Browsing Tag

South Australia

landscape, nature, water

The ‘Our-Waters’ project

November 10, 2018

I have recently become involved in a new project entitled Our-Waters, which is  about the River Murray and the photographic archives of the  Godson Collection  held by the State Library of South Australia.  Some background to the project is here on my  Our Waters  Our Country blog,  which, for now,   is loosely associated with the  Our Waters project.

As it is  still early days in the project,  it has  no  public profile  (ie., there is no website) to inform people what is happening.    However, a   recent update on  the state of play of the  Our Waters project is on this blog post. This indicates that this photography is not what Rebecca Solnit calls eco-porn: photography  that  celebrate the  ‘untouched beauty’ of nature associated with  the nature tourism  and calendars that view our  land and rivers as a place of wildness and wilderness.

 

Lake Alexandrina, 2011

It is an opportune time to start such a project given the recent report on the ecological state of the Coorong by the Goyder Institute.   The  ecological condition of the Coorong has been steadily degrading since European “settlement” due to upstream water extractions, and  the Millennium Drought was a major disturbance causing a rapid decline in condition.   Whilst the relatively recent increase in natural and managed inflows to the Coorong  through the Murray-Darling Basin Plan have improved the ecological condition of the North Lagoon, the ecological condition of the South Lagoon  has  not recovered,  or it has continued to decline.  As Mary E. White wrote in her Running Down – Water in a Changing Land (Kangaroo Press, 2000):

The continuing saga of the extraction of massive amounts of water from inland rivers to satisfy the escalating demands of the irrigation industry is Australia’s most serious, and ultimately potentially most disastrous water-related issue. It is a battle between two essentially irreconcilable attitudes to land use.

To  speak plainly, the Murray-Darling Basin has been, and is being,  managed to  benefit the  irrigators.  Continue Reading…

coastal, colour, landscape, South Australia

aerial photography

November 28, 2017

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…

abstraction, coastal, critical writing, digital, publishing

towards a photobook as photo-text

September 3, 2017

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…

architecture, black + white, critical writing, history, landscape, South Australia, topographics

the spatial turn + topographic photography

August 25, 2017

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…

architecture, black + white, film, roadtrip, South Australia

a photocamp at Wallaroo

August 12, 2017

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.
Continue Reading…