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Stephen Welsh



Ah, yeah, g’day, thanks for looking me up. I’ve been wielding a “proper” camera since retirement in early 2022 and an iPhone since early 2020 when I began haunting Sherbrooke forest during lockdowns. For someone with no art or photography training and I suspect I really didn’t know how to see it was quite surprise when people began asking for prints of my macro shots of the little things - mushrooms, insects, spider webs and so on.

Initially, photographs taken to share with people on social media who were not fortunate to live near forests during the trying times of 2020/21. The macro world can be remarkably beautiful presenting macro images will make the tiny worlds more relatable and therefore valued in this day and age. I take less macro photographs these days, more often taking landscapes using intentional camera movement and other long exposure techniques combined with compositing to bring a creative twist.

Inspiration arrives in a couple of ways. The first is in that state between being asleep and awake: visions (might be a scene, colours, or even words) seen there quite often guide what I do. Mind you, I might not have the skills to implement what I see immediately but somehow the skills come although it can take six months to become proficient enough to produce what I have seen in a print. The second source is walking in nature providing practice with the camera and more importantly “seeing”. After the shutter closes the work begins with editing, printing etc.
Come to think of it the MAVA Collective 2023 art prize entry “Anthroposcene” was the first time I recall creating for a theme.

The future holds an exploration of hand embellishing my prints and collaging.

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