The Near East

At a bit of a loose end we decided to go out on the Goldfields Road to Tammin. The town’s sole raison d’être is the transportation of the surrounding areas grain crops. The grain bins and railway siding around which the town is built are the key features of the town. With the increasing industrialisation of modern agriculture farms have got bigger and bigger and employ less and less people so like many rural areas although generating a lot of wealth the town is in decline.

 

Derelict by Paul Amyes on 500px.com
Abandoned farmhouse on the Goldfields Road in Western Australia. Olympus Pen EP-5 with Olympus 12-50mm f3.5-6.3 lens. Exposure: 1/640 sec, f5.6 at ISO 200. Converted to monochrome in AlienSkin Exposure 4.

When I first got interested in photography I was living in the South East of England which is a very verdant and prosperous region. Naturally the first photographers who caught my eye were British ones like David Bailey, Snowdon, Patrick Litchfield and Terrance Donovan.As I went on I discovered more socially aware photographers such as Chris Killip, Graham Smith and Don McCullin. I  remember going to see Killip and Smith’s exhibition “Another Country” in 1985 and being absolutely blown away by the subject matter and the quality of the work – it was one of transcendent experiences and it altered my perception of what photography could be dramatically. It was quite a while before I turned my attention to non British photographers. When I first saw the work of Walker Evans, Robert Frank, Joel Sternfeld, Stephen Shore, and Robert Adams I couldn’t really relate to the subject matter. Their vision and representation of the USA was one that was completely foreign to me and outside that which the mainstream media presented. It wasn’t until I migrated to Australia and started to explore the rural areas seldom visited by tourists that the penny finally dropped. I started to see similar scenes and over time I have attempted to capture them. I’m never quite sure whether it should be in black and white or colour so I find myself fluctuating between the two mediums and never quite happy with the results.

 

Tamin by Paul Amyes on 500px.com
Tammin grain bins and railway station. Olympus Pen EP-5 with Olympus 12-50mm f3.5-6.3 lens. Exposure: 1/800 sec, f5.6 at ISO 200. Converted to monochrome in AlienSkin Exposure 4.

Which brings us to the photos in this post. They are just a small sample of the photos that I took on our road trip to Tammin. At first I processed them as colour and felt that the colour detracted from the starkness that I saw and felt. I then tried monochrome. When I worked in the darkroom I liked to use Ilford Multigrade  FB warm tone glossy paper and that is a look I try to replicate with my digital images albeit without much success. When Ilford’s digital media arm Harman Technology introduced their warm tone gloss baryta inkjet paper I thought that my prayers had been answered and I used it for a couple of exhibitions I did. It was a sad day when it was discontinued – I still have 5 sheets of A3+, not enough to do any proper work. So now I try to replicate the look in AlienSkin Exposure 4 which is what I have done with these photos. The problem is that while it looks OK on screen when you translate it to printed media it does work as it is not subtle enough. Perhaps the photos should have stayed in colour after all.

 

Closed by Paul Amyes on 500px.com
Empty shop front in Tammin, Western Australia. Olympus Pen EP-5 with Olympus 12-50mm f3.5-6.3 lens. Exposure: 1/100 sec, f5.6 at ISO 200. Converted to monochrome in AlienSkin Exposure 4.

 

The Grass Is Greener

Diamond Princess by Paul Amyes on 500px.com
The Diamond Princes at dawn in Hobart Harbour.

 

 

 

“Few things are as exciting as the idea of travelling somewhere else. But the reality of travel seldom matches our daydreams.”

Alain de Botton

 

I’ve never been a fan of mass tourism, but over the last few weeks I’ve been reading a lot about the negative aspects of it and in particular with what is happening to Venice. Apparently as many as 44,000 cruise ship passengers pour into Venice a day during the high season. That’s roughly 5 cruise liners worth. When we lived in Tasmania we’d get the boats pull into Hobart Harbour, thankfully just one at a time, and the passengers would be like a tsunami as they headed for Salamanca. I hate to think what 5 times that number would be like.  Along with the negative impact that has on the local population and the environment there is also the fact would you really want to visit somewhere with another 44,000 people? It’s hardly getting away from it all is it? Then there is the whole thing of “Right you’ve got six hours in port and then we’re off to the next location”. Six hours following several other thousand people all traipsing round the same location, looking at the same few things only to herded up at the end of the day and taken somewhere else to do exactly the same thing the next day. It’s a gross version of the 1969 film “If It’s Tuesday, This Must Be Belgium”. It’s worthy of Dante’s vision of hell. So why do people do it and pay a fortune for the privilege? Essentially people do it because they are bored with the ordinariness of their life and want something out of the ordinary with a touch of luxury.

When I lectured in photography one of the most common complaints from students was that there was nothing to photograph in Perth or Western Australia. They wanted something new, something exciting something that they’d never seen before. The problem was photography’s history encourages that kind of thinking – we only have to look at the photographic tradition of the road trip established by the likes of Robert Frank and his eponymous book The Americans with its hip introduction by Jack Kerouac. Stephen Shore and Alec Soth amongst  others have popularised it to the extent that it has almost become a photographic rite of passage. Indeed at a portfolio review at FotoFreo my reviewer actually said I should go on a road trip as a means of finding myself. But the thing is booking a package holiday to Bali or Vietnam is not going to work as  all you will see are the usual tourist attractions and maybe you’ll take some photos of poor third world people. Invariably you return home and the photos get ignored and languish in a dark recess on your computer hard drive as they look the same as everyone else’s. They are not out of the ordinary. The British philosopher and writer Alain de Botton in his book The Art of Travel said  “Then I realised that the problem with going away is that you take yourself with you.”

I would suggest that if you want to produce interesting work look to the ordinary and easily accessible. Many photographers have taken this path.  Robert Adams documents the changing American landscape and in particular the spread of suburbia. Chris Killip, Sally Mann, and Larry Towell  are all photographers who have done projects about ordinary things on their door steps and have produced extraordinary images. The American photographer Minor White once said “…all photographs are self-portraits.” so there is no need to travel to find your self just keep exploring with your camera. The frequent retort from my students was that everything around them had been photographed before well White also had an answer for that “Everything has been photographed. Accept this. Photograph things better.”.

So what have I been doing photographically for the last week? Well I’ve been out to some local nature reserves, I’ve visited them many times over the last 14 years and it never ceases to amaze me that I always find something new. So I was delighted to find these two flowers.

 

Jug Orchid by Paul Amyes on 500px.com
Jug orchid aka recurved shell orchid (Pterostylis recurva). Olympus OMD EM10 with Olympus m.Zuiko 60mm f2.8 macro lens and Metz ring flash. Exposure: 1/160th sec, f5.6, ISO 200 aperture priority with -1.3 stops exposure compensation.

 

 

Sugar Orchid by Paul Amyes on 500px.com
Sugar orchid (Ericksonella saccharata). Olympus OMD EM10 with Olympus m.Zuiko 60mm f2.8 macro lens and Metz ring flash. Exposure: aperture priority 1/125th sec, f4, ISO 100 with -1 stop exposure compensation.