmzDmhMqtkn6rGoqrUe_n8/s320/backstage+christmas+eve+paradise+strip+club+kings+cross+c+1964+photograph+by+robert+mcfarlane+copy.jpg" t8="true" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">"Christmas Eve, The Paradise Club, Kings Cross c.1966" </td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixywC2MNNE-qG7cM9xRh_e4xSBCxnmtduRKOGwHfVRscotxHpZ2QOrMIwp-M0e_GuiJXpg75dXvDq_ybXCc0vz9g7t7hyxOyDwmFczfcCyu1HRTgkRFwRPxVbCJSRhYwJAsEavLNEISXQS/s1600/MAGAM+scan+0098+BW+Robyn+Archer+in+Tonight+Lola+Blau+Adelaide+c.+1983+Photograph+by+Robert+McFarlane.jpg" imageanchor="1" style="clear: right; cssfloat: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixywC2MNNE-qG7cM9xRh_e4xSBCxnmtduRKOGwHfVRscotxHpZ2QOrMIwp-M0e_GuiJXpg75dXvDq_ybXCc0vz9g7t7hyxOyDwmFczfcCyu1HRTgkRFwRPxVbCJSRhYwJAsEavLNEISXQS/s200/MAGAM+scan+0098+BW+Robyn+Archer+in+Tonight+Lola+Blau+Adelaide+c.+1983+Photograph+by+Robert+McFarlane.jpg" t8="true" width="135" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">"Robyn Archer in <em>Tonight-Lola Blau</em> c.1982"</td></tr>
</tbody></table> <br />
<div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"> Expertly curated by <strong>Sarah Johnson</strong>, my 1961-2009 retrospective is slowly coming to the end of its long tour through the excellent, inclusive (and enlightening) Australian regional gallery network. I am travelling to <strong>Orange Regional Gallery</strong> <a href="http://www.org.nsw.gov.au/">http://www.org.nsw.gov.au/</a> next week to open the penultimate showing of this body of work. I once opened a show in Orange by an old friend, <strong>Barry Flakelar</strong>, and found their new, modern gallery diverse, welcoming and exciting. Each one of the regional galleries where <em>"Received Moments"</em> has been shown, from Maitland to Broken Hill and the Gold Coast, has taken a slightly different tack with how they displayed the pictures. I look forward to seeing Director <strong>Alan Sisley</strong>'s interpretation. The tour of these pictures has only reinforced my belief in the importance of regional Australian communities. (it's final season opens at the <strong>Flinders Art Museum</strong>, North Terrace, Adelaide, on October 29 <a href="http://www.flinders.edu.au/artmuseum/index.cfm?mid=2&sid=0">http://www.flinders.edu.au/artmuseum/index.cfm?mid=2&sid=0</a> )<br />
<em>Until July 31.</em></div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><strong><em>"I am a Camera"</em> opens at Adelaide's Greenhill Galleries</strong></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLk2wG5Gn10bnr4SKAvIMUEK99y9FDuIfygGKQxNuvLv_VqPi8VrofBL1lnimwMHAFShfRTdUpimioq3EIOcH5aA3Dqsnr595fiEg3TZCtQaQYR-Q4GyS5cwRXBCk3h3D2BriGAadLqbHd/s1600/Paul+Lloyd+Photograph+from+I+am+a+camera+2011.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="272" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLk2wG5Gn10bnr4SKAvIMUEK99y9FDuIfygGKQxNuvLv_VqPi8VrofBL1lnimwMHAFShfRTdUpimioq3EIOcH5aA3Dqsnr595fiEg3TZCtQaQYR-Q4GyS5cwRXBCk3h3D2BriGAadLqbHd/s400/Paul+Lloyd+Photograph+from+I+am+a+camera+2011.jpg" t8="true" width="400" /></a></div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgu7TFvVPmQCd7dVErf475eMagWTBn8nmIiN1IeV6TAp3qo_6Mu90xTETPAyrLe9y9tGaUfpSxI2X3dF_fo5K4C_BtOTdOMom6X8oyuK4YCtDuqwERfahBzKA4sGy9RznWKWS_AqmBn-CL1/s1600/Richard+Morecroft+photograph+from+I+am+a+camera+Greenhill+Galleries.jpg" imageanchor="1" style="clear: right; cssfloat: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgu7TFvVPmQCd7dVErf475eMagWTBn8nmIiN1IeV6TAp3qo_6Mu90xTETPAyrLe9y9tGaUfpSxI2X3dF_fo5K4C_BtOTdOMom6X8oyuK4YCtDuqwERfahBzKA4sGy9RznWKWS_AqmBn-CL1/s1600/Richard+Morecroft+photograph+from+I+am+a+camera+Greenhill+Galleries.jpg" t8="true" /></a>A diverse and intriguing group of fourteen photographers have contributed to Adelaide's latest photographic exhibition at <strong>Greenhill Galleries</strong>, North Adelaide. <strong>Paul Lloyd</strong>'s sensual colour images of Australian flora <em>(pictured)</em> were accompanied in the photographer's notes by this appropriate verse:<br />
<br />
</div><em> Little flower – but if I could understand<br />
What you are, root and all, and all in all,<br />
I should know what God and man is.</em><br />
<br />
(from <strong>Tennyson</strong>'s <em>"Flower in the Crannied Wall")</em><br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_4uhcBUv1X1anViN_MAlu_dbleFU7xnJ8Oc_puZaZsQp68SdTwpHX1yb0b26ZNkwJKhzYVFVcfFbR_uqZBE9IulbS4TfPgLPPcFlfKb2ZVPh-z7g6beWIvTylyWYVGQItOiSRbekj44uB/s1600/Gianna+Grbich+photograph+from+I+am+a+camera.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_4uhcBUv1X1anViN_MAlu_dbleFU7xnJ8Oc_puZaZsQp68SdTwpHX1yb0b26ZNkwJKhzYVFVcfFbR_uqZBE9IulbS4TfPgLPPcFlfKb2ZVPh-z7g6beWIvTylyWYVGQItOiSRbekj44uB/s1600/Gianna+Grbich+photograph+from+I+am+a+camera.jpg" t8="true" /></a></div>Evocative nudes <em>(pictured, left)</em> by <strong>Gianna Grbich,</strong> broadcaster <strong>Richard Morecroft's</strong> illusionist landscapes <em>(pictured, right)</em> and a welcome showing of new work by veteran photographer and teacher, <strong>Ed Douglas</strong>, makes this exhibition compelling viewing. <em>Until July 5</em><br />
<a href="http://www.greenhillgalleriesadelaide.com.au/current_exhibitions.php">http://www.greenhillgalleriesadelaide.com.au/current_exhibitions.php</a><br />
<strong>Text copyright Robert McFarlane 2011 <a href="http://www.robertmcfarlanephotos.com/">http://www.robertmcfarlanephotos.com/</a> </strong></div></div></div></div>ozphotoreviewhttp://www.blogger.com/profile/05955455242704658018noreply@blogger.com0tag:blogger.com,1999:blog-4793272593084821996.post-79138250579970416002011-04-26T23:46:00.000-07:002011-04-26T23:46:37.555-07:00An Epic May Coming in Photography<div class="separator" style="clear: both; text-align: center;"><strong>M</strong>ay in Sydney shows every sign of promise, considering the <strong>Moran Contemporary Photographic Prize</strong> <a href="http://www.moranprizes.com.au/">http://www.moranprizes.com.au/</a> winners will be announced on May 3, at an exhibition at the <strong>State Library of NSW</strong> and the <strong>Head On</strong> <strong>Photo Festival</strong> <a href="http://www.headon.com.au/">w</a><a href="http://www.headon.com.au/">ww.headon.com.au/</a> is also scheduled to flood Sydney with artistic diversity in early May. In th<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZzrdHH8xtJQelbAQLlXjSZKIcAySyQC8DB-T42aQb0m1zazYNAw6wAcTbNVPQDLOY8eUD0uLAyvgYATqa-XMMTwjjBHd7ZmR_ZS6ifufiL89Bsbz_wdgjKBkg55ebCAaHs3b3_weS5bU4/s1600/Building+the+Sydney+Harbour+Bridge+by+Henri+Mallard+03+BC022.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; height: 294px; margin-bottom: 1em; margin-right: 1em; width: 401px;"><img border="0" height="295" i8="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZzrdHH8xtJQelbAQLlXjSZKIcAySyQC8DB-T42aQb0m1zazYNAw6wAcTbNVPQDLOY8eUD0uLAyvgYATqa-XMMTwjjBHd7ZmR_ZS6ifufiL89Bsbz_wdgjKBkg55ebCAaHs3b3_weS5bU4/s400/Building+the+Sydney+Harbour+Bridge+by+Henri+Mallard+03+BC022.jpg" width="400" /></a>e meantime, I have been absorbed by events in Adelaide, especially a discussion on historic photographers <strong>Henri Mallard</strong> and <strong>Captain Samuel Sweet</strong> <em>(pictured, below right)</em> conducted recently at the <strong>Adelaide Festival Centre Gallery</strong>. Sydney photographer Henri Mallard (1884-1967) readers may know, extensively documented the epic construction of <strong>Sydney Harbour Bridge</strong> in the early 1930's <em>(pictured)</em> while Captain Samuel Sweet (1825-1886) was an industrious, talented South Australian photographer during the second half of the 19th Century, with, as I found out, an equal enthusiasm for photographing the construction of bridges. The other good reason for attending was that <strong>Gael Newton</strong>, Senior Curator of Photography at the <strong>National Gallery of Australia</strong> and distinguished South Australian Curator <strong>Karen Magee</strong> were to speak, with Newton also opening a compact exhibition <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_fLMMjqDSuZMqvLSIViqCWnxRHbnHG9Y_gdh335ynI8-gzIpCA3pHfV5BZug8KMZUI2wYnm9wb8dER1CNclBFkLiJ6TolASfNapYTI4KepSTaq2s6VCKkkyz0EWN2bDv8Jrzc4BfjaWF0/s1600/Building+the+Sydney+Harbour+Bridge+by+Henri+Mallard_03BC013.jpg" imageanchor="1" style="clear: left; cssfloat: left; cssfloat: right; float: left; height: 146px; margin-bottom: 1em; margin-right: 1em; width: 218px;"><img border="0" height="145" i8="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_fLMMjqDSuZMqvLSIViqCWnxRHbnHG9Y_gdh335ynI8-gzIpCA3pHfV5BZug8KMZUI2wYnm9wb8dER1CNclBFkLiJ6TolASfNapYTI4KepSTaq2s6VCKkkyz0EWN2bDv8Jrzc4BfjaWF0/s200/Building+the+Sydney+Harbour+Bridge+by+Henri+Mallard_03BC013.jpg" width="200" /></a>of contemporary fibre-based silver gelatin prints made by the late <strong>David Moore</strong> (1927-2003) <a href="http://www.davidmoorephotography.com.au/">www.davidmoorephotography.com.au/</a> of Mallard's unsentimental, powerfully realised observations. Visitors to David Moore's website (above) will discover that Moore made some of the most definitive photographs of that huge, single-span structure during his long, distinguished career. Newton and Magee are, respectively, acknowledged experts <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6dpA3mMezERHYCHX5rXwn4gmfC67TGIYI7TbfyOmKBAPZC6WEVhrslpviv1we22nchGgfXm3x9MUGoPEZxwPQulfLqemHbwYyjQFRYI3fBNNzRUZ0H4t2pcqMarEGiXhmR7AAofbnAnwF/s1600/Portrait+Captain+Samuel+Sweet+1825+1886.jpg" imageanchor="1" style="clear: right; cssfloat: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" i8="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6dpA3mMezERHYCHX5rXwn4gmfC67TGIYI7TbfyOmKBAPZC6WEVhrslpviv1we22nchGgfXm3x9MUGoPEZxwPQulfLqemHbwYyjQFRYI3fBNNzRUZ0H4t2pcqMarEGiXhmR7AAofbnAnwF/s200/Portrait+Captain+Samuel+Sweet+1825+1886.jpg" width="116" /></a>on M<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNp9Bv78lMP7iKBPkOVpz8K6vsMvqhcx8sLKR8JURQzmNzABYJNX3v8Kp6EVorMTKHymBOoRPdE80H4LugIpGVy63sZu2f1qtWuMaPImh41ZmGxDAlTsJ1HqQVhr66ixWx2FWCdlu82cgF/s1600/Building+the+Sydney+Harbour+Bridge+by+Henri+Mallard+03+BC004.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; height: 180px; margin-bottom: 1em; margin-right: 1em; width: 201px;"><img border="0" height="178" i8="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNp9Bv78lMP7iKBPkOVpz8K6vsMvqhcx8sLKR8JURQzmNzABYJNX3v8Kp6EVorMTKHymBOoRPdE80H4LugIpGVy63sZu2f1qtWuMaPImh41ZmGxDAlTsJ1HqQVhr66ixWx2FWCdlu82cgF/s200/Building+the+Sydney+Harbour+Bridge+by+Henri+Mallard+03+BC004.jpg" width="200" /></a>allard and Sweet, and their witty, informed comments were well received by the capacity audience. Newton regaled us with droll revelations about Mallard's known love of all things French. (the photographer spoke with a French accent, affected an appropriately Gallic air, and was commonly seen wearing a beret and sporting a generous moustache) Mallard was, however, French by parentage only, having been born in Balmain, Sydney. Sweet, Magee informed us, was born in Britain, a master mariner before he was a photographer, and shared Mallard's love of great endeavours, photographing such comparatively modest, but important South Australian projects, as the building of Murray Bridge. Much more can be discovered about the master mariner turned photograp<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-b_V7OAVqH8X0a3IsH83f_i82jY3mcsRwQUUD6LPddB693YkXHNKa7PgrVnBntI3Roqz8frxszikwWpnZYrfz8Qafht6m4ak1mlGE8jd6TciqsxZdjVS8KYfSzXKN3q7S-3KfM3vgT9S1/s1600/Sony+WX7+Pictures+Panorama+Fes1.JPG" imageanchor="1" style="clear: right; cssfloat: right; float: right; height: 85px; margin-bottom: 1em; margin-left: 1em; width: 401px;"><img border="0" height="87" i8="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-b_V7OAVqH8X0a3IsH83f_i82jY3mcsRwQUUD6LPddB693YkXHNKa7PgrVnBntI3Roqz8frxszikwWpnZYrfz8Qafht6m4ak1mlGE8jd6TciqsxZdjVS8KYfSzXKN3q7S-3KfM3vgT9S1/s400/Sony+WX7+Pictures+Panorama+Fes1.JPG" width="400" /></a>her on Karen Magee's website <a href="http://captainsweet.com.au/">http://captainsweet.com.au/</a> His well organised photographs are</div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">populated generously by the many workers needed to make such constructions possible. Both Sweet and Mallard clearly understood the value of labour, especially the remarkably varied skills needed to conquer the challenging spaces between shores. It was noticeable that Newton and Magee's talks were well attended by Adelaide's fine-art photography community - notably <strong>Ian North</strong> and <strong>Gary Cockburn.</strong> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjz0WH-htr3D7KBwk0EXLRNJCs8rSmFVP8BAAQKQuj2tzFtcRjyFkYTvS3zfJg12h0Z0tS37tNUDtlYueY2_tC3gdG1PX7HlDtyVZDJbHnIqFbtrt3RuQYTQ-4F5eGg8Rew65Oih0KUsFih/s1600/April+Samsung+Pictures+2011+172.JPG" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="150" i8="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjz0WH-htr3D7KBwk0EXLRNJCs8rSmFVP8BAAQKQuj2tzFtcRjyFkYTvS3zfJg12h0Z0tS37tNUDtlYueY2_tC3gdG1PX7HlDtyVZDJbHnIqFbtrt3RuQYTQ-4F5eGg8Rew65Oih0KUsFih/s200/April+Samsung+Pictures+2011+172.JPG" width="200" /></a>While I was in the Festival Centre complex, with its sweeping views of the South Australian Parliament, I took the opportunity to test a new camera sent from Sony <a href="http://www.sony.com.au/">www.sony.com.au/</a> - their tiny but remarkably well featured <strong>Cybershot DSC WX-7</strong>. <em>(pictured)</em> Barely larger than a laptop mousepad and no thicker than a pack of playing cards, the WX-7 seems typical of what camera manufacturers are offering consumers today. For under $300, this camera has <strong>16 Megapixel</strong> resolution, a 5<strong>x</strong> <strong>Zeiss Vario-Tessar</strong> zoom lens (25-125mm equivalent) with <strong>Full HD (1920 x 1080/50i) </strong>video recording and full <strong>Optical Image Stabilisation, </strong>with<strong> </strong>Sony's proven <strong>SteadyShot</strong>. <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXHhBYBKHhXKJSR6sfU_zTikIBD1qAqjkLNJv_yAmU2v5FM4VovyUGbHniFgKSJssDb-4ywUh8_SK0tnOykcYaGE2gijBdGesFQSH7FcjlZIEpKmUwEhaShHy5Z14x7hMNBXRTYpFBeR4G/s1600/Sony+WX7+portrait+wide+angle+Michelle.jpg" imageanchor="1" style="clear: right; cssfloat: right; float: right; height: 244px; margin-bottom: 1em; margin-left: 1em; width: 321px;"><img border="0" height="240" i8="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXHhBYBKHhXKJSR6sfU_zTikIBD1qAqjkLNJv_yAmU2v5FM4VovyUGbHniFgKSJssDb-4ywUh8_SK0tnOykcYaGE2gijBdGesFQSH7FcjlZIEpKmUwEhaShHy5Z14x7hMNBXRTYpFBeR4G/s320/Sony+WX7+portrait+wide+angle+Michelle.jpg" width="320" /></a>This camera also offers another, increasingly popular feature - <strong>Sweep Panorama</strong> <em>(pictured, above)</em> which I predict will prove popular with travellers wanting to s<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNl5OhEWmkwicpfCnB3qSHjPtpAD2elmbgW6HpfR_IE66e5_WvnTrThPDoHC15_52mLmH4GkEVewl0GozTtQe0Wgf9UeF5tbC7xIPBPS260HMPzc9ZJs7SX1qyXKvaeXfmKGvzC18knF6A/s1600/Sony+WX7+Psychic+Expo.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="150" i8="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNl5OhEWmkwicpfCnB3qSHjPtpAD2elmbgW6HpfR_IE66e5_WvnTrThPDoHC15_52mLmH4GkEVewl0GozTtQe0Wgf9UeF5tbC7xIPBPS260HMPzc9ZJs7SX1qyXKvaeXfmKGvzC18knF6A/s200/Sony+WX7+Psychic+Expo.jpg" width="200" /></a>ee beyond the edge of their vision. In this mode (set at the detent between stills and video) the WX-7 automatically, and rapidly, takes a number of images as it smoothly pans in the direction of an arrow which appears on the screen) These exposures are then seamlessly stitched within the camera, creating the panoramic image seen here. There is also a 3D function associated with Sweep Panorama, which sadly, I did not have time to explore. I am sure many will find this an option worth exploring when coupled with their HDTV. Usually I test lenses at their limit, assuming they can only get better from this point on. I made this informal office portrait <em>(pictured, above right)</em> of Adelaide psychologist <strong>Michelle Sexton</strong> which shows fine rendering of detail with little visible distortion, at f2.6 and at its widest angle - 25mm. Finally, I recently noticed a sign <em>(pictured, above left) </em>by the side of a highway -for an event presumably those interested should have already known about - a <em>'psychic festival.'</em> The WX-7 rendered this scene with great clarity. I hope to soon test the remarkable new generation of advanced compact cameras featuring unusually fast, wide lenses. For those who have used <strong>Leica M</strong>, <strong>Nikon S, </strong><strong>Canon VIT</strong> and the current generation of <strong>Voigtlander</strong> <strong>Bessa</strong> <strong>M</strong> mount coupled rangefinder cameras, <a href="http://www.mainlinephoto.com.au/">www.mainlinephoto.com.au/</a> it could prove nostalgic - and perhaps prophetic.<br />
<strong>Luke Hardy Returns with "Dragonfly", to Meyer Gallery </strong><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoLi5nCp3Y0dJPrtu6LI5I-iG4iot5teMjV17Gbq-iJ8xXQdlzUpEswaRWNjgzqHQKN14rXNotR049BX1cZZJUp19sR3zuXLup7zkY4Sc3W0pxcsgHEx44kmeJF1rR4db8l1IP7m4pBeQ_/s1600/Luke+Hardy+untitled+2009+%255Bfushimi%255D+60x60.jpg" imageanchor="1" style="clear: right; cssfloat: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" i8="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoLi5nCp3Y0dJPrtu6LI5I-iG4iot5teMjV17Gbq-iJ8xXQdlzUpEswaRWNjgzqHQKN14rXNotR049BX1cZZJUp19sR3zuXLup7zkY4Sc3W0pxcsgHEx44kmeJF1rR4db8l1IP7m4pBeQ_/s200/Luke+Hardy+untitled+2009+%255Bfushimi%255D+60x60.jpg" width="200" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJjyPw9WIAFdYAvfEliyqXk6sE-R5DOf8-c4x6HHNY66adI2WVrhmmvzoCziWJ7s1c09RrT305KZDLzq74djg55l7WH2Yu0XvhzhfCt_as_Uu9-QL5-lpQjvOqEL9zzffRf5vTyRDGB2wT/s1600/kyudo+I+2009+from+Dragonfly+by+Luke+Hardy.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" i8="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJjyPw9WIAFdYAvfEliyqXk6sE-R5DOf8-c4x6HHNY66adI2WVrhmmvzoCziWJ7s1c09RrT305KZDLzq74djg55l7WH2Yu0XvhzhfCt_as_Uu9-QL5-lpQjvOqEL9zzffRf5vTyRDGB2wT/s200/kyudo+I+2009+from+Dragonfly+by+Luke+Hardy.jpg" width="200" /></a></div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPcjVvhaKQUu9avnSTljkGA7p_Buzt1Xpbzb2SCoR3b10r8DEQNpzud03xdhvEBWH7zvVDydy_Z9jX9lmET3kv5ZC-u9SSFIqi3PYxU8nvSwXyWuvgmZLAsUMCbuaeEtx-OT_rSGqN3Hc2/s1600/Wolfgang+from+NY+Photographs+by+Julie+Sundberg+1988.jpg" imageanchor="1" style="clear: right; cssfloat: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="130" i8="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPcjVvhaKQUu9avnSTljkGA7p_Buzt1Xpbzb2SCoR3b10r8DEQNpzud03xdhvEBWH7zvVDydy_Z9jX9lmET3kv5ZC-u9SSFIqi3PYxU8nvSwXyWuvgmZLAsUMCbuaeEtx-OT_rSGqN3Hc2/s200/Wolfgang+from+NY+Photographs+by+Julie+Sundberg+1988.jpg" width="200" /></a>Photographer <strong>Luke Hardy</strong>, who made such an impact with his <strong>Yuki Onna "Woman of the Snow"</strong> exhibition at the <strong>Meyer Gallery</strong> <a href="http://www.meyergallery.com.au/">www.meyergallery.com.au/</a> in 2009, again salutes the power concealed within the ephemeral in <strong>"Dragonfly".</strong> Anyone who has been transfixed by galloping archers in an <strong>Akira</strong> <strong>Kurosawa</strong> film, will understand the <strong>Zen </strong>lode which Hardy mines in these delicate, resonant colour images. Opening with<strong> </strong>on May 4 as part of <strong>Head On Photo Festival</strong><strong> </strong><a href="http://www.headon.com.au/"><strong>www.headon.com.au/</strong></a><strong> "New York Photographs 1985-1989" by Julie Sundberg</strong> opens the following week <em>(pictured).</em><br />
<br />
<strong>Text Copyright Robert McFarlane</strong> <strong>2011. </strong><a href="http://www.ozphotoreview.com/">http://www.ozphotoreview.com/</a></div>ozphotoreviewhttp://www.blogger.com/profile/05955455242704658018noreply@blogger.com0tag:blogger.com,1999:blog-4793272593084821996.post-22153208938903080332011-04-08T01:26:00.000-07:002011-04-14T20:30:02.321-07:00Return of the Master<span style="font-family: Times, "Times New Roman", serif; font-size: large;"><strong>E.O. Hoppe returns to Sydney after 80 years.</strong></span><br />
<div class="separator" style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTsr62EXZ_81MOExBT3m5LvfdC09PQyIFZUbVVaVJnqIHRP4XsSCBk8FRSpeEYNI_Z66HvFqWQUXL6xnyrtvgZBEo5rb6jUIAFp0TcHLqA6_btXz8J8BK9_6NM2hYLhYWlx890HcflgYoa/s1600/EOHoppe.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" r6="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTsr62EXZ_81MOExBT3m5LvfdC09PQyIFZUbVVaVJnqIHRP4XsSCBk8FRSpeEYNI_Z66HvFqWQUXL6xnyrtvgZBEo5rb6jUIAFp0TcHLqA6_btXz8J8BK9_6NM2hYLhYWlx890HcflgYoa/s320/EOHoppe.jpg" width="241" /></a></div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><span style="font-family: Times, "Times New Roman", serif; font-size: large;">Eight decades after the renowned German-born photographer extensively documented Australia, a tantalizing sampling of vintage works made by <strong>E.O. Hoppe</strong> - <em>"A Year in The Life of Australia"</em> is at last being seen in Sydney, in <strong>Josef</strong> <strong>Lebovic</strong>'s elegant new Kensington Gallery <a href="http://www.joseflebovicgallery.com/">www.joseflebovicgallery.com/</a> When Hoppe arrived in Australia in 1930 to document the only recently federated nation from coast to coast, the intense cameraman was arguably the most famous photographer in the world. Hoppe (1878-1972) was renowned for being able to address both epic and intimate subjects with equal eloquence. He had photographed slums and palaces, poverty and royalty - all with a characteristic intensity and simple, resonant compositions. Portraits of Hoppe around this time reveal a man who regarded any camera - whether photographing with it or addressing the lens in a circa 1920 self-portrait - with an unquenchable passion<em>.(pictured, above)</em> Before travelling to Australia from Europe he was warned that the new country didn't have enough of visual interest to hold his attention for long. Hoppe, however, soon came to terms with Australia's way of life - and work. His photographs captured the sensuality of leisure, the inferences of poverty c<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0DlXdXF9YzDQxVglIRziDkmc8P88tG-MU1YRMMYCJbuXmFscQSzABc1qHZyABFD_LEPsqlkeQjNjzSzF3uPPT1mt1P_2S1g31f8z4ALysDkA3kNd2HGh9b0txSo2Wtw6k6GOfJouuL-QB/s1600/Blog+small+file+Hoppe+Harbour+Bridge.JPG" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="237" r6="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0DlXdXF9YzDQxVglIRziDkmc8P88tG-MU1YRMMYCJbuXmFscQSzABc1qHZyABFD_LEPsqlkeQjNjzSzF3uPPT1mt1P_2S1g31f8z4ALysDkA3kNd2HGh9b0txSo2Wtw6k6GOfJouuL-QB/s320/Blog+small+file+Hoppe+Harbour+Bridge.JPG" width="320" /></a>aused by a growing worl<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgks3CHItNKXvILZHygIu4HzEulu8kuCSK8CX-qy2uMAxv5h8yqOsYfZMD-iQ0kfEY7BPv-rfdEC9AJeykw0AvqgQ2I4d-1TML0vB8F1LWrHpDfdh7AOHCXx-HO0WfICOZVjrUN3lw9U4VY/s1600/Hoppe+EO+19307-0021+%25282%2529.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; height: 224px; margin-bottom: 1em; margin-right: 1em; width: 321px;"><img border="0" height="218" r6="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgks3CHItNKXvILZHygIu4HzEulu8kuCSK8CX-qy2uMAxv5h8yqOsYfZMD-iQ0kfEY7BPv-rfdEC9AJeykw0AvqgQ2I4d-1TML0vB8F1LWrHpDfdh7AOHCXx-HO0WfICOZVjrUN3lw9U4VY/s320/Hoppe+EO+19307-0021+%25282%2529.jpg" width="320" /></a>d Depression in the 1930's, and the ironic presence of vast public undertakings - such as the construction of Sydney's massive new Harbour Bridge. <em>(pictured, left)</em> Hoppe also, unlike many visiting observers, recognised the importance of indigenous Australia - making images that were luminous in their unsentimental witnessing of tribal life<em>.(pictured, left)</em> This photographer also acknowledged the cultural importance of Australia's sporting icons, quietly documenting epic Test cricket scores by <strong>Don Bradman</strong> - handwritten on a humble sign attached the<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7LpXVCscYNBJ6daapz3iWF9L15mP3RjEXmff4QCDf6QjzRwFIsu3Qxq4DbRXfFoeClHl_xCmeLTQ4zrn93yNfW1rOb7m3GZm-ixYrgMNasS2gwl87TJdpFmCyYig_RvLH2w2Ilry96W5k/s1600/Hoppe+EO+Test+Scores19374-G+%25282%2529.jpg" imageanchor="1" style="clear: right; cssfloat: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" r6="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7LpXVCscYNBJ6daapz3iWF9L15mP3RjEXmff4QCDf6QjzRwFIsu3Qxq4DbRXfFoeClHl_xCmeLTQ4zrn93yNfW1rOb7m3GZm-ixYrgMNasS2gwl87TJdpFmCyYig_RvLH2w2Ilry96W5k/s320/Hoppe+EO+Test+Scores19374-G+%25282%2529.jpg" width="243" /></a> boot of a battered, dusty black car in a remote location. <em>(pictured, right)</em> <strong>Curatorial Assistance</strong>'s <a href="http://www.curatorial.com/">www.curatorial.com/</a> <strong>Graham Howe</strong>, who discovered Hoppe's extraordinary photographic archive camouflaged under subjects' names and not the photographer's, in a U.K. photographic archive, believes passionately that Hoppe's Australian photographs (which influenced such renowned Australian photographers as <strong>Max Dupain <a href="http://www.maxdupain.com.au/JWgallery.htm">www.maxdupain.com.au/JWgallery.htm</a></strong>) should be acquired by an appropriate Australian institution in order to preserve them for posterity. <em>Until April 23</em></span><br />
<span style="font-family: Times; font-size: large;"><strong>Darren Sylvester wins $20,000 Photography Award</strong></span><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0R5tYYXoB-LKnNgNyu4b2p8WMgh3-DC74Fi4QyNSFYSgKiGZk0mdhzqkrzkV_lAu7hGvJgwD6R9Q3K_2-JDH-vOEaURcFqiEknnBBZ6AEpDx7UrBhqCQt0VpU4xkp1u9kqR7iBU8nr-2N/s1600/Sylvester_Darren_WhatHappens-2.JPG" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" r6="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0R5tYYXoB-LKnNgNyu4b2p8WMgh3-DC74Fi4QyNSFYSgKiGZk0mdhzqkrzkV_lAu7hGvJgwD6R9Q3K_2-JDH-vOEaURcFqiEknnBBZ6AEpDx7UrBhqCQt0VpU4xkp1u9kqR7iBU8nr-2N/s200/Sylvester_Darren_WhatHappens-2.JPG" width="149" /></a></div><span style="font-family: Times; font-size: large;">The photographic award season has begun with <em>"What happens will happen"</em> by <strong>Darren Sylvester</strong> <em>(pictured, left)</em> winning the 2011 <strong>Josephine Ulrick and Win Schubert</strong> Photographic Award. Judge <strong>Shaune Lakin</strong> of the Monash Gallery of Art praised Sylvester's work for being <em>"iconic"</em> but also playing down its claims to being iconic by being <em>"humourous, seductive and charming."</em> Lakin also commended <strong>Julie Rrap</strong> for her work <em>"Outerspace #10"</em> and <strong>Geoff Parr</strong> for <em>"Spectre".</em> Works from the Award will be on display at the Gold Coast City Gallery <a href="http://www.theartscentregc.com.au/">http://www.theartscentregc.com.au/</a> until May 22. </span></div></div></div></div>ozphotoreviewhttp://www.blogger.com/profile/05955455242704658018noreply@blogger.com0tag:blogger.com,1999:blog-4793272593084821996.post-55055057229571408932011-03-20T21:03:00.000-07:002011-03-20T21:03:01.394-07:00Planetary Visions of Light, Ice and Stone<span style="font-weight: bold;"></span><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoSRSrjWCPTom8H_NQCT6ht3UbsidD-9AaR99N1GETpjM6Ov0f_olRPOO3pcug6MnH9G-P67pYoVET7U0uUrdu8GlkoY18GYEEIVxgNPxCncPkJvrW1jdfSO5SxlS_RgECAyjkZto5kTUe/s1600/erk_innocent_arctic_shattered_diamonds_2010+%25282%2529.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5578952618117914450" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoSRSrjWCPTom8H_NQCT6ht3UbsidD-9AaR99N1GETpjM6Ov0f_olRPOO3pcug6MnH9G-P67pYoVET7U0uUrdu8GlkoY18GYEEIVxgNPxCncPkJvrW1jdfSO5SxlS_RgECAyjkZto5kTUe/s400/erk_innocent_arctic_shattered_diamonds_2010+%25282%2529.jpg" style="cursor: pointer; float: left; height: 267px; margin: 0pt 10px 10px 0pt; width: 400px;" /></a>When I was last in Sydney, I saw two exhibitions in which artists offered planetary perspectives on wildly differing environments - <span style="font-weight: bold;">Emma Rowan-Kelly</span>'s <span style="font-style: italic; font-weight: bold;">"i</span><span style="font-style: italic; font-weight: bold;">nnocentarctic'</span> conveyed subtle, almost monochromatic colour visions of the frozen North - while <span style="font-weight: bold;">Richard Green</span>'s latest showing of his <span style="font-style: italic; font-weight: bold;">"</span><span style="font-style: italic; font-weight: bold;">Remote and </span><span style="font-style: italic; font-weight: bold;">Wild"</span><span style="font-weight: bold;"> </span>landscapes revealed distant regions of Australia (an exhibition I was privileged to open at the <span style="font-weight: bold;">Hawkesbury Regional Gallery</span> in Windsor)<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOw79WMn6cAjQ5lOw6y_FFuzSJq0o4pN9iB1gQHF6HERw7g1-f9omBucLXguq10M8wOFOoAVYkLGL1H_CBg235TZgapee4o6OUfiGHv8V0rdvGoYsmd43ZiTYw11qnVCBTi6iymklxdOmp/s1600/erk_innocent_arctic_big_step_forward_2010+%25282%2529.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="133" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOw79WMn6cAjQ5lOw6y_FFuzSJq0o4pN9iB1gQHF6HERw7g1-f9omBucLXguq10M8wOFOoAVYkLGL1H_CBg235TZgapee4o6OUfiGHv8V0rdvGoYsmd43ZiTYw11qnVCBTi6iymklxdOmp/s200/erk_innocent_arctic_big_step_forward_2010+%25282%2529.jpg" width="200" /></a>Rowan-Kelly's seductive Arctic land and seascapes <span style="font-style: italic;">(pictured, above)</span> can be seen at <span style="font-weight: bold;">Danks Street Depot ll Gallery</span> <a href="http://www.2danksstreet.com.au/">http://www.2danksstreet.com.au/</a> and offer deceptively simple views of what initially seems the bleakest habitat imaginable - including this photographer'<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvPmX-kVyKs1v71_p7gOVu18GdhfR63GAlU8fhPQESFSf8ratvI-3aXdCBRSbYNEL_9fG2ixaWQE5vziu7LB1tyW0nHBNIfX6zubHlHnXEZ0of4SoacGcCVb-oA5Xsq3BBwlZZDpDDEUbE/s1600/erk_innocent_arctic_discussing_sharing_2010+%25282%2529.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5579000465435866530" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvPmX-kVyKs1v71_p7gOVu18GdhfR63GAlU8fhPQESFSf8ratvI-3aXdCBRSbYNEL_9fG2ixaWQE5vziu7LB1tyW0nHBNIfX6zubHlHnXEZ0of4SoacGcCVb-oA5Xsq3BBwlZZDpDDEUbE/s200/erk_innocent_arctic_discussing_sharing_2010+%25282%2529.jpg" style="cursor: pointer; float: right; height: 134px; margin: 0pt 0pt 10px 10px; width: 200px;" /></a>s take on the Arctic's often playful, sometimes menacing inhabitants. Polar bears emerge as the main stars in her pictures as they frolic in water so cold humans would perish in minutes. Rowan-Kelly has captured the bears' massive, yet graceful forms along with their families <i>(pictured, left)</i> with one memorable picture showing two adult bears in active dialogue above the exposed spine of a dead whale. <i>(pictured, right)</i> Rowan-Kelly also makes extensive use of panoramas to address the vastness of her northern world. Ultimately hers is an affectionate view of an environment that defies its apparent hostility. Rowan-Kelly's fine prints were made by master digital printer <span style="font-weight: bold;">Warren Macris</span>. <a href="http://www.gicleeaustralia.com/">http://www.gicleeaustralia.com/</a> Until March 5<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEig7G-PThZ4uwsPO3kgcLHiAYYWt1nRxJeSg1YNzoe6dNal1Gx7016sPf2FA2p-YfMU8n356aQf8aK816fa3EqfDzbR1PsNrvPS23Edbszc6VKHrVKfZJwIsxyZKWIBgcz5co8JacofUbk8/s1600/Richard+Green+at+Hawkesbury+Regional+Gallery+Photograph+Samsung+WB500+by+Robert+McFarlane.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5578959216709808738" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEig7G-PThZ4uwsPO3kgcLHiAYYWt1nRxJeSg1YNzoe6dNal1Gx7016sPf2FA2p-YfMU8n356aQf8aK816fa3EqfDzbR1PsNrvPS23Edbszc6VKHrVKfZJwIsxyZKWIBgcz5co8JacofUbk8/s400/Richard+Green+at+Hawkesbury+Regional+Gallery+Photograph+Samsung+WB500+by+Robert+McFarlane.jpg" style="cursor: pointer; float: left; height: 234px; margin: 0pt 10px 10px 0pt; width: 400px;" /></a><span style="font-weight: bold;">Richard Gre</span><span style="font-weight: bold;">en</span> <span style="font-style: italic;">(pictured) </span>declared, as I waited to open his well attended exhibition at the <span style="font-weight: bold;">Hawkesbury Regional Gallery </span><a href="http://www.blogger.com/www.hawkesbury.nsw.gov.au/services/cultural">http://www.hawkesbury.nsw.gov.au/services/cultural </a>that he hoped his pictures gave a sense of <span style="font-style: italic;">"actually standing within the landscape"</span> he sought to portray. As I walked around this elegantly curated display of large, seamlessly computer-stitched colour panoramas, some over four metres wide (taken with professional <span style="font-weight: bold;">Canon</span> cameras with <b>'L'</b> lenses <a href="http://www.canon.com.au/">http://www.canon.com.au/</a> ) , there was a tangible sense of having your vision embraced by whatever scene Green chose to photograph. This was particularly evident in a subtly observed landscape from Western Australia, in front of which I had photographed Green<span style="font-style: italic;">. (pictured, above)</span> Not only was the land's contorted surface exposed but the extended tonal range captured in Green's digital image gave appropriate weight to both the deep shadows and bright highlights of inland Australia. Both Rowan-Kelly and Green had made images that conformed to the description of a <span style="font-style: italic;">'planetary landscape' -</span> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieyVeT8UAukivBLAdMsWVaA8x4HgNAaDODlEhfPJsQt1W5MAK9NAzCN6Ff2IkSjn7qepW46t397wDSfxWFTFHsfIaZwE36_7DJPZupwrb6lkRqPNpJ4WJ_4rVfB-aJ2LiaC8kfWPM0eDHY/s1600/Richard+Green+Remote+and+Wild+Opening+Hawkesbury.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5578956714611094338" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieyVeT8UAukivBLAdMsWVaA8x4HgNAaDODlEhfPJsQt1W5MAK9NAzCN6Ff2IkSjn7qepW46t397wDSfxWFTFHsfIaZwE36_7DJPZupwrb6lkRqPNpJ4WJ_4rVfB-aJ2LiaC8kfWPM0eDHY/s400/Richard+Green+Remote+and+Wild+Opening+Hawkesbury.jpg" style="cursor: pointer; float: left; height: 92px; margin: 0pt 10px 10px 0pt; width: 400px;" /></a>giving the viewer of their photographs a sense of actually standing in a remote, defining location somewhere on the surface of our sphere - without resorting to visible cleverness or artifice. It was also pleasing to note how well patronised <span style="font-style: italic;">(pictured, the gallery be</span><span style="font-style: italic;">fore the openin</span><span style="font-style: italic;">g speeches)</span> Hawkesbury Regional Gallery was, as seen in this stitched panorama taken by Richard Green. After similar positive experiences with Broken Hill, Cowra and Manly, I remain convinced of the invaluable roles such galleries play.<span style="font-style: italic;"> Until March 20</span><br />
<b>A Fine Farewell to a Remarkable Life</b><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGP07oViAYcYRHRLq9Y_kKSnsJxujNXvynEMjp9Y6hOtx-ELsMVgKXywmuSveXNtZJ2dyP9g4xn99bKtczLi2lHMz3x43Tl4csuO80cotsIl9gAKn7OCUMjiz4WRPgNoROD_GAE-L7BC3V/s1600/Penny+Tweedie+1998+Photograph+by+Sandy+Edwards+.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGP07oViAYcYRHRLq9Y_kKSnsJxujNXvynEMjp9Y6hOtx-ELsMVgKXywmuSveXNtZJ2dyP9g4xn99bKtczLi2lHMz3x43Tl4csuO80cotsIl9gAKn7OCUMjiz4WRPgNoROD_GAE-L7BC3V/s320/Penny+Tweedie+1998+Photograph+by+Sandy+Edwards+.jpg" width="219" /></a></div><div class="separator" style="clear: both; text-align: center;"></div>After opening <b>Richard Green</b>'s exhibition I had just enough time to travel from the Hawkesbury Regional Galler in Windsor, expertly driven by a friend, and fine publicist for Sydney's<b> MCA, Gaby Wilson</b>, to the Balmain Town Hall for the final hour of a moving wake for British/Australian photojournalist <b>Penny Tweedie</b> <a href="http://pennytweedie.com/">http://pennytweedie.com/</a> who sadly died in January. The auditorium was full and there were many moving tributes from friends and colleagues. (Tweedie had also owned a terrace house in Balmain during her Australian life.) I had the opportunity to catch up with Penny's only son Ben, after many years. <b>Ben Tweedie </b><a href="http://www.cycleexperience.com/">http://www.cycleexperience.com/</a> is now dedicated professionally to extolling the many and varied virtues of cycling. The <b>Sydney Morning Herald</b> had run an obituary I had written for Penny on the Saturday preceding the wake, using a fine portrait of the late photojournalist <i>(pictured, above) </i>taken by <b>Sandy Edwards</b> <a href="http://www.smh.com.au/national/obituaries/images-framed-by-compassion-20110218-1azl3.html">http://www.smh.com.au/national/obituaries/images-framed-by-compassion-20110218-1azl3.html</a><br />
<span style="font-weight: bold;">The Savage Poetry of Flight</span><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtnGJmqdxfKFTSLxLHdxN-u_FR12VnQWDQ0iFxFpWR8j7SFwMLj91rvIVy6QX8T8uT9koIYaSS1WUTTxoV9A6jyKc7QHVCUSmwSI53FCfi_w8dxITog4YV3LpvU8w5cpF6BbPtxIjZiU8U/s1600/Gary+Heery+Shapiro+Gallery+Kookaburras+BlueWing.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5578996857400055682" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtnGJmqdxfKFTSLxLHdxN-u_FR12VnQWDQ0iFxFpWR8j7SFwMLj91rvIVy6QX8T8uT9koIYaSS1WUTTxoV9A6jyKc7QHVCUSmwSI53FCfi_w8dxITog4YV3LpvU8w5cpF6BbPtxIjZiU8U/s400/Gary+Heery+Shapiro+Gallery+Kookaburras+BlueWing.jpg" style="cursor: pointer; float: left; height: 300px; margin: 0pt 10px 10px 0pt; width: 400px;" /></a>I was also asked if I would speak at <span style="font-weight: bold;">Gary Heery</span>'s exhibition of remarkable bird photographs at Sydney's <span style="font-weight: bold;">Shapiro Galle</span><span style="font-weight: bold;">ry</span>. <a href="http://www.shapiroauctioneers.com.au/">http:/</a><a href="http://www.shapiroauctioneers.com.au/">/www.shapiroauctioneers.com.au/</a> Heery is a photographer who consistently confounds expectations. Perhaps best known for his celebrity portraiture (Heery has photographed everyone from <span style="font-weight: bold;">Mad</span><span style="font-weight: bold;">onna</span> to <span style="font-weight: bold;">Seinfeld</span>'s classic Fool - <span style="font-weight: bold;">Michael Richards</span> and, more recently, <span style="font-weight: bold;">John Howard</span>) Heery makes his living through the profitable triumvirate of editorial, advertising and corporate photography but, as h<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgI0UzsDC9mByhoSZOTVgUwMXUYA0dsIrvl6PwxeR-ztetoHwu_LMMwI6wrBIP1-RYdFXdz7tyrLS4R09xbBC8Aa_ZCzIrlGYLSNdoCRwrlrxslSM9NlTF0sVZeE2XAv288bn4JhjYvx1kG/s1600/Gary+Heery+Owl+Shapiro+Gallery.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5578998112170638594" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgI0UzsDC9mByhoSZOTVgUwMXUYA0dsIrvl6PwxeR-ztetoHwu_LMMwI6wrBIP1-RYdFXdz7tyrLS4R09xbBC8Aa_ZCzIrlGYLSNdoCRwrlrxslSM9NlTF0sVZeE2XAv288bn4JhjYvx1kG/s200/Gary+Heery+Owl+Shapiro+Gallery.jpg" style="cursor: pointer; float: left; height: 150px; margin: 0pt 10px 10px 0pt; width: 200px;" /></a>e confided at the opening, is seduced by what the eye can't see - such as the astonishing speed at which birds beat their wings. And so Heery <a href="http://www.garyheery.com/">www.garyheery.com</a> photographed the avian community using <span style="font-weight: bold;">Sony DSLR</span>'s, <span style="font-weight: bold;">Carl Zeiss</span> lenses <a href="http://www.sony.com.au/article/334804/section/product/product/sal2470z">http://www.sony.com.au/article/334804/section/product/product/sal2470z</a> and ultra high speed (1/30,000th of a second) flash. His feathered subjects ranged from those remarkable birds that defer to no one, Australia's <span style="font-weight: bold;">Kookaburra</span><b>s</b><span style="font-weight: bold;">,</span> <span style="font-style: italic;">(pictured, above)</span> an exquisite white <span style="font-weight: bold;">Barn Owl</span> <span style="font-style: italic;">(pictured, left)</span>, an acrobatic pas de deux by two snow white <span style="font-weight: bold;">Doves </span>and an unusual triptych of birds with their furled wings seen from behind. These three similarly hunched forms - of a <span style="font-weight: bold;">Macaw</span>, a <span style="font-weight: bold;">Blue-winged Kookaburra </span>and a <span style="font-weight: bold;">Red-tailed Black Cockatoo</span> - eerily resembled a trio of waiting, psychedelic angels. Heery's photographs were also presented in large, superb archival prints made by <span style="font-weight: bold;">Warren Macris</span>.<span style="font-style: italic;"> Until March 6.</span><br />
<b>The Birth of Beatlemania in the U.S.</b><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg25NGsxfgtZ-7wTLT9LJBmb_gRa9hkp8UA93gZ9NKcW2URpQuFrpJmAkHCFmJRJ9SiL_adTcqx4FSIopY7l7-xzB_T1tDyzhNKAHwR9r_HD4ktBZj3fkwUn2FHdzK1Z7zEr3CM637M5lgN/s1600/Beatles+In+Limo+HR+1964+by+Curt+Gunther.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="268" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg25NGsxfgtZ-7wTLT9LJBmb_gRa9hkp8UA93gZ9NKcW2URpQuFrpJmAkHCFmJRJ9SiL_adTcqx4FSIopY7l7-xzB_T1tDyzhNKAHwR9r_HD4ktBZj3fkwUn2FHdzK1Z7zEr3CM637M5lgN/s400/Beatles+In+Limo+HR+1964+by+Curt+Gunther.JPG" width="400" /></a></div><b>Tali Udovich</b>'s Blender Gallery <a href="http://www.blender.com.au/">www.blender.com.au</a> continues their affectionate showing of historic moments from the history of rock n' roll with a selection of <b>Curt Gunther</b>'s intimate photojournalistic observations of the Beatles on their first U.S. tour<span style="font-style: italic;">.</span>With intimate access that hardly be imagined in today's corporate rock environment, Gunther's agile presence documents the legendary <i>"Four"</i> with knowing, sometimes ironic moments, recorded in classic 60's black and white photography. <span style="font-style: italic;">Until April 2.</span><br />
<b>Inside Two Fringe Festivals with Gary Cockburn</b><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGmw7DVcVcmZ80mwgMuRMhlOUf4cKmUfH4Len6i4NutyWu3UExwc2jawbPDtg4m30W9KOQtRKrEq6-X4q2fYS0fiQl7tqnQuNuLpVErLAenM9RS-ZezhwaxZlH8Q9r43Q5qkxjxDPaXpU7/s1600/LightFantastic+J%2527aDoll+new+scan+by+Gary+Cockburn.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGmw7DVcVcmZ80mwgMuRMhlOUf4cKmUfH4Len6i4NutyWu3UExwc2jawbPDtg4m30W9KOQtRKrEq6-X4q2fYS0fiQl7tqnQuNuLpVErLAenM9RS-ZezhwaxZlH8Q9r43Q5qkxjxDPaXpU7/s400/LightFantastic+J%2527aDoll+new+scan+by+Gary+Cockburn.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOcq87yY2HQdwmJ7php5l9HTXX1nGEXtCVuhrC57c1QgIIUD0rBen51AL8hOgeLy9mXKIwJ1biUFBtpwB6yBtRMIpn5CX41SphVrCfXHB_AvAn0Yr6gFM-bDk-eNRbpd9HUSkIhwUGI7bw/s1600/Adelaide+Fringe+LightFantastic+by+Gary+Cockburn.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="133" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOcq87yY2HQdwmJ7php5l9HTXX1nGEXtCVuhrC57c1QgIIUD0rBen51AL8hOgeLy9mXKIwJ1biUFBtpwB6yBtRMIpn5CX41SphVrCfXHB_AvAn0Yr6gFM-bDk-eNRbpd9HUSkIhwUGI7bw/s200/Adelaide+Fringe+LightFantastic+by+Gary+Cockburn.jpg" width="200" /></a></div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSqdxg59k3v9Dkw4gb16vuZhWT6WQC4NBdFdLa2XLkfo0k5zvj0i0ZSRacixExHxO1qvCk4zXl1owXEeJ-cLs21av7eCbdAxkblMWYmOsEsrU55U_goXtqw2ZdQRiWUNv6NyaxjjMq-SEL/s1600/Gary+Cockburn+Last+Day+at+Adelaide+Town+Hall.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="161" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSqdxg59k3v9Dkw4gb16vuZhWT6WQC4NBdFdLa2XLkfo0k5zvj0i0ZSRacixExHxO1qvCk4zXl1owXEeJ-cLs21av7eCbdAxkblMWYmOsEsrU55U_goXtqw2ZdQRiWUNv6NyaxjjMq-SEL/s200/Gary+Cockburn+Last+Day+at+Adelaide+Town+Hall.jpg" width="200" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhP48DXtrlJ3le6unQvQScyk9EkYYqyPyXkYAqp93Upug4PZxUqXk7gqdcl-n2qrf7UQg4XyBybgk6AxB0o2-lBWw84bLHqD339eXHL1OGdpByeyemL7CmTe-ZIEdEeoh0v11HPMMJ6gIDv/s1600/Gary+Cockburn+Last+Day+3+at+Adelaide+Town+Hall.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhP48DXtrlJ3le6unQvQScyk9EkYYqyPyXkYAqp93Upug4PZxUqXk7gqdcl-n2qrf7UQg4XyBybgk6AxB0o2-lBWw84bLHqD339eXHL1OGdpByeyemL7CmTe-ZIEdEeoh0v11HPMMJ6gIDv/s200/Gary+Cockburn+Last+Day+3+at+Adelaide+Town+Hall.jpg" width="200" /></a>Adelaide photographer<b> Gary Cockburn</b> has an unusual visual signature; whether by instinct or intent, Cockburn's photographs consistently capture moments that seem less <i>"decisive"</i> and more extended than other photographers. Coupling this personalised visual grammar with his Nikon D700, this talented artist has been documenting Fringe Festivals from both Adelaide and Edinburgh in the UK for several years. Cockburn regards using the Nikon D700 DSLR as essential to the success of his project. <i>"I couldn't have done it without the extraordinary low light performance this camera provided,"</i> declared the Adelaide photographer These resulting colour images <i>(pictured, left and right)</i> were on exhibition recently as part of <b>Adelaide Fringe 2011</b>, appropriately titled <b><i>"Into The Fringe"</i></b>, in several separately displayed assemblages in the foyer of Adelaide's handsome and historic Town Hall in King William Street, Adelaide. I caught up with Cockburn for a coffee as he was dismantling his Type C metallic colour prints and noted the simple, evocative coverage he consistently achieved. During the recent Adelaide Fringe Festival Cockburn also documented, with his usual flair, one of the Fringe's trademark drawcards - Australia's remarkable burlesque performers - in <i>"Strip The Light Fantastic"</i> - featuring the elegant <b>Gypsy Wood</b> <i>(pictured, right)</i> and the luminous, fluorescent-lit stage presence created by <b>Holly J'aDoll</b> <i>(pictured, above)</i> And not content with having travelled extensively between Adelaide and Edinburgh to document the last three Fringe Festivals already, Cockburn is about to do it all again and capture the working lives of the remarkable artists who will make Adelaide and Edinburgh's next Fringe Festivals memorable. I suggested to Cockburn that this body of work, drawn from Scotland and Australia, should be preserved within the covers of an appropriately well designed and reproduced book. He agreed and the search for an appropriate publisher has now begun.<br />
<b>The Shock of the Old.</b><br />
<div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAB3oJYzSPDJkSUGeRs6DFs_pgVAMI3HVg4h5DlHYGCfl3SGVM7Jt_zAKwGo2ghxy44MXw0spYhxG8h9ATQaXqlDzFSjgANMIvGSQci-0DweBT5SmLpTOSGHvvp6z0KDrfMOMqmuCfSG1d/s1600/Tri+Colour+Carbon+by+Chia+N-Lofqvist.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="164" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAB3oJYzSPDJkSUGeRs6DFs_pgVAMI3HVg4h5DlHYGCfl3SGVM7Jt_zAKwGo2ghxy44MXw0spYhxG8h9ATQaXqlDzFSjgANMIvGSQci-0DweBT5SmLpTOSGHvvp6z0KDrfMOMqmuCfSG1d/s200/Tri+Colour+Carbon+by+Chia+N-Lofqvist.jpg" width="200" /></a></div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZDFg7BuuLdlE0rw3NdaVA4t8hJ9VbxbQNeBmu6PWL_MROAyC_pixYa-pCE3AIfApyeqwsI_VlUzuiSCx1tFc4VEvBki6rwBamNPwruZ34LpLwG1oS_oB9NB4EDXQWfXwOTOnDs-UYvCqZ/s1600/Tony+Peri+Bromoil+of+Fifties_Fair_Rockin_n_RhythmWeb1.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZDFg7BuuLdlE0rw3NdaVA4t8hJ9VbxbQNeBmu6PWL_MROAyC_pixYa-pCE3AIfApyeqwsI_VlUzuiSCx1tFc4VEvBki6rwBamNPwruZ34LpLwG1oS_oB9NB4EDXQWfXwOTOnDs-UYvCqZ/s200/Tony+Peri+Bromoil+of+Fifties_Fair_Rockin_n_RhythmWeb1.jpg" width="200" /></a><br />
Darlinghurst's<b> Meyer Gallery </b>in Sydney <a href="http://www.meyergallery.com.au/">www.meyergallery.com.au</a> continues to explore the inherent beauty of printing techniques dating from photography's first, confident wave of discovery.<span style="font-size: 10pt;"><span style="font-size: 11pt;"> Featuring fourteen artists (including <b>Anthony Browell, Chia N-Lofqvist </b><i>(pictured, left her Tri-Color Carbon print)</i><b> Jill Lacina, Tony Peri</b><i> (his Bromoil of a rock n' roll revival is pictured, right) </i><b>Bob Kersey </b>and<b> Ellie Young</b>, this exhibition celebrates, says gallery director <b>Mary Meyer</b>, <i>"the broad spectrum of alternate photographic processes (and) the pictures they have made - by hand. And from the heart.</i>" Curated by <b>Bob Kersey</b>. <i>Until March 13</i></span></span><br />
