The photo  below was made on an early morning  poodlewalk with Kayla in 2022 in the local bushland in Waitpinga on the Fleurieu Peninsula in South Australia. The photo was made around the same time as this black and white one. 

Kayla and I did a lot of  our early morning walks in this particular  bushland,  as it was one of her favourite places to walk in. We would  come across  foxes, rabbits and  kangaroos in the winter/spring months and  so there were lots of scents for there.  She would wait whilst I photographed. On this occasion  I was attracted by the subtle colours of the bark and the leaves. 

This image  is produced by  a form of lens-based photography as distinct from the photographic.  Then former involves creating images using light,  a camera and film.  (Digital technology replaces film with a sensor.)   We need to make a distinction  between photography and the photographic  and to see them as two distinct entities,  given the emergence of AI-generated images. Our  photographic language has become a free floating entity separated from (lens-based ) photography and it now has a life of its own.

That is our starting point in the current situation.   

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From the 2020 archives and  a trip to NZ  pre the global Covid-19 pandemic. 

I didn't take many photos with the analogue Leica M-4 P rangefinder on this trip as  I was in the process of giving 35mm  film photography away. Digital photography was far better in low light situations  and Kodak colour negative film was becoming rather  expensive.  

The photo below is of trees on the banks of  the Waiau River  at Lake Manapouri in the Southland region of the South Island.

We were staying at Lake Manapouri at the time,  monitoring the pandemic situation and keeping an eye on whether  Australia would close  its borders.  We wondered if we would  be able to finish our trip. The Europeans that  we meet still thought that they could  keep on travelling between countries. The possibility of  Australia and New Zealand closing their borders was considered to be remote. 

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The pictures below and over the page were made in 2021 whilst Maleko and I were on an afternoon  poodlewalk in  the littoral zone in Waitpinga in the southern Fleurieu Peninsula of  South Australia. We often walk along this section of the coast in the late afternoon. Photographically speaking, this littoral zone  works best in low or flat sunlight. It is no good in the bright afternoon sunlight of summer.

The pictures were made  with  my Leica M4-P with a  rigid Summicron 50mm pre-asph lens. As mentioned in an earlier post the rangefinder  recently became salt damaged from a rogue wave surging over me whilst I was photographing.  Leica  in Germany have since informed me that the lens is kaput (ie.,  unrepairable), but that they can repair the camera body.   I have given the go ahead  to repair the camera and  I am hoping that the insurance will cover most of the cost of buying a second hand Summicron 50mm pre-asph lens. 

That decision means that I remain committed to what some call vintage photography that many understand in terms of being wrapped up in nostalgia. Though not born into a digital world, but subsequently embracing it, I accept that I am  a nostalgic photographer whose optimistic  belief in the digital future is becoming outmoded.  What then is analogue nostalgia? 

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This  photo of an old log in the bushland in Waitpinga on the Fleurieu Peninsula in South Australia was made in 2021 when I was on an early morning walking with  Kayla.  We spent a lot of time in the bushland, mostly in the early morning, throughout 2021 and  the winter of 2022. Sadly we had to put Kayla down this week, as she had cancer of the lymph nodes.   

This is a memory of our times together in the local bushland; a memory of  nature as  transience: 

During our times together in the local bushland I recovered a conception of nature as transience--conceptualizing the bushland in terms of change, passing away, perishing-- and not just as shapes and colours as in a modernist aesthetics. 

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The  photo below  is of a branch of a tree on the  side of a  backcountry road in Waitpinga on the Fleurieu Peninsula.  I often walk down this road or both the early morning and the afternoon poodlewalks. The road  runs alongside  some bushland,  which is where we wander around after walking along the length of the road. We usually wander through the bushland back to our starting point. 

The photo was  made in low light on an early morning poodlewalk.  

