sea abstract #1

The stormy weather finally has gone from Victor Harbor.   Today started  with a glorious spring morning--crisp, clear and still.  As there  was no early morning  cloud cover,  so the 8x10 black and white shoot that I had in mind was  a nonstarter.  I needed soft or diffused early morning light for the shoot.

So I took a walk along the boat ramp  near Whalers Inn  Resort at sunrise in order to  photograph the  sea at the edge of breakwater in Encounter Bay.  I had some abstractions in mind,  which I wanted to explore in the early morning light:

The sea is gentle in this part of Encounter Bay,  and so I was able to sit on the rocks at the water's edge without worrying that I'd be swamped  by every  seventh  wave.  I didn't have that much time  before the sunlight became too bright and the highlights on the white caps of the waves blew out. 

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.

Esplanade, Victor Harbor

One of the characteristics  of Victor Harbor is the deeply felt concern to protect  its cultural heritage. At its most extreme this takes the form of protecting the old against the new and opposing all development.

On the other hand, there is a lot of gorgeous beach side residential architeture that needs to be protected from being pulled down by developers to build McMansions or a dreary block of units that signify  architecture by numbers.

This is an example of what should be protected. It signifies old, gracious  Victor Habor. The leisurely,  monied world of yesteryear.