Artists Down Under - Australia and New Zealand - July 2017 by Artists Down Under

Australia and New Zealand

i s s u e 4 - j u l y 2 0 17

| digital ar tistr y

06 E D I T O R ’ S M E S S A G E b y A t h a l i e Ta y l o r

22 J U S T A F A N TA S Y K ALEIDOSCOPE

36 F A L L I N G T O P I E C E S by Pamela Henderson

by Ann Lavin

07 P H O T O S H O P A R T I S T R Y by Sebastian Michaels

23 V I VA C I T Y

HALLOWEEN

37 I N T E R G A L A C T I C G A R D E N by Pamela Henderson

by Ann Lavin

08 W H AT ’ S O N a n d N E W S by ADU Members

24 F L O W E R 3

BALLET DANCER

38 S T R E E T P E R F O R M E R S . . . by Sue Masterson

by Ann Lavin

NEWS cont

INTERVIEW

by ADU Members

by Nigel Lazenby & Dean Hohn

25 F L O W E R 2

39 S T R E E T P E R F O R M E R S . . .

26 B L U E P E A C O C K S

40 W I N D G E N E R AT O R . . .

by Ann Lavin

YELLOW LOVE BIRDS

by Sue Masterson

PORTL AND HARBOUR...

by Margo Zerbes

14 W I S H Y O U W E R E H E R E THE FE AR WITHIN

by Mitch Graham

27 A M O T H E R ’ S L O V E

28 A U T U M N S H E D

42 A L L B Y M Y S E L F

by Ann Wehner

BLUE HAZE MALL by ALBaMass

by Kevin Sims

BODY E XPRESSION DISCERNING E YE by Margaret Kalms

FITZROY DRE AMING by Viki Murray

AUTUMN

BELLA ROSE

by Corrine Davis

29 B R O W N B E A R

PENCIL FALLS

by ALBaMass

43 F I L M H E A R T

O B R I E F A M I LY. . .

by Gerard Whelan

SUMMER EVENING... by Viki Murray

30 N A U T I C A

DRE AMING OF FORTUNES

by ALBaMass

44 B L U E S P O L L A I R TWO FISH

by Dean Hohn

ZEBRA CHILD SMALL ONES by Julie Powell

A S O L I TA R Y W A L K C H E E TA H

31 K A R I J I N I , W A

RUST Y TRUCK

by ALBaMass

45 D A R K A G E S by ALBaMass

by Sue Maples

32 P R I N T 2 M E TA L

46 F LY I N G

34 A R T I F I C I A L B E A U T Y

by Frank Hoekstra

by Dale Botha

by Kar yn Waalw yk

20 F L E E I N G

THE SURVIVOR by Ann Wehner

21 S U R R O U N D I N G E M B R A C E by Ann Lavin

DRY AND BE AUTIFUL

STRUT YOUR STUFF by Dale Botha

by Barbara Dudzinska

35 T H E R O S E

WHITE ROSES b y Tr i s h H o s k i n

48 A B S T R A C T E Y E by Chris Barnes

49 W H AT ’ S H A P P E N I N G D A D YOU CAN’ T SEE ME

63 S M O U L D E R I N G R O S E

64 P E A R L

78 D R E A M 3

by Johanna Goudsblom

ONE TREE HILL b y D i e p Tr a n

by George Koncz

50 I S E E Y O U

WA L K ING IN T HE R AIN

WAHINE

by Louise Campbell

51 I H AV E B I G P L A N S

TREASURE HUNTER

65 W H AT D O Y O U S E E SK Y FALL

by Edwin Leung

52 M Y P R O C E S S F O R . . . by Christina Brunton

by Joyce Maris

by Johanna Goudsblom

79 D R E A M 2

by Joyce Maris

by Johanna Goudsblom

66 B E S T R O N G A N D F LY. . . G I R L S D AY O U T

80 C I N D A B O D Y

BURNING L AND by Jim Dawson

by Johanna Goudsblom

54 T H E AW A K E N I N G by Thysje Arthur

55 N E W F R I E N D S by Thysje Arthur

67 L E T T I N G G O

81 C E N T R A L W E S T

68 T O W N S V I L L E

82 F LY I N G

by Johanna Goudsblom

VIE TNAM

by Sharon Rankmore

MY DARK HALF by Jennifer Jackson

by Margie O’Hara

56 Y O G A P O W D E R

SYDNE Y OPERA HOUSE

69 M E M O R I E S O F S A N T O R I N I 83 L O N E LY R O A D COPENHAGEN

TINAROO DRE AMING THE PE ACE MESSENGER

70 S U N K E N D R E A M

MOONLIGHT KOOK A...

by Bronwyn Kenmir

84 W I S E O L D O W L

W AT C H I N G Y O U by Shar yn Walker

by Andrew Haysom

by Ingrid Douglas

58 D O C K L A N D S

by Shar yn Walker

by Lyn Darling ton

by Christina Brunton

W E N E E D A H O L I D AY M U M A N D K I D S AT D AW N

85 W I L D N F R E E

HOLD ON TIGHT by Shar yn Walker

by Maureen Maxwell

59 C H A M P A G N E D R E A M S by Bronwyn Kenmir

72 C A R O U S E L

TA N A H L O T, B A L I

86 G R A C E F U L M U S I C

GENIE IN A BOT TLE

by Mary Knaggs

60 R O S E T I M E

GOLD BUNNY

73 B A D M A N N E R S T H E H AT

WINDOW ART

T H E E L LY R O S E . . . by Margie O’Hara

by Mike Stone

62 I N TAT T E R S

GOT MY KNICKERS... by Judi L apsley Miller

WA L K ING DE A D by Shar yn Walker

by Helen Akerstrom

by Sylvia Chat ter ton

61 M Y D AV I D

by Shar yn Walker

88 B L U E W O L F

Z E B R A S I N H E AV E N by Colin Killick

76 M Y D E E R

b y D i e p Tr a n

89 S P I R I T G U I D E

D A N C E S W I T H W O LV E S by Michelle Drummond

90 D R A G O N W H I S P E R E R LITHGOW BABY

100 T E E N T H O U G H T S

109 P U R R B A B I E S

101 L A D Y W A L K I N G

110 E X H I B I T I O N – A L O N G . . .

102 K A I A P O I A R T E X P O

112 H O L LY H O C K . . .

by Kye T hompson

by Sonja Stef fen

by Ilona A bou-Zolof

91 L I G H T I N G T H E W AY THE JOURNE Y

by Kye T hompson

by Viki Murray

by Lonnie Lovejoy

92 T O U R I S T 18 A T O U R I S T 1A

by Thysje Arthur

by Colin Campbell

93 E M U S D A N C I N G

ROOS HOPPING 1

by Bill Oldham

103 K A I A P O I A R T E X P O by Thysje Arthur

by Rosemary Smith

94 F R O M P H O T O A R T I S T. . . by Hazel Blake

HANGING AROUND by Leonie Hamilton

THE PUPPE TEER THE PUSH by Anthea Scotte

98 H I D D E N

N E C TA R O F L I F E by Julia Harwood

104 J E S S D O U B L E E X P O S U R E JESS DOUBLE IMAGE

105 H O M E W A R D B O U N D

O N T H E E D G E O F D AW N 2 b y To n y S t e p h e n s o n

106 O N A D A R K N I G H T by Carolyn Jenson

107 S H A G R O C K F U L L M O O N TEDDY

b y R o s e D ’A z u r e

99 S I R A N D L A D Y B E N N E T T by Liz Abbott

Death in the Alley

113 C A P S I C U M

F L O AT I N G B A N A N A by Ron Rodgers

by Jill Clif fe

96 B A M B O O

GRAF TING...

