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.
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.
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.
The Bowden Archives is is now in publication. I took the image files to the publisher–Wakefield Press— on Monday, the 17th July. I still have the text, or rather the three texts, to finish. I am currently struggling to get them into some short of shape. The overall argument is still very implicit and fuzzy, and the arguments of each of the texts are still hazy. I have another month to get the texts to flow, and once that is done I will finally have a draft of the book .
A book is the next stage after publishing the images online in Flickr and then a WordPress blog. It is very much a DIY project at a time when there is a substantial attack on knowledge, inquiry and, cultural memory caused by the austerity regime imposed by conservatives. This has seen ongoing public funding cuts to science authorities, universities, research programs, museums, archives, galleries and the public broadcaster along with a general dismissal of photography as a naïve, indulgent or downright irresponsible way to spend one’s time and energy.
Bowden kids, Adelaide
At this stage the preface is entitled ‘Living in Bowden‘, the second essay is entitled ‘Alternate Photographic Histories’ and the third text is entitled ‘Photography, Memory, Place’. The idea behind the book is to give a grounding to this style of regional photography; one that breaks with the positivist conception of documentary photography in the art institution by making the shift to hermeneutics and interpretation. This means that the photos are made rather than taken. It is a small and modest step to helping create a strong, critical visual culture to counter the latent anti-intellectualism directed at those people who want to talk/write about the ideas on which photography rests, as well as making images. Continue Reading…