WEBVTT
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So without further ado,
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let's get underway.
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These Thursdays,
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these Thursday programmes,
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we've been featuring
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photographers,
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professional photographers,
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from around Australia,
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but who also happen to be good friends
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with the National Portrait Gallery
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and today's programme is no exception.
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Ingvar Kenne, has been a friend of the Portrait Gallery
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for very, very long time now,
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and we'll hear a little bit about that during the programme,
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but we have no less than 23 portraits of his
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in our collection,
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but also his portraits have featured
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in the National Photographic Portrait prize for many years,
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including winning
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one of the National Photographic Portrait prizes,
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so, Ingvar, thank you so much for joining us today.
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Oh, thank you for having me.
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Good night.
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Thank you.
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No problems.
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Should we just dive in?
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Should we just--
I think yeah.
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(both laughing)
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Sounds great.
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All right. Well, we've got,
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we were talking earlier at our tech discussion that
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we've actually got one of the first photographs
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that you shot for what has now become
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The Citizen project
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that we'll hear a little bit about during the talk.
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Do you wanna just give us a little bit of background
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into this first portrait that we're looking at now?
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Yeah, that came about
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when I set out
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on a global motorcycle trip in '94
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and then ended up going on for two and a half years,
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and I've travelled with a friend.
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And we started finish together,
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but we kind of separated,
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so there's a lot of
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my own time
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and
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I, up to that point,
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I've been taking photographs for quite some time already
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and I studied at university,
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and I felt like it was nothing.
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I sort of felt like, I'd started things
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and never finished them
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and this,
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this trip became quite crucial and important
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and, you know,
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start of something that's now going on for 27 years, is it?
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But
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I realised,
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that the context of travelling,
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which ended up being 35-40 countries,
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in order to make these images that you take
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during that time
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relate to each other,
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it became important to have these strict parameters.
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You know, same,
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same format, same lens, same film,
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and
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same approach, and I was lucky to have a friend in,
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back in
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Stockholm then.
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Every, so often, you send 10 rolls back home
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that got developed a set of context sheets for sense
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to some poster standard address.
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Three months down the road,
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so you kind of got
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an update,
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three months delay back then.
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And very clearly and very early on,
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I realised that the,
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the thing that kind of gelled the trip for me
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and both as a person, but visually was the portraits.
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So,
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with kind of
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the help of these contact sheets,
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it became
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this narrowed focus on how I would approach
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these meetings that was all random
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and how to do them,
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make them sit together in a cohesive format.
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And this was the first,
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well, I'd like to call it the first,
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I think I've taken one or two putters before,
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but this is
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after arriving on an oil tanker from Norway
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and
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being offloaded onto the,
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in the Harbour there in Halifax, Canada,
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and this guy, Wendell, worked at the dock
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and
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immediately, we were invited to his house
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and ended up staying with him for,
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I don't know, four or five days.
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And he took us out on a boat and I kinda liked it,
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it kind of,
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it's kind of the first portrait I felt like,
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this is,
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this is where it is at,
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and this is
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the parameter I will continue with,
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and I kind of liked that he photographed me
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while I photographed him,
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and that kind of kicked it all off in '94.
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That's incredible.
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Should we have a look at a couple of others
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from the chasing summer series?
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Yeah, there's a few there, I think. Yeah.
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This wonderful girl Carina.
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Yeah, she was a delight.
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I didn't meet her for long.
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This was in the,
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on the outskirts of Lima,
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and she helped her mother, you know,
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running this roadside cafe,
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where you got some,
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some quick snacks, and a refreshment drink.
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And we,
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we had this, you know,
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Ramona theatre.
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I need to say my Spanish was pretty
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bad.
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It got,
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got pretty good at the end of six months in South America,
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but the conversation,
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I don't know much about Carina,
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but she went a bit of fun with my helmet and playing again.
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Yeah.
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And this format,
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which as we move through,
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I think people will start to,
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to see the uniqueness of that format,
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were you saying that the contact sheets,
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that kind of,
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that were being sent to you,
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that sort of,
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that focused it into this sort of square format
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that has now become,
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sort of signature for you.
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It was in square format camera.
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It was not a house of blood but it was my mere six.
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So it's kind of,
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it's sort of the negative
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you get is square.
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So yeah.
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I kind of had
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a liking to that format
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for a while
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before this trip
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so I'm comfortable within those equal sides.
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Yeah.
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But yeah, no,
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I remember cutting out
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and just do a little diary
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thing of these contact sheets,
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and
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normally I don't like to look back
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at what I do too much,
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I like to kind of, keep it fresh,
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but this trip kind of needed this consistency I felt,
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in order for me to make sense of it
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and not try to experiment through this two and a half years.
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It felt like I needed to just,
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stay in this little tiny space,
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that is my space and,
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and keep going.
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So,
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you know, the way that,
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I mean, this is portraiture,
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they look back at camera,
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is pretty straightforward,
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but the context around it was always, as important,
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if not more important sometimes to find that first
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and then
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place
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the person in that context.
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That's kind of how I've worked since then I think,
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and this,
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this project is called Chasing Summer,
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but I feel, to me now,
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it's part of Citizen,
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'cause it's, you know,
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Citizen kind of later became another book,
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but it's the same,
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you know, same approach, same everything.
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Yeah. We have to give a shout out
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to this awesome portrait of a cow,
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as well as a human being.
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(Ingvar laughing)
It's fantastic.
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Yeah.
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And another one from the Chasing Summer.
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Yeah. Sort of
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the homecoming.
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I was kind of spending nine months in Australia,
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on this trip and,
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I ended up meeting my wife.
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We married very quickly
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and I left very quickly after,
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and
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not for any other reason but
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I needed to finish this trip,
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and so I spent nine months travelling back through
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the sub-continent and Iran,
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and this is,
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again,
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a random encounter on the top of the paths.
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I think Gachsar,
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in Iran,
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heading towards the Black Sea,
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and she is a traveller with her,
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with her husband.
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They were going on a holiday trip to the,
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to the,
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to the,
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to the inland sea themselves,
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so,
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a random portrait.
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Don't know much more than her name.
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I liked it though.
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I was gonna hug his nappies in the boot and
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all very strangely normal at the time.
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(Ingvar laughing)
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Yeah.
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Brilliant.
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Should we have a little jump now
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to some of the works,
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the portraits that you have,
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you haven't made a selection of those
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that we have in the portrait gallery collection,
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and then we'll come back to have another chat
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about this mammoth Citizen project.
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The first one we wanted to have a little look at is
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Annaliese Seubert.
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Yeah, that.
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That, yeah.
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So when I landed in Australia in '90,
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back in Australia in '96,
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after this trip,
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there was no in,
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so I ended up waiting tables
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for three or four years in Melbourne
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and
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slowly, slowly,
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getting in touch with magazines trying
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and it took a long, long time,
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but I did get a break
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with Australian style at the time
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to take a portrait,
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and the next gig was,
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"Oh, hang on, we like how you take portraits."
260
00:07:57.860 --> 00:08:01.200 line:15%
because all I had to show was the box of Kodak prints
261
00:08:01.200 --> 00:08:02.200 line:15%
from Chasing Summer.
262
00:08:02.200 --> 00:08:03.033 line:15%
That was my,
263
00:08:03.033 --> 00:08:04.030 line:15%
the extent of my
264
00:08:05.050 --> 00:08:05.883 line:15%
pitch
265
00:08:05.883 --> 00:08:07.470 line:15%
document.
266
00:08:07.470 --> 00:08:08.303 line:15%
So,
267
00:08:09.310 --> 00:08:12.550 line:15%
this editor Mark Mordue took a punt, I think,
268
00:08:12.550 --> 00:08:13.383 line:15%
and just said,
269
00:08:13.383 --> 00:08:15.370
"Let's just have you
270
00:08:15.370 --> 00:08:18.610
do a fashion story with this model analyst, Seubert"
271
00:08:18.610 --> 00:08:19.443
So I've got,
272
00:08:20.290 --> 00:08:22.890
I had no idea what I was doing beyond taking portraiture,
273
00:08:22.890 --> 00:08:25.470
but it was a portrait fashion story over 10 pages
274
00:08:25.470 --> 00:08:26.510
and
275
00:08:26.510 --> 00:08:27.343
yeah.
276
00:08:27.343 --> 00:08:29.579
That hangs in the National Portrait Gallery,
277
00:08:29.579 --> 00:08:30.412
and I think this image's here,
278
00:08:30.412 --> 00:08:32.460
so, yeah.
Yes. Oh, yeah.
279
00:08:32.460 --> 00:08:33.293
Yeah.
So...
280
00:08:33.293 --> 00:08:35.600
So, that's kind of how it started for me here, I think.
281
00:08:35.600 --> 00:08:37.390
And this was one of the first early portraits
282
00:08:37.390 --> 00:08:39.070
that you took when you came back to Australia,
283
00:08:39.070 --> 00:08:40.170
is that right?
284
00:08:40.170 --> 00:08:41.003
Yeah.
285
00:08:41.003 --> 00:08:41.836
I think it was two years
286
00:08:41.836 --> 00:08:43.420
when I did nothing more than waiting tables,
287
00:08:43.420 --> 00:08:44.660
and then,
288
00:08:44.660 --> 00:08:47.550
I think I had a different aspiration then of wanting to do,
289
00:08:47.550 --> 00:08:48.540
cause I had...
290
00:08:49.720 --> 00:08:50.553
In Sweden,
291
00:08:50.553 --> 00:08:52.180
I've had a couple of work grants,
292
00:08:52.180 --> 00:08:54.230
co-arts grants and exhibitions,
293
00:08:54.230 --> 00:08:55.980
and I kind of wanna stay in that world,
294
00:08:55.980 --> 00:08:57.640
but reality set in that
295
00:08:57.640 --> 00:08:59.430
no one really wants to know about,
296
00:08:59.430 --> 00:09:00.820
that here, what I've done.
297
00:09:00.820 --> 00:09:01.653
It was like,
298
00:09:01.653 --> 00:09:03.983
I could not get anywhere with that kind of,
299
00:09:03.983 --> 00:09:04.947
kind of starting,
300
00:09:04.947 --> 00:09:06.590
"Okay. I better take photographs again
301
00:09:06.590 --> 00:09:08.530
and approach magazines with these box of prints."
302
00:09:08.530 --> 00:09:10.889
And that's kind of how it so started.
303
00:09:10.889 --> 00:09:11.722
Mm hmm.
304
00:09:13.010 --> 00:09:15.160 line:15%
And another famous face
305
00:09:15.160 --> 00:09:18.538 line:15%
in the National Portrait Gallery collection.
306
00:09:18.538 --> 00:09:19.393 line:15%
Yeah. He's,
307
00:09:20.412 --> 00:09:21.920 line:15%
probably, one of my favourite subject over.
308
00:09:21.920 --> 00:09:23.423 line:15%
We hang out for four hours,
309
00:09:24.830 --> 00:09:26.810 line:15%
at his manager's office in North Sydney
310
00:09:26.810 --> 00:09:29.230 line:15%
and they didn't have a water view in Mossman,
311
00:09:29.230 --> 00:09:30.960 line:15%
so they painted it,
312
00:09:30.960 --> 00:09:33.580 line:15%
and that became one of the portraits that day,
313
00:09:33.580 --> 00:09:35.705 line:15%
but yeah, a lovely, lovely experience.
314
00:09:35.705 --> 00:09:36.538 line:15%
And,
315
00:09:37.650 --> 00:09:39.160 line:15%
for the,
316
00:09:39.160 --> 00:09:41.200 line:15%
for the first 10 years,
317
00:09:41.200 --> 00:09:43.120 line:15%
a lot of my portraiture were assignment,
318
00:09:43.120 --> 00:09:43.953 line:15%
or, you know,
319
00:09:43.953 --> 00:09:44.786 line:15%
the bulk of it.
320
00:09:44.786 --> 00:09:46.419 line:15%
You know, I took portraits of
321
00:09:46.419 --> 00:09:47.252 line:15%
random, encounters,
322
00:09:47.252 --> 00:09:48.110 line:15%
like Chasing Summer style,
323
00:09:48.110 --> 00:09:50.460 line:15%
but a lot of the work came out of assignments,
324
00:09:50.460 --> 00:09:51.380 line:15%
shooting
325
00:09:51.380 --> 00:09:53.090 line:15%
musicians or models or,
326
00:09:53.090 --> 00:09:54.580 line:15%
you know, priests,
327
00:09:54.580 --> 00:09:55.998 line:15%
I don't know,
328
00:09:55.998 --> 00:09:56.831 line:15%
prime ministers,
329
00:09:56.831 --> 00:09:58.089 line:15%
all sorts.
Yeah.
330
00:09:58.089 --> 00:09:59.237 line:15%
And then kind of,
331
00:09:59.237 --> 00:10:00.740 line:15%
and it was never meant to be pro...
332
00:10:00.740 --> 00:10:02.430 line:15%
Like Citizen was never meant to be,
333
00:10:02.430 --> 00:10:03.263 line:15%
I feel like,
334
00:10:04.780 --> 00:10:06.990 line:15%
the advent of digital,
335
00:10:06.990 --> 00:10:08.000 line:15%
I don't know when that was,
336
00:10:08.000 --> 00:10:09.710 line:15%
kind of like mid 2000,
337
00:10:09.710 --> 00:10:10.543 line:15%
when it was not,
338
00:10:10.543 --> 00:10:12.830 line:15%
when I couldn't fight for the reason
339
00:10:12.830 --> 00:10:13.840 line:15%
of shooting with this camera anymore.
