Made whilst I was wandering around Hobart in 2012

There are some more snaps on  the Tasmanian Elegies Tumblr blog. 

This snap of a found still life was made along the coast between Petrel Cove and Kings Beach in Waitpinga whilst I was on an early morning poodlewalk:

 I have been looking at an exhibition  of the early 35mm work  made by Joel Meyerowitz between 1963 and 1978. The exhibition is entitled "Joel Meyerowitz: Towards Colour 1962-1978",  and it is at   Beetles and Huxley, a photographic gallery  in London. These Leica snapshots  are   from Meyerowitz's very early days shooting in black and white on the streets of New York  to the year he published his first book, "Cape Light", the pictures of which were made with a large format camera. 

Meyerowitz worked in advertising for four months of the year to support his family and devoted the rest of his time to photography.  A number of the pictures in Mexico and Florida   were made with  a Guggenheim Scholarship to take pictures on the theme of 'leisure time'.

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The pictures made with the film Leica are snapshots and, and as such, they belong to the tradition of the snapshot image culture. Traditionally, snapshot photography is  one in which the images  are almost always produced for and circulated within,  the private realm, and its meaning and significance are  imbedded in individual and rarely rational affective responses. 

The snapshot  tradition has been interpreted as a form of vernacular photography,  and  this culture  is usually interpreted as  pictures made by everyday  folk about their everyday life;  or more specifically,   "the unself-conscious efforts of common people . . . to create satisfying patterns in the realities of everyday life. 

This results in a gap between the unruly vernacular culture and the modernist,  hermeticizing discourse  of the art institution, with its emphasis on autonomy, authorship, uniqueness and universality.   

 This vernacular culture insists on lived experience, or a rhetoric of authenticity, works within specific social and cultural conventions, and emphasises personal narrative. For most of us, snapshots mean something because they preserve a memory, capture a moment, or depict a friend, family member or loved one. -These are the  same themes that Kodak promoted for decades. From a personal point of view the significance of snapshot aesthetics often revolves around what we see and feel when viewing snapshots, rather than what they mean to art historians, curators, and collectors.  

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A picture of the past. A  picture of life in a frontier mining world of Andamooka. 

It's not much of a backyard or  playground is it, at the foot of the  opal mine tailings.  My memory of Andamooka is that the dust  from the mine tailings was everywhere, layered over everything. It was hot and the atmosphere was arid.  

What this photo from the archives does is bring the past--what has been---into the present.    In offering  an image of the past it opens  up history, allowing us to see the past---what  once was; allowing us an insight into the lives that were lived in a frontier mining town; allowing us to imagine a life lived among the dust from  the mine tailings next to the traditional tin houses of old.    

It's a  remnant of the town's past --a different remnant  to  the traditional dugout style houses of old Andamooka that was  pictured in the previous post. 

This picture of  an  opal miners hut  at Andamooka in South Australia, which  is from  my film archives ---  an example of  ordinariness or a deadpan aesthetic that was made whilst  travelling on the margins of modernity.

Like the previous images  the picture was  made with a Leica M4-P, with a 50mm  f.2 Summicron lens and Kodak 400ASA film.   As previously mentioned in an earlier post  I discovered a roll of film I'd exposed whilst I was  visiting  Andamooka circa 2004-5.   My film work at the time--35mm and medium format--- was usually developed and scanned by a pro-lab, but for some reason this roll hadn't been scanned.  This was  several years prior to  buying my first  digital camera. I had no knowledge of digital cameras. 

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From the  film archives.  

This  is another  image that I came across when I was going through my film archives. A public sculpture at Andamooka in South Australia. The picture was  made with a Leica M4-P,  a 50mm  f.2 Summicron lens and Kodak 400ASA film:

 As I mentioned in an earlier post I  discovered a roll of film I'd exposed whilst I was  visiting  Andamooka circa 2004-5   My film work at the time--35mm and medium format--- was usually developed and scanned by a pro-lab, but for some reason this roll hadn't been scanned.  This was  several years prior to  buying my first  digital camera.

This picture of roadside vegetation  was made whilst  I was walking along  a back country road in Waitpinga, on the Fleurieu Peninsula in South Australia. It was in the late  summer in 2016 and  I was on an early morning   poodlewalk  with the standard poodles. 

I was forcing myself to take photos of trees and the agricultural landscape around me so as  to keep my  photographic eye hand in. This was the area/locality  in which I now live,  so how can I photograph it? I recall that I didn't have the confidence to  set things up to  do tripod based photography. 

Though film has quickly gone  poof (poor Kodak) as the medium of choice   for photographers,  I am part of that 'bridge generation' between film and digital. Digital, including rangefinder digital,   is simply easier, faster and immediate since the camera  is really a portable computer (with a sets of options,) and a sensor and  lens.   My technique is far slower and more measured with film.  

My doubts  about 35mm film photography are beginning to ease.  I can see that there is still some life in 35mm film photography,  in that  it has a different quality to the digital version.  But it is only for some subject matter, as I'm beginning to discover.  Unfortunately, I cannot predict which one.  

That  filmic quality is hard to pinpoint,  but it  has something along the lines of  providing a more emotional response to what is photographed, as distinct from a technically perfect image that can be quite bland.   Digital images are  unfilm like and so perfect that camera software manufacturers are now adding  adding "grain" enhancement plugins. 

A rarely experienced moment during the summer months on the southern coast of the Fleurieu Peninsula near Waitpinga- dense sea fog:

It  happened  for a couple of days. It would roll in across the landscape  in  the late afternoon.  Then it disappeared. 

An abstract image from when Suzanne and myself  were  in Wellington in 2015 before we   walked the Tongariro Alpine Crossing:

It is from the wharf precinct  in Wellington.  Suzanne and I spent a lovely Friday evening on the wharf. It was a warm,  balmy evening and everyone was out and about enjoying themselves.   Such evenings are few and far between in Wellington. 

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This is one of the pictures I made of the Clifton Car Park when I was in  Wellington, New Zealand  late last year after Suzanne and I had  walked the Tongariro Alpine Crossing.  We  spend the day after we returned to Wellington, and before we flew back to Adelaide,  checking out  some of my old haunts (Island Bay) when I  had lived (Evans Bay)  and worked in the city as an economist.   

I  enjoy walking Wellington. On this occasion I was walking in the  early in the morning before breakfast.  I'd seen the Clifton Car Park late the previous  afternoon and  I'd walked around it. I found it  a fascinating place to explore with a camera.

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