(More than) 10 Questions: CCP graduate Marcus Brownlow

See much of Marcus' work at marcusbrownlow.com

Alumnus Marcus Brownlow commenced his studies at the CCP in 2007, graduating with a Diploma of Photoimaging in 2013. The flipside to this is that he is also an Analytics and Data Visualisation Consultant. He holds a PhD from The University of Adelaide and is a member of the Institute of Analytics Professionals of Australia. Marcus has stated to me that everyone in their life time will have three different careers and is “always good for one book”.

The majority of Marcus’ photographic work explores aspects of the urban environment, particularly built forms that emit a strange beauty despite their utilitarian purpose. He is interested in how people use space as evidenced by what they leave behind. While his images are often devoid of people, their presence is alluded to by the marks they have left on the landscape.

Marcus believes that the discipline of his numerical work is a perfect complement to the rigour of his photographic art practice. “They are not as different as you might think, and one certainly informs the other” he says. 

marcus-brownlow-portrait by Stewart Kirby.jpg

In 2008 Marcus also participated in the Governor’s Leadership Foundation (GLF) program, applying because he was attracted by the diversity of both topics covered, and its previous participants. Marcus has found that the program has had a subtle but influential effect on him. As a result, Marcus still finds himself reflecting regularly on the myriad his experiences that year.

Marcus was also the recipient of an artists’ residency in Berlin in 2012 “Picture Berlin” which had a powerful impact on his image making(you can see the work he produced if you scroll down to past residents and check out 2012), and he was invited to return in 2014 as part of PictureBerlin Festival.

That same year, Marcus collaborated with three other CCP luminaries, Leanne McPhee, Jennifer Hofmann and Sue Michael (featured in our last blog post, May 12 2017), all with backgrounds in one or more of community development, primary health care or aged care, and with current art practice involving photography.

The ensuing exhibition “Hidden Places, Hidden Lives” showed at the Kerry Packer Civic Gallery in the Hawke Centre, North Terrace, and proved to be an incredibly engaging exhibition due to the fact that the four facilitators deliberately blurred any distinction between residents and the four primary photographers. This made the authorship of many of the photographs impossible to distinguish which was wonderful and intriguing because all too often, social justice art projects can inadvertently make the distinction between “us” (the experts) and “them” (the marginalised group). To borrow a phrase from Robert McFarlane, they sought a “democracy of vision” and simply promoted the exhibition as a collaboration between 16 photographers.

Marcus believes that it’s easy to forget how powerful photographs can be. “A single photograph can make you laugh, cry or think, and sometimes all three. It’s a moment in time captured forever on a sheet of paper. It’s so simple but so powerful and that’s what attracts me to the medium.”

Please read on and discover just who Marcus Brownlow the artist using photography is for the second installment from CCP alumni, as we celebrate 20 years of photographic education at the CCP.

Cheers from Gavin

(More than) 10 Questions: CCP graduate Marcus Brownlow

Why did you choose to study at the CCP?

It all started with a flyer I picked up at the Central Market camera shop one Saturday morning: Creative Photography Made Easy, a one day workshop held on a Wednesday at the CCP. I had wanted to take my photography more seriously for some time, and this seemed to be a good starting point. I had the day off work and felt rebellious and subversive. It was great.

I had the best day and felt totally energised by this immersion in photographic design, theory, concepts and history. I resolved then to study photography more formally and enrolled in Camera Portfolio 1. Everything else followed naturally and organically after this one decision, albeit concurrently with full-time corporate work. I now have a Diploma of Photoimaging and could not be more pleased.

Are you making personal work?

I am only making personal work.

What inspires your work at the moment?

I’m using photography as the start point of a creative process rather than as the end point. I still maintain a strong interest in image-making, but am now more interested in what a photograph can become rather than what it is.

What have you done since you studied at the CCP, and what are you doing now?
I have exhibited work in Berlin several times since studying at the CCP, and maintain an ongoing connection with the city and its flourishing community of artists. In fact, the city supports over 30,000 practising artists across all disciplines. I now divide my time between Adelaide and Berlin and am planning to make new work during the northern Winter this year.

