For the love of it. Living in rural west of Ireland my daughters love of animals is evident. During lockdown we borrowed two horses from the local stables as business had stopped. Willow & Dessie built a relationship up over this time that I documented. No matter the weather, she was there everyday to show him love..
Boy Swallows Universe. Author Trent Dalton. Dalton wrote the best seller Boy Swallows Universe.
Vietnam veteran, Michael Rogozik waits by his front doo. Mike was born in Loxton, SA and moved to Nyack, New York when he was about nine. I too moved from Australia to New York. I met Mike at the local corner store. We became good friends and loved talking about our childhood. He told stories about The Murray River, orange trees and almond picking. Mike passed away this year, during Covid. I didn't get to say goodbye.
MICHELLE. After a night asleep we wake, before showers or our first coffee we are exposed, raw and often hiding of ourselves to others. We haven't put on our armour to face the day or the social facades we want to project. Is this the most pure and honest time that we are our true selves.
Penny 4. Penny Coombes has been a muse and inspiration for the past 7 years for The Murphy Gozzard Hair Community. This is her 3rd sitting to be the face of our brand. Penny represents everything that we wish to portray in or brand. Having just turned 80 Penny is an incredible inspiration to our community and we are proud to have her as the face of our brand.
Jess, Billy and Harper in Amamoor . A portrait of Jess, Billy and Harper taken at their farm house in Amamoor, QLD, early on a Tuesday morning.
HER. I photographed her with the intention of an impersonal personality(schizophrenic) This is not only because I wanted to take images that mimic visual memory, but I also wanted the photos to be accessible to the viewer. While photographing with polaroid film, it had the effect of not thinking about freezing and being suspicious that it would be the only one before it disappeared.
Untitled. From the series, Circumnavigator. This series of self portraits is a work-in-progress, inspired by the idea of vicarious travel during the COVID-19 pandemic using an old View-Master, with its circular reels of photographs of aspirational global tourist destinations. Set mostly in areas devastated by bushfire (here, Namadgi), it also invites reflection on a renewed focus on our own backyard.
Follow the Leader. My son, Cameron, walking our new horse Richie around the paddock. We had just bought Richie and explained to Cameron that you need to earn a horse's respect and teach him that you are the leader. He spent the next week or so walking Richie around the paddock every day and earning his trust.
Mottainai. I captured this image to embody the images of farmers wearing boro which means a kind of clothes farmers wear when they work in Japan) Those clothes are made by a designer and all materials are recyclable. We claim against over waste through the photo. [email protected] MUA @trashmamamakeup
The burnt east gippsland forest, VIC reflected in post-fire rain puddles in dyptich with self-portrait of the artist.
Dancer David Barnett. I met Dave at Circular Quay in Sydney while I was working on a street photography project. After I photographed him we fell into conversation. Dave arrived early at the Quay for his day of busking, he was sitting on a garden ledge in a densely planted area, a tropical haven amongst the noise, road works, traffic and chaos of the the busy Quay area.
On femininity. This series explores different women's and non-binary people's relationship to the notion of femininity in and around Melbourne today. Femininity is a social construct. This series challenges traditional notions about how we think about 'femininity'. Ehara taku toa i te toa takitahi. Engari, he toa takitini. My strength is not the strength of one. It is the strength of many. Marie Hana.
The Foundryman. The boss and son of founder of Montrose Foundry upstairs in his office in Auckland, New Zealand.
Columbiere Tipungwuti. Tiwi people paint Jilamara on their body, on a screen, or on canvas. In the old days people did Jilamara by making a scar on their body with a shell. Tobias Titz collaborated with Jilamara Artists from Milikapiti, Tiwi Islands. The artists share the image making process by etching their Jilamara in the wet emulsion of the large format Polaroid negative.
Jess Laing. Jess Laing 2018, Cape Woolamai, Phillip Island. 4x5 Wet Plate Collodion photograph.
Behind the Scenes at the Royal Melbourne Hospital ICU and COVID wards. Infectious disease nurse Rosie Dickison between changing masks after her shift on COVID Ward 9 East. Rosie shows the pressure marks and nose protection strip, after her shift before she changes to a fresh mask. Picture: David Caird
The cusp of manhood.My 17 year old son ages with each photograph. I am shocked by the contrast between the image in my minds eye and that before me.
