Let me explain; in the ‘RESPECT’ EXHIBITION (talked about in my last entry in February) I was a contributing photographer. Every contributing photographer donated money and a print to the exhibition, with the money going to Jeff (the wonderful chap whom the exhibition was a benefit for) and each contributing photographer got to choose another artists print in a random selection process (explained later). It was sort of like a giant print swap/charity event for a good cause. Anyhow, for the purpose of the print swap we all had a list of our preferences of prints and at a pre-opening function where all the contributers had gathered and the names of the participants were randomly pulled out of a hat. Once a name was picked out the photographer then got to choose their preferred print, a red dot popped beside it to say it was taken and so on.
Those whose names had not been picked out of the hat yet then had to cross those print(s) off their lists as they were claimed. It was an interesting (and slightly painful process) but all done in the good spirits of the sentiment behind the event.
Well, names kept getting called out and my listed choices were being scratched one by one, except for this one which I did have somewhere in my top twenty as I really liked the colours and compositions in the image, it was one I kept glancing across at, checking to see if it had been ‘claimed’ yet.
When my name finally got pulled out & I got to choose, and despite the majority (over 75%) of the prints being claimed, it was this print on my list of ‘possibles’ that was available and that I chose. As I mentioned, I had admired from a couple of meters away (& thus popped on my list), but not taken a really close look at until I chose it.

Carmel Riordan & Print

Perhaps to many people, it would be a very nice photo but maybe not much more; it is an image of these weathered old blue and red wooden seats at a sporting ground curving off into the distance (and mounted on really nice watercolour paper too I might add) – but when I went up to the print and read the title underneath, my breath literally caught in my throat and I had one of those ‘shiver down your spine’ moments.

The print was titled: “The Old Seats, Whitten Oval, Footscray” and it was by Photographer Carmel Riordan who lives and works in the Western Suburbs.

When I was a young lad, we used to visit my Grandmother and Grandfather (when he was alive) in their little house in Picket St, Footscray. We did this religiously every Saturday up until the time Nan Stephen died. Dad grew up in Footscray and my Grandfather had even played for the Bulldogs in the reserves for a while way back when. Needless to say, we were all big Bulldog supporters.

Dad would usually take us to the footy (at the Whitten Oval) at 3/4 time to watch the last quarter (and also because you got in for free at 3/4 time!) I have many fond memories of it, that was when the footy was only played on Saturday and the teams were all part of the VFL, not the AFL.
In summer Dad used to take me to watch the cricket there (but not a soften as the footy) and one day I got knocked out by a cricket ball that whacked me in the back of the head from some kids who were playing their own match in the area behind the seats.

So those were my memories of the Whitten Oval, but there’s one final poignant kicker. My grandfather LIVED for the Bulldogs and for the Footscray RSL. If he wasn’t at the RSL, he was at the footy watching his beloved Dogs play.
Anyway, one fine day when Pop was in his late 80′s he and an old mate were at the footy (once again, at the Whitten Oval) when the Dogs kicked a winning goal (not sure if this is entirely true but I like to think so) according to his friend, Pop was up on his feet cheering one minute and the next, his pal turned around and Pop was there flat on the ground, dead from a massive, quick, final stroke/heart attack/whatever. I think if Pop had to choose a certain way to leave this mortal coil, he may have chosen this way…(in  other words, what a way to go – a good way, I think, for him)

I usually didn’t think about any of that all that much in my teen & later years, but sometime in my 30′s when I got around to watching the documentary Year of the Dogs I found myself suddenly weeping inexplicably halfway through it….go figure.

So I reckon I was meant to get that print, but it does make me wonder at how the universe works in mysterious ways at times.
I sincerely hope I didn’t bore any of you with my story, but I had to share…

A photographic exhibition by the friends of Jeff Moorfoot

One hundred photographers show their appreciation for the hard work done by the Ballarat International Foto Biennale Director, donating some of their finest work to be sold on his behalf. A once in a lifetime opportunity to purchase works by these artists at a very modest price.

Works are on view at the Gallery from tomorrow and opening drinks are on Thursday Feb 11th from 6 – 8pm

