JO FLACK ISSUE 32 GUIDE AUSTRALIAN SCREEN EDUCATION

Wildness STUDY 1 Morning light on Little Horn, Cradle Mountain. (Photo ) © Liz Dombrovskis INTRODUCING WILDNESS

What would the odds be of two men from Baltic states, each of them finishing up in , being top wilderness photographers, each dying out there, each devoted one to the other? Max Angus, artist ISSUE 32 ISSUE 32 SYNOPSIS of progress. Olegas is renowned for campaign to save it from a similar fate. his slide presentations which, over 20 His photograph of the Franklin’s Rock AUSTRALIAN SCREEN EDUCATION AUSTRALIAN SCREEN EDUCATION and Peter Dom- years, brought ever-increasing atten- Island Bend became a national icon, brovskis were two of ’s greatest tion to the island’s unique landscape. establishing him as one of the country’s wilderness photographers. Their work In particular, he captured on film the most influential photographers. became synonymous with campaigns to pink quartz beach and tea-coloured protect Tasmania’s natural heritage. water of before it was Olegas and Peter shared many things, drowned by a fiercely protested hydro- including a bond that was more like From the 1950s to the 1980s, Olegas electric scheme. that of father and son. Both migrated and then Peter used photography to to Tasmania from Baltic Europe. And galvanise public opinion as the Hy- Ten years later, Peter’s magnificent pho- both died alone doing what they loved 2 dro Electric Commission cut swathes tographs of the were used - photographing the wild. They left be- 3 through the wilderness in the name to spearhead the successful national hind a legacy of extraordinary images - contributing not only to their art but to CURRICULUM LINKS humanness of man. If man becomes an emerging environmental conscious- contained, too docile, programmed, ness in Australia. Wildness is a useful teaching resource then he becomes less human. And this in a range of curriculum areas includ- wildness in the wilderness allows the Their philosophy was simple and re- ing: Studies of Society and Environment, wildness in man an expression. markably effective - if people could see Environmental Science, Outdoor Educa- Peter Dombrovskis the beauty of Australia’s wild places tion, Australian History, The Arts, Media, then they might be moved to protect English, Legal Studies, Politics. Discuss the concept of wilderness. What them. They might also be encouraged does the term mean? What use is wilder- to understand the true value of the world The film can be used as a stimulus for a ness? What are students’ experiences ISSUE 32 ISSUE 32 around them. particular area of study, as a stand alone of wilderness? text, or as one of a range of texts for the AUSTRALIAN SCREEN EDUCATION AUSTRALIAN SCREEN EDUCATION Wildness brings over 300 Truchanas and study of themes and issues raised within The Wilderness Society says of wilder- Dombrovskis photographs together with it. The activities below provide options ness: archival film and stunning contemporary for these approaches. footage, in an epic story of two men Wilderness is a remote area essentially whose passion for nature became a BEFORE WATCHING unaffected and unaltered by modern in- crusade to save an environment under dustrial civilisation and colonial society. threat. WILDERNESS Wilderness is the result of millions of It is a wild land and I think that there is a years of evolution, and is large enough 2 certain wildness, a certain wild element to maintain for the long-term, biological 3 in man’s nature that is essential to the diversity and ecosystem processes.

Truchanas children at Lake Pedder, Tasmania (Photo Olegas Truchanas) © Melva Truchanas Left: Portrait of Olegas Truchanas (Photo Norman Laird). Right: Cushion plants, , southwest Tasmania (Photo Peter Dombrovskis) © Liz Dombrovskis

