This picture of dead trees on the Chowilla floodplain in South Australia was made during the decade long drought in the Murray-Darling Basin, which ran from around 2000 to 2010. It broke with the emergence of the La Niña weather conditions in 2010. The photo was made about 2003/4 with my old Linhof Technika 70.
What the drought highlighted was the lack of environmental flows in the River Murray. Too much water had been taken by the upstream irrigators in Victoria, NSW and Queensland. So there had to be cutbacks to water extraction in order to ensure increased environmental flows for the river. That is when the politics over water reform in the Murray-Darling Basin erupted around the Murray-Darling Basin Plan (2012) that was based around water trading and water buybacks by the Commonwealth. Continue reading
This picture of a melaleuca in the morning light was made on an early trip to the Coorong in South Australia in the late 1990s. We stayed at some cottages at a property called Gemini Downs, which was just north of Salt Creek. I remember that it was very cold at night and that the heating in the cabin was minimal.
This was an edgeland around Salt Creek and it was just outside the Coorong National Park. It used by fishermen to access the water, and from memory, there was a fishermans’ hut nearby. Continue reading
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.
sea + granite, Petrel Cove
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
The next stage in the archive project after The Bowden Archives is a book with Adam Dutkiewicz entitled Adelaide Photography: from the 1970s –2000 to be published by Moon Arrow Press. It is a historical project that is a step to filling in the large gaps in the history of Australian photography and Adelaide’s late 20th century visual culture.
Tree, South Rd, Adelaide
Adam and I have talked about starting work on the Adelaide photography book after he has completed A Visual History of the Royal South Australian Society of Arts 1856-2016 Volume 2 book. At this stage the start would be towards the end of 2017, or the beginning of 2018. Continue reading
In the previous post I mentioned that I would now concentrate on other images from the archives now that The Bowden Archives has all the images it needs. I have recently been mulling over what to do with these non-Bowden images, and I have decided that some will go into the Adelaide book whilst the others will go towards a new book project with Moon Arrow Press.
suburbia, northern Adelaide
This is the independent press run by Adam Jan Dutkiewicz and which published my Abstract Photography book in 2016. Adam and I had a chat about this Adelaide photography book recently, and we tentatively agreed to start working on it next year, after he finishes Volume 2 of the Visual History of the Royal South Australia Society of Arts book. Continue reading
The Bowden Archives section of the photographic archive has been sorted and edited into a book, which is to be published in 2018. It consists of 50 images and two essays. I will now concentrate on other images from the archives:
In a previous post I mentioned that I would go to Victor Harbor occasionally. Suzanne, my partner’s mother lived at Victor Harbor and we started to go and stay there on the odd weekend. Whilst staying there I would walk around the rocky foreshore west ofd Petrel Cove photographing the rock formations:
rock abstract, Petrel Cove
I used an old Linhof Technika 70 camera for these rock abstractions.
A talk with a publisher about the material in the Bowden Archives and Other Marginalia becoming a book, it was suggested that the proposed book would work best as a book if it were cut down to The Bowden Archives. The non-Bowden material will go to the Adelaide book, which has been on the back burner. The focus on Bowden tightens the manuscript, which was starting to become unwieldy, and the simplification makes the focus of The Bowden Archives more centred around history and place. I have spent the last week going through the 35mm negatives of Bowden, and scanning the best of them.
An example of the pictures in the initial historical section of the Adelaide book would be these two pictures of the Port River estuary in this post. The first picture of the mangroves are a reminder that Port Adelaide in the early 19th century was once basically a mangrove swamp and marsh surrounding the Port River. Tides and drainage would continue to be major issues for residents until the first half of the 20th century.
mangroves, Port Adelaide
The embankments along the river formed a basin within which the early residents worked and lived, but not without some fear. While the embankment kept the River at bay most of the time, the banks could be breached by a high tide. The basin shape meant that any water, even rain, pooled in the town with no drainage outlets.