Below: Marcus' Picture Berlin project evolved to explore his observations of one of the "essential" elements of modern Berlin: gentrification, and replacing the old with the new.

How has photography changed your life?

Photography started as an interest 25+ years ago and it’s been variously a hobby, working tool, study topic, creative passion and life saver ever since. It is now the foundation upon which my full-time art practice is based. Had you asked me, even 10 years ago, whether I would be pursuing photography full-time, I would have said that you were mad. Life is always full of surprises.

Which photographers – past or present – have been major influences on your work?

I’ve been influenced more by painters than photographers, especially Edward Hopper (1992-1967), Jeffrey Smart (1921-2013) and Richard Maurovic (1963-), all of whom address aspects of the urban landscape, and latterly Sol LeWitt (1928-2007; conceptual art and minimalism). Often visually simple, their works contain multiple levels of complex symbolism and commentary on the contemporary world.

I am strongly drawn to the architect Mies Van Der Rohe’s adage that “less is more”, and try to use it as a guiding principle in my own work.


    
Do you have any advice for student photographers?

James Bennett, the Curator of Asian Art at the Art Gallery of South Australia shared some advice that he’d been given early in his career and I agree with it completely:

Follow your passion, not your ambition.

Pursue what interests you, not what your peers, well-meaning relatives and others think you should be doing. The illusion of stability and security working for The Man can mutate into a Faustian Pact; as Barbara Ehrenreich observed (“Smile or Die”, 2010, Granta), “having to simulate happiness [in a job you hate] is the feeling you might get from getting a hand job while your soul is dying.” If photography is your thing, then go for it.

Don’t ever believe that photography is an easy medium. Chuck Close (artist and hero) noted:

Photography is the easiest medium with which to be merely competent. Almost anybody can be competent. It's the hardest medium in which to have some sort of personal vision and to have a signature style.

It’s a wonderful observation to share with those who conflate the ownership of expensive camera gear with authentic photographic vision.

What is the best job you've had since you've been working in the industry?

I collaborated with Leanne McPhee, Jennifer Hofmann and Sue Michael (all CCP alumni!) on a social justice photography project that aimed to shine a light on a misunderstood aspect of ageing in the community: the residents of Supported Residential Facilities (SRFs). The community that lives in SRFs is easy to stereotype but difficult to accurately describe: compared with the general population, there are certainly higher proportions of mental illness, histories of alcohol and/or substance abuse and various co-morbidities. Were you not able to live in an SRF, you would probably be homeless and it is with this community that we worked.

Working with 12 residents across three suburban SRFs, we taught them about how to use a camera and apply basic photographic techniques; we encouraged them to document their own worlds and lives, and to take their cameras everywhere; we reviewed work and gave tips and encouragement; we saw both confidence and enthusiasm grow; we also made our own photographs of these otherwise hidden people and places.

At the end of the workshops we had accumulated over 5,000 photographs. From this, we edited down to make an exhibition that sought to illustrate the world of residents in SRFs. Called Hidden Places, Hidden Lives it was a SALA Festival event in 2014 presented by the Seniors Information Service and the Bob Hawke Prime Ministerial Centre, and exhibited at the Kerry Packer Civic Gallery.

The project was immensely rewarding and underscored the power of photography to stimulate and encourage creative practice among all members of the community.

You can see more of Marcus’ work at marcusbrownlow.com

20 Years on: CCP graduate Sue Michael

In anticipation of the celebration of the 20 year anniversary of the CCP, last year Aaron and I compiled a range of questions which I sent out to a swag of our alumni.  It was requested of them to select and answer about 10 of the questions about their art practice and their journey post CCP which they thought would be relevant and inspiring for the CCP community to ponder. It is my pleasure to give you one of our very early graduates from our time in Stepney, Sue Michael for a wonderfully entertaining read.

A brief introduction to Sue Michael before her instalment:
(you can see some of Sue's work on Instagram and Twitter)

Sue Michael began her art journey with photography in 1996, unable to even change a roll of film. Sue commenced her studies at the CCP in the second Term (that’s Term 3) in the first year of our existence in Stepney – Sue is one of the first students featured in the pinhole class portrait in last month’s CCP@20 instalment standing behind another CCP luminary, Mike Lim.

