creative translation through photography and traditional graphic design. seeking to capture and create a vision, a brand and an image; yours and his. b.leideritz.

b.leideritz

capturing, developing and creatively translating your brand, your business and your image. translated through traditional graphic design principals and a photographic art practice that originated on film and transitioned through to digital commercial portrait photography.

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Taking bookings for the rest of Nov and Dec leading into xmas/ny ...

if you are in the market for a b.creative or b.you shoot for promo, prints or fun, drop me a DM 🙂

(if you are in Perth, if there is enough interest we are happy to make a trip over when bjork is playing next year, so reach out 🙂

#b #bleideritz #bcreative #byou b.leideritz.com
For those of you in MELB, if you are interested in booking a b.creative or b.you shoot in early December, for promo, prints or fun, drop me a DM ... I am taking bookings while over for a quick trip and need to know in the next week or so to make arrangements 🙂

#b #bleideritz #bcreative #byou b.leideritz.com
DO WE FORGIVE THOSE WHO TRESPASS AGAINST US?

Suspension for RMIT Master of Photography Semester 1 Studio 1
Each panel is 1.1m x 1.65m in scale
Photo by @piajohnsonphotography 

As a self-identified freak or ‘other’, ‘Do we forgive those who trespass against us’ sets out to question and challenge the normative society in which we have been engulfed by. The nature of ‘self’ is communicated through performativity and difference, which enables those wishing to retain power of conservative structuralist ideologies, to categorise us in the same way that they mis-contextualise scripture to re-enforce their self-serving needs. We become ‘representations of wrong in the eyes of (their) god’, condemned to their mythological hell, because their narrative requires us to be ‘evil’ in their binary make believe, of which they see themselves as ‘good’. Giving space for gender performance and representation to our community of ‘other’ allowed for a communal deconstruction and reinterpretation of the symbolism, myth and narrative of the church’s ideologies. By post structuralist deconstruction, and by contrasting the religious and mythological representations of judeo/christian constructs and its foundational imagery, I present within this homage, the alternative reality and strength of difference that the ideologies of the church continue to demonise to this day. In the creation of this homage, I see the potential for a wider audience of the invisible ‘other’, and normative personal alike, to appreciate that a conservative structuralist reality isn’t the only ‘truth’, but simply a singular dated and restrictive viewpoint in an ongoing and ever-changing reality of a post-structuralist society where truth is relative, and personal.

This homage has been printed for RMIT Master of Photography studio one assessment by David Hobbs at Master of Prints @master.of.prints on stock Bauhaus Tru Rag Etching from Daniela Barth of Spicers Paper AU. Thanks to Pia Johnson for the supervision and installation assist, and Torika B for the subject lecturing.

#doweforgivethosewhotrespassagainstus #b #bleideritz #bchallenged b.leideritz.com 
RMITPhotography #RMITphoto
DO WE FORGIVE THOSE WHO TRESPASS AGAINST US?

Suspension for RMIT Master of Photography Semester 1 Studio 1
Each panel is 1.1m x 1.65m in scale
Photo by @piajohnsonphotography

As a self-identified freak or ‘other’, ‘Do we forgive those who trespass against us’ sets out to question and challenge the normative society in which we have been engulfed by. The nature of ‘self’ is communicated through performativity and difference, which enables those wishing to retain power of conservative structuralist ideologies, to categorise us in the same way that they mis-contextualise scripture to re-enforce their self-serving needs. We become ‘representations of wrong in the eyes of (their) god’, condemned to their mythological hell, because their narrative requires us to be ‘evil’ in their binary make believe, of which they see themselves as ‘good’. Giving space for gender performance and representation to our community of ‘other’ allowed for a communal deconstruction and reinterpretation of the symbolism, myth and narrative of the church’s ideologies. By post structuralist deconstruction, and by contrasting the religious and mythological representations of judeo/christian constructs and its foundational imagery, I present within this homage, the alternative reality and strength of difference that the ideologies of the church continue to demonise to this day. In the creation of this homage, I see the potential for a wider audience of the invisible ‘other’, and normative personal alike, to appreciate that a conservative structuralist reality isn’t the only ‘truth’, but simply a singular dated and restrictive viewpoint in an ongoing and ever-changing reality of a post-structuralist society where truth is relative, and personal.

This homage has been printed for RMIT Master of Photography studio one assessment by David Hobbs at Master of Prints @master.of.prints on stock Bauhaus Tru Rag Etching from Daniela Barth of Spicers Paper AU. Thanks to Pia Johnson for the supervision and installation assist, and Torika B for the subject lecturing.

