by Lost At E Minor in New Photography on Wednesday 16 April 2014

This article brought to you by Canon

They say ‘an image has the power to change the world’, and we know that better than most. Over the course of the past nine years, we’ve run 73,262 images on Lost At E Minor. 73,262! That’s a lot of power we’ve unleashed on the world. So we’re pleased to have partnered up with our friends at Canon to present a collaborative project (#CanonShine) that celebrates the ‘deeper meaning‘ of images. [Photo above by Shine A Light Canon Master, Mike Langford]

Canon Shine asks amateur and professional photographers alike to submit a photo to the #CanonShine platform that really captures something important in their world. We’re talking images with a very personal meaning behind them; that have a compelling story to tell.

Entries will then be voted on by members of the public to reach a top 50 images of what matters to Australia.

You get to shine a light on what matters to you and, if you’re the lucky winner, Canon will shine a light on your photo story to millions of Australians by bringing your image to life through a national advertising campaign; featuring your entry in a two month display in the NSW State Library; and creating a documentary about your journey to capture your image, which will be shared to inspire people all across Australia

It’s an epic opportunity for anyone wanting to get their photography or passion out to the nation. Neat, huh?

So, to inspire you into creative action, we’ve invited seven of Lost At E Minor’s favourite Australian photographers to talk about a photo they’ve taken that shines a light on something that matters most to them.

These are their words and images below.

What matters to you? Shine a light on your passion and share with millions on #CanonShine here.

EMMA PHILLIPS

Emma Phillips

‘When inspiration hits, the most difficult thing for me is being able to transfer the idea into a technical application. This image is important because I feel as though it represents the diversity of the camera. A camera is an instrument which takes recordings of very fragile moments and a lot of the time it’s difficult to see the person behind the camera.

‘Just as a writer uses words to get their ideas across, a photographer must use a camera. They must be in control of the camera and the camera must not be in control of them. At least, I believe this to be true with the works I have done that are marginally successful aesthetically.’

CORMACK O’CONNOR

Cormack O'Connor

‘This photo shines a light on my love of live music. There’s nothing more inspiring or goose bump inducing than standing between a crowd and a performer, watching them absolutely blow people away. In my work I try to capture the mood and general sense I feel within the crowd to convey it to an audience at home. I think that’s really important: there’s a difference between taking a “good” or “nice” photo and capturing a mood.’

HEIDI ROMANO

HeidiRomano

‘Watering our garden is a meditation: to slow down, think, ponder and experience the moment. When I am in the garden, I never have a clear idea of what I’m looking for. I contemplate and occasionally find exactly what I wasn’t seeking. For me, that’s the time I discover a new path, a new way of seeing, another reason to continue my search.’

JAY HYNES

JayHynes

‘ANZAC day is Australia’s day to remember those who served and died in wars for our country. It was also the day that Australian soldiers landed in Gallipoli in WW1. In Melbourne, veterans march to the Shrine of Remembrance in the battalions they went to war in. Afterwards, they grab a cup of tea and have a chat to their mates and family. To me, ANZAC day is the most important one on our calendar.

‘It’s a time to remember and pay respect to those that made the ultimate sacrifice for our country. I, along with many Australians, believe that their spirit, the ANZAC spirit, is one that defines our country.

‘Last year, I gave myself 20 minutes to photograph as many veterans as possible. For me, it’s like approaching my favourite musician for an autograph. I’m pretty nervous but also hugely excited. It’s a massive thrill.

‘Their genuine humility probably makes them a little confused when I ask if I can take their portrait. “Really? A photo of me? Yeah, sure if you like”. All of them had a presence; they stood proud and gave me their full attention. All of these men had so much respect for themselves and for others.

‘These portraits and my time taking them still give me a huge thrill and I suppose that’s why I’m a portrait photographer. You get to meet all types of people and take away great memories and hopefully a good photograph.’

MICHAEL CORRIDORE

Michael Corridore

‘This is a photograph that I took a few years back. It’s one that I often remember and revisit. The photograph asks many questions: did Stephanie marry P? Did the public proposal on the outskirts of the small town embarrass Stephanie? Was it Stephanie that painted out her own name or another person who longed for her love try to hide it? Maybe it was her disgruntled father who sought to protect her? Who is P?

‘I love the mystery of the photograph and the shifting back stories that a simple photograph can conjure. More importantly, it’s the drifting journey that photography allows us to travel in search of moments like these that resonates with my curiosity to explore and record.’

SAVANNAH VAN DER NIET

Savannah Van der Niet

‘This photo was snapped on the side of the road in Agra, India. Stopped briefly, I noticed this man to my side, squatting in the dirt as he takes a break from his hard work and watches the world pass, his arm outstretched to a small donkey licking his hand.

‘I found this the most beautiful expression of kindness between man and animal, and loved the innocence of this small white being with this man almost unknowingly accepting its affection.

‘I treasure the spontaneity, simpleness and candid subject of this photo, as well as how it encompasses my travel to India.’

DEBORAH PAAUWE

Deborah Paauwe

‘I’m a firm believer in the idea that inspiration is all around you, it’s a case of being receptive to it. I’ll see little things online, in print, in films, on TV that bounce off the life I know and have lived. These begin to accumulate until a concept forms and I go after it. I still work with film and a Hasselblad. There’s something about the way film absorbs light that appeals to me. I love it.’ [“Crown of Roses”, 2013, courtesy of Greenaway Art Gallery, Adelaide & Michael Reid, Sydney]