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So tell us a bit about yourself and your photography.
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Well, probably like a lot of photographers,
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I always had an interest.
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I'm 50 now, so I think when I was about 20,
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or even earlier than that,
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I knew that there was something there.
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It was always design for me.
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And I went into architecture straight out of school,
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which all that kind of visual,
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all those things going through your mind,
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I really didn't know what to do
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and I didn't really last in that.
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But yeah.
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I think I picked up my first camera then and tried it.
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I just realised the power of photography,
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trying to integrate it into all my interests.
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Like I had an interest in art,
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I was trying to connect them to telescopes
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and do all that kind of stuff.
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And I just knew it's a ubiquitous thing, you know?
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Something you can always use and utilise.
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So, yeah and I think I got an SLR in that stage of course,
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and experimented as people do.
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You get an old camera and just play with it
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and see what happens.
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And yeah, so that went on for a while.
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And then I think life gets in the way
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and that all kind of drifted away.
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It was all a bit hard obviously with,
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in the old days with film and all that.
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But yeah, and then I jumped back on about,
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I don't know, 15 years ago a little bit.
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And then when the iPhone came out,
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I kind of knew that was it for me.
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I thought, wow, this is it.
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Everything's kind of aligned.
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It feels right, that suits my style of just
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kind of teaching myself but also being,
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I don't like to be too formal with anything obviously.
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And yeah, and I think just having a real camera,
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it just formalises everything, for me anyway.
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I just liked the idea of being able to,
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yeah, let the image come first, you know?
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Like find, let it see you and or you see it
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rather than sort of go out tracking it down.
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Although that said,
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I think I've started doing that a lot more, but yeah.
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So that's kind of the philosophy anyways.
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And like I said, I've jumped on board
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since about the iPhone 4
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and they're incrementally getting
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really, really good aren't they?
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I mean a lot of people would say
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that it's very hard to tell technically,
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well, I mean, pixel peepers
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will find a difference on the App.
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At first glance they're getting really, really good.
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But for me, it's just actually,
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it's not so much that,
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they've always been what you see is what you get.
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There's gonna be limitations
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but just the idea of just having it with you
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and that informality of just
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finding the image
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and making the most of what you can see around you, I guess.
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Yeah, yeah.
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Yeah, it's really nice, the immediacy, as you said,
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of having your phone there
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and people are so desensitised to
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phones being just part of everyday life now
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that it does take away that formality
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of some people, situations, whatever.
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If you pull out a camera,
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it immediately becomes false or filtered.
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Yeah, yeah.
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I mean, with a skilled photographer,
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maybe they can relax people, but yeah.
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Particularly for,
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It's common nature of a lot of things.
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I think there's that too that
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it does put people at ease,
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not so intimidating, but yeah,
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no they're definitely all around us
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and I guess that's a challenge, isn't it?
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Trying to create something that's a bit different
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when everybody's got a camera, you know?
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Yeah.
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And even people that aren't really skilled.
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I mean, I'm not saying I'm skilled at all,
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but people that haven't had a lot of experience
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can turn out some good photos.
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And so the challenge is to try and keep developing,
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I suppose and try and get more out of what you see.
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So I'm always like all photographers, just evolving,
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just hoping to get better.
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Not so much better, but I don't know,
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more interesting or that kind of thing, yeah.
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So tell us about your work that's in Living Memory Marion.
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Oh, Marion, yeah.
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Well that was a chance event.
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Again, just driving around and yeah.
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I was looking for,
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this is the kind of the planned thing
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that I've started doing,
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which is really just exploring.
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So there's the planning is just going somewhere
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and seeing what happens,
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but yeah outwards between Brisbane and Toowoomba,
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there's a few little country places there.
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So it's not that far out,
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although it kind of looks like it.
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And yeah, I was looking for old places
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and old cars and that kind of thing,
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which really interests me.
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And yeah, I could see her place sort of tucked away
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behind all the sort of very mysterious and a little bit old.
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Lucky it was sort of still standing to me,
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it really looked like it was uninhabited,
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that kind of thing.
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But yeah.
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No, no, I just drive up the driveway
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and like, I think I said on the thing,
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she was just singing away inside
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and living by yourself and with some miniature horses
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and that kind of thing,
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and just like a lot of people, if you go in just openly
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and expressing an interest in what they do
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and tell them, matter-of-factly what you wanna do.
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Just a great rapport.
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I think that photo that's in the prize,
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I visited maybe three or four times maybe more,
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but about four and that might've been
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on the third visit or something,
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just a bit of a chat and saying goodbye,
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and you know all the stars well, for me anyway,
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I just thought the lighting was nice
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and all the usual stuff.
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So again, not planned at all,
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just a spontaneous moment really.
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And I was quite happy, you know?
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I've got a lot of photos of her
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but that was one that stood out, so, yeah.
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So you sort of developed a rapport with her as well
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and have visited her a few times I know you said after that.
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Like, and she's often singing her away inside,
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so you can see there's that openness
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in the way she's standing and presenting to the camera,
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which comes across nicely.
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Yeah, she was a little bit, yeah,
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she wasn't exactly wrapped in the idea
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of having her photo taken, but she also wasn't,
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she knew what I was trying to do,
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which was again, very generous of her
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to open up and give a bit of her time just to,
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of us to just stop or stand
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or that kind of thing she would.
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And the property's amazing in and of itself.
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I mean, if she wasn't there,
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I'd spend three hours there anyway,
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just walking around in rusty buildings
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and all that kind of thing.
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But yeah.
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As is the case, the people are the
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obviously the most interesting elements
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of a lot of places you might wanna go, so.
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So what do you think or hope
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that being part of Living Memory or NPPP
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will do for your career?
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Have you been in prizes before?
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Yeah, but actually,
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well, it's really great 'cause a lot of it's been mobile.
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I should say, well, almost all of it.
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95% of the success has been mobile,
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just the competitions and like the iPhone photography awards
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and things like that.
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So, yeah, this is a real,
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really, really this is a boon for me, really.
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It's really exciting to be and honouring to be,
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I'm honoured to be part of it, really.
