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- MCPP - 2021
- Rules
- Calendar
- Judges
- Prizes
- Exhibition
- FAQ
- Finalists
- Winners
- The Mullins Story
- Winners Presentation
Eligibility to enter
Entrants must be:
- aged 18 years or over at the closing date for entries
- an Australian citizen or resident (including Australian citizens who live overseas), or an overseas member of Australian Photographic Society (‘APS’)
Judges are not eligible to enter. Staff of MRAC are not eligible to enter. Members of the current APS Management Committee are not eligible to enter. Any APS Member who has a role relating to the MCPP who has access to images being submitted prior to the images being judged and/or is/was involved in selecting the judges is not eligible to enter.
The entries
- Each entry must be a still work that has been substantially produced by photographic means, including analogue and digital photography, collage and mixed media.
- Each entry must be accompanied by an Artist’s Concept Statement of no more than 100 words. The statement must not identify the author.
- Each entry must not have been previously selected as a finalist in a Prize or exhibited at a major public institution.
- The entry title must not identify the author and must not include dates. A simple title is all that is required, and it should be precisely what would be used on exhibition cards or catalogues.
- Watermarked images will NOT be accepted.
- An entry may be either a single image or a series of 3 or 4 images.
- Entries must have been created in the twelve months preceding the closing date for entries.
- A maximum of four (4) entries may be submitted by any one entrant.
All works selected as finalists for exhibition must be for sale. The final sale price must be inclusive of 30% MRAC sales commission along with any relevant agent fees and commissions and GST if required. An ABN or completed Statement by Supplier form must be provided by authors of selected finalist works.
Entrants must warrant that each work submitted is original and does not infringe the copyright, moral rights or other rights of any third party and that the entrant owns all rights and interests in the work submitted. All entrants must indemnify and keep indemnified the APS, Muswellbrook Regional Arts Centre (MRAC) and MyPhotoClub against any claim by a third party in relation to their entries.
Entries selected as finalists must not be used in promotional material for any other event or exhibition until the conclusion of the MCPP 2021 exhibition.
Entrants must warrant that their entries are their original work. They must be the sole copyright holder and intellectual property owner of their entries in accordance with Australian law and warrant that any intellectual property rights and moral rights of a third party have not been infringed. Intellectual property rights in entries remain with the entrant as the copyright owner. It is a condition of entry that, if selected as a finalist, the entrant grants to the acquiring gallery (MRAC) and APS without conditions, a perpetual royalty-free licence to use, publicly display, publicise, reproduce the entry or part of an entry, including in electronic form and broadcast, for publicity, promotional, educational and administrative purposes associated with the MCPP and MRAC, in both digital and print mediums. For example, the work of previous finalists may be reproduced in publications promoting the MCPP or MRAC in future years. It is a condition of entry that the entrant grants to APS and MRAC without conditions, permission in perpetuity to supply copies of selected finalists to third parties for purposes associated with the MCPP or MRAC. All necessary acknowledgements of authorship will be duly made. Copyright of the work will remain the property of the artist.
Where required by law, entrants must warrant that they have obtained the consent of all persons whose likenesses appear in their entries. This includes the requirement that those persons understand their rights regarding the photograph being taken. Such consent must include use of the entry in perpetuity for all marketing, educational and publicity uses of such photographs and ensure that no additional consents or licences are required in respect of names, trademarks, designs, works of art or any other intellectual property depicted in the work. The persons must be informed that their image may be displayed in the exhibition and its tour, as well as featured in accompanying promotional and advertising material in print and online format. Where information is disclosed about any person in the artist statement, the entrant must also obtain permission for that information to be used in conjunction with the image. If a person is not able to legally give consent (for example, for reasons of age or administration), entrants are required to obtain the consent of someone who is able to give consent on their behalf. If an entrant’s work is selected for exhibition, APS might require them to provide written evidence of such consent.
Submission of entries
Each entrant may submit up to four entries for selection for the MCPP.
Each entry must be accompanied by a fully completed entry form as part of online registration of entry.
Entrants must submit an artist statement of maximum 100 words as part of the entry form. Where an entry is a series, only one artist statement is required. MPCC may edit artist statements for consistency prior to publication.
Fees
The non-refundable entry fees are:
| Number of entries | APS Members | Non-APS Members |
| 1 | AUD $40 | AUD $70 |
| 2 | AUD $50 | AUD $90 |
| 3 | AUD $60 | AUD $110 |
| 4 | AUD $70 | AUD $130 |
Payments must be made with a debit/credit card using the MyPhotoClub payment portal.
