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Sam Harris

Postcards From Home

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‘Postcards from Home’ was recently born out of personal material I’ve been shooting in-between projects, as we settle into our new life in Australia.  A sort of domestic sketchbook, odd moments that catch my attention… I often edit a few months after shooting, and as I did, I began to realize that these images were pulling me in a direction of their own…



I started my career in the London music industry of the 90’s, shooting record sleeve art and portraits for magazines such as The Sunday Times Magazine, Esquire, Dazed & Confused and Raygun. In the late 90’s I went on to also shoot reportage assignments.

In 2002, in search of a sea change, I left London behind to travel slowly with my family in India and Australia and over several years. During our journey I photographed the project ‘ROUTINELESS – a slow travelogue’. Images from the early part of this work were published in the Steidl book ‘Sensation’ (2003).

In 2008 we finally settled in the forests of South Western Australia. I’ve recently started a new project based around the local community, their values and lifestyle.


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Sam Harris


Editor’s Note: Please only one comment per person under this essay.. Further discussions should take place under Dialogue..

Many thanks… david alan harvey

41 thoughts on “sam harris – postcards from home”

  1. Stunning! I adore this essay. I think its in my top two that I’ve seen on Burn. The only thing is that it was not apparent that it’s in Australia (and I am an Aussie). There were hints – the boots and the trees in the washing line pic but these were not enough to make me sure. That’s not really a criticism. I don’t think its always essential to place pictures. Not locating it in place emphasises the unversals of the work. On the other hand, I know i’d like it just as much if i did see more of Oz in it.

    I think they are all great pictures but the following are my favourites in approximately the order that i like them best, or the order that i decided that they’d be in my favourites. Not that this is interesting but it explains the odd sequencing.

    #9, 11, 15, 12, 10, 17
    #4, 8, 14, 16, 3, 7, 18

    I wish I could wax lyrical about family “snapshots” but the words are not there off the cuff. I could say, ok this essay is not a big topic; it’s not “Serious” and “Important” work in the way that news journalism is. It’s serious and important in the way that art is. It captures, in an unsentimental way, i think, some of what’s good about families, childhood, children. Its beautiful and inspiring photography. I just love it. This would have been perfect propaganda material for Peter Costello. ;-)

  2. Sam
    Lovely, delightful, heartwarming stuff. These are the kind of photographs that I always encourage people to take. Photograhs tha celebrate our lives, the beautiful moments, shadows on the wall, silly kid stuff, tender gestures, so precious.

    There are photographs we do to make a buck. There are photographs we do to stroke our egos. There are photographs we do to indulge our passions and personal agendas. At the end of the day, photographs like this, photographs that celebrate those we love, the quiet little moments of our lives, and, sometimes, the not so quiet moments, will be the photographs that we most treasure and ultimately have the most meaning.

    I love this essay. Wonderful stuff. An ispiration. Thankyou for this.

  3. hmmmm…. yeeeeah, ok…
    Not particularly impressed by this but err…some nice family snaps in there..

  4. I just discovered this magazine through the Israeli women story. I will be a daily visitor, or at least as daily as I can pull off.

    Unlike the super sophisticated Richard, I found this to be an excellent, evocative, piece of work.

  5. Good for you Sam. Nice work.
    Looks like you spend a lot of time in the car!

    I’ll be back in India Jan/Feb 2010 after a three year hiatus.
    Keep shooting!

  6. colors

  7. Sorry for double posting, but all the numbers that I wrote are wrong. I can’t explain what happened. I looked at that essay quite a few times and these numbers above do not match the images I like.

    Oh I just realised what’s happened. You added a new one at #2. How odd. Nevermind. I must say that that image at #2 is quite tricky to understand. I looked at it on your site before. I dare not write down what I thought it was because its a little bit, um, nevermind.

  8. ALL thanks for your responses thus far…

    AndreaC – image #2 was left out by mistake and added as quickly as possible, but after your initial view. sorry for the confusion.

    thanks for your comments… i agree that the australian location isn’t overstated, but as you’ve also suggested, i’m not sure it needs to be… sometimes i think it’s better to hint at something rather than overstate it. after all, they are just spontaneous moments the way i see them at the time.

