Merry Christmas! (I know we’re not there yet, but I’m off for 3 weeks holiday, so it sure does feel like it)
Well 2012, you sure were a year.
Some career highlights in there, working for the Opera house, working with Nikhil Chopra at Carriageworks, shooting alongside some great artists and recently moving my workspace to the Compound in Sydney’s Chippendale.
Unfortunately the most memorable times come from some personal lows. This year I lost my best friend and biggest fan, (and blog proof reader) my Dad, to Cancer. Sure is a fucker.
Thanks everyone, friends, clients (often both) for standing by me through the turbulent months, those weeks of pushed deadlines and re-scheduled shoots meant that I could be there for Dad when he needed me, and I will never forget the generosity shown to me. Thank you.
This year I raise my glass to you folk & give the Wimberley families traditional toast, by Scottish Poet Robbie Burns:
“here’s to us, ones like us, precious few, and they’re all dead”.
Poignant now more than ever.
Looking forward to casting off this year and diving head first into 2013.
ps: if anyone has problems with the copy, e-mail me – I need all the help I can get – Dad was a big help and I bloody miss him.
These images come from early on in my career, about the time that I realised that photography is about story telling rather than just taking pretty pictures.
I remember thinking that the horse up next seemed bigger and feistier than previous horses. Once the deed had been done, there was this large sack left over , I asked what it was, thinking it had been the stomach or some such. The man answered in a gruff voice ‘I’ll show ya’ and proceeded with one of his blades to slit a cross over the top of the sack. It fell open, and underneath was the most perfect, beautiful looking foal I’d ever seen.
I nearly burst into tears there and then. I wanted to do something to help it, bring it back to life and take it away with me, but it was gone, so I did the only thing I could do, I lifted my camera and took some images of it to record that it had existed, it had been beautiful and it deserved to have people know that.
As a part of an exhibition for Sydney Design Festival, the ladies from http://www.toughtitties.com.au gave 20 female creatives a giant doylie as a canvas and posed the question ‘is old new again?’.
I decided to use an image of Clare Bowen on the doylie, as it seemed to me that a classic beauty is timeless, and would fit in well, particularlly considering that the next part of the process would be difficult.
Over a number of nights, I painted the doylie with light sensitive emulation, before printing the negative of the digital image of clare onto acetate, and using an overhead projector to expose the doylie.
I then used a large tub to develop and fix the image, before leaving it to dry and fix.
Cheers Alex & Lou from Tough Titties for having me as a part of the exhibition and Clare for being a good sport when she got a text explaining that I had printed her head onto a giant doylie and that it was going to be exhibited.
This folio was accepted into the showcase for emerging Photographers ‘The Projections’ in the commercial category.
Thanks to The Herd for letting me mash their faces together, Jane Tyrrell for being the amazing creative force and the other half of snap&etch and Trampoline for putting on such a great night.
These images came together as a pitch for Aussie Hip Hop band The Herd, when their single ‘The Sum of it all’ was released.
Collaborating with Jane Tyrrell (female Vocalist in The Herd, visual artist and amazing person in general) we came up with the idea of creating one face out of all eight faces – the sum of them all.
The final spliced images have their own expression and identity, like a single portrait might, while still showing the separation in the whole – the same way that the band comes together from single instruments.
There are many ways of veiwing stereo images, all which are hard when the image is being displayed on a screen. To veiw this image in 3D, you need to use the cross-eyed free viewing technique.
Start with your eyes in between the two heads, slowly go cross eyed until there are three images with one in the middle, focus on the one in the middle.
It might take a while for the image to resolve, if it’s not snapping into view, you may need to move your head closer to, or further away from the screen to find the right viewing distance.
For personal viewing I bought a pair of beautiful antique stereo viewers from the 20s, when stereoscopy was very fashionable, and have printed the image out as a stereo card that can be placed into them.
This portrait was shot intending to be displayed in 3D, but never made it that far until now!
For some reason I really enjoy doing things if they’re difficult and this shot was a lot of fun. It’s the first of a series that I’m planning on shooting in 3D, a personal project that will probably take a while to finish, but I’m looking forward to exhibiting using the Wheatstone method (With prints and mirrors – if anyone went to the Dali exhibition in Melbourne a year or two ago, you might remember a Self Portrait he did that was displayed this way?) much nicer and easier that going cross eyed.
Hope you enjoy!
The first collaboration between myself the multi talented Jane Tyrrell.
Jane is an amazing soul singer, (The Herd, Urthboy) fine artists, print maker and designer that I met by chance and knew straight away would become one of my closest friends and collaborators.
It was a few months after we had become friends that we caught up for coffee, I had wanted to do a portrait of Jane since the moment I met her, and as though I was asking her on a date, I turned bright red and blurted this out in a particularly undignified way. Luckily she had become accustomed to me and accepted gracefully, mentioning that she had been meaning to ask me to photograph her in the same meeting.
Art directed by Jane and me, hair and make up by the patient and talented Catherine Biggs.
This image was recently shortlisted for the Head On Portrait Prize and is currently on display with the other short listed images at the ACP on Oxford st. in Sydney.