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Victoria Cooper+Doug Spowart Blog

2019 PHOTOBOOK ROAD TRIP BEGINS – HOBART

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The 2019 Photobook Road Trip

PHOTOBOOKS @ TOPSPACE STUDIO/GALLERY IN HOBART

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Ilona Schneider and Doug Spowart

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The 2019 Photobook Road Trip began last night at the TopSpace StudioGallery in Hobart. The Australia & New Zealand Photobook Awards (ANZPA) exhibition was installed by Victoria Cooper and Doug Spowart. Visitors to the Gallery were welcomed by the gallery Director Ilona Schneider.

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Vicky setting up the dispaly

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On show were the 12 Finalists and Award winners of the 2018 Australia and New Zealand Photobook Awards sponsored by MomentoPro Photobooks. The books were:

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Winners 2018

Finalists 2018 from 117 entries:

SEE More about the ANZPA HERE
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The event as attended by around 30 participants including representatives from the Tasmanian Museum and Art Gallery, the Allport Library, members of the AIPP and representatives from the Hobart Camera Club.
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To cover costs associated with the gallery hire a raffle was conducted with books by Cooper+Spowart and ANZPA catalogues and MomentoPro’s ‘Publish Your “Bloody” Photobook‘ booklets.
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Looking at the Cooper+Spowart books

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COOPER+SPOWART presented a small selection of the concertina photobooks including  YOU ARE HERE and QUESTIONING+KNOWING.
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Around 6.00pm Doug made a presentation about the awards and the current state of the Antipodean photobook. A lengthy Q&A session followed and private conversations and continued book viewing took place well after the intended finish time.
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Doug presenting his talk

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THANK YOU!

Thanks to Ilona Schneider and the AIPP coordinator Matt Palmer for their assistance with the presentation and Momento Pro for making the books available.
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CANBERRA is the next stop in the PHOTOBOOK ROAD TRIP on July 20 at PhotoAccess where the books will be displayed, Doug will present a talk about photobooks and Doug+Vicky will present a workshop on photobook forms and the photobook narrative.
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D+V Coming to Canberra

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#MomentoProBooks #ANZPhotobookAwards #PhotobookRoadTrip #Photobookjousting
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ANTIPODEAN Photobooks acquired by Tate

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We are delighted that this collection is entering Tate’s library collection as a rich resource for our public and for academics of photobooks in these regional areas.

.Sarah Allen
Assistant Curator, International Art, Tate

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Some ANZ Tate Photobooks

 

We’ve just completed a commissioned project where a collection of 52 Australian and New Zealand photobooks were acquired by the United Kingdom’s national collection in the Tate. Two years ago the project began as a result of our participation in the 2017 Vienna Photobook Festival and a connection with Martin Parr.

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THE BACK STORY

In 2017 we presented a cyanotype/photobook workshop on the Greek Island of Skopelos. At the end to the workshop we coordinated a visit to our friends Lachlan Blair and Anna Pritz who live near Vienna in Austria. Just after we booked our flights Lachlan excitedly advised us that we would be in Vienna at the time of the Vienna Photobook Festival.

I contacted co-ordinator of the Festival Regina Anzenberger and offered to make a presentation about my research on Australian and New Zealand (ANZ) photobooks. After some conversations between Lachlan and Regina she enthusiastically accepted my lecture offer. Through some further negotiations with Regina and Libby Jeffery from MomentoPro we were able to present the ANZ Photobook of the Year finalists on a table at the Fair.

The 2017 Vienna Photobook Festival exhibition

The 2017 Vienna Photobook Festival exhibition

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The Vienna Photobook Festival was an event of an unimaginable scale – 100+ tables of photobooks new and old, a photobook award, key identities of the photobook community and attendees from western European countries far and wide.

40-50 people including photobook aficionado Martin Parr and photo historian Hans-Michael Koetzle attended my lecture. There was quite a bit of interest about my topic and many of the lecture attendees came by the ANZ Photobook Awards table to view the books and talk more with us about our local photobooks.

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 Martin Parr looking at ANZ photobooks at the 2017 Vienna Photobook Festival

Parr looking at ANZ photobooks at the FestivalPHOTO: Lachlan Blair

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Further to an earlier private meeting in the Anzenberger Gallery and his attendance at my lecture, Parr caught up with us again for a chat on the afternoon of the first day of the Festival. He mentioned that soon there would be a public announcement about his donation of over 12,000 photobooks from his collection to Tate.

