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‘DON’T LOOK DOWN’ BRAD RIMMER in the Swiss Alps: A series of new works by the 2017 Global City Residency Basel Recipient June 2, 2018

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It was like a reunion from the days of Foto Freo. They all turned up. David Dare Parker, Graham Miller, Kevin Cooper from FUJI in Sydney, Bob and Helen Hewitt from the Foto Freo festival, Sue Lynn Moyle from Art Source, Bohdan Warchomij, Eva Fernandez, Felicity Johnston from Art Collective WA.

Brad Rimmer and Kevin Cooper from FUJI Sydney

A pensive Brad Rimmer was the centre of the attraction with his imposing and powerful work from the six week artist exchange in 2017 in the Swiss Alps at the Arts Source Old Customs House Gallery 8 Phillimore Street Fremantle. The exhibition, beautifully printed and beautifully hung in a minimalist but beautifully renovated space in the heritage building included large images of the Matterhorn, the wrapped Rhone Glacier, the Gorner Glacier, the Riffelhorn and the Rhone Glacier. It runs until the 15th of June 2018 from 2-5pm from Wednesday to Sundays and is a must see for anyone remotely interested in photography of this high standard. This Sunday 3rd of June at 2 pm in the same Gallery there will be an artist talk by Brad Rimmer.

The Arts Source Artist Exchange is under threat from funding cuts and politicians should come to this exhibition to see both the value in the program and in the artistic product.

Brad Rimmer from the town of Wyalkatchem in the central wheatbelt in West Australia probes at the essence of rural Australia and has exhibited internationally, in the Pingyao and Lianzhou International Photo festivals in China, at the 2006 Brighton Photo Biennial in the United Kingdom, and Kaunas Photo 08 in Lithuania. This foray into the Swiss Alps, with their mythological significance, touches on environmental issues, environmental fragility and significant loss from global warming. The colour images have been inverted from digital positives and printed as powerful negatives. This insight and technical process leads us to question deeply what is happening in our fragile universe.



Posted by bohdan.warchomij in : Metaphor Online , comments closed

Mundaring Arts Centre’s presentation of Richard Woldendorp’s early black and white photography is a tour-de-force that crosses genres and captures the story of a nation coming to terms with its own identity.

Richard Woldendorp Self Portrait

Born in the Netherlands in 1927 he joined the Dutch army at the age of nineteen  and was posted to Indonesia in 1946 where he served for three years. On the completion of his service he and other young Dutchmen decided to pursue adventure in Australia and in 1951 he arrived in Fremantle and settled down to life as a contract house painter.

Richard Woldendorp Photo Bohdan Warchomij

In 1955 on a trip back to his homeland he purchased a Voigtlander and documented his trip back to Holland through Port Said, Naples and the harbour of Oosthaven and while travelling discovered the works of   Magnum founder Henry Cartier-Bresson and W. Eugene Smith.

He began to work commercially, and in 1961 won a first and third prize in the Craven A National Portrait Competition.

The recognition afforded by this led to meetings with progressive Australian photographers Max Dupain andDavid Moore, who are celebrated as innovators and photographers of stature and historical importance  in Australia.

His work progressed  through networking with government and advertising agencies and his images were published in Walkabout magazine, The Bulletin, The Weekend Magazine, Vogue and many newspapers.

Book publishing became a feature of his work and with his wife Lyn he set up Photo Index, WA’s first Photo library in 1969.

Woldendorp is known for his aerial colour work of the Australian Landscape but his formative early work in black and white is less well known . Lisa HEGARTY and Clare STROUD Curators  of this retrospective are to be commended for this comprehensive exhibition which includes his darkroom enlarger and the first two cameras he worked with, the Voigtlander mentioned earlier and a Leica Rangefinder.

Lyn and Richard Woldendorp Photo Bohdan Warchomij

The exhibition runs 1 June-15 July 2018.





