View Camera Australia online exhibition June 2023

View Camera Australia online exhibition June 2023

View Camera Australia’s eighth online exhibition features the work of: Patrick Macalister, Janet Naismith, Mark Darragh, Alex Bond, Megan Ferguson, Shane Booth, Garrie Maguire, Danny Tasmakis, Ilona Schneider, Iain Maclachlan, Ellie Young, Murray White, Gary Sauer-Thompson, Keiko Goto, Stuart Clook, Craig Tuffin, Zhan Teh, Keira Hudson, Andy Cross, John Gitsham, Kate Baker, Charles Millen, Gary Chapman, Bruno Kongawoin, Wendy Currie, Gregory Soltys, Lee Lira, Mick Lord, Peter de Graaff, Ray Goulter, Zo Damage & Peter MacDonald.

Main photograph above: Shells. Silver gelatin print from 4×5 negative. Patrick Macalister.

Janet Naismith

Still life, grapes & onions. 20 x 25 cm hand coloured silver gelatin print.

Mark Darragh

Old growth Snow Gum, Alpine National Park, Victoria. Scan of 4×5 transparency. Website. Instagram.

Alex Bond

Oyster Leaf. 27.9 x 35.6 cm silver gelatin print from 4×5 negative. Website. Instagram. Facebook.

Megan Ferguson

Church of Maria Santissima Assunta (Castelbuono) 25 x 20 cm salt print from 8×10 dry collodion glass negative.

Shane Booth

Woolshed Falls, 25 x 20 cm silver gelatin contact print. Instagram. Facebook.

Garrie Maguire

Food Hall from the series The Streets of Melbourne. 80 x 100 cm inkjet print from 4×5 negative.

Danny Tasmakis

Janna Road, Beveridge, Victoria. Scan of 4×5 IR negative. Instagram.

Ilona Schneider

Entrance Victoria Street. Scan of 6×6 negative. Website.

Iain Maclachlan

Cloud formation, Lake Mungo. Scan of 6×7 transparency. Website. Instagram.

Ellie Young

Moth. Quarter plate daguerrotype. Website. Instagram. Facebook.

Murray White

Afloat. 25 x 20 cm silver gelatin print from 6×7 negative. Website.

Gary Sauer-Thompson

Ngarrindjeri country. Waitpinga bushland. Scan of 4×5 negative. Website. Instagram. Tumblr.

Keiko Goto

Special Moment_1. Scan of 8×10 negative. Website. Facebook.

Stuart Clook

Te Waihora/Lake Ellesmere grasses. 35.6 x 27.9 cm carbon transfer print from 4×5 pinhole negative. Website. Instagram.

Craig Tuffin

From the series The End of The Beginning. 20.3 cm daguerreotype. Instagram.

Zhan Teh

Go Sing Chinese Restaurant. Scan of 4×5 negative.

Keira Hudson

Cross my Heart and Hope to Die. 25 x 20 cm tintype. Website. Instagram. Tiktok.

Andy Cross

Still Life. Dye transfer print from Bermpohl colour separation camera. Article: Back to the Future.

John Gitsham

Strathalbyn Rocks, South Australia. Scan of 4×5 negative. Website. Instagram. Facebook.

Kate Baker

Meeting Wisdom. 27 x 27 cm silver gelatin print. From the series Breathing Stories/The Tower. Website.

Charles Millen

Ad Infinitum II. 48.3 x 32.9 inkjet print from 4×5 negative. Website. Instagram.

Gary Chapman

Still Life Bottles. 25 x 20 cm silver gelatin print from 8×10 collodion glass plate negative.

Bruno Kongawoin

Beauty in Burls. Lesmurdie Falls. Western Australia. Scan of 4×5 negative. Instagram. Youtube.

Wendy Currie

Lake Fyans. Scan of 8×10 negative. Website.

Gregory Soltys

Adams Falls. 22 x 17.5 cm carbon transfer print. Website.

Lee Lira

Sultana Grape Leaf. Scan of 4×5 ortho silver gelatin dry plate.

Mick Lord

Sing. 30.5 x 40.6 cm silver gelatin print from 4×5 negative.

Peter de Graaff

Squalls bring falls…Boat Harbour, Gerringong. Scan of 6×9 pinhole negative. Facebook. Instagram.

Ray Goulter

Old Sentinels. Kangaroo Island. South Australia. Scan of 4×5 negative.

Zo Damage

In betweens I. Scan of 4×5 negative. Website. Instagram.

Peter MacDonald

Chinese memorial, Beechworth. Scan of 8×10 negative.

