View Camera Australia online exhibition December 2023
View Camera Australia’s tenth online exhibition features recent work by: Stuart Clook, Peter Kinchington, Keira Hudson, Craig Tuffin, C Brian Smith, Alex Bond, Megan Ferguson, Mark Darragh, Tom Sheppard, Danny Tasmakis, Keiko Goto, Bruno Kongawoin, Ellie Young, Patrick Macalister, Kate Baker, Justin Reeders, Murray White, Iain Maclachlan, Bianca Conwell, Peter de Graaff, Morganna Magee, Ryan Dandelion, Janet Naismith, Gary Chapman, Shane Booth & Wendy Currie.
Photograph above: Stuart Clook. Te Waihora Lake Ellesmere – a liminal landscape. 28.5 x 22.8 cm platinum palladium on vellum over silver leaf. 4×5 pinhole negative. Website.
Peter Kinchington
Old Railway Bridge. Scan of 8×10 Orthochromatic negative. Website.
Lindis Pass. 16 x 30 cm silver gelatin print from 4×5 negative.
Alex Bond
Cape Leeuwin Augusta. Scan of 4×5 negative. Website.
Megan Ferguson
Chiesa Maria SS. Assunta-Matrice Vecchia. Castelbueno. Italy. 25 x 20 cm salt print from 8×10 dry collodion negative.
Mark Darragh
Burls on Eucalyptus trunk, Mount Buangor State Park, Victoria. Scan of 4×5 transparency. Website.
Tom Sheppard
Werrikimbe. Scan of 6×6 infrared negative. Website. Facebook.
Danny Tasmakis
Swollen Merri Creek, Melbourne, Australia. 25cm x 30.5cm silver gelatin print from 4×5 infrared negative. This photograph is one that reminds me we don’t have to travel hours, days or go to exotic places somewhere in the world to achieve pleasing images, the choices of composition, light and medium sometimes are just right no matter where you are. This was taken at a section of Merri Creek that is behind an industrial estate in one of the suburbs in Melbourne, walking distance from where I work, taken during a break…and no, I didn’t see any three eyed fish. Instagram.
Keiko Goto
Self portrait. 12.7 x 17.7 cm salt print from 5×7 negative. Website.
Uncle Allan Wandin, Wurundjeri elder, overlooking Coranderrk Creek, Coranderrk 27.9 x 35.6 cm silver gelatin photograph from large format 4×5 film negative. Instagram.
Justin Reeders
Peel River Morning. Scan of 4×5 negative.
Murray White
Clockwork. 25 x 20 cm Silver Gelatin contact print from 8×10 negative. I recently met up with some other film enthusiasts at Marlo in Victoria, to enjoy some photography at nearby Cape Conran. A number of opportunities presented over the weekend to use an 8×10 and 4×5 view camera, together with my medium format Mamiya 7. This image was prised from the shadows on an unrelentingly sunny day using an 8×10 Ebony on the sheltered side of a coastal rock formation. I rather like the geometric, almost mechanical structure that it presents. Website.
Iain Maclachlan
Sensual form. 22.8 x 17.7 cm silver gelatin print from 4×5 pinhole negative. Website. Instagram.
Bianca Conwell
Peonies. Salt print, from a wet plate collodion negative. 25 x 20cm (contact print). Website.
Peter de Graaff
Shrine to Lama Atisha and White Tara – Meditation Hall, Atisha Centre, Myers Flat. Scan of 4×5 negative. Instagram. Facebook.
Morganna Magee
Winter/ Athena and the stars, 2023 Diptych of 8 x 10 negatives scanned. Website.
Grandmas water jug. We created by 8×10 wet plate glass negative . Printed on silver gelatin paper and hand painted. I have photographed this water jug many times, never happy with results, By combing both our skills we have created the look that I have always visualized.
Shane Booth
Winton Wetlands, Central Victoria. 25 x 20 cm silver gelatin print from 120 infrared film. Instagram. Facebook.
Photographer David Roberts has spent extended periods in isolation connecting…
There are 4 comments for this article
Mark Darragh
at 9:23 am
Thank you, David, for your continuing work to curate and make these online exhibitions possible. As always, the works are beautiful and really capture the diversity of image making by large format and wet process photographers across Australian and New Zealand.
I have only just had a look at the online exhibition.
I affirm Mark’s comments about your labour of love David in supporting the work of the large format photographers by providing this online platform to present their ongoing work. Without these exhibitions I would be very isolated; with them I am part of a community. That is a big difference. So thankyou David.
There is such a fine body of work in the December 20323 exhibition. Grandma’s water jug by Janet Naismith & Gary Chapman is a very seductive still life. Shane Booth’s infra red image of the Winton Wetlands is stunning. Both images ooze presence. Craig Tuffin’s complex ‘Stolen’ highlights just how really powerful photography can be. It opens up so many possibilities for photography.
Thank you, David, for your continuing work to curate and make these online exhibitions possible. As always, the works are beautiful and really capture the diversity of image making by large format and wet process photographers across Australian and New Zealand.
Thank you Mark.
I have only just had a look at the online exhibition.
I affirm Mark’s comments about your labour of love David in supporting the work of the large format photographers by providing this online platform to present their ongoing work. Without these exhibitions I would be very isolated; with them I am part of a community. That is a big difference. So thankyou David.
There is such a fine body of work in the December 20323 exhibition. Grandma’s water jug by Janet Naismith & Gary Chapman is a very seductive still life. Shane Booth’s infra red image of the Winton Wetlands is stunning. Both images ooze presence. Craig Tuffin’s complex ‘Stolen’ highlights just how really powerful photography can be. It opens up so many possibilities for photography.
Thanks very much Gary.