    #2 ‘tricky to understand’ – i suppose i’m trying to show something mundane in a different way. btw. if your still unsure… it’s my wife’s foot protruding from a blanket during an afternoon siesta…

    Cathy – thanks,
    i’m sure i don’t spend that much time in cars…
    enjoy mama india…

    Gordon L – thanks for your thoughtful words…

  9. This will be a sort of domestic sketchcomment :) Doing the right thing. Photographing your life. Australia looks like a beautiful place. Probably trying too much different with this essay. I adore 1-5, 8, 10, 12-13, 15, 18-19. I would leave out the rest for different reasons, some of them could be closer, some of them looks a bit too odd, some of them might be better if you just tried taking the same picture one more time, although that would perhaps spoil a bit of the spontaneous mood. Keep on going, keep on going. Interesting to read that you edit a few months after shooting; I always try to edit them at least within a week after shooting. But when there’s no deadline it doesn’t matter I guess.

    Beautiful start of this day. A coup of coffee and this essay. Now I can start focusing.

  10. that was really refreshing sam – ta.
    no hint of heaviness, dreaminess, interpretation or artistic statement to get head around.. just a lovely flowing trip with your family and, as bjarte says, a great way to start the weekend..

    i can empathize with both wanting to move into reportage after music, and then onto a family journey to find a natural home.. our little family here in norway is thinking pragmatically about the latter these days
    as an aside – i remember liking one of your beth orton photos when i saw it backinthaday..

    (BJARTE – join us in dialogue)

  11. Evocative and atmospheric observations with a simple naivety. I like them because they aren’t trying to be too clever. But they ARE actually very clever in their execution. Very well done, – you have a great talent.

  12. SAM …ALL

    i edited out #2 on purpose on the original publishing and put it back at your request…..i did not, and do not, think #2 matches the quality or sensitivity of the others and interrupts the visual flow…just simply not clear what it is….i think this is one of those images that is so personal to you, but i think few will “get”….anyway, i will always defer to the photographer if they feel strongly about a particular image…so Sam it stands now as per your choice….overall, this is just a truly lyrical set of personal photographs that resonate way beyond their original intent …thank you…

    cheers, david

  13. Very inspiring. I like the changes of rhythm here. Liking them all, but on first impression my favourites would be 2,3,7,10,11,12,13,14,17, & 18. Would love to see more in this vein.

  14. I am very very partial to this subject matter on a few levels. lets say it is my favorite genre, so to speak. So I come into this from a very favorable position.

    There are some photos that I like and some that I don’t like.

    Let’s start with the positives.
    1 – excellent. Maybe the best. A very strong, clear photo, but still unusual. I like the use of flash, the strong colors, the strong contrast. The elements all align here and it is a really nice shot all around

    3 – less of a statement making shot like #1 but theres a mystery here. There seems like theres more to this, the photo asks questions and reveals little, which is great. Nice light.

    4 – simply great. Super mysterious, great use of reflections, great composition.

    5 – less so but works nicely with #4 and transitions to #6 well. More about #6 later.

    7 – doesnt really work for me on its own, the arrangement of the elements looks a bit arranged, but thats just my impression. However it does work well to take us to #8

    8 – again, like #4 it is a fantastic shot.

    10 – very nice overall. My question is why there is so much noise in the shadows. Do you shoot RAW? Seems like you really had to bring the exposure of the shadows up a lot and it got really noisy. I think it is a great moment but some technical drawbacks make me not 100% on this one.

    11 – sweet, simple. Very nice

    17 – great outdoor shot.
    18 – another nice one. And 17 and 18 really compliment each other. This one has the smae issues with noise as #10, look at the girl’s black top.

    The negatives

    2 – DAH was right. And after reading your explanation for the shot Im even more with DAH here. Its a very confusing shot to the point where it is impossible to read. And your explanation about it being a protruding foot…when put against shots like 4 which has such grand possibliities how is #2 supposed to stack up?

    6 – Its a nice moment. Im just not a fan of the photo. Not of the messy background and especially the blown out door. The white out of the door, the messy frame totally drown out the girl and mask. Add to it the slight OOF and I find it uncomfortable to look at.

    14 – Im sure there must be a meaning for you but for me it totally breaks up the visual flow of the essay, it seems random, it doesnt play off the two photos on either side of it.

    16 – I loved #2 because it is a solid photo. Here at #16 it seems the opposite. The blur doesnt so much bother me as the strange contrast. Theres something off about this one. I wish it was crisper, had more contrast on the laughing child so that the figure wouldn’t just blend into the blurryness of the shot.