#doweforgivethosewhotrespassagainstus #b #bleideritz #bchallenged b.leideritz.com 
RMITPhotography #RMITphoto
DO WE FORGIVE THOSE WHO TRESPASS AGAINST US?

Suspension for RMIT Master of Photography Semester 1 Studio 1
Each panel is 1.1m x 1.65m in scale
Photo by @piajohnsonphotography 

As a self-identified freak or ‘other’, ‘Do we forgive those who trespass against us’ sets out to question and challenge the normative society in which we have been engulfed by. The nature of ‘self’ is communicated through performativity and difference, which enables those wishing to retain power of conservative structuralist ideologies, to categorise us in the same way that they mis-contextualise scripture to re-enforce their self-serving needs. We become ‘representations of wrong in the eyes of (their) god’, condemned to their mythological hell, because their narrative requires us to be ‘evil’ in their binary make believe, of which they see themselves as ‘good’. Giving space for gender performance and representation to our community of ‘other’ allowed for a communal deconstruction and reinterpretation of the symbolism, myth and narrative of the church’s ideologies. By post structuralist deconstruction, and by contrasting the religious and mythological representations of judeo/christian constructs and its foundational imagery, I present within this homage, the alternative reality and strength of difference that the ideologies of the church continue to demonise to this day. In the creation of this homage, I see the potential for a wider audience of the invisible ‘other’, and normative personal alike, to appreciate that a conservative structuralist reality isn’t the only ‘truth’, but simply a singular dated and restrictive viewpoint in an ongoing and ever-changing reality of a post-structuralist society where truth is relative, and personal.

This homage has been printed for RMIT Master of Photography studio one assessment by David Hobbs at Master of Prints @master.of.prints on stock Bauhaus Tru Rag Etching from Daniela Barth of Spicers Paper AU. Thanks to Pia Johnson for the supervision and installation assist, and Torika B for the subject lecturing.

#doweforgivethosewhotrespassagainstus #b #bleideritz #bchallenged b.leideritz.com 
RMITPhotography #RMITphoto
DO WE FORGIVE THOSE WHO TRESPASS AGAINST US?

As a self-identified freak or ‘other’, ‘Do we forgive those who trespass against us’ sets out to question and challenge the normative society in which we have been engulfed by. The nature of ‘self’ is communicated through performativity and difference, which enables those wishing to retain power of conservative structuralist ideologies, to categorise us in the same way that they mis-contextualise scripture to re-enforce their self-serving needs. We become ‘representations of wrong in the eyes of (their) god’, condemned to their mythological hell, because their narrative requires us to be ‘evil’ in their binary make believe, of which they see themselves as ‘good’. Giving space for gender performance and representation to our community of ‘other’ allowed for a communal deconstruction and reinterpretation of the symbolism, myth and narrative of the church’s ideologies. By post structuralist deconstruction, and by contrasting the religious and mythological representations of judeo/christian constructs and its foundational imagery, I present within this homage, the alternative reality and strength of difference that the ideologies of the church continue to demonise to this day. In the creation of this homage, I see the potential for a wider audience of the invisible ‘other’, and normative personal alike, to appreciate that a conservative structuralist reality isn’t the only ‘truth’, but simply a singular dated and restrictive viewpoint in an ongoing and ever-changing reality of a post-structuralist society where truth is relative, and personal.

This homage has been printed for RMIT Master of Photography studio one assessment by David Hobbs at Master of Prints @master.of.prints on stock Bauhaus Tru Rag Etching from Daniela Barth of Spicers Paper AU. Thanks to Pia Johnson for the supervision and installation assist, and Torika B for the subject lecturing.

#doweforgivethosewhotrespassagainstus #b #bleideritz #bchallenged b.leideritz.com 
RMITPhotography #RMITphoto
DO WE FORGIVE THOSE WHO TRESPASS AGAINST US?

As a self-identified freak or ‘other’, ‘Do we forgive those who trespass against us’ sets out to question and challenge the normative society in which we have been engulfed by. The nature of ‘self’ is communicated through performativity and difference, which enables those wishing to retain power of conservative structuralist ideologies, to categorise us in the same way that they mis-contextualise scripture to re-enforce their self-serving needs. We become ‘representations of wrong in the eyes of (their) god’, condemned to their mythological hell, because their narrative requires us to be ‘evil’ in their binary make believe, of which they see themselves as ‘good’. Giving space for gender performance and representation to our community of ‘other’ allowed for a communal deconstruction and reinterpretation of the symbolism, myth and narrative of the church’s ideologies. By post structuralist deconstruction, and by contrasting the religious and mythological representations of judeo/christian constructs and its foundational imagery, I present within this homage, the alternative reality and strength of difference that the ideologies of the church continue to demonise to this day. In the creation of this homage, I see the potential for a wider audience of the invisible ‘other’, and normative personal alike, to appreciate that a conservative structuralist reality isn’t the only ‘truth’, but simply a singular dated and restrictive viewpoint in an ongoing and ever-changing reality of a post-structuralist society where truth is relative, and personal.