<span style="font-style: italic;"></span><br />
<span style="font-weight: bold;">Hamish Ta-Me Makes the National Photographic Portrait Prize Cut</span><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjblrFxZa3jOvlGpgYpQG8DIGmLKCg2zTz1sIKvqFWc3-CH94Q7idUbromGUZPe_Om8fOPVxPh7Jm_NknWvloYr8sQGlJ13MWmI8LKejoRULaSSlConiH6D2OAEi5YBWWRMjwF9Hbh8rYKx/s1600/hamishnational+portrait+entry.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjblrFxZa3jOvlGpgYpQG8DIGmLKCg2zTz1sIKvqFWc3-CH94Q7idUbromGUZPe_Om8fOPVxPh7Jm_NknWvloYr8sQGlJ13MWmI8LKejoRULaSSlConiH6D2OAEi5YBWWRMjwF9Hbh8rYKx/s320/hamishnational+portrait+entry.jpg" width="210" /></a></div>I have just received this interesting, guileless portrait of Aboriginal model <b>Samantha Harris</b> from photographer <b>Hamish Ta-Me </b><a href="http://www.shotbyhamish.com/">www.shotbyhamish.com</a> with the news that this talented photographer was <i>'stoked'</i> that his image of Samantha had been selected for hanging in the prestigious exhibition in Canberra. Ta-Me's image reminds us that, with the recent success of Harris making the cover of <b>VOGUE</b>, indigenous stereotypes are crumbling<span style="font-weight: bold;">. </span><br />
<span style="font-weight: bold;">"Received Moments" Reaches the Gold Coast</span><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioSTe2yT-AUMlCZJjFoHH8AnqZG5fM5baa1ZG4gyqnZMKVBsVecKH0PlG01usHMKiafyHJAuMT1sNQHaVrg6YnCFcI7T2EtktARiy99fe9XOLC9CytWGtKzM6xnMEygQJBOBUGZvGzOPAz/s1600/MAGAM+scan+Actor+Leo+McKern+as+Dad+Rudd+in+film+On+Our+Selection+1994+Photograph+by+Robert+McFarlane.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5579006451496337298" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioSTe2yT-AUMlCZJjFoHH8AnqZG5fM5baa1ZG4gyqnZMKVBsVecKH0PlG01usHMKiafyHJAuMT1sNQHaVrg6YnCFcI7T2EtktARiy99fe9XOLC9CytWGtKzM6xnMEygQJBOBUGZvGzOPAz/s200/MAGAM+scan+Actor+Leo+McKern+as+Dad+Rudd+in+film+On+Our+Selection+1994+Photograph+by+Robert+McFarlane.jpg" style="cursor: pointer; float: left; height: 200px; margin: 0pt 10px 10px 0pt; width: 150px;" /></a>My forty-eight year retrospective <span style="font-style: italic; font-weight: bold;">"Received Moments"</span>, cura<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhr5t4-3LuM-N1PrxPvt5QgvHawuIWS49JjOFJZLR496Zf0uZBB82Vtf43q0kiREpFzZA1Mip69dx1TNp64rr6YpCy5zK8BdFtqGj3H3yv9LsLdHPUuG2GSdYQ5A5RN7g1BR9e9cIWvNwP-/s1600/MAGAM+scan++Wilsons+Promontory+1970+photograph+by+Robert+McFarlane.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5579005844124938354" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhr5t4-3LuM-N1PrxPvt5QgvHawuIWS49JjOFJZLR496Zf0uZBB82Vtf43q0kiREpFzZA1Mip69dx1TNp64rr6YpCy5zK8BdFtqGj3H3yv9LsLdHPUuG2GSdYQ5A5RN7g1BR9e9cIWvNwP-/s200/MAGAM+scan++Wilsons+Promontory+1970+photograph+by+Robert+McFarlane.jpg" style="cursor: pointer; float: right; height: 134px; margin: 0pt 0pt 10px 10px; width: 200px;" /></a>ted by <span style="font-weight: bold;">Sarah Johnson</span> of the <b>Manly Art Gallery & Museum</b>, is now reaching the end of its run at the fourth last venue in its Australian tour, the <span style="font-weight: bold;">Gold Coast Art Centre</span> <a href="http://www.theartscentregc.com.au/">http://www.theartscentregc.com.au/</a> part of the regional galleries network. I travelled to the Gold Coast for the opening and gave two gallery talks. I was, as always, delighted with the different, and original 'hang' of the show provided by each venue. Director <b>Virginia Rigney</b> and her staff created an unusually intimate display. Photographer and Arts Producer <b>Michael Snelling</b> opened the exhibition with considerable generousity of spirit on March 4th, regaling the audience with many events in my earlier life that I thought had been long forgotten. (The next venue is at <span style="font-weight: bold;">Maitland</span> <b>Regional Gallery</b>, opening on April 1st, followed by <span style="font-weight: bold;">Orange</span> <b>Regional Gallery</b> before ultimately arriving at the <span style="font-weight: bold;">Flinders Art Centre</span> in Adelaide in October 2011. <span style="font-weight: bold;"></span>From <b>"Received Moments"</b> <i>(pictured left)</i> acclaimed Australian actor <span style="font-weight: bold;">Leo McKern </span>(1920-2002)<span style="font-weight: bold;"> Braidwood, NSW 1994</span> and <i>(pictured, right)</i> <span style="font-weight: bold;">Wilson's Promontory, Victoria 1969</span><br />
Text: <span style="font-weight: bold;">Copyright Robert McFarlane</span> 2011 <a href="http://www.robertmcfarlanephotos.com/">www.robertmcfarlanephotos.com</a>ozphotoreviewhttp://www.blogger.com/profile/05955455242704658018noreply@blogger.com1tag:blogger.com,1999:blog-4793272593084821996.post-29741788527778764392011-02-18T00:46:00.000-08:002011-02-17T19:18:27.059-08:00Different Photographers, Varied Yearnings<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdzfyeaKSRX8ISze33RkIVaW14dYwdw9B1CNCFGYfE70395tRK_humq8Z46uJs580gyBTGuDJRJeY9_M1wB7o4c4qTql-ciHZNPIK0Avz4i9eNc2fCkvDIQzH-5lR3weoRzor2q9GpA-Wv/s1600/Robyn+Stacey+Mr+Macleay%2527s+Fruit+and+Flora+2008.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 400px; height: 282px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdzfyeaKSRX8ISze33RkIVaW14dYwdw9B1CNCFGYfE70395tRK_humq8Z46uJs580gyBTGuDJRJeY9_M1wB7o4c4qTql-ciHZNPIK0Avz4i9eNc2fCkvDIQzH-5lR3weoRzor2q9GpA-Wv/s400/Robyn+Stacey+Mr+Macleay%2527s+Fruit+and+Flora+2008.jpg" alt="" id="BLOGGER_PHOTO_ID_5574216870861076242" border="0" /></a>Three very different photographers, coincidentally all represented by <span style="font-weight: bold;">Stills Gallery</span> <a href="http://www.stillsgallery.com.au/">http://www.</a><a href="http://www.stillsgallery.com.au/">stillsgallery.com.au/</a> are showing in Sydney and exploring distinctly varied visual yearnings. <span style="font-weight: bold;">Robyn Stacey</span> brilliantly uses computer-constructed photographs to give us her view - by digital proxy - of what colonial Australians might have seen once they entered a room, sat down to eat, or simply contemplated a beautifully imagined still-life suggesting a scene<span style="font-style: italic;"> </span><span>from the</span><span style="font-style: italic;"> </span>19th century <span style="font-style: italic;">(pictured, above)</span> Stacey's images give sight to memory, substance to the half-remembered and always with the razor sharp definition of digital imaging. These yearning instants are passionate attempts to plumb echoes from dead<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhriJDnVh2hyphenhyphenjFMFROf8UmZBfhfJssYAWY013VDr7Sz6pLiUrLVIE3UlW57vgucuvo8ExezusspT-3u6k4Fs11-MUhjZWUPmRm9g5DdlzBzpE663cYn4wyBNf7u1EsniTjzqJVeR2PrO1Cz/s1600/ACP+2+Tales+From+Elsewhere+Polixeni+Papapetrou+The+Debutantes+2009.jpg"><img style="float: right; margin: 0pt 0pt 10px 10px; cursor: pointer; width: 320px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhriJDnVh2hyphenhyphenjFMFROf8UmZBfhfJssYAWY013VDr7Sz6pLiUrLVIE3UlW57vgucuvo8ExezusspT-3u6k4Fs11-MUhjZWUPmRm9g5DdlzBzpE663cYn4wyBNf7u1EsniTjzqJVeR2PrO1Cz/s320/ACP+2+Tales+From+Elsewhere+Polixeni+Papapetrou+The+Debutantes+2009.jpg" alt="" id="BLOGGER_PHOTO_ID_5574199870656702274" border="0" /></a> eras - in the same way we might respond, for example, to the scent left by the <a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZvm9mcYKLLy1xQYlEfLsFM5rK2qm3x09M7FO5lYDan9JsqoDx3Tqdkb0-_tb6sWD4RJbhfbNFpPzgRjBMnvtEXNoycMbR7wCi13PrFTVs3yGfsm4ScflfMxu6YCrOuGfcsak4SnXagrUx/s1600/ACP2+Tales+From+Elsewhere+Polixeni+Papapetrou+Miles+From+Nowhere+2006.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 200px; height: 200px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZvm9mcYKLLy1xQYlEfLsFM5rK2qm3x09M7FO5lYDan9JsqoDx3Tqdkb0-_tb6sWD4RJbhfbNFpPzgRjBMnvtEXNoycMbR7wCi13PrFTVs3yGfsm4ScflfMxu6YCrOuGfcsak4SnXagrUx/s200/ACP2+Tales+From+Elsewhere+Polixeni+Papapetrou+Miles+From+Nowhere+2006.jpg" alt="" id="BLOGGER_PHOTO_ID_5574203183368347698" border="0" /></a>emotional scenes in artist <span style="font-weight: bold;">Caravaggio</span>'s paintings. <span style="font-weight: bold;">Polixeni Papapetrou</span> yearns to create a different reality again - constructing dreamscapes that fall somewhere between <span style="font-weight: bold;">Rene Magritte</span>, <span style="font-weight: bold;">Lewis Carroll</span>.<span style="font-style: italic;">(pictured, above right)</span> and <span style="font-weight: bold;">Tennessee </span><span style="font-weight: bold;">Williams</span> <span style="font-style: italic;">(pictured</span><span style="font-style: italic;">, left)</span> Using her children Olympia and Solomon, Papapetrou populates her scenarios as extravagantly as <span style="font-weight: bold;">Lewis Carroll</span> once cast his <span style="font-weight: bold;">Wonderland</span> for Alice Liddell (a mythology Papapetrou has also previously explored in her photographs) Papapetrou's immaculate photographs are, however, pregnant with enigmatic, sometimes menacing scenarios. The <span style="font-weight: bold;">Australian Centre </span><span style="font-weight: bold;">for Photography</span> <a href="http://www.acp.org.au/">http://www.acp.org.au/</a> have presented a retrospective of Papapetrou's personal vision in which the arc of a remarkable career is made visible. The third artist, <span style="font-weight: bold;">William Yang</span>, appears to yearn for childhood <span style="font-style: italic;">(pictured, left)</span> his Chinese identity, and love. In <span style="font-style: italic;">"Old New Borro</span><span style="font-style: italic;">wed Blue"</span> at <a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjivHRdQ1LHJRJQHgpChqA5H8AUfD98_hzh2nxOC8pu-o4rqzemEFZu5fSvgWEAr8Tc-FDK0gBZvBbv5mcvUfIvIBTNqsBC8p72Sp_aeyhbNrT8wKU1LWsUVtTH-RCtaQGOw1FikYbZpos-/s1600/William+Yang+Self+Portrait+3+2007+Courtesy+Stills+Gallery.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 140px; height: 200px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjivHRdQ1LHJRJQHgpChqA5H8AUfD98_hzh2nxOC8pu-o4rqzemEFZu5fSvgWEAr8Tc-FDK0gBZvBbv5mcvUfIvIBTNqsBC8p72Sp_aeyhbNrT8wKU1LWsUVtTH-RCtaQGOw1FikYbZpos-/s200/William+Yang+Self+Portrait+3+2007+Courtesy+Stills+Gallery.jpg" alt="" id="BLOGGER_PHOTO_ID_5574197297807893986" border="0" /></a><span style="font-weight: bold;">Stills Gallery</span>, we discern a quest every bit as intense as t<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgp02C2gY_T2lJK7Pe6FX62N8SgKDlSbv311UZscXClrkz9W98xS2hC3TwMmlqUw5_9ho6nmlmWuV5JPDcXejwBGHHpgVzj5TXeHP00W8TBz8qwWFpqteyTSFdQDRKR6KPlgQqUA2G2Bh-J/s1600/Alter+Ego+Bondi+2002+by+William+Yang.jpg"><img style="float: right; margin: 0pt 0pt 10px 10px; cursor: pointer; width: 200px; height: 152px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgp02C2gY_T2lJK7Pe6FX62N8SgKDlSbv311UZscXClrkz9W98xS2hC3TwMmlqUw5_9ho6nmlmWuV5JPDcXejwBGHHpgVzj5TXeHP00W8TBz8qwWFpqteyTSFdQDRKR6KPlgQqUA2G2Bh-J/s200/Alter+Ego+Bondi+2002+by+William+Yang.jpg" alt="" id="BLOGGER_PHOTO_ID_5574233805205280034" border="0" /></a>hose of either Stacey and Papapetrou. Yang guilelessly sifts through past and present experience using a kind of GPS of the heart. His homosexuality is unsentimentally realised <span style="font-style: italic;">(pictured, right)</span> as well as the experiences of an Australian childhood<span style="font-style: italic;"> (pictured, left) </span>in which it came as a surprise, some years after his birth, to discover he was Oriental by race. There is ruthless honesty and candour to Yang's imagery, as always, whether examining his sexuality, mundane meals he has eaten, faces of past lovers or the memories of childhood. <span style="font-style: italic;">(pictured, left)</span> <span>There are also Yang pictures which sneak up on t</span><span>he viewer, such as a delicately toned B&</span><span>W close-up, taken in 1992, of a right hand <span style="font-style: italic;">(pictured, right)</span> clearly unmarked</span><span> by hard labour which, we discover on reading Yang's c</span><span>aption, belongs to the <span style="font-weight: bold;">Dalai Lama</span>. Nothing, as <span style="font-weight: bold;">Vladimir Nabokov</span> was fond of saying, is trivial. <span style="font-style: italic;">"The divinity lies in </span></span><a style="font-style: italic;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbnaTB1ZCkzWbJY-hL1I84dGgGbiHWm5hv_XQg2_OI79hSHT1tbGNYNugUsjOfhNWk_l4U6jcf8JJoX8j59RlwMP696xMhRdYiesfg1yB-hs2MN39WHwaKxDUOwUFxAgl-dS56hMpStIUb/s1600/William+Yang+Hand+of+the+Dalai+Lama+1+1992.jpg"><img style="float: right; margin: 0pt 0pt 10px 10px; cursor: pointer; width: 200px; height: 128px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbnaTB1ZCkzWbJY-hL1I84dGgGbiHWm5hv_XQg2_OI79hSHT1tbGNYNugUsjOfhNWk_l4U6jcf8JJoX8j59RlwMP696xMhRdYiesfg1yB-hs2MN39WHwaKxDUOwUFxAgl-dS56hMpStIUb/s200/William+Yang+Hand+of+the+Dalai+Lama+1+1992.jpg" alt="" id="BLOGGER_PHOTO_ID_5574217158920603042" border="0" /></a><span><span style="font-style: italic;">the detail</span>." </span><span>Yang's pictures can be seen at Stills Gallery - </span><span style="font-style: italic; font-weight: bold;">until Febru</span><span style="font-style: italic; font-weight: bold;">ary 26</span> Robyn Stacey's works can be viewed at the excellent<span style="font-style: italic;"> "Curious Colony .... </span><span style="font-style: italic;">Wunderkammer"</span> group exhibition at the <span style="font-weight: bold;">S. Ervin Gallery</span> <a href="http://www.nationaltrust.com.au/properties/gallery/default_Upcoming%20Exhibitions.asp">http://www.nationaltrust.com.au/properties/gallery/default_Upcoming%20Exhibitions.asp</a> sadly only <span style="font-weight: bold; font-style: italic;">until February 20</span>. Polixeni Papapetrou's photographs are on show at the ACP <span style="font-weight: bold; font-style: italic;">until March 12.</span><br /><span style="font-weight: bold;">A Planetary Postscript ...</span><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbW3Wm5YMaMmgx_bbLyVUEtEywYU7OY_fFkncOrk-UejLNBp_enebQikq277YuTfaaX4bcgmDLVRVKsK-hO8euv3hIs1P648O1RMKnktinmsmbgs94AVLrQVeC7gADnsIfggkSrr8vM7Mf/s1600/Catherine+Nelson+photo+ACP.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 200px; height: 200px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbW3Wm5YMaMmgx_bbLyVUEtEywYU7OY_fFkncOrk-UejLNBp_enebQikq277YuTfaaX4bcgmDLVRVKsK-hO8euv3hIs1P648O1RMKnktinmsmbgs94AVLrQVeC7gADnsIfggkSrr8vM7Mf/s200/Catherine+Nelson+photo+ACP.jpg" alt="" id="BLOGGER_PHOTO_ID_5574208051714695650" border="0" /></a>The Australian Centre for <a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnC57MbIfFd6Ia5xZ7m3dWx_n2hZWBWms4HayThINAh-e1ace_R73F8vXi7WQXqlUR4Uxph-i7YwDEGY-K441O5rAw8Ej_Xn0nBPJa0ARpGo5mVC620LtpfAmWw6nZ49MfhcQQthjovhp7/s1600/Catrherine+Nelson+Creation+image+ACP+Sydney_02.jpg"><img style="float: right; margin: 0pt 0pt 10px 10px; cursor: pointer; width: 200px; height: 200px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnC57MbIfFd6Ia5xZ7m3dWx_n2hZWBWms4HayThINAh-e1ace_R73F8vXi7WQXqlUR4Uxph-i7YwDEGY-K441O5rAw8Ej_Xn0nBPJa0ARpGo5mVC620LtpfAmWw6nZ49MfhcQQthjovhp7/s200/Catrherine+Nelson+Creation+image+ACP+Sydney_02.jpg" alt="" id="BLOGGER_PHOTO_ID_5574208579912239698" border="0" /></a>Photography are also showing the first photographs I have seen that made me instantly think of <span style="font-weight: bold;">Antoine de St Exupery</span>'s epic children's novella <span style="font-style: italic;">"The Little Prince"</span>. <span style="font-weight: bold;">Catherine Nelson</span>'s <span style="font-style: italic;">"Creation"</span> series portrays the world on an unashamedly absurd scale - tiny spheres in which continents have been replaced by green, limpid pools and trees and grass sprout like stubble on a planet resembling a black bowling ball. And yet ... there is still something essentially photographic about Nelson's fantasies and her seductive exploiting of the <span style="font-style: italic;">"anything goes"</span> constructs available to digital photo-artists today. <span style="font-style: italic; font-weight: bold;">Until March 12.<br /></span><span style="font-weight: bold;">It's Head On Time Again!</span><br /><span>I ran into <span style="font-weight: bold;">Moshe Rosenzv</span></span><span><span style="font-weight: bold;">eig </span></span><span>a</span><span>t <span style="font-weight: bold;">Ji</span></span><span><span style="font-weight: bold;">m</span></span><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjODidE6uOApZjtgvztRpoReKr4KrXCR4rZObS6esLs8N6UAsmqaw4yN0DZKTqlTCLjOabE6urscNeHh7HNI8g5KM1C2cB9VKt3FjpgGjiqrWrhpNMF1S2WegnajSZxGiVTQLlGJMFR5Y5k/s1600/Jim+Andereson+Lampoon+Flower+Childcropped41.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 300px; height: 209px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjODidE6uOApZjtgvztRpoReKr4KrXCR4rZObS6esLs8N6UAsmqaw4yN0DZKTqlTCLjOabE6urscNeHh7HNI8g5KM1C2cB9VKt3FjpgGjiqrWrhpNMF1S2WegnajSZxGiVTQLlGJMFR5Y5k/s320/Jim+Andereson+Lampoon+Flower+Childcropped41.jpg" alt="" id="BLOGGER_PHOTO_ID_5574841361553405890" border="0" /></a><span><span style="font-weight: bold;"> Anderson'</span>s </span><span>excellent retros</span><span>pective, <span style="font-weight: bold;">Lampo</span></span><span><span style="font-weight: bold;">o</span></span><span><span style="font-weight: bold;">n</span></span><span><span style="font-weight: bold;"> </span></span><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjf-eZLetJHZmd7tDTfZLZ-8ApRZPRbtN7F2CFGbJsNPoWbtp_D2_M4wj0Yn4PfwCFBmVXw8_ljqGjGP6WkJP4mcdajAd_owXHG5k70h_TXJp91xqzxoLqJKvazswY-Z_CLs4FF3tZBCGdG/s1600/Jim+Anderson+Tin+Sheds+Opening+004.jpg"><img style="float: right; margin: 0pt 0pt 10px 10px; cursor: pointer; width: 150px; height: 200px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjf-eZLetJHZmd7tDTfZLZ-8ApRZPRbtN7F2CFGbJsNPoWbtp_D2_M4wj0Yn4PfwCFBmVXw8_ljqGjGP6WkJP4mcdajAd_owXHG5k70h_TXJp91xqzxoLqJKvazswY-Z_CLs4FF3tZBCGdG/s200/Jim+Anderson+Tin+Sheds+Opening+004.jpg" alt="" id="BLOGGER_PHOTO_ID_5574862426586134770" border="0" /></a><span><span style="font-weight: bold;">- </span></span><span><span style="font-weight: bold;">An Historical Art Trajectory (1970-2010)</span> <span style="font-style: italic;">(pictured)</span> at the <span style="font-weight: bold;">Tin Sheds Gallery</span> at Sydney University. It was a emotional reunion at t</span><span>he gallery which featured a visual avalanche of works by Anderson, the former art editor of Australia's pioneering satirical magazine <span style="font-weight: bold;">Oz</span>. Anderson is also a passionate diarist with a camera and anyone contemplating a visit to the Tin Sheds <a href="http://faculty.arch.usyd.edu.au/art_workshop/Tinsheds.2002.html">http://faculty.arch.usyd.edu.au/art_workshop/Tinsheds.2002.html</a> should allow time to trawl through what seemed like thousan</span><span>ds of photographs. </span><span>There are also many much larger works <span style="font-style: italic;">(pictured, above)</span> whic</span><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_EKpyvCg8y4SNsVZw5eqVnTdMHHz8JujOc6U6owKdB68x8oDo4V8gpGXT0xGC61RLyi8aXvZ6VUd31gys1kWsXRfcXYQgACfz_ftFg9c_PRQ4iyQz-fG3inBOM36mGw1WPxgaeaTHg3vN/s1600/Jim+Anderson+Tin+Sheds+Opening+002.jpg"><img style="float: right; margin: 0pt 0pt 10px 10px; cursor: pointer; width: 200px; height: 150px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_EKpyvCg8y4SNsVZw5eqVnTdMHHz8JujOc6U6owKdB68x8oDo4V8gpGXT0xGC61RLyi8aXvZ6VUd31gys1kWsXRfcXYQgACfz_ftFg9c_PRQ4iyQz-fG3inBOM36mGw1WPxgaeaTHg3vN/s200/Jim+Anderson+Tin+Sheds+Opening+002.jpg" alt="" id="BLOGGER_PHOTO_ID_5574863102271296082" border="0" /></a><span>h delineate Anderson's passionate, sensual imagination. I met a number of friends from four decades ago who were present, such as the acclaimed poet <span style="font-weight: bold;">Robert Ad</span></span><span><span style="font-weight: bold;">amson</span> <span style="font-style: italic;">(pictured)</span> pioneering 1960's light show designer <span style="font-weight: bold;">Roger Foley</span> (a.k.a. <span style="font-weight: bold;">L.S.D. Fogg</span>), with </span><span>his charming fiance <span style="font-weight: bold;">Francesca</span>.<span style="font-style: italic;">(pictured)</span> Rosenzveig, </span><span>an always passionate advocate for photography, reminded me again that anyone contemplating entering Head On's Portrait Competition should get their entries in soon. Details may be found at <a href="http://headon.com.au/">htt</a></span><span><a href="http://headon.com.au/">p://headon.com.au/</a> and entries close on </span><span style="font-style: italic; font-weight: bold;">March 13, 2011<br /></span><span style="font-weight: bold;">Copyright Robert McFarlane 2011.</span><span style="font-style: italic; font-weight: bold;"><br /></span>ozphotoreviewhttp://www.blogger.com/profile/05955455242704658018noreply@blogger.com0tag:blogger.com,1999:blog-4793272593084821996.post-25245614593202236532011-01-27T20:58:00.000-08:002011-02-28T02:00:02.208-08:00Big Pictures/Tiny Cameras<span style="font-size:130%;"><span style="font-family:times new roman;"><span style="font-weight: bold;">Annie Leibovitz: "A Photographer's Life" at the MCA</span><br /></span></span><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKc4eNOSFPCuejUH1eiwFAn0Ilck60LOS5IllF20TVDZBQFsShWYINq8pTiMJYAUWkx44VPSTRqMFbC_iIcer5UuM3NNBqiEz6F5_kHMNhIamTg0HN2ID_vyMX-zdAkTBlb-B8Sy944L6q/s1600/nicole+kidman+%25282%2529.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 400px; height: 272px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKc4eNOSFPCuejUH1eiwFAn0Ilck60LOS5IllF20TVDZBQFsShWYINq8pTiMJYAUWkx44VPSTRqMFbC_iIcer5UuM3NNBqiEz6F5_kHMNhIamTg0HN2ID_vyMX-zdAkTBlb-B8Sy944L6q/s400/nicole+kidman+%25282%2529.jpg" alt="" id="BLOGGER_PHOTO_ID_5565260718403818962" border="0" /></a><span style="font-size:130%;"><span style="font-family:times new roman;">Sydney is again the site of two of the most important exhibitions seen this year - <span style="font-weight: bold;">Annie Leibovitz</span>'s sprawling retrospective </span></span><span style="font-size:130%;"><span style="font-family:times new roman;"><span style="font-style: italic;">"A Photograp</span></span></span><span style="font-size:130%;"><span style="font-family:times new roman;"><span style="font-style: italic;">her's Life"</span> at the <span style="font-weight: bold;">Museum of Contemporary Art </span><a href="http://www.mca.com.au/">http://www.mca.</a></span></span><span style="font-size:130%;"><span style="font-family:times new roman;"><a href="http://www.mca.com.au/">com.au/ </a>and <span style="font-weight: bold;">Jeff Carter</span>'s sadly posthumous survey of his l</span></span><span style="font-size:130%;"><span style="font-family:times new roman;">ife's concerns at the NSW State Library entitled <span style="font-style: italic;">"Beach, Bush + Battlers"</span>. For forty years, Leibovitz has been the gre</span></span><span style="font-size:130%;"><span style="font-family:times new roman;">at entertainer of American editorial photography, firstly with <span style="font-weight: bold;">Jann Wenner</span>'s pioneering rock newspaper <span style="font-weight: bold;">Rolling Stone</span>, and more recently with <span style="font-weight: bold;">Vanity Fair</span> magazine. This <span style="font-weight: bold;">MCA</span> exhibition details the extreme range of i</span></span><span style="font-size:130%;"><span style="font-family:times new roman;">mage</span></span><span style="font-size:130%;"><span style="font-family:times new roman;">ry of which </span></span><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhA9N4Djj6eXJyiO0qW8MYcfl5hOnpo2xZB3KEPf0EAMwY74XAS0n8dcOWhhlFhtiGHmc00V8jPMDaCmKEody90P5TM9ycIvxcAVOe22qATnE7QkZbMn6jmJvK7vVCQ3EpmnF0HMmFrMFHK/s1600/sarajevo+%25282%2529.jpg"><img style="float: right; margin: 0pt 0pt 10px 10px; cursor: pointer; width: 320px; height: 225px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhA9N4Djj6eXJyiO0qW8MYcfl5hOnpo2xZB3KEPf0EAMwY74XAS0n8dcOWhhlFhtiGHmc00V8jPMDaCmKEody90P5TM9ycIvxcAVOe22qATnE7QkZbMn6jmJvK7vVCQ3EpmnF0HMmFrMFHK/s320/sarajevo+%25282%2529.jpg" alt="" id="BLOGGER_PHOTO_ID_5565261434412731826" border="0" /></a><span style="font-size:130%;"><span style="font-family:times new roman;">the American photograph</span></span><span style="font-size:130%;"><span style="font-family:times new roman;">er is capable: fro</span></span><span style="font-size:130%;"><span style="font-family:times new roman;">m the m</span></span><span style="font-size:130%;"><span style="font-family:times new roman;">ost glossy, entertaining recreations of Hollywood</span></span><span style="font-size:130%;"><span style="font-family:times new roman;"> glamour using contemporary luminaries such as <span style="font-weight: bold;">Nicole Kidman</span> <span>in 2003</span><span style="font-style: italic;"> (pictured</span></span></span><span style="font-size:130%;"><span style="font-family:times new roman;"><span style="font-style: italic;">, above)</span> to </span></span><span style="font-size:130%;"><span style="font-family:times new roman;">the tragic calligraphy of war, personified by Leibovitz's simple, graph</span></span><span style="font-size:130%;"><span style="font-family:times new roman;">ic black and white 1993 image of a child's cycle lying forlornly next to bloodstains left by a sniper's bullet in Sarajevo. <span style="font-style: italic;">(pictured, above right)</span> The archive produced by this u</span></span><span style="font-size:130%;"><span style="font-family:times new roman;">nique artist is broad, deep and occasionally merely diarist, as in the generous select</span></span><span style="font-size:130%;"><span style="font-family:times new roman;">ions of images from her family. <span style="font-style: italic;">"A Photographer's Life"</span> presents one woman's collage of imagery made as the last decades of the 20th Century faded into the first five years of the 21st. Betwee</span></span><span style="font-size:130%;"><span style="font-family:times new roman;">n fame, war, triv</span></span><span style="font-size:130%;"><span style="font-family:times new roman;">ia and tragedy </span></span><span style="font-size:130%;"><span style="font-family:times new roman;">an essence of our contemporary existence emerges - and ample evidence of an artist struggling to balance her links with celebrity against her expressive sojourns e</span></span><span style="font-size:130%;"><span style="font-family:times new roman;">xploring the most tragically real of days. <span style="font-style: italic;">U</span></span></span><span style="font-size:130%;"><span style="font-family:times new roman;"><span style="font-style: italic;">ntil March 2</span></span></span><span style="font-size:130%;"><span style="font-family:times new roman;"><span style="font-style: italic;">7.<br /></span><span><span style="font-weight: bold;">Peter Carrette's Remarkable Dream<br /></span></span></span></span><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFuSj5JFkKhU-KbzizCZnumGczHC4QI8xvkqWf4BSta6kxikDKikQtCR9VxeZwxY3AFvk0ifJaAeprlikFiTdrSqS8EKz3wp9WG2u4WzXBSVXuZBVpkKXOaPMR-D1M4sVDZmq6sRqbJrrE/s1600/Cambodia+Orphanage+Peter+Carrette.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 320px; height: 208px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFuSj5JFkKhU-KbzizCZnumGczHC4QI8xvkqWf4BSta6kxikDKikQtCR9VxeZwxY3AFvk0ifJaAeprlikFiTdrSqS8EKz3wp9WG2u4WzXBSVXuZBVpkKXOaPMR-D1M4sVDZmq6sRqbJrrE/s320/Cambodia+Orphanage+Peter+Carrette.jpg" alt="" id="BLOGGER_PHOTO_ID_5566774571468563058" border="0" /></a><span style="font-size:130%;"><span style="font-family:times new roman;"><span>Adelaide professional</span></span></span><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgV2Z06JiQ9OBOwhei88ZdJvNVb2PyG9F9QKdAcVBRyfZ4Pn1vCvoDTVF5HMyHLuLEXAdcvDEWEeJtFzvqzBbMnnK2C9nv6-DgNZygv8-U58jxWw18FGbSRJFZl2tPMgV9TpuMIPrsKFBUS/s1600/Deaf+and+blind+tuition+in+Cambodia.jpg"><img style="float: right; margin: 0pt 0pt 10px 10px; cursor: pointer; width: 145px; height: 94px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgV2Z06JiQ9OBOwhei88ZdJvNVb2PyG9F9QKdAcVBRyfZ4Pn1vCvoDTVF5HMyHLuLEXAdcvDEWEeJtFzvqzBbMnnK2C9nv6-DgNZygv8-U58jxWw18FGbSRJFZl2tPMgV9TpuMIPrsKFBUS/s200/Deaf+and+blind+tuition+in+Cambodia.jpg" alt="" id="BLOGGER_PHOTO_ID_5566774992430596178" border="0" /></a><span style="font-size:130%;"><span style="font-family:times new roman;"><span> photographer <span style="font-weight: bold;">Milton Wordley</span> <a href="http://www.wordley.com.au/">www.wordley.com.au</a> dropped in the other day with a copy of the order of service for the funeral of <span style="font-weight: bold;">Peter Carrette</span>, held recently in Sydney. As I wrote in a previous blog, there were many surprising facets to Carrette's life - as a photographer, mentor and a humanitarian. At his funeral, mourners for the charismatic Carrette were invited by his family <span style="font-style: italic;">not</span> </span></span></span><span style="font-size:130%;"><span style="font-family:times new roman;"><span>to </span></span></span><span style="font-size:130%;"><span style="font-family:times new roman;"><span>send flowers, but instead donate to </span></span></span><span style="font-size:130%;"><span style="font-family:times new roman;"><span><span style="font-weight: bold;">Krousar-Thmey</span></span></span></span><span style="font-size:130%;"><span style="font-family:times new roman;"><span> the Cambodian orphanage this photographer had visited and helped support. Their website <a href="http://krousar-thmey.org/">http://krousar-thmey.org/</a> </span></span></span> (Krousar-Thmey means <span style="font-style: italic;">"New Family"</span> in Khmer) gives a detailed insight into this organisation's realistic ambitions <span style="font-style: italic;">(including literacy for the blind, pictured right)</span> for their many unfairly distressed children. Clearly Carrette believed no child should live their life with the deprivations faced by orphans in Cambodia. To transfer money in AUD, please contact the <span style="font-weight: bold;">ANZ Banking Group</span> and quote the Swift Code ANZBAU3M.<br /><span style="font-size:130%;"><span style="font-family:times new roman;"><span><span style="font-weight: bold;"></span></span><span><span style="font-weight: bold;">Jeff Carter's Beach, Bush + Battlers comes to SLNSW</span></span><span style="font-style: italic;"><br /></span></span></span><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxv1Kkcyrddr1Vwud-UwJfDjtnHnX1K_uBNN8yMC5M-hV_OBG_1OWn7F1mp7ptS2QpIJ9-5tqC59m2uI7HkxnOoM8kkppSbSKXuaBs3cOSTM5LBqxyuc0zQlFua7MCe-KmxYIExbnW75u4/s1600/tobacco+road+1956+copyright+photograph+by+jeff+carter+courtesy+byron+mcmahon+gallery+%25282%2529.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 282px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxv1Kkcyrddr1Vwud-UwJfDjtnHnX1K_uBNN8yMC5M-hV_OBG_1OWn7F1mp7ptS2QpIJ9-5tqC59m2uI7HkxnOoM8kkppSbSKXuaBs3cOSTM5LBqxyuc0zQlFua7MCe-KmxYIExbnW75u4/s320/tobacco+road+1956+copyright+photograph+by+jeff+carter+courtesy+byron+mcmahon+gallery+%25282%2529.jpg" alt="" id="BLOGGER_PHOTO_ID_5565314204887234722" border="0" /></a><span style="font-size:130%;"><span style="font-family:times new roman;"><span>Photographer </span><span style="font-weight: bold;">Jeff Carter </span><span style="font-style: italic;">(pictured, below right)</span> was, by his </span></span><span style="font-size:130%;"><span style="font-family:times new roman;">own admi</span></span><span style="font-size:130%;"><span style="font-family:times new roman;">ssion - an</span></span><span style="font-size:130%;"><span style="font-family:times new roman;">d the wording on his lett</span></span><span style="font-size:130%;"><span style="font-family:times new roman;">erhead for many years - Australia's ph</span></span><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXuQ79Y38Dr0-MAxw_gyWy2_4l6tVtzvYXBluMwdWTCWf4BtvnE993Cv3ZssV9U_0d0YjyqLng9ECBjvPZRXlMsdMdNHUDcVM0Z2XrJfN-r4ZId6BVJVc5uBUNLveEvRKM82EbLL3C_uP6/s1600/Jeff+Carter+at+home+in+Foxground+NSW+2000+Photograph+by+Robert+McFarlane.jpg"><img style="float: right; margin: 0pt 0pt 10px 10px; cursor: pointer; width: 185px; height: 262px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXuQ79Y38Dr0-MAxw_gyWy2_4l6tVtzvYXBluMwdWTCWf4BtvnE993Cv3ZssV9U_0d0YjyqLng9ECBjvPZRXlMsdMdNHUDcVM0Z2XrJfN-r4ZId6BVJVc5uBUNLveEvRKM82EbLL3C_uP6/s320/Jeff+Carter+at+home+in+Foxground+NSW+2000+Photograph+by+Robert+McFarlane.jpg" alt="" id="BLOGGER_PHOTO_ID_5565263086006564018" border="0" /></a><span style="font-size:130%;"><span style="font-family:times new roman;">otographer by appointment to <span style="font-style: italic;">"The Poor and U</span></span></span><span style="font-size:130%;"><span style="font-family:times new roman;"><span style="font-style: italic;">nknown"</span>. Sadly Ca</span></span><span style="font-size:130%;"><span style="font-family:times new roman;">rter died at the age of 82 on October 25 last year. This photographer understood dee</span></span><span style="font-size:130%;"><span style="font-family:times new roman;">ply, f</span></span><span style="font-size:130%;"><span style="font-family:times new roman;">rom </span></span><span style="font-size:130%;"><span style="font-family:times new roman;">personal experience <span style="font-style: italic;">'hump</span></span></span><span style="font-size:130%;"><span style="font-family:times new roman;"><span style="font-style: italic;">ing his swag'</span> around <span style="font-style: italic;">"The Bush"</span> as a young man, what hard work meant </span></span><span style="font-size:130%;"><span style="font-family:times new roman;"><span style="font-style: italic;">(pictured left, his iconic "Tobacco Road, 1956") </span></span></span><span style="font-size:130%;"><span style="font-family:times new roman;">and throughout his long career he never lost his rapport with Australian working men and women. This affinity is ever present in his photographs, adding to their already powerful archival value. Curated by <span style="font-weight: bold;">Sandra Byron</span>, <span style="font-style: italic;">"Beach, Bush + Battlers"</span> is not to be missed. There will be a panel discussion on Februar</span></span><span style="font-size:130%;"><span style="font-family:times new roman;">y 18 at 6pm at the <span style="font-weight: bold;">SLNSW</span> <a href="http://www.sl.nsw.gov.au/">http://www.sl.nsw.gov.au/</a> to acknowle</span></span><span style="font-size:130%;"><span style="font-family:times new roman;">dge Jeff Carter's contribution to Austra</span></span><span style="font-size:130%;"><span style="font-family:times new roman;">lian documentary photography. <span style="font-style: italic;"><a href="http://www.jeffcarterphotos.com/">http://www.jeffcarterphotos.com/</a> Until February 20.<br /></span><span style="font-weight: bold;">Distinguished Photojournalist Penny Tweedie dies. (1940-2011)</span></span></span><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvI9DJNvGUNKrYuWPldJrK0JDECpbbTx7C7mrkcVp5RGQuk3JPtHLr0yykotGH5TKmFDnrSO1lZ26bzGyyoMAXSFq9QQFCFCapHiYRunB2NcLDGHp79iBAxlXm8G7Ocq4tO7vLCor5jTQc/s1600/Penny+Tweedie+Photographer.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 149px; height: 200px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvI9DJNvGUNKrYuWPldJrK0JDECpbbTx7C7mrkcVp5RGQuk3JPtHLr0yykotGH5TKmFDnrSO1lZ26bzGyyoMAXSFq9QQFCFCapHiYRunB2NcLDGHp79iBAxlXm8G7Ocq4tO7vLCor5jTQc/s200/Penny+Tweedie+Photographer.jpg" alt="" id="BLOGGER_PHOTO_ID_5565276966307176082" border="0" /></a><span style="font-size:130%;"><span style="font-family:times new roman;"><span><span style="font-weight: bold;">Penny Tweedie</span> <span style="font-style: italic;">(pictured, left)</span> has died in Britain on January 24, aged 70. It often seemed to me as if this </span></span></span><span style="font-size:130%;"><span style="font-family:times new roman;"><span>rem</span></span></span><span style="font-size:130%;"><span style="font-family:times new roman;"><span>arkable, talented photojournalist had seen and done ev</span></span></span><span style="font-size:130%;"><span style="font-family:times new roman;"><span>erything - and perh</span></span></span><span style="font-size:130%;"><span style="font-family:times new roman;"><span>aps </span></span></span><span style="font-size:130%;"><span style="font-family:times new roman;"><span>knew everyone. Tweedie had, at her considerable peril, covered several wars from the Middle East to Banglades</span></span></span><span style="font-size:130%;"><span style="font-family:times new roman;"><span>h, and made enduring portraits of celebrities as wildly differing as <span style="font-weight: bold;">Twiggy, Muammar Qaddafi</span>, <span style="font-weight: bold;">Princess Diana</span> and <span style="font-weight: bold;">John Lennon</span>. </span></span></span><span style="font-size:130%;"><span style="font-family:times new roman;"><span>I once worked at the <span style="font-weight: bold;">Daily Telegra</span></span></span></span><span style="font-size:130%;"><span style="font-family:times new roman;"><span><span style="font-weight: bold;">ph Colour Magazine</span> in London in the early 1970's </span></span></span><span style="font-size:130%;"><span style="font-family:times new roman;"><span>when Penny Tweedie </span></span></span><span style="font-size:130%;"><span style="font-family:times new roman;"><span>was also there and discovered by accident how far this diminutive, elegant, feisty woman would go to complete an assignment. One morning I walked into Picture Editor <span style="font-weight: bold;">Patricia Elkins</span>' office and was surprisingly offered a job photographing the <span style="font-weight: bold;">CIA</span> in London, which I knew <span style="font-weight: bold;">Penny Tweedie </span>had originally been commissioned to do. However, as Tweedie worked on her last task, </span></span></span><span style="font-size:130%;"><span style="font-family:times new roman;"><span>photographing </span></span></span><span style="font-size:130%;"><span style="font-family:times new roman;"><span>illegal airport </span></span></span><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBp7YM4NCoTiqujlIM2hfj5TIdoCSoqla5P8bxjcbwuCOzqlCBlA_Wd4ySpCh0Fk8YTXllfKlhserXKVZstreTANBMQYAOyW56ECd_gXjGgAwuAh6hqp3qF_L7N_wzw7qTDtLktjVgV-ZW/s1600/Penny+Tweedie+with+George+Rodger+founding+Magnum+Photographer+by+Bob+Davis.jpg"><img style="float: right; margin: 0pt 0pt 10px 10px; cursor: pointer; width: 200px; height: 130px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBp7YM4NCoTiqujlIM2hfj5TIdoCSoqla5P8bxjcbwuCOzqlCBlA_Wd4ySpCh0Fk8YTXllfKlhserXKVZstreTANBMQYAOyW56ECd_gXjGgAwuAh6hqp3qF_L7N_wzw7qTDtLktjVgV-ZW/s200/Penny+Tweedie+with+George+Rodger+founding+Magnum+Photographer+by+Bob+Davis.jpg" alt="" id="BLOGGER_PHOTO_ID_5566404382837392386" border="0" /></a><span style="font-size:130%;"><span style="font-family:times new roman;"><span>abortion touts at Heathrow, she been caught and savagely beaten by thugs, leavi</span></span></span><span style="font-size:130%;"><span style="font-family:times new roman;"><span>ng her </span></span></span><span style="font-size:130%;"><span style="font-family:times new roman;"><span>unable to start the next assignment. An Australian photojournalist based in Hong Kong, <span style="font-weight: bold;">Bob Davis</span><span>,</span> <a href="http://www.bobdavis-photographer.com/">http://www.bobdavis-photographer.com/</a> has just sent me this photograph <span style="font-style: italic;">(pictured, right) </span><span>he made </span>of Tweedie in dialogue with <span>the late</span><span style="font-weight: bold;"> George Rodger</span>, legendary British documentary photographer and co-founder (With <span style="font-weight: bold;">Robert Capa</span>, <span style="font-weight: bold;">David "Chim Seymour"</span> and <span style="font-weight: bold;">Henri Cartier-Bresson</span>) of <span style="font-weight: bold;">Magnum Photos</span>.</span></span></span><span style="font-size:130%;"><span style="font-family:times new roman;"><span><a href="http://agency.magnumphotos.com/about/history">http://agency.magnumphotos.com/about/history</a> The British <span style="font-weight: bold;">Guardian</span> newspaper also recently published the following tribute by <span style="font-weight: bold;">Mike Wells</span> <a href="http://www.mwellsphoto.com/">http://www.mwellsphoto.com/</a> and <span style="font-weight: bold;">Duncan Campbell</span>: <a href="http://www.guardian.co.uk/artanddesign/2011/jan/20/penny-tweedie-obituary">http://www.guardian.co.uk/artanddesign/2011/jan/20/penny-tweedie-obituary</a><br /><span style="font-weight: bold;">Discovering Indigenous Australia</span><br /></span></span></span><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOHTNU-n-N7JTADFA3WVL2bohaxCirY6YFFwkMAOI98GpT-wbxSsD048GsLfCKRkji1W_ccKMKpczv5ur9BL6FJEE1M-QZdUXUhLIHh2maMU66sfK_pRJyOTr6tbWby5r0fVSsY3TJLlOu/s1600/Catching+crab+at+Dippirri+by+Penny+Tweedie.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 400px; height: 310px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOHTNU-n-N7JTADFA3WVL2bohaxCirY6YFFwkMAOI98GpT-wbxSsD048GsLfCKRkji1W_ccKMKpczv5ur9BL6FJEE1M-QZdUXUhLIHh2maMU66sfK_pRJyOTr6tbWby5r0fVSsY3TJLlOu/s400/Catching+crab+at+Dippirri+by+Penny+Tweedie.jpg" alt="" id="BLOGGER_PHOTO_ID_5565323628212275474" border="0" /></a><span style="font-size:130%;"><span style="font-family:times new roman;"><span>In 1975</span></span></span><span style="font-size:130%;"><span style="font-family:times new roman;"><span> Tweedie fl</span></span></span><span style="font-size:130%;"><span style="font-family:times new roman;"><span>ew to Alice Springs as part of a <span style="font-weight: bold;">BBC </span>d</span></span></span><span style="font-size:130%;"><span style="font-family:times new roman;"><span>ocumentary film crew filming the story of <span style="font-weight: bold;">Burke and Wills. </span><span>This assignment</span> would change </span></span></span><span style="font-size:130%;"><span style="font-family:times new roman;"><span>her life. Tweedie discovered Aboriginal culture and began a lifelong commitment to documenting indigenous Australia. Tweedie moved to Australia and several affirmative books exploring Aboriginal society followed, including <span style="font-style: italic; font-weight: bold;">This My Country </span><span style="font-style: italic;">(William Collins)</span> in 1985 and </span></span></span><span style="font-size:130%;"><span style="font-family:times new roman;"><span><span style="font-style: italic;"><span style="font-weight: bold;">Spirit of Arnhem Land</span> (New Holland) in 1998. </span></span></span></span><span style="font-size:130%;"><span style="font-family:times new roman;"><span> Penny </span></span></span><span style="font-size:130%;"><span style="font-family:times new roman;"><span>Tweedie's enduring legacy can be</span></span></span><span style="font-size:130%;"><span style="font-family:times new roman;"><span> viewed at <a href="http://pennytweedie.com/">http://pennytweedie.com/</a><br />She is survived by </span></span></span><span style="font-size:130%;"><span style="font-family:times new roman;"><span>her son Ben, </span></span></span><span style="font-size:130%;"><span style="font-family:times new roman;"><span>mother Anne</span></span></span><span style="font-size:130%;"><span style="font-family:times new roman;"><span> and brothers James and Charles.<br /></span><span style="font-weight: bold;">Point & Shoot goes Wide & Fast</span><br /></span></span><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwQlQ7IG3wWKDd6AkblgkWBu0vxzJpbZ3v6WmR7hoBLeq8J2yNeY3vKh1nFTfqnllZFndhndTZup6vgtu1kNI8w6ctK6dJWJP28zOqeJEFnw-fsChjMws5eO9i0J1-QY0C3hnQ0EUXhbjS/s1600/Canon+S95+Front+view.png"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 200px; height: 122px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwQlQ7IG3wWKDd6AkblgkWBu0vxzJpbZ3v6WmR7hoBLeq8J2yNeY3vKh1nFTfqnllZFndhndTZup6vgtu1kNI8w6ctK6dJWJP28zOqeJEFnw-fsChjMws5eO9i0J1-QY0C3hnQ0EUXhbjS/s200/Canon+S95+Front+view.png" alt="" id="BLOGGER_PHOTO_ID_5563035286556189778" border="0" /></a><span style="font-size:130%;"><span style="font-family:times new roman;">Having a fast medium wide-angle len</span></span><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKtpw05tNarDPhwGtHfIb60_aHIEBFzwC3Sj5EwDcS0RJ11qzIL_2oyaXQPViQF1YHmIibDMHhr30NLergceuNg4Lzsgw0co0ocjxW02oaPpj5pkPci53i-kFUVsE6WMGRnG0rW0npNHl1/s1600/Canon+S95+in+macro+mode+shot+at+28f2.jpg"><img style="float: right; margin: 0pt 0pt 10px 10px; cursor: pointer; width: 200px; height: 150px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKtpw05tNarDPhwGtHfIb60_aHIEBFzwC3Sj5EwDcS0RJ11qzIL_2oyaXQPViQF1YHmIibDMHhr30NLergceuNg4Lzsgw0co0ocjxW02oaPpj5pkPci53i-kFUVsE6WMGRnG0rW0npNHl1/s200/Canon+S95+in+macro+mode+shot+at+28f2.jpg" alt="" id="BLOGGER_PHOTO_ID_5563037488216747858" border="0" /></a><span style="font-size:130%;"><span style="font-family:times new roman;">s has been part of my documentary camera outfit for over forty years - first with an early version of the classic <span style="font-weight: bold;">Nip</span></span></span><span style="font-size:130%;"><span style="font-family:times new roman;"><span style="font-weight: bold;">pon Kogaku Auto-Nikkor 28/2</span> - and later, after I switched to Ca</span></span><span style="font-size:130%;"><span style="font-family:times new roman;">non SLR's, their <span>fine</span><span style="font-weight: bold;"> FD 28/2 SSC Canon</span>. In the late 1970's I also bought an early version of the <span style="font-weight: bold;">35/1.4 Summilux-M</span> for my battered <span style="font-weight: bold;">Leica M2</span>. The <span style="font-weight: bold;">Leitz </span>lens tend</span></span><span style="font-size:130%;"><span style="font-family:times new roman;">ed to flare when used wide open <span style="font-style: italic;">(as can be seen, below, in a photograph I made of that remarkable performer and writer, the late <span style="font-weight: bold;">Nick Enright</span>, at Sydney's Nimrod Theatre in 1978)</span> but from f2 on, the Summilux's definition, contrast and </span></span><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPt6es2esuojlmf-Wi7lgbCdCoGFm23kIdwYiUTRUz_mkPet58h7ZUGG6iIGQGszymlLNixHRqtJ15Mr4nCyRPOm6RYhjteabe1Tg_wE39ksfbLf0cXB8a_Cbcmnv_IEsEvezgsTcB8SoY/s1600/0038+ACP+Nick+Enright+by+Robert+McFarlane+Portfolio+Two+060+copy.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 200px; height: 135px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPt6es2esuojlmf-Wi7lgbCdCoGFm23kIdwYiUTRUz_mkPet58h7ZUGG6iIGQGszymlLNixHRqtJ15Mr4nCyRPOm6RYhjteabe1Tg_wE39ksfbLf0cXB8a_Cbcmnv_IEsEvezgsTcB8SoY/s200/0038+ACP+Nick+Enright+by+Robert+McFarlane+Portfolio+Two+060+copy.jpg" alt="" id="BLOGGER_PHOTO_ID_5563439459980445234" border="0" /></a><span style="font-size:130%;"><span style="font-family:times new roman;">colour </span></span><span style="font-size:130%;"><span style="font-family:times new roman;">were wonderful. Such medium wide-angle lenses broadly approximate the eye's main area of comprehension and their added speed gave me confidence to work in l</span></span><span style="font-size:130%;"><span style="font-family:times new roman;">ow light levels and still make sharp pictures - whether usin</span></span><span style="font-size:130%;"><span style="font-family:times new roman;">g either a SLR or Rangefinder camera. Now a new generation of digital compact cameras, nominally considered point & shoot, are emerging that feature wide, fast and sharp lenses - ideal for carrying when a bag full of cameras is inappropriate. These modestly priced cameras are eminently pocketable and produ</span></span><span style="font-size:130%;"><span style="font-family:times new roman;">ce results that are clearly of publication quality. Though more expensive than P&S digital cameras with slower lenses, a camera such as <span style="font-weight: bold;">Canon's Powershot S95</span> <span style="font-style: italic;">(pictured, above left)</span> is still well below the </span></span><span style="font-size:130%;"><span style="font-family:times new roman;">price of a 28f2 lens for a DLSR. I r</span></span><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3xI1nFYHddrMKi6mk-2UWjo6-Y-YCfvPkhzzfLDSZx0ZkbmAvScvLOPC3kRmwa1p4HJVY5kVgJkWVGlU8jk1eLbaGydCYL_VYS3U88hLTit78hSAEoKr4wyB3nGk3Hbx-FGsj-7fUZdlg/s1600/Canon+S95+in+strong+backlight+shot+at+28f2.