PETER EASTWAY – The New [Photography] Tradition
A box in the mail
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A box came in the mail the other day and in the box was a book from the photographer Peter Eastway. I have known Peter for over 35 years and have followed his many and varied careers – as a photographer, editor and publisher, darkroom and digital Guru, AIPP advocate, photography commentator, judge, lecturer and mentor.
Our paths crossed many times as our interests, activities and creative pursuits were very similar. Over the years Peter published more than a few stories about my work as well as articles I wrote for his magazine Better Photography. Around 1990 Peter was invited to come on my Imagery Gallery Photo Tours to central Australia and Africa to enthuse and inspire the photographers on the tour.
When monochrome photography and the darkroom re-emerged in the 1980s as an exciting ‘new’ trend in the professional photography awards scene Peter became interested in my work. At the time my B&W photographs had on two occasions won the AIPP Australian Professional Photography Awards ‘Highest Scoring Print in Australia, one of them was a 10”x8” contact print. I had also won categories in the Australian Hasselblad Masters Awards.
Peter came to my darkroom in Toowoomba, witnessed my technique, and published a Better Photography story about my technique. One of the main aspects of my work at the time was my use of Leica 35mm cameras and a printmaking style that employed what I called ‘dramatic theatrical effect’ by utilising very heavy burning-in and local dodging.
From the ICONS series ….PHOTO: Doug Spowart
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Within a short time I found my entries in the AIPP Awards coming up against Peter’s prints and some of his images were even made on photo tours that he had undertaken for Imagery. One year he won the AIPP Professional Photographer of the Year – I was the runner-up. Since then my partner Victoria Cooper has referred to Peter as #1 and me, #2!
AIPP Australian Professional Photography Awards with one of Peter’s Professional Photographer of the Year award winning photos of Africa on the cover
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Eastway photographing on tour in Bhutan … PHOTO: Roger Skinner
When you get to know Peter you quickly understand his capacity for grasping ideas and knowledge, assimilating into his process and then to make images that are uniquely his own.
Back to the book… I turned the opening pages and read Peter’s introduction for ‘generational change’ in photography. He challenges those who have fixed ideas about emulating the great past masters like Adams and Weston and how digital photography has transformed the photographic image and the possibilities available to enhance the way the subject is presented. What follows in the book are very detailed reviews of the ‘making’ of Peter’s images over the years including his transition from analogue to digital. This book is a handbook on Peter’s process and also a manifesto where he claims the establishment of a ‘new tradition’ in photography.
Ephraums’ book cover
I turn a few more pages to the first photograph he discusses and dissects. To my surprise Peter acknowledges Eddie Ephraums‘ and my technique as having a significant influence on his B&W work. As I have already said Peter’s way is to grasp, master and go far beyond the initial inspiration. In this way he has come to lead a whole new representation of the lens-seen reality and created for the viewer images of the mystical and sublime. Whether it’s a landscape photograph, an ancient architectural form or a portrait Peter makes images that are seductive to behold, ponder and visually explore.
There is no doubt that he now inspires new a generation of photographers and created disciples and followers for whom this tome will be a ‘book of revelations’, a Bible for those whose wish to understand the eye, the process and the aesthetic of the photographer.
If there is a new tradition and Peter’s work will no doubt continue to influence photographers but his never-ending exploration of the visual world and how the idea of the human seen reality can be transformed through capture and rapture in processing will continue to advance the art of photography.
What interests me is that when I look back at the photographs I was making in the 1980s and 90s I didn’t think at the time about being a follower of a particular ‘tradition’. I just did, as I still do now, what seemed appropriate at the time. Perhaps Peter’s motivation is the same and the only ‘tradition’ that we follow is the constant renewal of the discipline by progressive practitioners…
Thank you Peter for a copy of your book … and for the opportunity to appreciate and consider your work.
Doug Spowart
May 20, 2019
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To read more and order Peter’s New Traditions Book –
CLICK THE LINK: Better Photography Online Shop New Traditions Book
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HERE’s SELECTION OF MY MONOCHROME WORK FROM THE LATE 1980s and EARLY 1990s …
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Images and text © Doug Spowart
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This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License.
