Artist Statement
1 - Fallen Memories 01
2 - Fallen Memories 02
3 - Fallen Memories 03
4 - Fallen Memories 04
Urban spaces defined by autumn colour. Walking on leaves, looking up, not down to define place. Yet underfoot, if one looks, ephemeral landscapes can be found. Here the fallen wait to return to an earth which gave them life. Feet tread them in, rain washes them, wind remodels them, but they hang on, resisting their extinction. Annually this vision appears and disappears, but the moment of glory, relating to place and season, becomes a memory for what was. This set of work denotes place and memory, depicting the fallen leaves upon the wet and worn streets of humankind.
Artist Statement
1 - Fallen Memories 01
2 - Fallen Memories 02
3 - Fallen Memories 03
4 - Fallen Memories 04
Urban spaces defined by autumn colour. Walking on leaves, looking up, not down to define place. Yet underfoot, if one looks, ephemeral landscapes can be found. Here the fallen wait to return to an earth which gave them life. Feet tread them in, rain washes them, wind remodels them, but they hang on, resisting their extinction. Annually this vision appears and disappears, but the moment of glory, relating to place and season, becomes a memory for what was. This set of work denotes place and memory, depicting the fallen leaves upon the wet and worn streets of humankind.
Artist Statement
1 - Fallen Memories 01
2 - Fallen Memories 02
3 - Fallen Memories 03
4 - Fallen Memories 04
Urban spaces defined by autumn colour. Walking on leaves, looking up, not down to define place. Yet underfoot, if one looks, ephemeral landscapes can be found. Here the fallen wait to return to an earth which gave them life. Feet tread them in, rain washes them, wind remodels them, but they hang on, resisting their extinction. Annually this vision appears and disappears, but the moment of glory, relating to place and season, becomes a memory for what was. This set of work denotes place and memory, depicting the fallen leaves upon the wet and worn streets of humankind.
Artist Statement
1 - Fallen Memories 01
2 - Fallen Memories 02
3 - Fallen Memories 03
4 - Fallen Memories 04
Urban spaces defined by autumn colour. Walking on leaves, looking up, not down to define place. Yet underfoot, if one looks, ephemeral landscapes can be found. Here the fallen wait to return to an earth which gave them life. Feet tread them in, rain washes them, wind remodels them, but they hang on, resisting their extinction. Annually this vision appears and disappears, but the moment of glory, relating to place and season, becomes a memory for what was. This set of work denotes place and memory, depicting the fallen leaves upon the wet and worn streets of humankind.
Artist Statement
1 - Glasshouse--Moss-Vale
2 - Motel-Window—Mittagong
3 - Plant--South-Penrith
4 - Crow-Flying-Over-Hill--Dorrigo
The Holga Experiment is a body of work about my personal spiritual connection with photography and experience with creative practice. It connects me spiritually with two ancient Japanese philosophies; ikigai and wabi sabi. The simplification of the photographic process with a hyper-awareness of the environment around me is what this body of work attempts to capture. The work displays an ephemeral moment of my life’s journey with images that celebrate the beauty of the everyday with the imperfection of life. It contains an eclectic set of images utilising the Holga lens aesthetic to emphasise the sense of wabi sabi.
Artist Statement
1 - Glasshouse--Moss-Vale
2 - Motel-Window—Mittagong
3 - Plant--South-Penrith
4 - Crow-Flying-Over-Hill--Dorrigo
The Holga Experiment is a body of work about my personal spiritual connection with photography and experience with creative practice. It connects me spiritually with two ancient Japanese philosophies; ikigai and wabi sabi. The simplification of the photographic process with a hyper-awareness of the environment around me is what this body of work attempts to capture. The work displays an ephemeral moment of my life’s journey with images that celebrate the beauty of the everyday with the imperfection of life. It contains an eclectic set of images utilising the Holga lens aesthetic to emphasise the sense of wabi sabi.
Artist Statement
1 - Glasshouse--Moss-Vale
2 - Motel-Window—Mittagong
3 - Plant--South-Penrith
4 - Crow-Flying-Over-Hill--Dorrigo
The Holga Experiment is a body of work about my personal spiritual connection with photography and experience with creative practice. It connects me spiritually with two ancient Japanese philosophies; ikigai and wabi sabi. The simplification of the photographic process with a hyper-awareness of the environment around me is what this body of work attempts to capture. The work displays an ephemeral moment of my life’s journey with images that celebrate the beauty of the everyday with the imperfection of life. It contains an eclectic set of images utilising the Holga lens aesthetic to emphasise the sense of wabi sabi.
