Jocelyn Carlin, photographer, 1955 – 2017

It is with great sadness that we learn that our good friend and colleague, Jocelyn Carlin has died after a long illness.

Jocelyn was for many years a valued member of PhotoForum, as a subscriber, exhibitor and organiser, since the formation of PhotoForum/Wellington in 1976.

Among many other things, she helped to organize the exhibitions ‘Open the Shutter’ in 1994 and ‘Currency’ in 1995 at the Auckland War Memorial Museum, the New Zealand lecture tour by UK photographer David Hurn in 1996, and Wellington’s FotoFest in 1998.

We were pleased to include several of Jocelyn’s pictures in the 2014 survey publication PhotoForum at 40, and she generously supplied a lot of carefully preserved archival material for that book and the associated touring exhibition.

We were privileged to support the 2016 publication of her book, ‘Every Picture Tells a Story’, designated as PhotoForum issue number 85. A unique and wonderful book that charts a working photographer’s voice and career in an elegant and informative way, we were delighted to be able to support it, as Jocelyn generously supported the work of so many others over the years.

Rest in peace Jocelyn.

Geoffrey H.Short
PhotoForum Director

Funeral notice


Len Wesney, photographer, 1946 – 2017

Len Wesney, Baptism, Christchurch, 1972. The Active Eye, 1975. Plate 99.


Len Wesney, photographer, 1946 – 2017

We note with great sadness the recent death of Len Wesney in a house fire in Christchurch.

Len’s work appeared in issue 20 of Photo-Forum magazine in 1974, and he was a tutor for a PhotoForum summer workshop in Wellington in 1976.

His wonderful picture Baptism, Christchurch, 1972 was one of three pieces included in the 1975 touring exhibition The Active Eye and we were pleased to include it in the recent history of PhotoForum, PhotoForum at 40 by Nina Seja (Rim Books 2014).

Athol McCredie, curator of photography at Te Papa has written a moving and informative tribute to Len and his work on the Te Papa website:

Another detailed obituary, by Maddison Northcott, appears on the Stuff website

Geoffrey H. Short
PhotoForum Director

Bruce Connew: Tribute to Rene Burri and Lewis Baltz

EYE magazine’s Une petite mémoire – Thursday 2 April 2015:

Two remarkable artists died within weeks of each other late last year. Bruce Connew pays tribute to fellow photographers René Burri and Lewis Baltz.


Lewis Baltz,_Site of Technology_Anechoic Chamber_France Telecom Laboratories_Lannion_France_1989-1991
Image: Lewis Baltz, Sites of Technology, Anechoic Chamber, France Télécom Laboratories, Lannion, France, 1989–91.

A packet arrived from photographer Lewis Baltz in Paris posted two weeks before he died on 22 November 2014, writes Bruce Connew.

Inside was a catalogue for ‘Lewis Baltz’, the precisely hung 2013 exhibition of his groundbreaking ‘central achievements’ at the Albertina, Vienna. It was inscribed to me and my wife Catherine, and signed ‘L’, in a sort of Zorro way. It had reached New Zealand about two-and-a-half weeks after his death.

Lewis Baltz by John Gossage
Image: Lewis Baltz by John Gossage.

At this ridiculous distance, around the other side of the world, times, dates and sequences of events are critical when processing the death of a dear friend. On 11 November 2014, eleven days before Lewis died, he sent me a magazine picture by email of a fine grey mare with President Reagan astride – a riposte, I assumed, to Body of Work (my procreating horses series).

On our unhurried walks about Venice and more often Paris, we seldom discussed photography or art in any direct sense, more writing, politics and the state of an unpleasant world. Once, I spoke of W. G. Sebald’s The Rings of Saturn. He was impressed by the work, and within a week had read everything of Sebald’s in print. It was seldom you could bring something new to Lewis, because he’d read and thought deeply in his time about a swathe of territory. His assessments about art in a three-minuteTate Shots, and his thoughts cast wider in Lewis Baltz Texts, his collected writings published by Steidl, manifest the capacity and intellect of a man whose work is at the top of the canon.

Continue reading HERE.


