Beta issue 16

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AUGUST 2015

developments in photography

BETA developments in photography ISSUE 16 editor: Jeff Moorfoot design: Penelope Anne contact: beta@ballaratfoto.org All content in this magazine is Š 2015 of the Ballarat International Foto Biennale and participating artists, and may not be reproduced without the express written permission of the BIFB. Inc save for fair dealing for the purposes of research, study, criticism, review, reporting news. All other rights are reserved.

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Traveling Dream 2008 -2012

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Westlands

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Otsuchi Future Memories

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ANGELA BACON KIDWELL LEON BIRD

ALEJANDRO CHASKIELBERG

Previous Works

NICOLAS DHERVILLERS

Locks, Chains & Engine Blocks STEPHEN DUPONT

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Slavik’s Fashion

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Travelogue

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YURKO DYACHYSHYN SAM HARRIS

The Left Honourables

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Unfinished Business

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Imagined Histories

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RICHARD MILLOTT 1946 – 2012 BELINDA MASON

AMBER MCCAIG

Travellers 198 J. SCRIBA

The Abandoned Children of Angeles City

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Mauritanian Nomads

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Roma Bride Market

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Métissage

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Facades

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Portraits

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Self-Preservation

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Human Nature

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Aerial Ballet

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iPhoneography

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MITCHELL KANASHKEVICH BORYANA KATSAROVA/COSMOS THOMAS KELLNER JANE LONG

DAVE TACON

MICHÉLE VANNIER DAVID A WILLIAMS BEN WRIGLEY

PANG XIANGLIANG DARRIN ZAMMIT LUPI

Beta Alumni AL RAWI Basil [ Ireland ] ASFAR Hoda [ Australia ] BACON KIDWELL Angela [ USA ] BARKER Mandy [ UK ] BIRD Leon [ Australia ] BLACKWOOD Christa [ USA ] BLANCH Alice [ Australia ] BODIN John [ Australia ] BOGUE Terence Stewart [ Australia ] BONANNO Simona [ Italy ] BURNSTINE Susan [ USA ] CAGA Jan [ Czech Republic ] CARLILE Brad [ USA ] CARTIER F & D [ Switzerland ] CASH Neil [ Australia/UK ] CATO John [ Australia ] HE Chang [ China ] CONROY Juliette [ UK ] CRAVER Neil [ USA ] CRESPO Carlos [ Switzerland ] CRISPIN Judith [ Australia ] DAWSON Alec [ Mexico ] DE MAAR Marrigje [ Holland ]

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#4 #2 #5 #13 #11 #10 #5 #10 #6 #7 #9 #15 #12 #10 #1 #6 #15 #10 #8 #11 #1 #10 #6

DECYK Slavo [ Poland ] #1 DIAZ Francisco [ USA ] #6 DINIZ Jose [ Brazil ] #4 DOBSON Susan [ Canada ] #13 DUNPHY Peter [ Australia ] #4 DYACHYSHYN Yurko [ Ukraine ] #4 ELMS Greg [ Australia ] #5 FAHRENKEMPER Claudia [ Germany ] #6 FOURNET Annette [ USA ] #14 GOLDFINCH Karena [ Australia ] #1 GOLLINGS John [ Australia ] #1 GRIES Patrick [ France ] #3 GRIFFITH Tim [ USA/Australia ] #1

HARDING PITTMAN Robert [ Germany/USA ]

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HARSENT Simon [ Australia ] #15 HAY John [ Australia ] #12 HEWITT Tony [ Australia ] #6 HOLLOWAY Craig [ Australia ] #7 HOPE Tim [ USA ] #3 HORAN Keith [ USA ] #9 JACKSON Tony [ Australia ] #8 JOREN Gerhard [ Hong Kong/Sweden ] #1 JOSLIN Russell [ USA ] #6

view back issues at issuu.com/ballarat_foto_biennale/ KEARNEY Tony [ Australia ] #2 KIRKPATRICK Bear [ USA ] #12 KOZHANOVA Mariya [ Russia ] #11 KRUGH Kent [ USA ] #12 KURLAT Galina [ USA ] #4 LECHNER Jurgen [ Germany ] #13 LIPSKY Clay [ USA ] #3 MACAK Sonia [ Australia/Slovakia ] #6 MACRAE Sheena [ UK/Canada ] #6 MALEONN [ China ] #1 & #5 MARCIN Ben [ USA ] #3 MARSHALL Steve [ Australia ] #8 MASTERS Michael [ Australia ] #8 MILLER Nathan [ Australia ] #7 MORAN Robert [ USA ] #14 NORTON Michael [ Australia ] #1 O’SHEA Meredith [ Australia ] #6 PAGE Colin [ Australia ] #1 PERETTI Viviana [ Italy ] #2 RANKEN Jackie [ NZ/Australia ] #6 RASMANIS Kara [ Australia ] #1 & #6 ROGERS PRITZL Michelle [ USA ] #13 ROPP William [ France/Norway ] #14