The Growth of VIVID Sydney May 28, 2018

Posted by bohdan.warchomij in : Metaphor Online, The Conversation , comments closed

Senior Lecturer in Art History and Theory, University of Newcastle abridged from an article in The Conversation,


Since Sydney’s Bicentenary celebrations in 1988, the notion of the city as a venue for mass festivals has gained traction.

In 1994, the year after winning the bid to host the Olympic Games, Sydney City Council had a vision for how the Games might change Sydney. Its Living City: A Blueprint for Sydney aimed to create a “vibrant city that is active 24 hours a day”.

And in the City’s later 2008 vision for the year 2030, Sydney City Council’s goal was “a lively, engaging City Centre”.

The first Vivid Sydney was held the following year, in 2009, and seemed to realise that vision. Vivid was first conceived as an artistic exploration of smart and sustainable energy, and since its first incarnation it combined light, music and ideas.

The music component had a rather arty edge. Brian Eno, who has collaborated with David Bowie, U2 and Coldplay, curated the Luminous music event at the Sydney Opera House. Eno is famously one of the pioneers of ambient music and there seemed a shared aesthetic sensibility between his sonic vision and the ethereal light painting that lit up the sails of the Opera House from that first year.

Six years on and the popular appeal of Vivid Sydney has become enormous.

The music component now includes not just in the Sydney Opera House, but clubs, theatres and music venues across the city, with performers such as Daniel Johns and Grace Jones. Vivid Sydney is as much a festival of music and popular culture, as it is about light installations and exploring ideas.

Last year, in Vivid Sydney’s 18 days it received 1.43 million visitors, “exceeding the population of Adelaide and surpassing the total number of international tourists to Fiji last year,” as Andrew Stoner, NSW Minister for Tourism, boasted.

Wandering the temporarily pedestrianised streets around The Rocks and Circular Quay at last year’s Vivid, it certainly felt like it. The crowds thronged the streets as if it were New Year’s Eve.

But maybe there is something artistically valuable in the very fact that an event like Vivid Sydney is massively popular?

In 1961, the pop artist Claes Oldenburg, best known for his oversized soft sculptures of burgers and large clothing pegs, wrote about the kind of art he wanted to see in the world – the kind that reconnects with the masses:

“I am for the art that grows in a pot, that comes down out of the skies at night, like lightning, that hides in the clouds and growls. I am for art that is flipped on and off with a switch.”

Perhaps Vivid Sydney is exactly that art, Grace Jones and all.


Joint Investigation Team Press Release: Malaysian Airlines Flight MH17 “shot down by Russian Army Brigade” May 26, 2018

Posted by bohdan.warchomij in : Bellingcat, Metaphor Online , comments closed

The Joint Investigation Team based in The Hague in the Netherlands (JIT) revealed last night that it had hard evidence to prove that the missile launcher used to shoot down the plane over Ukraine  came from Russia’s 53rd Anti-Aircraft Brigade in Kursk.

They also revealed remnants of the actual missile used- an exhaust and casing- they have been analysing.

The casing includes a hand written manufacturing code that JIT has traced to a company in Moscow.

“That a sophisticated weapon  belonging to  the Russian Army was dispatched and used to shoot down a civilian aircraft should be of grave international concern,” Australian Foreign Minister Julie Bishop said.

Foreign Affairs Minister Julie Bishop

Australia pledged $50 million in the budget last month to assist Dutch authorities prosecute those accused of shooting down the plane.

The money will meet Australia’s share of the prosecution costs and help family members of the victims participate in the court proceedings.

Netherlands Chief Prosecutor Fred Westerbeke said the team had analysed hundreds of photos and videos of the missile launcher travelling fromKursk to Ukraine to create a”fingerprint ID” that confirmed it had come from the 53rd Brigade.

Bellingcat Investigation



He said the missile launcher had disrupted traffic as it was driven across the border to Ukraine and was photographed by hundreds of members of the public on both sides of the border.