Parr felt that although his collection had pretty well covered the world the one area that was under represented was the ANZ region. He had many of the big Australian names but acknowledged that there were gaps. After hearing my lecture he felt that I would be well positioned to fill that gap. He said that he would be recommending me to his Tate contacts to assist with this issue. At first I was a little daunted, but he insisted that I would be the right person for the project. I accepted the role as it would not only be an honour to work with him on the project but also a great opportunity for the ANZ photobook community.

Vicky and I came back to Brisbane in July and both began sessional work with the Queensland College of Art. A couple of months later an email came through from a Tate representative inviting my involvement in the project. I then prepared a list of ANZ books that I thought would be suitable additions to the collection. I also reviewed Parr’s collection to ensure that I had not duplicated books on his list.

Initially I suggested that I would source the books from bookshops, collectors and the photographers and that I would receive a fee for the list development and the management of the process. I mentioned that some books were quite rare and that they would be sourced from my own library as I could replace them as they became available in the future. My Tate contact came back saying that rather than what I suggested they preferred to purchase the books from a single collection and asked, ‘were my books available?’ After some consideration I agreed to take books from my library.

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Part of my ANZ photobook collection c2015

Part of my ANZ photobook collection c2015

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THE PREMISE FOR THE COLLECTION

My curation premise for the 52 books was:

  • That these books should resonate with the Australia/New Zealand social, political, environmental and cultural space of post-Second World War to early 21st century.
  • Where possible, I have selected works that have been referenced or identified by curators and researchers for their prominence within the photographically illustrated and photobook publishing genres in ANZ.

 

In the storage shed opening boxes looking for books

In the storage shed opening boxes looking for books PHOTO: Victoria Cooper

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At this time and still today, my photobook collection is boxed and in storage. So for over a year on my intermittent visits back to our storage sheds in Toowoomba we would seek out the missing books. As we began to assemble the proposed books I became concerned about particular issues that were arising. As my collection has been built up over 50 years some of the books were not necessarily the best condition – some exhibited signs of use including shelf-wear, bumped corners and occasionally missing covers.

I wanted to be able to offer Tate the best possible condition books. Additionally, I could not find some key books that I knew I had in my collection including Carol Jerrems’ book Story about Australian women. What followed was an 18-month process of curation and research to bring together the books.

I sought out and purchased better copies of the chosen books either by online booksellers or by visiting bookshops in Australia. I contacted some of the photographers that I knew to see if ‘as new’ condition copies of the books were available. If they were what would the cost be and if possible, would they consider a donation to extend the potential of the collection. The response was very supportive with many of the photographers prepared to provide pristine condition copies of their books free of charge.

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Meeting with Martin Parr at the SLVPHOTO: Victoria Cooper

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MEETING WITH MARTIN PARR

In January 2018 Martin Parr came to Melbourne to photograph the Australian Open tennis tournament. We flew down from Brisbane and arranged to meet him at the State Library of Victoria where we had about 30 of the proposed books assembled for him to review. As only a couple of books did not fit into his collection approach for the Tate I felt buoyed by the progress. Over the next 6 months I prepared a detailed bibliographic submission and significantly documented the books. We finally found the Jerrems book in a box marked ‘Photobook library extras’ in January this year.

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Finding Carol …PHOTO: Victoria Cooper

 

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Packing up the books PHOTO: Victoria Cooper

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SHIPPING THE PACKAGE

The books were protectively packaged and we arranged their shipment and it took only a few days for the consignment to travel from Brisbane to the UK. After nearly 2 years in the making Tate received the books on April 12, 2019. Once catalogued they will form part of the Martin Parr Photobook Collection with the provenance being recorded that the books came from ‘The Doug Spowart and Victoria Cooper Photobook Research Library’. The books will be publicly accessible in London in Spring 2020.

Pack and Send - DHL Delivery Proof

Pack and Send – DHL Proof of delivery

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ON REFLECTION

What is important to us is that books from our region are now placed within the context of the worldwide history and practice of the photobook in a significant institution. Although not a complete history of the Photobook in Australia and New Zealand it is an embryonic beginning for a broader recognition of the unique voices and stories from our part of the world and those that make them.