340
00:10:13.840 --> 00:10:16.200
When they all wanted digital files,
341
00:10:16.200 --> 00:10:18.613
and I kind of,
342
00:10:18.613 --> 00:10:20.290
I kind of gave up on editorial then.
343
00:10:20.290 --> 00:10:21.123
'Cause it felt like,
344
00:10:21.123 --> 00:10:23.169
I can't take the photographs I wanna take
345
00:10:23.169 --> 00:10:24.270
and I don't wanna put my name on this.
346
00:10:24.270 --> 00:10:26.520
And so that's when I started looking back
347
00:10:26.520 --> 00:10:27.593
on the work that,
348
00:10:29.530 --> 00:10:31.160
then became Citizen.
349
00:10:31.160 --> 00:10:33.760
So it was 15 years of work there
350
00:10:33.760 --> 00:10:35.963
that became the book and so forth later.
351
00:10:37.240 --> 00:10:38.490 line:15%
Well, that's a good way to segue
352
00:10:38.490 --> 00:10:40.380 line:15%
into that Citizen project,
353
00:10:40.380 --> 00:10:41.450 line:15%
but we couldn't,
354
00:10:41.450 --> 00:10:43.617 line:15%
couldn't go without showing at least one--
355
00:10:44.940 --> 00:10:45.830 line:15%
Oh, yeah.
cameo of yourself
356
00:10:45.830 --> 00:10:47.614
with Angus.
Yeah. Yeah.
357
00:10:47.614 --> 00:10:51.143
(both laughing)
Yeah. It was a good day.
358
00:10:51.143 --> 00:10:52.408
Yeah.
359
00:10:52.408 --> 00:10:54.200
I just want you to know that I love Frisbee.
360
00:10:54.200 --> 00:10:56.161
So...
(both laughing)
361
00:10:56.161 --> 00:10:58.120
That's awesome.
362
00:10:58.120 --> 00:11:00.110 line:15%
Should we have, would you like, have brought along
363
00:11:00.110 --> 00:11:01.100 line:15%
the Citizen book,
364
00:11:01.100 --> 00:11:03.220 line:15%
that was published and was also,
365
00:11:03.220 --> 00:11:05.380 line:15%
had its book launch at the National Portrait Gallery
366
00:11:05.380 --> 00:11:06.410 line:15%
along with an exhibition.
367
00:11:06.410 --> 00:11:09.130 line:15%
Do you wanna tell us a little bit about that?
368
00:11:09.130 --> 00:11:09.963 line:15%
Yeah.
369
00:11:09.963 --> 00:11:11.460 line:15%
So
370
00:11:11.460 --> 00:11:13.295 line:15%
yeah. So I said, you know,
371
00:11:13.295 --> 00:11:14.128
like I started looking back,
372
00:11:14.128 --> 00:11:15.810
sort of 2010
373
00:11:15.810 --> 00:11:16.643
roughly,
374
00:11:16.643 --> 00:11:17.476
I don't know,
375
00:11:17.476 --> 00:11:19.070
and just kind of, well this is sort of,
376
00:11:19.070 --> 00:11:20.650
this is something here again,
377
00:11:20.650 --> 00:11:24.260
like this kind of continuous way of approaching people,
378
00:11:24.260 --> 00:11:25.530
regardless if it's a commission
379
00:11:25.530 --> 00:11:26.510
or if it's me,
380
00:11:26.510 --> 00:11:28.163
sort of meeting someone randomly,
381
00:11:29.200 --> 00:11:30.780
and obviously, I was kind of aware of it,
382
00:11:30.780 --> 00:11:31.640
but not
383
00:11:31.640 --> 00:11:32.473
in the context
384
00:11:32.473 --> 00:11:33.980
that I wanted to put it out there in the world,
385
00:11:33.980 --> 00:11:35.390
but
386
00:11:35.390 --> 00:11:36.970
it felt like a natural end.
387
00:11:36.970 --> 00:11:39.232
When I stopped working with magazines,
388
00:11:39.232 --> 00:11:40.260
Mm hmm.
389
00:11:40.260 --> 00:11:43.270
and yeah, I started going through the work
390
00:11:43.270 --> 00:11:45.890
and several rounds and in 2012,
391
00:11:45.890 --> 00:11:48.080
you kind of had a show at the National Gallery
392
00:11:48.080 --> 00:11:49.630
and we launched the book there.
393
00:11:49.630 --> 00:11:51.099
I have it here,
394
00:11:51.099 --> 00:11:52.610
do you wanna?
Yes, please.
395
00:11:52.610 --> 00:11:53.660
It's this one here.
396
00:11:55.260 --> 00:11:57.200
And then you,
397
00:11:57.200 --> 00:11:58.450
you know I decided from now on,
398
00:11:58.450 --> 00:12:00.030
I'm just gonna show
399
00:12:00.030 --> 00:12:02.150
work for Citizen that is
400
00:12:02.150 --> 00:12:04.160
produced after 2012.
401
00:12:04.160 --> 00:12:06.200
So none of that in the book is,
402
00:12:06.200 --> 00:12:07.580
is part of this conversation,
403
00:12:07.580 --> 00:12:09.730
but it's an ongoing project.
404
00:12:09.730 --> 00:12:11.490
And we'll get Matt to drop the link
405
00:12:11.490 --> 00:12:13.080
into the Citizen book too,
406
00:12:13.080 --> 00:12:14.410
so that if anyone's interested,
407
00:12:14.410 --> 00:12:16.210
they can go and have a look at that.
408
00:12:17.210 --> 00:12:18.450
On your website...
409
00:12:18.450 --> 00:12:19.820
But shall we dive into
410
00:12:19.820 --> 00:12:22.300
some of the more recent Citizen
411
00:12:22.300 --> 00:12:23.133
works
412
00:12:23.133 --> 00:12:24.050
that people won't have seen
413
00:12:24.050 --> 00:12:25.546
published
414
00:12:25.546 --> 00:12:27.910
this early?
Yeah.
415
00:12:27.910 --> 00:12:30.993
This is the first portrait after,
416
00:12:31.920 --> 00:12:33.870
well, it's actually at the printer in China,
417
00:12:33.870 --> 00:12:35.830 line:15%
so you can see a sheet
418
00:12:35.830 --> 00:12:36.830 line:15%
of the book,
419
00:12:36.830 --> 00:12:38.090 line:15%
being printed in China.
420
00:12:38.090 --> 00:12:39.310 line:15%
So I guess that's,
421
00:12:39.310 --> 00:12:40.203 line:15%
Yuan Yuan Zhou,
422
00:12:41.300 --> 00:12:44.130 line:15%
the first portrait after the book was published
423
00:12:44.130 --> 00:12:44.980 line:15%
and yeah,
424
00:12:44.980 --> 00:12:46.970 line:15%
it started the next chapter.
425
00:12:46.970 --> 00:12:47.900 line:15%
It's not really a chapter,
426
00:12:47.900 --> 00:12:50.500 line:15%
but it just started the continuation of the project.
427
00:12:53.534 --> 00:12:55.023 line:15%
And we had more?
This follow here.
428
00:12:55.023 --> 00:12:56.870 line:15%
We have a whole series of images
429
00:12:56.870 --> 00:12:58.380
that we can work our way through now,
430
00:12:58.380 --> 00:13:01.310
but we're not going to do them in chronological order
431
00:13:01.310 --> 00:13:03.270
or necessarily even in
432
00:13:03.270 --> 00:13:05.240
the various different countries that they were taken.
433
00:13:05.240 --> 00:13:08.480 line:15%
So, and this is something that you do
434
00:13:08.480 --> 00:13:09.840 line:15%
in your Citizen book, isn't it?
435
00:13:09.840 --> 00:13:12.120 line:15%
It's not necessarily in a particular order
436
00:13:12.120 --> 00:13:14.810 line:15%
or categorised in any particular ways,
437
00:13:14.810 --> 00:13:15.643 line:15%
that deliberate?
438
00:13:16.497 --> 00:13:17.520 line:15%
Yeah,
439
00:13:17.520 --> 00:13:18.353
totally.
440
00:13:18.353 --> 00:13:19.270
Yes, it is.
441
00:13:19.270 --> 00:13:21.023
I mean, it's kind of a visual,
442
00:13:22.130 --> 00:13:23.650
visual sequencing, you know,
443
00:13:23.650 --> 00:13:26.050
with the sign at the time,
444
00:13:26.050 --> 00:13:27.890
Marcus Piper was like, I don't know.
445
00:13:27.890 --> 00:13:28.960
We did that for three years.
446
00:13:28.960 --> 00:13:30.340
Just laying it out, redoing it,
447
00:13:30.340 --> 00:13:31.640
and it's just
448
00:13:31.640 --> 00:13:33.220
the flow of the images, I guess,
449
00:13:33.220 --> 00:13:34.210
was what dictated
450
00:13:34.210 --> 00:13:36.983
how it fell on the page rather than anything else.
451
00:13:39.240 --> 00:13:40.073
But
452
00:13:40.073 --> 00:13:41.080
I guess to me, it's like,
453
00:13:43.310 --> 00:13:45.170
I think I just follow my own precept.
454
00:13:45.170 --> 00:13:47.310
You know, like it's this manual in my head
455
00:13:47.310 --> 00:13:49.180
that is just impossible to ignore.
456
00:13:49.180 --> 00:13:50.620
It's like a tick.
457
00:13:50.620 --> 00:13:52.849
And that the purpose is,
458
00:13:52.849 --> 00:13:53.840
it's almost the purpose,
459
00:13:53.840 --> 00:13:57.240
is the obsessive doing and continuing this body of work
460
00:13:59.640 --> 00:14:00.610
and, you know,
461
00:14:00.610 --> 00:14:03.650
the photographs of these incidental moments and spaces
462
00:14:03.650 --> 00:14:06.083
that we've sort of just happened to converge on.
463
00:14:07.871 --> 00:14:08.704
And, and from that,
464
00:14:08.704 --> 00:14:09.830
is this
465
00:14:09.830 --> 00:14:10.663
elevated,
466
00:14:10.663 --> 00:14:12.900
you know, it becomes this elevated human connection
467
00:14:12.900 --> 00:14:13.750
between us.
468
00:14:13.750 --> 00:14:15.670 line:15%
You know the camera is such an enabler in that way
469
00:14:15.670 --> 00:14:16.503 line:15%
that you can,
470
00:14:17.860 --> 00:14:19.140 line:15%
you know, I would never approach these.
471
00:14:19.140 --> 00:14:20.910 line:15%
I would never have had a conversation with these people
472
00:14:20.910 --> 00:14:21.743 line:15%
or even,
473
00:14:21.743 --> 00:14:22.940 line:15%
like we'd never crossed paths,
474
00:14:22.940 --> 00:14:24.380 line:15%
but the camera is kind of the reason
475
00:14:24.380 --> 00:14:26.550 line:15%
we are crossing paths in the sense,
476
00:14:26.550 --> 00:14:27.383 line:15%
and
477
00:14:27.383 --> 00:14:28.640 line:15%
it becomes this,
478
00:14:28.640 --> 00:14:30.060 line:15%
is it taxonomical,
479
00:14:30.060 --> 00:14:30.893 line:15%
in some ways?
480
00:14:30.893 --> 00:14:31.726 line:15%
The whole,
481
00:14:31.726 --> 00:14:34.230 line:15%
it's just almost like speech species
482
00:14:34.230 --> 00:14:35.200 line:15%
or specimens,
483
00:14:35.200 --> 00:14:36.737 line:15%
you know specimens?
Mm hmm.
484
00:14:36.737 --> 00:14:37.570 line:15%
Sorry that,
485
00:14:37.570 --> 00:14:39.930 line:15%
that are being documented I think,
486
00:14:39.930 --> 00:14:41.380 line:15%
and
487
00:14:41.380 --> 00:14:42.540
I find it,
488
00:14:42.540 --> 00:14:44.960
almost a democratic equaliser.
489
00:14:44.960 --> 00:14:48.060
There's like no borders, no issues, no sides to take,
490
00:14:48.060 --> 00:14:49.350
and,
491
00:14:49.350 --> 00:14:51.623
you know, seeing eye to eye with people.
492
00:14:52.640 --> 00:14:53.473
And for me,
493
00:14:53.473 --> 00:14:54.930
it's being a Citizen of the world,
494
00:14:54.930 --> 00:14:57.470
just being out there and connect with people,
495
00:14:57.470 --> 00:14:58.303
strangers.
496
00:14:59.630 --> 00:15:02.860 line:15%
As we move through these images people will see,
497
00:15:02.860 --> 00:15:04.680 line:15%
you know, complete strangers,
498
00:15:04.680 --> 00:15:05.770 line:15%
different nationalities,
499
00:15:05.770 --> 00:15:06.960 line:15%
different faces,
500
00:15:06.960 --> 00:15:09.010 line:15%
but they'll also see famous faces as well.
501
00:15:09.010 --> 00:15:10.770 line:15%
Is your approach for
502
00:15:10.770 --> 00:15:12.310 line:15%
everybody pretty much the same,
503
00:15:12.310 --> 00:15:14.420 line:15%
or do you tailor your approach depending on,
504
00:15:14.420 --> 00:15:17.040 line:15%
you know, the particular shoot that you might be at
505
00:15:17.040 --> 00:15:18.790 line:15%
or how you actually see the people?
