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…

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.

Continue Reading…

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.

Continue Reading…