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And it's sort of, it does give me a bit of confidence
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and a bit of a step up to think that,
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well A, that the phone can produce an image
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that's up to speed,
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although there was a bit of tinkering around
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to get it to look as good as we could.
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But also just the idea of,
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again, just the development of moving through
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and getting confidence to ask, to talk to people.
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There's always that fine line.
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You always wish you could plan images more.
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I'm very jealous of the people that are in the prize
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that have created these wonderful images
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where they've sort of lined everything up.
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There's that fine line.
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And it always feels like a minor miracle
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when you turn a good photo out because
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you're treading that line between
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spontaneity and not planning anything
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and producing a good image, which they kind of,
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they don't necessarily go hand in hand.
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So, you know.
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And an authenticity too,
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you don't wanna have anything too staged.
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So there's just that fine line that you walk along.
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And I think definitely for me,
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it's just great to be a part of it.
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You obviously observe all the other images,
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which is really fascinating.
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You have a really good look at them
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and all the discussions that you guys have are eyeopening.
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You know when the exhibition continues, it'd be nice if,
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I'm not sure how many people have got there.
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Have you got a few there? Or that have come down or?
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Not too many.
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Yeah, we haven't actually,
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I think it was really only,
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for you mean like photographers
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that have visited the exhibition?
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Yeah sorry, yeah.
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Yeah, there's only actually been a couple.
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I think it was, we only had a couple of our
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camera based photographers.
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And then I think we've had like maybe two
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that were in regional New South Wales.
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Yeah, yeah.
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But we've extended the exhibition to January 16th now,
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and the gallery is actually set to reopen
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on the 29th of October.
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So we're really hoping that,
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all those restrictions start to ease
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so people can come have a look at the show.
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I forgot that you had actually been,
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you've been closed down for quite a while now,
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is that right?
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Yeah, we've been closed down I think we're going into,
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it must be almost three months or so now,
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that we've been completely locked down.
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So that's where the decision sort of came about
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to extend the show and hopefully people like yourself
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get to come down and see it.
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Yeah, well, I mean we've been very lucky up here,
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but yeah as far as the rest of everybody else,
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it will be interesting to see how it all pans out
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in the next few weeks and months so.
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Whether we can move around, well.
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So do you think having locked downs
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and all the changes going on
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affected your photography practise at all?
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Well, no, we've been quite lucky, really.
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There was a phase there when
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we were a bit tied down.
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And I did consider doing the classic sort of
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shots of people, which kind of imitates
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my sort of aesthetic anyway,
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of just getting people sitting
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out in their front yard or that kind of thing.
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Yeah, but not necessarily.
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I mean, not as much as other places around Australia,
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that's for sure.
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I think we've escaped it quite well.
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So I can't say that it's,
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it'd be a different story if I lived in Melbourne
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or something like that.
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I think you'd be struggling to think
265
00:11:42.239 --> 00:11:44.572
how you could create imagery
266
00:11:45.906 --> 00:11:47.458
under those circumstances.
267
00:11:47.458 --> 00:11:52.388
But, no for myself personally, not a great deal, no.
268
00:11:52.388 --> 00:11:56.087
'Cause you showed a bit of like urban architecture
269
00:11:56.087 --> 00:11:58.679
and like things like that as well, didn't you?
270
00:11:58.679 --> 00:12:01.578
Like buildings and street scene
271
00:12:01.578 --> 00:12:05.119
and very noisy environments as well, but.
272
00:12:05.119 --> 00:12:07.295
Yeah, they're the kind of ones you can,
273
00:12:07.295 --> 00:12:08.986
there was really only a few weeks
274
00:12:08.986 --> 00:12:10.959
when we couldn't really get out and do that kind of thing,
275
00:12:10.959 --> 00:12:15.486
but generally, in a way, it's kind of enhanced that,
276
00:12:15.486 --> 00:12:18.428
having less people around so.
277
00:12:18.428 --> 00:12:20.748
Less mucking around with people,
278
00:12:20.748 --> 00:12:22.119
which I really enjoy actually.
279
00:12:22.119 --> 00:12:24.797
There's nothing better than sort of,
280
00:12:24.797 --> 00:12:28.287
when there's nobody around, you know.
281
00:12:28.287 --> 00:12:30.058
The back street somewhere
282
00:12:30.058 --> 00:12:32.886
and you've got all the opportunities in the world.
283
00:12:32.886 --> 00:12:36.607
But, no certainly I'm not a great deal of effect for me,
284
00:12:36.607 --> 00:12:39.159
but I know others would be different, yeah, for sure.
285
00:12:39.159 --> 00:12:41.317
And probably informed their work.
286
00:12:41.317 --> 00:12:42.746
Yeah, we've talked a bit at the start
287
00:12:42.746 --> 00:12:46.925
that you sort of shoot exclusively of iPhones now.
288
00:12:46.925 --> 00:12:50.557
Is that been for the last 10 years, did you say?
289
00:12:50.557 --> 00:12:52.890
Yeah, yeah, I've actually,
290
00:12:55.018 --> 00:12:57.567
I won a decent camera a few years ago.
291
00:12:57.567 --> 00:12:59.868
Like a pretty good one, like for me anyway.
292
00:12:59.868 --> 00:13:02.527
A couple of thousand dollars worth
293
00:13:02.527 --> 00:13:06.698
and I actually got it out and I started using it,
294
00:13:06.698 --> 00:13:08.866
but I couldn't, not that I couldn't,
295
00:13:08.866 --> 00:13:10.415
I know technically how to use it,
296
00:13:10.415 --> 00:13:13.148
but I mean, it just didn't feel right at all.
297
00:13:13.148 --> 00:13:15.565
Like there's something about,
298
00:13:19.199 --> 00:13:22.068
yeah, the lack of planning,
299
00:13:22.068 --> 00:13:23.860
just the, I mean, it's been said before,
300
00:13:23.860 --> 00:13:26.068
but just that idea of it's sort of
301
00:13:26.068 --> 00:13:28.818
becoming an extension of yourself
302
00:13:31.399 --> 00:13:35.260
and frees you up just to look around and develop.
