View Camera Australia: Online exhibition November 2021

View Camera Australia: Online exhibition November 2021

In View Camera Australia’s second online exhibition we showcase the work of: Ellie Young, Anjella Roessler, Chris Reid, Daisy Noyes, Shea Kirk, Peter de Graaff, Morganna Magee, Kate Baker, Andy Cross, Alex Bond, Judy Hudson, Greg Soltys, Mat Hughes, Keiko Goto, Lee Lira, Gary Sauer-Thompson, Mick Lord, Ian Raabe, Ilona Schneider, Wendy Currie, Bob Kersey, Stuart Murdoch, Keira Hudson, Victoria Bilogan, Gary Chapman, Tony Egan, Murray White, Peter McDonald, Bianca Conwell, Danny Tasmakis & Mark Darragh.

Photograph above: Water World. Sheet of Water 2021. 20 x 25 cm silver gelatin print from 4×5 negative. by Murray White.

Ellie Young

Rose. 25 x 20 cm Lith print from 8×10 negative. Website. Instagram.

Anjella Roessler

From the series Un-Be-Longing. 2021. 9.9 x 6.2 cm Dye diffusion transfer print. Website. Instagram.

Chris Reid

Untitled 2021. 30 x 24 cm Inverted composite Lith silver gelatin print. Website.

Daisy Noyes

Mother and Son 3. 2020. Scan of 6×7 cm negative. I don’t have a lot of film work from the last 12 months, but I have been doing some coffee-developing of medium format film. It’s kind of an experiment in eco-friendly chemicals: coffee, vitamin c and washing soda. Here is a coffee diptych portrait of myself and my son Marlow made during lockdown. Website. Instagram.

Shea Kirk

Eugene Fisher (left and right view) 2020, from the series ‘Vantages’. ‘Stereoscopic pair from 4×5 negatives’. Website. Instagram.

Peter de Graaff

Softly….Maloneys Bay 2021. Scan of 6×6 cm pinhole negative. Instagram.

Morganna Magee

Two silver gelatin 4×5 contact prints. From the ongoing series Extraordinary Experiences. 2021. Website. Instagram.

Kate Baker

The Marshes. Silver gelatin negatives 2019/2021. Sandwiched together, converted to paper negative and printed as silver gelatin print. ‘In 2019, inspired to create a Myths and Fairytales-inspired series, I spent three months journeying through the lands of Ireland, Wales and then across to the Eastern European lands of Czech Republic, Poland and Lithuania. This story travelled in my heart and soul across Europe. It captivated me so strongly I began to seek the place that might help me reflect its resonance in a photograph. My journey had begun with a desire to learn whether lands steeped in the mythic and fairytale tradition could be ‘felt’ by me in a tangible way and whether, if I did feel it, I could then somehow translate that into an image. This journey had many twists and turns, as all good stories do, an adventure both inside and out. And in the end I came back to myself, transformed and enriched.’ Website. Instagram.

Andy Cross

New Mexico – 6x 4.5 cm colour transparency. A final size B&W negative was made on T-Max 100 film for contact printing. It was printed on Ilford gallery grade 2 fixed grade paper using an ultraviolet light source the same as used by platinum and carbon printers. The reason I took this approach was to gain better tonal separation between the mid-tones of the clouds surrounding the funnel. VC papers do not manage tonal separation as well. Hardening the gelatin this way with UV light essentially remodels the papers tone curve which the experts tell us cannot be done. It was then toned in a hypo alum toner.

Alex Bond

Rushes and sedges Canning River. 2021. 19.5 x 19.5cm silver gelatin print from 6×6 negative. Website. Instagram.

Judy Hudson

Keeping Score 2021. Scan of 6x7cm negative. Website. Instagram

Greg Soltys

Mickey Creek 2021. 17 x 13 cm Four-colour carbon transfer print.

Mat Hughes

Tunnel bend, Goulburn River, 2021 Van Dyke Brown print made from 4×5 negative. Website. Instagram.

Keiko Goto

Story from the Past 1. 2021. Silver gelatin contact print from 8×10 negative. Website.

Lee Lira

First Cherry Blossoms of Spring. 2021. 12.7 x 10.1 cm dry plate ambrotype positive coated on black glass. Website. Instagram.

Gary Sauer-Thompson

Shells, Depledge Beach. Waitpinga SA 2021. Scan of 6×6 cm negative. Part of the Fleurieuscapes project, which is a photographic exploration of the southern Fleurieu Peninsula in South Australia. This is Ngarrindjeri country. The image emerges from my daily poodlewalks in the morning and the evening amongst the rocks along the coastline of the southern ocean. The concept behind this image is to try and make photos of the objects on this coast though being immersed or within nature, rather than as a landscape in which I stand outside nature looking at it. Website. Instagram.