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2019 WORLDWIDE PINHOLE DAY 28 April – Our images
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Round the [w]hole world on Sunday the 28th of April 2019 pinholers were out having fun – Making their images for the 2019 WPD. Far away from the darkroom (again) we’ve once again fitted a pin-prick in a piece of aluminium fitted to a body cap of our Olympus Pen camera and we went on a road trip in Tasmania from the D’Entrecasteaux Channel to the mountains and back again.
This is the 14th year we have supported the WPD project!
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ABOUT VICKY’S PINHOLE IMAGE:
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Capturing time and light in the mountains of Tasmania..
The photo was taken by digital capture with hand-made hole on an Olympus Pen using manual setting.
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My friends take a photo with their iPhones
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ABOUT DOUG’S PINHOLE IMAGE:
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Late this afternoon we went walking in the Autumn light down past the bare trunks and branches of deciduous trees – my friends stopped to photograph with their iPhones… Callie walked on…
Both pinhole photographs were taken on an Olympus Pen camera
Camera with pricked pinhole in alfoil, Aperture exposure mode, ISO 800.
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Other images we made on the day…
Visit the WPD Site for details of other submissions: http://pinholeday.org/
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Our Past WPD images:
2018 Doug+Vicky https://wotwedid.com/2018/04/29/2018-worldwide-pinhole-day-29-april-our-images/
2016 Doug: http://www.pinholeday.org/index.php?id=1235
2016 Vicky: http://www.pinholeday.org/index.php?id=1540
2015 https://wotwedid.com/2015/05/04/april-26-worldwide-pinhole-day-our-contributions-for-2015/
2014 Vicky’s http://pinholeday.org/gallery/2014/index.php?id=1810&City=Toowoomba
2014 Doug’s http://pinholeday.org/gallery/2014/index.php?id=1811&City=Toowoomba
2013 https://wotwedid.com/2013/04/29/world-pinhole-photography-day-our-contribution/
2012 http://www.pinholeday.org/gallery/2012/index.php?id=1937&searchStr=spowart
2011 http://www.pinholeday.org/gallery/2011/index.php?id=924
HERE IS THE LINK to the 2011 pinhole video http://www.youtube.com/watch?v=Yk4vnbzTqOU
2010 http://www.pinholeday.org/gallery/2010/index.php?id=2464&Country=Australia&searchStr=spowart
2006 http://www.pinholeday.org/gallery/2006/index.php?id=1636&Country=Australia&searchStr=cooper
2004 Vicky http://www.pinholeday.org/gallery/2004/index.php?id=1553&Country=Australia&searchStr=cooper
2004 Doug http://www.pinholeday.org/gallery/2004/index.php?id=1552&Country=Australia&searchStr=spowart
2003 http://www.pinholeday.org/gallery/2003/index.php?id=615&Country=Australia&searchStr=spowart
2002 http://www.pinholeday.org/gallery/2002/index.php?id=826&Country=Australia&searchStr=spowart
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.HEAD-ON Exhibition in SYDNEY to include Victoria COOPER + Ruby SPOWART
Headon Logo
I’m excited to announce that the two women in my life VICTORIA Cooper and my mother RUBY Spowart have both been selected as one of the LOUD and LUMINOUS curated 100 AUSTRALIAN WOMEN PHOTOGRAPHERS exhibition to be shown at the 2019 HEAD-ON PHOTO FESTIVAL. It is an amazing and powerful exhibition of contemporary photography brought together by the dynamic duo Hilary Wardhaugh and Melissa Anderson.
#knowmyname @nationalgalleryaus
Here’s the story…
ABOUT LOUD & LUMINOUS – from the web page
The Loud and Luminous mission is to recognise and celebrate the contribution of contemporary women in the photographic arts in Australia. We believe this project is unique and important in identifying the extensive cultural contribution women photo-based artists and photographers have made in this country. This project is designed to empower the girls and women of today and tomorrow to chase in their dreams. This is a timely project and one that hopes will help educate and inspire many women of all ages.
