Opus Exhibition: a fantastic Sunday opening

The “OPUS” exhibition class embarked on their journey with great success at their opening last Sunday at Magpie Springs Cellar Door and Gallery just outside Willunga on Brookman Road Hope Forest – the exhibition looks fantastic. Philip White the raconteur and bon vivant opened the show with his usual thoughtful words of wisdom which certainly illuminated the work presented.

All seven exhibitors have extended themselves, creatively and artistically. They have developed a very clear idea of how important organisational skills are in order to successfully plan, develop, publicise and launch a unique public exhibition of their art work.

Incredibly the day before, there was a wedding at Magpie Springs which meant that there were a load of trestle tables laid out from that event which meant those who arrived earlier to avail themselves of a picnic before the opening were spoiled for choice as to where to sit – perfect!

Last Sunday, I certainly enjoyed basking in the light of what they have created in the 26 weeks we’ve been meeting. For now their journey is complete until it’s time to organise the exhibition’s second venue at the Light Gallery at the Centre for Creative Photography in June.

OPUS exhibition at
Magpie Springs April 9 – June 3
The Light Gallery June 23 – July 21

I hope you can make this most excellent showing of photographs.
Gavin Blake

PS don't miss Philip White's delicous, poetic take on the exhibition at his Drinkster blog

Twenty Years of the CCP: Early Years

Twenty years along is a funny thing, a lot can happen in that (seemingly) short time and the story of the CCP is no different. My previous gig as a lecturer and course coordinator in South Australia (pre-CCP) was at another Institution which proved to me to be a very frustrating experience, however it steeled my determination to found my own school some twenty years ago.


I first needed a name for the project and having returned from the USA where I lived in Philadelphia for the best part of four years again as an art educator, I settled on The Centre for Creative Photography as a nod to another Center for Creative Photography at the University of Arizona. Not only is it one of the the most prestigious centre for photographic education in America, it also houses the entire W.Eugene Smith photographic archives amongst other noteable contributors to the history or photography. This name was registered as a business on January 31 1997 which just happens to be the birthday of my artistic mentor from graduate school, Professor John Weiss, as a nod towards everything he did for me when I was a graduate student of his at the University of Delaware.

After researching possible locations for the CCP I found a modest but suitable building at 11 Union Street in Stepney. After setting up a “Business Plan” I went to my bank with cap in hand to apply for the requisite funds to start on a lease, construction and to move in to the CCP to start classes. The first class was held on Saturday May 10 of 1997 essentially with five students and one independent study – Mike Lim who is now lecturing as part of the CCP teaching crew. Initially I supplemented the income by having Four Seasons Photography – Ken Binns and Kristina Jansons as tenants; they occupied our Gallery “The Light Gallery at the Centre” which was in the front office. Paula Alexander was a”teaching assistant” who was also finding her legs as an independent photographic business and we contra’d a bit of space for her in exchange for some front of house and administration. I later mentored Paula to become the second teaching member of the crew.

Union Street was a modest 190 square meters compared to the current CCP which is about 660 square meters, but with just six students and me we had plenty of space.  As we slowly grew in student numbers and classes, so did the crew associated with the CCP. there were a few more teaching crew including Mike Lim and Ken Binns and the place was looking a lot more like the school I wished it to look like. By 2002 when we were then averaging 100 students each term and the CCP had become an RTO, it was becoming clear that I needed to start thinking about relocating the school to a larger premises, that however was not to be realised until 2004 with the finding and negotiating of the current space in Marleston with the entire move and reopening in 2005 some (nearly) eight years after we opened in 1997. At that stage, I’d never imagined just how large the CCP was to become, I’d initially seen it as a “Mom and Pop” business and not the RTO it has become, thanks to the belief of a LOT of people who have passes through the doors.

Looking at the original floor plan, I do wonder just how we managed to fit everything in, but of course we did. Just as a point of reference though the Main studio was about 4.5x5.5 m, smaller than studio 3!

A great time was had there though, studio, darkroom and conceptual classes, exhibition openings and of course a lot of people who completed their studies there, are still making work, which is a great thing to experience – I’m so very proud to have been a part of their artistic education.