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 320px; height: 240px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3xI1nFYHddrMKi6mk-2UWjo6-Y-YCfvPkhzzfLDSZx0ZkbmAvScvLOPC3kRmwa1p4HJVY5kVgJkWVGlU8jk1eLbaGydCYL_VYS3U88hLTit78hSAEoKr4wyB3nGk3Hbx-FGsj-7fUZdlg/s320/Canon+S95+in+strong+backlight+shot+at+28f2.jpg" alt="" id="BLOGGER_PHOTO_ID_5563036190391446706" border="0" /></a><span style="font-size:130%;"><span style="font-family:times new roman;">ecently spent time using the Canon S95, an upgrade of their S90, and found the results from this camera impressive. </span></span><span style="font-size:130%;"><span style="font-family:times new roman;">Old photojournalistic habits die hard</span></span><span style="font-size:130%;"><span style="font-family:times new roman;">, so most of the photographs taken w</span></span><span style="font-size:130%;"><span style="font-family:times new roman;">ith the S95 were made at the zoom lens's widest focal length and at its maximum aperture of f2. Even a test I made of the macro abilities of the S95 - usin</span></span><span style="font-size:130%;"><span style="font-family:times new roman;">g a rose from my</span></span><span style="font-size:130%;"><span style="font-family:times new roman;"> garden, with the lens set at f2 delivered more than acceptable definition </span></span><span style="font-size:130%;"><span style="font-family:times new roman;"><span style="font-style: italic;">(p</span></span></span><span style="font-size:130%;"><span style="font-family:times new roman;"><span style="font-style: italic;">ictured, above right)</span>. No lens is really worth having (with the exception of that Summilux I owned) unless it performs well when used wide open. One of the hardest tests I then gave the S95 was a portrait I made of a friend, psychologist <span style="font-weight: bold;">Michelle Sexton</span>, as she </span></span><span style="font-size:130%;"><span style="font-family:times new roman;">stood, heavily backlit, before a wind</span></span><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZhOb0wI13fTlJGLeEgnG8Djo-1E87_eJu9FaMnFvo6giLnnCp5nHW_0l9kbd0gfhDrp1LjidjEjiHjUMWBknryYPa7rLlspvR5GkVawvlep4Q5isz_njBfoFH3VY-0y2e6Bv3S61LHnlO/s1600/Canon+S95+front+and+back+views.gif"><img style="float: right; margin: 0pt 0pt 10px 10px; cursor: pointer; width: 200px; height: 64px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZhOb0wI13fTlJGLeEgnG8Djo-1E87_eJu9FaMnFvo6giLnnCp5nHW_0l9kbd0gfhDrp1LjidjEjiHjUMWBknryYPa7rLlspvR5GkVawvlep4Q5isz_njBfoFH3VY-0y2e6Bv3S61LHnlO/s200/Canon+S95+front+and+back+views.gif" alt="" id="BLOGGER_PHOTO_ID_5563055499317220786" border="0" /></a><span style="font-size:130%;"><span style="font-family:times new roman;">ow. I also had to add 2/3 of a stop expo</span></span><span style="font-size:130%;"><span style="font-family:times new roman;">sure compensation - easily set by rotated a wheel on the back of the camera. The result </span></span><span style="font-style: italic;font-size:130%;" ><span style="font-family:times new roman;">(picture</span></span><span style="font-style: italic;font-size:130%;" ><span style="font-family:times new roman;">d, above left)</span></span><span style="font-size:130%;"><span style="font-family:times new roman;"> was sharp with no visible flare. Controls for this camera will be familiar to anyone with a passing knowledge of digital cameras (especially Canon's cameras <a href="http://www.canon.com.au/">www.canon.com.au</a>) and I confess I have yet to open the instruction book. The <span style="font-weight: bold;">Canon Powershot S95</span> lens has an image stabilized 3.8X zoom where the maximum aperture drops to f4.9 at its telephoto equivalent focal length of 105mm. The S95 also has the ability to shoot HD video and has RAW capture. As if to prove Canon are serious about low light shooting the S95 can make pictures at up to ISO 3200 at full 10 Megapixel resolution. The Powershot S95 is currently selling at retailers such as Ted's Cameras <a href="http://www.teds.com.au/">www.teds.com.au/</a> for $569.95<br /><span style="font-weight: bold;">A Surprise Lunch With Sculptor Ken Unsworth</span></span></span><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_r46pNgoXpc_-fmA-CEGUYqFgbHGkLADzIICVK87u2bFL9zkvNMERcoQvyVC0ISm5kZxBKnwNhNk3zAX8I_oLgjoRfxNQoMmZCdvgpX3f64cfNTHKY33BN2m64ek06E5daSSgtchhNQrA/s1600/Ken+Unsworth+at+Anne+Berryman+house+Photograph+on+S95+Canon+by+Robert+McFarlaneIMG_1048.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 300px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_r46pNgoXpc_-fmA-CEGUYqFgbHGkLADzIICVK87u2bFL9zkvNMERcoQvyVC0ISm5kZxBKnwNhNk3zAX8I_oLgjoRfxNQoMmZCdvgpX3f64cfNTHKY33BN2m64ek06E5daSSgtchhNQrA/s400/Ken+Unsworth+at+Anne+Berryman+house+Photograph+on+S95+Canon+by+Robert+McFarlaneIMG_1048.jpg" alt="" id="BLOGGER_PHOTO_ID_5563038309959967554" border="0" /></a><span style="font-size:130%;"><span style="font-family:times new roman;">Dur</span></span><span style="font-size:130%;"><span style="font-family:times new roman;">ing my last v</span></span><span style="font-size:130%;"><span style="font-family:times new roman;">isit to Sydney I received a s</span></span><span style="font-size:130%;"><span style="font-family:times new roman;">urprise invitation from arts journalist <span style="font-weight: bold;">Ann Berriman</span> to come to a lunch at short notice with eminent Australian sculptor <span style="font-weight: bold;">Ken Unsworth</span>. <span style="font-style: italic;">(pictured, left) </span>A photographer friend, the late <span style="font-weight: bold;">Robert Walker</span>, had once shown me part of the e</span></span><span style="font-size:130%;"><span style="font-family:times new roman;">xtensive documentation he had produced of Unsworth's remarkable vision and I soon found myself sitting opposite the 80 year old artist, who discussed</span></span><span style="font-size:130%;"><span style="font-family:times new roman;"> his art with the enthusiasm of someone sixty years younger. As I love the diarist na</span></span><span style="font-size:130%;"><span style="font-family:times new roman;">ture of photography I asked Unsworth whether I could photograph him and whether I could publish the picture in my next blog. <span style="font-style: italic;">"Do anything you like with the pictures! I am from the</span></span></span><span style="font-size:130%;"><span style="font-family:times new roman;"><span style="font-style: italic;"> generation th</span></span></span><span style="font-size:130%;"><span style="font-family:times new roman;"><span style="font-style: italic;">at just wants things seen,"</span> said Unsworth with some generousity. <a href="http://www.boutwelldrapergallery.com.au/artist-profile-detail.php?idArtistInfo=203">http://www.boutwelldrapergallery.com.au/artist-profile-detail.php?idArtistInfo=203</a> Again, I set the S95 to aperture priority and the lens to wide-angle, and f2 (the latter by simply twisting the knurled ring around the lens) and made an un-posed portrait of the artist sitting in a naturally lit room at the rear of Berriman's house. The Canon S95 demonstrated how tenacious is the lens's resolving power when used at its limits. But you be the judge. In future blogs I will look at some of the S95's competitors - the <span style="font-weight: bold;">Lumix L</span></span></span><span style="font-size:130%;"><span style="font-family:times new roman;"><span style="font-weight: bold;">X5</span>, <span style="font-weight: bold;">Samsung's EX1</span> and the recently released <span style="font-weight: bold;">Olympus</span></span></span><span style="font-weight: bold;font-size:130%;" ><span style="font-family:times new roman;"> XZ-1.</span></span><br /><span style="font-weight: bold;font-family:times new roman;font-size:130%;" >Surrealism's Enduring Appeal<br /></span><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgX_tPyumIWgNGaQw_csa5SZGom3ZZ-1OPxHCgSX8wvv4zTNt4FtFl-olcBLjv4tm-xX5KfB2XO5j8NE7-ufki_iCsuyRN-7HiENaVTqrPqqxPeX9_h8ZCbmZuUgSCt0RhI7McADQdHGVHK/s1600/Gary+Parris+Image+diamonds+and+heart+in+dry+mud+v5+large+print+18july09+1000+x+750+%25282%2529.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 400px; height: 300px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgX_tPyumIWgNGaQw_csa5SZGom3ZZ-1OPxHCgSX8wvv4zTNt4FtFl-olcBLjv4tm-xX5KfB2XO5j8NE7-ufki_iCsuyRN-7HiENaVTqrPqqxPeX9_h8ZCbmZuUgSCt0RhI7McADQdHGVHK/s400/Gary+Parris+Image+diamonds+and+heart+in+dry+mud+v5+large+print+18july09+1000+x+750+%25282%2529.jpg" alt="" id="BLOGGER_PHOTO_ID_5563396115876957682" border="0" /></a><span style=";font-family:times new roman;font-size:130%;" >Of all the revolutionary art movements of the 20th Century</span><span style=";font-family:times new roman;font-size:130%;" >, <span style="font-weight: bold;">Surrealism</span> has endured to the point that it has now entered everyday speech in the 21st Century. During the recent disastrous Queensland floods, television showed video footage taken with mobile phones of cars being tossed along like toys by torrents of flood water. While watching, I just managed to catch the voice of an amazed onlooker who said: <span style="font-style: italic;">"Man, this is Surreal ... "</span> as a car bounced over a tree protruding out of the rushing water. </span><span style=";font-family:times new roman;font-size:130%;" >Mischievously,</span><span style=";font-family:times new roman;font-size:130%;" > I noted how his first thought was to say<span style="font-style: italic;"> 'Surreal' </span>rather than <span style="font-style: italic;">'Cubist'</span>. During a recent extended assignment in Western Australia I saw a remarkable photograph, constructed by digital means, by Perth artist <span style="font-weight: bold;">Gary Parris.</span></span><span style=";font-family:times new roman;font-size:130%;" > Titled <span style="font-style: italic;">"Diamonds and Heart"</span>, it reminded me again that as artists and communicators we are never far from the language of dreams, with Surrealism still a dominant influence when a picture needs to go beyond the literal. As Parris </span><a href="http://www.gapsworld.com/"></a><span style=";font-family:times new roman;font-size:130%;" ><a href="http://www.gapsworld.com/">www.gapsworld.com</a> admitted, <span style="font-style: italic;">"</span></span><span style="color: rgb(0, 0, 0); font-style: italic;font-family:times new roman;font-size:130%;" >Surrealism plays a key role in my ... art. I love creating photorealistic images that have surreal forms that mean something to me and maybe something to the viewer too. Its the subconscious getting out through the artistic creativity of photography or through software to create 3D photo realistic images that model nature itself. I like the added element of trying to work out what the subconscious is telling me without the full conscious reality. (Salvador) Dali is by far my most influential artist.”</span><span style="color: rgb(31, 73, 125);"><span style="font-style: italic;"><br /></span> </span><span style="font-weight: bold;">Discovering HP Photo Book</span><span style="font-weight: bold;">s</span><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrVS1pr2Xvi1hJBhyphenhyphenubsuk9RM2PdKWI5EDpKRqDT5H4iKSLODAiOZKe5rxGh6eJn8uweWUfUVpZPduUOLF4bPWFXWb2f4OCB0urg0podbZc211uIHt3yfvtI42-id9iXmv_URZrMOXkYlZ/s1600/HP+Photobook+Cover+A4.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 320px; height: 240px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrVS1pr2Xvi1hJBhyphenhyphenubsuk9RM2PdKWI5EDpKRqDT5H4iKSLODAiOZKe5rxGh6eJn8uweWUfUVpZPduUOLF4bPWFXWb2f4OCB0urg0podbZc211uIHt3yfvtI42-id9iXmv_URZrMOXkYlZ/s320/HP+Photobook+Cover+A4.jpg" alt="" id="BLOGGER_PHOTO_ID_5563048562628011618" border="0" /></a>While in Sydney, I was invited to spend Christmas with friends in Bowral. As usual I carried a small point and shoot digital camera (this time a <span style="font-weight: bold;">Samsung WB500</span> <a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiejFx8P1-VpeJfPM8hmxoY3FmZ0STkjkmeWvN-uH0owALgCiDeIFsis6zppYAGfSMgiMTEK5n7R_ortw6gXZAUpllpy30uhNpsPELB85tXXJyfYb-ISCgxxC52u8RHdLwd-Iaals4iAxzt/s1600/HP+Photobook+Layout.jpg"><img style="float: right; margin: 0pt 0pt 10px 10px; cursor: pointer; width: 200px; height: 150px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiejFx8P1-VpeJfPM8hmxoY3FmZ0STkjkmeWvN-uH0owALgCiDeIFsis6zppYAGfSMgiMTEK5n7R_ortw6gXZAUpllpy30uhNpsPELB85tXXJyfYb-ISCgxxC52u8RHdLwd-Iaals4iAxzt/s200/HP+Photobook+Layout.jpg" alt="" id="BLOGGER_PHOTO_ID_5563050088256641762" border="0" /></a>with an excellent 10X <span style="font-weight: bold;">Schneider</span> Zoom lens) I made only a handful of pictures of the enjoyable day and a half I spent in the country, but my companion <span style="font-weight: bold;">Louise Havekes</span> supplemented my meagre take with her series of photographs taken with an <span style="font-weight: bold;">Olympus</span> film (!) camera. As a gesture of gratitude to our generous hosts, we decided to have a book made of our collective 'take'. I didn't want to use any form of half-tone reproduction (with its inherently intrusive screen pattern) so I thought I would try <span style="font-weight: bold;">HP Photobooks</span> <a href="http://www8.hp.com/au/en/home.html">http://www8.hp.com/au/en/home.html</a> available from <span style="font-weight: bold;">Kmart</span> <a href="http://www.kmart.com.au/">http://www.kmart.com.au/</a> and other outlets. After downloading our selection of images onto a <span style="font-weight: bold;">Sandisk 4GB Cruzer Blade</span> USB drive I took it to Kmart. Our helpful salesperson <span style="font-weight: bold;">Kelly</span> guided me through a series of touchscreen activated menus (some manipulation of photographs was possible, coupled with a choice of simple, graphic layouts) and our sixteen page A4 book, complete with a spring-loaded maroon cloth cover (and a window through which the first page image was visible) was printed and assembled in an hour. HP claim 200 year archival permanence for their (presumably pigment) inks and the cost was a modest $25. My only reservation was in the choice of paper HP offers, a basic semi-gloss, fairly lightweight stock. A heavier paper stock, with a choice of surfaces from matte-art paper to glossy would be a sensible addition to what was a very positive experience.<span style="font-size:130%;"><span style="font-family:times new roman;"><br /><span style="font-weight: bold;">Text: Copyright Robert McFarlane 2011</span><br /></span></span>ozphotoreviewhttp://www.blogger.com/profile/05955455242704658018noreply@blogger.com6tag:blogger.com,1999:blog-4793272593084821996.post-39625323809112623662010-12-06T21:21:00.000-08:002010-12-18T04:13:23.616-08:00Sydney and its Photographic Tribes<span style="font-weight: bold;">S</span>ydney is always rewarding to visit - to see friends and enjoy the sense of community that now exists among photographers in that city. In November I returned to Sydney, following that bleak avenue of warehouses, vacant lots and late night service stations in Waterloo <span style="font-style: italic;">(pictured, below) </span>to where I <a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSk8JK3-8SR2eVsuLYWSnWGFpGjCqJNod0W0gPabfc-2Q43ohaLghuFVr5NMERY4RXQbYTWTsRVxnHcEEX8xNZSjdrp3WmVDEVhF2fX4heO-vXUjlVRR_dgxFhhRNIhJBKhfbPl5J2tzS0/s1600/Late+Night+Smoko+Waterloo+Sydney+Photograph+by+Rabert+McFarlane.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 320px; height: 224px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSk8JK3-8SR2eVsuLYWSnWGFpGjCqJNod0W0gPabfc-2Q43ohaLghuFVr5NMERY4RXQbYTWTsRVxnHcEEX8xNZSjdrp3WmVDEVhF2fX4heO-vXUjlVRR_dgxFhhRNIhJBKhfbPl5J2tzS0/s320/Late+Night+Smoko+Waterloo+Sydney+Photograph+by+Rabert+McFarlane.jpg" alt="" id="BLOGGER_PHOTO_ID_5546449144271414386" border="0" /></a>was staying in Redfern. I had come to Sydney primarily to open the <span style="font-style: italic;">"</span><span style="font-style: italic;">Black a</span><span style="font-style: italic;">nd Light"</span> exhibition mounted by the industrious and talented <span style="font-weight: bold;">Primrose Park </span>Photographic Group <a href="http://www.primrose-park.com.au/">ww</a><a href="http://www.primrose-park.com.au/">w.primrose-park.com.au</a> at the <span style="font-weight: bold;">Don Bank Museum</span> in North Sydney. This modest house/museum/gallery is the oldest wooden dwelling on Sydney's North Shore and proved an appropriate setting for the photography of <span style="font-weight: bold;">Jill L</span><span style="font-weight: bold;">acina</span>, <span style="font-weight: bold;">Tony Peri</span> and <span style="font-weight: bold;">Graham Butler</span>. Lacina had previous exhibited a series of Cyanotypes at Primrose Park but this time showed an essay using primarily silver gelatin prints and photogravures illustrating those ghastly calibrations of human corruption - World War 2's death camps. <span style="font-style: italic;">(pictured, below right)</span> <span style="font-style: italic;">"I wa</span><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjyxDEYva73O9ws0TcCSgFftabwM25wZL7SuEvuKLnb8NLguG9MQysDwF6HU9cS-meRiDNc_GH_tFekUmiA7WuGV8jOqFwuCoLyX297VFdw7o5wX67bnc46QZiqLwl319ZJ9amsBOJUpYd/s1600/Primros+Park+Photographer+Jilll+Lacina+at+opening+on+Black+and+Light+at+Don+Bank+Museum.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 134px; height: 200px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjyxDEYva73O9ws0TcCSgFftabwM25wZL7SuEvuKLnb8NLguG9MQysDwF6HU9cS-meRiDNc_GH_tFekUmiA7WuGV8jOqFwuCoLyX297VFdw7o5wX67bnc46QZiqLwl319ZJ9amsBOJUpYd/s200/Primros+Park+Photographer+Jilll+Lacina+at+opening+on+Black+and+Light+at+Don+Bank+Museum.jpg" alt="" id="BLOGGER_PHOTO_ID_5551993259396738306" border="0" /></a><span style="font-style: italic;">nted to remind people of our humanity,"</span> Lacina <span style="font-style: italic;">(pictured, left, leaving the Don Bank Museum)</span> remarked simply at the opening. Peri showed a series of prints made using his now familiar antique <span style="font-style: italic;">Bromoil</span> process <span style="font-style: italic;">(p</span><span style="font-style: italic;">ictured, below left)</span> derived from photographs taken on a recent trip to Italy and Hungary (Peri's late father Otto was Hungarian) <span style="font-weight: bold;">Graham Butler</span>'s immaculate traditional black and white prints explored the British seashore with simple economy. <span style="font-style: italic;">"Black and Lig</span><span style="font-style: italic;">ht"</span> finishes on January 30. (There will be an artists' talk on Sunday, January 16th) While I was in Sydney I also travelled to Cowra for the opening of my exhibition <span style="font-style: italic;">"Rec</span><span style="font-style: italic;">eived Moments"</span><span style="font-style: italic;">(pictur</span><span style="font-style: italic;">ed</span><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOn0f5Mn31WGaRe0u8oWZt3mtt6cDTAsuLGG5vHJUF1E6xBOfRZx7ch9jz7gSn8OGxpQ-QDHPLz4RLUK00AXpjtCBSJtNZ5vyrM70IYNhPwq_48zFzJ8NPQ1cRt6vICsli2W4TbQhvX0fU/s1600/House+on+the+Hill+Abruzzo+Italy+by+Tony+Peri.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 200px; height: 139px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOn0f5Mn31WGaRe0u8oWZt3mtt6cDTAsuLGG5vHJUF1E6xBOfRZx7ch9jz7gSn8OGxpQ-QDHPLz4RLUK00AXpjtCBSJtNZ5vyrM70IYNhPwq_48zFzJ8NPQ1cRt6vICsli2W4TbQhvX0fU/s200/House+on+the+Hill+Abruzzo+Italy+by+Tony+Peri.jpg" alt="" id="BLOGGER_PHOTO_ID_5545269088917183106" border="0" /></a><span style="font-style: italic;">. l</span><span style="font-style: italic;">eft)</span> I quickly discovered it i<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJdf8FMJP6JOGAk-76hiYUt8HRZsXT-Bm6av5CBAqhuUK1EOVekK-j4XPiS7d_k3Pja0QzZ-dyxV-PXz7238uP3avSpppGbgDSfoDXCWcskOvPJcv4n5iFbW_HWHRlmEaxwgcpqbt65i7m/s1600/Doorway+Cesky+Krumlov+Photogravure+by+Jill+Lacina.jpg"><img style="float: right; margin: 0pt 0pt 10px 10px; cursor: pointer; width: 200px; height: 142px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJdf8FMJP6JOGAk-76hiYUt8HRZsXT-Bm6av5CBAqhuUK1EOVekK-j4XPiS7d_k3Pja0QzZ-dyxV-PXz7238uP3avSpppGbgDSfoDXCWcskOvPJcv4n5iFbW_HWHRlmEaxwgcpqbt65i7m/s200/Doorway+Cesky+Krumlov+Photogravure+by+Jill+Lacina.jpg" alt="" id="BLOGGER_PHOTO_ID_5545270009076139442" border="0" /></a>s no longer easy to go directly to significant regional centres such as Cowra and was forced to travel by train from Sydney to Blayney where I was met at the station and driven on to the town. On the way to Blayney, I saw vivid symptoms of the breaking of the drought. Instead of the desiccated landscape we have become used to, what I viewed through the window of the XPT train as it passed beyond Lithgow was a luxuriant green land, with flowing watercourses, contented cattle and punctuated by trees (which I could not identify) shedding their blossoms on the land like cornflour on baize. It also occurred to me while on the XPT that having once experi<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0vyK_PCBCBK-iDPLm05OM6qJu1ZsL0_82w-BQTYLHOu69xTTiGgNI9fBIH0_VlD-GMEUVaeGMWoaA3v4BtGuBvrJe_WWDFvPSNZ8QLsljlCBCLYQuy7S0_65ZYGvTWyRR8XeL4w-KghoP/s1600/Received+Moments+at+Cowra.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 200px; height: 134px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0vyK_PCBCBK-iDPLm05OM6qJu1ZsL0_82w-BQTYLHOu69xTTiGgNI9fBIH0_VlD-GMEUVaeGMWoaA3v4BtGuBvrJe_WWDFvPSNZ8QLsljlCBCLYQuy7S0_65ZYGvTWyRR8XeL4w-KghoP/s200/Received+Moments+at+Cowra.jpg" alt="" id="BLOGGER_PHOTO_ID_5545270957715301410" border="0" /></a>enced elite European train travel (In 1969 I travelled on the original Orient Express from Istanbul to London with my first wife, the artist <span style="font-weight: bold;">Kate Burness</span>) Australia could benefit from a massive upgrading of our adequate, but slow and unremarkab<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSLZ3PaKYjVZI4aBmG5JTnIIYtNf9ZpG4soKD9Pj6Qbloy-0ORPrIk6pCbN8CuCYxa_ozeCYJuxKs3Jo-AtAE2GZ6G_JvkIewkUPTYTLOc-OMTQdhgDH5EzpM8IQE75GnMCb-ZjJWp-myq/s1600/Beyond+Lithgow.jpg"><img style="float: right; margin: 0pt 0pt 10px 10px; cursor: pointer; width: 200px; height: 149px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSLZ3PaKYjVZI4aBmG5JTnIIYtNf9ZpG4soKD9Pj6Qbloy-0ORPrIk6pCbN8CuCYxa_ozeCYJuxKs3Jo-AtAE2GZ6G_JvkIewkUPTYTLOc-OMTQdhgDH5EzpM8IQE75GnMCb-ZjJWp-myq/s200/Beyond+Lithgow.jpg" alt="" id="BLOGGER_PHOTO_ID_5545342835987252338" border="0" /></a>le rail system. In Cowra, regional gallery Director <span style="font-weight: bold;">Brian Lang</span><span style="font-weight: bold;">er</span> had, with his enthusiastic staff and their many motivated volunteers, mounted Curator <span style="font-weight: bold;">Sarah Johnson</span>'s work from Manly Gallery & Museum handsomely. The opening was well attended and on the following day, a Saturday, I gave a floor-talk for Cowra citizens that was supposed to last twenty minutes. Country people seemed both curious and courteous and the dialogue we established (their questions were thoughtful and abundant) lasted two hours after which I was driven back through the freezing landscape to wait for the XPT at Blayney, and travel on to Sydney. <span style="font-style: italic;">"Received Moments" </span>opens next at the Gold Coast Art Gallery on January 15th.<br /><span style="font-weight: bold;">Photographing Aboriginal Artistry in Motion<br /></span><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6XZIZuGp_JUzCQGQtIRZyCcGEFx3INvFmkuwA-D6fIbFNfwsZb4g4GrpOO_N2e3-UuCi9TjQJvt6vKXop52sOM_7iL-ZLz_JzHaHBFUVrgRiIZF05c02cHEiGiKyGcui9_WqTDKNj7UbU/s1600/Brian+Simpson+presents+Warwick+Lyons+with+a+Wiradjuri+Warriors+jersey+in+commemoration+of+their+brother+Christoper+Lyons.+Woy+Woy+Oval+2010-39.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 320px; height: 210px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6XZIZuGp_JUzCQGQtIRZyCcGEFx3INvFmkuwA-D6fIbFNfwsZb4g4GrpOO_N2e3-UuCi9TjQJvt6vKXop52sOM_7iL-ZLz_JzHaHBFUVrgRiIZF05c02cHEiGiKyGcui9_WqTDKNj7UbU/s320/Brian+Simpson+presents+Warwick+Lyons+with+a+Wiradjuri+Warriors+jersey+in+commemoration+of+their+brother+Christoper+Lyons.+Woy+Woy+Oval+2010-39.jpg" alt="" id="BLOGGER_PHOTO_ID_5548126456416964818" border="0" /></a><span>One of the ongoing joys of Australian sport is the contribution, at the highest level, of Aboriginal athletes - from <span style="font-weight: bold;">Eddie Gilbert</span> (the Cherbourg man who bowled <span style="font-weight: bold;">Bradman</span>, and was subsequently vilified as a 'chucker' for such heresy) to <span style="font-weight: bold;">Lionel Rose</span> and today's startlingly gifted Wallaby <span style="font-weight: bold;">Kurtley Beale</span> - a superstar in the making. Sydney documentary photographer <span style="font-weight: bold;">Amanda James</span> has gone back to the heartland of Aboriginal sport and photographed Rugby League in the local competitions that nurture future cha</span><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRAPmj9ss9EB-EqecVVOVsvD01Ods3BGRX1UzwzEVbNnZjYC_rjB2aQJR_fsnhVI-6vvphns_rdiNKA1RRLqOqkT0YAZNwpHOSImrg8asJVxtUxUPSjMXeCpyKAYKep-nMth4U7bEbGO8T/s1600/My+Brothers+Keeper%252C+Woy+Woy+Oval+2010-46.jpg"><img style="float: right; margin: 0pt 0pt 10px 10px; cursor: pointer; width: 200px; height: 134px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRAPmj9ss9EB-EqecVVOVsvD01Ods3BGRX1UzwzEVbNnZjYC_rjB2aQJR_fsnhVI-6vvphns_rdiNKA1RRLqOqkT0YAZNwpHOSImrg8asJVxtUxUPSjMXeCpyKAYKep-nMth4U7bEbGO8T/s200/My+Brothers+Keeper%252C+Woy+Woy+Oval+2010-46.jpg" alt="" id="BLOGGER_PHOTO_ID_5548125953612431970" border="0" /></a><span>mpions - through such celebrated teams as the <span style="font-weight: bold;">Redfern All Blacks </span><span>(their team slogan: <span style="font-style: italic;">"Keep The Ball In Motion!"</span>)</span> I once had the privilege of photographing this remarkable group playing at Redfern Oval against a North Shore team. A man from the Redfern team proudly told me that the ages of their players ranged from 17 to 54 - and that four had played professionally for Australia! Amanda James' photographs, curated by <span style="font-weight: bold;">Arthur Chan</span>, can be seen at <span style="font-weight: bold;">Custom</span></span><span><span style="font-weight: bold;">s House</span>, Circular Quay, opening on December 9 and continuing until January 30. Her pictures can also be seen online at </span><a href="http://www.studioasu.com/">www.studioasu.com</a> from December 11.<br /><span style="font-weight: bold;">Stayi</span><span style="font-weight: bold;">ng In A House Littered With Still Life Images</span><br />While in Sydne<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjt_v0WzNWrxWxWxc6Kstmv-nGGLHyKBfV1rW8l8a70VFhR-O5-NI6SoWL9z25TAQdqsMZi5WHYy0mzu_DlURh9RMEN9sEeTAggfwQ5Dna2d09if7I167kPJgNB3f17JyjOPLPJhmfCXLeH/s1600/Still+Life+courtesy+Louise+Havekes.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 200px; height: 134px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjt_v0WzNWrxWxWxc6Kstmv-nGGLHyKBfV1rW8l8a70VFhR-O5-NI6SoWL9z25TAQdqsMZi5WHYy0mzu_DlURh9RMEN9sEeTAggfwQ5Dna2d09if7I167kPJgNB3f17JyjOPLPJhmfCXLeH/s200/Still+Life+courtesy+Louise+Havekes.jpg" alt="" id="BLOGGER_PHOTO_ID_5545265771360974850" border="0" /></a>y I stayed at the home of a friend, <span style="font-weight: bold;">Louis</span><span style="font-weight: bold;">e</span><span style="font-weight: bold;"> Have</span><span style="font-weight: bold;">kes</span>, widow of that remarkable portraitist and theatre photographer, <span style="font-weight: bold;">Robert Walker</span>. With her artis<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhB7dZ-5O8k5D1Hgy9UwIsNN386n8Qjdl5toNi5s5DFPnTIfW3koY7auQUmGlpLHZGgy7zvovmPWJECFdqCB26ooY13z_ByiHoPZAmUDnV-B06PUMEmdKfQIZ_S4WptgWc0qrGtJkepismF/s1600/Belinda+Mason+arrives+in+Redfern+with+3D+portrait+of+RMCF.jpg"><img style="float: right; margin: 0pt 0pt 10px 10px; cursor: pointer; width: 160px; height: 198px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhB7dZ-5O8k5D1Hgy9UwIsNN386n8Qjdl5toNi5s5DFPnTIfW3koY7auQUmGlpLHZGgy7zvovmPWJECFdqCB26ooY13z_ByiHoPZAmUDnV-B06PUMEmdKfQIZ_S4WptgWc0qrGtJkepismF/s320/Belinda+Mason+arrives+in+Redfern+with+3D+portrait+of+RMCF.jpg" alt="" id="BLOGGER_PHOTO_ID_5545262903977628306" border="0" /></a>tic heritage (her aunt <span style="font-weight: bold;">Elsa</span><span style="font-weight: bold;"> Russell,</span> was a pioneering Australian painter of real talent) and three talented daughters, of which the eldest, <span style="font-weight: bold;">Saskia</span>, runs <span>the elite</span><span> Potts Point florist</span><span style="font-weight: bold;"> Gr</span><span style="font-weight: bold;">andiflora</span> <a href="http://grandiflora.net/">http://grandiflora.net/</a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1mMnECIn-tNtv9pSPwySfA2UKlUlefvzqBtyQlcr_dl6E_nPCb1E6KXWdiLXNSAEAXh8KwTX0tRP8lUE6k_r3e_HlUSuTsSgR6K5L-e_NjMP3DKOUJdW9B0TGluOcLWFbxMgyP4dn7Ah1/s1600/Kepos+Street+Still+Life+by+Louise+Havekes.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 200px; height: 134px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1mMnECIn-tNtv9pSPwySfA2UKlUlefvzqBtyQlcr_dl6E_nPCb1E6KXWdiLXNSAEAXh8KwTX0tRP8lUE6k_r3e_HlUSuTsSgR6K5L-e_NjMP3DKOUJdW9B0TGluOcLWFbxMgyP4dn7Ah1/s200/Kepos+Street+Still+Life+by+Louise+Havekes.jpg" alt="" id="BLOGGER_PHOTO_ID_5546470426886848514" border="0" /></a> the Redfern house is always filled with art, flowers and beautifully arranged fruit. Subsequently I found it difficult to resist taking pictures of roses that may come from Ecuador, exotic orchids and fruit thoughtfully arranged <span style="font-style: italic;">(pictured,</span><span style="font-style: italic;"> left)</span> throughout the house. While staying in Redfern I also had a surprise visit from photographer <span style="font-weight: bold;">Bel</span><span style="font-weight: bold;">inda Mason</span> <span style="font-style: italic;">(pictured, right) </span>who came to show me a lenticular 3D image of a portrait she had made of me previously. Not used to seeing myself in three dimensions and many times life size <span style="font-style: italic;">(</span><span style="font-style: italic;">pictured, r</span><span style="font-style: italic;">ight)</span> I was rendered speechless.<br /><span style="font-weight: bold;">MARIAN DREW flies free at ROBIN GIBSON GALLERY</span><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiutHwUnYxHaBnsmSe5CmRPgMN4cy_qMFRGIvwYbC_mXiWOHoykYagSyOjG7Qlpm0Hp5V6e1nx4R4YaX-gfUxOc6OM-qpWRuvttVCrE6N7IyP1VntFZPat6dABC0sypkxZlhu8eel-GCIhf/s1600/Bird+Niche+Photomedia+by+Marian+Drew.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 400px; height: 377px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiutHwUnYxHaBnsmSe5CmRPgMN4cy_qMFRGIvwYbC_mXiWOHoykYagSyOjG7Qlpm0Hp5V6e1nx4R4YaX-gfUxOc6OM-qpWRuvttVCrE6N7IyP1VntFZPat6dABC0sypkxZlhu8eel-GCIhf/s400/Bird+Niche+Photomedia+by+Marian+Drew.jpg" alt="" id="BLOGGER_PHOTO_ID_5546260795684793618" border="0" /></a><span style="font-weight: bold;">Maria</span><span style="font-weight: bold;">n Drew</span> continues to follow her elegant, dark path to exploring the nuances of bird life - and death <span style="font-style: italic;">(pictured, above) </span>Artist are defined by their commitment to a vision, no matter where it may lead them. <span style="font-weight: bold;">Marian Drew</span> is just such a dedicated person and her work at <span style="font-weight: bold;">Robin Gibson Gallery</span> <a href="http://robingibson.net/exhibitions/marian-drew"><span style="font-family:Lucida Grande,Verdana,Helvetica,Arial;"><span style="color: rgb(0, 0, 255);"><u>http://robingibson.net/exhibitions/marian-drew</u></span></span></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcfejxXa_yRZ2x8IsLcDqH52rm0lFLCQcImRusYWXpy6DIzJbjlD-ZVAeMIkx7M-07cH-Wpeb8xCWgz0LMuVqHWuVY2zht5qKLdSiaVzMSzhrOjXUxCUWQnNbk33lQHl53WpwuJSoRa9Sp/s1600/Kingfisher+with+Chinese+Cloth+and+Strawberries+Photomedia+by+Marian+Drew.jpg"><img style="float: right; margin: 0pt 0pt 10px 10px; cursor: pointer; width: 200px; height: 162px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcfejxXa_yRZ2x8IsLcDqH52rm0lFLCQcImRusYWXpy6DIzJbjlD-ZVAeMIkx7M-07cH-Wpeb8xCWgz0LMuVqHWuVY2zht5qKLdSiaVzMSzhrOjXUxCUWQnNbk33lQHl53WpwuJSoRa9Sp/s200/Kingfisher+with+Chinese+Cloth+and+Strawberries+Photomedia+by+Marian+Drew.jpg" alt="" id="BLOGGER_PHOTO_ID_5546262846242547826" border="0" /></a>in Sydney (which finishes this week) is remarkable for its poetic expression. One of several Australian photo-artists who concentrate on exploring still life (<span style="font-weight: bold;">Robyn Stacey</span> and <span style="font-weight: bold;">Anna-Maryke</span> are two notable others) Drew's elegant necrogenic tableaux should not to be missed.<span style="font-weight: bold;"><br />The Passing of Jeff Carter and Peter Carrette<br /></span><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhn_BS3yV260cntNhfUdWGmbn2IAxn2Zxg6TpFYzzndiytjUuOM2B6hJ23zGUE4wIPByvmxzcRnmHygktcBmdG2nkIYSWDy-Odn50LP9NesL-pqvMDICKe1Z9YBbRn676InmUwqd-WIxjj/s1600/Jeff+Carter+portrait+by+Robert+McFarlane.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 132px; height: 200px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhn_BS3yV260cntNhfUdWGmbn2IAxn2Zxg6TpFYzzndiytjUuOM2B6hJ23zGUE4wIPByvmxzcRnmHygktcBmdG2nkIYSWDy-Odn50LP9NesL-pqvMDICKe1Z9YBbRn676InmUwqd-WIxjj/s200/Jeff+Carter+portrait+by+Robert+McFarlane.jpg" alt="" id="BLOGGER_PHOTO_ID_5545329177832871906" border="0" /></a><span>Two very different photographers have sadly left us.</span><span style="font-weight: bold;"> Jeff Cart</span><span style="font-weight: bold;">er</span><span>, <span style="font-style: italic;">(pictured, left)</span> whom I was pleased to say I knew for over forty years, died in October. He was 82. I wrote this obituary for Carter in <span style="font-weight: bold;">Timelines</span> for the <span style="font-weight: bold;">Sydney Morning Herald</span>. <a href="http://www.smh.com.au/national/obituaries/a-herald-for-australias-working-class-20101105-17hes.html"><span>http://www.smh.com.au/national/obituaries/a-herald-for-australias-working-class-20101105-17hes.html</span></a><span style="font-weight: bold;"> Peter Carrette</span><span style="font-weight: bold;"> </span><span style="font-style: italic;">(p</span></span><span><span style="font-style: italic;">ictured, right)</span> who I knew less well, died only weeks ago. He was 63. Carter loved the bush - and the city - and will be missed for his compassionate, honest vision of Australians everywhere. A retrospective exhibition </span><span><span style="font-style: italic;">"Beach, Bush and Battlers"</span> </span><span>drawn from Carter's remarkable archive (and curated by <span style="font-weight: bold;">Sandra Byron</span>) will open on January 4th at the <span style="font-weight: bold;">State Library of NSW</span>.<a href="http://www.sl.nsw.gov.au/">http://www.sl.nsw.gov.au/</a> </span><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhH_qyyJKb-Un7999pgaaS-xi_IBp05fciM-HiXFI52wkFGjuw-yN6Gu1o7re0sRbFv99TRU1Jn50rV_6Ls_nxQlUVzLK9GEEKz23403xVAG0FEpke5l3Qz4M2w0WaCtqg0ntiQV5naVeM7/s1600/peter_carrette_645_normal.jpg"><img style="float: right; margin: 0pt 0pt 10px 10px; cursor: pointer; width: 200px; height: 112px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhH_qyyJKb-Un7999pgaaS-xi_IBp05fciM-HiXFI52wkFGjuw-yN6Gu1o7re0sRbFv99TRU1Jn50rV_6Ls_nxQlUVzLK9GEEKz23403xVAG0FEpke5l3Qz4M2w0WaCtqg0ntiQV5naVeM7/s200/peter_carrette_645_normal.jpg" alt="" id="BLOGGER_PHOTO_ID_5545327609693359202" border="0" /></a><span><span style="font-weight: bold;">Peter Carrette</span>, known as <span style="font-style: italic;">"King of the Paps"</span> (Paparazzi) was far more than the intrusive personality such professionals are generally taken for. Since his death, I have had a stream of calls from people Carrette had assisted, mentored - quietly and without any publicity. When I last saw him, I had just stepped off a flight to Sydney and was waiting outside the airport for a taxi. Carrette suddenly appeared with a camera and I knew he was on the prowl. <span style="font-style: italic;">"I can't stay and talk. (Brazilian supermodel) </span><span style="font-weight: bold; font-style: italic;">Giselle Bundchen</span><span style="font-style: italic;"> has just arrived from London and I know which flight she's on." </span>And then he was gone.</span><span style="font-weight: bold;"><br />REPORTAGE is now 10!</span><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWqWTPj3Xi0BUp2Y6GmDKJQ5zFLT2MpQK9RoCZ3ieIWRk71dqIoVoqtdT7wAapl1PAVztxdr7LPrirZw17sum75bK6y6eNZD9XLI9P7YTycskDJQDCjAYou0QUnh6CGl-7B5garTcV37LS/s1600/Weatherproof+display+of+Reportage+photographers+at+Sydney+National+Art+School.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 400px; height: 267px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWqWTPj3Xi0BUp2Y6GmDKJQ5zFLT2MpQK9RoCZ3ieIWRk71dqIoVoqtdT7wAapl1PAVztxdr7LPrirZw17sum75bK6y6eNZD9XLI9P7YTycskDJQDCjAYou0QUnh6CGl-7B5garTcV37LS/s400/Weatherproof+display+of+Reportage+photographers+at+Sydney+National+Art+School.jpg" alt="" id="BLOGGER_PHOTO_ID_5545294650115555890" border="0" /></a>While in Sydney, I also attended the screenings and exhibition associated with that great advocate for fine photojournalism, <span style="font-weight: bold;">REPORTAGE</span>. This year, their tenth anniversary, brought an unusually staged exhibition and several screenings of photographers' work, to the <span style="font-weight: bold;">National Art School</span>, in Darlinghurst. This institution has the feeling of an enclosed, colonial community with its sturdy walls and classic 19th century sandstone build<span>ings</span><span style="font-weight: bold;">. </span><span>Ph</span><span>otojournalist</span><span style="font-weight: bold;"> Gle</span><span style="font-weight: bold;">nn Lockitch, </span>recently back from documenting the ramming of the<span style="font-weight: bold;"> </span>radical catamaran<span style="font-weight: bold;"> Ady Gil</span> by Japanese whalers in Antarctic waters, mentioned casually that the National Art School complex was originally a jail - and that they used to hang prisoners not far from where the photographers of <span style="font-weight: bold;">REPORTAGE</span> <a href="http://www.reportage.com.au/">www.reportage.com.au</a> displayed their pictures. It is worth commenting on the way these prints were made and displayed. Printed using weatherproof inks and paper by by master fine art printer <span style="font-weight: bold;">Warren Macris</span> <a href="http://www.gicleeaustralia.com/">http://www.gicleeaustralia.com/</a> these photographs survived wind and rain to carry their message to enthusiastic patrons. One of the driving forces of <span style="font-weight: bold;">REPORTAGE</span>, <span style="font-weight: bold;">J</span><span style="font-weight: bold;">acqui Vicario</span>, then mentioned to me that the CEO of <span style="font-weight: bold;">Contact Images</span> in New York, <span style="font-weight: bold;">Robert Pledge</span>, had been delayed for an extra day in Beijing, and would I mind saying a few words to the eloquent Mr Pledge's expectant audience on opening night. Having contributed an essay to the book of the first 10 years of <span style="font-weight: bold;">RE</span><span style="font-weight: bold;">PORTAGE</span>, I couldn't refuse so I made some hurried notes on goals met and achievements hopefully to come, and with <span style="font-weight: bold;">Christopher Stewart</span> of the National Art School, opened the event.<br /><span style="font-weight: bold;">The Occasional Image</span><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQt6g8h9uo-qPnTpD4uQbT3JyFISB12O3KgZMi2XwhX2VvKsqY54Ch7vVxtl8X9C_BAMYZSJG8CvKlIqOOP7nIEMTcBRHUsL1tnL0_iO3d8iLkKJyDhoclfLXQQdHOtCPLTAmQF3U0tgIH/s1600/Bubble+BW+IR+Copyright+Photograph+by+David+Seymour.JPG"><img style="float: right; margin: 0pt 0pt 10px 10px; cursor: pointer; width: 320px; height: 213px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQt6g8h9uo-qPnTpD4uQbT3JyFISB12O3KgZMi2XwhX2VvKsqY54Ch7vVxtl8X9C_BAMYZSJG8CvKlIqOOP7nIEMTcBRHUsL1tnL0_iO3d8iLkKJyDhoclfLXQQdHOtCPLTAmQF3U0tgIH/s320/Bubble+BW+IR+Copyright+Photograph+by+David+Seymour.JPG" alt="" id="BLOGGER_PHOTO_ID_5545322467250705938" border="0" /></a>This space is dedicated to images which deserve their own level of attention. This picture, by <span style="font-weight: bold;">David Seymour</span>, a talented photographer from Young, New South Wales, caught my attention when I was visiting Cowra's excellent regional gallery for <span style="font-style: italic;">"Received Moments"</span>. Seymour showed me a number of images he had made using Infrared film which I found interesting. This image, however, resonated with a book project I am currently working on in Perth which involves documenting mental illness. Seymour explained this picture's importance simply:<span style="font-style: italic;">"A couple of k's out of town is a lovely</span><span style="font-style: italic;"> picnic area called Chinaman's Dam ... where the original photo was taken. It's an Infrared taken at 1pm on a beautiful day. The bubble and moon were added via my software and the moon and reflection in the bubble were given a yellow tinge to tie it all together. This image was created to share with people the path I have travelled with my depression over the past decade. I have been doing photography as a hobby for more than thirty years and it has been the one constant throughout my life which helps me to keep focussed and continue enjoying life.</span>"<br /><span style="font-weight: bold;">BOOKS for CHRISTMAS</span><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg32kG4ouj_kPcDKBtpABABfklMR2N0fVQ-KYYBLvRN3ns-rmm1j-wnrZicVgAzX_FE9785ru1PBG9yqwTQ0NihQ-SO0ZsuZz9JqvOJ0e4cEzLxr1V7lmYvBUBOduGn4O-7ePMS2d0wvVrB/s1600/Cover+Image+Street+Photography+Now+Thames+and+Hudson.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 200px; height: 170px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg32kG4ouj_kPcDKBtpABABfklMR2N0fVQ-KYYBLvRN3ns-rmm1j-wnrZicVgAzX_FE9785ru1PBG9yqwTQ0NihQ-SO0ZsuZz9JqvOJ0e4cEzLxr1V7lmYvBUBOduGn4O-7ePMS2d0wvVrB/s200/Cover+Image+Street+Photography+Now+Thames+and+Hudson.jpg" alt="" id="BLOGGER_PHOTO_ID_5545282650100940066" border="0" /></a>There is an abundance of books to<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2BDa1ShI9qBypbL15DNF8Smxl7LZ86q8XbLrgYjngtKtsTpJjxwx2UlDt2uQ7UBR_UjWOA_eHDi7sLGBmGhU5lSqz4-1HMv-OYAKEieIzxE0b-r5efpmQcSPfluIdbNPza6hwp0qiuPS5/s1600/HCB+cover.jpg"><img style="float: right; margin: 0pt 0pt 10px 10px; cursor: pointer; width: 162px; height: 200px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2BDa1ShI9qBypbL15DNF8Smxl7LZ86q8XbLrgYjngtKtsTpJjxwx2UlDt2uQ7UBR_UjWOA_eHDi7sLGBmGhU5lSqz4-1HMv-OYAKEieIzxE0b-r5efpmQcSPfluIdbNPza6hwp0qiuPS5/s200/HCB+cover.jpg" alt="" id="BLOGGER_PHOTO_ID_5545283573316647858" border="0" /></a> be recommended for the festive season. Not only have REPORTAGE published the best of their ten years of existence (through Momento <a href="http://www.momento.com.au/">www.momento.com.</a><a href="http://www.momento.com.au/">a</a><a href="http://www.momento.com.au/">u</a>) but <span style="font-weight: bold;">Thames & Hudson</span>, historically one of the great publishers of photography, have brought out two contrasting books on the joys (and otherwise) of photographing on the street. Perhaps this photographic genre's greatest exponent is the centre of <span style="font-weight: bold;">Pe</span><span style="font-weight: bold;">ter Galassi</span>'s book, <span style="font-weight: bold;">Henri Cartier-Bresson - The Modern Century</span> while <span style="font-weight: bold;">Sophie Howarth</span> and <span style="font-weight: bold;">Stephen McLaren's STREET PHOTOGR</span><span style="font-weight: bold;">APHY NO</span><span style="font-weight: bold;">W</span> shows how this timeless way of photographing has evolved. Australian photographers are well represented through <span style="font-weight: bold;">Tr</span><span style="font-weight: bold;">ent Parke</span>, <span style="font-weight: bold;">Narelle Autio</span> and <span style="font-weight: bold;">Jesse Marlow</span>. Parke's abrasive use of light illuminates his street observations while Autio's classic, ironic image of an angel stepping into a taxi is also present. Marlow's droll observations of the physically damaged (from his acclaimed book <span style="font-style: italic;">"Wounded</span><span style="font-style: italic;">" </span>are also here. <span style="font-weight: bold;">Mimi Mollica</span> produces a 2008 colour image taken in Dakar, Senegal which was instantly reminiscent of one of Henri Cartier-Bresson's timeless American images. In Mollica's image a man is glancing towards a young African woman from a flight of stairs. But the real revelation is the surreal humour consistently captured in the mostly colour images of this book. Time and again we are amazed at follies embraced publicly by humanity. This is a worthy addition to this increasingly threatened genre of photography. What <span style="font-style: italic;">are</span> our political leaders afraid that we will discover and photograph on the street? The other book worth looking at is <span style="font-weight: bold;">Focus on Australia</span>, <span style="font-style: italic;">(pictured, left)</span> a completely commercial venture, ai<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikDP4O0xgWSZOKNDy_7eFnV50zM4olzxrjYmSe9xnZH2eSxOvGGTq40mIp-mJk6TBLuL0ciGATI63l-qZJ7SLbzSJ_u4V-QpJ7R29o1flqGf3XYb_gON39JjvDiWjjnet3GGATsX6lZJHp/s1600/lumix_jacket+%25282%2529.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 200px; height: 180px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikDP4O0xgWSZOKNDy_7eFnV50zM4olzxrjYmSe9xnZH2eSxOvGGTq40mIp-mJk6TBLuL0ciGATI63l-qZJ7SLbzSJ_u4V-QpJ7R29o1flqGf3XYb_gON39JjvDiWjjnet3GGATsX6lZJHp/s200/lumix_jacket+%25282%2529.jpg" alt="" id="BLOGGER_PHOTO_ID_5545290447292523906" border="0" /></a>med squarely at promoting the cause of <span style="font-weight: bold;">Panasonic</span>'s <span style="font-weight: bold;">Lumix</span> digital cameras. If you look past the sometim<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPHRlYmsR5JzsUwBj3TeQ_RSobYvFf9a6vbmqsvhT5jOxBfZTWhFVx8wZmmr3fionLYrL8-y8wP7pjr0vCVmgtO_f897-tL0Ye5QMdvcjpJ0SLe3IATnZ9xBZ4hbGsTKLnboB-YcHYfMo2/s1600/Shearer+Wayne+Small+resting+at+lunchtome+Min+Min+Station+NW+NSW+Photograph+by+Bill+Bachman.jpg"><img style="float: right; margin: 0pt 0pt 10px 10px; cursor: pointer; width: 200px; height: 134px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPHRlYmsR5JzsUwBj3TeQ_RSobYvFf9a6vbmqsvhT5jOxBfZTWhFVx8wZmmr3fionLYrL8-y8wP7pjr0vCVmgtO_f897-tL0Ye5QMdvcjpJ0SLe3IATnZ9xBZ4hbGsTKLnboB-YcHYfMo2/s200/Shearer+Wayne+Small+resting+at+lunchtome+Min+Min+Station+NW+NSW+Photograph+by+Bill+Bachman.jpg" alt="" id="BLOGGER_PHOTO_ID_5545292963936009314" border="0" /></a>es garish landscapes and sentimental sunset images, there are some remarkable pictures showcasing the fine definition and colour rendition of digital photography. I enjoyed <span style="font-weight: bold;">Bill Bachman</span>'s contrasting of opposites in a young girl and her pink poodle <span style="font-style: italic;">(pictured, below left)</span> compared with the grit, grime and sweat of a shearing shed <span style="font-style: italic;">(pictured, right)</span> That well known lover of panoramic imagery, <span style="font-weight: bold;">Ken Dun</span><span style="font-weight: bold;">can</span>, is one of the forces behind this book in much more than a cosmetic way. His <span style="font-weight: bold;">Walk a While</span> charity <a href="http://www.kenduncan.com/index.php/walk-a-while">http://www.kenduncan.com/index.php/walk-a-while</a>, which benefits indigenous children, is a tangible beneficiary of sales of this sometimes lush look at Australia. Duncan adds an uncommon spontaneity to his photograph of two kangaroos bounding towards the coast in Sout<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg62Avt2vBysKgbLzwsn96LOi4-5uRXDhssr5xtknbbY_rkKQGRQxLTrzfESSlnQDbev-ZBKUgN_USlZO7_EZjD5WghzCOwlA7jPCtTVNB7tbzkHroL9un4-4ZIXXYMv15WKEAOERELEIFf/s1600/Bill+Bachman+Photograph+%25282%2529.