s2z Photography Blog

How I Got Here Part One?

On my old blog in what feels like an eternity ago. I wrote a series of articles about how I ended up where I did. I have decided to republish them here in 3 parts as well, with small footnotes given the changes in the web landscape since, and in particular what is now called “social media”.
So; here we go.

How I got Here Part One?

or… Why I do what I do, the way I do it.

This is not much more than a historical backwater, where, after chatting to a photographer on flickr about film grain of all things, I felt the need to lay out my cards. So, please do not read around siesta time, or after the consumption of alcohol.
The classic way to begin these things is to ask yourself, 3 questions.
What, Why, How.
So here goes.
What?
Interesting, engaging, beautiful images; with a camera or cameras, that express something more than what was in front of the lens when I pressed the shutter, or perhaps question the notion of what all the above is, amongst many other things. Memory and Identity figure in there pretty highly too.
Why? Well that’s a bit longer and harder to answer, here goes though.
Picture this, it’s 1984 or 5. I am a twenty something living and working for the weekend [as a cab driver]. After a year or so I realise this is probably not going to lead anywhere engaging. So I decide I’d best get back to school and give something a go. Also, I had recently bought a 35mm SLR camera; [duty free] and was pretty disappointed with the results. I wanted better, and some obscure part of my imagination had often looked around and ‘seen’ things and thought “that would make a good photograph”. Some research and digging around had me apply to the 2 main Colleges that taught Photography in town[Melbourne Australia]. I got interviewed, but lucked out, [knowing what I now know this is no surprise]. Both recommended a folio building course, one even recommended what was then Brighton Technical School. I enrolled. It took 2 years to get a handle on my craft and produce a decent folio. Then on to University I went. Another 3 years of working on my craft, with the accompanying exploration of history and theory. Modernism was considered passé, and with Post-Modernism at its height, it [postmodernism] wasn’t that interested in art as finely crafted objects, more ideas, or that’s how I interpreted it. Nonetheless I was interested in finely crafted objects, namely photographic prints. Prints that were interesting, engaging, beautiful, irrespective of their subject matter, but above and beyond all else photographic.

While I was at art school I’d learnt about many aspects of our rich photographic history and the ideas that surrounded its current state of play. One such idea was Pictorialism. In the mid to late 1800s photography was still struggling with its identity, organisations like the Linked Ring, were busy trying to promote photography beyond its humble uses and into the realm of art. In doing so, they used techniques that involved heavy manipulation of their negatives & prints to make them look more like paintings.

North-Melb Two, a small silver gelatin print, reminiscent of pictorialism

An American circle of photographers later renounced Pictorialism altogether and went on to found Group f/64, which espoused the ideal of un-manipulated, or straight photography.
Here’s a list of the Photographers Wikipedia consider members:-

Ansel Adams
Imogen Cunningham
John Paul Edwards
Consuelo Kanaga
Alma Lavenson
Preston Holder
Sonya Noskowiak
Henry Swift
Willard Van Dyke
Brett Weston
Edward Weston

Those of you who know me in person pre-flickr will see a pattern.

Deer Park, Melbourne, Victoria, Australia. 2022-12-12 13:03:49

Other Photographers I was exposed to at College, were, Robert Adams, Lewis Baltz, Joe Deal, Richard Misrach, to name but a few. Robert Adams, was part of a group of photographers in the 70’s who had been labelled ‘The New Topographers’ from an exhibition of the same name. This was all very new and exciting for me, as I had through a series of experiences prior to returning to College gotten interested in ‘Landscape Photography’. All these photographers still adhered to the ideas about photography, that a photograph was just that, yet unlike Ansel Adams their subject matter was far from sublime.
What I wanted to be sublime was the print, the silver gelatin or ’Type C’ print that hung on a wall and people looked at and admired for it’s inherent beauty and for the ideas it expressed, in the context of a broader photographic history.

Part 2 || Part 3

Flânuering in Frankston

I recently had the good fortune to stay overnight in a suburb called Frankston. While not that distant from where I live, it is far enough away to be out of the way. I haven’t walked the streets of this shopping precinct in Frankston for more years than I can remember. I in fact I may have never walked this part of Frankston. But I spent an hour or two wandering the CBD of this bayside suburb.