303
00:13:35.260 --> 00:13:37.119
I mean that said,
304
00:13:37.119 --> 00:13:39.359
every bone in my body wanted to grab that camera
305
00:13:39.359 --> 00:13:41.188
and take some awesome photos
306
00:13:41.188 --> 00:13:42.900
and blow them up and try and sell them
307
00:13:42.900 --> 00:13:44.308
and do all that kind of thing
308
00:13:44.308 --> 00:13:46.119
and I don't know, whatever it was.
309
00:13:46.119 --> 00:13:47.106
And maybe in the future,
310
00:13:47.106 --> 00:13:50.610
I certainly I'm a big fan of like George Byrne.
311
00:13:50.610 --> 00:13:54.837
He's actually had a bit of publicity in Australia recently.
312
00:13:54.837 --> 00:13:57.340
He's an Australian based in LA.
313
00:13:57.340 --> 00:13:58.906
And I think he started off on an iPhone
314
00:13:58.906 --> 00:14:01.500
and just very minimal urban kind of things.
315
00:14:01.500 --> 00:14:03.530
And he's gone to a medium format
316
00:14:03.530 --> 00:14:06.970
and it's sort of puts them, three metres by three,
317
00:14:06.970 --> 00:14:08.637
they're huge images.
318
00:14:09.719 --> 00:14:14.188
So there's always, that's definitely a goal.
319
00:14:14.188 --> 00:14:16.528
But for me I just thought, think that I'm still developing.
320
00:14:16.528 --> 00:14:17.361
Yeah, you're evolving.
321
00:14:17.361 --> 00:14:20.060
You never quite think you've made it.
322
00:14:20.060 --> 00:14:21.599
So when do you jump ship and say,
323
00:14:21.599 --> 00:14:24.718
"Well, this is great. I'm awesome now."
324
00:14:24.718 --> 00:14:27.348
I think it doesn't really compute.
325
00:14:27.348 --> 00:14:29.667
So I don't know, I think I'll probably always
326
00:14:29.667 --> 00:14:31.056
keep tinkering away on the phone
327
00:14:31.056 --> 00:14:34.045
and if people paid attention well, that's great.
328
00:14:34.045 --> 00:14:36.679
And do you do any commission work
329
00:14:36.679 --> 00:14:41.655
or any sort of photography hired or paid work as well?
330
00:14:41.655 --> 00:14:43.572
No, again, I sort of,
331
00:14:45.618 --> 00:14:46.701
I don't know.
332
00:14:57.895 --> 00:15:00.417
I wish I did, but no, I don't really have,
333
00:15:00.417 --> 00:15:03.734
again, I don't know where to jump in really.
334
00:15:03.734 --> 00:15:05.734
I don't really have any,
335
00:15:06.700 --> 00:15:10.958
I obviously maybe try and sell your work via
336
00:15:10.958 --> 00:15:12.791
various little bits and pieces,
337
00:15:12.791 --> 00:15:15.732
but again, that's quite fragmented, isn't it?
338
00:15:15.732 --> 00:15:17.823
It's very, it's difficult, you know
339
00:15:17.823 --> 00:15:20.281
at the best of times to work out how to do that,
340
00:15:20.281 --> 00:15:23.062
let alone if you're not focused on that.
341
00:15:23.062 --> 00:15:25.312
So, no I mean, I'd love to.
342
00:15:26.742 --> 00:15:28.112
Like all photographers,
343
00:15:28.112 --> 00:15:29.422
you'd love to have the opportunity
344
00:15:29.422 --> 00:15:31.589
to do all sorts of things.
345
00:15:32.724 --> 00:15:34.807
And maybe long-term yeah.
346
00:15:35.831 --> 00:15:39.384
But I suppose you'll run out of time one day, won't you?
347
00:15:39.384 --> 00:15:40.448
Certainly plans to.
348
00:15:40.448 --> 00:15:41.507
We all do.
349
00:15:41.507 --> 00:15:45.043
Yeah, but hopefully one day maybe something will happen.
350
00:15:45.043 --> 00:15:46.923
Yeah, for sure.
351
00:15:46.923 --> 00:15:48.592
So that's, would you like
352
00:15:48.592 --> 00:15:51.982
to work as a full-time photographer, do you think?
353
00:15:51.982 --> 00:15:55.622
Yeah I mean, that's the other thing too,
354
00:15:55.622 --> 00:15:58.273
is that well you do hear people that flip over
355
00:15:58.273 --> 00:16:01.171
and it becomes very commercial
356
00:16:01.171 --> 00:16:04.283
and maybe the fun gets taken out of it.
357
00:16:04.283 --> 00:16:06.294
Yeah I mean, obviously the dream would be
358
00:16:06.294 --> 00:16:09.044
to continue doing whatever you do
359
00:16:11.758 --> 00:16:13.971
and put your own style on things.
360
00:16:13.971 --> 00:16:16.554
I think I'd struggle to become,
361
00:16:18.101 --> 00:16:21.268
to be locked down, tied down too much.
362
00:16:23.431 --> 00:16:26.382
But yeah, I think, yeah that would be,
363
00:16:26.382 --> 00:16:28.041
yeah anyway I'm just pondering those ideas,
364
00:16:28.041 --> 00:16:30.930
but yeah now that'd be awesome one day, for sure.
365
00:16:30.930 --> 00:16:32.182
I think it would.
366
00:16:32.182 --> 00:16:37.110
I mean, as long as you had your own creative spin on things.
367
00:16:37.110 --> 00:16:39.721
I do see people that, do particularly,
368
00:16:39.721 --> 00:16:41.480
I follow some people that go out
369
00:16:41.480 --> 00:16:44.119
and through rural Australia
370
00:16:44.119 --> 00:16:47.739
and take portraits of people in areas
371
00:16:47.739 --> 00:16:49.321
and produce some amazing stuff
372
00:16:49.321 --> 00:16:53.488
that the families and people just adore, you know.
373
00:16:55.350 --> 00:16:58.683
And as they should, they get printed out
374
00:16:59.851 --> 00:17:01.640
and that's certainly appeals to me, that kind of thing.
