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CYANOTYPE: Working the ‘blues’ in Greece

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A cyanotype print on rice paper hung out to dry on Skopelos

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The azure blue of the Aegean Sea perfectly matches the prussian blue of the historic process cyanotype. The ancient stories of Ulysses and Jason’s Argonauts lend themselves to the contemporary narratives that can be made through photography and the photobook. In May we sought to explore these creative possibilities through a collaborative workshop coordinated by artist Steph Bolt and Skopelos Works on Paper on the island of Skopelos located in the Sporades north-east of Athens.

 

Six participants worked with us over a two-week program of structured lectures, practical sessions and photo forays to explore the possibilities for image taking and art making on the island. Staying in the main town on the island we worked out of the purpose-built printmaking studio with a view out over rocky headlands, distant islands, blue waters and skies. The studio sits atop of the town next to the remains of a castle with steps and paved pathways leading to the harbour and the Paralia. Tourism is a significant industry for the island however its impact does not destroy a feeling of being within an authentic experience of Greece.

 

The workshops started with breakfast daily at 8.30am with a studio start at 9.00am. By 2.30pm the formal program finished enabling personal exploration of the diverse subject matter available. Everyday participant’s day concluded in the restaurants of the Paralia partaking in the culinary delights of rustic Greek food supported by ouzo, retsina and aspro krasi (white wine). We ate fantastic squid, octopus, anchovies, little fishes, rabbit, goat, traditional foraged foods like the succulent kritima, local cheeses, Skopelos pies and gyros. Some members of the group formed relationships with the restaurateurs and towards the end of each meal extra wine and special desserts were presented as gifts by the host.

At regular intervals in the program Steph and her husband Robin took us on photo adventures: to the ancient graves at Sendoukia for sunrise, the Roman bathhouse ruins of Loutraki, the hillside town of Glossa and the classic white rocky cliffs and beaches of the island. The island is also famous for providing the setting for the Bronson and Streep film, Mama Mia so we visited the famous church on the rock Agios Ioannis. As part of most of these forays we had more opportunities to dine in tavernas, coffee shops and seaside restaurants.

Agios Ioannis

Key to the program was the concept of ‘place-making’, that is making photographs and forming them into themes and photo-essays that told of the personal experience of place by the photographer. The process of the cyanotype was explored employing traditional ‘shadow’ imprint of objects collected from the island to some very experimental work with multiple materials and exposures and double-sided printing. We worked not only with art papers but also with rice paper, various cloth materials event kitchen paper towelling. We had also gathered some special objects like a range Greek laces and linens, local rocks and a diverse range of plant material. Connecting direct photography with the cyanotype process was achieved on-site by the making of enlarged inkjet negatives.

Photobooks were developed at first as mini-book projects that could lead to online projects with MomentoPro software. MomentoPro supported the project by accrediting our program as part of the ‘Club’ services giving the participants 40% discount on their first book and 10% on each of their future books.

A local cat keeps Gail amused while she exposes a cyanotype

The participants were accommodated near the studio at the top of the town – one group had extensive views of the Aegean Sea sunrise with the other group overlooking the town. As mentioned earlier the distance to the shops and restaurants in the harbour required the negotiation of several hundred bespoke steps of local stone and concrete all with their leading edge painted white. The steps meandered past mainly two storied whitewashed houses with ornate doors and grilles. Ancient churches some built with reclaimed stones from other building provided an experience of place that was quite memorable. Coming home from shopping or dinner meant a steep climb up through the paths, sometime dodging motorcycles although many steps are so narrow that even they are footpaths alone. On one early evening return we encountered a church group with candles being led in a song procession with a Greek Orthodox priest leading the way – a memorable moment indeed.

The weather was very changeable requiring some program shuffles, as cyanotypes are direct sun exposures for many minutes. Ah! Today is sunny – we’ll make cyanotypes then… Once participants grasped the technique each took the process in their own directions. Many sophisticated books were made based on other workshop classes in book binding and finishing. Some went BIG making full sheet (55x76cm) cyanotypes.

Morning review

At the beginning of each workday a review of the previous activities was undertaken. The specific needs of each participant could be covered and ideas shared.

