The conceptually based and low key Silo project is taking me a while to refine and to realize in spite of its simplicity. It has been refined to a minimal project that consists of photographing 15 silos on the Mallee Highway from Talem Bend to Piangil using one camera (an 8×10 Cambo monorail), one lens (a Schneider-Kreuznach Symmar 300mm f/5.6), one type of film (Ilford FP4 Plus) and one tripod (a Linhof Heavy Duty).The photographs, like those of the conceptual artists in the 1960s and early 70s (e.g., Ed Ruscha’s Twentysix Gasoline Stations), will be paired with words in the form of titles and published in book form. There is nothing complicated about this kind of project.
Despite this conceptual simplicity and clarity it is taking me quite a while to realize the idea behind the project. It started in 2016 on some road trips, but, to my surprise, I have discovered that getting it up and running has proved to be difficult. I initially thought that I would photograph in colour as well as black and white but that approach ended in confusion. I then encountered various problems using the camera, the coverage limitations of the initial lens I was using (a Schneider-Kreuznach Symmar 210mm f/5.6), and difficulties developing the 8×10 sheet film without my own darkroom.
silo, Mallee Highway, Victoria
I also thought that I could work on the Silo project whilst simultaneously working on the Mallee Routes one, given that I was frequently travelling up and down the Mallee Highway to go toad from the various Mallee Routes photo camps. However, I found that though I carried the 8×10 Cambo with with me whilst on the Mallee Routes road trips, I would never get around to using it to work on the silo project. I was too caught up in the Mallee Routes project. I eventually came to realise that these were two separate projects that required quite different approaches to photography. Continue Reading…
As mentioned in the posts here and here on my low key Rethinking Documentary photography blog I am involved in a collaborative photographic project with Stuart Murdoch on changing Melbourne. An exhibition at the Atkins Photo Lab’s gallery in Adelaide during South Australia’s 2018 SALA Festival is the first public showing of this collaborative body of work.
Linfox, Footscray, Melbourne
Melbourne, like New York in the 1930s, is changing very fast and the currently existing parts of the historical, industrial Melbourne will be gone tomorrow. These are the familiar things a city that are overlooked until they are gone. Bernice Abbott’s well known 1930s large format photo project, Changing New York, is a historical reference point in spite of the truncated nature of the 1939 book. Many of Abbott’s photographs from this body of work are now in the public domain, as they have been made available online by the New York Public Library. These photos are a reference point for our photographing a changing Melbourne, even though there are big differences between the two cities and the photographic projects. Continue Reading…
The picture below of silos at Wallaroo on the north-west of York Peninsula in South Australia was made whilst on my first photocamp with Gilbert Roe in 2016. I had realised that day trips into the Mallee would not work for the Mallee Routes project since I photograph in the early morning or late afternoon light. So for the road trips to work I needed to camp in a specific location and work from there for several days. I need to get to know the area, the subject matter and the lighting conditions.
Wallaroo was a test run to check out our old camping equipment that we hadn’t used since the 1990s. I needed to see what still worked, what needed to be replaced to make a photo camp successful, and to judge whether or not I was still up for camping. Much to my surprise, the camp at Wallaroo worked a treat, and I thoroughly enjoyed it.
silo, Wallaroo, York Peninsula
My various experiences at the subsequent photo camps at Ouyen, Hopetoun, Loxton and Hopetoun have resulted in the acquisition of a new tent, a new stove and a portable fridge. The battery and the solar panels to keep the fridge running at the photo camp whilst I am out exploring the local region during the day are the next necessary items to acquire. Then camping on a phototrip is no longer a hardship.
I have started going though my photographic archive to select photos that I have made in Tasmania for the Tasmanian Elegies project. I wanted to move beyond the ones in the website’s gallery as they are a lot more in the archives and I didn’t know what to do with them. So I have revamped an old Tumblr blog and turned it into a way of selecting the images from the archive. Hence we have Thoughtfactory’s Tasmanian Elegies blog.
This publishing platform will allow me to see the images in terms of a project; a project that can become a book, if the images hold up and look interesting together. Books, I am realising, have long lead times–a couple of years for me. The blog is the first step in constructing a text.
Mt Lyell mine landscape, 2012
One motivation for doing something with the images in the archives is the Griffith Review’s edition 39 on Tasmania–The Tipping Point, whose co-editor was Associate Professor Natasha Cica, the then director of the Inglis Clark Centre for Civil Society at the University of Tasmania. It consists of essays, articles, reviews and review articles on a wide range of cultural and media matters, as well as fiction and poetry’. The core argument is that Tasmania is in transition from a resource -based economy (logging and mining) to a ‘smart island’ focused around culture, food, and tourism.
This is a big shift for a small population (just over 500,000) still caught up in the battle between the environment and conservation and economic development and growth, and still experiencing a brain drain. Continue Reading…
It is good to see that road trips –as distinct from the expedition, the field trip or travel photography –have started to become popular amongst Australian art photographers as distinct from the American road trip tradition, which largely happened after 1945 with its myths about driving west in the car to The Promised Land.
We can begin to think in terms of a photographic tradition of road trips in Australia as a genre: one that is framed by the modernists as the act of being on the road; the art of individuals–the lone photographer– producing discrete works; and the photograph as a self-contained work of art. The road trip is a part of a dream of being on the open road; the photography is an existential act of wrangling with an alien world, mastering it by anthologising it, and giving unique insights into what lay behind everyday appearances. The road trip genre tends to be biographical and personal.
A starting point for constructing this tradition, given the decline in the curatorial interest in photography in the 21st century, would be the 2014 exhibition, The Road: Photographers on the move 1970-85 exhibition at the Monash Gallery of Art, even if it was confused about what constitutes a road trip–Robert Rooney photographing the same car in different locations around Melbourne–with its reference to the serial propositions of Ed Ruscha such as Twentysix Gasoline Stations (1962)—is not a road trip. The 1985 cut off date meant that the exhibition did not include the latter road trip work by Trent Parke, Narelle Autio or the work of David Marks.
I am slowly working away on a road trip project and posting the images on my On the Road Tumblr blog. There are some more from the 1980s on my archival blog. Even though it is envisioned to be a book, this project is based on several trips and it currently has no title or theme. Liquid Moments? Oddly Squared? No Maps, No Plans? Easy Roads? Dark Lies the Road?
The image below of an altered landscape in the South Australian mallee is from the archives, and it one of the earliest of my road trip photos.
silo + tractor, SA Mallee
The South Australian photographer Che Chorley has a book in production from his 2016 Land Sea You Me road trip (bike trip) from Eucla in Western Australia to Nelson on the Glenelg River in Victoria. The Melbourne based Nathan Stolz is on his six months A Long and Winding Road road trip to explore and probe Australian identity and cultural difference in the the early 21st century. My work in the The Long Road to Lajamanu works within the road trip tradition.
There may well be other art photographers who have archives of road trip photos and/or are working on contemporary road trip projects in Australia that I don’t know about. Eric Algra comes to mind. Continue Reading…