The history of the representations of landscape in Australia was complex, if not contradictory, given that landscape is a contested term, meaning very different things to different people. The modernists, for instance, held that landscape was an anachronistic genre, part of a old, privileged gum tree tradition ‘overthrown’ by Modernism. Landscape as a term should be abandoned it was held. Currently, landscape is often viewed in the art institution to be of little or no relevance in our overwhelmingly urban, more or less progressive, global culture.
On the other hand, the view that the visual representations of landscape (the bush) were deemed to be old fashioned and irrelevant only lasted until various modernists — such as Nolan, Boyd, Williams — turned to representing the landscape after stepping outside the capital cities into what they called the Outback or the dead centre. Then the visual representations of landscape became okay and their representations were not ideological ie., it was not embedded in ideology. Landscape is the framed view whose paradox islandscape is that it is both what is other to the human subject: land, place, nature; and yet, it is also the space for projection, and can become, therefore, a sublimated self-portrait or a field of dreams.
This contradictory history of modernism has dissolved in three ways. Firstly, is the idea of topographics as a ‘man-altered landscape’ that emerged after the influential New Topographics exhibition in 1975 at George Eastman House. Secondly, we can understand the representation of ‘landscape’ as the means by which artists engage with issues of place, with questions about our location in the world – a location which is always, as Merleau-Ponty made clear, originally grounded in our immediate bodily location.
We were on the return leg of the roadtrip and stayed a couple of nights with the standard poodles at some upmarket seaside cottages near Johanna Beach that overlooked a farm. It was a short walk through the campsite and the sand dunes to the surfing beach, and a small drive across the Great Ocean Road to the edge of the forest along the Old Ocean Rd.
I have just spent a lot of money on buying film from B+H in New York. It arrived within a week of ordering, which rather surprised me. I thought that it would take at least twice as long with the international border restrictions due to the Covid -19 pandemic. However, film photography, and especially large format colour photography, is becoming increasingly expensive. The costs, such as the ever rising price of film, the various customs/transport/GST charges, and the post processing at a commercial lab such as Atkins in Adelaide, certainly add up over a year. The cost is probably around, or even over, $A2000 a year.
So I have to do something with the large format images, since many of those that are not part of an exhibition, just sit on my computer’s hard drive, and never see the light of the day. I did think of starting a large format blog to justify the expense, time and difficulty in using large format cameras. As I have far too many blogs–and there is the wonderful Australian based view camera blog run by David Tatnall — I have decided to post some of the large format images here on a regular basis.
I plan to post them every now and again and to do so as a feature of the blog. This initial post reaches back into the archives circa 2015. I am not sure if I ever posted these images before. I didn’t really know what to do with them. For some reason I haven’t posted them on my low profile tree or Rhizomes blog.
The picture above was made with a 5×4 Linhof Technika IV several years ago. I was staying at Creswick in Victoria to check out the Ballarat International Foto Biennale in 2015. Though I don’t remember much about the various exhibitions in the biennale, I do remember photographing in the Ballan eucalyptus forest. Or maybe it was the Bungal State Forest near Ballan.
One of the areas that I did explore that weekend was Mitre Rock, which is an isolated outcrop to the north of Mt Arapiles that looks out onto farmland:
Though I walked around Mitre Rock and went back several times I only made a couple of photos of this western wall of the outcrop. I didn’t make many 5×4 photos that weekend. I was finding my feet, as it were, as I didn’t know the area at all and I was more focused on continuing on to Murtoa in the Wimmera to make 5×4 photos for the Mallee Routes exhibition in December.
It appears that the contemporary impetus and centre of the landscape genre of photography has shifted from Tasmania to Melbourne, Victoria. This is largely due to David Tatnall’s influence on nature conservation in Victoria through his landscape photographyand Ellie Young at Gold Street Studios in Trentham East, Victoria hosting the annual get together of large format photographers and offering the alternative process workshops.
Have the conceptual underpinnings of wilderness photography in Australia changed with this shift? In the Tasmanian version (eg., Olegas Truchanas, Peter Dombrovskis and others) of this tradition of wilderness photography was associated with Romanticism, nature as redeeming force, uninhabited places worthy of pilgrimage that are also difficult to access, the European aesthetic tradition of the picturesque and anti-development. Their ethos was that if people could see the beauty of Australia’s wild places then they may be moved to protect them: to save a valuable environment under threat.