On the final day each photographer presented their best work – what an amazing body of work that represented – although within hours each had said their goodbyes and had caught ferries off the island and were flying homeward. We were all jealous of Steph and Robin who have a house in the town and stay there for about half the year. Their knowledge of the island and networking with island people was invaluable for the success of the workshop. Works were shared and a folio set of eight small books were made in multiple so everyone ended up with a memento from each of other individual experiences …

All of us were touched by something special on the island – our photographs and books act as evidence of experience but also a touchstone to relive and share those experiences…

 

Here are some photos of the final presentations…

 

 

Copyright in the text and all photographs are the copyright of Doug Spowart+Victoria Cooper unless otherwise indicated. The copyright of the artworks is held by the artists.

 

 

 

 

 

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AuNZ PHOTOBOOKS @ The Vienna Photo Book Festival

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The exhibition at Brotfabrik Wien

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THE FESTIVAL: LECTURES, ACTIVITIES, OLD+NEW BOOKS & PRINT SALES

(from the ViennaPhotoBookFestival website)

The Artistic Directors, Regina Maria Anzenberger of Anzenberger Gallery and Michael Kollmann of OstLicht Gallery state that:

The ViennaPhotoBookFestival is celebrating its 5th anniversary on the 10th and 11th of June 2017 and to celebrate the medium of the photobook accordingly we have set up an exciting program. In addition to prominent guests like the Magnum legend Bruce Davidson and the creator of The Photobook: A History and Magnum photographer Martin Parr, we are expecting the photo critics Gerry Badger and Hans-Michael Koetzle, the Russian photographer Nikolay Bakharev, archipelago founder Magali Avezou, the chief curator of the Italian center for photography Camera Francesco Zanot, the Danish photographer Krass Clement and the Swiss photographer Rene Groebli, who is celebrating his 90th birthday this year.

Also in 2017 we are following the vision of a modern platform that helps to create networks between publishers, rare photobook dealers, independent publishers, artists and students. In addition, the festival’s international lectures will attract photobook aficionados from all over the world making Vienna a photobook metropolis once again.

 

The AuNZ Photobook of the Year set of books

Early Saturday morning along with 100 other table holders we unpacked and set-up our display. Around us other table holders offered everything from prints to booksellers of new and antiquarian books, student groups and educational institutions from all over Europe. There were special activities including a 10×8 Polaroid portrait and wet plate photography studios.

Our ANZ PBOTY display was positioned next to our Austrian/expat Australian friend Lachlan Blair’s table. Although he had paid for his table to show his beautiful photogram works and prints, Lachlan also shared the table minding duties with us. With his support we all were able to attend lecture events and also checkout other VPBF tables.

The exhibition space with the AuNZ table in the foreground

Lachlan Blair’s photogram print display

The history of the photobook was represented by significant collections and booksellers – I held a copy of Roy DeCarava’s Sweet flypaper of life… Lazlo Moholy-Nagy’s essay in Telehor from 1936 – books by Blossfeldt, Brandt, Van Elsen, Klaus Clement. I held back – a limited budget, though my new friend from Russia Natalia had an amazing handmade book by Julia Borissova that I had to buy, other books were bought and some were swapped – one of these was Surveillance by Valentyn Odnoviun which featured the circular observation peep-holes from Gestapo, STASI and KGB prisons – a most chilling yet remarkable book, this work was inspired by his father’s incarceration for 3 years on false charges.

Classic photobooks

Valentyn Odnoviun with his book ‘Surveillance’

Martin Parr was interviewed by Verena Kaspar-Eisert at the opening event – the room was full. Parr was the complete mischievous interviewee as Verena teased out some interesting facts and comments from this ‘Photobook Rock Star’.

Martin Parr being interviewed by Verena Kaspar-Eisert

Sunday continued the frantic pace – lectures, including one by Bruce Davidson, another by Nikolay Bakharev and Klaus Clement interviewed by Gerry Badger.