Mr Westerbeke said prosecutors had narrowed the suspect list down to a few dozen.

He said “We are going to finish the investigation in a good way.”

Australian Federal Police commander Jennifer Hurst said the team was making “good progress” in a very complex investigation.

“We have 298 precious reasons why to keep going.”

Photo Bohdan Warchomij Metaphor Images

A Perth photographer at the site on July 18, 2014 has recently been interviewed by JIT Federal police for further information.

Thirty eight Australians, including the Maslin children from Perth died when the Boering 777 was shot down on July 16, 2014.

Yesterday Foreign Affairs Minister Julie Bishop upped the ante. “Based on these findings, the only conclusion we can reasonably draw is that Russia was directly involved in the downing of MH17,” Ms Bishop said.

In a move that will raise tensions with an unrepentant Russia Julie Bishop said yesterday that she and her Dutch counterpart had notified the Russian Government that “we hold it responsible for its role in the downing.”

The latest diplomatic push is aimed at achieving justice and compensation for the victims, with a toughened sanctions regime on the on the cards if Russia resists.

Interestingly Julia Skripal who was poisoned along with her father Sergei, a former spy for Britain, by a Russian manufactured military grade nerve agent called Novichok faced the media at an undisclosed location in London.

She admitted on television footage that she was “lucky to have survived” the nerve agent attack and described the the clinical treatment to keep her alive as “invasive, painful and depressing.”

As recently as the weekend Russian President Vladimir Putin insisted that if the Novichok agent been used in the attack both Julia and her father Sergei Skripal would have died.

In fact the treatment received by them at Salisbury hospital in England did save their lives after long induced comas.

Making an Impact: Georgina Goodwin Metaphor Images May 14, 2018

Posted by bohdan.warchomij in : Georgina Goodwin Metaphor Images, Head On, Metaphor Images, Metaphor Online , comments closed

Photo Georgina Goodwin

Congratulations Georgina Goodwin on your important contribution to the Head On Photo Festival with a powerful image that is a contributor to the peace process!

Georgina Goodwin Photojournalist is honoured to have her image ”Broken” of 14 year old South Sudan refugee twins Jacob and Simon exhibited as a semi-finalist in this years @HeadOnPhotoFest, Australia’s leading annual photo festival. The exhibition is being held 5-20 May Paddington Reservoir Gardens, #Sydney.
#HeadOn over if you’re in the neighborhood!
For more info and bookings go to https://www.headon.com.au/


Image caption:
”Broken” : South Sudan refugee twins Jacob and Simon, 14 at the new arrivals centre in Kenya’s Kakuma Refugee Settlement on the Kenya-South Sudan border. They explained how they had walked barefoot for 21 days to reach Kenya with their mother Adut Akot Ker, 44 and 5 siblings, showing swollen and cut feet. With tears rolling down their cheeks, they recounted how last December armed men shot and killed their elder brother and father as the family escaped fighting in South Sudan’s capital, Juba: “There was a lot of shooting and shouting, they told us to go on ahead… They went back to try and stop them chasing us, but the men shot and killed them,” Simon recounted.
They are traumatised.
I photographed the twins just after they met UN High Commissioner for Refugees Filippo Grandi who spent this week in #Uganda and #Kenya to witness at first hand the consequences of 5 years of conflict in the country. As of October 31, 2017 Kenya had 111, 892 refugees from South Sudan. By ‪December 31, 2018‬ Kenya is projected to have 140,000 refugees from South Sudan. Grandi appealed to South Sudan’s leaders to agree to peace.
Image taken on assignment for @refugees.
#headon18 #photofestival #documentary #portrait#portraitphotography #photojournalism@canon_photos @canoncnafrica #mycanon#lenscultureportraits #ReportageSpotlight#hildrenofinstagram #humanrights#everydayrefugees @everydayrefugees #refugees

Breakout hit 2018 Sundance Film Festival “Tangerine” Director Sean Baker Shot on an IPhone 5S May 11, 2018

Posted by bohdan.warchomij in : Metaphor Online, The Verge , comments closed

Tangerine, a breakout hit from this year’s Sundance Film Festival, is full of surprises. There’s the subject matter: transgender prostitutes working in a not-so glamorous part of Hollywood. And there are the characters: flinty, funny, nobody’s victim. But the story behind the camera is as surprising as what’s in front of it. Particularly because the camera used to shoot Tangerine was the iPhone 5S.