Entrants whose payments cannot be processed will be considered ineligible.
Each entry must be submitted via the MPCC’s MyPhotoClub link as one digital file for single image entries, or 3 or 4 separate digital files for series entries. Each digital file (maximum 5 Mb) must be a JPG at up to 300 DPI, at least 2400 pixels wide or tall. Prints (hard copies) of entries will not be accepted for the judging and selection process. Entries will be accepted from 10 AM AEDT Friday 29 January 2021 until 11 PM AEST Friday 23 April 2021.
Size limits apply to finalist exhibition prints. No work is to measure more than 200cm on any side or exceed 20cm in depth, including the frame. Weight shall not exceed 25kg.
Prints may be framed; or may be unframed to be pinned to the wall. Please allow sufficient border for pinning unframed works.
Meet the Photographer Events
Available finalists/exhibitors are encouraged to spend time at the Gallery during the exhibition between 10 AM and 4 PM Mondays to Saturdays for ‘Meet the Photographer Floor Talk Events’. Exhibitors will be asked to notify the Gallery of their availability. Having photographers at the Gallery is very beneficial and available exhibitors are encouraged to make the effort to spend a couple of hours at least once during the exhibition period – it’s also a good time to encourage friends/family to meet at the Gallery.
FAQ
Q: What is Conceptual Photography?
A: Conceptual photography is photography that illustrates an idea. Conceptual photography means that you have a very specific idea you want to share with your audience. It can be something rather simple like happiness or sadness or something more complex such as gender identities, existential issues and so on. The ‘concept’ is both preconceived and, if successful, understandable in the completed image.
Q: I’d like to enter a series instead of a single photograph. If all the photographs in the series meet the criteria, is this possible?
A: Yes, a series of either 3 or 4 images may be submitted as one entry in the Series section. Those entries will be judged alongside those in the Single Image section.
Q: Are diptychs/triptychs/etc allowed?
A: Yes. So long as they are uploaded as one file and, if selected as a finalist, printed for exhibition as one work.
Q: The rules state that “each entry must not have been previously selected as a finalist in a Prize or exhibited at a major public institution”. Does this include FIAP-approved Salons/Exhibitions, or does it refer to prizes such as Head On or the National Portrait Prize? And is it a problem if the entries are entered in other competitions after the entry deadline (recognising that they may then go on to receive Awards or be exhibited after the entry deadline?)
A: The reference to Prizes or exhibition at major public institutions does not include FIAP-approved salons. It is about such things as the Head On Photo Awards, the National Photographic Portrait Prize, the Martin Kantor Portrait Prize, the Olive Cotton Photographic Portrait Prize, the Josephine Ulrick and Win Schubert Photography Prize, the MORAN CONTEMPORARY PHOTOGRAPHIC PRIZE, the William & Winifred Bowness Photography Prize, the Heritage Bank Awards, the Fremantle International Portrait Prize, and so on. Since the words in the Terms and Conditions say “must not have been previously selected” there is no barrier to entering the same images elsewhere after the closing date for the MCPP 2020.
Q: If I am an accredited photography judge does that mean I cannot enter?
A: It is only the judges of MCPP 2021 that cannot enter MCPP 2021.
Q: Since a warrant is a legal document, do I have to get a JP to confirm my statements?
A: No, the word warrant, as used in the terms and conditions, is a verb and simply means “to guarantee or provide assurance”.
Q: Can I use a courier to collect work from the Gallery after the exhibition concludes?
A: Yes, provided the Gallery is advised that you have authorised the courier to collect your work.
Q: Does the finished work have to be paper based? Are prints on acrylic or metal allowed?
A: The choice of medium rests with the finalists.
Q: Do finalist’s prints have to use acrylic glazing or Perspex if they have been printed on acrylic or metal?
A: Not necessarily. Special care should be made with packaging to protect exposed edges and particularly corners which are very vulnerable during transport.
| Entries Open | Friday 29 January 2021, 10AM AEDT |
| Entries Close | Friday 23 April 2021, 11PM AEST |
| Judging | Between 3 April – 14 May 2021 |
| Finalists Notified | Monday 17 May 2021 |
| Winners Announced | Tuesday 18 May 2021 |
| Exhibition Opening at MRAC | Saturday 3 July 2021 6.30PM – 8.30PM AEST |
| Exhibition at MRAC | Monday 5 July – Friday 20 August 2021 Mondays – Saturdays 10AM – 4PM |
Judges
- The judges will have absolute discretion in determining the eligibility of an entry based on their interpretation of the Terms and Conditions of entry. The judges’ decision will be final and not subject to discussion or appeal. No correspondence will be entered into.
