From the archives.
The photos below are of the trunk of a river gum (Eucalyptus camaldulensis) that were made around the same time as this photo. It was an early experiment, using slow b+w film with a hand held film Leica M rangefinder, to explore a different approach to Leica M photography.
The experiment was to try to move away from the Leica reportage/street photography tradition; a tradition that is deemed to be the very heart and soul of what photography is. The move away approach follows the pathway that Heidegger carved out with Being and Time, which is to start from the assumption that photography always has a site in history from which it inevitably inherits a past that is ‘more or less explicitly grasped’.
There is a traditional tendency in photography to adopt the concepts inherited from the past unthinkingly and as self-evident and the Leica tradition of street photography was a hardened one that can be loosened up, and the concealments that it has brought about can be dissolved.
This 'twisting free' approach is not a negation of the past as it is concerned to explore whether or not there was an alternative to Leica's reportage/street photography tradition? Could the film Leica M rangefinder be used in a different way to its foundational heritage of street photography? If so, would this 'unconcealment' open up a space of possibilities that could be fruitfully explored photographically?
What then is concealed by the tradition of street photography tradition? It blocks off the possibility of other ways of photography. Can we retrieve what is forgotten and hidden -- eg., photographic abstraction or photography as poiesis?
The Heideggerian pathway indicated that this unconcealment could be done by stepping back to the more or less hidden sources of the photographic tradition itself. that is before the origins of the Leica M street photography tradition. A stepping back to Joseph Nicéphore Niépce's earliest surviving camera photograph, circa 1826: View from the Window at Le Gras (Saint-Loup-de-Varennes, France).This stepping back to photography's mimetic presuppositions is coupled to a step forwards; that is the photographic past from out of which we think is re-appropriated and interpreted anew.