This homage has been printed for RMIT Master of Photography studio one assessment by David Hobbs at Master of Prints @master.of.prints on stock Bauhaus Tru Rag Etching from Daniela Barth of Spicers Paper AU. Thanks to Pia Johnson for the supervision and installation assist, and Torika B for the subject lecturing.

#doweforgivethosewhotrespassagainstus #b #bleideritz #bchallenged b.leideritz.com 
RMITPhotography #RMITphoto
DO WE FORGIVE THOSE WHO TRESPASS AGAINST US?

Panel 1
The seers
Eyes wide open

As a self-identified freak or ‘other’, ‘Do we forgive those who trespass against us’ sets out to question and challenge the normative society in which we have been engulfed by. The nature of ‘self’ is communicated through performativity and difference, which enables those wishing to retain power of conservative structuralist ideologies, to categorise us in the same way that they mis-contextualise scripture to re-enforce their self-serving needs. We become ‘representations of wrong in the eyes of (their) god’, condemned to their mythological hell, because their narrative requires us to be ‘evil’ in their binary make believe, of which they see themselves as ‘good’. Giving space for gender performance and representation to our community of ‘other’ allowed for a communal deconstruction and reinterpretation of the symbolism, myth and narrative of the church’s ideologies. By post structuralist deconstruction, and by contrasting the religious and mythological representations of judeo/christian constructs and its foundational imagery, I present within this homage, the alternative reality and strength of difference that the ideologies of the church continue to demonise to this day. In the creation of this homage, I see the potential for a wider audience of the invisible ‘other’, and normative personal alike, to appreciate that a conservative structuralist reality isn’t the only ‘truth’, but simply a singular dated and restrictive viewpoint in an ongoing and ever-changing reality of a post-structuralist society where truth is relative, and personal.

This homage has been printed for RMIT Master of Photography studio one assessment by David Hobbs at Master of Prints @master.of.prints on stock Bauhaus Tru Rag Etching from Daniela Barth of Spicers Paper AU. Thanks to Pia Johnson for the supervision and installation assist, and Torika B for the subject lecturing.

#doweforgivethosewhotrespassagainstus #b #bleideritz #bchallenged b.leideritz.com 
RMITPhotography #RMITphoto
DO WE FORGIVE THOSE WHO TRESPASS AGAINST US?

Panel 2
The seen
Adam, Eve, Cain & Abel

As a self-identified freak or ‘other’, ‘Do we forgive those who trespass against us’ sets out to question and challenge the normative society in which we have been engulfed by. The nature of ‘self’ is communicated through performativity and difference, which enables those wishing to retain power of conservative structuralist ideologies, to categorise us in the same way that they mis-contextualise scripture to re-enforce their self-serving needs. We become ‘representations of wrong in the eyes of (their) god’, condemned to their mythological hell, because their narrative requires us to be ‘evil’ in their binary make believe, of which they see themselves as ‘good’. Giving space for gender performance and representation to our community of ‘other’ allowed for a communal deconstruction and reinterpretation of the symbolism, myth and narrative of the church’s ideologies. By post structuralist deconstruction, and by contrasting the religious and mythological representations of judeo/christian constructs and its foundational imagery, I present within this homage, the alternative reality and strength of difference that the ideologies of the church continue to demonise to this day. In the creation of this homage, I see the potential for a wider audience of the invisible ‘other’, and normative personal alike, to appreciate that a conservative structuralist reality isn’t the only ‘truth’, but simply a singular dated and restrictive viewpoint in an ongoing and ever-changing reality of a post-structuralist society where truth is relative, and personal.

This homage has been printed for RMIT Master of Photography studio one assessment by David Hobbs at Master of Prints @master.of.prints on stock Bauhaus Tru Rag Etching from Daniela Barth of Spicers Paper AU. Thanks to Pia Johnson for the supervision and installation assist, and Torika B for the subject lecturing.

#doweforgivethosewhotrespassagainstus #b #bleideritz #bchallenged b.leideritz.com 
RMITPhotography #RMITphoto
DO WE FORGIVE THOSE WHO TRESPASS AGAINST US?