108 H A R L E Y

by Sonja Stef fen

Shar yn Walker

114 S I X I M P O S S I B L E T H I N G S I GUIDE IT

by Merran G Âû

115 P A R T Y G I R L LIGHT

by Phillipa Frederiksen

116 O N T H E R O A D A G A I N P O N D E R I N G AT. . . by Heide Hoffmann

117 F R O M T H E F E R R Y 1 FROM THE FERRY 2 b y A t h a l i e Ta y l o r

118 P I X E L S I S T E R S S T U D I O by Julie Powell

Lost in the Dance

Johanna Goudsblom

aD rOt W i s tNs U N D E R Australia and New Zealand

EDITOR’S MESSAGE As we enter the 5th month since the Artists Down Under group was formed we see the 4th issue of the magazine published. I can’t tell you what an honour it is to show the wonderful, unique and diverse styles of artworks being presented by the members. Every month my inbox is crammed full of amazing creations and stories of successes. The members are not only busy creating their own masterpieces, they are supporting causes, exhibiting their art, learning new skills, exploring ways of promoting their work and introducing others to the wonderful world of photography and digital art. In this issue you will read about how Nigel Lazenby, a Tasmanian artist, embraced digital technology after an art career as a fine art painter using traditional materials. There’s an article from Print 2 Metal about their journey from photo lab printers to printers for fine art photographers, designers, architects and artists using the process of dye sublimation printing onto metal. Christina Brunton talks us through her approach to her photoshoots from the initial concept through to the finished photo. Not sure where to start when planning a studio space and photography business, then read all about Hazel Blake’s experience. Margie O’Hara tells us all about her book “The Elly Rose Adventures” and how she became an author.

Why!

by Ann Lavin

Then there’s the four featured artists, Ann Lavin, ALBaMass, Jo Goudsblom and Sharyn Walker. Their unique art will inspire you. Read their stories and view their amazing artworks. There is so much more amazingly creative

Thysje Arthur has artworks in the Kaiapoi Art Expo on July 15 – 16. Read about her story from the Christchurch earthquake, where she lost her home, to her new beginnings in the Kaiapoi area.

Athalie Taylor

Backgrounds: Laitha’s Designs Foxey Squirrel Cover image: S h a r y n W a l k e r Marmalade Magic

Viki Murray also has an exhibition showing work from her travels along the Castlereagh Highway, New South Wales. Julie Powell has started a new venture, Pixel Sisters Studio, with her friend Desley Pitcher.

work covering a diverse range of styles and topics, some brightly coloured, others more subtle in their tonings. Then there’s the black and white work too. There are images that explore the passions and interests of the artist and wondrous creations purely from the imagination. All stunning representations of each artist’s style and interests for you to enjoy.

ALBaMass

Artists in this publication are responsible for any rights appertaining to their work.

aD rOt W i s tNs U N D E R Australia and New Zealand

WHAT’S ON Julie Powell

Group exhibition

May 29 – July 09

Scugnizzo Restorante 558 Little Bourke Street, Melbourne, VIC

Judi Lapsley Miller

Solo exhibition: Visions of Zealandia June 01 – July Ext

Zealandia EcoSanctuary, Visitors Centre End of Waiapu Rd, Wellington, NZ

Judi Lapsley Miller

Winter Exhibition NZ Academy of Fine Arts June 17 – July 16

1 Queens Wharf Wellington, New Zealand

Athalie Taylor

Solo Exhibition

BSG: Level 1, Brunswick Street Fitzroy, Melbourne, VIC

Viki Murray

Along the Way

Outback Arts Inc July 06 – August 06 65-67 Castlereagh Street, Coonamble, NSW

Thysje Arthur

Kaiapoi Art Expo

July 15 – July 16

Judi Lapsley Miller

Canvas 200 NZ Academy of Fine Arts July 20 – July 25

1 Queens Wharf Wellington, New Zealand

Marie from Print 2 Metal.

Gallery, from Dean by sending him an email to dean.hohn@bigpond.com and from Diana Butler at diana@careforafrica.org.au

June 23 – July 05

Riverview Restaurant Kaiapoi, New Zealand

NEWS

Care for Africa Support the Care for Africa Foundation to raise much needed funds to help drill fresh water wells in the Tanzanian villages. The prize is the artwork “Threatened” by Dean Hohn, printed and donated by Frank and

The raffle will be drawn the 25th of July 2017. Raffle tickets are $5 for one and 3 for $10. Tickets are available from the Penguin Creek

Fusion Art – 2nd Annual Cityscapes Competition For this competition the artists and photographers were encouraged to share their artistic vision and interpretation of Cityscapes. The theme included any art or photography which depicted cities, towns, urban scenes and/or any related metropolitan subjects. The artwork could range from realism to surrealism to abstraction and all artists and photographers, regardless of location or experience, were encouraged to submit their best representational or nonrepresentational art and photography. Trish Hoskin was awarded 2nd Place for her digital art, “China Town” created from several photos taken on her iPhone 7 plus. Trish has been exploring abstract art recently.

Images will be donated on a quarterly basis and on display at the Penguin Creek Gallery. Living the Photo Artistic Life Every month Sebastian Michaels interviews an AWAKE member who’s been a featured artist in the magazine, this month it was Dale Botha’s turn. You can read this interview on: http://www.quillandcamera.com/blog-posts/ Congratulations to the following Artists Down Under members who had work published in the latest issue. Ann Wehner, Julie Powell, Johanna Goudsblom, Louise Campbell, Sue Masterson, Dale Botha, Viki Murray, Hazel Blake, Christina Brunton, ALBaMass, Diep Tran, Joyce Maris, Edwin Leung, Ilona Abou-Zolof, Trish Hoskin and Judi Lapsley Miller

NEWS

(CONT)

Light, Space and Time competition results Congratulations to all the Artists Down Under who were very successful in the May 2017 Light, Space and Time 7th Annual “Animals” Art Competition.

Special Merit Category Helen Akerstrom “Rainbow Kisses” Helen Akerstrom “Growl”

Overall Winning Artists Category

Judi Lapsley Miller “Visions of Zealandia” Judi Lapsley Miller “When I Sing my Heart Ascends.”

5th: Judi Lapsley Miller “An Urban Jungle”

Ann Wehner “What Bird am I”

9th: Ann Wehner “The Elephant Walk”

Ann Wehner “A Watchful Eye”

JLM

5th Overall and 2nd in Photo/Dig ital

An Urban Jungle

Photography and Digital Category 2nd: Judi Lapsley Miller “An Urban jungle” 4th: Ann Wehner “The Elephant Walk” 6th: Julie Powell “Kestrel” HM: Julie Powell “Barn Owl” HM: Ann Wehner “I’m Looking at You” Special Recognition SR: Helen Akerstrom “Baako”

9th Overall and 4th in Photo/Digital

Julie Powell Julie Powell

6th in Photo/Digital

T he Elephant Walk

HM in Photo/Digital

Barn Owl

Kestrel

NEWS

(CONT)

Light, Space and Time competition results

Judi L apsley Miller SM Overall

W h e n I S i n g M y. . .