Artist Statement
1 - Glasshouse--Moss-Vale
2 - Motel-Window—Mittagong
3 - Plant--South-Penrith
4 - Crow-Flying-Over-Hill--Dorrigo
The Holga Experiment is a body of work about my personal spiritual connection with photography and experience with creative practice. It connects me spiritually with two ancient Japanese philosophies; ikigai and wabi sabi. The simplification of the photographic process with a hyper-awareness of the environment around me is what this body of work attempts to capture. The work displays an ephemeral moment of my life’s journey with images that celebrate the beauty of the everyday with the imperfection of life. It contains an eclectic set of images utilising the Holga lens aesthetic to emphasise the sense of wabi sabi.
Artist Statement
1 - Cawndilla
2 - Combiruni-Hartley
3 - Minnergong-Mundi-Mundi
4 - Mulladon-Milo-Downs
Returning from travelling through time to explore and investigate the new world of the future. A place of drastic change and contrast to our very own but seemingly similar in its outcome. The dawn of a post-modern world reveals the shifting perspective in power structure and stability. A plane leading to questions of mistakes gone past, the visual world left to its desires. Landscapes spanning of global destruction. Isolated instances of universal chaos. Rivers choked, deserts intense. Nature dares to try. One thing brought back with absolute certainty, it was unquestionably dry.
Artist Statement
1 - Cawndilla
2 - Combiruni-Hartley
3 - Minnergong-Mundi-Mundi
4 - Mulladon-Milo-Downs
Returning from travelling through time to explore and investigate the new world of the future. A place of drastic change and contrast to our very own but seemingly similar in its outcome. The dawn of a post-modern world reveals the shifting perspective in power structure and stability. A plane leading to questions of mistakes gone past, the visual world left to its desires. Landscapes spanning of global destruction. Isolated instances of universal chaos. Rivers choked, deserts intense. Nature dares to try. One thing brought back with absolute certainty, it was unquestionably dry.
Artist Statement
1 - Cawndilla
2 - Combiruni-Hartley
3 - Minnergong-Mundi-Mundi
4 - Mulladon-Milo-Downs
Returning from travelling through time to explore and investigate the new world of the future. A place of drastic change and contrast to our very own but seemingly similar in its outcome. The dawn of a post-modern world reveals the shifting perspective in power structure and stability. A plane leading to questions of mistakes gone past, the visual world left to its desires. Landscapes spanning of global destruction. Isolated instances of universal chaos. Rivers choked, deserts intense. Nature dares to try. One thing brought back with absolute certainty, it was unquestionably dry.
Artist Statement
1 - Cawndilla
2 - Combiruni-Hartley
3 - Minnergong-Mundi-Mundi
4 - Mulladon-Milo-Downs
Returning from travelling through time to explore and investigate the new world of the future. A place of drastic change and contrast to our very own but seemingly similar in its outcome. The dawn of a post-modern world reveals the shifting perspective in power structure and stability. A plane leading to questions of mistakes gone past, the visual world left to its desires. Landscapes spanning of global destruction. Isolated instances of universal chaos. Rivers choked, deserts intense. Nature dares to try. One thing brought back with absolute certainty, it was unquestionably dry.
Artist Statement
1 - To Dear Mary from Mollie
2 - To Dear Mary from Monnie
3 - To Dear Mary from N Dempsey
4 - To Dear Mary from Teresa
Christmas 1929 Irish schoolgirl Mary received a notebook and asked her friends to write in it. The sentiments those teenage girls penned are strikingly poignant: an insight into a country that had experienced famine, civil war and mass migration. The poems and sayings carry recurring promises of ongoing friendship despite separation and loneliness. In the Australian outback I have found various signs of past habitation and wondered about the stories behind them - of loss, abandonment and heartbreak. I admire the bravery and resilience of those early migrants and imagine them seeking comfort in letters and keepsakes from 'home'.
Artist Statement
1 - To Dear Mary from Mollie
2 - To Dear Mary from Monnie
3 - To Dear Mary from N Dempsey
4 - To Dear Mary from Teresa
Christmas 1929 Irish schoolgirl Mary received a notebook and asked her friends to write in it. The sentiments those teenage girls penned are strikingly poignant: an insight into a country that had experienced famine, civil war and mass migration. The poems and sayings carry recurring promises of ongoing friendship despite separation and loneliness. In the Australian outback I have found various signs of past habitation and wondered about the stories behind them - of loss, abandonment and heartbreak. I admire the bravery and resilience of those early migrants and imagine them seeking comfort in letters and keepsakes from 'home'.
