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architecture, digital, New Zealand, Wellington

Photoforum Members Show 2018

April 2, 2018

I am participating in the Photoforum Members Show at Studio 541, Mt Eden, Auckland,  New Zealand. I rejoined Photoforum when I was at Photobook-NZ in Wellington after several years absence.   I submitted 3 images (medium format,  colour negative film)  for inclusion in the Members Show, which were made when I was   walking Wellington on a recent visit. The exhibition was oversubscribed,  so  the  curators/organizers  reduced the three images to two. However, it was only due to the stirling work at very short notice  by the team at Atkins Photo Lab in Adelaide that I was able to get the images printed, framed and couriered to Auckland.  We had a week to do it.

All  the images in the Photoforum exhibition are posted on  Studio 541’s website along with  the bio’s and artist statements.    These show a diverse range  of work that stands in opposition to, and digs beneath,  the NZ is beautiful or a paradise  school of photography.

 

 

Photo Forum Members’ Show 2018.

Photoforum  was co-founded in  1973 by John B Turner,  Tom Hutchins and Max Oettli to promote photography as an artistic and expressive medium, to encourage co-operation and collaboration amongst the photographic community, and  to provide mentoring  for photographers.  A secondary, but crucial  aim,   was  to encourage photographers to actively engage in the public risk-taking of critical writing and curatorial practice, outside of the universities and polytechnics.

Over its 40 years history Photoforum  has also helped to  nurture a critical environment, but there is still a lack of  critics and historians to better cover the field of photography in New Zealand. My memories of the early years when I was a member was that documentary photography has been  the dominant  language of PhotoForum photography.There is nothing like this  community-orientated non-profit organisation, which   has made valuable contributions to New Zealand art and art history,  amongst the art photographers in Australia.  We independent Australian art photographers are much poorer as a result of not having a similar DIY community of expressive photographers.       Continue Reading…

architecture, digital, New Zealand, Travel, Wellington

walking Wellington

March 18, 2018

In early March I spent a week walking  Wellington, New Zealand  as well as  photographing in the city,  whilst Suzanne walked the Grand Traverse,  Queenstown way with her Adelaide  walking friends. I had  studio apartment in the Aro Valley courtesy of Air bnb,  and I spent about 8 hours a day walking the city in a Situationist mode. I drifted through central Wellington with two camera bags on my shoulders: one containing a Rolleiflex (TLR) a  Leica M4-P rangefinder whilst  the other held  my newly acquired  Sony Alpha A7r111, which I was slowly learning how to use.

2 houses, Wellington

I loved Wellington. It’s a funky,  vibrant cultured city. I was so at home being there. Even though Wellington is  a much smaller city than Adelaide in population terms, it is so much more alive in an urban sense. Despite the revitalisation since 2013 of the central city and the liquor-licensing reforms  Adelaide remains a  doughnut city.  Wellington  was much more alive than it was when I worked there in the 1970s as an economist in the public service. Then it  was empty of life at the centre with little in the way of depth of character. The central city is a much better place these days.

Wellington  also has  a strong art photography culture  which, unlike Australia,  is connected to,  and a part of,  a literay culture.  There is also a  vibrant café culture with excellent coffee scattered amongst  the Wellington ‘walkability’.  The  funky changes in the urban culture happened  in the 1990s apparently, but I am not sure what the driving forces  for the city’s transformation were, given that Wellington is largely a public service town.   Was the emergence of a lively urban culture caused by  the acceleration of diverse migration flows? Continue Reading…

digital, Melbourne, topographics, urban

the urban documentary  project

January 26, 2018

I have been reading Ming Thein’s recent post  on The Rise and Decline of Popular Photography  and connecting it to my recent experiences  in continuing with  my  urban documentary style of photography in Melbourne. His  observations  on the current shifts in popular photography are interesting, and they  help to  put this  low profile project  of mine into a market and cultural context and, in doing so,  highlights  what is needed  to continue to work on projects such as this.

A  core point in Thein’s post is his insight that simple economics means that the business model of the professional photographer  isn’t what it used to be,  and that the incentive to invest in skill is lower. He says that we  are seeing a number of studios going out of business and pros switching to doing other (non-photographic) things. The contemporary visual saturation means that as  there are more images being made than ever, so  it’s difficult to make an individual image stand out or to  justify the time and effort (and cost) invested in its creation.

