2018. Expired Kodak 120 format. Pinhole camera. Processed by CPL Melbourne. 105 x 105 framed

1/6 Glycee print on matt fine art Hahnemuhle William Turner stock

Holga cameras are light, and can be easily stowed away on sailing and racing adventures. They also survive being washed with salt water from crashing waves. I combined sailing with an opportunity to learn more about traditional navigation. Not everyone knows or needs to know how to use a sextant right? So, after twelve days at sea sailing from New Caledonia to Sydney heads, which was amazing by the way, I needed some time on the land. I'd not explored the northern NSW coast line until sighting it from sea. So we rented a beach shack up on the point of this amazing coastline. Just a pub and a milk bar, somewhere between Newcastle and XXXX. I can't tell you where. Holga pinhole. Kodak 120. Long exposures, salt water and sand scratchings.

My work is a statement around the immediacy of the impact of the social and digitisation. Intentionally my work is slow. There is nothing fast about my practice or method. In reality, images can take over 25yrs to manifest or longer. I feel for the loss of the ‘magic’ that film photography hooked me in with. That excitement and rush when as a child with my 110 format Haminex camera, my sister and I would have our film processed at the local chemist. (You’d get a free replacement film. We had no idea about the process nor costs. It just went on the family account. We thought it was free... and magical) My method is unconventional and seeks to challenge the purist photographer and exlore analogue techniques. My current work explores working with basic simplified methods. I use my years of design experience and understanding of composition. This practice introduces and presents a play with risk, accident and chance to influence the end image result.

Working with a range of cameras and 120 medium format film, my work is pure film based and all in camera. There is no digitisation or computer manipulation with my work practice. My only intent is to make a beautiful image from a flawed and faulty process. My body of work explores edges where land meets water, my work explores the feeling of movement of the ocean and wave states. I have always had a love and intrigue with the ocean and life offshore.

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