View Camera Australian online exhibition September 2024
View Camera Australia is proud to present online exhibition number thirteen featuring the work of: Murray White, Julian Pearce, Lorraine MacLarty, Iain Maclachlan, Stuart Clook, Wendy Currie, Mark Darragh, Janet Naismith, Gary Chapman, Danny Tasmakis, Alex Bond, Gary Sauer-Thompson, Daisy Noyes, Tom Sheppard, Len Currie, Keiko Goto, Mick Lord, Peter de Graaff, Bianca Conwell, Jocelyn Krewaz, Peter Kinchington & Peter McDonald.
Photograph above: Murray White. Dreamcatcher 20 x 25 cm silver gelatin print from 4 x 5 negative. This crater lake at Budj Bim last erupted between 30 and 40 thousand years ago, and now exists as a tranquil waterway in western Victoria. I found this submerged tree branch near the lake edge and framed the shoreline reflection as part of the image, before disturbing the water surface prior to exposure. Website.
Julian Pearce
Wells Cathedral, UK. Built 1200’s and 1300’s with the famous scissor arch mid 1300’s. Christ glows in the sunlight through stained glass windows. Scan of 5×7 platinum/palladium print on Arches Platine, contacted printed from in-camera 5×7 negative.
Lorraine MacLarty
Lotus 10 x 12.5cm Cyanotype Print, contact printed on Bergger COT 320 paper from a 4 x 5 film negative, toned with tannin. Website.
Greg Wayn
Seed Pods 2. 18 x 22.5 cm pigment inkjet print from 4×5 negative. Website. Instagram.
Iain Maclachlan
Yarra River (Birrarung) at Mount Lofty. 23.7 x 18.9 cm salted print toned in gold thiourea. Instagram.
Stuart Clook
New Regent Street, Christchurch. 20 x 25 cm carbon transfer. Negative: digital internegative separations from original trichrome film negatives. New Regent Street is from some recent work entitled Plural Realities: Pigments of Perception, where I explored the creation of trichomes to reveal the interplay of time and light. By capturing the passage of time through shifts in movement and light between exposures, the resulting images exhibit colour transformations that come to life in the final recombined carbon print. Website.
Wendy Currie
Lake Bellfield, late afternoon, Gariwerd. Scan of 8×10 negative. Website.
Mark Darragh
Coral Lichen (Pulchrocladia retipora) and moss. Grampians/ Gariwerd National Park, Victoria. Scan of 4×5 transparency. Website. Instagram.
Janet Naismith & Gary Chapman
Misty morning. Tin Can Bay. 25 x 20 cm hand coloured palladium print. Gary Chapman and Janet Naismith collaborating artists. Winter in Queensland is on its way out leaving wonderful atmospheric early morning mist and fog. With high tide coming n the mist suppresses detail in the seascape that emphasises perspective creating a pictorial moody effect. Before the sun is over the horizon the magic in the light is measured by Gary using a light meter. Remove the lens cap then capture replace lens cap it is that simple. We used an 8×10 wood field camera, and our previsualisation was to print a palladium print enhancing emotion in the image by hand painting with water colour paints.
Danny Tasmakis
Plenty Gorge Manna Gum. 20 x 25 cm silver gelatin contact print on Azo paper. Instagram.
Alex Bond
Underneath Old Fremantle Traffic Bridge. Scan of 4×5 negative. Website. Instagram.
Interference Pattern. 203 x 61 x 38 cm. Metal bracket, three inkjet prints on transparency film from 8×10 negative scans. Website. Instagram.
Tom Sheppard
The Sound of Water. Scan of 4×5 negative. Just below Waitui Falls in the Comboyne State Forest is a small creek that flows into the Camden Haven River. While I made this image there, it could have been along any creek – anywhere. In the quiet of the gully, it was the sound of water that gentled my spirit. Website.Facebook.
Len Currie
North West Lake Fyans, late afternoon. Scan of 6 x 12 cm pinhole negative.
Keiko Goto
Sign of Spring Coming. 8.3 x 11 cm tintype. Website. Facebook.
Mick Lord
Picnic Shelter, Bowman Park. Scan of 4×5 negative.
Peter de Graaff
Where the streets are arcades… Asan Bazar, Kathmandu. Scan of 4×5 pinhole negative. Instagram.Facebook.
Part two of three articles leading up to the 'super'…
There are 3 comments for this article
Andy Cross
at 1:18 am
Hi Stuart,
Andy Cross here. Just admiring your carbon transfer print. As you are probably aware I am right into dye transfer and colour carbon printing. Just wondering which pigments you use in the carbon process. I use the inorganic heavy metal types which cannot be used with the half tone process.
Thankyou David, once again, for all your volunteer labour in making this exhibition happen.
I was recently in The Grampians (Gariwerd) and I understand that Lake Belfield is a water storage reservoir that was constructed in the 1960’s, is situated on Fyans Creek in the Fyans Creek Valley, and is the primary source for the extensive Wimmera Mallee pipeline. So Len and Wendy Currie’s photos of Lake Fyans and Lake Belfield had a special resonance for me. There is a lot of history in Wendy’s environmental photo of Lake Belfield.
Hi Stuart,
Andy Cross here. Just admiring your carbon transfer print. As you are probably aware I am right into dye transfer and colour carbon printing. Just wondering which pigments you use in the carbon process. I use the inorganic heavy metal types which cannot be used with the half tone process.
Hi Andy, the CMY separations are printed using Derivan pigment inks and for the black separation I use Black Cat India ink, cheers
Thankyou David, once again, for all your volunteer labour in making this exhibition happen.
I was recently in The Grampians (Gariwerd) and I understand that Lake Belfield is a water storage reservoir that was constructed in the 1960’s, is situated on Fyans Creek in the Fyans Creek Valley, and is the primary source for the extensive Wimmera Mallee pipeline. So Len and Wendy Currie’s photos of Lake Fyans and Lake Belfield had a special resonance for me. There is a lot of history in Wendy’s environmental photo of Lake Belfield.