View Camera Australia: Online exhibition August 2021

View Camera Australia: Online exhibition August 2021

In this the first View Camera Australia online exhibition we showcase recent work by Lee Lira, Daisy Noyes, Victoria Bilogan, Lloyd Shield, Murray White, Gary Sauer-Thompson, Tony Egan, Andy Cross, Ruth Maddison, Craig Tuffin, Keiko Goto, Christopher Houghton, Anjella Roessler, Morganna Magee, Bianca Conwell, Keira Hudson, Alex Bond, Mick Lord, Danielle Edwards, Greg Soltys, Ilona Schneider, Peter de Graaff, Kate Baker, Anna Fairbank, Wendy Currie, Mark Darragh, Peter McDonald, Ian Raabe, Len Currie & Iain Maclachlan.

Photograph above: Keiko Goto. Precious Moments 1. 2020. Silver gelatin contact print on 24 x 30.5 cm paper from 8×10 negative.

Lee Lira

Mexico 66. 2021. 12.7 x 10.1 cm Dry plate ambrotype.

Daisy Noyes

Predawn 2020. 6 x 7 cm negative scan. www.daisynoyes.com

Victoria Bilogan

The Great Uncertainty 2020. 6 x 9 cm silver gelatin contact print. www.victoriabiloganart.com

Lloyd Shield

Strelitzia Ballet 2020. 10 x 12.5 cm silver gelatin contact print.

Murray White

A Twisted Tale 2021. 20 x 25 cm silver gelatin print from 4×5 negative. www.murraywhitephotography.com.au

Gary Sauer-Thompson

Sky, sea, earth. Waitpinga 2021. 5×7 negative scan. From the series Fleurieuscapes. www.thoughtfactory.com.au

Tony Egan

Strickland House 2021. Scan of 8×10 negative. www.tonyeganphotography.com

Andy Cross

Murano Glass 2021. 30 x 40 cm Dye transfer print from 4×5 negatives.

Ruth Maddison

Above and below #1. 2021. 58 x 41 cm lumen print. Six sheets of photographic paper scanned and digitally combined. Pigment inkjet print.

Craig Tuffin

The End of the Beginning (Ghosts in the Melaleuca) 2021. 20.3 cm diameter Daguerreotype. Instagram.

Keiko Goto

Precious Moments 1. 2020. Silver gelatin contact print on 24 x 30.5 cm paper from 8×10 negative. From Precious Moments series. www.keikogotophotography.com

Christopher Houghton

Tranimal #1. 2021. 110 x 160 cm Ink jet print from 4×5 negative. www.reimage.net.au

Anjella Roessler

Rebecca. 2020. 8×10 paper negative. From the series Portraits of a Pandemic. www.anjellaroessler.com.au

Morganna Magee

Extraordinary Experiences 2021. Scan of 4×5 negative. www.morgannamagee.com

Bianca Conwell

Silver Oyster Mushrooms. 2021. 25 x 20 cm Chrysotype from 8×10 glass plate negative. www.biancaconwell.com

Keira Hudson

Marionette. 2021. 25 x 20 cm wet plate collodion tintype. www.keirahudson.com

Alex Bond

Misty morning, Canning River. 2021. 18 x 18 cm silver gelatin print from 6 x 6 cm negative. www.alexbond.com.au
‘One of my long term projects has centred around Perth parklands, waterways and reserves, exploring their aesthetics of light, form and texture. These images challenge contemporary attitudes and prejudices within the landscape photography genre, by acknowledging the presence of these lands that have become the boundaries between remnant bushland and urbanisation.’

Mick Lord

Bladensburg National Park. 2020. 20 x 25 cm palladium print.

Danielle Edwards

New season wattle. 2020. Triptych 25 x 20 cm lumen prints.
‘I have loved wattles all my life. To me they bring a pleasant lift from the gray gloom of the winter sky. The striking contrast between the yellow flowers and the gray landscape remind us that the change of the season is bringing spring ever near. Although the bulk of wattles bloom in spring, you will find that there is a wattle that blooms almost every month of the year. Look out for them and appreciate their magnificence. Let them bring some joy to your day as they do to mine.’
(Triptych of 25 X 20 cm lumen prints on black and white fibre base paper, then scanned prior to fixing. As the wattle grows under the harsh Australian sun, this print too was made under natural UV light of the sun and not in a UV exposure unit).

