Photography
Helen Ennis reviews 'Lives of the Great Photographers' by Juliet Hacking
One of the big attractions of this book is the portraits and self-portraits of the photographers who are its subject. Diane Arbus, in the early stages of pregnancy, looks whimsically at her reflection in a full-length mirror; Robert Mapplethorpe's face leaps out of the darkness, paired with his skull-topped walking stick; Margaret Bourke-White perches with her camer ...
This photograph taken around 1890 shows what was done through over-clearing and grazing. Fifteen years ago, our property on the Mornington Peninsula featured two overused stock dams filled with opaque brown water. The muddy edges had no vege ...
As a freshwater ecologist, Alison Pouliot endeavours to understand the interplay of the processes that sculpt the Australian environment.
As an environmental photographer, she aspires to capture the intricacies and obscurities of these processes.
The insidious creeping nature of drought can sometimes lend itself more to images than words. Here are a ...
Mary Eagle reviews 'Max Dupain’s Australia' and 'Max Dupain’s Australian Landscapes' by Max Dupain
One of the characters in Stephen Spender’s novel The Temple, written in the early 1930s, is a young German photographer. They met in Hamburg in 1929. Spender, a university student just discovering the autobiographical bent of his own inspiration, observed that his friend’s attitude was very different. Instead of wanting to preserve the sensuality of the moment in monumental form, the German photographer set out to report the opposite – the death of every moment – which, at the time of being lived, is also passing. His photographs, he told Spender, were not intended to live, they were not communicative. Records of moments already gone at the click of a shutter, they annihilated even memory. Or were intended to do so.
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