This was one the first colour photographs that I made after my return to photography in the 1990s. I had stopped making photos whilst I was doing my PhD in philosophy at Flinders University of South Australia. I started the doctorate in the late 1980s and finished the PhD around 1998, then started to work as an academic on a casual basis. During the 1990s Suzanne, Fichte and I would sometimes go down to Victor Harbor on the southern Fleurieu Peninsula coast on the weekends to stay with Suzanne’s mother (Majorie Heath) at her place in Solway Crescent.
This photos is representation of the granite coast west of Petrel Cove and east of Dep’s Beach at Victor Harbor. It was made with my Linhof Technika 70 using a 6×7 film back. This modest and intermittent photographic restart would have been around the mid 199os before Majorie Heath died in 1997.
I had put all my large format cameras in a cupboard, stopped using black and white film for medium format, and only used b+w for 35m until I lost the Leica M4. I was inching back to photography using the old Linhof, a camera, which I am still using over 20 years latter. I was impressed by the coast, thought that it was an interesting location, and a good spot to pick up the pieces and make a modest return to photography. Continue reading →
As I go through my black and white archives from the 1980s for The Bowden Archives and Other Marginala book I am starting to come across some seascape images that I cannot recall making. Nor can I recall their location, the camera that I used, or even when they were made. Since my personal memory is unreliable my memory of these past events is going to have to be constructed.
The negatives had been stored away in an old, red filing cabinet with no information other than a tab that just says ‘Landscape Studies’. An example:
Many of the pictures in the Landscape Studies file were done whilst I was on the road. My best guess is that these kind of seascape images are different, in that they were probably made along the southern coast of the Fleurieu Peninsula, even though I don’t immediately recognise these rocks. But I have no memory of making them. I haven’t looked at the negatives or the contact since these were processed and printed. I cannot even recall who processed the negatives or printed the contact sheets. Was it me or a commercial laboratory?
In 2016 I am reading these photographs differently, and the reason that I was drawn to this location becomes irrelevant. It now becomes an interpretation of an image, influenced by a contextual memory of the situation. The boundaries become blurry as we step into the realm of fiction.