Ron Brownson: Tribute to Glenn Jowitt (1955-2014)

Glenn Jowitt (1955-2014)


Yesterday I attended Glenn Jowitt’s funeral at the Grey Lynn Presbyterian Church on the corner of Crummer and Great North Road. The service was led with warmth, humour and reverence by the Reverend Nathan Pedro and the Reverend Mua Strickson-Pua. This well-known Church is a much cherished gathering place for Auckland’s Samoan, Tokelau and Tuvalu community. It is also one of this city’s loveliest Church centres and is sited just around the corner from Prime Road where Glenn lived for many years. 

Glenn’s mother, sister and brother were present. His niece also. They all spoke with much love and tenderness to the hundreds of friends present. It was the largest funeral gathering of any Auckland artist since the service for Don Binney at Saint Mary’s in Parnell. 

For all gathered there was a truly palpable presence of loss. Many tears were shed, many words were spoken. There were laughs and there were surprises at hearing delighting anecdotes. Glenn’s character emerged through a panoply of wonderful speeches. Read the full article here

Ron Brownson
Senior Curator, NZ & Pacific Art, Auckland Art Gallery
Outpost blog  – 31 July 2014

Glenn Jowitt (1955 – 2014)

We at PhotoForum are deeply saddened to learn of the death of photographer Glenn Jowitt.

PhotoForum is proud to have had a long association with Glenn, having first exhibited his work in Ten Christchurch Photographers at PhotoForum Gallery, Wellington in 1978, then his Race Meetings in New Zealand in 1979 and Black Power, Christchurch in 1981 at the same venue. He was a speaker in the 1988 PhotoForum Winter Lecture Series, and exhibitor in the group shows Open the Shutter, 1994 and up:date// The Active Eye in 2000.

The Black Power series featured in PhotoForum 46 (August 1980), and Mauke, Cook Islands, 1982 appeared in New Zealand Photography from the 1840s to the Present, 1993. p. 73.

This year his work was included in the exhibition History in the Taking – 40 Years of PhotoForum, and the book PhotoForum at 40.

Glenn is best known for his extensive photography of Pacific Island people both in New Zealand and in their home countries. His series Polynesia Here and There, originally shown at Auckland Art Gallery in 1983 and in Paris in 1986, has recently been acquired by the James Wallace Arts Trust and is currently being exhibited at the Pah Homestead Galleries, until 3 August.

Athol McCredie, Curator of photography at Te Papa, has written a tribute on his blog, along with links to the Museum’s extensive collection of Glenn’s work here:

A celebration of his life is to be held on Wednesday 30th July at 11:30am at the Presbyterian Grey Lynn Church on the corner of Crummer and Great North Roads, Grey Lynn – See more at:

Tribute to Glenn Jowitt – from Ron Brownson, Senior Curator, NZ & Pacific Art, Auckland Art Gallery.


Glenn Jowitt. Devil and Baldie, 1979. Photo-Forum 46 (August 1980). p. 48.

Glenn Jowitt. Mauke, Cook Islands, 1982. From 35mm colour transparency. Artist’s collection.
New Zealand Photography from the 1840s to the Present, 1993. p .73.


Les Cleveland (1921-2014)

Les Cleveland, Lake Tennyson, c.1960.*


The annual horse-racing day at Kumara is a social institution on the West Coast.  The tiny settlement, once a thriving gold-rush town with dozens of hotels, somehow still maintains, however notionally, a racing club superintending the yearly race-day. In 1959 I was there, a 12 year-old, trying to make some sense of this ritual posing as a sporting event. Up until then, my only experience of photographers was of a couple of slightly seedy men running impoverished studios out of dilapidated buildings in Hokitika who operated within the conventions of lining people up according to height and, in the studio, using artificial light and a range of props whose main function seemed to be various kinds of  concealment.

At Kumara that day I noticed this guy with a camera skulking around, taking photographs of seemingly non-existent subject matter. It was very odd, something completely outside of my experience, and I was dutifully puzzled. It was Les Cleveland, documentary photographer. When his The Silent Land came out from the Caxton Press in 1966 I recognised a certain character in Plate 54. Some of my less-than-kind friends have remarked on my proximity to the entrance of the members’ bar, but in fact my presence was philanthrophic rather than alcoholic. A kid I knew at school had got the string attached to his sun-hat in a knot, right up under his chin, and I was helping to disentangle it.