506
00:15:20.450 --> 00:15:21.443 line:15%
I don't pilot it now,
507
00:15:21.443 --> 00:15:23.953 line:15%
like they get the same treatment, you know?
508
00:15:24.880 --> 00:15:26.460 line:15%
Technically, it's very simple,
509
00:15:26.460 --> 00:15:27.803 line:15%
I won't give it away,
510
00:15:27.803 --> 00:15:28.790 line:15%
(both laughing)
but photographer,
511
00:15:28.790 --> 00:15:30.840 line:15%
you probably know there is nothing to it.
512
00:15:33.240 --> 00:15:35.190
I think with an assignment,
513
00:15:35.190 --> 00:15:37.655
the addition is that you get thrown into,
514
00:15:37.655 --> 00:15:39.980
you've gotta meet a such and such musician or,
515
00:15:39.980 --> 00:15:41.810
in this hotel room or,
516
00:15:41.810 --> 00:15:42.830
it could be anything.
517
00:15:42.830 --> 00:15:44.820
I mean, that's been a while since that's happened.
518
00:15:44.820 --> 00:15:46.170
So if it's a famous person,
519
00:15:46.170 --> 00:15:47.003
but
520
00:15:49.120 --> 00:15:50.610
is this, the approach is the same,
521
00:15:50.610 --> 00:15:52.900
like I need to find a space
522
00:15:52.900 --> 00:15:54.031
to,
523
00:15:54.031 --> 00:15:55.400
so I was there earlier
524
00:15:55.400 --> 00:15:56.880
and it's always about the space
525
00:15:56.880 --> 00:15:57.840
that I need to fill,
526
00:15:57.840 --> 00:15:58.970
and so by the time comes
527
00:15:58.970 --> 00:15:59.803
that this person,
528
00:15:59.803 --> 00:16:00.667
this famous person turns up,
529
00:16:00.667 --> 00:16:03.330
I kind of already know what I wanna do,
530
00:16:03.330 --> 00:16:04.840
and where I wanna place them.
531
00:16:04.840 --> 00:16:06.580 line:15%
But they're not long shoots.
532
00:16:06.580 --> 00:16:08.010 line:15%
Once I,
533
00:16:08.010 --> 00:16:09.020 line:15%
once I
534
00:16:09.020 --> 00:16:09.853 line:15%
have,
535
00:16:09.853 --> 00:16:11.350 line:15%
once I've found my thing,
536
00:16:11.350 --> 00:16:12.343 line:15%
I don't really care beyond that,
537
00:16:12.343 --> 00:16:14.730 line:15%
and the shoot is very quick.
Mm hmm.
538
00:16:14.730 --> 00:16:17.510 line:15%
I shoot the same photograph over and over,
539
00:16:17.510 --> 00:16:19.800 line:15%
over a couple of rolls and then,
540
00:16:19.800 --> 00:16:21.277 line:15%
they can go and I can go,
541
00:16:21.277 --> 00:16:23.053 line:15%
and I'll pick one out of that.
542
00:16:24.000 --> 00:16:25.353 line:15%
It's really that simple.
543
00:16:26.350 --> 00:16:27.508 line:15%
Yeah.
544
00:16:27.508 --> 00:16:30.060 line:15%
And do you mainly work with natural light
545
00:16:30.060 --> 00:16:31.930 line:15%
or do you take much other equipment with you
546
00:16:31.930 --> 00:16:33.480 line:15%
when you're sort of roaming around
547
00:16:33.480 --> 00:16:34.860 line:15%
or is it basically just the camera
548
00:16:34.860 --> 00:16:36.260 line:15%
and work with what you have?
549
00:16:37.430 --> 00:16:38.733 line:15%
The light is important.
550
00:16:40.330 --> 00:16:42.217 line:15%
It's available light and then I will fill flash
551
00:16:42.217 --> 00:16:44.110 line:15%
and you can see this in this portrait.
552
00:16:44.110 --> 00:16:46.290 line:15%
It's stronger because I am shooting into the sound,
553
00:16:46.290 --> 00:16:48.200 line:15%
so you can see the front flash,
554
00:16:48.200 --> 00:16:51.160 line:15%
but it's just a simple flash on top of the camera.
555
00:16:51.160 --> 00:16:53.210 line:15%
So the click one is
556
00:16:53.210 --> 00:16:54.053 line:15%
small,
557
00:16:55.430 --> 00:16:57.300 line:15%
and I just try to balance that lift there,
558
00:16:57.300 --> 00:16:59.000 line:15%
lift the subject off the page a little bit,
559
00:16:59.000 --> 00:16:59.833 line:15%
and then,
560
00:16:59.833 --> 00:17:01.010 line:15%
all the way back in '94,
561
00:17:01.010 --> 00:17:01.843 line:15%
I start,
562
00:17:01.843 --> 00:17:03.120 line:15%
that's what I travel with. A little,
563
00:17:03.120 --> 00:17:04.120 line:15%
little pop flash and
564
00:17:06.270 --> 00:17:07.103 line:15%
yeah,
565
00:17:08.427 --> 00:17:09.423 line:15%
it's that simple.
566
00:17:10.997 --> 00:17:13.000 line:15%
We got--
Yeah. Bob Hawke was...
567
00:17:13.000 --> 00:17:13.833 line:15%
I met him,
568
00:17:16.200 --> 00:17:17.570 line:15%
he's the face of a beer company.
569
00:17:17.570 --> 00:17:19.320 line:15%
So that was quite recent,
570
00:17:19.320 --> 00:17:21.053 line:15%
obviously before he passed away.
571
00:17:22.930 --> 00:17:23.820 line:15%
But yeah.
572
00:17:23.820 --> 00:17:24.653 line:15%
That,
573
00:17:24.653 --> 00:17:27.060 line:15%
that was five snap, five shots,
574
00:17:27.060 --> 00:17:29.117 line:15%
and then he had had enough.
575
00:17:29.117 --> 00:17:29.950 line:15%
So, that's it.
576
00:17:30.990 --> 00:17:31.823 line:15%
Yeah.
577
00:17:32.870 --> 00:17:34.270 line:15%
And here are a couple of subjects
578
00:17:34.270 --> 00:17:35.823 line:15%
that are very familiar to you.
579
00:17:37.098 --> 00:17:39.080 line:15%
Yeah. It's my dad, Boossa
580
00:17:39.080 --> 00:17:39.913 line:15%
Bo.
581
00:17:41.700 --> 00:17:42.533 line:15%
Quite a,
582
00:17:42.533 --> 00:17:44.090 line:15%
quite a
583
00:17:44.090 --> 00:17:45.690 line:15%
big time in his and mom's lives.
584
00:17:45.690 --> 00:17:47.870 line:15%
This is the family childhood home,
585
00:17:47.870 --> 00:17:49.518 line:15%
where I was,
586
00:17:49.518 --> 00:17:51.120 line:15%
where I lived since I was eight
587
00:17:51.120 --> 00:17:52.780 line:15%
till I left home.
588
00:17:52.780 --> 00:17:53.613 line:15%
So they moved,
589
00:17:53.613 --> 00:17:55.374 line:15%
they were moving out in 2018,
590
00:17:55.374 --> 00:17:56.207 line:15%
so I went back to
591
00:17:56.207 --> 00:17:57.570 line:15%
just help move some boxes around
592
00:17:57.570 --> 00:17:59.210 line:15%
and
593
00:17:59.210 --> 00:18:00.970 line:15%
it was very stressful for them, I think
594
00:18:00.970 --> 00:18:02.290 line:15%
because they've been there for a long time
595
00:18:02.290 --> 00:18:03.123 line:15%
and
596
00:18:03.123 --> 00:18:04.060 line:15%
downsizing
597
00:18:04.060 --> 00:18:04.893 line:15%
and
598
00:18:04.893 --> 00:18:06.020 line:15%
yeah.
599
00:18:06.020 --> 00:18:08.673 line:15%
I can see it on my dad's face and my mom too.
600
00:18:10.800 --> 00:18:12.710 line:15%
Yeah. But you know, special place.
601
00:18:12.710 --> 00:18:14.803 line:15%
That's the backyard, I roamed around in.
602
00:18:18.317 --> 00:18:20.680 line:15%
Is there, last week when we spoke to Nikki Toole,
603
00:18:20.680 --> 00:18:22.850 line:15%
she was talking about this
604
00:18:22.850 --> 00:18:23.850 line:15%
concept that she had,
605
00:18:23.850 --> 00:18:25.470 line:15%
where she asked people to actually think
606
00:18:25.470 --> 00:18:26.680 line:15%
about a particular thing
607
00:18:27.750 --> 00:18:29.060 line:15%
when she took the photos.
608
00:18:29.060 --> 00:18:30.180 line:15%
So there was a certain expression
609
00:18:30.180 --> 00:18:32.180 line:15%
that she was aiming for from that.
610
00:18:32.180 --> 00:18:33.440 line:15%
When you approach your subjects
611
00:18:33.440 --> 00:18:34.720 line:15%
or when you photograph your subjects,
612
00:18:34.720 --> 00:18:36.610 line:15%
do you ask them to...
613
00:18:36.610 --> 00:18:38.620 line:15%
Do you have a particular conversation,
614
00:18:38.620 --> 00:18:39.453 line:15%
style,
615
00:18:39.453 --> 00:18:41.580 line:15%
or ask them to actually think about particular things
616
00:18:41.580 --> 00:18:44.200 line:15%
or is it basically just trying to capture them
617
00:18:44.200 --> 00:18:46.093 line:15%
as they are, in their environment?
618
00:18:47.810 --> 00:18:49.146
Yeah. I don't ask them.
619
00:18:49.146 --> 00:18:49.979
And when I ask them,
620
00:18:49.979 --> 00:18:50.812
I wanna know who they are,
621
00:18:50.812 --> 00:18:51.645
and
622
00:18:51.645 --> 00:18:52.700
if we have a shared language
623
00:18:52.700 --> 00:18:54.850
which I didn't have at this moment in life.
624
00:18:56.360 --> 00:18:57.211
I do it,
625
00:18:57.211 --> 00:19:00.133 line:15%
it's a conversation, but in this case
626
00:19:00.133 --> 00:19:01.810 line:15%
there was no conversation.
627
00:19:01.810 --> 00:19:02.643 line:15%
Lifting the camera
628
00:19:02.643 --> 00:19:04.200 line:15%
and she realised I wanted to take the photograph
629
00:19:04.200 --> 00:19:05.723 line:15%
and she paused.
Mm hmm.
630
00:19:07.510 --> 00:19:08.900 line:15%
But
631
00:19:08.900 --> 00:19:11.090 line:15%
yeah, like, I don't know.
632
00:19:11.090 --> 00:19:11.923 line:15%
I like people.
633
00:19:11.923 --> 00:19:13.420 line:15%
I'm really interested in people,
634
00:19:13.420 --> 00:19:14.760 line:15%
but I don't think if I,
635
00:19:14.760 --> 00:19:17.720 line:15%
I don't think I can portray something particular
636
00:19:17.720 --> 00:19:18.670 line:15%
about people really.
637
00:19:18.670 --> 00:19:20.840 line:15%
I think it's mostly in the eye of the beholder
638
00:19:20.840 --> 00:19:23.100 line:15%
of the person who ends up looking at the photographs
639
00:19:23.100 --> 00:19:24.690 line:15%
and, myself included.
640
00:19:24.690 --> 00:19:25.760 line:15%
Because in a lot of the cases,
641
00:19:25.760 --> 00:19:27.570 line:15%
I can't claim to know anything about
642
00:19:27.570 --> 00:19:29.070 line:15%
most people I've photographed.
643
00:19:30.930 --> 00:19:32.410 line:15%
I do have a great human interest,
644
00:19:32.410 --> 00:19:34.110 line:15%
but for me, the photograph is the,
645
00:19:35.350 --> 00:19:37.278 line:15%
it's all about the photograph.
646
00:19:37.278 --> 00:19:39.140 line:15%
And it does not mean that I'm,
647
00:19:39.140 --> 00:19:41.130 line:15%
I'm rushing in to take something from them.
648
00:19:41.130 --> 00:19:42.630 line:15%
I think, you know,
649
00:19:42.630 --> 00:19:43.840 line:15%
we're gentle with each other
650
00:19:43.840 --> 00:19:45.790 line:15%
and I often send pictures, if I can.
651
00:19:45.790 --> 00:19:46.880 line:15%
If I get an email address,
652
00:19:46.880 --> 00:19:48.660 line:15%
it's always an exchange after the fact,
653
00:19:48.660 --> 00:19:49.493 line:15%
but
654
00:19:50.580 --> 00:19:51.413 line:15%
for me,
655
00:19:51.413 --> 00:19:53.873 line:15%
for me the photograph is the absolute.
656
00:19:55.030 --> 00:19:55.863 line:15%
And,
657
00:19:57.280 --> 00:19:58.193 line:15%
and I don't,
658
00:19:59.380 --> 00:20:00.730 line:15%
yeah, I don't know how to say it really.
659
00:20:00.730 --> 00:20:01.563 line:15%
Let's move on
660
00:20:01.563 --> 00:20:03.348 line:15%
to the next picture now.
Sure.
661
00:20:03.348 --> 00:20:04.181 line:15%
(both laughing)
Well,
662
00:20:04.181 --> 00:20:05.120 line:15%
this is a familiar environment
663
00:20:05.120 --> 00:20:07.030 line:15%
to a lot of Australians
664
00:20:07.030 --> 00:20:09.263 line:15%
after 2020's events.
