My b+w 8x10 negatives are on the way back to the studio after being processed by Chris Reid at Blanco Negro in Sydney. It seems that most of them are okay in terms of exposures and that only two sheets were fogged.
I've been going through some of my 2011 digital files to dump the ones that are no good and to look for ideas for the next 8x10 shoot. I was using a cheap Kodak EasyShare camera then and most of the work t was playing around with abstractions of dried saltponds on the rock floor at my feet.
These salt pond abstracts are interesting visual ideas, but they are in locations that are too difficult to carry an 8x10 monorail to.They belong to the sea abstract book.
There is little work on visual abstractions in Australian modernism, even though modernism was meant to be the turn away from visual figuration to abstraction.
Abstraction, as it were, was a privileged space of visual modernism (eg., Kandinsky, Mondrian, Malevich). These artists made anti-materialist claims that actively cultivated particualr forms of subjective transcendence from the practices of everyday life. It was a retreat into idealism--self, mood, dream and spirituality---that ignored the social experience of abstraction.
A photographic abstrction needs to be premised on photography's indexical presence--the index is the name for the inscription of presence that appears to deny the evacuation of the figural in the abstraction.