In 2000 a mutual friend told Les this story, and – with characteristic generosity and thoughtfulness – he made a new print of the image and gave it to me. On that day in 1959 neither he nor I knew the full import of that crossing of paths. The photograph may have recorded a particular event in fine documentary tradition, but it came to commemorate – at least for me – a highly significant moment in my life.

(Just a few months later, in 1960 during Westland’s centenary, there were various celebrations throughout the province, including a kind of Big Day Out at Ross, another small settlement/former gold rush town south of Hokitika at the then end of the Midland railway line, originating “over the hill” in Christchurch.  Another photographer was seen to be skulking about, randomly clicking away, so, clearly, the Kumara guy wasn’t a one-off. This was stuff people did. The Ross guy was Brian Brake.)

Cleveland’s recent death has sent me back to the catalogue of his survey show at the Wellington City Gallery in 1998, Message from the Exterior: Six Decades. Such recognition was a bit late in coming, but Les was of an old school where careerist expectations were non-existent, and it would’ve been all fine with him. Lawrence McDonald’s astute curation and invaluable catalogue essay, A Dwelling With Many Rooms,  stand as a fair and fitting tribute to his photography. But, as Lawrence pointed out, Les was also a singer, a song-writer, a poet and short-story writer, a soldier, a journalist, broadcaster, folklorist, protester, bushman, occasional welder, social media sociologist and distinguished academic at VictoriaUniversity. He was also a pioneer in taking popular culture seriously, at a time when people of taste and discrimination routinely treated its rowdy embarrassments with condescension. McDonald summed him up thus: “If you can imagine a man who is part Walker Evans, part Ramblin’ Jack Elliott, part Alan Lomax, and part Raymond Williams then you’re getting close to Cleveland’s turf.”

Laurence Simmons’ essay in the same publication, Looking Back: Les Cleveland’s poetics of documentation, examines the apparent distinction between the “poles of aesthetic or documentary intent and effect”, having implications across the board, not just for Cleveland’s work, and offering an erudite and thoughtful meditation that still remains largely unconsidered in the art world.

Earlier, though, Cleveland’s work found its first major foregrounding – when Les was 64 – in Athol McCredie & Janet Bayly’s fine 1985 PhotoForum publication Witness to Change, still one of the best photographic books to have been published in New Zealand. Sub-titled Life in New Zealand, Photographs 1940 – 1965, it took three photographers in chronological order – John Pascoe, Cleveland and Ans Westra – to illustrate the strands of embryonic social documentary photography in this country. McCredie’s four and a half-page essay sensibly allowed Cleveland to pretty much speak for himself, because he was a considered thinker and  memorable writer, with the dozen full-page illustrations so deftly seen through the press by Brian Moss that they allow the photographs to speak for themselves too.

Cleveland’s lifetime achievement as a photographer is enormously significant, and that will become more apparent as time passes.  That the reception of  his work in the present day  remains stalled is something explained by Simmons in his 1998 essay: “Part of the problem with the collison between the terms documentary and poetics has to do with the widely accepted distinction between documentary and art photography and the subsequent assigning of documentary to a marginal zone”. The essayist goes on to link Cleveland’s work with Barthes’ notion of the principle of adventure in all photography, that unexpected journey between image and viewer, and concludes that this adventuring is the very condition of Cleveland’s work, providing its “power but also the respository of its grace.”

Cleveland’s own adventuring has ended, but his work’s has just begun. Vale dear Les.

Peter Ireland

* Above image sourced from the publication Witness to Change – Life in New Zealand by Janet Bayly and Athol McCredie, PhotoForum/Wellington 1985.

JOHN FIELDS (1938-2013)


In the early-to-mid 1970s photography here was almost 100% a photographers’ preserve, and, as usual among practitioners, most of the talk centred on cameras, film and paper. It was all a bit bewildering for someone like myself not only not a photographer but largely uninterested in the technical side. What about the imagery? It seemed the only way to make any sense of that was to go on looking. Of course, in those days the opportunities were few and far between.

The Baigent/Collins/Fields show at the Auckland Art Gallery in 1973 was a revelation. Three bodies of work extensive enough to give a sense of individual style and approach, allowing the realization that “a voice” could come through a camera. Ironically, perhaps, what first drew me to John Fields’ work was the quality of the printing: a tonality, richness and precision that simply illuminated the subject matter. Through his typical generosity and patience John shared his technique with many emerging photographers and set new standards of presentation. He was the consummate professional.

