Stance - Streetshooter (Wed 11 May 2016)

trees / rocks / shadows - Wilpena (Tue 12 Apr 2016)

Streetshooter on Stance:

I felt an energy come into me, not over me but into me. [..] What was born back then was not just me as a photographer but a photographer with a stance. I mean it gave birth to a realization of my own self worth. [..]

I don’t practice photography, I live it. I don’t just make photos, my photos define me as well. [..]

It requires a firm appreciation of the whole that we are and a total committed love of what we do and why we do it and how we do it.

via Streets of Phila … A Visual Diary … Page 76 … Unheard Voices … The Stance | Streetshooter by Streetshooter.

Eliot Porter - PBS Documentary (YouTube)

Eliot Porter - PBS Documentary [Youtube (*)]
via ELIOT PORTER BOOKS (12 Sep 2012) (*).

A photography hero at me and a big influence, particularly when I started out about 11 years ago with the purchase of a small digital camera that I acquired by departing to the Cook Islands for a small holiday there. I have a couple of his books with another on the way. I know his story well.

The Subject - The Minds Eye by Henri Cartier-Bresson (Extract)

There is subject in all that takes place in the world, as well as in our personal universe. We cannot negate subject. It is everywhere. So we must be lucid toward what is going on in the world, and honest about what we feel.

Subject does not consists of a collection of facts, for facts in themselves offer little interest. Through facts, however, we can reach an understanding of the laws that govern them, and be better able to select the essential ones which communicate reality.

In photography, the smallest thing can be a great subject. The little, human detail can become a leitmotiv. We see and show the world around us, but it is an event itself which provokes the organic rhythm of forms.

There are thousands of ways to distill the essence of something that captivates us, let’s not catalogue them. We will, instead, leave it in all its freshness...

The Subject in The Minds Eye by Henri Cartier-Bresson. Originally from The Decisive Moment (full text here).

Intersection - Airport Tarmac / Lyon - Mon 7 Sep 2009 (picasa)

Composition - The Minds Eye by Henri Cartier-Bresson (Extract)

The photographer’s eye is perpetually evaluating.

A photographer can bring coincidence of line simply by moving his head a fraction of a millimeter. He can modify perspectives by a slight bending of the knees. By placing the camera closer to or farther from the subject, he draws a detail—and it can be subordinated, or he can be tyrannized by it.

But he composes a picture in very nearly the same amount of time it takes to click the shutter, at the speed of a reflex action.

Sometimes it happens that you stall, delay, wait for something to happen. Sometimes you have the feeling that here are all the makings of a picture—except for just one thing that seems to be missing.

But what one thing? Perhaps someone suddenly walks into your range of view. You follow his progress through the view-finder. You wait and wait, and then finally you press the button—and you depart with the feeling (though you don’t know why) that you’ve really got something.

Later, to substantiate this, you can take a print of this picture, trace on it the geometric figures which come up under analysis, and you’ll observe that, if the shutter was released at the decisive moment, you have instinctively fixed a geometric pattern without which the photograph would have been both formless and lifeless.

Composition in The Minds Eye by Henri Cartier-Bresson. Originally from The Decisive Moment (full text here).

Anyone who has ever looked through a viewfinder, taken a photo and cared will be able to relate to the above.

Low Tide - "A photographer can bring coincidence of line simply by moving his head a fraction of a millimeter" - Padstow/Cornwall - Tue 09 Sep 2009
Workers - "You wait and wait, and then finally you press the button" - Lyon/France - Thu 17 Sep 2009

The Minds Eye by Henri Cartier-Bresson (Extract)

For photographers, there are two kinds of selection to be made, and either of them can lead to eventual regrets.

There is the selection we make when we look through the view-finder at the subject; and there is the one we make after the films have been developed and printed.

After developing and printing, you must go about separating the pictures which, though they are all right, aren’t the strongest.

When it’s too late, then you know with a terrible clarity exactly where you failed; and at this point you often recall the telltale feeling you had while you were actually making the pictures.

Was it a feeling of hesitation due to uncertainty?

Was it because of some physical gulf between yourself and the unfolding event?

Was it simply that you did not take into account a certain detail in relation to the whole setup?

Or was it (and this is more frequent) that your glance became vague, your eyes wandered off?

The Picture Story in The Minds Eye by Henri Cartier-Bresson.

What struck about this passage was not the regret that is felt at losing an opportunity to have a great photo, but what we have learnt from why the photo is not as strong as we would like. I have felt this in not only in my photography, but also in my paddling. If you know you have made a mistake and know why, then you have learnt a valuable lesson and you will become better at your chosen activity.

Graffiti - Brick Lane/London - Wed 2 Sep 2009
Window and Books - St Ives/Cornwall - Tue 8 Sep 2009

Favourite Photos - Donald & Tim Barker - Sydney - Oct 2005

Donald/Tim Barker - Sydney Life 2005 - Sydney Oct 2005
Tim Barker with his winning photo from the 2005 Sydney Life photography exhibition. This photo was taken while he was being intoduced by Sally Edwards (Curator, Sydney Life) during the Photographers presentation of their photos.

