Photographic History and Criticism II
Loren Batson
Assignment 3 - Review of an Exhibition
Lecturer/tutors: Deidra Sullivan & Hamish Tocher
Due: 20th October, 2005
Approximate word-count: 1200 words
Loren Batson. Diane Moore and Cary Moore, outside their gallery. 2005.
C Moore's Gallery is located at C Moore Motors, 1 Gear Street in Petone. Cary Moore owns the workshop and runs a photography gallery out the front of it. Within the previous two years, Diane Moore and her husband Cary Moore, have taken photography more seriously. Moore explains how they had a spare room in the workshop, and rather than filling it with junk, with a bit of kiwi ingenuity they decided to turn it into a photography gallery. The photographs are not for sale. The idea was, as Cary puts it, "so people can see something a bit different from the old workshop." Diane explains how they needed an "outlet that would push us in our own photography." The gallery was the answer for the photographers to set higher standards within their work.
Cary and Diane's photographs have sprung from their personal enjoyment of photography. In her earlier years, Diane participated in a black and white photography course in Australia. Both photographers have had little training, but have keen attitudes and good visual sense. Their photography is about getting out and doing it.
Loren Batson. Diane Moore and Cary Moore, inside their gallery. 2005.
The photography in the gallery changes every three to four months, when they rotate photographs with fresh work. Cary explains that the first photographs in the gallery were mounted in matt boards, but these were found to ripple, so they are now mostly displayed in frames behind glass. Along with white material acting as a soft box, large boards standing upright have been used to cover the windows. This is to diffuse the light, giving a constant even and natural light throughout the room. The gallery is a reasonably small room, and the boards have been positioned on an angle to create more space in the gallery. Most of the photographs are visually strong images which stand on their own. Reinforcing this is the fact that they don't all line up at the tops, or are in perfect straight rows from wall to wall.
Both photographers prefer to work with digital cameras. Although, Cary explains, "I like the way analogue tapers off highlights to a nice rounded curve. Digital doesn't limit that, so you just have to be more aware of highlights. Digital means you have to be more careful of composition." Cary explains how he does not like to change things digitally such as lighting. He reasons "The more you change the more it becomes unreal". Diane's stunning fireworks image taken on digital is currently in the gallery. It was printed in the newspaper, and in the New Zealand Digital Photography magazine along with an article called 'Tips on photographing fireworks' (2005. Aug/Sep).
"I love the type of documentary photography in National Geographic magazines" says Diane. Diane enjoys the creative side of photography. She likes the way photography makes her see at things differently. "I am more aware of the environment, looking at things within things." When asked what their main inspirations were, Diane responded "He likes cars and I like plants."
Within Diane's photographs, she explores form, colour and composition. The colours in her plant photography are the first to grab me. They are strong, solid colours which jump out of the photograph. Her 'Tulip, Queen of Sheba', currently in the gallery, is a stunning image made up of warm tones of red, yellow, and green, fading to black. With soft light throughout the image, the red and yellow of the flower glitter against each other. This draws the viewers' eyes back and forward between the colours. Only the tips of the flower are in focus. The image has a seductive atmosphere with connotations of painting aspects.
Diane Moore. Untitled.
A more microscopic image of a flower is her 'Floral Abstract, Iris'. The flower takes up the whole frame, and the image is about the colour, forms, and textures within the flower. Made up of a range of purple tones with a few specks of light orange, the viewers' eye is controlled with the very considered use of short depth of focus. The line of light running through the middle of the image falls in the line of focus. This invites the viewers' eye into the photograph and gives a new element of texture to the flower. Through breaking up forms within the flower, this well known object has become alien. This forces the viewer to engage with the object and realize the complexity of flowers rather than passing it off as just another flower image. Both 'Floral Abstract, Iris' and 'Tulip, Queen of Sheba' have the same light gold frames. This brings the images together suggesting the concept of the images are within the same context.
Cary Moore. Tropical Lilly.
Cary's 'Tropical Lilly' has a different style from Diane's flower images. The image is completely in focus and therefore more factual. It is descriptive of all surfaces of the subject matter. The droplets of water make the leaves appear metallic. When asked what he thought made a good photograph, Cary responded with "not so much arty. I like to take photos of what I like, not what other people like to see."
Cary Moore. Mud Driving at Ekatahuna.
Cary was at first interested in landscape photography. "As you learn you take enough, and then move on", and his aim "is to get a really good image." At the moment his subject matter within the gallery ranges from an old broken down train, to steam trains, sea scapes, Maori and New Zealand art, and sports such as sand sailing, rugby, skate boarding, four wheel driving, and car racing. Cary's image 'Mud Driving at Ekatahuna' captures the spirit of love for the outdoors. The image screams the kiwi attitude 'go hard, or go home'.
Cary Moore. Mushys. Former C Moore Motors site Petone.
According to Cary, his photograph 'Mushys. Former C Moore Motors site Petone', was a matter of timing as the mushrooms were only there for a few hours. The blue tones in the mushrooms are complimented by the blue background. Along with the vibrant green and tones of grey, use of short depth of field, and crisp lighting, the image is simply pleasing on the eye. The strongest images within the gallery are ones such as this, where minimum color has been used.
Cary is explorative within his photography, and very much aware of the different effects that light can have. His 'Bright Night. Civic Square' image effectively deals with many different light sources. Through his 'Oz Waterfall, day' and 'Oz Waterfall, night' images, Cary presents the extremes of different atmosphere with the same location at different times of day.
Their personal aim with their photography is to broaden their subject matter. For Diane, the gallery enables her to "step back and look at work to see what we have, and haven't got." Diane points out that people photography is something that is missing in the gallery, and suggests that photographing people is a direction she might take in the future.
Diane and Cary have grown in their photography through participation in the Hutt Camera Club. Cary says the club is for "people who have an interest in photography." The club is based in Lower Hutt, and members range from amateurs to the more experienced and knowledgeable. As well as socializing with others with the same interest in photography, the club encourages, motivates, and inspires members to learn and improve their photography skills. It has seminars and lectures which members can attend. Competitions are held within the club, and members also participate in external competitions ("Hutt Camera Club", 2005).
Diane's image of peacock feathers was entered, along with five others from the Hutt Camera Club, in the 2005 Bledisloe Cup. This is a Photographic Society of New Zealand Interclub competition, and the series of abstract photos came sixth in the competition ("Hutt Camera Club", 2005). Cary has also won awards through the Hutt Camera Club. His photo of boats at dock won him the 2004 Cliff Perry Portfolio Award.
Diane Moore. Peacock feathers.
Considering the aims and intentions of the photographers for their work, the gallery is successful. Photography is an expression of the self, and although both photographers have individual styles, their sheared excitement for life and down-to-earth attitudes are portrayed in their images. This is a quirky gallery, well worth a visit, and I can't think of anything better to be doing while waiting for your car to be serviced or warranted.
Bibliography:
C Moore Motors. (2005). Cary and Diane's Digital Photography. Retrieved October 16, 2005 from http://www.cmooremotors.co.nz/cary_and_diane's_beautiful_nz_image_gallery.htm
C. Moore (personal communication, October 5, 2005).
D. Moore (personal communication, October , 2005).
Hutt Camera Club. (2005). About Us. Retrieved October 11, 2005 from http://www.hutcameraclub.org.nz/aboutus.htm
Hutt Camera Club. (2005). 2005 Bledisloe Cup Photos. Retrieved October 11, 2005 from http://www.hutcameraclub.org.nz/gallery%2005%20bledisloe.htm
Vincent, G. (2005, Aug/Sep). Tips on photographing fireworks. New Zealand Digital Photography, 7, 77.