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film

archives, critical writing, Tasmania, topographics

Tasmanian Elegies: antecedents

June 8, 2017

I have been slowly plugging away on the Tasmanian Elegies project. I have  been going through my film archives  and posting selected images on the Tumblr blog. I am up to my  2012 visit,   but I think that there is a gap of 4-5 years before I return to Tasmania on a phototrip. It looks as if the project  is starting to come together and that I will have enough images  to start thinking in terms of  a book for this project  after ‘The Bowden Archives: memory, text, place’    is done and dusted.  This is a project with a long gestation period.

I  will probably  enough images –see  the Tumblr blog— but it is the text that is going  to cause me trouble. Tasmanian Elegies  is at odds with the  emphasis on landscape photography   in Tasmania,  and that branch of landscape photography known as wilderness photography.I am probably going to have to go to a university library to access, and read  what Roslynn D. Haynes in her   Tasmanian Visions: Landscapes in Writing, Art and Photography (2006) has to say.

water tanks, Mt Lyell Mine, Queenstown

This emphasis on wilderness by Tasmanian photographers is understandable given the large number of wilderness areas  in Tasmania,  the ongoing threat to wilderness  from the mining and timber industries and the environmental movements defence of wilderness in the face of these threats.  Photography has become the chief visual instrument of environmentalists endeavouring to increase an awareness of the natural beauty and sublimity of Tasmania’s wilderness. Wilderness here  is usually  understood as  an unpeopled wilderness. Continue Reading…

colour, exhibitions, film, history, Indigenous, landscape

The Lumen Seed: Questions for a Conversation

March 20, 2017

The  questions below were written by myself  in order to facilitate  a  conversation at the launch of Judith Crispin’s The Lumen Seed  book at the Atkins Photo Lab  gallery in Adelaide  on  Friday,  17th March  2017. The questions  were  structured around  The Lumen Seed book,   and they were designed to give some background to the construction of the text for the audience.   They place the emphasis  on Judith’s  photography rather than her poetry,  given that the space for the launch  at the Atkins Photo Lab  is a photography gallery. The audience pretty much took over once we got the conversation rolling.

The images in the post are mine and they were made whilst I was at  Lajamanu.  There  has been one review  of the book so far: –namely, this  review of  The Lumen Seed at the F-Stop photography magazine.  

Lajamanu 

1. Since few people in the audience would have been to either the Tanami Desert or Lajamanu we will start the conversation  here. Lajamanu is 4000 kilometres from Sydney and around 800 kilometres north west of Alice Springs. It’s remote and difficult to get to. So the first question is  why Lajamanu Judith?

2. Remote indigenous communities have a negative  profile in the mainstream media,  and those on the conservative side of politics want to close them down and shift people to the bigger towns. This is  currently happening in Western Australia with support from the Federal Government which has withdrawn funds for essential services including the supply of power, water and management of infrastructure.

When I was at Lajamanu I was surprised at how well the Warlpiri community was functioning. This indicated that  more is going on here  than Tony Abbott’s lifestyle choice. From my brief stay I gained the impression that the life of the community was premised on a synthesis of tradition and modernity.

Is that impression right? If so,  can you tell us how the Warlpiri are succeeding and what they are trying to do? Can you answer in terms of the Warlpiri’s conception of their relationship to Australian modernity.

3. What  do you think is the biggest threat to the Warlpiri’s future at Lajamanu?  Is it  the impact of climate change on the Tanami in the form of more droughts and floods? Or would it be the failure of the younger generation to continue to walk the difficult line  between tradition and modernity?

Trunk + bone

 

Photography book

My experience when I was at  Lajamanu in 2016 was one of being a cultural tourist. I was very uncomfortable in that role, and I wasn’t sure how to step beyond being a cultural tourist to photograph what I was seeing.

4. So Judith, was that your initial experience as a photographer at Lajamanu?  When did you start moving away from  being a cultural tourist to begin to  formulate the ideas behind the Lumen Seed project?

5. Why did you decide to incorporate the broader historical context around the Warlpiri and Central Australia into your photographic project?

