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digital

camel trek, Flinders Ranges, landscape, ruins

degraded-landscape: Flinders Ranges

July 7, 2018

On my  first night camping on the camel trek in the northern Flinders Ranges I experienced   a culture shock due to  the degraded-landscape around me.  Our camp at  Bend Well (a water point) was  west of Arkaroola and just outside  the edge of the northern tip of the Gammon Ranges and I was stunned at just  how degraded the ecology of this  landscape of this part of the northern Flinders was. It wasn’t the dryness of the landscape that shocked me. This is a semi-arid landscape given the minimal rainfall (roughly around 150mm) that is highly variable and  the hot, dry desert climate with cool to cold winters, and the periods of drought.

We were camped on Umberatana Station south of the dingo or dog fence that runs roughly east-west across South Australia. To the south of the fence, dingoes (wild dogs) have been destroyed   It is north of the dog fence sheep that grazing is unviable due to dingo predation. The main grazing pressure south of the dog fence is from sheep, a few cattle and unknown number of rabbits and kangaroos.

trough, Bend Well, Umberatana Station

What really shocked me  was the condition of the land—the ecological devastation–that had been caused  by the long history  over stocking  by the pastoralists, drought   and the plagues of rabbits since the mid-nineteenth century with little signs of contemporary landcare.  I couldn’t help but notice the loss of vegetation and the subsequent destruction of the soil surface. This is certainly a human altered landscape that had been changed by the pastoral industry.

I appreciate that these pioneer settlers  underpinned the general prosperity of South Australia  in the nineteenth and early twentieth centuries since the various attempts at mining in the Flinders Ranges usually  fizzled out quite quickly.   The pastoralists also  opened up the interior of the continent. Continue Reading…

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…

abstraction, black + white, digital image, rocks

scoping in landscape photography: Fleurieuscapes

October 16, 2017

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…

digital, Melbourne, topographics, urban

in Melbourne: topographics

May 8, 2017

I had several days in  Melbourne  centred around working with Stuart Murdoch on Saturday editing  the 80 or so images for the Bowden Archives book.   Thanks to Stuart  I now have a dummy of  the book which I can show to various people to see how they react, their  impressions and judgements.

Whilst in Melbourne I helped Helga Leunig set her stall up at the Other Art Fair at the Facility in Kensington; saw some  Penelope Hunt’s  images from her  Remains to be Seen and Water Lilies   projects at her stall in the Other Art Fair; managed to  take a few snaps around Docklands;  had some printing done at Magnet; heard about an upcoming Melbourne Photo Festival; saw  the NGV’s Festival of Photography that featured Bill Henson and William Eggleston;   meet up with both  Eric Algra  re the Mallee Routes project and friends from the Lajamanu trip;  and was shown around  Sunshine by Stuart Murdoch. I wasn’t able to make  any photos for the Mallee Routes project on my  way back from Melbourne to Adelaide.

However, late on Saturday afternoon Stuart and I  went on a photo shoot on the Western Ring Road. It took us a while to access  this location situated amongst the various  freeways connected to the Western Ring Road  for our topographical  photo shoot:

Western Ring Rd, Melbourne

The photographic highpoint of the trip was this topographical photoshoot with Stuart even though  it was very windy and the lovely afternoon autumn light had gone.  We only had time to scope the location on this urban  freeway corridor and  to take a few photos with our medium format cameras.  It’s a good location for a large format shoot with the right conditions: clouds, afternoon winter light and little in the way of a south westerly wind.

This brief photoshoot  raised the question of a topographical approach to photography.  What is it? In  Andrew Sayer’s book Australian Art (2001)  topographics refers to the colonial drawings that came out of naval and military culture and derived from the need got recognise coastlines. Often they are views from the water looking towards the shore. The standard reference point  for contemporary Australian topographical photographers is the 1975 New Topographics: Photographs of a Man-Altered Landscape  exhibition  at the George Eastman House in Rochester, New York which was  curated by William Jenkins, where  the photographers were mapping the built environment of  the late 20th century American western landscape with its motels, housing developments, office parks, and endless parking lots.

In the catalogue essay Jenkins  interpreted  the exhibition images of the American West and Midwest as being “reduced to an essentially topographical state, conveying substantial amounts of visual information but eschewing entirely the aspects of beauty, emotion and opinion”.  The subsequent reframing and restating of the exhibition 40 years latter  interpret it as reinventing the genre of   the landscape as the photographers   grappled with finding a new idiom through which to represent the built environment. Continue Reading…

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