Just like the symmetry, and the fact that photographer's facial expression and apparent mood, seems to match that of his subject, who overlooks him.

Donald, Sydney, Australia - Winner Sydney Life Photographic Prize 2005 - http://www.timbarker.com.au/portraiture/

Photographer: Murray Fredericks

Murray Fredericks is an Australian Photographer. I was aware of him and his works from my foray into large format photography. I had bought a 4x5 inch large format camera in Shanghai in November 2004 (that's another story) and I needed to learn how to use it. Murray was offering a weekend workshop at a rural location in western NSW, near Oberon, and I had considered attending. With assistance of my friend Leigh Perry, I was able to work it all out and did not need to take Murray's workshop in the end. Some scans of my initial transparencies, by an Epson 4990 scanner, are here

I follow news regarding photography and photography exhibitions in Sydney - typically article written by Robert McFarlane who writes occasionally for the Sydney Morning Herald (just found he has a blog at ozphotoreview.blogspot.com). I have known of Murray since the time his work was exhibited at the Point Light Gallery in 2003. His initial SALT work was also reviewed by Robert McFarlane

When flying to Prague, on the flight to Prague from Helsinki on FinnAir, I was pleasantly surprised and delighted to read an English Newspaper (The Financial Times) that had a review of Murray's exhibition in London at the Hamiltons Gallery in Mayfair. I pulled out the page inflight and put it away with a mental note to make sure I would find the Gallery and view the Salt Exhibition when in London a few weeks later. Was very impressed to read that his photos were being compared to Turner paintings and that the largest and most expensive photo was being sold for 30,000 Pounds - pretty impressive for a humble landscape photographer who started his career as an Economist from Sydney University.

Blue Sky Thinking - Murray Fredericks - SALT II - A Newspaper Article found inflight between Helsinki and Prague - Sat 22 Aug 2009 - (picasa)
The day before the Great River Race, I had organised our seats on boats and I had time to do some sight seeing in London. I found the Gallery using Google Maps and made my way there on the Tube. I found the Gallery easily and chatted with the Gallery guy, who gave my a DVD of the SALT Documentary of his trip to Lake Eyre. Managed to sneak in a few photos before I left for the Photographers Gallery (yet another story), which was walking distance away (well maybe at least a couple hours rambling through the back streets of London).

Murray Fredericks: Salt Exhibition - Hamiltons Gallery / London - Fri 04 Sep 2009 (picasa)

Murray Fredericks: Salt Exhibition - Hamiltons Gallery / London - Fri 04 Sep 2009 (picasa)

Murray Fredericks: Salt Exhibition - Hamiltons Gallery / London - Fri 04 Sep 2009 (picasa)

SALT37 by Murray Fredericks - Sep 2009 (www.gosee.de)

Self Portrait in Lake Eyre - Hamiltons Gallery / London - Fri 04 Sep 2009 (picasa)
The ABC are showing his SALT Documentary tonight. There was a review in yesterdays Sydney Morning Herald titled - Searching for infinite space in extreme locations. An extract follows:

Murray Fredericks - Sydney Morning Herald 22 Mar 2010 - Searching for infinite space in extreme locations - Tue 23 Mar 2010 (picasa)
Having been "the guy with a camera" at high school who took pictures of sports teams, Fredericks was a serious photographer with commercial and artistic ambitions in his mid-twenties. He shot what he calls traditional coffee table-style photos until he realised he wanted more from his work.

"I reached the point where I went through everything and went 'there's nothing new here'. All I'm doing is finding new angles and new locations but the message itself - and the way the message is delivered - isn't changing'," he says.

"So I went through everything again and I thought 'which images affect me differently?' and they were the images that conveyed a sense of space."

That discovery has taken Fredericks 14 times to Lake Eyre in outback South Australia in the past six years. His aim was to photograph the flat salt plain with its low horizon and lack of distinctive features.

Hauling his gear to the location by bicycle, he spent up to five weeks by himself trying to capture the nothingness. And when things changed, he wanted to capture that too.

"Everything happens on the cusp, on the change,'' he says. ''It's the transition periods that are interesting because that's when the stuff you can't imagine or you can't expect happens."

Fredericks's shots of land and sky have proven so popular there are three galleries - in Sydney, Melbourne and London - waiting for his new work.

SALT 8 by Murray Fredericks

Found a nice review by Rebecca Wolkenstein who writes:

.. it wasn’t until I viewed his film SALT, that I decided my roster couldn’t live without him. The film and the work had a spiritual element I had never really understood before then. It sounds rather dramatic to be speaking this way, doesn’t it? When the film comes out [..], I highly recommend that you immerse yourself in the landscape. It’s full of surprises.

SALT 5 by Murray Fredericks

My friend Leigh Perry shoots very similar photos, but typically from the shore of Sydney's coastline - see his portfolios: Invariance and Peripheral Vision. Beautiful photos ..

Invariance #116011 - Reef by Leigh Perry

Invariance #332 - Lake. by Leigh Perry