As I became more familiar with his work the print quality issue receded and the imagery began imprinting itself on my consciousness. I’m at the age now where the awareness of forgetting is a daily trial, but John’s images remain vividly in my memory. His solo show at Snaps in, I think, 1976 remains one of the most affecting photographic exhibitions I’ve ever seen. What remains for me, ultimately, is what a constantly sharp eye he possessed. Perhaps a photographer’s greatest asset.

John was a lovely man. Gentle, modest, generous and with a quiet but devastating sense of humour. He was a remarkable human being and great company.

In 2008 David Langman – a tireless promoter of John’s work in later years – asked me to write a short preface for a small book he produced for a Fields’ show at Wellington’s Photospace. Fields’ lively eye roamed far and wide, producing a body of work characterized by diversity of subject but connected by a thread of social awareness, humour and a formal sensibility that can still stop one short with its elegance and pungency. And there are the classics of New Zealand photography: the view of One Tree Hill through the factory chimneys, the agapanthus against the unpainted sunlit colonial weatherboarding, the Fijian man in traditional dress seemingly bewildered among the clothes’ racks of the department store. Moments in time that at once define it but escape being limited by it. The gift of photography that Fields’ work presents in abundance.

Farewell dear John. Thank you for your marvellous, enduring work.
-Peter Ireland, Whanganui, 10 February 2013

View further tributes to John Fields here


John B. Turner: John Fields, Tony's Restaurant, Wellesley Street, Auckland, 27 May 2009.

John B. Turner: John Fields, Tony’s Restaurant, Wellesley Street, Auckland, 27 May 2009.

JOHN FIELDS (1938-2013)

It is with a real sense of loss that we note the death of John Fields on Monday 4 February, 2013, at his home in Guyra, NSW, Australia. A major influence on post World War II photography in New Zealand, John was an inspiring founding member and one time President of PhotoForum Inc. He wrote distinctive technical reports for PhotoForum magazine in the mid-1970s as well as contributing his own photographs, before he left for Australia in 1976. John’s presence and his lively (hand-written) correspondence will be missed by many friends, but his legacy as an exemplary and influential photographer will continue.
Our condolences go to John’s wife, Patricia, and their daughters Kerry and Helvi and their families.
-John B. Turner, Beijing, 7 February 2013

We attach below John Turner’s 2008 tribute to John Fields and his legacy from our PhotoForum blog of 11 November 2008.

Here also are links to further tributes, PhotoForum has been asked to share:
Harvey Benge
Ron Brownson (Senior Curator New Zealand and Pacific art, Auckland Art Gallery)
Peter Ireland

John Fields. Forty Years Ago Today: selected vintage photographs.
PhotoForum November 11th, 2008

Photospace Gallery, Wellington, in association with Galerie Langman. 12 November to 2 December 2008. Opening: Tuesday 11th November, 5.30 pm.

A selection of 38 vintage prints by John Fields, the US-born, Australia-domiciled photographer who worked in New Zealand from 1966 to 1976 is now showing at Wellington’s Photospace Gallery. Fields will attend the opening.

John Fields: Chimneys, Onehunga, 1968.

John Fields, now 70, did much to raise the standards of New Zealand photography during the late 1960s and early 1970s.

Excited by guns, hunting and the sea as a youth, Fields, who was born in Gloucester, Massachusetts, joined the US Navy on his 17th birthday. It was while he was on duty in the Pacific and Far East that he became an avid photographer. He subsequently attended a course in colour photography at Massachusetts Institute of Technology, worked as a freelance photographer and studied expeditionary filmmaking at Harvard with Robert Gardener. In 1965 he became a photographer at Massachusetts General Hospital, working under Dr Stanley Bullivant, a noted English cell biologist. When Bullivant transferred to the University of Auckland in 1966, Fields accepted the opportunity to join him.

Used to working in both commercial and personal photography (he had his first one-man exhibition in 1966, and was used to visiting photography galleries in the U.S.), Fields noted that he felt that he had arrived in a “cultural vacuum” in New Zealand, where so little seemed to be happening in the art and photography scene. He was forced to reconsider his U.S. photography experience and clarify for himself the fundamental differences between personal and commercial (or professional) photography, and the photograph as a document, or as a work of art. Coincidentally, at the time, these were issues confronting local photographers such as Gary Blackman, John Johns, Ans Westra, Gary Baigent, Richard Collins, Marti Friedlander, John Daley, Max Oettli and John B. Turner, for example, who were also seeking outlets for their personal work.