Vicky’s photograph is based on an important Tasmanian issue…
Listening …
VICKY’s ARTIST’S STATEMENT
My ancestors are European…. but I am removed by generations from these origins and have always sought to understand my place in this altered land. Over recent years I have spent time in Tasmania. I have come to know of Aboriginal stories that tell of women that lived and survived through the colonial invasion of their land and the resulting massive change to their lives and the future of their culture. I found Putalina, in Palawa kani, a place for reflection on the story telling that has highlighted the strength and power of past Aboriginal women including Truganini and Fanny Cochrane Smith.
Ruby’s work related to where she now lives and a reflection on her mother’s amateur painting…
My mother painted floral arrangements
RUBY’s ARTISTS STATEMENT:
My mother painted floral arrangements.
Before getting married and having children on a farm in central Victoria in the early 1900s my mother painted in oils. I never saw her paint – having children and the hard life on the farm meant that there was no time for art. Her paintings, mainly of floral subjects, however lived on and now are cherished by the family generations that followed.
If there is an art gene then my mother passed it to me. In my life I have practiced many art mediums from enamelling to china painting and ceramics as well as photography. Despite having three children and working with my husband in a family business I persisted with my art making. It has rewarded me and enriched my life.
Now in my 90s I photograph with my iPhone and these flower photographs come from the gardens that my neighbours and I nurture. In this work I feel that I am making the flower ‘paintings’ that my mother was never able to…
Venue / Date / Times
From the Headon website
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2018 FIELD STUDIES: CAMERA OBSCURA FERRY PORTHOLE – Bass Straight waves over the Spirit of Tasmania
Our 2018 Field Studies submission of 100 artworks
As an important end of year ritual, we have once again prepared our submission to the ‘FIELD STUDIES INTERNATIONAL’ collaborative mail art project organised by David Dellafiora. Artists from around the world contribute to this project by mailing to David 100 artworks of any process and printed media made to A5 size. He then works with a team to collate all the submissions and assemble 100 copies of the collaborative book. After each participant receives one of these books, a number are then sold to private and institutional collectors to fund the project. We have contributed to the Field Studies for the last 10 years. Some links to the previous submissions are provided at the end of this post.
Here’s the story of our 2018 Field Studies report…
In 2000, we began a series of site-specific camera obscura projects that is a continuing body of work… This year we made two attempts to construct a cabin camera obscura. The second attempt proved more successful and so in this blog we present this recent work – Through a porthole in 3-5metre seas on the The Spirit of Tasmania.
The Spirit of Tasmania
On the morning of the 3rd of November we boarded the Spirit of Tasmania and checked in to our cabin for the nine-hour day crossing. We had booked months earlier and had requested a porthole cabin with the idea of making a camera obscura.
Earlier in 2018 we had tried unsuccessfully to make camera obscura images on an overnight crossing figuring that by the time we boarded the ship we would have a brief period of sunlight – alas, that would not be the case it was dark by the time we had boarded and checked into our cabin. This second time we worked it differently with a day crossing and a porthole cabin… we then prepared for a full day of camera obscura work.
You can imagine our excitement to find that our cabin was in the middle at the front of the boat with a view over the flagpole on the prow of the ferry to the sea beyond. So we set to work with a mini camera obscura tool kit had been prepared for the preparation of the darkroom:
- A quantity of heavy-duty black garbage bags
- Gaffa tape
- Scissors
A camera obscura tool kit
Vicky documented Doug as he negotiated the space beyond the bunks to tape the black bags over the window. Progressively the room got darker and glimpses of the features outside our little cabin imaged themselves on the walls of the cabin. One problem was the darkening down of the central image area caused by depth of the room and a mirror on the reverse of the door. We decided that to create an observable image we needed re-purposed two white doona covers as a screen by taping them to the ceiling and walls with the gaffa tape. To recreate the theatrical space of the cabin camera obscura, we combined a series of images of the cabin walls and the screen at different stages of the journey. We also found our humble Olympus Pen camera set at ISO25,000 the best option as it fitted the small space and enabled hand-held exposures.
The Spirit of Tasmania left Devonport port and headed out into Bass Straight. For us this was a challenging crossing as there were strong westerly winds and huge 3-5 metre waves for most of the day. It wasn’t long before we began to experience the ‘bang’ and ‘splash’ of waves over our porthole… we were on one of the upper decks – deck 8!!! Kwells (anti-seasickness pills) were taken and to take our minds off the thump and roll we got active documenting the CO crossing.
