Perth Photography Workshops 2016: here is the list of weekend workshops dates I will be running for the coming year.
The workshops are for those who wish to learn about film based photography, using black and white film, chemistry and paper. We use large format 4×5 cameras down to medium format 6×6 and 35mm. You will be photographing on day 1 and developing and printing your work on day 2, hence the weekend time slot.
These workshops will be held here in Perth metropolitan area at Kent St Weir, on the Canning River, with nearby facilities including a cafe.
Workshop participant numbers are kept to a maximum of two people. We supply camera equipment, film and all necessary darkroom equipment and materials for you to make your prints.
For Perth Photography Workshops 2016 booking details please go to my workshops page. The dog costs extra.
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.
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.
I will be giving an artists talk show and tell discussing my use of a 4×5 field camera in making the images for this exhibition. All are welcome, come along with your questions, I will be bringing my 4×5 wooden field camera. During my presentation I will show you how I set up the camera to make a photograph, and what choices and decisions I might make in determining camera position.
PS the Sunday film processing workshop is booked out. I may get a chance to run a second, so leave your contact details with gallery staff ( firstname.lastname@example.org ) or contact me and we will let you know if a second date can be arranged.
Swamp sheoaks hesperantha falcatta Canning River, hand printed 16×20 inch silver gelatin- sold.
Swamp sheoaks hesperantha falcatta grow in the low lying moist areas around the Canning River, Perth. The sheoaks trunks range in colour from a dull brown to a dull grey, depending upon the season, and are marked with bright white flecks and spots. The white carpet of flowers which dominates the sheoak understorey in Spring, is hesperantha falcatta, which originates from South Africa. Sheoaks are common along the Canning River but the flowers are invaders. This image is frequently mistaken to be from the northern hemisphere. While the flowers appeal to our notion of landscape beauty, they potentially displace indigenous plants and reduce biodiversity. They are a contemporary sign of our changing environment hence the reason I left the clue in the title. This image was exhibited in my solo exhibition “Dissociation” at Heathcote Museum and Gallery. It was also discussed in my blog. About hand made silver prints.
first published in “Lost in Suburbia” in 2013, “Dissociation” 2015 Heathcote Museum & Gallery exhibition catalogue
Canning River photo exhibition and book. To coincide with the release of my book “Lost in Suburbia” a selection of black and white images will be exhibited at Riverton Library, corner High and Riley Roads, Riverton.
The Canning River Regional Park is located 9 kilometres south east of central Perth, and is the largest regional park in the metropolitan area. This book is a visual record of the parkland’s recreational use and beauty. An ecologically and socially important parkland in a secluded little pocket off to one side of major urbanisation, a parkland hidden from general view, almost lost in suburbia.
Perth photography workshops places are filling fast for the March 24th workshop. This workshop will be held on the banks of the Swan River at Point Walter. If you want an opportunity to see what large format photography can offer in realising your photographic vision, then this workshop is for you. We will be outdoors, using 4×5 cameras, you and a workshop colleague setting up a camera, viewing the composition, getting first hand experience and expert guidance. We are not just stuck in some boring classroom discussing theories and looking at an example. Only two spots left. So grab a spot before they run out! Details online.
"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...