- The judges will select a maximum of fifty finalist images from the digital images uploaded (“judging ready”).
- Entrants whose work/s have been chosen as finalists will be notified by APS (by email or telephone) of their success by 17 May 2021. Unsuccessful entrants will not be personally notified.
- All entries selected as finalists will be displayed on a-p-s.org.au and may also be displayed on social media at the discretion of the APS. They may also be displayed on the MRAC website and on social media at the discretion of MRAC.
- All finalists must sign and return a confirmation of entry form that will be emailed to them when they are notified. If the artwork is for sale, additional information will also be requested.
- The prizes will be judged from the digital images uploaded (“judging ready”).
Jacqui Dean
Dip Photog. APP.L, GM.Photog., FNZIPP, FAIPP, Hon FAIPP
Jacqui Dean is an award-winning Sydney based professional photographer and artist.
Her commercial work focuses on architecture and form, while her art practice explores the natural world, hidden forms and processes of change and transformation.
In 2012 her show TRANSLUCENCE was a featured exhibition at Head On. In 2014 it was exhibited at the Maud Creative Gallery, Newstead, Brisbane, and was also a featured show in Shimmer Photo Biennale, Port Noarlunga Art Gallery where Translucence was voted the most popular photographic exhibition and earned Jacqui the Robert McFarlane inaugural prize. In 2015 Translucence was also exhibited at Inverell Regional Art Gallery and also recently shown at Black Eye Gallery Darlinghurst, Sydney.
In 2000 her critically acclaimed show WANDERLUST reflected a range of Jacqui’s international editorial assignments.
Her work has been featured in numerous national and international publications including: The Good Weekend, Australian Geographic, Architectural Review, InDesign, Monument, Black+White, Photofile, Nikon Life and Gourmet Traveller.
She became an AIPP Grand Master Photographer in 2012. She has been awarded an Honorary Fellowship and a Fellowship of the AIPP and is also a Fellow of the NZIPP.
Dr. Judith Nangala Crispin
Judith Nangala Crispin is a poet and lens-based visual artist working between Yuendumu in the NT and regional NSW. Her photography is centred on Lumachrome Glass printing, a cameraless method she developed using elements of early photochemistry.
Judith has had a stellar academic career in music, winning international prizes for composition,
and teaching in Cairo, Paris and Berlin as well as in Australia. Moving to include photography among her avocations, Judith was invited to exhibit in the prestigious core programme of the 2011 Ballarat International Foto Biennale (BIFB). She has also exhibited works in galleries in Melbourne.
Julie Williams
Julie Williams is a photo-media artist living and working in the Central West region of NSW. Her art practice addresses our vulnerability as a species disconnected from nature. Across photography, video and installation, she utilises self-portraiture with multiple exposures; immersing herself deep within the landscape to highlight the search for reconnection and an ecological healing. When the artist appears in the imagery, it as a translucent figure displaced and searching. Her work queries the spirit of place and how humanity can inhabit a location more fully. Julie has exhibited widely: she has received commendations in national art awards, artist grants and sponsorship.
Internationally her work has recently been included in the 2018 Family of No Man exhibition and time capsule at Les Recontres de la Photographie, in Arles and the publication Dark Mountain Anthology issue #13 Being Human in the Thick of the Present.
The MCPP winner and the best entry by an APS Member (which may also be the winner) will be announced on Saturday 3 July 2021 at the 6.30 PM AEST opening of the exhibition of the finalists’ prints at Muswellbrook Regional Arts Centre (MRAC).
The author of the MCPP winner will be awarded $8,000 cash. The author of the best entry by an APS Member will receive $2,000 cash. If the MCPP winner is an APS Member, then that entrant will receive both cash amounts – totalling $10,000.
Another selected finalist will be awarded a $500 voucher generously provided by sponsor Emergent Designs.
All finalists who are not APS members will be granted free membership of APS for twelve months from the date the finalists are announced at the opening of the exhibition. The granting of such free membership will not qualify the finalist for “best entry by an APS member” in this 2021 event.