    Overall I like the essay. There is a good flow to it, it suggests things and asks questions.

  15. Sam,

    a part – a large part – of the reason I am drawn to looking at photographs is that they can allow me to see things I would not, to understand how others live and to feel things that I would not have felt otherwise. Your work fills those shoes completely for me, despite your demographic being more or less quite familiar..which means the degree to which you have shown or have allowed me in is great.

    I especially love the intelligent synchronistic details filled with visual irony or paradoxical wit, and I am curious to know how aware you are that you are creating these..the artificial lights carrying on the force of the dimming sun, the pseudo eggs next to the fake dead bird, the pilgrim setting out to discover new territories via child map and vehicle, the feet puppet bird shadows next to the hand outline bird drawing, the big girl now reading in bed who still has baby feet, the bit of pink fingernail polish left on your daughter’s pinky after the bubble is burst, the way the prayer flags are in a continuum with the laundry on the line, that’s a poignant reflection on domestic life for sure..(have you read “After the Ecstasy, The Laundry”?)

    Well done..there is a huge education for me in your way of working; even though your images don’t entirely speak to my ‘normal’ photographic likes re surface and composition, you get at something much deeper.

  16. Bjarte & David

    Thanks for your reflections, they are appreciated.

    Yes, once a couple become a family the world starts to look a bit different. We first passed through this part of Oz a few years back and were really taken by the eclectic, open minded, open hearted community… we moved on but found ourselves being pulled back… and here we are… If you ever come over this way your always most welcome to stop by for a while…

    Bjarte, Back in London I would get home from a shoot and usually a few hours later or maybe the following morning a package would arrive with all my contacts to edit within the next day or so, you know the drill… working with and for someone else has always been different for me. You know what they want and expect (most of the time) so I edited with a clear objective in mind.

    However, with my personal photos, being more spontaneous and intimate I find I need distance, I need to forget and then re-discover. I don’t set out with a pre-conceived notion or a brief as I would shooting a commission… so I suppose I struggle in some ways… especially when it’s my own family and friends… i wait and then sit down and try and be decisive without any of the sentimental attachment I might otherwise have… but it’s tricky, editing has always been a struggle for me, and living away from London, the pulse of a city, the friends and colleagues makes it more so, I guess that’s the downside of living in a more isolated rural place… and the upside of Burn!

  17. DAH… thank you…

    I’m grateful for the opportunity you’ve given me to share my work and discuss it a little.

    I really appreciate your comment, as always I’m keen to hear your thoughts…

    For me, #2 is just simply atmosphere, light, shade, colour, texture… Yael was taking a rare afternoon nap, the light came through the window… not amazing but nice… there is something about it i like, so yes, I guess it’s personal to me…

    So what I’m now thinking or asking is how important is it (with this type of diary/personal work) that others ‘get it’?

  18. Rafal and Erica

    Thanks truly for such in-depth feedback.

    It’s quite late here now and unfortunately I need to work early tomorrow so I’ll have to get back to you both tomorrow evening.


  19. Sam! :))))

    Boris Mikhailov once said that there are three types of ways to take pictures: with distance as a reporter (having no true relationship with the subjects), with financial/commercial relationships (paying the subjects or the subjects paying the photographer) or with Love (photographing friends and families and the people and places which define one’s life). Although I have deep respect for all three types of photographic practice, it is the photographers and books which work from ‘love’ that I have always been most drawn and most inspired by. Your essay is indeed an act of love, but not only love for your family and home but for something much more profound and fundamental: the wonderment of the living and our relationship to that. From the most personal and private of moments, you have sewed us a universal story one in which each of us can recognize the scent and taste and touch and sound and light of our own families and lives. From the particular, the universal is born.