375
00:17:01.640 --> 00:17:05.848
Maybe taking portraits of people in their own environments,
376
00:17:05.848 --> 00:17:08.587
particularly something that I really like.
377
00:17:08.587 --> 00:17:11.630
And that doesn't usually require extravagant lighting
378
00:17:11.630 --> 00:17:15.019
or anything, it's just really, you know.
379
00:17:15.019 --> 00:17:16.828
So I think that's maybe something
380
00:17:16.828 --> 00:17:21.828
and that also involves a little bit of exploration as well.
381
00:17:22.150 --> 00:17:24.968
So if you can tie all the things that you like in together,
382
00:17:24.968 --> 00:17:26.800
I think that'd be the ultimate thing, yeah.
383
00:17:26.800 --> 00:17:29.806
Well its that dissimilar to Joel Pratley,
384
00:17:29.806 --> 00:17:31.889
whose work won the prize.
385
00:17:32.939 --> 00:17:37.208
And when you look at his career over the last few years,
386
00:17:37.208 --> 00:17:38.360
that's what it was.
387
00:17:38.360 --> 00:17:40.968
He was shooting his family and sort of urban areas
388
00:17:40.968 --> 00:17:44.259
of Sydney and Wollongong out the front of the
389
00:17:44.259 --> 00:17:46.067
blocks of units and people he knew
390
00:17:46.067 --> 00:17:47.819
and then people in their environments
391
00:17:47.819 --> 00:17:51.059
and then with the rural trip,
392
00:17:51.059 --> 00:17:53.829
that has sort of evolved from there, so.
393
00:17:53.829 --> 00:17:57.560
Right, yeah, I didn't really realise that.
394
00:17:57.560 --> 00:17:59.120
And it kinda makes sense, yeah.
395
00:17:59.120 --> 00:18:02.039
I have read a little bit about him.
396
00:18:02.039 --> 00:18:04.640
That image certainly gets a lot of attention
397
00:18:04.640 --> 00:18:06.488
whenever I show it anyway.
398
00:18:06.488 --> 00:18:09.459
Similarities with you guys in sort of
399
00:18:09.459 --> 00:18:11.498
that documentary sort of style
400
00:18:11.498 --> 00:18:13.128
of people in their own environment.
401
00:18:13.128 --> 00:18:16.550
And just that very honest style of photography.
402
00:18:16.550 --> 00:18:17.790
Like not pretentious,
403
00:18:17.790 --> 00:18:20.950
just people being who they are in their own environments.
404
00:18:20.950 --> 00:18:22.480
Yeah it's very exciting, isn't it?
405
00:18:22.480 --> 00:18:24.390
I mean, that's what I've picked up
406
00:18:24.390 --> 00:18:27.200
being a part of the awards.
407
00:18:27.200 --> 00:18:29.033
It's quite widespread.
408
00:18:30.507 --> 00:18:33.516
I mean, that's not a unique thing, so yeah.
409
00:18:33.516 --> 00:18:36.208
A lot of people tap into it.
410
00:18:36.208 --> 00:18:37.041
And yeah,
411
00:18:37.957 --> 00:18:40.790
it's a win-win I think, everybody,
412
00:18:41.688 --> 00:18:43.321
if the photographer loves it,
413
00:18:43.321 --> 00:18:46.595
everybody gets some great results from it,
414
00:18:46.595 --> 00:18:48.674
so yeah, it's definitely something I pay attention to
415
00:18:48.674 --> 00:18:50.523
when I look at the other people's work,
416
00:18:50.523 --> 00:18:53.273
I sort of look at how they do it,
417
00:18:54.475 --> 00:18:57.396
what their strategies might be.
418
00:18:57.396 --> 00:19:00.307
So, yeah, that's one thing that being part of this
419
00:19:00.307 --> 00:19:01.936
has opened up for me anyway,
420
00:19:01.936 --> 00:19:05.366
the idea that it can be done really well
421
00:19:05.366 --> 00:19:08.783
with a lot of passion and everybody wins.
422
00:19:09.906 --> 00:19:11.297
Yeah I think as well,
423
00:19:11.297 --> 00:19:13.417
with sort of social media and those tools,
424
00:19:13.417 --> 00:19:15.167
you get used to such,
425
00:19:16.907 --> 00:19:19.276
contrived or polished perfectionism,
426
00:19:19.276 --> 00:19:22.094
when you see very honest imagery of people
427
00:19:22.094 --> 00:19:25.558
just being themselves and not posing,
428
00:19:25.558 --> 00:19:27.817
it's so personalised and it sort of invites you
429
00:19:27.817 --> 00:19:30.147
into it a bit more to who they are
430
00:19:30.147 --> 00:19:32.587
and what's their story.
431
00:19:32.587 --> 00:19:35.427
Yeah, absolutely, yeah.
432
00:19:35.427 --> 00:19:38.758
You touched on before a bit about photographers
433
00:19:38.758 --> 00:19:41.038
that you admire, so who are some of the photographers
434
00:19:41.038 --> 00:19:44.396
or artists, architects, artists,
435
00:19:44.396 --> 00:19:48.466
anyone that sort of inspire you and that you look up to?
436
00:19:48.466 --> 00:19:51.125
I'll always go to Jeffrey Smart.
437
00:19:51.125 --> 00:19:55.046
I don't know. I think that would be fairly,
438
00:19:55.046 --> 00:19:59.629
I feel like he'd inspire a lot of people with his work.
439
00:20:00.966 --> 00:20:02.644
I actually don't know a lot of names of people.
440
00:20:02.644 --> 00:20:06.678
I just, visually, I just remember an image
441
00:20:06.678 --> 00:20:09.438
and it sort of goes into the memory bank
442
00:20:09.438 --> 00:20:11.004
it'll get scrambles around and you produce
443
00:20:11.004 --> 00:20:14.356
something that sort of seems interesting.
444
00:20:14.356 --> 00:20:16.006
So I think, one of the main reasons
445
00:20:16.006 --> 00:20:17.926
I jumped with the phone too is
446
00:20:17.926 --> 00:20:20.867
I didn't wanna limit myself to any particular genres.
