On being a Photographer- David Campany (Nov 2014)

Bride and Groom - Sacre-Coeur / Montmartre / Paris (Thu 18 Sep 2014)
David Campany (*) writes on being a Photographer (*):

there are only four ways to function as a photographer. Either you are independently wealthy; or you get paid to take pictures (a commercial photographer, with whatever independence of mind you can retain); or you get paid for photographs (i.e. as an artist [..]); or your photography is a hobby, a pastime, and you earn your living elsewhere.

via Walker Evans: the magazine work STEIDL, 2014 (*) by David Campany (*).

I definitely fall into the last category. I have a few photos in books and given away some prints to friends. So, I guess, being a photographer, is mostly about me.

Geoff Dyer on Trent Parke (2010) - American Suburb X - (Fri 17 Dec 2010)

Geoff Dyer on Trent Parke (2010) - American Suburb X - (Fri 17 Dec 2010)
I have a Google Alert for Trent Parke, an Australian Photographer who is a member of Magnum and in-public (who BTW have just celebrated their 10th birthday).

Trent Parke - Google Blog Search Result - My Google Reader - Fri 17 Dec 2010
Most days I will get one or two alerts come through on my Google Reader. Normally, they don't lead to anything interesting or something I don't already know about him. However, I received an alert that quickly drew my attention. It was titled:

Geoff Dyer on Trent Parke (2010).

As Andrew Bruce posted today on Trent's Facebook Wall:

easily the best piece of writing on Parke to date

Have to agree and it is definitely worth a read.

A bit of a ramble to follow. I have known of Geoff Dyer for sometime. At least since around the time of the publication of his book, the The Ongoing Moment (Guardian Review - 16 Oct 2005). A novel and rather modest approach to writing about photography - he claims that he does not even own a camera:

"I am not a photographer ... I don't even own a camera."

I enjoyed the book and appreciated his knowledge of photography. In particular I enjoyed his writing style and the metaphors he used to get his ideas across - you will see this in his article on Trent.

[on writing about the book, The Seventh Wave] The surface of the sea is a film separating two worlds, that of water and that of air. Though absolute the distinction is perpetually on the brink of dissolving, melting away. People fly through the water as if suspended in a turbulent sky, or float through great clouds of aquatic light. That’s what water is for Parke and Autio – liquid light. Forms dissolve, blur, swim into and out of focus. Quick and silver, the water is a flash-flood of mercury.

Phot from the The Seventh Wave - Narelle Autio and Trent Parke
On to Trent Parke. I have followed his progress since he was photographer with the Sydney Morning Herald back in the early 2000's. He had two photos in the first Sydney Looking Forward Exhibtion back in 2002. I wrote about one of the photos here. Indeed the post is one of the more popular pages residing in my little blog.

In 2003 I bought two copies of the two books he had published at that stage:

• Dream/Life


• The Seventh Wave

Both books appear to be long out of print, by the looks of the Amazon Used Books prices.

Looks like I have done alright with these purchases (they were about $50 each from the Stills Gallery). I could not help myself other than to buy two copies of each. They were just beautiful. I have a soft/weak spot for photography books. I can remember catching the train after work, upto Kings Cross and then walking into Paddington to the Stills Gallery. I took quite a few photos with my litte IXUS. Must drag them out of the archive to find out the exact date of purchase of the books. A job for another day.

I will close with a quote from Geoff Dyer's article on Trent:

Later works will continue but intensify the Dream/Life vision so that, at its most extreme, Sydney becomes a kind of ghost city, in the process of being annihilated by light. A passer-by will be transformed into an accidental super-hero: Solar-man, a bleached absence of pure radiance! (Part of the fascination of this picture is of the photographer-as-magician kind: how did he do that? The difference between magic and photography is that the spell remains unbroken even when the technical explanation - which, in any case, I cannot recall - is forthcoming. [GeoffE: maybe some discussion here will help: How is this done? (Trent Parke) at photo.net - 31 Mar 2004)]

White Man, 2001 - Circular Quay/Sydney (GeoffE: at guess!) - Trent Parke
An article by the Sydney Morning Herald's Tim Clayton giving some background to the working environment that Trent Parke evolved.