665
00:20:10.550 --> 00:20:11.423 line:15%
Yes.
666
00:20:12.440 --> 00:20:13.920 line:15%
Quite a horrendous couple of days.
667
00:20:13.920 --> 00:20:15.133 line:15%
I was camping down,
668
00:20:16.130 --> 00:20:16.963 line:15%
not far from there,
669
00:20:16.963 --> 00:20:18.070 line:15%
in the Mercer Rock National Park,
670
00:20:18.070 --> 00:20:19.960 line:15%
and I heard a wrap at the tent.
671
00:20:19.960 --> 00:20:20.850 line:15%
We heard a wrap at the tent,
672
00:20:20.850 --> 00:20:22.430 line:15%
two in the morning, "Get out."
673
00:20:22.430 --> 00:20:23.263 line:15%
You know, the fire,
674
00:20:23.263 --> 00:20:24.650 line:15%
I think it was the fire
675
00:20:26.330 --> 00:20:27.290 line:15%
and
676
00:20:27.290 --> 00:20:28.123 line:15%
yeah,
677
00:20:28.123 --> 00:20:29.350 line:15%
packed up everything and rushed
678
00:20:29.350 --> 00:20:30.333 line:15%
and was sort of,
679
00:20:31.240 --> 00:20:34.460 line:15%
was pushed towards Eden sports ground, I think.
680
00:20:34.460 --> 00:20:37.410 line:15%
And it was 4,000 other people there,
681
00:20:37.410 --> 00:20:38.480 line:15%
coming from all over.
682
00:20:38.480 --> 00:20:39.313 line:15%
And
683
00:20:40.340 --> 00:20:42.630 line:15%
this is David, and his
684
00:20:42.630 --> 00:20:44.240 line:15%
wife, Margaret was next to him,
685
00:20:44.240 --> 00:20:46.620 line:15%
and yeah, we just ended up being neighbours on this,
686
00:20:46.620 --> 00:20:49.643 line:15%
this day New Years Eve, 2019.
687
00:20:51.880 --> 00:20:52.713 line:15%
And fellow
688
00:20:54.150 --> 00:20:55.338 line:15%
evacuees?
689
00:20:55.338 --> 00:20:57.130 line:15%
Yeah. That's earlier that morning
690
00:20:57.130 --> 00:20:58.688 line:15%
and
691
00:20:58.688 --> 00:21:01.690 line:15%
trading stories, like Emily and Dan was on a holiday
692
00:21:01.690 --> 00:21:03.243 line:15%
on the coast, as well.
693
00:21:04.211 --> 00:21:07.080 line:15%
It wasn't a great holiday for anyone but,
694
00:21:07.080 --> 00:21:09.770 line:15%
he also that morning had got a call from his dad
695
00:21:09.770 --> 00:21:12.180 line:15%
that the farm had burnt down.
696
00:21:12.180 --> 00:21:13.320 line:15%
Everything was gone.
697
00:21:13.320 --> 00:21:14.453 line:15%
Livestock and,
698
00:21:15.423 --> 00:21:17.210 line:15%
and he's priced car collection
699
00:21:17.210 --> 00:21:19.258 line:15%
that he'd been tinkering with.
700
00:21:19.258 --> 00:21:20.460 line:15%
I can't remember where it was.
701
00:21:20.460 --> 00:21:22.300 line:15%
It was across the mountain towards,
702
00:21:22.300 --> 00:21:23.673 line:15%
you know, west of there.
703
00:21:24.530 --> 00:21:25.363 line:15%
So,
704
00:21:25.363 --> 00:21:26.196 line:15%
this is 10.00 in the morning
705
00:21:26.196 --> 00:21:28.320 line:15%
when he was telling me this story.
706
00:21:28.320 --> 00:21:30.750 line:15%
That he'd lost everything really.
707
00:21:30.750 --> 00:21:31.982 line:15%
Yeah.
708
00:21:31.982 --> 00:21:34.680 line:15%
And then he was on holiday and nowhere to go.
709
00:21:34.680 --> 00:21:35.513 line:15%
So,
710
00:21:36.500 --> 00:21:37.410 line:15%
it was,
711
00:21:37.410 --> 00:21:39.600 line:15%
it was tough times.
712
00:21:39.600 --> 00:21:42.220 line:15%
And there's no way of mistaking that sky.
713
00:21:42.220 --> 00:21:44.550 line:15%
So familiar to so many of us.
714
00:21:44.550 --> 00:21:45.383 line:15%
Yeah.
715
00:21:46.470 --> 00:21:47.860 line:15%
So,
716
00:21:47.860 --> 00:21:49.170 line:15%
we'll head to,
717
00:21:49.170 --> 00:21:50.833 line:15%
jump around a little bit more.
718
00:21:51.850 --> 00:21:52.683 line:15%
Some others.
719
00:21:53.840 --> 00:21:55.573 line:15%
This is Gosta.
720
00:21:55.573 --> 00:21:56.680 line:15%
He's a publisher.
721
00:21:56.680 --> 00:21:58.410 line:15%
A journal publisher in Sweden.
722
00:21:58.410 --> 00:22:01.400 line:15%
And he is the one who ended up publishing The Ball,
723
00:22:01.400 --> 00:22:02.480 line:15%
which we'll get to later.
724
00:22:02.480 --> 00:22:03.313 line:15%
Which is the,
725
00:22:03.313 --> 00:22:05.420 line:15%
the last book I published in
726
00:22:05.420 --> 00:22:06.663 line:15%
2018. Yeah.
727
00:22:07.640 --> 00:22:09.363 line:15%
So that's a printer in Denmark.
728
00:22:11.620 --> 00:22:12.540 line:15%
A friend, Isabella,
729
00:22:12.540 --> 00:22:14.090 line:15%
she's a photographer in Sydney.
730
00:22:18.150 --> 00:22:19.370 line:15%
I think for me,
731
00:22:19.370 --> 00:22:20.440 line:15%
and this is what struck me
732
00:22:20.440 --> 00:22:21.830 line:15%
when I was looking through your images
733
00:22:21.830 --> 00:22:23.450 line:15%
is your eye for detail.
734
00:22:23.450 --> 00:22:24.283 line:15%
As you say,
735
00:22:24.283 --> 00:22:25.116 line:15%
you sort of picked,
736
00:22:25.116 --> 00:22:26.200 line:15%
almost picked the environment
737
00:22:26.200 --> 00:22:29.230 line:15%
before the person happens to wander into the shot.
738
00:22:29.230 --> 00:22:32.040 line:15%
There's just so much detail in these images,
739
00:22:32.040 --> 00:22:32.873 line:15%
and some of them,
740
00:22:32.873 --> 00:22:34.790 line:15%
some of the detail is really,
741
00:22:34.790 --> 00:22:36.850 line:15%
quite bizarre, or odd,
742
00:22:36.850 --> 00:22:38.620 line:15%
or intriguing.
743
00:22:38.620 --> 00:22:39.453 line:15%
I mean, for me,
744
00:22:39.453 --> 00:22:40.510 line:15%
the first thing I saw
745
00:22:40.510 --> 00:22:41.970 line:15%
was the tiger in the cage.
746
00:22:41.970 --> 00:22:43.150 line:15%
And then there's a sign,
747
00:22:43.150 --> 00:22:44.200 line:15%
and there's air conditioning,
748
00:22:44.200 --> 00:22:45.220 line:15%
and the fan,
749
00:22:45.220 --> 00:22:48.330 line:15%
it's only the things that kind of combined to,
750
00:22:48.330 --> 00:22:49.163 line:15%
almost,
751
00:22:49.163 --> 00:22:50.490 line:15%
it's almost like a film set
752
00:22:50.490 --> 00:22:52.033 line:15%
in some strange way.
753
00:22:53.590 --> 00:22:54.900 line:15%
Yeah. And then it's kind of,
754
00:22:54.900 --> 00:22:55.820 line:15%
nothing is,
755
00:22:55.820 --> 00:22:56.800 line:15%
is
756
00:22:56.800 --> 00:22:58.580 line:15%
added or the,
757
00:22:58.580 --> 00:23:00.300 line:15%
it is what...
758
00:23:00.300 --> 00:23:01.133 line:15%
But I guess,
759
00:23:01.133 --> 00:23:02.080 line:15%
I'm in that space,
760
00:23:02.080 --> 00:23:03.423 line:15%
and I see those,
761
00:23:05.000 --> 00:23:06.260 line:15%
these things coming at you.
762
00:23:06.260 --> 00:23:07.160 line:15%
This fan and,
763
00:23:07.160 --> 00:23:09.410 line:15%
and then it's literally, in this case,
764
00:23:09.410 --> 00:23:12.403 line:15%
it was like, who's around.
Yeah.
765
00:23:12.403 --> 00:23:13.730 line:15%
Jiya was standing next to me
766
00:23:13.730 --> 00:23:15.270 line:15%
with her husband and kids
767
00:23:15.270 --> 00:23:16.103 line:15%
and I just did,
768
00:23:16.103 --> 00:23:17.560 line:15%
do you mind if I just take your portrait?
769
00:23:17.560 --> 00:23:19.100 line:15%
And she just shifted a step,
770
00:23:19.100 --> 00:23:19.933 line:15%
and,
771
00:23:21.980 --> 00:23:25.080 line:15%
was happy to have her portrait taken.
772
00:23:25.080 --> 00:23:26.190 line:15%
And they come like that.
773
00:23:26.190 --> 00:23:27.023 line:15%
I feel like
774
00:23:28.050 --> 00:23:30.740 line:15%
there's been times when I try to force a portrait
775
00:23:30.740 --> 00:23:31.770 line:15%
or like, oh, you know, that,
776
00:23:31.770 --> 00:23:33.300 line:15%
that person looks so interesting,
777
00:23:33.300 --> 00:23:35.190 line:15%
I should really make sure I get a portrait of them,
778
00:23:35.190 --> 00:23:36.023 line:15%
and they almost,
779
00:23:36.023 --> 00:23:37.374 line:15%
you start,
780
00:23:37.374 --> 00:23:38.317 line:15%
call them up,
781
00:23:38.317 --> 00:23:39.540 line:15%
"Do you wanna do a portrait?"
782
00:23:39.540 --> 00:23:40.450 line:15%
And I'm thinking this,
783
00:23:40.450 --> 00:23:42.360 line:15%
and they never work.
Yeah.
784
00:23:42.360 --> 00:23:43.840 line:15%
For me they always fall short
785
00:23:43.840 --> 00:23:45.410
because there's so much
786
00:23:45.410 --> 00:23:47.120
thought prior,
787
00:23:47.120 --> 00:23:48.610
and
788
00:23:48.610 --> 00:23:49.833
they just become this,
789
00:23:52.690 --> 00:23:55.140
just Hebrew hybrid things I'm not interested in.
790
00:23:55.140 --> 00:23:55.973
So,
791
00:23:55.973 --> 00:23:56.920
I've come to realise that
792
00:23:56.920 --> 00:23:58.710
drop all preparation.
793
00:23:58.710 --> 00:24:00.140
Just don't think about anything.
794
00:24:00.140 --> 00:24:01.470
And if it doesn't happen for a month,
795
00:24:01.470 --> 00:24:03.618
you don't take a portrait for a month.
796
00:24:03.618 --> 00:24:06.520 line:15%
But if you have the camera with you constantly,
797
00:24:06.520 --> 00:24:07.410 line:15%
the moment,
798
00:24:07.410 --> 00:24:08.770 line:15%
the moments will come,
799
00:24:08.770 --> 00:24:11.750 line:15%
and they are the portraits that I end up...
800
00:24:12.860 --> 00:24:14.910 line:15%
The conversation with those portraits are
801
00:24:16.150 --> 00:24:16.983 line:15%
ongoing for me,
802
00:24:16.983 --> 00:24:18.025 line:15%
and they're,
803
00:24:18.025 --> 00:24:18.858 line:15%
they interested me,
804
00:24:18.858 --> 00:24:20.660 line:15%
they became stayers in my
805
00:24:20.660 --> 00:24:21.760 line:15%
project.
806
00:24:21.760 --> 00:24:23.183 line:15%
The longer, the bigger picture.
807
00:24:25.720 --> 00:24:26.620 line:15%
Yeah, this is,
808
00:24:26.620 --> 00:24:28.043 line:15%
yeah, this is emotional.
809
00:24:29.700 --> 00:24:32.270 line:15%
This is Billy Boxhead.
810
00:24:32.270 --> 00:24:33.421 line:15%
He was my dog,
811
00:24:33.421 --> 00:24:34.850 line:15%
our family dog.
812
00:24:34.850 --> 00:24:36.600 line:15%
But through circumstance,
813
00:24:36.600 --> 00:24:37.990 line:15%
I had to re-home him
814
00:24:37.990 --> 00:24:39.480 line:15%
and
815
00:24:39.480 --> 00:24:40.583 line:15%
I knew Margaret,
816
00:24:41.728 --> 00:24:42.561 line:15%
vaguely,
817
00:24:42.561 --> 00:24:43.394 line:15%
but she also,
818
00:24:43.394 --> 00:24:45.363 line:15%
she also is the owner of his brother.
819
00:24:46.240 --> 00:24:47.810 line:15%
And I called her up,
820
00:24:47.810 --> 00:24:49.800 line:15%
sort of, asking for tips,
821
00:24:49.800 --> 00:24:51.280 line:15%
I needed to find a new home,
822
00:24:51.280 --> 00:24:52.817 line:15%
and then the next day she calls me up and said,
823
00:24:52.817 --> 00:24:53.807 line:15%
"I'll take him."