447
00:20:20.867 --> 00:20:21.867
So I really,
448
00:20:22.707 --> 00:20:25.107
and I do like it when people are kind of a bit surprised
449
00:20:25.107 --> 00:20:27.575
that you've taken it on a phone,
450
00:20:27.575 --> 00:20:29.135
that sort of does excite me a bit.
451
00:20:29.135 --> 00:20:32.635
So I do try and create things that may be,
452
00:20:33.837 --> 00:20:35.516
you'd almost wouldn't believe that,
453
00:20:35.516 --> 00:20:37.646
well A, somebody would attempt it maybe,
454
00:20:37.646 --> 00:20:39.427
but also that they've produced it on a phone.
455
00:20:39.427 --> 00:20:42.737
I think some of my favourite images have been ones that
456
00:20:42.737 --> 00:20:44.526
I have, not that I've imitated somebody,
457
00:20:44.526 --> 00:20:47.526
but I've seen an image, maybe 10 years ago
458
00:20:47.526 --> 00:20:51.118
and it stuck in my mind and I've tried to
459
00:20:51.118 --> 00:20:55.117
have a crack at it on my phone and yeah
460
00:20:55.117 --> 00:20:57.034
and they've turned out.
461
00:20:58.497 --> 00:21:00.438
So, it's about challenging yourself, I suppose.
462
00:21:00.438 --> 00:21:01.271
And I really do,
463
00:21:01.271 --> 00:21:03.164
I don't really stick to any particular,
464
00:21:03.164 --> 00:21:04.626
like I do get frustrated with doing stuff,
465
00:21:04.626 --> 00:21:06.507
like a lot of photographers,
466
00:21:06.507 --> 00:21:08.126
frustrated with doing the same thing all the time.
467
00:21:08.126 --> 00:21:09.777
So you might do people a while and go,
468
00:21:09.777 --> 00:21:11.358
"Wow, I'm sick of that."
469
00:21:11.358 --> 00:21:13.846
And minimal urbanism and then maybe
470
00:21:13.846 --> 00:21:16.513
beautiful, natural environments,
471
00:21:17.735 --> 00:21:21.095
flat lighting and really contrasting lighting.
472
00:21:21.095 --> 00:21:24.345
Just veering all over the place really.
473
00:21:26.494 --> 00:21:31.244
So yeah, inspired by obviously a lot of different genres.
474
00:21:33.865 --> 00:21:37.137
But I think that the go-to is minimal urban stuff,
475
00:21:37.137 --> 00:21:39.587
'cause that, you don't need too much for that.
476
00:21:39.587 --> 00:21:41.776
You can be at the back of a shopping centre,
477
00:21:41.776 --> 00:21:44.038
which it often is.
478
00:21:44.038 --> 00:21:46.267
So it's always a bit of a go-to.
479
00:21:46.267 --> 00:21:47.809
Where where my factory is,
480
00:21:47.809 --> 00:21:50.577
I've got some award winning images
481
00:21:50.577 --> 00:21:53.994
just from out the back of my own factory.
482
00:21:55.169 --> 00:21:59.002
So within this area where I work is Richlands.
483
00:22:00.158 --> 00:22:01.649
It's a very kind of,
484
00:22:01.649 --> 00:22:03.985
that's where a lot of the people photos have come from.
485
00:22:03.985 --> 00:22:06.227
It's very, it's a bit run down, you know,
486
00:22:06.227 --> 00:22:08.467
old cars in front yards
487
00:22:08.467 --> 00:22:11.129
and lots of bearded guys walking around.
488
00:22:11.129 --> 00:22:13.038
And so I've recently,
489
00:22:13.038 --> 00:22:16.207
my car got written off about a year ago with some hail
490
00:22:16.207 --> 00:22:19.215
and I still haven't gotten a new one.
491
00:22:19.215 --> 00:22:22.482
So I'm continually public transporting.
492
00:22:22.482 --> 00:22:25.315
This is a borrowed car by the way.
493
00:22:27.377 --> 00:22:29.286
And the trains about 30 minutes away.
494
00:22:29.286 --> 00:22:30.965
And I've found every different possible route
495
00:22:30.965 --> 00:22:34.395
to get from the train to here and I still love it.
496
00:22:34.395 --> 00:22:35.486
Like it's been about a year,
497
00:22:35.486 --> 00:22:38.403
but I still find things that I can,
498
00:22:39.945 --> 00:22:42.955
I've got a list of people that I can go and visit after work
499
00:22:42.955 --> 00:22:44.745
on the way home if it's coming into summer,
500
00:22:44.745 --> 00:22:47.155
a bit more life in the afternoon.
501
00:22:47.155 --> 00:22:49.638
I've been sort of waiting for that
502
00:22:49.638 --> 00:22:53.466
and maybe get some more portraits hopefully.
503
00:22:53.466 --> 00:22:56.146
But, yeah I've met a guy just over there who's 97
504
00:22:56.146 --> 00:22:57.626
and he still mows his front lawn.
505
00:22:57.626 --> 00:22:59.876
It's just people like that,
506
00:23:01.216 --> 00:23:02.626
and it's a massive lawn too.
507
00:23:02.626 --> 00:23:03.959
It's incredible.
508
00:23:05.434 --> 00:23:08.805
Yeah, so, I just like, yeah I mean.
509
00:23:08.805 --> 00:23:09.954
Yeah, I don't know.
510
00:23:09.954 --> 00:23:13.053
There's a lot to find if you look
511
00:23:13.053 --> 00:23:15.992
and I'd rather walk than get in a car, that's for sure.
512
00:23:15.992 --> 00:23:17.742
Because you can stop.
513
00:23:19.900 --> 00:23:20.963
And that's the other thing too,
514
00:23:20.963 --> 00:23:23.721
spending time with what you're looking at, you know?
515
00:23:23.721 --> 00:23:25.401
When you first get there,
516
00:23:25.401 --> 00:23:27.030
you think, oh, there's nothing here.
517
00:23:27.030 --> 00:23:29.113
The more you look around,
518
00:23:30.641 --> 00:23:34.060
almost certainly, you'll end up being fascinated
519
00:23:34.060 --> 00:23:37.230
with something that you didn't initially find interesting.