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 150px; height: 200px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg62Avt2vBysKgbLzwsn96LOi4-5uRXDhssr5xtknbbY_rkKQGRQxLTrzfESSlnQDbev-ZBKUgN_USlZO7_EZjD5WghzCOwlA7jPCtTVNB7tbzkHroL9un4-4ZIXXYMv15WKEAOERELEIFf/s200/Bill+Bachman+Photograph+%25282%2529.jpg" alt="" id="BLOGGER_PHOTO_ID_5545289471180998594" border="0" /></a>h Australia <a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2I1JiFNQoaCgt1mwNNjPbD7eoCIwUWw68ga3N5ZlZ-c37v_r3wsmUuCim7GGnpAt8rVdDhWJw1PKt6wJTCaYo9oejuXlm9UcJl4DKXtDDfCh7e_SiyX8ZbHpxFevJD83OpunB8DHWYlGb/s1600/Blowhole+Beach+Deep+Creek+SA+Photograph+by+Ken+Duncan.jpg"><img style="float: right; margin: 0pt 0pt 10px 10px; cursor: pointer; width: 320px; height: 180px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2I1JiFNQoaCgt1mwNNjPbD7eoCIwUWw68ga3N5ZlZ-c37v_r3wsmUuCim7GGnpAt8rVdDhWJw1PKt6wJTCaYo9oejuXlm9UcJl4DKXtDDfCh7e_SiyX8ZbHpxFevJD83OpunB8DHWYlGb/s320/Blowhole+Beach+Deep+Creek+SA+Photograph+by+Ken+Duncan.jpg" alt="" id="BLOGGER_PHOTO_ID_5545288550914498162" border="0" /></a><span style="font-style: italic;">(pi</span><span style="font-style: italic;">ctured, right)</span> His temporary waterfall cascading down the side of Uluru also surprises. This book is clearly an intelligent, practical way of promoting photography using digital cameras. Not only are well known professionals such as Bachman and Duncan present but also amateurs contribute. This seems eminently preferable to endlessly marketing cameras based purely on price, features and megapixel envy. <span style="font-weight: bold;">Focus on Australia</span> is available online at <a href="http://www.kenduncan.com/">www.kenduncan.com</a> and at all Ken Duncan galleries for $59.95.<br /><span style="font-weight: bold;">Shows Not to Miss before Christmas</span><br />I<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsghvZRvYhcO5RoOvj0k_Zh7lxjKw15RKkPmqn4x435fgpp5JMr1ZRFsw7EenxAzLLX1gGb-UGHb7_7Z1rC-u6wBIFVOz1yW3pBa3uMDvBfeyH-6furry0pqgpvXm-G3-Uurl872tg4BSn/s1600/Uluru+Poster+Juno+Gemes.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 400px; height: 276px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsghvZRvYhcO5RoOvj0k_Zh7lxjKw15RKkPmqn4x435fgpp5JMr1ZRFsw7EenxAzLLX1gGb-UGHb7_7Z1rC-u6wBIFVOz1yW3pBa3uMDvBfeyH-6furry0pqgpvXm-G3-Uurl872tg4BSn/s400/Uluru+Poster+Juno+Gemes.jpg" alt="" id="BLOGGER_PHOTO_ID_5547515091198640258" border="0" /></a>n 1985 photographer <span style="font-weight: bold;">Juno Gemes</span> <a href="http://www.junogemes.com/">http://www.junogemes.com</a> documented the handover of perhaps indigenous Australia's most visible sacred site - <span style="font-weight: bold;">Uluru</span> - to its original owners. Her black and white photo essay is currently on exhibition at the site of this historic event - Uluru. Entitled <span style="font-style: italic;">"Sacred Ground - Uluru Handback 1985"</span>, these historic photographs can be seen at the Uluru Kata Tjuta Culture Centre - Uluru Kata Tjuta National Park, NT. <span style="font-style: italic;">Until 31st January 2011.</span><br /><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5qjT4QSs5T75K9SXPoW8IcxWHMXlJu0bW6EqK9fmT7P6hmLiRAtWej-CyivyWS5NYTXcvZP0QDgFaE1Dgcd88z3WwxQNrLjza5iNXDe4u227m9QlFgVmPurDbm42KPpBWfGajZfIBydcL/s1600/John+Lennon+1968+by+Ethan+Russell.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 135px; height: 200px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5qjT4QSs5T75K9SXPoW8IcxWHMXlJu0bW6EqK9fmT7P6hmLiRAtWej-CyivyWS5NYTXcvZP0QDgFaE1Dgcd88z3WwxQNrLjza5iNXDe4u227m9QlFgVmPurDbm42KPpBWfGajZfIBydcL/s200/John+Lennon+1968+by+Ethan+Russell.jpg" alt="" id="BLOGGER_PHOTO_ID_5545297575859043906" border="0" /></a><span style="font-weight: bold;">Tali Udovich</span>, the energetic Director of <span style="font-weight: bold;">Blender Gallery</span><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQXnIEC7J7sn532VxQQydafw8kyfd8pL910h0b7WjDUW26fHBGiKAcuINADC102seYGYoZUv9joRga-v7i5taUm11mCa51pnATGfmdf3Lowecc1X09mYdM-tWqqOOY9X9BUZwyhvHPHVbu/s1600/Bob+Kersey+Photograph.jpg"><img style="float: right; margin: 0pt 0pt 10px 10px; cursor: pointer; width: 200px; height: 172px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQXnIEC7J7sn532VxQQydafw8kyfd8pL910h0b7WjDUW26fHBGiKAcuINADC102seYGYoZUv9joRga-v7i5taUm11mCa51pnATGfmdf3Lowecc1X09mYdM-tWqqOOY9X9BUZwyhvHPHVbu/s200/Bob+Kersey+Photograph.jpg" alt="" id="BLOGGER_PHOTO_ID_5545302559568730242" border="0" /></a> <span style="font-size:85%;"><a href="http://www.blender.com.au/blender-gallery-s-greatest-hits/"><span style=""><span style="font-family:Arial;">http://www.blender.com.au/blender-gallery-</span></span></a></span><span style="font-size:85%;"><a href="http://www.blender.com.au/blender-gallery-s-greatest-hits/"><span style=""><span style="font-family:Arial;">s-greatest-hits/</span></span></a></span> with its incorporated <span style="font-weight: bold;">Just Shoot Lomo Camera</span> shop, has again turned to the icons of rock for her latest exhibition. On Thursday, December 2nd, Udovich is opening <span style="font-weight: bold;">Blender Gallery's Greatest Hits</span>, featuring classic rock photography made on and off stage. If you could live with your own framed portrait of <span style="font-weight: bold;">John Lennon</span> or <span style="font-weight: bold;">Queen</span> looking over you, this is the show for you. There will also be a performance from the boy/girl duo <span style="font-weight: bold;">The Falls</span>, showcasing classic rock and their own compositions. <a href="http://www.musicfromthefalls.com/">www.musicfromthefalls.com/</a> At <span style="font-weight: bold;">Mary Meyer Gallery</span>, small is everything in her <span style="font-style: italic;">"Small Show" </span>featuring such Meyer Gallery <a href="http://www.meyergallery.com.au/">www.me</a><a href="http://www.meyergallery.com.au/">yergallery.com.au</a> stalwarts as <span style="font-weight: bold;">Ellie Young</span>, <span style="font-weight: bold;">Jill Lacina, Bob Kersey</span> <span style="font-style: italic;">(his remarkable sea/landscape pictured, above right)</span> <span style="font-weight: bold;">Kate Baker</span> and <span style="font-weight: bold;">Renee French</span>. This show will be open until December 24 <span style="font-style: italic;">"Earth, Air, Flower, Water"</span> <a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkeFmfWUYVxQ7IamBGz2N_FbSIiNE4No0s3HzNhK9sjYOfTGOryiL4LZLtMUU-JWHghmGbCDTocVOWzqD2NTC2AA-ADNmGHh7jKU9HMU2PL8ItpOezEGsbqOBE7rI8IO2M84u2fMXiTUEv/s1600/Earth+Flour+Water+Banner.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 320px; height: 59px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkeFmfWUYVxQ7IamBGz2N_FbSIiNE4No0s3HzNhK9sjYOfTGOryiL4LZLtMUU-JWHghmGbCDTocVOWzqD2NTC2AA-ADNmGHh7jKU9HMU2PL8ItpOezEGsbqOBE7rI8IO2M84u2fMXiTUEv/s320/Earth+Flour+Water+Banner.jpg" alt="" id="BLOGGER_PHOTO_ID_5545303738610161090" border="0" /></a><span style="font-style: italic;">(pictured, left)</span> is also opening at the Superintendent's Residence, Paddington Gates, Centennial Park venue featuring photographs by, among others, <span style="font-weight: bold;">Peter Solness</span>. This exhibition is associated with <span style="font-weight: bold;">Head</span><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEJTXoruZx-ku0TfGcPfMeaMuILRlxaeP-ZpBRUgqhhU3IdhQ303w12CNQ-U5umAEtxTaNtDOFnB00EH82L-Uw8jpF8grOCDw-S4_Uie0sMJBD4mXEJiGG9T3IFkdJMGF1RC5CU1Ah98-I/s1600/Leaf+Photograph+by+Cam+Neville.jpg"><img style="float: right; margin: 0pt 0pt 10px 10px; cursor: pointer; width: 200px; height: 154px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEJTXoruZx-ku0TfGcPfMeaMuILRlxaeP-ZpBRUgqhhU3IdhQ303w12CNQ-U5umAEtxTaNtDOFnB00EH82L-Uw8jpF8grOCDw-S4_Uie0sMJBD4mXEJiGG9T3IFkdJMGF1RC5CU1Ah98-I/s200/Leaf+Photograph+by+Cam+Neville.jpg" alt="" id="BLOGGER_PHOTO_ID_5545317902751878050" border="0" /></a><span style="font-weight: bold;">On P</span><span style="font-weight: bold;">ortrait Competition</span>. <span style="font-weight: bold;">Cam Neville </span><a href="http://www.camneville.com/">www.camneville.com</a> perhaps better known as a fine-art digital printer, is showing his own work at <span style="font-weight: bold;">Storm Gallery</span>, 65-67 Foveaux Street, Surry Hills in an exhibition <span style="font-style: italic;">"The Nature Table"</span>. Neville presents tiny fragments of nature<span style="font-style: italic;"> (pictured, right) </span>at their most desiccated, but surprisingly monumental. There is a meditative quality to these images, made after Neville was severely injured in a car crash. Working on this project became, says Neville, <span style="font-style: italic;">"a matter of life and death. I cann</span><span style="font-style: italic;">ot stress</span><span style="font-style: italic;"> how important this process was to my recovery - and to my develop</span><span style="font-style: italic;">men</span><span style="font-style: italic;">t a</span><span style="font-style: italic;">s a photographer."</span><span style="font-style: italic;"> Until December 17th.</span><br />At <span style="font-weight: bold;">Point Light Gallery</span> <a href="http://www.pointlight.com.au/">www.pointlight.com.au/</a> its co-founder <span style="font-weight: bold;">Gordon Undy</span>, that enduring Australian pioneer of traditional fine art photograp<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGxNXsmakG1JyEkiOs3lpXH8_YWcMWUeSitW_Zh_AtdkBcnK_X2769_Q9i-usHbZt6VJNOGVbq8MxcTDs6s2kIVbLY60zJSRxlnLl4AYrMn6Rp3F8ohE2icDMmCaY1s8gqmIuBS6A9RgVQ/s1600/Rainy+day+Glen+Lyon+Scotland+Copyright+Photograph+by+Gordon+Undy.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 200px; height: 156px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGxNXsmakG1JyEkiOs3lpXH8_YWcMWUeSitW_Zh_AtdkBcnK_X2769_Q9i-usHbZt6VJNOGVbq8MxcTDs6s2kIVbLY60zJSRxlnLl4AYrMn6Rp3F8ohE2icDMmCaY1s8gqmIuBS6A9RgVQ/s200/Rainy+day+Glen+Lyon+Scotland+Copyright+Photograph+by+Gordon+Undy.jpg" alt="" id="BLOGGER_PHOTO_ID_5545316192289223762" border="0" /></a>hy is showing a series of natural and man-made landsca<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigJm5pWpvzlFc8Evaz_FqYy0dyf5YiWqqfAbPhTwWlq7DNZ50TqxHY9FHmV325gtqiQbtKDkOvg5tHTQPzp2v46T7xqqU7X-siIErxvFeT4Jbas4cv2tUt8V-mO-DJIpRlMpxUZ3Cs6zzX/s1600/Silos+Narromine+2008+Platinum+Palladium+photograph+by+Gordon+Undy.jpg"><img style="float: right; margin: 0pt 0pt 10px 10px; cursor: pointer; width: 200px; height: 142px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigJm5pWpvzlFc8Evaz_FqYy0dyf5YiWqqfAbPhTwWlq7DNZ50TqxHY9FHmV325gtqiQbtKDkOvg5tHTQPzp2v46T7xqqU7X-siIErxvFeT4Jbas4cv2tUt8V-mO-DJIpRlMpxUZ3Cs6zzX/s200/Silos+Narromine+2008+Platinum+Palladium+photograph+by+Gordon+Undy.jpg" alt="" id="BLOGGER_PHOTO_ID_5545318833368650770" border="0" /></a>pes, made in Australia and overseas. Anyone interested in the finesse involved in traditional forms of photography <span style="font-style: italic;">(pictured, left and right) </span>should find this exhibition, Point Light's 100th, rewarding. At <span style="font-weight: bold;">P</span><span style="font-weight: bold;">oint Light Gallery</span>, 50 Reservoir Street, Surry Hills. Until December 19th. Finally don't miss <span style="font-weight: bold;">Annie Leibovitz</span>'s sprawling retrospective, <span style="font-style: italic;">"A Photographer's Life"</span> at the <span style="font-weight: bold;">Museum of Contemporary Art</span> in Sydney, <span style="font-weight: bold;">Anton Bruehl</span>'s exhibition <a href="http://nga.gov.au/Exhibition/BRUEHL/">http://nga.gov.au/Exhibition/BRUEHL/</a>at the <span style="font-weight: bold;">National Gallery of Australia</span> and <span style="font-weight: bold;">Martin Schoeller</span>'s confronting <span style="font-style: italic;">"Close Up"</span> exhibition at the <span style="font-weight: bold;">National Portrait Gallery</span> - both in Canberra.<br />Copyright <span style="font-weight: bold;">Robert McFarlane</span> <a href="http://www.robertmcfarlanephotos.com/">www.robertmcfarlanephotos.com</a> <span style="font-weight: bold;">2010</span>ozphotoreviewhttp://www.blogger.com/profile/05955455242704658018noreply@blogger.com3tag:blogger.com,1999:blog-4793272593084821996.post-21730957561548123082010-10-21T21:18:00.000-07:002010-10-20T20:18:32.104-07:00Stephen Dupont's Epic Afghanistan Odyssey<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgDm2Va2C6Th_xc88wqEVWRVwi8hpwM-gpHn9UdXt-Lwdwlhu6O4hQjJ9PUVafmyQT4cVucuhxjfFPpO_-TkGzZXi2kj2gOVe5PH1D9xhOo8O6kRYJnaFqLWio_KHqLV3T3iExH2ECv5Yf/s1600/Burqa_2001+by+Stephen+Dupont.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 400px; height: 395px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgDm2Va2C6Th_xc88wqEVWRVwi8hpwM-gpHn9UdXt-Lwdwlhu6O4hQjJ9PUVafmyQT4cVucuhxjfFPpO_-TkGzZXi2kj2gOVe5PH1D9xhOo8O6kRYJnaFqLWio_KHqLV3T3iExH2ECv5Yf/s400/Burqa_2001+by+Stephen+Dupont.jpg" alt="" id="BLOGGER_PHOTO_ID_5529288438147706130" border="0" /></a><span style="font-weight: bold;">Afgha</span><span style="font-weight: bold;">nistan</span><span style="font-weight: bold;">: The Perils of Freedom 1993 - 2009</span><br />This extraordinary exhibition may be one of the most intricately constructed displays ever seen at the <span style="font-weight: bold;">Austr</span><span style="font-weight: bold;">alian Cen</span><span style="font-weight: bold;">tre for </span><span style="font-weight: bold;">Photography </span><a href="http://www.acp.org.au/">http://ww</a><a href="http://www.acp.org.au/">w.acp.org.au/</a> Not only has photojournalist <span style="font-weight: bold;">Stephen Dupont</span> <a href="http://www.stephendupont.com/">www.stephen</a><a href="http://www.stephendupont.com/">dupont.com</a> sought to encompass fifteen years of working in Afghanistan’s historically conflicted land, he has managed to display his photography in literally, a floor to ceiling, wall to wall tapestry of pictures. Reminiscent of another legendary exhibition (which I didn’t see personally, but saw much of its documentation) - by acclaimed French war photographer - <span style="font-weight: bold;">Raymon</span><span style="font-weight: bold;">d Depardon</span>) Dupont seeks to populate his exhibition with cast members of this ancient, ongoing drama - Afghan citizens, both armed and members of the public - and of course, the soldiers - as ever, from elsewhere. In this, Dupont departs from the traditions of previous war photographers who simply amplify the drama of war. Dupont clearly wishes to reveal which forces are in play and to understand, as much as possible, reasons for and possible resolutions to the conflict. To achieve this the Australian photographer employs an unusually va<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLInfX8h05hQTwg6tCtuN-9d71FAhwyqaC4UjTtzdcZGFocIaUSFsS4O6KnMhKYqkxRd5g6-1wD8NPoIXFd0_MgFOY3kgasmbpY-3l2tJfuQEltNTyQ33mZJZrXPDqc3u-d6RANtjOVfQz/s1600/US+Marine+Patrol_Asadabad_2005+by+Stephen+Dupont.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 400px; height: 148px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLInfX8h05hQTwg6tCtuN-9d71FAhwyqaC4UjTtzdcZGFocIaUSFsS4O6KnMhKYqkxRd5g6-1wD8NPoIXFd0_MgFOY3kgasmbpY-3l2tJfuQEltNTyQ33mZJZrXPDqc3u-d6RANtjOVfQz/s400/US+Marine+Patrol_Asadabad_2005+by+Stephen+Dupont.jpg" alt="" id="BLOGGER_PHOTO_ID_5529240166356260082" border="0" /></a>ried <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjakgd5kZIiOO1vPZUqV2r2vHgAbOVVs2dojuB85YdqN2ASqpuO8JgmwbzCnMbrIrZ74o2wKFzTYlE3HXnPT295a8Xv11VvXXxRl7pudqVscevjqWHPJAs0LbrMhHSvpkXmlTclI2IsVqby/s1600/Massoud_Faizabad_1998+by+Stephen+Dupont.jpg"><img style="float: right; margin: 0pt 0pt 10px 10px; cursor: pointer; width: 200px; height: 133px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjakgd5kZIiOO1vPZUqV2r2vHgAbOVVs2dojuB85YdqN2ASqpuO8JgmwbzCnMbrIrZ74o2wKFzTYlE3HXnPT295a8Xv11VvXXxRl7pudqVscevjqWHPJAs0LbrMhHSvpkXmlTclI2IsVqby/s200/Massoud_Faizabad_1998+by+Stephen+Dupont.jpg" alt="" id="BLOGGER_PHOTO_ID_5529309353944173890" border="0" /></a>visual grammar - from telling, almost 19th century style portraits of Afghan citizens <span style="font-style: italic;">(pictured, below left) </span>using a medium format <span style="font-weight: bold;">Polaroid</span> camera to panoramic observations <span style="font-style: italic;">(pic</span><span style="font-style: italic;">tured, above)</span> made with a <span style="font-weight: bold;">Hasselblad</span> camera that are remarkably cinematic in their sweep. Dupont's observations belong more to the tradition of the late <span style="font-weight: bold;">Philip Jones-Griffith</span>’s epic book <span style="font-style: italic; font-weight: bold;">“Vietnam Inc.”</span><span style="font-weight: bold;"> </span>than even <span style="font-weight: bold;">Don McCullin</span>’s highly charged, epic war observations. <span style="font-style: italic;">“I am a great fan of Jon</span><span style="font-style: italic;">es-Griffiths,”</span> says Dupont, <span style="font-style: italic;">“he went beyond the bang-bang - going behind closed doors - and also into combat to uncover the soul of the U.S. military m</span><span style="font-style: italic;">achine ... and (finally) sho</span><span style="font-style: italic;">w what it was like to be a US s</span><span style="font-style: italic;">oldier - givin</span><span style="font-style: italic;">g a humanistic edge to something inhuman. Not just the power and the glory ... he (</span><span style="font-style: italic;">also) unc</span><span style="font-style: italic;">overed the grit and the filth o</span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjv4hgMyWavX8AR091uMnW4mXtIg3ZVJDJHPwzOq_Os0z0cFyzNeU7aILRpPuODvaegBtIB7bPZFnxufAMYgpmZlZcr_G3h0kPCDFYbtDXFwSlIvKABZhwqT9NGZR7IlRv9BtwYgsUdXQcQ/s1600/Axe+Me+Biggie+by+Stephen+Dupont.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 166px; height: 200px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjv4hgMyWavX8AR091uMnW4mXtIg3ZVJDJHPwzOq_Os0z0cFyzNeU7aILRpPuODvaegBtIB7bPZFnxufAMYgpmZlZcr_G3h0kPCDFYbtDXFwSlIvKABZhwqT9NGZR7IlRv9BtwYgsUdXQcQ/s200/Axe+Me+Biggie+by+Stephen+Dupont.jpg" alt="" id="BLOGGER_PHOTO_ID_5529241747998840818" border="0" /></a><span style="font-style: italic;">f what was going on the villages. Jones-Griffiths was an activist who didn’t hold back ... </span><span style="font-style: italic;">he was an inspiration (to m</span><span style="font-style: italic;">e).” </span>Dupont <span style="font-style: italic;">(pictured, right, at the ACP</span><span style="font-style: italic;">)</span> had followed conflict in Afghanistan since that country's war <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhU9TBkSUtWxaJTbgaC53xtOBD_8InDuFcKIXUu07G9xJ90Z_W-yAebxIGEHZOiZBs3Y4o67_o_rHe4_4EB6mOBdMSlXLm44DZs9m5lBadaaaOXNSRfiHzl50IQMka-4R5OEGBLY3khmvM3/s1600/Steve+Dupont+at+ACP.jpg"><img style="float: right; margin: 0pt 0pt 10px 10px; cursor: pointer; width: 200px; height: 134px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhU9TBkSUtWxaJTbgaC53xtOBD_8InDuFcKIXUu07G9xJ90Z_W-yAebxIGEHZOiZBs3Y4o67_o_rHe4_4EB6mOBdMSlXLm44DZs9m5lBadaaaOXNSRfiHzl50IQMka-4R5OEGBLY3khmvM3/s200/Steve+Dupont+at+ACP.jpg" alt="" id="BLOGGER_PHOTO_ID_5529244453324077218" border="0" /></a>with the Russians. <span style="font-style: italic;">“After the re</span><span style="font-style: italic;">volution</span><span style="font-style: italic;"> of the Mujahidee</span><span style="font-style: italic;">n</span><span style="font-style: italic;">, I </span><span style="font-style: italic;">was inspired to go and see for myself,”</span> says Dupont,<span style="font-style: italic;"> “the (co</span><span style="font-style: italic;">untry’s) history had an impact (on me) even through Kipling’s <span style="font-weight: bold;">“The </span></span><span style="font-style: italic;"><span style="font-weight: bold;">Man Who Would Be King” </span>- but I had no idea (photographing) Afghanistan would affect me so much. There was </span><span style="font-style: italic;">n</span><span style="font-style: italic;">owhere in the world like it. Something ... got into </span><span style="font-style: italic;">my soul. (And) I was achieving something historical that was n</span><span style="font-style: italic;">ot being recorded. I was photographing ... history and doing it for the people - who did not have a voice.” </span> Even the U.S. Marines were given their voice by Dupont who asked individual soldiers to write in a small moleskin journal their answer to the simple question: <span style="font-style: italic;">“Why am I a Marine?” </span>The pages of this journal occupy a large part of one wall at the ACP with Dupont adding that the original journal has now been acquired by the <span style="font-weight: bold;">U.S. Library of Congress</span>.<br /><span style="font-weight: bold;">Afghanistan: The Perils of F</span><span style="font-weight: bold;">reedom 1993 - 2009</span> is not an exh<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiImF4M0qdvz4U4YoG1La2UbKaQiI77TmnJSljDLr7aZd1Ki4fd9IuCO4v01xgfqvVJquuBpQr-1mUa5EM_EPFc6noUyVEiub0EMfb7qKv_91rijaZ4NTgcjRqvITvnC0JvbebBfKUuTbql/s1600/Taliban+Burning+by+Stephen+Dupont.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 200px; height: 131px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiImF4M0qdvz4U4YoG1La2UbKaQiI77TmnJSljDLr7aZd1Ki4fd9IuCO4v01xgfqvVJquuBpQr-1mUa5EM_EPFc6noUyVEiub0EMfb7qKv_91rijaZ4NTgcjRqvITvnC0JvbebBfKUuTbql/s200/Taliban+Burning+by+Stephen+Dupont.jpg" alt="" id="BLOGGER_PHOTO_ID_5529252813815244434" border="0" /></a>ibition to simply walk through. It demands the visitor arrive, and take the time to meditate on fifteen years of hard, remarkable work by this talented, tenacious photographer - pictures illuminating the timeless ability humanity has to seek the last option of government - war - as a solution to political differences. <span style="font-style: italic;">“You have this incredibly beautiful country that could be opened (up) if it was peaceful. (But) I don’t see there b</span><span style="font-style: italic;">eing a resolution soon ... it seems that Afghanistan has never known anything but war. And it’s not just about Afghanistan anymore ...”</span> <span style="font-style: italic;">Until November 20<br /></span><span><span style="font-weight: bold;">NIKON WALKLEY AWARDS also at the ACP</span><br /></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3A0Rhtey4C_ovT2BluUsPGMonkZLBDRMQJUK5csSzI2sCnO_21PNiWWHQ_juoS3rcydq0Mq-qzmkk6vMQj1wtR0dw-WzDpg4uey5gsZompuXaKC8Ahyphenhyphenl-LPxTQ4OLKOveB4EpENHubEEE/s1600/Julia+Gillard+ascent+to+power+Nikon+Walkley+Awards.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 400px; height: 267px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3A0Rhtey4C_ovT2BluUsPGMonkZLBDRMQJUK5csSzI2sCnO_21PNiWWHQ_juoS3rcydq0Mq-qzmkk6vMQj1wtR0dw-WzDpg4uey5gsZompuXaKC8Ahyphenhyphenl-LPxTQ4OLKOveB4EpENHubEEE/s400/Julia+Gillard+ascent+to+power+Nikon+Walkley+Awards.jpg" alt="" id="BLOGGER_PHOTO_ID_5529978802067186818" border="0" /></a><span>Co-incidentally there is a major display of the finalists for the </span><span style="font-weight: bold;">Nikon/Walkle</span><span style="font-weight: bold;">y Press Phot</span><span style="font-weight: bold;">o</span><span style="font-weight: bold;">graphy Awards</span><span> <a href="http://www.walkleys.com/nikon-walkley-press-photography-awards">http://w</a></span><span><a href="http://www.walkleys.com/nikon-walkley-press-photography-awards">ww.walkleys.com/nikon-walkley-press-photograph</a></span><span><a href="http://www.walkleys.com/nikon-walkley-press-photography-awards">y-awards</a> also on view at </span><span>the <span style="font-weight: bold;">Australian Centre for Photography</span>. It was noticeable the ongoing evolution of newspaper photographers into photojournalists with the presence of an agile, searching photo-essay <span style="font-style: italic;">(pictured, above)</span> on <span style="font-weight: bold;">Julia Gillard</span></span><span><span style="font-weight: bold;">'s</span> ascent to p</span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-QX5lfBB1NTKpj4pNYrgCP-yvHa0sTovla7lo1Sq0ishz9XvtNzx6xWVoKHmtiPJF7ajodXXdGDghwDkDPPWU7PJo-lIFcse0TiIwgx4ORurL2yj6W7xT_4ReCkpljwpNh9a-Z3xrBwFk/s1600/Photograph+by+McCarthy+Walkleys.jpeg"><img style="float: right; margin: 0pt 0pt 10px 10px; cursor: pointer; width: 136px; height: 200px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-QX5lfBB1NTKpj4pNYrgCP-yvHa0sTovla7lo1Sq0ishz9XvtNzx6xWVoKHmtiPJF7ajodXXdGDghwDkDPPWU7PJo-lIFcse0TiIwgx4ORurL2yj6W7xT_4ReCkpljwpNh9a-Z3xrBwFk/s200/Photograph+by+McCarthy+Walkleys.jpeg" alt="" id="BLOGGER_PHOTO_ID_5529989583090336802" border="0" /></a><span>ower by the Daily Telegraph's <span style="font-weight: bold;">Phil Hillyard</span>. <span style="font-style: italic;">"I wanted to record the private moments as they happened," </span>said Hillyard. </span><span><span>Whil</span></span><span><span>e this kind of intimate photojournalistic coverage is common in U.S. Presidential politics, it was a revelation in Australia for the manner in whic</span></span><span><span>h Hillyard's camera captured an abundance of seemingly trivial details in strong black and white images - such as the way the incoming Prime Minister cast aside her shoes in one picture. The increasingly visible role of our armed forces was also poignantly captured in <span style="font-weight: bold;">Brendan McCarthy</span>'s award-winning regional observations. <span style="font-style: italic;">(pictured, right)</span></span></span><span><span style="font-weight: bold;"><span style="font-style: italic;"><br /></span>New Sydney Art space for Photography Opens Soon</span></span><span><span style="font-weight: bold;"> </span><span><br /></span></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaKybcAP0UMUTBxaZ00bbgVgwuR3-AYmcmZS_1lWyQbd1yTtO-k7GUE7nztF6FACOsEYFn2ucIr1lQ7yd43nr-GEODCz7shE7xmMJiumApSO32w2-RaQ1YgJZlig4SGk2GTeh2Gf-lD1P9/s1600/100918_WARATAH_by+Peter+Solness.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 214px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaKybcAP0UMUTBxaZ00bbgVgwuR3-AYmcmZS_1lWyQbd1yTtO-k7GUE7nztF6FACOsEYFn2ucIr1lQ7yd43nr-GEODCz7shE7xmMJiumApSO32w2-RaQ1YgJZlig4SGk2GTeh2Gf-lD1P9/s320/100918_WARATAH_by+Peter+Solness.jpg" alt="" id="BLOGGER_PHOTO_ID_5529318559857382994" border="0" /></a><span><span><span style="font-weight: bold;">Moshe Rosenzveig</span>, the director of Head On </span></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQRjY36-aBIOgpdmkAzMU5W6tmI1Avr4tApywpALAAQsLub3uFuaXW6Fw-hJeMX9PX3wOwbqZFWjbjh-LClqsJUhJn5h9k1Fhx56c1txa6gfKfqJ_bA_MUayN7zyND8zMwpwnmkRCs4E96/s1600/100716_CP_MUSCULAR_FIG_by+Peter+Solness.jpg"><img style="float: right; margin: 0pt 0pt 10px 10px; cursor: pointer; width: 134px; height: 200px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQRjY36-aBIOgpdmkAzMU5W6tmI1Avr4tApywpALAAQsLub3uFuaXW6Fw-hJeMX9PX3wOwbqZFWjbjh-LClqsJUhJn5h9k1Fhx56c1txa6gfKfqJ_bA_MUayN7zyND8zMwpwnmkRCs4E96/s200/100716_CP_MUSCULAR_FIG_by+Peter+Solness.jpg" alt="" id="BLOGGER_PHOTO_ID_5529316549690156434" border="0" /></a><span><span><a href="http://www.headon.com.au/">http://www.headon.com.au/</a> and <span style="font-weight: bold;">Peter Solness</span> <a href="http://www.solness.com.au/">http://www.solness.com.au/</a> are opening a new gallery s</span></span><span><span>pace sited within the handsome, Superintendent's Residence in Sydney's </span></span><span><span>historic Cent</span></span><span><span>ennial Park. <span style="font-style: italic;">"Because of the success of our last venture in May this year, during the Head On Photo Festival, the management of Centennial Park have invited us to create an exhibition program for this unique space,"</span> stated Rosenzveig. The new program will begin on Saturday, October 23rd with 23 images o</span></span><span><span>n show from Solness's impressive <span style="font-style: italic; font-weight: bold;">"Illuminated Landscape"</span> series <span style="font-style: italic;">(pictured, left and right)</span> Solness promises that </span></span><span><span><span style="font-style: italic;">"at least a third of these will be new works, created within the last three months" </span>(Drinks will be offered on Sunday between 3-6pm)<br /><span style="font-weight: bold;"><br /></span></span></span><br /><span><span><span style="font-weight: bold;">David Roberts Faces His Mysteries At Point Light</span></span></span><span><span><br />Art </span></span><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzr6LhZaXedsd9YA__ukntAQ5ouESQKBYGQF1-OAtip5b4n7q1PqyvtECdrSMYfu7fN3Ho2EAIzqwn3rvtEbnlk1nBRfxZGpItO3KOzqPC-CSpdG_vSoLi3MvfzAkPsUSh4aSalo8MVjK1/s1600/acceptance+by+david+roberts.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 200px; height: 166px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzr6LhZaXedsd9YA__ukntAQ5ouESQKBYGQF1-OAtip5b4n7q1PqyvtECdrSMYfu7fN3Ho2EAIzqwn3rvtEbnlk1nBRfxZGpItO3KOzqPC-CSpdG_vSoLi3MvfzAkPsUSh4aSalo8MVjK1/s200/acceptance+by+david+roberts.jpg" alt="" id="BLOGGER_PHOTO_ID_5530325529554382306" border="0" /></a><span><span>is nothing if it doesn't confront </span></span><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOOY_48NO3uwoUlQbFlRtLkhDp_km6SR4LqwQws-1nbAfBa2IvwNYgQtSB4GZAXKaAfRrzynizcm4blWBk5UEh0RX8y-HDZKMmiJ7u1W9TZOP-TMhoC-NDD1-RTIFa4JhuDZUuqdR8USVa/s1600/adrift-1+by+david+roberts.jpg"><img style="float: right; margin: 0pt 0pt 10px 10px; cursor: pointer; width: 200px; height: 100px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOOY_48NO3uwoUlQbFlRtLkhDp_km6SR4LqwQws-1nbAfBa2IvwNYgQtSB4GZAXKaAfRrzynizcm4blWBk5UEh0RX8y-HDZKMmiJ7u1W9TZOP-TMhoC-NDD1-RTIFa4JhuDZUuqdR8USVa/s200/adrift-1+by+david+roberts.jpg" alt="" id="BLOGGER_PHOTO_ID_5530321717301404130" border="0" /></a><span><span>our </span></span><span><span>mysteries. Think of <span>Surrealist painter </span><span style="font-weight: bold;">R</span></span></span><span><span><span style="font-weight: bold;">ene Magritte</span>'s lovers about to kiss, while their heads remain shrouded in fabric. Or <span style="font-weight: bold;">Diane Arbus</span> and her elliptical response to a question on what her photograp</span></span><span><span>hs meant. <span style="font-style: italic;">"Why ... t</span></span></span><span><span><span style="font-style: italic;">hey're about recognizing what I've never seen!"</span> And <span style="font-weight: bold;">Edward Weston</span>'s famo</span></span><span><span>us (and sensuous) photograph of a capsicum that conveyed a <span style="font-weight: bold;">Rodin</span> torso as much as mere nutrition. There is a hidden calligraphy of form in <span style="font-weight: bold;">David Roberts</span>' photographs at <span style="font-weight: bold;">Point Light</span> <a href="http://www.pointlight.com.au/">http://www.pointlight.com.au/</a> <span style="font-style: italic;">(pictured) </span>that suggests that this talented photographer is mining a familiar lode in photography - by exploring the camera's hidden vocabulary, abstraction. Robert's vision discerns portals in bleak </span></span><span><span>facades, compositional rhythms in the human form <span style="font-style: italic;">(pictured, above)</span> and our inevitable, ongoing fas</span></span><span><span>cination with mortality. His portrait of distinguished </span></span><span><span>humanitarian lawyer <span style="font-style: italic;">(pictured, right)</span><span style="font-weight: bold;"> Julian Burnside</span></span></span><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6cW6M2fUEVoxHWzr6754PJ8gt48MU6UPSEylRzQgBj_NwRj7LCo9DktWZU0PwzFAqUPkiK9nW52O30P1A4PUymBm3mjG0cZ8fEfvfLhuKZmGujYK_Lmvg4q8ewVSkWu-i3W1zaRfMa9qH/s1600/julian+burnside+by+david+roberts.jpg"><img style="float: right; margin: 0pt 0pt 10px 10px; cursor: pointer; width: 200px; height: 78px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6cW6M2fUEVoxHWzr6754PJ8gt48MU6UPSEylRzQgBj_NwRj7LCo9DktWZU0PwzFAqUPkiK9nW52O30P1A4PUymBm3mjG0cZ8fEfvfLhuKZmGujYK_Lmvg4q8ewVSkWu-i3W1zaRfMa9qH/s200/julian+burnside+by+david+roberts.jpg" alt="" id="BLOGGER_PHOTO_ID_5530326466374530866" border="0" /></a>,<span><span><span> Hamlet</span>-like in his contemplation of a skull - appears bleak at first - until we notice the fearless, granite disposition of the lawyer's gaze. My only rese</span></span><span><span>rvation with this photographer's vision lies in the first artistic decisions Roberts makes. Sometimes they seem more urgent than considered, leaving the viewer to make a conscious effort to embrace his vision. <span style="font-style: italic;">Until November 14</span><br /></span></span><span style="font-weight: bold;">Text Copyright Robert McFarlane <a href="http://www.robertmcfarlanephotos.com/">www.robertmcfarlanephotos.com</a> 2010</span><span style="font-style: italic;"><br /></span>ozphotoreviewhttp://www.blogger.com/profile/05955455242704658018noreply@blogger.com2tag:blogger.com,1999:blog-4793272593084821996.post-89679036111304480402010-10-07T00:17:00.000-07:002010-10-07T00:33:52.743-07:00Visions of Steel, Flesh, Fire and Ice<span><span style="font-weight: bold;">Nicholas May's almost Mythic look at Australia Day<br /></span></span><span><span><span style="font-weight: bold;">"Sydney Life"</span> has one of the most perfect venues in which to</span></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMitQ2rGIywRfmggTJlW67lzPryNEM6DnjpmmXOIZJuCQBmYFkiumJIXtMEpihkPRHxbutviTz6nj-xFjR988BqHhQW7T_otiaZcWDsAsEno6YXd3irUU78P2qOyGiR0Bw2JSv2c9dGb_l/s1600/Sydney+Life+exhibition+2010+Hyde+Park+Walkway.jpg"><img style="float: right; margin: 0pt 0pt 10px 10px; cursor: pointer; width: 200px; height: 124px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMitQ2rGIywRfmggTJlW67lzPryNEM6DnjpmmXOIZJuCQBmYFkiumJIXtMEpihkPRHxbutviTz6nj-xFjR988BqHhQW7T_otiaZcWDsAsEno6YXd3irUU78P2qOyGiR0Bw2JSv2c9dGb_l/s200/Sydney+Life+exhibition+2010+Hyde+Park+Walkway.jpg" alt="" id="BLOGGER_PHOTO_ID_5523713553700349090" border="0" /></a><span><span> display the people's photographic view of the Harbour City. From the Archibald Fountain to Park Street a stroll along the central walkway of Hyde Park,<span style="font-style: italic;"> (pictured, right) </span>viewing well-printed, evocative, </span></span><span><span>bedsheet size photographs taken of Sydney life, has now become a subtle, inner city Sydney pleasure. Even as my fellow judges - prolific photographer/curator <a href="http://www.arthere.com.au/">http://www.arthere.com.au/</a><span style="font-weight: bold;">Sandy Edwards</span> and curator, </span></span><span><span>distinguished</span></span><span><span> author </span></span><span><span>and environmental blogger <span style="font-weight: bold;">Ace Bourke</span> <a href="http://acebourke.wordpress.com/">http://acebourke.wordpress.com/)</a> were making our deliberations - it was, as always, a difficult choice) the walkway was full of life with families with young children, a </span></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIH2Ar7WKE9DyAMG7OjD5yoj0Uyc5J_wkr2C0ndpwuxrYbeKshoaf6Yamr7T8xZj1QBaKgd3gbwpiVUvnpnsq5JxDcLIv0Hz1GqhD0PdEpvOYT1ylL0_ifxhKBYQRELnc5JaApySA_8XcM/s1600/Australia+Day+2009+Photograph+by+Nick+May.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 400px; height: 266px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIH2Ar7WKE9DyAMG7OjD5yoj0Uyc5J_wkr2C0ndpwuxrYbeKshoaf6Yamr7T8xZj1QBaKgd3gbwpiVUvnpnsq5JxDcLIv0Hz1GqhD0PdEpvOYT1ylL0_ifxhKBYQRELnc5JaApySA_8XcM/s400/Australia+Day+2009+Photograph+by+Nick+May.jpg" alt="" id="BLOGGER_PHOTO_ID_5523710603337347074" border="0" /></a><span><span>talented busker singing a medley of <span style="font-weight: bold;">Neil Young</span> songs and</span></span><span><span> </span></span><span><span>a man blowing huge,</span></span><span><span> colourful bubbles, s</span></span><span><span>ome </span></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQDFMcXSjmkDac-FEsP53Zjy6cb3_OjzhBdPhqdnMoS2j1IB31yZu-oCcw9GVeqJqAYFJF9A14l8-7Htexi9gjLOkjqeNBl46QbthXYzuUNqokLd-MlVwErirugp0jU5GlpKaWeSb6ib5p/s1600/Centrepoint+Power+over+Hyde+Park+Photograph+by+Robert+McFarlane.jpg"><img style="float: right; margin: 0pt 0pt 10px 10px; cursor: pointer; width: 134px; height: 200px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQDFMcXSjmkDac-FEsP53Zjy6cb3_OjzhBdPhqdnMoS2j1IB31yZu-oCcw9GVeqJqAYFJF9A14l8-7Htexi9gjLOkjqeNBl46QbthXYzuUNqokLd-MlVwErirugp0jU5GlpKaWeSb6ib5p/s200/Centrepoint+Power+over+Hyde+Park+Photograph+by+Robert+McFarlane.jpg" alt="" id="BLOGGER_PHOTO_ID_5523720263774488914" border="0" /></a><span><span>as long as a </span></span><span><span>park</span></span><span><span> be</span></span><span><span>nch. Watched</span></span><span><span> ove</span></span><span><span>r through the t</span></span><span><span>rees by the golde</span></span><span><span>n </span></span><span><span>helmet of Centre Poin</span></span><span><span>t tower <span style="font-style: italic;">(pictured)</span> we ul</span></span><span><span>timate chose <span style="font-weight: bold;">Nicholas May</span>'s timeless observation of last year'</span></span><span><span>s Australia Day at Bondi Beach.<span style="font-style: italic;"> (pictured)</span> By common consent this pi</span></span><span><span>cture almost chose itself with all three judges agreein</span></span><span><span>g May had taken <span style="font-style: italic;">"a sculptural, de</span></span></span><span><span><span style="font-style: italic;">eply u</span></span></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaDcKZEw0lrh0JmR6wJK-adBwsPRQELMfXVA1pYOUgXlbAx45G5Ayw9rGp_LXtC4dxTz-8tiSgn9QNo-TLlB4gBCtNzKD5QO5pAqAUOXrNXtEfir3NLSP7xovntbBF5OOvxwt5iYYjevje/s1600/Sony+NEX+5+digital+camera.jpg"><img style="float: right; margin: 0pt 0pt 10px 10px; cursor: pointer; width: 148px; height: 111px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaDcKZEw0lrh0JmR6wJK-adBwsPRQELMfXVA1pYOUgXlbAx45G5Ayw9rGp_LXtC4dxTz-8tiSgn9QNo-TLlB4gBCtNzKD5QO5pAqAUOXrNXtEfir3NLSP7xovntbBF5OOvxwt5iYYjevje/s200/Sony+NEX+5+digital+camera.jpg" alt="" id="BLOGGER_PHOTO_ID_5524075539882998610" border="0" /></a><span><span><span style="font-style: italic;">n</span></span></span><span><span><span style="font-style: italic;">sentime</span></span></span><span><span><span style="font-style: italic;">ntal look at Australians at play (showing) the cultural ambiguities found on Sydney's most famous beach."</span> and earned his generous $10,000 prize </span></span><span><span>and one of Sony's newest digital cameras - the <span style="font-weight: bold;">NEX5</span>. <span style="font-style: italic;">(pictured) </span><a href="http://www.sony.com.au/section/home"><span>http://www.sony.com.au/section/home</span></a><span style="font-style: italic;"> "Sydney Life</span></span></span><span><span><span style="font-style: italic;"> is a signature event of <span style="font-weight: bold;">Art&About</span> </span><a href="http://www.artandabout.com.au/">www.artandabout.com.au</a><span style="font-style: italic;"> Until October 24</span><br /></span><span style="font-weight: bold;">An Occasional Picture - Could This Be The Eye of <span style="color: rgb(153, 153, 153);">God</span>?<br /></span></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhE2ziefUmqhEm6sXqJAIHzsFfUnd_Q35rOQq10rkGM9jnsXAOuMfO3Gr29TRjZFL1KhH2wfEQ-_7nSGrOLYVd4f-MT_A_wMJE5tvLAXpzhIWa7UHTdhZJpNtHqbkUYJiox3Ce0AQzWUd2Y/s1600/NJ+INST+OF+TECH+PHILIP+R.+GOODE+SUNSPOT+IMAGE.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 400px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhE2ziefUmqhEm6sXqJAIHzsFfUnd_Q35rOQq10rkGM9jnsXAOuMfO3Gr29TRjZFL1KhH2wfEQ-_7nSGrOLYVd4f-MT_A_wMJE5tvLAXpzhIWa7UHTdhZJpNtHqbkUYJiox3Ce0AQzWUd2Y/s400/NJ+INST+OF+TECH+PHILIP+R.+GOODE+SUNSPOT+IMAGE.jpg" alt="" id="BLOGGER_PHOTO_ID_5523724328536232146" border="0" /></a><span><span><span style="font-style: italic;">"The</span></span></span><span><span><span style="font-style: italic;">re are more things in Heaven and Earth, Horatio,</span><br /><span style="font-style: italic;"> Than are dreamt of in your philosophy"</span><br />Act 1, </span></span><span><span>Scene 5.</span></span><span><span> <span style="font-weight: bold;"><span style="font-style: italic;">"Hamlet"</span> </span><br />by <span style="font-weight: bold;">William Shakespeare</span></span></span><span><span><br /><br />When I first saw this picture in the <span style="font-weight: bold;">New York Times</span> it reminded me, once again, of the divinity to be found within nature - whether viewing living coral under a microsco</span></span><span><span>pe at 100X mag</span></span><span><span>nification, as I once did at Heron Island when I was half a century younger, and then having the magnification suddenly increased - revealing a completely different marine garden. Or contemplating how faint the skeins of electricity are that <span>we know</span><span style="font-style: italic;"> mu</span></span></span><span><span><span style="font-style: italic;">st</span> control a tiny insect's locomotion. Film footage of sunspots unleashing almost incomprehensible power always gets my attention but this recent (July 1,2, 2010) colour photograph - the sharpest yet made using visible light - employing a <span style="font-style: italic;">'deformable mirror'</span> and <span style="font-style: italic;">'adaptive'</span> optics, by <span style="font-weight: bold;">Professor Philip R. Goode</span> and his <span style="font-weight: bold;">Big Bear Solar Observatory</span> team at the <span style="font-weight: bold;">New Jersey Institute of Technology</span> <a href="http://www.njit.edu/news/2010/2010-292.php">http://www.n</a></span></span><span><span><a href="http://www.njit.edu/news/2010/2010-292.php">jit.edu/news/2010/2010-292.php </a>- had an intimate, different kind of mystery. I thought simultaneously of flower petals, the eye's iris or, more ominously, a dark portal to another dimension. It also occurred</span></span><span><span> to me that despite its</span></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSyHyLvum2yuU1Uk1EhM4Elulv-SI8CqdEUtLgA-dIjlzWlg_gp2fPDwj7ZPgqbdNM_ceXa5eq8vKV7Cf5h5xxIbaI6LHhkKhx2R80QNjL9YfN17xxsZBeYz_Qas_p9xS9L4_K50CGdf92/s1600/sunspot+courtesy+philip+goode+bbso_hab075_20100701+%282%29.jpg"><img style="float: right; margin: 0pt 0pt 10px 10px; cursor: pointer; width: 320px; height: 310px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSyHyLvum2yuU1Uk1EhM4Elulv-SI8CqdEUtLgA-dIjlzWlg_gp2fPDwj7ZPgqbdNM_ceXa5eq8vKV7Cf5h5xxIbaI6LHhkKhx2R80QNjL9YfN17xxsZBeYz_Qas_p9xS9L4_K50CGdf92/s320/sunspot+courtesy+philip+goode+bbso_hab075_20100701+%282%29.jpg" alt="" id="BLOGGER_PHOTO_ID_5525170333961579330" border="0" /></a><span><span> golden aura, this picture seemed as much about the power the sun was concealing <span style="font-style: italic;">beneath</span> the sunspo</span></span><span><span>t; and that ultimately there was no real scale that could be applied to this image (even knowing NJIT's camera can cover 50 miles of the sun's surface) The meaning of this picture then</span></span><span><span> eluded furth</span></span><span><span>er poetic thought, whether summoned up through art - or science - or even <span style="font-weight: bold;">Shakespeare</span>. My thanks to <span style="font-weight: bold;">Peter Jensen</span>, lover of the Bard, for remembering the perfect quote to affix to this picture.<br /><span style="font-weight: bold; color: rgb(204, 0, 0);">POST SCRIPT - From PROF. GOODE</span></span></span><span><span><br /></span></span><span><span>No sooner had I posted this blog about the extraordinary</span></span><span><span> </span></span><span><span>sunspot </span></span><span><span>photographs by <span style="font-weight: bold;">Prof. Philip R. Goode</span> and the <span style="font-weight: bold;">Big Bear Solar Observatory</span>, than that professor has written a generous note and sent another, equally remarkable sunspot image <span style="font-style: italic;">(pictured, above)</span> with a comment that <span style="font-weight: bold;">Shakespeare's </span><span>words</span><span style="font-weight: bold;"> </span><span style="font-style: italic;">"</span></span></span><span style="font-size:100%;"><span style="font-style: italic;">bring to my mind another image of the same sunspot, but off-centre and somewhat more in the 'heavens' of the solar atmosphere," </span>according to the Professor, adding, <span style="font-style: italic;">"the black hair-like strands are about 50 km across and are jets arising from the bright magnetic features at the ed</span></span><span style="font-size:100%;"><span style="font-style: italic;">ge of the spot</span></span><span style="font-size:100%;">.<span style="font-style: italic;">" </span><br /></span><span><span style="font-weight: bold;">Art and the Bush at Point Light</span><br /></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKLle2Wk-c6stRYNF7LStdNji7TJvNdNQQTKU9a5SikufBsMi2PT63nW-cek2wPEjz0Gxo_tMi9iCkuwubBe-nK2p1BH-pzUgcCKxAOxuxnnwGvVGjXpYasDK6eDYdDGlPOf4vB7KxQ1li/s1600/North+plateau+forest+Copyright+Photograph+by+David+Tatnall.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 200px; height: 160px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKLle2Wk-c6stRYNF7LStdNji7TJvNdNQQTKU9a5SikufBsMi2PT63nW-cek2wPEjz0Gxo_tMi9iCkuwubBe-nK2p1BH-pzUgcCKxAOxuxnnwGvVGjXpYasDK6eDYdDGlPOf4vB7KxQ1li/s200/North+plateau+forest+Copyright+Photograph+by+David+Tatnall.jpg" alt="" id="BLOGGER_PHOTO_ID_5517753636844814546" border="0" /></a><span>Landscape photographer <span style="font-weight: bold;">David Tatnall</span> treads lightly on the land he photographs. By allowing his pictures to be used for environmental campaigns Tatnall clearly practises what he preaches</span><span style="font-weight: bold;">. </span><span>In <span style="font-style: italic;">"Field of View"</span> Tatnall's first exhibition at <span style="font-weight: bold;">Point Light Gallery</span> <a href="http://www.pointlight.com.au/">www.pointlight.com.au</a> a seductive pho</span><span>tograp</span><span>hic aesthe</span><span>tic emerges. This photographer's black and white pictures are well composed and use such now familiar camera </span><span>grammar as shut</span><span>ter speeds so low the flow of water against a rocky shoreline is reduced to snow-white, fluffy plasma.<span style="font-style: italic;">(pictured, below)</span> But definitely seductive to the eye. Tatnall essent</span><span>ially presents a personal artistic dialogue with the Australian landscape. His camera doesn't intrude beyond seeking strong compositional coherence of what lies before him - artistic appreciation for merely being present on the land.