ROSS Doc [ NZ ] #6 ROTHE Frank [ Germany ] #9 RUOTED Robert [ Austria ] #5 SCHAFFER Rod [ Australia ] #2 SCHEURWATER Hester [ Holland ] #6 SCIBELLI Anthony [ Australia/USA ] #9 SHAYEN Vikk [ Australia ] #2 & #6 SHEPPARD Gary [ Australia ] #7 F SHERROD Judy [ USA ] #5 SHIM Jai Yon [ Korea ] #2 SIMONUTTI Lauren [ USA ] #1 STEVENS S Gayle [ USA ] #5 STONEMAN Emma [ Australia ] #7 TADROS Ingetje [Australia/Holland ] #14 VANWALLEGHEM Frederick [ Belgium ] #3 VERSTEEG Greer [ Australia ] #11 INCIGUERRA Guy V[ Australia ] #6 VLASENKO Vsevolod [ Russia ] #15 VUKOBRATOVIC Rina [ Serbia ] #4 WADDINGTON Rod [ Australia ] #5 WERTHEIM Andres [ Germany ] #13 WITMAN Deanna [ USA ] #3 ZEILON Elisabeth [ Sweden ] #6

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The life of a festival director just weeks out from opening is one of equal parts fear and exhilaration. Flying along at a breakneck pace on a wing and a prayer, hoping against hope that all will be well ‘on the night’. I still suffer the occasional flashback to 2009 and our first Ballarat festival where we were still hanging works as the doors opened to usher in the guests at the festival launch! But nonetheless I am grateful for the skills learned as an advertising photographer about creating illusions, being able to think on your feet and being prepared for all eventualities.

Allow me to recount an experience on the Friday of the VIP Preview at the Ballarat Art Gallery prior to the opening of all the BIFB’13 festival shows the following day. It was the end of a particularly windy week, and just before lunchtime all of the Ballarat CBD North of Sturt Street the handsome boulevard that divides the city on it’s East/West axis, lost power. We were due to bump in all the food and drink for an invited list of some 150 dignitaries, sponsors and key artists and supporters for the VIP function at the Art Gallery at 3.00pm.

At first we were not particularly concerned, expecting a resumption of supply in an hour or so, until word came that the roof of a shed at the Ballarat showgrounds had broken off its relationship with its walls and taken flight in an extra violent wind gust and had decapitated a transformer halfway up a power pole, an event that would take a good deal more than an emergency crew of 3 men in a truck to reinstate in a hurry.

There is contingency planning and then there is major contingency planning. In the normal course of events one expects minor disasters to be part and parcel of any fly by the seat of your pants enterprise, but half the city without power for the day?... not in our operations manual unfortunately.

Naturally, with no power, the Art Gallery was designated a no go area, its doors firmly locked to all visitors and personnel. Adrenalin fed the anxiety as we called an emergency meeting of the team. First suggestion ‘lets get a 10Kva generator and hard wire it in to the Mining Exchange and move the VIP event down here!’ ……A quick call to the council met with a definite and emphatic ‘no way!’

We could look obliquely out of the office windows and see that the South side of Sturt Street wasn’t affected by the outage, and the two Core program shows skirting the perimeter of the Minerva Space at the Mechanics Institute were hung and lit, leaving the central part of the space unencumbered. The decision was taken then and there to relocate the VIP launch. We had just started to hit the phones to coordinate with the Mechanic’s Institute, the caterers, and the volunteer staff, and started to nut out the best way to inform the substantial guest list of the change of venues when VOILA! The power came back on.

Some days you eat the bear, some days the bear eats you! On this occasion it’s probably fair to say that the contest came out about even, and the launch went ahead as planned, with nary a word to the assembled guest list about the apoplexy that gripped the BIFB crew just a few hours earlier.

No such dramas for this, the sixteenth edition of BETA developments in photography, which carries on the tradition, established in 2013, of featuring abbreviated folios from most of the artists who will appear in the Core Program at this festival. This work comes not from their BIFB’15 shows - you will have to wait a few more weeks for that experience - but instead we present for your viewing pleasure, a suite of alternate works from each artist to whet your appetite for what lies just around the corner. At the time of BIFB’13, BETA was still the snotty nosed kid on the block, less than a year and just 5 editions old.

Two years on BETA developments in photography is now a seasoned teenager, and quite mature for it’s age. I’m not sure the same can be said of its editor!

Cheers

Jeff Moorfoot BIFB Creative Director BETA editor

Traveling Dream 2008 -2012

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ANGELA BACON KIDWELL

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My photography comes from a lifelong obsession of exploring how my subconscious generates my dreams. As I move through my day, I am keenly aware of my encounters with people, places and things. I mentally record the details of these situations, and the physical or emotional responses that they evoke. These fleeting associations replay themselves in my dreams. The random moments combine to form sleep stories that are rich narratives, ripe with symbolism. With that as my model, I construct sets, use props and invite myself and models to perform in a natural, intuitive way. In essence, I attempt to create a waking dream.

For me, it is about being in the moment of a planned vision. That is where I’m most connected to my creativity.

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Angela Bacon-Kidwell lives in Texas and is a painter as well as a photographer. Her work is wonderfully creative, personal, fun and surreal. Her photographic stories are rich narratives, ripe with symbolism. She graduated from Midwestern State University, Wichita Falls, TX in 2004 with a BFA in painting and a minor in photography. Today she is represented by galleries in both Texas, Californian and New York. Her award winning work is widely exhibited and sought after by US collectors.

website: angelabaconkidwell.com

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Westlands LEON BIRD

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Forty years of dealing with the retina burning light of Western Australia has led to Perth based photographer Leon Bird’s series called Westlands. This series attempts to interpret the starkness of the landscape and treat the intensity of the light in much the way as Australia’s early impressionist painters.