 

Doug Spowart + Victoria Cooper

ACKNOWLEDGEMENTS
We are indebted to those who supported us during this process. In particular Sarah Allen (Tate) for her coordination of the project. Martin Parr for his interest and continued support in providing a place for Antipodean photobooks in his Tate collection. We also wish to thank Lachlan Blair and Anna Pritz for making the initial connection with Regina Anzenberger, Gael Newton for her support, Helen and Donald Cole for their advice and storage of the books and the coordination of the final shipment, Des Cowley at the State Library of Victoria for the preparation of books to show Martin, Pack and Send Milton (DHL) for their assistance and coordination of the shipment to the UK.

 

 

THE LIST OF PHOTOGRAPHERS

Where the photographer has more than one book in the collection the multiple is shown in (brackets).

It should be noted that a book is the culmination of a creative process that may include the contributions of writers, poets, designers, printers and binders. In this list only the photographers are listed.

The photographer’s names are:

 

AUSTRALIA

 

Michael Amendolia

Douglass Baglin

David Beal

Jeff Carter

Beverley Clifford

Paul Cox

Michael Coyne (2)

Max Dupain (2)

Sandy Edwards

Rennie Ellis (2)

Joyce Evans

Juno Gemes

Robert B. Goodman

Marion Hardman

Alan Hirons

Douglas Holleley

Frank Hurley

Carol Jerrems

Georg Lindström

Peter Lyssiotis

Olive McInerney nee Olive Cotton

David Mist

David Moore

Charles P. Mountford

Robert Rosen

Wesley Stacey

Mark Strizic (2)

Richard Tipping

William Yang

PARR’s Australian book donation already included:

Bill Henson

J. Hurley

Frank Hurley

Max Pam

Trent Parke

 

NEW ZEALAND

Laurence Aberhart

Peter Black

Brian Brake

Jocelyn Carlin

Les Cleveland

Bruce Connew

David Cook

Marti Friedlander

Lloyd Godman

Glenn Jowitt

Mary Macpherson

Robin Morrison (2)

Anne Noble

Haruhiko Sameshima

Grant Sheehan

Ann Shelton

John B. Turner

Ans Westra

PARR’s New Zealand book donation already included:

Gary Baigent

Harvey Benge (a significant collection)

Ans Westra

 

FOR  MORE INFORMATION ABOUT THE BOOKS and other ANTIPODEAN PHOTOBOOK activities and events follow the BLOG HERE

The Antipodean Photobook BLOG

 

 

READ MORE ABOUT THE TATE DONATION

Tate Media post about Parr doantion

Tate Media post about Parr donation

A LINK TO THE Tate URL

A PDF download of the Tate post can be downloaded by ‘clicking’ this link Tate website post on Parr donation

 

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READ MORE IN THE INSIDE IMAGING STORY

https://www.insideimaging.com.au/2019/tate-commission-for-photo-book-keeper/

Inside Imaging story

Inside Imaging story

A PDF download of the Inside Imaging post can be downloaded by ‘clicking’ this link. Inside Imaging story-R

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MAKING BLUEPRINTS TODAY–Our World Cyanotype Day Australian Submission

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Making cyanotypes in Tasmania

 

We created some cyanotypes yesterday to contribute to the Australian World Cyanotype Day (WCD) travelling exhibition. Setting up a coating studio inside a friend’s house in Cygnet Tasmania we exposed the sensitised material on the front veranda and washed-out on the shadow side of the house. It all sounds rather an impromptu affair and in some ways it is, as travelling artists we have encountered these challenges before making-do with the site-specific needs of each art-making opportunity.

 

But what is difficult in Tasmania right now is the weather. We’ve been ready for weeks to make cyanotypes and yet the pervading conditions have been overcast or scattered heavy clouds between sunny gaps, rain or fog. And as cyanotypes work best with clear, bright and directly overhead sunlight it has been difficult. Added to this mid-winter’s low angle of sunlight at 43°south means exposure times have to be extended 3-4 times that commonly achievable up the east coast of Australia.

Making cyanotypes is a process that takes place over time. Chemicals are mixed, the substrate coated with a brush. On this occasion we were printing on cloth and due to the ‘flow-through’ the material we coated a few sheets sitting on top of each other. These super wet sheets then needs to dry. Cloth takes quite a while to dry due to the large amount of chemical absorbed in the fibers although drying can be accelerated by using a blow heater or hair dryer.

