The remaining marine and timber yards dotted around Sydney Harbour face an uncertain future as the property developers move in. The workers talk of fighting back, but their days are numbered. When they go, two centuries of waterfront tradition will go with them, along with their working-class spirit. I took these images on assignment for the 2013 Magnum photojournalism workshop I attended in Sydney with veteran Magnum photographer Ian Berry.
In its 20th year, the Sydney Biennale featured an incredible cross-section of contemporary art and design practice. My good friend Ben Strout is the Chief Executive Officer and this, his first Biennale, was a major success. I arrived late afternoon at the Carriageworks venue, termed the Embassy of Disappearance, and played with blinding sunlight pouring into dark spaces.
In 2016, I embarked on a long-term project to photograph friends and acquaintances, mainly in the creative sphere. I'm shooting the portraits in monochrome, as much for insights into the persona of the subjects as for visual impact. My first 'sitters' were both Americans who've settled in Australia - Sydney sculptor Tom Arthur, whom I first met in 1982, and Adelaide image maker Ed Douglas, my photography mentor from the late 1970s.
In the Khrushchev era, from the mid-Fifties to the early Sixties, Moscow experienced a postwar building boom of standardised workers' apartments, know even today as 'Khruschovka' blocks - rapid reinforced-concrete construction, five stories high, with modules of 20 apartments (four per floor) that could be multiplied to create entire new neighbourhoods. Progressively these Khruschovka blocks are disappearing, replaced by modern tower blocks 20 or 30 stories high. The stairwell of this block, in the south-western Zyuzino district, had just received a fresh coat of near-luminous green paint when I arrived. The afternoon winter sun coming through the windows did the rest...