Panel 3
The seen
Lucifer, THE Devil, Baphomet & Mephistopheles

As a self-identified freak or ‘other’, ‘Do we forgive those who trespass against us’ sets out to question and challenge the normative society in which we have been engulfed by. The nature of ‘self’ is communicated through performativity and difference, which enables those wishing to retain power of conservative structuralist ideologies, to categorise us in the same way that they mis-contextualise scripture to re-enforce their self-serving needs. We become ‘representations of wrong in the eyes of (their) god’, condemned to their mythological hell, because their narrative requires us to be ‘evil’ in their binary make believe, of which they see themselves as ‘good’. Giving space for gender performance and representation to our community of ‘other’ allowed for a communal deconstruction and reinterpretation of the symbolism, myth and narrative of the church’s ideologies. By post structuralist deconstruction, and by contrasting the religious and mythological representations of judeo/christian constructs and its foundational imagery, I present within this homage, the alternative reality and strength of difference that the ideologies of the church continue to demonise to this day. In the creation of this homage, I see the potential for a wider audience of the invisible ‘other’, and normative personal alike, to appreciate that a conservative structuralist reality isn’t the only ‘truth’, but simply a singular dated and restrictive viewpoint in an ongoing and ever-changing reality of a post-structuralist society where truth is relative, and personal.

This homage has been printed for RMIT Master of Photography studio one assessment by David Hobbs at Master of Prints @master.of.prints on stock Bauhaus Tru Rag Etching from Daniela Barth of Spicers Paper AU. Thanks to Pia Johnson for the supervision and installation assist, and Torika B for the subject lecturing.

#doweforgivethosewhotrespassagainstus #b #bleideritz #bchallenged b.leideritz.com 
RMITPhotography #RMITphoto
DO WE FORGIVE THOSE WHO TRESPASS AGAINST US?

As a self-identified freak or ‘other’, ‘Do we forgive those who trespass against us’ sets out to question and challenge the normative society in which we have been engulfed by. The nature of ‘self’ is communicated through performativity and difference, which enables those wishing to retain power of conservative structuralist ideologies, to categorise us in the same way that they mis-contextualise scripture to re-enforce their self-serving needs. We become ‘representations of wrong in the eyes of (their) god’, condemned to their mythological hell, because their narrative requires us to be ‘evil’ in their binary make believe, of which they see themselves as ‘good’. Giving space for gender performance and representation to our community of ‘other’ allowed for a communal deconstruction and reinterpretation of the symbolism, myth and narrative of the church’s ideologies. By post structuralist deconstruction, and by contrasting the religious and mythological representations of judeo/christian constructs and its foundational imagery, I present within this homage, the alternative reality and strength of difference that the ideologies of the church continue to demonise to this day. In the creation of this homage, I see the potential for a wider audience of the invisible ‘other’, and normative personal alike, to appreciate that a conservative structuralist reality isn’t the only ‘truth’, but simply a singular dated and restrictive viewpoint in an ongoing and ever-changing reality of a post-structuralist society where truth is relative, and personal.

This homage has been printed for RMIT Master of Photography studio one assessment by David Hobbs at Master of Prints @master.of.prints on stock Bauhaus Tru Rag Etching from Daniela Barth of Spicers Paper AU. Thanks to Pia Johnson for the supervision and installation assist, and Torika B for the subject lecturing.

#doweforgivethosewhotrespassagainstus #b #bleideritz #bchallenged b.leideritz.com 
RMITPhotography #RMITphoto
DO WE FORGIVE THOSE WHO TRESPASS AGAINST US?

Panel 5
The seen
Iggy & the three Graces

As a self-identified freak or ‘other’, ‘Do we forgive those who trespass against us’ sets out to question and challenge the normative society in which we have been engulfed by. The nature of ‘self’ is communicated through performativity and difference, which enables those wishing to retain power of conservative structuralist ideologies, to categorise us in the same way that they mis-contextualise scripture to re-enforce their self-serving needs. We become ‘representations of wrong in the eyes of (their) god’, condemned to their mythological hell, because their narrative requires us to be ‘evil’ in their binary make believe, of which they see themselves as ‘good’. Giving space for gender performance and representation to our community of ‘other’ allowed for a communal deconstruction and reinterpretation of the symbolism, myth and narrative of the church’s ideologies. By post structuralist deconstruction, and by contrasting the religious and mythological representations of judeo/christian constructs and its foundational imagery, I present within this homage, the alternative reality and strength of difference that the ideologies of the church continue to demonise to this day. In the creation of this homage, I see the potential for a wider audience of the invisible ‘other’, and normative personal alike, to appreciate that a conservative structuralist reality isn’t the only ‘truth’, but simply a singular dated and restrictive viewpoint in an ongoing and ever-changing reality of a post-structuralist society where truth is relative, and personal.

