Samuel Hodge has an unforgettable smile. It is generous yet personal, imperfect but all the more special for it. If one characteristic could possibly typify the photographer and his creative output, it would be this smile.

Hodge’s photographs are a natural by-product of a life casually observed. The generosity with which he shares his smile is the same generosity with which he shares his quiet moments. Quite simply, he has nothing to hide. He harbours zero pretention. Hodge likes to take photos and he’s good at it, so he takes photos.

His works are uninhibited. The subject matter of his new exhibition ranges from a couple of friends in a jovial erotic asphyxiation embrace to an emaciated horse that is, well, hung like a horse. His photographs are also delightfully flawed – grainy, sometimes out of focus, streaked and occasionally dusty – Hodge embraces the small defects that are implicit in working with an old camera and analogue film and employs them as a kind of subtext in his prints.

Asked what this exhibition is all about, he answers frankly, “It’s a mixture of the past year and a half. I’m basically dumping it all in the gallery. There are about 50 small images all on their own little shelves.”

Pressed for more details, he explains that there are pictures from Berlin, Sydney, Paris, Amsterdam, Tokyo and Oslo. There are many images of food and many portraits. Over the years he has learnt to let go of any expectations and just enjoy the experience of having an exhibition, but he does suggest that this “would be a great show to get high and go through slowly.”

The show opens this evening, Wednesday January 11, at Alaska Projects and will run through until Sunday January 22.

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