Through Adele, Peter met Olegas Max Angus, The World of Olegas Truchanas, who took him on canoe- Truchanas, 1975, Olegas Truchanas ing expeditions and encouraged his Publication Committee, . photographic endeavours. In time, Dombrovskis’ photography came to be Peter Dombrovskis, On the Mountain, understood by the Australian public as 1996, West Wind Press. a true representation of the Tasmanian wilderness. Dombrovskis was a keen Peter Dombrovskis and , conservationist; his work became iconic Wild Rivers, 1983, Peter Dombrovskis in the fight to save the Franklin River. Pty Ltd. Dombrovskis died of a heart attack on 28 March 1996, whilst photographing Peter Dombrovskis website - www.view. the Western in Tasmania’s com.au/dombrovskis remote southwest. LOOKING AT WILDERNESS INTRODUCING THE WORK OF PHOTOGRAPHY Wilderness can be tropical jungle, for- OLEGAS TRUCHANAS AND PETER ested mountains, alpine plains, open DOMBROVSKIS Students may begin by looking for imag- grasslands, arid woodlands, sand or es of nature in their family photographs; gibber deserts or coral reefs. While students may be familiar with they can then be asked to consider the wilderness photography, Australian wilderness is also a cultural they are unlikely to have landscape that has been actively man- given it much thought. For aged by Aboriginal people for tens students, such photography of thousands of years. Wilderness is will often be understood as Aboriginal land.1 the fading posters on waiting room walls, or as postcards OLEGAS TRUCHANAS – SHORT from friends and family. A few BIOGRAPHY may have framed prints or coffee table books at home. Olegas Truchanas was born in Lithua- Indeed, many students nia in 1923. He fought with the under- would be unaware that they ground resistance during World War may in fact know the work of Two, before arriving in Tasmania as a Olegas Truchanas and Peter refugee in 1945. He had experienced Dombrovskis through some the harshness and privations of war- of their iconic images. reason these images were taken. What torn Europe and in the wilderness of was the photographer trying to capture? Tasmania found an opportunity to ex- One introductory activity would be to Beauty? Memory? Emotion? A sense of perience, record, and be renewed by, provide examples of the work of both time or place? Art? Other motivations? places little known by white Australians. photographers for students to examine. Are these images of wilderness or of Truchanas conducted slide shows of his It is quite difficult to find examples of nature and what, if anything, is the dif- photographs and became involved in Truchanas’ photography; Dombrovskis’ ference between the two? the conservation movement. His most work is more readily available. Some ex- famous achievement is his photograph- amples may be found in the following: In order to develop an understanding ic record of Lake Pedder shortly before of the wide-ranging use of wilderness its flooding. Olegas Truchanas drowned photography, students could look for ISSUE 32 ISSUE 32 while canoeing on the on examples in their local environment. 6 January 1972. Peter Dombrovskis What is represented in these images? AUSTRALIAN SCREEN EDUCATION AUSTRALIAN SCREEN EDUCATION found Truchanas’ body. How is it represented? To what uses are such images put? Art? Advertising? PETER DOMBROVSKIS – SHORT Magazine and newspaper illustration? BIOGRAPHY Other uses?

Peter Dombrovskis was born in 1945 in a refugee camp in to Latvian parents. He emigrated to Tasmania in 1950 with his mother Adele. Both 4 keenly explored the Tasmanian bush. Above: Portrait of Melva Truchanas and Liz 5 Dombrovskis. (Photo Matthew Newton) © Film Australia. Left: Portrait of Peter Dombrovskis. (Photo Peter Jackson) © Peter Jackson ISSUE 32 ISSUE 32 AUSTRALIAN SCREEN EDUCATION AUSTRALIAN SCREEN EDUCATION

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6 7 HYDRO-ELECTRICITY had trained in England and Europe and tried, with varying degrees of suc- Tasmania has a large number of hydro- cess, to use techniques and colours electric power plants. Where are these appropriate to their upbringing. One of plants? Why does Tasmania have so the most famous is John Glover. Find many? How does a hydro-electric representations of the bush in colonial power plant generate electricity? What art and compare these to the work of are alternate methods of generating Indigenous and modern artists. What do electricity? these paintings and drawings say about the way early white Australians thought - www.hydro.com.au about the bush? Department of Infrastructure, Energy & Resources - www.dier.tas.gov.au/ PHOTOGRAPHIC energy/index.html constructed in this way? What purpose REPRESENTATIONS OF TASMANIAN does such a technique serve for audi- WILDERNESS AFTER WATCHING ences who are familiar with the original photographic representations, and for Photographers began capturing Tas- THEMES AND ISSUES those for whom the subject matter is mania as early as the mid 19th century. new? How might this technique influ- Images from that time include the in- List the themes the documentary ence the viewer? creasingly popular stereo photographs, addresses. What view, if any, does which were designed to be viewed in Wildness present about each of these REPRESENTATIONS OF TASMANIAN a stereoscopic viewer that simulated a themes? WILDERNESS IN ART three dimensional view. Copies of these may be found in the State Library of Tas- MULTIPLE STORYLINES Few of us have been to the Tasmanian mania’s online Images collection from wilderness, yet through the work of art- http://images.statelibrary.tas.gov.au. To Wildness is structured around several ists, photographers and film-makers we view the 3D effect, hold a piece of stiff separate but interconnected storylines. may feel that we know it. The repre- card in the middle of the two images List each of these and draw a concept sentations created by visual artists have against the computer screen, look at map that illustrates how they con- changed over the years as Australians the left image with the left eye and the nect. Each storyline has something to have developed their understanding of right image with the right eye whilst say about the others. How does this the bush. By examining and compar- simultaneously allowing your focus to work? ing representations across time we can merge the images. What do you think learn a great deal about our changing of the effect? Why do you think such CONSTRUCTING A POINT OF VIEW relationship with the environment. images were popular?