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Coating the material…

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Next a series of test exposures may need to take place to know, in the specific sunlight conditions you may be working in. After exposure the material is washed-out in running water – we add a little citric acid. And for an accurate density check the sheet needs to be dried a little. Then you can make your first exposure. At the moment in Tassie we’ve been working with 15 minute exposures!!

 

BOM – looking for gaps between the clouds

All this means that you may start out with sunny skies, do your tests and then start you exposure and the clouds come in – the Bureau of Meteorology website is regularly monitored to make sure that you have an adequate time over which to work.

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Making the exposure…

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Washing out after exposure…

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Finally it’s hung up to dry …

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10 starfish that are an invasive species with 8 bones of a Tasmanian wallaby by Victoria Cooper

Vicky’s work is a response to contemporary land and sea issues in Tasmania. The image is a double-sided cyanotype – shown here is the transparency of the work with the blending of the two images.

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Swatches of blue: a colour of Tasmania by Doug Spowart

Doug’s cyanotype continued his experiments in direct light-strike on cyanotype sensitised materials. On this occasion the folding and refolding over the duration of the exposure creates a pattern of different blue densities. These emulate, like colour swatches, the different hues and tints of blue in the Tasmanian landscape. This is also a double-sided cyanotype that in this photo is still quite wet and yet to dry down.

Both cyanotypes have been made on linen material and are about 30 centimetres square. The linen was purchased at a local charity shop as second-hand white pillowslips. The A Smith Gallery presentation of these fabric squares has them pegged to lines running across the gallery ceiling where they appear like flags.

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In The Maud Street Photo Gallery

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The cyanotypes that we have made will be included in an exhibition of Australian cyanotypers at The Maud Street Photo Gallery in Brisbane during August 2-15. The exhibition is being co-curated by The Cyanotype in Australia team Gail Neumann and us (Vicky+Doug), and will bring together works from all over the country. It is a follow-up exhibition to the WCD exhibition In Anna’s Garden’ curated by Stephanie Richter, Gillian Jones and us at Monash Gallery of Art last year.

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In Anna’s Garden

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This year’s show is entitled ‘Land/Sea/Sky’ and the show at The Maud Street Photo Gallery is just the beginning as the works will be forwarded to the A Smith Gallery in Johnson City Texas for showing on World Cyanotype Day along with other works from across the world. At the end of the A Smith Gallery show the works will be sent on for exhibition in New Orleans at the PhotoNOLA Festival.

Participants in the exhibition will make a contribution to the costs of the Maud show as well as courier delivery to the U.S.A. and back home to Australia.

 

AN INVITATION TO ALL AUSTRALIAN CYANOTYPERS

An invitation has gone out through various networks inviting cyanotype makers to participate in the Australian WCD Travelling exhibition. If you make cyanotypes please consider being a contributor to the show. If know someone who does please let them know about the exhibition and pass on to them the AUST_WCD_SUBMISSION.

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For information about The Cyanotype in Australia and to join the the group’s FACEBOOK page: CLICK HERE

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To Download a PDF copy of the catalogue for the MGA exhibition click the link: In_Anna’s_Garden-CATALOGUE-FINAL-INT

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4 PHOTOBOOK EVENTS – Brisbane August 2, 3 & 4 2019

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4 PHOTOBOOK EVENTS OVER 3 DAYS – Check out the individual program

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Event 1 – FREE TO ATTEND

VIEW THE BEST PHOTOBOOKS

from the Australia & New Zealand Photobook Awards                  

From Friday evening August 2, Saturday 3 & Sunday 4, 2019

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  • It’s a FREE EVENT
  • Attend the ANZ Photobooks Awards Launch on Saturday at 12.30pm
  • You can view the books from 5.30–8.00pm on Friday and also Saturday & Sunday 10.30–3.30pm
  • Location: THE MAUD STREET PHOTO GALLERY – 6 Maud Street, Newstead, Brisbane
  • The Sponsor of the ANZ Photobook Awards is MomentoPro Books.