To say I was pleasantly surprised would be putting it mildly. I only have vague recollections of the shopping centre. It is now serviced by all the major food chains and there was lot s of pedestrian friendly “open” space.

I have to admit it’s rare that I feel a tourist in Melbourne, but here I was in Frankston feeling completely foreign; like the proverbial ‘fish out of water’. Nonetheless I could not help myself and wander about and grab a few images that caught my eye. As is often the case I found the small laneways and backstreets the most compelling.

Here’s a series of pictures I thought looked interesting.

a collection of dumped or abandoned chairs in a laneway in Frankston

Backs of older buildings often have more interesting things to see.

Murals everywhere, is it street art though?

The train station precinct in Frankston, surprisingly quiet for 8:00am on a Tuesday.

A red sign indicating the direction of the beach amongst the pedestrianised area south of the Train station.

When these pictures make it to flickr, they will be titled with their exact time, and include geotag coordinates.

Some Black and White Images From a 1998 Road Trip

I have uncovered the negs that I shot while on my big 1998 road trip. All 5×4 inch film, I’m surprised at how little of it I shot?

5x4 film shot of Port Augusta circa 1998 showing the dock and some factories on the horizon — 5×4 film shot of Port Augusta circa 1998

Desert and scrub somewhere between Whyalla and Broken Hill circa 1998

Whyalla Steelworks with the bay in the background circa 1998

Whyalla has a tennis court sport complex, circa 1998

Reset Landscape somewhere between Whyalla and Broken Hill, circa 1998 — Desert Landscape somewhere between Whyalla and Broken Hill, circa 1998

Why Flickr?

North Geelong, Victoria, Australia 2022-10-26 14:12:21

Back in 2004 when I first signed up for a free flickr account I had no idea what I was doing with the service. I did know that the volume of digital files I was creating with both cameras and smartphones needed to be seen and shared. Flickr’s initial offering allowed users to create sets as they were called then and also join groups. Groups could have an obvious common theme or be rearlly obscure. JG Ballard is an obscure group, whereas Paths we walk is more obvious. These seemed to be a great way to share my work.

Outside of these ideas albums allows me to interconnect images. Historically an exhibition has an overarching idea, the work on the walls expressses this. The viewer can choose to walk through the space and engage anyway they see fit.

North Melbourne, Melbourne, Victoria, Australia. 202-10-25 16:26:42 — North Melbourne, Melbourne, Victoria, Australia. 2022-10-25 16:26:42

Albums on a site like flickr are a far more web like experience, non linear and open-ended. Each picture I post can have multiple ideas runnng though it. I achieve this by putting images in mutiple albums from a simple time based one, for the year the image was made for example, to other ideas that constantly run though my work. Some of those ideas have their roots in the Situationists and their ideas about the derive. Others explore the added metadata that can add a layer of context or meaning to an image.

Pascoe Vale, Melbourne, Victoria, Australia. 2022-12-12 16:25:53

Lastly, each image I choose to upload needs to speak to the preceding image in some way. This forms an angoing process that has me dipping into my archive regularly. The connections may be obvious, subject matter or location for example, or subtle like line, shape or composition. I treat my feed as a permanent 24/7/365 gallery. Available for all the world to see.

Deep down this does not really answer why I photograph the places I do, or even what drives me to pick up a camera. Perhaps that idea is for another day?

Ruminations on Flickr?

This post originally appeared on my old free WordPress site, and as we approach 20 years of flickr I thought it was worth re-sharing here.

Flickr was launched on February 10, 2004 by Ludicorp, a Vancouver-based company founded by Stewart Butterfield and Caterina Fake. I stumbled upon it somehow in late 2004. At the time I was a bit over fiddling with my vicnet site and my tripod site

wikipedia table of popular image sharing sites

I had at least one blog at the time on blogger. I had a looked at several of the fledgling services on offer at the time. Some are on this list on wikipedia. None of which really appealed to me. Flickr however seemed somehow more ‘edgy’. I signed up, and off I began on a wild journey of discovery. I began with a free account and kept my uploads within the free parameters for a while, but very quickly saw the benefit of a ‘pro’ account.

I was vaguely aware of online communities as I had been online since 1995. And as a voracious reader I was constantly following links all over the shop learning tons on the way. But this was my first ‘community’.

