Among the Falling Leaves

I’m in love with making these short posts of little snippets writing and photos. I think it really let’s me process my photography in a way which wasn’t really possible before. As my mind isn’t the most comfortable of places, the anxiety, the worry, the homesickness, the grief, I’m finding some comfort here in writing. The little direction I have I feel are in my images. The photos here aren’t really anything particularly special, but I wanted to show in some way the changing light we have here in Melbourne as we move deeper into Winter.

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On Colour

I thought I would make a post on my recent obsession with colour especially in the context of my recent series of portraits of Nadia.

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Recent Processing and Closing In on Style

Leica M2 35mm F2.8 C Biogon

I have been experimenting lately with post-processing and I feel like I’m on the brink of something. I can’t tell exactly how but I feel a tension of moving away from the harsh black and white street photography into something more surreal and dream like. I’m feeling a strong influence from the japanese photographer Masao Yamamoto and street photographer Junku Nishimura.

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The Mysterious Case of the Returning Leica

In November 2016, I was in a transitional part of my life (I still am) and was considering selling my Leica M2 and switching to a digital Ricoh GR. I listed the camera on several facebook camera trading groups and the Australian/UK craigslist alternative gumtree. Long story short, I was scammed whilst trying to sell it.

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The Ricoh GR and Leaving 35mm Film Behind

Often times I wonder why I gravitated so much towards shooting film, perhaps it was the lure of romance and a continuity with the greats that gave legitimacy to what I was trying to do. Is picture making without gelatin anymore fulfilling?

I still believe in a need for romance, great picture making almost necessitates a myth or performance. In painting or photography, the story of the person behind the camera or the brush probably equates more towards the allure than a single image of theirs. The tools they use thus in tandum are immortalised in themselves; whether it be the legacy of leica and bresson, the ultra large format cameras of chris mccaw, or even the autofocus film slr masao yamamoto uses.

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