Krass Clement being interviewed by Gerry Badger

As the hours wore down there was a frantic activity to see other tables and catch up with as much as one could handle. MomentoPro had also sent along with the books around 30 of the little catalogues and these became gifts to selected viewers of our books… these included collectors, teachers serious photobook makers and others from the photo press and of course Anzenberger, Badger and Parr.

We received many statements from viewers complimenting the quality of our books some even saying that the work was better than the general European scene. In response to people wanting to buy ANZ books we suggested direct connection with the photographers websites, bookshops and online stores in ANZ. One collector came to us on Sunday and excitedly exclaimed that he had been in contact with a NZ photographer and had bought the book…! Katrin Koenning+ Sarker Protick’s Astres Noirs APOTY winner could have been sold many time over as it’s 1st edition is ‘sold out’ and is now a rarity – luckily the Anzenberger Bookshop had copies of the 2nd edition.

Gerry Badger with Sonia Lenzi at the AuNZ table

Martin Parr at the AuNZ table

In the final minutes of the 2016 VPBF all table holders packed up their displays of books and prints leaving behind a vacant space that had once held so many books, their stories and those who make or care for them. We left the building, said our goodbyes, repacked suitcases with new books and a couple of hours later Lachlan took us to Vienna airport to catch our flight home.

Regina Maria Anzenberger and Doug Spowart

It’s now the middle of the plane flight somewhere over the Black Sea – about 1.35am. I’m still pumped and excited to have been able to have made this foray into the European photobook scene. I also want to acknowledge the support of Regina Marie Anzenberger and Michael Kollmann from Vienna Photobook Festival, Libby Jeffery and Rony Wilson of MomentoPro, Lachlan Blair and my partner Victoria Cooper,

For many people in the northern hemisphere Australia and New Zealand will be known not just as an interesting travel destination but rather a place where a dynamic photobook network of practitioners exists making great books….

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What follows is a selection of images from the event…

 

SEE ALSO:

 

The LECTURE

https://wotwedid.com/2017/06/18/the-antipodean-photobook-a-lecture-at-the-vienna-photo-book-festival/

 

The REVIEW SESSIONS 

https://wotwedid.com/2017/06/18/review-panels-at-the-vienna-photo-book-festival/

 

REVIEW PANELS at the Vienna Photo Book Festival

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Vienna Photo Book Festival logo

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THE REVIEW PANELS AT THE VIENNA PHOTO BOOK FESTIVAL

(From the website)

 

Publishers, gallery owners, curators, critics and collectors representing small, mid-sized, and major venues from all over Europe, will gather in Vienna to review unpublished photo books. 30 photographers will be selected to show their photobook dummies to15 national and international reviewers.

Our goal is to offer talented photographers from around the world a forum to discuss their books with a wide range of photography experts, thereby producing a lively dialogue between the aspiring artists and the experts from various prestigious institutions.

Photographers will have one-on-one meetings with the reviewers. Each review session will last 20 minutes and we will limit the number of participants to assure that everyone receives six reviews each. It is a great way to network. Numerous photographers have walked away with opportunities to publish, exhibit and sell their work after attending such reviews.

 

Vicky and I submitted our ‘You are here’ book to be considered for the Vienna Photo Book Festival Reviews. ‘You are here’, that considers our place on planet Earth within the solar system and has also been a finalist in a couple of artists book awards in Australia over the last 9 months. Additionally the State Libraries of Queensland and Victoria have collected this artists’ book.

You are here…

 

At the end of April we were advised that our submission for the review session had been successful. At this time we were asked to suggest six possible reviewers from their list to look at our book. We selected the following:

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Regina Maria Anzenberger opens the Reviews

 

On Friday 9th we excitedly waited outside the Anzenberger Gallery with 30 other finalists who came from all over Europe. The reviewers were assembled and Regina Anzenberger opened the event and advised participants of the process – 20 minutes each, then a bell is rung, and the next review gets underway. Sufficient time is given for reviewers and photographers to take breaks and have lunch.

Isa Maria rings the bell

The bell rang and we sat down with photobook aficionado Gerry Badger. He asked to look at the book first, so we silently sat as he turned the pages of our concertina book as a codex. Badger said he loved it and couldn’t improve on it as an object and visual narrative. We then spoke about other things including his latest project documenting graffiti in Italy. He then pulled out his prints to share with us… an interesting project he has been working on over many years. The bell soon rang and we moved on to the next reviewer.