Artists involved:
ABBOTT Colin, ADAMS Peter, AVELLINO Mark, BACHMAN Bill, BODIN John, BOWES Peter, BOWYER Julie, BROOK Fiona, BROWELL Anthony, BROWNBILL Sally, BUCKLEY Carolyn, BURDER Tim, BUTCHER Noel, CALLOW David, CHAPMAN Andrew, CIANTAR Alan, CLARK Alan, COYNE Michael, Da COSTA Nuno, DIAZ Maggie, DIEMER Kristin, DINAS Heather, Di PAOLO Lucy, DOVE Melanie Faith, DUCKWORTH Neale, ELMS Greg, EVANS Joyce, EVERTON Samantha, FARRELL Leo, FEIL Joseph, FLETCHER Gillian, FORD John, FRANKLIN Chris, GARWOOD Roger, GAULD Robin, GERHARD Andre, GILKES Brian, GLATTAUER Silvi, GODMAN Lloyd, GORDON-BROWN Susan, GRIFFITH Tim, HAMMOND Shireen, HARRINGTON Elda, HAWKES Ponch, HIRANO Masaki, HERZOG Naomi, HOUGH Julie, HOWLETT Fran, IMHOFF Robert, IOANNOU Ellii, JOHNS David, JOYCE Deb, KUMNICK Richar d, KURAVITA Philip, LANDT-ISLEY Karen, LARCOM Donna, LARCOMBE Randy, LASLETT Susan,LUKEY Brent, LUSZPINSKI Jarek, McFARLANE Jim, McKENZIE Ian, MEGALOUDIS Mercury, MIFSUD George, MILLOWICK Julie, MONROE Mark, NAOROJI Nadish, NEWITT Neil, NICHOLLS Lynden, O’SHEA Meredith, PAGE Colin, PECKHAM Senga, RIORDAN Carmel, ROESSLER Thomas, ROSS Carol, ROWE Tracey, QUILLIAM Wayne, SAAD Lisa, SALVATI Maurizio, SAWDON Elizabeth, SEIGERMAN Krystal, SHAIN Christopher, SILVER Michael, SIMMONDS Dave, SLEETH Matthew, SPOWART Doug, STEPHEN Cameron, STOREY Abby, STREET John, SUBLET Charlie, SYNDIKAS Alex, TAM Howard, TITZ Tobias, WATKINS Skip, WISEMAN Colin,WOLF Anna, WOLF Andrew

Finally I’ll leave you with a short movie filmed on the digital harinezumi. Wrapping up the last day of the Unsensored 09 exhibition at the Collingwood Gallery, Melbourne, Victoria on 19th August 2009. Covering the work of 43 artists using film in their photographic expression. Thanks to the committee and all who participated, exhibited, helped and attended. It was great!
Music: tiny beats by twoth – Lost films vol. 1 Powershovel Audio Allstars – www.powershovelaudio.com

The exhibition details are below:

1. Can you please explain the type of camera’s you use for your work. How do they make the work different/easier/harder?

The cameras I use are usually manufactured from poor quality materials, usually plastic with little or no quality control. They have simple plastic lenses with questionable optical quality. The degree of control over shutter speed and aperture is usually pretty limited, if it exists at all. The very factors that most photographers would consider drawbacks in these cameras are what work towards making the images produced by them unique and often quite artistic in nature. The poor quality of manufacture leads to edge vignetting and blurriness, light leaks and so on. You can’’t ever be really sure what you will get when the film is developed. Sometimes this leads to disappointment, but more often than not you can be pleasantly surprised. When I collect my developed film from the lab, I often feel like a kid on Christmas day, waiting to unwrap the presents. It’s a continual buzz of anticipation of a “magic” shot that keeps me coming back. I guess you would say I’m addicted.

2. Do you develop the film at home?

No, I mainly shoot colour and the process is a bit more exacting and unforgiving than Black and White processing. Also having a septic system is incompatible with some of the chemical by-products of home development.

3. What made you decide to start using outdated cameras for your work?

I was getting a little bit jaded by all the digital photos crowding my hard drive. I mean they were ok, but sort of predictable and I felt my photography was getting stale. Then I won an online raffle hosted by another toy camera aficionado, Susan Burnstine, from the U.S.A. on her website. She sent me a “toy” medium format camera called an Empire Junior. I shot a roll through, developed it and when I saw the quirky results I was hooked. Soon afterwards I began collecting second hand toy cameras and using them almost everyday.

4. How did you first get into photography and what is it about the medium that you like?

My first memory of photography was having a camera thrust into my hands by my father when we were in the city during the Queen’s visit in early 1970’s – I snapped a photo of the royal personage as she passed by. It was at a bit of an angle but not bad for a first effort. I still have that photo. Photography as a medium is amazingly versatile, it can convey a story, an artistic statement, capture a memory, convey emotions and sometimes help change the course of history. Think of how photography helped change peoples’ perceptions of the Vietnam War, or help save the Franklin River in Tasmania, for example.

5. Are you a professional photographer or is it a hobby? If a hobby what do you do for a living?

It is a hobby, but one that consumes much of my free time, I’m very passionate about it (my wife would say obsessed, thankfully she is very supportive!) I am a Registered Nurse, working in the Emergency Department of my local hospital.

6. What are your favourite subjects to photograph?

I have a fondness for the many varied examples of public art that we are blessed with in Melbourne. I also love people and although initially quite shy, I am gradually becoming more confident asking if I can take people’s portraits. There is a wealth of stories in every individuals face.

7. Explain the main themes behind your work?

My work is very eclectic, but I try to capture points of view of scenes in a different perspective to how we would usually look at them in the normal course of our daily life. In the rush of modern living I believe we sometimes forget to “see” what is really around us, the inherent beauty in everything and everybody.

8. What is it about photography that you think makes it stand out from other mediums?

The ability to capture a unique and definitive moment and mood, never to be repeated in exactly the same way again, makes photography something special.

9. Is this your first exhibition? If not what have been some of the others?

I’ve been in one other joint toy camera and pinhole photography exhibition, called “Lightleaks” at the Kerala Gallery in High St, Northcote, earlier this year.

10. How old are you, any children?

I am 46 and have two children aged 9 and 6 who continually inspire me and help keep my vison young!