This homage has been printed for RMIT Master of Photography studio one assessment by David Hobbs at Master of Prints @master.of.prints on stock Bauhaus Tru Rag Etching from Daniela Barth of Spicers Paper AU. Thanks to Pia Johnson for the supervision and installation assist, and Torika B for the subject lecturing.

#doweforgivethosewhotrespassagainstus #b #bleideritz #bchallenged b.leideritz.com 
RMITPhotography #RMITphoto
DO WE FORGIVE THOSE WHO TRESPASS AGAINST US?

Panel 6
The seen
The pale horse

As a self-identified freak or ‘other’, ‘Do we forgive those who trespass against us’ sets out to question and challenge the normative society in which we have been engulfed by. The nature of ‘self’ is communicated through performativity and difference, which enables those wishing to retain power of conservative structuralist ideologies, to categorise us in the same way that they mis-contextualise scripture to re-enforce their self-serving needs. We become ‘representations of wrong in the eyes of (their) god’, condemned to their mythological hell, because their narrative requires us to be ‘evil’ in their binary make believe, of which they see themselves as ‘good’. Giving space for gender performance and representation to our community of ‘other’ allowed for a communal deconstruction and reinterpretation of the symbolism, myth and narrative of the church’s ideologies. By post structuralist deconstruction, and by contrasting the religious and mythological representations of judeo/christian constructs and its foundational imagery, I present within this homage, the alternative reality and strength of difference that the ideologies of the church continue to demonise to this day. In the creation of this homage, I see the potential for a wider audience of the invisible ‘other’, and normative personal alike, to appreciate that a conservative structuralist reality isn’t the only ‘truth’, but simply a singular dated and restrictive viewpoint in an ongoing and ever-changing reality of a post-structuralist society where truth is relative, and personal.

This homage has been printed for RMIT Master of Photography studio one assessment by David Hobbs at Master of Prints @master.of.prints on stock Bauhaus Tru Rag Etching from Daniela Barth of Spicers Paper AU. Thanks to Pia Johnson for the supervision and installation assist, and Torika B for the subject lecturing.

#doweforgivethosewhotrespassagainstus #b #bleideritz #bchallenged b.leideritz.com 
RMITPhotography #RMITphoto
DO WE FORGIVE THOSE WHO TRESPASS AGAINST US?

Panel 7
The seen
Death

As a self-identified freak or ‘other’, ‘Do we forgive those who trespass against us’ sets out to question and challenge the normative society in which we have been engulfed by. The nature of ‘self’ is communicated through performativity and difference, which enables those wishing to retain power of conservative structuralist ideologies, to categorise us in the same way that they mis-contextualise scripture to re-enforce their self-serving needs. We become ‘representations of wrong in the eyes of (their) god’, condemned to their mythological hell, because their narrative requires us to be ‘evil’ in their binary make believe, of which they see themselves as ‘good’. Giving space for gender performance and representation to our community of ‘other’ allowed for a communal deconstruction and reinterpretation of the symbolism, myth and narrative of the church’s ideologies. By post structuralist deconstruction, and by contrasting the religious and mythological representations of judeo/christian constructs and its foundational imagery, I present within this homage, the alternative reality and strength of difference that the ideologies of the church continue to demonise to this day. In the creation of this homage, I see the potential for a wider audience of the invisible ‘other’, and normative personal alike, to appreciate that a conservative structuralist reality isn’t the only ‘truth’, but simply a singular dated and restrictive viewpoint in an ongoing and ever-changing reality of a post-structuralist society where truth is relative, and personal.

This homage has been printed for RMIT Master of Photography studio one assessment by David Hobbs at Master of Prints @master.of.prints on stock Bauhaus Tru Rag Etching from Daniela Barth of Spicers Paper AU. Thanks to Pia Johnson for the supervision and installation assist, and Torika B for the subject lecturing.

#doweforgivethosewhotrespassagainstus #b #bleideritz #bchallenged b.leideritz.com 
RMITPhotography #RMITphoto
DO WE FORGIVE THOSE WHO TRESPASS AGAINST US?

