To add another dimension to my visit to the ‘Air’ exhibition at Brisbane’s Gallery of Modern Art, I decided to take my camera along. The gallery environment provided plenty of interesting shapes, light and dark environments, colour, contrast, reflections, and the artwork itself. These images feature the hanging spheres from artist Tomás Saraceno, Dora Budor’s volcano-littered scenes inside brightly lit glass cases, Yhonnie Scarce’s Cloud Chamber, Ron Mueck’s remarkable “In bed” sculpture, and Carlos Amorales’ thousands of butterflies and moths, cut from black paper and fixed to the gallery walls. Also on display at the exhibition, and of particular interest for photographers, are Rachel Mounsey’s evocative images of the Black Summer fires in 2019.
I’ve had a Nikon FM for forty years, as long as I’ve been shooting. The first was my dad’s; after it was stolen, I bought one from eBay. These days the default lens on it is a Nikkor 35mm F2 AF-D; the “D” series work with Nikon’s digital and film bodies. The combo is almost too competent: while BW photography introduces a layer of abstraction, color photos are dead literal. There’s a fine line between “compelling” and “postcard”.
The term muscle memory is often used in society, however, do we know what it means? I must confess to being guilty as charged using the phrase mentioned above. The term’s meaning became clear to me the first time I used a 35mm film camera; you may say why? Thanks for asking! Each time I pressed the shutter button, I tried to get feedback on the images on the back of my camera to find out repeatedly that this time I was going to have to wait until the film inside the camera had been developed.
So Hamish put up a tweet recently about the possibility of sharing a whole roll of 36 images, warts and all, and the first thing I thought about when I saw that was “I can do that, I’ve got loads of awful photos to share”. The second thought I had was; “Why not show some of the very first photo’s you shot on film?” So that’s what I’m going to do here.