Sue came to us as a registered nurse with her first degree in Visual Art and Applied Design with TAFE which she earned in 2004. Her first accomplishment studying at the CCP was a certificate II in Creative Photography which I had written and had accredited very early on in 2000 and so Sue was one of the very first graduates from this program. In 2001, Sue then completed the Certificate IV in Creative Photography which I had also written at the same time as the Certificate II and her art practice has been pretty much informed by photography ever since.

Sue then took a hiatus from her studies here and reconnected with her painting with photography well and truly absorbed into her arts practice. Sue and her family however maintained a close friendship with the Blake family with all of us often sharing many meals at our respective homes and catching up at arty-farty events.

In 1998 Sue had a solo exhibition in our Light Gallery in Stepney titled “Sue Michael Domestic Photographer”. Sue returned to study at the CCP in 2010 to gain her Diploma in Photo imaging, (again one of the very first graduates from this program as well). Sue Celebrated this achievement with another solo show called “Sketches for a Rhest-cure “at the relocated and refurbished Light Gallery in Marleston. These highly original images formed the nexus of a self-published colouring book to aid convalescence of which we have copies available here which Sue has donated for any interested readers.

A view of the installation of this wonderful exhibition is below.

Now photography is the quiet, life-blood of her painting. Sue has a large photographic image bank, mainly unseen except those adapted into her paintings - the photographic images, particularly from her favoured plastic cameras, having allowed her to see the poetic inflows and eddies of daily life having left their mark on her wonderfully urbane canvases. Sue Michael is currently completing her PhD in Visual Arts by research at Uni SA and I am extremely pleased to have her as our first featured CCP alumnus…please read on and enjoy Sue’s pearls of wisdom.

- Gavin

More Than 10 Questions: Sue Michael

What first interested you, or made you fall in love with, photography?

During the 1960’s and 70’s my family often held their own slide evenings. Our travels across Australia were like a step further than my grandparents who rarely left their regional towns. The atmosphere at the crowded slide nights was electric and full of great wit, laughter and phenomenological insight. And so I began to associate large format colour images with the height of nourishing social interaction. As a young adult I was fortunate to visit the Pompidou Centre in Paris, again relishing the social engagement with images. It was within this art museum that I was memorably chastised by security for snapping a Giacometti sculpture with my Kodak 110 camera with flash cube.

Why did you choose to study at the CCP?

I had been attending evening life drawing classes at the North Adelaide School of Art. Chance directed me to photography classes after the drawing was cancelled. We had a 1975 Nikon FM at home, so this was the deciding choice to do photography at the CCP rather than another sort of class. I had no idea how to even change a roll of film, let alone the ‘wheels of fortune’ on the camera body. From the earliest weeks I was completely beguiled, fascinated, challenged and curious about making photographic images. The inner passion surprised me. I wanted to learn the breadth of knowledge rather than a specialised depth.

Are you making personal work?

Barely a day goes past when I do not meddle with photographic images. It is an intuitive process, where my wilful thoughts are put to the side for a short time in the day. Then access to the cosmos is obtained, through the camera. Instinct lets me know where to go, where to point the camera, where to position myself, when to press the shutter button; the camera ‘dictates’ my activities, not my own rational intellectualism. The genius loci, or the feel of the land, also engages with my instinct. This is a key subject matter for my paintings as well as photographs.

What inspires your work at the moment?

My current Visual Art PhD studies at the University of South Australia concern a more thorough examination of the meanings of place, using Humanistic Geography’s framework (David Seamon’s triadic approach to place) to explore place’s singular characteristics, complexities, ever-moving qualities and perhaps “clearly invisible” qualities. It doesn't take much to inspire me. All sorts of locations can be examined for the interface between people, the geographic ensemble as well as the genius loci. You just have to have your eyes peeled, your camera battery charged and a willingness to be open to reciprocal engagement with the wider world.

What have you done since you studied at the CCP, and what are you doing now?

