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
For over 20 years I photographed remote expeditions on film - 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 (see Arctic below).
Today, on film and digital, 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, As Henry David Thoreau observed "It's not what you look at, it's what you see".
- EARLE DE BLONVILLE
For over 20 years I photographed remote expeditions on film - 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 (see Arctic below).
Today, on film and digital, 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, As Henry David Thoreau observed "It's not what you look at, it's what you see".
- EARLE DE BLONVILLE
SUBLIME
The Sublime is a western aesthetic concept of 'the exalted', of 'beauty that is grand and dangerous'. The Sublime refers to the wild, unbounded grandeur of nature. "Sublime" describes a landscape that cannot be tamed. Wild and terrifying, the Sublime scene inspires awe at the powers of nature. Within Sublime landscape images, humanity is reduced to insignificance. Tempestuous storms thrash overhead, and figures appear minuscule in comparison to mountains, valleys, rivers, and oceans. The Sublime was a cornerstone of the late 18th century Romantic era, arising as a response to the Industrial Revolution. Writers, poets, and artists wanted to embrace the wonder of the natural world in a time when extractive and polluting industries were rapidly dominating it. Nothing has changed.
