Philosophy I first made images with my small brownie camera when I was about 7. They recorded what I saw. Later, when 18, and controlling film and paper, input and outcome, I was awed by the mystery of the image…a fascination that an etherial moment of life was captured in the tripping of the shutter. There was more in the image than I could describe. I remember the stark beauty of lit and rainy streets at night in Detroit. Later, a fleeting sense in a Burmese face, and the recognition that a scene was both familiar and yet somehow beyond familiar. I experimented with infrared and wide angle, and both opened up an exciting aura of the world: these were explosive moments of enquiry for me. In Texas I photographed ceremonies in the missions at Good Friday, my father in the door of the dead at Goliad, Mexican cemeteries, and places where people worshipped. I exalted in the power of the monochrome infrared image, but also in monochrome images partially hand coloured. I found I could direct attention towards the something in an image that created an emotional response. As time went by I became less interested in “pretty images” from my extensive travels. (I was organizing tours to Asia and was gone twice a year.) I should say that most images are “pretty pictures” at the beginning, but I relish the chance to work with some of them. This excitement continues for me in the digital age where there is a possibility to do almost anything with an image. Then and now, to touch gently on the tenuous, impalpable and ethereality of a subject is what photography is to me about. I judge my success by the degree to which I have achieved this
Style Documentary, unpremeditated.
Technique My camera, since childhood, has always been with me in one form or another. I was always interested in the “sensation” of the moment and never in “the plan.” Consequently I never used a tripod (other than in studio work in my professional years). When traveling and needing to react quickly, I set my f stop at 8 and the speed at 400. Otherwise, with more time, I varied the settings. I do my best work when completely relaxed.
Background I grew up with a physicist father who had his own darkroom and used it. Our life was characterized by constant movement. I started in Art at University and found drawing excessively boring. I moved on into the electrifying field of Anthropology, then had my children and finally got a Masters (in religion and metaphor). Going on academically meant another big move and so I chose to do a diploma in photography. Following this and after and during working in the field, I started a travel company. I travelled increasingly, took images for the company, and as time went by realized that I was doing nothing for myself. What followed was a slow movement back to my early days of photography. Now with digital imagery, photography’s potential for the expression of the extraordinary is broadened.
Publications All printed work was produced during my 20 years of professional work in Victoria, during which I worked for several magazines and produced my own personal work as well.