Port Fairy Music Festival 2015; © Paul Griggs.
I have written previously about the pleasure I take in supporting an organisation as important as the Ballarat International Foto Biennale and the concept of print swaps where one’s personal collection can be extended, including more formal print swaps like this.
Arts et Metiers, Paris; © Ian Poole, 2015.
In the recent Red Dot Ballarat Collection I was lucky enough to receive the Paul Griggs‘ photograph shown above. The nature of the Ballarat fundraising event is that the photographs are sought as a donation from photographers and exhibited anonymously on the walls of Eleven40 Gallery in Melbourne. A BIG shout out to Eleven40 for their ongoing support over a number of years. See their web site for a full set of illustrations and authors’ names.
Because I am an interstate supporter and unable to attend, I had sent my list of preferred (anonymous) photographs to Jeff Moorfoot, Creative Director of the Management Team. I recognised a couple of the images, thought I recognised a couple of others (mostly incorrectly) and lusted after a couple of other shots. …..and then waited to be told what my Red Dot investment had achieved.
Sydney Charles Bromley 1969; © Robert Imhoff.
Firstly, it was lovely to be advised that my contribution, Arts et Metiers, Paris, had been red dotted by that doyen of Australian photography, Judy Foreman. I hope she enjoys the photograph as much as I did taking it on a recent trip to Paris. Secondly I gained the Port Fairy Music Festival 2015, which was on my list, but not known as a Paul Griggs’ photograph. I have been a long time admirer of Paul’s work in the wedding arena where he was one of the first practitioners of reportage using black and white, documentary coverage with a Leica camera. I can recall judging some of his early work in the AIPP’s Award system with great clarity today. This is a contemporary example of that skill and will hang with pride in my personal gallery.
Burj Khalfa 2010; © Tim Griffith
Then come the photographs that I DIDN’T get. I recognised the Imhoff photograph from the cover of Imhoff: a life of grain & pixels lying on my sideboard. I should have recognised the Tim Griffith’ Burj Khalifa 2010 as being a great example of his architectural oeuvre – but I didn’t! The Poole Collection is still missing one of his masterpieces.
Fiordland Diva; © Jackie Ranken
I am very familiar with the work of Jackie Ranken, but she fooled me this time – I missed this one. I didn’t miss her partner, Mike Langford’s offering, as I had attempted to photograph the same tree with a much, much lessor result. Maybe I should go back in winter?
Mataouri Tree; © Mike Langford
Goroka; © Stephen Dupont
I should have recognised Stephen Dupont’s homage to Irving Penn with his Goroka, and if I had I would have put him closer to the top of my red dot list.
I was taken by the construction of Jack Picone’s Dhows 1 long before I was aware of his name connected with the photograph. A Master of the documentary craft, it would also have hung with great pride in the Poole Collection.
Dhows 1; Jack Picone
I did recognise and enjoy my Queensland mate, Gary Cranitch’s Cane, but Roger Garwood’s Fred And Me…Spectators, Coolgardie, 1975 caught me totally by surprise. Maybe it was because it was an early work a long ways from what I have come to expect from Roger. I did bid for it, by the way, as I enjoyed the whimsy of the image.
Works by Doc Ross, from earthquake stricken Christchurch (In The Earthquake Gardens) and Charles McKean (The Family Drawers) were noted as possible contenders for the collection.
Oh the wild dreams of building a fantasy photographic collection from the digital world wide web.
In The Earthquake Gardens; © Doc Ross, Christchurch
The Family Drawers; © Charles McKean