by Troy Goodall on May 31, 2019
Usually I’m pretty slack at having my camera with me unless it’s for work, but once in a while an opportunity comes along that I feel compelled to capture. This was one of them.
About three years ago now, I got a call from my wife saying that the kids all had chicken pox (varicella).
Obviously not great news, especially since it was the school holidays, I really felt for them. But at the same time, I was fascinated.
Incidentally, both our neighbour’s and friend’s kids also had it at the time, so I decided to continue the series.
It was definitely a different experience from photographing my own children, but I kept the process the same. No influence, no direction, no planning, just got them in front of a wall at their house and shot a few frames under natural light.
Because I tried to work quickly, didn’t do any planning and just shot things as they were where they were, I didn’t really know how the end result would turn out. But actually, it was this simplicity that helped to capture both the kids’ emotions and the intensity of the moment in their rawest forms, which is what had fascinated me in the first place.
I guess the main thing I learnt from this little project is to take opportunities wherever they arise, and to make the most of what you have to work with. It reminded me that you don’t necessarily need an elaborate set-up or a really out-there subject to create something meaningful and impactful. This was a simple case of the chicken pox, something that happens to pretty much everyone, yet turned out to be quite a compelling series.
Proof that there’s something interesting to be found (and captured) in even the most seemingly ordinary of things.
All images and video above ©2019 Troy Goodall. All rights reserved.
Troy has the unique and advantageous ability to find the photo in everything. Sure, he can shoot the perfect studio shot, or create the impossible from different elements. That’s not unique. But, you can throw Troy into eight foot surf with a floating rig that doesn’t float and shadowy sub-aquatic shapes that may or may not be sharks, and he’ll get the shot. Send him into an equally treacherous on-set environment working around a prima-donna director and he’ll get the shot. You’ll know you’re asking the ridiculous, and the conditions seem impossible, and the lighting is wrong, but he still comes back with the shots.