Online Photojournalism Symposium from CDP

Friday, May 7th, 2010

Centre for Documentary Practice
The Centre for Documentary Practice will be producing its second online photojournalism symposium this weekend (May 8/9 depending on where on the globe you are participating from).
The theme for this weekend’s event is Photojournalism: Rhetoric and Reality:

As a discipline, Photojournalism purports to be concerned with a social justice agenda, yet often it simply perpetuates stereotypes, presenting people and issues as singularly dimensional.

Featuring Angela Blakely (Australia), Shahidul Alam (Bangladesh) and Brenda Ann Kenneally (USA), the event will be hosted from Sydney by David Lloyd of the CDP. The event is part of the Sydney Head On Photo Festival.

The 3 hour event will be held from 00:00 to 03:00 GMT.

  • Sydney: 10:00am – 1:00pm
  • Bangkok: 7:00am -10:00am
  • Dhaka: 6:00am – 9:00am
  • London: 1:00am – 4:00am
  • New York 8:00pm-11:00pm (Saturday May 8 )
  • Los Angeles: 5:00pm-8:00pm (Saturday May 8 )

For registration information (it’s free), visit the CDP’s online symposium page.

Pulp – read it here

Monday, May 3rd, 2010

Introducing Pulp, the Pineapple Press Club’s first e-magazine effort.

The Pineapples are a loose and dangerous bunch of photojournalists with vague ties to Queensland, Australia (for the purpose of transparency, I am a Pineapple.). The practice of photojournalism (I’ll make Skinner mad here and lump photojournalism, documentary photography and social documentary photography in the same category), is not exclusive to those internationally celebrated practitioners from Sydney (oooh) and Melbourne (aaah), though they’d lead you to believe so. Not so long ago, in those big, smokey metropolises, the photojournalists had to start their own collectives to be seen, to be exhibited, and to be known.
Not to be outdone, the photojournalists of Queensland (the sunshine state), have banded together, loosely, to form the Pineapple Press Club. The PPC’s agenda is less about world domination (though that could be coming), and more about seeking to encourage the general public to engage with photojournalism via grass roots methods – hosted slide nights and exhibitions in community venues. And, of course, e-publishing:

To find out how you can get involved with the Pineapple Press Club, click here.
(Shameless self-promotion here, but I figure, what the heck. It’s my blog. Deal with it.)

World Press Photo 2009 Announced

Saturday, February 13th, 2010

A great start to a Saturday morning is to sit down at the computer with a nice espresso and view the winning images from World Press Photo 2009. Pietro Masturzo’s image of women shouting in protest from the rooftops of Tehran was declared photo of the year. The image is shot from an adjacent rooftop, and we cannot see what they are reacting to. But given the context of the story – that all form of protest in Iran is illegal, that footage of the demonstrations that did make it out of Iran was done so mostly by citizen journalists (i.e. via mobile phone uploads to social networking sites), the image alludes to the heroism in those who chose to voice their discontent against the regime of Mahmoud Ahmadinejad. (The timing of the WPP announcement, February 11, also marks the 31st anniversary of the overthrow of the Shah of Iran which led to an Islamic republic. Keep your eyes peeled.)
The jury decided to grant a special mention to a frame grab of the famous Youtube video of Neda Agha-Soltan’s blood covered face as she lay dying on the street. WPP quotes jury member David Griffin of National Geographic as saying: “I am pleased that World Press Photo has provided an avenue for non-professional images that have a significant impact on the historical visual record.” The rise of the citizen journalist? I think so.
What impresses me with the jury’s selection this year is a nod to the tradition of narrative storytelling – missing is the stylized, hand-of-God influence that has pervaded (in my opinion) the last few years of images. This year’s selection seems to be more driven by story than aesthetic. Nice.

