Roaming with Dallas Frasca

16th to 18 March 2018, Northern Victoria, Australia.

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Fifty of us piled into a bus and headed off to various locations in Northern Victoria in A Hitch to the Sticks.  We were driving to three public musical events and there were also numerous “secret” gigs along the way, adding to the element of surprise and the enjoyment of the moment.  The idea was the brainchild of eminent musician Dallas Frasca.  It simulates the experience of a road crew touring on a bus, provides exposure to sometimes little-known regional performers and gives a great experience to all involved.

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A Hitch to the Sticks, Australia, Blues Festivals, Dallas Frasca, Live Music, Photography, Travel, Victoria

This is our great friend Marisa Quigley.  She was performing at one of the secret events and I can’t tell you about that because there are to be more such events but since her name was on the poster I can include this image.

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A Hitch to the Sticks, Australia, Blues Festivals, Dallas Frasca, Live Music, Photography, Travel, Victoria

Sara Flint.

Sara and Mandy (below) were playing outside the Tatong Tavern.  This is a rather stylish looking pseudo-half-timbered pub which was closed to host the music and we were able to relax on the grass in the afternoon sun.

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A Hitch to the Sticks, Australia, Blues Festivals, Dallas Frasca, Live Music, Photography, Travel, Victoria

Mandy Connell.

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Click here for more images from Tatong Tavern, twelve in all, including Benny Williams and Time Robb & the Stealing Hours as well as Sara and Mandy.

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A Hitch to the Sticks, Australia, Blues Festivals, Dallas Frasca, Live Music, Photography, Travel, Victoria

Liv Cartledge.

Later in the afternoon we reached Wangaratta to join up with the Down to the River Festival, which stretched out into the night…

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A Hitch to the Sticks, Australia, Blues Festivals, Dallas Frasca, Live Music, Photography, Travel, Victoria

… while some people stretched out on the grass…

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A Hitch to the Sticks, Australia, Blues Festivals, Dallas Frasca, Live Music, Photography, Travel, Victoria

The Quick and the Dead.

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A Hitch to the Sticks, Australia, Blues Festivals, Dallas Frasca, Live Music, Photography, Travel, Victoria

Rambunctious.

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A Hitch to the Sticks, Australia, Blues Festivals, Dallas Frasca, Live Music, Photography, Travel, Victoria

Monique Brumby.

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A Hitch to the Sticks, Australia, Blues Festivals, Dallas Frasca, Live Music, Photography, Travel, Victoria

Tanya Cavanagh, playing with Monique Brumby.

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A Hitch to the Sticks, Australia, Blues Festivals, Dallas Frasca, Live Music, Photography, Travel, Victoria

Monique Brumby.

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A Hitch to the Sticks, Australia, Blues Festivals, Dallas Frasca, Live Music, Photography, Travel, Victoria

Maryanne Window, playing with Monique Brumby.

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A Hitch to the Sticks, Australia, Blues Festivals, Dallas Frasca, Live Music, Photography, Travel, Victoria

Dallas Frasca.

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A Hitch to the Sticks, Australia, Blues Festivals, Dallas Frasca, Live Music, Photography, Travel, Victoria

Venom and Jeff Curran, playing with Dallas Frasca.

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A Hitch to the Sticks, Australia, Blues Festivals, Dallas Frasca, Live Music, Photography, Travel, Victoria

Dallas Frasca.

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A Hitch to the Sticks, Australia, Blues Festivals, Dallas Frasca, Live Music, Photography, Travel, Victoria

Tully Frasca.

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Click here for more image from the Down to the River Festival, fifty-four in all.

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A Hitch to the Sticks, Australia, Blues Festivals, Dallas Frasca, Live Music, Photography, Travel, Victoria

Mikaylah and Leticia.

In the afternoon of the next day, we are out the back of the Moyhu Hotel.

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A Hitch to the Sticks, Australia, Blues Festivals, Dallas Frasca, Live Music, Photography, Travel, Victoria

Jeff Lang.

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A Hitch to the Sticks, Australia, Blues Festivals, Dallas Frasca, Live Music, Photography, Travel, Victoria

Nicky Bomba.