Reconstructing Myself.A montage of polaroid self portraits using expired film this image symbolises a return to owning my body again after 10 years of mothering.
Hugh.Whilst photography street portraits I came across Hugh. He was adamant there had to be a catch to me taking his portrait and details.
Eight (iii). Collaborating with my daughter, eight is a portrait series that started as a way of exploring shadows within our home differently during lockdown. Influenced by the Pre-Raphaelites and master painters of chiaroscuro a moment is held for a brief period as we create a portrait together. I know this time will be fleeting, and I want to inhale in some way, her light. Her time of being eight.
Deterioration. This diptych-style image explores themes of deterioration, identity, loss, and manipulation, through an abstract portrait of my father. This was created by disturbing the image with cleaning products while the ink was still wet on transparent paper, revealing a unique and abstract reproduction of the original image that sits beside it.
Friends on Film #8. Friends on Film (2020) was inspired by isolation and the need for human connection and sharing of our own individual experiences of this strange time. I am attempting to embrace what was is enforced slowing down. The analog camera lens for me is a portal into a different way of seeing, a re-evaluation of how I feel about photography, which is ultimately just a way to connect with other humans.
Quanah's Waterlilies. On Valentines Day, Quanah jumps into the pond to pick waterlilies for the girls at work
Quarantined For A Dream. Portrait taken in mandatory hotel quarantine, stifled, suffocated and sterile.
The Producer. Tima has been involved in the music business from the age of 13 when she was invited to watch Cream record Politician at Atlantic Studios. Now a producer of internationally recorded concerts such as Foo Fighters at the Parthenon in Greece, she may seem tough, but is a softy at heart. I photographed Tima in her LA home, with her poodle Sunny, a dog she rescued from the meat industry in Korea.
Goran Bregovic Green Room Sydney Opera House. Goran Bregovic is an icon. A living legend loved by millions around the world. This MOSAIC portrait was taken moments before he played for an energetic audience at the Sydney Opera House. I desperately wanted to create a project where the craft of photography produced the result. I love the honesty in this portrait, taken from the MOSAIC series. All frames shot consecutively on one roll of film.
Finding and losing myself in the garden. This image is from my on-going series of self-reflection where I understand my relationship with the garden, exploring it as a space of memory, myth, mystery, and metaphor.
100 Nights. During the 'State of Disaster' lockdown in Melbourne I set up a darkroom in my laundry and immersed myself in my film practice. Every night I'd creep into my sons room and photograph him as he slept. I noticed that witnessing a person is the state of sleep evokes such a deep sense of compassion. As he lay there, pure, inculpable and vulnerable my heart ached with love, guilt and wonder.
Heida. Heida has lived on her family dairy farm since she was a child, and now lives their with her husband and two children. She is a school teacher, but the chickens are her responsibility on the farm. From my project, 'On the Farm.'
Friends on Film #1. Friends on Film (2020) was inspired by isolation and the need for human connection and sharing of our own individual experiences of this strange time. I am attempting to embrace what was is enforced slowing down. The analog camera lens for me is a portal into a different way of seeing, a re-evaluation of how I feel about photography, which is ultimately just a way to connect with other humans.
Fledgling. With limbs lengthening and a voice deepening in both tone and opinion, I sit back and wait. Holding time briefly in between my finger-tips before being snatched away, reclaimed as his own. I watch him, fascinated. Celebrating, and with a little motherhood reluctance, readying my child to fly.
Just Us - Kev & George. "Its both our first relationship, so this was just the next thing and we embraced it. It was like being on school holidays again. Now that were back, everythings become so fast. The events of a month are happening in a week." - Kev and George, from Just Us - a series of photographs and interviews that unpack the impact and changes in relationship dynamics as a result of Perths lockdown period.
Leon Roberts. Portrait of Leon Roberts who lives in the small rural town of Wirrulla on the west coast of South Australia. I lived in this small town briefly as a child and capturing Leon's portrait was a way to reconnect with my past and with Leon. This portrait is a reminder that even places that appear superficially bleak, often have heart and a sense of community.
