We have a small space downstairs that’s a storeroom, even though I had thought that I could set it up as a studio space. In this space sits a Cambo studio stand, a 8×10 Sinar P monorail and two background poles that I’d purchased in the 1980s, a fridge for film and dog food, two filing cabinets and a camera trunk for a large format camera. But the photography has not happened, and the studio space has become a storeroom by default. Every time I go into the storeroom I become depressed looking at all that camera gear just sitting there waiting to be used. I keep asking myself: how can I use this setup.
The photography has not happened for several reasons. The studio space only has a small side window and so the exposures are more than 1-2 minutes during the summer months when the afternoon light comes into the room. It is is filtered through the bushes in the garden outside the window and when it is cloudy the exposures are around 4 minutes. During winter the studio is quite dark, and though I did consider some studio lights, I didn’t really want to go down that pathway, or spend money on that kind of equipment. Secondly, though I considered doing still life photography, and experimented a bit, I wasn’t all that interested in that photographic genre. So nothing happened.
Then I came across the above archival portrait of Suzanne that had been made in the large downstairs room with its big window just after we had moved from Adelaide to Encounter Bay on the Fleurieu Peninsula. I started thinking: well, why not portraits? Why not use the potential studio space to photograph our friends? I then remembered that I had initially rejected the studio portrait option as I’d thought that the 2 minute plus minimum exposures would be too long for people to pose.
Then I realised that long exposures incorporate time and the inevitable bodily movement of the sitter during that exposure is a representation of time. The tracing of movement through an extended exposure time is quite distinct from that produced by a series of instantaneous photographs. So why not turn what I’d initially thought to be as a negative into a positive?
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…
My energies in the last month or so of 2016 have been directed in starting to put material –images and text—together for the photo-book that I have started working on. It is a form of memory work as it is an active seeking out and an interpretive and reconstructive approach to the past. The book is situated in the nexus of photography, archive and memory and it is a working through of personal and collective memory based on my photographic archive.
The first stage is going through the 1980s photography archive, selecting negatives from the contact sheets, scanning the selected images, and then digging around the internet for text to act as a commentary on this decade in Adelaide. The assembled material goes into a post on an old wordpress blog, which acts as a repository of selected material that I can then rework into an initial digital draft using InDesign. Or probably Scrivener, before I turn to InDesign, as I do need a word processor and project management tool that would allow me to compose and structure a difficult document.
newspaper boy, Adelaide
The book’s current working title is The Bowden Archives and Other Marginalia and, at this stage, it is composed of three main sections: Adelaide street images, the Bowden archival project, and pictures made away from the city–at the beach or on the road. I have primarily been working on the first two sections and these are looking okay. Continue Reading…
After attending the Centre of Culture, Land and Sea’s informative workshop at Meningie in South Australia. I used the opportunity to explore around Lake Albert and the Narrung Peninsula with its legacy of settler agriculture before driving on down to Salt Creek for a photoshoot for the Edgelands project.
Lake Albert, along with Lake Alexandrina, is a part of the Lower Lakes of the River Murray, and is adjacent to the northern lagoon’s eco-system of the Coorong. Being at the bottom end of the highly engineered River Murray, Lake Albert suffers from the river’s minimal environmental flows. Those at the terminus of the River Murray receive what is left over after consumptive use in the Murray-Darling Basin.
Though the Barrages at Goolwa were constructed to maintain the Lakes as freshwater systems at a constant water depth, the Lakes/Coorong region is at the end of a major river systems, which means that this region is highly sensitive to changes in freshwater flows. Despite the Basin Plan, which has addressed the overallocation of water from the Basin’s rivers by irrigated agriculture, not enough fresh water currently flows into Lake Albert to flush the lake out, so it is salty, and all the contaminants from the upper part of the river end up in Lake Albert.
Lake Albert, South Australia
The irrigators around Lake Albert suffered from a lack of water during the Millennium Drought (from 2002- 2010)—-when Lake Albert was closed off from natural river flows by a Government constructed band at the entrance top the Lake. Exposure and oxidation of acid sulfate soils due to falling water levels from 2007-2009 in the Lower River Murray and Lower Lakes also resulted in acidification of soils, lake and ground water. The low water levels on Lake Albert resulted in many of the dairy farmers, who had relied on pumped water from Lake Albert, being forced to sell their cattle and even abandon their dairy farms. Continue Reading…
The beach region of the Fleurieuscapes had a minimal presence in the exhibition at Magpie Springs. Images, such as the one of Petrel Cove below, did not make the cut with the curators. Petrel Cove is on the south side of Rosetta Head, and it is a picturesque beach with rocky outcrops, which, despite a dangerous rip, is populated during the summer by surfers, recreational fishers, families and photographers.
It represents the pleasurable, freedom and recreation during the summer months without the stench of sewerage, piles of discarded condoms, human faeces, life savers, or racial conflict.
surfers, Petrel Cove
The Petrel Cove beach is usually empty during the late autumn, winter and early springs months apart from the odd surfer, dog walker, photographer, or lone fisherman. The place has a history of its rip regularly claiming the lives of those people who ignore the warning signs that signify the potential dangers. So Petrel Cove is not an unspoiled place that has a spiritual significance. Continue Reading…