Funnily enough I had a small office in the roof line at the very back of the building, which was referred to as “Cambodia” essentially because it was seemingly 10C hotter than on the ground floor on any given day; this though good in the Winter, was “interesting” to say the least in the Summer as there was no air conditioning whatsoever! This illustration shows how the space looks today – courtesy of real estate dot com and I’ve inlaid an historical image of me conversing with someone over a book at my desk one evening – many people hit their heads on that ceiling when they stood up! I still have that same desk at Marleston to this day, just veneered particle board across two filing cabinets.


It was a Saturday and Introduction to the Darkroom had four students, that combined with two people studying independently with me gave us a total of six students. The Centre for Creative Photography was a school.

In the second Term there (which is the academic year 3rd Term) students made pinhole cameras with their Camera 2 class and in that class were two very noteable members of the group – Mike Lim who now teaches here and Sue Michael who is an accomplished painter/artist who has held solo exhibitions of her work at the Light Gallery amongst other venue. Sue was also runner up for last year’s (2016) National A.I.P.P. Contemporary Photography Award – here they are those 20 years ago standing with the rest of their class for their first “group portrait”.

I overlaid this image in situ overlaid with a current photograph of the original building just to give you an idea of where they were at the time.

We managed to doubled our numbers in Term 4 to 12!  After that, things grew at a reasonably steady rate each Term there after.

So the CCP was actually starting to even “feel” like a real school and probably to this end, I clearly remember my excitement when in Term 3 2000 we managed to reach a coveted 70 – I’m not sure why this was seemingly so significant for me at the time, however I think it must have seemed like a goal worth aiming for, which seems funny now as we average 150 students each Term, workshops notwithstanding. This was also the same year the CCP became a Registered Training Organisation (RTO) offering a Certificate II and IV in Creative Photography…the CCP was certainly growing up, and digital cameras weren’t quite knocking on our door.

>>>Thanks so much for reading this first instalment as we look back at twenty years of the CCP. Stay tuned for more thoughts on how the CCP got where it is today!

OPUS: The 2017 CCP Exhibition class

Since October 2016, seven CCP Diploma students have been meeting every Friday morning for the Photography for Exhibition class. This subject is an extremely important part of the Diploma of Photography and Photo imaging which we run at the CCP. It is not a core subject as the skill sets the students pick up as a result of this experience are not necessarily where everyone wishes to go with their photographic enterprise, but it is always very rewarding.

Due to the intensity of what is covered in this class, it has to run over two Terms – Term 4 and Term 1 the following year. My task is to be co-ordinating the end event which is of course a professional exhibition of the group’s personal photographic work in a public art gallery.

I consider it a “coming out” in terms of the end result being a sustainded body of images being exhibited along with the ensuing publicity machine required to create a great opening event. This also ensures that the exhibition is not only successful, but it provides each exhibitor with an excellent opportunity to continue with the self promotion of their artistic endeavours well into the future .

The OPUS exhibition class have embarked on this journey and are certainly honing their exhibition skills to this end. It never ceases to amaze me the individual talents everyone brings to the class, and of course nothing can happen without first securing a venue. Now having secured their venue, OPUS are very pleased to announce they will be opening at Magpie Springs Winery in Willunga on Sunday April 9. The exhibition will travel back to Adelaide to its final destination at the Light Gallery at the Centre for Creative Photography in June. Stay tuned for the invitations.

All seven exhibitors are extending  themselves, creatively, artistically and already they have developed a very clear idea of just how important organisational skills are in order to successfully hold, publicise and develop a unique public exhibition of their art work. I hope to see you at the opening at Magpie Springs, as these events are always a huge celebration of the artists and their work as a coming of age. In the meantime, I hope you will visit them via the website they’ve established and enjoy the site developing. It needs a little bit more work, but as a living document please tune in and witness its evolution. Please visit their site here   opusphotoexhibition.com  and support their successes.

Gavin Blake

CCP DIRECTOR and Cat Juggler

Merry Christmas & Holiday Hours

From all of us at the CCP, have a wonderful Christmas and a very Happy New Year. Hopefully you have some time off to relax and recharge, celebrating with the people you love.

We want to thank each and every one of our students who have made this year and every year so worthwhile. Seeing you each week, catching up, talking photography, and having a lot of fun is a joy and a reminder of why we do what we do. You inspire us and prove that the goal of making this school a little oasis of creativity is worthy. So thank you.

The CCP will be closed for the holidays from Friday 23 December, reopening Monday 9 January

Congratulations to our 2016 VET award winner, Jayden Williams!