BOOK THIS EVENT THROUGH EVENTBRITE using this ink:

To Register to ATTEND THE ANZ PHOTOBOOK LAUNCH & VIEWINGS

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Event 2 – FREE TO ATTEND 

THE ALL PHOTOBOOK POP-UP SHOP

SATURDAY August 3, 2019 ALL DAY

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THIS EVENT WILL FEATURE:

  • The BEST Australian & New Zealand Photobooks
  • Talks by Libby Jeffery from MomentoPro
  • The latest Queensland Photobooks from the 2019 Melbourne Art Book Fair
  • Buy Second-Hand and new photobooks
  • A display of historical and rare photobooks
  • Photobook performances
  • Photobook table-talks

 

TO BOOK THE TALKS AND THE ANZ PHOTOBOOK AWARDS LAUNCH use these links:

 

LAUNCH The Australian & New Zealand Photobook Awards Brisbane Launch at 12.30pm

“CLICK THIS LINK”

DEMO by Libby Jeffery from MomentoPro about ‘How to make a photobook with MomentoPro software’

“CLICK THIS LINK”

TALK by Libby Jeffery from MomentoPro about ‘How to launch and market your photobook’

“CLICK THIS LINK”

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TO BOOK A $25 TABLE SPACE “CLICK” This LINK

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Event 3 – For a Fee

HAVE A PHOTOBOOK REVIEW

with the Doctors – Doug Spowart +Victoria Cooper

By Appointment

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We will work, one-on-one, with you to review book ideas, dummy photobooks and photos from projects being considered for a book and provide comments, critique and supportive feedback.

We can discuss relevant aspects of your photobook process including:

  • idea development
  • image sequencing and narrative
  • issues of texts and photos
  • aspects of contemporary and traditional book design
  • production options – DIY, Print-on-demand and trade
  • pricing > sales > promotion > distribution

BOOK THIS EVENT THROUGH EVENTBRITE using this ink:

https://www.eventbrite.com.au/e/photobook-review-with-the-doctors-tickets-62800959360..

 

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Event 4 – For a Fee

..NARRATIVE:

   Sequencing photos for photobooks

A full day workshop with Doug+Vicky

SUNDAY August 4, 2019

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One of the biggest challenges in making photobooks is the initial task of selecting images from the 100’s that you have captured to form sequences that carry strong communicative potential in a book.

This workshop is designed to engage the photographer with different processes of distilling images and structuring narrative flow in their photobook projects.

These ideas will be developed concurrently with the hands-on making of 3 photobook forms as ‘dummy’ books. A dummy is a tester, a sample book – it’s a physical object that you can you can hold and turn pages to review the changes that may be required to make a better book. Book designers may make many dummies as a key part of developing a great photobook.

The participant armed with these skills and knowledge will be better prepared to publish their photobook through print-on-demand options.

 

BOOK THIS EVENT THROUGH EVENTBRITE using this ink:

https://www.eventbrite.com.au/e/narrative-sequencing-photos-for-photobooks-tickets-62800120852

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ANZ Photobook Awards at Maud Gallery

 

 

 

Thank You The Maud Street Photo Gallery for supporting this Photobook Club Brisbane event.

 

These events are coordinated by Doug Spowart and Victoria Cooper

 

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PETER EASTWAY – The New [Photography] Tradition

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A box in the mail

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A box came in the mail the other day and in the box was a book from the photographer Peter Eastway. I have known Peter for over 35 years and have followed his many and varied careers – as a photographer, editor and publisher, darkroom and digital Guru, AIPP advocate, photography commentator, judge, lecturer and mentor.

 

Our paths crossed many times as our interests, activities and creative pursuits were very similar. Over the years Peter published more than a few stories about my work as well as articles I wrote for his magazine Better Photography. Around 1990 Peter was invited to come on my Imagery Gallery Photo Tours to central Australia and Africa to enthuse and inspire the photographers on the tour.

When monochrome photography and the darkroom re-emerged in the 1980s as an exciting ‘new’ trend in the professional photography awards scene Peter became interested in my work. At the time my B&W photographs had on two occasions won the AIPP Australian Professional Photography Awards ‘Highest Scoring Print in Australia, one of them was a 10”x8” contact print. I had also won categories in the Australian Hasselblad Masters Awards.

Peter came to my darkroom in Toowoomba, witnessed my technique, and published a Better Photography story about my technique. One of the main aspects of my work at the time was my use of Leica 35mm cameras and a printmaking style that employed what I called ‘dramatic theatrical effect’ by utilising very heavy burning-in and local dodging.