 

 

Over the next few hours we met with the other reviewers. The responses we received acknowledged the beauty of the object and the work’s ‘challenge’ to accepted photobook practice. Most of the attendees were looking for publishers for the ‘dummy’ book that they were presenting. As ours was a resolved work and more of an object/artwork rather than a publishable codex-based photo-project, there was not much room for suggestions. However many points emerged from the discussions that will inform future directions for new work from the project.

 

The review tables

 

It was a warm Vienna day and review participants gathered outside the gallery when their work was not being reviewed. We actively connected with these photobook makers – a fascinating experience as we were meeting members of with representatives of a united nations of photobooks – Russians, French, Austrians, Polish and Czech, German, Hungarian and Slovakian. Most spoke English and from these new ‘friends’ we had instant contacts to see their works for sale in the Book and Print Sale Festival event.

After the seeing the books, the reviewers discuss the projects/books and the winner of the Vienna Photo Book Award was determined. The 1st prize winner receives a book publishing contract from Anzenberger Edition which covers production costs of Euro 5,000.

On Saturday evening the winner of the 4th Vienna Photo Book Award was announced. The winners were Nadine Schlieper and Robert Pufleb with their photobook ‘Alternative Moons’.

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The winner

 

 

Here are photos of some of our fellow review participants

 

Lore Horre

Mariya_Kozhanova

Thomaz Laczny

Paul Grandsard

Denis Esakov

Natalia Baluta

 

SEE ALSO:

 

The LECTURE

https://wotwedid.com/2017/06/18/the-antipodean-photobook-a-lecture-at-the-vienna-photo-book-festival/

 

The EVENT

https://wotwedid.com/2017/06/18/aunz-photobooks-the-vienna-photo-book-festival/

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Written by Cooper+Spowart

June 18, 2017 at 6:03 pm

ANNOUNCEMENT: The 2016 Australian Photobook of the Year Award

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Momento Pro and UNLESS YOU WILL joined forces to present the 2016 Australian Photobook of the Year Awards culminating with a presentation in Melbourne on February 17, 2017.

The awards were open to unpublished, self-published or trade published photo books by Australian citizens and residents. The Australian Photobook of the Year Awards celebrates excellence and innovation in photobook creation and also showcases the work of Australian photographers to a growing local and international audience.

 

THE ANNOUNCEMENT OF THE WINNER

Libby Jefferies talking about the Award

Libby Jeffery talking about the Award

 

A group of around 70 photobook makers, collectors, commentators and others interested in the discipline attended a presentation of the finalist books and the announcement of the overall winner at Magic Johnston in Melbourne on February 17, 2017.  Brief speeches were presented by UNLESS YOU WILL’s founder Heidi Romano and MomentoPro’s Libby Jeffery were followed by the announcement of Katrin Koenning & Sarker Protick’s Astres Noirs as the winner. The Commended awards were also announced and attendees were able to experience the finalist’s books first-hand.

 

 

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THE WINNER: Astres Noirs by Katrin Koenning & Sarker Protick & Chose Commune

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APOTY WINNER: Astres Noirs by Katrin Koenning & Sarker Protick & Chose Commune PHOTO © 2017 Doug Spowart

APOTY WINNER: Astres Noirs by Katrin Koenning & Sarker Protick & Chose Commune

 

THE 2016 APOTY FINALISTS

  •  Astres Noirs by Katrin Koenning & Sarker Protick & Chose Commune Winner
  • Elsewhere by Fuad Osmancevic Commended
  • J.W. by Clare Steele Commended
  • Memorandum by Ana Paula Estrada Commended
  • Some Want Quietly by Drew Pettifer & M.33 Commended
  • Surface Phenomena by Bartolomeo Celestino & Perimeter Editions Commended
  • Bird by Gary Heery
  • Courts 02 by Ward Roberts & Editions
  • Elemental by Rohan Hutchinson
  • Golden Triangle by Hannah Nikkelson
  • Kinglake by Jade Byrnes
  • Two Pandanus Trees Side by Side by Aaron Claringbold