Mark Thomson talks about his battle with breast cancer and how he's shaving his beard for a breast cancer awareness fundraiser. Photo: Cath Grey
Under smoky skies. At the height of the bushfire season of 2019-2020, it felt as if the smoke would never clear. After a few months, life resumed as normal and even under the most smoky of skies we went about our day to day lives attempting to salvage some enjoyment and normality out of our summer. Shot on the South Coast of NSW, this portrait represents our summer and what became our eery new normal.
Rosalind. Rosalind, a journalist from Shropshire, England, walking around the Long Mynd as part of a project looking into the mythology and folklore of the area.
Ex Cairns to the SUNDAY MAIL 14.02.2020 (req - Jamie Hanson) Breast Reconstruction Massive Public Hospital waiting Lists - PICS BRIAN CASSEY Kate Yeoman had a double mastectomy eight years ago afetr being diagnosed with a rare form of cancer she is still waiting for a reconstruction. PIc : Brian Cassey
Mirror_rorriM . A collection of self-portraits from the series Mirror_rorriM ; a study of light and reflection captured in a home bedroom.
Miya Miya. Healing powers of the Miya Miya providing strength to young brothers after sorry business.
Jacob. This image is part of a series of portraits inspired by traditional analogoe photography. In an age of technology with endless possibilities, my aim was to produce images with little or no post processing. This was acheived with the use of a red filter and shooting in black and white.
One, two, three. It was only a matter of time until I had a panic attack during Melbournes second lockdown. Ive had to learn to control these when I am alone (which is a lot) and counting is the only thing to do stop it. Three slow breaths in, hold, then three breaths out. I have to count out loud or if Im lucky someone is there to help me.
Nikolai. Originally from Germany, Nikolai now lives in Montgomery, Wales, permanently since the beginning of the Covid-19 pandemic - because "where else in the world would one rather be?". He used to lecture on Church history, and has been teaching in the area for the past 30 years.
Isabella Melody Moore
Dave and Barb, Cobargo. Dave and Barbara of Cobargo, foster carers with 14 children, adopted and biological, lost their home to the black summer bushfires. 'People have been saying for years and years we are going to have a massive bushfire if we dont start clearing, Id rather loose my house than my family, if Id stayed wed have all been burned in our bed'.
A Suri boy uses orange and white ochre to decorate his body. The people of the Omo valley, Ethiopia, use nature as a source of self-expression - flowers, river clay, grass, and unusual found objects are put together in striking displays for special occasions.
'Unmasked'. As all we planned continued to crumble, the anxiety increased, days lost in thought. We would change wedding plans again and again only to fail. Finally, we succumbed....this was about us, we needed each other more than ever. We needed something positive during this pandemic. In eloping we found our strength. Unmasked and in love. (In camera double exposure)
Untitled . For this portrait, I created split lighting through using a hard-light source and cinefoil to block out the light. This created dark shadows across the subjects face. The idea behind this photo, is if for the shadows to act as a mask, in which the part of the subject's face is hidden, concealing her vulnerability. The use of bare skin and black and white add to the simplicity and vulnerability
Faraday. Catching my friends daughter Faraday in a rare moment of stillness in the last light of the day.
Kit at Mr Wilkinsons Kit describes themself as a Non-gendered, pan-sexual, male transvestite and bar-fly and lectures in Gender Studies at Monash University
Hae Mu Morrow. Hae Mu Morrow is a proud Karen woman from the country formerly known as Burma. She settled in Victoria, Australia as part of a mass influx of refugees of the ethnic minorities of Burma in the early 2000's. Hae Mu has taken part in a 'narrative therapy' project. By recounting positive memories from her childhood it helps her cope pshycologically with past taumas as a refugee displaced by conflict. She is now an Australian citizen, and for the first time in her life is no longer 'stateless'. Hae Mu is one of a number of refugees from Burma photographed for a project that examines the the disconnect refugees from Burma have with a country they only knew as a child. The pride they have in their heritage is juxtaposed against a backdrop of a home that calls them Australians. Photograph by Christopher Hopkins