    Some of your essay reminded me of Trent’s magnificent project Christmas Tree in a Bucket: not in style, but in spirit: the capturing of a moment that yields in shadow and light, in music and laughter, something that stitches together all of our gossamer lives. Same too the work of one of my heroes: Lartigue. Jacques Henri Lartigue is one of the greatest photographers to have ever graced this world and his photographs, comprised entirely of friends and family and moments that surrounded his life have been a pinpoint of expression for many of us. So too the extraordinary work of Meatyard and Araki and Fukase and Goldin and Towell and Mikhailov and Cameron and Eggleston and all the other remarkable visions that have chosen to settle upon the immediate of the people and family and life around. All those extraordinary family albums that most people will never have the opportunity to see or sift through, to touch or tip against the weight of memory of their own lives. From David Harvey’s Out for a Family Drive to the book that my own grandmother (a photographer) made for me of my own life, these family albums have been a north point toward which i’ve banked my own life, as a son, a father, a husband, a photographer, a writer. I am inspired Sam, equally by the breath and light and joy and mystery that is contained in your essay here as well. A reminder of what we all have and what shall be torn rift from each of us eventually.

    There are so many extraordinary moments in this story that I am left NOT wanting to talk specifically about the images, though many of them stun: this extraordinary photograph of the young girls in the car, her hair electrified by the dance of the wind tonguing through the carwindow and the sun startling each of us, as if that child were our own who has grown up and lept far away (it looks like a gorgeous kodachrome moment), the extraordinary physicality of the chewing-gum photo: the scent is there lingering in the elasticity of the moment, and the burst pop coming later, the ghost train (as if a Platonov story) outhouse outside the window of the home, the blundstones after a walkabout reminded of their own weariness with the death of the sparrow, the hoola-hoop, the fractured sun weeded over the limbs of trees, the crepuscular profiles of noses and toes and teeth and books and darned yarn, as if all those gorgeous nocturnes that alight upon each of our lives, the birds and the sheaf, the buddhist prayer flags born from laundrey, the songlines in the window and along the car’s speedometers, and above all, the music and the voices and the laughter that inhabit and haunt nearly ever photograph in this series. For in truth, when i am alone and think of my wife and son, of my own life with my brothers in my childhood, sound is what defines all my memories: the sound of laughter, the squawk of argument, the bleet of joy and the bench of breath, for to raise a family, to photograph a family is to come to terms with that bridging of the silence of being alone and the tumult of all that sound of life. When my son leaves us, it is his voice, either with joy or with anger, that i shall miss the most profoundly and which shall quietly break my over over the days of absence.

    For in truth Sam, each of us negotiates and wrangles with that absence and each of us knows that, whether we are parents or not. As a son and as a father and as a photographer, I was scraped large by the magnificent joy and tenderness and photographic beauty of these pictures. They are more than family ‘snapshots’, but as Towell reminds in his view from his porch, they are clues into each of our lives and worlds. Most of the people we love will disappear from our lives. We who will be wren’d and ratcheted from the soil from which we felt certain. We shall be misunderstood and confused, betrayed and bereft, we shall loose most of the things and people who are important to us, either through confusion or fate, circumstance or ego, from hubris or negligence. We shall, most of us, bury our parents and grandparents; we shall loose friends; we shall be misunderstood and criticized, by friends and family, parents and children alike. We shall loose everything that we hoped to plant, cultivate and see thrive. And with our children, our most enduring and precious life, we shall loose them too. there is a moment in Anne Carson’s magnificent Poem-Novel, the autobiography of red, when Geryon (i think) describes what it means to be a parent: as if standing on a hill and in the receding distance, on a further hill, is the child who is running faster than we are, and we are unable to catch them, for they are galloping toward the further horizon, to their life and their future, and we cannot catch them, and in the ache of that realization, is the ache and wonderment of life.

    and yet, we must cherish that. For photography has a way to point toward the corners which words, as Berger reminds, cannot lick and illuminate. Everything about the people and light and places in your magnificent story Sam will change and alter and disappear and yet, is it not photography’s power that allows us to remember, to hold on tight to that which is best about our lives and to which we must often be reminded: the place of love and community and family in our lifes which helps us buttress against the descending ending. these photographs are filled with light and music and have become, as with the best of all work, about my own life too. maybe i was a bit sensitive this week, after having wrestled and thought about and come to terms with the loss of a close person in my own life. and then just this morning speaking with my mom, who this week went through intensive, invasive surgery, and trying to keep her positive and laughter-filled as she struggles with pain and change and fear. If anything Sam, your beautiful story reminds me of a simple truth: that if we look around our lives and celebrate, hold closely and faithfully those around us and see that, our live, even with sorry and sadness, grows meaningful and light. As a photographer, I too have spent most of my photographic life trying to speak against the receding by photographing family and friends and students and the world of memory and the world i know best: that which defined me and my life. It is this peculiarity that makes your essay for me so strong, so joyous and so special.