Two composite images were constructed from our work that day that we entitled Through a porthole in 3-5 metre seas on the The Spirit of Tasmania. The first is a panorama that shows Vicky on her bunk looking at the projected camera obscura image. On the right-hand side the shadow of the camera held aloft is imaged. The final panorama is made of 4 images.
Vicky observing the panorama camera obscura image
The second image is a triptych of the projected image on the screen showing a series of three photographs made by Vicky as the boat rocked with the centre image documenting a whiteout as a wave crashes on the window.
Camera obscura: a 3-5 metre wave crashes against our porthole (inverted)
Camera obscura: a 3-5 metre wave crashes against our porthole
We left the camera obscura setup until we docked. Midway across Bass Straight the images described above we assembled and optimised as the ‘bang’ and ‘whoosh’ of the waves on the boat continued incessantly. At one stage we ventured out to see how those brave souls in the public areas of the ferry were managing… they all looked pretty green–some not well at all, and many finding any horizontal space they could to find some comfort.
When the Spirit docked we dismantled the CO and disembarked, glad to be on terra firma again.
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To see a post about the FIELD STUDIES INTERNATIONAL and other of our Field Studies submissions
About David Dellafiora and Field Studies International
https://wotwedid.com/2013/01/05/field-study-international-our-contribution/
Our 2016 Field Studies International submission
https://wotwedid.com/2017/01/17/field-studies-international-2016-our-contribution/
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THE HIDDEN ART OF DRAWING – REVEALED: JADA 2018
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Artists fill notebooks with drawings using a range of mark-making methods from burnt sticks (charcoal), lead and coloured pencils to ink pens and colour washes. These can be renderings that replicate the subject in ways that a camera might. They can be of details and juxtapositions of elements. Or they can be quick-made glimpses full of emotion and movement that come not so much from the subject itself but rather from the artist’s response to the inspiration created by what they witness.
Later in the artmaking process the artist retrieves these references and in the studio space with the grander media of canvas, metal or expanses of paper the drawing’s trace is carefully made and through the application of pigments applied by brush and palette knife or engraved, etched, inked and pressed. Here a ‘real’ artwork is made. Yet, underneath the final artwork the reference drawing resides – hidden.
The secret hidden ‘art’ of the artist’s drawing has for 30 years been the focus of the biennial Jacaranda Acquisitive Drawing Award (JADA) at the Grafton Regional Gallery (GRG). In this award the drawing is revered not as an aide-mémoire for the artist’s later work but rather as the product of a deliberate creative and expressive artmaking activity.
The gallery has as it’s rationale for JADA and the GRG Drawing Collection the following statements:
The award seeks to encourage and promote innovation and excellence and plays a vital role in fostering Australian drawing practice.
The … collection exemplifies the developments and changing parameters of contemporary drawing since 1988. The collection explores the way that drawing resonates as a contemporary medium, demonstrating the relevance and strength of drawing. Works in the collection offer a varied and extensive overview of drawing ranging from highly resolved articulate works to spontaneous expressive works that are mostly retained on the conventional support of paper.
… the collection has attractively developed through the tastes, opinions and approaches of the various judges into a collection that is compelling, thought provoking, innovative, exuberant, and diverse.
JADA 2018 Grafton Regional Gallery installation
For those interested in artists in their practice of drawing a visit to the GRG will reveal all. In 2018 fifty-five artworks were selected from 498 entries by a pre-selection panel of suitably qualified persons. The selection of the major JADA award as well as acquisitions for the gallery’s drawing collection were adjudicated by Anne Ryan, Curator of Drawing, Prints and Watercolours from the Art Gallery of New South Wales.