Helen Akerstrom

SM Overall

Rainbow Kisses

SR Photo/Digital

Baako

NEWS

(CONT)

Light, Space and Time competition results

Helen Akerstrom

Ann Wehner

SM Overall

Growl

Judi L apsley Miller

SM Overall

Visions of Zealandia

A Watchful Eye

Ann Wehner

SM Overall

What Bird Am I

HM Photo/Digital

I ’ m L o o k i n g a t Yo u

Congratulations again to Judi Lapsley Miller, Ann Wehner, Julie Powell and Helen Akerstrom on your successes in the Light, Space and Time “Animals” competition and Trish Hoskin who was awarded 2nd place in the Fusion Art “ Cityscapes competition”. Artists Down Under members are showing that their art, when judged against the art of others in the world, is up there with the best.

aD rOt W i s tNs U N D E R Australia and New Zealand

NIGEL LAZENBY Artist Nigel Lazenby is a well renowned Tasmanian artist who has more recently embraced digital technology to create his art. Recently Artists Down Under member Dean Hohn caught up with Nigel at his Studio Gallery. ADU: Nigel, what is your background as an artist?

I went to TAFE and studied Commercial Art for the first year, which was also the same curriculum as Fine Arts 1st year. At the end of the first year I was offered a scholarship to the Hobart Fine Art School. I said, “Yes”. I didn’t feel I was designed to be a commercial artist. One needed discipline, very fine motor skills and too many creative restrictions.

I needed Art History at Matriculation level to be accepted into art school. This meant going to night school for a year, and another year at TAFE. Art School was a great time; we were given great freedom to pursue our own creative ideas and at the same time learnt the techniques to express those ideas. After three years I had completed my Art Teaching Diploma. I continued with my own work even while teaching. I took work into the classroom and worked on it while teaching. This set a good example for the kids in being enthusiastic about one’s own work. Much of the work that I did in the classroom was the same exercise the students had been set. I was also able to show transition from one series of work to another, which again was a great example for the students. After teaching High School for thirteen years I resigned from the Education Department in 1982 to paint full time. Over the years I taught part time at TAFE, Artist in Schools programs, Adult Education, and a number of residencies in Tasmania and interstate. ADU: How many years have you worked as an artist? I had my first exhibition in 1970 with Geoff Dyer. Geoff and I were at art school together. Back then and even today, there is a very small percentage of artists that can make a living from their art. Government figures show that the average artist only makes $6000 per year. You certainly can’t support a family or yourself on that, you have to have other work. ADU: You were an early adopter of digital. What led you to try it? It was at the insistence of my son and daughter four years ago that I discovered

NIGEL LAZENBY

(CONT)

the digital art world. My son is a graphic designer and after a short stint working for the Advocate Newspaper he wanted to go out on his own. I set him up in an area of my studio and followed what he was doing. And then my daughter (lecturer at Charles Darwin University) said “Dad you ought to have an iPad!”. She had come up with the idea of supplying them to her students. English was in many cases their third language, and through the use of apps on the iPads they were able to communicate with one another. I bought an iPad but didn’t use it very much. Finally at Christmas break we were all home and talking about using the iPad and I said I didn’t use it. My son said you just need a drawing program on it and you’ll be fine, ten minutes later he handed my iPad to me with Adobe Ideas (for kids). I had a bit of a play with it and whish, all was good! It’s actually not far removed from the traditional basic drawing tools! The problem with digital art is people’s perception of what you’re doing. As soon as they hear the word “Print” it becomes a major barrier. They instantly think there are hundreds of copies out there, when the piece may well be a “Unique State” image, (1/1)… the only one. People and collectors haven’t come to realize that with any form of art, it is in the concept where the creativity lies not in the process. Somehow they think using a digital tool to create a piece of art is cheating. They should think of the creativity that has gone into the piece, not the process. I had grade 7 students say to me “I can’t draw”. I said of course you can draw, but not as good as me, because I’ve had a head start and have been doing it for years. I had adults come to me and say “I can’t draw” and I would tell them they haven’t had a good teacher and I would teach them the basics. Their drawings would improve, but the technique is separate from creativity and people’s perception. There are several processes and tools one can implement when creating an image. It is fine to use any or all of them so long as you’re working on your own work. There can be no cheating in the creativity of art. It is NOT OK to steal or copy someone else’s work.

ADU: What do you miss about conventional painting? At times I do miss the ability to blend colours, etc. I have to compromise with digital work due to a lack of knowledge of the digital program capacity. Actually I’m more interested in making marks than being clever! Digital art has allowed me to collaborate with other talented artists across different disciplines and cross-media. The creative experience has allowed us working together to come up with something I hadn’t thought of. It’s been enlightening. ADU: What are the most recent 3 things that have inspired you and helped you create great art? All of my work relates in one way or another to the natural world. In 1985 I experienced an artistic block for a couple months after resigning from teaching. Then one day I went for a walk along the Cam River and as I was walking along, I looked down and saw a perfectly shaped golden leaf. I reached down picked it up, put it in my shirt pocket and continued on my way. I had gone to bed and at 3am it came to me that I needed to paint the leaf! I got up, ran down to my studio and went to work on it! My inspiration was back! Leaves have had a presence in my work for years in varying forms from traditional work, to bushfire pieces to triptychs of leaves, pieces where the background is constant and the leaves changed. There was a piece “Breeze in the Highlands” with a bigger leaf floating in the air. It has been integral across time from all situations. Seedpods had a presence for a period and I am now doing a series based on gum nuts. There is a set of fifty maquettes and they are each very decorative in design. Each will have a unique work associated with it and it can be produced in the buyer’s choice of size.

ADU: What would be your top recommendation to an up and coming artist to develop a professional presence? You just have to have a go, but I wouldn’t recommend anyone be an artist. It’s very hard and you must be prepared to stick at it through all the distractions and jobs you have to have to support yourself. It is vital that you continue your own work and it will need to be something you’re enthusiastic about. The advantage of digital is that you can do it anywhere and you don’t have any storage problems. You can show the client the work, prior to producing the unique piece. Successes: 12-18 months after I started with digital, I was approached by the Launceston Heart Clinic and commissioned to create a large piece of art for their reception wall. Once that was completed and loved by the owners and staff I convinced them to allow me to create another piece from the original piece that was backlit and placed along the front of the reception desk. This project gave me the confidence to look at the corporate market for art. Then I got a commission for a piece in a hospital. I work in vector files so I can expand my work to the size required without worry of distortion, etc. ADU: How long has it taken you to master your digital skills. I’m still learning four years later. Even though there are a small number of tools, there are almost unlimited combinations you can make from them. Looking back to my early digital works, they look quite basic. At one stage I felt I was close to doing all I could with the software, but I’m still finding new options that allow me to create new effects . ADU: Thank you so much for your time Nigel. It’s been fantastic having you share your journey with us. https://www.nigellazenby.com.au/ Nigel’s next exhibition is to be held at the Cradle Wilderness Gallery in November through to end February 2018.