Artist Statement
1 - To Dear Mary from Mollie
2 - To Dear Mary from Monnie
3 - To Dear Mary from N Dempsey
4 - To Dear Mary from Teresa
Christmas 1929 Irish schoolgirl Mary received a notebook and asked her friends to write in it. The sentiments those teenage girls penned are strikingly poignant: an insight into a country that had experienced famine, civil war and mass migration. The poems and sayings carry recurring promises of ongoing friendship despite separation and loneliness. In the Australian outback I have found various signs of past habitation and wondered about the stories behind them - of loss, abandonment and heartbreak. I admire the bravery and resilience of those early migrants and imagine them seeking comfort in letters and keepsakes from 'home'.
Artist Statement
1 - To Dear Mary from Mollie
2 - To Dear Mary from Monnie
3 - To Dear Mary from N Dempsey
4 - To Dear Mary from Teresa
Christmas 1929 Irish schoolgirl Mary received a notebook and asked her friends to write in it. The sentiments those teenage girls penned are strikingly poignant: an insight into a country that had experienced famine, civil war and mass migration. The poems and sayings carry recurring promises of ongoing friendship despite separation and loneliness. In the Australian outback I have found various signs of past habitation and wondered about the stories behind them - of loss, abandonment and heartbreak. I admire the bravery and resilience of those early migrants and imagine them seeking comfort in letters and keepsakes from 'home'.
Artist Statement
1 - Fallen Memories 01
2 - Fallen Memories 02
3 - Fallen Memories 03
4 - Fallen Memories 04
Urban spaces defined by autumn colour. Walking on leaves, looking up, not down to define place. Yet underfoot, if one looks, ephemeral landscapes can be found. Here the fallen wait to return to an earth which gave them life. Feet tread them in, rain washes them, wind remodels them, but they hang on, resisting their extinction. Annually this vision appears and disappears, but the moment of glory, relating to place and season, becomes a memory for what was. This set of work denotes place and memory, depicting the fallen leaves upon the wet and worn streets of humankind.
Artist Statement
1 - Fallen Memories 01
2 - Fallen Memories 02
3 - Fallen Memories 03
4 - Fallen Memories 04
Urban spaces defined by autumn colour. Walking on leaves, looking up, not down to define place. Yet underfoot, if one looks, ephemeral landscapes can be found. Here the fallen wait to return to an earth which gave them life. Feet tread them in, rain washes them, wind remodels them, but they hang on, resisting their extinction. Annually this vision appears and disappears, but the moment of glory, relating to place and season, becomes a memory for what was. This set of work denotes place and memory, depicting the fallen leaves upon the wet and worn streets of humankind.
Artist Statement
1 - Fallen Memories 01
2 - Fallen Memories 02
3 - Fallen Memories 03
4 - Fallen Memories 04
Urban spaces defined by autumn colour. Walking on leaves, looking up, not down to define place. Yet underfoot, if one looks, ephemeral landscapes can be found. Here the fallen wait to return to an earth which gave them life. Feet tread them in, rain washes them, wind remodels them, but they hang on, resisting their extinction. Annually this vision appears and disappears, but the moment of glory, relating to place and season, becomes a memory for what was. This set of work denotes place and memory, depicting the fallen leaves upon the wet and worn streets of humankind.
Artist Statement
1 - Fallen Memories 01
2 - Fallen Memories 02
3 - Fallen Memories 03
4 - Fallen Memories 04
Urban spaces defined by autumn colour. Walking on leaves, looking up, not down to define place. Yet underfoot, if one looks, ephemeral landscapes can be found. Here the fallen wait to return to an earth which gave them life. Feet tread them in, rain washes them, wind remodels them, but they hang on, resisting their extinction. Annually this vision appears and disappears, but the moment of glory, relating to place and season, becomes a memory for what was. This set of work denotes place and memory, depicting the fallen leaves upon the wet and worn streets of humankind.
Artist Statement
1 - Glasshouse--Moss-Vale
2 - Motel-Window—Mittagong
3 - Plant--South-Penrith
4 - Crow-Flying-Over-Hill--Dorrigo
The Holga Experiment is a body of work about my personal spiritual connection with photography and experience with creative practice. It connects me spiritually with two ancient Japanese philosophies; ikigai and wabi sabi. The simplification of the photographic process with a hyper-awareness of the environment around me is what this body of work attempts to capture. The work displays an ephemeral moment of my life’s journey with images that celebrate the beauty of the everyday with the imperfection of life. It contains an eclectic set of images utilising the Holga lens aesthetic to emphasise the sense of wabi sabi.