Patrick Macalister

Fennel. 31 x 23 cm silver gelatin print from 4×5 negative. Website.

View Camera Australia’s seven previous online exhibitions can be seen here.

Online exhibition #9 will go online in September 2023.

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This article was written by

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

There are 36 comments for this article
  1. Andy Cross at 6:12 am

    Thanks to David for assembling such a diverse arrangement of interesting photographs. Congrats to Patrick Macalister. I can see why it was chosen as the opening shot. I have to hand it to Jan for the hand painted still life. It reminds me of some of the works I have seen in Europe of oil paintings that have the same Arcadian overtones. Gary’s still life of the reagent bottles a close second. Thanks to everyone for the inspiration.

  2. Gary Sauer-Thompson at 8:55 am

    The history of the online exhibitions hosted by View Camera Australia shows a wider range of people participating and greater diversity in the work. It is great to see ever more large format urban photography. I kept returning to look Ellie Young’s Quarter plate daguerrotype of a moth; Stuart Clook’s Waihora/Lake Ellesmere grasses evokes memories of growing up in Christchurch and visiting Lake Ellesmere; that is such a fine old growth Snow Gum study by Mark Darragh; Wendy Currie’s Lake Fyans is so gentle in mood and tonality; the colours in ZanTeh’s Go Sing Chinese Restaurant are amazing.

    Thankyou everyone for participating and ensuring that large format photography is alive and well in Australia and NZ. I look forward to more large format photographers in NZ participating in the near future.

  3. john gitsham at 12:04 pm

    Thanks, David, for selecting my Image, and there’s a great selection of work in the exhibition.

  4. Murray White at 10:17 pm

    Fantastic images David, thankyou to you and the contributing photographers. I have looked through the exhibition several times now and find myself wanting to know more about the works; the how and the why rather than the when and where (although I am curious as to where Kate Baker’s shot was made). Would it be possible, for those makers who wish, to include a paragraph of text that they see as relevant to the image? I guess something like a micro version of your “The Photograph Considered” series, where further information may help us to understand the challenges or concepts involved. I understand that many would rather let the photograph do the talking and that is perfectly fine, but I for one would be very interested in what decisions and actions led up to the creation of the work.

  5. Kate Baker at 9:45 pm

    A great selection of images David and thank you so much for creating these exhibitions. Thanks Murray for your question about my piece ‘Meeting Wisdom’. The location for the photograph is Allihies in the south of County Cork in Ireland. I have converted my medium format negative into a paper negative and then created a silver gelatin photograph from there. It is part of a series inspired by Myths and Faerietales and this particular photograph is part of a set called ‘The Tower’

  6. Kate Baker at 9:53 pm

    Oh a bit more Murray about the concept… ‘Meeting Wisdom’ within its context of the other 12 images in ‘The Tower’ is a part of the heroes journey… it is that part of the quest where you have journeyed long, faced and met perils, nearly given up, come through that with renewed energy for the road ahead and you reach the point where you meet wisdom (which is within you)

  7. Kate Baker at 10:57 pm

    And finally… the works included in ‘The Tower’ are accompanied by a story written by Phoebe Rose Lines. Her beautiful spare powerful prose is exhibited alongside the artworks so you walk around the room, read the words, absorb image and words and let your mind take you on your own journey

    • Murray White at 7:43 am

      Kate thankyou for your words, it is very interesting to find out a little more about your project, and I think what you have outlined is evidence that we don’t always understand what motivates other people’s photography. Both your subject matter and its treatment are particularly atmospheric, and pairing it with words will, I am sure, add another dimension.

  8. Mark Darragh at 6:10 am

    Thank you David for your continued work curating the exhibition and giving these photographs a wider audience. Congratulations to all the contributors for a beautiful and diverse exhibition.

    • janet naismith at 1:44 am

      thank you Patrick for your kind comment.
      For many years I have been using Marshals photo oils on fibre based silver gelatin warm toned semi matt paper, toned in sepia.
      There are many mediums that can be used to hand paint a black and white image.
      The Marshals oils are my favorite.

  9. janet naismith Gary Chapman at 1:27 am

    Ellie we loved your moth daguerreotype one can feel the softness and texture of the moth lovely.

  10. janet naismith Gary Chapman at 1:29 am

    Thank you David you have put together a wonderful collection of images congrats to all photographers.

  11. Ray Goulter at 2:28 am

    I concur with all previous comments and we’re so fortunate to have David curate these on-line exhibitions, so I add my own congratulations.
    I haven’t entered all the exhibitions since joining the group, but I do enjoy perusing all the images presented. There’s certainly a lot of talent out there in the large and medium format film world!

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