Jayden Williams

Most Promising Young Photographer 2016

This year we had a great semester of Creative Camera A&B with outstanding results from all the high school VET students. While the results were extremely close, the clear winner of this year’s VET Most Promising Young Photographer award was Jayden Williams from Modbury High School. Jayden was surprised that he had been chosen as the winner, acknowledging the incredible work from his classmates, saying “I thought for sure that one of my other classmates would have won! They’re all very talented and I learnt so much from each of them. Overall, I’m very humbled to be the recipient of the award.”

So far Jayden has enjoyed exploring a wide range of photographic styles. He initially started his studies at the CCP taking a Seascapes and Star Trails workshop late in 2015. This encouraged him to enrol in Create Camera A where he learnt in more detail about camera functions and settings He says that he soon realised he would have to upgrade from his mirrorless Olympus if he was going to reach his full potential in Creative Camera B. “Over the break, I bought a new camera, a Nikon D7200, and I love it! There’s so much more I’m able to do with it. It definitely helped me with the course, my photo quality improved and I was able to experiment more with different styles of photography.” This was evident in Jayden’s work in Creative Camera B and he says he loved every style he has come across so far in his studies. He is yet to pin down his favourite trying everything from portraiture to landscape to architecture as well as long exposures just to name a few. But in saying that, he is beginning to develop his own personal style where the use of techniques such as symmetry and diptychs/triptychs and vivid colours can be seen across much of his work.

Jayden - Already Gone.jpg

The use of multiple images in one piece was a revelation to Jayden. “The one thing that helped push my creativity was when Sam, my lecturer, said that we could have as many photos as we wanted in a single frame. To me, this opened up so many more possibilities and helped me to create heaps more interest with my pieces. My favourite one was of my Stepdad’s band, Already Gone. I had a photo of each of the members, and 2 shots of the band playing. I felt like this was a different take on the traditional portraiture style, as it created more of a story within the frame.”

In the future Jayden is looking forward to expanding his knowledge and skills further. This term he has enrolled in Darkroom #1 and Camera Portfolio #2 where he is learning about film photography and photographing a series. Beyond his studies he is still considering where he wants to go with his photography. “In the future, I’m not really sure what I want to do. I like the thought of other people enjoying my work, so I might take on contract work, or I may just become a freelance photographer. I still have a lot to learn.”

For now, he is looking forward to using his prize money from the award to go towards some new equipment, stating that “the money could be put to many things that would help me advance with my photography; a new lens, another set of ND filters, a microphone (to help with videography aspirations I have), really the possibilities are endless”.


Finally Jayden summarised his experience so far at the Centre for Creative Photography by saying “The courses I’ve studied have been really fun, the facilities provided at the CCP are really good, the lecturers and staff are extremely friendly and easy to get along with and it’s definitely better than regular school work. When I proposed to do this photography course, I was told that it would be hard work and that I would need to commit myself to an odd school timetable, as well as unconventional study hours. I’m very glad that I went ahead, did it, and dedicated myself to achieving my goals.”

Open Day Sunday 14 August 2016

OPEN DAY 14 August 2016

Are you interested in pursuing your passion for photography as a career?

The Centre for Creative Photography will be hosting an Open Day on Sunday 14 August 2016 from 11am - 3pm.

You are invited to visit and meet the dynamic staff and students who have made this institution the premier space to launch your photographic career.

Get course and subject information, meet the Director, recent graduates and staff, talk to lecturers, enjoy photographic and darkroom demonstrations and experience your future at the CCP.

Your photographic career starts here...

See & Taste the Barossa Story

Two years ago CCP graduate Bernadette (Bernie) Kaeding enrolled in Portrait Photography 2. She already had her Diploma but wanted to finally settle her love/hate relationship with portraiture. Now, she has published True Stories: Portraits of Barossa Winemakers, the best Australian Wine Writing book! (2016 Gourmand World Cookbook Awards).

Buy True Stories: Portraits of Barossa Winemakers by CCP Diploma graduate Bernadette Kaeding now. You can collect your signed copy of this award-winning book from The Light Gallery at the CCP during Bernie's SALA exhibition, 29 July—30 August 2016.

The Light Gallery at the Centre for Creative Photography is pleased to announce a very special
exhibition and VIP winemaker dinner as part of the South Australian Living Artist (SALA) Festival.