Other prizes may be added as further sponsors are announced.
The MCPP is acquisitive; meaning the exhibited printed artwork of the winning entry immediately becomes the property of MRAC.
Finalist images selected for exhibition must comply with the following format rules:
- Size limits apply to finalist exhibition prints. No work is to measure more than 200cm on any side or exceed 20cm in depth, including the frame. Weight shall not exceed 25kg.
- Prints may be framed; or may be unframed to be pinned to the wall. Please allow sufficient border for pinning unframed works.
The organisers including MRAC will NOT pay for any costs incurred in the delivery of any entry, including freight, customs duty or import tax. Nor will they pay for any costs incurred in returning unsold prints to their authors.
Each finalist grants to the APS, MRAC, touring partners and sponsors a non-exclusive, perpetual, irrevocable, worldwide and royalty-free licence to use their image for advertising and promotion of the MCPP, APS or MRAC in any form of media now known or yet to be devised, both from the date the finalists are announced and in future years. Entrants acknowledge and agree that the APS, MRAC, touring partners and sponsors are not liable to pay the finalists any fee, royalty or other form of remuneration for this right.
Unless otherwise advised beforehand, finalists must arrange to have their work collected from MRAC during opening hours by Friday 3 September 2021. Finalists will be reminded by email regarding dates and times when they can collect their work. It is a condition of entry that finalists are willing to sign a “Confirmation of dispose of artwork” form authorising APS and MRAC to dispose of work that is not collected within the collection period.
Interstate and overseas exhibitors are required to advise MRAC of the cost of delivery to Gallery by Australia Post or Courier. Unsold works will be returned by the same delivery method using same packaging as far as possible. Authors will be invoiced for return delivery costs including repackaging time/labour, new packaging materials if required. If method of return of works is to be varied (e.g. personal pick-up) the gallery must be advised as soon as possible.
Finalists are advised to insure their works against loss or damage during the MCPP 2021 competition/exhibition period of travelling, handling, judging, exhibition and storage. All reasonable care will be taken with all entries, but the APS and MRAC take no responsibility whatsoever for loss or damage however caused to any works submitted.
All entrants agree to receive information and updates about the APS, MRAC and any other additional venues through their nominated email address.
Available finalists/exhibitors are encouraged to spend time at the Gallery during the exhibition between 10 AM and 4 PM Mondays to Saturdays for ‘Meet the Photographer Floor Talk Events’. Exhibitors will be asked to notify the Gallery of their availability. Having photographers at the Gallery is very beneficial and available exhibitors are encouraged to make the effort to spend a couple of hours at least once during the exhibition period – it’s also a good time to encourage friends/family to meet at the Gallery.
Q: What is Conceptual Photography?
A: Conceptual photography is photography that illustrates an idea. Conceptual photography means that you have a very specific idea you want to share with your audience. It can be something rather simple like happiness or sadness or something more complex such as gender identities, existential issues and so on. The ‘concept’ is both preconceived and, if successful, understandable in the completed image.
Q: I’d like to enter a series instead of a single photograph. If all the photographs in the series meet the criteria, is this possible?
A: A series of images could only be submitted as one entry if all images were contained within the one file uploaded and within the one print if selected as a finalist for exhibition. Multiple images intended to be presented as one work will be rejected if uploaded separately.
Q: Are diptychs/ triptychs allowed?
A: Yes. So long as they are uploaded as one file and, if selected as a finalist, printed for exhibition as one work.
Q: Can I enter 4 images that could be judged separately, rather than as a panel?
A: You can enter up to 4 separate images and each of them will be judged separately. In fact, you cannot have your entries judged as a panel.
Q: The rules state that “each entry must not have been previously selected as a finalist in a Prize or exhibited at a major public institution”. Does this include FIAP-approved Salons/Exhibitions or does it refer to prizes Head On or the National Portrait Prize? And is it a problem if the entries are entered in other competitions after the entry deadline (recognising that they may then go on to receive Awards or be exhibited after the entry deadline?)
A: The reference to Prizes or exhibition at major public institutions does not include FIAP-approved salons. It is about such things as the Head On Photo Awards, the National Photographic Portrait Prize, the Martin Kantor Portrait Prize, the Olive Cotton Photographic Portrait Prize, the Josephine Ulrick and Win Schubert Photography Prize, the MORAN CONTEMPORARY PHOTOGRAPHIC PRIZE, the William & Winifred Bowness Photography Prize, the Heritage Bank Awards, the Fremantle International Portrait Prize, and so on. Since the words in the Terms and Conditions say “must not have been previously selected” there is no barrier to entering the same images elsewhere after the closing date for the MACPP 2020.
