I  scoped this just before the stormy weather from the south west swept in: 

I tried to get back to the site  for most of the week,  but the high tide,  and the large wave surges prevented access. It was too dangerous.  I finally managed to reshoot it with a  medium format camera this morning.

Maybe a 5x4 reshoot in black and white next?

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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. 

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 

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.