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

On the Photographer and Life - StreetShooter (Thu 19 Jun 2014)

Angel (*) Heart (*) in Flight (*) - Lisbon (Wed 14 Aug 2013)
StreetShooter (*) writes On the Photographer (*) and Life (*):

The photographer (*) validates his time on the earth by the photos he makes. Photographers record what the planet looked like during their visit (*). We are all tourist thru life, no one gets a permanent Visa.

via June 19th, 2014 … Fuji X100s is a Streetshooter’s Dream (*) by StreetShooter (*).

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

On The Photographer - Gustavo Minas / Eric Kim (Fri 28 Mar 2014)

The Photographers Shadow - Regent Street / Ultimo (Tue 25 Mar 2014)
Gustavo Minas (*) writes On The Photographer (*):

It’s not about the photographs, but about the photographer.

via Capturing Space, Color, and Light in Sao Paulo: Street Photography by Gustavo Minas (*) by Eric Kim (*).

All you have do is frame and click - Contact Sheets No.1 - William Klein (1988)

Picasa Contact Sheet - eljeiffel - New York (Fri 12 Aug 2011)
Picasa Contact Sheet - eljeiffel - New York (Wed 17 Aug 2011)
Just a couple of screen shots of some virtual contact sheets (*) from recent trip to New York. Will put a few more over the coming days as (the following youtube clip reveals) I think they reveal something about how I see when I travel.


From his film Contacts Vol.1 (*), William Klein (*) reveals some great insights into the working processes of a photographer.

It does not matter if you are great or unknown, if you care when you press the shutter to take a photo, we pretty much all go through the same thoughts and steps.

Some of the more interesting insights from the clip follow:

A sheet of contacts. 36 exposures. 6 strips of 6 photographs, taken one after the other. You read them from left to right like a text. It the diary of a photographer. You see what he sees through the viewfinder. His hesitations. His hits. His misses. His choices. He choses one moment. One angle. Another moment. Another angle. He insists. He stops.

You rarely see the contacts of a photographer. You only see the picture chosen. You don't see the before or the after like you do on proof sheet. [..]

Ok, the contacts. You see the before and after. Why one picture is taken rather than the other. And then why one is chosen rather than another. [..]

A wall in New York 20 years ago. Ciaro. Probably the name of a gang. Torn paper. A ready made photo. A kind of ??. All you have do is frame and click. You can do a hundread on that wall no sweat. It's there for the taking. There are pictures like that all over, you just have to look.

This picture is maybe better than that one. Or this one. Or that one.

Found the Klein clip from a Jonathan Walker (*) post (*). Always lots of good information on photography (*) there. Thanks Jonathan.

On The Story of Telling - Joe Newman (Wed 10 Sep 2014)

Was it a Dream? - Burano / Italy (Wed 10 Sep 2014)
Joe Newman (*) writes on The Story of Telling (*):

Telling the story as a street photographer is different than telling the story as a journalist or documentary photographer. While journalists set out to record "the first rough draft of history," the story you tell as a street photographer is entirely in the viewer's mind.

via Finding the Story in Your Street Photography (*) by Joe Newman (*).

Burano is a beautiful little island about 45 mins from Venice by a small Ferry. It felt so far from anywhere. We arrived late in the day and the shadows were long and the colours were striking. We bumped into Loretta here and she can seen on then left path with a couple of paddlers from Mt Warning. Loretta was the Australian Team Manager in 2007 and 2013.

Annie Leibovitz - Sydney Morning Herald (Nov 2010)

The Annie Leibovitz exhibition Annie Leibovitz: A Photographer’s Life 1990–2005 has just opened at Sydney's Museum of Contemporary Art. Here are three articles that have featured in the Sydney Morning Herald over the last two weeks.

