Gracie and Kun's wedding spanned three days, two countries and six months; One hot overcast day in Australia before last Christmas, plus two hot and steamy days in Singapore a few weeks ago. The wedding photography gods had smiled again. A special thank you to Margaret too.
Brisbane Wedding Photographer, wedding photojournalism, Singapore Wedding photography
(Saturday, 19 June 2010)
Looking back it was madness but at the time it was why not. The North Queensland sun was pumping up the heat, and a tiny green pool of water at the base of the falls looked inviting from way up at the railway station. Only a trickling thin ribbon of water found its way into the pool sounding like a water feature. The relaxing tinkle echoed off the acres of hot vertical rock, and lured us deceptively. A sign said not to, but it was faded and old and I wondered if it meant it.
The fence was easy and after that the faintest of tracks wound steeply out of sight into the gorge. After 15 minutes we emerged from the greenery onto the boulders that littered the floor. It wasn’t that easy to make our way across, and not a good place to have to run for your life. The green water that looked refreshing from afar was too warm. It was also much bigger than it looked and indicated the scale of the monster looming behind us. I floated on my back looking up but couldn’t relax. After twenty uneasy minutes we left and began to pick our way out and up.
Heavy storms emptied themselves over the tablelands that night and on a hunch I went back to the falls the next day alone. Pulling up in the car park little droplets of water landed on the windscreen, and after turning the engine off a low frequency rumble filled the car. From the platform it was clear; yesterday’s water feature was now a river falling off a cliff. I stuffed my camera into a sandwich packet and hopped the fence.
The closer I got, the harder it was to comprehend what I was looking at. After smoothly pouring over the rim the water began to smoke and explode, before finally shrouding itself in vapor as it’s irresistible force met an immovable object. The too warm pond from yesterday was ground zero and drowned beneath thousands of tones of constantly falling water.
On the way down I passed three others coming back up, all wide eyed like pilgrims to a visitation.
At the base was a stand of small trees with clean trunks that formed a canopy. It was another world, dark because of the foliage and mist with a cyclonic wind that blew from all directions and was equal parts air and water. Most the sound now was a low wavelength thumping that was more felt than heard and triggered adrenalin.
I stayed for a long time and finally climbed back to the railway station as a tourist train emptied.
Barron Falls 1988
(Friday, 18 June 2010)
Scene one:
I’m surfing free to air channels and notice one guy pinning another guy to the floor in a cage fight. The guy underneath is having his arm twisted in an arm lock, suddenly, his arm goes floppy, it’s either broken or dislocated at the elbow, a cut to the studio and the host says “guess who just became a southpaw?” The audience laughs and I change stations a little more disturbed than I wanted to be at 8 o’clock on a weekday night.
Scene two:
Condense the disregard we demonstrate towards each other, add in some self obsession and insecurity, then express it verbally in a 70 minute stream of consciousness rant, and you'd probably end up with something like Thom Pain.
Jon Halpin, Jason Klarwein and the Queensland Theatre Co, delivered Will Eno’s play uncompromisingly. Luckily in the tradition of many productions at the Billie Brown Theatre, it didn’t need to be liked. Thom Pain has a higher purpose than that.
It’s harshness appeared to prompt numerous walk out’s and at the Billie Brown no one gets out without being noticed. The exit is up the front along side the stage and the door itself makes a racket when opened.
Thom was 10 minutes in and footsteps came down the aisle. Jason paused and then, with every eye in the house on the guy, called the him a “c#nt” (gasp from audience) as he exited.
Scene three:
The phone rang and it was the almost daily call from some charity, this time it was for two wheel chairs for a couple of kids with muscular dystrophy, but it could have been in aid of any one with a need that they can’t meet themselves.
In this rich country needy people have to beg. Evidently the majority don’t agree that they should automatically count on us.
Scene four:
Interesting, most people think Beckett’s work is absurd, impenetrable, and elusive. But I have a feeling Joe Mitchell who deftly directed the QTC’s “Waiting for Godot” knows better.
The play centres on two anxious characters feeling sorry for themselves and awaiting something, they’re not sure what, but hoping it will make things better for themselves, though they’re not sure how.
Careless disregard, exploitation and selfishness all make an appearance. No one shows any real compassion and concern for others. The suffering of others is either ignored or reduced to a curiosity or an object of fun.
Now where did Samuel Beckett get those crazy ideas from, and what could he possibly have been getting at?
(Tuesday, 08 June 2010)
Turning fifty a few weeks ago ( I’ve been saying I’m fifty for the last 18 months to soften up the inevitable) coincided with going to Singapore to photograph a wedding. Ruth my sister-in-law who has travelled constantly over the years suggested I rendezvous with the Simone and Sadie in Bali on the way back to mark the five-o.
Bali had never been on my list, I imagined it in clichés. I’m glad I went; some things are wonderful, number one being the Balinese. Some things are very weird though such as the economic chasm that exists between locals and tourists that’s taken for granted … probably easier not to think about it.
Dignity, tolerance, hospitality, gentleness, smile, balinese people
(Sunday, 23 May 2010)
3.25pm and the hairdresser was still twirling and fluffing and spraying, etc,etc.. The ceremony was for 4pm and twenty minutes away in New Farm with friday afternoon traffic factored in. What can i do? Nothing because as a photographer who is more interested in the dynamic nature of events than set ups , a tight timeline wasn't an issue for me. Donna and Brett were after a photojournalistic approach not a "fashion" shoot ... so no problems, I just kept clicking.
Brisbane wedding photographer, wedding photojournalism, creative wedding photography.
(Tuesday, 04 May 2010)