520
00:23:37.230 --> 00:23:40.563
So it's having that time to just explore
521
00:23:42.201 --> 00:23:43.950
and get closer and closer in on the details
522
00:23:43.950 --> 00:23:45.561
maybe that kind of thing, so.
523
00:23:45.561 --> 00:23:47.620
Yeah, being immersed in the environment
524
00:23:47.620 --> 00:23:49.881
you're shooting as well, it's always nice to sort of,
525
00:23:49.881 --> 00:23:51.190
if you visit somewhere new,
526
00:23:51.190 --> 00:23:54.988
I just love walking around, like walking everywhere.
527
00:23:54.988 --> 00:23:56.071
Yeah, yeah.
528
00:23:57.822 --> 00:24:00.900
You miss so much in a car, you know?
529
00:24:00.900 --> 00:24:02.764
Yeah, oh yeah.
530
00:24:02.764 --> 00:24:04.907
It's definitely about, yeah.
531
00:24:04.907 --> 00:24:06.359
You need to stop and smell the roses,
532
00:24:06.359 --> 00:24:08.178
have a look around and yeah.
533
00:24:08.178 --> 00:24:10.668
That's the other thing I was gonna say about the phone too,
534
00:24:10.668 --> 00:24:12.647
is you can almost take an unlimited number of photos,
535
00:24:12.647 --> 00:24:15.545
which is something that I often do.
536
00:24:15.545 --> 00:24:16.391
Yeah.
537
00:24:16.391 --> 00:24:17.735
Yeah.
538
00:24:17.735 --> 00:24:20.217
I've got the iPhone 11 and I don't think
539
00:24:20.217 --> 00:24:22.467
I've deleted a single photo
540
00:24:23.427 --> 00:24:25.597
in the year or so that I've had it.
541
00:24:25.597 --> 00:24:26.430
Crazy.
542
00:24:26.430 --> 00:24:29.798
Probably embarrassed to say it's about 75,000 photos.
543
00:24:29.798 --> 00:24:32.558
But, that's kind of the magic of it as well.
544
00:24:32.558 --> 00:24:35.596
You can take an extraordinary amount of photos
545
00:24:35.596 --> 00:24:38.126
that are always there
546
00:24:38.126 --> 00:24:40.626
and you can revisit them later
547
00:24:41.476 --> 00:24:44.766
or importantly, if you're out taking some photos,
548
00:24:44.766 --> 00:24:46.726
you can take hundreds
549
00:24:46.726 --> 00:24:49.826
and really not even delete them if you don't want to.
550
00:24:49.826 --> 00:24:52.118
And such an interesting thing where you can
551
00:24:52.118 --> 00:24:53.931
look back on images and see something different,
552
00:24:53.931 --> 00:24:57.514
like, in a years' time or a week's time or.
553
00:24:59.336 --> 00:25:02.462
I think that's a bit of a key too, absolutely.
554
00:25:02.462 --> 00:25:05.540
I do that all the time when I get a bit dry on photos.
555
00:25:05.540 --> 00:25:10.073
I'll go back and you think, wow, that's actually,
556
00:25:10.073 --> 00:25:12.534
you've thought of another way to see that image
557
00:25:12.534 --> 00:25:14.542
or that kind of thing or edit it, yeah.
558
00:25:14.542 --> 00:25:15.981
What about dream subjects?
559
00:25:15.981 --> 00:25:17.462
If you could take a photo of anyone,
560
00:25:17.462 --> 00:25:21.082
is there anyone you'd wanna get in front of your camera?
561
00:25:21.082 --> 00:25:23.393
In front of your iPhone?
562
00:25:23.393 --> 00:25:25.560
Wow, that's interesting.
563
00:25:28.980 --> 00:25:30.654
I'm not sure. I probably have thought of somebody,
564
00:25:30.654 --> 00:25:34.873
but I can't think of it right now, but I mean,
565
00:25:34.873 --> 00:25:36.363
you got me there.
566
00:25:36.363 --> 00:25:38.030
But I mean, I think,
567
00:25:40.701 --> 00:25:43.842
I mean, just probably anybody really as long as,
568
00:25:43.842 --> 00:25:47.320
the dream is to have time, just to have anybody
569
00:25:47.320 --> 00:25:51.805
and to have a great situation and have time.
570
00:25:51.805 --> 00:25:54.053
Like, I wouldn't really mind who it is,
571
00:25:54.053 --> 00:25:56.912
but if I had five hours or something like that,
572
00:25:56.912 --> 00:25:58.559
usually it's a bit of a rush
573
00:25:58.559 --> 00:26:01.040
and if you had the five hours and you could talk
574
00:26:01.040 --> 00:26:02.542
and you had somebody who was really patient
575
00:26:02.542 --> 00:26:04.799
and you could move them around.
576
00:26:04.799 --> 00:26:06.048
I mean that would be the dream.
577
00:26:06.048 --> 00:26:07.631
I really wouldn't mind too who it was
578
00:26:07.631 --> 00:26:09.344
as long as I had this time.
579
00:26:09.344 --> 00:26:10.569
The time.
580
00:26:10.569 --> 00:26:13.449
Yeah so yeah, no, I think
581
00:26:13.449 --> 00:26:16.398
I find women particularly interesting.
582
00:26:16.398 --> 00:26:19.279
Particularly maybe older women like Marion.
583
00:26:19.279 --> 00:26:20.330
Yeah.
584
00:26:20.330 --> 00:26:22.330
I think guys are easy.
585
00:26:23.427 --> 00:26:25.426
What you see is what you get.
586
00:26:25.426 --> 00:26:27.376
The beard, they don't mind.
587
00:26:27.376 --> 00:26:29.877
But women, there's something intriguing
588
00:26:29.877 --> 00:26:34.778
because it feels like there's always a bit of a mask there
589
00:26:34.778 --> 00:26:39.695
and the challenge of unveiling and how far do they wanna go
590
00:26:41.585 --> 00:26:45.674
as far as I'm having a rawness to the image
591
00:26:45.674 --> 00:26:48.007
is always quite a challenge.
