View Camera Australia: Online exhibition June 2022

View Camera Australia: Online exhibition June 2022

Main photograph above: Farm Land, Macedon. 4 x 5 infrared. By Danny Tasmakis.

In View Camera Australia’s fourth online exhibition we showcase the recent work of: Andy Cross, Judy Hudson, Alex Bond, Mark Ruff, Ellie Young, Stuart Clook, Zo Damage, Shane Booth, Mark Darragh, Keiko Goto, Ian Raabe, Murray White, Bianca Conwell, Craig Tuffin, Morganna Magee, Gary Sauer-Thompson, Greg Soltys, Mick Lord, Peter McDonald, Keira Hudson, Jong Lee, Lee Lira, Ray Goulter, Tony Egan, Peter de Graaff and Danny Tasmakis.

Andy Cross

Thunderhead forming. Was shot on a Sinar Handy 4 x 5 camera from an aircraft during a Marilyn Bridges workshop. Kodak tri-x film processed in WD2D pyro and printed on Cachet VC FB paper and selenium toned.

Judy Hudson

Vanitas x. 20 x 25 cm gold toned silver gelatin print from 8×10 digital negative. This photograph will be exhibited at the Anima Mundi 2022 Visions, Venice International Art Fair that will be held at Palazzo Albrizzi Capello from June 16th to July 06, 2022 and at Palazzo Bembo – Venice Grand Canal from June 17th to July 06, 2022, and at The Room Contemporary Art Space from June 18th to July 06, 2022 during the 59th Venice Biennale of Art. Website. Instagram. Facebook.

Alex Bond

Canning River Wetlands 2021. Scan of 6 x 6 cm negative. Part of my ongoing Perth Waterways Project. Website. Instagram.

Mark Ruff

Portrait of Amy. Silver gelatin contact print from 8 x 10 pinhole camera. Website.

Ellie Young

Water Ball. 20 x 25 cm gold and selenium toned lith print. Developed in PMK pyro. Website. Instagram. Facebook.

Stuart Clook

Karst I, Castle Hill, New Zealand. 20 x 25 cm Carbon transfer print from a 4 x 5 negative. Website. Instagram.

Zo Damage

Equanimity II. 2022. 25.3 x 12.6 cm solarised silver gelatin paper negative. Three day exposure pinhole photograph. Website. Instagram.

Shane Booth

Pretty Valley Sky. 2022. 20 x 25 cm silver gelatin print from 6 x 7 cm negative. Instagram. Facebook.

Mark Darragh

Fractured Snow Gum trunk. 2021. Scan of 4 x 5 transparency. Website. Instagram.

Keiko Goto

Spring in Japanese woodlands. 2022. Scan of 8 x 10 negative. Springtime is a very misty time in Japan Alps area. Cherry blossom is starting to bloom in the lowlands. Rivers are flowing fast with melted snow water. Up in the mountains, you can see snow still left on the steep hills. These photos are taken in Niigata prefecture which faces Sea of Japan. Niigata is well known for heavy snow during long winter months. Website. Facebook.

Ian Raabe

Ropers Hut, Falls Creek. 2022. 20 x 25 cm silver gelatin print from 4 x 5 negative. Website.

Murray White

Brothers In Spirit. Eyre Peninsula west coast. 20 x 25 cm silver gelatin print from 6 x 7 cm negative. Website.

Bianca Conwell

Oyster Shell Topography, 2022. 10 x 12 cm salt print, silver gelatin dryplate negative. Website. Instagram.

Craig Tuffin

Mark. 2022. 25 x 25 cm ambrotype. Instagram.

Morganna Magee

Never it was. 2022. Scan of 4 x 5 negative. Website. Instagram.