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A detailed report and images of the winner and commended books can be seen on the Australian Photobook of the Year Website – HERE

 

ALL photographs ©2017 Doug Spowart

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FIELD STUDIES INTERNATIONAL 2016: Our contribution

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Signing the Field Studies 2016 contribution

Signing the Field Studies 2016 contribution

 

We have been busy the last few days completing our contribution to the 2016 Field Study International report project. Led by David Dellafiora in Geelong the Field Study project is now in it’s 22nd year. Field Study Report contributions are called emanations and can include all kinds of things including: ‘documentations of performances, actions and exhibitions, tracts, rants, instructions, manifestoes, reflections and experiments.’ They are a mashup of Fluxus, DaDa, Surrealist inspired, zine-ish paste-up, rubber stamps, torn up letter ransom notes and concrete poetry. The Field Study Report becomes a snapshot of artistic, social and/or political commentary at the time of its publication.

 

Our submission for 2016 is a commentary on our present nomadic lifestyle. Since moving from Toowoomba 2½ years ago we have been house-sitting, doing artists in residence projects, staying with friends and renting – we have lived in approximately 15 places.

For our submission we made a diptych of original cyanotype images recently while staying on the beach at Wooli. One print represents a starry night above a line of houses. The other print is a selection of of different keys –referencing all the houses we have stayed in. The two cyanotype prints were copied, scaled and arranged on the one sheet with the captions: ‘Keys to the homes where we have lived …’ and, ‘A Field Study Emanation for 2016 by Victoria Cooper + Doug Spowart’.

Each A5 print is numbered and signed and the edition is 100. Each contributor gets a copy of the assembled works and some copies are sold to support the project and the group that helps make it happen.

 

Cooper+Spowart Field Studies 2016 contribution

Cooper+Spowart Field Study 2016 contribution

 

Submissions for 2016 are now closed however, get ready for 2017. For more information about Field Study and other projects see: https://daviddellafiora.blogspot.com.au/

About Field Study:

Field Study began in 1993 as a way of reclaiming the negative spaces between art and life. Activities stemming from Field Study are emanations and group emanations are manifestations. Field Study sees each work as a manifestation of a collective spirit. Everyone is welcome to become a member of Field Study, irrespective of their arts practice, and contribute to the Field Report. Field Study also produces the assembling publications WIPE and ReSite, and, in collaboration with Karingal, KART.

 

An earlier WOTWEDID Blog post has more detail… Check it out:

https://wotwedid.com/2013/01/05/field-study-international-our-contribution/

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A GIFT OF A CAMERA: David Tickell’s cameras

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Advertising stuff from the 1960s for David's cameras

Advertising stuff from the 1960s for David’s cameras

 

In March 2013 I was contacted by David Tickell who wanted to meet with me to talk about a proposition he had in mind. I had known David for many years – he had been a writer and critic for the local press and had written the text for a book by my photographer friend John Elliott. In the early 2000s David had enrolled in photography studies at the college I taught at in Toowoomba. He was always an enthusiastic contributor to the classroom as he sought to learn and master digital photography. It became evident to me at the time that David had a considerable interest and capability in photography from his past career activities.

 

When David came by to visit he brought an aluminium case covered with the patina of travel and use. Inside the case were the things that David had wanted to talk with me about. We sat in our carport rainforest and talked about what we’ve both been up to and changes in our lives. David spoke about downsizing his life’s goods and chattels and introduced the aluminium case’s treasures to me… a Rollei twin lens reflex with a range of filters and accessories, an Exakta 35mm SLR – all neatly packed with manuals and other ephemera. It was all in immaculate condition. He told me that he had purchased it in the Middle East at a time in his journalism career that needed quality photographs.

