Talk:Peter Dombrovskis

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[edit] Comments

Having known Peter and met him once in 1994, I have had many times upon which I can reflect on his efforts, particularly in Tasmania, but elsewhere in Australia. This is because Peter's influence was far reaching and taught legions of photographers around Australia how to approach the environment with sensitivity and subjectivity.

I have added a number of clarifying and expanding comments to the base article. Of interest for further reading are two articles: one, authored by Peter Jackson of Elizabeth College, Hobart, introduces the reader to Peter's life work and philosophy, his ability to convey statements through images only (I can remember the remark in the article by Jackson: "...Peter Dombrovskis is not a public person. His views on the environment [and conservation] are shown without polemic and without rhetoric..."), and the interesting revelation that Dombrovskis "...took years to decide what he wanted to do [before large format landscape photography]". This article appeared in 'WILD' magazine, I think, in 1994.

After Peter's death, 'The Age' in Melbourne published a piece, authored by Jane Cadzow and titled, 'A Lasting Image'. I have not been successful in tracking down a copy of this from 'The Age' archives.

Peter's other books, besides the 'Wild Rivers' he co-authored with Bob Brown, are "In the Forest" (with commentary by Prof. Jamie Kirkpatrick, University of Tasmania) and 'On the Mountain', a pictorial homage to his 'home', Mount Wellington, Hobart, Tasmania.

In 2005 [?], Stuart Solman, of the School of Art at the University of Tasmania, authored a document entitled "Alernative Perspectives: Peter Dombrovskis", in which he took the view of Dombrovskis' "...commodification of Tasmanian wilderness",. I have this for reference but do not know how (or if) it should be included in the Wiki reference [?].

Garyh: Silent Street Photography, Geelong, Australia 02:38, 13 September 2006 (UTC)

The essay "Alernative Perspectives: Peter Dombrovskis" is a bit of a mixed bag in my opinion (for what it's worth!). The stuff about his development from 35mm and Olegas' influence, his "trademark style", technical limitations (long depth of field = long time exposure), and the contribution to conservation are all relevant points. The "commodification" stuff is just artspeak, and is probably not relevant (I mean, what did he want him to do? Live in poverty while making exquisite artworks that only the rich can afford? Maybe then he'd be a "proper" artist, even better if he had a drug habit and a tragic sex life!). I've also heard criticism of Dombrovskis' work as being "no sun, no people, and everything in focus"- I guess you just can't please some people LOLMarkAnthonyBoyle 13:20, 22 February 2007 (UTC)