Delly Carr

 

By Lina Frunk

 

 

 
 

Delly Carr is Australia´s top freelance Sports photographer. His 30 years of ethics and lifetime list of clients reads like a who´s who of the Australian sporting scene.

Delly Carr loves Star Wars, collects old toys, and has a big box filled with years of scrapbooks. They are, he claims, the essence of himself. He hates his cat, Peaches, and she hates him. This isn’t the side we usually see of the acclaimed sports photographer; we see the images, not the man.

His photographs blur the line (usually thick) between sports photography and fine art in a nuanced and creative way. It is Delly’s personality that really has something to offer aspiring photographers. Luckily for us, Delly is not afraid of sharing his success.

“Sports photography is part of my life, I’m obsessed by it,” states Delly Carr.

 
 

‘Obsessed’ is a word that keeps popping up when you listen to Carr speak about his photography. Along with the words ‘compulsive’ and ‘perfectionist’. He claims it´s these descriptive words that make him difficult to work and live with. However, it is also those words that have enabled Delly to create a magic formula in order to become a great photographer. At an Adelaide swimming event, Delly noticed the shapes of light on the pool, how it moved when a swimmer swam beneath it. He came back the next day; checking the swimming schedules, and the light. He waited for hours before everything lined up the way he had imagined.

“I ended up with an angel, I ended up with wings and a halo,” Delly explains. That image wouldn’t have been possible without Delly’s fascination and patience. Sometimes, however, patience needs an acquaintance, courage, to take over.

 

 
 

Delly recalls his three-day trip to capture San Fermin, running with the bulls, in the Spanish city of Pamplona. He spent the first two days behind the safety of the fence where all other photographers were, but those photos turned out to be “shit”, according to Delly. On the third day, he decided to go to the edge of the cliff, or in this case, climb under the fence. He was in the direct line of the bulls, in order to capture that perfect moment. He got it, but it didn’t come without a price.

“The bull’s hoof hit my camera,” Delly says. He admits that it easily could have hit his head, landing him in a Spanish hospital with an expensive bill or worse.

 

 
 

“The more seasoned bull photographers thought I was an idiot, and they were very close to being right.” Delly argues that courage, with a bit of recklessness, is a key element to get the best images.

Based on the great shots Delly produces, he could easily be arrogant and get away with it. Instead, he comes across as incredibly humble. With most of his best images, he applies a notion of luck. If the bull hadn’t jumped at that precise moment, you wouldn’t be able to see the runners in the background, and the image wouldn’t be the same. Delly advocates being cocky about your images. If you’re not, who will be?

 

 
 

Japanese fashion designer, Minori was inspired by Delly’s style of photography. Delly made such an impression Minori, that she made a dress in his honour: the ‘Delly Dress’, capturing his recurring theme of earth and sky in the design. An accolade for any artist is to be commemorated in someone else’s work.

 

Eliot Dudik

 

The Argus’ Magnus Westerlund interviews photographer and storyteller Eliot
Dudik about his work. Giving an insider look on how he creates his content.

 
 

Where do you get your inspiration?

My inspiration comes from many places, I teach photography at The College of William & Mary, in Williamsburg, Virginia. So much (of my) inspiration comes from my students and colleagues there. I surround myself with a non-stop deluge of imagery from the past and works currently being created. I do a lot of research by way of, art books that I enjoy dissecting. In terms of problems, the artist faces and how they went about forging a path toward completion.

 

How do you find your stories?

When I'm not driving, I'm running from task to task without much time to ruminate. But once I'm on the road, I have the time and space to pick through all sorts of things that have been coming in and out of my consciousness. I'll dissect an idea while I'm driving, from start to 1000 finishes. And often by the time I step out of the vehicle, I'll have the motivation and initial direction to create.

 

What do you look for in the stories?
Nothing specific, other than questions that I don't already have answers to.

 

 
 

What made you want to be a photographer?

I suppose it was the realization that photography holds the potential to communicate ideas, to change the way people think and understand the world. It can be a difficult but rewarding endeavour.

 

How long have you been doing this?

About 16 years

 

How many stories have you done?

I've done about 11 projects, published 7 books, including 2 collaborative projects/books.

 

Where do you go to get your stories?

I go wherever the story takes me. So far that has been through 49 of the 50 States (U.S.A). I'm anxious to start looking outside The United States, but thus far I've remained very busy exploring and trying to make sense of cultures, history, and current circumstances within the U.S. I've gone back and forth on whether I need to better understand cultures at home in order to understand cultures abroad, or whether traveling outside the U.S. and trying to understand other cultures would help me understand my home.

Australia is one place I'm excited to explore one day.

 

Adam Bradford

 

Don’t Judge Me

By Zara Lynette Tansley

Adam Bradford considers himself a contemporary pictorialist. Staging images and working primarily with fashion and portraiture through a conceptual lens. He harnesses the potential of the photographic medium, exploring the complexities of the human form and mind.

 

“Don’t Judge Me” is a photographic series that examines how an individual’s perception of self is not definite and that one’s identity can be distorted by an outsider looking in. Using a combination of still life and portraiture, the work draws upon symbolism that relates to themes of sexuality, drug use, and body image.

The presence of this imagery outlines, that it is often the practices that an individual engages with, that stimulate an outsider’s assumption of their character. This notion is furthered through the covering of the muse’s eyes (or part of). Essentially these factors of the work demand the viewer to ask the question, ‘how do we define identity?’

Due to the size of the girl pictured with the measuring tape, do we assume she is lazy, insecure or has a lack of self-control? Each and every one of us have been influenced by the expectations that society has crafted, expectations that leave this girl stripped and bound by an identity that we’ve predetermined without even knowing her.