Morgan hands down is one of the most able photographers I have had the pleasure to know. His professional work speaks for itself, honest, present, timeless and always inspiring. Few tell a story as crafted and real as he. Those who chose to commit their special moments with him are never disappointed.
What: Bruce Gilden's Never-Before-Displayed Untitled Series
Where: Leica Store & Gallery Melbourne, Level 1, 260 Collins St
When: From November 23 2018 until January 31 2019
For more info, head here.
Video - Screened at the opening of the Leica Gallery in Melbourne featuring the "Untitled" series by photographer Bruce Gilden.
Shot, Directed and Edited by:
by Damien Woods
First Review post for 2019 has WECC Member Damien Woods sharing the brilliance of Hillvales latest Film stock….HOLIDAY
"I recently travelled to Scandinavia a few months ago and naturally bought a few extra rolls for my trip. Discovering Hillvale Lab in Melbourne had recently released their latest 'Holiday' stock, I got online a ordered a few rolls. Below are a number of samples I shot whilst travelling in Norway to Svartisen Glacier. With unpredictable weather conditions throughout Scandinavia we were blessed with sunshine that day. Shooting on my only working Canon A1 (1 out of 3) and the Canon 50mm f/1.4 SSC. With toasty warm colour saturation, a hint of fog in some shots, solar flares. I felt like this was the perfect film. I try to pick the film for what I'm shooting, I was glad my camera was loaded with Holiday."
Daylight-Balanced Color Negative Film
ISO 200/24° in C-41 Process
Fine Grain and High Sharpness
Wide Exposure Latitude
Film Stock Manufacture: Fujifilm C200 ???
Damien Woods, photographer (analog)
WECC member Nick Bedford recently took a look back at some Kodak Portra 400 scans from his time in Kyoto, Japan last year in 2017. While the scans are a bit rough in terms of image quality, they still show the lovely colours and look of everyone’s favourite Kodak Portra 400 film stock.
See Nick’s black and white film work from the Japan trip as well.
On October 26th, we kicked off Raquets ‘10,000 Rolls’ gallery, celebrating their new lab, the fact they have developed over 10,000 rolls, we would say Racquet Film has a very bright future ahead of it indeed. With the help of the legends at Green Beacon, Parliament Skateshop, Walkens and all their amazing customers, Raquet curated a gallery of submitted images and came up with their very favorites, which will be on show until November 30th during normal trading hours.
Morgan Roberts speaks with Speaks with Sam Attwood and Chloe Brescia of Raquet Film in Newfarm about everything from A to Tri-X ...
Well, I finally shot my sixtieth roll of almost entirely Kodak TRI-X 400 black and white film since starting all this film nonsense at the start of 2017. What a ride. I just picked up some Kodak Portra 160 35mm to shoot with my M7. Me and colour film have never quite jived because of things like scanning logistics and my penchant for crisp colour digitals, but I'm determined to duke it out and win.
In other news, I enrolled in a two day NIDA acting course (a boot camp more like it). Life is weird at the moment and I need to run off the graded track for a bit. #yolo?
We at WECC have been great fans of everything Racquet Films do, and getting a Public Darkroom off the ground is something we are going to cheer and yell about. With a few more "secrets" in the works, this is just the start of what we hope is a great ANALOG revival for all Brisbane Film Fans. We call all to arms and encourage all FILM shooters to help get this well-needed service off the ground ....workshop anyone.
Racquet Film began as a comission-free agency to help photographers make more money without paying fees. We've since expanded rapidly, with the opening of our full service lab (C41, B&W, E6 in 135, 120 and 220 formats, all done in-house). The demand for a public darkroom has become apparent, and the building directly next door of Racquet Film's lab and gallery is currently on hold. Racquet Film are willing to match the amount donated to cover the $18,000 bill to rent the space, and are taking donations to build a pro-grade darkroom that the entire Brisbane community can use. We'd be so greatful for any donation, big or small, whether it be money or darkroom equipment. Having spent four months in the shop, we've witnessed first hand the growth of film in Brisbane, and we want to continue to nurture this advancement, and think the expansion of services for the Racquet community is an amazing way to do this.
100% of the funds will go toward darkroom equipment, associated bills and the other expenses it takes to make a professional darkroom worthy of public use. As previously mentioned, any donations would be greatly appreciated, and we are truly passionate about advancing film photography in Brisbane (the old school way).
