Photos of the Canning River Perth including surrounding park land reserve. Alex Bond has been photographing the Canning River Regional Park using a large format wooden field camera. It uses 4×5 sheet film which are hand processed and printed on silver rich baryta papers in a traditional wet darkroom.
Alex Bond has published two books Lost in Suburbia, 2013, Stormlight Publishing and Dissociation, 2016, Stormlight Publishing. Alex has held three photographic exhibitions of the regional Park in Perth. An exhibition and book launch in 2013 at Riverton Library, a second requested exhibition at The Canning River Eco Education Centre in 2014 and Dissociation at the Heathcote Museum Gallery 2015.
Hand printed silver prints are available direct from Alex Bond.
Canning River Photos Silver Gelatin Print Exhibition
Heathcote Gallery Perth
“Dissociation” is an exhibition of Canning River Photos. It continues to document the contemporary landscape of one of Perth’s largest metropolitan regional parks and its relationship to the environment of Perth’s major water ways.
It is an attempt to resolve the conflict between the visual impact of land and river degradation while acknowledging the inherent beauty that persists within.
Dissociation photographic exhibition is an ongoing project documenting landscape elements within the Canning River environment. It follows two smaller exhibits at the Riverton Library and the Canning River Eco Education Centre in 2013 and 2014.
Silver gelatin photographs are hand printed by the author in his traditional wet darkroom, from medium and large format black and white film negatives.
You can purchase all 28 images in the exhibition as a hardcover book. To enquire about purchasing an original print, please email me.
Photo Canning River Kent St Weir Perth. Printed this morning in my darkroom, I made this image last weekend just after some recent rain. It was rather impromptu in one sense. I had been out earlier walking the dog, minus my camera, and noticed that in the late afternoon the weather had abated and everything was becoming wonderfully still. When I returned home I grabbed by 2 1/4 square camera and went back to the river in the fading winter light.
This image is of the Kent Street Weir, using my Bronica SQA and 105mm lens. Exposure time was 8 seconds at about f16. Film was TMax 400 developed with LC29, with slightly less than normal development. Scan is from a 7.5 x7.5 inch Foma RC print.
Looking Glass Magazine – Tales from the lens -Batteries Not Included. I am delighted to have several images and a short essay published in this month’s Looking Glass Magazine. That two of those images were made literally down the street from where I live in suburban Perth is even more satisfying!
Looking Glass Magazine is published in the US by Laura Campbell and is available for a small subscription. It has featured works by international photographers Paul Caponigro, Alan Ross, Ansel Adams, to name a few. If you are serious about the possibilities of new ways of seeing, then you need to view the images of serious workers. You can get further details off the Looking Glass website or facebook links.
Magazine front cover of Seal by David Roberts. Issue #8, Aug/Sept, 2015: George Tice, Kimberly Anderson, David Roberts, Gary Nylander, Chris Faust, Alex Bond, Gordon Undy, Scott Stillman
Canning River Perth oxygenation trail tryptich made of three 8×10 inch hand printed silver gelatin fibre based prints and framed in 100x40cm aluminium.
First published in “Lost in Suburbia” in 2013, this is the only images in my Canning River exhibition “Dissociation” which were made from 35mm format.
Each image is from a three sequential 35mm frames, made down stream from the oxygenation tank at Greenfield Street. During conditions when the wind is relatively calm and there river flow rate is slow, the oxygenation process creates bubbles which form a thin white foam on the surface of the water, creating fascinating patterns.
Canning River Perth burnt woodland was first published in “Lost in Suburbia” in 2013, “Dissociation” 2015 Heathcote Museum & Gallery exhibition catalogue.
When I first viewed this on the ground glass screen of my camera I was excited by the prospect of producing a wonderful print. As is so often the case in photography, Burnt woodland Canning River proved for me to be much harder to realise in print than I had anticipated. The curve of the trunks and branches combined with the lines of shadow created a visual rhythm.