</span><span style="font-weight: bold;"> </span><span>As such they are rewarding to the viewer and follow a well known artistic path, but one quite different to a bushwalker/photographer's pictures I r</span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgU_2Y4rQ3fddZKjfr3Wj-HawXiy28zZxS33EYioxP0t8dJ9SAH1R8stQ_lNfBt352VF8SeuofphzBwQFjuvqQAZpt-3hgRoLrBeFl93WNT8OJ0wCHv2By2su-hr17bDUhOHB1DqhBQtdU7/s1600/Sailors+Grave+Beach+Copyright+Photograph+by+David+Tatnall.jpg"><img style="float: right; margin: 0pt 0pt 10px 10px; cursor: pointer; width: 255px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgU_2Y4rQ3fddZKjfr3Wj-HawXiy28zZxS33EYioxP0t8dJ9SAH1R8stQ_lNfBt352VF8SeuofphzBwQFjuvqQAZpt-3hgRoLrBeFl93WNT8OJ0wCHv2By2su-hr17bDUhOHB1DqhBQtdU7/s320/Sailors+Grave+Beach+Copyright+Photograph+by+David+Tatnall.jpg" alt="" id="BLOGGER_PHOTO_ID_5517756475489029362" border="0" /></a><span>ecently saw. As I read the journal,</span><span> in words and pictures, of a group of quite senior South Aust</span><span>ralian men and women who had just completed the <span style="font-weight: bold;">1200 km</span> <span style="font-style: italic;">"Heysen Trail"</span> walk from Cape Jervis to Parachilna Gorge, I came across two colour </span><span>pictures which gr</span><span>eatly interested me. One showed a small clear</span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8lLj4Ja3gMuzX7MEoC50fJk4zsxDDgMrMfr7_armVz0m7RYtzEZjBvN2IOCsWAiBQw40o2xAC8JTfM4EdIIrxvXomxtFUvyIqkL4bTMWpCoH6oMLSeuvFIU3UGcQlbxg742rfOAgUAL2G/s1600/Heysen+Trail+detail+by+Helen+Thomas+copy.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 150px; height: 200px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8lLj4Ja3gMuzX7MEoC50fJk4zsxDDgMrMfr7_armVz0m7RYtzEZjBvN2IOCsWAiBQw40o2xAC8JTfM4EdIIrxvXomxtFUvyIqkL4bTMWpCoH6oMLSeuvFIU3UGcQlbxg742rfOAgUAL2G/s200/Heysen+Trail+detail+by+Helen+Thomas+copy.jpg" alt="" id="BLOGGER_PHOTO_ID_5519188499269552018" border="0" /></a><span>ing be</span><span>y</span><span>ond which a tight copse of cu</span><span>rved gu</span><span>m trees obscured the horiz</span><span>on. In the foreground, almost tonally invisible against the red earth, was a small, vigilant kangaroo. Immediate</span><span>ly I felt part of this scene. The second pictu</span><span>re was even more pedestrian, (an appalling pun considering both pictures were taken by one of the bushwalker</span><span>s, <span style="font-weight: bold;">Helen Thomas</span>) and showed an upward slope intermittently populated by small, thin tr</span><span>ees, rocks and tiny yellow wildflowers. <span style="font-style: italic;">(pictured, left) </span>I was entranced by this picture's undiluted rendering of the Australian landscape without needing to reference more elegant (and established) ways of seeing. <span style="font-style: italic;">"I had stopped walking for a moment and suddenly realised I was in a garden,"</span> rem</span><span>embered the bushwalker, Helen Thomas. This picture sugge</span><span>sted that there</span><span> are moments when the Australian landscape demands to be met on more basic terms and not necessarily transl</span><span>ated comfortably into art.</span><span style="font-weight: bold;"> </span><span style="font-style: italic;">From September 23 to October 17</span><span style="font-weight: bold;"><br /><span style="color: rgb(0, 0, 102);">Street Photography Abides - Ever Drawing the Lens</span></span><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicu70RveP_91c06Khqj-iKkQLCv9zwl1N8Md_M-0OtTOEi7y4xBj0ZFjhEQ8KMGckLBxw2K9vLTMwLMQoyC5eRX-VGgFnUxCyfGtioekLZx3Ur84tOHFEbl9OA4nswRl1rPnmtjIAcLxFQ/s1600/K_Koenning5.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 400px; height: 266px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicu70RveP_91c06Khqj-iKkQLCv9zwl1N8Md_M-0OtTOEi7y4xBj0ZFjhEQ8KMGckLBxw2K9vLTMwLMQoyC5eRX-VGgFnUxCyfGtioekLZx3Ur84tOHFEbl9OA4nswRl1rPnmtjIAcLxFQ/s400/K_Koenning5.jpg" alt="" id="BLOGGER_PHOTO_ID_5517721511122304802" border="0" /></a>Photographer <span style="font-weight: bold;">Katrin Koenning</span> <a href="http://www.obscuraphotos.com/" target="_blank">www.obsc</a><a href="http://www.obscuraphotos.com/" target="_blank">uraphotos.com</a> recently noticed there was a strange space in a Melbourne street. <span style="font-style: italic;">"I came across this place in t</span><span style="font-style: italic;">he (Melbourne) CBD where light reaches it directly for only twenty mi</span><span style="font-style: italic;">n</span><span style="font-style: italic;">utes a day, around lunchtime. During these few minutes a transform</span><span style="font-style: italic;">ation hap</span><span style="font-style: italic;">pens - faces are illuminated, dust twirls through rays of sun, cigarette smoke becomes an almost glistening silver blue against dark buildings."</span> This was Koenning's cue to begin a series of observations that explored the merging of priv<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1fl4yToh_r711hZB31P0l7ctjGV4zc5RbYzi4ps0ik3-WflAu852oeKZ-qma9EHYBk4CmvpMboG02Fr42IersHSQdSqKnvmukwKaDq9vobn9QZmZhmI5abLLGwubRp0ojxYtNdtlDeqdN/s1600/Photograph+1+by+Katrin+Koenning.jpg"><img style="float: right; margin: 0pt 0pt 10px 10px; cursor: pointer; width: 200px; height: 134px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1fl4yToh_r711hZB31P0l7ctjGV4zc5RbYzi4ps0ik3-WflAu852oeKZ-qma9EHYBk4CmvpMboG02Fr42IersHSQdSqKnvmukwKaDq9vobn9QZmZhmI5abLLGwubRp0ojxYtNdtlDeqdN/s200/Photograph+1+by+Katrin+Koenning.jpg" alt="" id="BLOGGER_PHOTO_ID_5517721894935305842" border="0" /></a>ate and public personae. <span style="font-style: italic;">"It's</span><span style="font-style: italic;"> a 'mis en scene', a theatre stage on which pe</span><span style="font-style: italic;">ople become my protagonists for an instant. Here, every minute detail counts ... everything ordinary turns into something extraordi</span><span style="font-style: italic;">nary, begging me to have my eyes </span><span style="font-style: italic;">wide open."</span> Her spontaneous, graphic observations have become part of an exhibition on street life <span style="font-weight: bold;">THIRTEEN:TWENTY LACUNA</span> with two other photographers, opening in London next month as part of <span style="font-weight: bold;">Right Here Right Now - Exposures in the Public Realm</span> - at the Front Room Gallery in Clerkenwell, London. More information on this exhibition can be found at <a href="http://www.troikaeditions.co.uk/">www.troikaeditions.co.uk</a><br /><span style="font-weight: bold;">The Plywood Violin Returns</span><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbCVq_cQc99_Fu5IAWb42qlZydw0i9CIgeNtlPepu7Ge6_rel19fjEnofV43EIgJVKX7B3HlpTAvZ2adakBmsFMdjt0qDsygXXKvQxa9mgJA_p6w_5nDMUk-ybFJIwggW7Ga0swHVaxVIv/s1600/Hallelujah+copyright+photograph+by+paul+mallam.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 313px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbCVq_cQc99_Fu5IAWb42qlZydw0i9CIgeNtlPepu7Ge6_rel19fjEnofV43EIgJVKX7B3HlpTAvZ2adakBmsFMdjt0qDsygXXKvQxa9mgJA_p6w_5nDMUk-ybFJIwggW7Ga0swHVaxVIv/s320/Hallelujah+copyright+photograph+by+paul+mallam.jpg" alt="" id="BLOGGER_PHOTO_ID_5517728214363628754" border="0" /></a>What is it about the melancholy songs sung by <span style="font-weight: bold;">Leonard Cohen</span>? <a href="http://www.blogger.com/www.leonardcohen.com/"><span class="f"><cite></cite></span></a><a href="http://www.leonardcohen.com/bio.html">http://www.leonar</a><a href="http://www.leonardcohen.com/bio.html">dcohen.com/bio.html</a> If they were judged on the range of his voice - minimal - success would have been elusive. However, Cohen's words carry poetic resonances, that, like other song-poets such as <span style="font-weight: bold;">Neil Young</span>, endure. <span style="font-weight: bold;">Peter McMahon</span> has<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglHDWsI-2-tY6-AUiF0htvu32dqj1VUZDLbUQgWDg2un0hKwkqXN5K0Mu5c0E3yyjxca_J_nHvYQ5_6XIfu8c92422fIdu1t_cCBj66LxuHpwDDtZ9TKOQOwesCHgxOVTk44jjMOXuZxby/s1600/Peter+McMahon+2.jpg"><img style="float: right; margin: 0pt 0pt 10px 10px; cursor: pointer; width: 134px; height: 200px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglHDWsI-2-tY6-AUiF0htvu32dqj1VUZDLbUQgWDg2un0hKwkqXN5K0Mu5c0E3yyjxca_J_nHvYQ5_6XIfu8c92422fIdu1t_cCBj66LxuHpwDDtZ9TKOQOwesCHgxOVTk44jjMOXuZxby/s200/Peter+McMahon+2.jpg" alt="" id="BLOGGER_PHOTO_ID_5517728745447591666" border="0" /></a> created a disparate exhibition celebrating Cohen's influence which is on display at 88 George Street, Redfern. <span style="font-weight: bold;">The Plywood V</span><span style="font-weight: bold;">iolin</span> uses everything from photography to collage to pay homage to Cohen.<span style="font-style: italic;"> "</span><span style="font-style: italic;">We have command</span><span style="font-style: italic;">eered some Cohen-esque themes," says McMahon, "Saints and Sinners, Love, Longing and Loss."</span> <span style="font-weight: bold;">Paul Mallam'</span>s photograph <span style="font-style: italic;">"Hallelujah"</span>, <span style="font-style: italic;">(pictured) </span>named after one of Cohen's most recorded songs, seemed particular appropriate. In this sombre picture, Mallam has cast a nude female figure - surely Cohen's familiar muse - into the darkness that lies beyond two luminous columns. Artists contributing to Plywood Violin include <span style="font-weight: bold;">Lewis Morley, </span><span style="font-weight: bold;">Therese Kenyon, Jan Fieldsend, J</span><span style="font-weight: bold;">ack Frawley, Marie McMahon, , Peter McMahon </span><span style="font-style: italic;">(pictured)</span><span style="font-weight: bold;"> Sue Pedley and Jeff Stewart.</span><br /><span style="font-style: italic;">Until September 26 at 88 George Street, Redfern</span><br /><span style="font-weight: bold;">Up Close at Heide & Wolfgang Sievers at UniSA</span><br />The middle of September has seen an explosion of important exhibitions around Australia. From the four Australian and International artists featured in <span style="font-weight: bold;">Up Close</span>, at <span style="font-weight: bold;">Heide M</span><span style="font-weight: bold;">useum of Modern Art</span> <a href="http://www.heide.com.au/">http://w</a><a href="http://www.heide.com.au/">w</a><a href="http://www.heide.com.au/">w.heide.com.au/</a>in Melbourne, to a soon to open, posthumous look at the muscular vision of industrial documentary photographer<span style="font-weight: bold;"> </span><span style="font-weight: bold;">Wolfgan</span><span style="font-weight: bold;">g Sievers</span> (1913-2007) <span style="font-style: italic;">(pictured, above, his iconic Vickers Gears image)</span> at <span>the</span><span style="font-weight: bold;"> </span><span style="font-weight: bold;">University of SA</span> <a href="http://www.unisa.edu.au/hawkecentre/KerryPackerCivicGallery/current_exhibitions.asp#Wolfgang"><span style=";font-family:times new roman;font-size:100%;" ><span style="" lang="EN-US">http://www.unisa.edu.au/hawkecentre/KerryPackerCivicGallery/current_exhibitions.asp#Wolfgang</span></span></a><span style=";font-family:'Arial','sans-serif';font-size:100%;" lang="EN-US" > </span><span style="font-size:100%;"> </span>in Adelaide.(works are for sale to raise funds for the Graham F. Smith Peace Trust Inc., a humanist organisation which Sievers supported) Other exhibitions, like <span style="font-weight: bold;">Up Close</span> at Heide, are necessarily more massive, featurin<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHI1bxuhWtV1CDWPWJWdg8L_K6MeRhBpQafDXsFZwZvWEpscXOmsq2fPWcfxSRK3ze1WKJFwqzhgUultpmb8pOZ-_GqTMG0CezZNLMWI0nNnwzXRmSwJunTqHg3xFxc3Nwps6GriBR3e0i/s1600/The+Gears+Vickers+Ruwolt+Burnley+Vic+Photograph+by+WEolfgang+Sievers.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 253px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHI1bxuhWtV1CDWPWJWdg8L_K6MeRhBpQafDXsFZwZvWEpscXOmsq2fPWcfxSRK3ze1WKJFwqzhgUultpmb8pOZ-_GqTMG0CezZNLMWI0nNnwzXRmSwJunTqHg3xFxc3Nwps6GriBR3e0i/s320/The+Gears+Vickers+Ruwolt+Burnley+Vic+Photograph+by+WEolfgang+Sievers.jpg" alt="" id="BLOGGER_PHOTO_ID_5517452145641996178" border="0" /></a>g the combined visual output of photographers <span style="font-weight: bold;">Ca</span><span style="font-weight: bold;">rol </span><span style="font-weight: bold;">Jerrems</span>, <span style="font-weight: bold;">Larry Clark</span>, <span style="font-weight: bold;">N</span><span style="font-weight: bold;">an Goldin</span> and <span style="font-weight: bold;">William Yang</span>. This selection of pictures, sensitively curated by <span style="font-weight: bold;">Natalie Kin</span><span style="font-weight: bold;">g</span>, explores social landscapes of flesh and emotion to which each photographer has courageously (or perhaps, helplessly) addressed their deepest feelings. If sentimentality is the Achilles Heel of art then these four photographers banish such thoughts forever. Looking over the tragically short life, and career of <span style="font-weight: bold;">Carol Je</span><span style="font-weight: bold;">rrems (1949-1980)</span><span style="font-weight: bold;"> </span>it is clear there was never a soft aesthetic to her art. From her beginnings (a telling self portrait on the endpapers of the substantial Up Close catalogue shows a vigilant, confident young woman with a wide mouth and large, soft eyes wearing a badge stating <span style="font-style: italic;">"you're among equals"</span>) Jerrems well understood the changing nature of her times. During her life, suggests Up Close's editor and curator, <span style="font-weight: bold;">Natalie King</span>, Jerrems became <span style="font-style: italic;">"the impassioned photogr</span><span style="font-style: italic;">apher of social relationships in an era of free love, youth, beauty, violence and into</span><span style="font-style: italic;">xic</span><span style="font-style: italic;">ation,"</span> capturing, adds King, <span style="font-style: italic;">"tender connections ... enacted be</span><span style="font-style: italic;">fore her camera." </span>The most famous of these, <span style="font-style: italic;">"Vale Street, 1975"</span> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8uflqjIe0za2YpXiO9iNluGfRilkv3ws7Ca1jMuupl2EsMB7zxUvkzKgvt47X-C_ETZuKSUQrkWdCM5sKmXTuMZwj-69Usrb2IIEaYv_eKYlhis2K6zP7g6V6nsu4WuIar2uoiVHtDBzt/s1600/Vale+Street+Photograph+by+Carol+Jerrems+1949+1980.jpg"><img style="float: right; margin: 0pt 0pt 10px 10px; cursor: pointer; width: 300px; height: 201px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8uflqjIe0za2YpXiO9iNluGfRilkv3ws7Ca1jMuupl2EsMB7zxUvkzKgvt47X-C_ETZuKSUQrkWdCM5sKmXTuMZwj-69Usrb2IIEaYv_eKYlhis2K6zP7g6V6nsu4WuIar2uoiVHtDBzt/s320/Vale+Street+Photograph+by+Carol+Jerrems+1949+1980.jpg" alt="" id="BLOGGER_PHOTO_ID_5517454531972498722" border="0" /></a><span style="font-style: italic;">(pictured, r</span><span style="font-style: italic;">ight)</span> shows a partially nude young<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7nn8ryuYWpsf3ZNUVhHex0tQrqVszjbx5ZnpnsAQAh7mfKhd-6reyJdIIOeNQGGOxWbA2zcF4RlIYLF0k8f6rWtGK_htYqXpf_JGDRkm76qGpMSM7HlB__94beH-BKRZ-UdAk8HfNq4Am/s1600/Larry+Clark+from+Tulsa+1971.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 131px; height: 200px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7nn8ryuYWpsf3ZNUVhHex0tQrqVszjbx5ZnpnsAQAh7mfKhd-6reyJdIIOeNQGGOxWbA2zcF4RlIYLF0k8f6rWtGK_htYqXpf_JGDRkm76qGpMSM7HlB__94beH-BKRZ-UdAk8HfNq4Am/s200/Larry+Clark+from+Tulsa+1971.jpg" alt="" id="BLOGGER_PHOTO_ID_5524068983299550082" border="0" /></a> woman standing before two bare-chested youths. The woman's direct gaze to camera seems as opaque as the <span style="font-weight: bold;">Mona Lisa</span> - and measurably cooler emotionally. The two youths present very differently from each other, with the heavily tattooed young man on the right of the picture staring with rough intimacy, deep into the lens of Jerrems' <span>humble </span><span style="font-weight: bold;">P</span><span style="font-weight: bold;">entax Spotmatic SLR</span>. On the left, his companion's body language seems less assured as the youth rests a hand on his hip and lowers his gaze. I always saw <span style="font-style: italic;">"Vale Street 1975"</span> as essentially a documentary image but curator King tempers this thought by showing revealing sequences from Jerrems' proof sheet of the shoot. It soon becomes clear this was a subtly managed event in which each of the three subjects were complicit with Jerrem<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5N6LXUILWQsdq_CRjxEv6gDYyq5mlZomzOyKZ8pU9b4PA9GSbk57gLrojzgLAK0QJfIZ0Wuqo-zL2JUGprGHXaeR-ATzu132gSOCEmYqi8sBOvXZi2O6reXOhBuw0AScomI7-ZED6erYY/s1600/jerrems_lyngailey+%282%29.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 226px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5N6LXUILWQsdq_CRjxEv6gDYyq5mlZomzOyKZ8pU9b4PA9GSbk57gLrojzgLAK0QJfIZ0Wuqo-zL2JUGprGHXaeR-ATzu132gSOCEmYqi8sBOvXZi2O6reXOhBuw0AScomI7-ZED6erYY/s320/jerrems_lyngailey+%282%29.jpg" alt="" id="BLOGGER_PHOTO_ID_5519603659245817746" border="0" /></a>s in ways of offering themselves up to her lens, culminating in the iconic, eighth to last frame Jerrems took.<span style="font-style: italic;"> </span>Carol Jerrems also produced, during this period, another remarkable portrait which personified the changing nature of Australian women. In her composed, light-dappled 1976 observation of film-maker and unionist <span style="font-weight: bold;">Lynn Gailey, </span><span><span style="font-style: italic;">(pictured, left)</span> Jerrems effortlessly reflected her subject's intelligence, confidence and beauty</span>. <span style="font-weight: bold;">Up Close</span> also features prominently signature works by American photographers <span style="font-weight: bold;">Larry Clark</span> and <span style="font-weight: bold;">Nan Goldin</span>. No one has photographed the young with more intimacy than Clark <span style="font-style: italic;">(pictured, above left)</span> and Goldin's celebrated documentation of being personally abused <span style="font-weight: bold;">(The Ballad of Sexual Dependency)</span> remains as bleak and eloquent as ever. Australia's <span style="font-weight: bold;">William Yang</span> contributes a series of<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiM8_czQi7TF3SSKNRmKW-NhbfDxtIA_C5TQZTz4cf2-i8ypiW67ZuXLJgZ76j-6njpLBn13nGGe2ADpBMuKERiAMQ_HHS6LBN8MnhytkjzsRnhYifsONO5BdhPr34_M5Er_x2mriau2oC3/s1600/New+Years+Party+1980+by+William+Yang.jpg"><img style="float: right; margin: 0pt 0pt 10px 10px; cursor: pointer; width: 200px; height: 136px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiM8_czQi7TF3SSKNRmKW-NhbfDxtIA_C5TQZTz4cf2-i8ypiW67ZuXLJgZ76j-6njpLBn13nGGe2ADpBMuKERiAMQ_HHS6LBN8MnhytkjzsRnhYifsONO5BdhPr34_M5Er_x2mriau2oC3/s200/New+Years+Party+1980+by+William+Yang.jpg" alt="" id="BLOGGER_PHOTO_ID_5524066237877909954" border="0" /></a> unblinking observations of another sexual revolution, from an equally turbulent era, <span style="font-style: italic;">(pictured, right)</span> but which chronicled what King calls <span style="font-style: italic;">"the intimate world of his particular social milieu, Sydney's gay and i</span><span style="font-style: italic;">n</span><span style="font-style: italic;">ner city culture : drag queens and flamboyant parties."</span> <span style="font-weight: bold;">Up Close</span>, says King, mines <span style="font-style: italic;">"the emotional depths of friends, lovers and family ... (providing) an empathetic close-up glimpse into semi-private worlds (amplifying) the emotional tenor of th</span><span style="font-style: italic;">eir times."</span> If one ever needed a reason to visit that most inclusive of Australian cities, Melbourne - <span style="font-weight: bold;">Up Close</span> is it. Not to be missed.<br /><span style="font-style: italic;">Until October 31</span><br /><span style="font-weight: bold;">A Landscape Like No Other</span><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJ-TNSACK1KG6RoaneZQWkJWUO0-0IFDXUK9ckzP_D4bi_8Cbuu0nUKrKi65yx52UzUJ6NwbbWijiTLlQWh_GttgF0uyDpkFsHVJSpRQwyEz5zxudnUg7pwXr8tqmSa28V6_5fNyhaeCkx/s1600/Aurora+Borealis+1+by+Tim+Rudman+Meyer+Gallery.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 400px; height: 283px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJ-TNSACK1KG6RoaneZQWkJWUO0-0IFDXUK9ckzP_D4bi_8Cbuu0nUKrKi65yx52UzUJ6NwbbWijiTLlQWh_GttgF0uyDpkFsHVJSpRQwyEz5zxudnUg7pwXr8tqmSa28V6_5fNyhaeCkx/s400/Aurora+Borealis+1+by+Tim+Rudman+Meyer+Gallery.jpg" alt="" id="BLOGGER_PHOTO_ID_5517463074346365106" border="0" /></a>British photographer <span style="font-weight: bold;">Tim Rudman</span> sees Iceland <span style="font-style: italic;">(pictured, above - under the Aurora B</span><span style="font-style: italic;">o</span><span style="font-style: italic;">realis)</span> as a coiled spring. <span style="font-style: italic;">"I</span><span style="font-style: italic;">ts </span><span style="font-style: italic;">volcanoes will erupt again (within) our lifetim</span><span style="font-style: italic;">e. The whole fault-line running th</span><span style="font-style: italic;">rough the country is like a time bo</span><span style="font-style: italic;">mb. Th</span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJMBD-1ugTJSRnOHBKViMX6diWKWbw67LsOxmcUm8GOaE4e8uZsGbspZQ_fvw2y17zeo0kJhR0zgGepU9pzol-j4ovRi4S-CVXR7avtCAxRiwKAOTwed2ia6fgcX_KPFo9sNrKeA2u8H9r/s1600/Haidrangur++%28sharpened%29+Photograph+by+Tim+Rudman.jpg"><img style="float: right; margin: 0pt 0pt 10px 10px; cursor: pointer; width: 200px; height: 158px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJMBD-1ugTJSRnOHBKViMX6diWKWbw67LsOxmcUm8GOaE4e8uZsGbspZQ_fvw2y17zeo0kJhR0zgGepU9pzol-j4ovRi4S-CVXR7avtCAxRiwKAOTwed2ia6fgcX_KPFo9sNrKeA2u8H9r/s200/Haidrangur++%28sharpened%29+Photograph+by+Tim+Rudman.jpg" alt="" id="BLOGGER_PHOTO_ID_5517478594261655938" border="0" /></a><span style="font-style: italic;">e country </span><span style="font-style: italic;">has a st</span><span style="font-style: italic;">rong, omnip</span><span style="font-style: italic;">rese</span><span style="font-style: italic;">nt "middl</span><span style="font-style: italic;">e earth" feel to it."</span> <span>In</span><span style="font-weight: bold;"> Ic</span><span style="font-weight: bold;">el</span><span style="font-weight: bold;">and - An Uneasy Calm</span> at the Meyer Gallery <a href="http://www.meyergallery.com.au/">www.mey</a><a href="http://www.meyergallery.com.au/">ergaller.com.au</a> Rudman explores the light and space of this delicately poised, remote 'end' of the earth. Using conventional, film-based photographic technique, Rudman conveys the eerie beauty of this northern European nation using only B&W, which he believes <span style="font-style: italic;">"removes possible distractions that colour can introduce - reducing landscapes to ... form, texture, light and tone."</span><br /><span style="font-style: italic;">From September 29 to October 24</span><br /><span style="font-weight: bold;">Kerry Dundas 1931-2010</span><br />It is with sadness that I note the passing of photographer <span style="font-weight: bold;">Ker</span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXmhC52uhRkn5Q5fl83p3jeQ6DfY4egxKYqBL77e5eTdQmsOXlQfnvzXELHAfHVNPK0QMiHiUHSA0RNCFn-nte28BcTZnvKG2I2cqcI8Vs8PMnau_0dPoKSIdeFDZthevhnrS21LoqGHVb/s1600/Sandy+Edwards+Kerry+Dundas+and+Lewis+Morley+at+Ian+Dodd+70th+Photo+Robert+McFarlane+F1010026.jpg"><img style="float: right; margin: 0pt 0pt 10px 10px; cursor: pointer; width: 200px; height: 134px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXmhC52uhRkn5Q5fl83p3jeQ6DfY4egxKYqBL77e5eTdQmsOXlQfnvzXELHAfHVNPK0QMiHiUHSA0RNCFn-nte28BcTZnvKG2I2cqcI8Vs8PMnau_0dPoKSIdeFDZthevhnrS21LoqGHVb/s200/Sandy+Edwards+Kerry+Dundas+and+Lewis+Morley+at+Ian+Dodd+70th+Photo+Robert+McFarlane+F1010026.jpg" alt="" id="BLOGGER_PHOTO_ID_5517508521083423682" border="0" /></a><span style="font-weight: bold;">ry Dundas</span> on August 10. <span style="font-style: italic;">(pictured, right with Sandy Edwards L, and Lewis Morley, at photographer Ian Dodd's 70th birthday at Faulconbridge, NSW in 2007)</span> As a pioneer of documentary photography in Australia, Dundas was as much at home photographing massive steel structures (he once worked with <span style="font-weight: bold;">Max Dupain</span>, after all) as <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPvgF99IOf1oPk2gMSIMdNC8C4meS61Btkq1e_40kMOaFlHSdbzczmZZ1FrNHKJxj7mJ4FsIcN5pgLg_yb1scrkrVmN3oa5PaE510G38j5Wnw_l0FsY64BvnFjE0sXgXIv-jsGBahi0Gjc/s1600/Godfrey+Miller+Artist+Photograph+by+Kerry+Dundas.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 320px; height: 286px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPvgF99IOf1oPk2gMSIMdNC8C4meS61Btkq1e_40kMOaFlHSdbzczmZZ1FrNHKJxj7mJ4FsIcN5pgLg_yb1scrkrVmN3oa5PaE510G38j5Wnw_l0FsY64BvnFjE0sXgXIv-jsGBahi0Gjc/s320/Godfrey+Miller+Artist+Photograph+by+Kerry+Dundas.jpg" alt="" id="BLOGGER_PHOTO_ID_5517523653051867314" border="0" /></a>people. His portraits of Australian artists such as <span style="font-weight: bold;">Godfrey Mi</span><span style="font-weight: bold;">ll</span><span style="font-weight: bold;">er</span> <span style="font-style: italic;">(pictured, left)</span> were as remarkable for their subtle use of naturalistic lighting as their revelation of the subject's character. Born in Sydney, Kerry Dundas became interested in photography at school after which he joined <span style="font-weight: bold;">Monte Luke</span>'s portrait studio, gaining experience in more commercial fields. Dundas was one of the <span style="font-weight: bold;">Six Photographers</span> who had their influential exhibition at <span style="font-weight: bold;">David Jones Art Gallery</span> in 1955. In 1958 Dundas travelled to Britain where he successfully worked as a photojournalist for the <span style="font-weight: bold;">Sun</span><span style="font-weight: bold;">day Times</span> and <span style="font-weight: bold;">Observer</span> newspapers. He returned in 1967 and was appointed as the photographer for the Art Gallery of NSW. His photographs are represented in most state art galleries.<br /><span style="font-weight: bold;">The Modest, Poetic Vision of Jill Crossley</span><br />I first encountered <span style="font-weight: bold;">Jill Crossley</span> in th<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTkS1Htorb0Ex2iBVMdIgngxcicFFPkYuN0vv6mRCI-hkC1CBSEyj-2_rlPz3bJ1UwxI-uO6mRdD5sQ201a_SKrjS3tHIWHd7c4n6PnnA4FPlOoJG2iR6E0utSfukY2D9D26dCI9wVTAJB/s1600/Untitled-1+Photograph+by+Jill+Crossley.jpg"><img style="float: right; margin: 0pt 0pt 10px 10px; cursor: pointer; width: 200px; height: 133px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTkS1Htorb0Ex2iBVMdIgngxcicFFPkYuN0vv6mRCI-hkC1CBSEyj-2_rlPz3bJ1UwxI-uO6mRdD5sQ201a_SKrjS3tHIWHd7c4n6PnnA4FPlOoJG2iR6E0utSfukY2D9D26dCI9wVTAJB/s200/Untitled-1+Photograph+by+Jill+Crossley.jpg" alt="" id="BLOGGER_PHOTO_ID_5517469180815898018" border="0" /></a>e early 1960's when s<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj65aQFdLtkAwNlH2hmVXqU1VhQ-GgQ5eL1vYHkx_-A2DvKpzaiUyqf2T3FduLj9VOLmFAA1doDvnxhwkcmJyRzkdLSz8D2JmQ5olauEF0RfB_UHvACyc6OYUKgkQHM4hftQQF_-zcqAH4s/s1600/Untitled-2+Photograph+b+Jill+Crossley.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 200px; height: 134px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj65aQFdLtkAwNlH2hmVXqU1VhQ-GgQ5eL1vYHkx_-A2DvKpzaiUyqf2T3FduLj9VOLmFAA1doDvnxhwkcmJyRzkdLSz8D2JmQ5olauEF0RfB_UHvACyc6OYUKgkQHM4hftQQF_-zcqAH4s/s200/Untitled-2+Photograph+b+Jill+Crossley.jpg" alt="" id="BLOGGER_PHOTO_ID_5517467273239488770" border="0" /></a>he worked as an assistant to Sydney photographer <span style="font-weight: bold;">Robert Walker</span> (1922-2007) processing and printing the fine black and white photographs he took of his main two subjects: Australian Artists and performance in Sydney theatre. Crossley was a supremely competent printer and went about her work for Walker with great diligence. Now 81 and retired, this tenacious, talented photographer continues to pursue her photography by exploring the Australian landscape. As Crossley no longer has access to a darkroom in which to use her classic B&W technique, she now works in colour <span style="font-style: italic;">(pictured)</span>. Her latest pictures, entitled <span style="font-style: italic;">"Ground</span><span style="font-style: italic;">ed"</span>, are on exhibition at the <span style="font-weight: bold;">Kerrie Lowe Gallery</span> <a href="http://www.kerrielowe.com/">www.kerrielowe.com</a> Crossley's colour images are simpl<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFLwwb1ZFmyABUIaT9Zd5HmU_u1ie1_Q2THUOyvtsvvEX39rTvrNrDi6IfCBQudcnkltpX0TWI8ukT0TeLSGEnjyirk9IfLvQOrIG0Hns0s_4IWjqRDgMZG-Uga9Ujn2VVlLOnoTx2IXY1/s1600/Untitled-4+Photograph+by+Jill+Crossley.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 200px; height: 134px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFLwwb1ZFmyABUIaT9Zd5HmU_u1ie1_Q2THUOyvtsvvEX39rTvrNrDi6IfCBQudcnkltpX0TWI8ukT0TeLSGEnjyirk9IfLvQOrIG0Hns0s_4IWjqRDgMZG-Uga9Ujn2VVlLOnoTx2IXY1/s200/Untitled-4+Photograph+by+Jill+Crossley.jpg" alt="" id="BLOGGER_PHOTO_ID_5517474027638902370" border="0" /></a>e, affectionate homages to nature, devoid of any<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgL6wwp7y44YN4D_S5lLAox0EfiaoKSP4hIFiQsdVeZs-pGJ-I2okPi00w6goyqb2sDrOzHh_TH4YkeVdRPeM7t-_z8rgacee7ZmTj_v8dTy9-PMZGq_jADwio9cLRx3sc6qS0p8isdvoc5/s1600/Untitled-5+Photograph+by+Jill+Crossley.jpg"><img style="float: right; margin: 0pt 0pt 10px 10px; cursor: pointer; width: 200px; height: 132px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgL6wwp7y44YN4D_S5lLAox0EfiaoKSP4hIFiQsdVeZs-pGJ-I2okPi00w6goyqb2sDrOzHh_TH4YkeVdRPeM7t-_z8rgacee7ZmTj_v8dTy9-PMZGq_jADwio9cLRx3sc6qS0p8isdvoc5/s200/Untitled-5+Photograph+by+Jill+Crossley.jpg" alt="" id="BLOGGER_PHOTO_ID_5517475155968516290" border="0" /></a> overt ambition to impress. Instead she uses her camera to marvel at nature's diversity - discovering what she refers to as <span style="font-style: italic;">"the w</span><span style="font-style: italic;">ondrous manifestation we call t</span><span style="font-style: italic;">he natural world"</span> photographing everything from small insects suspended within the bush - to the more organic forms encountered within the stone boulders that lie scattered throughout remote areas of the Hunter Valley - where Crossley's pictures were made.<br /><span style="font-style: italic;">Until October 5</span><br /><span style="font-weight: bold;">ART FOR GOATS?</span><br />When I heard about this exhi<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtvdhsAlnWMLyo2_xbnmkrJPisHwbfUsHqmLxS2TatyLBpPCeB468-BxvhLUopd9d4YWxl8oRhmzX0q7omVokAn3P1i3EEvpUqKNYP9Zs2st2QzT53m5GZr_sPyZCYVtsma23bI15Sp5C3/s1600/Blue+Mountains+I+Copyright+Photograph+by+Tony+Peri.jpeg"><img style="float: right; margin: 0pt 0pt 10px 10px; cursor: pointer; width: 320px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtvdhsAlnWMLyo2_xbnmkrJPisHwbfUsHqmLxS2TatyLBpPCeB468-BxvhLUopd9d4YWxl8oRhmzX0q7omVokAn3P1i3EEvpUqKNYP9Zs2st2QzT53m5GZr_sPyZCYVtsma23bI15Sp5C3/s320/Blue+Mountains+I+Copyright+Photograph+by+Tony+Peri.jpeg" alt="" id="BLOGGER_PHOTO_ID_5517488391913187538" border="0" /></a>bition at the <span style="font-weight: bold;">Gallery Cats Studios</span>, Brookvale, I initially wondered whether my leg was being pulled. Not so. <span style="font-weight: bold;">Tony Peri</span>, a dedicated Primrose Park Photography member <a href="http://www.primrose-park.com.au/Photography/gallery.html">http://ww</a><a href="http://www.primrose-park.com.au/Photography/gallery.html">w.primrose-park.com.au/Photograp</a><a href="http://www.primrose-park.com.au/Photography/gallery.html">hy/gallery.html</a> who enjoys exploring such arcane printing methods as making <span style="font-weight: bold;">Bromoils</span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifHAFCaSccbYlxkrjC93Sdfa5Qmx8vwUgUs5XRh5vAwNBwRdeB2hsGyCbjcS86O0ob0PcNI-5VDttPn3bJrgdE_eHX7eD5JamLacLEaiWvCEctAemffN9KA3LTGlWcEOByNaytuWm0v3Nn/s1600/Classic+Not+Plastic+Bromoil+by+Tony+Peri+Copyright.jpeg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 200px; height: 200px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifHAFCaSccbYlxkrjC93Sdfa5Qmx8vwUgUs5XRh5vAwNBwRdeB2hsGyCbjcS86O0ob0PcNI-5VDttPn3bJrgdE_eHX7eD5JamLacLEaiWvCEctAemffN9KA3LTGlWcEOByNaytuWm0v3Nn/s200/Classic+Not+Plastic+Bromoil+by+Tony+Peri+Copyright.jpeg" alt="" id="BLOGGER_PHOTO_ID_5517488875843548130" border="0" /></a><span style="font-style: italic;">(pictured, left)</span> has mounted an exhibition - part of a group show - to raise money for <span style="font-weight: bold;">OXFAM</span>. 30% of print sales will be donated to buy appropriate animal stock (such as goats) for needy families in Malawi, Africa. Peri's familiar bromoils <span style="font-style: italic;">(pictured, left)</span> will be shown together with his less well known, but powerful infra-red landscapes <span style="font-style: italic;">(pictured, right) </span>made using an ancient Rolleiflex. For more information go to <a href="http://www.artforgoats.com.au/"></a><a href="http://artforgoats.com/">www.artforgoats.com</a><br /><span style="font-weight: bold;">IMAGE/TECH</span><br />Things are getting interesting in the digital ultrazoom<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiq1VqENExBFCyyk61dRqoBP71E8JXbEDI0wbBeCsR6tSWVAliX2m2ZqlbFaoqugGwRyISyNfM3PBN80UeIqqi7aqT0nxRlj3N49TLgv7EGikhYSidI4mRwf5CkZIXMH1sfbrFGMpi4mM7/s1600/Canon+PowerShot+SX30+IS.jpg"><img style="float: right; margin: 0pt 0pt 10px 10px; cursor: pointer; width: 265px; height: 159px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiq1VqENExBFCyyk61dRqoBP71E8JXbEDI0wbBeCsR6tSWVAliX2m2ZqlbFaoqugGwRyISyNfM3PBN80UeIqqi7aqT0nxRlj3N49TLgv7EGikhYSidI4mRwf5CkZIXMH1sfbrFGMpi4mM7/s320/Canon+PowerShot+SX30+IS.jpg" alt="" id="BLOGGER_PHOTO_ID_5517759374552903138" border="0" /></a> camera category. Until now,<span style="font-weight: bold;">Fujifilm</span>'s remarkable <span style="font-weight: bold;">Finepix HS10</span> <span style="font-style: italic;">(pictured, left)</span> held sway with its amazing 30X Zoom and a host of other <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjK9c7-Qe6pYPhJc7OEOWL9_zvwckB-5XVLlSbBYdhEU-E5ELfl4Ra8buifRHSsr2gmGfrD3gX77m5jiqBh5oClriDcU1lbdBMElgO7-OjYe4L5OQ3uVDPoD81zjqFF4X3ygsPGKaHo30wP/s1600/Fujifilm+Finepix+HS10.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 200px; height: 92px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjK9c7-Qe6pYPhJc7OEOWL9_zvwckB-5XVLlSbBYdhEU-E5ELfl4Ra8buifRHSsr2gmGfrD3gX77m5jiqBh5oClriDcU1lbdBMElgO7-OjYe4L5OQ3uVDPoD81zjqFF4X3ygsPGKaHo30wP/s200/Fujifilm+Finepix+HS10.jpg" alt="" id="BLOGGER_PHOTO_ID_5517761745899371362" border="0" /></a>features including a panorama mode and manual, yes, manual zoom control. The camera was, of course, also capable of shooting HD video. Ted's Cameras <a href="http://www.teds.com.au/">http://www.teds.com.au/</a> currently sell the Fuji Finepix HS10 for $579.95 Now <span style="font-weight: bold;">Canon</span> <a href="http://www.canon.com.au/">www.canon.com.au/</a>has stepped up to the plate to challenge Fuji with their <span style="font-weight: bold;">PowerShot SX30IS </span>camera with a 35X Zoom, <span style="font-style: italic;">(pictured, right) </span>which starts at its genuine wide-angle setting of 24mm(equivalent) and finishes at 840mm ultra telephoto. With a 14 megapixel sensor, image stabilization, HD video capacity and Ultrasonic autofocus, surely these cameras will provide universal picture-taking for many amateur and semi-pro photographers. More later on this trend. Canon's camera is so new they have not yet announced their RRP.<br /><span style="font-weight: bold;">Copyright 2010 Robert McFarlane <a href="http://www.robertmcfarlanephotos.com/">www.robertmcfarlanephotos.com</a></span>ozphotoreviewhttp://www.blogger.com/profile/05955455242704658018noreply@blogger.com1tag:blogger.com,1999:blog-4793272593084821996.post-11845928855636383162010-08-27T02:12:00.000-07:002010-08-29T01:38:21.099-07:003D's Future, Rolling Stones Arrive, Ken Duncan Speaks Out, Josef Lebovic in Kensington, Outback Roadside Shrines & How Leica Saved Their Jews<table class="MsoNormalTable" style="background-color: white; background-image: none; background-repeat: repeat; background-attachment: scroll; background-position: 0% 50%; -moz-background-size: auto auto; width: 513pt; -moz-background-clip: -moz-initial; -moz-background-origin: -moz-initial; -moz-background-inline-policy: -moz-initial;" border="0" cellpadding="0" cellspacing="0" width="684"><tbody><tr align="justify"><td rowspan="2" style="padding: 0cm; width: 29.25pt;" valign="top" width="39" nowrap="nowrap"><br /></td></tr><tr><span style="font-weight: bold;"><span style="color: rgb(204, 0, 0);">LATE NEWS:</span><span style="color: rgb(204, 0, 0);"> </span>MGA announces the finalists for $25,000 Bowness Prize</span><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidvG5GuvPctd5iFhU2W-4IUwV-bBlj9hcEAVhKGtGiHQ9FA_-mjuyHo5gRgIjQ_L_kI7ImsVsl1XuHPQT8lfUOUHPhydgrRnicsxV3-_fX-IHtvx_q5PQMJW2_Gus23eCO11FSeimnqGUF/s1600/From+the+series+What+happens+will+happen+2010+by+Darren+Sylvester.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 150px; height: 200px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidvG5GuvPctd5iFhU2W-4IUwV-bBlj9hcEAVhKGtGiHQ9FA_-mjuyHo5gRgIjQ_L_kI7ImsVsl1XuHPQT8lfUOUHPhydgrRnicsxV3-_fX-IHtvx_q5PQMJW2_Gus23eCO11FSeimnqGUF/s200/From+the+series+What+happens+will+happen+2010+by+Darren+Sylvester.jpg" alt="" id="BLOGGER_PHOTO_ID_5510035422253611170" border="0" /></a>Australia is rapidly becoming a centre for lucrative photographic competitions attracting talented, competitive, <a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_u6B9F94WR431r8LD4iEUn8bcYPxRx7E5K-IJ1dcq6ab-j-CBqCQszoCa93Q6YeXSZqIgOGRi03Sb5KF9wjUMQfqmwBUjHPyAZvexq-s18QA0mqbHF8ZFRTV6SFihxY5DFUlJqH40OTfQ/s1600/From+More+seeing+is+not+understanding+at+the+MGA+by+Ponch+Hawkes.jpg"><img style="float: right; margin: 0pt 0pt 10px 10px; cursor: pointer; width: 198px; height: 200px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_u6B9F94WR431r8LD4iEUn8bcYPxRx7E5K-IJ1dcq6ab-j-CBqCQszoCa93Q6YeXSZqIgOGRi03Sb5KF9wjUMQfqmwBUjHPyAZvexq-s18QA0mqbHF8ZFRTV6SFihxY5DFUlJqH40OTfQ/s200/From+More+seeing+is+not+understanding+at+the+MGA+by+Ponch+Hawkes.jpg" alt="" id="BLOGGER_PHOTO_ID_5510733955788788498" border="0" /></a>artistic photographers. Monash Gallery of Art have just announced the 34 images that have been selected by the judges (from 2,000 photographs submitted by 473 entrants) for the $25,000 William and Winifred Bowness Photography Prize - including (pictured left) Darren Sylvester's "Untitled, from the series, What happens will happen" The winning finalist, to be announced on September 23, will be awarded the $25,000 William and Winifred Bowness non-acquisitive Photography prize. Photography is, as ever, a major part of Monash Gallery of Art's program, with a forthcoming exhibition "More Seeing is Not Understanding" by Ponch Hawkes, (Untitled 1, 2008, pictured, right) opening on September 11. This MGA exhibition will be opened my Dr. Melissa Miles, lecturer in Theory of Art and Design, Monash University. Hawkes will offer her own thoughts in a talk she is giving on September 18.</tr></tbody></table> Readers interested in seeing works selected as finalists in the Bowness can find them at <a href="http://www.mga.org.au/bowness-prize/image">http://www.mga.org.au/bowness-prize/images</a><br /><span style="font-weight: bold;">The Future According to Ridley Scott's "Blade Runner"</span><br />When I watched <span style="font-weight: bold;">Rid</span><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBVLPAwVBMEmeh_N-_gIv62CTqcN2ijHo89FI6PSD8spZKK4zGb-17UFCFeVHwvKwIBvmWtgM9UtehEo7uUlaNdWXpjJ6lVXCR4kDe8wrnHXXm0DIwrlrSeCAYbALSu1dB9YrMlbKF_4f3/s1600/bladerunner+%282%29.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 320px; height: 186px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBVLPAwVBMEmeh_N-_gIv62CTqcN2ijHo89FI6PSD8spZKK4zGb-17UFCFeVHwvKwIBvmWtgM9UtehEo7uUlaNdWXpjJ6lVXCR4kDe8wrnHXXm0DIwrlrSeCAYbALSu1dB9YrMlbKF_4f3/s320/bladerunner+%282%29.jpg" alt="" id="BLOGGER_PHOTO_ID_5509969435380161138" border="0" /></a><span style="font-weight: bold;">ley</span><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7ELnZnT6YF2lMdwLBnktXcn3XVbV0wERDS6B0r8MQ6mOj2Ku6gK_l1AJn8JTEsJXLdND7iupwIHcXrhRWwpI2UIbLHxVIsixPkmbBYcoQea8KiYog3LM1AxhoXIOZcHqCukMb48265dzb/s1600/Blade+Runner+Poster.jpg"><img style="float: right; margin: 0pt 0pt 10px 10px; cursor: pointer; width: 133px; height: 200px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7ELnZnT6YF2lMdwLBnktXcn3XVbV0wERDS6B0r8MQ6mOj2Ku6gK_l1AJn8JTEsJXLdND7iupwIHcXrhRWwpI2UIbLHxVIsixPkmbBYcoQea8KiYog3LM1AxhoXIOZcHqCukMb48265dzb/s200/Blade+Runner+Poster.jpg" alt="" id="BLOGGER_PHOTO_ID_5509970244915343186" border="0" /></a><span style="font-weight: bold;"> Scott's</span> moody, prescient 1982 sci-fi epic <span style="font-style: italic;">"Blade Runner"</span> again recently I was struck by how this film's story contained now familiar contemporary technology resonances. Flying cars <span style="font-style: italic;">(pictured) </span>may not have eventuated, but one scene, in which the main character, detective <span style="font-weight: bold;">De</span><span style="font-weight: bold;">ckard</span>, (the Blade Runner of the film's title) examines a small photograph which he has inserted into a computer of some kind (the device is barely visible, with only its screen showing). The technique for investigating the image is, however, now technically feasible. Not only does Deckard, played with a bleak truth by <span style="font-weight: bold;">Harrison Ford</span>, instruct his computer to scan the image in minute detail, he does it verbally, through a form of voice activation, now known to be one of <span style="font-weight: bold;">Microsoft</span><span style="font-weight: bold;">'s</span> intense obsessions for the future. As the computer allows this image to be progressively cropped and magnified on-screen<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguTFWxA7H3IIG3lBbHbUf84vtPEZDAk4vITcEljXOLQ7sUL3TZR8zbGVtjXhVoQbYHIMsJLjVCyilJA6EGPNH5tneE3FSwnfLsmIm6Pi-9L5eACOZQ8wd5Kfl1juUB4wDAn0MdKgNIXo2_/s1600/blade-runner-omniview.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 320px; height: 234px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguTFWxA7H3IIG3lBbHbUf84vtPEZDAk4vITcEljXOLQ7sUL3TZR8zbGVtjXhVoQbYHIMsJLjVCyilJA6EGPNH5tneE3FSwnfLsmIm6Pi-9L5eACOZQ8wd5Kfl1juUB4wDAn0MdKgNIXo2_/s320/blade-runner-omniview.jpg" alt="" id="BLOGGER_PHOTO_ID_5509968650687619250" border="0" /></a> <span style="font-style: italic;">(pictured, left)</span> to Deckard's voice commands, <span style="font-weight: bold;">Ridley Scott </span>(and presumably <span style="font-weight: bold;">Philip K.</span><span style="font-weight: bold;"> Dick</span>, whose novel <span style="font-style: italic;">"Do Androids Dream of Electric Sheep?"</span> inspired the film) quietly injects another visionary touch to the scene. Deckard asks the image to go to extreme <a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPzh3n1WHnsMgaN7bzh6y4ryxrPba7gTYjz0CLVX8t5TzmjUwZnZttUjYVz9CJRRaKdTMFrOoT0M8hV0Sm8Ic712e7c7GbN9xH-IDZiXuZSBwd7otmkE5Gf5sdEAtKu2B5YRWjbT2LGEZM/s1600/Rutger+Hauer+as+Roy+Batty+in+Bladerunner.jpg"><img style="float: right; margin: 0pt 0pt 10px 10px; cursor: pointer; width: 200px; height: 128px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPzh3n1WHnsMgaN7bzh6y4ryxrPba7gTYjz0CLVX8t5TzmjUwZnZttUjYVz9CJRRaKdTMFrOoT0M8hV0Sm8Ic712e7c7GbN9xH-IDZiXuZSBwd7otmkE5Gf5sdEAtKu2B5YRWjbT2LGEZM/s200/Rutger+Hauer+as+Roy+Batty+in+Bladerunner.jpg" alt="" id="BLOGGER_PHOTO_ID_5509974015867854930" border="0" /></a>magnification. As elements within the scene enlarge, we abruptly realise he is not only seeing details before him in great detail, he also can see <span style="font-style: italic;">behind</span> certain elements within the picture, enabling him to subsequently identify a suspect (of whom he then verbally orders a hard copy image) This moment, though brief, reveals <span style="font-weight: bold;">Ridley Scott</span> at his visionary best in 1982, suggesting future imaging may well go beyond holography, and literally see around corners. Considering the recent impact of <span style="font-weight: bold;">3D</span>, not only in the creation of <span style="font-weight: bold;">Avatar</span>, the most successful motion picture in history (and the prime source of <span style="font-weight: bold;">NEWS Ltd's</span> surprising billion dollar-plus profit) but also the increasing numbers of new digital cameras that now incorporate this technology into their still and video imaging, this moment proved truly arresting.<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvn36kL2pCPSqueXfeivbL2sxGFh1bk_6RvgTKNQ1sQLhLThXFtjFk6lylkLoMBzt77E8NMM1mXs2EpOXGEKEw-tkUGNhtErCSsvqu9tQ4Eblt0hrcSzH1-mNPxt6rbv3caYQLnctYvKmJ/s1600/LetItBleed+by+Ethan+Russell+Mick+Jagger+backstage.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 217px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvn36kL2pCPSqueXfeivbL2sxGFh1bk_6RvgTKNQ1sQLhLThXFtjFk6lylkLoMBzt77E8NMM1mXs2EpOXGEKEw-tkUGNhtErCSsvqu9tQ4Eblt0hrcSzH1-mNPxt6rbv3caYQLnctYvKmJ/s320/LetItBleed+by+Ethan+Russell+Mick+Jagger+backstage.jpg" alt="" id="BLOGGER_PHOTO_ID_5509665229514449874" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEim6Wt39rT_HTF9cTN2Wi1-iLy3cua-MdIsZACFmnaMu3TsmAMDOlKWTmdBEWbFH5z5qy197ZBFPvRS8x2Tghcz74Eku1hRlypmeuvhonzYlX_dv_4Q6GWp83U-EprnbxmUT2PZlkBjCaZ1/s1600/Patience+Please+Photograph+from+Let+It+Bleed+by+Ethan+Russell.jpg"><img style="float: right; margin: 0pt 0pt 10px 10px; cursor: pointer; width: 214px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEim6Wt39rT_HTF9cTN2Wi1-iLy3cua-MdIsZACFmnaMu3TsmAMDOlKWTmdBEWbFH5z5qy197ZBFPvRS8x2Tghcz74Eku1hRlypmeuvhonzYlX_dv_4Q6GWp83U-EprnbxmUT2PZlkBjCaZ1/s320/Patience+Please+Photograph+from+Let+It+Bleed+by+Ethan+Russell.jpg" alt="" id="BLOGGER_PHOTO_ID_5509664226632131730" border="0" /></a><span style="font-weight: bold;">LET IT BLE</span><span style="font-weight: bold;">E</span><span style="font-weight: bold;">D comes to BLENDER GALLERY</span><br />Blender Gallery's Director <span style="font-weight: bold;">Tali Udovich</span> is again exhibiting photographs of some of the legendary performers who have created the soundtracks to our lives. After her recent exhibition exploring <span style="font-weight: bold;">Bob Dylan</span>'s early career, Blender Gallery are exhibiting <span style="font-weight: bold;">Ethan Russ</span><span style="font-weight: bold;">ell's</span> photographs of the <span style="font-weight: bold;">Rolling Stones</span> taken in arguably their prime - when touring the United States in 1969. It is hard, now, to look at Russell's colour image <span style="font-style: italic;">(pictured, left)</span> of the Stones at at their free concert at <span style="font-weight: bold;">Altamont Speedway</span>, without thinking beyond the ominous visible presence of <span style="font-weight: bold;">Hell's Angels</span> performing security - to the murder that unfolded in the turbulent crowd. Mercifully there are lighter moments from Russell, such as <span>a boyish</span><span style="font-weight: bold;"> Mick Jagger</span> with <span style="font-weight: bold;">Richards</span> <span style="font-style: italic;">(pictured, left)</span> backstage, wearing costumes that seem to anticipate the Las Vegas excesses to come from Elvis. Russell also presents u<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHkCLLWpN3jeqReZ7yldxlSCGLcV-OlDijDXVCQsgoluiILhXa1QqSgDFVuQp0UEQysTTMhjsaUGGSMAbBAJWgxzed15lp48my2z6BpBMyirj9strrO2KTrgys8O_xPCozr0oizqlX9tXU/s1600/LetItBleed+Colour+by+Ethan+Russell.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 200px; height: 134px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHkCLLWpN3jeqReZ7yldxlSCGLcV-OlDijDXVCQsgoluiILhXa1QqSgDFVuQp0UEQysTTMhjsaUGGSMAbBAJWgxzed15lp48my2z6BpBMyirj9strrO2KTrgys8O_xPCozr0oizqlX9tXU/s200/LetItBleed+Colour+by+Ethan+Russell.jpg" alt="" id="BLOGGER_PHOTO_ID_5509665589287518050" border="0" /></a>s with a droll image <span style="font-style: italic;">"Patience Please"</span> showing <span style="font-weight: bold;">Keith Richards</span> <span style="font-style: italic;">(pictured, right)</span> leaning against a water cooler above which an earnest U.S. government poster warns of the excesses of drugs. <span style="font-weight: bold;">LET IT BLEED</span>, Ethan Russell's massive, critically acclaimed 420 page signed, limited edition book (almost A3) is also available for purchase for the duration of the exhibition - which can be previewed online by clicking on <a href="http://www.blender.com.au/let-it-bleed/">http://www.blender.com.au/let-it-bleed/</a> <span style="font-style: italic;">Until October 5</span><br /><span style="font-weight: bold;"><span style="color: rgb(255, 0, 0);"></span></span><span style="font-weight: bold;">Photograp</span><span style="font-weight: bold;">hers Working in Public Are Angry ...