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Leon Bird is a Perth based Advertising and Commercial photographer of many years standing specialising in food, still life and portraiture for many of the largest advertising agencies , design groups and magazines on the West Coast.

He has a BA in Graphic Design from Curtin University. He has been a winner of the Fuji Professional Photographer of the Year Award, Canon Professional Photographer of the Year and a finalist in the Fremantle Print Award. He is a past Federal Board Member of the ACMP.

website: leonbird.com

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Otsuchi Future Memories

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ALEJANDRO CHASKIELBERG

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Following the most powerful earthquake ever to hit Japan, the sheer scale of the tsunami that smashed into northeastern Japan on March 11, 2011 –together with the nuclear disaster that came along with it -, was unprecedented. Coastal communities were devastated by waves, which at their highest, reached 40 meters above sea level, traveling up to 10 km inland.

The fishing town of Otsuchi, Iwate Prefecture, Japan, was probably the most destroyed by the tsunami.

There, roughly ten percent of the population was killed or went missing and sixty percent of residential buildings sustained damaged. The Mayor at the time and many municipal officials were killed, leaving Otsuchi’s administrative functions paralyzed. In the midst of such chaos and disorder, people started to recover the family photographs they found in the debris of city, trying to keep safe the memory of Otsuchi.

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This project presents a visual documentation of destruction and loss, by connecting portraits of the Otsuchi survivors with family photographs recovered from the waters, swept away by the tsunami.

The survivors of Otsuchi were portrayed in the spaces where their former homes and workplaces were located. The importance of the colors becomes crucial in this approach.

The colors from the destroyed photographs - deformed and blurred images, altered by the effects of the salty water, sometimes creating new colors or mixing the former ones are revalued on an exercise of color archeology, where each of the colors found in the destroyed photographs were used to colorize the portraits I took of the survivors. Therefore, colors constitute a bridge that relates the past with the present, establishing a dialogue between them.

Otsuchi Future Memories intends a reflection on the dynamic relationship between family photographs and our memories when such tragedies happen.

The tsunami caused considerable material damage, killing people and destroying entire communities, but above all, the survivors also face the intangible loss of their own memories and identities, in which family photographs play a fundamental role.

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Chaskielberg’s work was was presented at the Brighton Biennale curated

by Martin Parr and the 1st Biennale Online curated by Jan Hoet. He has exhibited at the Brazillian Festival Paraty en Foco, at the Cordoba Photography Biennale in Argentina, El Ojo Salvaje in Paraguay, the New York Photo festival, Nordic Light Festival in Norway, and Noordlicht Festival in Netherlands. His latest exhibition was held at the 916 Gallery in Tokyo website: chaskielberg.com

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Previous Works NICOLAS DHERVILLERS

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After studying photography and multimedia I am inspired by a film, writing, theater and painting. My work decompartmentalises the photographic medium.

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Nicolas Dhervillers is a French artist who works in the field of photography. After studying photography and multimedia, he became known to the general public by making an historical command with the Metz Pompidou Centre. He is invited in many countries to expose his work, including Switzerland, Germany, Korea, China, Netherlands, and USA. He has been invited to exhibit by various galleries at the prestigious Paris Photo. In 2012, he participated in “Mono Festival� event associated with documenta 13. In 2014 and 2015, he was invited to Netherlands Helmond Gemeente Museum for an exhibition monograph of his work. website: nicolasdhervillers.com/

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STEPHEN DUPONT

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Locks, Chains & Engine Blocks

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I used to think that nightmares were something of dreams, a burden of one’s subconscious. Angola in 1993 was a real life Conrad’s Heart of Darkness.

Devil, spritual healer or gangster? Welcome to Papa Kitoko’s Centre for Traditional Medicine. Kitoko runs a healing centre for the insane in Angola’s capital Luanda. He is part traditional healer and part Christian cult priest.

Civil war was raging and in between trips to the frontlines I spent time photographing Kitoko’s mental asylum. I wanted to explore the dark corridors of madness; the damage that war inflicts on the human psyche. A place so vile and horrific, I faced my own fears, disgust and intrigue in order to capture life inside Angola’s broken minds.

Twenty years later I delve into my archive vault making a new edit and creation.

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Over the past two decades, Stephen Dupont has produced a remarkable body of visual work; hauntingly beautiful photographs of fragile cultures and marginalized peoples. He skillfully captures the human dignity of his subjects with great intimacy and often in some of the world’s most dangerous regions. His images have received international acclaim for their artistic integrity and valuable insight into the people, culture and communities that have existed for hundreds of years, yet are fast disappearing from our world.

Dupont’s work has earned him photography’s most prestigious prizes, including a Robert Capa Gold Medal citation from the Overseas Press Club of America; a Bayeux War Correspondent’s Prize; and first places in the World Press Photo, Pictures of the Year International, the Australian Walkleys, and Leica/CCP Documentary Award. In 2007 he was the recipient of the W. Eugene Smith Grant for Humanistic Photography for his ongoing project on Afghanistan. In 2010 he received the Gardner Fellowship at Harvard’s Peabody Museum of Archaeology & Ethnology.