Most photography books adopt a similar format: a series of photos in the form of a visual narrative with a brief, written introduction, usually written by someone other than the photographer. The emphasis is on the images. The Lumen Seed, in contrast, is much more multilayered and intertextual.

6. Can you tell us why you took this approach to a photography book?  Continue Reading…

abstraction, critical writing, Melbourne

Unless You Will, 2017

February 20, 2017

I was unable to participate in the Unless You Will conference or symposium  at RMIT in  Melbourne that  took place during 17-19th February 2017. This was unfortunate  for me,  since the symposium was designed as a physical meeting place for art photographers, but it was one  without an online conversational dimension. So I am currently in the dark about what took place or what the key ideas that were presented and debated.

Though I know that Unless You Will was founded by Heidi Romano, who also directed the inaugural Photobook Melbourne festival, I am out of the loop.  For example, I failed to submit my Abstract Photography: re-evaluating visual poetics in Australian modernism and contemporary practice   book  for the 2017 Australian Photobook of the Year Award.  I just didn’t know about the award. I felt that I should have, given my shift away from exhibitions towards producing photobooks.

Lyonville abstract

Lyonville abstract, 2016

 

The blurb  for the Unless You Will  conference  says that this symposium seeks to cultivate interaction and connection within photography:

As  a kind of visual meeting place or think-tank it provides  is an opportunity for the photographic community to share different practices, gain insights into other artists’ work and inspire critical discussion around emerging trends and ideas in photography and visual culture….The aim of the symposium is  to search for avenues beyond the traditional in presenting photography.

The central aim  of the  Unless You Will project is to connect Australian photo creatives with their overseas counterparts around visual storytelling. That suggests  that the photographers involved with, or connected to  Unless You Will, are working within the tradition of long-form documentary storytelling.  Continue Reading…

archives, colour, landscape, topographics, Travel

Queenstown, Tasmania

January 16, 2017

We are in the process  of  planning a trip to Tasmania  at the end of January for two weeks. In the first week   Suzanne will walking in  the Wall of Jerusalem National Park with friends and I will be photographing, probably on the West Coast.  In the second week we will travel together around the island in a camper van and check out the Three Capes Walk in the south east of the island, visit Mona, and take in the Australian Wooden Boat Festival   in Hobart.

Just by coincidence I came across an  old roll of 120 film in an old  bag–photos of Queenstown from a holiday in  Tasmania that we had in February 2010. I remember taking the photos from this location, as   I slid on the wet clay  when I was  coming down the slope to return to the car.  I  rolled down the hill and, in the process,  damaged the film winding mechanism of the Rolleiflex SL66 that I was using.   Lucky for me the Rolleiflex  was able to be repaired back  in Adelaide.

Queenstown, Tasmania

Queenstown, Tasmania

These were among  the  photos  that I’d made before I started working on the Tasmania Elegies portfolio.   Those portfolio  photos of the Mt Lyell Mine and the King River  were made on a subsequent trip  to Tasmania,  and they emerged out of the photos that I’d made in 2010. Continue Reading…

archives, black + white, film, landscape, South Australia

mapping the space outside of Adelaide

January 11, 2017

I have been bunkered down in the digital studio in front of the computer scanning the 1980s archival  medium format negatives for The Bowden Archives and Other Marginalia book.  With most of the scanning for the first two sections now done, I  have  started to scanning negatives for the third section.  This one  is based around my escaping from the confines of Bowden after I’d purchased a VW Kombi.

Some of these are photos of Adelaide’s suburban beaches (Glenelg, Larg’s Bay  Semaphore and North Haven) during the heat of the summer,    others are  from day  trips through the Adelaide Hills and Mt Lofty Ranges; some are  from trips to Melbourne and there is one major road trip along the River Murray to  the eastern seaboard. I wasn’t really aware of many of these photos that I’d taken. The negatives were developed, contact sheets made,  filed away in a filing cabinet, then forgotten until now.

Mt Lofty Ranges

Mt Lofty Ranges

Though some of these photographs  are concerned with urbanism, they  are different from the Bowden section, which was very much concerned with the suburb being shaped by the  spatial production of industrial capitalism; a fragmentary map of the suburb at a particular point in Adelaide’s urban history. Continue Reading…