Plenty of amateur films have been shot using iPhones, but by all reports, this is the first movie at the Sundance Film Festival to be shot almost entirely on an Apple device. It was a decision that indie writer and director Sean Baker made to accommodate the film’s small budget. But you’d never guess the camera, to look at it: Tangerine was shot in a widescreen, 2:35:1 aspect ratio, and its camera zooms through the streets of LA with a fluidity you’d never expect from a handheld device. And yet despite his camera of choice, Baker says the iPhone made for a good partner. “It was surprisingly easy,” Baker says. “We never lost any footage.”

So how do you make a Sundance movie for iPhone? You need four things. First, of course, the iPhone (Baker and his team used three). Second, an $8 app called Filmic Pro that allowed the filmmakers fine-grained control over the focus, aperture, and color temperature. Third, a Steadicam. “These phones, because they’re so light, and they’re so small, a human hand — no matter how stable you are — it will shake. And it won’t look good,” says Baker. “So you needed the Steadicam rig to stabilize it.”


The final ingredient was a set of anamorphic adapter lenses that attach to the iPhone. The lenses were prototypes from Moondog Labs, and Baker said they were essential to making Tangerine look like it belonged on a big screen. “To tell you the truth, I wouldn’t have even made the movie without it,” Baker says. “It truly elevated it to a cinematic level.”





Like any conventional film, Tangerineunderwent post-production. “With a lot of these social realist films, the first thing you do is drain the color,” Baker says. “We went the other way. We pumped the colors and put the saturation through the roof. Just because the world there is so colorful, and the women are so colorful. We wanted it to match them.” (Orange emerged as the dominant color in the film, inspiring its title.) The final step was to apply a digital grain to the movie, giving it a quality more reminiscent of actual film.

At first, the cast wasn’t convinced shooting with the iPhone would work. “I had some hesitancy about it, more out of pride,” says James Ransone, who plays Chester, the pimp at the center of Tangerine’s love triangle. “I’m like, Jesus Christ, man, I was on The Wire. I’ve ended up in iPhone movies!” But Ransone came to appreciate the flexibility of the device. “There’s a lot that can be done with an iPhone.” (One example: Baker shot several scenes while riding his 10-speed bicycle in circles around his actors.)

Ransone said that the key to shooting Tangerine was having a team well-versed in traditional filmmaking. “You still need to know how editing works. You still need to know how sound works. You still need to know how a camera works,” he says. “You can’t just go out and shoot.” iPhone footage hasn’t yet caught up with true 35 millimeter film — a high bar — but Ransone expects it will some day. “Yes, you can make a beautiful-looking film on a shoestring budget,” he says. “But you have to know 100 years worth of filmmaking.”


The unusual creative process behind Tangerine doesn’t stop with its camera. Baker made the movie after becoming obsessed with a donut store in his neighborhood, a seedy block on Santa Monica Boulevard with a notorious reputation. “It was a chaotic corner — there was always something going on in Donut Time,” he says. “So I said, I wanna make a film about Donut Time.” That idea led him and his co-writer, Chris Bergoch, to a nearby LGBT center, where they met Mya Taylor, an aspiring singer and actress, who in turn introduced the filmmakers to her roommate and eventual co-star, Kiki Kitana Rodriguez.

The two women began sharing some stories from around the block, (“People love to hear drama. Especially filmmakers,” Taylor tells me) and happened upon a striking bit of drama from the neighborhood: a trans woman became enraged when she heard her boyfriend had slept with a biological female — “actual fish,” as they say in Tangerine. The trans woman decided to hunt the other woman down, and thus Tangerine found its inspiration, with the writers collaborating with their cast on the script.