WISH YOU WERE HERE

THE FE AR WITHIN by Kevin Sims

New Zealand

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BODY E XPRESSION

DISCERNING E YE by Margaret Kalms

Australia

endowomanart.com facebook.com/lifewithendometriosis

FIT ZROY DRE AMING by Viki Murray

Australia

h t t p s : // w w w. f a c e b o o k . c o m / V i k i m a g e s h t t p s : // w w w. i n s t a g r a m . c o m / v i k i _ m u r r a y/

SUMMER E VENING COLLINS STREE T by Viki Murray

Australia

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ZEBRA CHILD

SMALL ONES by Julie Powell

Australia

J u l i e p o w e l l p h o t o g r a p h y. c o m h t t p s : //a r t b o j a . c o m /a r t /g l u l 6 i /

A S O L I TA R Y WA L K

C H E E TA H by K aren Waalw yk

Australia

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FLEEING

THE SURVIVOR by Ann Wehner

Australia

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A NN L AV I N

SURROUNDING EMBRACE 21

J U S T A F A N TA S Y

K ALEIDOSCOPE by Ann Lavin

Australia

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V I VA C I T Y

HALLOWEEN 23

FLOWER 3

BALLE T DANCER by Ann Lavin

Australia

h t t p s : // w w w. a r t b o j a . c o m /a r t /d 6 a u 4 o /

FLOWER 2 Hi my name is Ann. Since I was a child I have always had an interest in art and spent many hours painting and sketching. I left school

and became involved in the fashion industry (design). My hobbies have been mixed media art and dance. Now that I am retired, my

interest lies with Digital art. My inspiration comes from the beauty of nature and the myriad colours that surround us.

BLUE PEACOCKS

YELLOW LOVE BIRDS by Margo Zerbes

Australia

A MOTHERâ&#x20AC;&#x2122;S LOVE by Ann Wehner

Australia

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AUTUMN SHED

AUTUMN by Corrine Davis

New Zealand

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BROWN BEAR

PENCIL FALLS by Gerard Whelan

Australia

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NAUTICA

DRE AMING OF FORTUNES by Dean Hohn

Australia

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K A R I J I N I , WA

RUST Y TRUCK by Sue Maples

Australia

aD rOt W i s tNs U N D E R Australia and New Zealand

DYE SUBLIMATION PRINTING ONTO ME TAL Frank Hoekstra and Marie Cosgrave It was faced with this predictable fate that we knew we must look to use those skills we had honed over twenty years of operating the

Frank finishing the edges

Dutch born Frank Hoekstra’s interest in photography started as a young child with the encouragement of his uncle. Together they shared the magic of the dark room and the thrill of capturing a moment in time, through the charm of a camera. Frank has since made photography his life. He has worked as a photographer in Europe and since arriving in Australia in 1989, has followed his passion for photography both working as a photographer and printer in his own photographic lab in Melbourne, which he established in 1991. With the increasing change to digital technology and declining sales in film processing and printing around fifteen years ago, the photographic industry changed worldwide forever. The price of a standard print has never been cheaper and most local photo labs have sadly closed their doors.

photo lab and try to recreate ourselves. Via the internet wife and business partner Marie Cosgrave found a small business in the USA that had taken what they had learnt in the trophy and awards industry and started to print images on metal. So after a brief visit to San Francisco in early 2010 we brought home enough knowledge to get Print 2 Metal started. The technique of printing images onto sleek thin sheets of aluminium, that don’t require glass or a heavy frame, that are so vibrant, lightweight and can be easily cleaned still leaves the first time viewer saying “wow”. Seeing this response from our customers in the Prahran photolab made the decision fairly easy to sell the photolab in 2011 and concentrate on metal printing only.

We operated out of our backyard purpose built shed up until August 2014. I remember a supplier once asking “you don’t really live

Lisa at work

here?” as he walked through the house and all our supplies to the kitchen table where we held our meeting. With the changes that digital has brought there is still a desire for young and old to surround themselves with photographic momentos and artwork. New and different ways of doing this is what inspires them. The arrival of digital technology has ironically allowed us to extend our business beyond the retail setting. Based online, our clients come from all around Australia as well as New Zealand and a few other overseas countries. We send USA enquiries back to Tim Lutz who taught us the ropes. We are now not only a part of the photographic industry. Printing onto metal has also captured the attention of those in

DYE SUBLIMATION PRINTING ONTO ME TAL the design and architectural fields. We have been able to step into markets that we had never considered as photo lab owners. The concept is still new and fairly unknown to consumers. Educating the public about this new print technology has been our biggest challenge. We have excellent repeat business after a client’s first purchase from us. The successful process of dye sublimation printing onto metal has now started to bring

(CONT)

It has changed for many the belief that the print is dead. Our business has a great future.

sell their work through galleries and has won them awards.

Print 2 Metal has increasingly gained the attention of professional photographers and keen amateurs, designers, artists and interior designers.

A recent highlight has been our support of the Head On Photo Festival in Sydney by printing approximately 470 photos. With the support of our major supplier ChromaLuxe, we printed most of the images displayed onto metal, giving each photographic image an added dimensionality.

In our continuing effort to differentiate our product we have taken a number of initiatives… We have designed and produced our own

Print 2 Metal have won several awards including a Bronze for Illustration in

Photographer Ghislaine Arteon

Scarlet Lily by Rosemar y Smith

framing in a black, silver and white anodised aluminium.

72 inch Mimaki printer

about new suppliers of the materials we use. We use only Chromaluxe metal panels, the world’s leading brand of metal print media.

Frank Hoekstra has gone back to school over the past 3 years and completed his Certificate IV in Engineering with an emphasis on welding. This has really helped extend the creative options to clients and address the challenges of working with aluminium. These variations are attracting more photographers and artists who exhibit and

the 2016 National Print Awards, a Gold for Innovation and a Silver for Small business in the 2013 Victorian Printing Industry Craftmanship Awards. There have been several other awards too. Contact links for Print 2 Metal below: info@print2metal.com facebook@print2metal.com http://www.print2metal.com

ARTIFICIAL BE AUT Y

DRY AND BE AUTIFUL by Barbara Dudzinska

Australia

w w w. S m a r t A r t P l a c e . c o m h t t p s : //a r t b o j a . c o m /a r t / 7q n7s 6 /

THE ROSE

WHITE ROSES b y Tr i s h H o s k i n

Australia

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FALLING T O PIECES by Pamela Henderson

Australia

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INTERGAL ACTIC GARDEN by Pamela Henderson

Australia

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STREE T PERFORMERS â&#x20AC;&#x201C; COSTUME DESIGNER by Sue Masterson

Australia

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STREE T PERFORMERS â&#x20AC;&#x201C; ANNA by Sue Masterson

Australia

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W I N D G E N E R AT O R , P O R T L A N D , V I C T O R I A

PORTL AND HARBOUR, BIRTHPL ACE OF VICTORIA by Mitch Graham

Australia

A L BA M A SS

BLUE HAZE MALL 41

ALL BY MYSELF

BELLA ROSE by ALBaMass

Australia

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FILM HE ART

O B R I E F A M I LY B R U S H PA S T I N A R U S H

BLUES POLL AIR

TWO FISH by ALBaMass

Australia

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DARK AGES Greetings to you. Wonderful to be here… I’m a Freelance Photographer and published Photo Artist. Experienced female artisan – dedicated to creating and preserving precious moments in a digital format, by being Archive Active Always.

My interests include art, motion and mixed –media, original graphics and sound for DVD movies, scrap booking, presentations with custom menus – slideshows with transitions. Inspired by a “Photo Artistic Life,” my approach is a persistent curiosity, from experiences and objects, to dreams and literature, as sources of inspiration. Everyday – I find a new and exciting way to create something unique, exploring new

techniques, ultimately though, I just love to let it happen on my canvas. I actually donʼt have any rules. My pleasure is a spontaneous and original creativity and itʼs a marvellous way to express my personality. My motto in life is “Detail Everything and Everything in Detail.” ALBaMass

F LY I N G by Dale Botha

Australia

h t t p s : //a r t b o j a . c o m /a r t / x1e l 9 6 /

STRUT YOUR STUFF by Dale Botha

Australia

h t t p s : //a r t b o j a . c o m /a r t / x1e l 9 6 /

ABSTRACT E YE by Chris Barnes

Australia

W H AT ’ S H A P P E N I N G D A D ?