Red Art & Michael Hall Wines have collaborated to create an exclusive exhibition opening and VIP winemaker dinner for SALA.

Go on an indulgent journey as Bernadette Kaeding (lovingly known as Bernie to her friends) and partner Sam Kurtz from Red Art Wines and Michael Hall Wines will present their award-winning current vintage and cellar reserve wines at a long table winter feast. The wines will be matched to a three-course menu, designed by celebrated Barossa chef, Stuart Oldfield from Hand Made Catering.

The event officially launches Bernie’s portrait and book exhibition ‘True Stories: Portraits of Barossa Winemakers’. The book gracefully tells the true stories of the inner lives of Barossa winemakers, in a rare insight into the characters and culture of the Barossa, including of course the three winemakers the three winemakers from the dinner themselves.

‘True Stories: Portraits of Barossa Winemakers’ recently won Best Wine Writing Book Australia and Top 3 in the world at the Gourmand International Cookbook Awards 2016, while wine industry doyen James Halliday enthused, ‘Every photograph and its accompanying story is a joy to look at and to read.’

Held at The Light Gallery at the Centre for Creative Photography in the central Adelaide suburb of Marleston, the event is an exquisite intersection of fine art and wine, bringing the essence of the Barossa to the capital for Adelaide’s premier festival South Australian Living Art (SALA).

True Stories: Portraits of Barossa Winemakers
VIP Exhibition opening night and dinner
Three-course wine matched menu by Barossa chef Stuart Oldfield
Friday, 29th July 2016, 7pm
The Light Gallery at the Centre for Creative Photography
138 Richmond Road Marleston SA 5033
Bookings online: http://rojomoma.com.au/product/exhibition-opening-winemaker-dinner/
Cost: $135 per head
Red Art Wines: http://rojomoma.com.au/product/exhibition-opening-winemaker-dinner/
Michael Hall Wines: http://www.michaelhallwines.com/
Hand Made Catering: http://www.handmadecatering.com.au/
The Light Gallery: http://www.ccp.sa.edu.au/
SALA: http://www.salafestival.com/

For further information or access to images, please contact the curator Alyssa Cavanagh at The Light Gallery, alyssa.cavanagh@ccp.sa.edu.au | 08 8354 0839.

Important information: changes to the Certificate IV and Diploma

Read this letter as a PDF

I’m writing to let you know about some important upcoming changes to the Certificate IV at the CCP. As of January 2016 we are in what is called the “Transition” phase for the qualifications we offer:

CUV40411-Certificate IV in Photo Imaging is superseded by
 CUA41115-Certificate IV in Photography and Photo Imaging

CUV50411-Diploma of Photo Imaging is superseded by
CUA50915-Diploma of Photography and Photo Imaging

The Transition period is eighteen months, and so will end in July 2017, after Term 2. At that point the superseded qualifications (CUV40411 and CUV50411) will expire from our scope of registration.

What this means for current CCP students:

• Students who commenced studies in Term 1 or Term 2 2016 have already started the “new” Cert IV qualification, CUA41115.
- These students are not affected by the Transition period.
• Students who undertook courses before 2016 can complete the qualification they started. But these students must complete the “old” qualification by Term 2 2017 or they will be transitioned to the new award.
- For Certificate IV students in this group, there is little change between the old and new Certificate. But we recommend completing the old qualification within the Transition period.
- For Diploma students in this group, there are more significant changes. We strongly recommend completing the old Diploma within the Transition period.

* In the new Diploma, Digital Imaging 3 will become a core subject. Therefore if you do not wish to undertake Digital Imaging 3, you will need to complete the Diploma by the end of Term 2 2017.

* In the new Diploma elective subject choices will be more prescribed. Instead of choosing any five electives, you will choose electives as follows: Two “Group A” subjects, two “Group B” subjects and one “Group C” subject. Hence your study plan may be adversely affected if you do not complete the Diploma by the end of Term 2 2017.

Please see the new course structure to see what these changes look like.

If you’d like any further advice on this transition, please contact the CCP and Aaron or I will only be too pleased to help. If necessary we can make a specific time to catch up.

It’s part of what I do here to relocate this information and to incorporate the changes into our curriculum so as to ensure your continued progression through each qualification. I have included the current course structure as well as the new course structure so you can compare both awards.

