From an early morning poodlewalk with Kalani along Esplanade Beach at Victor Harbor:

It is an abstracter of the remaining supports  of the old wooden causeway to Granite Island  that  has been replaced by a concrete one. 

This is a bit of iron that I saw  lying on the ground when I was on a recent early morning  poodlewalk with Kayla. The iron was laying on the beach amongst the seagrass, and it was  from  the rebuilding of the causeway to Granite Island that had been happening  during 2021.

 It had been raining that morning. The sky was still heavily overcast and so I did not need to take account of the early morning sunlight shining directly onto the iron.  

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This abstraction was made whilst on an early morning   poodlewalk with Kayla around the  township of Victor Harbor: 

It was near  one of the hotels the edge of Warland Reserve. It was a rubbish bag for a big beer barn that sells junk hotel food.  

As a concept, abstract photography is often seen as  a contradiction in terms. Photographs, after all, always represent some trace of physical reality, even if it is not immediately recognizable. The medium's inherent knack for representation paradoxically makes it an ideal instrument for probing and challenging the language of abstraction.

Consequently, abstraction has never been anything like orthodoxy in photography. It’s always been peripheral to the medium and  dropped in and out of vogue and critical prominence.

Abstraction in  photography generally refers  to  the Abstract Expressionist style and high seriousness of the non-representational photographic  work from the 1950's by Aaron Siskind, Minor White and others (including Harold Edgerton, Stan Brakhage, Man Ray, László Moholy-Nagy  and Gyorgy Kepes).  

Is there a movement of contemporary abstraction in todays art photography? Art photography has been  dominated by a factual, relatively unemotional work: water towers, suburban developments, and austere portraits ruled within the prevalent movements of New Topographics and the Dusseldorf School of photography.

Is there a  movement of non representational  photography that makes make visible the tension between abstraction and camera representation,  and which has it  roots in  post-modernism? What is over, after postmodernism, is the narrow view of photography — the idea that the camera is a recording device, not a creative tool, and that its product is strictly representational — not manipulated, not fabricated, not abstract.