black + white, coastal, Encounter Studio, studio

studio

December 30, 2017

Although I have a rudimentary studio set up at Encounter Studio (with  a 8×10 Sinar P,  a  table and window light)   most of the still life images that I do of the subject matter around the coastal neighbourhood at Victor Harbor are in open air settings. The method of working is simple. The locations and subject matter are selected whilst I am on the morning or evening poodle walks,  I take  some scoping photos with the digital camera (an old  Sony NEX-7)  and,  if they work,  I come back and reshoot them with a film camera.

This kind of  studio work is a break from my  topographic  approach to photography that I do for the Mallee Routes project.    This is  an early example, probably one of the first  images made in an open air,  coastal studio:

bottle + shells, Petrel Cove

The bottle  had been washed on  Dep’s Beach, which is west of Petrel Cove,  and I carried it back to Petrel Cove on the return leg of the poodlewalk. I  set it up amongst some rocks, and made some digital pictures.   I then hid the bottle  amongst some rocks so that people wouldn’t find it and the  high tide wouldn’t carry it back to sea.

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coastal, colour, landscape, South Australia

aerial photography

November 28, 2017

As mentioned here and here  I had an opportunity to do some aerial photography in late November along the coast of  the southern Fleurieu Peninsula thanks to  Chris Dearden   and his  recreational Sonex motor-glider (a Xenos).   We flew from the privately owned Goolwa  airport  to   the mouth of the River Murray, then turned west and flew  to Newland Cliffs in Waitpinga,  then flew back to Goolwa.  This was the first time that I’d done any aerial photography outside of a few  snaps on various commercial flights.

I was stunned by the beauty of this part of the southern Fleurieu Peninsula  coastline from the air.  It sure looked very impressive.

Mouth of the River Murray

I just could not resist making a  photo of the mouth of the Murray River  with the two dredges working full time to  keep the mouth of the river  open. Water should be flowing through the mouth and into the Coorong, given the Murray-Darling Basin Plan and  the water buybacks to increase  the  environmental flows of the river and the dredges not needed.

What we have learned recently is that the  Murray-Darling Basin Authority is incompetent and that  the NSW state government and bureaucracy have been complicit in water theft and meter tampering. The Murray-Darling Basin Authority knew about the  theft of water for environmental flows  by  some irrigators for cotton growing in northern NSW and  it did nothing. Same for the Queensland  government. There is a long history of state governments in the Murray-Darling Basin  turning a blind eye to excessive water extraction  by irrigators.   Continue Reading…

coastal, colour, landscape, rocks, South Australia

homecoming

November 11, 2017

In  starting to  work on the Fleuriescapes project once again  I can now see that it is more about  place and  homecoming,  with the photographic style more in the form of poeticising.  The project  is about being at home in this particular place,  and it is about exploring what that means through poeticising what is familiar and taken-for granted  in our everyday,  pre-reflective life.

quartz+granite

After we left living in the CBD in Adelaide to shift down to Victor Harbor (ie., sea change) it slowly dawned on us that the southern Fleurieu Peninsula was our home  Adelaide is now where we go  to do business then leave to return home–it is a world of instrumental value and rushing about.  Though we were once comfortably at home in the city’s everydayness and its local neighbourhoods we no longer are at home where we used to live.

We often dip in and out of the consumer society of  the city; an urban life that is  based on unending economic growth  and gaining satisfaction from consumerism. We  no longer miss living in the urban  world of the city 0f Adelaide, with its coffee shops, entertainment, businesses, art galleries, film labs,  corporate universities,  people and politics.  Our experience of the city is now akin to one of homelessness–a passing away of belonging to a world based on unlimited economic growth.

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abstraction, black + white, digital image, rocks

scoping in landscape photography: Fleurieuscapes

October 16, 2017

I really do struggle with  my landscape  photography in and  around Encounter Bay on the southern Fleurieu Peninsula of South Australia,  even though I do a lot of scoping for it.   I struggle in the sense of having both a lots of doubts the value of this working and a lack of confidence in what I am doing —with both the coastal work and the roadside vegetation.   So I don’t get very far with working  the Fleurieuscapes project as I am not sure what I am doing with it.

I only have confidence in the abstraction side of this photographic project. The work process is now routine  and I am quite comfortable with it. I  make a digital study of the object,  sometimes convert the colour digital file to a  black and white one,   and  then  spend some time assessing  the image  for possibilities for  a 5×4 photo session.  Is it worth doing? If so, what is the best way to approach this?  This is an example of the work process –some granite rocks on the beach at Petrel Cove.

granite study for 5×4

I have sat on this image for a couple of months at least.  In fact I scoped it a year ago and I’d left it sitting on the computer. I re-scopped  it earlier this year when I was walking around exploring Petrel Cove whilst  on a poodlewalk.    I remembered that I had previously photographed this bit of rock and that I  wasn’t happy with what I had done, but I had thought that it had possibilities for a black and white 5×4 photoshoot  using the baby Sinar (F2). So  I re-scoped it.   Continue Reading…

Adelaide, architecture, critical writing, publishing, South Australia

Adelaide  Photography 1970–2000

September 24, 2017

I have spent  some time in the last week or so  contacting people  to invite them to participate in the Adelaide Photography 1970-2000 book that is to be produced  by Adam Dutkiewicz and myself for Moon Arrow Press. This book builds on, or is a development from,  the Abstract Photography book that we published in 2016,  which  recovered what was left of the abstract modernist work  produced in  the 1960s. These are  companion volumes so to speak.

The result to the initial email that has been sent out has been positive,  in that the people  who have been contacted  so far have all said yes.  Several others are rather slow in responding to that  email.  However, the  main problem that I have  encountered at this stage has been  finding the contact details  for some of the names of the  relevant people that have mentioned. As a result some people who made art photographs during that period will not  be included. They disappear from our visual history.

Harts Mill, Port Adelaide

Adelaide Photography 1970-2000 is designed to fill in one of the many gaps of the national histories and timelines of art photography in Australia that leave out Adelaide.  This gap, silence or absence gives the wrong impression, as it implies that nothing of interest happened in South Australia in art photography during the last quarter of the 20th century.  The inference is that South Australia is just a fly over state, and if any photographic work happened during this period, it is provincial, and so of little interest with respect to the national canon. Hence the idea of alternate histories–namely a rethinking of Australian photographic history  that questions our understanding and interpretation of the past.

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