FINE ART PHOTOGRAPHY
“The image has a central role in diverse models of learning, for it springs from the deepest roots of meaning.
The development of a rich allusionary base of learning - a conglomerate of concepts, images and memories, available to us to provide meaning, and relating to connotative rather than denotative - can be developed through poetry, literature, mythology and the arts, providing the stock of meaning with which we think and feel.”
- Professor Jennifer Gidley, PhD.
The development of a rich allusionary base of learning - a conglomerate of concepts, images and memories, available to us to provide meaning, and relating to connotative rather than denotative - can be developed through poetry, literature, mythology and the arts, providing the stock of meaning with which we think and feel.”
- Professor Jennifer Gidley, PhD.
PORTRAITS & LANDSCAPES
From the 1970s to the 1990s I photographed remote expeditions - to the Arctic, Himalaya, Kimberley, and other wilderness regions (see below) - and produced an internationally released TV documentary film of Australia's first Arctic expedition, screened by Discovery, CBC, BBC, ABC and across Europe.
Today, my colour sensibility is shaped by Saul Leiter, Tom Blachford and the American modernist movement. For architectural and compositional inspiration I call on Hélène Binet, Ernst Haas and Fan Ho. For insights into human behaviour I follow Edward Steichen and Elliot Erwitt. For portraiture, I value the work of Snowdon, Jane Bown and Edward Curtis. For me, photography is art, and colour is life, while for portraits sepia is the great humanising medium.
I shoot in digital full frame, plus traditional 35mm and 120 medium format film, using modern Nikon DSLR and Leica cameras, and historic Nikon F2 and Mamiya 67 equipment from the early 1970s.
- Earle de Blonville
From the 1970s to the 1990s I photographed remote expeditions - to the Arctic, Himalaya, Kimberley, and other wilderness regions (see below) - and produced an internationally released TV documentary film of Australia's first Arctic expedition, screened by Discovery, CBC, BBC, ABC and across Europe.
Today, my colour sensibility is shaped by Saul Leiter, Tom Blachford and the American modernist movement. For architectural and compositional inspiration I call on Hélène Binet, Ernst Haas and Fan Ho. For insights into human behaviour I follow Edward Steichen and Elliot Erwitt. For portraiture, I value the work of Snowdon, Jane Bown and Edward Curtis. For me, photography is art, and colour is life, while for portraits sepia is the great humanising medium.
I shoot in digital full frame, plus traditional 35mm and 120 medium format film, using modern Nikon DSLR and Leica cameras, and historic Nikon F2 and Mamiya 67 equipment from the early 1970s.
- Earle de Blonville
BETWEEN
HEAVEN &
EARTH
HEAVEN &
EARTH
This project began with a chance shot years ago on Lennox Head beach, captured on Portra 400 with a Hasselblad 500CM. It triggered the thought that because humans are tiny ants who occupy so little of the Earth’s surface, on land or sea, surely our minimal presence could not account for the spectacular levels of damage to our global environment. The more I looked, the tinier we seemed and yet ironically the worse the climate impacts became. Soon the corollary appeared: if we can so easily destroy the planet, then we have all we need to restore it. Same ants, same power, different outcome. My series alludes to the parallels of destruction and restoration, by framing the challenge of choice - that we have all the personal agency we need as we occupy the thin line between heaven and earth.