Panel 8
The unseen 
The Martyr Paradoxx

In the words of @alison.paradoxx (Thankyou is not enough)

"
The ideas of suffering, and martyrdom is often affiliated with the depiction of the Jesus embodiment, yet the assumptions of gender, colour of skin, culture, and age are qualities that seem fixed in trope, and visually-accessible folklore. This Jesus, however, is androgynous. Confrontional, frail … yet simultaneously powerful in its imagery. This Jesus is a social outcast, an apt depiction of suffering, a subversive entity. But most importantly, to me on a personal level, this Jesus image was created against all the odds. This shoot was incredibly important, and especially fragile to me on many levels, as it was taken against all the odds. I also was uncertain as to how the image would be digested by a viewing audience. Having been hospitalised for almost three months, weighing 24kgs, and suffering from hypothermia, Chronic kidney disease, Hypermobile Ehlers Danlos Syndrome, chronic pain from scoliosis, and severe anorexia, we were vastly limited in the scope of what we could do during a shoot. The results you see were shot as an “escaped patient geurilla shoot”… from a disabled toilet… on the third floor of a busy public hospital. This shoot is truly an example of the passion in art, and illustrates to the viewer that even when faced with tremendous obstacles, powerful works can often be created best. Created to confront, to discomfort the viewer, to disrupt the narrative, and be subversive. This is not a celebration of what life should be - this is a raw, and candid depiction of pain, and life being stripped away. As a chronically disabled person, I am othered by society. The suffering, and persecution of Jesus is symbolic to this experience. "
This homage has been printed for RMIT Master of Photography studio one assessment by David Hobbs at Master of Prints @master.of.prints on stock Bauhaus Tru Rag Etching from Daniela Barth of Spicers Paper AU. Thanks to Pia Johnson for the supervision and installation assist, and Torika B for the subject lecturing.

#doweforgivethosewhotrespassagainstus #b #bleideritz
DO WE FORGIVE THOSE WHO TRESPASS AGAINST US?

As a self-identified freak or ‘other’, ‘Do we forgive those who trespass against us’ sets out to question and challenge the normative society in which we have been engulfed by. The nature of ‘self’ is communicated through performativity and difference, which enables those wishing to retain power of conservative structuralist ideologies, to categorise us in the same way that they mis-contextualise scripture to re-enforce their self-serving needs. We become ‘representations of wrong in the eyes of (their) god’, condemned to their mythological hell, because their narrative requires us to be ‘evil’ in their binary make believe, of which they see themselves as ‘good’. Giving space for gender performance and representation to our community of ‘other’ allowed for a communal deconstruction and reinterpretation of the symbolism, myth and narrative of the church’s ideologies. By post structuralist deconstruction, and by contrasting the religious and mythological representations of judeo/christian constructs and its foundational imagery, I present within this homage, the alternative reality and strength of difference that the ideologies of the church continue to demonise to this day. In the creation of this homage, I see the potential for a wider audience of the invisible ‘other’, and normative personal alike, to appreciate that a conservative structuralist reality isn’t the only ‘truth’, but simply a singular dated and restrictive viewpoint in an ongoing and ever-changing reality of a post-structuralist society where truth is relative, and personal.

This homage has been printed for RMIT Master of Photography studio one @rmitphoto assessment by David Hobbs at Master of Prints @master.of.prints on stock Bauhaus Tru Rag Etching from Daniela Barth of Spicers Paper AU. Thanks to @piajohnsonphotography for the supervision and installation assist, and @torika_b for the subject lecturing.

#doweforgivethosewhotrespassagainstus #b #bleideritz #bchallenged b.leideritz.com 
RMITPhotography #RMITphoto
DO WE FORGIVE THOSE WHO TRESPASS AGAINST US?

As a self-identified freak or ‘other’, ‘Do we forgive those who trespass against us’ sets out to question and challenge the normative society in which we have been engulfed by. The nature of ‘self’ is communicated through performativity and difference, which enables those wishing to retain power of conservative structuralist ideologies, to categorise us in the same way that they mis-contextualise scripture to re-enforce their self-serving needs. We become ‘representations of wrong in the eyes of (their) god’, condemned to their mythological hell, because their narrative requires us to be ‘evil’ in their binary make believe, of which they see themselves as ‘good’. Giving space for gender performance and representation to our community of ‘other’ allowed for a communal deconstruction and reinterpretation of the symbolism, myth and narrative of the church’s ideologies. By post structuralist deconstruction, and by contrasting the religious and mythological representations of judeo/christian constructs and its foundational imagery, I present within this homage, the alternative reality and strength of difference that the ideologies of the church continue to demonise to this day. In the creation of this homage, I see the potential for a wider audience of the invisible ‘other’, and normative personal alike, to appreciate that a conservative structuralist reality isn’t the only ‘truth’, but simply a singular dated and restrictive viewpoint in an ongoing and ever-changing reality of a post-structuralist society where truth is relative, and personal.

This homage has been printed for RMIT Master of Photography studio one @rmitphoto assessment by David Hobbs at Master of Prints @master.of.prints on stock Bauhaus Tru Rag Etching from Daniela Barth of Spicers Paper AU. Thanks to @piajohnsonphotography for the supervision and installation assist, and @torika_b for the subject lecturing.