He is a Canon Master and frequently lectures and performs keynotes, master classes and workshops in Australia and around the world.

His work has been featured in The New Yorker, Aperture, Newsweek, Time, GQ, Esquire, French and German GEO, Le Figaro, Liberation, The Sunday Times Magazine, The Independent, The Guardian, The New York Times Magazine, Stern, The Australian Financial Review Magazine, and Vanity Fair.

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Slavik’s Fashion YURKO DYACHYSHYN

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Lviv, Ukraine, 2011-2013.

Slavik’s Fashion is a cycle of photographs showing an unusual fashion collection from the streets of Lviv. Over 100 photographs depict Slavik - a homeless man, who is dressed differently in each picture. The photographs were taken during chance encounters on the streets of Lviv.

Slavik is 55 years old. He is a homeless gypsy but not an ordinary one. His way of life is different from that of other homeless. He does not carry lots of bags, nor does he rummage in the trash cans.

He does not talk to other homeless and other gypsies don’t have business with him.

Slavik almost never wears the same clothing which is very strange for a homeless man. Besides everyday’s outfit change (sometimes twice a day) he changes his hairdo and his beard regularly and shaves his armpits. How is this possible for a homeless? He has a hiding place and nobody knows about it. He keeps the secret of his home.

Slavik roams the streets and asks for change but he is not annoying. He regularly drinks alcohol, mostly beer, but he is not an alcoholic. Slavik is the most fashionable homeless in world :) It is essential for Slavik that nobody ruins or interferes with his internal peace.

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Dyachyshyn is a freelance Photographer who lives and works in Lviv, Ukraine. He works with Agence France-Presse and also with many Ukrainian and international editions and agencies.

His personal documentary and art photographic projects include Slaviks Fashion 2011-2012, Slavik Super Star 2013-2014, Carpathian Shepherds, 2006-2011,,Benches, 2004-2012, and His dreams, 2004-2012. Since 2003 he has documented daily life the city of Lviv. His work has been exhibited in many Personal Exhibitions and Festivals, and has won many awards and his works are in private collections. His work has been published in the New York Times, Telegraph, Mirror, La Repubblica, Metronews, Publimetro, De Standaard, Gazeta PL, Esquire Ukraine, L’Hebdo, Feature Shoot, Bored Panda and many others.

website: dyachyshyn.com

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Travelogue SAM HARRIS

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In 2002 together with my wife Yael, I made the decision to abandon my career in London. I’d been photographing record covers, editorial potraits and features for over a decade.

I wanted to make some big changes to my lifestyle and to my photographic direction and spend quality time with our 2 year old daughter Uma. I wanted to slow down and be present to my family.

We bought one-way tickets for India.

During our time in India we had a simplistic lifestyle. We traveled slowly and lived in small villages for months at a time. One highlight was camping for three weeks on an idyllic remote beach in the Andaman Islands. We slept in hammocks, cooked on an open fire, fetched water from a nearby well and washed our plates with sand on the beach. It was the most alive we’d ever felt and the furthest from where we’d come from.

During all this Yael became pregnant.

We lived in a small coastal village in southern India. Our home had no running water, only a garden well.

Our perspective and values changed a lot over this time. Yali was born at the start of the Monsoon 2004.

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View from Chai shop, Himachal Pradesh, 2003 PREVIOUS PAGE: Uma on route to the Andaman Islands (a 3 day boat journey) 2003

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Our boat tickets for the Andaman Islands, 2003

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Yael & Uma wash plates with sand, Andaman Islands, 2003

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Yael & Uma with giant Dosa, Delhi, 2003

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Yael & Uma outside our shack, Kirganga, 2003

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Yael & Uma visit Sister Pricilla (our midwife) Bijjur, 2004

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Yali’s birth, Bijjur, 2004

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Yali back at home, Bijjur, 2004

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Uma and Anusha washing clothes, Chennai, 2006

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Uma and Anusha, Chennai, 2006

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Sam Harris abandoned his London career in favour of quality family time, slowing down and turning his camera inwards. After several nomadic years with his family between India and Australia, Sam settled in the forests of Western Australia where he now photographs his on-going family diary. Harris’ self-published photobook Postcards from Home received several awards including the Australian publishing industry’s Galley Club ‘Australian Book of the Year’ 2012. Sam is currently working on his next book The Middle of Somewhere to be released in 2015 at the Biennale.

Sam’s instagram feed @samharrisphoto has 19,000 followers. He also co-hosts the weekly radio segment ‘Photos on the Radio’ on ABC Southwest’s breakfast show. He has been a finalist in the HeadOn Mobile Phone Prize, The Olive Cotton prize for Portrait Photography, Momento Pro Portrait Photobook of the Year, and the Head on Portrait Prize. He is a winner of the Bunbury Biennale Acquisition Prize , the 36th Annual Galley Club Awards,Book of the Year as well as the Momento Pro Photobook of the year for Postcards from Home, and won the 2011 hangers choice at the Olive Cotton Award for Photographic Portraiture, His solo exhibitions include Postcards from Home at Foto Freo, Head On photo festival and the Delhi Photo festival, and The Middle of Somewhere at Guernsey Photo Festival, Guernsey, UK website: samharrisphoto.com

The sign above Sister Pricilla’s desk, Bijjur, 2004

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Mauritanian Nomads MITCHELL KANASHKEVICH From an ongoing project on the Mauriitanian nomads.