    Take those people who are close to you into your arms and fill your life with them and with their animated, blood-driven warmth for eventually, sooner than we all expect, that warm space between our arms will be filled with empty space. Celebrate that and forever remember that. It is all we have and more than that.

    congrats Sam! gorgeous and magnificent work…

    all the best

  20. Lovely essay Sam, congratulations. As photographers I would guess that many of us consider family photographs as less important than our “serious work”. In truth it is probably the most important genre of photography that we can undertake: it’s just that we don’t always appreciate the wonder of a young family until the family grows up. Here, Sam shows us that photographs of normal life can be amazing; because there is no such thing as normal; just amazing!

    Thank you Sam,


  21. Go Sam..:))))
    refreshing someone said… unpretentious…
    we need more of photogs like You around..
    especially your honest, light touch way of viewing…
    A great photog that doesnt “try hard” to “prove” anything..
    U DA MAN…
    i’m about to meet my “real” family in europe soon…
    i hope i will be able to shoot as light as u do..
    with no heavy emotional attachments…
    if you ever do a Workshop about family photography..
    let me know..
    i will sign up…
    big hug

  22. …Audrey…!!!!
    hope to meet u in europe soon…
    i need a workshop from you as well…
    ( i agree with a past comment from Gordon…Audrey…
    you lead the way…)

  23. SAM..

    i do not think you need to be worried at all whether or not anyone specifically “gets” your whole approach…you are the author…if you start “over thinking” ever about what others will think, then your value as an author is lessened…..and when i was talking about that one picture , i was simply referring to the “what is that a picture of?” element..not really all that important in the long run given the texture and familial sentimentality of the whole piece…obviously, despite my minor misgivings about one picture, i felt this entire essay was worth showing to our Burn audience….and frankly, if ever there was an essay on Burn that requires little or no explanation, this one is it…i thought your artists statement was quite enough and i would be inclined, as always, to allow the visual literacy of the author to quite simply BE….

    cheers, david

  24. SAM

    I’m with Civi and Jim Powers in saying, “What’s not to love.” Yes, this is personal work but that just makes it more universal. Besides, your sense of light, composition and color coupled with your POV is so engaging that I wouldn’t much care what your subject is! But I sure do love seeing your kids and you and your wife. I get really good vibes about your family…


  25. BOB…

    I’m really quite speechless…
    thanks mate for such a deep and moving appraisal.
    I’ve never received compliments like that before!

    I’ve been sitting here watching my cursor flash on and off, waiting for my words to flow, but as time passes the page is still blank, I just don’t know where or how to begin…

    So much of what you’ve said is in my heart… because our lives are so transient and my daughters grow so fast…

    Because because because…

    Big hug to YOU


    What can I say… thank you for such sincere and thoughtful feedback. I’m happy that you got something from my work.

    I can only do my best to answer you… real conversation is much easier for me than a written one… unlike you, David Bowen, Bob Black, DAH et al, I’m not so comfortable behind the keyboard.

    “the intelligent synchronistic details filled with visual irony or paradoxical wit, and I am curious to know how aware you are that you are creating these..”

    This is difficult for me to answer succinctly.

    There are many things to discover and read in a photo.
    Each person, I think, has their own dialogue with an image. I know my wife Yael has different relationships with my photos than I do. I’ve enjoyed very much reading here how others interpret what they see, or think they see, in these photos. That’s the beauty of it, like music or dare I say poetry everyone finds their own truth.

    So, am I ‘aware’? yes AND no.

    Some of your observations, yes, very much so, but others, no, never crossed my mind… you read your own story into the photos and that’s how I like it.

    I photograph my diary work from a position of instinct –

    Many of the things you mention I am mindful of they are on my mental palate as I frame a shot… allbeit with different priorities… The editing however is not so instinctive, that’s when the intellect kicks in and that’s probably why I struggle with editing often…

    I wish the whole process could be instinctive. Watching my daughter Uma make her drawings and other creations I see only instinct, pure, open, honest… it inspires me.

    Btw. The ‘fake dead bird’ was a real dead bird. Stepped out the front door one morning and there it lay, still warm, poor thing… I photographed the scene, including Uma’s boots exactly how I saw it.



    Thanks for your commentary.