 

With David Tickell on the day of his gift to me in 2013

With David Tickell on the day of his gift to me in 2013

His dilemma now was that with digital photography he had no need for the equipment and he wanted to pass it on to someone who would appreciate it and perhaps even use it – he proposed that I was that person. I appreciated his gesture and felt honoured by his offer. I mentioned that Vicky and I had a Rollei in our possession and that we would look after the gear and pass it on to an individual, perhaps a student, who we considered would value this equipment and use it to extend their analogue photography work. We made photographs of our meeting with the cameras and David left feeling excited that his gift was well received and would be looked after.

For some time I’ve been looking out for a suitable person to receive David’s gear. Quite a few years ago I’d come across a Brisbane band webpage called ‘Something from the scene’, and a little while later I had a student who was interested in contemporary band photography who had found the same site as an inspiration. In June 2015 we met Thomas Oliver at the Siganto Artists Book Forum in Brisbane. He was the guy from ‘Something from the scene’. We both connected with Thomas who we found out was a Queensland College of Art Bachelor of Photography student. Our paths have crossed many times since including his involvement in exhibitions and projects I’ve curated include a Skype artist’s talk that he participated in at Maud Gallery in March for the In situ documentary show.

Recently Thomas has completed his Bachelor of Photography and was the winner of the John Mckay Award for the student going into honours, and a Saint Margaret School’s internship award. He is continuing his studies with an Honours year at QCA. I was particularly interested in Thomas’ engagement with analogue photography. Extensive project work while on study tour to Europe, the UK and Canada was shown at Maud in the ‘In situ’ show and his graduating BP work featured an involvement in the variants and deviations possible from the printing of the singular black and white film negative.

 

PHOTO: Thomas Oliver from his 'Disconnection' series

PHOTO: Thomas Oliver from his ‘Disconnection’ series

PHOTO: Thomas Oliver from his 'Disconnection' series

PHOTO: Thomas Oliver from his ‘Disconnection’ series

Thomas Oliver giving his floortalk by Skype

Thomas Oliver giving his ‘In Situ’ floortalk by Skype from Canada

Thomas talking about his work at the Maud Gallery 'Dark Love' event in November 2016

Thomas talking about his work at the Maud Gallery ‘Dark Love’ event in November 2016

 

For his enthusiasm for photography and his dedication to analogue photography I chose to pass on David’s gear to Thomas. We met at Maud Gallery at the end of November and the exchange made. He was excited to be the recipient of David’s equipment legacy and excitedly talked about how the gear could be used in his future photographic research work.

 

Thomas Oliver and me

Thomas Oliver and me

 

David’s equipment has found a new life with Thomas and as long as he has a need and a interest it will reside with him – until he wishes to pass it on to a new custodian…

Thomas Oliver with David's gear

Thomas Oliver with David’s gear

 

Words about David Tickell from John Elliot’s photographic documentary book The Last Show published in 1986. The book was about the last Toowoomba Agricultural Show held on the inner-city site bordering Bridge, Campbell and Lindsay Streets. Elliott’s photographs were complimented by a text telling the story of the show written by David.

From John Elliott's book 'The Last Show' 1986

From John Elliott’s book The Last Show 1986

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Written by Cooper+Spowart

December 17, 2016 at 1:47 pm

DARK LOVE: Stories of the darkroom @ Maud Gallery

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dark-love-logo-stre-1000

 

It seems that in the digital age many photographers still pine for the days past when the darkroom was familiar territory. While older photographers may have fond memories, today they share their darkroom love with new-comers, mainly younger and digitally native photographers. To honour the past and to celebrate the future of the darkroom we worked with the Director of Maud Creative Gallery Irena Prikryl recently to host a series of events and workshops to recognise analogue photography in contemporary photographic practice.

 

On November 8 a group of photographers responded to the call to attend an event at the gallery called DARK LOVE: Stories of the Darkroom. They were asked to come along with something special about the darkroom and tell a story associated with it. On arrival at the gallery their photographs were prepared and then hung on the wall.  The presentations were timed at around 5 minutes and were quite fascinating.

 

Part of the Dark Love exhibition at Maud Gallery

Part of the Dark Love exhibition at Maud Gallery

What follows is a photo of the attendee, their print and a brief comment about their stories …

 

Alex Buckingham

Alex Buckingham

Alex spoke about working with Liquid Light emulsions

 

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Victoria Cooper

Victoria Cooper discussed the making of this pinhole biscuit tin photo and the challenges of printing the 6x18cm negative

 

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Thomas Oliver

Thomas spoke about his current academic research in the multiple printing of a single negative.

