Suzanne's mother's family  came from Tasmania and her sister and husband had  purchased  a property in Tunbridge, in the Midlands. So we decided to have a week's  holiday in Tasmania. I'd never bee, even though the tourist pictures that I'd seen reminded me of the South Island of New Zealand. Tasmania,  like the South Island, was an iconic wilderness destination in the global tourism market. 

This abstract  of the wall of a shed was made at Fingal on the Esk Highway   whilst we were on our way back to Launceston from St Helens. It's a cliche  of minimalism that avoids the art photography  tendency to use the "snapshot aesthetic" with a ironic wit  at loose in the phenomenal world to achieve the accidental effects of the unthinking snapped camera image (eg., the headless grandma, off lighting, poor focus, blurred images, awkward poses, harsh shadow etc ) made with a point and shoot camera. 

In contrast, Adelaide  in the era of the global market,  was becoming a city of empty shops, throw away food, angry posters and homeless people sleeping out in the parklands rather than a tourist Mecca.  

Many people were joining the precariat, an emerging class characterized by chronic insecurity, detached from old norms of labour and the working class.  The rights associated with citizenship were starting to be whittled away from them. They were partial insiders with some rights.  

The snapshot aesthetic refers to  a house style at photography's breakout monument in the 1970s rather than vernacular photography of popular amateur/domestic  snaps that failed as photography and lacked reflective insight.  What  late modernism's  "snapshot aesthetic" displaces is   that the snapshot pictures  exist to represent events and objects of situational relevance to the image maker. The intended viewers are typically the photographer's close associates--friends and family members--and they embody historical knowledge and memories.