    I value very much your shot by shot critique. Your feedback is welcomed, especially as I know your also photographing your family and home life.

    Do I shoot raw? Yes. (you should have seen it before adjustments!)
    Does the noise in that photo bother me? No not at all…

    My intention with this work is to keep the sketchbook vibe, I don’t want it to be too polished. I like it loose and playful…

    However, if it were the end of a long project I may want to scrutinise it with a different eye, but for now it’s about experimenting, I’ll see where it takes me…

    Rafal, I want to emphasis how much I appreciate what you’ve had to say. If we were sitting together editing, I would consider much of what you’ve said, I’m sure it would have an effect on the outcome.

    Perhaps next time I’m deep in the editing quagmire we can communicate. Looking forward to seeing more of your diary photos…


    MIKE R…


    ‘it’s just that we don’t always appreciate the wonder of a young family until the family grows up’ .

    Exactly that.



    I wonder where on the road you are now?

    I have to say – no, U DA MAN

    Thanks for your words of praise…
    I’d love to share a bowl and shoot the breeze sometime…
    I lived in LA for a year, way back, I often remember those days
    (and nights) and think of you living it large and freestyle…

    me do a workshop! (ha)
    if you ever get over to Australia, I’ll do a workshop, and get you a cabin to stay in, how’s that? Or maybe you get me to Greece ; ))))))


    Thanks also… I’m glad your getting those vibes… and thanks for your previous responses, you’ve always been supportive… it’s appreciated.

  26. This is also a favorite of mine from the Burn catalog.
    Not in love with every frame but as a body of work, I don’t think you can make much more meaningful images. Thanks for this body of work and thanks DAH for putting this work in the mix. The love that Mr. Black speaks of really does come through. Inspiring stuff!

  27. peter hoffman…

    thanks indeed for your compliments

    looked briefly at your site just now, you’ve got some nice images in there yourself ; )
    i see your represented by wonderful machine – hows that working for you?

    i’m beginning to think about finding some representation again myself…

    my e-mail is: samharris.photo@gmail.com


  28. SAM…

    i usually say very little or nothing about the essays i publish here on Burn..why? because i figure that my publishing it alone is certainly validation for the photographer and i would not want my comments on the essay to sway the commentators one way or the other….my statement on Burn is just the choosing of the work in the first place…i choose different works for different reasons and surely expecting a multitude of reactions…often quite predictable….in any case, i just want to say this has been one of my favorite essays to publish here on Burn (except for #2, laughing)…i am very much a family person and i feel your integrating all of us into the sweet vignettes of your life has been universally heartwarming at the least….

    cheers, david

  29. David, Anton…

    firstly congratulations on the nomination! it’s wonderful news to wake up to here.

    it’s all about your manifestation!



    …it’s been a great weekend for me, feels kinda auspicious with a full moon in the sky
    and spring starting to bloom here…

    Being able to share my new work encourages me immensely, the burn community is a beautiful thing and i thank you ALL for such a warm response, i’ve been more than pleasantly surprised!

    David, over on Avalon you’ve just said “i would however like to have a positive influence on the next generation…that’s it..”

    please, let me tell you that you DO have THE MOST POSITIVE INFLUENCE on the next generation
    your a shinning light, open-minded, sharp, generous…

    I’m always mindful of your mantra ‘authorship’…
    and your reminders that we don’t need to travel to photograph, we can make
    the most from life in our own backyards, has obviously been extremely serendipitous….

    okay enough of my gushing sentiments, but it’s meant most sincerely.

    I wish i could be in New York for this coming weekend, to meet you, Anton and some of the Burn crew, see the exhibition! – will there be something on-line??? that would be great for all of us around the world to see…
    how many people can skype at once? just kidding!!! (maybe a slideshow?).

    and just before i sign off…

    i’m looking forward to being able to immerse myself into my new photography project next year, after spending the last two years juggling a lot of background stuff (collage and the work re my migration process…) it’s almost behind me…

    David i know your one of the busiest dudes around, requests left right and center… but i just gotta mention it’s a real ambition to have your mentorship with my next project… it’s early days yet but come March time i should have the beginning of something to show you : )

    thanks again

    cheers & hugs


  30. I love these sorts of pictures as they ooze sincerity.

    Its clear as a bell to me as a sydney sider from the first pic that its Australia. You’ve caught it in almost every image.

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