I really do struggle with my landscape photography in and around Encounter Bay on the southern Fleurieu Peninsula of South Australia, even though I do a lot of scoping for it. I struggle in the sense of having both a lots of doubts the value of this working and a lack of confidence in what I am doing —with both the coastal work and the roadside vegetation. So I don’t get very far with working the Fleurieuscapes project as I am not sure what I am doing with it.
I only have confidence in the abstraction side of this photographic project. The work process is now routine and I am quite comfortable with it. I make a digital study of the object, sometimes convert the colour digital file to a black and white one, and then spend some time assessing the image for possibilities for a 5×4 photo session. Is it worth doing? If so, what is the best way to approach this? This is an example of the work process –some granite rocks on the beach at Petrel Cove.
granite study for 5×4
I have sat on this image for a couple of months at least. In fact I scoped it a year ago and I’d left it sitting on the computer. I re-scopped it earlier this year when I was walking around exploring Petrel Cove whilst on a poodlewalk. I remembered that I had previously photographed this bit of rock and that I wasn’t happy with what I had done, but I had thought that it had possibilities for a black and white 5×4 photoshoot using the baby Sinar (F2). So I re-scoped it. Continue Reading…
I have spent some time in the last week or so contacting people to invite them to participate in the Adelaide Photography 1970-2000 book that is to be produced by Adam Dutkiewicz and myself for Moon Arrow Press. This book builds on, or is a development from, the Abstract Photography book that we published in 2016, which recovered what was left of the abstract modernist work produced in the 1960s. These are companion volumes so to speak.
The result to the initial email that has been sent out has been positive, in that the people who have been contacted so far have all said yes. Several others are rather slow in responding to that email. However, the main problem that I have encountered at this stage has been finding the contact details for some of the names of the relevant people that have mentioned. As a result some people who made art photographs during that period will not be included. They disappear from our visual history.
Harts Mill, Port Adelaide
Adelaide Photography 1970-2000
is designed to fill in one of the many gaps of the national histories
of art photography in Australia that leave out Adelaide. This gap, silence or absence gives the wrong impression, as it implies that nothing of interest happened in South Australia in art photography during the last quarter of the 20th century. The inference is that South Australia is just a fly over state, and if any photographic work happened during this period, it is provincial, and so of little interest with respect to the national canon. Hence the idea of alternate histories–namely a rethinking of Australian photographic history that questions our understanding and interpretation of the past.
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…
The idea of linking the spatial turn in the humanities to my 1980s photos emerged whilst I was exploring my photographic archive for the proposed Adelaide Art Photography: 1970-80 book to be published by Moon Arrow Press. Noticing a shift in my photography from street to topographics, I started to make connections in my archive blog to the spatial turn in the humanities in relation to the landscape and space that had emerged in the 1980s. This spatial turn refers to the landscape and space being understood in terms of them being socially constructed and continuously reshaped.
The factory in this photo, which was situated near the railway bridge has long gone. So have the mangroves, replaced by a housing development that was designed to revitalise Port Adelaide. This then is an urbanscape whose history is that of being continuously transformed by the power of capital since the 19th century. It is not a landscape the traditional English sense of a picture of natural inland scenery, or the Australian sense of a national landscape painting associated with Romanticism as in the Heidelberg School. Landscape in this traditional sense usually veils historically specific social relations behind the smooth and often aesthetic appearance of “nature. The tradition of the landscape in the visual arts acts to “naturalize” what is deeply cultural, social and economic.
mangroves, Port River estuary
The emphasis of the Port Adelaide photography, which is on place and the mapping of place, is a part of the tradition of chorography that seeks to understand and represent the unique character of individual places. In chorography, the skills of the artist (painter and writer) were more relevant than those of the astronomer and mathematician, which were critical in geography. Choreography is a part of the pictorial topographic mapping tradition. 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.