Those first few years on flickr were amazing I got to meet many wonderful local photographers and engage with many international ones too. The Melbourne group in particular was very social and we met quite regularly for a while. We even organised a group exhibition in 2006. It was entitled ‘Web to Wall’ and was held at a gallery called Smith Street Gallery.

flyer for the Melbourne Flickr exhibition

One thing that has always struck me was how many of the Melbourne flickr community had an IT background. The late 90s and early 2000s in my memory was a good time for people in that industry. Many were in their 30s and were in demand and paid well. They could afford expensive cameras and computer hardware that was also expensive. Was this a trend across flickr, maybe, it’s hard to tell? But I feel the convergence of high speed internet, new and cheaper digital cameras and lowering costs of software and hardware along with the demographic, augmented the rise of flickr.

The first few years I didn’t really have much of an idea out what I was uploading and why. I had no plan or direction. Eventually I worked things out. More on this in a future post. It is plain to me that I use the service in a very differently to a lot of flickr’s users. And for this reason flickr is still very important to me.

The statistics alone make it worthwhile. My work would only ever have been seen by a small group of people who were able to attend my physical exhibitions.

academia.edu listing iof papers on or about flickr.com — Screen grab of results from academia.edu on Thursday the 9th of March 2023

Also over the years flickr has been part of a subset of research that looked at photography, the web, social media and the networked image. A search on acedemia.edu, for example reveals over 80 thousand results. This also makes the service in my mind completely relevant.

Twenty Pictures From a 1998 Road Trip

A salt lake somewhere in South Australia

Bush reserve somewhere in South Australia

tennis courts near Whyalla, South Australia — Near the sporting complex Whyalla

A nature reserve somwhere west of Whyalla

Some black and white work.

Scanning and the archive

Screen grab of scans from a 1998 trip to Whyalla — Screen grab of scans from a trip to Whyalla circa 1998

In 1998, as part of a larger and very personal quest I flew to Whyalla, in South Australia. I carried a lot of camera gear with me, so much so I was charged excess baggage on the return flight home. I flew all the way to Whyalla via Adelaide and collected a rental car there. I spent a few days exploring the area, and shot a lot of colour negative film. I remember the skies really being dramatic. I tried, in vain to capture this. I used a caravan park in Whyalla as a base and would spend all day out driving and exploring the area. I believe I got as far south as Franklin Harbour.

As I begin scanning my archive I was reminded of this trip. It was the era before the internet burst into the public consciousness. So no blogging, cloud based notes or smartphone to jot down pictorial notes. I vaguely recall borrowing a laptop from work, to write with I assume, but at this stage can only find meagre scribblings in my journals of the era.

It seems I shot about 22 rolls of 120 film on this journey, I’ve yet to count or find the black and white, either 5×4 or roll film. Of these I have edited down to about 20. Despite the problems I encountered processing the film there are still a a handful of images that resonate with me. I have yet to find the 5×4 film I shot on this trip and the one preceding it, in or about 1996 or 1997.

I plan on uploading a gallery of the colour images soon.

Thirty Plus Years Ago

A dark industrail scene from Melbourne's west in the early 1990s, in the foreground a pit of dark water, electric poles occupy the middle ground along with some fences sheds and other infrastructure container and a giant electricity transmission pylon can be seen in the distance, the sky has a smattering of small clouds — West Melbourne circa 1992

I was recently gifted a scanner. Thanks to Gary. This now means I can scan any or all of my analogue work on an as needs basis. All I need is time. This image has always stayed with me since I made it around 1992. It is one my earliest successes using 5×4 inch film. However it never moved beyond a contact print as the emulsion had been damaged in a couple of places.

Now using Affinity Photo, I am at least able to resurrect it and use it online. I may some day get a commercial scan and make a big print from it. In what context I’m not sure. I use Affinity Photo because it has a perpetual license and a few technical advantages over PotatoeShop.

I have been photographing this area for a long time and the changes are significant. I will continue to do so for the foreseeable future. Even after the major infrastructure project is over the mix of light industry along with the decaying heavy industry and modern architectural flourishes makes this in my mind an interesting place to photograph.

‘What is photography?’