592
00:26:49.090 --> 00:26:51.901
So it would probably be a woman and an older woman.
593
00:26:51.901 --> 00:26:53.741
I'm not sure who.
594
00:26:53.741 --> 00:26:55.408
But just opening up.
595
00:26:58.003 --> 00:27:03.003
Some of my favourite images are the rawest of images.
596
00:27:03.011 --> 00:27:07.261
Some of them probably featured in the show as well.
597
00:27:09.170 --> 00:27:10.061
And yeah,
598
00:27:10.061 --> 00:27:12.531
when you break everything down, hopefully.
599
00:27:12.531 --> 00:27:15.701
Yeah I mean, there's invisibility to women,
600
00:27:15.701 --> 00:27:17.701
I think sort of 50 plus,
601
00:27:19.923 --> 00:27:21.651
from the media or photography
602
00:27:21.651 --> 00:27:23.832
or the image being shared or recognised.
603
00:27:23.832 --> 00:27:28.249
It's nice in Living Memory that we've got quite a few
604
00:27:29.628 --> 00:27:32.461
women in their 60s, 70s, 80s, 90s.
605
00:27:33.593 --> 00:27:34.676
Absolutely.
606
00:27:35.884 --> 00:27:38.736
Represented, not intentionally either
607
00:27:38.736 --> 00:27:40.355
but just that that's the way,
608
00:27:40.355 --> 00:27:43.938
people were photographing their parents or.
609
00:27:44.935 --> 00:27:48.334
That's right, I think that's true that
610
00:27:48.334 --> 00:27:51.605
men and particularly women's start to.
611
00:27:51.605 --> 00:27:54.434
Yeah invisibility, that's probably the best way
612
00:27:54.434 --> 00:27:57.166
to think about it, isn't it?
613
00:27:57.166 --> 00:27:59.265
They lose representation
614
00:27:59.265 --> 00:28:03.214
and the idea of beauty sort of evaporating,
615
00:28:03.214 --> 00:28:06.214
which is sort of nonsense, isn't it?
616
00:28:07.694 --> 00:28:10.084
I dunno it's yeah, I don't know,
617
00:28:10.084 --> 00:28:12.936
it's definitely good to see some though in the show.
618
00:28:12.936 --> 00:28:16.056
I guess, particular in the Western culture
619
00:28:16.056 --> 00:28:17.905
that is in other cultures, you know,
620
00:28:17.905 --> 00:28:21.656
you're adhered for knowledge and matriarchy
621
00:28:21.656 --> 00:28:23.906
and family or other things.
622
00:28:25.346 --> 00:28:26.576
That's true, isn't it?
623
00:28:26.576 --> 00:28:28.605
Yeah, we've got a funny society.
624
00:28:28.605 --> 00:28:30.688
Our cultures it deserves,
625
00:28:31.582 --> 00:28:33.511
it needs to be looked at, doesn't it?
626
00:28:33.511 --> 00:28:35.428
We take it for granted,
627
00:28:36.782 --> 00:28:40.142
but it definitely has its flaws
628
00:28:40.142 --> 00:28:44.225
and maybe photography can open that up, you know.
629
00:28:45.214 --> 00:28:48.582
We fall into patterns and traps of how we think about things
630
00:28:48.582 --> 00:28:51.534
and most of the time they're not very healthy
631
00:28:51.534 --> 00:28:53.203
or good for anybody, so yeah.
632
00:28:53.203 --> 00:28:55.931
Ideas of beauty, the beauty trap, aye?
633
00:28:55.931 --> 00:28:57.348
Yeah, for sure.
634
00:28:58.254 --> 00:29:02.515
What about any shout outs or thank yous?
635
00:29:02.515 --> 00:29:06.721
Oh, well, I'd have to thank Marion, of course.
636
00:29:06.721 --> 00:29:09.801
I haven't been to see her since actually
637
00:29:09.801 --> 00:29:11.430
mainly because of the car situation.
638
00:29:11.430 --> 00:29:15.121
So I need to get out there and let her know.
639
00:29:15.121 --> 00:29:18.300
I think the exhibitions travelling up to Queensland,
640
00:29:18.300 --> 00:29:22.190
hopefully at some stage so that would be nice if.
641
00:29:22.190 --> 00:29:23.107
Oh right.
642
00:29:24.539 --> 00:29:28.139
Are the images they move around though? Is that.
643
00:29:28.139 --> 00:29:30.091
Well, I'm not sure, we are still,
644
00:29:30.091 --> 00:29:32.430
'cause it's all sort of regional galleries
645
00:29:32.430 --> 00:29:34.789
are all affected as well with border closures and stuff.
646
00:29:34.789 --> 00:29:36.890
So we hope, we hope that the exhibition
647
00:29:36.890 --> 00:29:40.120
gets to travel next year sometime
648
00:29:40.120 --> 00:29:43.601
to a few regional galleries, but it's a wait and see.
649
00:29:43.601 --> 00:29:45.291
Oh, that'd be really exciting.
650
00:29:45.291 --> 00:29:48.070
I think I'd get on a bus and go and see that for sure.
651
00:29:48.070 --> 00:29:49.761
Whatever I could do.
652
00:29:49.761 --> 00:29:51.030
And there's the artist.
653
00:29:51.030 --> 00:29:52.369
There'll be the exhibition catalogue as well
654
00:29:52.369 --> 00:29:54.219
once it can be released.
655
00:29:54.219 --> 00:29:56.849
You can take her out and show her a copy.
656
00:29:56.849 --> 00:29:59.139
Yeah that'd be awesome.
657
00:29:59.139 --> 00:30:01.497
Yeah if I can get her out she's yeah,
658
00:30:01.497 --> 00:30:03.196
that'd be great, yeah.
659
00:30:03.196 --> 00:30:05.418
Sorry I interrupted you, go on with your thank yous.
660
00:30:05.418 --> 00:30:06.979
Oh no, no, it's just,
661
00:30:06.979 --> 00:30:08.049
well do you mean like,
662
00:30:08.049 --> 00:30:09.489
as far as getting the image printed as well?