Q: If I am an accredited photography judge does that mean I cannot enter?
A: It is only the judges of MACPP 2020 that cannot enter MACPP.
Q: Since a warrant is a legal document do I have to get a JP to confirm my statements?
A: No, the word warrant as used in the terms and conditions is a verb and simply means “to guarantee or provide assurance”.
Q: Can I use a courier to collect work from the gallery after the exhibition concludes?
A: Yes, provided the gallery is advised that you have authorised the courier to collect your work.
Q: Does the finished work have to be paper based? Are prints on acrylic or metal allowed?
A: The choice of medium rests with the finalists.
Q: Do finalist’s prints have to use acrylic glazing or Perspex if they have been printed on acrylic or metal?
A: Not necessarily. The only issue is the exposed edges and particularly corners which are very vulnerable during transport. (http://magnet.org.au/printing/ can offer a special price for archival printing, framing, mounting , scanning for entrants. They can also mount conventional prints using archival materials on Aluminium panels.)
2020
2019
| Author | Image Title | Concept Statement | |
| Anne O'Connor | Between the earth & the sky |  |
Trees are grown for beauty, decoration or shade but we don’t always appreciate them. Instead we build our economy on them. Our understanding is confused between economic need and earth’s needs. We forget the rain attributed to them and the oxygen they produce. Slowly they are vanishing from the earth’s skies. This work is about the fading of trees on the land. People should look up and see them for what they are; hovering between the earth and sky; shadows & branches entwined offering protection, emitting oxygen to breathe. They need to live. They are our future. |
| Anne Pappalardo | When the son becomes a father |  |
This image explores the relationship between my husband, a first generation Australian and his Sicilian father who cut cane to support his family on arrival in Australia in the 60's. The cane knife and its placement on my husband's shoulders symbolises that while their life experiences are vastly different, their struggles in their roles as fathers, breadwinners, heads-of-the-house, moral compasses and problem-solvers for their children are common between them. |
| Barbara Bryan | Wandering branches mono3a |  |
Due to its nature of tentacles crawling over rocks to convey an other-worldly, creepy feel, this aspect of alpine flora growth has drawn my attention again and again, over decades of visits. My treatment of the imagery is aimed to convey a reaction from viewers which may involve surprise, intrigue, mystery or unpleasantness about what is going on and draw them to delve further into the image thus engaging with it and finding a deeper connection. |
| Barbara Bryan | Wandering-branches5 |  |
An alpine shrub surviving against the odds by withdrawing from the exposed higher rock surface. Interpretation may include a reminder of the balding human head or the crown of thorns worn by Jesus. |
| Barbara Bryan | Wandering-branches-mono |  |
The tenacity of nature cannot be underestimated so I have endeavoured to illustrate this with the bleached, prostrate shrubs growing over rocks in the alpine regions as a survival mechanism against the odds of exposure to high winds, heavy snow and extreme cold. Drawing the viewer to delve closer to interpret the imagery and thus experience their own reactions and thus perhaps draw their own conclusions. My interpretation involves dramatising the experience of the plant itself. |
| Belinda Coleman | Transcendence |  |
Transcendence means existence or experience beyond the normal or physical level. I wanted to create this by putting an Aerial Hoop (Lyra) underwater an Aerialist wearing a beautiful flowing dress. I wanted to explore what the dress would do underwater and how an aerialist who usually does tricks ‘in the air’ would be able to perform underwater. I love how the weightless nature of water moves things around in an uncontrolled manner. |
| Bill Ragan | One Moment |  |
Just a moment This image speaks to human commercial endeavour and created space containment. Within has been the hustle and bustle of a grand opening, sales, the acutely timed filling and emptying with customers and sales staff. Now the container of these activities awaits destruction most of the time empty and near silent. To be returned to a state of uncontained space. This photograph, the remanent of a sense of place. |
| Bill Ragan | Infill |  |
This photo was conceived in response to the urban infill programs occurring in older suburbs in Australian cities, the aim to draw attention to the loss of what I like to refer to as the cool spaces between rooftops, the area of yard and plants on ¼ acre blocks. |
| Bill Ragan | On-Slade |  |
A lonely television discarded on the street. While it is often said "Home is where the heart is", for the last several decades one could have equally said "Home is where the television is" and in the future more probably true to say home is where the screen is. In the above sense, this particular television, has given to and carried sense of place of three locations. Here, most likely to be my last home, it sits outside reflecting both the location and its owner. |