From the ICONS series ….PHOTO: Doug Spowart

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Within a short time I found my entries in the AIPP Awards coming up against Peter’s prints and some of his images were even made on photo tours that he had undertaken for Imagery. One year he won the AIPP Professional Photographer of the Year – I was the runner-up. Since then my partner Victoria Cooper has referred to Peter as #1 and me, #2!

AIPP Australian Professional Photography Awards with one of Peter’s Professional Photographer of the Year award winning photos of Africa on the cover

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Eastway photographing on tour in Bhutan PHOTO: Roger Skinner

 

When you get to know Peter you quickly understand his capacity for grasping ideas and knowledge, assimilating into his process and then to make images that are uniquely his own.

 

 

 

Back to the book… I turned the opening pages and read Peter’s introduction for ‘generational change’ in photography. He challenges those who have fixed ideas about emulating the great past masters like Adams and Weston and how digital photography has transformed the photographic image and the possibilities available to enhance the way the subject is presented. What follows in the book are very detailed reviews of the ‘making’ of Peter’s images over the years including his transition from analogue to digital. This book is a handbook on Peter’s process and also a manifesto where he claims the establishment of a ‘new tradition’ in photography.

 

Ephraums’ book cover

I turn a few more pages to the first photograph he discusses and dissects. To my surprise Peter acknowledges Eddie Ephraums‘ and my technique as having a significant influence on his B&W work. As I have already said Peter’s way is to grasp, master and go far beyond the initial inspiration. In this way he has come to lead a whole new representation of the lens-seen reality and created for the viewer images of the mystical and sublime. Whether it’s a landscape photograph, an ancient architectural form or a portrait Peter makes images that are seductive to behold, ponder and visually explore.

There is no doubt that he now inspires new a generation of photographers and created disciples and followers for whom this tome will be a ‘book of revelations’, a Bible for those whose wish to understand the eye, the process and the aesthetic of the photographer.

If there is a new tradition and Peter’s work will no doubt continue to influence photographers but his never-ending exploration of the visual world and how the idea of the human seen reality can be transformed through capture and rapture in processing will continue to advance the art of photography.

What interests me is that when I look back at the photographs I was making in the 1980s and 90s I didn’t think at the time about being a follower of a particular ‘tradition’. I just did, as I still do now, what seemed appropriate at the time. Perhaps Peter’s motivation is the same and the only ‘tradition’ that we follow is the constant renewal of the discipline by progressive practitioners…

Thank you Peter for a copy of your book … and for the opportunity to appreciate and consider your work.

 

Doug Spowart

May 20, 2019

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To read more and order Peter’s New Traditions Book –
CLICK THE LINK: Better Photography Online Shop New Traditions Book

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HERE’s SELECTION OF MY MONOCHROME WORK FROM THE LATE 1980s and EARLY 1990s …

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Images and text © Doug Spowart

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Creative Commons-by-nc-nd.eu

This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License.

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2019 WORLDWIDE PINHOLE DAY 28 April – Our images

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WPD-logo

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Round the [w]hole world on Sunday the 28th of April 2019 pinholers were out having fun – Making their images for the 2019 WPD. Far away from the darkroom (again) we’ve once again fitted a pin-prick in a piece of aluminium fitted to a body cap of our Olympus Pen camera and we went on a road trip in Tasmania from the D’Entrecasteaux Channel to the mountains and back again.

This is the 14th year we have supported the WPD project!

 

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ABOUT VICKY’S PINHOLE IMAGE:

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Capturing time and light in the mountains of Tasmania..

The photo was taken by digital capture with hand-made hole on an Olympus Pen using manual setting.

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My friends take a photo with their iPhones

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ABOUT DOUG’S PINHOLE IMAGE:

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Late this afternoon we went walking in the Autumn light down past the bare trunks and branches of deciduous trees – my friends stopped to photograph with their iPhones… Callie walked on…

 

Both pinhole photographs were taken on an Olympus Pen camera

Olympus Pen with hand pierced aluminum foil hole, Aperture exposure mode, ISO 1600.

Camera with pricked pinhole in alfoil, Aperture exposure mode, ISO 800.