663
00:30:09.489 --> 00:30:13.178
Anyone, whoever you want, you can go on.
664
00:30:13.178 --> 00:30:16.678
Oh, well I just thought it was really nice how,
665
00:30:16.678 --> 00:30:18.649
again, when I first heard that I was in it,
666
00:30:18.649 --> 00:30:20.047
I panicked, I thought, "Oh my goodness,
667
00:30:20.047 --> 00:30:24.747
how's that little photo gonna turn into something?"
668
00:30:24.747 --> 00:30:26.177
I hope it looks pretty good,
669
00:30:26.177 --> 00:30:30.303
'cause I obviously haven't seen it, but I don't know.
670
00:30:30.303 --> 00:30:33.553
But yeah, just the guys that helped me,
671
00:30:34.444 --> 00:30:36.944
Sun Studios I think.
672
00:30:36.944 --> 00:30:39.027
Yeah, they really helped.
673
00:30:41.586 --> 00:30:44.366
I was amazed actually that,
674
00:30:44.366 --> 00:30:47.116
how well, the input that they had
675
00:30:47.956 --> 00:30:50.594
and just churning out a hopefully a pretty good image.
676
00:30:50.594 --> 00:30:52.978
It was really nice of them to do that.
677
00:30:52.978 --> 00:30:54.735
I was really quite flattered
678
00:30:54.735 --> 00:30:58.226
that we could put something together.
679
00:30:58.226 --> 00:30:59.356
They are amazing and driving,
680
00:30:59.356 --> 00:31:01.378
they drive all the works down
681
00:31:01.378 --> 00:31:03.743
as well to Canberra from Sydney, so.
682
00:31:03.743 --> 00:31:06.142
Yeah that kind of thing, I thought it was great.
683
00:31:06.142 --> 00:31:08.652
They did a great job on the printing and framing.
684
00:31:08.652 --> 00:31:10.394
It looks beautiful.
685
00:31:10.394 --> 00:31:12.072
Oh, that's good.
686
00:31:12.072 --> 00:31:13.955
And yeah, I see a lot of different approaches
687
00:31:13.955 --> 00:31:16.475
to the framing which is really interesting too, isn't it?
688
00:31:16.475 --> 00:31:18.131
I was fascinated by that too.
689
00:31:18.131 --> 00:31:20.435
Yeah, artists having free reign
690
00:31:20.435 --> 00:31:22.463
on how they wanna present their work
691
00:31:22.463 --> 00:31:25.046
always more personalised, yeah.
692
00:31:26.293 --> 00:31:29.403
Rather than just having that uniform gallery.
693
00:31:29.403 --> 00:31:31.413
Yeah, yeah for sure.
694
00:31:31.413 --> 00:31:35.653
Definitely different sizes creates a bit of interest, yeah.
695
00:31:35.653 --> 00:31:36.486
I dunno,
696
00:31:37.753 --> 00:31:41.086
well, everyone at the gallery of course,
697
00:31:44.289 --> 00:31:47.456
for all the work that you guys put in.
698
00:31:48.407 --> 00:31:50.837
It's just disappointing to not have got down there,
699
00:31:50.837 --> 00:31:54.990
but hopefully and thank you all in person, yeah.
700
00:31:54.990 --> 00:31:58.823
Yeah fingers crossed we get to see everyone.
701
00:32:02.820 --> 00:32:07.153
Yeah, Steve Jobs for creating the iPhone, I dunno.
702
00:32:08.492 --> 00:32:10.110
And will you enter again do you reckon?
703
00:32:10.110 --> 00:32:13.180
You'll enter the prize again?
704
00:32:13.180 --> 00:32:18.087
I'm hoping I can produce something that I think is worthy.
705
00:32:18.087 --> 00:32:20.030
Yeah, definitely on the radar to try
706
00:32:20.030 --> 00:32:22.978
and it does keep you going,
707
00:32:22.978 --> 00:32:27.395
things like this to yeah, just keep you on your toes.
708
00:32:28.929 --> 00:32:32.129
And the dream that maybe you can,
709
00:32:32.129 --> 00:32:36.238
have an image that's worthy of at least putting in.
710
00:32:36.238 --> 00:32:38.558
I mean that sometimes feels like the victory to me anyway.
711
00:32:38.558 --> 00:32:41.539
You've got something that you think is okay.
712
00:32:41.539 --> 00:32:45.449
So yeah, I'm definitely hoping to get in
713
00:32:45.449 --> 00:32:46.839
whenever it pops up next.
714
00:32:46.839 --> 00:32:49.590
Is it exactly or you gonna sort of?
715
00:32:49.590 --> 00:32:51.142
It'll be coming up soon entries.
716
00:32:51.142 --> 00:32:54.452
So yeah, this one's sort of running over,
717
00:32:54.452 --> 00:32:57.952
everything's melding into this COVID plan.
718
00:32:58.862 --> 00:33:00.641
Oh, wow, yeah.
719
00:33:00.641 --> 00:33:03.742
All right the last is your parting words of wisdom.
720
00:33:03.742 --> 00:33:08.182
It can be art, photography, whatever you want.
721
00:33:08.182 --> 00:33:09.015
Oh gosh.
722
00:33:10.001 --> 00:33:12.638
It can be towards aspiring photographers
723
00:33:12.638 --> 00:33:13.919
that are doing what you do,
724
00:33:13.919 --> 00:33:17.419
working off a phone, whatever you want to.
725
00:33:20.837 --> 00:33:24.498
Oh yeah, well, I think the idea of,
726
00:33:24.498 --> 00:33:27.366
I'd probably do the old cliche with the iPhone,
727
00:33:27.366 --> 00:33:31.699
with a phone of just all photography really of just,
728
00:33:34.898 --> 00:33:39.898
I was gonna say, follow your heart and follow your passions.
729
00:33:42.829 --> 00:33:45.138
It's always, everybody says it I suppose,
730
00:33:45.138 --> 00:33:47.638
but just stay true to yourself
731
00:33:49.957 --> 00:33:52.957
and hopefully the rest will follow.