I made a quick return to Wellington just after my walking Wellington trip to take part in Photobook-NZ book fair that was organized by Photoforum in association with the photography stream of the College of Creative Arts at Massey University and Te Papa. I didn’t participate in the masterclass for creating and publishing photobooks, nor did I submit a photobook for the New Zealand Photobook of the Year Awards. I missed the talks by Bryan Schutmaat, Carolle Bénitah and Athol McCredie at Te Papa on the Saturday as I had to mind my little stall in the book fair at Te Papa. The books on my stall included Edgelands, Abstract Photography and Mallee Routes: Photographing the Mallee 2018. Surprisingly, the book of mine that people were the most interested in was the Abstract Photography book.
I attended the opening on Friday night at Te Papa, heard the Peter Turner Memorial Lecture given by Jem Southam on the Saturday night, spend the Sunday at Massey University listening to the talks and panel discussions, reconnected with Sally Jackman (an old friend who I hadn’t seen since my time in Melbourne in the 1970s) on the Sunday night, and photographed around Newton on Monday. I flew back to Adelaide on Tuesday. All in all it was a wonderful and fruitful weekend.
Whakatane, New Zealand
The highlight of the Sunday session at Massey University for me was the talk by Katrin Koenning, a German photographer now based in Melbourne. The talk centred around the ongoing Indefinitely project, which is about the space created by her family’s migration. The notion underpinning this is that this space is not a vacuum or a void, but rather the creator of new narratives. This grew out of an earlier project Near, which was about Koenning’s migratory experience. What I found interesting in this body of work in her talk was the emphasis on emotionality, darkness, and strong contrasts between darkness and light in her pictures. Continue Reading…
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…
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…
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.
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…