Notes #104

Transferee Ail Cod #104 [aka a bunch of stuff]       #104     21/6/2009

Haiku stuff

[courtesy fr#275 Chris Holly]
Autumn rain is best
when my undies get damp from
excitement on line

editorial stuff

Shame shame! Nearly three months have passed since edition #103 hit the newsstands. I would put on a pointed cap and stand in the corner if I had the time. Unfortunately [or fortunately depending on your point of view] the morph and move of the Daylesford Foto Biennale into the Ballarat International Foto Biennale has meant a considerable rise in expectations and the amount of work involved as a result of the move, and it has meant that there just aren’t enough hours in the day to do everything that needs to be done. My plan was to have this edition winging its way through cyberspace over a month ago, but time and circumstances have worked against me. My apologies to those of you who had exhibitions and events for publication which have come and gone since #103. I’ll see if I can’t get edition #105 [with all the dirt on the PMA show] posted before the end of July

new members stuff

A big warm and fuzzy welcome to our newest free radical members, Tim Handfield, Ming Wong, Rodney Dekker, Sally Brownbill and Gary Trounson, all from Vic.

Of course I will have a bag of free radical badges available for anyone from anywhere who wants to become a life member of the free radicals at the PMA show at Darling Harbour next weekend.
So tell anyone who is not already a free radical [and there are still a few out there] pack an extra ten bucks and seek me out in Sydney and sign up for life – it’s the only level of free radical membership. And for the rest of you, don’t forget to pack your badge. In fact, if you go and put it in your case right now you won’t kick yourself when you are five minutes from the airport and Damn!! forgot my badge!!

more editorial stuff

Printing has become ever more complicated with the digital age. A degree of computer literacy is a given. Adequate knowledge of Photoshop essential. Choosing the best and most suitable paper from an ever greater range almost an art form. Then the little matter of the correct profile…
I am becoming tired of seeing ever larger prints in our galleries with photographers not shy of claiming for themselves all the credit. So, my partner’s and mine latest contribution to the National Portrait Gallery will carry also a credit to the printer. Tim Ainsworth in this instance. Perhaps others would like to follow suite [sic], after all, in days gone by Hogarth’s famous cartoons always credited the engraver. Francis Reiss fr#353

editors response.
Don’t know about others, but in my case, just about everything I produce is printed by me, and in the case where I have had prints made that are larger than the capacity of my printer, they have been made without any intervention to the file by the lab. I think that most labs nowadays output files as supplied – and those days are long since past where the photographer supplied the neg/file and the printers skills were called into play to interpret that neg/file. Fair enough if the work is a collaboration, but how about the framer? the camera manufacturer? the paper company? the tech who wrote the ICC profile? etc. etc. Interested to hear the opinions of others.

additional editorial stuff

Re the piece in FR notes #102 about the Danish photographer whose work was disqualified from a photographic competition because the judges deemed the images over-manipulated. The following response comes from fr#449 Andrew Chapman, who is also president of the MAP Group [Many Australian Photographers]

In the interest of pushing the debate along….. some thoughts………..
Lipstick on a Pig

The Debate over the use of Photoshop to enhance images by Danish photographer, Klavs Bo Christensen, (worldworldhttp://www.lightstalkers.org/klavs) in Denmark’s Picture of The Year, has struck a chord with many of MAP’s members.
http://www.pressefotografforbundet.dk/index.php?id=11708
http://www.PDNPulse.com/2009/04/photo-contest-wades-into-murky-waters-of-digital-mainpulation.html

His use of photoshop is being hotly debated around the world and again is highlighting one of the big questions that we all muse over, What is the correct amount of RAW image post production and Photoshop adjustments we should apply to our images?
Photographic competitions are littered with examples of overblown images that jump out at the viewer and in some cases give the exhibitors an edge over their competition. Slickly produced images, finely Layered, with Gaussian Blur subtly applied and other enhancements can be seen on most wedding portrait photographers websites and in annual reports from here to Timbuktu. And, of course, advertising photography takes everything to another level again. This is all fine with me, but where does that leave those of us who love to record?
As Photojournalists and Documentary photographers we all know the boundaries when it comes to digitally adding or subtracting items to our images. But enhancement, particularly contrast, saturation and colour, are more murky areas. The 1990’s Photoshop revolution gave all photographers greater power of control over their shots, particularly when it came to colour.
I am reminded of Obama’s words to the effect of, “You can put lipstick on a pig……………. but, it’s still a pig”, during the Obama Presidency run of the 2008 US Presidential Campaign.
There have always been fashions that have drifted in and out of photojournalism and documentary photography. Who can forget cross processing in the 90’s or today’s tendency for shift focus lenses with an attempt to say “look at me, look at me” (apologies to Kath Day Knight).
With B&W, photojournalists have always used contrast / brightness control to give their photo’s more impact. Photographic history is littered with examples of dark crevices and snappy highlights, devices used by photography’s superstars to get their images across. Try looking up W Eugene Smith, Salgado, Leibovitz and a host of others as references. Who amongst us have not used the same techniques?
What is at question here is not the use of……….. rather than the degree of use of colour / contrast / saturation in ones images. There is no definitive answer that cannot be argued against.
Every photographer needs to apply a fair and reasonable interpretation of light to their photographs. And, if the images are emotive enough, they will survive on their own. If they are pushing the boundaries, their colleagues will know. At the end of the day, each one of us needs to be at peace with ourselves and what we have produced.
I certainly don’t intend to set myself up as the arbiter of right and wrong and I’m sure there are others who would like to pick holes in my shooting and production style. But at the risk of building a glass house amongst a field of stones, I feel I need to fuel this debate a bit.
A truly great image will survive all of this debate because of what it is………………… a truly great image. It needs no more than fair and reasonable processing. True, there is a significant place for post production, but as an aid to a good photo, not as a crutch for a poor one. Great images by gifted artisans are what we should all be striving for. In social documentary and photojournalism, substance should always triumph over style. There are many other legitimate genres of photography for those who want to push the creative boundaries.