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A Hitch to the Sticks, Australia, Blues Festivals, Dallas Frasca, Live Music, Photography, Travel, Victoria

Crowd for Nicky Bomba.

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A Hitch to the Sticks, Australia, Blues Festivals, Dallas Frasca, Live Music, Photography, Travel, Victoria

Nicky Bomba and Jeff Lang.

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A Hitch to the Sticks, Australia, Blues Festivals, Dallas Frasca, Live Music, Photography, Travel, Victoria

Nicky Bomba.

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A Hitch to the Sticks, Australia, Blues Festivals, Dallas Frasca, Live Music, Photography, Travel, Victoria

Rick Steward and the Greensmen.

Click here for more images from the Mohyu Hotel, thirty-four in all.

I also have some monochrome conversions for your perusal, twenty-seven in all.  Some are from images in this post and some from different images.  Click here for those.

Alternatively, click here for all 129 images.

Lighthouse Monochromes – Victoria #2

1987, Victoria, Australia, From Dusk Till Dawn

 

Monochrome versions of lighthouse images from From Dusk Till Dawn . . ..

Most of these images were taken with large format 5×4 cameras using Fujichrome 50 slide film (Velvia did not exist then). A few were taken with medium format cameras Mamiya 645 and 1937 Rolleiflex TLR. Some (which should be easy to identify were taken with a Nikon FE and a 16mm fisheye lens.

Click links for posts on lighthouses with more information and colour images.

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Architecture, Australia, Black and White, History, Landscape, Lighthouses, Monochrome, Photography, seascape, Travel, Victoria

Loch Ard Gorge.

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Architecture, Australia, Black and White, History, Landscape, Lighthouses, Monochrome, Photography, seascape, Travel, Victoria

Gabo Island lighthouse pano from south.

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Architecture, Australia, Black and White, History, Landscape, Lighthouses, Monochrome, Photography, seascape, Travel, Victoria

View of lens from top.

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Architecture, Australia, Black and White, History, Landscape, Lighthouses, Monochrome, Photography, seascape, Travel, Victoria

Point Hicks lighthouse, cottage and star trails.

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Architecture, Australia, Black and White, History, Landscape, Lighthouses, Monochrome, Photography, seascape, Travel, Victoria

Point Hicks lighthouse in early morning.

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Architecture, Australia, Black and White, History, Landscape, Lighthouses, Monochrome, Photography, seascape, Travel, Victoria

Point Hicks stairwell from below.

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Architecture, Australia, Black and White, History, Landscape, Lighthouses, Monochrome, Photography, seascape, Travel, Victoria

Pt Hicks Stairwell.

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Architecture, Australia, Black and White, History, Landscape, Lighthouses, Monochrome, Photography, seascape, Travel, Victoria

Point Hicks lighthouse at sunset.

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Architecture, Australia, Black and White, History, Landscape, Lighthouses, Monochrome, Photography, seascape, Travel, Victoria

View through lens.

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Architecture, Australia, Black and White, History, Landscape, Lighthouses, Monochrome, Photography, seascape, Travel, Victoria

Point Hicks Stairwell from below.

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Architecture, Australia, Black and White, History, Landscape, Lighthouses, Monochrome, Photography, seascape, Travel, Victoria

S.S. Saros, sunk 1937 and wrecked on the rocks.

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Architecture, Australia, Black and White, History, Landscape, Lighthouses, Monochrome, Photography, seascape, Travel, Victoria

Wilsons Prom from lookout on walking track.

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Architecture, Australia, Black and White, History, Landscape, Lighthouses, Monochrome, Photography, seascape, Travel, Victoria

View along road at Wilson’s Prom.

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Architecture, Australia, Black and White, History, Landscape, Lighthouses, Monochrome, Photography, seascape, Travel, Victoria

Wilson’s Prom lighthouse staircase from below (fisheye lens).

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Architecture, Australia, Black and White, History, Landscape, Lighthouses, Monochrome, Photography, seascape, Travel, Victoria

Wilson’s Prom in late afternoon.

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Lighthouse Monochromes – Victoria #1

1987, Victoria, Australia, From Dusk Till Dawn

 

Monochrome versions of lighthouse images from From Dusk Till Dawn . ..