YOU CAN’ T SEE ME by George Koncz

Australia

I SEE YOU

WA L K I N G I N T H E R A I N by Louise Campbell

Australia

w w w. d i g i t d e s i g n . c o m . a u w w w. f a c e b o o k . c o m / D i g i t D e s i g n S t u d i o

I H AV E B I G P L A N S

TRE ASURE HUNTER by Edwin Leung

New Zealand

h t t p s : // 5 0 0 p x . c o m /e l k y n z h t t p s : //a r t b o j a . c o m /a r t /o l a 8 i 6 /

aD rOt W i s tNs U N D E R Australia and New Zealand

MY PROCESS FOR A PHOTO SHOOT Christina Brunton I have photoshoots on a monthly basis and often more regularly than that. For me it is getting together with friends and having fun. My friends for these shoots are photographers Ilona Abou-Zolof, Malcolm Fackender and normally one of our favourite models Nicole Kirkwood or Effie Lmn. I have often been asked how I go about my process for a photoshoot, so here are some of the things I always think about. These are based mostly on what I have learnt over the years from Sebastian Michaels and Brooke Shaden.

Picking the theme is the most important first step. Firstly we all come up with cool ideas for the themes we would like to do over 6 months or a year. Some ideas for them will suddenly pop into my head – sometimes as I am going about my daily life but mostly in the middle of the night when I am trying to sleep.

It also helps to write up a description of what you see as the final result of the photoshoot, so that everyone involved has a clear idea of your expectations, but on the day it is also good to let loose and see what happens as well. Beautiful or quirky model

Here are some of our recent themes:

Which model suits the theme and what poses are we after?

•

Interesting Wardrobe/Props

When I was working I was mostly in adult education and management. I always talked

• • •

Romantic Victorian dress with vintage car Steampunk Kreepy doll Princess Warrior

about the 5 ‘P’s of Planning. Piss poor planning leads to poor performance. So plan, plan and do more planning.

• • •

Milky bath Dark and Gothic Underwater

variety of costumes and props (lucky for us photographers). We discuss what we already have and also what we need to get

Planning

Choose our themes

In the month or months before the shoot we will find, draw or discuss inspirational pictures we want to get as a result of the photoshoot. Often our models have a great

MY PROCESS FOR A PHOTO SHOOT in the way of props. For example, a musical instrument, skull, swords, umbrella, teddy bear, toys, suitcases, paper boats or even a penny farthing bike. Cool settings/ backgrounds Does this theme suit an indoor studio setting with studio lighting or outdoor setting with natural lighting? We may have to scout out some cool places for backgrounds to shoot at. Sometimes we have shot in the studio and then composite into a background.

(CONT)

Composited Elements

edges!

One image I have done was of John Kitchen riding the Penny Farthing bike that he had made himself. The original image was taken at the Goulburn Steampunk festival with lots of people behind him. The people had to be cut out of the background and between the spokes of the wheels which was painstaking and fiddly. Then I composited John and his bike into the Grand Canyon, a photo I had taken many years ago. The more we can do in camera, the less work we have to do later but he wasnâ&#x20AC;&#x2122;t going to pose on the cliff

Summary To summarise my process for any photoshoot is firstly to choose the theme and then everything else follows from this choice, such as which model for the shoot, what wardrobe and props, whether it is an indoor or outdoor setting and what needs to be included. I hope this helps you with your next photoshoot / model shoot. Happy snapping.

T H E AWA K E N I N G by Thysje Arthur

New Zealand

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NEW FRIENDS by Thysje Arthur

New Zealand

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YOGA POWDER

SYDNE Y OPERA HOUSE by Christina Brunton

Australia

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TINAROO DRE AMING

THE PE ACE MESSENGER by Ingrid Douglas

Australia

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DOCKL ANDS by Bronwyn Kenmir

Australia

h t t p s : //a r t b o j a . c o m /a r t / b p r 5 p e / w w w. s m i l e t i m e . p h o t o g r a p h y

C H A M PA G N E D R E A M S by Bronwyn Kenmir

Australia

h t t p s : //a r t b o j a . c o m /a r t / b p r 5 p e / w w w. s m i l e t i m e . p h o t o g r a p h y

ROSE TIME

GOLD BUNNY by Sylvia Chat ter ton

Australia

M Y D AV I D

WINDOW ART by Mike Stone

Australia

h t t p s : //a r t b o j a . c o m /a r t / x s p 5 t p /

I N TAT T E R S

GOT MY KNICKERS IN A T WIST by Judi L apsley Miller

New Zealand

h t t p : // w w w. a r t b y j l m . c o m h t t p s : //a r t b o j a . c o m /a r t / 9 3 x42 w /

J O HA N N A G O U D S B LOM

SMOULDERING ROSE 63

PEARL

WA H I N E by Johanna Goudsblom

New Zealand

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W H AT Y O U S E E

SK Y FALL 65

B E S T R O N G A N D F LY F R E E

G I R L S D AY O U T by Johanna Goudsblom

New Zealand

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LE T TING GO My artistic journey first began (because my love of photography is as much about my art as is my digital artistry) when, at twenty five, I travelled to the other side of the world on my own to discover my heritage and its surrounds; my recorder was a Kodak film camera and a diary. Photography has been with me all along the way since having a twenty year career as a corporate photographer, studying with the New York Institute of Photography, and doing as many courses as I could, to get a grasp on the transition from the darkroom to digital. My job gave me the opportunity to travel all

over my home country of New Zealand and to many places abroad, photographing anything from groups of important people, to aerial landscape work, to archival work. Yet I still hadn’t discovered my untapped true creative self. After joining the Photoshop Artistry Grunge course I soon realised I knew very little about Photoshop, so I delved in to its magic. Photoshop grows along with you. It is not something you learn just once and know how it all works; you have to spend time, get obsessed, you have to fall in love with it. Now

on days when I take a photo, I think about what I’m going to do with it, what I want to create with it, how I’m going to use it. My inspiration in my digital artistry comes from all over – music, quotes, album covers, my femininity, what’s happening in the world, and of course, from the wonderful group of fellow digital artists who I constantly study and admire. My creations, my visions, my art has become a passion and my fabulous artistic journey will continue to grow.

TOWNSVILLE

VIE TNAM by Margie Oâ&#x20AC;&#x2122;Hara

Australia

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MEMORIES OF SANTORINI

COPENHAGEN by Lyn Darling ton

Australia

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SUNKEN DRE AM

MOONLIGHT KOOK ABURRA by Andrew Haysom

Australia

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W E N E E D A H O L I D AY

M U M A N D K I D S AT D AW N H E E A R T H by Maureen Maxwell

Australia

CAROUSEL

TA N A H L O T, B A L I by Mary Knaggs

Australia

h t t p s : // t i n y u r l . c o m / M a r y K- P h o t o g r a p h i c - A r t h t t p s : //a r t b o j a . c o m /a r t /o c 0 9 1r/

BAD MANNERS

T H E H AT by Helen Akerstrom

Australia

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aD rOt W i s tNs U N D E R Australia and New Zealand

T HE E L LY R O S E A DV E N T UR E S Margie Oâ&#x20AC;&#x2122;Hara

My name is Maggie O, I was born and lived in Julia Creek for 20 years, a small rural outback town in Western Queensland. The land is void of lots of colours and water, but has its own uniqueness that soaks into your blood. At 18 I decided to see the world and ventured off on my own to back pack around Europe. This started my love affair for travelling and taking photos. The more I travelled the better my photography got. I would watch the professionals and see where they stood and looked at the different angles they took photos from. I wrote my first chapter story at ten years old, but did nothing with it because I couldnâ&#x20AC;&#x2122;t draw or paint the pictures like I saw them in my head. I have been a storyteller from an early age and have always embraced colours, textures and patterns. After hesitantly joining the Awake course, I started to learn how to manipulate my images in a way that suited me. This course literally

changed my life. I learnt something new every week. I can now begin to illustrate the stories to match how I see them in my head. The more I learn, the more creative I become. My creative journey for the Elly Rose adventure series started over 12 months ago. I had written several travel articles for the local newspaper and I wanted to encourage younger people to explore the world when they get older. I find when you travel you become more tolerant of people and different customs. While travelling, the journey is not the destination but how you get there and the people you meet along the way. I would love to encourage a new generation to learn about how other people live and be more understanding of each other.