Nikon or Canon – HD Here to Stay

Sunday, November 1st, 2009

Fifteen years ago I was shooting film – and laughing with my colleagues at the inferiority of digital imaging. Today, I’m waiting for my brand to come out with a 1080p, high-Megapixel unit for me to continue my doctoral research documentary with. While I wait for my brand to cough up the goods (I’ve got too much invested in glass to make a switch), I use the competition’s better option (borrowed) to film hour-long interviews and document my subjects as they go about their daily lives.
A week ago I had a play with the new Nikon D3s and found its low-light shooting capabilities to be truly amazing. You can read about it on Rob Galbraith’s site. The D3s is going to be great for press photographers – they can capture 720p movies on the fly (good enough for web and some TV broadcast) and pull print-quality stills from the video thanks to the new JPEG capture mode that Nikon is using. The new Canon 1D Mark IV also promises to be impressive in low-light. Though I haven’t had a play with it, I like that it captures video in 1080p.
Exciting as this all is, it’s turning into a big problem for organizers of events who count on revenue from securing broadcast rights for big-budget cable TV companies. If newspaper, wire and independent shooters are now making broadcast-quality video from events and publishing them online, those exclusive broadcast rights are worth nothing (if you’re interested in the effects of the Internet on TV advertising, here’s an interesting article from Adbusters). One option may be to recognize the new DSLR HD capabilities and limit the amount of video that can be published from DSLR HD photojournalists who are not affiliated with broadcast TV. But I think it will be difficult to monitor or control.
In the meantime, anyone serious about staying in the business of photojournalism should be familiar with video capture. In the US, mostly because of convergence, photojournalists have been training up for and shooting in video for over a decade. Australia is just waking up to the change.

Great Online Multimedia from SMH.com.au

Sunday, October 25th, 2009

Another Photojournalism’s Not Dead post:

Sexual Warfare: Rape in the Democratic Republic of Congo, is an incredibly moving and engaging multimedia story from Kate Geraghty, a photojournalist with the Sydney Morning Herald. Kate has rightly won the UN Media Award for best photojournalism last night in Melbourne.
Kudos to Kate.

World’s First Online Journalism & Documentary Practice Conference

Monday, October 12th, 2009

Centre for Documentary Practice

Those who continue to eulogize the craft of documentary photography be warned – the newly-established Centre for Documentary Practice is bent on making you eat dirt.

Based in Australia at Griffith University, Queensland College of Art, the CDP has some broad and bold plans – not the least of which is to host the world’s first online journalism and documentary practice conference, October 15. The centre acts to bridge the often-chasm-like gap between those who work in the field and those who work through institutions, writing in its mission statement that it seeks to, “promote a community of practitioners within the professional and academic worlds.”
Speakers at the October 15th online conference include: Paul Fusco, Ed Kashi, Jodi Bieber, Marcus Bleasdale, Shahidul Alam, Gary Knight, Robin Hammond, Adam Ferguson, Travis Beard, Michael Coyne, Masaru Goto, Jack Picone and Megan Lewis.
The CDP has published a multi-time-zone schedule so participants can pick up a session in their part of the world. You must register to be a part of this historic conference.
Register HERE.

Lost Horizons is a Book

Saturday, August 1st, 2009

Fog on the Charles Bridge

Fog on the Charles Bridge

I know there is no real Shangri-La, but I always harbored the thought that maybe, maybe, Prague would be the closest thing to it, should I ever venture to return to my old Bohemian haunts. Working there in the ’90s as a photojournalist was exhilarating, though sometimes frustrating, but it never failed to amaze. I landed there in February of ‘96, on a day that a bomb threat had cleared the airport, and as I stepped around the police tape and looked for a familiar face, I had a hunch that I was in for an adventure. A photographer named Vlad picked me up in his grandfather’s old Skoda 120. Along with him came Matt, an American photographer who we dropped off at the castle to photograph the long queue of mourners as they shuffled through the courtyards of Prague castle to pay respects to the recently deceased Olga Havlova, first lady and wife of dissident playright turned president, Vaclav Havel.

Prague treated me well. I worked alongside some incredibly talented photojournalists and writers for nearly eight years. We broke a lot of stories. Some stories broke our hearts. But it was all good – any obstacles were overcome with optimism and a good dose of naivete.

I stayed on until 2003. By then, the country had a new president and a new place within the European Union. For reasons of my own, I’d decided it was time to move on. It was a melancholy departure, but something I needed to do. I’m not one of those ex-pats who found they couldn’t live outside Prague (watch the mocumentary Rex-Patriates) and returned to normalize themselves into daily Bohemian life. I found a happy place in Australia. I don’t regret leaving.

So – Shangri-La. I returned to Prague for three weeks in July, with no expectations. I knew it had changed, and it wasn’t just the proliferation of Starbucks that had tilted the Bohemian kingdom on its axis. The optimism of the ’90s was long-gone, replaced by a begrudging sense of fate and a prescription to consumerism to mask the onset of middle-class ennui. Prague is over, I thought. It’s just another European city.

