. . . I have always made snapshots; to use Imogen Cunningham's phrase a "celebration of the commonplace"
Until 2008 I had filed and ignored these snapshots, now I am giving them some attention. These are personal documents and observations of things and events around me. Oddly I am finding these snapshots the most exciting part of my work at the moment. It is the newest work, and the newest set of prints; but also the oldest, with images being recognised as part of this portfolio coming from Singapore in 1963 and Yemeni photographs from 1967, forty four year old images never printed before
I had been expecting a narrative to emerge unifying these pictures. But following the major printing of them for the 2017 BRAG show I now see the Snapshots as a load of mongrel puppies, all different, following me around sniffing and yapping and peeing on everything.
It may be observed that some of the pictures appear to be plagiarisms. This is part of the process of learning to see how other workers have seen, playing with their ideas. Play is crucial to continued growth within any medium, and is one of the many roles of these snapshots.
Play is one reason the new work in this series is made with ancient and fiddly screw mount Leicas, the oldest being from 1938. I need the feeling of play to put up with the Leica up-the-arse film loading, the innacurate, squinty viewfinders, screw mount lenses and the need to change the viewfinder for every lens change and the host of other awkardities that come with the ultimate in costume jewellery.
Origanally this portfolio was titled Eclection, from the Greek, and submitted to Macquarie Dictionary