<br /></span><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2iMyVSY6AZ19gpkM6IO7EhpW58kP_rw-J7nh40U9uEgx8NW11eMVSOL9KOisuhIKAvkIynfwALQhP04_jFfoXUSz6TgWGSdN4wQ7FZ4rvR6KjhaKr6-aaDdQdJQuJyf5qPfhiUEGP2VX1/s1600/Bondi+Beach+NSW+Copyright+Photograph+By+Ken+Duncan.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 400px; height: 133px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2iMyVSY6AZ19gpkM6IO7EhpW58kP_rw-J7nh40U9uEgx8NW11eMVSOL9KOisuhIKAvkIynfwALQhP04_jFfoXUSz6TgWGSdN4wQ7FZ4rvR6KjhaKr6-aaDdQdJQuJyf5qPfhiUEGP2VX1/s400/Bondi+Beach+NSW+Copyright+Photograph+By+Ken+Duncan.jpg" alt="" id="BLOGGER_PHOTO_ID_5509955297855054754" border="0" /></a><span>Well known Australian photographer <span style="font-weight: bold;">Ken Duncan, </span><span>master of the explicit </span></span><span>panoramic </span><span><span>image</span><span style="font-weight: bold;"> </span><span style="font-style: italic;">(Bondi Beach - pictured, above)</span> is irate. The difficulties of making photographs in public - even documenting an Australian place like Bondi Beach or Uluru means that there are now sever</span><span>e restrictions on photographers. Permits are required at many beaches such as Bondi and even public places such as the Sydney Opera House. <span style="font-style: italic;">(pictured, by Ken Duncan)</span> As a result Duncan has organised a rally for photographers </span><span>on this coming Sunday, August 29th, coincidentally near</span><span> the Opera House. </span><span><span style="font-style: italic;">"It is bureaucracy gone mad!"</span> </span><span>says Duncan,<span style="font-style: italic;"> "</span></span><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsPzokMeBQkSnft1ipqk0rNQZ_M8tVTMmKkR4q9XGvrODmjpCL_a7S60PniMQdOvA45mCTXZkcP6untF37QB4oryUdPBl82g-3JOzPoqb7w_DYYAMOFoFEpTBA5hrpSv7pptbRfoKaRz4k/s1600/Sydney+Opera+House+Photograph+by+Ken+Duncan.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 200px; height: 84px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsPzokMeBQkSnft1ipqk0rNQZ_M8tVTMmKkR4q9XGvrODmjpCL_a7S60PniMQdOvA45mCTXZkcP6untF37QB4oryUdPBl82g-3JOzPoqb7w_DYYAMOFoFEpTBA5hrpSv7pptbRfoKaRz4k/s200/Sydney+Opera+House+Photograph+by+Ken+Duncan.jpg" alt="" id="BLOGGER_PHOTO_ID_5509956561110829282" border="0" /></a><span><span style="font-style: italic;">I can't take photo</span></span><span><span style="font-style: italic;">graphs of my daughter at her swimming carnival without being approached by some official</span></span><span><span style="font-style: italic;"> who thinks I might be a criminal. If I am photographing in a National Park and they (the Rangers) deem you're looking professional they will approach you. It's very uncomfortable. If you get a beauti</span></span><span><span style="font-style: italic;">ful photograph and you exhibit it and someone buys it - you've broken the regulations - you're a criminal!"</span> I mention to Duncan that similar restrictions exist in France about photographing in public. <span style="font-style: italic;">"<span style="font-weight: bold;">Henri Cartier-Bresson</span> would tur</span></span><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZS_bZQDEzo_IM7OeTUgRFBDEZVo3-2NnpwywoW6BAyTWvr3deWpsKU2SLKPVgMmLjNS1VY4n5MfgwMTCR2-x_oLXd4kBnTZ4rt928E5nR0T92yn0hNVUC23xiTe_IFf8DWoQiIJn3INTw/s1600/Capture+scan+00171+1981+Max+Dupain+at+his+Castlecrag+home+preparing+barbecue+for+visit+by+Axel+and+Roslyn+Poignant+Copyright+Photograph+by+Robert+McFarlane+Courtesy+of+Josef+Lebovic+Gallery.jpg"><img style="float: right; margin: 0pt 0pt 10px 10px; cursor: pointer; width: 218px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZS_bZQDEzo_IM7OeTUgRFBDEZVo3-2NnpwywoW6BAyTWvr3deWpsKU2SLKPVgMmLjNS1VY4n5MfgwMTCR2-x_oLXd4kBnTZ4rt928E5nR0T92yn0hNVUC23xiTe_IFf8DWoQiIJn3INTw/s320/Capture+scan+00171+1981+Max+Dupain+at+his+Castlecrag+home+preparing+barbecue+for+visit+by+Axel+and+Roslyn+Poignant+Copyright+Photograph+by+Robert+McFarlane+Courtesy+of+Josef+Lebovic+Gallery.jpg" alt="" id="BLOGGER_PHOTO_ID_5509657014369321618" border="0" /></a><span><span style="font-style: italic;">n in his grave!"</span> says Duncan, adding that in Australia, <span style="font-style: italic;">"If <span style="font-weight: bold;">Max Dupain</span> (pictured right, in 1981, preparing a barbecue at his Castlecrag home for <span style="font-weight: bold;">Axel</span> and <span style="font-weight: bold;">Ros Poignant</span>) went to that beach </span></span><span><span style="font-style: italic;">to photograph </span></span><span><span style="font-style: italic;"><span style="font-weight: bold;">"The Sunbaker"</span> today, he’d need a permit. Just the fact that you've got to ring up and get a permit to even go down (to a beach). How do you know when the sun’s going to rise - when that magical moment is going to happen? It's just bureaucracy gone crazy."</span><br />Photographers are the environment's best friend maintains Duncan, adding, <span style="font-style: italic;">"we're the ones whose photos were used to annex these areas and turn them into National Parks. Now all of a sudden we're commercial photographers and there to steal from nature. (Arts Minister) <span style="font-weight: bold;">Peter Garrett</span> has just been shocking on this ... he keeps trying to turn it into an indigenous issue ... instead this is about the rights of photographers (and artists too) to be able to photograph and tell their stories - to allow them to sell (them) in order to</span></span><span><span style="font-style: italic;"> stay alive to do it! What we're saying is thi</span></span><span><span style="font-style: italic;">s: if a photographer is having no more impact than the general public on the environment (then) there should be no permits or fees required. End of story.</span></span><span><span>" <span style="font-weight: bold;">ozphotoreview</span> intends to approach Arts Minister <span style="font-weight: bold;">Peter Garrett</span>, despite these fragile political times, for his perspective on this issue, and will post his answer as soon as possible.</span></span><span style="font-weight: bold;"><br />Josef Lebovic Gallery Moves to Kensington</span><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjk3-q11zLV73i-lv6m40d8Ay-NYhCYI_5KtmYtg-r6FBvTJRZ-XaWWsGxPf7w7-itU7c7q9oP0eD5dloH-B3SCeQw-oCh3_EjiNjmqKcti76c9C4jxUNrib5vilTs0Y-SlyrR-DsVst7V-/s1600/Henri+Matisse+1944+Portrait+by+Henri+Cartier-Bresson+second+scan.jpeg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 400px; height: 267px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjk3-q11zLV73i-lv6m40d8Ay-NYhCYI_5KtmYtg-r6FBvTJRZ-XaWWsGxPf7w7-itU7c7q9oP0eD5dloH-B3SCeQw-oCh3_EjiNjmqKcti76c9C4jxUNrib5vilTs0Y-SlyrR-DsVst7V-/s400/Henri+Matisse+1944+Portrait+by+Henri+Cartier-Bresson+second+scan.jpeg" alt="" id="BLOGGER_PHOTO_ID_5509246394105828626" border="0" /></a>One door in Paddington has closed for this distinguished Sydney photography and print gallery, with another, wider door opening in Kensington. After many years in an elegant, though compact building at the corner of Paddington and Cascade streets, the <span style="font-weight: bold;">Josef Lebovic </span><span style="font-weight: bold;">Gallery</span> <a href="http://www.joseflebovicgallery.com/">www.joseflebovicgallery.com</a> has relocated to 103a Anzac Parade, on the corner of Duke Street, Kensington. With two floors of increased gallery space in a building that was formerly a bank, this could mark a change away from Josef Lebovic's familiar, dense displays of works arranged as classic<span style="font-style: italic;"> 'Salon' </span>hangs. Despite extensive renovations to his new premises, photographic works from the current exhibition <span style="font-style: italic;">"Australian & International Photography"</span> can still be viewed, but by appointment only, at the gallery's new Kensington address. Among many outstanding works is <span style="font-weight: bold;">Henri Cartie</span><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8O9VtiEmjKioZ_QjGK7oswV-c_3tCEkrBEVfnmDSQEY9tucBW2zeSZ6_CrP68yJ704In1VeJLEOi-OSgQNd0xU0bqzlYHk_JVQsaBpBrFLdRDvY9uCxw1vl6yb73uJhXyjr0e4M0JFzxG/s1600/Moon+And+Half+Dome+Yosemite+National+Park+California+1980.jpg"><img style="float: right; margin: 0pt 0pt 10px 10px; cursor: pointer; width: 249px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8O9VtiEmjKioZ_QjGK7oswV-c_3tCEkrBEVfnmDSQEY9tucBW2zeSZ6_CrP68yJ704In1VeJLEOi-OSgQNd0xU0bqzlYHk_JVQsaBpBrFLdRDvY9uCxw1vl6yb73uJhXyjr0e4M0JFzxG/s320/Moon+And+Half+Dome+Yosemite+National+Park+California+1980.jpg" alt="" id="BLOGGER_PHOTO_ID_5509219378079300626" border="0" /></a><span style="font-weight: bold;">r-Bresson's</span> classic 1944 portrait of <span>a great French artist just entering the last decade of his life, </span><span style="font-weight: bold;">Henri Matisse </span><span style="font-style: italic;">(pictured, above)</span> visibly frail, wheelchair-bound but firmly clasping a white dove with his left hand and continuing to draw. This picture is also full of irony considering Cartier-Bresson had just escaped from German wartime imprisonment and travelled across France to reach Matisse - as clearly as this dove had left its open cage. An<span> interesting commentary on this and other Cartier-Bresson pictures can be found on the following blog <a href="http://iconicphotos.wordpress.com/tag/henri-cartier-bresson/">http://iconicphotos.wordpress.com/tag/henri-cartier-bresson/</a> I once advised a friend who asked, <span style="font-style: italic;">"if you could buy one Henri Cartier-Bresson photograph - apart from his famous leaping man behind the Gare St. Lazare railway station - which would it be?"</span> I suggested this Matisse portrait, which they bought and have never sold, despite its </span><span>value </span><span>steadily increasing in following years. </span><span style="font-weight: bold;">Ansel Adams's </span>magnificent vista of <span style="font-style: italic;">"The </span><span style="font-style: italic;">Moon and Half Dome, Yosemite"</span> is here<span style="font-style: italic;"> (pictured, above righ</span><span style="font-style: italic;">t)</span> as well as an equally planetary landscape<span style="font-weight: bold;"> </span>by<span style="font-weight: bold;"> </span><span>the late</span><span style="font-weight: bold;"> David Moore </span><span>(1927-2003) </span> <a href="http://www.davidmoorephotography.com.au/">http://www.davidmoorephotography.com.au/</a> <span style="font-style: italic;">"Sydney Harbour </span><span style="font-style: italic;">From </span><span style="font-style: italic;">20,000 feet, 1992"</span>. Moore's other sculptural<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgi2NFGASLAjJzE2x67SsaD2jwKLGcPZzC2JeqZJQHo8agBhJSamo1WWSgYAw-Vmb2S6TCh2bMteQDDUYBxT_VkKt7gvFJgSsdam2v5fotekSW7u6agI1IjsrHH7GRNrupgOfWpiAtQw3lP/s1600/Carol+Jerrems+Photograph+by+Roger+Scott.jpg"><img style="float: right; margin: 0pt 0pt 10px 10px; cursor: pointer; width: 139px; height: 200px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgi2NFGASLAjJzE2x67SsaD2jwKLGcPZzC2JeqZJQHo8agBhJSamo1WWSgYAw-Vmb2S6TCh2bMteQDDUYBxT_VkKt7gvFJgSsdam2v5fotekSW7u6agI1IjsrHH7GRNrupgOfWpiAtQw3lP/s200/Carol+Jerrems+Photograph+by+Roger+Scott.jpg" alt="" id="BLOGGER_PHOTO_ID_5509958381884423570" border="0" /></a> <a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0j9Y7CfY65Sp6nMC8jxjAdjHmTZ_9AF7-M6o5x_wxS-kMcOF1k9IhGudDb1btVJPr3__K7K4XeHXSsD2DRo4MaS6D2qgFm_ckIMXXHK__Z0-i7RVYLxdxwUAHBkko_21yu02I_rRcomtk/s1600/CC-805ph26+MOORE+Sisters+of+Charity+Washington+DC++%282%29.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 130px; height: 200px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0j9Y7CfY65Sp6nMC8jxjAdjHmTZ_9AF7-M6o5x_wxS-kMcOF1k9IhGudDb1btVJPr3__K7K4XeHXSsD2DRo4MaS6D2qgFm_ckIMXXHK__Z0-i7RVYLxdxwUAHBkko_21yu02I_rRcomtk/s200/CC-805ph26+MOORE+Sisters+of+Charity+Washington+DC++%282%29.jpg" alt="" id="BLOGGER_PHOTO_ID_5509220442700122610" border="0" /></a>masterpiece, <span style="font-style: italic;">"Sisters of Charity, Washington DC, USA, 1956"</span> is also present <span style="font-style: italic;">(pictured, left)</span> in Lebovic's selection. Other welcome surprises in this display were two sensitive artist portraits by<span style="font-weight: bold;"> Kerry Dundas -</span> of <span style="font-weight: bold;">John Passmore</span> in 1970 and an earlier 1948 observation of <span style="font-weight: bold;">Godfrey Miller</span>. The real surprise however, was <span style="font-weight: bold;">Roger Scott's</span> restrained portrait <span style="font-style: italic;">(pictured, right)</span> of the influential photographer <span style="font-weight: bold;">Carol Jerrems </span>(1949-1980) made in Paddington in 1976. Fine portraits of Jerrems do exist, such as those by the late <span style="font-weight: bold;">Rennie Ellis</span> (1940-2003) <a href="http://www.rennieellis.com.au/">http://www.rennieellis.com.au/ </a>but it was refreshing to see this quiet, simple observation of the melancholy photographer, made by her friend and B&W printer, Roger Scott, perhaps better known for his eloquent street photographs.<br /><span style="font-style: italic;">I should add, in a spirit of full disclosure, that I am represented by Josef Lebovic Gallery.</span><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihAQcv4RNFGvdtbU78t29ZIqP0dk-o-kfpQAQYGGAZIeANlBaZGaqUR_uWgBOO8SvtZYPZlPjJmHLm3hivfMlWAqvlzfJCmyiQfOJFIgK1p3q5BuyG5WsxiWgOEnrkG1Q39y3Vo4aL56K3/s1600/Titjikala_rd021+Photograph+by+Glenn+Campbell.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 400px; height: 330px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihAQcv4RNFGvdtbU78t29ZIqP0dk-o-kfpQAQYGGAZIeANlBaZGaqUR_uWgBOO8SvtZYPZlPjJmHLm3hivfMlWAqvlzfJCmyiQfOJFIgK1p3q5BuyG5WsxiWgOEnrkG1Q39y3Vo4aL56K3/s400/Titjikala_rd021+Photograph+by+Glenn+Campbell.jpg" alt="" id="BLOGGER_PHOTO_ID_5508939704047282642" border="0" /></a><span style="font-weight: bold;">Austra</span><span style="font-weight: bold;">li</span><span style="font-weight: bold;">an </span><span style="font-weight: bold;">ro</span><span style="font-weight: bold;">adside memorials. </span><span style="font-style: italic;"> </span><br /><div style="text-align: left;"><span><span style="font-weight: bold;">Glenn Campbell</span> </span><span><a href="http://glenncampbellspictures.com/">www.glenncampbellspictures.com</a> is an accomplished Australian phot</span><span>ojo</span><span>urnalist, based in Darwin, equa</span><span>lly at home documenting s</span><span>erene Aboriginal traditional owner <span style="font-weight: bold;">Yvonne Margarulla</span> standing in the idyllic Kakadu lan</span><span>d</span><span>scape or <span style="font-weight: bold;">Prime Minister Julia Gillard</span> <span style="font-style: italic;">(pictured, below)</span> enjoying a lighter moment on an Au</span><span>stralian </span><span>Navy patrol boat.</span><span> Recently C</span><span>ampbell became fa</span><span>scina</span><span>ted with the number and variety of memorials created by the </span><span>side of highw</span><span>ays <span style="font-style: italic;">(pictured) </span>where loved ones had perished in road </span><span>accidents. <span style="font-style: italic;">"After (covering) Bali in 2002, (when) it was ... my first exposure to real grief, I cut loose a bit ... hit the</span></span><span><span style="font-style: italic;"> road, went on a long drive ... to NSW and Queensland. I'm at home in the desert. I was born in Mt. Isa. I did the s</span></span><span><span style="font-style: italic;">ame thing whe</span></span><span><span style="font-style: italic;">n I came back from Paki</span></span><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPDuXFOS2sOMmr2xjmMwInqHL6FAMOUT8bTdwzc_3Pp0GebGOskr9G11b_SLGvxQLUVYJdWZ521KQA6haZfvwNSJ7aVYfJXV7z1tORve1oh36LM0nvglnT1MA_Spv-ZbAti4JtjaRRit7P/s1600/Victoria_Highway_001+Photograph+by+Glenn+Campbell.jpg"><img style="float: right; margin: 0pt 0pt 10px 10px; cursor: pointer; width: 200px; height: 142px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPDuXFOS2sOMmr2xjmMwInqHL6FAMOUT8bTdwzc_3Pp0GebGOskr9G11b_SLGvxQLUVYJdWZ521KQA6haZfvwNSJ7aVYfJXV7z1tORve1oh36LM0nvglnT1MA_Spv-ZbAti4JtjaRRit7P/s200/Victoria_Highway_001+Photograph+by+Glenn+Campbell.jpg" alt="" id="BLOGGER_PHOTO_ID_5508944540765894194" border="0" /></a><span><span style="font-style: italic;">stan - I just found mysel</span></span><span><span style="font-style: italic;">f not moved to photograph anything for a while."</span> </span><span>The first (memo</span><span>rial) Campbell remembered noticing</span><span> was on the road to Kangaroo Valley.<span style="font-style: italic;"> "It was a gum tree with five crosses on it and there w</span></span><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyifTV15W0EWSneAsCYo1EMNrY21QPIE31Kv36ux9UVy7efEmDa09AYEUcWYu4yxrA9mNlZ4M8bEIRuqYNWhZhSfWBJjIxiEJUEIpEZfMgnuHtJjdPWPaRrXRfyyVpsHXzr5w1RG7BfvYb/s1600/Traditional+owner+Yvonne+Margarulla+of+the+Mirrar+people+on+the+banks+of+Magella+Creek+Kakadu+National+Park+NEW+SCAN.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 200px; height: 134px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyifTV15W0EWSneAsCYo1EMNrY21QPIE31Kv36ux9UVy7efEmDa09AYEUcWYu4yxrA9mNlZ4M8bEIRuqYNWhZhSfWBJjIxiEJUEIpEZfMgnuHtJjdPWPaRrXRfyyVpsHXzr5w1RG7BfvYb/s200/Traditional+owner+Yvonne+Margarulla+of+the+Mirrar+people+on+the+banks+of+Magella+Creek+Kakadu+National+Park+NEW+SCAN.jpg" alt="" id="BLOGGER_PHOTO_ID_5509205689779164834" border="0" /></a><span><span style="font-style: italic;">ere messages scratched into the bark ... with posters and a letter stapled to the tree."</span> Despite having spent time speaking to people who had lost loved ones (when he covered the Bali Bombing) Campbell had never thought about photographing roadside memorials in his wor</span><span>k as a press photographer. <span style="font-style: italic;">"(But) these were young guys with the oldest twenty two."</span> Campbell continued, <span style="font-style: italic;">"I (now) think these are sites of real importance." </span>When I remarked to Campbell that roadside shrines suggest the democratisation of grief, he agreed.<span style="font-style: italic;"> "It say</span></span><span><span style="font-style: italic;">s a lot about the place of grieving </span></span><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhf6V8OnbhsuCkMMbjj1voNnPG6UXiMUfjJ9Z7lF0OfRBinS5q8eeVMWNS5ALMjrkczr0a3QuYgwEzFakSzFmX14zeQBL7RT9QZmaRJQjiq3pf9fLQkPxdedW1Ldges5qoXR2sPCN4gV_31/s1600/PM+Julia+Gillard+aboard+Navy+patrol+boat+HMAS+Broome+NEW+SCAN.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 200px; height: 134px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhf6V8OnbhsuCkMMbjj1voNnPG6UXiMUfjJ9Z7lF0OfRBinS5q8eeVMWNS5ALMjrkczr0a3QuYgwEzFakSzFmX14zeQBL7RT9QZmaRJQjiq3pf9fLQkPxdedW1Ldges5qoXR2sPCN4gV_31/s200/PM+Julia+Gillard+aboard+Navy+patrol+boat+HMAS+Broome+NEW+SCAN.jpg" alt="" id="BLOGGER_PHOTO_ID_5509206385003174770" border="0" /></a><span><span style="font-style: italic;">in (our)</span></span><span><span style="font-style: italic;"> society, which is not so much in the cemetery any more. It (grief) leaves people adrift. I couldn't have done this body of work without talking to the people who</span></span><span><span style="font-style: italic;"> had set up these memorials. I wanted to give voice to this great anonymous grief that is permeating the country. Everyone ... is o</span></span><span><span style="font-style: italic;">nly one or two steps removed from road trauma."</span> Campbell's <span style="font-weight: bold;">"Shrines"</span> exhibition is currently showing in the <span style="font-weight: bold;">Supreme Court</span> in Darwin until August 28. </span><span>When I ask why at the Court? The photographer simply answered,<span style="font-style: italic;"> "</span></span><span><span style="font-style: italic;">I needed somewhere big and somewhere quiet," </span>adding,<span style="font-style: italic;"> "</span></span><span style="font-style: italic;">my motives are pure ... I've learned a lot about myself. Ultimately these places are about love.</span><span style="font-weight: bold;">"</span><br /></div><span style="font-weight: bold;">How Leica protected their Jews</span><br />Bo<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfBobnj20XlAMSHym8ouUG4rrMx_w5IKxzSuh4KmpTCDc7YOQ4fNbsC10qDpe5nx67fmm8Ky7MFwDRIymxAlTuRbMsYaQF4HMmXMYydkzmZtF24T778rN1aUp69QEIXukTuqYOAR0Dn7i2/s1600/220px-LeicaIIIf-600.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 220px; height: 165px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfBobnj20XlAMSHym8ouUG4rrMx_w5IKxzSuh4KmpTCDc7YOQ4fNbsC10qDpe5nx67fmm8Ky7MFwDRIymxAlTuRbMsYaQF4HMmXMYydkzmZtF24T778rN1aUp69QEIXukTuqYOAR0Dn7i2/s320/220px-LeicaIIIf-600.jpg" alt="" id="BLOGGER_PHOTO_ID_5508906157102552658" border="0" /></a>b Davis <a href="http://www.bobdavis-photographer.com/">http://www.bobdavis-photographer.com/</a> a<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEGsLsZmyW_w3HE0o3nNnDp6o0L4lLtxzsni8COR6fC0XywebCgwJT8UIfM2LToSEnoyzRmfewpp_elTDoZ8uwJ6jzOo0cbg9Tc_P9MHrkm4ye9kuc4RqQ4gb-eV-yvF0ioXay4S9k5PkT/s1600/220px-Cartier-Bresson's_first_Leica.jpg"><img style="float: right; margin: 0pt 0pt 10px 10px; cursor: pointer; width: 200px; height: 133px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEGsLsZmyW_w3HE0o3nNnDp6o0L4lLtxzsni8COR6fC0XywebCgwJT8UIfM2LToSEnoyzRmfewpp_elTDoZ8uwJ6jzOo0cbg9Tc_P9MHrkm4ye9kuc4RqQ4gb-eV-yvF0ioXay4S9k5PkT/s200/220px-Cartier-Bresson's_first_Leica.jpg" alt="" id="BLOGGER_PHOTO_ID_5508907275959752018" border="0" /></a>n Australian photographer based in Hong Kong, China, forwarded this remarkable story of the behaviour of the <span style="font-weight: bold;">Leitz</span> family, of Leica camera fame, in Germany in the face of the coming holocaust.<br />"The <span style="font-weight: bold;">Leica</span> <span style="font-style: italic;">(pictured, left and at right, Henri Cartier-Bresson's first </span><span style="font-style: italic;">Leic</span><span style="font-style: italic;">a</span><span style="font-style: italic;">)</span> is the pioneer 35mm camera. It is a German product - precise, minimalist, and utterly efficient. Behind its worldwide acceptance as a creative tool was a family-owned, socially oriented firm (founded in 1869) that, during the Nazi era, acted with uncommon grace, generosity and modesty. <span style="font-weight: bold;">E. Leitz Inc</span>.,designer and manufacturer of Germany 's most famous photographic product, <span style="font-style: italic;">saved its Jews</span>. And <span style="font-weight: bold;">Ernst Leitz II</span>, the steely-eyed Protestant patriarch who headed the closely held firm as the Holocaust <span style="font-style: italic;">(pictured, below left, trains arriving at Auschwitz-Birkenau)</span> loomed across Europe, acted in such a way as to earn the title: <span style="font-style: italic;">"The photo</span><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWH9fonAjZOSOVTyBkZtg2SiS6EE8bUKhm1jS1K6HG4Bog3qiFjnTpj0Pv6eoA_Xb7_qV3wSV05ZHGEv-wq_e7NZvpGdmllLEf30SzRHU5PYrDgYZhZJ3s5zbG1JsfhbanAQSqcoEgHFQo/s1600/300px-Selection_Birkenau_ramp.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 200px; height: 149px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWH9fonAjZOSOVTyBkZtg2SiS6EE8bUKhm1jS1K6HG4Bog3qiFjnTpj0Pv6eoA_Xb7_qV3wSV05ZHGEv-wq_e7NZvpGdmllLEf30SzRHU5PYrDgYZhZJ3s5zbG1JsfhbanAQSqcoEgHFQo/s200/300px-Selection_Birkenau_ramp.jpg" alt="" id="BLOGGER_PHOTO_ID_5510011230449093042" border="0" /></a><span style="font-style: italic;">graphy industry's Schindler."</span> As soon as <span style="font-weight: bold;">Adolf Hitler </span>was named chancellor of Germany in 1933, Ernst Leitz II began receiving frantic calls from Jewish associates, asking for his help in getting them and their families out of the country. As Christians, Leitz and his family were immune to Nazi Germany 's Nuremberg laws, which restricted the movement of Jews and limited their professional activities. To help his Jewish workers and colleagues, Leitz quietly established what has become known among historians of the Holocaust as <span style="font-style: italic;">"the Le</span><span style="font-style: italic;">ica Freed</span><span style="font-style: italic;">om</span> <span style="font-style: italic;"> Train,"</span> a covert means of allowing Jews to leave Germany in the guise of Leitz employees being assigned overseas. Employees, retailers, family members, even friends of family members were <span style="font-style: italic;">"assigned"</span> to Leitz sales offices in France , Britain , Hong Kong and the United States. Leitz's activities intensified after the <span style="font-weight: bold;">Kristallnacht</span> of Novemb<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNLboaFyD6I-XjeEVwNQmqolewHz8EYZ6oZWg0nCzJQG5qrtrvIxUF_gKY5wk6txoM2QRJPanVYr4zD8WnnWuFtXaqdjP79v5l9g075KJrZC3kod3i_Dfjsv_yQvuBEc00W0oEj2gql5VV/s1600/225px-Kristallnacht_example_of_physical_damage.jpg"><img style="float: right; margin: 0pt 0pt 10px 10px; cursor: pointer; width: 225px; height: 181px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNLboaFyD6I-XjeEVwNQmqolewHz8EYZ6oZWg0nCzJQG5qrtrvIxUF_gKY5wk6txoM2QRJPanVYr4zD8WnnWuFtXaqdjP79v5l9g075KJrZC3kod3i_Dfjsv_yQvuBEc00W0oEj2gql5VV/s320/225px-Kristallnacht_example_of_physical_damage.jpg" alt="" id="BLOGGER_PHOTO_ID_5508906481898275042" border="0" /></a>er 1938, <span style="font-style: italic;">(pictured, right)</span> during which synagogues and Jewish shops were burned across Germany. Before long, German <span style="font-style: italic;">"employees"</span> were disembarking from the ocean liner Bremen at a New York pier and making their way to the Manhattan office of <span style="font-weight: bold;">Leitz Inc.</span>, where executives quickly found them jobs in the photographic industry. Each new arrival had around his or her neck the symbol of freedom - a new Leica. The refugees were paid a stipend until they could find work. Out of this migration came designers, repair technicians, salespeople, marketers and writers for the photographic press.<br /><span style="font-weight: bold;">Keeping the story quiet</span><br />The <span style="font-style: italic;">"Leica Freedom Train"</span> was at its height in 1938 and early 1939, delivering groups of refugees to New York every few weeks. Then, with the invasion of Poland on Sept. 1, 1939, Germany closed its borders. By that time, hundreds of endangered Jews had escaped to America thanks to the Leitzes' efforts. How did Ernst Leitz II and his staff get away with it?<br /><span style="font-weight: bold;">Leitz, Inc.</span> was an internationally recognized brand that reflected credit on the newly resurgent Reich. The company produced range-finders and other optical systems for the German military. Also, the Nazi government desperately needed hard currency from abroad, and Leitz's single biggest market for optical goods was the United States. Even so, members of the Leitz family and firm suffered for their good works. A top executive, <span style="font-weight: bold;">Alfred Turk</span>, was jailed for working to help Jews and freed only after the payment of a large bribe. Leitz's daughter, <span style="font-weight: bold;">Elsie Kuhn-Leitz</span>, <span style="font-style: italic;">(pictured, left)</span> was imprisoned by the Gestapo after she was caught at the border, helping Jewish w<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiByy-_wEHSfLzG_pnqjHk7kqA86cpnjEKHpNI2Yc-KkCCP2MsulFoDjrFFsY5O34uuOBAOsegIcnLPSJhNg5S2jKS8QUUOK6GqthiOhhpFkWuUjVs-6g3w3JLJq0RiAfJgr1awSqavEbl/s1600/courage_care_award_feb_2007.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 250px; height: 250px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiByy-_wEHSfLzG_pnqjHk7kqA86cpnjEKHpNI2Yc-KkCCP2MsulFoDjrFFsY5O34uuOBAOsegIcnLPSJhNg5S2jKS8QUUOK6GqthiOhhpFkWuUjVs-6g3w3JLJq0RiAfJgr1awSqavEbl/s320/courage_care_award_feb_2007.jpg" alt="" id="BLOGGER_PHOTO_ID_5508910166845631986" border="0" /></a>omen cross into Switzerland . She eventually was freed but endured rough treatment in the course of questioning. She also fell under suspicion when she attempted to improve the living conditions of 700 to 800 Ukrainian slave laborers, all of them women, who had been assigned to work in the plant during the 1940s. (After the war, Kuhn-Leitz received numerous honors for her humanitarian efforts, among them the Officier d'honneur des Palms Academic from France in 1965 and the <span style="font-weight: bold;">Aristide Briand</span> Medal from the European Academy in the 1970s.)<br />Why has no one told this story until now? According to the late Norman Lipton, a freelance writer and editor, the <span style="font-weight: bold;">Leitz</span> family wanted no publicity for its heroic efforts. Only after the last member of the Leitz family was dead did the <span style="font-style: italic;">"Leica Freedom Train"</span> finally come to light.<br />It is now the subject of a book, <span style="font-style: italic;">"The Greatest Invention of the Leitz</span> <span style="font-style: italic;"> Family: The Leica Freedom Train,"</span> by <span style="font-weight: bold;">Frank Dabba Smith</span>, a California-born Rabbi currently living in England.<br /><span style="font-weight: bold;">Copyright: Robert McFarlane 2010 <a href="http://www.robertmcfarlanephotos.com/">www.robertmcfarlanephotos.com</a></span>ozphotoreviewhttp://www.blogger.com/profile/05955455242704658018noreply@blogger.com2tag:blogger.com,1999:blog-4793272593084821996.post-35254320408541234512010-08-17T16:00:00.000-07:002010-08-19T03:16:43.810-07:00Dean Sewell wins Moran Prize and Trent Parke's Adelaide show opens & Wend Lear's Closes.<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUxGxICFdrc5gSM205BmKYpBoYypKD4b8Vj6y_g09wbsx0KdL9bWv6Ksq8PSkmiU3mhF3mhKe4BulybiZ07drxRUnsS8AxBjuAXsKNN20tW-jwV4viDq4soyY9ZXJZqbOXzQXzy2RWqax3/s1600/Photograph+by+Wend+Lear+WLP_6770editnewdav.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 320px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUxGxICFdrc5gSM205BmKYpBoYypKD4b8Vj6y_g09wbsx0KdL9bWv6Ksq8PSkmiU3mhF3mhKe4BulybiZ07drxRUnsS8AxBjuAXsKNN20tW-jwV4viDq4soyY9ZXJZqbOXzQXzy2RWqax3/s320/Photograph+by+Wend+Lear+WLP_6770editnewdav.jpg" alt="" id="BLOGGER_PHOTO_ID_5505958960285878194" border="0" /></a><span style="font-weight: bold;"><span style="color: rgb(255, 0, 0);"><span style="color: rgb(102, 102, 102);">Going, going ... gone!</span></span></span><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4uLcEc-AMhC1csanf4jMgR_BYkb-51AMC2Le70IDOV9a_OrNa6xf6BGCmabf0PSsX5i7Sbih4ySyAxzjH34qP1yBbQ9shHXL7pr7f8EUZvNh2Gx2xZ0JsCLJjayU0ZsSu8DR9i1AMa0FV/s1600/Photograph+by+Wend+Lear+WLP_7504edit.jpg"><img style="float: right; margin: 0pt 0pt 10px 10px; cursor: pointer; width: 200px; height: 200px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4uLcEc-AMhC1csanf4jMgR_BYkb-51AMC2Le70IDOV9a_OrNa6xf6BGCmabf0PSsX5i7Sbih4ySyAxzjH34qP1yBbQ9shHXL7pr7f8EUZvNh2Gx2xZ0JsCLJjayU0ZsSu8DR9i1AMa0FV/s200/Photograph+by+Wend+Lear+WLP_7504edit.jpg" alt="" id="BLOGGER_PHOTO_ID_5505959592003106306" border="0" /></a><br /><span><span style="color: rgb(255, 0, 0);"><span style="color: rgb(0, 0, 0);">Like her friend and fe</span></span></span><span><span style="color: rgb(255, 0, 0);"><span style="color: rgb(0, 0, 0);">llow</span></span></span><span><span style="color: rgb(255, 0, 0);"><span style="color: rgb(0, 0, 0);"> artist Trent Parke,</span></span></span><span><span style="color: rgb(255, 0, 0);"><span style="color: rgb(0, 0, 0);"> Adelaide-based photographer </span></span></span><span><span style="color: rgb(255, 0, 0);"><span style="color: rgb(0, 0, 0);">Wend Lear <a href="http://www.iwish.org/">www.iwish.org</a> is preoccupied with photographing the nuances o</span></span></span><span><span style="color: rgb(255, 0, 0);"><span style="color: rgb(0, 0, 0);">f street life. Sad</span></span></span><span><span style="color: rgb(255, 0, 0);"><span style="color: rgb(0, 0, 0);">ly h</span></span></span><span><span style="color: rgb(255, 0, 0);"><span style="color: rgb(0, 0, 0);">er intriguing exhibition <span style="font-weight: bold;">"blindspot"</span> has just closed at the Hill Smith G</span></span></span><span><span style="color: rgb(255, 0, 0);"><span style="color: rgb(0, 0, 0);">allery <a href="http://www.hillsmithgallery.com.au/">www.hillsmithgaller</a></span></span></span><span><span style="color: rgb(255, 0, 0);"><span style="color: rgb(0, 0, 0);"><a href="http://www.hillsmithgallery.com.au/">y.com.au</a> i</span></span></span><span><span style="color: rgb(255, 0, 0);"><span style="color: rgb(0, 0, 0);">n Adelaide but I was lucky enou</span></span></span><span><span style="color: rgb(255, 0, 0);"><span style="color: rgb(0, 0, 0);">gh to visit the display wi</span></span></span><span><span style="color: rgb(255, 0, 0);"><span style="color: rgb(0, 0, 0);">th the artist, on the last day.</span></span></span><span style="font-weight: bold;"><span style="color: rgb(255, 0, 0);"> </span></span><span><span style="color: rgb(255, 0, 0);"><span style="color: rgb(0, 0, 0);">Stylis</span></span></span><span><span style="color: rgb(255, 0, 0);"><span style="color: rgb(0, 0, 0);">tically Lear, 40, works in a </span></span></span><span><span style="color: rgb(255, 0, 0);"><span style="color: rgb(0, 0, 0);">dist</span></span></span><span><span style="color: rgb(255, 0, 0);"><span style="color: rgb(0, 0, 0);">i</span></span></span><span><span style="color: rgb(255, 0, 0);"><span style="color: rgb(0, 0, 0);">nctly square format, compared to Parke's 6x7cm film format and presents </span></span></span><span><span style="color: rgb(255, 0, 0);"><span style="color: rgb(0, 0, 0);">her</span></span></span><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfuu1YM7ZvZV4JqN-A6GsSVcGlwJZnP70AWmkEVwSCR6ykLQJ1KtuaXvx8t7aeNSwBaZ3NiTiMBpMnBv_t83guGb1qhMU-7lKizN95SC8HiwUVy4Hxu9IABSYvTKFjETJLUBSvvS7FWLQw/s1600/Wend+Lear+at+Blindspot+exhibition+Hill+Sith+Gallery+on+last+day+Photograph+Robert+McFarlane.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 200px; height: 134px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfuu1YM7ZvZV4JqN-A6GsSVcGlwJZnP70AWmkEVwSCR6ykLQJ1KtuaXvx8t7aeNSwBaZ3NiTiMBpMnBv_t83guGb1qhMU-7lKizN95SC8HiwUVy4Hxu9IABSYvTKFjETJLUBSvvS7FWLQw/s200/Wend+Lear+at+Blindspot+exhibition+Hill+Sith+Gallery+on+last+day+Photograph+Robert+McFarlane.jpg" alt="" id="BLOGGER_PHOTO_ID_5505963309661878882" border="0" /></a><span><span style="color: rgb(255, 0, 0);"><span style="color: rgb(0, 0, 0);"> observations in </span></span></span><span><span style="color: rgb(255, 0, 0);"><span style="color: rgb(0, 0, 0);">tightly butted pairs</span></span></span><span><span style="color: rgb(255, 0, 0);"><span style="color: rgb(0, 0, 0);"> - diptyches </span></span></span><span><span style="color: rgb(255, 0, 0);"><span style="color: rgb(0, 0, 0);">either s</span></span></span><span><span style="color: rgb(255, 0, 0);"><span style="color: rgb(0, 0, 0);">imilar in image co</span></span></span><span><span style="color: rgb(255, 0, 0);"><span style="color: rgb(0, 0, 0);">ntent</span></span></span><span><span style="color: rgb(255, 0, 0);"><span style="color: rgb(0, 0, 0);"> or blatantly incongru</span></span></span><span><span style="color: rgb(255, 0, 0);"><span style="color: rgb(0, 0, 0);">ous. Li</span></span></span><span><span style="color: rgb(255, 0, 0);"><span style="color: rgb(0, 0, 0);">ke Parke, Lear <span style="font-style: italic;">(pictured, left)</span> also sets the street back w</span></span></span><span><span style="color: rgb(255, 0, 0);"><span style="color: rgb(0, 0, 0);">here it belongs - as a theatrical stage o</span></span></span><span><span style="color: rgb(255, 0, 0);"><span style="color: rgb(0, 0, 0);">n </span></span></span><span><span style="color: rgb(255, 0, 0);"><span style="color: rgb(0, 0, 0);">which humans play a</span></span></span><span><span style="color: rgb(255, 0, 0);"><span style="color: rgb(0, 0, 0);">nd work. The atmosphere in her colour images is cool and graphic, with human pr</span></span></span><span><span style="color: rgb(255, 0, 0);"><span style="color: rgb(0, 0, 0);">es</span></span></span><span><span style="color: rgb(255, 0, 0);"><span style="color: rgb(0, 0, 0);">e</span></span></span><span><span style="color: rgb(255, 0, 0);"><span style="color: rgb(0, 0, 0);">n</span></span></span><span><span style="color: rgb(255, 0, 0);"><span style="color: rgb(0, 0, 0);">ces subtly inferred, whether through pedestrians' limbs barely em</span></span></span><span><span style="color: rgb(255, 0, 0);"><span style="color: rgb(0, 0, 0);">erging from the shadows - a</span></span></span><span><span style="color: rgb(255, 0, 0);"><span style="color: rgb(0, 0, 0);"> single word <span style="font-style: italic;">"self"</span> labeling a streamline</span></span></span><span><span style="color: rgb(255, 0, 0);"><span style="color: rgb(0, 0, 0);">d</span></span></span><span><span style="color: rgb(255, 0, 0);"><span style="color: rgb(0, 0, 0);"> facade on a modernist building - or mannequ</span></span></span><span><span style="color: rgb(255, 0, 0);"><span style="color: rgb(0, 0, 0);">ins stacked in store </span></span></span><span><span style="color: rgb(255, 0, 0);"><span style="color: rgb(0, 0, 0);">window disarray. </span></span></span><span><span style="color: rgb(255, 0, 0);"><span style="color: rgb(0, 0, 0);">Lear is an interesting, complex photographer and the coolness</span></span></span><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgv3iTcVSjy3GV6dKMGAiA11MCyBWRoG7RGNnUKah5fDxxpLTn1hOeUTWpZ6arWQ6PU5B4Jk6QW0shsEm4RS526lQ-eEITvJGh7oNGnTSAqPqkxqawUno8J4q7VF9HA0zzUeQ7wKCw_oOza/s1600/Morad+L+and+Family+al+Aroub+refugee+camp+Palestine+Sept+23+2007+Photograph+by+Wend+Lear.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 132px; height: 200px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgv3iTcVSjy3GV6dKMGAiA11MCyBWRoG7RGNnUKah5fDxxpLTn1hOeUTWpZ6arWQ6PU5B4Jk6QW0shsEm4RS526lQ-eEITvJGh7oNGnTSAqPqkxqawUno8J4q7VF9HA0zzUeQ7wKCw_oOza/s200/Morad+L+and+Family+al+Aroub+refugee+camp+Palestine+Sept+23+2007+Photograph+by+Wend+Lear.jpg" alt="" id="BLOGGER_PHOTO_ID_5505974151866056802" border="0" /></a><span><span style="color: rgb(255, 0, 0);"><span style="color: rgb(0, 0, 0);"> displayed in this </span></span></span><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3TlntZhuGQg9h0LLDvihf6zCZo4k3VM4_aEA0tmMv8Qw0qpt_rltUfdEXouK50bh3JQoSyALGOrh9jNha5vhy-4sw3OthNY1SxuskgXI3YHlKbv6f2pXtz_DsQcR0UbXyhuG1-pyQr9LV/s1600/Photograph+by+Wend+Lear+WLP_7348editdav.jpg"><img style="float: right; margin: 0pt 0pt 10px 10px; cursor: pointer; width: 200px; height: 200px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3TlntZhuGQg9h0LLDvihf6zCZo4k3VM4_aEA0tmMv8Qw0qpt_rltUfdEXouK50bh3JQoSyALGOrh9jNha5vhy-4sw3OthNY1SxuskgXI3YHlKbv6f2pXtz_DsQcR0UbXyhuG1-pyQr9LV/s200/Photograph+by+Wend+Lear+WLP_7348editdav.jpg" alt="" id="BLOGGER_PHOTO_ID_5505961563834554226" border="0" /></a><span><span style="color: rgb(255, 0, 0);"><span style="color: rgb(0, 0, 0);">exhibition was vividly co</span></span></span><span><span style="color: rgb(255, 0, 0);"><span style="color: rgb(0, 0, 0);">ntradicted by a catalog</span></span></span><span><span style="color: rgb(255, 0, 0);"><span style="color: rgb(0, 0, 0);">ue she showed me of photographs mad</span></span></span><span><span style="color: rgb(255, 0, 0);"><span style="color: rgb(0, 0, 0);">e o</span></span></span><span><span style="color: rgb(255, 0, 0);"><span style="color: rgb(0, 0, 0);">n self-assignment to Palestine in 2007 <span style="font-style: italic;">(</span></span></span></span><span><span style="color: rgb(255, 0, 0);"><span style="color: rgb(0, 0, 0);"><span style="font-style: italic;">pic</span></span></span></span><span><span style="color: rgb(255, 0, 0);"><span style="color: rgb(0, 0, 0);"><span style="font-style: italic;">tured, left).</span> Here, Lear</span></span></span><span><span style="color: rgb(255, 0, 0);"><span style="color: rgb(0, 0, 0);">'s streets (and interior environments) were vividly rendered though the tragic,</span></span></span><span><span style="color: rgb(255, 0, 0);"><span style="color: rgb(0, 0, 0);"> fractured prism of the Middle East. After looking throug</span></span></span><span><span style="color: rgb(255, 0, 0);"><span style="color: rgb(0, 0, 0);">h these colour i</span></span></span><span><span style="color: rgb(255, 0, 0);"><span style="color: rgb(0, 0, 0);">mages, Lear's phot</span></span></span><span><span style="color: rgb(255, 0, 0);"><span style="color: rgb(0, 0, 0);">ographs at the Hill Smith</span></span></span><span style="font-weight: bold;"><span style="color: rgb(255, 0, 0);"> </span></span><span><span style="color: rgb(255, 0, 0);"><span style="color: rgb(0, 0, 0);">Gallery seem to take on a positively therapeuti</span></span></span><span><span style="color: rgb(255, 0, 0);"><span style="color: rgb(0, 0, 0);">c, meditative nature - </span></span></span><span><span style="color: rgb(255, 0, 0);"><span style="color: rgb(0, 0, 0);">for both their author </span></span></span><span><span style="color: rgb(255, 0, 0);"><span style="color: rgb(0, 0, 0);">and this</span></span></span><span><span style="color: rgb(255, 0, 0);"><span style="color: rgb(0, 0, 0);"> late arriving gallery visitor.</span></span></span><span style="font-weight: bold;"><span style="color: rgb(255, 0, 0);"><br /><span style="color: rgb(0, 0, 0);"><span style="color: rgb(51, 51, 51);">THE OCCASIONAL IMAGE</span><br /></span></span></span><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguf1ncN1lsv084xHpoBmZQ9Pz0n9HgF4KnPivPhgX6ey-sEfz9p3uu7oo4qWd6DeOhIzlcyyc0mJgitTyEpm4P_p2DeYY0COPsqHy3PlybUT3AqhZCdYpgurGIcgEpPpTfF6rCirtX5LIS/s1600/Lake+Mungo+40+Copyright+Photograph+by+Phil+Klaunzer.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 400px; height: 341px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguf1ncN1lsv084xHpoBmZQ9Pz0n9HgF4KnPivPhgX6ey-sEfz9p3uu7oo4qWd6DeOhIzlcyyc0mJgitTyEpm4P_p2DeYY0COPsqHy3PlybUT3AqhZCdYpgurGIcgEpPpTfF6rCirtX5LIS/s400/Lake+Mungo+40+Copyright+Photograph+by+Phil+Klaunzer.jpg" alt="" id="BLOGGER_PHOTO_ID_5507039556519772642" border="0" /></a><span><span style="color: rgb(255, 0, 0);"><span style="color: rgb(0, 0, 0);">Photographer <span style="font-weight: bold;">Phil Klaunzer</span> <a href="http://www.philipklaunzer.com/">www.philipklaunzer.com</a> has had an interesting way of seeing the Australian landscape for some time; I recall reviewing for the Sydney Morning Herald a series of his evocative landscapes celebrating a sense of place, <span style="font-weight: bold;">Spirit of Place</span>, at the Addison Road Art Gallery, in Marrickville, Sydney. While this blog is mainly dedicated to exhibitions and photographic issues, I intend to periodically show photographers' works in progress, such as these intense landscapes by Klaunzer, taken on a rec</span></span></span><span><span style="color: rgb(255, 0, 0);"><span style="color: rgb(0, 0, 0);">ent odyssey to Lake Mungo which, the photographer tells me, is 1000 kms west of Sydney and roughly 110 kms from Mildura.<span style="font-weight: bold;"> </span><span style="font-style: italic;">"I've been interes</span></span></span></span><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFwJ6yOzFRKdmjY5RihpeMFG0saeoM9wKH0sdE56MeI9DlKZbTMYLEx61Kokm0uHk4sblX6v1eM-8ByVQ5UZ4FKFmA1xj95lE5HvcX4-Kr3Msr4X91xFNbuzYrUg2-oaaeRTUlJUrCW2gt/s1600/Lake+Mungo+29+Copyright+Photograph+by+Phil+Klaunzer.jpg"><img style="float: right; margin: 0pt 0pt 10px 10px; cursor: pointer; width: 214px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFwJ6yOzFRKdmjY5RihpeMFG0saeoM9wKH0sdE56MeI9DlKZbTMYLEx61Kokm0uHk4sblX6v1eM-8ByVQ5UZ4FKFmA1xj95lE5HvcX4-Kr3Msr4X91xFNbuzYrUg2-oaaeRTUlJUrCW2gt/s320/Lake+Mungo+29+Copyright+Photograph+by+Phil+Klaunzer.jpg" alt="" id="BLOGGER_PHOTO_ID_5507053684585297858" border="0" /></a><span><span style="color: rgb(255, 0, 0);"><span style="color: rgb(0, 0, 0);"><span style="font-style: italic;">ted in the place for many years." </span><span>says K</span></span></span></span><span><span style="color: rgb(255, 0, 0);"><span style="color: rgb(0, 0, 0);"><span>launzer.</span><span style="font-style: italic;"> "It's the oldest site of ritual cremation(s) anywhere in the world and is widely recognized as having been continuously occupied by Aboriginal people for over 50,000 years. I am (also) interested in the passage of </span></span></span></span><span><span style="color: rgb(255, 0, 0);"><span style="color: rgb(0, 0, 0);"><span style="font-style: italic;">time for humans on the planet. It is such a strange landscape that as a photographer I'm drawn to it. The earliest ice age human footprint is literally there."</span> Klaunzer photographed this suitably planetary landscape digitally, originally in colour, (except for the star-trail image, above) but decided to convert his digital colour images to black and white.</span></span></span><span style="font-weight: bold;"><span style="color: rgb(255, 0, 0);"><span style="color: rgb(0, 0, 0);"> </span></span></span><span><span style="color: rgb(255, 0, 0);"><span style="color: rgb(0, 0, 0);"><span style="font-style: italic;">"I thought it was more in keeping with the graphic nature of the landscape itself - more pure,"</span> says Klaunzer, adding, <span style="font-style: italic;">"I used SILVEREFEX software </span><a href="http://www.niksoftware.com/silverefexpro/usa/entry.php">http://www.niksoftware.com/silverefexpro/usa/entry.php</a> <span style="font-style: italic;">which is brilliant and can replicate a filmic 'feel'. I am doing print tests at the moment. I did a cou</span></span></span></span><span><span style="color: rgb(255, 0, 0);"><span style="color: rgb(0, 0, 0);"><span style="font-style: italic;">ple of tests on a metallic paper and it kind of really suited ... " </span>More later on this intriguing project. <span style="font-style: italic;"> </span></span></span></span><span style="font-weight: bold;"><span style="color: rgb(255, 0, 0);"><span style="color: rgb(0, 0, 0);"><br />Gary Cockburn - Taking Coals to Newcastle<br /></span></span></span><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjs3VodNoL7y6HRruZf0UEjlRmc9co6BvPopPaMtR97C2npxgIvF69BwKgO7nYMkioTdkSeROOcZBSF-I3U7xcOvMDA7usc2x05pBNHKnTvThq7tR_9Nwc2k9uUwC6yOPfNeXXQBAResNZF/s1600/FringeShots05+woman+looking+upwards+Photograph+by+Gary+Cockburn.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 400px; height: 266px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjs3VodNoL7y6HRruZf0UEjlRmc9co6BvPopPaMtR97C2npxgIvF69BwKgO7nYMkioTdkSeROOcZBSF-I3U7xcOvMDA7usc2x05pBNHKnTvThq7tR_9Nwc2k9uUwC6yOPfNeXXQBAResNZF/s400/FringeShots05+woman+looking+upwards+Photograph+by+Gary+Cockburn.jpg" alt="" id="BLOGGER_PHOTO_ID_5505967647019284018" border="0" /></a><span><span style="color: rgb(255, 0, 0);"><span style="color: rgb(0, 0, 0);">An</span></span></span><span><span style="color: rgb(255, 0, 0);"><span style="color: rgb(0, 0, 0);">other t</span></span></span><span><span style="color: rgb(255, 0, 0);"><span style="color: rgb(0, 0, 0);">alented Adelaide photographer is making waves, this time in another country, exhibiting his dist</span></span></span><span><span style="color: rgb(255, 0, 0);"><span style="color: rgb(0, 0, 0);">inctiv</span></span></span><span><span style="color: rgb(255, 0, 0);"><span style="color: rgb(0, 0, 0);">ely stylized colour images of the Adelaide Fringe <span style="font-style: italic;">(pictured, above)</span> to the home of such inclusive festivals - the <span style="font-weight: bold;">Edinburg</span></span></span></span><span><span style="color: rgb(255, 0, 0);"><span style="color: rgb(0, 0, 0);"><span style="font-weight: bold;">h Fringe</span>.