history Archives - s2z Photography Blog

Inflection Points

I am now well past my 60th rotation of the sun. I recently attended a former teachers funeral and this has me thinking about lots. I’m planning on posting a little more often here as a consequence. Also, I recently read over on cogdogblog ways to use a blog as an aid to your memories. This current blog only dates back to 2020. So to really get a sense of what I have done since the internet arrived in 1995 I’m listing several other blog and social media activities that have formed part of my creative online life. As best as I can remember. Here’s a list on my static site. The idea with this post is to hopefully have an archive of this activity.

a screen grab of my blower.com page — My blogger.com page I posted a phone camera image daily , in a curated and interconnected way from 2004 to 2010

From 2004 to 2010 I blogged on blogspot.com, now a google property, and used a phonecam to achieve this. It was called s2art’s mophone photography blog. I was at the same uploading regularly and frequently to Flickr.com. Then I used tumblr for the same ends called lo-res daily. This was just before Instagram became big. The tumblr still exists but my posting frequency is spotty at best. This particular tumblr was actually a Sub-Tumblr as I had already setup a tumblr in 2007 [s2z.tumblr.com] which mainly hosted links and other text snippets; in the beginning anyway.

A screen grab from my Tumblr page taken on 22nd of January 2024

Somewhere in all of this was a self hosted movable type, blog thanks to Cos. I blogged there from 2006 to 2011, thanks to the way back machine [internet archive] you can still read it.

My Movable type site archived at the internet.org

Instagram became a huge focus for me around 2010. My original account is long gone however. Flickr and Tumblr at this stage were figuring highly in my life anyway. In amongst all of this were dalliances with Facebook, [I have deleted my data at least twice from that space]. Posterus, also sold and rebooted. ello.co now defunct and twitter a site that never really captured my attention. For all intents and purpose twitter has become colloquially, a ‘Hell Hole”. I still have an account there but rarely login to it.

Screengrab of my old free wordpress site — Screen-grab of my old free WordPress site

In 2015, I had setup a free worpress blog, [s2zart.wordpress.com], this I ran until 2019, I briefly switched back to blogspot.com for 2 years, then setup this blog on my own server. My concerns over ‘data’, ‘search‘ and ‘privacy’ drove this change, along with ideas about the small web which were beginning to percolate though the internet generally.

a screen grab of my pinboard.in links page taken on 22 January 2024 — A screen grab of my pinboard.in links page taken on 22 January 2024

All the while I am uploading content to Flickr very frequently. Although these days not chronologically, and of course the ‘Camera roll’ part of flickr forms a part of this process these days too. [This may form the content of a future post.] Other online activities include a Mastodon account, a pixelfed account [an alternative to instagram], a public listing of links/bookmark on pinboard.in a notion website of notes links and other digital artefacts a pika micro-blogging account and a threads account.

Why I do all this has shifted since 1995 when I began, it’s now about leaving a legacy, a digital footprint if you will.

How I Got Here Part Two?

So we’ve established in the beginning, I was interested in what I would call a fine print. Based on the concerns of other photographers who’ve gone before me. Such as Ansel Adam’s Technique, and later, feebly attempting to explore the surreal and philosophical underpinnings of Frederick Sommer’s ideas.

Frederick Sommer Petrified Forest National Monument, Arizona1940 — Frederick Sommer, Petrified Forest National Monument, Arizona
1940, Gelatin silver print, (20.4 × 25 cm)

The next and final question is how, do you make/get a fine print? When one starts to get serious about your prints, it easier to produce good prints from good negs, plenty of shadow detail, not too blown out in the highlights, with hopefully a long scale of tones, [all based on a well published list of characteristics of materials.]

Long scales of tone, then give you license to manipulate them, the tones. Grain was a no-no, and high contrast was considered bad form, unless you had a good reason for it. Remember this is based on the ideas that the f64 group had pioneered.

black and white print of Dynon Road circa 2015 before the infrastructure came into affect — Dynon Road circa 2015 gelatin silver gelatin print 19 x 19 cms

This necessitated knowing your materials intimately, both film and paper. [I still use the same film today as when I started exploring materials over 30 years ago, but not the same developer or paper.] It also often meant lugging a tripod EVERYWHERE, because like good ol’ Uncle Ansel, you shot at the smallest possible aperture to get the maximum amount of Depth of Field. Usually on Medium Format or Large Format Cameras to help keep grain to a minimum. To keep your images sharp, you not only ALWAYS used a tripod, but a lens hood as well. Depending on your film developer combination*, even on bright sunny days, the best you sometimes could get was 1/8 a second at f22. Being a ‘landscape’ photographer, I never practised hand holding at low speeds, and today I still feel a little weird shooting wide open.
As a consequence I rarely photographed on a whim, and unless I was lucky enough to have a boot full of gear with you at all times, making images required a level of preparation and planning that would make trips to the Himalayas look like a picnic in the park.