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The picture below is an abstraction of a section of the trunk of an eucalyptus tree in the Veale Gardens section of the Adelaide parklands in South Australia. It was  made using  an old Leica rangefinder camera from the 1980s ---- a M4-P with a 50mm Summicron prime lens.   This  very basic and simple film camera (manual focus, no light meter)  is the complete opposite to  the modern technology of contemporary digital cameras (Sony, Canon, Nikon).  

I  had some time on my hands that afternoon, so I  wandered around looking at the tracks of the various eucalypts.  I was looking for the possibilities for abstraction.  The colours of this  particular  trunk caught my eye. 

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The picture below is a snap of some  tree roots in a dry  creek bed on the eastern side of  the Vulkathunha-Gammon Ranges  in South Australia in 2021.  We had traveled on the gravel Arkaroola-Junta Rd along the eastern edge of the ranges,  then turned into the North Flinders Rd  passed Wertaloona Station, then  crossed the Wearing Hills  through the Wearing Gorge.  

I cannot remember which creek it was. More than likely it was Wearing  Creek as we drove through the creek bed whilst the gorge. 

We were returning to  Hawker via Blinman after  we had been 7 days walking in the Vulkathunha-Gammon Ranges. Our  camp, which was  organised by Retire Active SA, was  at  the shearer's quarters  in the old Balcanoona Station --- a one time sheep/pastoral  station. The station homestead is  now  the National Park Head Quarters. 

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We need to speak bluntly today.  

The bushfires in Australia are becoming more common and they are now more severe than they were due to climate change.They have become firestorms. 

This connection is often denied politically by those on the conservative side of politics who spin, dissemble and gaslight.   They say that historically Australia is a land of fire and flood.  Nothing new here. It is just the eternal recurrance of the same. This response represents  a denial of the danger of fire storm and it is a part of the conservatives  doing every thing possible to frustrate climate action.  

But the bushfires of yesterday are now the firestorms of today -- eg., the  fires along the Great Dividing Range  of the Black Summer of 2019-20.   These  fires were far from normal. 

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Over time, this minor weblog has evolved  from being  a Leica snapshot blog into one  about visual poetics in photography. Based on using a 1980s  film Leica rangefinder camera  this  approach  stands in contrast to the Leica being associated with, and traditionally used for,  photojournalism and urban street photography in the 20th century.  Recall black-and-white and Henri  Cartier-Bresson, Robert Frank  or Lee Friedlander.  

My  equipment is simple: a hand held  Leica  M4-P camera,  a standard Leica 50mm Summicron lens, a basic handheld lightmeter,  and Kodak Portra 400 ASA film  with  the negatives  processed  in C41 by a commercial lab and then scanned by me using a  little Plustek  Opticfilm 8100 scanner. The post processing, which  is done in Adobe  Lightroom  6, is minimal.  It is basic technology with the construction  of the image is done in camera. 

This image of the Balcanoona shearing shed in  the Vulkathunha-Gammon Ranges National Park in South Australia when  I was there in the winter of 2021,  is an example of my approach.      

Though I struggle  to make poetic images I  often wondered what poetic photography  means,  or refers to.   People usually say that poetics is the opposite of documentary and that it is a  form of  art photography and so  distinct from photojournalism. That doesn't get us very far since  it just identifies a genre of photography that is deemed to be experimental and  outside the constrictions  and the traditional structures of photography. 

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The photo below was made in the early morning in the Balcanoona Creek bed  in the Vulkathunha-Gammon Ranges National Park in South Australia in the winter of 2021. The Balcanoona  pastoral Station was acquired by the park in 1982 and is in Adnyamathanha country.  

It was the colours, textures  and light that caught my eye.

I was there for  6  days walking throughout  the Vulkathunha- Gammon Ranges National Park with friends under the auspices of ARPA bushwalkers.  This ARPA  event was known as the Balcanoona Camp,  and we were based  at the old  shearers quarters at Balcanoona Station, which is now the HQ of the national park. This was my  first time with  the ARPA bushwalkers  and  I was a C grade walker.  I wanted to be able to  have some  time to take photos, and to do so whilst walking through the ranges  on the various  hiking trails.  

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