View Camera Australia: Online exhibition March 2022

View Camera Australia: Online exhibition March 2022

Main photograph above: Bianca Conwell. Gills. 2022. 20 x 25cm salt print from 8 x 10 silver gelatin dry plate negative.

In View Camera Australia’s third online exhibition we showcase the recent work of: Morganna Magee, Mick Lord, Anjella Roessler, Victoria Bilogan, Alex Bond, Danielle Edwards, Peter de Graaff, Greg Soltys, Keira Hudson, Iain Maclachlan, Lars Carlsson, Keiko Goto, Ruth Maddison, Craig Tuffin, Bianca Conwell, Murray White, Ellie Young, Zo Damage, Shane Booth, Andy Cross, Jongshin Lee, Tony Egan, Wendy Currie, Mark Darragh, Gary Chapman, Gary Sauer-Thompson & Ray Goulter.

Morganna Magee

Untitled. 2022. Dye diffusion transfer print (expired 4×5 Polaroid). Website. Instagram.

Mick Lord

Banksia 3. 2021. 35.6 x 27.9 cm silver gelatin print from 4×5 negative. I have been working on a portfolio of seeds and stems. I found this banksia seed at the back of Gary Chapman’s and Jan Naismith’s home in Cooloola Cove. Gary and I were taking a break after he had been showing me wet plate process.

Anjella Roessler

Portrait of the Artist: Andrew Delaney. Scan of 8×10 x-ray film negative. Website. Instagram. Facebook.

Victoria Bilogan

Untitled. 2022. 20 x 25 cm silver gelatin print from 6×9 cm pinhole camera negative. Website. Instagram. Facebook.

Alex Bond

Nuytsia floribunda. 2022. Scan of 4×5 negative. Website. Instagram.

Danielle Edwards

Summer Fades. 2022. Two 20 x 25 cm lumen prints.

Peter de Graaff

From emptiness… shelter. Crookhaven Heads. 2022. Scan of 6x6cm negative. Instagram. Facebook. Flickr.

Greg Soltys

Mia. 2022. Scan of 8×10 negative.

Keira Hudson

How Time Flies. 2022. 20 x 25.4 cm albumen print. Website. Instagram.

Iain Maclachlan

Untitled. 2022. Scan of 4×5 negative. Website. Instagram.

Lars Carlsson

Darwin 2021. Scan of 6×6 negative. Facebook.

Keiko Goto

The Artist 1. 2021. Scan of 8×10 negative. Website. Facebook.

Ruth Maddison

Self in the garden of Eden. 2022. Lumen print and photogram with gold paint, digitally combined and manipulated. Instagram.

Craig Tuffin

Number #3 in The Supers series. 101.6 x 134.6 cm dye sublimation print. Instagram.

Bianca Conwell

Gills. 2022. 20 x 25 cm salt print from silver gelatin dry plate negative. Website. Instagram.

Murray White

Thunder Struck. Port Campbell National Park. 25 x 20 cm silver gelatin print from 6×7 cm negative. Website.

Ellie Young

Lovegrove Cogs. 2022. 25 x 20cm hand made silver gelatin liquid emulsion. From 8×10 negative. Website. Instagram. Facebook.

Zo Damage

Jam rooms and coffee. 2022. Scan of 4×5 negative. Website. Instagram.

Shane Booth

South Fort. Port Phillip Bay. 2022. 20 x 20 cm silver gelatin print from 6×6 cm negative. Instagram. Facebook.

Andy Cross

Greek Font. Siros Island, Greece. Photographed on both 4 x 5 Ektachrome and Tri-X film. Both images were scanned and portions of the colour from the Ektachrome inducted into the B&W image. A new colour transparency was output on the film recorder. Although not yet printed a tri-colour carbon print will be made from it. I still have a lot of printing to catch up on.

Jongshin Lee

Lunar Eclipse. 2021. Scan of 4×5 negative. Instagram. Facebook.

Tony Egan

USYD Staircase. 2021. 27.9 x 35.6 cm silver gelatin print from 6 x 8.2 cm negative. This photo was part of the very successful ‘Out Of The Box’ exhibition held at the Corner Gallery in Stanmore in January 2022. Five photographers used Box Brownies to shoot photos exploring a diverse range of styles and subjects. The exhibition received some extended coverage on ABC Sydney radio and drew many visitors with fond memories of their own encounters with this ubiquitous camera. Encouragingly, six or seven young people also came along with their own Brownies or other film cameras. Website.

Wendy Currie

Yacht Club Jetty, Cowes. 2022. Scan of 4×5 pinhole negative. Website.

Mark Darragh

Cliff detail. Great Otway National Park. 2022. From the series Coastal Topographies. Scan of 8×10 transparency. Website. Instagram.

Gary Chapman

Creek Trail. Girraween National Park. 2021. 20 x 25 cm silver gelatin print from 4×5 negative. Creek trail walk leads you into wonderful pockets of water rocks and foliage.

Gary Sauer-Thompson

Ngarrindjeri country. From the Fleurieuscapes Project. The project is an exploration of the southern Fleurieu Peninsula in South Australia. Scan of 4×5 negative. Website. Instagram.

Ray Goulter

Kangaroo Island Landscape IR. 2021. Scan of 4×5 infra-red negative. I like the way infra-red film gives good gradation of the clouds and darkening of the sky without the latter being too dark, thus producing a more natural feel, as well as the effect it has on foliage. This image was taken on a cool day so there isn’t as much “snow-like” effect on the trees foliage, however the grasses have benefitted from the slight snow effect.

View Camera Australia’s August 2021 exhibition can be seen here & the November 2021 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 6 comments for this article
  1. Gary Sauer-Thompson at 5:57 am

    There are some gorgeous and impressive images in this March 2022 exhibition. I keep returning to have a look at them.

    I love the images by Mick Lord, Iain Maclachlan, Lars Carlsson, Bianca Conwell, Ellie Young, Shane Booth and Mark Darragh.

    Congratulations to everyone and a big, big thanks to David Tatnall for all his work in putting it on.

  2. Andy Cross at 9:19 am

    Ray Goulter’s shot of Kangaroo Is – love it. Been there and photographed several times.
    Just to note I was always led to believe that it was the chlorophyll that reflected the IR radiation which gave the classic white foliage. As it turns out it is the leaves cellular construction that is largely responsible. That’s why even on cool days some foliage reflects more than others.

    • Ray Goulter at 6:02 am

      Andy, I’m pleased you like this photo. I have friends who own a property opposite the road alongside Flinders Chase NP so I jump at every chance I get to go there. I had to cut a section off the RH side as there had been some slight fogging in the bottom corner; always a possible problem with IR light. This essentially left me with a square image but I felt the composition hadn’t suffered as a result. Thanks for the information regarding chlorophyll reflecting IR light. This was the better of two IR 4x5s.

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