other stuff

From North Sullivan, fr#547
Since judging the Moran Photography prize last year I have become involved in Moran’s primary school workshop programme. Moran fund 100 day long workshops in primary schools around Australia each year under the banner of The Moran Arts Foundation. I wrote the programme and have helped source and train tutors from Sydney. Belinda Mason, Sally Mayman and Warwick Kent together with myself have been the main stays for the past year.
The programme needs to expand its interstate operation and we are looking for photographers interested and capable to present these workshops, particularly in Victoria and South Australia as well as other states.
These are paid engagements. Its not big money but better than regular teaching gigs and it is a nice thing to do. We have two kits that circulate around the tutors that include 33 compact Canon cameras and 6 Selphy printers as well as teaching materials. I provide extensive course notes and training. I wondered if I could enlist Free Radical’s help to find suitable photographers outside NSW to run some workshops?
North Sullivan
Photographer
The Photo Studio
5 Franklyn Street
Broadway (Glebe) 2037
Australia
+61 2 9571-9955
+61 (0)418 211 661

call for entry stuff

It’s always a good idea to thoroughly read and understand terms of entry for any photographic prize or competition.
If you don’t like what they say, or feel terms and conditions are not clearly spelled out, or appear exploitative, don’t enter!

content

The Murrurundi District Arts Council invites photographers to submit works in competition for the 2009 Murrurundi Keddie’s Pastoral Photographic Prize. This inaugural biannual prize, valued at $10,000, has been initiated by the Keddie family and aims to promote excellence in contemporary photography. Entrants to the prize are asked to interpret this year’s theme – WATER – in black and white, with a focus on the significance of water in the natural environment.All entries will be assessed and selected by a panel of judges. The selection of images will be done anonymously based on the quality of the photograph and the prize will be awarded to the most outstanding photographic work as determined by the final judge – photographer-author Trisha Dixon. Entries close June 26th. Murrundi Photographic Prize

Photography.Book.Now Your chance for worldwide recognition and great prizes. It is a celebration of the most creative, most innovative, and finest photography books – and the people behind them. Grand Prize $25,000.
Categories: (1) Fine Art, (2) Editorial or (3) Commercial. Deadline for entry is 12:00 PM PDT July 16, 2009. There is a non-refundable entry fee of $35 in US Dollars, €30 in Euros, or £25 in Great Britain Pounds (GBP).
We want to see your best work. Submit your photography book in one or all categories. And, enter as many books as you would like. Details http://pbn.blurb.com/

The MGA Foundation is pleased to announce the judging panel for the 2009 William and Winifred Bowness Photography Prize . The prize for 2009 will be $20,000 for a single photographic work by an Australian photographer. The prize is non-acquisitive. The judging panel comprises: Helen Ennis is currently Senior Lecturer in Art Theory and Associate Head, Undergraduate, at the Australian National University School of Art. Anne Ferran is one of Australia’s leading contemporary photographers and Shaune Lakin, Director of MGA.
Entries close 7 August 2009 Details www.mga.org.au

photography festival stuff

Interested in exposing your work to a panel of important and career influential persons? The Ballarat International Foto Biennale 2009 is offering 2 days of Portfolio Reviews as part of BIFB’09. Reviews will take place on Thursday Sept 3rd and Friday Sept 4th, and will give serious photographers the opportunity to present their folios – one on one – to a range of curators, publishers, agents, gallery and festival directors from all over Australia. Places will be limited and allocated on a first come first served basis. For more information email portfolioreviews@ballaratfoto.org The list of reviewers is now posted at the new bifb website www.ballaratfoto.org

Also, If you are a teacher of photography, BIFB’09 is putting together a program specially for school tour groups, which will include supervised visits to Core program exhibitions with special presentations by participating artists and curators. If you are interested in having your students participate, send an email to schools@ballaratfoto.org for more details. The Festival will run from Sept 4 to Oct 4 2009, with a Core Program of 20+ exhibitions of the best of Australian and International contemporary photography. The Fringe will grow with events in both Ballarat and Daylesford, as well as a comprehensive program of workshops, seminars, lectures, projections, special and affiliate events throughout the month. To keep abreast of all the news, go to www.ballaratfoto.org to get on the email list.