</span></span></span><span><span style="color: rgb(255, 0, 0);"><span style="color: rgb(0, 0, 0);">There is a serious feeling</span></span></span><span><span style="color: rgb(255, 0, 0);"><span style="color: rgb(0, 0, 0);"> of strangeness in Cockburn's </span></span></span><span><span style="color: rgb(255, 0, 0);"><span style="color: rgb(0, 0, 0);">pictures, but achieved without any o</span></span></span><span><span style="color: rgb(255, 0, 0);"><span style="color: rgb(0, 0, 0);">bviously mannered trickery. Thi</span></span></span><span><span style="color: rgb(255, 0, 0);"><span style="color: rgb(0, 0, 0);">s </span></span></span><span><span style="color: rgb(255, 0, 0);"><span style="color: rgb(0, 0, 0);">photographer instead relies on subtle timing and a visual </span></span></span><span><span style="color: rgb(255, 0, 0);"><span style="color: rgb(0, 0, 0);">signature that is both entertaining but at the same time true to the </span></span></span><span><span style="color: rgb(255, 0, 0);"><span style="color: rgb(0, 0, 0);">scene before his lens. No mean feat.</span></span></span><span style="font-weight: bold;"><span style="color: rgb(255, 0, 0);"> </span></span><span><span style="color: rgb(255, 0, 0);"><span style="color: rgb(0, 0, 0);">In a note from Edinburgh, Cockburn detailed the interest (and frust</span></span></span><span><span style="color: rgb(255, 0, 0);"><span style="color: rgb(0, 0, 0);">rations) he has had in displaying his work in Britain, further.</span> <span style="font-style: italic; color: rgb(0, 0, 0);">(pictured, left)</span> </span></span><span style="font-style: italic;">"Met the Australian Deputy High Com</span><span style="font-style: italic;">missioner at l</span><span style="font-style: italic;">unchtime, and managed to </span><span style="font-style: italic;">show </span><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJKuC3C6Hl4n9kpjyWjtGMoL99o0g1xWCUmkZwZlxR85zsh01bQn1-7s_w9YwFXBGHrY6STJrHLaIRTZqsltdgXntuX2oXO8shXm9ImfKZcvFujZO3K3F4S6ub26CSH7YwxDkin9_A3oxl/s1600/Exhibition+by+Gary+Cockburn.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 320px; height: 213px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJKuC3C6Hl4n9kpjyWjtGMoL99o0g1xWCUmkZwZlxR85zsh01bQn1-7s_w9YwFXBGHrY6STJrHLaIRTZqsltdgXntuX2oXO8shXm9ImfKZcvFujZO3K3F4S6ub26CSH7YwxDkin9_A3oxl/s320/Exhibition+by+Gary+Cockburn.jpg" alt="" id="BLOGGER_PHOTO_ID_5505971446853695298" border="0" /></a><span style="font-style: italic;">hi</span><span style="font-style: italic;">m some of the work (on my mobile again – </span><span style="font-style: italic;">it's one of the new Apple iPhones and has a truly incredible s</span><span style="font-style: italic;">creen). Think he'd seen about ten s</span><span style="font-style: italic;">hots or so before he was talking about the idea of exhibiting them at Australia House. Unfortunately one of his assistants was nearly as quick to point out that it wouldn't work. They</span><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7u5MclK9KXMSFkhSRoRi9-3xf8CENqg0whZSBvCu3nMbRsTYNgSNf3o0yGVKfu04UMemfmOaqRjZXlxPrUWTpxTpRKHkvwTkosixWLlCfUElpVCOBz_J6aNEJ85P5tL6y5O2r-GEZjotI/s1600/IntoTheFringe01+Photograph+by+Gary+Cockburn.jpg"><img style="float: right; margin: 0pt 0pt 10px 10px; cursor: pointer; width: 320px; height: 213px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7u5MclK9KXMSFkhSRoRi9-3xf8CENqg0whZSBvCu3nMbRsTYNgSNf3o0yGVKfu04UMemfmOaqRjZXlxPrUWTpxTpRKHkvwTkosixWLlCfUElpVCOBz_J6aNEJ85P5tL6y5O2r-GEZjotI/s320/IntoTheFringe01+Photograph+by+Gary+Cockburn.jpg" alt="" id="BLOGGER_PHOTO_ID_5507035980815452242" border="0" /></a><span style="font-style: italic;"> onl</span><span style="font-style: italic;">y have one </span><span style="font-style: italic;">room that's suitable, and that's only if they spend £20k on temporary wa</span><span style="font-style: italic;">lls (since the building is heritage listed) to allow a hangin</span><span style="font-style: italic;">g system to be installed. There's also the problem of the room in question being inside their security cordon.</span>" Travellers to Scotland can see this exhibition of Cockburn's photographs at <span style="font-weight: bold;">Into The Fringe,</span> "C" venues, Chambers Street, Edinburgh, Scotland, U.K and this link <a href="http://www.edfringe.com/whats-on/exhibition/into-the-fringe">http://www.edfringe.com/whats-on/exhibition/into-the-fringe</a>. - <span style="font-style: italic;">until August 30</span><br /><span style="font-weight: bold;"><span style="color: rgb(255, 0, 0);">LATE NEWS:</span> Dean Sewell - now on a hat-trick </span><span style="font-weight: bold;">with the </span><span style="font-weight: bold;">Moran Photographic Prize<br /></span><span>For the second year ru</span><span>nning, Sydney photojournalist <span style="font-weight: bold;">Dean Sewell </span>has won the $80,000 Open Se</span><span>ction of the <span style="font-weight: bold;">Moran Contemporary Photographic Prize</span>, </span><span>with a typically candid observation, <span style="font-style: italic;">(</span><span style="font-style: italic;">pictured</span><span style="font-style: italic;">, below)</span> capturing a traditional Sydney mo</span><span>ment - the atmosphere inside the Cockatoo Island ferry. Sewell has made a career of photographing Australian life above and below ground - from the perilous lives lived by the Cave Clan, who explore the maze of tunnels beneath </span><span>Sydney - to more recent observations of the rivers of Australia within th</span><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdiRpPmEUe76bZ-ENGF5w0gRyzwcqSHygsgWxi7wX2KxeFCnyU9jyBsF_fAd5L4xHJdTXsmi09UauKMDwQE7ai-PjxQu6NNoZzXVFqLb11l59xh3oOa-YDFBugQDj9U3x4Tj6ACET57pWs/s1600/Dean+Sewell+Cockatoo+Island+Ferry.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 400px; height: 272px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdiRpPmEUe76bZ-ENGF5w0gRyzwcqSHygsgWxi7wX2KxeFCnyU9jyBsF_fAd5L4xHJdTXsmi09UauKMDwQE7ai-PjxQu6NNoZzXVFqLb11l59xh3oOa-YDFBugQDj9U3x4Tj6ACET57pWs/s400/Dean+Sewell+Cockatoo+Island+Ferry.jpg" alt="" id="BLOGGER_PHOTO_ID_5503680724220202098" border="0" /></a><span>e Murra</span><span>y/Darling basin. Accomplished combat photojournalist and docum</span><span>entary film-maker </span><span><span style="font-weight: bold;">Stephen Dupont</span> <a href="http://stephendupont.squarespace.com/">http://stephendupont.squarespace.com/</a> who</span><span> judged the Mor</span><span>an Prize, said, <span style="font-style: italic;">"This year's Moran (P</span></span><span><span style="font-style: italic;">rize) judging was a visual rollercoaster ride through contemporary Australian landscape and society. Many ... entries were moving and surprising ... making the final selection ... unbelievably challenging ..."</span> Dupont then wen</span><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYNiQIgevMpqCM30qsDHk41KwJkLnbtwrVAbTALpnqNL2GVDcXfuaWNdTAWMwdqUmBcBqvQ4Mvd5q-1lC11T1GanTNnlEglgskJp65nzhO9zzQqVN2zCXjnA85XERaNGyxqoK0PChNTRYq/s1600/Moran+Patrick+Riley+portrait+of+Eleanor+Weare.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 200px; height: 134px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYNiQIgevMpqCM30qsDHk41KwJkLnbtwrVAbTALpnqNL2GVDcXfuaWNdTAWMwdqUmBcBqvQ4Mvd5q-1lC11T1GanTNnlEglgskJp65nzhO9zzQqVN2zCXjnA85XERaNGyxqoK0PChNTRYq/s200/Moran+Patrick+Riley+portrait+of+Eleanor+Weare.jpg" alt="" id="BLOGGER_PHOTO_ID_5503689268907102562" border="0" /></a><span>t on to praise the photographs entered by school students</span><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilN8DMBlwTEXqk6liYa-2H4iphv7_bsDVIt6cQI9pJ8eBRqYocP1iCAByEifp1PLdDweBoNYfIp_m_EP6KfH2FZ6Vysu3n_U-PG-87HozuZbo0eBJM9hsxYdqm6uAX8twHYsgrBw1TCbTG/s1600/Moran+Christine+Butcher+20+year+Drought+Yr+11+12.jpg"><img style="float: right; margin: 0pt 0pt 10px 10px; cursor: pointer; width: 162px; height: 200px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilN8DMBlwTEXqk6liYa-2H4iphv7_bsDVIt6cQI9pJ8eBRqYocP1iCAByEifp1PLdDweBoNYfIp_m_EP6KfH2FZ6Vysu3n_U-PG-87HozuZbo0eBJM9hsxYdqm6uAX8twHYsgrBw1TCbTG/s200/Moran+Christine+Butcher+20+year+Drought+Yr+11+12.jpg" alt="" id="BLOGGER_PHOTO_ID_5503687558849570754" border="0" /></a><span>, a unique feature of the Moran. <span style="font-style: italic;">"Many produced work of a high standard, fresh and inspiring</span></span><span><span style="font-style: italic;">. Not just simple pictures ... but moments of time, place and history."</span> CEO of Moran Arts Foundation, <span style="font-weight: bold;">Mark Moran</span> added, <span style="font-style: italic;">"amongst many artists and no</span></span><span><span style="font-style: italic;">w significantly, schools,the (Moran) Prizes are now considered a leading cultural event ... a million hits a month online at</span> <a href="http://www.moranprizes.com.au/">www.moranprizes.com.au</a> <span style="font-style: italic;">confirm how (our) Prize</span></span><span><span style="font-style: italic;">s and art are ... enga</span></span><span><span style="font-style: italic;">ged at a grass roots level in Australia."</span> I personally enjoyed the playfulness of some entra</span><span>nts, such as year 11/12 student <span style="font-weight: bold;">Christine Butcher's</span> digitally manipulated <span style="font-style: italic;">"20 year dr</span></span><span><span style="font-style: italic;">ought" (pictured, right)</span> and <span style="font-weight: bold;">Patrick Riley's</span> dead straight, emotionally engaging black and white portrait <span style="font-style: italic;">"Eleanor Weare"</span> <span style="font-style: italic;">(pictured, left)</span> Secondary </span><span>school awards went to: Year 7&8 <span style="font-weight: bold;">Lorren Chiodo</span>: $2,000 for <span style="font-style: italic;">"Falling"</span>. Year 9&10 <span style="font-weight: bold;">Tamara Schier</span>: $2,000 for <span style="font-style: italic;">"Innocent Killers"</span>. Year 11&12 <span style="font-weight: bold;">Annie Rose Armour</span>: </span><span>$5,000 </span><span>for <span style="font-style: italic;">"Brother"</span>. An equal amount to each </span><span>student's </span><span>prize was awarded by the <span style="font-weight: bold;">Moran Art Foundation</span> to their respective schools, to assist in purchasing photographic equipment. The Moran Prizes a</span><span>re on exhibition at the N.S.W. State Library until September 5 before touring nationally.<br /><span style="font-weight: bold;">Trent Parke - on exhibition in Adelaide at Hug</span></span><span><span style="font-weight: bold;">o Michell Gallery</span><br /></span><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEheqk_jQ391sl8Ge9h0_RH6oX0VWwQTdpF8CKMMtvRygSjAwnitTmQSVUIO6DmzjK47GmGutLCZwHK-CWrwCXAram0qBfHLjKJ3y1ei6EayoKpsIoszAJKeBUdquFlCcHIMX67p5N7szY6k/s1600/%C2%A9Trent+Parke+Magnum+Flying+Foxes+at+Mataranka+2003+from+Minutes+to+Midnight.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 400px; height: 267px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEheqk_jQ391sl8Ge9h0_RH6oX0VWwQTdpF8CKMMtvRygSjAwnitTmQSVUIO6DmzjK47GmGutLCZwHK-CWrwCXAram0qBfHLjKJ3y1ei6EayoKpsIoszAJKeBUdquFlCcHIMX67p5N7szY6k/s400/%C2%A9Trent+Parke+Magnum+Flying+Foxes+at+Mataranka+2003+from+Minutes+to+Midnight.jpg" alt="" id="BLOGGER_PHOTO_ID_5503703234283580018" border="0" /></a><span>In the middle of a</span><span>n incandescent career that has seen Trent Par</span><span>ke become the</span><span> first Australian photographer to join the legendary photo-agency <span style="font-weight: bold;">Magnum Photos</span>, <a href="http://blog.magnumphotos.com/">http://blog.magnumphotos.com/</a> the thirty nine year old Australian has, with his wife Narelle Autio and their children, recently chosen to live, work and exhib</span><span>i</span><span>t in Adelaide, currently showing a mixture of old and new work at </span><span>Hugo Michell</span><span>'s stylish Beulah Park gallery. <a href="http://hugomichellgallery.com/">http://hugomichellgallery.com/</a>Park</span><span>e, with </span><span><span>Autio</span></span><span>, his equally talented partner in life and art, seem to have discovered what <span style="font-weight: bold;">John Lennon</span> suggested</span><span> several</span><span> decades ago: <span style="font-style: italic;">"Think globally... act locally"</span>. Speaking briefly with Parke <span style="font-style: italic;">(pictured, right)</span> at the exhibition's opening, he described being courted by perhaps the world's premier photographic book publisher, <span style="font-weight: bold;">Steidl</span> <a href="http://www.steidlville.com/books/">http://www.steidlville.com/bo</a></span><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPMCAabvYbfM33XCOr7386j-t8q46OkUmDodOkKsdbZPv1acboTz0wqD-rRcjU_o6203DUFDBk5jlqiVGXsTZAqW25_eQoBADtjpV_xkYNip5YLbxL4_nhCnLkppw4hIsgzlR6l-mNA9rq/s1600/Portrait+of+Trent+Parke+at+Hugo+Michell+Gallery+SDC15180.jpg"><img style="float: right; margin: 0pt 0pt 10px 10px; cursor: pointer; width: 320px; height: 214px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPMCAabvYbfM33XCOr7386j-t8q46OkUmDodOkKsdbZPv1acboTz0wqD-rRcjU_o6203DUFDBk5jlqiVGXsTZAqW25_eQoBADtjpV_xkYNip5YLbxL4_nhCnLkppw4hIsgzlR6l-mNA9rq/s320/Portrait+of+Trent+Parke+at+Hugo+Michell+Gallery+SDC15180.jpg" alt="" id="BLOGGER_PHOTO_ID_5506192665796910962" border="0" /></a><span><a href="http://www.steidlville.com/books/">oks/</a> run by its passionate, startlingly decisive <span>founder</span><span style="font-weight: bold;"> Gerhard Steidl</span>. </span><span>Typically, Parke's attitude </span><span>was equally fearless, considering he was on the verge of signing a book deal with another well known publisher - a highly desirable goal, one might assume, until he heard Steidl wanted to meet. (word is clearly out on</span><span> Parke's talent) <span style="font-style: italic;">"After Magnum’s annual general meeting in New York in June this year, I flew straight to Germany to see Gerhard. He had already made the decision to publish <span style="font-weight: bold;">Christmas Tree Bucket</span> and <span style="font-weight: bold;">Minutes To Midnight</span>, and together we laid out both books in three days. His next question w</span></span><span><span style="font-style: italic;">as only: 'What paper do you want for Minutes To Midnight?' I looked at a paper stock that was almost like heavy, traditional (fibre-based) silver paper, and he simply said 'fine'.”</span> Parke's pictures at Hugo Michell Gallery range from l</span><span>arge, al</span><span>most floor to ceiling black and white prints of photographs taken during he and Autio's 2003 odyssey around Australia, to slightly smaller colour prints of later work <span style="font-style: italic;">(pictured, below)</span> with a selection of newer black and white pictures displayed in a smaller, adjoining space along with several of partner Autio's magical undersea observations. Looking at Parke's pictures again, after some time, I was again struck by how </span><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiglaCzG21KK9BWX0RQySTyGKppsNDBVLKHEjJACk-FLr-RkcVgwHLbfuLc5hGiPnLn3KCd_ySYyxyv2LZDnVu4xpuFGfp2rRxbKhuXZuZPcP4dlHgwnBQ_Ym_6yeydOtoUe0Xcjyoikm-d/s1600/Today+Cold+water,+George+St+Sydney,+2005+from+series+Coming+Soon+%C2%A9trent+parke+magnum+photos+02+%282%29.jpg"><img style="float: right; margin: 0pt 0pt 10px 10px; cursor: pointer; width: 320px; height: 256px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiglaCzG21KK9BWX0RQySTyGKppsNDBVLKHEjJACk-FLr-RkcVgwHLbfuLc5hGiPnLn3KCd_ySYyxyv2LZDnVu4xpuFGfp2rRxbKhuXZuZPcP4dlHgwnBQ_Ym_6yeydOtoUe0Xcjyoikm-d/s320/Today+Cold+water,+George+St+Sydney,+2005+from+series+Coming+Soon+%C2%A9trent+parke+magnum+photos+02+%282%29.jpg" alt="" id="BLOGGER_PHOTO_ID_5503703902264664114" border="0" /></a><span>quickly the viewer passes the borders of each image </span><span>to be forcefully - even urgently - confronted by this gifted artist's celebration of the phenomenal hidden within the ordinary. The 2005 moment observed as a young woman pauses before crossing George Street, Sydney suggested something </span><span>much older to me - the way street scenes since Po</span><span>mpeii have defined our lives through the significance of seemingly trivial details - such as in this picture of a sign simply saying <span style="font-style: italic;">"Today Coldwater $1.50"</span> or visible evidence of the wind that ruffles the woman's skirt. And an astonishing, aerobatic flight of flying foxes filling the skies above the remote Northern Territory community of Matara</span><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjt8nHpvYR8Rgg-kS8kK50T7xkcLGPjtPjGC0-ruXAlS9IHMFtI5y2iYHf8xjtauCGIOG-eKY4WODjj2SosjnpQLPzyy3ZEIZ4qCWnQ-E1OpLr_83h-lhMEdS5jRq1RSdqCfdg02irMgvJN/s1600/Trent+Parke+exhibition+at+Hugo+Michell+Gallery+SDC15160.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 200px; height: 134px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjt8nHpvYR8Rgg-kS8kK50T7xkcLGPjtPjGC0-ruXAlS9IHMFtI5y2iYHf8xjtauCGIOG-eKY4WODjj2SosjnpQLPzyy3ZEIZ4qCWnQ-E1OpLr_83h-lhMEdS5jRq1RSdqCfdg02irMgvJN/s200/Trent+Parke+exhibition+at+Hugo+Michell+Gallery+SDC15160.jpg" alt="" id="BLOGGER_PHOTO_ID_5503709220496190562" border="0" /></a><span>nka <span style="font-style: italic;">(pictured above)</span> recalls nothing less than a sci-fi moment of soaring, predatory alien paratroopers. Nearby we get to share Parke's amazement at the savage face of a feral pig-hunter's dog, <span style="font-weight: bold;">Conan</span>, <span style="font-style: italic;">(pictured, left)</span> or a small boy's helpless seduction by a tiny glowing television screen, glimpsed by Parke in an anonymous caravan park. Parke seems effortlessly drawn tow</span><span>ards such archetypal, sometimes untidy moments, which, like his nearby black and white print of a careering white horse photographed at dusk, are now stubbornly lodged in our memory. <span style="font-style: italic;">Until August 28.</span></span><span style="font-weight: bold;"><br />IMAGE/TECH<br /></span><span style="font-weight: bold;"><span style="font-weight: bold;">Canon Australia announce two new smart, Pixma wireless printers</span><br /></span><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQ8XGS99sqC13cDKur8vjI7nX4IJpdh78XS09IahKjnk8PMAws9aQCOOa4v0UdrDdxr_lu9etgnRCbf1Jna3Bw6EGZeegeAaii-P7n2S6VvUcixrYexrvJdfNbztioOJEngyKVCbCMqKnp/s1600/PIXMA_MG8150_small.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 400px; height: 294px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQ8XGS99sqC13cDKur8vjI7nX4IJpdh78XS09IahKjnk8PMAws9aQCOOa4v0UdrDdxr_lu9etgnRCbf1Jna3Bw6EGZeegeAaii-P7n2S6VvUcixrYexrvJdfNbztioOJEngyKVCbCMqKnp/s400/PIXMA_MG8150_small.jpg" alt="" id="BLOGGER_PHOTO_ID_5506258417050593298" border="0" /></a><span><span style="font-weight: bold;">Canon</span> <a href="http://www.canon.com.au/">www.canon.com.au</a> have responded to the need to print wirelessly, PC free, from the new generation of <span>smartphones</span> by introducing two elegantly designed WiFi printers, the <span style="font-weight: bold;">Pixma MG6150</span> and the top of the line <span style="font-weight: bold;">Pixma MG8150</span> <span style="font-style: italic;">(pictured, above)</span></span><span style="line-height: 150%;font-family:";font-size:10pt;" > </span><span>each featuring an arsenal of useful features: <span style="font-weight: bold;">Easy PhotoPrint</span> for wireless printing from Apple iPhone and iPod,<span style="font-style: italic;"> </span></span><span>durable <span style="font-weight: bold;">Chromalife 100+</span> inks (print permanence is a given these days) and a user friendly interface Canon call their <span style="font-weight: bold;">Intelligent Touch System</span>. There is also a new feature which responds to another recent, popular technology - HD video. Both printers offer what Canon calls <span style="font-weight: bold;">full HD Movie Print</span> in which it is possible to print out individual frames from HD movies. I suspect there must be some enhancement involved in this mode, but it is an interesting response to the convergence </span><span>now occurring</span><span> between digital still and HD video cameras. Two other features also caught my eye. Both printers have six inks and Canon technologies such as Wireless LAN - print/scanning from anywhere at home. Their</span><span style=";font-family:";" lang="EN-AU"> </span><span>9600x2400 dpi printing also has dedicated black and grey inks to produce quality grayscale B&W prints as well as colour - creating, according to <span style="font-weight: bold;">Beryl Thomas</span>, Canon's brand manager, <span style="font-style: italic;">"a 4x6 inch borderless photo of superb quality in approximately 20 seconds." </span>The other feature that will undoubtedly prove useful is the Pixma MG8150's ability to scan film transparencies and negatives. Their specifications, just supplied, promise a remarkable </span><span style="color: rgb(31, 73, 125);"><span style="color: rgb(0, 0, 0);">0ptical resolution of 4800 x 4800 dpi and <span style="font-weight: bold;">negative and transparency scanning at 4800 x 9600 dpi</span></span>.</span><span> The world's photographers may have gone digital but Canon's experience building excellent scanners for film (and prints) suggests they have not forgotten traditional photography's origins and the ongoing need photographers have to digitize their film archives. Both Pixma printers are available in October 2010 with RRP's to be announced.</span><br /><span style="font-weight: bold;">Copyright</span> <span style="font-weight: bold;">Robert McFarlane</span> <a href="http://www.robertmcfarlanephotos.com/">www.robertmcfarlanephotos.com</a> <span style="font-weight: bold;">2010</span><br /><br /><span style="font-weight: bold;">Alfred Stieglitz - a complex photographic legacy - on show at AGNSW </span><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixomL1MJ8MPb2oHiyaREWnbpfP1mAbGK32YPXWaiIETDqj3C6BXu-yCE_1yw6rYaJIv9VDM8oDo7tdjlD4NdwO1ZzK_8BJAK0JxIy6mCFQBFaDpJYKQ7pJDnOmFLEH_EUqTAXqxVfD3kNB/s1600/From+An+American+Place+south+west+1931+by+Alfred+Stieglitz.jpg"><img style="margin: 0pt 0pt 10px 10px; float: right; cursor: pointer; width: 200px; height: 157px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixomL1MJ8MPb2oHiyaREWnbpfP1mAbGK32YPXWaiIETDqj3C6BXu-yCE_1yw6rYaJIv9VDM8oDo7tdjlD4NdwO1ZzK_8BJAK0JxIy6mCFQBFaDpJYKQ7pJDnOmFLEH_EUqTAXqxVfD3kNB/s200/From+An+American+Place+south+west+1931+by+Alfred+Stieglitz.jpg" alt="" id="BLOGGER_PHOTO_ID_5493335274421603394" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEYUjXr5aUMaeHdB3FCdjwk8c05X9DRFA1EOyy8fd32vb8X7cLTtEv3p97wX9bNZRO4z3X2he8c0D8BTQ8h3lXrLDsONVTZAuxDRTA9bsTNB7kq6tGW3hqxqaZP-4V1KR2GLt5cSJK9371/s1600/Georgia+O%27Keefe+1920+by+Alfred+Stieglitz.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 271px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEYUjXr5aUMaeHdB3FCdjwk8c05X9DRFA1EOyy8fd32vb8X7cLTtEv3p97wX9bNZRO4z3X2he8c0D8BTQ8h3lXrLDsONVTZAuxDRTA9bsTNB7kq6tGW3hqxqaZP-4V1KR2GLt5cSJK9371/s320/Georgia+O%27Keefe+1920+by+Alfred+Stieglitz.jpg" alt="" id="BLOGGER_PHOTO_ID_5493255109370337906" border="0" /></a><span><span style="font-weight: bold;">A</span>lfred Stieglitz</span> (1864-1946) lived at the pivot of the modern age in American and world art. It is difficult to think of his photographs today without sensing the thrust of modern energy then pulsing through early 20th century America - a society brimming with technological confidence. <span style="font-style: italic;">(pictured, right, From An American Place, southwest 1931)</span> His role in bringing the word <span style="font-style: italic;">"modern"</span> into conjunction with American art was crucial. Stieglitz, through <span style="font-weight: bold;">291, </span>the gallery he founded, was the first, between 1908-1914, to exhibit <span style="font-weight: bold;">Matisse, Picasso, Cezanne</span> and that streamlined, peerless example of Modernism, <span style="font-weight: bold;">Brancusi</span>, in America. Stieglitz also, as <span style="font-weight: bold;">Sarah Greenough</span> writes eloquently in her catalogue essay, <span style="font-style: italic;">"wan</span><span style="font-style: italic;">ted nothing less than to place what he termed 't</span><span style="font-style: italic;">he idea of photography' at the heart of</span><span style="font-style: italic;"> the evolving discourse </span><span style="font-style: italic;">of modern art." </span>This generous exhibition at the Art Gallery of NSW documents his evolution from early diffuse Pictorialist images to what Greenough notes <a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEik1oytUFSLWauv1hGG0_7Y61Dz-JaB2j-CseFk_nDVKVvifoRp7kc_KtPxImE7KFzOuLghCzKcR3Q4pojjYV6H0k2mA2Lvjl7KZ8CZ7qNmjLLeBDdFXKwORM6PNMT2rxWPlNtHppNv8TFL/s1600/City+of+Ambition+1910+Photograph+by+Alfred+Stieglitz.jpg"><img style="margin: 0pt 0pt 10px 10px; float: right; cursor: pointer; width: 160px; height: 200px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEik1oytUFSLWauv1hGG0_7Y61Dz-JaB2j-CseFk_nDVKVvifoRp7kc_KtPxImE7KFzOuLghCzKcR3Q4pojjYV6H0k2mA2Lvjl7KZ8CZ7qNmjLLeBDdFXKwORM6PNMT2rxWPlNtHppNv8TFL/s200/City+of+Ambition+1910+Photograph+by+Alfred+Stieglitz.jpg" alt="" id="BLOGGER_PHOTO_ID_5493256187576583842" border="0" /></a>a colleague of Stieglitz (later) recognizing as <span style="font-style: italic;">"th</span><span style="font-style: italic;">e straightest kind of straight photography; giving us as its best, the results of the honest photographer ... who loves [photog</span><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4J_7jN-JZ1qspouYOIg-Xo73k5Hd5oBgep_JuQ1TP0kTT1xjLg2Ve1iBC-iDGdBez5HTklIDAVZFFdZQ_KLgFtDtPL0hburzuq8vmbi6RQvY5vO1yclyR7F_eIAJPdtRPw-ABGMuBwCZI/s1600/Ellen+Koeniger+1916+by+Alfred+Stieglitz.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 166px; height: 200px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4J_7jN-JZ1qspouYOIg-Xo73k5Hd5oBgep_JuQ1TP0kTT1xjLg2Ve1iBC-iDGdBez5HTklIDAVZFFdZQ_KLgFtDtPL0hburzuq8vmbi6RQvY5vO1yclyR7F_eIAJPdtRPw-ABGMuBwCZI/s200/Ellen+Koeniger+1916+by+Alfred+Stieglitz.jpg" alt="" id="BLOGGER_PHOTO_ID_5493256592879930882" border="0" /></a><span style="font-style: italic;">raphy] too much to attempt </span><span style="font-style: italic;">any sugges</span><span style="font-style: italic;">tion</span><span style="font-style: italic;">s of another medium."</span> These two streams of Stieglitz's life would be enough to make this exhibition <span style="font-weight: bold;">"Alfre</span><span style="font-weight: bold;">d S</span><span style="font-weight: bold;">tieglitz - the Lake George Years" </span>the photography show of the year. But there is also the portraiture that this artistic pioneer produced - and of course his extraordinary photographs calibrating the life, and love, he shared with the woman who eventually became his second wife - the great U.S. painter <span style="font-weight: bold;">G</span><span style="font-weight: bold;">eorgia O'Kee</span><span style="font-weight: bold;">ffe</span> (1887-1986) Astonishingly candid, even now, with their fusion of carnality and domesticity, Stieglitz's pictures of O'Keeffe <span style="font-style: italic;">(p</span><span style="font-style: italic;">ictured, above left)</span> and technology <span style="font-style: italic;">(p</span><span style="font-style: italic;">ictured, right, Ford V-8 1935)</span> banished derivative Romanti<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj970BTEDF87n5ovuaJ53agWKgkXXhrS7ucwdHcaAFhbIlpMxzZiyU1Zg6d5n86meZ9bosJAWFGzrnZkJ2Hmsaz5ACFj6hNF6Vfd_0OdukvnybXIyUlHayg8UK0nieg3RhTlRlmhXNrzn2w/s1600/Ford+V-8+1935+by+Alfred+Stieglitz.jpg"><img style="margin: 0pt 0pt 10px 10px; float: right; cursor: pointer; width: 200px; height: 156px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj970BTEDF87n5ovuaJ53agWKgkXXhrS7ucwdHcaAFhbIlpMxzZiyU1Zg6d5n86meZ9bosJAWFGzrnZkJ2Hmsaz5ACFj6hNF6Vfd_0OdukvnybXIyUlHayg8UK0nieg3RhTlRlmhXNrzn2w/s200/Ford+V-8+1935+by+Alfred+Stieglitz.jpg" alt="" id="BLOGGER_PHOTO_ID_5493255440727252738" border="0" /></a>cism (and sentimentality) from American photography forever. <span>The</span><span> Lake George referred to in the AGNSW exhibition's title was a private family refuge, </span><span>familiar to </span><span>Stieglitz from early childhood, and to which he would later return, each year, until his death. </span><span>Photographs Stieglitz made at Lake George still provide lessons in seeing with the greatest simplicity and clarity. This photographer is also the only artist I can think of who could make a resonant, memorable photograph of a rainbow, in black and white.</span><span style="font-style: italic;"> Until Sep</span><span style="font-style: italic;">tember 5</span><br /><span style="font-weight: bold;">"Received Moments" reaches Broken Hill</span><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiS6MOpB-0D-oQOiFRgnnLpN6T1MaO-eA_BqbhhdFFMvkha5sdSD4RO20RGaYp68QAeYKYjXYqmkWGd-vivuBhs7xOjt1fhqwtuUCmkd3JkujCqf4FR4bNDyx4bHE6EosOEuSnBMSya9i7I/s1600/SDC14966.JPG"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 400px; height: 300px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiS6MOpB-0D-oQOiFRgnnLpN6T1MaO-eA_BqbhhdFFMvkha5sdSD4RO20RGaYp68QAeYKYjXYqmkWGd-vivuBhs7xOjt1fhqwtuUCmkd3JkujCqf4FR4bNDyx4bHE6EosOEuSnBMSya9i7I/s400/SDC14966.JPG" alt="" id="BLOGGER_PHOTO_ID_5493258274955359346" border="0" /></a><br />On Wednesday, <a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHmcxsfMoRk-6QAgFKyhiUmv-rl2Tl_CDqaIRKUgj7MoXcK5t5zAX8xqYnIUT7-scZ4UQqs-l3aUnjZUx1Hlk6isUohLNfnkTwdvwdAUKVuLisvKzLfwsoBSbCbIIhMxnDEKmbvs_EauQZ/s1600/Bruce+Tindale+Director+Broken+Hill+Regional+Gallery+Lumix+Leica+photograph+by+Michelle+Sexton.jpg"><img style="margin: 0pt 0pt 10px 10px; float: right; cursor: pointer; width: 200px; height: 150px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHmcxsfMoRk-6QAgFKyhiUmv-rl2Tl_CDqaIRKUgj7MoXcK5t5zAX8xqYnIUT7-scZ4UQqs-l3aUnjZUx1Hlk6isUohLNfnkTwdvwdAUKVuLisvKzLfwsoBSbCbIIhMxnDEKmbvs_EauQZ/s200/Bruce+Tindale+Director+Broken+Hill+Regional+Gallery+Lumix+Leica+photograph+by+Michelle+Sexton.jpg" alt="" id="BLOGGER_PHOTO_ID_5493327878344027906" border="0" /></a>July 8th, I travelled to Broken Hill to give a floor-talk for my retrospective exhibition <span style="font-weight: bold;">"Received Moments"</span> at the Broken Hill Regional Gallery, located in a spacious, redesigned 1882 hardware emporium (once named Sully's) in the mining city's historic Argent Street. Broken Hill, even now, still resonates with its mining past and having once photographed miners chipping away at a coalface miles beneath the Irish sea, I have nothing but respect and admiration for men who have made the decision to work beneath the earth. Gallery Director, <span style="font-weight: bold;">Bruc</span><span style="font-weight: bold;">e Tindale</span> <span style="font-style: italic;">(pictured, right, in Argent Street outside the Gallery)</span> also took a friend, Michelle Sexton (with her small child Lachlan, and I) to the Junction mine <span style="font-style: italic;">(pictured, above left)</span> and a more remote place to which I had always<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJGZ3x-sY0mFGzlCeZ8kjK-JdPgSbGsBGHA5QJAAIdrIfR98ouixS_lh1PpLies5uxHt2lqazgrLHPKdt5Xdqm9qC0VXcw7zbZCQ_qXV7lI-eKD38eyByAmEseCxvYgyZISQwhd1f1uyc7/s1600/Mutawintji+white+cockatoos+Lumix+Leica+Photograph+by+Michelle+Sexton+.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 200px; height: 150px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJGZ3x-sY0mFGzlCeZ8kjK-JdPgSbGsBGHA5QJAAIdrIfR98ouixS_lh1PpLies5uxHt2lqazgrLHPKdt5Xdqm9qC0VXcw7zbZCQ_qXV7lI-eKD38eyByAmEseCxvYgyZISQwhd1f1uyc7/s200/Mutawintji+white+cockatoos+Lumix+Leica+Photograph+by+Michelle+Sexton+.jpg" alt="" id="BLOGGER_PHOTO_ID_5493329902603242530" border="0" /></a> wanted to return - Mutawintji National Park. When I was shooting stills on <span style="font-weight: bold;">Gillian Armstrong's</span> 1992 film,<span style="font-weight: bold;"> "The Last Days of Chez Nous"</span> we had filmed outside Broken Hill, including once at a magical location in <a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNYuMMk-7OeALRwBfZzYa2SsOTFe9SiTNvIl6cBRUt7dsLXRkeOB7-VzPGKzW9ryBYLGFCxvpq-g06IboOpVgz6Vo8r3vt6gfVNIJ6GNC46-4p8b2touaZUpnCDUNXIyxFXwrpF1VQAIi2/s1600/SDC15001.JPG"><img style="margin: 0pt 0pt 10px 10px; float: right; cursor: pointer; width: 320px; height: 240px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNYuMMk-7OeALRwBfZzYa2SsOTFe9SiTNvIl6cBRUt7dsLXRkeOB7-VzPGKzW9ryBYLGFCxvpq-g06IboOpVgz6Vo8r3vt6gfVNIJ6GNC46-4p8b2touaZUpnCDUNXIyxFXwrpF1VQAIi2/s320/SDC15001.JPG" alt="" id="BLOGGER_PHOTO_ID_5493259204021657858" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6R3n-oT7qvHvrw9mCaZoBH-wd1RpgUYQZ8kKYM3tdiGmMO101qjlS6edZHUjFpG8-x01SP0hPVYL2dJDuvNdWwZoLG13m4FRvGQnggcAiS7TPWzeosFnwBE5AwtlfR_hGNdMHtvEA1Vl4/s1600/Mutawintji+landscape+Lumix+Leica+Photograph+by+Michelle+Sexton+.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 200px; height: 150px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6R3n-oT7qvHvrw9mCaZoBH-wd1RpgUYQZ8kKYM3tdiGmMO101qjlS6edZHUjFpG8-x01SP0hPVYL2dJDuvNdWwZoLG13m4FRvGQnggcAiS7TPWzeosFnwBE5AwtlfR_hGNdMHtvEA1Vl4/s200/Mutawintji+landscape+Lumix+Leica+Photograph+by+Michelle+Sexton+.jpg" alt="" id="BLOGGER_PHOTO_ID_5493329175543325474" border="0" /></a><span>Mu</span><span>tawintji</span>, <span style="font-style: italic;">(pictured, left) </span><span>after being</span><span style="font-style: italic;"> </span>guided there by an eloquent local indigenous man, <span style="font-weight: bold;">Badger Bates</span>. Regrettably Badger was away in Sydney, sitting on a panel at Sydney's MCA art gallery. But the timeless Mutawintji was still there, with its quiet, dry creek beds <span style="font-style: italic;">(pictured, left)</span> that perhaps trace mysterious aquafers far below. While we <a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRTInLMTtePKkd9Tu5qykFGRY7ukjLuNpj97mmhADHXXR3rSsMDx05KFaXI5GXF7WUPlTGPVP8dlHLGMYZs9zmFLPiQH_PfDOkv_Sx3R-QOnqoQf6qKAS0PBwnC9Cb_fMc_0YsAZT3f2ct/s1600/Dry+Creek+Bed+Mutawintji+National+Park+Samsung+Schneider+photograph+by+Robert+McFarlane.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 200px; height: 150px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRTInLMTtePKkd9Tu5qykFGRY7ukjLuNpj97mmhADHXXR3rSsMDx05KFaXI5GXF7WUPlTGPVP8dlHLGMYZs9zmFLPiQH_PfDOkv_Sx3R-QOnqoQf6qKAS0PBwnC9Cb_fMc_0YsAZT3f2ct/s200/Dry+Creek+Bed+Mutawintji+National+Park+Samsung+Schneider+photograph+by+Robert+McFarlane.jpg" alt="" id="BLOGGER_PHOTO_ID_5493341043130415922" border="0" /></a>watched, eagles swept down to devour kangaroo carcasses and flights of two and three white cockatoos <span style="font-style: italic;">(pictured, left)</span> shrieked dry, urgent cries as they fled from us. The landscape <span style="font-style: italic;">(pictured, left) </span>reminded me of a metaphor Australian novelist <span style="font-weight: bold;">Christina Stead</span> (1902-1983) once expressed to me, describing a giant who carelessly threw large objects into a landscape, letting them fall where they may. Around Mutawintji, gently rising ridges were occasionally lined with rows of seemingly carelessly scattered boulders, below which stra<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2CZZ3JhWNIU1PGuqlyOfRLtxWVGQjEtFUCI5GLsbDJxTiyV4CupolyRLhLgw3Pn1Hbdqm4aUC2VR9x9sXvAnyb2qTeZYoTqM7j61BfwlRyR2ApxWcv-8S0FXiYCHEJoW6ABUpNpgbr0Ij/s1600/Blogscan+Broken+Hill+artist+Boris+Hlavica+at+his+exhibition+Changing+Places+Samsung+Schneider+photograph+by+Robert+McFarlane+copy.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 200px; height: 150px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2CZZ3JhWNIU1PGuqlyOfRLtxWVGQjEtFUCI5GLsbDJxTiyV4CupolyRLhLgw3Pn1Hbdqm4aUC2VR9x9sXvAnyb2qTeZYoTqM7j61BfwlRyR2ApxWcv-8S0FXiYCHEJoW6ABUpNpgbr0Ij/s200/Blogscan+Broken+Hill+artist+Boris+Hlavica+at+his+exhibition+Changing+Places+Samsung+Schneider+photograph+by+Robert+McFarlane+copy.jpg" alt="" id="BLOGGER_PHOTO_ID_5493346005154185634" border="0" /></a>tas of stone pierced through the land at improbable angles, perhaps provoked by an ancient cataclysm. Returning to Broken Hill, I revisited the exhibition, noting how well it had been hung by the Gallery's assistant<span style="font-weight: bold;"> Darren Parker</span>. With less space to work with than the three great chamber galleries of the Manly Art Gallery & Museum, Parker had nevertheless created a denser, but still accessible display. <span>Also showing in an adjoining space was a provocative exhibition of layered, poignant colour photographs by Broken Hill artist <span style="font-weight: bold;">Boris Hlavica</span> <span style="font-style: italic;">(pictured, left)</span> dealing with the cultural shocks that followed his emigration from a politically turbulent Europe to Australia. </span><span>Regional Galleries are nothing, it seems, unless they show fine regional artists</span><span style="font-style: italic;">. Until July 18.<br /><span style="font-weight: bold;"><span style="color: rgb(204, 0, 0);">Post-Script:</span> "Received Moments"</span> has now completed its Broken Hill season and is on exhibition at <span style="font-weight: bold;">Muswellbrook Regional Arts Centre</span>, NSW until October 3.<br /></span>ozphotoreviewhttp://www.blogger.com/profile/05955455242704658018noreply@blogger.com3tag:blogger.com,1999:blog-4793272593084821996.post-83027976452369701082010-07-06T14:21:00.000-07:002010-07-06T02:55:39.560-07:00Bob Dylan, Rennie Ellis and other forces of Nature.<span style="font-weight: bold;"><span style="color: rgb(255, 0, 0);"><span style="color: rgb(0, 0, 0);"><span style="color: rgb(102, 0, 0);">Bob Dylan in photographs: 1964 to 1971 - at Blender </span><br /></span></span></span><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_fdvnA_uYQMcGcynhrGQJGSYKvC5RSb1f_HoEHDqmgJQKPps4wrsO67u8E3bFN_3VlV-XiLZIpC50L-PeIjKKis37VuzlNA5Gu3T5GFF6l-RbYnPDOiKXaUJHXtY5kYgpxRqtHhGUAacO/s1600/Bob+Dylan,+London,+England+Photograph+by+Barry+Feinstein.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 400px; height: 291px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_fdvnA_uYQMcGcynhrGQJGSYKvC5RSb1f_HoEHDqmgJQKPps4wrsO67u8E3bFN_3VlV-XiLZIpC50L-PeIjKKis37VuzlNA5Gu3T5GFF6l-RbYnPDOiKXaUJHXtY5kYgpxRqtHhGUAacO/s400/Bob+Dylan,+London,+England+Photograph+by+Barry+Feinstein.jpg" alt="" id="BLOGGER_PHOTO_ID_5490707968161814434" border="0" /></a><span><span style="color: rgb(255, 0, 0);"><span style="color: rgb(0, 0, 0);">Great artists seem to attract great photographer</span></span></span><span><span style="color: rgb(255, 0, 0);"><span style="color: rgb(0, 0, 0);">s, as if needing witnesses for their talent</span></span></span><span style="font-weight: bold;"><span style="color: rgb(255, 0, 0);"><span style="color: rgb(0, 0, 0);">. </span></span></span><span><span style="color: rgb(255, 0, 0);"><span style="color: rgb(0, 0, 0);">Think of <span style="font-weight: bold;">Stravinsky</span> and <span style="font-weight: bold;">Irving Penn</span>, <span style="font-weight: bold;">Jackson Pollock</span> and <span style="font-weight: bold;">Hans Namuth</span>, together with rarified collaborations such as <span style="font-weight: bold;">Thelonius</span></span></span></span><span><span style="color: rgb(255, 0, 0);"><span style="color: rgb(0, 0, 0);"><span style="font-weight: bold;"> Monk</span> and <span style="font-weight: bold;">W. Eugene Smith</span> - or <span style="font-weight: bold;">Picasso</span> and <span style="font-weight: bold;">David Douglas Duncan</span>. Bob Dylan was no exception, and during his crucial, fertile early career, Dylan - either by foresight or his record company</span></span></span><span><span style="color: rgb(255, 0, 0);"><span style="color: rgb(0, 0, 0);">'s professionalism - was documented by some talented U.S. photographers. <span style="font-weight: bold;">Blender Gallery</span> <a href="http://www.blender.com.au/">www.blender.com.au</a> director Tali Udovich</span></span></span><span style="font-weight: bold;"><span style="color: rgb(255, 0, 0);"><span style="color: rgb(0, 0, 0);"> </span></span></span><span><span style="color: rgb(255, 0, 0);"><span style="color: rgb(0, 0, 0);">has carefully curated <span style="font-weight: bold;">"Bringing It All Back Home"</span>, </span></span></span><span><span style="color: rgb(255, 0, 0);"><span style="color: rgb(0, 0, 0);">handpicking fine-art photographic prints from Morrison Hotel Gallery in the U.S. and </span></span></span><span><span style="color: rgb(255, 0, 0);"><span style="color: rgb(0, 0, 0);">Rockarchive <a href="http://www.rockarchive.com/">http://www.rockarc</a></span></span></span><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibx4an1oivkRE2-WRBKoNGPCmgaLoZmgHt3n-Dxbi38fZeMjbZijEfOJDvtjCP1MEJFqyAKSIMee1kOFads4mFJrCaFioCyrjnLsuYQu_hUH6XH-IXgHbR6nbVpyDI4zGBo_XPnuoGPYAG/s1600/Bob+Dylan+recording+Highway+61+Revisited+in+Columbia+Studio+A+New+York+Summer+1965+Photograph+by+Don+Hunstein.jpg"><img style="margin: 0pt 0pt 10px 10px; float: right; cursor: pointer; width: 320px; height: 205px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibx4an1oivkRE2-WRBKoNGPCmgaLoZmgHt3n-Dxbi38fZeMjbZijEfOJDvtjCP1MEJFqyAKSIMee1kOFads4mFJrCaFioCyrjnLsuYQu_hUH6XH-IXgHbR6nbVpyDI4zGBo_XPnuoGPYAG/s320/Bob+Dylan+recording+Highway+61+Revisited+in+Columbia+Studio+A+New+York+Summer+1965+Photograph+by+Don+Hunstein.jpg" alt="" id="BLOGGER_PHOTO_ID_5490708282313617810" border="0" /></a><span><span style="color: rgb(255, 0, 0);"><span style="color: rgb(0, 0, 0);"><a href="http://www.rockarchive.com/">hive.com/</a> in Brit</span></span></span><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjaeVBlHHVW3XVKBhLVnaPWk_b28_7ro7SEEPkoAmI-Xyttk68TQSVGcl2kLRabsGriwPLeZuZtP8958d1t1ZensyvsJc0Uwc8Vbhc1i3LLfPEqmKyqLJouiovJN4OmgBffEthKAdVI3PJi/s1600/Bob+Dylan+-The+Times+They+Are+a+Changin%27+Album+cover+Photograph+by+Barry+Feinstein.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 178px; height: 200px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjaeVBlHHVW3XVKBhLVnaPWk_b28_7ro7SEEPkoAmI-Xyttk68TQSVGcl2kLRabsGriwPLeZuZtP8958d1t1ZensyvsJc0Uwc8Vbhc1i3LLfPEqmKyqLJouiovJN4OmgBffEthKAdVI3PJi/s200/Bob+Dylan+-The+Times+They+Are+a+Changin%27+Album+cover+Photograph+by+Barry+Feinstein.jpg" alt="" id="BLOGGER_PHOTO_ID_5490712907132753138" border="0" /></a><span><span style="color: rgb(255, 0, 0);"><span style="color: rgb(0, 0, 0);">ai</span></span></span><span><span style="color: rgb(255, 0, 0);"><span style="color: rgb(0, 0, 0);">n, creating an exhibition which </span></span></span><span><span style="color: rgb(255, 0, 0);"><span style="color: rgb(0, 0, 0);">defines Dylan's early ye</span></span></span><span><span style="color: rgb(255, 0, 0);"><span style="color: rgb(0, 0, 0);">ars.</span></span></span><span style="font-weight: bold;"><span style="color: rgb(255, 0, 0);"><span style="color: rgb(0, 0, 0);"> </span></span></span><span><span style="color: rgb(255, 0, 0);"><span style="color: rgb(0, 0, 0);"><span style="font-weight: bold;">Barry Feins</span></span></span></span><span><span style="color: rgb(255, 0, 0);"><span style="color: rgb(0, 0, 0);"><span style="font-weight: bold;">tein's</span> 1966</span></span></span><span><span style="color: rgb(255, 0, 0);"><span style="color: rgb(0, 0, 0);"> observation<span style="font-style: italic;"> (pictured above)</span> of an i</span></span></span><span><span style="color: rgb(255, 0, 0);"><span style="color: rgb(0, 0, 0);">nscrutable Dylan marooned in a London limo, ig</span></span></span><span><span style="color: rgb(255, 0, 0);"><span style="color: rgb(0, 0, 0);">noring young fans' faces pressed against the car win</span></span></span><span><span style="color: rgb(255, 0, 0);"><span style="color: rgb(0, 0, 0);">dow, proved a distinctly eerie pleasure, </span></span></span><span><span style="color: rgb(255, 0, 0);"><span style="color: rgb(0, 0, 0);">so close was this moment <span>to</span><span style="font-weight: bold;"> Cate Blanchett's</span> recent clone-accurate performance as Dylan in</span></span></span><span style="font-weight: bold;"><span style="color: rgb(255, 0, 0);"><span style="color: rgb(0, 0, 0);"> </span></span></span><span><span style="color: rgb(255, 0, 0);"><span style="color: rgb(0, 0, 0);">the 2007 Todd Haynes film</span></span></span><span style="font-weight: bold;"><span style="color: rgb(255, 0, 0);"><span style="color: rgb(0, 0, 0);"> "I'm Not There."</span></span></span><span><span style="color: rgb(255, 0, 0);"><span style="color: rgb(0, 0, 0);"><span style="font-weight: bold;"> </span><span>Feinstein's melancholy portrait of Dylan <span style="font-style: italic;">(pictured, left)</span> taken in New York three years earlier for <span>the</span><span style="font-weight: bold;"> "The Times They are a-Changin"</span> record cover, survives as a fine portrait in its own right. </span>I also enjoyed <span style="font-weight: bold;">Don Hunstein's</span> 1965 image <span style="font-style: italic;">(pictured, above right)</span> of a bemused Dylan, sitting at a piano in the Columbia recording studio in which his iconic album <span style="font-weight: bold;">Highway 61 Revisited</span> was being created.</span></span></span><span><span style="color: rgb(255, 0, 0);"><span style="color: rgb(0, 0, 0);"> We now know Dylan's music well but these evocative </span></span></span><span><span style="color: rgb(255, 0, 0);"><span style="color: rgb(0, 0, 0);">limited-edition photographic prints</span></span></span><span><span style="color: rgb(255, 0, 0);"><span style="color: rgb(0, 0, 0);"> give priceless insights into the life of a young man making popular music history, almost half a century ago.</span></span></span><span style="font-weight: bold;"><span style="color: rgb(255, 0, 0);"><span style="color: rgb(0, 0, 0);"> </span></span></span><span style="font-style: italic;"><span style="color: rgb(255, 0, 0);"><span style="color: rgb(0, 0, 0);">Until August 3</span></span></span><span style="font-weight: bold;"><span style="color: rgb(255, 0, 0);"><br />LATE NEWS:</span> David Flanagan </span><span style="font-weight: bold;">wins 1st</span><span style="font-weight: bold;"> Prize in Paris</span><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYQM1iI2jpGoCLDb3QOrDpTqFhKTwpP0oewGmM5As6W3XljC_QLUrzj9tEltlfdPmy5bjWqXaMnfU_HJXxSyUubuHZZBQclqgpsSAvNhMM7VWYte5Po3H4Kxh-Z8ctWKGd73dP3Y5ImVjn/s1600/Davenport+Ranges+Aerial+%231+by+David+Flanagan.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 400px; height: 313px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYQM1iI2jpGoCLDb3QOrDpTqFhKTwpP0oewGmM5As6W3XljC_QLUrzj9tEltlfdPmy5bjWqXaMnfU_HJXxSyUubuHZZBQclqgpsSAvNhMM7VWYte5Po3H4Kxh-Z8ctWKGd73dP3Y5ImVjn/s400/Davenport+Ranges+Aerial+%231+by+David+Flanagan.jpg" alt="" id="BLOGGER_PHOTO_ID_5490313659336095698" border="0" /></a>Mary Meyer of Sydney's Meyer Gallery <a href="http://www.meyergallery.com.au/">www.meyergallery.com.au</a> has just announced that one of her exhibiting artists, <span style="font-weight: bold;">David Flanagan</span>, has won first prize in the Professional Nature Earth category in the 2010 <span style="font-weight: bold;">PX3</span> <span style="font-weight: bold;">Prix de la Photographie, Paris.