Most of these images were taken with large format 5×4 cameras using Fujichrome 50 slide film (Velvia did not exist then). A few were taken with medium format cameras Mamiya 645 and 1937 Rolleiflex TLR. Some (which should be easy to identify were taken with a Nikon FE and a 16mm fisheye lens.

Click links for posts on lighthouses with more information and colour images.

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Australia, Black and White, History, Landscape, Lighthouses, Monochrome, Photography, seascape, Travel, Victoria

Cape Nelson by night

(Degraded image, copy of print, original lost. I’ll have to try again sometime.)

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Australia, Black and White, History, Landscape, Lighthouses, Monochrome, Photography, seascape, Travel, Victoria

Cape Nelson lighthouse and wall.

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Australia, Black and White, History, Landscape, Lighthouses, Monochrome, Photography, seascape, Travel, Victoria

Cape Nelson shed and lighthouse.

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Australia, Black and White, History, Landscape, Lighthouses, Monochrome, Photography, seascape, Travel, Victoria

Cape Nelson at Dawn.

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Australia, Black and White, History, Landscape, Lighthouses, Monochrome, Photography, seascape, Travel, Victoria

Cape Nelson telescope hut.

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Australia, Black and White, History, Landscape, Lighthouses, Monochrome, Photography, seascape, Travel, Victoria

Cape Otway Lighthouse railings and view.

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Australia, Black and White, History, Landscape, Lighthouses, Monochrome, Photography, seascape, Travel, Victoria

Cape Otway Lighthouse view through lens.

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Australia, Black and White, History, Landscape, Lighthouses, Monochrome, Photography, seascape, Travel, Victoria

Cape Otway Lighthouse and reef.

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Australia, Black and White, History, Landscape, Lighthouses, Monochrome, Photography, seascape, Travel, Victoria .

Cape Schanck Pano.

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Australia, Black and White, History, Landscape, Lighthouses, Monochrome, Photography, seascape, Travel, Victoria

Cape Schanck door handle and latch.

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Australia, Black and White, History, Landscape, Lighthouses, Monochrome, Photography, seascape, Travel, Victoria

Cape Schanck Seascape in early morning.

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Australia, Black and White, History, Landscape, Lighthouses, Monochrome, Photography, seascape, Travel, Victoria

Cape Schanck Seascape Daytime.

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Australia, Black and White, History, Landscape, Lighthouses, Monochrome, Photography, seascape, Travel, Victoria

Cape Shanck Clockwork Mechanism.

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Australia, Black and White, History, Landscape, Lighthouses, Monochrome, Photography, seascape, Travel, Victoria

Cliffy Is from air.

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Cape Nelson

Cape Nelson lighthouse is on a headland in south-west Victoria only 50 kilometres from the South Australian border and about 20 kilometres west of Portland.  I was there around the 13th to 14th of May 1987.

Cape Nelson by night 6:30 to 10:30pm  2 May 1987 Arca-Swiss 5x4" monorail camera 90mm Linhof Angulon f6.8 4 hours Fujichrome 50

Cape Nelson by night
6:30 to 10:30pm
13 May 1987
Arca-Swiss 5×4″ monorail camera
90mm Linhof Angulon
f6.8 4 hours
Fujichrome 50

This is a four hour exposure by the light of the full moon.  I had set up the camera while there was still light, on a small platform over the edge of the cliff, and went away to have dinner.

One advantage of photographing lighthouses at night is the light from the lighthouse gives you something to focus on.  Long exposures with film are quite different to digital because as well as some colour shifts, reciprocity comes into play.  This means that the film no longer reacts in a linear manner to light and you have to give extra exposure to compensate.

This image is from a slide that the Department loaned out some years ago and is now missing but I was able to scan a print that I had made on Cibachrome in 1988.

The long streaks you see in the sky are star trails, including many fine ones.  On the horizon are both anchored ships and ships moving along the horizon.  Portland is not far away and the ships are probably loading aluminium from the aluminium smelter.  The air brush effect you see in the sea is not just the waves; it’s also the tide going in or out.