But try selling all that hum-bug to 20 Australian visual media students. They would have no part of it. They’ve run off and found their own adventures, their own stories, their own bit of Prague. It’s been great seeing the old city through new eyes, new approaches. And it’s been fun introducing them to old favourites, like breakfasts at the Cafe Louvre and coffees at the Slavia. It was great coaching them through their first night shoots at Prague Castle – nowhere in Australia could they confront themselves with such grand architecture – so many choices for lines and form to photograph. Simple things like the roof of the main train station staggered them with its detail. But it wasn’t all travel photography. They each dug into a story, working alongside Czech researchers, finding out first hand about the country’s recent history, from StB (secret police) files to Holocaust survivors and the resurgence of Jewish culture in Prague. They really got into it.

I’m glad I returned, and I’m glad I brought some new blood with me. Though they’ll never experience the Prague that was so famously coined by my late editor, Alan Levy, “The Left Bank of the ’90s,” they’ve experienced a new Prague, and made something of it. I’m looking forward to re-discovering the city again. Thanks guys.

View my students’ stories about the twentieth anniversary of the Velvet Revolution here.

Twitter scoops, then dupes…

Saturday, June 27th, 2009

Yesterday morning I received a Facebook notification from the Kansas City Star (which I’m a friend of) which carried a link to TMZ that reported that Michael Jackson had just suffered a heart-attack and died.

Being too early to even start contemplating going to work (I’m an early riser), I began to follow the story – not on Twitter, but on Facebook. It turned out to be quite a story, and not just because the “King of Pop” had died.

TMZ called the death first. Most Australian newspaper URLs continued reporting he had suffered a reported heart-attack and was rushed to hospital. But slowly, via my network on Face Book, friends from around the globe started confirming that the death had been posted on “legitimate” news sites. At that point, the Internet did a funny thing I haven’t experienced for almost eight years. It slowed down.

Eight years ago was 9/11. I was summoned back to work on the first day of a 10-day vacation (sometimes it sucks being a journalist) to organize visual coverage for the paper. After the first reports of one plane hitting a World Trade Centre tower, we found that news sites were taking longer and longer to load. Eventually, we had to choose the low-graphics version of the BBC to get anything to come up at all. That day, the world-wide web virtually came to a stand-still.

Yesterday morning, for a brief time, the ‘net suffered a deja-vu. I commented on the phenomenon on Face Book. My friends across the globe confirmed that their news sites had slowed down considerably.

Then one journalist friend in London piped up with some interesting statistics just tweeted (twitted) by Slate’s Jack Shafer. My friend wrote, “media commentator Jack Shafer of Slate tweeted last night that 15% of all tweets mentioned Michael Jackson. Swine flu and Iran never went over 5%. 7 out of the 10 trending topics on Twitter as I write are Michael Jackson. (Farrahs is #4, Iran is #5 and #9)…”

Australia’s Channel 9 extended broadcast of the Today Show by an hour to continue live coverage of the MJ story. But even they were relying on Twitter for updates. Which might account for their entertainment reporter’s erroneous reporting of American actor Jeff Goldblum’s death in New Zealand.

Happily, like most Australians, I had to get to work. Tearing myself away from the computer wasn’t difficult. I would miss my friends’ comments and anecdotes, but the news URLs were all loading faster, and I felt like we’d ridden out the storm. Driving through Brisbane, I listed to MJ’s music on virtually every radio station but classical (but I can’t be sure that someone hasn’t adapted Thriller for a string quartet). Last night the TV tabloid shows featured MJ specials. But by then I was knackered. I went to bed early.

Yesterday, a journalist friend in London wrote, “I can just picture the compositors frantically pulling the red swimsuit off tomorrow’s front pages… if there are compositors any more…” This morning, a journalist friend from Baltimore wrote, “happy to report that there are TWO Iran stories on the front of the Wash. Post. Sure, MJ is above the fold, but not as big as I expected. And even Farrah made it on the front, albeit just a little pic at the bottom with an obit teaser, but still…

When I get to the airport I’ll see how our press plays it.

UPDATE: In the meantime, here’s Newseum’s top 10 newspaper covers for the day. Including one designed by my mate Ginger at the Vancouver Sun!

