I am a Widow’s Son, outlawed and my orders must be obeyed.”
Inspired by the iconic Jerilderie Letter, phot
ographer Liam Lynch reunites Australia’s infamous Kelly Gang in his latest series of images.
Just as the Jerilderie Letter brings Edward ‘Ned’ Kelly’s distinctive voice to life, with ‘The Kelly Gang’ Lynch challenges us to look beyond the armoured exterior of his doomed men, and into the articulate and sardonic sense of humour that was Ned.
But are Kelly’s words a bushranger’s confessional or a defiant narrative of a hidden truth?
Lynch’s contrasts the symbolism of defiance and courage of Kelly’s armour with his passionate articulates his pleas of innocence and desire for justice.
Australian Film Industry award-winning costume designer Anna Borghazi’s plate-metal body armour provides the archetypal frame for Lynch to drape Kelly’s striking metaphors and images drawn from his 8000 word Jerilderie Letter manifesto.
Lynch’s juxtaposition of Kelly’s narrative against his
distinctive iconic moulded armour, illuminates Kelly and his men as defiant symbols of a time of when rich pitted against poor, of violence and passion, criminal and hero, defiance and courage.
Lynch’s bold images reignite the bushranger mystique of the Kelly Gang in the Australian psyche …
As a photographer with a conservationist and preservationist approach to my work. I have now taken my passion to the next level where I am showcasing some of my work through the art of video.
Come on the journey…… FIND EMBRACE CAPTURE CONSERVE
FIND – I have worked closely with marine biologists and ecologists as they research what lies below the ocean or enter into the depths of the jungle, where I take you into their environment and you’re able to be visually captivated and mesmerized through the imagery I have created. EMBRACE and immerse yourself into the natural environments of my preferred wild life, where I have been able to record extraordinary unusual and rare marine life, such as the sea dragon, or enter the depths of the jungles of Sumatra and study the movements and habitats of the critically endangerd orangutans as well as being aware of their diminishing population. I am able to CAPTURE such unique and breathtaking imagery evoking emotions for all those watching my video. It’s easy to understand my passion and belief my work has always been to CONSERVE not only the beauty of our natural world but to allow the viewer to understand the need to protect what we have, so that nature and wild life can still remain untouched in their normal environment.
Join me on this journey, be captivated, mesmerized and transported by this nature filled tour from the deep blue oceans of the pacific, southern oceans of Australia and through the rapidly diminishing rain forests of Sumatra.
check out the links below to learn more about the organisations helping on the ground..
“Imagine setting up a studio under the surface of the sea. To capture this body of work Liam composed each image under water with backdrops and studio lighting, carefully maneuvering behind these wonderful creatures creating a studio feel. Liam’s trademark and contribution to the natural world is to capture unique rare and endangered species.
Each of the palladium photographs he handcrafts is unique – fitting for the incredible natural beauty of the subject – just simple and elegant. Palladiotype photographs are considered the more enduring of the photographic print processes – juxtaposition to the fragile nature of the species.” Ellie Young
Beneath the surface of the temperate waters of southern Australia live truly unique species that are found nowhere else in the world.
Each image is composed using underwater backdrops that are carefully manoeuvred behind the subject and lit to create a “studio like” feel. After weeks underwater finding then communing with these unique animals in their natural habitats i’m soon elbow-deep in alchemy: paper stocks are hand-coated with emulsion, and chemicals mixed from scratch. Finished prints look genuinely antique in many ways drawing inspiration from Joseph Banks’ catalogues, or Darwin’s specimen collections. Yet these works have a modern edge… Combining the ancient palladiotype method with new technology and equipment to produce the final result.
For me crossing the line from machine-made to hand-made does necessitate a substantial commitment, and the work is certainly labour-intensive. But in the end, what unfolds before the eyes is no ordinary photograph each print is a handmade one-off… which seems fitting to do justice to the incredible natural beauty of the subject that is captured within the image. Liam
From February 17 till April 3 2016 Dracones et Equorum “Dragons and Horses” will be showing in the gallery at Gold Street Studios.
Official opening Sunday 21st February 2pm to 5 pm
It was at Gold Street Studios back in 2011 where I first discovered the palladiotype photographic process under the expert guidance of world renowned photographer and scientist Dr Mike Ware along with gallery owner/director Ellie Young.