The process took awhile to get to the final product. I knew I wanted to write the first story about Townsville, where I live. Itâ&#x20AC;&#x2122;s a beautiful region and has so much to offer. The second step was to take lots of photos and see which ones looked like they would make interesting images. I played with several images before deciding on the final 13. Then I wrote the first draft, edited the images more, changed the text pages several times until they looked just right, and then tweaked the images again to match the story. People ask what comes first, the story or the images? The idea sparks, and then they intertwine and evolve as I go. I gave a draft copy to a few friends to read to their children, who in turn asked some really good questions. I had a mouse on two

T HE E L LY R O S E A DV E N T UR E S pages and one boy asked if the mouse was special. It was then I decided that the mouse would hide in each page and at the end of the story the reader finds out she has been there all along and goes back to find her. Once the book was at the printers, I organised an exhibition in a local library to generate interest in the images. To my absolute delight my first ever exhibition sold over half the images, with orders for more coming through after the exhibition. It came as a surprise that adults were purchasing the images for themselves and will be hung in dining rooms, offices and other places. In the first week of having my books back from the printers I have sold over 120 books

(CONT)

time people are buying both books.

become a fulltime writer/artist.

Writing and self-publishing a children’s book is very hard work, takes a long time and you certainly don’t do it to make heaps of money. I am already working on the ideas for the next book. I would love to do a series of travel adventures from all around Australia. I would like to hear from readers where Elly Rose should go and why. It would be amazing to travel around and meet some of the other inspiring artists in the group. Who knows, If Elly Rose creates enough interest she might even pop over to New Zealand. I have enjoyed the process and would like to

Website: www.ellyrosetownsville.com.au Facebook: The Elly Rose Adventures Linkedin: Maggie Publishing”

O’Hara

“Elly

Rose

and have a stall at the local markets next weekend. The books have been getting great feedback and I am thrilled at the response they have been receiving. I wrote and illustrated the first book, a 32page picture book for younger readers. My target audience’s older siblings wanted an older version. I thought the illustrations were too young for older readers. I altered and changed the shape of the book to distinguish it from the junior book. The Journals book has more history and facts about the areas visited and the images form part of Elly Rose’s Journal. I decided to have both printed and will see which one outsells the other. At this point in

MY DEER b y D i e p Tr a n

Australia

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ONE TREE HILL b y D i e p Tr a n

Australia

h t t p s : // w w w. f a c e b o o k . c o m / t r a n p h o t o g r a p h y/ h t t p s : // w w w. i n s t a g r a m . c o m / t r a n d i e p12 3 4 /

DREAM 3 by Joyce Maris

Australia

w w w. j m a r i s a r t . c o m . a u h t t p s : //a r t b o j a . c o m /a r t / 5 y 5 m 3 p /

DREAM 2 by Joyce Maris

Australia

w w w. j m a r i s a r t . c o m . a u h t t p s : //a r t b o j a . c o m /a r t / 5 y 5 m 3 p /

CINDABODY

BURNING L AND by Jim Dawson

Australia

w w w. s p i r i t s o u l i m a g e s . c o m . a u

CENTRAL WEST by Sharon Rankmore

Australia

h t t p s : //a r t b o j a . c o m /a r t / 0 7 l 9 a j /

F LY I N G

MY DARK HALF by Jennifer Jackson

Australia

h t t p s : // w w w. f a c e b o o k . c o m /J e n n i f e rJ a c k s o n D i g i t a l A r t i s t e

S HA RY N WA L K E R

L O N E LY R O A D

WISE OLD OWL

WAT C H I N G Y O U by Shar yn Walker

Australia

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WILD N FREE

HOLD ON TIGHT

GRACEFUL MUSIC

GENIE IN A BOT TLE by Shar yn Walker

Australia

w w w. c h a n g e o f f o c u s . c o m . a u h t t p s : // w w w. f a c e b o o k . c o m /c h a n g e o f f o c u s

WA L K I N G D E A D Where do I start the story of where my photography began? I started life as an accountant and didn’t believe there was a creative bone in my body, however there always seemed to be a camera in my hand capturing those moments in time so that they could be remembered forever. I have always loved capturing memories and after a few major life changes, I happened across an amazing person, my business and life coach. She asked me at our very first meeting, “If you could do any job in the world what would it be?” Without a blink of an

eye my answer was photography and so the journey truly started. My love of sports has now been combined with my love of photography and Change of Focus Photography is now a reality. What you see here is my fun photography; a chance to let my imagination run wild and create. Sometimes you have a vision of the finished product and other times an image just evolves. What AWAKE has shown me is how to look past the ordinary to discover the extraordinary. It’s a chance to live in a world

of fantasy and while away the hours creating the visions that until now only ever existed in my mind. There is something new to learn on every project and so many inspiring artists to follow. To progress and continue to learn every day is what life is about. Happiness is a camera in my hand and a chance to create. Every picture tells a story and there are so many more stories still left to be told.

BLUE WOLF

Z E B R A S I N H E AV E N by Colin K illick

Australia

w w w. d r i f t i n g l e a v e s . n e t

SPIRIT GUIDE

D A N C E S W I T H W O LV E S by Michelle Drummond

New Zealand

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DRAGON WHISPERER

LITHGOW BABY b y I l o n a A b o u -Z o l o f

Australia

h t t p : // w w w. i l o n a a b o u z o l o f. c o m

L I G H T I N G T H E WAY

THE JOURNE Y by Lonnie Lovejoy

Australia

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T O U R I S T 18 A

T O U R I S T 1A by Colin Campbell

Australia

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EMUS DANCING

ROOS HOPPING 1 by Rosemar y Smith

Australia

w w w. 5 - r o s e m a r y - s m i t h . p i x e l s . c o m h t t p : //a r t b o j a . c o m /a r t / p z h e c r

aD rOt W i s tNs U N D E R Australia and New Zealand

FROM PHOTO ARTIST TO PORTRAIT PHOTOGRAPHER All My Footsteps Have Led Me To Here – by Hazel Blake ALBANY – WESTERN AUSTRALIA I have been creative all my life and have always had a camera. Four years ago I signed up for Sebastian Michaels’ Photoshop Artistry course and then in 2015 his AWAKE course and I loved it. I worked my butt off in the Awake course, was well recognised, had a few joint exhibitions and sold a number of artworks privately and from galleries.

photographers Sue Bryce and Lindsay Adler on CreativeLive and I learned to photograph myself, and then I put myself into my art. I have not had the best body image during my life, so it was a lovely awakening to realise that I could capture myself in ways that were beautiful. This led me to continue with the self-portraiture work and once I realised that this could change how I felt about myself I went on to think how I could do this for other women too. It is possible to capture the beauty in everybody, nobody is born photogenic, in fact this isn’t really a thing! Being so called photogenic means only that your photos have been taken with good lighting, good posing by a good photographer. And so the seed was planted to do portrait photography.