Australia Launches New Photojournalism Collective

Friday, April 24th, 2009

Check out the new Pineapple Press Club Website
The flame was lit – literally – to launch the Pineapple Press Club, a new Australian photojurnalism collective, resource and club for practitioners and admirers of good photojournalism across the state of Queensland. Last night’s Gold Coast launch (hosted by the Bachelor of Visual Media, Queensland College of Art, Griffith University, Gold Coast) kicked off with a giant camera that burst into flames, burning a ferocious flame that eventually burnt out to reveal a glowing pineapple burning on the film plane. Very cool.

The event, incorporating a slide night entitled “Juice,” was launched by Reuters photographer, David Gray, via an iChat link from Sri Lanka (which, according to Gray, was also heating up – watch for his war images in the press this week). Gray showed his folio of images that won him the Nikon Walkley Press Photographer of the Year award (Australia’s version of a Pulitzer) for photojournalism last year.

Following Gray, 19 Queensland photojournalists took to the stage to present their latest works. The range in stories demonstrated a vast spread of photojournalistic style, aesthetic and focus. From Giulio Sagin’s feature on animal rescuers, to Jack Tran’s continuing coverage of the harrowing legacy of Agent Orange, there was something to keep every one of the 120+ audience engaged for three hours of visual storytelling.

Next up for the Pineapples are plans for a book, a workshop and more Juice nights. The PPC will be exhibiting at a national photography event next year. The new website is sponsored by Bunton.

Taking care of the Core

Saturday, April 18th, 2009

Most freelancers I know treat their camera gear like gold – they spend a fair amount of time getting sensors cleaned, polishing lenses, checking filters for scatches… On assignment they carefully tuck lenses into padded compartments, cradling camera bodies in their laps as they change lenses, doing everything but singing lullabies. If you have to pay for your own equipment, you would be this careful too. Imagine dropping a 400 f 2.8 in the middle of a four-day PGA tournament, knowing that there’s no pool from which to grab another prime lens while yours goes out for repair. I did that. My ankle gave way as I was walking down from a green – the monopod slipped out of my hand (it was in the mid 30’s that day – positively sweltering), and the strap wound off of my arm. Down went the 400 and the Nikon body it was attached to – smacking firmly on the paved footpath about eight feet below me. I was too shocked to say anything. I walked down to the camera, pushing past spectators who had witnessed the event, and picked up the gear. The camera worked. The mount on the 400 was bent, limiting my aperture to a two-stop range – 2.8 to 4. Just enough for the rest of the week. I was lucky.

It took a couple of weeks for a new mount to get shipped in from the US. Until that time I had to make do without the 400. Luckily I didn’t have to shoot any sports over that period, or I would have been in trouble.

We’ve all got horror stories about camera tragedies – they are the currency of the freelancer. But a new topic has been creeping into our BBQ-side banter. Knees, vertebrae, eyesight, tendons, ligaments, melanomas… as we begin to hit middle-age, BBQ conversations turn to more morose subjects of health, insurance and… death, we are beginning to sound like characters scripted from a Woody Allen sleeper. “Oh, my aching sciatica!”

Unlike our camera equipment, which we attend to almost religiously, we are notorious for abusing ourselves. Most of us wait until it’s too late to take care of those little aches and pains that we get while on assignment. The shoulder strain from carrying a camera bag through so many assignments, the lower back that starts to complain after an hour or so with a monopod and long lens, the knees that do funny things when we’re carrying gear across a soft or uneven landscape. These are just things that happen. And most of us wait until they break down – literally – before we take any action. I did.

A few years ago I wound up in physiotherapy (again). This time, I was told that I HAD to do some core strengthening exercises or I would get worse. In the past, I’ve lost mobility in my arm and had pins and needles in my fingers (this is what happens from carrying a trendy camera bag on one shoulder). I’ve had lower back pains so deep that massage just aggravated it (blame poor posture while covering soccer). I would go through a round of physio, sometimes with bizarre electrodes attached to muscles, sometimes just getting taped up, and that would be that, until the next time. This time, I got the riot act read to me. Already I have two vertebrae fused at the base of my neck. 

I started doing pilates. This helped a lot. My posture improved, my core strength improved. I became more conscious of how I was holding equipment, how I stood, where I put my weight. Four years later, and I’m at the gym now, still working on the core, and working on my aerobic fitness. My partner and I have road bikes and go out for long weekend rides. When the sharks aren’t too close, I do some body surfing. I’ve also changed my diet – we are a double-income-no-kids couple, so we can afford to go organic and try out the new super-foods. I’ve cut back on booze – just the odd glass of red wine or gluten-free beer on the weekend. I feel great. 