#doweforgivethosewhotrespassagainstus #b #bleideritz #bchallenged b.leideritz.com 
RMITPhotography #RMITphoto
DO WE FORGIVE THOSE WHO TRESPASS AGAINST US?
Panel four/five - The seen - Work in progress element

The one and only IggyB @iggy.blackthorne who will be turning his back on jesus and moving towards grace 😉

Undertaken as part of Semester one, Photo one, Master of Photography at @rmitphoto  with Pia Johnson @piajohnsonphotography as supervisor and Torika Bolatagici @torika_b as lecturer.

This homage will be printed for assessment by David Hobbs at Master of Prints @master.of.prints  on stock from Daniela Barth of Spicers Paper AU

#b #bleideritz #bchallenged
b.leideritz.com #doweforgivethosewhotrespassagainstus RMIT Photography #RMITphoto
DO WE FORGIVE THOSE WHO TRESPASS AGAINST US?
Panel three - The seen - Work in progress element

For those who have been playing along at home, moonlight was as close to a black goat as I could find ... and as goats and suburban photo studios don't really go together, to photoshop I went ... needless to say, editing out grass behind the fur of moonlight was a rather tedious process ... one i get to repeat again with a lamb and a pale horse ...

Undertaken as part of Semester one, Photo one, Master of Photography at @rmitphoto with @piajohnsonphotography as supervisor and @torika_b as lecturer.

Thanks to Kym and the team at Freedom Hill Sanctuary @freedomhillsanctuary for allowing us to feature moonlight in this series.

This homage will be printed for assessment by David Hobbs at @master.of.prints  on stock from Daniela Barth of Spicers Paper AU @spicerspaper

#b #bleideritz #bchallenged b.leideritz.com #doweforgivethosewhotrespassagainstus RMIT Photography #RMITphoto
Loving the alien

This is a portrait of my love @angeliquejoy.creative taken on the day of their 40th in one of the many skins they exist within ... I love them

#b #angeliquejoy #slienfreaklove
Title: Presented without comment

This is from a shoot with Bella Dejac when Angelique and I were last over in Melb. The shoot functioned as a collaboration of performer and photographer as well as a lighting test old school hotel room style in prep for my #RMIT work this semester.

Some of the other shots will likely make their way to #thehardline

#b #bleideritz #byou #bseen #bcreative #genderisaconstruct b.leideritz.com
Printing tests and the hunt for the white unicorn ...

So another day spent with David Hobbs of Master of Prints profiling and testing stocks supplied by Daniela Barth has resulted in more experiments going full circle.

As per the last.post we had been profiling and testing high white stocks in an effort to find an alternative to the warmth of photo rags I have always printed on ... And.this far, as much as the new options handled the highlight range pretty well, the blacks didn't have the inky depth I've grown to love in the blacks ... And given this semester's work is so heavily reliant on the blacks ... It's back to the beginning for me .. for now 😉

In saying that, the process learning has been invaluable and lead to another set of print experiments that add an addition level of wtf to the black and whites ... Which now need to be tested on smooth versus textured stocks 😉

Some people think that the print part of the process is just a printing exercise or worse get a button pushing one .. but for me, who has gone through the graphic design journey of press checks and fine level tweaks on a working press in collaboration with the printer doing the printing, being able to make minute adjustments with David to get something unique out at the pointy end is priceless 

Oh and he was happy for me to make up my own test.file because the photodisc test print makes my eyes bleed lol

Thanks again to David and Daniela for being on this bizarre RMIT experimental journey ...

Until next time the hunt continues ...

#b #brentleideritz #bchallenged #RMIT @rmitphoto #masterpfprints #spicerspaper b.leideritz.com
As a fine-art photographer, and as someone who has been a graphic designer for longer, one of the most important things that I have learnt is is that the collaborative working relationship with the printer is paramount. I am trusting the printer to work on the final print output of any project and knowing that they care ad understand what I am after matters. Printing is a cost, both in time and resources, and there is nothing more frustrating as a creative than working with production houses/businesses that put processes before people. Ive ran into it a few times, and the moment I do, I go elsewhere with my work, or I stop printing until I can.

In the case of fine-art printing, it is even more important to work with the 'individual' cares about the relationship between art and output for without it, the fine tuning and experimenting with the minute details just isn't possible. 