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Other images we made on the day…

 

Visit the WPD Site for details of other submissions:  http://pinholeday.org/

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Our Past WPD images:

2018 Doug+Vicky https://wotwedid.com/2018/04/29/2018-worldwide-pinhole-day-29-april-our-images/

2016 Doug: http://www.pinholeday.org/index.php?id=1235

2016 Vicky: http://www.pinholeday.org/index.php?id=1540

2015  https://wotwedid.com/2015/05/04/april-26-worldwide-pinhole-day-our-contributions-for-2015/

2014  Vicky’s http://pinholeday.org/gallery/2014/index.php?id=1810&City=Toowoomba

2014  Doug’s http://pinholeday.org/gallery/2014/index.php?id=1811&City=Toowoomba

2013   https://wotwedid.com/2013/04/29/world-pinhole-photography-day-our-contribution/

2012   http://www.pinholeday.org/gallery/2012/index.php?id=1937&searchStr=spowart

2011    http://www.pinholeday.org/gallery/2011/index.php?id=924

HERE IS THE LINK to the 2011 pinhole video   http://www.youtube.com/watch?v=Yk4vnbzTqOU

2010   http://www.pinholeday.org/gallery/2010/index.php?id=2464&Country=Australia&searchStr=spowart

2006  http://www.pinholeday.org/gallery/2006/index.php?id=1636&Country=Australia&searchStr=cooper

2004 Vicky  http://www.pinholeday.org/gallery/2004/index.php?id=1553&Country=Australia&searchStr=cooper

2004 Doug  http://www.pinholeday.org/gallery/2004/index.php?id=1552&Country=Australia&searchStr=spowart

2003  http://www.pinholeday.org/gallery/2003/index.php?id=615&Country=Australia&searchStr=spowart

2002  http://www.pinholeday.org/gallery/2002/index.php?id=826&Country=Australia&searchStr=spowart

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 ©2019 Doug Spowart+Victoria Cooper
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Creative Commons-by-nc-nd.eu.
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Our photographs and words are licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License.http://creativecommons.org/licenses/by-nc-sa/2.5/au/..

HEAD-ON Exhibition in SYDNEY to include Victoria COOPER + Ruby SPOWART

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Headon Logo

I’m excited to announce that the two women in my life VICTORIA Cooper and my mother RUBY Spowart have both been selected as one of the LOUD and LUMINOUS curated 100 AUSTRALIAN WOMEN PHOTOGRAPHERS exhibition to be shown at the 2019 HEAD-ON PHOTO FESTIVAL. It is an amazing and powerful exhibition of contemporary photography brought together by the dynamic duo Hilary Wardhaugh and Melissa Anderson.

#knowmyname @nationalgalleryaus

 

Here’s the story…

 

ABOUT LOUD & LUMINOUS – from the web page

The Loud and Luminous mission is to recognise and celebrate the contribution of contemporary women in the photographic arts in Australia. We believe this project is unique and important in identifying the extensive cultural contribution women photo-based artists and photographers have made in this country. This project is designed to empower the girls and women of today and tomorrow to chase in their dreams. This is a timely project and one that hopes will help educate and inspire many women of all ages.

 

Vicky’s photograph is based on an important Tasmanian issue…

Listening …

 

VICKY’s ARTIST’S STATEMENT

My ancestors are European…. but I am removed by generations from these origins and have always sought to understand my place in this altered land. Over recent years I have spent time in Tasmania. I have come to know of Aboriginal stories that tell of women that lived and survived through the colonial invasion of their land and the resulting massive change to their lives and the future of their culture. I found Putalina, in Palawa kani, a place for reflection on the story telling that has highlighted the strength and power of past Aboriginal women including Truganini and Fanny Cochrane Smith.

 

Ruby’s work related to where she now lives and a reflection on her mother’s amateur painting…

My mother painted floral arrangements

 

RUBY’s ARTISTS STATEMENT:

My mother painted floral arrangements.

Before getting married and having children on a farm in central Victoria in the early 1900s my mother painted in oils. I never saw her paint – having children and the hard life on the farm meant that there was no time for art. Her paintings, mainly of floral subjects, however lived on and now are cherished by the family generations that followed.

If there is an art gene then my mother passed it to me. In my life I have practiced many art mediums from enamelling to china painting and ceramics as well as photography. Despite having three children and working with my husband in a family business I persisted with my art making. It has rewarded me and enriched my life.

Now in my 90s I photograph with my iPhone and these flower photographs come from the gardens that my neighbours and I nurture. In this work I feel that I am making the flower ‘paintings’ that my mother was never able to…

 

Venue / Date / Times

 

 

From the Headon website

 

 

 

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