Annie Leibovitz - Spectrum (Cover) / Sydney Morning Herald - 06 Nov 2010
A life in Photography by Robert McFarlane - Spectrum (Page 6) / Sydney Morning Herald - Sat 06 Nov 2010
A life in Photography by Robert McFarlane - Spectrum (Page 7) / Sydney Morning Herald - Sat 06 Nov 2010
Life and death, put into perspective by Joyce Morgan - Sydney Morning Herald - Wed 17 Nov 2010 (Article)
Annie Leibovitz - The Diary - Sydney Morning Herald - 19 Nov 2010
Also see Beyond the flashing bulbs of fame by Andrew Taylor (Sun 14 Nov 2010) ..

Leibovitz's disdain for celebrity is reflected in "Annie Leibovitz: A Photographer's Life 1990-2005", which opens at the Museum of Contemporary Art on Friday.

Just a third of the exhibition features the high-profile names that have turned Leibovitz into a celebrity. There are more images of family and friends and 40 photos include documentary shots of lives ruined by war in the former Yugoslavia and Rwanda.

MCA's director Liz Ann Macgregor said these were her favourite works: "Two of these unforgettable images achieve their strength by showing what is not there – in the absence of victims, we see only the aftermath of war and the bloodshed left behind."

In contrast, Leibovitz said the intimate shots of her parents on the beach and brother and father posing bare-chested, arms crossed, were her "most important work".

"It tells the best story, and I care about it. You don't get the opportunity to do this kind of work except with people who you love: people who will put up with you."

I have enjoyed seeing the personal side of Leibovitz's work and will definitely go to the exhibition.

Have a copy of Susan Sontag's (Leibovitz's Lover) Monograph On Photography which I bought in Canberra in 2002. It seemed an odd relationship because of Sontag's views on photography. I could empathise with their situation with Sontag's journey with Breast Cancer and I remember following the news of Sontag's final weeks and then reading Sontag's New York Times Obituary.

Like all professional photographers, there is definitely a private side to Leibovitz's Photography and I am sure most photographers like myself want to see the private side.

I look forward to viewing the exhibition. I saw the exhibition's book a few years ago. What I really look forward to, though, is the Landscape Photograph work which will feature in future book titled Pilgrimage.

Favourite Photos - How much beauty in decay! - Hyde Park/Sydney - Dec 2001

Leaf - How much beauty in decay! - Hyde Park/Sydney - Wed 27 Dec 2001 (picasa)
A photo I took after work during the Christmas New Year period of 2001. Fires were burning all round Sydney and the sky was covered in smoke which resulted in a strange orange colour which can be seen in this photo. At the time I was reading much about photography and various photographers. This particular photo was inspired by Eliot Porter.

Eliot Porter was a photographer I found early on in my photography journey and self-education. It was easy to appreciate his work (google). He was a pioneer of colour photography (more here) and his life work was bequested to the Amon Carter Museum in 1990 shortly before he died (NYT Orbituary).

Not sure how I found him, but his name seems to appear whenever landscape photographers start talking about Colour Landscape Photography when compared to Black and White Landscape Photography, particularly that of Ansel Adams (looking at the size of the wikipedia entries, it is easy to see who was more popular both as a photographer and selection of photographic technique).

Found some interesting information about him searching the web (google). Also, found some of his books (along with those of Australia's own Peter Dombrovskis) in the National Library of Australia and would often take a look at them in NLA's reading rooms when in Canberra. Many of his photos resonated with my own vision and definitely influenced me when taking landscape (even streetscape and travel) photos, particularly in the Snow Mountains.

At the UNSW I found the book Eliot Porter: photographs and text (a great article) by Eliot Porter. Learnt a lot from the text and photos selected for the book. The following is a quote (see my photo.net page) from the book, which helped form my photographic vision ..

