Whilst I’ve been down at Victor Harbor this week I have been experimenting with seascapes on the poodlewalks. I want to take photographs of the sea with a large format camera (5×7 Cambo) and to do so in a way that is minimalist, colourist and is from a location that has easy access.
So I have been taking shots whilst on the coast cliff top walks with the poodles:
sea
My starting point was this image done about a year ago. I wanted to go more minimalist.Most of the photograph sketches I’ve down are not all that successful. The above picture is probably the best of them and it is probably where I will start.
One of the places in Victor Harbor that we often visit on our poodle walks is the local rubbish dump. It is situated within a ravine that cuts it way to the sea and borders the beginning of the Heysen Trail in the southern Fleurieu Peninsula. It offers some photographic possibilities.
tires, rubbish dump
Suzanne walked the Heysen Trail from Kings Beach to Waitpinga Beach this morning. We all walked to the eastern edge of the Newland Head Conservation Park, then the poodles and myself turned back whilst Suzanne walked on. I picked her up at Waitpinga Beach a couple of hours latter.
Clearly the dam is the iconic symbol of modernity in Tasmania. A celebration of engineering and hydro power. But keeping the lights on in Strahan comes at a terrible cost—the flooding of Lake Pedder and the damming of the Serpentine and Huon Rivers to ensure high water levels of Lake Pedder so that there can be a continual flow of water from Pedder into Lake Gordon via the McPartlans Pass Canal to drive the power station’s turbines.
One of the areas that I’d wanted to visit in Tasmania was the barren and often bleak landscape around the western edge of the Great Lake in the Central Highlands region. I’d seen it briefly on a previous trip last year and thought that it looked interesting.
near the Great Lake
The highway, which runs along the western side of the Great Lake, is sparsely populated with groups of fisherman shacks. I could only explore this architecture briefly as a rain storm was sweeping in from the west. There was no chance of using the 5×4.
I wandered around the man made track with my digital camera looking for an image or two that I could take with my film cameras. The rain forest is so messy and the light is so contrasty that I just concentrate on the little details in the open shade in order to be able to handle what consistently defeats me.
I’ve spent the last couple of days doing a scoping study of the work that I want to do with the Linhof 5×4 over the next few days, as well as photographing bits and pieces with the Rolleiflex SL66. I’m annoyed.
The backup body of the latter has now gone and I’m down to the Rolleiflex TLR. The 5×4 Linhof becomes my main camera and the Rolleiflex TLR becomes the ancillary camera. I’m out of my comfort zone.
I have found three sites to work at with the Linhof. One is an area around the old Iron Blow Mine. The second is the burnt landscape around the Queenstown airport; burnt because it has had fire through it recently. The third is the ruins of the Tasmanian Smelters site at Zeehan.
slag heap, Zeehan
I know very little about the history of the Zeehan site. I know that in late 1882, silver-lead ore was discovered near the present day site of Zeehan and that this led to the largest mining boom on Tasmania’s west coast with Zeehan being dubbed the ‘Silver City of the West’.
We were down at Victor Harbor over the weekend and so the poodlewalks were along, and around, the coastline. This is the image that I wanted to take with the 5×7 Cambo view camera, but the weather was against me. There were strong winds blowing from the south west across the top of the cliffs and this made it impossible for me to use a view camera.
coastline, looking to The Bluff
So I had to give it up even though I’d finally found the location I was looking for. I have been exploring this coastline for several years, as it is our backyard so to speak. I now find I’m reworking it with a digital camera looking for a photographic image.
We returned to exploring Wirranender Park in the Adelaide Parklands on Sunday even though it was raining. I wanted to see some of the sculpture in this public spaces; a space that looks as if it is being designed as an urban forest with an environmental trail.
Scattered along the trail are a large number of rock sculptures by Silvio Apponyi and other sculptors, including this piece by Sally Weekes:
hush
An interpretation taken with my 5×4 Linhof Technika IV. This Wirranendi area of the Adelaide Parklands was once covered by Eucalyptus porosa or Mallee Box Woodland. This consisted of widely spaced gums, many acacias, native apricots, quandongs, saltbushes, native herbs, peas and lilies and many types of grasses, providing habitat for many native animals and birds.
Yesterday we started to explore the west parklands in which the West Terrace Cemetery is situated. The part of the parklands that is next to West Terrace itself consists of soccer fields. Further west, adjacent to the northern side of the cemetery and running down to the railway line is a cultivated wilderness area with a wetlands known as Wirranendi Park.
Wirranendi is from the Kaurna aboriginal language and it means to become transformed into a green-forested area. The park is cultivated in the sense that it is being replanted with natives, and is a site for public sculptures that are far more intriguing than any art in public places in the CBD.
Adelaide, whose self-image is that it is an arts and festival city, has had an ironic shortage of contemporary public art, and what it does have is banal-eg., the brass pigs in Rundle Mall. Adelaide needs to reinvent itself.
Lie of the Land
The work above is a public space installation titled “Lie of the Land”, located in the Adelaide parklands on the “Western Gateway” to Adelaide City and was created by Victorian-based artists Aleks Danko and Jude Walton. The work consists of 25 stone domes stretched along either side of Sir Donald Bradman Drive east of the Hilton bridge. Each dome is made from local bluestone using the dry-walling technique.
“Lie of the Land”, with its closed forms and no opening, refers back to the way the early settlers sheltered in dome shaped structures they had copied from the Aborigines. The beehive shaped shelters were built by the early European settlers (immigrants) and that they used traditional aboriginal materials to construct them.
I was out at dawn this morning lugging the Cambo 5×7 monorail, Linhof tripod and computer bag of double dark slides down to Kings Beach to have the camera set up before the early morning sunlight became too intense.
There was just enough cloud cover to keep the sun covered long enough to give me the extra time that I needed to set the camera up:
5x7 Cambo
I had around a 20 minute time frame in which to work to take the photos before the early morning light became too bright.