Artist Statement
1 - Glasshouse--Moss-Vale
2 - Motel-Window—Mittagong
3 - Plant--South-Penrith
4 - Crow-Flying-Over-Hill--Dorrigo
The Holga Experiment is a body of work about my personal spiritual connection with photography and experience with creative practice. It connects me spiritually with two ancient Japanese philosophies; ikigai and wabi sabi. The simplification of the photographic process with a hyper-awareness of the environment around me is what this body of work attempts to capture. The work displays an ephemeral moment of my life’s journey with images that celebrate the beauty of the everyday with the imperfection of life. It contains an eclectic set of images utilising the Holga lens aesthetic to emphasise the sense of wabi sabi.
Artist Statement
1 - Glasshouse--Moss-Vale
2 - Motel-Window—Mittagong
3 - Plant--South-Penrith
4 - Crow-Flying-Over-Hill--Dorrigo
The Holga Experiment is a body of work about my personal spiritual connection with photography and experience with creative practice. It connects me spiritually with two ancient Japanese philosophies; ikigai and wabi sabi. The simplification of the photographic process with a hyper-awareness of the environment around me is what this body of work attempts to capture. The work displays an ephemeral moment of my life’s journey with images that celebrate the beauty of the everyday with the imperfection of life. It contains an eclectic set of images utilising the Holga lens aesthetic to emphasise the sense of wabi sabi.
Artist Statement
1 - Glasshouse--Moss-Vale
2 - Motel-Window—Mittagong
3 - Plant--South-Penrith
4 - Crow-Flying-Over-Hill--Dorrigo
The Holga Experiment is a body of work about my personal spiritual connection with photography and experience with creative practice. It connects me spiritually with two ancient Japanese philosophies; ikigai and wabi sabi. The simplification of the photographic process with a hyper-awareness of the environment around me is what this body of work attempts to capture. The work displays an ephemeral moment of my life’s journey with images that celebrate the beauty of the everyday with the imperfection of life. It contains an eclectic set of images utilising the Holga lens aesthetic to emphasise the sense of wabi sabi.
Artist Statement
1 - Cawndilla
2 - Combiruni-Hartley
3 - Minnergong-Mundi-Mundi
4 - Mulladon-Milo-Downs
Returning from travelling through time to explore and investigate the new world of the future. A place of drastic change and contrast to our very own but seemingly similar in its outcome. The dawn of a post-modern world reveals the shifting perspective in power structure and stability. A plane leading to questions of mistakes gone past, the visual world left to its desires. Landscapes spanning of global destruction. Isolated instances of universal chaos. Rivers choked, deserts intense. Nature dares to try. One thing brought back with absolute certainty, it was unquestionably dry.
Artist Statement
1 - Cawndilla
2 - Combiruni-Hartley
3 - Minnergong-Mundi-Mundi
4 - Mulladon-Milo-Downs
Returning from travelling through time to explore and investigate the new world of the future. A place of drastic change and contrast to our very own but seemingly similar in its outcome. The dawn of a post-modern world reveals the shifting perspective in power structure and stability. A plane leading to questions of mistakes gone past, the visual world left to its desires. Landscapes spanning of global destruction. Isolated instances of universal chaos. Rivers choked, deserts intense. Nature dares to try. One thing brought back with absolute certainty, it was unquestionably dry.
Artist Statement
1 - Cawndilla
2 - Combiruni-Hartley
3 - Minnergong-Mundi-Mundi
4 - Mulladon-Milo-Downs
Returning from travelling through time to explore and investigate the new world of the future. A place of drastic change and contrast to our very own but seemingly similar in its outcome. The dawn of a post-modern world reveals the shifting perspective in power structure and stability. A plane leading to questions of mistakes gone past, the visual world left to its desires. Landscapes spanning of global destruction. Isolated instances of universal chaos. Rivers choked, deserts intense. Nature dares to try. One thing brought back with absolute certainty, it was unquestionably dry.
Artist Statement
1 - Cawndilla
2 - Combiruni-Hartley
3 - Minnergong-Mundi-Mundi
4 - Mulladon-Milo-Downs
Returning from travelling through time to explore and investigate the new world of the future. A place of drastic change and contrast to our very own but seemingly similar in its outcome. The dawn of a post-modern world reveals the shifting perspective in power structure and stability. A plane leading to questions of mistakes gone past, the visual world left to its desires. Landscapes spanning of global destruction. Isolated instances of universal chaos. Rivers choked, deserts intense. Nature dares to try. One thing brought back with absolute certainty, it was unquestionably dry.
