One stormy morning along the coast:

The seas were very rough. 

The bark of an eucalyptus  in the late afternoon light. 

This tree is on Solway Crescent and I pass it each time I wander down to the beach at  Encounter Bay on a poodle walk. 

Made on a recent poodle walk near  Kings Head, Waitpinga, on the Fleurieu Peninsula.

The problem with this is  that I cannot recall where this quartz is exactly. So I cannot re-photograph it with a film camera.  

This is from the 2013 archives.  I was still living in Adelaide. then and the photo  was made around the time of the Clipsal 500 car race at Easter.  

It was  hand held in low light whilst I was on an afternoon  poodlewalk.  A Different versions of this appeared in my abstract photography book, published by Moon Arrow Press in 2016. 

From the archives.  

This abstraction of a rock face was  made in 2010 in Queenstown, Tasmania.  

I'm currently  going through my  film archives.

I continue to plug away on the coastal abstractions whilst I am on my morning and evening poodle walks.   

Plug away because I am not sure what I am going to do with this body of work.

A quartz   abstraction made whilst on a poodlewalk  along the coastal rocks west of Rosetta Head:

The location is a set of on the western edge of Dep's Beach. 

From the archives: an abstract  that would have been made around 2001-2, before there was the ocean of  digital images in social media where people  consume  and discard images so rapidly.  Before the emergence of our image-heavy world,  where it is  no longer  enough to simply ‘make a photograph'. Photography now needs  some concepts or ideas.    

This looks back  to that time, when as  argued by photo historians such as  Lyle Rexer and Carol Squires something happened to photography in the 1960s/1970s that made it impossible to look at art photographs  in the traditional way. What shifted with this event,  it is argued,   was the emergence of an assumption that photography never did simply open a window on the world. Photography  as a window on the world was the  traditional view of photography, but there  had also been artists who had been experimenting with and redrawing the boundaries of traditional photography for decades. 

That event was conceptual art, the movement that saw a gravitation toward language-based art, a lo-fi aesthetic   and an understanding of  art as primarily a way of exploring ideas--then  anti-commodification, social and/or political critique, and ideas/information as medium  Although it often yielded nothing more than ephemeral events or experiments, its impact is all over the art world. Conceptual art introduced to the art world various types of photography that had been excluded or ignored, while calling attention to the fact that even photographs that seemed straightforward often demanded a second look. 

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This was made whilst on a poodle walk  at the Coorong in South Australia 

I was there scoping for a photoshoot. 

a collection of bark in the reserve across the road from Encounter Studio

This was the start of a number of studies that lead to an exhibition of abstractions at the Light Gallery in Adelaide during the 2015 SALA Festival