What is surprising in the JADA selection is the way in which the techniques and media of drawing the can lead to such a diverse and stimulating variety of artworks. There are works that:
- Emulate photographs in their fine detail and tonal rendition
- Are exquisite in the draughtsmanship expressed
- Show the artist’s use of the drawing to ‘find the edge’ and give shape and form to the subject
- The emergent use of computer software, digital output, and digital media animation screen presented time-based artworks
- Express the textural nature of the drawing media on the receiving surface
- The passing of time in a stilled framed work
- Explore caricatures
- Play with simple gestural lines and equally simple ideas
The winner of the $30k 2018 JADA award was Todd Fuller, a Sydney based artist with his work titled Ode to Clarence as described in the Gallery’s website as: a hand drawn and painted animation, created during a residency at Grafton Regional Art Gallery.
The work deals with the current issues in Grafton associated with the building of a new bridge connecting the city with the highway. Through a digitally presented narrative relating to the disruption to the community caused by the terraforming, street changes and house demolitions caused by the bridge building. The work is created as a continuous drawing in parts.
Some may question how this work is classified as a ‘drawing’ as we usually encounter a drawing as a static artwork in a notebook, on paper or in a frame. As such time-based digital media presentations and other such works present a challenge to the traditional paradigm. These digital media ‘drawings’ may be documentation of drawing projects or of performances commenting on the concept of drawing. As we know there is a significant history of animated drawings presented as moving picture films. It should also be acknowledged that documentation by video might also make visible a drawing work in transformation. Though it might be asked how do these works ‘fit’ with the term ‘drawing’? And when does a drawing cease being a ‘drawing’ and become a work in the discipline of animation or digital media?
Interestingly Fuller’s drawing work uses a technique similar to that used by the artist Blu in his famous street graffiti video documentary MUTO. Blu describes his work as: …a seven minute animated mural.
Thoughts such as these will no doubt occupy the minds of many visitors to the JADA exhibition as it travels around the eastern seaboard over the next two years. Whatever the outcome for such thoughts ultimately JADA has provided an important biennial review and space for critical commentary and reflection on the discipline and has stimulated this enquiry. The award also reveals and makes visible the work of artists, it shares their stories and ideas through the discipline of drawing – perhaps the oldest of all human creative endeavours.
Dr Doug Spowart
With thanks to Dr Cooper for editorial support
JADA 2018 Grafton Regional Gallery installation
FOOTNOTE:
Other works acquired for the Grafton Regional Gallery Collection with their $10k allocation are:
- David Fairbairn Portrait of T.J.K No 1,
- Kedal Gear Haze,
- Nicci Haynes Drawing Dancing (an animation),
- Noel McKenna Silent Assassin and
- Claire Primrose Assembled Landscape 3.
An illustrated catalogue of the JADA entries can be downloaded here: 2018_JADA_Finalists_Catalogue
Apart from the Gallery exhibition in late 2018 the JADA will tour regional galleries over the next two years to the following venues; Manning Regional Gallery, Hervey Bay Regional Gallery, University of the Sunshine Coast Gallery, Griffith Regional Art Gallery, Latrobe Regional Gallery and the Tamworth Regional Gallery.
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Text ©2018 Doug Spowart Photographs of gallery ©2018 Doug Spowart. Copyright of artworks is retained by the artist
Many artworks have been photographed to show the nature of the framing and matting of the work.
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Slowing time in the temple, the darkroom and in the gallery
KEIKO GOTO’s Zen in 35mm
Tacit Art Galleries 7 November – 2 December, 2018
In the contemporary society all aspects of life are on hyper speed, every human endeavour is intensified and condensed into sound bites, vision-bites, 3D, in-the-moment, hyper-experiential consumeristic bliss. In this space the photographs by Keiko Goto are a complete anathema. Goto’s photographs don’t shout at the viewer, they don’t profess to demand a political viewpoint and they don’t leave us with demands for us to feel concerned or ambivalent for the subjects in the pictures.
Tacit Gallery installation: Zen in 35mm
Keiko Goto’s photographs are viewed in the context of a white walled gallery on entering the room they appear as small darkly toned windows. When approaching the photographs, perhaps with knowledge of the accompanying artist’s statement and the eloquent catalogue essay by Kerrilee Ninnis, an enveloping quietness descends, and a story is revealed in a sequence of low key black and white photographs.