Cape Nelson at Dawn 7:20am  3 May 1987 Mamiya 645 f16 65 seconds + polariser plus f22 37 seconds + polariser (two exposures combined) Fujichrome 50

Cape Nelson at Dawn
7:15am
14 May 1987
Mamiya 645
f16 65 seconds + polariser plus f22 37 seconds + polariser (two exposures combined)
Fujichrome 50

This is the next morning, a few minutes before dawn.

Cape Nelson at Dawn 7:20am  3 May 1987 Arca-Swiss 5x4" monorail camera 90mm Linhof Angulon f16 12 seconds + polariser Fujichrome 50

Cape Nelson at Dawn
7:20am
14 May 1987
Arca-Swiss 5×4″ monorail camera
90mm Linhof Angulon
f16 12 seconds + polariser
Fujichrome 50

From a similar position, just a bit later.

Cape Nelson lighthouse was commissioned in 1884 and the cottages had been built two years earlier.  The delay was because they ran out of stone and had to find a different local source.  The lighthouse is 24 metres high and 75 metres above the sea.  Though building it was recommended much earlier, this only came about due to lobbying by Peter Lalor, former leader of the Eureka rebellion, who had become a prominent Victorian parliamentarian.

Cape Nelson lighthouse and wall Nikon FE 16mm fisheye Nikkor Fujichrome 50

Cape Nelson lighthouse and wall
14 May 1987
Nikon FE
16mm fisheye Nikkor
Fujichrome 50

Here is the path leading to the lighthouse and the adjacent wall, giving protection from wind in stormy conditions.

Cape Nelson shed and lighthouse 7:20am  3 May 1987 Arca-Swiss 5x4" monorail camera 90mm Linhof Angulon f22 1/4 second + polariser Fujichrome 50

Cape Nelson shed and lighthouse
7:20am
14 May 1987
Arca-Swiss 5×4″ monorail camera
90mm Linhof Angulon
f22 1/4 second + polariser
Fujichrome 50

A bit further away, a shed (original by the look of the stonework) and the lighthouse.

Cape Nelson telescope hut Nikon FE 16mm fisheye Nikkor Fujichrome 50

Cape Nelson telescope hut
14 May 1987
Nikon FE
16mm fisheye Nikkor
Fujichrome 50

The telescope hut on top of the cliff beside the lighthouse, where keepers could keep a lookout for ships in trouble without being distracted by the light.

Loch Ard Gorge

Loch Ard Gorge is about 50 kilometres west of Cape Otway along the Victorian coast and I visited there on the afternoon of 20 April 1987.

When I went to take an exposure from the vantage point there was no-one around.  I set up with my large tripod and monorail camera and was composing on the back of the ground glass screen underneath the dark cloth.  Even in 1987 it was pretty unusual to see someone using a camera that looked as though it came out of the nineteenth century.  When I emerged from under the dark cloth I found I had an audience of six to ten, quietly standing behind me watching me rather than the view.

I was here because this was the site of one of the most famous maritime disasters in Australia’s history.

Loch Ard Gorge 3:40pm 20 April 1987 Arca Swiss Monorail 5x4" 90mm Linhof Schneider Angulon f11 1/25 second (+ polariser?),  Fujichrome 50 (Low res scan from book)

Loch Ard Gorge
3:40pm 20 April 1987
Arca Swiss Monorail 5×4″
90mm Linhof Schneider Angulon
f11 1/25 second (+ polariser?),
Fujichrome 50
(Low res scan from book)

In the age of sail, sailing ships used the Great Circle Route to reach Australia.  This involved sailing from the Atlantic at latitudes below Tasmania to catch the brisk winds of the roaring forties.  Arriving quickly was an advantage because otherwise food stocks could run low.  The problem was that this meant they were coming up from the south onto a particularly dangerous stretch of coastline.

On 31 May 1878, the wool clipper Loch Ard was approaching this coast but a sea mist prevented using a sextant for a location fix and the captain thought he was some leagues to the south.  When the mist lifted at 4am they were off the cliffs and dropping two anchors did not prevent the ship grounding on a reef and then being dashed against the cliffs.  Fifty of the fifty-two passengers and crew went down with the ship.

