This set continues my ‘Australian Dream’ mini series – think of it as a small exhibition in instalments, or a little series of observations on the Australian psyche from an outsider’s point of view – well, not a total outsider because I did live there during my childhood. Today we add the protagonists. To quote Shakespeare: “All the world’s a stage, and all the men and women merely players”.
Interestingly, the notion of the ‘Australian Dream’ is much like the American one: a land of opportunity, space, freedom, big skies, friendly people and a relaxed, laid-back lifestyle. Though I grew up in Melbourne until I was 9, I haven’t been back in nearly 18 years; I was surprised by how much the place had changed, and at the same time, how much it hadn’t. There was a sense of international polish about it that wasn’t there before, or perhaps I hadn’t noticed it.
Some urban scenery captured during downtime on another work assignment at the end of 2010 – often, this is all the time I get to shoot personal work. It’s a rather pleasant city by the bay that’s really quite nice when the sun is out – when the sun isn’t out and it’s cold and windy, it’s downright miserable. Especially when you find out everything closes by 5.30pm and there’s precious little in the way of dinner options. It’s also a popular cruise ship destination/ stopover en route to the outer Pacific islands or Hawaii. MT
Series shot with a mishmash of equipment – Apple iPhone 4, Nikon D700, AFS 28-300/3.5-5.6 VR and Sony NEX-5 and 18-55 kit lens.
The taxi driver I had on the return trip to the airport told me he just bought a new SUV to tow his 50ft yacht. I ran out of words, thinking solely that I was both in the wrong job, and living in the wrong country.
Amidst all of the chaos and panic claiming serious ‘issues’ with the new Nikon D800 (see my previous post) – I think it is important for the photographer to serenely rise above the noise (no pun intended) and remember that ultimately, the camera is a tool, nothing more, nothing less. It enables you or gets in your way. All I can say is that from this image alone, the D800 is capable of delivering some of the most accurate color I’ve ever seen. Normally I’d struggle to get the blue right and maintain the rest of the gamut – not so here. The D800 did it effortlessly, with a lens that isn’t known for the accuracy of its color transmission. I really need to get more Zeiss glass in front of this sensor. MT