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Mitchell Kanashkevich is a tirelessly curious world wanderer and a travel/documentary photographer.

His passion lies in capturing disappearing ancient cultures and the human condition in unique, challenging situations. His range of subjects is fairly broad, but whether he is photographing nomadic shepherds in India, life in the last traditional villages of Eastern Europe or sulfur miners working in a volcanic crater, his common aim is always the same - to capture the human element. He freelances and shoots documentary photo stories and writes eBooks. Much of his travel/documentary photography is represented

by Getty Images, while his cultural portraits are in the private collections of photo lovers and collectors worldwide.

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Roma Bride Market

BORYANA KATSAROVA/ COSMOS People from the Bulgarian Roma Thinker Minority live all over Bulgaria, as their predecessors used to be nomads. They are keeping their traditions alive even today in our modern world. The elders teach the tradition of the minority to their children from when they are very young. One of the long-lasting traditions is that the youngsters are obliged to get married inside the community. But how to do that? ….Is it possible in today’s developed world to keep such traditions?

The minority is indeed living all over Bulgaria. But there is always a solution!

Following the traditions of their grandparents, the elders gather annually with the young ones in cities of central Bulgaria, where people from all over the country can join easily.

These gatherings are famous today as ‘The brides markets’ because this is the place where Roma youngsters meet for the first time, become friends and eventually get married - if they get along well.

But the youngsters found a very modern solution to stay in touch and also make new friends : Facebook! The aim of this project is to ‘talk’ once again about the Roma ethnic minority from Eastern Europe. My desire is to highlight the human dignity and rights of these people, because they are my friends. I wish to show the way they keep following their traditions in the old fashioned way but also by finding new ways, thanks to the Internet and the social networks. I dream that the people who do not belong to this minority, no matter in which country around the world they live, see them the way I see them: beautiful, happy, looking for love and new friends, and trying to be part of the modern world, but without giving up their traditions. Traditions in which for some people they may look different and unknown, but in my opinion, they are not….. Not at all 119

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Boryana Katsarova holds a Bachelors Degree in Artistic and Applied Photography from the National Academy for Theatre and Film Arts “NATFA” /19982003/, Sofia, Bulgaria.

She worked as a photographer for AgenceFrancePress /AFP/ in her native Bulgaria between 2007 and 2010. In 2010 she decided to become a freelance photographer specializing in documentary, editorial and portrait photography. Since 2011 she is represented by the Paris based Cosmos Photo Agency. Today she is working as a freelance photographer and her clients are publications including The International New York Times, Le Monde, Le Figaro, Foreign Policy, Der Spiegel, Welt am Sonntag amongst others.

She is a 2014 Pulitzer Center on Crisis Reporting Grantee for Ukraine: Crimea Under Siege, together with the journalist Dimiter Kenarov, and winner in the PDN Photo Annual 2013, Photojournalism/ Sports/Documentary, USA. feature amongst a long list of awards. She has shown at festivals around the world including Angkor, Perpignan and Kaunas.

website: cosmosphoto.viewbook.com/album/

boryana-katsarova#1

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Thomas Kellner, visiting professor at the JustusLiebig-University in 2003/4, got internationally known with his photographic collages of architectures. Again he dedicated a new project to urbanism and its perception.

Thomas Kellner wrapped the facades of the exhibition building with a veil of pixels . He covers the building with a reduced picture of itself. On one hand he dematerializes the building and on the other hand he carries the second, parallel world of the digital era into our immediate reality. He builds with pixels, like with bricks a new appearance to the building.

Like his other projects Kellner irritates the spectator in his perception. From a distance only the dimensions of the building may appear curious, but getting closer, the facades remove from their real visual identity. The faรงade becomes a picture, becomes pixels and the building seems to lose itself in cyberspace. Parts of the building, like the roof, or in other sketches balconies, remain real, are not covered. Picture and building, pixel and reality seem to exist at the same time in one place.

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When Kodak Germany awarded him the Young Professionals Prize, Thomas Kellner decided on a life in art and photography. In 1997, he started working on the contact sheet method to visually deconstruct architectural icons. His trademark style was born. Since then he has been shooting prominent monuments all over the world. His images are asking to challenge usual perspectives – the buildings seem to be broken apart, dancing, and remind us of the vulnerability of our values and creations.

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Self-Preservation JANE LONG

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This series examines the relationship between attempts at preservation and inevitable change.

Nothing can be preserved without it’s very nature being changed. The flavours are altered, the texture.

As a self-portrait series it is about self-preservation. How physical and emotional attempts at preservation are ultimately pointless. Change is inevitable and you are changed by the things you experience and the memories you make.

Curing the mind and body, curing foodstuffs. Either way the product is altered in the process of the change.

We cannot be unaffected by the process as it is part of the flavour we become.

Conserve PREVIOUS PAGE: Cling

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Cured

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In-a-pickle

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Numb

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Shrivelled

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Smolder

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Photographer and digital artist Jane Long combines photography and photo manipulation to create slightly surreal images that straddle the line between reality and fantasy.