Eighteen-year old Tom Pearce, a ship’s apprentice, was swept into the sea while he was helping to launch a boat. He managed to hold on underneath the upturned boat and eventually came into the shelter of Loch Ard Gorge.  Some time later eighteen year old Eva Carmichael, wearing a nightdress, a cork life belt and not much else, was also swept into the gorge clinging to a spar.  Two other people had been on the spar but were swept away shortly before.  Tom swam out to her and managed to bring her to shore after about an hour.  They spent the night together in a cave and the next day Tom climbed the cliffs to find help.  These days there is a wooden stairway so you can walk down there but climbing out without this was not a trivial matter.  There were steps cut into the cliff at the time but he did not find them.  At the top, Tom found horse hoof prints and then two stockmen, one of whom was George Ford, son of Henry Bayles Ford long-time keeper at Cape Otway.

One other curious survivor from the shipwreck was a rare Minton porcelain peacock, destined for the 1880 Melbourne Exhibition.  It washed ahore in its packing crate and must have been very well packed.  Two delicate vases also survived.

Eva’s father was ship’s doctor although the family was migrating to Australia at the time.  There were only six life belts on board and they went to the Carmichael family though only Eva survived.  She lost her father and mother, three sisters and two brothers.

Tom and Eva received a lot of media attention at the time.  On the one hand there was a romantic expectation that they should marry and on the other, Victorian attitudes suggested that she was compromised by sleeping in a cave with a young sailor and he really should offer to marry to make this right.

However, they then went on to lead quite different lives.  Eva returned to Ireland after some months and married a Captain Townshend.  I found a 1934 newspaper report of an interview with her in 1925.  Tom had proposed marriage to her but she turned him down, believing they had nothing in common.  After returning to Ireland she apparently lived on the coast of Ireland with her husband and were often called out to assist shipwrecked sailors.  One on occasion the person they assisted was Tom Pearce(!).  She had died shortly before the newspaper report, so probably in 1934 at the age of about 74.

Tom Pearce had previously survived another shipwreck when the Eliza Ramsden went down near the entrance to Port Phillip Bay (the harbour for Melbourne) in 1875.  Following the wreck of the Loch Ard, he was hailed as a hero and awarded a gold medal by the Royal Humane Society of Victoria as well as receiving £1000 from the Government of Victoria (a huge amount of money at the time).  After a few months, he went back to sea.  In 1879 he was in another ship of the Loch line that went down, the Loch Sunart, which hit a rock off Ballywalter in what is now Northern Ireland.  “The story goes that Tom Pearce was washed ashore and carried up in a senseless condition to the nearest house” which happened to be the house of Eva Townshend (née Carmichael).  This was less than a year after the Loch Ard disaster.

Tom married in 1884 and his wife was related to another ship’s apprentice who went down with the Loch Ard (Tom was one and there had been two more).  He later became a ship’s captain for the Royal Mail Steam Packet Company, which had a monopoly on delivering mail by sea.  He retired in 1908 and died later that year at the age of 49.

According to a newspaper report at the time of the Loch Ard sinking, he was the son of Captain James Pearce, who went down with the steamship Gothenburg off the coast of Queensland in 1875.

There is also an historic painting showing Loch Ard and shipwreck debris just after the shipwreck.

Cape Otway

Cape Otway is on a headland south-west of Melbourne and is approximately north of the Cape Wickham lighthouse on King Island.  It safeguards one of the main maritime approaches to Melbourne.  I visited on 20 and 21 April 1987.

Cape Otway Lighthouse and reef 9:30am 20 April 1987 Arca-Swiss 5x4" monorail camera 240mm Schneider Xenar f11 1/30 second + polariser Fujichrome 50

Cape Otway Lighthouse and reef
9:30am 20 April 1987
Arca-Swiss 5×4″ monorail camera
240mm Schneider Xenar
f11 1/30 second + polariser
Fujichrome 50

Cape Otway lighthouse opened in 1848, when Victoria was still part of New South Wales.  There was a stiff formality in the early days.  In 1848 the second head keeper was told “When giving orders or instructions to the keepers you will at all times address them by their surnames and maintain the respect due to your situation by having them use the word Sir when replying to or addressing you.”

