Some time after 2005, I photographed this caravan park that was being remodelled into something more modern.
As I work my way though my colour negative archive I’m rediscovering work. Long forgotten and seen now with fresh eyes, having seemingly more impact.
I may have even photographed around the park before its remodelling.
It’s rare that I get so many “keepers” from one or two rolls of film, of course not having looked at the images for more than a decade might have something to do with it.
Here’s a digital image made near the caravan park before demolition had begun. Taken in 2005. Look closely at the background and you’ll see several vans still in place and part of the fence.
Television and I have a long complicated relationship.
We were only able to afford black and white televisons as I grew up. By the time I had moved out I still couldn’t justify the cost of a new colour TV so bought second hand ones for many years. By the time I was in a ‘commited relationship’ we aquired a discarded colour TV. Eventually at some point after, we bought a small colour TV.
In the interim however, for many years I was either too busy or studying to really engage in any serious TV watching. Often it was the late night rock and roll video show called Rage on the ABC that garnered the most attention from me.
At some point while studying my undergraduate degree, I decide to record some programming then take into the Video editing suites to take stills from it. Late one night I stumbled upon a film starring Tom Waits, called Big Time as well. It was a TV adaption of a live performance based on the album of the same name. Those pictures have been in my archive relativley unseen. Now that I have a scanner I can share them with the world.
Here’s a screengrab of them loosely organised in Neofinder. At some point I will sequence them and either publish them as a Zine or just make a gallery online.
Now of course screens dominate my life. I often sit watching the things that interest me on free to air TV, while using at least 1 or 2 devices to do other things while the ads are on.
I currently have some work exhibited at XYZphotogallery.
The show entitled ‘Sheet’ is a collection of work by photographers who use sheet film to make images.
XYZPhotogallery is open Winter time (standard) Wednesday, Thursday, Friday & Sunday 1:00-5:00pm (last entry) and is at 312/757 Bourke St Docklands 3008 Vic [Entry on Batmans Hill Drive
Other exhibiting Artists include:-
- Zo Damage
- David Patterson
- Hody Hong
- Ali Choudhry
- Andrew Green
- Mark Darragh
- Ellie Young
- Lachan Fysh,
- Kurt Baldonado
- Avner Ben-Arieh
- Kevin Xue
- Shea Kirk,
- Mat Hughes
- Keria Hudson
- Charles Li
- Garrie Maguire
The year was 2000.
My life was undergoing some big changes.
I had just begun my Masters Post Graduate Degree at RMIT.
I was soon to be married.
I had just bought a house with my ever patient partner. The house was a rare find, a large backyard, facing north, but more importantly a large garage, long enough to store 3 small cars. At last I was about to get my darkroom. It had only taken 8 years.
I had been fortunate however in those years between graduating from Uni, and settling down. I worked as a technician at a photography school and so had 24/7 access to all the processing and printing gear I needed. Like most people however I was scavenging and collecting any and all darkroom equipment I could afford as I waited to find the right space to set one up.
By the time we had bought our house, I had bought an Omega enlarger, and rescued 2.5 meter grey plastic sink,from the school I worked at. I switched out the condensers for a Zone IV cold light head, and saved up for a metronome for it as well. The enlarger came with 3 gorgeous Schneider Rodenstock lenses [50mm, 80mm, & 150mm], and a turret head allowing me to print from 35mm to 5×4. These days it’s either 6×6 or 5×4, but my archives are an endless source of contemplation. The best thing about my enlarger after the Zone VI metronome is the foot pedal used to operate it, keeping my hands free to burn and dodge.
The bench it rests upon is big enough to store other hardware such as my 5×4 camera and paper and notebooks as I work. When it came time to start building, I settled on an ‘L’ configuration, due to the sloping roof of the shed an the height of my enlarger for my 3 meter by 4 meter allocated space. I built the benches myself and rigged a temporary hose into the space, with roughed in plumbing ready for permanent connection when finances permitted.
The previous owners had left a plan press in the garage, so this was coaxed into use as a bench top, which housed a set of custom built shelves for negatives, contact sheets and work prints. I also had a custom built film drying cabinet in storage ready and waiting. Currently I have only cold water from an external tap running into the space, only a problem when printing in winter, bucketing hot water into the space in not an inconvenience at all. The sink is big enough to print 16 x 20, with a added on sink used as a place to put a wash tray. As my workflow usually involves long deliberation between work prints and finished prints these days, I only ever need room for 4 trays, Dev, Stop, Fix & rinse easily accommodated in my sink, these days I rarely print this large anyway.
I use pegs angled slightly on a specially built rack for storage of jugs beakers and other chemical ephemera above the sink. I have a separate shelf for my dry chemicals, and storage under the sink and benches for any other things that need to be kept out of the way. Another of the useful tools I use in this space are, some triple beam balance scales for making custom developers. I like to air dry my prints so I have hung a nylon rope across the ceiling for this purpose.
*Originally posted to Tumblr 7 years ago, now with fresh pictures.