Artist Statement
1 - To Dear Mary from Mollie
2 - To Dear Mary from Monnie
3 - To Dear Mary from N Dempsey
4 - To Dear Mary from Teresa
Christmas 1929 Irish schoolgirl Mary received a notebook and asked her friends to write in it. The sentiments those teenage girls penned are strikingly poignant: an insight into a country that had experienced famine, civil war and mass migration. The poems and sayings carry recurring promises of ongoing friendship despite separation and loneliness. In the Australian outback I have found various signs of past habitation and wondered about the stories behind them - of loss, abandonment and heartbreak. I admire the bravery and resilience of those early migrants and imagine them seeking comfort in letters and keepsakes from 'home'.
Artist Statement
1 - To Dear Mary from Mollie
2 - To Dear Mary from Monnie
3 - To Dear Mary from N Dempsey
4 - To Dear Mary from Teresa
Christmas 1929 Irish schoolgirl Mary received a notebook and asked her friends to write in it. The sentiments those teenage girls penned are strikingly poignant: an insight into a country that had experienced famine, civil war and mass migration. The poems and sayings carry recurring promises of ongoing friendship despite separation and loneliness. In the Australian outback I have found various signs of past habitation and wondered about the stories behind them - of loss, abandonment and heartbreak. I admire the bravery and resilience of those early migrants and imagine them seeking comfort in letters and keepsakes from 'home'.
Artist Statement
1 - To Dear Mary from Mollie
2 - To Dear Mary from Monnie
3 - To Dear Mary from N Dempsey
4 - To Dear Mary from Teresa
Christmas 1929 Irish schoolgirl Mary received a notebook and asked her friends to write in it. The sentiments those teenage girls penned are strikingly poignant: an insight into a country that had experienced famine, civil war and mass migration. The poems and sayings carry recurring promises of ongoing friendship despite separation and loneliness. In the Australian outback I have found various signs of past habitation and wondered about the stories behind them - of loss, abandonment and heartbreak. I admire the bravery and resilience of those early migrants and imagine them seeking comfort in letters and keepsakes from 'home'.
Artist Statement
1 - To Dear Mary from Mollie
2 - To Dear Mary from Monnie
3 - To Dear Mary from N Dempsey
4 - To Dear Mary from Teresa
Christmas 1929 Irish schoolgirl Mary received a notebook and asked her friends to write in it. The sentiments those teenage girls penned are strikingly poignant: an insight into a country that had experienced famine, civil war and mass migration. The poems and sayings carry recurring promises of ongoing friendship despite separation and loneliness. In the Australian outback I have found various signs of past habitation and wondered about the stories behind them - of loss, abandonment and heartbreak. I admire the bravery and resilience of those early migrants and imagine them seeking comfort in letters and keepsakes from 'home'.
Please Note: MRAC Gallery is the host of the exhibition. It is NOT the organiser of the MCPP and ALL questions regarding MCPP should be directed to Brian Rope or Roger Skinner. Except for technical enquiries which should be directed to arts.centre@muswellbrook.nsw.gov.au.
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Bio
At almost 96 years of age, Graham is a living legend in the photography world with two books under his belt and another in the pipeline. His photographs are held in many institutions around Australia, including the National Library in Canberra.
His illustrious career includes being a founding member of the Australian Photographic Society in 1962. Since that time, he has contributed enormously to the Society and its members, has been involved in the organisation of national and international exhibitions and has been represented in many solo and group exhibitions. He is a past president and was the APS Print Division chairman for ten years.
He began photographing at the age of seventeen, having been introduced to it by his younger brother, Sydney, who had joined Toowoomba Grammar School’s camera club. Thus began a lifelong passion for the artform and a commitment to its promotion through the photographic movement – the latter seeing him recognised by an Order of Australia medal in 2004 for his services to Photography. The first Queenslander to do so, he has achieved a Fellowship in each of the Australian, British and American Photographic Societies. After 60 years membership, he is patron and life member of the Toowoomba Photographic Society.
As one would expect, he continues to photograph using film and creates prints using gelatin silver.
Contact Details
www.grahamburstow.com.au
Bio
Martyn Jolly is an Honorary Associate Professor at the Australian National University School of Art and Design. He is an artist and a writer.