One of the early keepers, Henry Bales Ford, stayed at Cape Otway for thirty years, from 1848 to 1878.  In the early years supplies could be less than adequate and they were delivered every six to twelve months only.  Probably not surprising over a thirty year period, there were several instances of conflict between Ford and the lesser keepers.

The tower is eighteen metres high.  It did not need to be very high because it sits seventy metres above sea level.

Cape Otway Lighthouse railings and view 9:30am 20 April 1987 Nikon FE 16mm fisheye Nikkor Fujichrome 50

Cape Otway Lighthouse railings and view
9:30am 20 April 1987
Nikon FE
16mm fisheye Nikkor
Fujichrome 50

The railings and view.  This is really a bit of a warm-up exposure with not as compelling a composition as the following image, taken a few minutes later.  It’s taken on 35mm film rather than 5×4 sheet film and the process is a lot less deliberate.

Cape Otway Lighthouse railings and view 9:30am 20 April 1987 Nikon FE 16mm fisheye Nikkor Fujichrome 50

Cape Otway Lighthouse railings and view
9:30am 20 April 1987
Nikon FE
16mm fisheye Nikkor
Fujichrome 50

Just a lower viewpoint and adjustments in framing produces quite a different effect.

Cape Otway Lighthouse view through lens 9:30am 20 April 1987 Nikon FE 16mm fisheye Nikkor Fujichrome 50

Cape Otway Lighthouse view through lens
9:30am 20 April 1987
Nikon FE
16mm fisheye Nikkor
Fujichrome 50

A view through the lens showing a logical inconsistency that those who have read through the lighthouse posts should notice readily while those who have just come in to this post are unlikely to notice at all.

Worked it out?

Well, it’s upside down.  Like a lens in a camera (or the human eye for that matter) the lens of the lighthouse makes the outside world appear upside down and back-to-front so the image itself is upside-down to make the waves appear the right way up.

Cape Schanck

Cape Schanck is a lighthouse in Victoria, down below Melbourne at the end of the Mornington Peninsula. I visited there on 20 to 21 April 1987.

Cape Schanck Seascape in early morning 7:00am  21 April 1987 Arca-Swiss 5x4" monorail camera 65mm Schneider Super Angulon,  f32 2 1/2 minutes + polariser Fujichrome 50

Cape Schanck Seascape in early morning
7:00am
21 April 1987
Arca-Swiss 5×4″ monorail camera
65mm Schneider Super Angulon,
f32 2 1/2 minutes + polariser
Fujichrome 50

Though a lighthouse at Cape Schanck was originally recommended in 1841, building did not start until 1857 and it was started operation in 1859.  The lighthouse is 21 metres high and the plane of the light is 100 metres above the sea.

Cape Schanck Seascape in early morning 9:30am  21 April 1987 Arca-Swiss 5x4" monorail camera 90mm Linhof Angulon f8 5 or 10 seconds + polariser Fujichrome 50

Cape Schanck Seascape in early morning
9:30am
21 April 1987
Arca-Swiss 5×4″ monorail camera
90mm Linhof Angulon
f8 5 or 10 seconds + polariser
Fujichrome 50

The first image was taken in the early morning at the top of the cliff; the image above was taken somewhat later at the bottom.

Cape Schanck panorama Nagaoka 5x4" field camera with 6x9 roll film back 21 April 1987 150mm Linhof Technika Symmar f22 1/15 second Fujichrome 50

Cape Schanck panorama
Nagaoka 5×4″ field camera with 6×9 roll film back
10am to 11am 21 April 1987
150mm Linhof Technika Symmar
f22 1/15 second (two exposures combined)
Fujichrome 50

Here is a panoramic view of the lighthouse and cottages at Cape Schanck.

You will see the tall metal tower in the middle left.  Just a steel ladder with no safety features.  I decided to climb it for a sunset shot (with I think my smaller view camera).  Half-way up it was feeling increasingly precarious and it no longer seemed like a good idea to be juggling with camera, lens and exposure meter at the top.  So I came back down again.  The consequence was no sunset shot.