‘What is photography?’ may sound like an easy question to answer but the potential replies could fill this book alone. The fact that photography can mean different things to different people is part of its enduring appeal. Photography is such a part of our lives now that it would be incomprehensible to think of a world without it. We probably couldn’t contemplate the fact of a wedding, watching the children grow up, or going on holiday without the camera. We are bombarded and saturated by images constantly, newspapers, magazines, advertisements, as well as the television and internet, yet we have an insatiable desire for more.

So why take photographs? What roles do photographs play in our life and relative to other forms of expression or communication? Does a photographer have responsibilities? What is actually involved? And what makes a result successful anyway? We will explore these issues and some of photography’s possibilities over the course of this book, with the understanding that photography is a combination of subjective thought, creative imagination, visual design, technical skills, and practical organizing ability. Begin by taking a broad look at what making photographs is about, to put in to context and perspective your thoughts. On the one hand there is the machinery and the techniques themselves, although try not to become obsessed with the latest bit of equipment or absorbed in the craft detail too soon. On the other you have the variety of approaches to picture making – aiming for results ranging from documenting an event, or communicating ideas to a particular audience, to work which is self-expressive, socially or politically or commercially informed for the family album or perhaps more ambiguous and open to interpretation.

Why photography?

Perhaps you are drawn into photography mainly because it appears to be a quick, convenient and seemingly truthful way of recording something. All the importance lies in the subject itself, and you want to show objectively what it is, or what is going on (a child’s first steps or a scratch on a car for insurance purposes). In this instance photography is thought of as evidence, identification, a kind of diagram of a happening. The camera is your visual notebook.

The opposite attribute of photography is where it is used to manipulate or interpret reality, so that pictures push some ‘angle’, belief or attitude of your own. You set up situations (as in advertising) or choose to photograph some aspect of an event but not others (as in politically biased news reporting). Photography is a powerful medium of persuasion and propaganda. It has that ring of truth when all the time it can make any statement the photographer chooses. Consider the family album for a moment: what pictures are represented here – all of family life or just the good moments?

Another reason for taking up photography is that you want a means of personal self-expression to explore your own ideas, concerns or issue-based themes. It seems odd that something so apparently objective as photography can be used to express, say, issues of desire, identity, race or gender, or metaphor and fantasy. We have all probably seen images ‘in’ other things, like reading meanings into cloud formations shadows or peeling paint. A photograph can intrigue through its posing of questions, keeping the viewer returning to read new things from the image. The way it is presented too may be just as important as the subject matter. Other photographers simply seek out beauty, which they express in their own ‘picturesque’ style, as a conscious work of art.

One of the first attractions of photography for many people is the lure of the equipment itself. All that ingenious modern technology designed to fit hand and eye – there is great appeal in pressing buttons, clicking precision components into place, and collecting and wearing cameras.

Tools are vital, of course, and detailed knowledge about them is absorbing and important, but don’t end up shooting photographs just to test out the machinery. We must not forget either that being a photographer can be seen as a very glamorous job as well – some of the most well-known photographers are those who have taken images of famous people and become famous themselves by association.

Another attractive element is the actual process of photography – the challenge of care and control, and the way this is rewarded by technical excellence and a final object produced by you. Results can be judged and enjoyed for their own intrinsic photographic ‘qualities’, such as superb detail, rich tones and colours. The process gives you the means of ‘capturing your seeing’, making pictures from things around you without having to laboriously draw. The camera is a kind of time machine, which freezes any person, place or situation you choose. It seems to give the user power and purpose.

Yet another characteristic is the simple enjoyment of the visual structuring of photographs. There is real pleasure to be had from designing pictures as such – the ‘geometry’ of lines and shapes, balance of tone, the cropping and framing of scenes – whatever the subject content actually happens to be. So much can be done by a quick change of viewpoint, or choice of a different moment in time.

These are only some of the diverse activities and interests covered by the umbrella term ‘photography’. Several will be blended together in the work of a photographer, or any one market for professional photography. Your present enjoyment in producing pictures may be mainly based on technology, art or communication. And what begins as one area of interest can easily develop into another. As a beginner it is helpful to keep an open mind. Provide yourself with a well-rounded ‘foundation course’ by trying to learn something of all these
elements, preferably through practice but also by looking and reading about the work of other photographers.

Langford Michael, Basic Photography pg 1-2, Pub Focal Press, 2013 Blanchard Road, Suite 402, Burlington, MA 01803, ISBN 13: 978-0-240-52168-8

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