Cheers and all the best and I hope to see you here to complete your studies soon.
Gavin Blake
CCP Director

(Only if you want to get into the weeds of academic administration)

Qualifications (Certificates and Diplomas) are made up of building blocks called “competencies”. These are nationally-recognised units of study. So if you study at the CCP and move to Victoria, RMIT won’t know what “Introduction to Photography” is but they will understand the competencies CUAPHI302 and CUAPPR403.

Competencies and qualifications are bundled together under the umbrella of “Training Packages”. What we teach at the CCP is part of the Visual Arts Training Package.

Every four years that training package is updated to continuously reflect the changing industry and relevance in education. Competencies may be modified more frequently but this creates small changes at the subject level only.

Updates to training packages can be minor or major. Updates may include changes to the number of competencies, the mix of core and elective competencies, and the “packaging rules” for how elective competencies are permitted to be chosen.

Now that I have completed the mapping of the new awards, I can tell you that essentially there is little change to the Certificate IV. The number and mix of subjects has not changed.

However the changes to the Diploma are more significant. The overall number of subjects is the same but Digital Imaging 3 will now be a core class. So there is still a total of nine subjects but there will be four core units plus five electives.

And Diploma educational pathways will be more prescribed. Instead of choosing any five elective subjects you will need to select given numbers of electives from “Groups A, B and C” as indicated on the new award flow chart.

Making that quintessential art form, a Book of Photographs (guest blogger Tillman Crane)

The below blog post was written by a dear friend of mine, Tillman Crane. Tillman writes a regular “musing” for his subscribers and this latest contribution is about the process of creating the quintessential modern art form, a photography book.

This month’s musing holds a particular resonance for me as I share precisely its sentiments. Tillman discusses important considerations for building a layout of photographic images in relation to a book presentation such as we teach in the Alternative Presentation class, which is running this term.

Tillman Crane and I met while I was living in the U.S. just outside of Philadelphia and we were both studying at the University of Delaware under the rare tutelage of Professor John Weiss. I was a freshman and Tillman was a Senior in his final year of the Masters of Fine Arts program. Tillman was (and still is) working with an 8”x10” camera, at that stage enlarging his exquisite negatives to an astoundingly sharp 16”x20” Black and White print. I am lucky to have been graced with three in the collection due to the inevitable student work swap.

Tillman is now based in Camden, Maine and works exclusively with platinum and palladium prints, using various formats from 5”x7” – 11”x14” for the majority of his images. However he has no problems using a digital camera, being a throwback to his days as a photojournalist using a 35mm format. He also runs photographic workshops much in the same way we do here at the CCP except he works with topics more germane to his oeuvre.

I’ve kept in touch with Tillman basically through his Musings and I always look forward to his thoughts.  He is one of the most sincere people working with photography I’ve met and is an articulate writer, very much a reflection of the work he makes. It’s a great blog to subscribe to if you wish and can be found at www.tillmancrane.com if you care to investigate him a little further.  According to Tillman, he is not a conceptual photographer, rather a “reactionary one” waiting for the fall of light usually to complete his creations.

Tillman has also expressed a desire to run with a platinum/palladium workshop here at the CCP, so who knows just what the future may bring. Please contact us if you’d be interested in such a venture. I’d estimate the costs to be around $1000 for three days inclusive, and I’d need to consider the logistics in more depth to make this happen.

I hope you enjoy Tillman unedited, and with the sharing of this musing I can happily now call him a CCP associate as well… cheers from Gavin.

Thoughts on Making a book of Photographs

by Tillman Crane

Paul Caponigro and I have both been invited to exhibit at the National Art Museum of China this year. Paul just returned from his trip and brought home the exhibit catalogue, which is actually a beautifully printed book. Each of the one hundred images in the exhibit is included in the book. The high quality reproductions give each image the vibrancy of an actual print. It is well laid out and I think, stunning.

I think of the book of photographs an art form, separate and distinct from the prints. The images in a book move from a beginning, through the middle and to the end. Page by page, we are led through a slice of the world the photographer sees and feels. An essay or introduction can bring us to the starting point, with a little understanding and, hopefully, a big sense of anticipation. In an exhibit print order is often determined by someone other than the artist and so the story is told one step further from its source. In addition, the juxtaposition of the images is temporary, available to us only during the short time of the exhibit. With a book, the images and story are available to us to look at and think about for as long as we keep the book. When I hold one, I hold a completed piece of art.