A few years ago, I switched to using a backpack and a waist pouch to carry gear around. To hell with the romantic image of camera on one shoulder, bag on the other. I want to be able to run after a story in ten years, not hobble. 

I’m constantly harping on to my students like an old mother hen about their health, their posture, their fitness. I’m sure I’m turning into an old fuddy duddy, but I have to try. Already they’ve learned to appreciate the quality of good glass and a good camera. They get their equipment serviced regularly, and are trading the odd horror story around the office. And a few of them are starting to carry backpacks and exercise – though they’re all still madly addicted to pizza.

Denmark Ponders Photoshop Limits

Tuesday, April 14th, 2009

An interesting feature from NPPA’s News Photographer magazine details the disqualification of a Danish news photographer from his country’s top photojournalism awards for over-Photoshopping his work. You can read the Danish coverage (in English) here

Looking at the images, it’s hard to believe that they were made from one exposure. They resemble HDR (High Dynamic Range) art images more than journalistic reportage. That’s not saying they’re no longer contextual, perhaps they’re just more contextual to what the photographer was experiencing or feeling, rather than what he witnessed visually. Maybe he felt the need to push up the squalor with Photoshop because we have stopped responding to “realistic” documentary (blame Hollywood CGI). Or maybe it’s just his ego. 

It’s interesting that judges are asking for the RAW version of images in order to police the integrity of the images, relying on them to deliver the “truth,” much like negatives of the last century. I don’t think the judges were too harsh on disqualifying this photographer from the contest. But I wonder what guidelines Danish newspapers and news organizations set for Photoshop use in photojournalism? Here in Australia, the sky’s the limit – there is lots of debate, but there are no comprehensive ethical codes of practice specific to photojournalists at Australian newspapers.

The Best Job in the World

Friday, March 13th, 2009

Tourism on the Great Barrier Reef

Tourism on the Great Barrier Reef

It’s not just me. The papers are starting to cry “foul” over the Queensland Tourism Board’s shortlisting of bikini-licious applicants for the alleged, “Best Job in the World” contest. Today’s Sydney Morning Herald published this story, entitled, “World’s best job: only bikini babes need apply.” Because this is a job, not a competition, disgruntled applicants with more delectable grey cells than curves may just have a case.

I’m sure if they told the shortlisted contestants – oops – I mean – applicants, about marine stingers, crocs and snakes (not to mention those deadly coconuts which tend to drop from their ten-metre tethers onto the snoozing heads of tourists within skull-splitting range), they may have to replace the short-list with a more informed group of applicants. I wonder how this will turn out…

Most Endangered US Papers

Thursday, March 12th, 2009

Following the demise of the Rocky Mountain News in Denver just under two weeks ago, Time Magazine came up with a list of the 10 Most Endangered Newspapers in America. The forecast points to web-only publishing for the papers allegedly facing the axe. Where do the journos who take buy-outs go?

The threat of the “one horse town” scenario has been around for nearly a decade. I can remember discussions going on at SND annuals about consolidating titles – when I was at the SND annual in Minneapolis back in 2000, the Seattle Post and the Seattle Intelligencer had just merged. Now they’re under the axe – here’s a NYT.com article from January forecasting its demise. Other papers were looking at a similar fate, or worse (getting shut-down completely). 

Ten years ago, the threat was moving at glacial speeds. Now papers in the US are at the abyss, and the Global Financial Crisis is the boot, or the gun, that’s pushing so many titles over. I wonder, can America live with the prospect of on-line delivery only? What happens to those who don’t have a computer to get their news? Is TV going to deliver the same analysis-driven contextual news that those ten titles listed by Time did so well (remember, they’re not getting shut down because of poor reporting performance, it’s all got to do with advertising revenue)? Is a one-print-paper town going to be serviced fairly and accurately, and are all readers’ interests going to be addressed? In a two-paper-town scenario, one could rely on having two titles in competition resulting in competition to deliver fair and accurate news – in short, they kept each other honest. Can people trust in just one newspaper?

