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digital

digital, exhibitions, landscape, South Australia

an excursus

June 29, 2020

The Covid-19 pandemic put a stop to my planned travels to both Lorne and the Great Otway National Park with the Friends of Photography Group in April, and to Melbourne’s CBD to continue working on the drossscape project with Stuart Murdoch in June. It is still astounding that neo-liberal governments  locked down whole sections of economic activity knowing that this turn to public health meant jumping over the cliff edge of the sharpest recession in modern history.

Melbourne has become a no go destination due to the city becoming a hotspot with an outbreak of community transmission in a number of suburbs; those areas in Melbourne with high rates of household overcrowding, homelessness, housing affordability stress and financial hardship. An important source for the spread of Covid-19 is from people who do not have symptoms. The public health response has been to reimpose restrictions on family and outdoor gatherings, and a widespread testing blitz in the hotspot suburbs assisted by Australian defence force personnel.

pink gums, Baum Rd, Waitpinga

My energies have been photographing in my local area during the early winter months, constructing an online Encounters Gallery, and opening the gallery with an online exhibition of the local photography that was made during the Covid-19 lockdown. I have also been working on a newsletter and building a corner store so that I sell my photobooks and prints.

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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 make 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…

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…

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