Yarra Valley’s Sean Paris has spent the last few months exploring some of rural Victoria’s quirky small towns, putting his take on the weird and wonderful parts of rural Australia that have been the stuff of road-trips for generations. 

His resulting series, Koala Country, is an ode to classic Australiana and the heydey of small town Victoria. We sat down for a chat to find out more about the project.

Australian Photography: Tell us about yourself and how you got started with photography?

Sean Paris: I’m a professional Australian photographer based out of the Yarra Valley. My focus lies primarily in corporate, portrait, and studio photography.

I always create projects on the side to keep the fuel burning with my creative work and have done so since a young age, these projects range from documentary, and photojournalism, working alongside world-class acrobats, and photographing Australian wildlife. I have had work showcased and published in the National Portrait Gallery, National Geographic, and other publications.   

I first started out with a 3MP Kodak digital camera at the age of eleven, from there I developed an obsession with photography and have been at it ever since.

I like the flow of creating on the go as you never know where the project might end up as it transforms and develops the more you shoot. Just getting out and creating is the best way to form a project and develop your skillset as a photographer.  

AP: Small town Australia is known for its quirky places – what made you want to photograph them?

SP: I grew up in the Yarra Valley which is close to Melbourne but still has remnants of the small-town country quirks. I wanted to photograph something that I grew up around and to look at it as an outsider, someone who would see things with a fresh perspective. Looking for the strange things that exist In this country that we often overlook.

Using the infrared technique pinpoints these objects and makes you stop and observe those old, funny, or quirky things that are around regional Victoria.

All of these things have stories and are a part of our history, some disappear forever or end up in people’s sheds and others are preserved for future generations.

I believe it’s important as a photographer to document time and place and leave a visual record for the future.

AP: What do you look for in a subject?

SP: I look for things that are quirky or unique in society, dilapidated from the past, or often overseen. I also have a fascination with the “Big Things” cult following in this country, strange sculptures that are often designed to lure in tourism to local businesses.

AP: Tell me about your IR camera. Why did you want to use one for this project? What does it bring to it?

SP: I have a full spectrum converted Nikon body which uses a Kolari filter on the lens to work on a specific wavelength of light, I work on the 590nm spectrum, which is a combination of infrared light and visible light.

I first got one of my older camera bodies converted in between covid lockdowns and wanted to try working with photography in a different way, with a different light.

When you start using an infrared camera you realise very quickly what does and doesn’t reflect infrared light, more plants mean more infrared being reflected, so I try find subjects that have the combination of man-made structure and plant matter.

I chose to use this technique for this project to create a unique feel and look to the images. It brings an ethereal feel and creates a feeling of more connection to the subject being photographed revealing another world of light that is hidden.

AP: How long have you been working on Koala Country?

SP: I have been working on Koala Country for the past three months, traveling around solo, and sleeping in the back of my ute.

Driving sometimes 16 hours in two days, just finding small towns that I haven’t ever heard of and driving in a random direction or planning a photo destination and working along the way.

AP: What are your hopes for the project?

SP: I am currently still shooting this project to put together a book and hope to launch with an exhibition late this year.

AP: Where can people see more of your work?

SP: You can view this project via my website: www.seanparisphotographer.com or via Instagram: @sean.paris.

The Delta Photo Club presents The Human Condition through Black and White Photography by internationally acclaimed photographic artist Moisés Levy on Wednesday, March 6 from 7:30 to 9:30 p.m. via Zoom.

Levy is a Mexican photographer committed to portraying the human condition. Having done numerous exhibitions and bountiful work, Levy has become a contemporary storyteller. His international portfolio includes the USA, Canada, Europe, India, Russia, and his beloved Mexico. After more than 20 years with a camera, he is rightly considered a light artist.

He was born, raised, and lives in Mexico, working as an architect and photographer.

“I always need to express myself visually,” he says. “I like to freeze special moments, sometimes it is a movement or a gesture, something funny, or a hidden message; moments that talk about life in a beautiful way. I spend a lot of time searching and waiting for special moments.”

His work is about people, preferring to capture anonymous subjects. He works with backlight to create high contrast black and white minimalist images in a more graphic sense. He uses very low angles in places with almost no distractions like beaches and open spaces for his timeless images of the human condition.

To attend this workshop, become a member of the Delta Photo Club by filling out the membership form at: http://deltaphotoclub.com/member-sign-up-form or come as a guest by e-transferring $10 to: treasurer_membership@deltaphotoclub.com.

OREGON, Ill. (WIFR) – A museum in downtown Oregon is opening new exhibits by artists from Northern Illinois, giving them a space to showcase digital photography and fine art.

The Coliseum Museum of Art, Antiques & Americana has given exhibition space to Stephen Hart of Dixon and David Van Delinder of Cherry Valley.

Hart is displaying digital photography of scenes native to the region, especially the Nachusa Grasslands, a nature preserve near his hometown. The grasslands are home to a bison herd, 700 native plant species and 180 species of bird, according to The Nature Conservancy, a nonprofit that owns the preservation.

Van Delinder art has traditional and classical roots, and he also works with pen and ink drawings.