Embraced by Soft Spring Light
The exhibition is entitled Zen in 35mm and presents a series of vignettes, each a moment in the life of a Japanese monk in the Kichijyoji temple in Tokyo. The view that each photograph shows is from a distanced viewpoint – she is a trusted observer in his space. Her photographs are nearly all quite dark with a spotlight delineating, by chiaroscuro the shape of the monk’s form, a head or a profile, from the dark ground. Other images are of the temple place and the monk’s sparse accoutrements.
Silent Chanting
Goto is in tune with with the ways of Zen through her Japanese cultural background and the experience that comes from her attendance at the temple over many years to learn and practice calligraphy.
All photographs are made on film and carefully printed by the author in gelatine silver fibre paper. Some images have been printed using enlarged negatives on platinum-palladium hand-coated paper with Goto’s distinctive calligraphic styled brush strokes. Adding perhaps to the following of traditions in photography is the fact that she uses a Leica IIIb camera from the 1930s.
Ouryouki
The monk concentrates on his devotion and to the rituals of his observance of Buddhism. Goto observes the scene silently waiting to receive the distilled moment. Later in the darkroom the film is process in strict accordance with a codified ritual. Quiet meditations continue in the stillness of the safelight-illuminated darkroom. The simple rhythm of the rocking tray and the beauty is revealed as the image develops in the tray. In many ways the use of analogue capture and printmaking could have some sympatico – a mutual commonality with the performance and commitment of Zen philosophy.
Back in the gallery the presentation reflects Goto’s experience. It is as if the gestural movement of the brush on paper has been transformed into these walls – each image a monochrome fragment becomes a calligraphy pictogram. Time is slowed in viewing these images and in this reflective quietness the photographs reveal the monk’s story through Keiko Goto’s own meditative work – like visualised haiku poems…
In the darkness – light
A head bowed, a murmur inside
Photographer’s eye
Doug Spowart
December 27, 2018
Perfect Garden
Meditation 4
Meditation 3
Meditation 1
Lustrous Robe
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1788–January 25th, the next day, and now
with 4 comments
In 2010 we wanted to make an artwork to comment and reflect on Australia Day and some of our feelings about the origins of the date – the implications of that event and the repercussions that we live with and navigate today. Through a scorchingly hot day in Toowoomba we worked with cyanotype solutions and selected objects – some from our home and others sourced from the food scraps from a local seafood smorgasbord restaurant on the day.
The work that we did that day emerged as the collaborative artists’ book, a broadsheet we titled, Australian Banquet, January 25/ 26, 1788.
A statement about the artwork
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View 1: Australian Banquet, January 25/ 26, 1788
The 25th of January side of the broadsheet is viewed and contemplated.
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View 2: Australian Banquet, January 25/ 26, 1788
The broadsheet is then turned over to view the 26th of January side.
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View 3: Australian Banquet, January 25/ 26, 1788
Finally the broadsheet is held up to the light – the complex interrelationship between the two visual references to be seen and considered.
BOOK DESCRIPTION: A unique state artists’ book broadsheet
TITLE: Australian Banquet January 25/26, 1788
MEDIA: Double-sided cyanotype image in rice paper
DIMENSIONS: 37.6 x 77cm
PLACE & DATE MADE: Toowoomba, Queensland, Australia, 2010
EDITION: 7 variations
EXHIBITIONS & AWARDS:
2014 EXHIBITED: Alternative Imaging – Curated by Dawne Fahey at Two Doors Gallery, The Rocks, Sydney
2011 SHORTLISTED: Southern Cross University Artists’ Book Award, Lismore. Judge: Ross Woodrow
2011 EXHIBITED: BLUE – Arts Council Toowoomba members exhibition, Toowoomba Regional Art Gallery
2010 FINALIST: Josephine Ulrick & Win Schubert Photography Award,
………………………Gold Coast City Gallery. Judge: Judy Annear
COLLECTIONS: Australian Library of Art, State Library of Queensland
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Written by Cooper+Spowart
January 27, 2019 at 11:03 am
Posted in Artists Books, Cyanotypes, Wot happened on this day
Tagged with 1788, artists' book cyanotype, Australia Day comment, Australia Day in art, colonial Australia, cyanotype, invasion day, January 25/ 26, View 1: Australian Banquet