How can we read a film-maker’s point of For online collections of art and photog- OLEGAS TRUCHANAS AND PETER view? Consider the contribution of the fol- raphy, visit: The State Library of Tasma- DOMBROVSKIS—OLD AND NEW lowing to the construction of Wildness: nia - www.statelibrary.tas.gov.au WORLD UNDERSTANDINGS

• Visual aspects, including camera Tasmanian Museum and Art Gallery - One of the most significant differences techniques—such as camera angles www.tmag.tas.gov.au/index.html between the work of Olegas and Peter and movement—visual composi- is that in Peter’s work, people just aren’t tion, colour, the use of both moving • Indigenous representations there and that does result in a radically images and stills, and editing. different view of nature. • Sound, including narration, voice Indigenous Tasmanians were not no- Tim Bonyhady, art historian and writer over, interviews, editing of historical madic; rather, they lived in small villag- ISSUE 32 ISSUE 32 material, music and sound effects. es. Their art was an expression of their One of the stories of Wildness is that • Story elements, including the lives, culture and history. Find examples of two photographers born in the ‘old AUSTRALIAN SCREEN EDUCATION AUSTRALIAN SCREEN EDUCATION establishment of characters and of the different art forms created by In- world’; a world where it seemed that locations, recreation of events, the digenous Tasmanians. Compare these everything had been discovered and interconnection of the multiple sto- to the art created during later stages of recorded. Olegas Truchanas and Peter rylines in the documentary. Tasmanian history. Dombrovskis came to Tasmania, much of which was pristine and had yet to be One feature of Wildness is the way still • Colonial representations photographically explored, and opened and moving images dissolve into each up an appreciation of the wild through other. Over 300 original Truchanas Many early artists painted the Tasma- their images. Each brought their own and Dombrovskis images are used in nian bush, Indigenous Tasmanians, experiences and understanding to their 6 the documentary. Why are the images and early settlements. These artists photography. 7