"It is the beauty of nature that I try to represent by photography. What this expression means to most people, I am quite sure, is such features as flowers of spring, autumn foliage, mountain landscapes, and many other similar aspects about aesthetic qualities of which no one would care to offer contradiction. That they are beautiful is indisputable, but they are not all that is beautiful about nature; in fact they are only the obvious and superficial aspects of nature - which anyone may observe with half and eye. They are the peaks and summits of nature's greatest displays. There is no doubt about their importance; they could not be dispensed with. Underlying and supporting these brillant displays are slow, quiet processes that pass almost unnoticed from season to season, unnoticed by those that think that beauty in natures is all its gaudy displays.

Much is missed if we have eyes only for the bright colors. Nature should be viewed without distinction. All her processes and evolutions are beautiful or ugly to the unbiased and indiscriminating observer. She makes no choice herself; everything that happens has equal significance. Nothing can dispensed with. This is a common mistake that many people make; they think that half of nature can be destroyed - the uncomfortable half - while still retaining the acceptable and the pleasing side; their idea is a paradise where nature stands still. Withering flowers blooming, death follows growth, decay follows death, and life follows decay - in a wonderful, complicated, endless web the beauties of which are manifest to a point of view attached to vulgar restricting concepts of what constitutes beauty in nature. Thoreau, who observerd all aspects of nature throughout his life, repeatedly remarked on the beauty of the unaccepted. 'How much beauty in decay!' he exclaimed on examining a worm-eaten leaf. To him the sere, brown leaves of winter were as beautiful as the fresh green of spring. This was a principle that has remained important for me throughout my career."

A fairly long quote, but for me was definitely something worth remembering.

This link provides a great summary of the life and works of Eliot Porter. I like the ending quote ..

The final paragraphs on the art of photography touch on his views to color, composition and emotional content of his images:

"Sensitivity cannot be faked by trickor devise; it has no substitute, and any attempt to replace it with mechancial contrivances is certain to be apparent to the more discerning critics. Not all photographs have to be inspired to be worth making, but the best, rare photographs are the result of a a force at least very close to inspiration. Formulized work becomes impersonal, an all the individuality of authorship tends to disappear. It unquestionably has its uses, but it is not art."

The book itself echoes Porter's ability to redact nature's chaos into a single harmonious image, and is a well-deserved tribute to this pioneer of color nature photography.

The following was one of my favourite Eliot Porter photos:

Pool in a Brook, Brook Pond/New Hampshire by Eliot Porter - 04 Oct 1953 (Carter Museum)
I recently thought of Eliot Porter and the above photo, when I took the following photo during the 2010 Ord River Marathon:

Ord River Reflections - 2010 Ord River Marathon - Sun 14 Jun 2010

Sydney Life 2010 (23 Sep - 24 Oct 2010)

Cover - Sydney Life 2010 - Art and About 2010 (picasa)
Page 10 - Sydney Life 2010 - Art and About 2010 (picasa)
Sydney Life

Sydney is a captivating canvas, a city of varied moods and colours, a place of both darkness and light.

This year’s stunning Sydney Life exhibition shows us the many sides of the city through the eyes of some of our most exciting photographers. Their striking large-scale images are on display in the beautiful leafy central walkway of Hyde Park North – a unique location for a unique and much loved exhibition.

Sandy Edwards (Creative Producer, Arthere and Curator, Stills Gallery), Robert McFarlane (photographer and writer), and Ace Bourke (curator) chose 22 finalists from 500 entries. Using portraiture, landscape, the staged and the candid, these photographs capture moments of playfulness, humour, melancholy and peace.

Sydney Life Artist Conversation

Wednesday 6 October
Join Sydney Life photographers past and present as they discuss photographing Sydney’s environment & characters.
6.30 – 7.30pm
Burdekin Hotel
Oxford Street, Darlinghurst

Page 11 - Sydney Life 2010 - Art and About 2010 (picasa)

Page 12 - Sydney Life 2010 - Art and About 2010 (picasa)
Page 13 - Sydney Life 2010 - Art and About 2010 (picasa)