Greg Soltys

Lower Kalimna Falls. Great Otway National Park. 2021. Scan of 4×5 negative.

Ilona Schneider

Docked. 2020. Scan of 6 x 6 cm negative. www.ilonaschneider.com

Peter de Graaff

Ripples. North Durass. 2021. Scan of 6 x 6 cm negative.
‘Over the last 12 months, due to being immune-compromised, I have tried to avoid the public, and enjoyed pinhole photography in large and medium format mediums in the isolation of coastal National Parks. Pinhole has the advantage of not needing to set up cameras with lenses taking time in one spot, and the greater impact of unpredictability and surprise.’

Kate Baker

The Path Ahead. 2021. 27.5 x 40 cm silver gelatin photograph. (Original film negative made in 2019, paper negative and silver gelatin photograph made in 2021). From the series Breathing Stories / The Tower. www.katejbaker.com

Anna Fairbank

Diptych NY41b & NY11a. 2013/2020. Scan of 6×7 cm negative. www.annafairbank.com
‘These negatives are part of series on the density of the urban interior. I took a series of images in winter when One Liberty Plaza was under renovation. I photographed these city intersections on clear still winter mornings because the light appears relatively white, and the sky a particular dark tone. NY41b shows emphatic street geometry and façade detail; NY11a, the curve of the steel cables and street lamp against the rectilinear. I was primarily interested in the dense blue field effect, the form of the room it creates, how materiality dominates, and in turn amplifies city physiognomy.’

Wendy Currie

Flowering gum. 2020. 25 x 20 cm lumen print. www.wendycurriephotography.com

Mark Darragh

Nothofagus gunnii and Richea pandanifolia, Cradle Mountain-Lake St Clair National Park, Tasmania. 2021. Scan of 4×5 negative. www.markdarraghphotography.com
‘The image is part of an ongoing project exploring the Gondwanan flora of Australia and one of a series focusing on the plant habit or architecture of Nothofagus gunnii in various environments. I’ve also tried to convey the sense of enveloping golden light which filters through the canopy of Nothofagus leaves, something quite unique in a country dominated by evergreen forests and woodlands.’

Peter McDonald

Tin Can Bay 2020. 6 x 6 negative scan.

Ian Rabbe

Bridge. 2021. 20 x 29 cm silver gelatin print from 6 x 9 cm negative.

Len Currie

Art Deco. 2020. Scan of 6 x 12 cm negative.

Iain Maclachlan

Twilight at Boggy Creek. The Pines Flora & Fauna Reserve. 2020. Scan of 4×5 negative. www.iain-maclachlan.squarespace.com

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This article was written by
David Tatnall

David Tatnall is a Melbourne based fine art photographer.

There are 11 comments for this article
  1. Murray White
    Murray White at 8:35 pm

    Thankyou David, to me this exhibition demonstrates a remarkable breadth of vision possessed by the analogue photographic community. The methodologies and approaches are so diverse. Perhaps the limitations inherent to film photography only serve to inspire more organically creative ways to depict our world. As a viewer, I gain more satisfaction appreciating a photograph despite its limitations, than looking through an image created without limitation. What a wonderful collection!

  2. Mark+Darragh
    Mark+Darragh at 8:45 am

    Thank you, David, for putting the exhibition together. It really illustrates the depth and breadth of artistry within the analogue photographic community in Australia.

  3. Pingback: large Format #3 - Thought Factory
  4. Gary+Sauer-Thompson
    Gary+Sauer-Thompson at 4:37 am

    They are some stunning images in this online exhibition, which as others have pointed out, showcases the depth and breadth of these diverse approaches to analogue photography in Australia. An online exhibition is a wonderful idea when a large part of the Australian population is trying to deal with protracted and rolling lockdowns. It is a good antidote to our fear and anxiety, and it offers those in physical isolation hope that one day they can go out walking beyond the 5 mile kilometre limit.

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