When Kath asked me to talk about my early days in photography, I wasn’t sure where to start.
Me with my trusty Kodak Instamatic 104 on one of my many caving trips, 1970, by Chris Pavich
My earliest recollection of an interest in photography is when I discovered some old photos in a dusty hall sideboard at my grandparents’ house. I spent hours sifting through my Grandfathers prints and negatives which he took while exploring for gold in the New Guinea highlands in 1928.
New Guinea Highlanders, Akmana Expidition 1928, by my grandfather, H. V. Seale
Later I became totally hooked when I saw many of mum’s amazing landscapes during our family slide nights. Mum had a great eye, and we were never bored, but eager to see what was on the next roll of Kodachrome that arrived in the letterbox. Yes, Kodachrome had to be sent to the Kodak lab in Melbourne back then and it took two weeks to get the processed and mounted slides back.
Stirling Ranges – Elizabeth Bliss. Kodachrome 64 slide film
Carnarvon Gorge – Elizabeth Bliss. Kodachrome 64 slide film
The first camera I used was Mum’s old 6×6 Ensign FUL-VUE that I took on a scout camp to The Basin on Pittwater in 1965. Here’s a shot from the first roll of film I ever put through a camera.
The Basin, Pittwater, 1966. Ensign FUL-VUE
I progressed from this to an old Kodak folding camera I found in my grandparents garage.
Vintage Car Rally, Lane Cove National Park, 1968. Kodak No. 1A Pocket Camera
I only took a few rolls with this till I received a Kodak Instamatic 104 for my 15th birthday. I took this on many camping and caving trips taking mostly Kodachrome 64 slides and B&W, never colour prints.
1971 The Sydney Opera House under construction, from the rooftop cafeteria of the AMP building, Kodak Instamatic 104
It was with this camera that I discovered my passion for landscape photography, probably partly because I didn’t relate to people so well when I was a shy, pimply teenager.
The Kodak Instamatic served me well till I asked for an SLR for my 21st as the Instamatic just wasn’t producing the results I was after. I was given a Yashica TL Electro X ITS, what a name for a camera.
I took the Yashica with me to the Flinders Ranges, New Zealand and Tasmania and spent many hours sitting on a headland on the northern beaches taking shots of waves and surfers. This was as much as a form of meditation as anything else, or was it to get out of study for my university exams. The surfing shots were never great, but I’ve always loved the seascapes.
Big Seas, Warriewood, 1973. Yashica TL Electro X ITS. Scanned Cibachrome print
After moving to Bathurst in 1976 I met an amateur landscape photographer, Ted Mista, and joined the local camera club. Ted and I went on many trips including Kanangara Walls, Hill End, Newnes, Menindee and Mutawingee. Photographing with Ted improved my photography immensely as we shared ideas and the love of landscape photography. During this time I upgraded to a Minolta XD7 and later to a Mamiya RB67 medium format camera.
The Road to Kanangara, 1985. Mamiya RB 67 Pro s
After moving back to Mona Vale in 1980, I met some photographers exhibiting in Warriewood Square. I asked if I could join with them, and after seeing my photos, I was in the little group of 6 photographers. You will all know one of the photographers from that group, Peter Eastway. We printed and framed our own photos, mine exclusively on Cibachrome from transparencies. The group exhibited at the Sydney Festival, in various shopping centres and even in the Commonwealth Bank n Martin Place. During this time I sold many prints, and I even had one of them stolen from the exhibition in the bank!
I learned how to print and frame my own work and a lot about what makes a good photograph from this group. At the exhibition in the Sydney Festival, Max Dupain reviewed our work in the Sydney Morning Herald and stated that it was soporific. Oh well, I hope I’ve improved since then, we all know Peter Eastway has.
In 1985 I moved to the Blue Mountains and drifted away from the group, but I continued to sell my photos under the name of Bliss Images.
In the late 1980s I sold the RB 67and bought a Mamiya 645 Super. In 1988, I carried this camera and 4 lenses on a 14 day trek in Kashmir. The porters were constantly asking if they could carry it for me, but I insisted on carrying it the whole way.
Nomadic shepherds, Warwan Valley, Kashmir, 1988. Mamiya 645 Super
In 1990 I trekked through Nepal. For this trip, I took my Minolta XD7, as I found the 645 was too intimidating for people shots. My Nepal shots consequently included far more people.
Village woman weaving, Nepal, 1990. Minolta XD7, scanned Cibachrome print
From 1992 till 2007 I was taking mainly family shots and my serious photography was on hold till the digital age. I still used my Minolta XD7 till 2006.
For a long time I actively avoided reading any photography magazines as I always maintained that I could develop my own style without any outside influences. This seemed to be a good idea at the time, but these days, I wouldn’t consider such a move. There is so much to learn from other photographers and collaborative groups like Focus. I’d say my biggest influences would be the work of Ansel Adams, Eliot Porter and Galen Rowell, though you probably wouldn’t guess that from the shots I have included here.
I still have a great interest in film and quite a collection of old cameras. My favourite is the Hasselblad SWC.
Argyle Stairs, 2014. Hasselblad SWC
I hope you’ve enjoyed sharing my journey through my film days in photography. One day I might write about my camera collection.
You can check out more of Peter’s images here:
Flickr: https://www.flickr.com/photos/blissimages/