Pylons near the Westgate bridge circa 1994 gelatin silver gelatin print 19 x 19 cms

So; given the effort required to get your gear to the spot and with hopefully good light, you also needed to get the best neg you could, you were always trying to make sure you exposed the negative correctly, and then developed it to it’s full potential, if you were developing your own black and white film. I think I’m pretty good at developing my own b&w, but when compared to the ‘masters’ I learnt from I’ve another 20 years of practice to go.
Bad negatives, and I have plenty of them, were the bane of my life, but often got fewer and further between, as I became more skilled at my craft. Ever wonder what to look for in a bad neg?
Here’s a list of ‘straight photography’ no-no’s unless the idea or the print is enhanced by it**.

Camera Shake, not to be confused with poor/incorrect focus
Flare
Dust and scratches on the Negative/Print
Poor/Incorrect focus, neg or print
Empty blacks with no detail in a print
Highlights with no detail, in your prints unless spectral like chrome
Flat or Muddy tonality in your prints
Poor tonal separation in your prints
Chromatic Aberrations or other lens defects, in your print

The one thing bad negatives taught me, and many other people was, “How to make a good print”.
So how many photographers on any of the social websites out there walk EVERYWHERE with a tripod, a medium or large format camera, have tested their materials and equipment extensively and know their place in the broader history of photography?

Well not me that’s for sure. That’s why I love my mobile phone and my desktop publishing software, and flickr and the web in general.In part three, I will elaborate.

*At one point in my experiments, I used a Developer called pyro, with a recipe for it, that lowered my favourite film down from 400 ISO, to 6 ISO, it gave beautiful long scale negatives, but was very tricky and messy to work with, in the end I settled for, my own hand made D25. I’m now using a 2 bath developer solution, with a long PH buffer after the developer.
**Artists Like Joel Peter-Witkin and The Starn Twins, took this all to another level, as their work is the antithesis to these ideas, and I admire and respect these artist’s work immensely.

Part one || Part three

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

Wordless Wednesday #12 2022

More thoughts on Blogging

Short form blogging as a form of note taking, thinking out loud, and public learning has taken off quietly in the last few years. I have spent some time recently reading about and trying to setup my own disparate set of tools to do this as well.

It’s all a bit too technical right now. Some options I’ve considered are, Notion as a webpage, Voodoopad as a self constructed wiki, some suggest simply writing a html page and updating as I see fit, this is the least technical option for me and may yet take shape. At the moment I’m dropping most snippets of text, some pdfs and images into Apple’s notes app. From a search and retrieve perspective this is fine, however a digital garden is more than that. [See the links below for more on the ideas and approach to digital gardening.]

For now I have rejigged my WordPress blog in an attempt to better reflect this approach, adding a menu option in the main menu at the top for a links page. Also adding content to my about page that explains a bit about digtial gardens. I also moved categories to my sidebar to make the interconnections between my words/posts and other media seem more obvious.

Moving forward I will try to add as much link rich information as I can in each post. This will allow for some non-linear reading. In the meantime my motley collection of links can be found on pinboard.in/u/:s2art, there is a social element there and it has a small annual fee attached, as well as a taxonomic tool for tags and organisation.

Here’s a list of articles that have been sitting in my open tabs in my browser for over a week now that have me thinking abot this idea of a digital garden.

How Blog Broke the Web, Amy Hoy
Building a Digital Garden, by Tom Critchlow
My blog is a digital garden, not a blog, by Joel Hooks
The Garden and the stream, by Mike Caulfield.
A GitHub reference point for all things digital gardening. by Maggie Appleton

Summer Preoccupations

This interactive piece on the New York Times website is a marvellous example of how the web can be harnessed for educational good.

Click on the image below; to view.
The woodblock print referred to by the New York Times is by Katsushika Hokusai: “Ejiri in Suruga Province.” It is the 10th image in his renowned cycle “Thirty-Six Views of Mount Fuji.” It examines the print in detail and draws some conclusions about its impact on Western Art, even referring back to Jeff Wall’s iteration.

The Arts in Victorian Britain

The Victorian Web a 'pre-internet' site on Victorian History — The Victorian Web a ‘pre-internet’ site on Victorian History

The things you find when you are not looking!

The Arts in Victorian Britain:

The History of the World Wide Web

I found this website that explores through a timeline and in a decade by decade series, how we got to where we are in terms of the current world wide web. It uses fairly non-technical language and builds on and adds to some of the Web’s best known stories.

Wordless Wednesday #20200701

Meanwhile on Flickr

Spencer Street, Melbourne, Victoria, Australia. 2013-11-02 14:43:30

My flickr stream is one that is highly curated. I look for similarities or disparities that tie the images together. I treat my flickr stream as a 24/7/365 gallery.

Using Lightroom it is easy to duck and weave around and collate worthwhile images that can then be later drawn upon to upload. Tools like Lightroom and Aperture have made the process possible. Otherwise locating specific images in my unwieldy 200000+ image library would be nigh on impossible.