The result, at least for me, is the ideal Sundance movie: totally unexpected, set in a world I’ve never visited, with a story the major studios wouldn’t touch with a 10-foot selfie stick. Rodriguez is an effervescent blur as Sin-Dee Rella, an ex-con hunting down her pimp fiancée’s mistress on Christmas Eve. She stomps down Hollywood’s Walk of Fame like it’s a catwalk, spitting fire at anyone dumb enough to cross her, and manages to terrify nearly every man she meets. Taylor, as her best friend and fellow prostitute Alexandra, tries to talk sense into Sin-Dee every step of the way, cleaning up the damage in her wake. Their sisterhood in the face of real danger brings depth to the frequently over-the-top comedy.

Tangerine isn’t perfect — it slows considerably in its final third, and the big climax at Donut Time feels less convincing than the film that led up to it. But in a festival full of coming-of-age dramas and straightforward documentaries, it’s a minor miracle: a good long look at the margins, captured by a $550 phone.

Steven Soderbergh’s New Movie “UNSANE” was Shot in 4K on the iPhone May 11, 2018

Posted by bohdan.warchomij in : Metaphor Online, Petapixel , comments closed

Director Steven Soderbergh’s latest movie is a psychological horror-thriller titled Unsane. This feature film has a big difference from his previous movies, though: it was shot entirely on the iPhone. You can watch the official 3-minute trailer above.

The synopsis of the movie reads: “A young woman is involuntarily committed to a mental institution where she is confronted by her greatest fear–but is it real or is it a product of her delusion?”

Soderbergh, who’s known for films such as Erin BrockovichTraffic, and Ocean’s Eleventells IndieWire that he decided on shooting with an iPhone because he was impressed with the cinematography, and that he is likely to continue shooting with the iPhone moving forward.

“I think this is the future,” Soderbergh tells IndieWire. “Anybody going to see this movie who has no idea of the backstory to the production will have no idea this was shot on the phone. That’s not part of the conceit.

“People forget, this is a 4k capture. I’ve seen it 40 feet tall. It looks like velvet. This is a gamechanger to me.”


Here is the trailer on the Peta Pixel site:


Apparition: Cyanotype Postcards from J Fredric May May 10, 2018

Posted by bohdan.warchomij in : Lens Culture, Metaphor Online , comments closed
Photographer: J Fredric May

A graduate of Brooks Institute, J. Fredric May received his B.S. in Commercial/Color Technology and was accepted into the prestigious Eddie Adams Workshop in 1989.
He made his living as a photojournalist and commercial photographer traveling all over the world, telling visual stories with a signature style of bold color and confrontational composition. He won numerous state and regional honors.
As a filmmaker, May directed more than 50 corporate and industrial films and helped raise more than 7 million dollars for non profit organizations. He won Telly and Cine Awards for his creative film work and national awards for his corporate and nonprofit clients.

During open heart surgery in 2012, he suffered a major stroke leaving him legally blind and subject to vivid visual hallucinations. This life event changed his artistic vision, opening up an entirely new visual style. The result is his current project, Apparition: Postcards From Eye See You.

Where others might have been discouraged or quit photography altogether, May embraced his unfamiliar perspective: “With profound curiosity and a life-long habit of experimentation, I picked up my iPad and started to explore. Because I was raised by inventors and engineers, I embraced regeneration as a way of life, so I focused my limited attention on what could be invented and created.”

To produce this series, May used imaging software to corrupt visual data. He explains, “I was effectively able to replicate what was happening in my own brain. I scanned found portraits, maimed their component features and rebuilt them as layered composites to resemble how I now see, in fragments, somehow familiar, yet strange. I take my layered composites and print them as cyanotypes, and then bleach and tone them with a mixture of photo chemicals and tea.”