There will be an artist reception for Hart, Van Delinder and other artists from 6 p.m. to 8 p.m. March 15 at the museum. Hart’s art will be on display for the entire month, and Van Delinder’s art is on display now until April 30.

For more information about exhibits, visit the museum’s website.

Copyright 2024 WIFR. All rights reserved.

Renowned photographer Kevin Fleming is set to host a one-day photography workshop at the Lewes Public Library on Saturday, March 9, promising an immersive learning experience for photography enthusiasts. Known for his captivating work that spans across various genres, Fleming’s workshop aims to elevate the photography skills of both beginners and intermediate participants. With a limited seating arrangement for just six individuals, the event ensures personalized guidance, making it a unique opportunity for those looking to enhance their photography prowess.

Unlocking the Secrets of Photography

The workshop is meticulously planned to cover the essentials of photography, starting from the basics like understanding shutter speeds and f-stops, to more advanced techniques such as finding the right locations and timing for capturing breathtaking images. Fleming’s approach to teaching is hands-on, ensuring attendees not only learn the theoretical aspects of photography but also apply them in practical scenarios. This methodological progression is designed to instill confidence in participants, enabling them to explore their photographic vision with greater clarity and purpose.

Exclusive Learning Experience

What sets this workshop apart is the exclusivity and the intimate learning environment it offers. With only six spots available, each participant is guaranteed individual attention from Fleming, allowing for a tailored learning experience that addresses the specific needs and questions of each attendee. This personalized coaching is a rare opportunity, especially when considering Fleming’s esteemed position in the world of photography. Additionally, the workshop includes a catered lunch by Arena’s, adding a touch of luxury to the day’s activities, and participants will also receive a free signed copy of Fleming’s “Heart of America” book, further enriching the value of this educational encounter.

Investment in Artistic Growth

The cost of the workshop is set at $125, which, considering the comprehensive package of learning, dining, and the exclusive signed book, presents a significant value for attendees. It’s not just an investment in learning the technicalities of photography but an opportunity to engage with and gain insights from one of the most respected names in photography. For those passionate about photography, this workshop is a stepping stone to mastering the art and science of capturing moments that tell compelling stories.

As the day comes to a close, participants will leave not only with a deeper understanding of photography but also with memories and skills that will inspire their future projects. Kevin Fleming’s workshop is more than just a learning experience; it’s an invitation to join a community of like-minded individuals who share a passion for capturing the beauty of the world through their lenses. Whether you’re a beginner or an intermediate photographer, this workshop promises to be a milestone in your photographic journey.

When director Rachel Elizabeth Seed started making “A Photographic Memory,” she wanted to understand who her mother was. The film was finished a week before its showing at True/False Film Fest on Friday, March 1. After a decade of working on the film, Seed ended up with an exploration of photography and a nuanced understanding of her mother’s life from early childhood to her death at 42 years old. 

When Seed decided to make the film about her mother, Sheila Turner-Seed, who died when she was just a few months old, her family was not surprised. Seed’s mother was an accomplished journalist and photographer of the 1970s. Her “Images of Man” series features video interviews with some of the most influential photographers of the time, all of whom became close to Turner-Seed throughout the interview process. The interviews discuss the philosophies, instead of simply technicalities, behind photography.

As the film shows, Seed grew up around cameras. She can’t remember a family gathering that didn’t have at least one family member recording everything. Her father, Brian Seed, photographed for Life Magazine, Time and Sports Illustrated. In the film, he says that it was his fate to have a daughter who was interested in photography and film as well. 

Early on in the film, Seed digitalizes and watches “Images of Man.” At the click of a button, both Seed and the film’s viewers hear her mother’s voice for the first time. Seed hears her talk and laugh with her interviewees. For a second, it seems as though her mother is alive again.

Still, Seed’s filmmaking cautions viewers from getting too lost in her mother’s interviews. The film is grainy and her voice is backdropped by the video player machines whirring. While her body from the neck down is visible, her face is never shown. When the video ends, her mother is gone again. 

Seed continues to explore the lines between photography,video and real life throughout the film. Excerpts from her mother’s journal are intertwined with her old photographs and childhood videos. 

The journal entries reveal that Turner-Seed’s life was full of uncertainty. She struggled with being a woman in a male-dominated industry, understanding what kind of person she wanted to be and finding love within her busy life. At many points, photos of Turner-Seed smiling are accompanied by voice-over journal entries expressing her discontent with life. 

The more Seed learns the more her own life starts to resemble her mother’s. When she explains her mother’s complicated romantic relationships, Seed plays clips from her own wedding. When she finds that her mother got an abortion against the will of her husband, Seed argues with her husband about having kids. When her mother runs away to New York, Seed does the same. 

Visually, Seed represents this shrinking separation between herself and her mother through photographs. She layers their self-portraits on top of each other, displays their photography side-by-side and at one point digitally inserts herself into an old interview her mother did with a TV program. Instead of rejecting the merging of mother and daughter, Seed embraces it with open arms. 

The only thing to pull Seed back to reality is talking to those who knew her mother. She tracks down her old friends, bosses, co-workers and lovers. Henri Cartier-Bresson, one of the photographers interviewed for “Images of Man,” offered Seed a kind interpretation of her mother that was missing through her journal entries. To him, Seed-Turner was a warm and calming presence.