</span><span style="font-weight: bold;"> </span>Flanagan's winning photograph <span style="font-style: italic;">(pictured)</span> will be exhibited in Paris and published in the Px3 Prix de la Photographie annual. Meyer Gallery are currently showing two of David's winning entries on the mezzanine at their Darlinghurst Gallery. Several years ago when I first reviewed Flanagan's aerial landscapes at Marrickville's community gallery for the Sydney Morning Herald, it was clear this talented young Australian photographer <a href="http://davidflanagan.com.au/">http://davidflanagan.com.au/</a> had already mastered the abstract (and sometimes anthropomorphic) forms that emerge when landscape is seen from altitude. And like established masters such as American William Garnett (1916-2006) <a href="http://www.getty.edu/art/gettyguide/artMakerDetails?maker=1580">http://www.getty.edu/art/gettyguide/artMakerDetails?ma</a><a href="http://www.getty.edu/art/gettyguide/artMakerDetails?maker=1580">ker=1580</a> and Australian Richard Woldendorp <a href="http://www.richardwoldendorp.com/">http://www.richardwoldendorp.com/</a> Flanagan's vision never stops at just depicting the literal. David Flanagan's winning work can be viewed at <a href="http://www.px3.fr/winners/cat_details.php?cat_name=Nature&compName=PX3%202010&pro=pro">http</a><a href="http://www.px3.fr/winners/cat_details.php?cat_name=Nature&compName=PX3%202010&pro=pro">://www.px3.fr/winners/cat_details.php?cat_name=Nature&compName=PX3%202010&pro=pro</a><br /><span style="font-weight: bold;"><span style="color: rgb(255, 0, 0);">LATER NEWS:<span style="color: rgb(0, 0, 0);"> Sotheby's </span></span></span><span style="font-weight: bold;"><span style="color: rgb(255, 0, 0);"><span style="color: rgb(0, 0, 0);">N.Y. </span></span></span><span style="font-weight: bold;"><span style="color: rgb(255, 0, 0);"><span style="color: rgb(0, 0, 0);"> </span></span></span><span style="font-weight: bold;"><span style="color: rgb(255, 0, 0);"><span style="color: rgb(0, 0, 0);">sale nets US$12.4 Million </span></span></span><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhi0eHfszaP8cAVYFZphamK1-yw_6sDs-jaGTD6bVHauVEOFmoU2oVg6lzEM2jBcyF07J3Gq_UEr1_SDzv05q4i3oX_l1V_0hVIKu7K_by7ka9VIgZYXxweulbswGg2-g6QwLLD6JbYY9eF/s1600/Clearing+Winter+Storm+Yosemite+Park+1944+by+Ansel+Adams.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 400px; height: 312px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhi0eHfszaP8cAVYFZphamK1-yw_6sDs-jaGTD6bVHauVEOFmoU2oVg6lzEM2jBcyF07J3Gq_UEr1_SDzv05q4i3oX_l1V_0hVIKu7K_by7ka9VIgZYXxweulbswGg2-g6QwLLD6JbYY9eF/s400/Clearing+Winter+Storm+Yosemite+Park+1944+by+Ansel+Adams.jpg" alt="" id="BLOGGER_PHOTO_ID_5490311524241610434" border="0" /></a>Photographs from the <span style="font-weight: bold;">Polaroid Collection</span> auction that recently concluded at Sotheby's New York, realised US$12,467,638, exceeding the auction house's pre-sale estimate by almost US$2 million. <span style="font-style: italic;">"Fourteen new artist records were set,"</span> reported <span style="font-weight: bold;">Anne Wall</span> of Sotheby's Australia, <span style="font-style: italic;">"in</span><span style="font-style: italic;">cluding ones for a single photogra</span><span style="font-style: italic;">ph by artists Ansel Adams, Harry Callahan, Lucas Samaras and Andy Warhol</span>", adding, <span style="font-style: italic;">"Polaroid founder Edwin Land's great friend and collaborator Ansel Adams's iconic mural-sized prints achieved many of the to</span><span style="font-style: italic;">p prices of the sale, led by <span style="font-weight: bold;">"Clearing Winter Storm, Yosemite National Park"</span> (pictured) which brought US$722,500, well above its high estimate of US$300/500,000." </span>Perhaps a single print of this <span style="font-weight: bold;">Ansel Adams</span> epic landscape, worth close to three quarter of a million dollars, can lead the ailing U.S. economy towards a fine-art photography-led recovery!<br /><span style="font-weight: bold;">Melbourne's V</span><span style="font-weight: bold;">isible Sense of Itself</span>.<br />At the invitation of Manuela Furci and<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhftIKq1C8ag4xlZZQ6bOl20SZnwn-ge88cm4YOWvpcRmIgeGz8DeqtcWiSZTXhYOIHFPVrTi5GxXSxirBAwa13o4iRzxVH0iTENQuvG8DTHb27z-elyoppt82g4ELx1uxTXXtGrLizhnqC/s1600/Blogscan+July+View+beyond+Flinders+Street+Melbourne+Photograph+by+Robert+McFarlane+copy.jpg"><img style="margin: 0pt 0pt 10px 10px; float: right; cursor: pointer; width: 240px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhftIKq1C8ag4xlZZQ6bOl20SZnwn-ge88cm4YOWvpcRmIgeGz8DeqtcWiSZTXhYOIHFPVrTi5GxXSxirBAwa13o4iRzxVH0iTENQuvG8DTHb27z-elyoppt82g4ELx1uxTXXtGrLizhnqC/s320/Blogscan+July+View+beyond+Flinders+Street+Melbourne+Photograph+by+Robert+McFarlane+copy.jpg" alt="" id="BLOGGER_PHOTO_ID_5488829739939226194" border="0" /></a> Kerry Ellis Oldfield, the energetic, capable directors of the Rennie Ellis <a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdEiKa4tBuOZcbeR1xz1rcoS1neOde5INSp8rp1NfpH2AyF0461Qoix9-lzwOMqNKXUO_tO-Qawi6Jn7FgPe-4lk5aIzlWMk1bL3zUPP_iKriW0kJhK4n9wFlWLyyzi-hwtmeJQxVxej71/s1600/Blogscan+July+High+rise+textures++Melbourne+Photograph+by+Robert+McFarlane+.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 150px; height: 200px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdEiKa4tBuOZcbeR1xz1rcoS1neOde5INSp8rp1NfpH2AyF0461Qoix9-lzwOMqNKXUO_tO-Qawi6Jn7FgPe-4lk5aIzlWMk1bL3zUPP_iKriW0kJhK4n9wFlWLyyzi-hwtmeJQxVxej71/s200/Blogscan+July+High+rise+textures++Melbourne+Photograph+by+Robert+McFarlane+.jpg" alt="" id="BLOGGER_PHOTO_ID_5490298029698787010" border="0" /></a>Photographic Archive <a href="http://www.rennieellis.com.au/">http://www.rennieelli</a><a href="http://www.rennieellis.com.au/">s.com.au/</a>, I recently visited Melbourne to take part in a discussion at the Victorian State Library concerning the life and work of Rennie Ellis. Sadly Ellis died in August 2003, not long after I last saw him at Old Parliament House in Canberra, at a reunion exhibition (at the National Portrait Gallery <a href="http://www.portrait.gov.au/index.php">http://ww</a><a href="http://www.portrait.gov.au/index.php">w.portrait.gov.au/index.php</a>) of photographers who had once worked for <span style="font-weight: bold;">POL</span> magazine, and its mercurial publisher, <span style="font-weight: bold;">Gareth Powell</span>. We must have looked a disreputable, rumpled lot, as we shuffled uncomfortably in the cold Canberra air, outside the low, snow white building that had seen so much Australian history - including, of course, Prime Minister Whitlam's shabby dismissal on November 11, 1975. All except Rennie, who arrived wearing a pale, elegantly tailored linen suit, an improbable Melbourne suntan (he surfed frequen<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh63HEkTo7fA4n_mUgERm_sUds_mo9jan9xnWN7bOgJN38XXxz_mlku6c66JspNM3f9R7_iMiupG7zSv6VnSsJ6vquPDu-ZJwCMgm1vKOJ2SmbRYUNwwqeBtpifRTDZdckZma-SCWURGmQg/s1600/Blogscan+July+2010+The+Gang,+Windsor+1976+Photograph+by+Rennie+Ellis.jpg"><img style="margin: 0pt 0pt 10px 10px; float: right; cursor: pointer; width: 200px; height: 131px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh63HEkTo7fA4n_mUgERm_sUds_mo9jan9xnWN7bOgJN38XXxz_mlku6c66JspNM3f9R7_iMiupG7zSv6VnSsJ6vquPDu-ZJwCMgm1vKOJ2SmbRYUNwwqeBtpifRTDZdckZma-SCWURGmQg/s200/Blogscan+July+2010+The+Gang,+Windsor+1976+Photograph+by+Rennie+Ellis.jpg" alt="" id="BLOGGER_PHOTO_ID_5489547330458415826" border="0" /></a>tly at the beaches of that city - surely a courageous act) An abundant mane of hair flowed to his shoulders and he seemed to have weathered the decades since POL's heyday far better than everyone - certainly than I. Sadly this was an illusion as Ellis would die of a cerebral haemorrhage later that year. As French sculptor <span style="font-weight: bold;">Frederic Chepeaux</span> once said to me, in a booming Breton accent, about the cancer that was killing him, <span style="font-style: italic;">"Robert, I ha</span><span style="font-style: italic;">ve a traitor in m</span><span style="font-style: italic;">y castle!"</span> So, it seemed, did Rennie. Last week I found myself back in Melbourne to again pay homage to Rennie's extraordinary life - documenting Melbourne life at every level, from precise tableaux of street life <span style="font-style: italic;">(pictured, right)</span> to the majestic women of Melbourne fashion. To say that Ellis loved wo<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYqo2ou6b7RWPs2S5_H6Hnn5iT_d8iiT-F8TPLfk268qNlYj-QHQ9PzFR2QMQHv6pLpZIqXkh_2b5yyQk1YZsNoOVeilP0cmsqEfm4spfm2p8YtDqeJtsTgv9NcyeKpHbiQCV1nlv08grS/s1600/Deborah+Thomas,+Melbourne+Cup+1977.jpg"><img style="margin: 0pt 0pt 10px 10px; float: right; cursor: pointer; width: 214px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYqo2ou6b7RWPs2S5_H6Hnn5iT_d8iiT-F8TPLfk268qNlYj-QHQ9PzFR2QMQHv6pLpZIqXkh_2b5yyQk1YZsNoOVeilP0cmsqEfm4spfm2p8YtDqeJtsTgv9NcyeKpHbiQCV1nlv08grS/s320/Deborah+Thomas,+Melbourne+Cup+1977.jpg" alt="" id="BLOGGER_PHOTO_ID_5488833039643771714" border="0" /></a>men, and delighted in photographing them, is to risk serious understatement. As <span style="font-weight: bold;">Mao Zedong</span> (1893-1976) once remarked of his country's historically oppressed women, <span style="font-style: italic;">"wo</span><span style="font-style: italic;">men hold </span><span style="font-style: italic;">up half the sky."</span> The women Ellis photographed echo this sentiment and though sometimes observed nude, or at least exposed, you still sensed the strength and primacy they held in his world - as in these photographs of the heroic figure of Women's Weekly magazine editor-in-chief <span style="font-weight: bold;">Deborah Thomas</span> at the races in 1977 <a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEij-mpS2ml6Cg3KJ7Zy9T8HIE_cekvqIKMV2WysX4SL7ZsE-0kuz8pJI4VpJLiVBpjY2_Yp7pkem-VQnn-mo8iG5YpBFKR9MHn-CJsIlgDFjXCQBQKuA_bp8LNfCu0DHvyH3ZCXdcrgf_lk/s1600/Dino+Ferrari+1976+NGV+Photograph+by+Rennie+Ellis.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 200px; height: 130px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEij-mpS2ml6Cg3KJ7Zy9T8HIE_cekvqIKMV2WysX4SL7ZsE-0kuz8pJI4VpJLiVBpjY2_Yp7pkem-VQnn-mo8iG5YpBFKR9MHn-CJsIlgDFjXCQBQKuA_bp8LNfCu0DHvyH3ZCXdcrgf_lk/s200/Dino+Ferrari+1976+NGV+Photograph+by+Rennie+Ellis.jpg" alt="" id="BLOGGER_PHOTO_ID_5488834324145634050" border="0" /></a><span style="font-style: italic;">(pictured, righ</span><span style="font-style: italic;">t)</span> and the unblinking, spontaneous observation of a finely formed young woman <span style="font-style: italic;">(pictur</span><span style="font-style: italic;">ed, le</span><span style="font-style: italic;">ft)</span> stooping to conquer the (unseen) occupant of an equally elegant Ferrari. Now this body of work is to be acquired, preserved, digitized and made accessible from within the venerable walls of the Victorian State Library. The Library have also established a website at <a href="http://www.slv.vic.gov.au/goto/rennie-ellis">www.slv.vic.gov.au/goto/rennie-ellis</a> to raise $200,000 to offset the cost of purchasing the archive. Ellis and <a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKloSXZORKTH975KkUi_rD8F6lsmdnyWGDg8g-GwpNtbd4rNa1Z3fot3mbl1sYDhGbXwrtrKF2LRoepoebckT8gIHh3gg5a3gtdNw5-feLDKhENDTUu_jvunWlBx7LGiiGvFhzdc01tIOh/s1600/Blogscan+July+1975+Gough%27s+sacking+Martin+Place+Sydney+Photograph+by+Robert+McFarlane.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 128px; height: 200px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKloSXZORKTH975KkUi_rD8F6lsmdnyWGDg8g-GwpNtbd4rNa1Z3fot3mbl1sYDhGbXwrtrKF2LRoepoebckT8gIHh3gg5a3gtdNw5-feLDKhENDTUu_jvunWlBx7LGiiGvFhzdc01tIOh/s200/Blogscan+July+1975+Gough%27s+sacking+Martin+Place+Sydney+Photograph+by+Robert+McFarlane.jpg" alt="" id="BLOGGER_PHOTO_ID_5490326268778432786" border="0" /></a>Oldfield <a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEje094Nh9lb4o4Te4zD-Y83t736L-HYhg2xTPgvuXY89bNbKlWfPHSjNOy7O-6ULyIWPtIdImCcD5gvq9Y_YTEYKx19fyzhIH9bnbnJyKSBKyNFS8zzgzsr6ROTHeAtxLar_WE7GNexMKW2/s1600/Blogscan+Citigate+Restaurant+Manager+Hannah+on+a+decisive+Australian+day+Photograph+by+Robert+McFarlane+copy.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 150px; height: 200px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEje094Nh9lb4o4Te4zD-Y83t736L-HYhg2xTPgvuXY89bNbKlWfPHSjNOy7O-6ULyIWPtIdImCcD5gvq9Y_YTEYKx19fyzhIH9bnbnJyKSBKyNFS8zzgzsr6ROTHeAtxLar_WE7GNexMKW2/s200/Blogscan+Citigate+Restaurant+Manager+Hannah+on+a+decisive+Australian+day+Photograph+by+Robert+McFarlane+copy.jpg" alt="" id="BLOGGER_PHOTO_ID_5488838054392952466" border="0" /></a>will continue to respond personally to requests for the fine-art market for Rennie Ellis photographs but I sense a definitive monograph on this fearless, charismatic Australian will soon follow this important acquisition by the Library. And as I travelled from the airport into the city of Melbourne, I was again struck by that city's clear sense of itself - from its playful mix of modern and traditional architecture<span style="font-style: italic;"> (pictured, above) </span>to the confident women working in the boutique Flinders Street Citigate Hotel in which I was lodged. As Kevin Rudd faded from the Labour leadership and Julia Gillard calmly assumed her role as Prime Minister, Hannah, Citigate's restaurant manager <span style="font-style: italic;">(pictured)</span> signalled her approval with a resonant pose and a noticeable spring to her step.<br /><span style="font-weight: bold;">CANDID CAMERA enters last month at Art Gallery of SA</span><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7KNAV0jjlW5ZJtC6wAFOT7TQl11EG6IyNNAZbEmUG1UCDoFxOJKeK5ijfo2NgdsU9XF78rkUdy65XY_SRzKO_e7vu3CIWmq1X0EPfV00CZ7PnKc8itTzuLbvC6EdL2W3eccPMvhsrZ0TV/s1600/CC-805ph27+MOORE+Pitjantjatjara+children+I+South+Australia++%282%29.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 400px; height: 261px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7KNAV0jjlW5ZJtC6wAFOT7TQl11EG6IyNNAZbEmUG1UCDoFxOJKeK5ijfo2NgdsU9XF78rkUdy65XY_SRzKO_e7vu3CIWmq1X0EPfV00CZ7PnKc8itTzuLbvC6EdL2W3eccPMvhsrZ0TV/s400/CC-805ph27+MOORE+Pitjantjatjara+children+I+South+Australia++%282%29.jpg" alt="" id="BLOGGER_PHOTO_ID_5489577401465027090" border="0" /></a><br />AGSA curator of Prints, <a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgO4N-9CNKDAUm66uKzJXlr-t1qCjS0YEBRWqy0ISnBAdpDes9yiYMH_UtLUXs9s5RRQLnEyqtKqYan_TpuM6G-zwcCBn3YheJ1Kn7d_a0eMGqX9zV198AiDN-l2srjdDDQOCcGZDOoBYM0/s1600/Henley+by+David+Potts.JPG"><img style="margin: 0pt 0pt 10px 10px; float: right; cursor: pointer; width: 132px; height: 200px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgO4N-9CNKDAUm66uKzJXlr-t1qCjS0YEBRWqy0ISnBAdpDes9yiYMH_UtLUXs9s5RRQLnEyqtKqYan_TpuM6G-zwcCBn3YheJ1Kn7d_a0eMGqX9zV198AiDN-l2srjdDDQOCcGZDOoBYM0/s200/Henley+by+David+Potts.JPG" alt="" id="BLOGGER_PHOTO_ID_5490332219363714898" border="0" /></a>Drawings and Photographs Julie Robinson's remarkable, sprawling survey of Australian documentary photography from the 1950's to the 1970's is attracting enthusiastic crowds to Adelaide's state gallery on North Terrace, now surely one of Australia's most elegant boulevardes (following recent enhancements) Robinson's thoughtfully hung survey comprises more than eighty photographs by Australian photographers, including <span style="font-weight: bold;">Max Dupain, John Williams, Ingeborg Thyssen, Philip Quirk, David Moore, Jeff Carter, Mervyn Bishop, Rennie Ellis, Carol Jerrems, Roger Scott</span>, and myself. <span style="font-style: italic;">"These photographers have been great observers, capturing memorable im</span><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNSw3tLew7-n-ESSrncnFbW7g2_7kw4i7YwDDrmKAWKlL6nLTJuP8-5kiDJTfMJnO_c8bGEHhkdU3VtiOPdTp7NX4YGhk8a5XIJTPy1bIlndesAIXbN3d6deuYwB7kX1FK5ZMqowsyhkVu/s1600/CC-971pH2+POTTS+The+rabbit+trapper+%282%29.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 210px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNSw3tLew7-n-ESSrncnFbW7g2_7kw4i7YwDDrmKAWKlL6nLTJuP8-5kiDJTfMJnO_c8bGEHhkdU3VtiOPdTp7NX4YGhk8a5XIJTPy1bIlndesAIXbN3d6deuYwB7kX1FK5ZMqowsyhkVu/s320/CC-971pH2+POTTS+The+rabbit+trapper+%282%29.jpg" alt="" id="BLOGGER_PHOTO_ID_5489578215721219042" border="0" /></a><span style="font-style: italic;">ages of people at leisure </span><span style="font-style: italic;">or engaged in everyday activi</span><span style="font-style: italic;">ties"</span>, says Robinson, adding, <span style="font-style: italic;">"images ... appear unposed, spontaneous, or with their subjects captured unaware."</span> Sprinkled with masterpieces such as <span style="font-style: italic;">"Pitjantjatjara Children 2, 1963" </span><span style="font-style: italic;">(pictured, above) </span><span>by David Moore </span><span>(1927-2003) </span><a href="http://www.davidmoorephotography.com.au/"><span>http://www.davidmoorephotogra</span></a><a href="http://www.davidmoorephotography.com.au/"><span>phy.com.au/</span></a><span style="font-style: italic;"> </span><span style="font-style: italic;">"Tobacco Road"</span> by Jeff Carter <a href="http://www.jeffcarterphotos.com/">http://www.jeffcarterphotos.com/</a> and David Potts' iconic <span style="font-style: italic;">"Rabbit Trapper"</span> <span style="font-style: italic;">(pictured, left)</span> as well as this veteran Australian photographer's precise social observations of Britain in the fifties.<span style="font-style: italic;">(pictured, right)</span> David Potts is represented by Josef Lebovic Gallery <a href="http://www.joseflebovicgallery.com/">http://www.joseflebovicgallery.com/ </a>Candid Camera is deservedly drawing record crowds to the Art Gallery of South Australia. <a href="http://www.artgallery.sa.gov.au/agsa/home/Exhibitions/Candid_Camera.html">http://www.artgallery.sa.gov.au/agsa/home</a><a href="http://www.artgallery.sa.gov.au/agsa/home/Exhibitions/Candid_Camera.html">/Exhibitions/Candid_Camera.html</a> <a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzBY-KGa-SWC7Pj6MmeBvZJkWE6xlwKsvTj-M2KCy0zu5SfDCUgY_DlHv_F6q7JCd77BXMiW4XDcgqKcVLuC8LxEKHKReRE3v3tYmbFqmEFLsn7P1q4udFtesLmM-ECgm4anQj-91zkxEv/s1600/Candid+Camera+Opening+at+AGSA.jpg"><img style="margin: 0pt 0pt 10px 10px; float: right; cursor: pointer; width: 320px; height: 214px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzBY-KGa-SWC7Pj6MmeBvZJkWE6xlwKsvTj-M2KCy0zu5SfDCUgY_DlHv_F6q7JCd77BXMiW4XDcgqKcVLuC8LxEKHKReRE3v3tYmbFqmEFLsn7P1q4udFtesLmM-ECgm4anQj-91zkxEv/s320/Candid+Camera+Opening+at+AGSA.jpg" alt="" id="BLOGGER_PHOTO_ID_5490339215612664386" border="0" /></a><span style="font-weight: bold;">"Candid C</span><span style="font-weight: bold;">a</span><span style="font-weight: bold;">mera"</span> was opened by writer and commentator <span style="font-weight: bold;">David Marr</span> <span style="font-style: italic;">(p</span><span style="font-style: italic;">ictured,</span><span style="font-style: italic;"> with Curator Julie Robinson on right of picture, w</span><span style="font-style: italic;">ith </span><span style="font-style: italic;">ph</span><span style="font-style: italic;">otographers and AG</span><span style="font-style: italic;">SA guests standing in front of Max Dupain's <span style="font-weight: bold;">At Newport 1952</span>) </span><a href="http://www.maxdupain.com.au/about.htm"><span>http://www.maxdupain.com.au/about.htm)</span></a><span style="font-style: italic;"> </span>In a vastly entertaining speech, Marr showed his great knowledge and respect for the value of documentary photography - while also exercising a finely honed, often wicked wit.<span style="font-style: italic;"> Until August 1</span><br /><span style="font-weight: bold;">Do Not Despair For The Future of Print.</span><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0wt3tiNireWOm0mgu7hpT0A3_rrBoIgZX4VDPuxgqIBwplovP2a7Ie7HRozQrvWkKtevLeZroc8n62cGSelyUTu4LQAVDkdw5r6aaSv4tXw9_JuO1p8fVpHrZflr4iKCr1tm1pW7y_8Se/s1600/Von+Sternberg+biography+by+John+Baxter.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 144px; height: 214px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0wt3tiNireWOm0mgu7hpT0A3_rrBoIgZX4VDPuxgqIBwplovP2a7Ie7HRozQrvWkKtevLeZroc8n62cGSelyUTu4LQAVDkdw5r6aaSv4tXw9_JuO1p8fVpHrZflr4iKCr1tm1pW7y_8Se/s200/Von+Sternberg+biography+by+John+Baxter.jpg" alt="" id="BLOGGER_PHOTO_ID_5488868501314381938" border="0" /></a>Just received an intriguing note from distinguished Australian novelist and prolific biographer <span style="font-style: italic;">(Robert De Niro, Stanley Kubrick, Federico Fellini, Ken Russell, Josef Von Sternberg)</span> <span style="font-weight: bold;">John Baxter</span><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeuyK1NcaWyrLXkObXLrEnPL6fpu2rsnKcLWQp9JI2fSq_RWk0ml47iBIsqHbFjW6L2cfv5IS4gkizV9uuCLh9-k5_iCb9aB3aboAatTp8HaZrWhsP8t2SNC1j8W3t95PBCr88plxPlL9y/s1600/David+Stratton+L+director+Sydney+Film+Festival+with+director+Josef+von+Sternberg+R+Photograph+by+Robert+McFarlane.jpg"><img style="margin: 0pt 0pt 10px 10px; float: right; cursor: pointer; width: 200px; height: 136px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeuyK1NcaWyrLXkObXLrEnPL6fpu2rsnKcLWQp9JI2fSq_RWk0ml47iBIsqHbFjW6L2cfv5IS4gkizV9uuCLh9-k5_iCb9aB3aboAatTp8HaZrWhsP8t2SNC1j8W3t95PBCr88plxPlL9y/s200/David+Stratton+L+director+Sydney+Film+Festival+with+director+Josef+von+Sternberg+R+Photograph+by+Robert+McFarlane.jpg" alt="" id="BLOGGER_PHOTO_ID_5490624425763163794" border="0" /></a> <a href="http://www.johnbaxterparis.com/">http://www.johnbaxterparis.com</a> <span style="font-weight: bold;"> </span><span>informing me that he wished to use a picture I had taken in the 196o's of famed Film Director <span style="font-weight: bold;">Josef Von Sternberg</span> and <span style="font-weight: bold;">David Stratton</span> <span style="font-style: italic;">(pictured, right)</span> then director of the <span style="font-weight: bold;">Sydney Film Festival</span>. Naturally I was delighted, and John went on to mention an interesting blog, Slate, </span>which eloquently discusses the future of the printed book, currently under siege from the advent of the <span style="font-weight: bold;">iPad</span> and <span style="font-weight: bold;">Kindle</span>. Despite its peerless speed in distributing data, if not wisdom, the internet does not yet have an answer to the convenience, and energy efficiency of simply reading a book. And art books, with their modern, near facsimile standards of reproduction, provide a tactile experience currently beyond so called <span style="font-style: italic;">e-ink</span> and even the finest LED/LCD screens. SLATE can be found at<a href="http://www.slate.com/id/2258054/"> http://www.slate.com/id/2258054/</a><br /><br /><span style="font-weight: bold;">Text Copyright Robert McFarlane </span><a href="http://www.robertmcfarlanephotos.com/"><span style="font-weight: bold;"></span></a><span style="font-weight: bold;"><a href="http://www.robertmcfarlanephotos.com/"> www.robertmcfarlanephotos.com</a><br /></span>ozphotoreviewhttp://www.blogger.com/profile/05955455242704658018noreply@blogger.com1tag:blogger.com,1999:blog-4793272593084821996.post-89261032894026125332010-06-14T19:10:00.000-07:002010-06-21T20:21:53.970-07:00Rock, Jazz, Hollywood and Federation Australia.<span style=";font-family:Times New Roman;font-size:130%;" ><span style="font-weight: bold;"><span style="color: rgb(255, 0, 0);">STOP PRESS:</span> Oz artist MAX PAM Reigns in Spain</span><br /></span><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHMei754LyA7DwsYk4rLGyLmBR_GRCp6uoaU4rZx6OL0lrMdJPlXIHYpwxYTIbuL44O8ikOVHxVdaFHagplT32JJ1xXZFjE7kEiUPeXN19FfobTbeko3wwd9t5EMJuhtsuSFm2iuP580jJ/s1600/Atlas+Monographs+by+Max+Pam+cover+image.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 400px; height: 389px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHMei754LyA7DwsYk4rLGyLmBR_GRCp6uoaU4rZx6OL0lrMdJPlXIHYpwxYTIbuL44O8ikOVHxVdaFHagplT32JJ1xXZFjE7kEiUPeXN19FfobTbeko3wwd9t5EMJuhtsuSFm2iuP580jJ/s400/Atlas+Monographs+by+Max+Pam+cover+image.jpg" alt="" id="BLOGGER_PHOTO_ID_5483593195734926354" border="0" /></a><span style=";font-family:Times New Roman;font-size:130%;" >Compulsive traveller and distinguished Australian fine-art photographer Max Pam </span><span style=";font-family:Times New Roman;font-size:130%;" ><a href="http://www.maxpam.com/"> http://www.maxpam.com/</a> has won “<span style="font-weight: bold;">Best Photography Book Prize</span> (International Category)” for his latest book </span><span style=";font-family:Times New Roman;font-size:130%;" ><i style="font-weight: bold;">Atlas Monographs</i> (T&G Publishing Sydney)</span><span style=";font-family:Times New Roman;font-size:130%;" > at the <span style="font-weight: bold;">2010 PhotoEspana Festival</span> in Madrid. Regarded as a major event in the European photographic calendar, the Spanish festival attracts a world-wide audience of 600,000. When publisher Gianni Frinzi was advised of the win early this week, he commented, </span><span style=";font-family:Times New Roman;font-size:130%;" ><span style="font-style: italic;">“we are absolutely delighted with the win. Max (Pam) and I worked tirelessly to ensure the integrity and quality of the book. It is fantastic to be rewarded with this international prize.”</span> Frinzi said the award vindicated T&G's policy of <span style="font-style: italic;">"</span></span><span style=";font-family:Times New Roman;font-size:130%;" ><span style="font-style: italic;">bringing the best of Australian photography to the world. This prize is ... recognition for Max Pam’s tremendous body of work, and for T&G. It is a real boost for Australian photography publishing. To my knowledge we are the first to win this prize in Australia.” </span></span><span style=";font-family:Times New Roman;font-size:130%;" >In <i style="font-weight: bold;">Atlas Monographs</i> Max Pam's pictures imaginatively reflect his personal odyssey through Zanzibar, China, South India, Yemen, Madagascar, Karakoram and the South China Sea, with the vast majority of pictures having not been published before. The book also contains photographs from Pam's formative years as a photographer in the early 1970’s to images made as recently as 2006. Pam has traditionally added written narratives to his photographs and Atlas Monographs draws upon excerpts from these journals.</span><span style=";font-family:Times New Roman;font-size:130%;" > </span><span style=";font-family:Times New Roman;font-size:130%;" ><span style="font-style: italic;">The award will be presented in Madrid on 24th June.</span></span><span style=";font-family:Times New Roman;font-size:130%;" >(PhotoEspaña's jury comprised Juan Manuel Bonet, critic and former director of Museum Reina Sofia; Pep Carrio, photographer; Wim van Sinderen, curator at The Hague Museum of Photography; Miguel Lopez, Director of Antonio Saura Foundation and designer Alberto Corazon</span><span style="font-size:130%;">)</span><span style="font-family:Times New Roman;"><span style="font-size:12pt;"><i> </i></span></span><span style="font-size:130%;"><br /></span><span style="font-size:130%;"><span style="font-family:times new roman;"><span style="font-weight: bold;">Tony Egan shows Popular Art can also be Great Art<br /></span></span></span><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMN4x0CF_8pTO4xomnPRwY49VRzRXA1Hw3FHFcVzAFFdP50qSOE3FSLMVMRuAqae8oJHZ5KoQaLCAHWnuhTpEiX1ojdURQDS-rPlxCvBDhjSJuuxVzjHtInam_B0CM8REeEF56YXkE8jpO/s1600/72+James+Brown+Photograph+by+Tony+Egan.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 400px; height: 264px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMN4x0CF_8pTO4xomnPRwY49VRzRXA1Hw3FHFcVzAFFdP50qSOE3FSLMVMRuAqae8oJHZ5KoQaLCAHWnuhTpEiX1ojdURQDS-rPlxCvBDhjSJuuxVzjHtInam_B0CM8REeEF56YXkE8jpO/s400/72+James+Brown+Photograph+by+Tony+Egan.jpg" alt="" id="BLOGGER_PHOTO_ID_5482552531270750306" border="0" /></a><span style="font-size:130%;"><span style="font-family:times new roman;"><span>A few years ago I watched in amazement as then U.S. President <span style="font-weight: bold;">George W. Bush</span> made the unlikeliest of televised speeches, somewhere in </span></span></span><span style="font-size:130%;"><span style="font-family:times new roman;"><span>Africa, in which he declared: <span style="font-style: italic;">"America had a huge debt to Africa ... for that continent has given us much of the genius that is America"</span>, which, he went on to sa</span></span></span><span style="font-size:130%;"><span style="font-family:times new roman;"><span>y, was expressed through unique U.S. popular art forms - such as the <span style="font-style: italic;">'Musical'</span> and of course, <span style="font-style: italic;">'Jazz'</span>. Though he stopped short of including rock and roll, </span></span></span><span style="font-size:130%;"><span style="font-family:times new roman;"><span>Bush, it seemed, had <span style="font-style: italic;">'got it'</span>, and Tony Egan's photographs at the <span style="font-weight: bold;">Meyer Gallery</span> <a href="http://www.meyergallery.com.au/">www.meyergallery.com.au</a> also <span>get it</span>. <span style="font-style: italic;">"The seeds </span></span></span></span><span style="font-size:130%;"><span style="font-family:times new roman;"><span><span style="font-style: italic;">for this work were </span></span></span></span><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgTvNCLolhvUsE13sTPgLGNZXWMfjXkAsKmcRakp5F2kj9BgcxxWL4ydel8gD2XY22TS_nQtIFAzZGdpGmMYxhyd8Yi9TeVMWB0fHS2Tdr8ufa9bqLXJcb0QiwOPOSAr9YBDnoDWk_Rgpb/s1600/72+Cameron+Undy+Photograph+by+Tony+Egan.jpg"><img style="margin: 0pt 0pt 10px 10px; float: right; cursor: pointer; width: 140px; height: 200px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgTvNCLolhvUsE13sTPgLGNZXWMfjXkAsKmcRakp5F2kj9BgcxxWL4ydel8gD2XY22TS_nQtIFAzZGdpGmMYxhyd8Yi9TeVMWB0fHS2Tdr8ufa9bqLXJcb0QiwOPOSAr9YBDnoDWk_Rgpb/s200/72+Cameron+Undy+Photograph+by+Tony+Egan.jpg" alt="" id="BLOGGER_PHOTO_ID_5482555401011873554" border="0" /></a><span style="font-size:130%;"><span style="font-family:times new roman;"><span><span style="font-style: italic;">sown in 1970, when I was twelve years old,"</span> recalls Egan, </span></span></span><span style="font-size:130%;"><span style="font-family:times new roman;"><span><span style="font-style: italic;">"In my first year ... boarding... at a country school, I heard my first rock band and promptly ceased six years of classical piano lessons and taught myself the guitar."</span> </span></span></span><span style="font-size:130%;"><span style="font-family:times new roman;"><span>Here, captured in fine black </span></span></span><span style="font-size:130%;"><span style="font-family:times new roman;"><span>and white photographs are some of the pillars of American and Australian popular music, not only great Jazz players such as <span style="font-weight: bold;">Sonny Rollins</span> <span style="font-style: italic;">(pictured, left) </span><span>and Australia</span></span></span></span><span style="font-size:130%;"><span style="font-family:times new roman;"><span><span>n stellar ba</span></span></span></span><span style="font-size:130%;"><span style="font-family:times new roman;"><span><span>ssist, <span style="font-weight: bold;">Cameron Undy </span><a href="http://www.cvibes.com/cameronundy.php">http://www.cvibes.com/cameronundy.php</a></span><span style="font-style: italic;"> </span></span></span></span><span style="font-size:130%;"><span style="font-family:times new roman;"><span><span style="font-style: italic;">(pictured, right)</span> but harder to </span></span></span><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVxznGIa7GNxDQZ1sLR3WNojJD2vLGWLIHFxH4O7x1b6H4bb1E-BQSlakytx2b-85WZvpWLkZ5HC-Persr1KcrSWRQxKoi7StIu6APk6MfZIKQHxxug1xitVRw_su_1x7w1Hd839TBudko/s1600/Sonny+Rollins+Photograph+by+Tony+Egan.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 248px; height: 264px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVxznGIa7GNxDQZ1sLR3WNojJD2vLGWLIHFxH4O7x1b6H4bb1E-BQSlakytx2b-85WZvpWLkZ5HC-Persr1KcrSWRQxKoi7StIu6APk6MfZIKQHxxug1xitVRw_su_1x7w1Hd839TBudko/s320/Sonny+Rollins+Photograph+by+Tony+Egan.jpg" alt="" id="BLOGGER_PHOTO_ID_5482552940870061218" border="0" /></a><span style="font-size:130%;"><span style="font-family:times new roman;"><span>categorize performers such as <span style="font-weight: bold;">John Butler </span><a href="http://www.myspace.com/johnbutlertrio">http://www.myspace.com/johnbutlertrio</a> and <span style="font-weight: bold;">Renee Geyer</span>. <a href="http://www.reneegeyer.com.au/">http://www.reneegeyer.com.au/</a> I was at the Sonny Rollins (1930 - ) performance <a href="http://www.sonnyrollins.com/itinerary.php">http://www.sonnyrollins.com/itinerary.php</a> Egan photogra</span></span></span><span style="font-size:130%;"><span style="font-family:times new roman;"><span>phed and had t</span></span></span><span style="font-size:130%;"><span style="font-family:times new roman;"><span>o marvel at this ancient, tireless musician's seemingly unlimited mastery of circular breathing - and of course his artistry. Egan also </span></span></span><span style="font-size:130%;"><span style="font-family:times new roman;"><span>includes a playful image of perhaps the greatest of all </span></span></span><span style="font-size:130%;"><span style="font-family:times new roman;"><span>hard-driving rock musicians, <span style="font-weight: bold;">James Brown</span> <span>(1933-2006)</span><span style="font-style: italic;"> </span>I still remember Brown's thunderous rock anthem, <span style="font-style: italic;">"It'<span style="font-weight: bold;">s </span>A Man's, Man's, Man's World ..."</span> going viral in Australia in 1966</span></span></span><span style="font-size:130%;"><span style="font-family:times new roman;"><span>. <span>The</span><span style="font-weight: bold;"> Godfather of Soul</span> (or should it be <span style="font-weight: bold;">Funk</span>?) is captured by Egan <span style="font-style: italic;">(above)</span> doing </span></span></span><span style="font-size:130%;"><span style="font-family:times new roman;"><span>what he did best, having the time of his life performing, while playfully dangling a long microphone cord as lightly as a lassoo.<br />At the Meyer Gallery, Darlinghurst. U<span style="font-style: italic;">ntil June 27<br /></span></span><span style="font-weight: bold;">Picturing NSW: Vintage Imagery</span><span style="font-weight: bold;"> </span><span style="font-weight: bold;">from</span></span></span><span style="font-size:130%;"><span style="font-family:times new roman;"><span style="font-weight: bold;"> </span><span style="font-weight: bold;">Kerry & Co.</span><br /></span></span><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnHw6OThAVW3un94OFPDOS9HGQhchIhniMJw2YdfowSL7bzcZ_4vFjERhgHXYre8XWXepxmjdcYebxxmphySJKGI5ITRG-MiqSaR6TMQi8RpPhISEseDJYe6GqZRPOQdZ0afc1VHU-X5FE/s1600/Sydney+Road+Windsor+Photograph+by+Kerry+and+Company+hp83-60-2025winsdsorsm+%282%29.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 400px; height: 294px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnHw6OThAVW3un94OFPDOS9HGQhchIhniMJw2YdfowSL7bzcZ_4vFjERhgHXYre8XWXepxmjdcYebxxmphySJKGI5ITRG-MiqSaR6TMQi8RpPhISEseDJYe6GqZRPOQdZ0afc1VHU-X5FE/s400/Sydney+Road+Windsor+Photograph+by+Kerry+and+Company+hp83-60-2025winsdsorsm+%282%29.jpg" alt="" id="BLOGGER_PHOTO_ID_5480328668884845186" border="0" /></a><span style="font-size:130%;"><span style="font-family:times new roman;">This fascinating exhibition opened at the University of Sydney's Macleay Museum </span></span><span style=";font-family:times new roman;font-size:130%;" ><a href="http://www.sydney.edu.au/museums">http://www.sydney.edu.au/museums</a> </span><span style="font-size:130%;"><span style="font-family:times new roman;">on Thursday, 3 June, featuring over 100 blac</span></span><span style="font-size:130%;"><span style="font-family:times new roman;">k and white photographs of a rapidly expanding New South Wales - </span></span><span style="font-size:130%;"><span style="font-family:times new roman;">less </span></span><span style="font-size:130%;"><span style="font-family:times new roman;">then a colony than the parallel</span></span><span style="font-size:130%;"><span style="font-family:times new roman;"> engine, with Victoria, driving Federation Australia. Looking closely at the pictures Charle</span></span><span style="font-size:130%;"><span style="font-family:times new roman;">s Kerry's <span style="font-style: italic;">'operators'</span> took, there is always more than just scenic town views and historic buildings. Kerry apparently briefed his photographers to consider the humanity they encountered, often including people and evidence of where capital and labour intersected. Taken</span></span><span style="font-size:130%;"><span style="font-family:times new roman;"> from t</span></span><span style="font-size:130%;"><span style="font-family:times new roman;">he Macleay Museum's Collection, these photographs provide an evocative portrait of regional NSW during a time of apparent prosperity around the turn of the 20th century. (Kerry & Co images form part of the <span style="font-family:times new roman;">Macleay Museum’s historical photograph collection and, for this exhibition, have been reproduced from original glass negatives, many in large format.) </span> <span style="font-family:times new roman;"> According to <span style="font-weight: bold;">Jan Brazier</span>, the Macleay Museum curator of the History collections and </span><span style="font-weight: bold;font-family:times new roman;" >Picturing New South Wales</span><span style="font-family:times new roman;">, <span style="font-style: italic;">“The photographs create a view of place which met the perception of how people wanted their part of the world to be seen,”</span> she claims. <span style="font-style: italic;">“Kerry images </span></span></span></span><span style="font-size:130%;"><span style="font-family:times new roman;"><span style="font-family:times new roman;"><span style="font-style: italic;">in the Macleay’s collection are not (just) about people but about public buildings, industries, churches, main streets – and reveal a vision of progress and European settlement at a time of change moving into the modern new century.”</span></span></span> </span><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAy74VOYylgt8UjoSpr4LLAHs61Ok__Sa_1-k8Ma0cdqcHS4PWR0hr5QfN6j_jcBXJl6VhBm1E6cyfddEQxzplVhqAyvYbAFGHZ9qLi7LOTQ97ZtGuld8fzxnufr_sCO8_ZpOE4t4jmqnV/s1600/SS+Orara+at+Byron+Bay+Photograph+by+Kerry+and+Company+hp83-60-2210byronsm+%282%29.jpg"><img style="margin: 0pt 0pt 10px 10px; float: right; cursor: pointer; width: 400px; height: 298px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAy74VOYylgt8UjoSpr4LLAHs61Ok__Sa_1-k8Ma0cdqcHS4PWR0hr5QfN6j_jcBXJl6VhBm1E6cyfddEQxzplVhqAyvYbAFGHZ9qLi7LOTQ97ZtGuld8fzxnufr_sCO8_ZpOE4t4jmqnV/s400/SS+Orara+at+Byron+Bay+Photograph+by+Kerry+and+Company+hp83-60-2210byronsm+%282%29.jpg" alt="" id="BLOGGER_PHOTO_ID_5480324818613015570" border="0" /></a><span style="font-size:130%;"><span style="font-family:times new roman;">Brazier also reminds us, ironically, that images in <span style="font-weight: bold;">Picturing New South Wales</span> reflect <span style="font-style: italic;">"the optimism</span></span></span><span style="font-size:130%;"><span style="font-family:times new roman;"><span style="font-style: italic;"> burgeoning rural settlements once promised compared with today, where many small towns across NSW and Australia struggle for survival." </span></span></span><span style="font-size:130%;"><span style="font-family:times new roman;">Professor <span style="font-weight: bold;">Richard Waterhouse</span>, Bicentennial Professor of Australian History at the University of Sydney, will give a public lecture </span></span><span style="font-size:130%;"><span style="font-family:times new roman;">at 6.30pm on Wednesday, 21 July, 2010 entitled </span></span><span style="font-size:130%;"><span style="font-family:times new roman;"><span style="font-weight: bold;">"A Forgotten Australian? Bush towns, rural Australia and Australi</span></span></span><span style="font-size:130%;"><span style="font-family:times new roman;"><span style="font-weight: bold;">an history."</span> </span></span><span style="font-size:130%;"><span style="font-family:times new roman;">Entry is free </span></span><span style="font-size:130%;"><span style="font-family:times new roman;">but bookings are essential </span></span><span style="font-size:11pt;"><span style="font-family:Arial;"><span style="font-size:130%;"><span style="font-family:times new roman;">(Phone (02) 9036 5253)</span></span></span></span><span style="font-size:130%;"><span style="font-family:times new roman;">at the <span style="font-weight: bold;">Macleay </span></span></span><span style=";font-family:times new roman;font-size:130%;" ><span style="font-weight: bold;">Museum</span>, Gosper Lane, off Science Road, University of Sydney. Open Monday to Friday 10am to 4.30pm and Sundays, from noon to 4pm.</span><span style="font-size:130%;"><span style="font-family:times new roman;"><i> Picturing New South Wales: Photograph</i></span></span><span style="font-size:130%;"><span style="font-family:times new roman;"><i>s by Kerry & Co</i> is on exhibition until February, 2011.</span> </span><span style="font-size:130%;"><span style="font-family:Arial;"><span style="font-family:times new roman;"> </span> <span style="font-family:times new roman;"> </span><br /></span></span><span style="font-size:130%;"><span style="font-family:Arial;"><span style="font-family:times new roman;"><span style="font-weight: bold;">The Past </span>-<span style="font-weight: bold;"> Another Country Worth Visiting</span><br /></span></span></span><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJNyBUVBZx_YmtvSAgWUOcXpdvUI7ROp4BEXniNTNbVaBdKTOM4KTuJ-JCXdIWXH0G8jx_v4EgB7ixStSv9mAuFNCm3r0iZn2iH6ECB9OyLMtx_SerMWAgmT9Jtmeenc8KrEMAJykslbBX/s1600/Medusa+by+Photograph+Penelope+Beveridge.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 321px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJNyBUVBZx_YmtvSAgWUOcXpdvUI7ROp4BEXniNTNbVaBdKTOM4KTuJ-JCXdIWXH0G8jx_v4EgB7ixStSv9mAuFNCm3r0iZn2iH6ECB9OyLMtx_SerMWAgmT9Jtmeenc8KrEMAJykslbBX/s400/Medusa+by+Photograph+Penelope+Beveridge.jpg" alt="" id="BLOGGER_PHOTO_ID_5481035565751360978" border="0" /></a><span style="font-size:130%;"><span style="font-family:Arial;"><span style="font-family:times new roman;">Every now and then a picture emerges from a contemporary photographer that makes me </span></span></span><span style="font-size:130%;"><span style="font-family:Arial;"><span style="font-family:times new roman;">realise we are not so far removed from <span style="font-style: italic;">"the giants</span></span></span></span><span style="font-size:130%;"><span style="font-family:Arial;"><span style="font-family:times new roman;"><span style="font-style: italic;"> on whose shoulders we stand,"</span> as the astonishingly gifted physicist, mathematician and philosopher Isaac Newton (1643-1727) modestly wrote to Robert Hooke in 1676. Newton would later utter another sentence, equally humble, to </span></span></span><span style="font-size:130%;"><span style="font-family:Arial;"><span style="font-family:times new roman;">further attempt to place his life's scientific achievements into perspective, <span style="font-style: italic;">"</span></span></span></span><span style="font-style: italic;">To myself I seem to have been only like a boy playing on the sea-shore, and diverting myself in now and then finding a smoother pebble or a prettier shell than ordinary, whilst the great oce</span><span style="font-style: italic;">an of truth lay all undiscovered before me</span><span style="font-size:130%;"><span style="font-family:Arial;"><span style="font-family:times new roman;"><span style="font-style: italic;">." </span></span></span></span><span style="font-size:130%;"><span style="font-family:Arial;"><span style="font-family:times new roman;">Pe</span></span></span><span style="font-size:130%;"><span style="font-family:Arial;"><span style="font-family:times new roman;">nelope Beveridge <a href="http://www.penelopebeveridge.com/">www.penelopebeveridge.com</a> is an industrious, inventive young photographer who has an affinity for the glamourous imagery produced by such Hollywood luminaries as George Hurrell (1904-1992) and recently sent me this intriguingly titled image, <span style="font-style: italic;">(pictured, above)</span> <span style="font-weight: bold;">"Medusa"</span>. Hurrell's stylised lighting techniques have influenced everyone who seeks to recreate equivalent moments to the visual fantasies that punctuated Hollywood's classic black and white films and Beveridge is no exception. <span style="font-style: italic;">"I call this my retro-vintage look,"</span> says the photographer, adding that her picture was</span></span></span><span style="font-size:130%;"><span style="font-family:Arial;"><span style="font-family:times new roman;"> appropriately</span></span></span><span style="font-size:130%;"><span style="font-family:Arial;"><span style="font-family:times new roman;"> <span style="font-style: italic;">"printed usin</span></span></span></span><span style="font-size:130%;"><span style="font-family:Arial;"><span style="font-family:times new roman;"><span style="font-style: italic;">g silver </span></span></span></span><span style="font-size:130%;"><span style="font-family:Arial;"><span style="font-family:times new roman;"><span style="font-style: italic;">halide (paper)" </span>and forms part of an ongoing project.<br /></span></span></span><span style="font-size:130%;"><span style="font-family:Arial;"><span style="font-weight: bold;font-family:times new roman;" >H.P. Creating Clever Printers for the Smartphone Age</span></span></span><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8LcWOBAB5R8hkk_R9LvdEK7XF2DFxWmCODxy33JOVEBRPhWOu5KD2b4noetWX0JFMF2Rj1RsXQ0301sj2135e81Yo8X5CkHxTsDoea4X6je-JS8_zuicxyQO3XRwr87v9H9TCrHy0C5uh/s1600/HP+Eprint.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 148px; height: 110px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8LcWOBAB5R8hkk_R9LvdEK7XF2DFxWmCODxy33JOVEBRPhWOu5KD2b4noetWX0JFMF2Rj1RsXQ0301sj2135e81Yo8X5CkHxTsDoea4X6je-JS8_zuicxyQO3XRwr87v9H9TCrHy0C5uh/s200/HP+Eprint.jpg" alt="" id="BLOGGER_PHOTO_ID_5483237380052061458" border="0" /></a><span style="font-size:130%;"><span style="font-family:Arial;"><span style="font-family:times new roman;">In a direct, agile corporate response to the public's universal adoption of Smartphones, the world's largest printer manufacturer Hewlett Packard <a href="http://hp.com.au/">hp.com.au</a> are introducing a </span></span></span><span style="font-size:130%;"><span style="font-family:Arial;"><span style="font-family:times new roman;">new </span></span></span><span style="font-size:130%;"><span style="font-family:Arial;"><span style="font-family:times new roman;">generation of internet responsive printers - each with their own email address, no less - that can receive your precious, ephemeral images from a Smartphone and make them tangible, in print form. According to H.P. <span style="font-style: italic;">"</span></span></span></span><span style="font-style: italic;">Every HP ePrint printer will have a unique simple e-mail address that allows the sender to deliver a print the same way they would send an e-mail message."</span> <span style="font-size:130%;"><span style="font-family:Arial;"><span style="font-family:times new roman;">For a full report from the ever techno-savvy NY Times go to <a href="http://www.nytimes.com/2010/06/07/technology/07printer.html?th&emc=th">http://www.nytimes.com/2010/06/07/technology</a></span></span></span><span style="font-size:130%;"><span style="font-family:Arial;"><span style="font-family:times new roman;"><a href="http://www.nytimes.com/2010/06/07/technology/07printer.html?th&emc=th">/07printer.html?th&emc=</a></span></span></span><span style="font-size:130%;"><span style="font-family:Arial;"><span style="font-family:times new roman;"> </span></span></span><span style="font-size:130%;"><span style="font-family:Arial;"><span style="font-family:times new roman;"> </span></span></span><span style="font-family:Arial;"><span style="font-size:85%;"><span style="font-size:10pt;"><br /></span></span></span>ozphotoreviewhttp://www.blogger.com/profile/05955455242704658018noreply@blogger.com0