Over the last eighteen months, I’ve made a subtle shift from Writer to Writer and Photographer. In my writing, I’ve always enjoyed rich imagery and metaphor. Much of my poetry is sparked from images that intrigue me and in prose, I try to make moments ‘visible’ to the reader.
While I have always taken photographs, until the last year or so, they have just been snapshots. Moving to a rural area provided me with an environment I wanted to photograph well. I suddenly found myself drawn to the colours and textures of the bushland surrounding me. I began to photograph wild flowers, bark and birds, among other things. Initially I was trying to capture enough detail to be able to identify species, but in time, I captured more than that. My eye was drawn to abstract elements of the landscape.
So, while a photograph may show a wild orchid, often the shapes and colours in the background would determine the way I framed the shot. A dear friend gave me a name for what I was capturing: Tonal Landscapes.
Tonal Landscapes have a limited colour palate, but strong shapes and lines which often fill the entire frame. This means I frequently take photographs which have a wider angle than people are used to seeing. I’m often told that I could crop my photographs to pick out the flower or the bird and eliminate the background. Yes, I could, but I don’t want to. For me, this would cut out the interesting part of the photograph.
Recently I have developed a strong sense of my own style. While I have much to learn about photography, I’ve worked out that I am not after something that ‘pops’; I don’t want to distort colour; and just because you can alter photographs in various graphical software packages, doesn’t mean I am compelled to do so.
I would like to share some of my thoughts by describing what I see in five of my photographs:.
This is one of my early Tonal Landscapes. I see it as an abstract work of circles and angles created by the shadows of the bracken stems.
I like the way the ground is so textured. The contrasting grey, mustard and green colours add to this abstract, textured effect..
Tonal Landscape with ant nests photographed from above.
Australian Wood Duck Flock
Another early work, which isn’t really a photograph of birds.
My eye is drawn to the three converging strips, created by the water, the wet sand and the dry sand. As my eye moves with these converging lines, to the top left of the photograph, it ripples over the vertical stripes of the tree trunk reflections and the dots created by the ducks.
The smooth texture of the wet sand is soothing, and draws my attention back to the birds, but only as an afterthought.
Pink Fingers Orchid
This is an example of a photograph which could be cropped to show just the Orchid, but if I did that, I would lose the juxtaposition with the dry bracken fronds in the upper left corner of the image. This orchid is approximately 10cm high. I like the juxtaposition of such a tiny, delicate pink flower flourishing among dry, dead bracken. It’s symbolic of resilience and strength.
I never move detritus to make a photograph more interesting. I try to capture nature as I find it. So, this nest of triangles is naturally occurring.
To me, the photograph is just as much about the triangles as it is about the Scented Sundew plants. Scented Sundews are insectivorous plants, with sticky red hairs covering their leaves and beautiful white flowers. There is so much to enjoy in this photograph, why would I crop it to show just the flower?
Marbled Xeneca Butterfly
While I could not control where the butterfly landed, I could not have hoped for better. It is sitting at the centre of a naturally occurring cross of fallen bark and dried grass-tree leaves. The light is angled perfectly, picking out individual leaves, and illuminating both the bark and the butterfly to perfection. This is one of my favourite photographs. It features on the front of my Central Victoria: Bushland Colours and Textures calendar.
Tonal Landscape: A Marbled Xeneca Butterfly sits on a cross formation made from dried grass and fallen bark.