Long has spent most of her career as a graphic designer, entering the industry over 20 years ago and establishing her own studio in 1996.

Completely self-taught, she has worked with Photoshop since 1994, both commercially and for personal work. Digital art remains a passion and forms an integral part of her work. Her series “Self-Preservation” has received several accolades including several images being listed as finalists for the Macquarie Photography Prize and “Cured” being announced as a semi-finalist for the Moran Photographic Prize. website: janelong.com.au

Worth-my-salt

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The Left Honourables

RICHARD MILLOTT 1946 - 2012

Richard Millott’s career as a commercial photographer meant his output covered a broad range of styles and genres, from product, still life, fashion and industrial. For some years he shot many portraits for the Australian Labor Party for use in their publicity machine and campaign launches.

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Richard Millott won numerous awards both nationally and internationally during his 37 years as a professional photographer.

He had a strong association with both the AIPP (Australian Institute of Professional Photographers) and the ACMP (Australian Commercial and Media Photographers) of which he was a founding member and later, director. Both through these industry associations and as an individual with a remarkable generosity of spirit, he inspired and nurtured the careers of many of our current photographers.

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Unfinished Business BELINDA MASON

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Unfinished Business reveals the stories of 30 people with disability from Australian Aboriginal and Torres Strait Islander communitiest drawing much-needed attention to critical issues that impact on their lives.

Each participant’s story is complex and intertwined with Australia’s political and social history, which has resulted in today’s high rates of disability in Aboriginal and Torres Strait communities.

The images are 3D holographic lenticulars and are accompanied by self narrative interviews and an app for people with disability. The Unfinished Business exhibition was launched in September 2013 at the Palais des Nations in Geneva by Kassym-Jomart Tokayev, then Director General of the United Nations Office in Geneva to coincide with the 24th Session of the Committee on the Rights of Persons with Disabilities (CRPD), a body within the Office of the High Commissioner for Human Rights. In December 2013 the exhibition was displayed at the World Health Organisation Headquarters in Geneva. It was a part of Australia’s official contribution to the United Nations 2014 World Conference on Indigenous Persons. This was supported by the Australian Government through the Aboriginal and Torres Strait Islander Program, an initiative of the Department of Foreign Affairs and Trade. The exhibition is currently touring Australia after its Australian launch on 9 June 2015.

Aunty Gayle PREVIOUS Jandamarra O’Shane

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BMason RoyMundine

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Lester Bostock

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Maree Kalkeeyorta

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Mavis Wayne

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Rex Japanangka Granites

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Patti Mundine

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Jake Briggs

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Marlon Noble

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Yami Lester

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Hope Campbell

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Australian artist Belinda Mason’s work has focused on taboo social issues that explore the very personal and sometimes difficult subjects of grief, body image, identity and family.

For more than 17 years Mason’s has conceptualised, produced and presented high quality socio-cultural engaged art exhibitions and events for national and international audiences.

For 14 years Mason’s exhibition of photographs titled Intimate Encounters concerning sexuality and disability, toured to every metropolitan and key regional city throughout Australia - 32 venues from 2001 to 2007 and to nine international cities from 2002 to 2014 including London, Barcelona, New York, Toronto and Auckland.

Steve Widders

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Imagined Histories

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AMBER MCCAIG

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Fantasy buffs and history enthusiasts have been dressing up and reliving the past for decades.

However, in recent times, the popularity of historical fantasy in film, television and literature has pushed role-playing to the forefront as the new form of escapism. Popular culture is now preoccupied by a fantastical view of the Middle Ages, brimming with chivalry, romance and pseudo kingdoms. This notion of a simpler time has paved the way for tens and thousands of people all over the world to select a past for themselves that could have been, without the lingering fear of plague or death. Historical re-enactment groups like The Society of Creative Anachronism are one of the most popular ways for people to embrace these nostalgic, magical and misty visions of the past.

This series of images shows only a small selection of these ‘imagined histories’. By using a combination of portraits and still life elements, I have been able to create an exploration into the idea of identity and imagination, providing an insight into what it is like to live out your fantasies in everyday life.

Spanish pirates, Venetian noblewomen and 11th century Vikings have escaped out of the darkness of the past are now living in the future, placed on a stage for all to see. Laden with armor, treasure chests, maps and lore, these fantasies show the power of our imagination and what we can create if we dare to dream.

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Amber McCaig graduated from Photography Studies College in 2009. Since graduating, Amber has continued her art practice with images that focus on the unconventional side of life, specialising in conceptual imagery, portraiture and still life forms. Her distinctive theatrical style blends truth with fiction, creating a paradox of reality for the viewer using elaborately staged scenes. Most recently, Amber has completed her Bachelor Degree in Photography in 2013, producing her latest body of work titled ‘Imagined Histories’, featuring historical re-enactors. This body of work received the prestigious Portfolio Review Prize at The Ballarat International Foto Biennale 2013, followed up with an exhibition at Edmund Pearce Gallery in Melbourne.

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Travellers J. SCRIBA

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People in motion. Travellers in transit.

Their traces reveal an intricate, yet accidental choreography.

The peculiar mechanics of the human body paint strange shapes into spacetime.