As well as working full time at the University of Auckland’s medical school, Fields’ explored New Zealand with his cameras. He was a prolific photographer by New Zealand standards and his exemplary 35 mm technique set him apart from most New Zealanders who discovered how much they had to catch up. Inspired by his discovery of Walker Evans’ classic American Photographs in 1969, and especially Lincoln Kerstein’s seminal essay in that book, he had his old 5×7 inch view camera, previously used for commercial colour photography, shipped to Auckland. Large format view cameras were a rarity in New Zealand outside of some commercial studios, and so it was by Field’s example and generosity that Laurence Aberhart and Richard Collins, among others, had their introduction to a classic view camera approach. Not content with contact printing alone, Fields also made enlargements from his early 5×7 inch negatives. Later he acquired an 8 x 10 inch camera for views and interiors, while continuing his 35 mm work.

Impatient to improve the local photographic scene in Auckland, John Fields organised the collaborative group publication of Photography – A Visual Dialect: 10 Contemporary New Zealand Photographers in 1970. It included, for the record, three works each by Gary Baigent, Simon Buis, Richard Collins, John Fields, Ken Foster, Alan Leatherby, Roy Long, Mac Miller, Max Oettli and John B. Turner. For July 1972 he organised an invitational exhibition to be shown at Auckland’s prestigious Barry Lett Gallery, which included Gary Baigent, Simon Buis, Richard Collins, Mac Miller, Do Van Toan, John B. Turner, Ans Westra, and Fields himself.

In 1973 his collaboration with the architectural historian John Stacpoole, Victorian Auckland, was published to acclaim. That year 25 of his photographs were also included in the Auckland City Art Gallery’s exhibition and catalogue, Baigent Collins Fields: Three New Zealand Photographers.

John Fields was an influential teacher at the University of Auckland’s Elam summer photography workshops. He was also a major figure behind the founding of PhotoForum Inc in 1973, and contributed photographs and technical reports for PhotoForum magazine.

Fields was the recipient of a Queen Elizabeth II Arts Council grant for photography in 1975, to enable him to do an extensive documentation of the goldfield town of Thames, on the Coromandel Peninsula. Well into the project, for which he contributed much of his own savings, he was frustrated to find that the New Zealand Department of Inland Revenue would not budge in its insistence that his photography was a mere “hobby,” and therefore not eligible for the kind of tax concessions U.S. photographers received.    Consequently, with his wife Patricia and their young daughters, Kerry and Helvi, Fields upped and left for Australia in 1976.

In Sydney, New South Wales, he first taught workshops at the Australian Centre for Photography, then became Chief Photographer at the Australian Museum, Sydney. His work is in the notable publication, Minerals of Broken Hill (1982) and he made the prints from the original glass negatives for the book Frank Hurley in Papua: photographs of the 1920-23 expeditions (1984), for which he  collaborated with Dr. Jim Specht who researched and wrote the text.

Fields moved to Armidale, NSW, in 1987 to become Photographer-in-Charge at the Media Resources Unit of the University of New England. For five years prior to his retirement in January, 1998, he was the Liaison Officer with the University’s Publicity Unit. Since retirement, among other things, he has taken up painting. He now lives in the rural town of Guyra, N.S.W.

John Fields can be seen as both a realist and a romantic. His early work weaves between the picturesque on one hand and classic modernism of the kind associated with Edward Weston and Walker Evans on the other. In his hands metaphor can be used for aesthetic, lyrical purposes, but is just as likely to be used to drive home an ironic social critique, especially in regard to conservation of the land and man’s increasing alienation from nature. That his work is of a superior technical standard is an added bonus.
John B. Turner.

RIP, Helena Hughes

It is with great sadness that we hear of the death of Auckland (ex Wellington) photographer and PhotoForum member Helena Hughes who passed away on 16 August after a long battle with cancer. We extend our sincere condolences to Helena’s family and friends.

A farewell service will be held at 1pm on Tuesday 21 August at Te Mahurehure Marae, 65 Premier Avenue, Point Chevalier. State of Grace Limited 0800-764-722.