L-R: Dunes and granite near Interview River, Tarkine wilderness, Tasmania (Photo Peter Dombrovskis). © Liz Dombrovskis; Scott Millwood (Director) in Southwest Tasmania (Photo Michael McMahon). © Film Australia. Truchanas was tantalized by the idea Dombrovskis chose to work in the 4 x influenced Dombrovskis in the con- that he could possibly be the first per- 5 format. Why? struction of his images? Research other son to explore and photograph sections influences on Dombrovskis’ work. of the Tasmanian wilderness. In Europe How does each format work? What it was all but impossible to photograph are the advantages and disadvantages • A practical activity an unencumbered skyline. Truchanas of each? influenced Dombrovskis who, as a Photographers teach us to ‘see’ the child arriving in Tasmania, had less of • Technology world differently. In what way does the a sense of being the first to capture its work of Olegas Truchanas and Peter beauty. However, he in turn developed When Olegas Truchanas began to pho- Dombrovskis inspire you? Choose a his own motivations and emotional re- tograph Tasmania he conducted slide location in your local area, perhaps a sponse to the land, which he expressed shows of his work. This was a com- piece of bush, a park or even a cor- through his particular style of wilderness mon form of entertainment in those ner of your school. Design a series of photography. pre-television days. What does the photographs that convey this location reconstruction of the slide show reveal in the style of wilderness photogra- What does the documentary reveal about the importance of this form of phers—think ‘noble composition’ and/or about the influence of Truchanas on entertainment as an educational tool? ‘introspection’. Use the compositional Dombrovskis? What roles do television documentaries elements discussed above to guide you. serve today? What are the advantages Sketch your proposed images and then Examine the reproductions of the work and disadvantages for audiences of use these sketches to help you take the of both photographers. You may need each form of technology? What might photographs. Share your images with to pause the video to do so. Note any the digital technologies of the future your classmates. Discuss what works influences you can determine. What do bring to this subject? and what doesn’t. Do any of your im- the experts interviewed in the documen- ages capture the style of Truchanas or tary say about this? Today, although there are very few Dombrovskis? What have you learnt public slide shows, professional pho- from this exercise? Have another look at early paintings tographers still often choose to work and photographs of the Tasmanian with slide film. Why? CAREERS IN PHOTOGRAPHY wilderness. In what ways do these representations differ from the wilder- • Composition An excellent starting point for find- ness depicted by Olegas Truchanas and ing out about careers in photography Peter Dombrovskis? Wilderness photography has been de- (and in general) is My Future – Aus- scribed as ‘noble composition’ and also tralia’s Career Information Service at Research contemporary Australian as ‘introspection’. What do these terms www.myfuture.edu.au. (From The Facts, wilderness photographers. What influ- mean? Find examples of each in the follow the link to Occupations under the ences do you see in their work? How work of Truchanas and Dombrovskis. Work & Employment section.) has wilderness photography developed in recent years? Look at the compositional features of Students can read about duties and the work of both photographers. How tasks, areas of specialisation, skills Historic photographs of Tasmanian wil- do they use features such as line, pat- needed, work conditions, the labour derness - Classic Image Photographs tern, texture, repetition, balance, light, market, earnings and training options. - www.users.bigpond.com/grclennett motion, selective focus, colour, tone, Further links are also provided. contrast, space, scale and the rule of Geoff Murray, contemporary wilderness thirds? ART AND POLITICS photographer - www.geoffmurray.com Examine ‘Rock Island Bend’. Compare Peter’s photography initially made the Wilderness photography by Martin this photograph with video footage Franklin recognisable. Then it made it ISSUE 32 ISSUE 32 Hawes - www.islandproject.com/ of the location. What is the effect of familiar and then with Rock Island Bend, martin/homepage.htm a slow shutter speed on the work of he created an icon of that place. AUSTRALIAN SCREEN EDUCATION AUSTRALIAN SCREEN EDUCATION Peter Dombrovskis? Why do you think Tim Bonyhady PHOTOGRAPHIC TECHNIQUE AND he chose this effect? Can you imagine TECHNOLOGY what the work would look like with a fast LAKE PEDDER shutter speed? • Equipment Although the battle to save Lake Pedder What are the similarities and differences was lost, in many ways this was the be- Each photographer used different in the work of the two photographers? ginning of an organized environmental equipment. Truchanas chose to work Why did Truchanas choose to include movement in Australia. It was also when with a 35 mm camera. Why? people in some of his images yet Dom- the world’s first Green party was born. 8 brovskis did not? How has Truchanas Watch the Film Australia documentary 9 Lake Pedder (1997), and/or conduct Research this campaign, which saw changed in the way ordinary Australians other research. Why was Lake Pedder tens of thousands of protestors and viewed the bush. What does Wildness so special? How is the ‘lake’ depicted over 1200 arrests. How does Wildness have to say about this? by the Hydro Electric Commission depict the campaign? (HEC) and the environmental move- APPROPRIATION AND ment today? In what light do you think the documen- ICONOGRAPHY tary portrays the government of Tasma- THE FRANKLIN RIVER CAMPAIGN nia and the Hydro Electric Commission? If we can accept the view that man How does the documentary achieve and nature are inseparable parts of the The decision to dam the Franklin River this? Do you think the government and unified whole then Tasmania can be a was the impetus for a long and well- HEC views of the situation would have shining beacon in a dull, uniform and organized campaign of opposition. The been different? largely artificial world. Franklin River had been nominated for Olegas Truchanas World Heritage status by the Federal What are the long-term influences of ISSUE 32 ISSUE 32 Government in 1981, but this did not the fight for Tasmania’s wilderness? I’m not an activist by any consideration, stop the HEC and the Tasmanian Gov- You might consider its impact on the but I do think it is terribly important that AUSTRALIAN SCREEN EDUCATION AUSTRALIAN SCREEN EDUCATION ernment from pursuing its plans. The following: people do have visual material of these conservation movement had learned a places, that they do have some inkling of great deal from the unsuccessful battle • politics what they are like. If people don’t know, for Lake Pedder. The campaign was • tourism it’s very much harder for them to feel for inextricably linked to the 1983 Federal • the environmental movement these places. election campaign and became an im- • energy sources Peter Dombrovskis, portant constitutional test of a state’s • how the world sees Australia speaking of the Franklin River rights against Federal government in- tervention. The case went to the High Between the fight for Lake Pedder and Paintings and photographs have long 8 Court in 1983. that for the Franklin River something been used in the pursuit of political goals. 9

‘Rock Island Bend’, Franklin River, Tasmania (Photo Peter Dombrovskis) © Liz Dombrovskis Dwarfed Melaleuca squamea on Lake Pedder beach, Tasmania (Photo Olegas Truchanas). © Melva Truchanas.