Thanks in advance for your support, and feel free to contact us with any questions or suggestions.
We chat with local Photographer & Creative Jack Gibson about his love of photography and his thoughts on his practice.
How do you get the person, place or thing that is in front of the camera onto the film, chip or paper in just the way you want?
Patience, timing and sometimes luck. I definitely feel that observation is an acquired skill and the more you practice, the better you get at predicting an outcome. As well as this, it’s knowing the capabilities and limitations of the equipment that I’m working with. I know that I have specific lenses or cameras that are suited to specific conditions. I find it’s a matter of learning the gear and then using it appropriately. For example, my mirrorless camera doesn’t shoot at high ISO or my portrait lens isn’t coated for specific light conditions.
Which photographers influenced you, and how did they influence your thinking, photographing, and career path?
I’ve spent countless hours listening to podcasts and interviews with various photographers from different backgrounds. I generally find that each individual has useful advice, regardless of whether they may shoot a similar style or something completely different to yourself. While I’ve taken notes from a whole range of working photographers who’s names I probably couldn’t remember now if I tried, there are definitely a few that I particularly hold in high regard. One of the most influential experiences for me personally was listening to Dan Milnor speak at a creative conference about 5 or so years ago. He shared his experiences from the field and some of his philosophy towards photography. This was definitely a turning point for me and inspired me to pursue what was only the start of a hobby at that point. Arto Saari is another favourite. I’ve always enjoyed his perspective and use of environment in his photography. Terry O’Neill, Richard Avedon and Jonathan Mannion for their portraiture. Beyond that, Elliott Erwitt is probably my all time favourite photographer and my favourite person to listen to.
Exactly what it is you want to say with your photographs, and how do you get your photographs to do that?
At this point there isn’t anything overly dramatic that I am trying to say through my photography. Day-to-day I like to focus on some of the smaller details that most people might overlook in their busy lives. Beyond that, I just try to take photos that portray the subject in their best light. I find that most people tend to judge themselves quite harshly or might be quite self conscious having their photograph taken. If the subject approves or is happy with the photo then I feel like I have succeeded. To make somebody feel good about them self through photography, to me, is quite an achievement. Overall, I’m really just enjoying taking photographs and improving my eye. If it ever turns into something more, thats great, if not, at least I’m having fun.
What was your creative path? How did you get from being an aspiring photographer to actually doing within your day job?
I’ve always had an interest in visual art and following my graduation from high school, undertook a creative degree at QUT. I had the opportunity to take a photography subject which was an area that I had always been interested in but didn’t really know how to approach. Within a month or so I had bought my first SLR. From that point I pursued photography as a hobby. Accompanied with perusals of graphic design, I was offered a role as a product photographer. From there, everything snowballed. I decided I wanted to improve as a photographer and started shooting for social media and developing a portfolio. As my interest in photography peaked, I experimented with various digital cameras, as well as some 35mm and 120mm.
What technology/software/camera gear do you use to keep focused on what you do best, as you photograph?
I shoot across a few different cameras but overall, simplicity works best for me. Having experimented with a range of digital and film cameras, I think I’m at a stage now where I’m fairly happy and comfortable with my setup. One 35mm, one medium format, mirrorless for street and SLR for product, studio and any other pursuit that requires speed and accuracy. I generally process through Lightroom with minimal adjustments. I definitely feel that the closer I can get to the final product in camera, the better.
How do you get paid to do what you want to do with your photography?
Luck and hard work. I’ve been lucky enough to know people who have provided me with work through my education and supported my progression as a creative/photographer over the past few years. Of course, I’ve worked hard to produce the highest standard of work possible and continue to try and raise the bar. I spend a lot of my spare time trying to improve which I think is necessary as a creative. I definitely have a passion for the craft that motivates me to work hard and continually improve, both for myself and for my employers.
What motivates you to continue taking pictures economically, politically, intellectually or emotionally?
I have always been more of an observer than participator. The older I get the more I accept and embrace this fact and I think that is what motivates me to keep shooting. I’ve found a pastime that coincides with my personality and has held my interest for quite a few years now. My greatest motivation now is to improve. I’d like to keep photography in the forefront of both my work and personal life and I believe I have a long way to go before I can confidently say that I‘m a “professional”. Whether I am getting paid or not, I’d still be taking photos. I guess that indicates that there’s an emotional side to the motivation.
