In 2009, it seems I was working in and around the Docklands precinct of Melbourne. Using colour film and my Hasselbald. This work is likely to sit in my archive its use undetermined. I had begun working there as early as 1993 or so. In those days the site was still a lingering industrial wasteland. See image below shot on 5×4 and black and white film.
I made the picture above on the Sunday before stage 2 restrictions were brought into effect. We had taken a Sunday drive to explore real estate.
Autumn in Melbourne is usually a prolific time for me. The light is beginning to change for the better. I have a two week break from my job, and with a reliable steady income it is easy to be spontaneous and often drive somewhere for the sake of it.
Not so this year.
Despite this lack of movement on my part there have been many, many, emails from all kinds of cultural organisations with ideas for keeping creatively busy. There has been funding support and peer support across every level of the industry. Of course this could only happen because of the internet. This is a wonderful thing. I have submitted a project to HAFNY’s online callout “walking” as a consequence. Not to mention the Ballarat International Foto Biennale is partnering with FORMAT International Photography Festival and Gallery of Photography Ireland to create a visual record of the COVID-19 crisis on Instagram. [Use the tags, #massisolation and #massisolationAUS].
Still; I hanker to go outside follow my intuition while driving with a car load of equipment or walking with some equipment.
I guess I will hibernate in my darkroom.
What impact does a visual trope like a sunset have in this day and age of the networked image. Especially if it was made before flickr, facebook and probably google? This sunset was made circa 2002. It was made from the edge of the site where I worked from 1994 to 2013.
I’m thinking of posting sunsets fairly frequently as a kind of response to the current pandemic sweeping the world.