Friday, December 17, 2010

Food watch 2

Some sketches of the partly flooded Narrabri Creek, Dec 2010.

Sunday, December 12, 2010

washing archival prints

To wash the BBQ silver gelatin prints to archival standard instead of paying a high price for a print washer I used the old tried and tested bath tub method. The prints are now drying on home made drying screens in my bathroom; as shown below.

Monday, December 6, 2010

Flood watch Narrabri Creek

Below are three flood watch photos taken at 5 to 6 PM this evening. This is a swollen creek and not yet a flood

Friday, September 17, 2010

road kill

I dragged this mud guard from a large interstate transport truck and the squashed witch's hat found on the side of the highway home to my studio for another still life.

The process of mixing colours and painting these found objects produces a disassociated state which is a pain control technique along with the help of opiates and valium. So the colours are mixed and painted in an unconscious way. The forces of these colours chosen as a process which integrates my physical body also forces the compositional elements of the still life; yet again as absolute deviation.

Monday, August 30, 2010

Photos always new

 Somewhere, early in Camera Lucida Barthes says a photo is always new. It was somewhere in the first two dozen pages which lays out the tableau, could we say?

He also says a photo is like a haiku, some pages later.

Thursday, August 5, 2010

how much digital scan

Looking at the actual silver gelatin print and the on monitor digital image
it has been said so often before how much digital screen changes the image

more landscape ideas

The above two images (of Narrabri Creek and Namio River) seem to move toward the idea of using fabric netting and lace from two different approaches to two different images. The image with the dark bottom right hand side could be used to dodge. I plan to make a sort of matte box like idea spanning across the enlarger bench for the final silver gelatins. 

The idea of using my grandmother's crochet seems to suggest the role of what Spivak would call the subaltern, that middle layer which ensures a colonial settler state such as the Australian colony.

Sunday, August 1, 2010


In black and white photo printing there is a technique call flashing which exposes the paper to just enough white light to put it on the verge of becoming grey. It was used as a technique to print negatives with a greater contrast range then the paper.  However I have also found a longer flash going into a tone which is just grey can work nicely.

I have been thinking of doing this with lace and net so these appear as ghosts in the image. I also thought of using my grandmothers croset doilies....see below

Tuesday, July 27, 2010

boat ramp

Monday, July 26, 2010

toward landscape

another landscape image

Sunday, July 18, 2010

selelium toned proof

I managed to selenium tone the RC (plastic) landscape proof print using a two bath bleach and tone procedure. To explain, plastic RC proof prints will not tone in the way fibre base fine art silver gelatin prints do so they need to be bleached and then toned in selenium (filthy dangerous chemicals.)  Below is a jpeg of the toned landscape print. Toning definitely gives the print that extra bit that makes it a classic modernist landscape.

Saturday, July 17, 2010

more lansdscape

I am beginning to think this style of landscape manages to slide in with the still lifes photos. However the low resolution jpeg doesn't seem to work the way the print does. It has also been coloured to attempt a selenium toned look.

Friday, July 9, 2010

Narrabri hobbyist painter I liked and purchased

Here are jpegs of Tracey Holcombe's two paintings I purchased two weeks ago in Narrabri.

Poppies II
Pink Vase

Saturday, June 26, 2010

Still life in production

this is the camera being set up....

Sunflowers stills

two more still lifes, this time approximated toning to emulate full selenium toning

Sunday, June 20, 2010

human being Deleuze

Deleuze, that reader and writer on Kant.
His inside out reversal of Kant's a-priori is
a profound humanism. It must be... metaphysical univocal and all

Can it be any other way while avoiding giving anything to the categories
to the correct usage of Kant's  faculties?

digital/analog interface with water devining

I have basically fallen in love with my little Canon A490 point and shoot
digital. (It even has a spot meter which is more then I can say for my heavier and larger in size Gossen Lunapro light meter.)

