Restricted very much in my opportunities to go out gathering images for the last four to five months, I recently decided to explore the use of my dash camera to assemble a series of photographs.
Using the recorded videos of my day-to-day travels around Canberra taking my wife and/ or myself to appointments as my starting point, I looked through them seeking moments that I might convert to still images.
What I now have is a growing series revealing viewpoints I would not normally be able to use – as stopping my car on sometimes busy roads to take shots through the windscreen, or standing on the same roads – busy or not – to take shots from the same position is not an option I generally would use.
I deliberately positioned the dashcam to include part of the car’s dash at the bottom of the images. Windscreen wipers, raindrops, sun flare, dirty glass, reflections in the glass – all such “blemishes” have been left in deliberately creating warts and-all inconsequential scenes of the national capital. “Wartworks” if you like.
A selection of the images created so far have been published as a portfolio on pages 15 – 22 of the April 2023 issue of Free Expressions (the monthly magazine of the Australian Photographic Society’s Contemporary Group).
Roughly every four months, I write a piece for the APS Focus page in Australian Photography magazine. This is my latest piece, published in the March 2022 issue now in newsagencies.
One of the things we all should do is set ourselves personal projects to work on. In recent years, I have identified various projects I thought might lead to the production of photobooks or even exhibitions.
Creating photobooks is quite straight forward really. The cost of a particular size book is known ahead of time, so you can decide what to make and be aware of exactly how much money you need before proceeding. And if you do make a good one, you could always enter it in the annual APS Photobook competition – either in the portfolio category or the storytelling category. And there are also other photobook competitions you might decide to enter.
The projects I have embarked on in recent times have been diverse, despite the pandemic restrictions. Walking, cycling or driving around your close neighbourhood is all you need to do when searching for shots. I found the roadside littered with many more than usual corflute signs when it was election time here. See. Stop. Photograph. Repeat. The end result was 54 images – plenty for a photobook.
Then I found Love. Well sort of. Someone was, and still is, painting graffiti all over the place and, most particularly, around the suburbs closest to where I live. Every artwork primarily consists of images of a dinosaur/worm/alien, often accompanied by a heart and messages. I’ve completed a book Expressing Love in Canberra featuring many of those artworks that I photographed. If nothing else, I have a documentary record of those since removed or painted over! And, I’m adding to my collection every time I see a new work. I’d actually like to acquire one work that is painted on an electrical box door so I could display it along with my photos and the photobook at an exhibition.
When I first saw some Say Less graffiti on buildings in two suburbs on opposite sides of a major entrance road to our city, I had no idea what it was about. However, I quickly thought about the old saying that one picture is worth a thousand words, and the concept for a book about saying less with words and more with images started to take shape in my mind. Again, I’ve made a photobook.
Say Less is also about graffiti (or street art if you prefer) and explores various meanings of the term.
My possible exhibition could explore Love, Say Less,Corflutes and, maybe, also E-Scooters – the method of transport that has made a relatively recent appearance here, welcomed by many but irritating others because of perceived misuse as the scooters litter our streets.
Having an exhibition is more difficult to achieve. Firstly, there is the difficulty of getting a timeslot in a gallery. Getting into most of our local galleries is a real challenge. You have to compete with many graduating students keen to emerge and establish their names, as well as numerous already established photo artists from other parts of the country and even overseas.
I ask myself if older folk like me who have been in numerous group exhibitions over the years but never had their own solo show, can now emerge and be lauded as photo artists? I don’t know, but I’ll keep pursuing a solo exhibition and, in the meantime, will make more photobooks. What was the closing date for that competition I read about?
2021. What a year! Despite everything, local photo artists have continued to make their marks.
There have been many exhibitions. Some openings were conducted outdoors; galleries having to let small numbers inside at a time. Even during lockdown, photo galleries and artists were active, using social media, livestreaming and virtual exhibitions most creatively.
I remain disappointed about poor supporting material available for visitors in some galleries. I urge those that fall short to improve the exhibition experience – catalogues that tell us more than titles and prices, artist/concept statements about artworks, catalogue essays, recordings about the artists and works to hear, and opportunities to look at and, perhaps, purchase books and other material as well as the actual works exhibited.
There have also been interesting new photobooks and books about photography this year, including Capital Country – an ‘exhibition in a book’ by Kate Matthews, and the substantial Installation View by Daniel Palmer & Martyn Jolly which has enriched our understanding of the diversity of Australian photography.
There have been marvellous awards for individual artists. For the third year in succession, Canberra photo artists were finalists in the Mullins Conceptual Photography Prize (MCPP). Indeed, once again a Canberran earned the $10,000 Prize. This year it was Ian Skinner for his poetic work, Ashscapes 01-04, about how the ocean delivered ash to the sandy edge of the land when the catastrophic fires in south-eastern Australia in 2019-2020 were shortly followed by torrential rain.
Skinner also took out 3rd prize in the storytelling section of the Australian Photographic Society (APS)’s annual photobook awards for his Aftermath: Cadgee 2020 – an intimate story of heartbreak and loss in the devastating bushfires which swept through the NSW South Coast hinterland in the summer of 2019-2020.
Lyndall Gerlach was again a finalist in the MCPP, was commended for several works in the Australia’s Top Emerging Photographers competition and the Mono Awards; and was featured in FRAMES Magazine’s Digital Companion.
Judy Parker, winner of the 2020 MCPP, won the portfolio section of the APS’s photobook awards, with her book Afterthoughts, described by the judges as “a stunning body of work with consistent post-production”.
The Canberra Times own Dion Georgopoulos, and Marzena Wasikowska, were both finalists in the prestigious National Photographic Portrait Prize. Georgopoulos has also done some wonderful Darling River photography, whilst Wasikowska was also selected as one of the winners in the 2021 Lens Culture Street Photography Critics’ Choice Awards.
Two photographers received 2021 Canberra Critics Circle Awards. Sammy Hawker – for her exhibition Acts of Co-Creation at the Mixing Room Gallery, comprising unsettling and thrilling prints processed with water, soil, bark and flowers collected from the locations of the images. And Melita Dahl for her intriguing exhibition Portrait at Photo Access exploring connections between the traditions of fine-art portraiture, photography and facial emotion recognition software.
Many professional photographers were hard hit by the pandemic, with sparse numbers of events to photograph, and physical outlets for their works closed. The recent collapse of the Australian Institute of Professional Photography after 75 years of serving photographers is, no doubt, an added blow. So, it was great to see on social media, just before writing this, photos from local professional Ben Kopilow’s coverage of a wedding in a hot air balloon.
I’ve recently reviewed some fine nature prints at the Australian National Botanic Gardens Visitor Centre – Recovery was the eighth annual photographic exhibition by the Friends of the Australian National Botanic Gardens Photographic Group. And also recently I reviewed the final show for the year at Photo Access by 11 photo artists – outcome of a Concept to Exhibition project. And there is one other show to see before the year is done – at Canberra Contemporary Art Space.
This city can, rightfully, be proud of all of the artists I have named here – and of many more making excellent photo artworks. No doubt 2022 will deliver great photomedia exhibitions, events and achievements, including the successful emergence of new local talents. Hopefully, it also will see significant progress on the Kingston Arts Precinct project!
This article was published in the Canberra Times of 23/12/21 here.