Gary Sauer-Thompson

Hookina Creek floodplain, southern Flinders Ranges, 2021. Part of the Long Road to the North project. These old river gums lying on the Hookina Creek floodplain, near Hawker in the southern Flinders Ranges in South Australia, are in the Yappala Indigenous Protected Area in Adnyamathanha country. The concept behind this image is to try and make photos of the deep history of the Flinders and Vulkathunha–Gammon Ranges so as to represent and interpret the deep time and long history of this region. I have become aware and gained a sense of the region’s deep history through walking on several camel treks in these ranges and to Lake Frome. Scan of 4 x 5 negative. Website. Instagram.

Greg Soltys

Bromeliad. 2022. 18 x 18 cm carbon transfer print.

Mick Lord

Steps to Ipswich RSL. 2022. 30 x 18.8 cm silver gelatin print from 6 x 9 pinhole camera negative. Rob Crapnell, Andy Cross and I met for brunch in Ipswich. Two of us used pinholes in photographing Ipswich buildings and parks.

Peter McDonald

Cemetery Tree. 2022. Scan of 4 x 5 pinhole camera negative.

Keira Hudson

The Schoolhouse. 2022. 25 x 20 cm lith print. Website. Instagram.

Jong Lee

Sydney Harbour Bridge. 2022. 4 x 5 transparency scan. Instagram. Facebook.

Lee Lira

Halston Z-14. 2022. Scan of a 4 x 5 hand coated DIY silver gelatin dry plate. According to Andy Warhol’s diaries, this was the smell of Studio 54 and one of his favourite fragrances. Instagram. Website.

Ray Goulter

Organ Pipes. Gawler Ranges National Park. 2022. Scan of 4 x 5 negative.

Tony Egan

4 x 5 wet plate collodion. This is my first attempt at the wet plate collodion process to produce a tintype. I did a workshop with Adrian Cook a few years ago and when he relocated to New Zealand he created a few chemical kits to sell to potential enthusiasts. I decided to try it out in my home courtyard by re-photographing a large colour print I had taken at Bombo. I could be close to the darkroom and after a few exposure adjustments produced a reasonable plate. Shot in a Linhof Technica IV 4×5 camera with 240mm lens. Website. Instagram.

Peter de Graaff

Split Rock 2. Split …Hill End. 2022. Scan of 6 x 9 cm pinhole negative. Instagram. Facebook. Flickr.

Danny Tasmakis

Yarra River, Alphington. 2022. 4 x 5 Maco IR 820c Aura with infrared R72 filter negative scan. I came across some 4 x 5 Maco IR 820c Aura film which was frozen from the early 2000’s and it’s in really great condition. The ‘Aura’ part indicates the film has no anti-halation layer hence the dreamy glow (aura) you get around the highlights. Maco did make a version with the anti-halation layer also; it was just called Maco IR 820c without ‘Aura’. I’m enjoying the results of this film, for me it’s like photographing through a portal into another dimension, in a way it truly is, Infrared is an invisible world to the naked eye and we have a film that shows us what it’s like I find that pretty cool. Instagram.

View Camera Australia’s previous three online exhibitions can be seen here:

March 2022

November 2021

August 2021

The fifth online exhibition is due to go online in September 2022

Next Post:
Previous Post:
This article was written by

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

There are 8 comments for this article
  1. David Tatnall at 11:14 pm

    Thank you to all involved in online exhibition number four. It’s very encouraging to see such good work being produced. Online exhibition number five will be in September 2022. If you’re not already on View Camera Australia’s mailing list and would like to be involved, send me an email via the contact page.

  2. Gary Sauer-Thompson at 12:43 am

    Thankyou very much for all the work that you do to support large format photography in Australia. It is a sterling effort. Also, many thanks for hosting these online exhibitions to showcase the images that are being made by large format photographers currently working. It is very encouraging to see this body of work.

  3. Alex Bond at 1:22 pm

    Hi David, really enjoyed looking over these images and have even returned to take second and third looks! Thanks for making these online exhibitions possible.

  4. Pingback: Amy - Pinhole Photography

Leave a Reply

Your email address will not be published. Required fields are marked *

This site uses Akismet to reduce spam. Learn how your comment data is processed.