Underground where I stand, building the latest still life in the series, my wire
divining rod goes right off the dial meaning I am standing on top of the
Namoi River, an underground rhizome river at the bottom of a valley of a
rhizome volcano, known as the Nandewar Volcano.

Analog/digital and a divining rod made from a steel coat hanger cut to the proportions which humans and rhizome water streams resonate.

Monday, June 14, 2010

Deleuze; the absolute idealist

Recently I have been trying to write this blog in clause chains
rather then traditional sentence paragraph structure

and I received a rather interesting comment along the lines
that this is as if it were thought in production
     with hesitations         gaps                and    so    on

I hope to get       the real flesh and blood neural body
contra the ideal bodies of Nietzsche and Deleuze
     philosophy's    ideal      always      not         there

Yesterday         I stumbled onto another    naked      body

I am an Aspergers in severe neurological pain

rather then the popular idealist  misconception
of Aspergers as being low on affect  
that is the ideal body
with limited affect

                  Aspergers is a neurological condition
which in real neural terms is an overloading of distressing affect as if pain is a
brick wall that one is attached to and unable to break from or through

without the  use of morphine, which my government denies me
                  as luck would have it
I have enough valium and codeine to get through to words
                             and thought

It seems to me here
                the body must  break away
                                       from philosophy
                  which itself becomes a brick
       wall denying access to the
real neurological flesh and blood body

In this blog I have been playing analog against digital images
and again Deleuze is mistaken in his logic of aligning
the human body with the analog against
the digital societies of control

Rather, the real flesh,
blood and neural body
           is the interface
the real flesh and blood
                         face      the Asperger misreads
not because of lack of physical
                 affect           facial expressions, body languages
and so forth         but because of a neural
overload in the feedback system
which is the flesh and blood body

Deleuze's alignment of the analog with the human
then his mistaken absolute idealism

Sunday, June 13, 2010

One dimensional colour

From one dimension, a flat colour without depth, without width, is made

where to look for this illusion
an illusion that appears as space and depth

I rather like this idea from:

In mathematics, particularly in complex analysis, a Riemann surface, first studied by and named after Bernhard Riemann, is a one-dimensional complex manifold. Riemann surfaces can be thought of as "deformed versions" of the complex plane: locally near every point they look like patches of the complex plane, but the global topology can be quite different. For example, they can look like a sphere or a torus or a couple of sheets glued together.

Saturday, June 12, 2010

latest still life in production

Here is a colour digital snap of the latest still life in production
this has been shot 4x5 monochrome on the view camera
I will post that as soon as the proof print is made in my darkroom

Saturday, May 29, 2010

More electronic colour


How often have we been told digital is the new freedom

analog the old out of date no longer needed lacking freedom

the exchange of women with electronic code
proof of this digital freedom we all have

an epistemology, declared a closet, store your latest
electronic digital commodity freedom, queer guy
buys a straight man television, encourage

theft to increase market
in between human bodies squashed
flat as electronic colour toward future
behind old analog (we are told)

Saturday, May 22, 2010


flung at you
a damning insult

                kind of inhuman freak.

a few words; abjection, dejection, freak, eccentric, monster, queer,

painful non reply needed

looking inside double standards
              high intelligence           worth some
of that freak number

(Gender, homophobia listed in
scientific journals. homosexual  schizoid asperger)

 hostile reaction,

from a generation passed,  
                did things a different way
               another monstrosity

Tuesday, May 18, 2010

Electronic colour

These images are scans of leaves and twigs from my garden. I used an Epson V30 and played with the software's mechanics. The colour is flat, electronic flat. A new way colour is thought; dated around the 1960s. Also thinking of David Hockney, A bigger splash.

Wednesday, May 5, 2010

studio desk

Tuesday, May 4, 2010

studio wall

a book BBQ

The photos, the silver gelatin
on a studio wall

make a book (D&G could say)

Dupuytren's contracture

with electronic noise


and fight my cat for keyboard words

        with silver
         prints a sort of depth that you can fall into like

alice in wonderland.
when the penny drops in the strict
sense, b&w film not       analog. While digital is
in the strict sense it is not so
How little we
know about a human eye; digital teaching.

it is the flatness of electronic images which attract
      so obviously digital/electronic.