The Photographers and their Photographs

Geoff Harvey - My Shed In St Peters - A Self Portrait
Paris Spellson - Bondi Beach Local
Steve Christo - Cole Classic
Stephen Wiessner - ANZAC Day 2010
Jenny Templin - Carmen, Elizabeth Street
Adrian Cook - That Summer
Ernest Fratczak - Based on a True Story
James Hill - The Five Ways Theatre
John McRae - The Young Photographer
Christopher Lawrie - Mikhail and the Dust Storm (more here)
Tom Williams - The Osman Family, Southerly Storm Approaching Brighton Beach
Kelly-Ann Denton - Donna
Ian Darling - The Twins
Nicholas May (winner) - Australia Day, 2010
Fiona Morris - Circus Children Dakota and Cody outside the Big Top, Tempe
Andrew Quilty - Cronulla to Central
Tamara Dean - The Pack
Jon Love - New Life
Dean Sewell - Sydney Dust Storm
Gregory McBean - Cattlemen and Charolais, Homebush 2010
Deborah Clare Veronica West - Sydney Harbour Sunday
Lynn Smith (flickr) - Blue Man

At cityofsydney.nsw.gov.au - Programme

Eric Kim / Street Photographer - Talk - University of NSW / Sydney (Fri 20 Apr 2012)

Jo and I attended a talk (*) by Eric Kim (*) hosted by the University of NSW Photoclub (*).

Eric is a young (just 24 years old) and enthusiastic street photographer and blogger (been following him for a while now), and a great presenter. The talk was well attended with at least 300-400 people attending and Eric was treated like a Rockstar.

Eric Kim - The Flyer - UNSW (Fri 20 Apr 2012)
The 2 hour presentation was split into two parts with a brief break where Eric was more than happy to photographed with anyone and by anyone who had a camera, and there were a few.

Part of of talk included a slide show of some his Projects with some background to the photos. I hoped he would present the flyer photo and for me it was about the hands.I waited for him to do the obvious with his hands. When the obvious moment came, I pressed my shutter release and I heard a couple of other shutters open and close at the same time.

Eric explained the importance of watching for expressions, gestures and hand movements to create an engaging photo. This is often reinforced to me when I watch a speech or media conference and you will only hear the voice of the presenter, and when a gesture is made, most often with the hands, the voice is often overwhelmed by the sounds of the assembled media pack shutters, and the strobe-like effect of the flashes.

Eric Kim - The Hands - UNSW (Fri 20 Apr 2012)
At the end of the talk, the Camera Club's Committee presented Eric with a copy of the Bruce Davidson (*) book titled Subway (*). I flicked through the book after meeting Eric and I would highly recommend it and it is now on my wish list.

Eric Kim - - UNSW (Fri 20 Apr 2012)
While Jo and I waited to meet with Eric after the talk and book presentation, I grabbed a couple of photos of Eric. The one at end of this post I feel is best as I have captured Eric in a moment where he is not performing for the camera.

In some ways I feel I have captured the part of Eric where he struggles with his new found, and well deserved, celebrity status. As he said in reply to a question towards the end of the talk, he found traveling rewarding and at the same time very challenging, mentioning the impact it had on him physically, mentally and spiritually.

Eric, thanks for the great talk and inspiration you provide to 1000's of people across the world. Your success is well deserved and I wish you all the best as you pursue your dreams.

Geoff, Eric and Jo - Jo shows Eric perfect holdout photo technique with the only holdout photo of the night with Eric - UNSW (Fri 20 Apr 2012)
Eric Kim - Reflection - UNSW (Fri 20 Apr 2012)

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.

Photographer CV - eljeiffel / Sydney (Thu 28 Jun 2012)

Photographer CV - eljeiffel / Sydney (Thu 28 Jun 2012)
Had to write something for my Sydney Life 2012 Photograph Entries (*) which I submitted this evening. Did not have much time and the above is what came out. It seems to capture my photographic intentions and what happens here.

Joanne, Jenny and David - Sunday Church Service - Rarotonga / Cook Islands (Sun 10 Dec 2000)
Jenny - Woronora Cemetery (Mon 30 Aug 2010)