| Bruce Watson | The-Liveable-Suburb |  |
An abandoned factory remains on a partially completed housing estate near new buildings, so is the new suburb truly 'liveable' as the promotion suggests? |
| Deb Gartland | Self Reflection |  |
Self-Reflection Photo Encaustic & Mixed Media Ocean photography is exhilarating at any time of the day. Pre-dawn early mornings, long exposures and close-ups. Sunsets, night skies and winter storms. Playful and experimental shutter speeds, water and atypical results sees deliberate manipulations that calm the Great Southern Ocean’s turbulence. Encaustic and Mixed Media additions consciously highlight individual components while softening others. Creating a truly individual environment of texture, fluidity and vastness. Self-Reflection encourages the viewer to immerse themselves in the sometimes tempestuous and uncontrolled, the ocean soothes the soul and brings a contemplation of life and our place in it. |
| Deon Viljeon | What we create |  |
An image that demonstrates our interaction and control with the complex structures we create. |
| Dianne English | Heating Up |  |
My image was created with my camera plus polarising filters, water and ice, the result was ironic as it depicts the opposite, being an abstract image showing the effect of heat on our planet earth. The heat on the rim of the earth spreading over the land showing only few water droplets, diminishing green areas and many drylands. |
| Duncan Cunningham-Reid | Not Smart |  |
Basically this is a homage to Jeffrey Smart and his concepts. |
| Gina Fynearts | 659-2019 getaway |  |
My work explores issues of mapping, language, my own (Hungarian) roots and identity bound to a search for sense of place. Aiming to capture my experience, trees and landscape are an inspirational metaphor for feelings of being ‘uprooted’ and transplanted. There is beauty, an observed truth when in close contact with nature yet it t seems we notice more when things are present than when absent, I hope to provide a moment of contemplation. To the loss. To the Presence of Absence. When enough things are absent, the absence takes on a presence of its own. |
| Henry Lewis | HL 588 mar19 |  |
In photography, my work appears in regard to each series achieved: body, moons, radiography, circles as more than the process of capturing reality. I look for ways to use this reality as a path to get lingering questions examined. this way of working seems to have continued naturally from the first images to the present. If the image appears, clearly to be about something, search more |
| Judy Parker | Shadow Play |  |
Under light tree-shade and full sunlight, I embarked on a play with concept, tonality and colour. Walking to my car parked beside yellow stripes, I enjoyed the changes I saw to my shadow and made a sequence of five frames, later cropped square. Further extending the changing light and shadow profiles, I inverted and reflected each squared frame and then mirrored the whole sequence horizontally. This made the yellow central, surrounded by neutrals. Finally, I inverted the colours themselves, retaining subtle changes between the greys but allowing the yellow stripes to jump suddenly to contrasting blue. Simple became tapestry. |
| Karen Childs | Fairy Bustle |  |
Before sunup, fairies hurry to pack up their world. If they don’t disappear from sight before we spot them, their magic just won’t work. There’s much bustling going on out in the garden; like a busy beehive, only bright and silent. |
| Karen Sharman | speedy seaweed |  |
Shot to look like seaweed racing along on the swift current at night. |
| Lenuta Quraishi | Artist selfie |  |
As an artist I always look around me, see the environment that I live in, how can I use that space to make it my own, to represent me. Here at Art Gallery in Sydney, space to be prepare for future art installation so I just put the camera on a small table, gave it a time delay, and set some other settings. |
| Linda K Y Wei | Curl |  |
I am inspired by the moment of these two young elephants in their shape of connection. I have added texture to the background to give a feeling of age. |
| Linda K Y Wei | Misty Morning |  |
The choice of subject comes from my interest in the beauty of lines on the water. |
| Mario Mirabile | Upstream |  |
It's always easier to go with the flow, but sometimes you have to fight against it and make the uncomfortable decision to extend yourself. Even if the conditions aren\'t favourable, you need to keep going upstream to see what\'s round the next bend. Think it through and look for a different way to see or a different process to follow. It takes courage, but there is strength and growth in leaving the old you behind and moving to a new level. After all, only dead fish float with the current. |
| Mario Mirabile | Welcome-to-the-machine |  |
"Welcome to the machine" examines the growing isolation individuals in modern society. Social interaction is at the core of human existence, yet at a time when population and crowding has never been greater, social isolation has never been more acutely felt. The global machinery of "social" media ensures that we no longer need to regularly talk to others or interact with them physically. Instead we rely on a constant stream of digital hugs in the form of likes and trite emojis. This feeds our sense of isolation and traps us in the machinery of social networks. |