Where would you like to be in 5 years …..?
It’s hard to say where I’d like to be specifically in five years. I feel like I’m still very much in the early stages as a photographer. There’s still a lot I want to learn and styles that I’d like to try. Having said that, five years is a considerable amount of time that I would happy dedicate to progression. I’ve heard Jonathan Mannion say a number of times that one defining difference between an average photographer and a great photographer is the knowledge of craft. This is one thought that has always stayed with me and I’d hope that in five years, I could be at a stage with my photography that exemplifies a strong knowledge and commitment to the craft.
Cheers Jack thanks for your time.
website | instagram
Interview by Patricia Karallis
From the beginning, The Heavy Collective has been about
contributing to a global conversation around image making
and the publication leans on that same idea.
Sydney based The Heavy Collective started as an online platform showcasing interviews, features and more with photographers whose work display a breadth of subjective and conceptual ideas. Continuing their format from online to offline, they successfully crowdfunded their first print edition and are back with Heavy Vol. II.
Featuring artists Irina Rozovsky, Joanna Piotrowska, Daniel Shea, Mark Peckmezian, Aglaia Konrad, Curran Hatleberg, Deanna Templeton, Dana Lixenberg, Susan Lipper, Stephen Shames, Yoshinori Mizutani and Katrin Koenning, the latest edition is ‘a compendium of contemporary photography focusing on the conversation; Heavy Volume II is in an exploration of image and text on the printed page'(1).
We spoke to founder Jack Harries about his beginnings with photography, his publishing and editing processes and future plans for The Heavy Collective.
Could you tell us a bit about your background and where your interest in photography came from?
I grew up in a creative environment, my mother was a painter and a sculpture and often used a camera. I taught myself photography as a teenager, but didn’t take it seriously until I was in my mid 20’s. I wasn’t great in school as a teen and ended up having my time there cut short; as much as The Heavy Collective is a space to spotlight other photographers work, it’s also been a way of giving myself the education I might of missed, albeit a very focused one.
YASHICA, Japanese Camera Brand since 1949, with almost 70 years experience in camera and optics development. After being silent for more than 10 years, we wake up with the unexpected. We are so proud to introduce the Unprecedented YASHICA Y35 Camera with the new system – digiFilm.
Coupled with the masterpiece design of the first electronic controlled shutter camera in the world, the YASHICA Electro 35, featuring with the Unprecedented digiFilm system, YASHICA Y35 camera brings in an extraordinary photography experience.
In both appearance and sensation, YASHICA Y35 recaptures the joy and meaning of analogue-photography but eliminating the time and expense required for film development.
Taste as analogue camera, need to load a “digiFilm” to create your album. A brief pause is required to wind on the film before shooting. At this millisecond of pulse, it grants us time to inspire and think, the exact moment the shutter snaps.
The innovative digiFilm system was created by YASHICA. It features a glass lens for super sharp photos, an advanced automatic mode that makes sure every shot is perfectly exposed with an aperture of 2.8 as well as lot of creative digiFilm.
We develop different “digiFilm” with its unique style and distinct effect. Designed for high quality images of different style such as ISO 1600 High Speed, ISO 400 Black & White, 120 format of 6x6 images and ISO 200 Ultra Fine. What’s more…? Lot of different digiFilms are coming to give photographers more opportunities to experiment and create beautiful images in different styles.
YASHICA digiFilm Camera is a mean of capturing moments at your will. Randomness in a photo is never reckless, minimalist is never simple and leaving blank is never empty. Even the smallest scenery can have the biggest impact. What pours life into the images is the Y35, digiFilm Camera, and the eyes behind the viewfinder.
With Member Nick Bedford
In a recent video, I was asked how I shot and merged my panoramic landscape photographs. In this video, I explain how to set up your tripod for the most accurate series of frames in a series that can then be brought into Adobe Lightroom and stitched using the Merge to Panorama feature.
Cameras: Nikon D810 & Leica M Typ 240 Lenses: Sigma ART 50mm F1.4 & Leica 35mm Summarit f/2.5 Filters: 82mm Kenko Circular Polariser Tripod: Manfrotto Befree with Novoflex Panning Base Shot on Panasonic LUMIX LX10 with RODE SmartLav+ lapel mic. Edited in Final Cut Pro X.