I have 15 minutes formal instruction in film

homophobic structure

In quoting this section of the earlier quote; in Sedgwick's analysis, one could say this is the homophobia of new media advertising. Technology as the body of women which is new media exchange. Which is to say, homophobia.

[quoted from below] it sells itself in terms of a liberating technology built especially for the consumer, and designed to virtualise her body, to free her from the constraints of time and space, and to place her in control of the resources of capital (easy credit, fluid social arrangements, unlimited opportunities for expansion, compliant technology, in short a world without struggle or travail, a world especially designed just for her)

Monday, May 3, 2010

The Figural as Interface in Film and the New Media:

Journal | Salon | Portal (ISSN 1466-4615)
Vol. 7 No. 56, December 2003
Warwick Mules
The Figural as Interface in Film and the New Media:
D. N. Rodowick's _Reading the Figural_

Advertising captures what might otherwise have been a radical aesthesis of the body within emerging virtual communities outside the range of capital, and refashions it in answer to the desire of the individual consuming self in terms of a total experience, where distances in time and space are collapsed, and everything magically appears at the command of the consumer. [5] New media advertising does not sell products, it sells itself in terms of a liberating technology built especially for the consumer, and designed to virtualise her body, to free her from the constraints of time and space, and to place her in control of the resources of capital (easy credit, fluid social arrangements, unlimited opportunities for expansion, compliant technology, in short a world without struggle or travail, a world especially designed just for her). To counteract the power of capital to capture the figural, Rodowick calls for 'a critical philosophy of technology to unlock its historical image and to make legible the strategies of resistance and lines of flight that are created within it' (223).

Friday, April 16, 2010

snakes at the billabong

the billabong seems a perfect snake place
no sooner I thought as an eastern brown
the second most dangerous snake
passed me by with it's musky odour

on my second return, trod almost on a red belly black
it slithered away from me as I fled at an obtuse angle
to it's vector sine wave mapping of the landscape
a distinct fishy smell, that's how I knew

darkroom photos

the beginning, enlarger bench built from recycled cypress pine

and finished, walls and ceiling made from 3mm mdf
and studio space in front

and darkroom wet bench now in use

and the two enlargers on enlarging bench, and I built all this myself
(miracles do happen)

Tuesday, April 13, 2010

more at Lagoon Creek

two more sketches which demonstrates the process of sketching
which go toward camera film and location and to
get inside the image making process

Delta 100 meter read at 100 ISO
developed in Perceptol 1+3 at 50 ISO (16mins at 20 C)
this is the response I was looking for

this looks like it would make a nice vertical diptych
also works as a horizontal diptych

Monday, April 12, 2010

first fire

first fire of the season
snow on the alps [above]

below, Mamiya RB67 ProSD, 127mm KL lens, on tripod in the field.

Sunday, April 11, 2010

high contrast billabong photo

Ilford Delta 100 seems to demonstrate itself as a high contrast film. I am over exposing by a stop, it appears and despite attempts at a gentle development in 1+50 Rodinal. Tomorrow Ilford's ID11 should arrive. I think I like 1+3 ID11 for Delta 100. Perhaps rated at 50 ASA for ID11 and 100 for meter?

US Romantic and Realist landscape painting

The two major aspects of landscape painting could be said to be trees and water, sky and clouds as an  extra third option. See; United States Romantic and realist landscape paintings below. It is not such a large leap to imagine Ansel Adams' photography quoting these landscape views and compositional style, which is to say, Romantic landscape painting.

Frederic Edwin Church, Niagara, 1857; and Albert Bierstadt, Among the Sierra Nevada Mountains in California, 1868; images quoted from: A World History of Art Revised 7th edition, 2009, Laurence King Publishing. pp 675, 676

Saturday, April 10, 2010

more landscape ideas

with a theme, trees and water, isn't this the major theme of landscape