| Marisa Ho | Mother Load: Variations 1 to 9 |  |
This image is a part of a larger series which forms a self-portrait of my Motherhood. My work explores the overwhelming nature of motherhood, the fragmented state of mind, the loss of identity and the conflicting relationship between my Motherhood and Creativity. In Variations 1 to 9, I use performative art in conjunction with photography to capture the changing and every increasing challenge of Motherhood. |
| Marisa Ho | Between-Beauty-Shadow |  |
Becoming a parent brings a different perspective to the innocence of childhood. Where I once saw only beauty and freedom, I now see innocence as a threat. I try to put away these fears, - a parents' anxiety can become overwhelming. But still for me, the innocence of childhood floats somewhere between beauty and shadow. |
| Michael Wolfe | Westmere-28-12-18-3-1 |  |
Shimmer is a series of photographic studies of grain silos both as Archetype – symbols in rural landscapes of production, cultivation, prosperity, decline and change; and Typology – classification according to general type – comparing their forms and designs based on function, capacity, regional idiosyncrasies, age and condition. The use of multi-exposure creates an optical intensity and hallucinatory layered painterly effect and rhythmic continuity while meticulously controlling minute variances in contrast, brightness and opacity. |
| Mieke Boynton | The Water Tree |  |
As humans, we are utterly dependent on water for life. Trees are a universal symbol for life. This Water Tree stands strong despite the buffeting winds surrounding it and the blackened soil beneath it. It invites the viewer to marvel at its beauty and calls us to examine our own attitudes to water: do we honour it as the key to all life? Or do we waste it, and risk our Earth becoming a barren wasteland with only the howling wind for company… |
| Murray Weir | nobodys land |  |
Ownership, however displayed, depends not on divine right, or overpowering might - but, rests with use, spiritual attachment and a caring responsibility. Seemingly empty, a boundless expanse visited with European, colonial attitudes miserly ignores the plain truth of native sovereignty. Acceptance of that past - thru contemporary eyes - acknowledges the visage of Life evident within the open approach to the Land. |
| Nola Sumner | The Apple Concept |  |
Stairs hold a fascination for me and over the years I have discovered that every new Apple Shop has a unique staircase. One of the first things I do in every new city I visit is find the local the store and try and get a different angle from the usual. On any return visit I will try again to capture something new - always on the look for that different viewpoint. |
| Paul F Robinson | It's Global Incineration |  |
Global Warming is a misnomer, it is slow motion Global Incineration that is gathering pace. The withering of the land is creeping inexorably closer to our cities where most of the pollution causing effects derive. Mankind is blind to what is happening and to what we should urgently be doing to minimise the cooking before Earth is charred. Irresponsible greed, governance and gullibility have contributed to the slow-burn of the Australian landscape. This typology is straight, showing radiant heat directly off the landscapes and are also now showing in the Australian winter. The 'heatscapes' are a testament to Global Incineration. |
| Peter Solness | Haefligers Cottage Series 5 |  |
The discipline of light painting, rather than relying on traditional sources of illumination, has become a creative journey for me as a photographer. Light painting allows me to introduce abstraction, whilst still remaining true to the tradition of in-camera image creation. In this image I wanted to immerse myself into the wonder of my own imagination, so I stepped into this imagined space, with its interplay of light and dark. Light can reconfigure spaces into infinities of possibility. I love the night, the darkness and the otherness of being in these places of abstract definition. |
| Peter Solness | Holtermann-Projections--8-Hill-End |  |
The discipline of light painting, rather than relying on traditional sources of illumination, has become a creative journey for me as a photographer. Light painting allows me to introduce abstraction, whilst still remaining true to the tradition of in-camera image creation. In this series I delved into the wonderful world of the Holtermann Collection, images taken during the 1870s goldrush at Hill End. I set out at night with my projector, camera and tripod and projected selected images onto locations around Hill End. I wanted to bring the faces of these people back into Hill Ends' contemporary landscape. |
| Peter Solness | Haefligers-Cottage--2-Hill-End |  |