824
00:24:55.160 --> 00:24:55.993 line:15%
So,
825
00:24:55.993 --> 00:24:58.360 line:15%
the slight problem was she was living in Kalgoorlie
826
00:24:58.360 --> 00:24:59.270 line:15%
during COVID,
827
00:24:59.270 --> 00:25:00.390 line:15%
and
828
00:25:00.390 --> 00:25:01.380 line:15%
we tried,
829
00:25:01.380 --> 00:25:02.900 line:15%
attempted last Christmas to,
830
00:25:02.900 --> 00:25:04.600 line:15%
to kind of meet up and it fell through,
831
00:25:04.600 --> 00:25:06.110 line:15%
and then in February I went across
832
00:25:06.110 --> 00:25:08.340 line:15%
and she like, her and her partner came across
833
00:25:08.340 --> 00:25:10.770 line:15%
from Kalgoorlie and we met in Nullarbor Roadhouse,
834
00:25:10.770 --> 00:25:12.370 line:15%
and that was the last,
835
00:25:12.370 --> 00:25:14.540 line:15%
last day with Billy, my dog.
836
00:25:14.540 --> 00:25:15.800 line:15%
And
837
00:25:15.800 --> 00:25:16.910 line:15%
yeah,
838
00:25:16.910 --> 00:25:18.110 line:15%
that's how that portrait came about.
839
00:25:18.110 --> 00:25:22.970 line:15%
So, the 6,000 kilometre trip to find a home for Billy.
840
00:25:22.970 --> 00:25:24.820 line:15%
Billy has a good home.
841
00:25:24.820 --> 00:25:25.940 line:15%
He has.
842
00:25:25.940 --> 00:25:27.270 line:15%
Probably a better home,
843
00:25:27.270 --> 00:25:28.143 line:15%
let's be honest.
844
00:25:29.870 --> 00:25:31.030 line:15%
And then on the way back,
845
00:25:31.030 --> 00:25:32.630 line:15%
I decided to
846
00:25:32.630 --> 00:25:34.370 line:15%
travel the longer way back,
847
00:25:34.370 --> 00:25:36.780 line:15%
through the guts of Gawler Ranges into South Australia
848
00:25:36.780 --> 00:25:38.050 line:15%
and Coober Pedy,
849
00:25:38.050 --> 00:25:39.580 line:15%
and this is a portrait of
850
00:25:40.630 --> 00:25:42.510 line:15%
a lovely couple in Kingoonya,
851
00:25:42.510 --> 00:25:44.610 line:15%
a town of 10-15 houses,
852
00:25:44.610 --> 00:25:46.210 line:15%
and they run their caravan park.
853
00:25:47.720 --> 00:25:48.553 line:15%
I mean, some of them,
854
00:25:48.553 --> 00:25:50.260 line:15%
there are some other, I don't know,
855
00:25:50.260 --> 00:25:51.093 line:15%
I don't wanna,
856
00:25:51.093 --> 00:25:51.970 line:15%
there's some great stories,
857
00:25:51.970 --> 00:25:52.803 line:15%
but I think
858
00:25:53.638 --> 00:25:55.900 line:15%
I'll keep them probably more to myself
859
00:25:55.900 --> 00:25:58.020 line:15%
because I don't know for me,
860
00:25:58.020 --> 00:25:59.160 line:15%
it is about hope for you,
861
00:25:59.160 --> 00:26:00.820 line:15%
for everyone else it should be about the photograph.
862
00:26:00.820 --> 00:26:01.653 line:15%
I don't think,
863
00:26:01.653 --> 00:26:05.030 line:15%
I want them to be less personalised,
864
00:26:05.030 --> 00:26:06.560 line:15%
I don't want people to know too much,
865
00:26:06.560 --> 00:26:08.663 line:15%
because they should have the same value.
866
00:26:10.780 --> 00:26:12.000 line:15%
Yeah. And for me,
867
00:26:12.000 --> 00:26:13.950 line:15%
that is what's so
868
00:26:13.950 --> 00:26:15.210 line:15%
absolutely
869
00:26:15.210 --> 00:26:17.390 line:15%
breathtaking and intriguing about them.
870
00:26:17.390 --> 00:26:22.180 line:15%
I get drawn into the thong line marks on his feet and things
871
00:26:22.180 --> 00:26:24.150 line:15%
and that how did that car happen to be there?
872
00:26:24.150 --> 00:26:27.833 line:15%
But it's the details and the,
873
00:26:27.833 --> 00:26:30.620 line:15%
the picture setting that is just
874
00:26:30.620 --> 00:26:33.421 line:15%
so intriguing and draws you in so much.
875
00:26:33.421 --> 00:26:34.254 line:15%
So,
876
00:26:35.097 --> 00:26:38.120 line:15%
this beautiful couple with the slightly wonky sunglasses,
877
00:26:38.120 --> 00:26:38.953 line:15%
I just,
878
00:26:38.953 --> 00:26:41.060 line:15%
I absolutely love it.
879
00:26:41.060 --> 00:26:42.020 line:15%
Yeah.
880
00:26:42.020 --> 00:26:43.566 line:15%
It's,
881
00:26:43.566 --> 00:26:44.399 line:15%
(Ingvar laughing)
it's a story behind
882
00:26:44.399 --> 00:26:45.232 line:15%
that one too,
883
00:26:45.232 --> 00:26:46.065 line:15%
but
884
00:26:47.040 --> 00:26:49.310 line:15%
yeah. Me, the kids and my ex,
885
00:26:49.310 --> 00:26:51.534 line:15%
were travelling around Cambodia, Vietnam,
886
00:26:51.534 --> 00:26:54.750 line:15%
and I kind of rented a motorbike or,
887
00:26:54.750 --> 00:26:55.583 line:15%
Vesper thing,
888
00:26:55.583 --> 00:26:57.980 line:15%
and every morning I was out for two, three hours,
889
00:26:57.980 --> 00:26:59.150 line:15%
just trying to meet people
890
00:26:59.150 --> 00:27:02.570 line:15%
and take portraits while they slept in,
891
00:27:02.570 --> 00:27:03.490 line:15%
and
892
00:27:03.490 --> 00:27:04.323 line:15%
yeah,
893
00:27:04.323 --> 00:27:06.060 line:15%
these are two guys I came across in this
894
00:27:06.060 --> 00:27:07.493 line:15%
very random place.
895
00:27:10.690 --> 00:27:11.890 line:15%
Yeah. There were lovely.
896
00:27:12.870 --> 00:27:17.110 line:15%
We do have a question from one of our zoom participants.
897
00:27:17.110 --> 00:27:19.930 line:15%
Wondering if it's hard to get people not to pose
898
00:27:19.930 --> 00:27:22.270 line:15%
in an unnatural or a self-conscious way,
899
00:27:22.270 --> 00:27:23.103 line:15%
for example,
900
00:27:23.103 --> 00:27:25.153 line:15%
like a selfie pout or a cheesy grin.
901
00:27:27.790 --> 00:27:30.052
No.
(both laughing)
902
00:27:30.052 --> 00:27:30.885
Not.
903
00:27:30.885 --> 00:27:31.932
I don't know.
904
00:27:31.932 --> 00:27:33.763
As I said I lock up for me, if you,
905
00:27:35.650 --> 00:27:37.220
even if I look at other people's work,
906
00:27:37.220 --> 00:27:38.680
if it's too,
907
00:27:38.680 --> 00:27:40.693
if the subject matter is emoting,
908
00:27:42.270 --> 00:27:43.823
is emoting too much,
909
00:27:45.610 --> 00:27:47.100
I feel like that,
910
00:27:47.100 --> 00:27:48.320
that shuts the image down.
911
00:27:48.320 --> 00:27:49.910
You see nothing but that smile,
912
00:27:49.910 --> 00:27:51.310
you see nothing but that frown,
913
00:27:51.310 --> 00:27:52.973
or whatever pose they take.
914
00:27:53.900 --> 00:27:54.770
So, for me,
915
00:27:54.770 --> 00:27:55.780
these are
916
00:27:55.780 --> 00:27:58.000
slightly glorified passport photos,
917
00:27:58.000 --> 00:27:59.610
and that's all I ask for them.
918
00:27:59.610 --> 00:28:00.800 line:15%
You know, I don't, it's,
919
00:28:00.800 --> 00:28:02.470 line:15%
it's very,
920
00:28:02.470 --> 00:28:04.740 line:15%
I want them just to look back
921
00:28:04.740 --> 00:28:07.800 line:15%
and not emote if possible,
922
00:28:07.800 --> 00:28:09.800 line:15%
something will come back towards the camera.
923
00:28:09.800 --> 00:28:10.950 line:15%
But what that is,
924
00:28:10.950 --> 00:28:11.840 line:15%
I don't know what that is,
925
00:28:11.840 --> 00:28:12.673 line:15%
but I want...
926
00:28:12.673 --> 00:28:14.820 line:15%
Again, it's about repetition and it's,
927
00:28:14.820 --> 00:28:19.060 line:15%
it's about being able to line these quarters up somehow,
928
00:28:19.060 --> 00:28:22.190 line:15%
after the fact down the road next to each other,
929
00:28:22.190 --> 00:28:24.380 line:15%
where they have this neutral
930
00:28:25.600 --> 00:28:27.810 line:15%
meet with the camera.
931
00:28:27.810 --> 00:28:28.643 line:15%
Sometimes not,
932
00:28:28.643 --> 00:28:30.470 line:15%
sometimes you grab these,
933
00:28:30.470 --> 00:28:31.623 line:15%
these other moments,
934
00:28:32.820 --> 00:28:33.740 line:15%
scratching your eye.
935
00:28:33.740 --> 00:28:35.493 line:15%
That's a good mate in Sweden.
936
00:28:37.290 --> 00:28:38.290 line:15%
We studied together
937
00:28:39.810 --> 00:28:40.643 line:15%
university.
938
00:28:41.750 --> 00:28:42.763 line:15%
Boat captain.
939
00:28:46.880 --> 00:28:48.990 line:15%
why I was in this dog park,
940
00:28:48.990 --> 00:28:50.320 line:15%
it's another long story.
941
00:28:50.320 --> 00:28:53.203 line:15%
This is kind of daycare centre for dogs in Bangkok.
942
00:28:58.420 --> 00:28:59.370 line:15%
And then some,
943
00:28:59.370 --> 00:29:01.633 line:15%
a series of a few from Japan.
944
00:29:02.750 --> 00:29:05.510 line:15%
Yeah. I was lucky to do a couple of jobs there,
945
00:29:05.510 --> 00:29:07.593 line:15%
end of 2019 and 2020.
946
00:29:07.593 --> 00:29:09.820 line:15%
I've never been. Always wanted to go to Japan,
947
00:29:09.820 --> 00:29:11.570 line:15%
and ended up staying back
948
00:29:13.172 --> 00:29:14.240 line:15%
a couple of weeks at the time
949
00:29:14.240 --> 00:29:17.130 line:15%
and just travel around a little bit myself.
950
00:29:17.130 --> 00:29:18.590 line:15%
He is just a gardener at the hotel
951
00:29:18.590 --> 00:29:20.313 line:15%
I ended up staying in Hiroshima.
952
00:29:21.690 --> 00:29:23.000 line:15%
We had a bit of a conversation
953
00:29:23.000 --> 00:29:25.570 line:15%
and she's the lady who managed the guest house
954
00:29:25.570 --> 00:29:26.650 line:15%
where I was staying.
955
00:29:26.650 --> 00:29:27.773 line:15%
Trying to ski.
956
00:29:29.810 --> 00:29:31.740 line:15%
But again, like, it was,
957
00:29:31.740 --> 00:29:32.650 line:15%
it was,
958
00:29:32.650 --> 00:29:35.730 line:15%
I was there for two days with the previous lady,
959
00:29:35.730 --> 00:29:36.563 line:15%
staying and skiing,
960
00:29:36.563 --> 00:29:39.139 line:15%
and then one afternoon, it was just, yeah,
961
00:29:39.139 --> 00:29:39.972 line:15%
the snow is so heavy and the,
962
00:29:39.972 --> 00:29:41.849 line:15%
oh, that cone is there,
963
00:29:41.849 --> 00:29:43.337 line:15%
well, just rap on the door,
964
00:29:43.337 --> 00:29:44.650 line:15%
"Can you come out for five minutes?"
965
00:29:44.650 --> 00:29:45.830 line:15%
And she thought she wanted,
966
00:29:45.830 --> 00:29:47.750 line:15%
she thought I wanted her to take my portraits
967
00:29:47.750 --> 00:29:48.860 line:15%
so she was perplexed.
968
00:29:48.860 --> 00:29:50.440 line:15%
But anyway,
969
00:29:50.440 --> 00:29:51.833 line:15%
that's how that came about.
970
00:29:53.100 --> 00:29:54.670 line:15%
And Rose,
971
00:29:54.670 --> 00:29:57.330 line:15%
who's joining us on zoom was wondering if there is a sense
972
00:29:57.330 --> 00:29:59.753
in which your images are also self-portrait.
973
00:30:04.010 --> 00:30:05.830
I don't know.
(Ingvar laughing)
974
00:30:05.830 --> 00:30:07.058
I don't know.
975
00:30:07.058 --> 00:30:09.143
What I think about portraiture.
