roadside vegetation

I've started reading Jane Hylton's The Painted Coast: Views of the Fleurieu Peninsula in order to gain a sense of the visual history of this part of South Australia from the 1840s to the present.  The original native vegetation, which can be seen in the early water colours of G.F. Angas and H.P. Gill,  has long gone.

The region is now mostly farmland. The remnants  of the  native vegetation outside of the conservation parks can be found along the road side. This is now pretty thin.

I find the lack  of native vegetation and biodiversity rather depressing.

studio: yellow rose

The heat wave continues in Adelaide. 

 I'm doing more work in the studio--at the moment it is black and white shots of a clove of Russsian garlic. I'm decided to use up the expired Ilford FP4 125 ASA  film, which  came with the Rolleiflex 6006  system that  I acquired a year ago.

This is a rose from the garden at Solway Cresent. It was taken in 2011 with  Fujichrome Provia 100F using a Cambo studio stand.

I spent yesteday scanning 5x7 colour negatives on the flatbed Epson V700 scanner without much success.  The negatives were scanned without a film holder, as no film 5x7 film holders came with the scanner.   I used the film area guide  and they have a strong blue cast. I couldn't  restore the colour with the Epson software. It did not work at all.

Unfortunately for me there are  no 5x7 film holders  made for  the scanner. They only go  up to 5x4. I am converting some of the scanned negatives to black and white but I will have to invest in a flexible  5x7 film holder from betterscanning.

I can see why people make the shift to digital.

in the studio

During the high summer in South Australia it is difficult to take photographs.It is very hot and without the the cloud cover there is a very limited time at dawn and dusk to take photographs.

I don't fancy walking across rocks in the dark carrying large format equipment to have it all set up before dawn. Usually I have a location in mind and I  wait for some cloud cover to soften the very bright sunlight.

In the meantime  I make use of the studio. It's a simple set up: tabletop,  window light, closeup rings on a Rolleiflex 6006 , exposures of around 2-4 seconds, a 120 roll of  Fujichrome  Provia 100F and some fruit and  vegetables, such as this avocado.

erosion

It has been a couple of  months since I posted on the Encounter Studio's blog. Even though I'd been working on the Victor  Harbor book over the Xmas break I'd more or less forgotten about this blog. I only remembered it when I was  setting up the book's  gallery this morning.  

This is an picture  taken last year and it depicts erosion along the side of the Ring Road. I made a number of studies of this subject as I was attracted by both the shapes and the  colours.  

rockface: abstract 1

This is pretty much how I see the rockface in the coastal landscape just west of  Victor Harbor and around Kings Head.

It is  the constantly changing play of light on the rock forms along the coastline that caught my eye and intrigued me. I tend to see the rockface in terms of abstractions---organic abstractions, as it were. Abstract modernism in this  form makes sense to me as a photogrpaher. 

More here

Hindmarsh River mouth

This is a favourite area  in Victor Harbor for the poodles, Suzanne  and myself. It is the estuary of the Hindmarsh River near Hayborough, and it includes a board walk through the melaleucas,  a lagoon and the beach itself.  The latter is very popular.

The afternoon in winter is the best  for photography  here. The river is flowing,  the western sun  lightens up the estuary and the colours are quite intense once the sun has gone behind the hills.  

pink gum

This pink gum  is on the side of the road to the Council Rubbish dump.  I noticed it one day when I was walking  along the road with the  poodles. It was probably the first time that I'd started to look the roadside vegetation as a photographer.

The shape intrigued me so I took a quick snap. I've returned a couple of times to photograph the tree with different cameras and in different conditions. It is significant  moment for me because I  then started to look more closely at the roadside vegetation on the back roads. 

three rocks

The South Australian  modernist painter thst I have the greatest affinity to is Dorrit Black. She used the unique forms of the  Fleurieu Peninsula landscape  as the basis for  her modernist works, such as Coast Road (1942) and Cliffs at Second Valley (1949). The latter is not online.

The pallette in Black's   work of the 1940s is sombre, the approach is cubist, the forms sculptural, and there is a gesture towards the sublime.

on location

This the photographer on location  in the early morning. The rock being photographed is this one.

I'd come across the rock form  when I started exploring the cliffs east of Kings Beach on an evening walk with the  poodles. I took some snaps and  they looked okay on the computer screen.   So I returned with my film cameras.

It was a struggle to get the gear down the cliff face early in the morning.   The  Linhof Tripod is heavy and bulky and difficult to carry. But  it  comes into its own in situations like this, as it is very  flexible and sturdy.

My interest in the rocks was form and light. Modernist abstraction in photography made sense-----it is abstracting from the  forms in nature. This abstraction of the forms of the landscape  has nothing to do with romantic subjectivity or transcendentalism.  

I don't see many Australian photographers  or painters doing this sort of work.