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'Our age gives the impression of being an interim state; the old ways of thinking, the old old cultures are still partly with us, the new not yet secure and habitual and thus lacking in decisiveness and consistency.'-- Nietzsche, Human, All Too Human
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'An aphorism, properly stamped and molded, has not been "deciphered" when it has simply been read; rather one has then to begin its interpretation, for which is required an art of interpretation.' -- Nietzsche, 'On the Genealogy of Morals'

Craig Tuffin + wet plate photography   February 12, 2014

There is an upcoming Wet Plate Collodion Gathering in Australia, which is designed for both novices and those more practiced at using this antiquarian technique at Gold Street Studios, Trentham, Victoria. It is run by Craig Tuffin.

TuffinCSeperationofEve.jpg Craig Tuffin, The Separation of Eve', 2012, 11"x14" Clear Glass Ambrotype

Tuffin's image is part of the 'As Faulty As We Are’ series, which is an ongoing project of contemporary portraits using the historic photographic medium of Wet-Plate Collodion (ambrotypes and tintypes). Using this method allows the photographic artist to embrace imperfection as an integral part of the artistic process.

| Posted by Gary Sauer-Thompson at 2:03 PM |
Richard Stringer: Queensland architecture   February 1, 2014

Richard Stringer has spent a lifetime photographing Queensland’s built environment, both modern and historic, in Brisbane and throughout the state. He is the author of Vanishing Queensland, a body of monochromatic photographs of the old buildings in Queensland.

StringerRstonemasonworkshop.jpg Richard Stringer, Andrew Petrie stonemasons, 1980, printed 1987, Gelatin silver photograph

He says:

I was keen to capture the sometimes ephemeral beauty of Queensland’s heritage. Time and progress keep moving and I soon discovered with some of my favourite structures that all that remained were my photos, so I was prompted to adopt a medium that recorded as much as possible i.e. large format sheet film where you can control perspective and count every brick. My aim became to examine my subjects dispassionately, to identify their characteristics, record them faithfully and present them to people and allow them to make up their own minds.

His photographs express the sense of place and memory and avoid the tendency of contemporary architectural photography and magazines to idealize the architecture.

StringerRNZInsurance.jpg Richard Stringer, New Zealand Insurance Building; 1971, printed 1987, Gelatin silver photograph

The beaten-up buildings of early Australia endure as a nineteenth-century version of Critical Regionalism (if you like). This was a European model adapted to the local climate and the local lousy budget.

Continue reading "Richard Stringer: Queensland architecture" »
| Posted by Gary Sauer-Thompson at 12:58 PM |
Claudia Terstappen: bush fire landscapes   January 29, 2014

Claudia Terstappen's Northern Territory landscapes are intriguing as they are about fire:

TerstappenCBushFire.jpg Claudia Terstappen, Bushfire III (Northern Territory, Australia), 2002, Bushfire III (Northern Territory, Australia) 2002, From the series Our ancestors 1990-

This is a landscape that is shaped by fire:

TerstappenCAfterFire.jpg Claudia Terstappen, After the fire (Northern Territory, Australia), 2002, From the series Our ancestors 1990-

These pictures are less about the light and more about the darkness of light.

| Posted by Gary Sauer-Thompson at 8:21 PM |
John Davies: the shock of the old   January 27, 2014

John Davies is known for his north of England landscapes.and the industrialisation of space. Those made between 1979 and 2005 show the complex scenery of post industrial and industrial Britain. He is widely regarded as Britain's leading landscape photographer, and has spent 30 years photographing the industrial and post-industrial landscapes of Britain.

DaviesJNewStreetStationBirmingham.jpg John Davies, New Street Station, Birmingham, 2000

Both landscape painting and photography are underpinned by the ideal of the detached view, capturing the meaning of a place and a culture at a precise moment for ever. The assumption is the desire to see life clearly and to see it whole. Usually, the photographs are taken from an elevated position looking down.

DavieJStockportViaduct.jpg John Davies, Stockport Viaduct, 1986

Black and white photography seems to belong not just to another era, but to another world and it seems antiquated in an era of digital colour photography.

| Posted by Gary Sauer-Thompson at 10:32 AM |
The Sundance Film Festival Portraits   January 21, 2014

Photographer Victoria Will wet plate (Tintypes) portraits made at The Sundance Film Festival of some of Hollywood's current film stars.

WillV Sundanceportraitsruffalo.jpg Victoria Will, Mark Ruffalo, Sundance portraits

The results are unpredictable because of the finicky nature of the chemistry but the process does suit portraiture:

WillVSundanceShannonM.jpg Victoria Will, Michael Shannon, Sundance portraits

The results can be quite haunting at times.

| Posted by Gary Sauer-Thompson at 9:55 AM |