Putting myself in my own work

But I found the process of selling art disheartening. I struggled with my online persona and was feeling inauthentic. I did not value what I was creating (I am a minimalist and art, although beautiful and to be admired, is just another decorative “thing” that we must own), I did not believe in my product enough and I did not like that lack of personal connection to my buyers. After I consolidated my skill base I turned away from just making pretty pictures and wanted my art to mean something. Researching photographers who inspired me led me to conceptual artists Brooke Shaden and Jenn Thoreson. I loved that Brooke was the model in her own art, but I felt unable to do that myself being twice her age and more than twice her size. Necessity pushed me to try, not having access to many models in the small town where I live. So I studied portrait

While following along with Sue Bryce I came to love her philosophy of transformation. Getting women to love themselves and allowing us to show them their own beauty through portraiture. Using the ‘everyone is beautiful’ mentality I started photographing my friends and I found I could do it, I could capture their beauty too. I pondered for a long time on converting our garage to a studio. It was really small with a low ceiling but I’d seen that other photographers make it work so I went for it.

portrait photographer in our area but very quickly I realised that I needed to charge twice that amount to cover my cost of business, time and expertise. I provide a personalized luxury service with a ‘model for a day’ experience. A full make over and styling, photo shoot and a reveal of actual prints that clients can see, hold, and take home 1 week after the shoot. I spend up to 20 hours per shoot all up. The Reveal, is an in-person sales session which I always do. The cost of printing of 20-25 portraits that clients can choose from is not excessive, but the joy, and connection people get when they can actually see their prints, hold them and take them home is priceless. I say very clearly in the consultation, the shoot and the reveal, that there is no obligation to buy. They only buy what they love. Therefore I have to be good at my job and I have to believe that I can take beautiful photos they will love. There isn’t a bigger joy in the world than to touch someone else’s life in a way that helps them transform their lives. Knowing that you had a little itty bitty hand in that, wow, sharing journeys and experiences in a way that can be valuable to others. That

I knew from the start that my point of difference was my editing and digital art background. So I specialise in artistic and conceptual portraits and there is a market for that alongside the contemporary work. One of the main things I had to learn initially was how to value and price myself. I started out pricing myself the same as the best

Self portrait

FROM PHOTO ARTIST TO PORTRAIT PHOTOGRAPHER

(CONT)

All My Footsteps Have Led Me To Here is service and that is what is at the core of my business. Photography is the vehicle. Also at forefront of my business is the knowing that this time is a time that has had the least amount of formal portraits taken ever. Itâ&#x20AC;&#x2122;s not going to be good in the future. There are going to be people in a 50-100 years looking for photos of their parents and grandparents and they are not going to find any. So I am on a mission to provide as many beautiful professional portraits as

my passion for womenâ&#x20AC;&#x2122;s rights, my love of photography, my love of art, it all just came together to make sense to me at 55 years of age. This was not something I dreamed of doing but now that it is here I understand deeply why I am drawn to it, and I feel very lucky. TO SEE MORE www/facebook.com/hazelblakephotography www/instagram.com/hazelblakephotography

Contemporary glamour portraiture, clean and modern

Artistic portraiture, clay shoot

Dry Ice Conceptual Shoot

I can to people leaving a legacy for future generations. To that end I am absolutely pro printing. I do give people their digital files, but only after I have provided them with beautiful archive quality portraits that will last a lifetime and beyond. Prints that they will hand to their children and them to theirs. I have always worked for a wage, but 18 months ago I quit to be an artist which has turned into this. I never dreamed this would be where I would end up, but when I look back over my life so many footsteps have led me to here; my innate need for respect, understanding and compassion in all that surrounds me, my own body image struggles,

Earth Goddess Conceptual Shoot

BAMBOO

HANGING AROUND by Leonie Hamilton w w w. l k h s m i l e . c o m

Australia

THE PUPPE TEER

THE PUSH by Anthea Scotte

Australia

HIDDEN

N E C TA R O F L I F E by Julia Harwood

Australia

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SIR AND L ADY BENNE T T by Liz Abbott

New Zealand

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TEEN THOUGHTS b y Ky e T h o m p s o n

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Australia

L A D Y WA L K I N G b y Ky e T h o m p s o n

Australia

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aD rOt W i s tNs U N D E R Australia and New Zealand

KAIAPOI ART EXPO Thysje Arthur KAIAPOI, NEW ZEALAND My husband and I moved from our earthquake wrecked home in Christchurch, in 2012, to The Pines Beach, near Kaiapoi in the Waimakariri District, North Canterbury. It was through some friends, I learned of the Kaiapoi Art Expo, held each year in July. I was told I should exhibit some of my photography work, and so began this particular journey. The Kaiapoi Art Expo is managed by the Waimakariri Arts Trust whose objectives are to facilitate, educate and foster support of art and artists in the District. It also encourages community participation in creative and artistic events such as this exhibition, workshops and other projects. The KAE is also sponsored by local businesses and organisations.

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lies just south of the mighty Waimakariri River. To give the District’s artists a fair go at showing their work, the Kaiapoi Art Expo is restricted solely to local artists. Exhibits include paintings, sculptures, metal work, hand crafts, photography, jewellery and more. It is new each year as items must not have been exhibited in the District before. I have seen some amazing work there! Each year it gets more popular as many people make the effort to visit. I am pleased to say that I have successfully sold canvas prints of my work at the KAE, and it’s also served to promote my photography. Some of my successful sales are shown here.

The Waimakariri District is largely rural with a scattering of towns and villages, though it is not far from the City of Christchurch which

This year the Expo will be held on the 15th and 16th of July at its usual venue, the large upstairs ballroom size room of the Kaiapoi Working Men’s Club. Opening Night is often a treat with speeches by the Mayor (of course)

Tomtit

Tomtit Female

Tui

Fantail

and others, and sometimes an auction is held of a donated piece of art. Often too, this is when art is sold before the doors open to the public the next day. I am exhibiting as a Photo Artist for the first time this year. It’s very exciting and a bit scary also, as I feel that I am still a learner in the craft, and haven’t built the confidence in my work yet as I have in photography itself. There are five pieces, two shown on the facing page, of photo-artistry in total that will be on display on my own panel. I promise I will take a photo! Am I hopeful of a sale? Of course it would be great, but if not, it’s exciting and a pleasure to showcase my work in the local public arena. And who knows where things may lead? http://www.tgagraphics.co.nz/ https://artboja.com/art/wpqa4m/

The Devil’s Punchbowl

KAIAPOI ART EXPO

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Autumn Flight

Shipwrecks at Night

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JESS DOUBLE E XPOSURE

JESS DOUBLE IMAGE by Jill Clif fe

New Zealand

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H O M E WA R D B O U N D

O N T H E E D G E O F D AW N 2 b y To n y S t e p h e n s o n

Australia

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ON A DARK NIGHT by Carolyn Jenson

New Zealand

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SHAG ROCK FULL MOON

TEDDY b y R o s e D â&#x20AC;&#x2122;A z u r e

New Zealand

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HARLEY by Sonja Stef fen

Australia

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PURRBABIES by Sonja Stef fen

Australia

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aD rOt W i s tNs U N D E R Australia and New Zealand

E X HIB I T ION – A L ONG T HE WAY Viki Murray CASTLEREAGH HIGHWAY Viki Murray is a fine art photographer who shares her time between the subtropical hinterland of Eumundi in Queensland and the semi arid opal mining village of Lightning Ridge in outback New South Wales.

resilience of the trees, grasses and birdlife that abound in the semi arid conditions. The collection also serves as a visual diary of her road trips and the evolving methods of her photo artistry.

