Pictures not at an exhibition

2 September, 2007

Click on any picture to see a larger version.

Night Flight

Ducks on Kananook CreekI can’t paint or draw so I try to make paintings with my camera. Often angling, framing and exposing a shot is a visceral experience. Palpable. Making something, creating a picture that is more like how I see it and feel it than how it might actually be. Misty Morning on Kananook CreekSometimes I get a result that actually approaches what I see and feel. All too often I fail miserably to capture or create the vision that was so clear and strong in my mind’s eye and that makes me wonder if it is worth the effort of trying again.

It is only by trying again and again that achievement is possible. One only begins to really achieve in any endeavour when one is no longer bothered with the mechanics, technology or technique of the process.

Sunset Pier, Seaford, Victoria.Windswept Dune, Seaford, VictoriaI doubt if when Jascha Heifetz was playing he was concerned where he was stopping his strings; when Nureyev was dancing he was worrying about the line of his back when performing an entrechat huit, or when Claude Monet was painting his attention was focussed on his brush strokes.

Bruce Lee once said to me: “Technique? I have no technique. I don’t hit — ‘it’ hits all by itself.”

Late AfternoonI need to work more, read more, see more; to become so familiar with my tools that I don’t make the pictures — they make themselves.

All pictures shot with my Nikon D70. EXIF information should be intact on all pictures with all technical information.
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Spot the deliberate mistake

29 August, 2007

There was has been some barking in the local media columns about inaccuracies in the new Australian naval drama, Sea Patrol. Yes, ok, perhaps there were some and there shouldn’t be, but Sea Patrol and Australian production in general is not alone. Two recent episodes of the British crime series that gets all kinds of smiles and nods, Midsomer Murders, had errors so glaring they almost might be classed as “spot the deliberate mistake”.

Rolleiflex TIn A Picture of Innocence, the opening sequence features a senior amateur photographer setting up a landscape shot with the excellent Rolleiflex twin-lens reflex camera on a tripod. (Anyone remember tripods?). He takes a light reading then adjusts the camera’s shutter speed and aperture settings — with accompanying loud, crisp clicks which no Rolleiflex ever made.

He then adjusts the focus — with more absurdly loud crispy clicks. The focussing action of the venerable and superbly-engineered Rolleiflex is absolutely smooth and completely silent.

He then uses the fold-out handle to advance the 120 roll film to a new, unexposed frame, but the frame counter resolutely stays at “0” indicating there is no film in the camera. In any case, advancing the film (which also cocks the shutter) is always the first step so the framing is not disturbed after composing the shot and the camera is ready to take the next shot.

Multi-pocketed photographer’s vestAnd, please, not all amateur photographers wear hunting/fishing vests, not even old amateur photographers, especially when the vests’ many pockets are obviously empty of extra lenses and camera accessories and film (anyone remember film?) — and almost never over their business clothes and when not taking pictures. The gaggle of ageing amateurs all in their hunting/fishing vests was unintentionally farcical.

In King’s Crystal, a character with a rifle is apprehended in a field. He appeared to be taking aim at another character but protests he was hunting rabbits. This explanation rings no alarms with Chief Inspector Barnaby, notwithstanding that the rifle in the scene is a “civilianised” version of the Lee-Enfield .303 Mk. III. In its various versions, this was the basic, and best, infantry rifle of WWs I and II. The three-oh-three as it was commonly called, fired almost half an ounce (14 grams) of copper-jacketed lead at 2,440 feet per second (744 m/s).

Lee Enfield .303 modified as a hunting rifleHit a rabbit with that and you might find fragments of fur and occasional pieces of skin surrounding the previous rabbit — but certainly nothing to make a meal of.

I owned a weapon very similar to the one in the program. Making a clean hole in the steel wheel of a old traction engine presented no difficulties. Ned Kelley’s armour would have been a mere trifle.

Oh, yes, I also own a hunting/fishing vest but I only wear it when out taking pictures. Honest!


Rolleiflex: The Rolleiflex line of twin-lens reflex cameras was continuously manufactured by Franke & Heidecke in Germany from 1928 until recently, steadily advancing features and quality. At its height of popularity in the 50s and 60s it was the camera of choice for such luminaries as Philippe Halsman, Richard Avedon, Bert Stern and Cecil Beaton. I believe modern versions are still in limited production but Rollei’s recent focus has been on digital cameras, both amateur and top-end professional, the latter costing upwards of US$20,000. Batteries not included.
(Picture credit

Photography vest: For me the khaki vest of many pockets conjures images of the Vietnam War and combat photographers, some of whom were friends or acquaintances. True, some of them did wear this gear around the odd bar or Foreign Correspondents’ Club when not actually taking war pictures.

SMLE .303 rifle: This is very similar to the rifle in the episode and to one I owned. I think I even did the cross-hatching on the stock, too. As I can best recall, the calibre of my version was designated 7.7/54 to distinguish it from the military version. The cigarette lighter indicates scale.
(Picture sourced at

Year’s End

6 January, 2007

(Right-click on the picture and select “View image” to see the whole. Picture by my Nikon D70)

A year has passed.
How strange that it should end
Without a sound.

~ Haiku, RSC, circa 1963.
A lot of years have passed since then. Not all of them quietly.
~ Day’s End, RSC 2006. The view across the bay from across my road and through the dunes.