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If there is any constant in the life of Jurgen Scriba it might be an ongoing oscillation between science, technology and media. An experimental physicist and computer scientist by training, he received a PhD for researching novel semiconductor materials. He went on to a career in science writing being an editor at both rivaling German newsweeklies “Focus” and “Der Spiegel”. In 2000, feeling he had written enough stories on other people doing great stuff he co-founded a life science company in Munich (Advalytix AG) in which he served as COO and head of development. His name is found on international patents raging from micro fluidics and bio-analytical methods to control systems for pipe organs (but that’s, obviously, another story). After Advalytix was acquired

by Olympus Live and Material Science he moved on to yet another life as a visual media artist. Blurring the line between still and moving pictures he works with image streams assembled from tens of thousands of individual pictures and image maps created from serial photographs. His photography project “Techscapes” which explores the emotional side of technology is currently on display in a special exhibition at the Deutsches Museum, Munich.

website: jscriba.com

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The Abandoned Children of Angeles City DAVE TACON 210

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February 23, 2015, Angeles City, Philippines

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Weekends are busy on Fields Avenue in Angeles City in the Philippines.

Young women greet meandering men and invite them into the bars that line the street. Known as the “supermarket of sex”, Angeles City’s red light district has fast become a top destination for sex tourism.

Solo male travellers, a large proportion of which are Australian, constitute the bulk of the arrivals at Clark Airport, a former US military airbase. From there, many flock to the bars and clubs of Fields Avenue - and to the impoverished young women who work there.

But when the sex tourists depart, they sometimes leave more behind than they’d arrived with. A large number of children have been conceived in such exchanges and while some foreign nationals provide support for and, in some instances, even marry the mother of their child, many more children never even meet their biological father and are left to live in poverty.

Through this project I have aimed to give abandoned children a voice. I hope to show them as they are: just kids who had no choice about the world into which they were born.

Perhaps overly optimistically, I also hope it will spur civil society and governments in the sex tourists’ home countries (including Australia) to help these abandoned sons and daughters.

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May 24, 2015, Angeles City, Philippines

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February 24, 2015, Angeles City, Philippines

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May 25, 2015, Angeles City, Philippines

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May 25, 2015, Angeles City, Philippines

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May 25, 2015, Angeles City, Philippines

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May 26, 2015, Angeles City, Philippines

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February 24, 2015, Angeles City, Philippines

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May 23, 2015, Angeles City, Philippines

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Dave Tacon is a Shanghai-based photographer and writer. He is a past winner of the Walkley Award for Best Freelance Journalist of the Year and a two-time finalist in Australia’s National Photographic Portrait Prize. He specialises in reportage, features and portraiture. His work has appeared in such publications as Rolling Stone, Newsweek, Wall Street Journal, CNN, Al Jazeera, GEO, Stern, Der Spiegel, The Economist, ELLE, Corriere della Sera, Monument, The Fader, Die Welt, Neue Zuercher Zeitung, Focus, Geographical, The Age, Sydney Morning Herald, Australian Financial Review, The Australian, The Diplomat and the Big Issue. Dave has also worked with NGOs such as WITNESS, Australian Red Cross, Oxfam, CARE Australia, Medicos del Mundo and commercial clients such as Apple, Volkswagen, Target and the State Government of Victoria. His portrait and photodocumentary work is held in the permanent collections of the National Portrait Gallery of Australia, The National Library of Australia, State Library of Victoria, Royal Melbourne Institute of Technology and the University of Melbourne.

website: davetacon.com

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February 24, 2015, Angeles City, Philippines

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Métissage MICHÉLE VANNIER

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Searching identity through memories, through the eyes of my vietnamese grandmother from whom I only have two pictures. Confused and erratic thoughts have pushed me to print contemporary pictures over old photographs.

Courrier PREVIOUS Douleur

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Metissage

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Metssi 1

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Miche PREVIOUS Cousins

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Mjacques

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Rencontre

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Texture

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Michéle Vannier has always been passionate about photography. She held her first exhibition at the Grand Convent Chapel in Cavaillon in 1984.

And since has participated in many solo and group exhibitions since then, including Gd Convent Chapel Cavaillon, NB Prices IFLORD 1992, Projection “miscegenation series” RIP to Arles in 1995, International Meetings of Photography Thessaloniki 2000, LOOK Festival Crusaders. AIX en Provence, Photographic meeting in BUDAPEST, A Taste of Art Gallery NEW YORK

website: artmajeur.com/fr/artist/michelevannier

Mémoire

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DAVID A WILLIAMS

Portraits

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There will always be a market for portraits of us smiling back at an imaginary ever-present audience, of us locked into a moment of happiness. Our very nature as (sometimes) social animals decrees this. We leave a record that is often powerful in the sense that it elicits a duplicate response from the viewer.

A captivating portrait by 19th. Century French artist Gustav Courtois of a beautiful young woman in a Chinese dressing gown against a textured gold background seduced me. I could imagine her laughter, her passion. Who was she? What were her thoughts, attitudes, tastes? What life did she have? How long did she live? So many questions.

But then, in the nature of fine portraiture through the ages, there was an imagined rustle of fabric, a sense of perfume – the gentle brush past of long departed souls, and she was gone.