Life and time commitments make it difficult to plan shooting. Working around good light and the best seasons complicates this. To then process film on top of that, means a lot. Not to mention that materials, such as black and white papers, are running out as well. This puts me in a quandary. It means, my creative energies would be better spent exploring ideas and the world around me. using other means, preferably with a lens and a light sensitive material of some sort.
Technological changes mean I can create good quality images quickly . Excellent ones If I’m careful in an analogue sense] and easily using the smallest of devices. The caveat being they will probably only ever exist in cyber space. Why then not explore other ideas now. I mean all that other stuff, I’d felt was important for all this time, is it important? In this image saturated media landscape? Why not just see if I can’t get the ideas across using the simplest of tools? With nothing more to deal with than the 3 most important elements of photography. Light, Time, Space.
Well hey presto! Here I am using a mobile phone and or a small camera. Hopefully getting some idea across about the world I see. one that I am somewhat incongruously part of. One that I can share in real time or in a myriad of other ways.
There is somewhat of a leap of faith here. Between finely crafted silver gelatin prints, and the bulk of work I’m producing these days. So let me retrace my steps. Somewhere between 1994 and 2004, I started meandering in other directions. A Grad. Dip. Ed and an MA, were two of them. Computers the internet and Desktop Publishing were other side interests. All the while, digital cameras are following Moore’s Law. Desktop printers are getting better and better. By 2004 I’m hooked into flickr using my Nikon Coolpix 5400, bought after travelling the world. This is the first digital camera I owned, capable of producing reasonable A4 prints. It is not the 1st I ever owned. The first I owned, had died a quiet death in Wales on the same trip. In the interim had produced 13,000 plus images, a tiny selection of which made one of my 1st e-books, “buy, buy, buy”.
The current iPhone I use now create both RAW and HEIF files. I have printed these files to A2, so my digital toolset is getting physically smaller. All in all a good thing. Now I spend a large amount of time choosing images to upload to flickr. Book creation forms a major part of my creative energy now too. As film prices have skyrocketed that aspect of my production slows. I now too have a scanner at home. I plan on revisiting my 30 year old colour film archive. This project alone should produce I hope at least 2 or 3 bodies of work. Also, several social media sites have risen attempting to usurp Instagram.
But I digress. As I said 2004 and getting a flickr account, was somewhat of a turning point for me. The first few years on flickr were pretty insane. Eventually I picked up on some patterns and ideas that were not dissimilar to the real world. Particularly amongst amateur photographers. For example.
- 35 mm DSLRs produce better images than point and shoot cameras, allegedly.
- Shallow Depth of Filed has some special magic quality about it. Which in turn, spawned a slather of cults/followers/groups 11,000 on flickr at time of writing.
- Skin/sex sells, but I guess I knew that already but had forgotten it
- Subtlety/complexity was often overlooked
- Democracy exists in a way I’d never experienced it before [is this a unique web/forum thing?]
- I don’t need to upload daily, and can even ‘curate’ my images in advance before uploading.
Anyway, I enjoyed those first few years prior to the Yahoo buyout immensely. I still do enjoy my time on flickr, but in a much more pared back kind of way. Two of the factors I enjoy about flickr, are. The amount of folks who seemed prepared to push the envelope on photography. The interface design, particularly compared to ‘deviantart’ and ‘fotolog’. In the beginning though it, flickr or my experience of it, was still somehow tied into the idea of a polished and finished ‘object’. You know the stuff I’d learnt at University.=
Somewhere around 2006/2007, things slowly moved in another direction. I knew it was pointless obsessing over colour and colour management. This is still a very poorly misunderstood idea. Not to mention, interfaces and browsers interfere with these factors anyway. I began wondering then, how I could add a layer of complexity to my images that was uniquely digital. How I could use flickr and the internet to exploit that? So I then began looking at other ideas.
Maps have always fascinated me. They, give some clue to your geographical location. Which in turn hints at who you are, and in turn may give some clues to your culture. One thing that is unique to digital photography is, Exif Data. Digital exif data maps to the second when you made the image. The Web itself has grown to allow people ways to geographically and visually place images into maps. These images then add data to larger databases. Databases that collectively and individually add to the greater understanding of who we are, and where we are.
Time, place, identity/memory are driving factors behind much of my output. Yet. I’m also still not only interested in what makes a photograph “good”? But now, how I can use the simplest of tools to create images this way? The biggest change for me though is, that I carry at least one and often 2 or 3 small digital devices everywhere. And can work at an intuitive level that I’ve never been able or allowed myself to work at before. [Once I’ve learnt how to exploit or overcome the shortcomings of each device]. Intuition is for me the most difficult of creative processes to justify. In this day and age, of huge staged, over-manipulated, images. That adorn the halls of many Arts institutions.
For me, seeing comes before speaking. Therefore why an image I made exists is often more a visceral thing than an intellectual exercise. Although, the intellectual stimulus that a good photograph provides IS important too.
Let me finish off by, presenting one of my favourite little poems I picked up while studying at art school. It for me sums up art and photography so well.
“In modern thought, [if not in fact]
nothing is that doesn’t act
So that is reckoned wisdom which
describes the scratch
but not the itch”