The discipline of light painting, rather than relying on traditional sources of illumination, has become a creative journey for me as a photographer. Light painting allows me to introduce abstraction, whilst still remaining true to the tradition of in-camera image creation. In this series I photographed patterns of sunlight playing on the cottage floors and windows during the day then projected those patterns around the interior spaces at night. I wanted to transform this 1850s cottage into a light-filled vessel. |
| Robert Dettman | Liquid Music |  |
Architecture is frozen music. So said Johann Wolfgang von Goethe. My concept is to present a sculptural building (actually an opera house) as an uplifting object of wonder, isolated in a minimalist frame where colour and form create an atmospheric experience of drama, rhythm and harmony. |
| Robert Dettman | Holding-up-the-sky |  |
In the city skyscrapers cluster together, individual buildings unappreciated and blending into a wall of confusion. My concept is to isolate a tall building in a spacious frame where it can dominate the space without distraction. A nuanced transformation suggests a sense of the surreal yet still reveals details that can be appreciated at leisure. |
| Sue McLeod | Horizons1 |  |
Our horizons change with time and circumstance. Sometimes clear, our goals set, sometimes vague, anxious and frightening; but at times when the horizons are vague, we can sometimes step back and see the beauty of life. As we take the pressures from ourselves, our horizons become clearer, and we become calmer. |
| Timothy Moon | Curtainwall |  |
The city is clad with curtainwall, which provides a faceless cloak of varying degrees of reflection, with canyons of the impersonal, lacking human scale and contact. |
| Tony Harding | Knowledge |  |
Technology has had an enormous impact on lives across the world. Study and sources of knowledge have changed in both their action and derivation. Scholarly activity was traditionally associated with books but this has altered in the 21st century with electronic means for obtaining information normalised and mainstreamed. This image seeks to represent the dialectic between traditional sources of information and knowledge and more modern technological means |
2020
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Dumpster Sketchbook: Waterside by Judy Parker
Recently I took a series of photographs of the side panels of a large open container at a local recycling centre. The markings had a wonderfully strong graphic quality, red rust-lines on a silver-painted surface: a calligraphy of wear and tear. When I processed my images, I was intrigued by the way sections of the random patterns suggested a series of semi-abstract coastal landscapes, each quite different. I modified three of these to reinforce the reference and combined them as a triptych. Our minds are not limited to the literal. They can equally re-identify and re-imagine. |
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Beige Chair’ a father by Louise Alexander
Beige Chair' is about not wanting to be seen. Times when you just want to hide. In a world where we all feel the need and the pressure to be visible and accountable there is little room to hide. This image was made in honour of the artist's father who loathed the colour beige. He believed people start to wear beige as they get older, as if the colour was running out of them. |
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The Price of Water by Anne O'Connor
Rainwater is free, but if it declines, rivers dry up & earth suffers. A cost far beyond water ensues, as hope dwindles, waiting for the life giving gift of water. We all need it, this blood of the land, running through the veins of the entire planetary system. It is priceless. The black spots on the patterned background are created by raindrops on sand. The hand stitching represents the blood of both humanity & the land, in their struggle for survival, as the planet dries up beneath them without rain, in this time of drought. |
In 2009, Barbara Mullins provided the APS with a bequest in memory of her husband, the late Doug Mullins, President of the Society 1964-1966. This bequest was part of the proceeds from the sale of Mullins Gallery, the former headquarters of the South Australian Photographic Federation of which Doug was Patron.
At that time the bequest was intended to support the regular publication of an APS book of members’ work. In 2011 the first edition of APS Gallery was published. In 2012, the APS celebrated its 50th anniversary and a second book was published. No further books have been created and the balance of the bequest has since grown through interest earned.
Seeking to ensure the long-term future of its new Australian Conceptual Photography Prize introduced in 2019, the Society approached the Mullins family with a proposal that would satisfy the intent of honouring both Doug’s and Barbara’s significant contributions to the APS. There was much synergy in the proposal with the style of Doug’s exhibition photography in the Prize, and in Doug and Barbara’s generous support of the arts and the Art Gallery of SA.
In early December 2019, approval was received to apply the balance of the bequest funds to the Prize. The Society has, therefore, retitled the prize as the Mullins Conceptual Photography prize (MCPP) and it will be a permanent reminder of Barbara and Doug Mullins.
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