In the very last step, May digitizes the cyanotypes and alters them further as he sees fit. The final images are like soft, hazy, mosaicked memories combined with intricate, focused fragments. The result is a testament to how the photographic process, as a medium, transcends static, repetitive, or mechanical use, and with each frame offers the real possibility to create something truly new.

—Cat Lachowskyj

History Repeats: Austerity Measures under attack in France May 8, 2018

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Tens of thousands of demonstrators have taken to the streets in Paris to protest against the stream of economic reforms brought in by French President Emmanuel Macron since coming to power a year ago. Bruno Barbey’s photos of Paris under siege in 1968 are a monochromatic echo of the contemporary protests.

Photo Bruno Barbey MAGNUM

Protesters bearing “Stop Macron” banners and chanting “one year is enough” were cheered on by drummers and marching bands in an anti-celebration of Mr Macron’s time in office organised by a member of the hard-left France Unbowed movement.

French riot police have used water cannon and teargas on hundreds of hooded protesters who smashed shop windows and hurled petrol bombs at the start of an annual May Day rally in Paris.

A carnivalesque atmosphere followed a tense May Day rally in Paris, when hundreds of masked and hooded anarchists torched cars and hurled rocks at police on Tuesday, hijacking a demonstration called by labour unions.

Saturday’s demonstration, under a large police presence, came almost a year to the day since 40-year-old Mr Macron won the presidential race on a centrist platform and with a pledge to shake-up rigid institutions and revitalise the economy.

A wave of reforms soon followed, including an overhaul of labour laws that has made it easier for companies to hire and fire, earning Mr Macron the tag of “president of the rich” among detractors and sparking discontent from labour unions.

With a political opposition in tatters, Mr Macron vowed to press on with his bid to reboot the economy, even as he faces one of his sternest tests to date with a rolling strike by rail workers protesting a shake-up at state-owned train company SNCF.

Members of France Unbowed, headed by Jean-Luc Melenchon who also stood for the presidency last year, have sought to fire up a backlash against Mr Macron’s policies by getting backers onto the streets.

Breath review: Simon Baker’s directs a nostalgic tribute to surf culture. Portraits by Bohdan Warchomij for Luna Cinemas in Perth. Film Stills David Dare Parker. May 6, 2018

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“Breath’ the film, directed on debut by actor Simon Baker, condenses Tim Winton’s novel  into a  coming-of-age tale about a sensitive teenager, Pikelet (Samson Coulter), his reckless, platinum haired  friend Loonie (Ben Spence) and a  hippy couple living on the edge of town — Sando and Eva — played by Simon Baker and a reclusive Elizabeth Debicki. Narrated by Tim Winton himself the story veers from casual male brotherhood and friendship to a transition from the immaturity of the juvenile to the growth of maturity in Pikelet as he falls for the sexuality of Eva on Sando’s trip to Indonesia to surf on his own. He has to learn to deal with Eva’s dark side.


From the opening moment when white light floods the screen to focussing on an underwater scene the film’s colour grading has a misty and melancholic quality, as if emulating seafoam or mist from the crest of a wave. The cinematography (by Marden Dean and, for the water sequences, Rick Rifici) is as concerned with distribution of light as it is colour and movement, presenting open, oxygen-filled compositions. The stills photography by David Dare Parker eloquently captures surfing culture as it was in the seventies in Margaret River and Cowaramup Bay in Gracetown.

Most surfing films view surfing as a recreation for the young. ‘Breath’ revolves around a pair of teenage boys, surfers turned actors, Pikelet (Samson Coulter) and Loonie (Ben Spence), but the emergence of  older characters are integral to the vision. It is a coming-of-age journey tempered by a complex contemplation of the nature of growing up and thrill-seeking and approaching manhood.

Aesthetically beautiful ‘Breath’ is a fine Australian film.

Tim Winton and Simon Baker at Luna Cinemas Q & A Photo Bohdan Warchomij