Foto Freo 2010 which runs March 20 – April 18 2010 is calling for proposals for the FF10 Fringe.
You can download a fringe application form from their website www.fotofreo.com

exhibition stuff stuff

Happy to list your show be it in Melbourne, Darwin, Hobart or wherever, but if it’s too much trouble to send me your exhibition details in a format that I can readily cut and paste, ie in the body of an email, then it’s too much trouble for me to transcribe details from a pdf or go chasing websites for the information that’s missing. Send the details to free radicaloz [at] gmail.com Include details of opening and closing dates, gallery address, opening hours, and if you like, a brief synopsis of the show.
Send information as text only, preferably pasted into the body of an email and not as an attachment. Sometimes it’s 4 – 6 weeks between editions of the notes, so if you want to be sure of getting a listing, get your details in early.

DRIED – an exhibition of images depicting an Australian rural industry in crisis by Sandy Edwards [fr#610] at the Barooga Hotel, 1 Vermont Street, Barooga, NSW. Showing until 30th June 2009. Sponsored by Fujifilm Professional. Info 0421 996 813

No Need of a Name an exhibition of rare Antarctic images by Chris Holly [fr#275] is at the Australian Defence Force Academy Library [Canberra] Show current to July 1st.Library hours, Monday through Thursday, 8.00am – 9.00pm, Friday, 8.00am – 5.00pm. Saturday and Sunday, 1.00pm – 5.00pm For more information contact: Jeff Doyle at Jeff Doyle (at) adfa.edu.au

The 2009 Head on Portrait Prize is at the Obscura Gallery in St Kilda current to 4 July.
Beller House, Suite 11, 285 Carlisle Street St Kilda, VIC, 3183. Hours Tues – Sat: 12pm – 6pm

Beyond visibility: light and dust by David Malin. Bringing together the work of Felicity Spear, David Malin and Gulumbu Yunupingu the exhibition creates an environment that explores human efforts to make pictures of whatever lies beyond Earth’s atmosphere.
plus
Vertigo: Artists include: Max DUPAIN, Wolfgang SIEVERS, David MOORE, John GOLLINGS, David STEPHENSON, Arthur WICKS, Simon TERRILL, Deborah PAAUWE. Looking at photographs that have been shot from high above the ground might make us feel dizzy, powerful or even otherworldly. Photographs that turn our gaze up to the sky can produce feelings of awe and disorientation.
plus
David Callow: 40 000 + 40: David has had 20 years experience as a documentary photographer and since 1997 has worked extensively in the Northern Territory in some of Australia’s most remote communities. Making up to 6 visits a year Callow has developed strong ties to the region and with this exhibition has produced a remarkable series of portraits that focus on the strength, humour and vitality of the individuals in these communities.
Shows current to June 28th. All at the Monash Gallery of Art [MGA] 860 Ferntree Gully Road Wheelers Hill Victoria 3150 03 9562 1569. Open: Tue-Fri: 10-5pm, Sat-Sun: 12-5pm, Mon & public holidays: closed. Gallery, gift shop, licensed cafe and sculpture park FREE ADMISSION

Ethiopian Time by Tim Handfield [fr# 753]In these photographs I hope to capture the feeling that I experienced in the Simien Mountains of Ethiopia, an uncanny sense of recognition, like being in a 19th Century landscape painting.Digital photography has freed photography from the constraints of film and chemistry, enabling the photographer to define the way that the camera ‘sees’ colour and how that is subsequently translated into the print. In this exhibition I embrace this new painterly quality of digital photography to explore connections between contemporary photography and the sublime landscape tradition. Show runs June 30th to July 11th at At Forty Five Downstairs. Gallery hours, Tues – Fri 11 -5, Sat 12 – 4

classified stuff

classifieds are free, but only run for one edition unless you email me to run in the following edition due to lack of enquiries, or you wish to delete, add, or change the price of items. Don’t send an essay – just item, price and contact details. KISS

There is a small office available in our large studio here at RIPE – www.ripestudios.com.au A shared community of 4 ace photographers! Would suit designer, web developer, retoucher, stylist or other creative… For further details contact Andrew or Cecelia.
RIPE STUDIOS, 80 River Street South Yarra Melbourne Australia 3141 T: 61 3 9826 8883 andrew (at) ripestudios.com.au

Full Bronica kit –polariod back 3 lenses 2 bodies ETRSi all offers considered
Lucy Morton fr#056

end stuff

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