It’s both an honour and a pleasure to have the opportunity to be able to show my work in such a distinguished space amongst my piers.
About gold street studios
Ellie Young is the founder of Gold Street Studios. Since its establishment in 1999 gold street studios has become the centre for alternative photographic print processes in Australia and New Zealand. The studios provides a resource Centre for photographic image makers and attracts both local and international participants seeking to advance their knowledge and skills in the art, craft and science of traditional handmade and early photographic print processes.
700 James Lane Trentham East Victoria 3458
Dragons & Horses – An exhibition of photographs by Liam Lynch
An intrepid nature-lover and image-hunter, Australia’s Liam Lynch goes far from the beaten track to create his images. Lynch is also a devotee of the palladiotype photographic process, which requires another excursion far beyond the norm. This painstaking technique shows a dedication to the labour of printing that is rare today.
After weeks underwater communing with these unique animals, Lynch is soon elbow-deep in alchemy: paper stocks are hand-coated with emulsion, and chemicals mixed from scratch. As a result of the 19th century process used, the images look genuinely antique in many ways, reminiscent of Joseph Banks’ catalogues, or Darwin’s specimen collections. Each image is composed using underwater backdrops that are carefully manoeuvred behind the subject and lit to create a “studio like” feel.
Yet these works have a modern edge… Lynch combines the ancient palladiotype method with new technology and equipment to produce the final result. Using a contact printing method which requires a negative the same size as the final print, Lynch brings the raw files into a computer, then prints them out at the required size at high resolution on transparent sheets. The result is a high-quality negative ready for printing. The negative is then laid directly onto the paper and exposed to light, after which the paper can be developed into the finished print.
For Lynch crossing the line from machine-made to hand-made does necessitate a substantial commitment, and the work is certainly labour-intensive. But in the end, what unfolds before the eyes is no ordinary photograph. Each is a true work of art.
–Maree Coote, Author, The Art of Being Melbourne
After more than 2 years working with the Mike Ware formula for producing palladiotype prints i’ve decided to change to a more traditional process using chemistry to control the contrast as opposed to humidity which I found to be extremely difficult to control in the climate I live and work in. So armed with an iPad, several reference books and some help from a Platinum/palladium printer, photographer and fellow Castlemaine resident Stephen Tester I set out on another journey of discovery. Extensive research led me to the conclusion that I needed to first improve and then modify the negative and contrast range by changing the material I was printing onto for my digital negatives as well as adding a colour adjustment layer to the negative file which inhibits levels of UV light passing through to assist with the density control. Sounds technical right? ..It is.. [Read more…]
Back in January earlier this year I decided to head over state lines to the South Australian Fleurieu Peninsula with a mission to capture images of the “Leafy Sea Dragon” as part of my latest series of soon to be exhibited palladium prints entitled “Dracones et Equorum” (Dragons & Horses).
No stranger himself to working in challenging conditions, Liam Lynch has combined his love for the natural world with the remarkable process of Palladium printing……
“Like many traditional processes, palladium works need to be seen in person to be fully appreciated. Each print is a handmade one-off and totes an impressive tonal range, which seems fitting to do justice to the incredible natural beauty that Lynch’s images capture.”
Capture – Lachlan Gardiner
Excerpt taken from a featured article in Capture Magazine July/August 2014
the full article can be viewed here
Liam’s palladium prints are produced using the following materials, chemistry formulas and methods. They are 100% archival and are produced with minimal effect on the environment, all used chemistry is discarded in a safe environmentally conscious manor.
Negatives are printed using pigment inks with an Epson Stylist Pro 3880 printer on Pictorico Ultra Premium OHP Transparency Film. #For those technically minded Liam also applies a customised photoshop tone curve and coloured adjustment layer to the file prior to printing.
100% cotton fibre stock, archival acid free Bergger 320gsm and Canson Arches Platine 310gsm both stocks produced in France. [Read more…]
There’s safety in numbers when it comes to the annual migration of Spider Crabs (Macrocheira Kaempferi) who come from deeper water to moult.
The old shell is cast off giving the appearance of thousands of dead crabs. They are at times 3-4 deep and cover many square meters of the ocean floor, when in shallow water the view from the surface and the air can appear as a slow moving reef.