The image is back lit and high in contrast and the negative received reduced development and slight increase in exposure. My main problem in making this print is to preserve the feeling of intense light which reveals the flatness and dryness of the subject. To make an print consistent with my vision I had to avoid the back lit trunks and and their shadows from printing too dark. The print was made with a series of hard and soft exposures. An initial soft exposure was made to retain a suggestion of detail in the dried sunlit leaves, during which the central trunk was carefully dodged. A series of higher contrast exposures were made to selected areas to introduce more black and therefore some contrast. It is not an easy print to make and if making a new print I may well try a different approach to see if I could get a print closer to my vision. Hand printed 16×20 inch silver gelatin print.
Canning River Perth sunrise. Whenever I wake to a misty morning here in Perth I try to get down to the river. Mist or fog transforms the landscape, highlighting visual elements close to the viewer by fact that it obscures the view of more distant objects. It also transforms the quality of light and depending upon the mist’s density it can have a soft enveloping light. The disappearance of distance adds mystery to the landscape. Mists do not occur frequently in Perth, so I when they do I try to make the most of exploring the environment in a different light. Sunrise Canning River Perth Western Australia 16×20 inch hand printed silver gelatin fibre based print
first published in “Lost in Suburbia” in 2013, “Dissociation” 2015 Heathcote Museum & Gallery exhibition catalogue
Paperbark regrowth after fire: new shoots on burnt paperbarks, Canning River Perth 16×20 inch hand printed silver gelatin fibre based print. It was exhibited in the 2015 Canning River “Dissociation” exhibition.
After a serious fire in 2011 in which water bombing was required to prevent the fire spreading into neighboring houses, much of the park between Greenfield Bridge and Kent St Weir was burnt. Several weeks after the fire the first green shoots of regrowth started to appear.
It was first published in “Lost in Suburbia” in 2013 and an 11×14 inch print exhibited at the 2013 “Lost in Suburbia” exhibition, Riverton Library, was sold.
Bannister Creek tributary to Canning River Perth Western Australia 16×20 inch hand printed silver gelatin fibre based print -sold.
This image was made in a section in which some restoration work was recently undertaken. The creek runs through suburbia, at the rear of housing whose back fences close off their view and connection to the watercourse behind them. The fact that the houses face their backs to the creek is curiously dismissive of the creek’s significance in this ancient flat landscape, something I have previously commented about.
Although not readily visible in the photograph, immediately behind the paperbarks are houses and grey super six fencing. The fencing travels almost the entire length of both sides of the shallow depression that contains Bannister Creek.
300mm nikkor lens on TMax 4×5 sheet film, 1 second at f64.
Canning River Wetlands Paperbark Perth. Many areas around the Canning River are natural wetlands which flood during the winter months. Some areas have been infilled over the years for subdivision. Small pockets remain of samphire and paperbark wetlands. These are important breeding grounds for water birds and they also act as a filtration system to water runoff before it reaches the river. Restoration of wetlands which have previously been infilled is now being undertaken in areas along the Canning and Swan Rivers. Paperbark stump Canning River Wetlands #02 11×14 inch hand printed silver gelatin fibre based print
Canning River Sheoaks Grass was made on a bright summer’s day. Preserving the impression of bright light is important for me in this photograph. Maintaining texture in the grass is important in achieving this quality. With the contrast range in this scene so high I wanted to prevent the deep shadows from going to black in the print. If the shadows from the back lit sheoaks were reduced to black it would reduce the impression of an intense but enveloping light. The film was Forte 4×5 sheet. The negative received additional exposure and reduced development. Sheoaks and grass Canning River Perth 16×20 inch hand printed silver gelatin fibre based print. Sheoaks and grass Canning River was exhibited in “Dissociation” at Heathcote Museum and Gallery 2015.
"I go for long walks in the bush or along the coast with my wooden field camera, a few sheets of film, a tripod and sometimes a tent and food. I like to take my time to absorb the environment, to rediscover and to reconnect.My direct involvement with the materials and technique for making an expressive photographic print is of importance to me, so I continue to develop my own films and hand print all my black and white silver gelatin prints in my darkroom."more...