Two things have changed the way we see and perceive photography books. Today, everyone can print a photography book, thanks to the advent of on-demand digital printing. On the one hand this offers a wonderful form for family/friend/wedding/travel scrapbooking as well as an affordable printing modality for a low number of photo book copies. On the other hand, the narrow confines of layout, paper and printing options leave the photographer with fewer aesthetic options.

In addition, our hand held computer/phone also acts as a camera. Using a variety of apps we can share images around the world instantly. It is absolutely amazing but it is not a book. There is little to no editing or sequencing and the images exist only on the electronic brain. I enjoy sitting with a book of photographic images. Most importantly I sense and feel the intention that went behind creating this piece of art.

I can only speak about my own four books and those of other photographers I have worked with to create. Here’s what I think makes an effective photography book:

  1. Edit. Only a very small percentage of images made on a particular subject should make it into a book. In my case, it is about 1% of the images I shot in Orkney that made the book Odin Stone.

  2. Sequence. The images in the book are edited and sequenced with deliberation. We decided that Odin Stone should open with the image of the setting sun behind a 5000 year old standing stone and end with the sun rising behind a 20th century plexiglass bus stop. The narrative of Odin Stone flows through the succeeding images in the book. Modern barns, artists at work, contemporary events, memorials and monuments, the echoes of past and present, are images of what I experienced and felt as I traveled through Orkney over five years. What I hope the viewer understands is that Orkney has an ancient history and a modern society.

  3. Layout. Choices are made. Does each image stand alone on the right page with nothing on the left or are images paired so they speak to each other? In Odin Stone we chose to pair images in most cases with a few select images standing alone. This increased the narrative power of the book. In Paul’s new book the editors chose to present each image standing alone on the right page with the title information on the left. It becomes in effect a portfolio or exhibition.

  4. Design. Great care and consideration is given to the printing, packaging, and presentation of the book as a piece of art. A cover image is chosen to represent what the viewer might find inside. Cover material is selected, along with end papers, type font and color of paper and images. All are selected to contribute to the whole piece of art.

In my opinion these are the elements that go into making a good book of photography. The book needs some introduction but the images speak for themselves; you can hold it in your hands and physically experience it as a piece of art; and it is the best the photographer has to offer on the subject at that particular point in time.

My exhibition opens in Beijing in November 2016. It will be at least 100 images strong, my best images to date. I hope the exhibition book is as beautiful as the one done for Paul. I can’t wait to hold it in my hands.

All the best,



ROT2016 - It's hip to be square

Review by artist Marcus Brownlow

The ROT exhibition showing at The Light Gallery until 11 June 2016 takes an unusual look at the phenomenon that is Instagram: the Facebook-owned photo-based social network that is either a convenient personal visual diary, or a platform that contributes to the world’s meaningless glut of visual pollution. ROT invites you to be the judge.

Much like Instagram itself, there's no overarching theme in the exhibition. Instead, each artist has chosen to illustrate one aspect of Instagram’s hydra-headed personality such as narcissism (Tash McCammon), technology (Alisha McLauchlan), appropriation (Brendan Hinton), personal sketchbook (Neon Theory and Gavin Blake) or ubiquity (Aaron Blake).

From the common starting point of the original square-format image, the works are presented in unusual and engaging ways, including as a giant wall mural (Ross McNaughton), as digitally-transformed mandalas (Lauren Brauer), as a floor-to-ceiling installation (Aaron Blake) or, in an analogue manifestation of Instagram’s core technical features, an interactive exploration of filters and their effect on a base image (Ben Kerr).

There is a jokey camaraderie among the artists (they work together in the Light Gallery, and even appropriate each other’s work!) but amidst the fun lurks the darker side of social media. This is thoughtfully illustrated by Elysha Glaser’s series that combines words, images and emotions into a powerful meditation on perfection, expectation and disappointment.

In true Instagram fashion, viewers are invited to Like (or “Heart”) their favourite images. But instead of tapping on the glass of your smartphone, you’ll get to stick a red love heart on your object of affection—with over 1,000 Like stickers already adorning the walls!

As an “Analogue Instagram”, ROT is a fun and engaging show. Go with a friend and see how often your Hearts align, or go quietly on your own to contemplate the many faces of Instagram in an analogue world.