I am a genre painter, but all my skills relate directly to the tens of thousands of experimental documentations of everyday life through the medium of photography. I completed a Bachelor Visual Art and Applied Design at AC Arts, majoring in Printmaking. A Bachelor Visual Art, First Class Honours was completed at UniSA, prior to beginning my Visual Art PhD. I currently am enrolled at the Turps Art School, London’s Correspondence Course. I have recently been involved in teaching art in the Mid North of South Australia. Together with local residents of the smallest towns there, we are seeking to explore the meanings imbued in place there.

How has photography changed since you commenced your studies?

I was fortunate to learn with some wonderful other students, who had skills, and back ground knowledge far beyond my cache of enthusiasm. There was a level of professionalism amongst the students that I had not been aware of. Charts that noted enlarger heights, filter numbers, as well as the usual f-stops and times of the enlarger, were a revelation. The studio lighting was trialled and modified over hours and hours. This quiet, slow dedication was not known in the fast paced world of nursing I had come from. It makes me wonder when you pass the crowded counters at the camera franchises or the rows of printing equipment in the office supplies shops, do the general populace understand the mastery that can be reached in photography? We all have access it seems to image making, but it is the few who walk towards its deep consideration of the technical and philosophical understandings.

How has photography changed your life?

I have learnt to trust my love for painterly photographs and paintings made with specific photographic input.

How have you changed since you were a student?

I am the same, but everything has changed.

Which photographers - past or present - have been major influences on your work?

I love looking at everyone’s representations. Ralph Eugene Meatyard’s experimentation with Zen twigs, and no focus images, is never far from my thoughts. I am fond of Pictorialism, so given ‘a long run for its money’, here in South Australia. I am influenced by the current hyper-saturated and “perfect” digital images of our current time: I am afraid I am a bit like a baboon screeching at the bars when I see lavender skies above real estate displays in the so called best magazines.

Who are the people who have shaped your work and career?

I was fortunate to have been taught by you Gavin in most of my Photographic courses. This has given me a broad and worldly view of the various genres tackled by photography, as well as the early ‘permission’ to be brave, experimental as well as focussed on the gifts that are within each individual artist/ photographer. The late Jim Cowley also provided just a fantastic philosophical foundation, and I will always remember his kind anarchy.

Is there a person (from anywhere, dead or alive) you admire most?

Goethe- for his science that ties in with current Quantum understandings of interconnection and ways of seeing.

Is there one iconic image which has most impacted on you and your work?

The grainy images of Astronaut Neil Armstrong stepping down and walking on the moon were profound (I was 8 years old at the time). As viewers, we were asked to half imagine the setting, because the images were so visually unsure. This blend of scientific / analytical thought that can interweave with the poetic imagination seems to be the most valuable way to consider thinking. And it leads to Noetic Science – how our consciousness can engage with the material world.

Any surprises - good or bad - as you have progressed in your career?

Surprises? How hard it is to be an artist in Adelaide? I work without days off, holidays, and for very long hours. I used to go to art school til 3.30pm, then return home and refine the day’s activities til midnight.  I am not therefore out and about much; I am busy at home making art. So it is no surprise that still, after twenty years, I am not well known in the wider community. Perhaps it is a surprise for others that I am still a busy and inspired image maker. It was an honour and a surprise last year to be a runner up for the AIPP National Art Photography Award 2016.

Do you have any advice for student photographers?

Move about and find, then settle on what photographs give you the most heightened natural brain chemistry. Then you have to practice, practice, and then practice more, so that your craft becomes automatic. Your level of proficiency must be so that you are not focused on basic details concerning materiality, but instead available to be open to the creative spirit that wanders down from the greater cosmos.

What is the best job you've done since you've been working in the industry?

I have had very few job opportunities with photography. I have done weddings, parties, hundreds of children’s portraits, event photography, newborns, followed a local band, but my payment was the extension of my knowledge.

What are your passions outside of photography?

Painting, photo-collage, etching, relief printing, gardening, antiques, collecting 35mm slides from op shops, collecting antique children’s art and activities books, live psychedelic music, travel in regional South Australia, Irish terriers and architectural phenomenology in trans–disciplinary research opportunities.

Any funny anecdotes from your experience in the industry?

Old women are the cutting edge.

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.

EARLY DAYS

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.

THE FIRST CLASS HELD

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).

Details:
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
Links:
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

Background:
(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,

Tillman

 

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.