David Tatnall has started an online gallery at View Camera Australia for analogue photos made with both medium and large format cameras. The first exhibition: —August 2021–is now up. It was based around recent work — made within the year to August 2021. I sent 3 images for submission to August 2021, and one of them entitled ‘sea sky earth’, was included in the exhibition. It was made with an old 5×7 Cambo SC 3 monorail in the late autumn/early winter of 2021. It was early in the morning on an over cast day.
The image below is an outtake –that is, one of the 3 images sent for consideration. It is of a local wetland in Victor Harbor on the southern Fleurieu Peninsula. It was also made with a Cambo 5×7 SC3 monorail as a part of an ongoing series of photographing my local area. This is the traditional country of the Ngarrindjeri people.
There are some great images in the exhibition, and it showcases both the strength of large format photography and the diversity of analogue photography in Australia. The audience response to the online August 2021 exhibition has been extremely positive. As a result of the positive audience response David Tatnall plans to do another online exhibition in October. It is a good idea.
Hopefully these images will help to uplift the mood of the people in Sydney and Melbourne, who have been in lockdown for some time; and those people in Brisbane and Adelaide have been in and out of lockdown; and those in Canberra who have recently gone into lockdown. People are anxious and under stress with the rolling lockdowns, which are designed to contain the spread of the highly contagious Delta variant of Covid-19 by severely limiting people’s movement.
I am currently reading Rebecca Dagnall’s practice based research PhD entitled, Landscape photography and the imaginary of an Australian Gothic. It was done in 2017 at RMIT, and consists of three photographic projects: In Tenebris, The road trip, and Absence and presence: states of being in the Australian landscape. This blog post refers to Dagnell’s research around Australian road trips.
Dagnall starts the research part with David Campany’s recent The open road — photography and the American road trip; a book that provides a history of photography on the road through featuring the work of twenty photographers to document how artists have pictured America since the decisive work of Robert Frank in the 1950s. She then turns her attention to road trips and photography in Australia.
I have spent the last couple of months working on the Reconnections: Walking Wellington project. This is based on my walking Wellington around the time of Photobooks/NZ in 2018 and on my previous visits. These visits were designed for me to walk Wellington.
The blog was the easiest way for me to construct the project fragment by fragment, and it is also provides an accessible way for people to see the project in its embryonic form. The picture below is an outtake from the project:
If these submissions are not successful– I am assuming that they wont be, given both the nature of publishing in Australia and New Zealand and the strength and creativity of photography in New Zealand —then I have the basic draft for a new photobook. This time around I will submit the pdf to various book publishers. If I am not successful, then, and only then, will I consider publishing it on my own. I do need to explore the submissions route and experience the normal series of rejections. Continue Reading…
A common argument in photographic theory is that the triumph of the digital image as the contemporary form of photography forces a reevaluation of the traditional assumption of correspondence between the image and some form of reality of which it is said to be an imprint. The argument is that digital images that begin their life as binary data and are driven by algorithms cannot be comprehended through the conventional trinity of representation, the index and the punctum. A major shift has taken place with the emergence of the networked image.
As a photographer I understand the digital image to be an evolution from analogue photography: to all intents and purposes a digital image made with a digital camera is little different to the one that is made with an analogue camera. I situate myself in the world in the act of photographing, and then I use these working tools to construct visual representations. The Sony a7R111 digital camera is an automated, computational and pre-programmed tool compared to the entirely manual Leica M 4-P analogue camera that was made in the 1970s. The trajectory in digital photography is towards the expensive professional high end. This means increased automation, a pre-programmed apparatus, and more and more AI being built into the post processing software in order to counter the competition from the increasingly sophisticated cameras in smart phones.
Here is a digital image made with a digital Sony-a7 R111 camera:
Here is the analogue photograph made with the all manual Leica M 4-P analogue camera. The negative has been scanned into a digital file and then processed in Lightroom.
The differences between the two technologies within this logic of representation are minimal when they are viewed on a computer screen after being edited with Lightroom software. The object —ie., the quartz and creek in the two images –is known to us as a representation of the object. Photography is a process that mediates the world with the agency of light to produce legible images.
From my perspective as a working photographer the main difference between the two technologies is evolutionary. The digital technology is more convenient to use and it offers greater flexibility for hand held photograph in low light situations–eg., at dawn. As a photographer I continue to work within the trinity of representation, the index and the punctum, with both digital and analogue cameras. However, I do realise that the image on the computer screen made with a digital camera resembles the look of a traditional photograph because the computational processes are currently designed by the manufacturers to make these data packages look familiar to those working within the photograhic tradition.
I have finally picked up working on the Adelaide Photography 1970-2000 book with Adam Dutkiewicz that is to be published by Moon Arrow Press. There has been more than a year’s break from the early stages of planning due to other book and exhibition commitments by Adam and myself. We have just called for submissions for the portfolios in the book, and we are now sitting back and waiting to see what comes in from the call out. Though it is not really clear at this early stage what kind of work will be submitted, the book’s explicit regional focus will fill one of the gaps in the art history of Australian photography that has traditionally been written around a cumulative teleology of styles and periods.
The design of the book is simple: each photographer will be given 6-8 pages to present their work from this period, and they will have a text to describe their work and their biography or profile. As there are currently around 20 photographers who expressed an interest in submitting a portfolio and there is some text, the book looks to be around 130 pages. The launch of the book will be at an exhibition of some of the prints in Adelaide early in 2020.
The year 2000 is a useful cutoff point for the book because this is when photography started to go global: the explosion of websites, art fairs, festivals, biennales, travelling museum exhibitions, catalogues, conferences, artist residencies etc associated with the international transmission of objects, ideas and photographers operating across the boundaries of nation states. If this meant that the hold that European and North American artists had over the production of contemporary art has been broken, that the art world has become more event-driven with biennials and art fairs in far-flung locations, then it also means the biennales are institutional sites whose ways of seeing contain an aesthetic regime of experience.