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David A Williams works as a wedding and portrait photographer currently based in Toronto, Canada He has worked closely with Kodak Professional as a mentor for the Portra film release, with Fujifilm Australia as a mentor for their digital cameras, and with Epson as a staunch and enthusiastic supporter of their professional series printers and products.

AIPP Victorian Professional Photographer of the year and three Grand Awards at the WPPI annual Awards of Excellence number amongst his many awards. More recently he has won the PPOC Wedding Album of the Year in Canada twice.

Williams passion is teaching (often ‘re-training’) professional photographers all over the world in their techniques and creative thought processes.

He has lectured in China, New Zealand, North America, Canada, India, Vietnam, Malaysia, Ireland and Scotland. He works closely with WPPI in the USA to make constructive changes to the way the professional photographic industry conducts its judging processes and remains a solid advocate for change, improvement and judging as an educational process.

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Human Nature

BEN WRIGLEY

Road to paradise

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All my works are an attempt to find meaning. Human meaning in an ever transforming reality. Landscape holds the context for Human doing. The landscape holds stories. When I document a landscape I can peer into the image again and again, each time it expels another breath, another word, an inkling of understanding, maybe.

These images when printed several meters long, cease being a small window and become a portal.

They return to being landscape and also become a linear narrative. The story is shared as one travels along its length. Read these images, walk these images, journey in these landscapes.

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The nexus between the activities of humans and the reclamation of Nature’s order. This is where I observe, this is where I am playing and watch both theatres. Nature is spirit and the Human is will. That human’s behave as if what we do will last and surprised when it doesn’t. That Nature, a collective of apparent chaos, creates such beauty and wonder. I ask, why do we do what we do? Only to have Nature restore itself, for Nature has a very big picture.

Halls of power

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Expanse

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The ferryman

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V of the earth

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Valley lost

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White cockatoos

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Ben Wrigley is a practising Architectural and landscape photographer. In his personal work Wrigley is grappling with the issues of today’s environmental conundrum, all his works are an expression of the ‘Human – Nature’ relationship.

Wrigley is a conceptualist currently using imagery in combination with machinery to work towards shifting the consciousness of our ‘Western’ Dreaming. He has been a finalist in the Nillumbik Art prize for the past 3 years and was a finalist in Docklands Contempora 2.

website: benwrigley.com.au

x The facility*

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PANG XIANGLIANG

Aerial Ballet

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Huge modern buildings always make use of metalwork. The construction of such kind of buildings is quite difficult. The standing derricks and the crisscrossed steel networks as well as the spider web like steel cables and electro welding sparks are the stage of the construction workers.

Holding spanner and welding gun, walking on the derricks, these workers finish their work elegantly like skilful dancers dancing a ballet aloft.

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Pang XiangLiang was born in Ta’an, Shandong Province. He worked as an oil worker and an art teacher before he undertook study and became a member of the judiciary.

He is a member of the Chinese Photographers Association, the Heilongjiang Photographers Association and is Honorary Chairman of the Daquing Oil-Light Photographers Association. He was awarded Outstanding Photographer in social life photography at the Pingyao International Photo Festival in 2013 and again in 2014.

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Being usually weighed down with a ton of camera equipment in the course of my daily work as a photojournalist, I tend to shy away from carrying my DSLR kit when taking pictures purely for pleasure.

I’m more than happy to rely on my iPhone and a couple of Apps I have on it, namely Hipstamatic and Contrast. The pictures you see here were all shot that way, with no further post-processing (aside from what the Apps automatically provide). It’s very different in terms of aesthetic and approach to how I normally work, and it’s an ideal way to recharge my creative energies.

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iPhoneography

DARRIN ZAMMIT LUPI

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Valletta bastions (Malta, 2011) PREVIOUS Crossing between islands (Malta, 2015)

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Frankfurt air/train terminal (Germany, 2015)

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Tree branches (UK, 2012)

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Costa Concordia shipwreck (Italy, 2012)

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Changing townscape (Malta, 2012)

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Citadel restoration (Malta, 2015)

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Dancing shoes (Malta, 2011)

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Halloween (Malta, 2014)

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Darrin Zammit Lupi was born in Malta in 1968.

He started his photography career with The Malta Independent in 1992, but decided to turn freelance shortly afterwards. After a year’s training with the National Council for the Training of Journalists in the UK, he undertook foreign assignments in Albania and war-torn former Yugoslavia, winning the BPC Award to Journalists 1993 for his Albanian work.

Detention centre (Malta, 2013)

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He joined The Times in late 1996 and became a Reuters stringer in 1997, and has since won the Malta Journalism Awards for Press Photography five times and the Sport Photography award three times, as well as a special award for Creativity in Photojournalism. The Societies in the UK named him Media Photographer of the Year for 2013. He was also runner-up in the 2008 OSCE photo contest “Waterways of Life”.

In recent years, he covered the South-East Asia tsunami tragedy, the refugee crisis during the war in Kosovo, issues related to the Millennium Development Goals in various parts of Africa, the earthquake in L’Aquila, Italy, the war in Libya, the Costa Concordia disaster and several other national and international assignments.

His work for Reuters has been published in newspapers, magazines and books worldwide.

He holds a Masters Degree with Distinction in Photojournalism and Documentary Photography from the University of the Arts, London. website: islelanders.com

Leg fetish (Malta, 2012)

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