This is sometimes referred to as appro- come home to yourself. and play a part in changing the mindset priation, sometimes as propaganda. Peter Dombrovskis of an entire generation. They finally die in the wilderness that has supported Wildness forcefully sets out the role both In what ways do you think Wildness and sustained them. Is this a story of Truchanas and Dombrovskis played in encourages Australians to explore the heroic proportions? Was it, ultimately, the fight for Tasmania’s wilderness. bush as a way of finding themselves? all worth it? What did they contribute to the cam- paigns for Lake Pedder and the Franklin For both photographers, trips to the CLASS DISCUSSION, River? Can you estimate the importance wilderness served a range of physical, RESEARCH AND ESSAY TOPICS of their imagery? emotional and economic purposes. What does the documentary have to Wildness demonstrates the power How did the environmental movement say about each of these purposes? of images to change the direction of use the works of Truchanas and Dom- Discuss the importance wilderness government policy. This was success- brovskis? Who ‘owns’ these images? plays in your life and in the lives of your ful in the case of the Franklin River but What are the rights of the photogra- family and friends. not so in the earlier campaign for Lake pher? Pedder. Suggest reasons why the earlier Find out about opportunities for campaign failed. It has been said that ‘Rock Island Bend’ bushwalking and other outdoor recrea- ISSUE 32 ISSUE 32 became an icon that stood for the im- tion in your area. What activities can be It took the work of two ‘new Australians’ to portance of wilderness. What does this done? Research guidelines for their safe make ‘old Australians’ see the possibilities AUSTRALIAN SCREEN EDUCATION AUSTRALIAN SCREEN EDUCATION mean? Can you think of other images of enjoyment. of their world in a new way. Discuss. wilderness that have an iconic status? A STORY OF HUMAN TRAGEDY Truchanas and Dombrovskis found THE CALL OF THE WILD themselves in the right place at the For some, the most important storyline right time. Discuss. I go out there to get in touch with the in Wildness will be the human one; land, to get in touch with myself. When that of two men who both experience In the case of the movement against the you get out there, you don’t get away an early life of privation, who meet in damming of the Franklin it is not pos- from it all. You get back to it all. You a tiny corner of the world to share a sible to separate art from politics. What 10 come home to what’s important; you grand passion. They excel at their art do you think? 11 Crew at work on Mt Wellington, Tasmania: L-R Sue McGrath (Producer’s attachment), Michael McMahon (Producer), Robert Humphreys (DOP - shoot 1), Martin Thiele (Production Manager, Melbourne), Chris Gallagher (Production Manager, Hobart), Liz Dombrovskis, Melva Truchanas, Scott Millwood (Director) (Photo by Matthew Newton). © Film Australia.

Wilderness photography does not set Environment Australia - www.ea.gov.au/ For further information about Film Aus- out to show us what is, but educates us parks tralia’s programmes, contact as to what might be. Discuss. Film Australia Sales Wild Rivers National Park Virtual Tour - PO Box 46 The difference between a snapshot www.tased.edu.au/tot/w/franklin.html Lindfield NSW 2070 and a work of art lies in the intent of the tel 02 9413 8634 fax 02 9416 9401 photographer. Do you agree with this Hydro Tasmania (formerly Hydro Electric email [email protected] statement? Why/why not? Commission) - www.hydro.com.au www.filmaust.com.au

FURTHER RESOURCES WILDNESS

The Wilderness Society - A Film Australia National Interest Pro- www.wilderness.org.au/local/tasmania gram in association with Big and Little Films. Developed with the assistance Australian Conservation Foundation of the Australian Film Commission. - www.acfonline.org.au Produced with the assistance of Film Victoria, Screen Tasmania and the Aus- This study guide was produced by ATOM. National Parks Association of NSW - tralian Broadcasting Corporation. For more information about ATOM study ISSUE 32 ISSUE 32 www.npansw.org.au guides or The Speakers’ Bureau visit our Writer/Director: Scott Millwood web site: www.metromagazine.com.au AUSTRALIAN SCREEN EDUCATION AUSTRALIAN SCREEN EDUCATION Tasmanian Department of Primary Producer: Michael McMahon or email: [email protected] Industries, Water & Environment - Executive Producers: Franco di Chiera, www.dpiwe.tas.gov.au Penny Robins Year: 2003 Tasmania Parks & Wildlife - Duration: 55 minutes www.dpiwe.tas.gov.au/inter.nsf/ ThemeNodes/SSKA-4X33SG Study guide © Film Australia and ATOM ENDNOTES Australian Alps National Parks - www.a 1 http://www.wilderness.org.au/ 10 ustralianalps.ea.gov.au about/wilderness.html 11