976
00:30:11.730 --> 00:30:12.680
I think
977
00:30:14.276 --> 00:30:15.109
like, I,
978
00:30:15.109 --> 00:30:16.620
I'm not interested in the audience
979
00:30:17.550 --> 00:30:18.903
at all, in my work.
980
00:30:20.670 --> 00:30:22.650
During the process of doing work it's,
981
00:30:22.650 --> 00:30:24.210
I think it's the most selfish
982
00:30:24.210 --> 00:30:26.963
and kind of beautifully selfish thing to be able to do.
983
00:30:28.390 --> 00:30:29.970
And,
984
00:30:29.970 --> 00:30:31.690
being in this world of images that are,
985
00:30:31.690 --> 00:30:33.320
that I'm interested in,
986
00:30:33.320 --> 00:30:34.310
and that's
987
00:30:34.310 --> 00:30:37.030
why am I doing these choices that I do,
988
00:30:37.030 --> 00:30:39.570
and why do I have this
989
00:30:39.570 --> 00:30:41.470
urge to keep taking this portraits.
990
00:30:41.470 --> 00:30:42.670
It's a very personal thing.
991
00:30:42.670 --> 00:30:44.250
And then yes, at the end of the day,
992
00:30:44.250 --> 00:30:45.350
when you
993
00:30:45.350 --> 00:30:46.650
decide to say stock
994
00:30:46.650 --> 00:30:49.460
and put them together and you make a book
995
00:30:49.460 --> 00:30:50.780
or
996
00:30:50.780 --> 00:30:52.320
exhibition,
997
00:30:52.320 --> 00:30:55.000
obviously then the audience is gonna be involved.
998
00:30:55.000 --> 00:30:55.833
But for me,
999
00:30:55.833 --> 00:30:57.530
like if I need to,
1000
00:30:57.530 --> 00:31:00.300
I need to reach my own conclusion with the work
1001
00:31:00.300 --> 00:31:02.970
and be satisfied.
1002
00:31:02.970 --> 00:31:06.740
It's almost like I have to make my work iconic for myself.
1003
00:31:06.740 --> 00:31:08.000
But they need to,
1004
00:31:08.000 --> 00:31:09.360
they live with me for long time.
1005
00:31:09.360 --> 00:31:11.380
You know, this project goes on for a long time,
1006
00:31:11.380 --> 00:31:13.613
and if they keep,
1007
00:31:14.810 --> 00:31:15.760
staying with me,
1008
00:31:15.760 --> 00:31:17.680
you take a portrait 10 years earlier
1009
00:31:17.680 --> 00:31:18.690
and you look at it, oh,
1010
00:31:18.690 --> 00:31:20.503 line:15%
and you still kind of get these.
1011
00:31:21.820 --> 00:31:23.150 line:15%
I get something from that.
1012
00:31:23.150 --> 00:31:24.160 line:15%
Well, it's a stayer,
1013
00:31:24.160 --> 00:31:25.900 line:15%
and I don't know why it stays with me.
1014
00:31:25.900 --> 00:31:28.110 line:15%
But then, once you done putting it together,
1015
00:31:28.110 --> 00:31:29.110 line:15%
put it out in the world.
1016
00:31:29.110 --> 00:31:29.943 line:15%
It's kind of,
1017
00:31:29.943 --> 00:31:30.940 line:15%
yes, it's out there,
1018
00:31:30.940 --> 00:31:34.310 line:15%
but I don't think about the audience until that point.
1019
00:31:34.310 --> 00:31:35.660 line:15%
And even beyond that point,
1020
00:31:38.090 --> 00:31:38.923 line:15%
I don't,
1021
00:31:38.923 --> 00:31:40.170 line:15%
I don't know what I'm trying to,
1022
00:31:40.170 --> 00:31:43.210 line:15%
is there something I'm trying to say.
1023
00:31:43.210 --> 00:31:44.043 line:15%
I don't,
1024
00:31:44.043 --> 00:31:45.760 line:15%
it's no. I'm just trying to do what I do,
1025
00:31:45.760 --> 00:31:47.870 line:15%
and if people react to it
1026
00:31:47.870 --> 00:31:48.703 line:15%
is probably
1027
00:31:49.830 --> 00:31:51.783 line:15%
less of myself put on more of their.
1028
00:31:53.319 --> 00:31:54.570 line:15%
I mean, it's their relationship to the work,
1029
00:31:54.570 --> 00:31:56.360
that is their thing.
1030
00:31:56.360 --> 00:31:58.410
My relationship to the work is completely different
1031
00:31:58.410 --> 00:32:00.410
and both are okay,
1032
00:32:00.410 --> 00:32:01.320
I think.
1033
00:32:01.320 --> 00:32:02.520
Yeah.
1034
00:32:02.520 --> 00:32:04.720 line:15%
You did say when we were asking you
1035
00:32:04.720 --> 00:32:07.510 line:15%
to bring along a series of images for this particular chat,
1036
00:32:07.510 --> 00:32:09.160 line:15%
that it was a bit hard to choose which ones,
1037
00:32:09.160 --> 00:32:11.500 line:15%
cause they were all like your children so.
1038
00:32:11.500 --> 00:32:12.920 line:15%
Yeah.
1039
00:32:12.920 --> 00:32:15.323 line:15%
All have significance centre power.
1040
00:32:16.470 --> 00:32:17.303 line:15%
Yeah.
1041
00:32:17.303 --> 00:32:18.760 line:15%
This is another image that appeared
1042
00:32:18.760 --> 00:32:21.040 line:15%
in one of our Photographic Portrait prizes,
1043
00:32:21.040 --> 00:32:22.590 line:15%
good old Brad.
1044
00:32:22.590 --> 00:32:24.300 line:15%
Yeah. Brad Gallagher.
1045
00:32:24.300 --> 00:32:26.310 line:15%
Bagsy Gallagher.
1046
00:32:26.310 --> 00:32:28.010 line:15%
Yeah. So I was,
1047
00:32:28.010 --> 00:32:28.843 line:15%
we'll get to that.
1048
00:32:28.843 --> 00:32:30.730 line:15%
But the next project we'll look at is the Ball,
1049
00:32:30.730 --> 00:32:34.010 line:15%
where I went to a series of BNS balls around the country
1050
00:32:34.010 --> 00:32:36.610 line:15%
and he took me to 10 of them
1051
00:32:36.610 --> 00:32:39.810 line:15%
and it took me to number nine to realise,
1052
00:32:39.810 --> 00:32:42.710 line:15%
oh my God, I haven't even brought my Citizen camera along.
1053
00:32:44.693 --> 00:32:48.200 line:15%
So, I don't have many portraits from that time,
1054
00:32:48.200 --> 00:32:49.500 line:15%
and that, excuse me,
1055
00:32:49.500 --> 00:32:50.333 line:15%
that was,
1056
00:32:51.240 --> 00:32:55.250 line:15%
one of the last two I went to grab a portrait of Brad's.
1057
00:32:55.250 --> 00:32:56.786 line:15%
Yeah.
1058
00:32:56.786 --> 00:32:58.020
We'll have a quick look at these last two
1059
00:32:58.020 --> 00:32:58.990
in the Citizen set,
1060
00:32:58.990 --> 00:33:00.980
and then we will move on to The Ball.
1061
00:33:00.980 --> 00:33:02.343 line:15%
So, this is Reg,
1062
00:33:03.190 --> 00:33:05.830 line:15%
and what the most recent Citizen image,
1063
00:33:05.830 --> 00:33:08.217 line:15%
which hot off the press, Delma.
1064
00:33:09.135 --> 00:33:10.699 line:15%
Delma, yeah.
1065
00:33:10.699 --> 00:33:12.010 line:15%
Can I talk about Reg
1066
00:33:12.010 --> 00:33:15.686 line:15%
'cause it is--
Yeah, of corse.
1067
00:33:15.686 --> 00:33:17.420 line:15%
He wasn't, no, was he?
1068
00:33:17.420 --> 00:33:18.253 line:15%
No, it was a different trip.
1069
00:33:18.253 --> 00:33:19.086 line:15%
But anyway,
1070
00:33:19.086 --> 00:33:21.260 line:15%
he's coming back and sort of hitting sunset
1071
00:33:21.260 --> 00:33:22.360 line:15%
and he arrived at this,
1072
00:33:22.360 --> 00:33:23.960 line:15%
just check in
1073
00:33:23.960 --> 00:33:26.840 line:15%
on the spot and he came straight up to talk to me, Reg
1074
00:33:26.840 --> 00:33:29.570 line:15%
and the light was fading,
1075
00:33:29.570 --> 00:33:31.190 line:15%
and before he had time to say much more,
1076
00:33:31.190 --> 00:33:32.270 line:15%
I said, "Reg,"
1077
00:33:32.270 --> 00:33:33.850 line:15%
and this is how he approached me
1078
00:33:33.850 --> 00:33:36.339 line:15%
with his camouflaged long Johns,
1079
00:33:36.339 --> 00:33:38.890 line:15%
and I said, "I really like your portrait Reg."
1080
00:33:38.890 --> 00:33:40.657 line:15%
And he was so pleasant to deal.
1081
00:33:40.657 --> 00:33:42.280 line:15%
And you know, we photographed,
1082
00:33:42.280 --> 00:33:43.750 line:15%
we've got six frames out of it
1083
00:33:43.750 --> 00:33:45.770 line:15%
before I ran out of film,
1084
00:33:45.770 --> 00:33:46.700 line:15%
no time to reload,
1085
00:33:46.700 --> 00:33:47.860 line:15%
the light was gone.
1086
00:33:47.860 --> 00:33:49.160 line:15%
But he,
1087
00:33:49.160 --> 00:33:50.690 line:15%
then afterwards we talked at length
1088
00:33:50.690 --> 00:33:52.230 line:15%
and he
1089
00:33:52.230 --> 00:33:53.063 line:15%
he'd never
1090
00:33:53.063 --> 00:33:55.150 line:15%
been asked for his portrait to be taken
1091
00:33:55.150 --> 00:33:56.250 line:15%
in his whole life.
1092
00:33:56.250 --> 00:33:57.083 line:15%
He was,
1093
00:33:57.083 --> 00:33:58.000 line:15%
he was deaf,
1094
00:33:58.000 --> 00:33:59.480 line:15%
disability pensioner,
1095
00:33:59.480 --> 00:34:01.120 line:15%
just out of a lung cancer,
1096
00:34:01.120 --> 00:34:02.900 line:15%
lung cancer operation,
1097
00:34:02.900 --> 00:34:05.150 line:15%
his mother just died in this town, Narromine.
1098
00:34:07.050 --> 00:34:07.900 line:15%
He'd inherited some money.
1099
00:34:07.900 --> 00:34:10.870 line:15%
He was buying a house for that money in the same town,
1100
00:34:10.870 --> 00:34:12.010 line:15%
and he was staying in this motel.
1101
00:34:12.010 --> 00:34:12.843 line:15%
And like,
1102
00:34:12.843 --> 00:34:14.580 line:15%
it was this amazing story
1103
00:34:14.580 --> 00:34:16.220 line:15%
out of
1104
00:34:16.220 --> 00:34:18.050 line:15%
this gentle character who'd approached me.
1105
00:34:18.050 --> 00:34:19.326 line:15%
And,
1106
00:34:19.326 --> 00:34:20.159 line:15%
you know,
1107
00:34:20.159 --> 00:34:21.540 line:15%
I find that,
1108
00:34:21.540 --> 00:34:24.280 line:15%
that's what I take away privately,
1109
00:34:24.280 --> 00:34:25.580 line:15%
those,
1110
00:34:25.580 --> 00:34:26.413 line:15%
those extra.
1111
00:34:26.413 --> 00:34:28.813 line:15%
Like I remember everything from every portrait.
1112
00:34:30.695 --> 00:34:32.180 line:15%
You know, I remember how I felt that day.
1113
00:34:32.180 --> 00:34:33.013 line:15%
I remember the weather,
1114
00:34:33.013 --> 00:34:34.330 line:15%
I remember the
1115
00:34:34.330 --> 00:34:35.870 line:15%
smells. All the senses.
1116
00:34:35.870 --> 00:34:38.480 line:15%
When I take photographs and meet people,
1117
00:34:38.480 --> 00:34:41.440 line:15%
my senses are just hyper-alert
1118
00:34:41.440 --> 00:34:43.680 line:15%
and you know, in between not so much.
1119
00:34:43.680 --> 00:34:45.910
And it's just this kind of memory bank,
1120
00:34:45.910 --> 00:34:48.000
it's almost my own little personal diary
1121
00:34:48.000 --> 00:34:48.833
and it's sort of,
1122
00:34:48.833 --> 00:34:50.730
it's, I don't know what comes first.
1123
00:34:50.730 --> 00:34:53.080
It's sort of part of my life so much that it's,
1124
00:34:55.100 --> 00:34:58.810
I don't know if the photography or life is so intertwined,
1125
00:34:58.810 --> 00:35:00.743
those moments of meeting people.
1126
00:35:02.750 --> 00:35:04.590 line:15%
Anyway, I've digressed.
1127
00:35:04.590 --> 00:35:05.570 line:15%
No. Not at all.
1128
00:35:05.570 --> 00:35:06.403 line:15%
I'm just,
1129
00:35:06.403 --> 00:35:07.236 line:15%
we should,
1130
00:35:07.236 --> 00:35:08.860 line:15%
we should have a quick look at the,
1131
00:35:08.860 --> 00:35:11.350 line:15%
the next series, The Ball.