 

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Tammy Forward

Tammy discussed the making of a studio portrait.

 

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Sandy Barrie

Sandy spoke of the dangers of shooting large format in busy Sydney traffic.

 

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Robyn Hills

Robyn told the story of the making of this award winning print – from its origins from a point-n-shoot camera to darkroom high contrast printing ‘Tipp-ex” and a little bit of marker pen…  A great animated performance….

 

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Rob Crapnell

Rob discussed his interest in the darkroom and work with a 6×7 Pentax documenting how old heritage buildings in Brisbane are being cramped by the skyscraper…

 

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Peter Pescell

Peter discussed his use of an ‘ancient’ bellows camera and reloaded 120 aerial film on spools to make this image… the old and the outdated still have currency in analogue…

 

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Michael Stephenson

Michael discussed his modern printing of a series of lantern slides that represented a panorama of Brisbane made in the 1870s(?) by the photographer a Mr Wilson(?).

 

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Louis Lim

Louis spoke of a camera obscura that he made in a children’s hospital as part of an artist in residence. He described the view of Vulture Street in Brisbane on the ceiling of the room and how children visiting the space were enthralled by the images on the ceiling and walls…

 

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Jeff Ryan

Jeff discussed the taking of this photograph and its connection personal connection with he and his brother’s lives. The photo was made relatively recently at a place where Jeff and his brother played as kids 40 years earlier.

 

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Irena Prikryl

Irena’s story related to buying her first serious camera – a Hasselblad and then taking some photos in Grand Central Station in New York. The camera was balanced on a railing and the shutter speed was long…  The photo was recently printed in a Fine Art Print workshop at Maud with Doug+Vicky.

 

 

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Chris Bowes

Chris Bowes was unable to attend but had come by earlier to install his personal investigation of self and sweat by placing un-exposed B&W photopaper against his body. The prints are then process yield a ‘Chemigram’.  Chris will present a floortalk at the gallery. Check the Dark Love page for details…

 

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David Symons

David discussed that the origins of his 1980s photographic series was a response to the work and photobooks of David Hamilton. Hamilton was well known for his ‘soft-porn’ photos of young girls. Symons spoke about how he appropriated Hamilton’s photos by double printing copy negatives through a cracked mud image. Texts from Hamilton’s book were adapted by Symons using a redactive process to reveal an alternative story….

 

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Doug Spowart

I commented about how a recent re-connection with pinhole photography during the Pinhole workshop last weekend had helped to resolve a need for a new project that Vicky and I will be working on next year. I passed around an 8″x10″ film pinhole negative that had revived my interest and love of the darkroom.  PHOTO: Victoria Cooper.

 

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Edwin Wecker

Edwin discussed his experiences with film photography whilst on tour to India with his friend Russell Shakespeare.

 

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Gail Hoger-Neuman

Gail showed some photographs from her early 1990s exhibition ‘Hollywood Stills’ that was shown at Imagery Gallery.

 

Sandy Barrie demonstrates ancient portable daylight enlargers – the oldest was made before 1859.

Sandy Barrie demonstrates ancient portable daylight enlargers – the oldest was made before 1859.

 

Conversations continued after the presentations

Conversations continued after the presentations

The DARK LOVE works were enjoyed and discussed

The DARK LOVE works were enjoyed and discussed

 

CHRIS BOWES FLOORTALK  – 26 November – details to be confirmed

A FINE ART PRINTING WORKSHOP WILL TAKE PLACE ON – Postponed to 2017

A CYANOTYPE WORKSHOP – Details HERE

AND THE FRONT GALLERY WILL BE CONVERTED INTO A CAMERA OBSCURA on November 26 (to be confirmed)

 

 

 

Festival of the Darkroom logo

Festival of the Darkroom logo

 

All portrait photographs and gallery documentations unless credited otherwise ©2016 Doug Spowart

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