This is a companion post to this previous one. 

That post explored the photographer being immersed in the bushland rather than separate from it. It asked the question: 'can the idea of  photography as poetics  provide a different conception of truth to the  indexical  correspondent one, which is  the traditional understanding of truth in photography.'

The photo can  disclose a moment in the bushland. Photography as poiesis is a mode of disclosure  (aletheia) of being. Discloses in the sense of opens up or unconceals. In doing so the photo is  both a poetics and is thoughtful.

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The  well known fragment  123 of Heraclitus reads: "Nature loves to hide itself'.

The Australian bush can be quite messy, dense  and chaotic  and  quite  difficult to walk in and  to photograph. Often there are no pathways through the thicket  and you have to go around it.

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Remember the industrial world of film or analogue photography from yesteryear?  It wasn't that long ago. The grey haired ones, if they are still active,  were encultured  in it.  Since it was yesteryear we can look back at it. 

 In the early and  mid-twentieth century -- probably up to the late 1970s or early 1980s in Australia ---  we understood photography in a specific way. We carefully shot the scene, ensuring our originality, then  culled carefully down the accumulated photos on the contact sheet  to the best Images. We were  carefully taught  to examine a contact sheet and pick out "the good ones" and circle them with a red pen. 

What were the good ones? Those that represented the Truth  (an objective representation of the way things really are) or expressed significant form. We then  carefully printed the good ones  on paper in the chemical darkroom making sure that what was eventually produced was the fine print. 

The photograph was a carefully made singular object, to be revered and inspected closely. It was fitted into that Enlightenment, linear, mechanized, system of being centred around progress.  The idea was that it showed us Truth (though significant  Form) about the nature of things.  We were informed that we should accordingly inspect the picture carefully (or at least pretend to) and give it the respect it is due with a close reading. Only a few could make being a photographer. The art galleries and university departments adhered to modernist values—the authority of the artist, the expertise of the curator and the discourse of the modern as the new, 

That world has long gone. In the 21st century digital photography is our current world. We are in a new era of photography that is shaped by the internet,  social media and the smart phone. This  is an image world of fleeting, fragmentary  impressions,  instant likes,  pretentious Influencers and persuasive hucksters offering the real deal.  Social media, the internet  and  their  computational mode of production  transform a marginalized film photography's  precarious existence into something other than what it once was -- the  internet  transforms it into a networked image that is viewed on a screen.  The analogue photo is a hybrid as it is shaped by an algorithmic logic,  is  treated no differently to a digital image,  and it is no longer culturally significant  how the image was produced.     

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I don't recall the exact occasion when I made this b+w abstraction of the trunk of a humble and ordinary tree in remnant bushland.  I remember  the location though.  I was walking in the local Waitpinga bushland on a poodlewalk with Kayla and it was an intuitive rather than a planned photo. 

I also remember that it  was  made after  I'd started  reading  Matsuo Bashō, the great haiku  poet  (1644–1694), whose self-image  of a recluse/wayfarer  and eccentric was the basis for  the  poetic possibilities in his Oku no hosomichi (The narrow road to the deep north, 1689). I was  reading him in preperation for going on a Basho walking tour  in 2023.     

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I have found that an appealing aspect of using the renovated Leica M4-P film camera after a year of being without it   is its operational simplicity,  especially when compared to the complex menus of the current  mirrorless,  full frame digital cameras.  The film rangefinder's mechanics are so   basic that the camera  forces you to photograph differently.   

The M4-P rangefinder was made  before Leica   included a light meter  in its film rangefinders  and the limits of film are quickly reached in low light situations. So it is not an all round camera like the latest full frame mirrorless digital cameras -- such as the sophisticated Sony A7 RV,  the  Nikon  Z8  or the Canon EOS  R5.  

Within these limits the usability of the rangefinder centres on image making that is slow placed and premised on the characteristics of the  film and the limitations of the rangefinder  camera.   

Due to the cost of 35m colour negative film (Kodak Portra 400 ASA) these days the 'in camera' image making has to be  slow and considered by necessity.  You are forced to slow down, evaluate what you are seeing,   and  then think about constructing the  image as a poetics.  

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 This hand held  picture was made of some roadside vegetation whilst I was walking down a country road in Waitpinga on an  early morning poodlewalk with Kayla in the late winter of 2022. 

This  was a low light situation as we were walking along the road around  sunrise to avoid the traffic.  The above picture of a tree trunk was made around the same time as the bark abstracts  I'd shown on  an earlier post on Leica Poetics. 

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The third in the series of the  salt-water damaged  roll of  35mm film:  

I read in The Guardian that Wim Wenders now  regards photography as a thing of the past. His argument is this:

 “It’s not just the meaning of the image that has changed – the act of looking does not have the same meaning. Now, it’s about showing, sending and maybe remembering. It is no longer essentially about the image. The image for me was always linked to the idea of uniqueness, to a frame and to composition. You produced something that was, in itself, a singular moment. As such, it had a certain sacredness. That whole notion is gone.”

The modernist understanding of photography has gone to be replaced by the network image. 

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In this earlier post I mentioned that in December 2022 my  Leica M4-P and the Summicron 50mm  lens was  damaged from a rogue wave surging over me whilst I was photographing on the rocks along the southern Fleurieu Peninsula in South Australia. 

Leica advised that the lens was unrepairable but that  they could repair  the camera body. The rangefinder body is now with the Leica workshop in Wetzlar,  Germany and I've been advised that there is a 6 months wait for analogue camera repairs.  So I will  need to acquire  another 50mm lens. 

The film (Kodak Portra 400 ASA ) that was in the camera at the time of the salt-water accident was developed and I have recently scanned it. This is one frame:

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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This picture or representation of quartz was made whilst I was on a coastal poodlewalk in Waitpinga on the southern Fleurieu Peninsula of South Australia with Maleko, our standard poodle,  in the late afternoon. It was made around the same time as this image which is on the same 35mm roll of colour negative film.

 If it was overcast in the afternoon we would often wander  amongst these rocks on the  poodlewalks,  as the afternoon light is behind us and the soft light brings out the muted and subtle colours of  the rocks and quartz. 

This representational image of quartz is deemed to be a document created using a  transparent medium to produce an image that is readily intelligible. Hence it is a cliche that needed to be subverted by opening up the photographic process to explore the  possibilities of the photographic mediation of the world. That rejection of photographic transparency is the perspective of art history's account of the history of photography and it highlights how the logic of  20th century modernism is a culture of negation.   

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