1132
00:35:11.350 --> 00:35:13.920 line:15%
I reckon, for most of these, you can almost,
1133
00:35:13.920 --> 00:35:16.180 line:15%
it's one of those kind of evocative series
1134
00:35:16.180 --> 00:35:17.610 line:15%
that we'll just move through
1135
00:35:17.610 --> 00:35:19.140 line:15%
as you talk about the series,
1136
00:35:19.140 --> 00:35:21.200 line:15%
we won't actually pause on any of the photographs
1137
00:35:21.200 --> 00:35:23.450 line:15%
because it's something that has to be seen almost
1138
00:35:23.450 --> 00:35:25.560 line:15%
as a series, as a whole,
1139
00:35:25.560 --> 00:35:26.393 line:15%
and
1140
00:35:26.393 --> 00:35:27.226 line:15%
it feels,
1141
00:35:27.226 --> 00:35:29.210 line:15%
I can smell this experience.
1142
00:35:29.210 --> 00:35:31.040 line:15%
And when you first sent the images through,
1143
00:35:31.040 --> 00:35:31.873 line:15%
I was like,
1144
00:35:31.873 --> 00:35:34.590 line:15%
oh, it's like one BNS Ball that Ingvar has gone,
1145
00:35:34.590 --> 00:35:35.510 line:15%
and he shot.
1146
00:35:35.510 --> 00:35:38.183 line:15%
Turns out it's like, how many, nine BNS Balls?
1147
00:35:38.183 --> 00:35:41.030 line:15%
10 I believe. Yeah. Yap.
I defy anyone to be able
1148
00:35:41.030 --> 00:35:42.160 line:15%
to tell which one is which,
1149
00:35:42.160 --> 00:35:43.863 line:15%
because they're almost,
1150
00:35:43.863 --> 00:35:44.730 line:15%
dear dear.
1151
00:35:44.730 --> 00:35:45.563 line:15%
Let's just,
1152
00:35:45.563 --> 00:35:47.540 line:15%
let's just dive right in BNS Ball.
1153
00:35:47.540 --> 00:35:48.850 line:15%
That was the first one actually,
1154
00:35:48.850 --> 00:35:51.270 line:15%
that's from the first one in Goondiwindi Queensland.
1155
00:35:51.270 --> 00:35:53.903 line:15%
So that's a 12 hour car drive from Sydney.
1156
00:35:54.740 --> 00:35:56.180 line:15%
Sleep somewhere along the way,
1157
00:35:56.180 --> 00:35:57.130 line:15%
arrive at midday,
1158
00:35:57.130 --> 00:35:58.900 line:15%
and then it started and it...
1159
00:35:58.900 --> 00:36:00.950 line:15%
This is the first one and it came about...
1160
00:36:00.950 --> 00:36:01.783 line:15%
I have,
1161
00:36:02.800 --> 00:36:04.610 line:15%
I did a book called Hedgehog and the,
1162
00:36:04.610 --> 00:36:05.820 line:15%
the hedgehog and the foxes,
1163
00:36:05.820 --> 00:36:07.830 line:15%
which was 48 hours with this adult
1164
00:36:08.730 --> 00:36:11.190 line:15%
film star, Ron Jeremy.
1165
00:36:11.190 --> 00:36:13.320 line:15%
With very similar nature this,
1166
00:36:13.320 --> 00:36:14.610 line:15%
he was going from party to party
1167
00:36:14.610 --> 00:36:17.310 line:15%
with bottles of rum that his face on and
1168
00:36:18.440 --> 00:36:19.273 line:15%
similar approach.
1169
00:36:19.273 --> 00:36:20.970 line:15%
This is shot digitally by the way,
1170
00:36:21.950 --> 00:36:22.783 line:15%
because of the nature of it.
1171
00:36:22.783 --> 00:36:24.346 line:15%
But,
1172
00:36:24.346 --> 00:36:26.270 line:15%
and I had done karaoke shots.
1173
00:36:26.270 --> 00:36:27.510 line:15%
So sort of,
1174
00:36:27.510 --> 00:36:31.000 line:15%
sort of dabble in images that are on where
1175
00:36:31.000 --> 00:36:31.940 line:15%
alcohol is involved
1176
00:36:31.940 --> 00:36:33.890 line:15%
and my friend Simon Harrison said,
1177
00:36:33.890 --> 00:36:35.410 line:15%
you should look into BNS Ball,
1178
00:36:35.410 --> 00:36:36.810 line:15%
and I'd never heard of them.
1179
00:36:37.928 --> 00:36:39.570 line:15%
Never came, I've been here a long time,
1180
00:36:39.570 --> 00:36:40.417 line:15%
but never heard of them,
1181
00:36:40.417 --> 00:36:42.880 line:15%
and so I looked up the first one and
1182
00:36:42.880 --> 00:36:45.320 line:15%
it was mind-blowing
1183
00:36:45.320 --> 00:36:46.290 line:15%
in every sense.
1184
00:36:46.290 --> 00:36:47.123 line:15%
And,
1185
00:36:49.350 --> 00:36:51.660 line:15%
it was an idea of doing drunk Australia project,
1186
00:36:51.660 --> 00:36:53.410 line:15%
but this felt so uniquely
1187
00:36:53.410 --> 00:36:54.370 line:15%
separate,
1188
00:36:54.370 --> 00:36:56.400 line:15%
and so it became its own thing called The Ball.
1189
00:36:56.400 --> 00:36:57.233 line:15%
Yeah.
1190
00:36:58.800 --> 00:37:01.460 line:15%
And they were strangely repetitive.
1191
00:37:01.460 --> 00:37:02.470 line:15%
It is like you're,
1192
00:37:02.470 --> 00:37:04.070 line:15%
like, you're relieving.
1193
00:37:04.070 --> 00:37:04.903 line:15%
I've been to 10,
1194
00:37:04.903 --> 00:37:05.960 line:15%
and they're all very similar,
1195
00:37:05.960 --> 00:37:07.830 line:15%
in structure and how they go about things,
1196
00:37:07.830 --> 00:37:08.663 line:15%
and
1197
00:37:10.097 --> 00:37:11.602 line:15%
I felt like I was going back in the past,
1198
00:37:11.602 --> 00:37:14.390 line:15%
every time I went to one.
1199
00:37:14.390 --> 00:37:16.350 line:15%
They certainly feel very Australian.
1200
00:37:16.350 --> 00:37:17.970 line:15%
It would be interesting to see if this is
1201
00:37:17.970 --> 00:37:21.070 line:15%
something that other countries have
1202
00:37:21.070 --> 00:37:22.810 line:15%
this sort of subculture going on
1203
00:37:22.810 --> 00:37:23.969 line:15%
but--
1204
00:37:23.969 --> 00:37:24.802 line:15%
I don't think.
1205
00:37:24.802 --> 00:37:26.330 line:15%
Like I had a conversation with Tim Winton
1206
00:37:26.330 --> 00:37:28.080 line:15%
who ended up writing it,
1207
00:37:28.080 --> 00:37:30.450 line:15%
'cause I approached him about writing forward to the book
1208
00:37:30.450 --> 00:37:34.310 line:15%
and he wrote a very nice letter back of rejection
1209
00:37:34.310 --> 00:37:36.000 line:15%
and said no thank you.
1210
00:37:36.000 --> 00:37:37.760 line:15%
But I included the letter,
1211
00:37:37.760 --> 00:37:40.256 line:15%
my letter to him and his letter back to me,
1212
00:37:40.256 --> 00:37:41.089 line:15%
and he sort of
1213
00:37:42.710 --> 00:37:43.710 line:15%
talking in this letter,
1214
00:37:43.710 --> 00:37:44.543 line:15%
but you know,
1215
00:37:44.543 --> 00:37:46.113 line:15%
we have mid summit parties in Sweden,
1216
00:37:46.113 --> 00:37:48.663 line:15%
that little crayfish parties they're similar.
1217
00:37:49.580 --> 00:37:50.520 line:15%
Youth
1218
00:37:50.520 --> 00:37:52.292 line:15%
totally out of control
1219
00:37:52.292 --> 00:37:54.792 line:15%
and you have, I don't know spring break in America
1220
00:37:56.445 --> 00:37:57.278 line:15%
and what it is,
1221
00:37:57.278 --> 00:37:59.160 line:15%
I don't know what it is that...
1222
00:37:59.160 --> 00:38:00.594 line:15%
I don't understand why,
1223
00:38:00.594 --> 00:38:01.427 line:15%
I mean, I do understand why they go on
1224
00:38:01.427 --> 00:38:02.960 line:15%
and then I feel like
1225
00:38:03.860 --> 00:38:06.057 line:15%
previous generations had possibly more
1226
00:38:07.790 --> 00:38:08.623 line:15%
rituals
1227
00:38:09.530 --> 00:38:12.050 line:15%
that was passed down from previous generations.
1228
00:38:12.050 --> 00:38:15.040 line:15%
Whereas now youths have to still grow up
1229
00:38:15.040 --> 00:38:16.520 line:15%
and still become men and women,
1230
00:38:16.520 --> 00:38:19.060 line:15%
and through the process of these parties,
1231
00:38:19.060 --> 00:38:21.670 line:15%
I think is almost like an initiation into adulthood.
1232
00:38:21.670 --> 00:38:24.290 line:15%
A modern way of doing it rather than being passed on
1233
00:38:24.290 --> 00:38:25.940 line:15%
this knowledge from previous gen,
1234
00:38:26.980 --> 00:38:29.300 line:15%
to be quick and kind of vague about it.
1235
00:38:29.300 --> 00:38:30.240 line:15%
But I don't know.
1236
00:38:30.240 --> 00:38:32.620 line:15%
I don't know why they're going but...
1237
00:38:32.620 --> 00:38:33.690 line:15%
In this case,
1238
00:38:33.690 --> 00:38:34.523 line:15%
you have
1239
00:38:35.500 --> 00:38:37.690 line:15%
people who live on farms for 11 months of the year,
1240
00:38:37.690 --> 00:38:39.640 line:15%
never seeing much more than their folks
1241
00:38:40.920 --> 00:38:41.960 line:15%
in other farm hands
1242
00:38:41.960 --> 00:38:44.730 line:15%
and they get a shot at going to a party,
1243
00:38:44.730 --> 00:38:45.750 line:15%
five hours drive away.
1244
00:38:45.750 --> 00:38:46.583 line:15%
They'll take it,
1245
00:38:46.583 --> 00:38:50.600 line:15%
and they'll do the most of what they can in that 48 hours.
1246
00:38:50.600 --> 00:38:51.700 line:15%
And
1247
00:38:51.700 --> 00:38:52.803 line:15%
that's what happens.
1248
00:38:56.130 --> 00:38:56.963 line:15%
And we'll just,
1249
00:38:56.963 --> 00:38:59.924 line:15%
we'll leave the BNS Balls on this delightful shot.
1250
00:38:59.924 --> 00:39:02.120 line:15%
(both laughing)
1251
00:39:02.120 --> 00:39:04.190 line:15%
But we probably have just enough time,
1252
00:39:04.190 --> 00:39:06.370 line:15%
another five minutes to talk about
1253
00:39:06.370 --> 00:39:09.083 line:15%
your move into movie direction Ingvar.
1254
00:39:10.080 --> 00:39:10.913 line:15%
Yes.
1255
00:39:10.913 --> 00:39:12.580 line:15%
Would you like to show the trailer first
1256
00:39:12.580 --> 00:39:14.400 line:15%
before we start talking about it?
1257
00:39:14.400 --> 00:39:15.733 line:15%
Should we do that?
1258
00:39:15.733 --> 00:39:16.566 line:15%
Let's do that. Yeah.
1259
00:39:16.566 --> 00:39:17.700 line:15%
Okay. Hector, would you mind
1260
00:39:17.700 --> 00:39:19.500 line:15%
screening that short trailer
1261
00:39:19.500 --> 00:39:21.450 line:15%
for people to have a sense of the land?
1262
00:39:23.924 --> 00:39:26.841
(slow tense music)
1263
00:39:41.010 --> 00:39:43.210
When's the last time you went to the land?
1264
00:39:48.460 --> 00:39:50.690
He's really come into his own, you know.
1265
00:39:50.690 --> 00:39:53.123
He's not the guy you used to know.
1266
00:39:53.123 --> 00:39:54.206
I miss you.
1267
00:40:00.470 --> 00:40:01.803
You should go.
1268
00:40:02.836 --> 00:40:05.169
Into the land you should go.
1269
00:40:08.539 --> 00:40:11.039
(car roaring)
1270
00:40:13.195 --> 00:40:15.307
Be good for you.
1271
00:40:15.307 --> 00:40:16.307
Both of you.
1272
00:40:19.615 --> 00:40:21.010
You're the one who ran off to Hollywood
1273
00:40:21.010 --> 00:40:23.660
to become a superstar, right?
(people laughing)
1274
00:40:23.660 --> 00:40:24.660 line:15%
How'd it go?
1275
00:40:27.755 --> 00:40:30.860 line:15%
(fire crackling)
1276
00:40:30.860 --> 00:40:33.050 line:15%
Jess you can talk there's no one else here.
1277
00:40:33.910 --> 00:40:34.805 line:15%
Jane Phillips.
1278
00:40:34.805 --> 00:40:36.677 line:15%
You'll never think about her.
1279
00:40:37.790 --> 00:40:40.200 line:15%
She's never getting away from me.
1280
00:40:40.200 --> 00:40:41.050 line:15%
She's up in here.
