Marking time on prints
Bunya bookplate
Our household recently had a short holiday at the Bunya Mountains. Our friends Susan and Rex Addison spent a few days with us there. We did the usual things: walking, cooking, eating, reading.
And we discussed a design brief for a weekend retreat. Margie and I have been going to the Bunya Mountains for years, and have stayed in various rented houses and cabins. We always enjoy ourselves, but we find the rental houses deficient. For one thing, they never seem to be equipped with the sorts of books that are needed during a week at the Bunyas.
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Town gas
Gentle reader, if you know where this photograph was taken, please post a comment or a message. The picture shows a small town gasworks, newly built or under construction. In front of the camera is the gas holder with five blokes sitting or standing on the empty vessel. Behind on the left is a shed (for storing feed stock?) and in the centre a brick building (the retort house?). No chimneys are visible (odd?). The style of the photographic print suggests a date in the 1870s, ’80s or ’90s. The name of the photographer suggests the place shown may be one of the 61 former gasworks sites in New South Wales. Any ideas?
»more»Uses for a mobile phone
In my little box of 19th century prints is a steel engraving of a drawing by Thomas Allom of the interior of the Panthéon in Paris. It’s not especially rare or valuable, but I like it for the quality of the print and the connection with my former architectural partner Richard Allom (distantly related to Thomas).
I wanted to ‘re-photograph’ the scene that Thomas Allom drew, so I needed a copy for reference. A google search turned up a print-dealer’s online catalog with an image of the Panthéon print, which I copied to my phone. With this in my hand, I found the right spot to stand. I can vouch for the general accuracy of the drawing, with a proviso. I think it is based on a properly set-up perspective drawing, but using a point of view outside the building — impossible, in other words, because this view is blocked by the front wall of the building.
With my widest lens (Canon EF 17-40mm f/4L on EOS 5D), and with my back against the wall, I could not get all the parts of the ceiling that Allom showed into the picture. Not, that is, unless I tipped the camera up and caused the columns to topple, and that would never do.
»more»Hokusai sawyers
Found on Wikipedia Commons, this beautiful woodcut of Japanese sawyers cutting some heroic planks. Neither of the sawyers, nor the saw doctor, have time to enjoy the view of Mount Fuji, but their lady companions might. I recommend following the link to the high resolution version.
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Another Daniel Marquis photo
I have just acquired another carte-de-visite photo from the studio of Daniel Marquis. It’s a scruffy specimen but I am glad to have it. I’ve added it to my online museum. On the back is some writing in a language-other-than-English. Would anybody care to identify the language, and tell me what it says, please?
»more»Navigating the Bosphorus
While I am at work surveying historic lighthouses in Australia my client for this project, AMS, is at work installing the latest navigation aids in Turkey.
»more»John Smeaton
Another month, another placeholder. I’m still busy inspecting lighthouses, and collecting useful knowledge about them.
»more»Business offshore
I’m busy with the lighthouse inspections, so I won’t be writing anything original here for a while. Let this engraving mark the time I am spending offshore. Islands have such evocative names: Who would not want to go to South Solitary Island, or Booby Island, or Low Isle, or Cliffy Island?
»more»Running the numbers
Chris Jordan’s Running the numbers: an American self-portrait is a series of photographs that looks at contemporary American culture through the austere lens of statistics. Here are images that give scale to the numbers.
»more»Lighthouse welcome
Just found in the National Library picture collection: a stereo photo of a welcome arch built in Hobart for the 1901 visit of the Duke and Duchess of York. This little object tickles my interest in stereo views, lighthouses, and celebratory arches.
»more»The Stock Route
As a small contribution to Alan Griffiths’ work of building a comprehensive website about photography, here is a photograph from my collection.
»more»Father’s day ponderings
My treat this morning: breakfast, then reading in bed — Henry Petroski’s The book on the bookshelf. He has a chapter about the development of private studies and how books were stored in them. His mention of pictures of Saint Jerome in his study sent me off to the big book of Albrecht Dürer.
Jerome (AD331-420), patron saint of librarians, was a frequent subject for Dürer. I’ve chosen an early woodcut from the year 1492 for dissection below. It does not have the brilliant perspective of his 1514 copper engraving, nor the wonderful human detail of his 1521 panel painting, but it has something else: a bed.
Jerome, who translated the bible into ordinary Latin, appears in the woodcut sitting at work in his study, which is smartly equipped in the style of the 1490s. As someone who spends much of his working time in a study, I am struck by similarities with my own setup.
»more»Engravings on wood
At a second-hand bookshop in Whangarei I bought a copy of E Mervyn Taylor’s Engravings on wood (Wellington: Mermaid Press, 1957). This book displays a body of work influenced by the natural environment of New Zealand, and embedded in the European tradition of printing from engraved end-grain wood blocks. The native birds, plants (like the toi toi), landscapes and people of New Zealand were his subjects, and he engraved them with freshness.
I had not heard of him before, but this says more about my poor knowledge of New Zealand’s cultural history than it does about the artist. I know now that Mervyn Taylor (1906-1964) was a well-known and well-regarded artist.
»more»Over the top
For Remembrance Day, a reminder that arguments about the authenticity of the photographic record are not new.
Frank Hurley, in France with the Australian troops in 1917, wrote about the problems of recording what was going on around him:
I have tried, and tried again, to include events on a single negative but the results have been hopeless. Everything is on such a wide scale … Figures scattered, atmosphere dense with haze and smoke — shells that simply would not burst when required. All the elements of a picture were there, could they but be brought together and condensed. The battle is in full swing, the men are going over the top — I snap. A fleet of bombing planes is flying low, there is a barrage bursting all round. But on developing my plates there is disappointment. All I find is a record of a few figures advancing from the trenches and a background of haze.»more»
Monday Nightingales
On Monday nights I meet friends in a Sunday-school room and sing — for pleasure and refreshment. We don’t aspire to excellence (which, for me, is just as well).
»more»Gyotaku
The walls of my office are hung with prints, mostly black and white. When I look up from my work I see woodcuts and wood engravings, lino cuts, copper and steel engravings, an etching, a lithograph, a silk screen print.
»more»Digital darkroom
Yesterday I made my first digital quad-tone prints, a milestone on my way from darkroom to desktop photographic print making. All sorts of new technologies make this possible, and the internet sews it all together: Through the net I found out about film scanners, Photoshop, monitor calibration, printer profiling and inkjet printers. I bought the printer at auction, and shopped on-line for the continuous ink system, the inks and paper. I joined in discussions, and sought information about technicalities and aesthetics.
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