In Angelique's and my case we are lucky to know and collaborate with a Master Printer, David Hobbs. He runs his own studio called Master of Prints in Adelaide, and as much as I have known and worked with David while he was working at other print production businesses around Adelaide since I crossed paths with him back in the 90s, I am glad he is out being himself in his own space now. Service and care is important to an artist, and that it is part of his business model makes ALL the difference.

As part of my #RMIT journey, its really fucking helpful to have someone local to try my crazy ideas with matte stocks, and the ends of the dynamic range with before sending them over the border. Sure I could send my files to Les or Andrey Walking and get them to print them based on what I send, but where's the experimental in-person fun of that 😉

Id also like to send a shoutout to Daniela Barth of Spicers Paper for the ongoing help with me trying to find my unicorn matte stock ... I think I am almost there with the stock David profiled for me today

#b #bchallenged #bleideritz #fuckwarmwhites b.leideritz.com 
#davidhobbs #masterofprints @rmitphoto
BOOKINGS OPEN FOR SEPT/OCT/NOV - ADL/MLB

hey all, just letting people know im taking bookings for the next three months now ... mainly focusing on b.you and b.creative packages however if something specific is needed for promotion/fashion/corporate the b.customised option is always on the table.

As I am still doing graphic design/web work and now also studying at RMIT (remotely) I need as much time as possible if you are interested to schedule everything in so feel free to reach out if my style fits your needs. 🙂

Photo of Peta Grace shot earlier th
is year at @cogcreativespace 
#b #byou #bcreative #bleideritz b.leideritz
ADELAIDE/MELB people ...

who is out there with a shaved head at the moment (under #2 length) ... leave a comment if you fit the description

MELB people, I have one, maybe two booking spot left for next week, if you are in the market for my sty;e of shoot, drop me a DM

photo of Adam Malone for attention 🙂

#b #byou #bcreative b.leoderitz.com
For those of you who have been following for a while, from before the covidshitshow times, you will remember this project I have started, many a moon ago ...

I'm now at the point of the second phase of the shoot, where I need to focus the narrative with subjects that include the following:

- couple and groups (romantic, platonic or aesthetic)
- non-binary, trans and gender diverse peoples
- queer (in all its meanings)
- freaks (subcultures that push against the normative society in which we live)
- adult industry types (who are comfortable exploring the harder end of the project)

if you are interested, have a look over at https://b.leideritz.com/challenged/thehardline/ for what has been taken so far (i have more still to edit) and drop me a line

at this point i have shot a fair bit of the softer end of the project (art nudes, fashion nudes etc) however if you don't fit into the above peoples let me know you are out there anyhow, as there are other projects on the horizon.

#b #bchallenged #thehardline
an outtake from shooting Pip Serpentina for #thehardline series when in melb in May.

title: Active evil is better than passive good (William Blake)
photography/post: Brent Leideritz
model/makeup: Pip Serpentina

#b #bleideritz #bchallenged b.leideritz.com

ps will be heading back mid-late june if anyone is in the market for promotional or photos for fun DM me for rates etc.
title: can't sleep, the clown will eat me aka a clown tribute to bob

another of themme fatale shot during a shoot for #thehardline and inspired by the joy that is twin peaks

photography/post: Brent Leideritz
model/makeup: @themme_fatale
location: little bourke street, melbourne

#b #bcreative #themmefatale #melbournefuntimes #thisisnotadelaide b.leideritz.com
... and it's nice to be shooting art projects again ...

this was shot at the end of a #thehardline shoot last week in melbourne, making use of the balcony overlooking parts of chinatown and the irrepressible nature of the clowness that is themme fatale.

photography/post: Brent Leideritz
model/makeup: themme fatale
location: little bourke street, melbourne

#b #bcreative #themmefatale #melbournefuntimes #thisisnotadelaide b.leideritz.com
a collection of photographs by brent leideritz taken in the 90s/00s at the big day out in adelaide, south australia.

210mm minimum width (a4) open edition prints available - dm if you are interested

#b #bdo #bigdayout #bstill b leideritz.com
dave navarro (jane's addiction) circa 2003

this was shot using my trusty old minolta x700 with kodak gold max film from the pit ... and then converted to black and white for today

#davenavarro #janesaddiction #bigdayout #b #bstill b.leideritz.com
the white stripes circa 2006

this is another from the Adelaide 2006 BDO, shot with the 20d at around 170mm.

#thewhitestripes #jackwhite #megwhite #bigdayout #bdo #b #BStill b.leideritz.com
a collection of photographs by brent leideritz taken in the 90s/00s at the big day out in adelaide, south australia.

open edition prints, limited editions prints and a collectors book will be available in the future, if you are interested and would like to be updated when they are, please leave a message here.

#b #bcollected #bdob&w b.leideritz.com