1281
00:40:42.380 --> 00:40:43.213 line:15%
She was scared.
1282
00:40:43.213 --> 00:40:44.046 line:15%
She went to the cops.
1283
00:40:44.046 --> 00:40:45.270 line:15%
She was scared.
1284
00:40:45.270 --> 00:40:48.403 line:15%
And if there'd been a case to answer then why didn't we.
1285
00:40:48.403 --> 00:40:50.640 line:15%
(road rustling)
1286
00:40:50.640 --> 00:40:53.307
(woman moaning)
1287
00:40:54.399 --> 00:40:55.944
(banging on the door)
1288
00:40:55.944 --> 00:40:58.980
(woman crying)
1289
00:40:58.980 --> 00:41:00.380
You fuck my wife and bring her to my fucking door,
1290
00:41:00.380 --> 00:41:04.045
this piece of shit own everything nothing's mine.
1291
00:41:04.045 --> 00:41:05.451
(glass tinkling)
1292
00:41:05.451 --> 00:41:06.677
(table thudding)
1293
00:41:06.677 --> 00:41:09.344
(man screaming)
1294
00:41:11.002 --> 00:41:14.799
(man breathing heavily)
1295
00:41:14.799 --> 00:41:17.799
(crickets chirping)
1296
00:41:28.820 --> 00:41:31.250 line:15%
I get goosebumps watching that trailer.
1297
00:41:31.250 --> 00:41:33.260 line:15%
It's such a powerful,
1298
00:41:33.260 --> 00:41:34.200 line:15%
powerful imagery,
1299
00:41:34.200 --> 00:41:35.060 line:15%
powerful stories.
1300
00:41:35.060 --> 00:41:36.130 line:15%
Can you tell us a little bit about
1301
00:41:36.130 --> 00:41:37.543 line:15%
how the project came about?
1302
00:41:38.830 --> 00:41:41.820
Yeah. Like two friends of mine,
1303
00:41:41.820 --> 00:41:43.840
Steve and Cameron,
1304
00:41:43.840 --> 00:41:45.990
who I have known for quite a long time.
1305
00:41:45.990 --> 00:41:46.823
These two guys,
1306
00:41:46.823 --> 00:41:48.800
they are the writers,
1307
00:41:48.800 --> 00:41:49.800
and actors in the film.
1308
00:41:49.800 --> 00:41:52.793
They came with me to this talk I had with my,
1309
00:41:54.000 --> 00:41:55.513
me and my partner at the time,
1310
00:41:56.530 --> 00:41:57.840
up in Walcha National park.
1311
00:41:57.840 --> 00:41:59.887
Just as a boys weekend and things,
1312
00:41:59.887 --> 00:42:02.470
spun out of control a bit and
1313
00:42:02.470 --> 00:42:04.010
it was a fun boys weekend.
1314
00:42:04.010 --> 00:42:06.350
And then three months post that trip
1315
00:42:06.350 --> 00:42:08.700
they came back to me with a script and said,
1316
00:42:08.700 --> 00:42:10.650
look, we have this script floating around for two,
1317
00:42:10.650 --> 00:42:12.740
couple of years. They've been working on and we decided
1318
00:42:12.740 --> 00:42:14.320
to rewrite it
1319
00:42:14.320 --> 00:42:16.540
to sort of take place mainly up,
1320
00:42:16.540 --> 00:42:18.090
where we were like on the land,
1321
00:42:20.150 --> 00:42:23.290
and do you wanna direct it and it's,
1322
00:42:23.290 --> 00:42:24.440
that's how it happened,
1323
00:42:25.629 --> 00:42:27.280
that's 10 years ago.
1324
00:42:27.280 --> 00:42:28.410
And
1325
00:42:28.410 --> 00:42:29.360
then we would come,
1326
00:42:29.360 --> 00:42:31.060 line:15%
back and forth for three years,
1327
00:42:31.060 --> 00:42:32.370 line:15%
developing the scripts.
1328
00:42:32.370 --> 00:42:36.140 line:15%
They wrote it and we had sort of script developing chats,
1329
00:42:36.140 --> 00:42:39.090 line:15%
and then a fourth person, Greg Ferris came along,
1330
00:42:39.090 --> 00:42:39.923 line:15%
who we all knew,
1331
00:42:39.923 --> 00:42:40.756 line:15%
or they knew more,
1332
00:42:40.756 --> 00:42:42.910 line:15%
but I met him and he,
1333
00:42:42.910 --> 00:42:45.020 line:15%
he knew everything about filmmaking,
1334
00:42:45.020 --> 00:42:47.720 line:15%
and he became the sort of the,
1335
00:42:47.720 --> 00:42:48.960 line:15%
the possibility, like he,
1336
00:42:48.960 --> 00:42:50.150 line:15%
with him came the possibility
1337
00:42:50.150 --> 00:42:52.390 line:15%
we can actually make this film
1338
00:42:52.390 --> 00:42:54.337 line:15%
because he knew about cameras
1339
00:42:54.337 --> 00:42:56.390 line:15%
and what we needed to shoot something,
1340
00:42:56.390 --> 00:42:59.410 line:15%
to look cinematic and be able to screen on the big screen
1341
00:42:59.410 --> 00:43:00.880
and all these other things.
1342
00:43:00.880 --> 00:43:03.130
So together, we set out to shoot this film
1343
00:43:03.130 --> 00:43:04.603
over a year and a half.
1344
00:43:06.700 --> 00:43:08.050
You know, around family life
1345
00:43:08.050 --> 00:43:09.317
and everything else that goes on,
1346
00:43:09.317 --> 00:43:12.852
so the shot process was 35 days over the course of that.
1347
00:43:12.852 --> 00:43:14.120
You know, it could be a two hour shoot in the morning
1348
00:43:14.120 --> 00:43:15.330
we have people that go to work
1349
00:43:15.330 --> 00:43:17.280
or we shot a long weekend up on the land
1350
00:43:17.280 --> 00:43:18.430
and it's just plotted along.
1351
00:43:18.430 --> 00:43:19.570
And then after that,
1352
00:43:19.570 --> 00:43:22.230
it's been a five-year process of doing the post-work
1353
00:43:22.230 --> 00:43:23.570
because we never had funding.
1354
00:43:23.570 --> 00:43:27.330
So we'd been doing it with a lot of help of people
1355
00:43:27.330 --> 00:43:28.163
who, you know,
1356
00:43:29.070 --> 00:43:31.690 line:15%
editors and colour graders,
1357
00:43:31.690 --> 00:43:32.820 line:15%
some sound designers.
1358
00:43:32.820 --> 00:43:33.840 line:15%
It's all come on board
1359
00:43:33.840 --> 00:43:36.920 line:15%
and helped us with this film to get it to where it's at.
1360
00:43:38.163 --> 00:43:39.380 line:15%
And do you think that
1361
00:43:39.380 --> 00:43:41.800 line:15%
after this experience you'll be moving into
1362
00:43:41.800 --> 00:43:44.640 line:15%
that filmmaking area
1363
00:43:44.640 --> 00:43:45.480 line:15%
with your career?
1364
00:43:45.480 --> 00:43:47.010 line:15%
Or is this something--?
1365
00:43:47.966 --> 00:43:49.845 line:15%
I don't know.
1366
00:43:49.845 --> 00:43:50.810
It was,
1367
00:43:50.810 --> 00:43:52.500
it was hard
1368
00:43:52.500 --> 00:43:53.480
because there was no money,
1369
00:43:53.480 --> 00:43:54.640
but it was also brilliant
1370
00:43:54.640 --> 00:43:55.700
because there was no money.
1371
00:43:55.700 --> 00:43:58.560
'Cause you don't need to answer to anything
1372
00:43:58.560 --> 00:44:00.630
except the creative chapter
1373
00:44:00.630 --> 00:44:02.580
between four friends in the sense.
1374
00:44:02.580 --> 00:44:03.610
So, it was,
1375
00:44:03.610 --> 00:44:05.100
it was an amazing experience
1376
00:44:05.100 --> 00:44:05.933
and you know, I'll be,
1377
00:44:05.933 --> 00:44:07.330
I'll be happy to look at something,
1378
00:44:07.330 --> 00:44:09.980
but sort of still feels like I'm working on this film,
1379
00:44:09.980 --> 00:44:11.380
trying to
1380
00:44:11.380 --> 00:44:12.960
now after some festivals,
1381
00:44:12.960 --> 00:44:14.444
trying to get it
1382
00:44:14.444 --> 00:44:16.430
out the streaming and now you sort of,
1383
00:44:16.430 --> 00:44:17.850
the producers hat is on
1384
00:44:17.850 --> 00:44:19.210
and you try,
1385
00:44:19.210 --> 00:44:20.983 line:15%
together we try to find ways of,
1386
00:44:22.640 --> 00:44:23.573 line:15%
giving it life,
1387
00:44:24.620 --> 00:44:25.620 line:15%
beyond the festival.
1388
00:44:25.620 --> 00:44:27.830 line:15%
So, we're still working on this film and yeah,
1389
00:44:27.830 --> 00:44:28.680 line:15%
I'll be,
1390
00:44:28.680 --> 00:44:30.060 line:15%
I'm doing motion,
1391
00:44:30.060 --> 00:44:31.103 line:15%
commercially,
1392
00:44:31.970 --> 00:44:33.810 line:15%
ads and,
1393
00:44:33.810 --> 00:44:35.610 line:15%
and short documentaries
1394
00:44:35.610 --> 00:44:37.023 line:15%
and yes, I still.
1395
00:44:39.210 --> 00:44:40.670 line:15%
It's reality, you need to do both,
1396
00:44:40.670 --> 00:44:42.540 line:15%
but I'd say my love is photography
1397
00:44:42.540 --> 00:44:44.768 line:15%
and this is a great way of spending my time
1398
00:44:44.768 --> 00:44:45.601 line:15%
when I don't do photography.
1399
00:44:45.601 --> 00:44:47.294 line:15%
I do like it.
1400
00:44:47.294 --> 00:44:48.457 line:15%
It's a totally different thing.
1401
00:44:48.457 --> 00:44:51.120 line:15%
Obviously it's a collaboration on a massive scale
1402
00:44:51.120 --> 00:44:53.500 line:15%
compared to being you with a camera
1403
00:44:53.500 --> 00:44:55.083 line:15%
and both have its place.
1404
00:44:56.629 --> 00:44:58.110 line:15%
I knew it.
1405
00:44:58.110 --> 00:45:00.690 line:15%
I think that might be all we have time for I'm afraid.
1406
00:45:00.690 --> 00:45:03.220 line:15%
Although I could sit and listen to stories
1407
00:45:03.220 --> 00:45:05.420 line:15%
and look at your photography for hours.
1408
00:45:05.420 --> 00:45:07.730 line:15%
It's just, there's so much that I take from it
1409
00:45:07.730 --> 00:45:09.742 line:15%
every time I have a look at your work,
1410
00:45:09.742 --> 00:45:10.846 line:15%
Ingvar.
Oh, great.
1411
00:45:10.846 --> 00:45:13.650 line:15%
Thank you so much for joining us this afternoon.
1412
00:45:13.650 --> 00:45:14.730 line:15%
Thanks for having me.
1413
00:45:14.730 --> 00:45:16.126 line:15%
It was great.
1414
00:45:16.126 --> 00:45:17.090 line:15%
And Matt,
1415
00:45:17.090 --> 00:45:19.340 line:15%
the wonderful Matt who's been managing our chat
1416
00:45:19.340 --> 00:45:20.590
in zoom and on Facebook,
1417
00:45:20.590 --> 00:45:24.580
we'll be dropping links for The Land and various other,
1418
00:45:24.580 --> 00:45:26.620
The Citizen book and The Ball book
1419
00:45:26.620 --> 00:45:28.290
and the website.
1420
00:45:28.290 --> 00:45:29.130
Ingvar has a website,
1421
00:45:29.130 --> 00:45:31.410
so if you'd like to check out more of Ingvar's work,
1422
00:45:31.410 --> 00:45:33.677
please do jump on the website and have a look,
1423
00:45:33.677 --> 00:45:34.900
and yeah.
1424
00:45:34.900 --> 00:45:37.870
Until next time, we've got plenty more virtual programmes
1425
00:45:37.870 --> 00:45:40.200
coming up throughout December,
1426
00:45:40.200 --> 00:45:43.230
and then we're gonna take a short break over Christmas.
1427
00:45:43.230 --> 00:45:45.280
So please, a block back in your diaries
1428
00:45:45.280 --> 00:45:47.740
to come back to us late in January, early February,
1429
00:45:47.740 --> 00:45:48.573
when we bring,
1430
00:45:48.573 --> 00:45:51.850
kickoff our next round of virtual programmes next year,
1431
00:45:51.850 --> 00:45:53.860
until then please jump on our website,
1432
00:45:53.860 --> 00:45:55.230
portrait.gov.au,
1433
00:45:55.230 --> 00:45:57.210
or follow us on socials @portrait AU,
1434
00:45:57.210 --> 00:45:58.640
and you'll be able to keep up to date
1435
00:45:58.640 --> 00:45:59.840
with all of the other programmes
1436
00:45:59.840 --> 00:46:01.750
that are coming down the pipeline.
1437
00:46:01.750 --> 00:46:03.720
Thank you so much once again for joining us
1438
00:46:03.720 --> 00:46:06.180
and we hope to see you online again soon.
1439
00:46:06.180 --> 00:46:07.283
Take care. Bye bye.