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Jimmy's Island, Guerilla Bay

I only took a couple of days to get home after the Snowy River – the weather didn’t look too good and I had a toothache developing which I needed to get seen to before the long weekend. Apart from that I was getting a bit photoed out and lacking inspiration, especially after a night in a tent. A couple of spots did strike me though:

on delegate road, 10 km from Bombala

10 km from Bombala

I deliberately started the coastal part of the drive home from Eden as we have never travelled the South coast before. The highway and the coastal towns are reminiscent of the Pacific Hwy and the NSW north coast 10 years ago before the highway upgrades. On the advice of the man behind the counter in the Moruya petrol station I drove the short stretch of coastal road from Moruya to Bateman’s Bay and stumbled upon this photographic gem – Jimmy’s Island in Guerrilla Bay.

Jimmy's Island, Guerilla Bay

You may have noticed that I have taken a liking to extra wide panoramas and long exposures (2 seconds in this case). I know some people think it is overused but in this case I think the blurred detail and the motion that the longer exposure invokes work well against the sharp angles and colours of the island. Thoughts?

Finally, I am always moved by these when I pass them alongside the road:

roadside memorial, South Pambula

Red Poppy, (36º 56′ 39″S 149º 50′ 15″)

I counted at least a dozen memorials on the Hume between Sydney and Goulbourn and I think we all know of one or two that we pass regularly.  They represent such powerful stories and I think a photographic series on roadside memorials would make a great portfolio. I will try it soon as it something I could tackle to get me out of my landscape comfort zone. In this example the red reflector reminds me of a Flanders poppy, which itself holds a strong meaning, and the anonymity of the marker suggested the latitude/longitude reference.

Weekend in Melbourne

vertical panned trees

I’ve been in Melbourne for the weekend with very little photography happening, but visited the 1140 gallery in Malvern which turns out to be the only gallery in Melbourne permanently exhibiting photography and is just just 500 metres up the road from my daughter Katie’s apartment! Some great fine art work by various artists I hadn’t heard of, all huge prints and priced from $3,000 to $10,000. They are working with Robert Besanko, who is in his 80’s and apparently famous, but I hadn’t heard of him, to release his work as limited edition prints and to stage an exhibition at the Sydney MCA in the next 2 years. So watch out for it, stunning work, follow the link.

I took some good waterfall images on the way to Melbourne, but they will require a bit of fine tuning before I show them here. Also played around with vertical panning of the camera on some trees which is really not so hard, about 1/8 th second exposure, the difficult part is panning smoothly. Guesswork required to know when to press the short, but just keep trying until you get something you like. I almost convinced Katie to put it on her wall as abstract art.

vertical panned trees

It looks really effective when split toned:


Vertical panning split toned

She even liked this one of some dramatic clouds.


Inverted split toned clouds

BIFB (Ballarat International Foto Bienale)

After nearly 2 days at BIFB I have seen the work of maybe 40 photographers; some well known, many emerging, and most interesting. Compared to what I saw at Arles in France, I think the images seem more grounded; that is, I found a lot of the work at Arles to be so out there that I didn’t have a clue what it was on about. Certainly there are some like that here, but the lack of understanding is probably my inadequacy in Ballarat.

Most of the work was on display in 10 or so public buildings around Ballarat and the rest in cafes or shops.  Very difficult on a saturday morning to look at photos on the wall of a busy cafe when you are looking over people having their coffee!

Artists that I found especially interesting were:

  • Osama James Nakagawa with his study of the sea cliffs (Banta) of Okinawa, he describes as “between fear and beauty”. Many of his 2m high, narrow images remind me of the views looking out to sea from Redhead bluff: swirling waves and rocks leading out to the horizon. I felt giddy looking at them!
  • Christian Pearson “Conversations with the Land”. Evocative landscape images composed of around 100 smaller images of the same subject in different lighting, or about 20 vertical strips of alternating similar images.  Hard to describe, but very effective and may be useful in my current project.
  • Alfred Gregory – known for his documentary photography but much of his personal work he describes as “finding things when I haven’t been looking for them”, a good definition for the wandering photographic style.
  • Laurence Winder “Continuum” – fine art french travel photography! If only I had seen his work BEFORE the French holiday.
  • Bill Heath. Creates art entirely in his computer based on the mathematics of fractals. We had a discussion as to whether it was photography.
  • Margaret Squires “Interior topographies”. An amazing image from on an insulation batt  and some subtle lighting. Add this to my to try list.
  • Brian Duffy – the 60s British fashion and advertising photographer who burnt all his negatives at the height of his career and gave it all away.  Quote: “Never listen to what an artist tells you, it is absolute drivel.  Their work is their statement”.  I’d always thought this when reading those little placards that tell you what an obscure photo is supposed to be about.
  • Michael Carly “Air”. atmospheric long exposures including the earth shadow!
  • Colin Page “Gossamer”. A series of large B/W portraits where he has used light and pose to create images that are like statues of greek gods and goddesses.
Looking back, I obviously could had gained more from the exhibition by analysing the images more closely; applying Des Crawley’s Visual Expressive Language list to understand better how the artist has communicated their ideas.
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