Petrel Cove: dusk

This snapshot was made after returning from a late afternoon poodlewalk in late April. Suzanne had returned from a trip to Eyre Peninsula so I didn't need to walk the two poodles and so I was able to spend more time making photos on the walk, rather than keeping an eye on the poodles.  I did  a number of cloud studies whilst on  the poodlewalk. 

There was no one around at the time,   which is unusual,   as Petrel Cove  is a popular tourist  location in the late afternoon.  I was reversing the car from the car park to drive home  and made the snapshot  through the windscreen. It was just before I left for the Melbourne trip. 

cloud studies

During the transition from summer to autumn this year I started a  study of clouds from the top of Rosetta Head in the southern Fleurieu Peninsula.   I was building on these earlier photos. 

From Rosetta Head I was usually  looking east north east.    

The clouds were above Encounter Bay,  and the photos were  made  in the early morning,  generally  before sunrise. The photo above  is an example. 

Victor Harbor's seaside architecture #3

On Boxing Day 2020 Kayla and I went walking early as we had friends staying with us over Xmas. The  early morning poodlewalk  was along Bridge Terrace in Victor Harbor. We   slowly made our way to the mouth of the Hindmarsh River.  The ephemeral river had stopped flowing,  the light was good and people were already walking along, and exercising on,   the beach   

I decided to take the odd  photo of some of the seaside houses along Bridge Terrace as we walked by them.   This older house in a grand style at no. 22 Bridge Terrace was for sale.

 Would it remain after it was sold? Or would it be pulled down? I  hoped that it was heritage listed as there are very examples of this  old grand seaside architectural style. 

still life

I occasionally  make a still life when I'm out walking with Kayla on an early morning poodlewalk. The materials used in the open studio are what I find washed up on the local beaches. This  picture is a  recent example of such an object: 

This  glass bottle with shells growing on it was lying on the sand on western edge of Depledge Beach, west of Victor Harbor. The picture opens up  a world (the littoral zone) and it discloses the various elements within that world's network of interconnections.  The artwork stands in a particular place and in specific relation to that which is configured around it. So argues Heidegger in his essay,  'The Origin of the Work of Art'. 

seaside entertainment

During the school holidays a funfair or amusement park is set up near the causeway to Granite Island. It is a tiny public space for Girder Family Amusements: a space between the holding pens for the horse drawn carriage to the Granite Island Recreation Park and the barbecue area  in the Soldiers Memorial Gardens. 

But a seaside town must have a funfair with its  ferris wheel, dodgem cars,  inflatable double slides etc etc. It is tradition--just like the horse drawn carriage to Granite Island and the Cockle train to Goolwa. There for the family day tourists.

Victor Harbor's seaside architecture #2

Below  are some more  images in the ongoing series of  suburban architecture at Victor Harbor in South Australia.  These photos, which   were made just prior to the Covid-19 lockdown whilst I was on an early morning poodlewalk with Kayla. They are part of  photography as placemaking.

This is at a time when the global digital photographic market  is contracting and stagnating,  resulting in  Olympus selling off their camera business (a Micro 4/3 system) to a private equity firm.  Covid-19 has  increased the stagnation as  it  has bought photography to more or less  a standstill since February 2020.  One  consequence is that there will inevitably  be  more consolidation in the camera industry and that  the  emphasis  of  my photography  is  on the local due to national travel restricted  and international travel untenable. There will be more  walking locally.  

This white house is on the western end of The Esplanade. It overlooks the beach, is opposite a caravan park and it is  near the mouth of the ephemeral Inman River. Kayla and I  often walk past it on the return leg of the  walk that we do along the Esplanade beach from Kent Reserve.  

 This house is at the other  end of The Esplanade and it looks out to Granite Island. 

Victor Harbor's seaside architecture #1

Prior to the Covid-19 lockdown  Kayla and I went on an early morning  poodlewalk   around  the streets that border the estuary, lagoon  and mouth of the Hindmarsh River. This is an older,  residential part of Victor Harbor  and it overlooks  the railway line to the river port town of Goolwa, the beach  and Encounter Bay. The houses are on a hill and their  view of Encounter Bay includes Granite Island. 

An early part  of the walk on this occasion was  the western part of the suburb of Hayborough. This is a well established part of Victor Harbor with many of the houses tucked away amongst the bush overlooking the Hindmarsh estuary and so difficult to photograph.  Privacy is everything for the old Adelaide money.   Fortunately, this particular house  is not tucked away: 

Another part of  our  walk was  along Bridge Terrace in Victor Harbor that   is just west of the mouth of  Hindmarsh River  This residential part of Victor Harbor overlooks a reserve and Encounter Bay, and runs from the the Granite Island causeway  to Bridge PoInt, which   overlooks the estuary and mouth of the Hindmarsh River

The purpose of the poodlewalk was to have a break from both  walking the back country roads  and  photographing the coastal rocks. landscape.  I also wanted  to  photograph some of  the residential  architecture  before some of these fine,   old buildings are pulled down to make way for the newer double storey  McMansion style homes.  

Land and landscape

The  landscape b+w picture below of roadside vegetation in Waitpinga on the southern Fleurieu Peninsula is from the archives. It was recently shared with the Melbourne-based Friends of Photography Group (FOPG).  

The subtext of landscape art in Australia has been resolutely national; indeed, national identity—the Australianness of Australian  art--tacitly assumed the primacy of the nation. I would have thought that the concept of empire would be central,  since Australia was part of  the British empire.  An example would be the early colonial painters such as John Glover,  who struggled to reconcile the Australian landscape with the confines of the picturesque, the dominant landscape aesthetic of the late-eighteenth and early-nineteenth centuries. The picturesque was in effect the visual language of the colonisers--it highlighted the beauty rather than the hardships of imperial lands, depicting colonial Australia as a land ripe for settlement. 

outcrop, near Kings Head

This landscape picture is of a rocky outcrop just west of Kings Head in Waitpinga on the southern Fleurieu Peninsula in South Australia. It  was made on an early morning poodlewalk that Kayla and I did.  We hadn't been to this  location  to photograph since the autumn of 2019.  

It was  an overcast morning in late summer, on the cusp of summer and autumn. It was after a storm had just passed through Victor Harbor a few days earlier. The outcrop is on the Heysen Trail, but it  can only be accessed when  the  tide is low.