Here in Australia, newspapers are just starting to admit to huge losses in advertising revenue. All papers have an online version, and two years ago, Fairfax started up an online-only daily in Brisbane in an effort to show some competition to Newsltd.’s dominance of the market with two daily titles. I wonder, what next for Australia? This year alone, Rupert Murdoch, chair of News Corp., which runs Newsltd., posted a US 6.4 (AUD 9.8) billion dollar loss. Will our economy hold a little stronger than the US, or are we just a 6 month lag behind our best buddy, America?

Why copyright matters for Photographers

Friday, March 6th, 2009

image © Heather Faulkner

It’s a good thing Annie Leibovitz kept copyright on the thousands of images she has taken over the past 3 decades. The economic crisis has hit hard on the creative community. The Sydney Morning Herald posted this story: “Leibovitz pawns life’s work in a scramble for cash,” last week. 

More and more often, photographers are offered contracts for work that take away the copyright from the photographer and give it to the commissioner. These contracts come from newspapers, magazines and commercial clients. If they’re nice, they let you keep the right to photocopy (huh?), show the work for portfolio or maybe, maybe, publish it in your own book. Back in the old days, when you could keep a job with a newspaper until you retired, it wasn’t such a bad trade-off. Because they also gave you a pension. 

But there are no more pensions in these lean times. Nor are there many full-time jobs. Instead, we work jobs – day contracts, casually arranged for the benefit of the commissioner, not the photographer. They don’t pay our insurance. They don’t pay our medical. Some won’t even pay for travel, or only partial travel expenses. Oh, and they don’t pay for our equipment.

$50,000 is what it takes in equipment to operate independently in Australia. It guarantees you enough equipment to shoot anything from rugby to fashion, fires to floods. It also depreciates 25% a year. It’s a tough business.

This grab for rights isn’t happening because the visual is a cheap, over-abundant commodity. It’s happening because the suits have realised that pictures are worth something. Unlike words, images gain value as the years roll on. They become icons, symbols of ourselves, symbols of our pasts. They are priceless.

Unlike words, images gain value as the years roll on. They become icons, symbols of ourselves, symbols of our pasts. They are priceless.

For years older, wiser freelancers have been warning the young up-and-comings to never surrender copyright. How many have heeded that call? It’s difficult to pass up a casual freelance contract when you’ve got loans to pay on your equipment, your rent is due, your car is leaking oil and your kids need to be fed, clothed and educated. The grab for copyright is literally blackmail. Slave labour. 

Imagine if Leibovitz had naively surrendered copyright for all those images she had made, before time developed them into the iconic records of the late 20th and early 21st century that they are? She’d be broke. Too many photographers are broke because they trusted in the system. 

Ask yourself, who is paying your retirement fund? Who is going to bail you out of economic hardships? 

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picture-1

 

 

 

Lastly, another economic tragedy unfolded last week. The Rocky Mountain News, one of the very best newspapers in the US, has closed its doors just shy of its 150th birthday. The Rocky was the leader in North American photojournalism. And they kept on reporting till the end. This should never have happened. 

 

Victorian Bush Fire Relief

Sunday, February 15th, 2009

Sunshine Village Aussie

This has been an extremely tough week to be an Australian. I don’t think anyone outside of this island nation hasn’t heard of the devastating bush fires in Victoria. And sadly, in this country, it’s hard to find somebody who hasn’t been affected by the fires – either directly or in the myriad ways it can affect people indirectly – we all have colleagues who know someone. The worst thing about it is it is not a one-off event. It happens every year here. And it happens everywhere.

In Queensland, our fire season starts in August. Unlike Victoria, we have a system of controlled burns, which basically burns off all the deadfall from the eucalypts and other dry, barky trees that make up our bushland. When fire season rolls around, the theory goes that if we eliminate half the fuel, the fires can only go so strong and so far. In Victoria, they have no such system of fire control in place. In fact, controlled burns are illegal. Hence the hundred metre walls of flame that raged through bushland  - one fellow on the news estimated it took out 10 km of bush in 10 minutes, before it reached his property where he stood, ready to fight (after an all-night battle, he won).

A few work colleagues from the old Prague Post days, now scattered across the globe, have written to me, hoping that we’re okay and asking if I’d been sent down to cover the fires. Thank God, no I haven’t. My first Australian bushfire assignment resulted in melted soles of my Redback work boots, soot from head to toe and a few pictures of firemen hosing down the few sparks that remained. I’d been sent out with no fire kit to report on the bush fire. The second time I got sent out, I was given a duffle bag full of fire-proof gear and was duly briefed on how to use it. Underneath the fire protective gear, I could only wear cotton garments – no synthetics – because anything synthetic would melt. Since then, I haven’t been called out to a fire. As a freelancer, I dread the phone call. I don’t own a fire suit. I would say “no.”