I am finding  this to  be the case with the 3 year+ Mallee Routes project. It requires a lot of time, effort  and money to make the images  for this project and then to exhibit them in a gallery.    Similarly with  the road trips project or  the low key urban documentary work  project in Melbourne:

Moonee Ponds Creek, West Melbourne

Take the latter as an example.  The  recent roadtrip to  Melbourne and  stay coincided with a spike in the summer  temperatures.   It was hot (40 degrees Centigrade),   very humid and the light was terrible when I was out scoping the remains of industrial Melbourne in the West Melbourne area.  So I was limited to scoping  for a future session,   even though I had the large format gear in the car.  This meant that the scoping on this trip was just location searching–much like someone whose job it  is to go out and scout or  look for good locations for a movie film shoot.  Having found the gritty, grimy  location in West Melbourne  I now need to make a return trip to Melbourne  in the autumn. This is time, effort and money with no exhibition  or book in sight.    Continue Reading…

abstraction, coastal, critical writing, digital, publishing

towards a photobook as photo-text

September 3, 2017

I have taken the plunge and started selecting the images  I have made whilst on my coastal poodlewalks   and putting them into a Lightroom  folder as the next step towards constructing a photobook.   I have been publishing some of these images on my  Littoral Zone weblog, which I had set up in order to help me figure out what I am doing with the photographs that have been made almost on a daily basis.   These are  simple, low key photographs of humble things and fleeting moments encountered  on my  various poodle walks.

Venus Bay, Eyre Peninsula, SA, 2013

Since the photos in the poodlewalks blog were images-in-text, the concept behind the  photobook is a visual  poetics,  or more accurately  a photo-poetics; one that explores word image (textual-pictorial)  relations.  The book as a photo-text   breaks with both the idea of the photographic image as a record of objects or events in the real world as in photojournalism’s narratives,    and the standard conception of  the  photobook being images with minimal or no  text. It is part of what   Liliane Louvel, the French theoriest, calls  an iconotext in which  text and image merge in a pluriform fusion.

Such an approach breaks with a formalist modernism, as that held   held  that the literary  and visual arts are substantially different and mutually exclusive; a view that reaches back to Lessing’s Laocoon  with its distinction between the literature  as a temporal art and the visual as a spatial art. With the  decay of formalist modernism these rigid boundaries were breached with many theorists and artists  positioning themselves against Lessing’s  rigid borders.  The mutual interdependence of images and words and the impure and mixed mediality of visual as well as verbal artifacts are  now widely accepted in our visual culture.  Photography-in-text is  a hybrid product that gives rise to a hybrid textual genre–an intermedial photo-text.   Continue Reading…

digital, Melbourne, topographics, urban

in Melbourne: topographics

May 8, 2017

I had several days in  Melbourne  centred around working with Stuart Murdoch on Saturday editing  the 80 or so images for the Bowden Archives book.   Thanks to Stuart  I now have a dummy of  the book which I can show to various people to see how they react, their  impressions and judgements.

Whilst in Melbourne I helped Helga Leunig set her stall up at the Other Art Fair at the Facility in Kensington; saw some  Penelope Hunt’s  images from her  Remains to be Seen and Water Lilies   projects at her stall in the Other Art Fair; managed to  take a few snaps around Docklands;  had some printing done at Magnet; heard about an upcoming Melbourne Photo Festival; saw  the NGV’s Festival of Photography that featured Bill Henson and William Eggleston;   meet up with both  Eric Algra  re the Mallee Routes project and friends from the Lajamanu trip;  and was shown around  Sunshine by Stuart Murdoch. I wasn’t able to make  any photos for the Mallee Routes project on my  way back from Melbourne to Adelaide.

However, late on Saturday afternoon Stuart and I  went on a photo shoot on the Western Ring Road. It took us a while to access  this location situated amongst the various  freeways connected to the Western Ring Road  for our topographical  photo shoot:

Western Ring Rd, Melbourne

The photographic highpoint of the trip was this topographical photoshoot with Stuart even though  it was very windy and the lovely afternoon autumn light had gone.  We only had time to scope the location on this urban  freeway corridor and  to take a few photos with our medium format cameras.  It’s a good location for a large format shoot with the right conditions: clouds, afternoon winter light and little in the way of a south westerly wind.

This brief photoshoot  raised the question of a topographical approach to photography.  What is it? In  Andrew Sayer’s book Australian Art (2001)  topographics refers to the colonial drawings that came out of naval and military culture and derived from the need got recognise coastlines. Often they are views from the water looking towards the shore. The standard reference point  for contemporary Australian topographical photographers is the 1975 New Topographics: Photographs of a Man-Altered Landscape  exhibition  at the George Eastman House in Rochester, New York which was  curated by William Jenkins, where  the photographers were mapping the built environment of  the late 20th century American western landscape with its motels, housing developments, office parks, and endless parking lots.

In the catalogue essay Jenkins  interpreted  the exhibition images of the American West and Midwest as being “reduced to an essentially topographical state, conveying substantial amounts of visual information but eschewing entirely the aspects of beauty, emotion and opinion”.  The subsequent reframing and restating of the exhibition 40 years latter  interpret it as reinventing the genre of   the landscape as the photographers   grappled with finding a new idiom through which to represent the built environment. Continue Reading…