Source (Nick Bedford Youtube)
It's shown me in recent weeks and months that I'll never achieve these things I desire without room to fail, room to learn in the deep end and room to accept the rough weather, literally and figuratively.
YouTube and Instagram can be a dangerous time sink. Dangerous to your sense of contentment with a so-called "normal life" — aka going to work during the week, going on a bit of a morning hike on the weekends, grabbing coffee with friends, seeing a band and so on. Dangerous because those two particular platforms have become a massive inspiration to people, photographers or not.
Millions can all experience fear of missing out in unison, and that can't be a good thing. Watching other people do what you're not can be a source of anxiety amongst people, and I'm no stranger to its effects, but knowing that this is a thing, can I justify my own insatiable need for wanderlust?
Who are you?
I’m a civil engineer working for a large government department delivering large infrastructure projects. Which, although it requires a certain kind of creativity, is a fair way away from a hotbed of the visual arts.
What’s your photographic history?
In another universe, my Dad would perhaps have been an inventor or mad-scientist. He was (and is) a person who is deeply into his hobbies and someone who has modified, customized or somehow ‘improved’ everything that he has ever owned. I grew up in a house where that mysterious thing under the dust-cover on top of Mum and Dad’s wardrobe eventually turned out to be an enlarger and the unusual goings-on in the laundry revealed themselves as developing and printing. I don’t think I was ever allowed to use Dad’s cameras but I do have great memories of taking Mum’s Olympus EES-2 half-frame camera to a school camp in Grade 6 – I still have that camera and it’s still working too.
Through my adult life I’ve always taken photos, but around five or six years ago I made a conscious decision to spend some more time stretching my creative side through photography – I’m still not sure exactly what that means but I am continuing to explore it.
Why do you shoot?
I once had a friend describe a collection of my photos as my “work” and I laughed. Photography, for me, is the opposite of work – it’s something I do for my own enjoyment and my brain is in a very different space to where it is in my day job. I’m very much process rather than product focussed – while I certainly care about what I’m trying to produce, my enjoyment comes from the process and the memories the final product captures rather than just the photographic artifact itself.
What do you shoot?
My photographic life is quite dichotomous.
On one hand, I really enjoy being by myself and being outdoors.
Landscape photography is a great fit for me. I really do like leaving home at ridiculous hours and running up mountains in the dark to try and beat the sunrise. This year I even had the opportunity to jump off some waterfalls, swim through rock pools and generally re-visit my teenage self to discover some amazing light in the bottom of Rocky Creek Canyon in the Blue Mountains. Occasionally I take some great images but, mostly my enjoyment comes from the planning, the physical effort required and the anticipation that maybe, this time, the light will do its thing for me. My landscape process is now mostly done digitally, not because it can’t be done on film but more because I lack the patience and skill to get consistent results.
On the other hand, I also enjoy just wandering around and shooting film.
I think my enjoyment of film has to do with physically creating a tangible artifact that reflects a moment in time. At all points of the process you can touch, see or smell a physical thing and I’m endlessly amazed by the chemical technology that goes into realizing an image. I develop my own black and white and occasionally color in the laundry – sometimes there are total darkroom disasters but mostly I get pretty good results.
We return you to our normal scheduling now. Apologies for the tall verticals. I've been shooting a lot more of them since I began printing my work. Printing has given me a much greater appreciation for the notion of creating art in photography, to the point where I'm composing differently and "for the print".
I've finally developed all of my latest rolls of film from before and during my Japan trip. Here's everything worth sharing. I did shoot a decent amount of colour, but it's off for developing so I think I'll just use that in my essay in the near future.
I haven't touched my digital cameras in a while. TRI-X is bizarre and great and full of sand-like grain and I love it. My binder of negatives is growing, but I'm finding that some genres of photography I practice are better suited to high resolution colour raw files, so I've decided to pick up my Leica M again and use that for colour work where appropriate.
As for Japan, I think I've settled on a good gear compromise that is also very lean. I'll be taking my Leica M Typ 240 and M7 bodies and swap over the 35mm lens when I want to shoot TRI-X sometimes.
Enjoy some pictures though. It's a pretty wild variation in this blog.