My friend, Nick Moir is a very experienced bush fire shooter (and storm chaser) with the Sydney Morning Herald. He takes as many safety precautions as possible, and works closely with the fire department. He was sent out to cover the fires that were burning in New South Wales. You can watch his narrated story on covering the bush fires here. It’s tough work.

Personally, I’ve found that the Sydney Morning Herald has presented the best organised package on the fires amongst the Australian online papers. You can view that here.

Back here in Queensland, we’ve sent in a donation to the Australian Red Cross and made sure to do a big spez (my partner’s Italian family’s slang for shop) at our local supermarket yesterday because they promised all sales would be contributed towards the Victorian bush fire relief. But we still want to do more.

My dad sent me the picture you see up top from Sunshine Village in Banff, Canada. There are hundreds of Aussies working the Canadian ski fields each winter. At Sunshine, they’ve started a donation box for bushfire relief. Due to their incredibly outgoing and friendly nature, they should be able to collect a lot. (Hint hint to you skiers reading this).

It’s going to be a long, slow recovery for the people who survived the fires. The majority of them have lost their homes. A week after losing everything, they now have to figure out how and what to do from here. To donate to the relief effort, visit the Australian Red Cross Victorian Bush Fires Appeal secure site here.

UPDATE: The Aussies at Sunshine have raised just under $1,000 Cdn ($1,240 Aus) for the relief effort. Good on ya!

Photo of Aussie ski bum courtesy of ski host, Gary Faulkner

It’s nice to be surprised

Friday, February 13th, 2009

bondi0082

I was standing in the waves at Bondi beach last week with an underwater photographer friend whom I’ll call the amphibian. I’d flown down to Sydney for a week and really wanted to get out into the famously clear water of Bondi to get some great wave shots.

The idea was good. The waves weren’t. The bay was virtually flat. No surfers. “It’s the southerlies,” said the amphibian. I nodded blankly in agreement. I had no idea what she was talking about. “The current,” she said, “I’m not even going to bother shooting today.” Apparently, the cold we were experiencing came from a southerly that originated all the way down in Antarctica. It’s not always bracing at Bondi. Being a good tourist, I gamely loaded the Nikonos, thinking well, I’ve come all this way, why not take a picture. We left our flippers with our towels and waded out into the break.

The water was cold (the southerlies!). I was grateful for the long-sleeved rashie and boardies that made me a fashion eye-sore on the beaches of Surfers but seemed a sensible and even enviable ensemble at southerlies-struck Bondi. The amphibian wore a bikini and dove into the first wave without a flinch. She’s tough.

“So, what should I shoot,” I asked. There was no-one around. No-one to stalk underwater. Just some bait fish swimming around my toes.

bondi0033

The amphibian said something about the clouds of sand that form on the bottom after a wave breaks. I looked. Cool. She told me about how sometimes when backlit, the waves give off this awesome blue. Or how there’s a point right when the wave curls, the light comes through like shards of crystal. Or how violent the water looks when you lie at the bottom, watching waves break over you. After a couple of hours of this, I began to develop a new respect for those surf photographers and wave photographers that my students back on the Gold Coast idolise. They see this every time they wade into the surf. And when they’ve got their cameras, there’s a smorgasbord of moments waiting for them. I’m only just beginning to see this.

I’ve been shooting above sea level for 20 years. Around 10 years ago I took an Ewa plastic housing to a swimming pool to get a different perspective on a moms and tots swimming school. I was instantly transported into another world.

When I moved to Australia, I decided I’d learn to document the water world. Two years ago my dad brought me a rare new Nikonos V, purchased from my hometown of Calgary, a land-locked city 1100 metres above sea level. Go figure.

Since then, I’ve been making tentative work with it. Kids in the pool. A photo camp excursion to the beach. The Great Barrier Reef. A swimming hole in Far North Queensland. And now Bondi. Each time I go through the ritual of cleaning, lubricating the o-rings and loading the film, I wonder, “what now?” I don’t know what to expect. But that’s okay. After 20+ years of anticipating the moment, it’s nice to be surprised.