landscape, roadtrip, topographics

the production of space

April 16, 2019

One way to think about history in relationship to the landscape, such as the Mallee landscape, is to adopt a geographical perspective, as geography is concerned with space and it has been informed by the idea of the production of space. This latter refers to how space has been made or produced in order to satisfy and expand human needs and possibilities. The key is to make or to produce space, rather than just to conceive it.

Dukes Highway, South Australia

But it is more than this, Trevor Paglen describes this idea in the following way:

In a nutshell, the production of space says that humans create the world around them and that humans are, in turn, created by the world around them. In other words, the human condition is characterized by a feedback loop between human activity and our material surroundings. In this view, space is not a container for human activities to take place within, but is actively “produced” through human activity. The spaces humans produce, in turn, set powerful constraints upon subsequent activity.

The production of space takes us beyond seeing nature in terms of the  impact of human habitation: ie., nature as ‘tamed’, ‘interpreted’ and ‘framed’, and as something deeply impregnated with metaphorical and poetic meaning.

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architecture, camel trek, Flinders Ranges, history

history + photography

April 2, 2019

I have increasingly been turning towards the layers of history in my project orientated photography of the present. The presence of history in the present is a complex relationship, and in exploring it I have come face to face with the historical, foundational narratives in Australia.

These colonial setter narratives contribute to the creation of national myth of heroic solo-endeavour and human tragedy within a ‘harsh’, intractable and unforgiving environment in which only the bravest and boldest could survive.

pastoral ruins, Northern Flinders

For instance, the western historiography of heroic exploration in colonial Australia is generally understood within the grand narrative of struggling heroically against adversity’ in the search for more land for further settler expansion and settlement.  

This is a fundamental part of colonial occupation and imperial expansion premised on the elimination of the aboriginal people and the wholesale appropriation of their land. The primary motive for elimination is access to territory. Territoriality is settler colonialism’s specific, irreducible element.

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New Zealand, publishing, urban, Wellington

Reconnections: Walking Wellington

March 7, 2019

I have spent the last couple of months working on the Reconnections: Walking Wellington  project. This  is  based on my walking  Wellington around the time of Photobooks/NZ  in 2018  and on my previous visits.  These visits were designed  for me to walk Wellington.

It has  initially been constructed in the form of  a Tumblr blog.  The blog is here and the project starts from the bottom of p. 4.   The impetus for the project was    Photoforum NZ’s recent open call for submissions  for their online gallery  (images of the project only),  and then their call for  submissions the form of a pdf  for their publications programme (text plus images).

The blog was the easiest way for me to construct the project fragment by fragment,  and it is also provides an  accessible way for people to see the project in its embryonic form. The picture below  is an outtake from the project:

Massey Uni, Wellington

There is another outtake here.  Another  outake  is here.

If these submissions are not successful– I am assuming  that they wont be,  given both the nature of publishing in Australia and New Zealand and the strength and creativity of photography in New Zealand —then I  have the basic draft  for a new photobook. This time around I will submit the pdf to various book publishers. If I am not successful,  then, and only then,    will  I consider publishing  it on my own.  I do need to explore the submissions route and experience the normal  series of rejections.   Continue Reading…

digital, digital image, film

the digital image

January 27, 2019

A common argument in photographic theory is that the triumph of the digital image as the contemporary form of photography forces a reevaluation of the traditional assumption of correspondence between the image and some form of reality of which it is said to be an imprint.   The argument is that digital  images that begin their life as binary data and are  driven  by algorithms  cannot be comprehended through the conventional  trinity of representation, the index and the punctum.  A major shift has taken place with the emergence of the networked image.

As a photographer I understand  the digital image to be an evolution from analogue photography: to all intents and purposes a digital image made with a digital camera  is  little different to the one that is made with an analogue camera.  I situate myself in the world in the act of photographing,  and  then I use these  working tools to construct visual representations. The  Sony a7R111 digital camera is an automated,   computational and pre-programmed tool compared to  the entirely manual Leica M 4-P analogue camera that was made in the 1970s.   The trajectory  in digital photography is towards the expensive professional high end. This  means  increased  automation,   a pre-programmed apparatus,  and more and more AI being built into the post processing software in order to  counter the competition from the increasingly sophisticated cameras in  smart phones.

Here is a digital image made with a digital Sony-a7 R111 camera:

quartz, am

Here is the analogue photograph   made with  the all manual  Leica M 4-P analogue camera.  The negative  has been scanned into a digital file and then processed in Lightroom.

The differences between the two technologies within this  logic of representation are minimal  when they are viewed on a computer screen after being edited with Lightroom software.  The object —ie., the quartz  and creek in the two images –is known to us as a representation of the object.  Photography is a process that mediates the world with the agency of light to produce legible images.  

From my perspective as a working photographer the main difference between the two technologies is evolutionary. The digital technology is more convenient to use  and  it offers greater flexibility  for  hand held photograph in low light situations–eg., at dawn.   As a photographer I continue to work within the trinity of representation, the index and the punctum, with both digital and analogue cameras.   However,   I do  realise that the image on the computer screen  made with a digital camera resembles the look of a traditional photograph  because the computational processes are currently designed by the manufacturers  to make these data packages look familiar to those working within the photograhic tradition.

Continue Reading…

abstraction, coastal, digital, exhibitions, rocks

photography and abstraction

December 21, 2018

I notice that  the Tate Modern has an exhibition entitled Shape of Light: 100 years of Photography and Abstract Art,   one whose art historical approach refers back to the Museum of Modern Art’s landmark photography exhibition, The Sense of Abstraction in 1960.   The Tate blurb states that this is the first major exhibition to explore the relationship between the photography and abstract art, spanning the century from the 1910s to the present day, and it includes some of the contemporary work by Antony Cairns, Maya Rochat and  Daisuke Yokota.

The Tate exhibition    basically re-inserts the history of photography into the well-writ narrative of art history to  makes a necessary point: – that photography merits serious consideration within the category of abstract art, and that the camera’s attraction to the shape of light rather than the shape of solid form as we perceive it, changed the way images of all kinds were composed. It also suggests that there has been  a fruitful dialogue between abstract painting (Miro, Riley, Braque, Mondrian, Pollock, Kandinsky)  and photography over the  last  hundred years.

This raises a question: has this kind of dialogue come to an end in the 21st century rather than being  continued?

King’s Head abstraction

The curators place the 20th century’s avant-garde’s  photographic experimentations (ie., abstraction) in the context of wider developments in art, with examples of cubism, abstract expressionism, Bauhaus and op art providing benchmarks.  The  curatorial argument  is that abstract photography  has evolved in step with painting and that there is  a shared history.  The relationship between painting and photography has  been a symbiotic one, a close mutualist relationship that has benefited both art forms.

An alternative interpretation is that  abstract photography  followed behind abstract painting,  in that abstract  painters influenced the way photographic artists understood image and  that the photos are the  monochrome equivalents of paintings.  This  interpretation  reinforces the culturally conservative position of the supremacy of painting. This conservative  interpretation  overlooks the way that both Rodchenko and Lazlo Moholy-Nagy challenged the supremacy of painting by refusing to see any medium as more important than another and by working in fields as diverse as film, graphic and theatre design, sculpture, painting and light shows. The common tendency in the Australian art institution is to adopt the conservative interpretation. Continue Reading…