As an artist he has participated in several major curated exhibitions and developed solo exhibitions which creatively re-use archival photographs. Works from Wonderful Pictures and 1963: News and Information are in the collections of the National Gallery of Australia, the National Gallery of Victoria and the Canberra Museum and Gallery. In 2006 he was one of three artists commissioned to design and build the Act Bushfire Memorial. He completed his PhD on fake photographs and photographic affect at the University of Sydney in 2003.
In 2006 his book Faces of the Living Dead: The Belief in Spirit Photography was published by the British Library, as well as in the US and Australia. In 2011 he undertook a Harold White Fellowship at the National Library of Australia and a Collection Scholar Artist in residence Fellowship at the Australian National Film and Sound Archive. In 2014 he received an Australian Research Council Discovery grant along with Dr Daniel Palmer to research the impact of new technology on the curating of Australian art photography. In 2015 he received an Australian Research Council Discovery Grant to lead the international project Heritage in the Limelight: The Magic Lantern in Australia and the World.
Since 2015 he has developed a series of collaborative magic lantern performances around Australia, available on the Heritage in the Limelight website. In 2020, with Elisa deCourcy he co-edited The Magic Lantern at Work: Witnessing, Persuading, Experiencing and Connecting, and co-authored Empire, Early Photography and Spectacle: the Global Career of Showman Daguerreotypist J. W. Newland, both published by Routledge. His book, co-authored with Daniel Palmer, Installation View: Australian Photography Exhibitions 1848-2020, was published by Perimeter Editions in 2021. He is also researching Australian illustrated magazines, Australiana photobooks, colonial spectacle and modernity, colonial photography, the history of Australian media art, and early Australian visual education.
Contact Details
www.martynjolly.com/
Social Media
facebook.com/martyn.jolly.39
twitter.com/martyn_jolly?lang=en
@martyn_jolly
Bio
Libby co-founded Australia’s first print-on-demand photo book company, Momento, in 2004. Since then she has helped establish the Australia & New Zealand Photobook Awards and the APS Photobook Competition, as well as the first photo book festivals in the region - Photobook Melbourne and Photobook New Zealand. She regularly curates content and hosts events to enable photographers to design and self-publish successful books, and passionately promotes antipodean photo books to the local and international community.
Contact Details
www.momentopro.com.au
Bio
No journalist bridged the worlds of journalism and entertainment more successfully than Ray Martin. He was a New York correspondent for the ABC, a star reporter in the heyday of Channel 9’s Sixty Minutes, hosted the television variety show Midday for eight years, presented the nightly news programme A Current Affair and hosted federal election debates and counts. He broke big stories and along the way collected five Gold Logies for the most popular personality on television and is a member of the Australian Media Hall of Fame.
His philanthropy is evident in his support for the Fred Hollows Foundation and his work in this and other areas is to be applauded.
Less well known is the fact that he is a passionate photographer with a special interest in outback landscape. Not one to take himself too seriously, he describes himself as a mad photographer, Rabbitohs fan and occasional journo.
Ray Martin's Photography Journey
Veteran journalist & award-winning TV personality Ray Martin has been, what he calls, “ a closet photographer” for over half a century.
Paid to TELL the story - not take the pictures - Ray was always being told to “ put the damn camera down” by producers & tv cameramen at Four Corners & 60 Minutes.
Thankfully, he didn’t. To prove it, there’s a catalogue of photographs, a number of exhibitions & a book with his pictures, published by Melbourne University Press
a few years ago, called "Ray Martin’s World". Martin says he’s like 'The Man from American Express' - he never leaves home without his camera! Photos from commercial planes at 37,000 feet have become a specialty. He’s got a million stories to tell of exotic places he’s been, and strange people he’s met; including some truly great photographers.
What’s Ray Martin going to reveal ? Well, as they say in the news business …"Watch This Space".
Social Media
twitter.com/raymartin
Bio
John has been a member of APS for more than 40 years. He is a former President and was a member of the executive for 10 years. He is currently Chair of the APS AV Group. Over his years of membership he has been awarded many photographic honours in still images, AV and for service to both APS and FIAP. He has also judged and made photographic presentations in all Australian states and Territories as well as in New Zealand, England, China and South Africa.
In 2006 John was appointed Patron of the South Australian Photographic Federation and continues to serve in that position. He regularly runs courses in landscape photography and audio visual making for members of clubs affiliated with the Federation and continues to be active as a judge and presenter. His principal photographic interests are audio visuals, landscape, architecture and wildlife.
Contact
Email John Hodgson
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