As Seed dives deeper into the external perception of her mother, she comes to understand that archives can only go so far. Old film negatives, journals, yearbooks and interviews would be meaningless without the interpretation from those living. 

“A Photographic Memory” argues that people contain more complexities than the media we try to immortalize them in. Photographs may attempt to make moments in life ever-lasting, but as Cartier-Bresson told Turner-Seed in an interview many decades ago, “Life is once, forever.”

Edited by Annie Goldman | agoldman@themaneater.com

Copy edited by Sterling Sewell | ssewell@themaneater.com 

Edited by Sophie Rentschler | srentschler@themaneater.com

Acclaimed photographer Kevin Fleming will lead a photography workshop from 10 a.m. to 5 p.m., Saturday, March 9, at the Lewes Public Library. Attendees can learn to be better photographers in just one day.

The workshop is limited to six people, so everyone will receive individual attention.

Fleming will begin with the basics of photography including shutter speeds and f-stops. From there he will cover how, when and where to find and create better photographs. The workshop is perfect for beginners and intermediate photographers.

Cost is $125 and includes lunch catered by Arena’s and a free signed copy of Fleming’s “Heart of America” book. 

For more information and to register, go to KevinFleming.com.

Visakhapatnam: Potina Sai Vijay, a photographer from Bakkannapalem village within Maduravada police station limits, who had gone missing on February 26 while on his way to a wedding shoot in Ravulapalem of East Godavari district, has been found dead. Police have arrested a suspect in the case.

Sai Vijay’s parents Srinu, an auto driver, and Ramanamma, who runs a store, filed a complaint with police on February 29 after their son’s phone had gone unanswered.

Investigations revealed that the photographer had come in contact with a person named Shanmukh through social media. Shanmukh, on coming to know about Sai Vijay’s high-end cameras worth around ₹15 lakh, convinced the photographer to come to Ravulapalem for a wedding event.

Following this, on February 26, Sai Vijay boarded a bus from Car Shed Junction with his cameras and reached Visakhapatnam railway station. He took a train to Rajahmundry, where he met Shanmukh. They hired a car and drove to Alamuru near Ravulapalem.

Suspecting foul play, Sai Vijay sent a photo of the car he was travelling in to his mother, along with Shanmukh’s phone number, expressing his apprehension about being with unknown people.

Subsequently, Sai Vijay’s phone had been switched off. Shanmukh’s number also turned out to be unreachable.

The photographer’s parents then filed a complaint with PM Palem police, who registered a case and started investigation. They collected evidence and traced Shanmukh as being in Ravulapalem. But when police reached there, he had absconded.

PM Palem inspector told Deccan Chronicle that they lured Shanmukh on Facebook by posing as a girl from Kancharapalem with whom Shanmukh had been in contact. They then arrested him.

Shanmukh’s interrogation revealed that he had killed photographer Sai Vijay in a room that he had hired. He had hidden both the body and the cameras in the room when police lured him out.

Police have arrested Shanmukh and are investigating the case further.

DCP said the police recovered victim’s body and handed it over to his parents. (Representational)

Two persons were arrested for allegedly murdering a photographer and stealing his expensive cameras, police said on Sunday.

According to the police, Shanmukha Teja (19) from Ravulapalem in Konaseema district got in touch with P Sai Vijay Pawankalyan (23), a photographer from Bakkannapalem area of the port city, for an assignment.

Teja informed Pawankalayan that both would work together on the ‘Ravulapalem assignment’ but he was actually planning to steal Pawankalyan’s high-end cameras, estimated to be worth around Rs 15 lakh, Visakhapatnam Police said in a release.

On February 26, Pawankalyan took a train to Rajamahendravaram, where he was picked by Teja in a hired car and proceeded to Alamuru mandal near Ravulapalem.

Police said Pawankalyan sensed that he was in trouble and messaged a picture of the car’s rear view and Teja’s phone number to his mother P Ramanamma, saying that he was with strangers and if his phone didn’t connect she could call Teja.

Ramanamma started worrying when she could not reach Pawankalyan on the phone, prompting her to approach P M Palem police station in Visakhapatnam and lodged a missing case.

Visakhapatnam Zone-1 Deputy Commissioner of Police Manikanta Chandolu told PTI that Teja and his friend Vinod (20) had strangled Pawankalyan to death with a leather belt and buried him on the banks of river Godavari near Alamuru.

When police landed at Teja’s home on March 1 at Mulasthana Agraharam near Alamuru, he was already on the run. However, they questioned Teja’s parents and confirmed the murder and also recovered the cameras hidden in a room in the house.

As Teja went incommunicado, police lured him by making a girl from Kancharapalem, with whom he was friendly, to text him and laid a trap following which Teja and Vinod were arrested.

The DCP said the police recovered Pawankalyan’s body and handed it over to his parents.

Teja and Vinod have been arrested for murder under IPC Section 302, police said. 

(Except for the headline, this story has not been edited by NDTV staff and is published from a syndicated feed.)