Viki and Anna Kaineder, a ceramicist, are showing their art in the exhibition “Along the Way” at Outback Arts, Coonamble NSW from July 06 – August 06. The art featured on these pages is a selection of Viki’s exhibition work.

“These compositions are like mementos I have gathered, frozen moments of my tracks and the natural beauty on either side of the highway that strikes me as I amuse myself on long and sometimes monotonous road trips. I think of the ten-hour drives as an opportunity for photo vignettes of a day in the life of me, and turning the hours into a discovery rather than a tedious long drive on the same old road.

It can be a left hand turn down the Eumungerie road on the way home from Dubbo, and I am randomly presented with a flock of Corellas ducking and weaving, with the light playing on their wings. Or climbing the odd fence between Walgett and Coonamble to tiptoe through a budding, recently sowed wheat crop to capture the shapely Myall tree, perfectly pruned into a neat umbrella shape by stock. Some of the images have been considered, planning the shots ahead and staying nearby overnight so as to be up at very first light as the landscape takes on that magical quality. Others are done spontaneously, on the fly with the iPhone camera, edited along the way using mobile editing apps with creative abandon.

Certain trees stand apart from their peers, like Whitewoods, that are so gnarly and twisty and irresistible to me in the early morning or late afternoon light. If I drive by that moment is gone forever.

This collection is a visual diary of my transitory life, and quite inadvertently it has served to mark the seasons and cycles of the very adaptable and changing landscape as I have moved through it over time.”

I have made a point nowadays to let the schedule slide and just take the five or ten minutes to stop and absorb these moments nature throws my way.

You can see more of Viki’s work at

“Along the Way” is a collection of images captured by Viki Murray along the Castlereagh Highway since 2010. Spanning areas as far south as Parkes and as far north as Dirranbandi, the images include scenes by the roadside around Lightning Ridge, Coonamble, Walgett, Gulargambone, Angledool, Hebel and side roads and tracks in between. Using a DSLR and an iPhone, Viki has artfully recorded the dramatic shifts in a landscape that is prone to extreme cycles of drought and flood. Her compositions reflect the

Solitary 3

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https://artboja.com/art/dpaltj/ vikimages.com.au

Lone

E X HIB I T ION – A L ONG T HE WAY

(CONT)

Desolate I

Desolate II

Outback Warriors

Castlereagh Highway

Blue Square – Cypris

Blue Square – Rosewood

Blue Square – Myall

Silver Linings Whitewood I

Silver Linings Whitewood II

Silver Linings Whitewood III

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H O L LY H O C K B L O S S O M S AT YA L L O U R N N O R T H

GRAF TING TO AN E X TREME by Bill Oldham

Australia

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CAPSICUM

F L O AT I N G B A N A N A by Ron Rodgers

Australia

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SIX IMPOSSIBLE THINGS 2

I GUIDE IT by Merran G ร รป

Australia

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PA R T Y G I R L

LIGHT by Phillipa Frederiksen

Australia

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ON THE ROAD AGAIN

P O N D E R I N G AT T H E B E A C H by Heide Hof fmann

New Zealand

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FROM THE FERRY 1

FROM THE FERRY 2 b y A t h a l i e Ta y l o r

Australia

h t t p s : //a r t b o j a . c o m /a r t /e k a 9 s g / h t t p : // t i n y u r l . c o m /A t h a l i e -Ta y l o r- D i g i t a l - A r t i s t

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aD rOt W i s tNs U N D E R Australia and New Zealand

PIXEL SISTERS STUDIO Julie Powell and Desley Pitcher WORKSHOPS, CONCEPTUAL PORTRAITS AND BEGINNER CLASSES Moving to a larger studio also means we can offer more places and more room to move, while still keeping all workshops small and very much hands on. And it’s not just Still Life, we are looking to run varied workshops from Conceptual Portraiture to Macro, basic photography (get off auto) and Social Media and Planner workshops.

The idea started as a small spark, which

grew into an idea, an obvious collaboration between myself and Desley, we both share such a love of photography and have spent many joyous hours, both together and separately, in the studio creating fabulous emotive imagery. We each have an enormous skill set, and put together we hope to be able to bring fabulous, fun and extremely creative workshops to photographers of all levels in Melbourne.

Floral Fantasy Workshop

and create stunning images.

Saturday, July 29, 2017 2:30pm 5:30pm

This Workshop will cover the basics in lighting, staging, camera settings and best practices for Still Life with topics discussed:

• •

Pixel Sisters Studio is the creation of Julie Powell and Desley Pitcher, Melbourne photographers, who share a love for creating beautiful images. They have spent hours in the studio, creating images to evoke an emotional response, to make you fall in love. From Small Beginnings...

The Floral Fantasy Workshop includes both Still Life and Macro photography. The "Floral Fantasy" theme allows us to focus on flowers

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• •

Dark and Moody Light and Airy

https://www.pixelsistersstudio.com/

Macro techniques Artificial Lighting

Requirements: DSLR camera or Mirrorless camera, as long as you can change lenses. Also, bringing your manual is a good idea if you aren't overly

PIXEL SISTERS STUDIO familiar with your camera. • • • •

35-50mm lens or 24-70mm is suitable Macro lens eg: 45mm, 60mm, or 90mm Tripod Remote shutter release (wireless or

Desley Pitcher Desley's true love is for macro photography. She can spend hours photographing flowers, food (macaroons, cupcakes), bugs and many other things, finding the magic in the finer details. Desley runs a photography business and

• •

(CONT)

cabled) Spare battery SD Cards.

Cost is $60.00 (plus booking fee).

This is a three hour workshop, limited to 12 people so that we can all get very hands-on. loves using her professional marketing skills combined with photography to create content for brands on social media. She has been focusing on product photography and social media strategy, but has been working with Julie on some exciting concept shoots as well. Desley is also a #plannergirl and will soon host some workshops around styling Planners and

If you have any questions please contact us at pixelsistersstudio@gmail.com Planner Accessories for social media posts. You can see more of Desley's work below and visit her facebook and web pages https://www.desleyjane.com/ https://www.facebook.com/DesleyJanePictures-424895081264756/

Flower Princess

Julie Powell Award winning and internationally published digital artist and photographer Julie Powell, has a deep passion for the beautiful, the dark and slightly bizarre, specializing in fantasy and surrealism. Mix in a love of Fine Art and Traditional Still Life, and Julie creates a truly unique style of Still Life, with an eye for details, lighting and mood.

Rainbow Rose

Her passion for Conceptual Portrait Photography, as well as digital art is apparent in published works, gallery exhibitions, and her knowledge is often sought after through various mentoring programs and workshops. Julie has taught many highly successful and sold out workshops in her own small home studio and is branching out with Desley to bring a wider range of workshops to a larger

The Old Mill

audience, in a bigger studio environment. Julie will be hosting Conceptual Portraiture Workshops, as well as Still Life and Product Photography workshops. Julie’s work is available for viewing on http://www.juliepowellphoto.com/ https://www.facebook.com/ juliepowelldigitalartistry/

Magnolia

Life of the Party

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http://tinyurl.com/artisitsdownunderpublic