Mick Lord

Stem 2021 25 x 20 cm split toned selenium and gold chloride silver gelatin print. From 4×5 negative.

Ian Raabe

Yarra River. Scan of a 30 x 24 cm silver gelatin print from a 4×5 negative.

Ilona Schneider

Queenstown Tassie Tiger 2020. Scan of 6×6 negative. Website. Instagram.

Wendy Currie

Golden Wonga Vine Triptych 2021. Three 25 x 20 cm lumen prints.

Bob Kersey

Smokey Kanimbla from the series Solitude. Inkjet print from 6×6 negative. Instagram.

Stuart Murdoch

Port Melbourne 1. 2021. 20 x 20 cm silver gelatin print. Part of a longer ongoing body of work that examines the changes in and around the inner west of Melbourne. Instagram.

Keira Hudson

Sliced Open 2021. Six strips of 35 mm film taped to an 8×10 film holder. 25 x 20 cm contact print. Website. Instagram.

Victoria Bilogan

Dis-Appearance 2020. Silver gelatin contact print from 6x9cm pinhole camera negative. In the face of uncertainty we question our each step in search for meaning.
The ghosted figure reflects collective anxiety and fear during the great uncertainty that forces us to stop, to re-evaluate, and to meet our shadow self during this global crisis. With the possibility of potential annihilation we are paused to look into ourselves and finding new meanings to our lives. 
The courage is in overcoming the fear of living, life lived – is worth living.
My work explores and observes the singularity of form in a state of transformation through filtered illumination. I am interested in the unlimited possibilities that coexist in the mystery of form and shadow under the flux of the daylight cycle. The interplay of dark and light in this way draws up primordial qualities. The process of capturing human condition in the liminal spaces and observation of passage of time through the recorded movement of light with pinhole camera allowed me to communicate what can not be communicated: passage of time and movement in liminal spaces in the times of great uncertainty, where we shed the old self to undergo transformation. Website. Instagram.

Gary Chapman

Early Morning Reflection. Foreshore Tin Can Bay. 2021. Wet plate clear glass Ambrotype on black glass. 20 x 25 cm ‘As a photographer I have become addicted to the wet plate process, as a means of self expression and the unique qualities that this process brings to the landscape.’

Tony Egan

Afternoon Light 2021. 35.5 x 27.9 cm silver gelatin print from 6 x 8.2 cm negative. A group of friends and I are challenging ourselves to make 5 or 6 photos each using a box brownie and then exhibit the prints, probably early next year at the Corner Gallery in Stanmore. The fixed focal length, aperture and shutter speed (apart from ‘bulb’) of most Brownies is challenging us to think about subject matter and exposure more deeply and create a satisfying image despite the technical limitations. Some later Brownies have a ‘close-up’ lens slider which can be helpful. Lockdowns have also challenged us in limiting the opportunity to travel to find material! I am developing all the film and making the prints for this project. Website. Instagram.

Murray White

Water World. Sheet of Water 2021. 20 x 25 cm silver gelatin print from 4×5 negative. Website.

Peter McDonald

Yass Catholic Cemetery. 2021 scan of 8×10 negative.

Bianca Conwell

Boggaley Creek, 2021. 4×5 Gold toned Salt Print, silver gelatin dry plate negative. Website. Instagram.

Danny Tasmakis

Simple Spring Blossom 4×5 Dry Plate. Instagram.

Mark Darragh

Mud Patters II. 2021. Scan of 4×5 transparency. Website. Instagram.

View Camera Australia’s first online exhibition can be seen here.

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This article was written by

David Tatnall is an Australian fine art photographer & editor of View Camera Australia.

There are 24 comments for this article
  1. Danny Tasmakis at 2:32 am

    Feeling privileged to be among such talented Australian photographers and artists, great work everyone! and thank you David Tatnall for your time and effort supporting local talent and providing this platform to showcase such fine work.

  2. Judy Hudson at 5:50 am

    Honoured to be exhibiting among such a prestigious group of photographers and their amazing images. Thank-you
    very much David and congratulations to all the talented photographers.

  3. Gary+Sauer-Thompson at 11:15 pm

    I am honored to be included in work by such a talented group of photographers. It is a wonderful exhibition with a diversity of photographic processes and images. Some of the images are stunning. Thanks once again David for all the background work that you have done to put this marvelous exhibition together.

  4. Bruno Zielke at 10:34 am

    I liked images by :
    ANDY CROSS – Invokes memories of an old military post of the Foreign Legion
    ALEX BOND – captured energy of the wind well
    MICK LORD – Startling, sharp
    IAN RAABE – Nice composition in a traditional sense
    MARK DARAGH – Excellent colour and texture of the repetitious patterns

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