Cape Schanck door handle and latch Nagaoka 5x4" field camera 1:40pm 21 April 1987 150mm Linhof Technika Symmar f11 6 seconds Fujichrome 50

Cape Schanck door handle and latch
Nagaoka 5×4″ field camera
1:40pm 21 April 1987
150mm Linhof Technika Symmar
f11 6 seconds
Fujichrome 50

The Nagaoka field camera is visible in reflection in the brass plate and the door handle.  I am not there so I must have been taking the exposure with a cable release.

Cape Schanck Lantern Room 21 April 1987 Nikon FE 16mm fisheye nikkor f3.5 (partially defished) Fujichrome 50

Cape Schanck Lantern Room
21 April 1987
Nikon FE
16mm fisheye nikkor f3.5 (partially defished)
Fujichrome 50
(Low res scan from book)

Cape Shanck clockwork mechanism 5x4" camera Fujichrome 50

Cape Shanck clockwork mechanism
5×4″ camera
Fujichrome 50

Door handle, lantern room and clockwork mechanism.  The lantern room is unusual for its wood panelling.  The clockwork mechanism is in fully working condition though it has been functionally supplanted by a small electric motor.

Since Cape Schanck lighthouse is the closest one to Melbourne, it is a popular destination for visitors.

Wilson’s Promontory

Wilson’s Promontory, commonly called Wilson’s Prom, is the southernmost point of the Australian mainland.  I visited the lighthouse there on 24th and 25th April 1987.

Wilson's Prom in late afternoon 4:45am  24 April 1987 Arca-Swiss 5x4" monorail camera 240mm Schneider Xenar f11 1 second Fujichrome 50

Wilson’s Prom lighthouse in late afternoon
4:45pm, 24 April 1987
Arca-Swiss 5×4″ monorail camera
240mm Schneider Xenar
f11 1 second
Fujichrome 50

As an official visitor, I was able to drive as far as the end of the road, well past the point where most people have to walk.  It was just before sunset when I got there and this is the view from where I parked the car.  As you can see, there is still a fair distance to walk.

Building of the lighthouse was recommended in 1853 and construction commenced in 1857 using convict labour and locally sourced granite.  It was lit for the first time in 1859.  It is just under 20 metres high and sits nearly 120 metres above sea level.

Wilson's Prom  lighthouse staircase from below 8:00pm 24 April 1987 Nikon FE 16mm fisdheye Nikkor AI f3.5 6 minutes Fujichrome 50 (?)

Wilson’s Prom lighthouse staircase from below
8:00pm 24 April 1987
Nikon FE
16mm fisheye Nikkor AI
f3.5 6 minutes
Fujichrome 50 (?)

This is the lighthouse staircase seen from below at 8 o’clock at night.  There are two possible explanations here:  either the tower was bending over in a heavy wind or I was using a fisheye lens.  I’ll leave you to work out which it is.

View along road at Wilson's Prom.   7:00am 25th July 1987 (10 minutes after dawn),  Nagaoka Field Camera 5x4",  f22 2 seconds,  65mm Schneider Super Angulon,  Fujichrome 50.

View along road at Wilson’s Prom.
7:00am 25th July 1987 (10 minutes after dawn),
Nagaoka Field Camera 5×4″,
f22 2 seconds,
65mm Schneider Super Angulon,
Fujichrome 50.

Here is the lighthouse and cottages just after dawn.  There is a delightful little village atmosphere around the lighthouse.  Two of the four houses were burnt in a bushfire in the early 1950s and rebuilt.  Originally the lighthouse was painted white but if you visit it now it is unpainted, having been stripped back to the rock.  This process had just started at the time of this picture.  This is one of the lighthouses where you can now stay at a cottage though you have to walk 18km to get there.

Wilsons Prom view from top rail of lighthouse after dawn Nagaoka Field Camera 5x4",  150mm Linhof Schneider Technika Symmar,  f45 2 1/2 seconds + polariser,  Fujichrome 50.

Wilsons Prom view from top rail of lighthouse after dawn
7:15am 25 July 1987
Nagaoka Field Camera 5×4″,
150mm Linhof Schneider Technika Symmar,
f45 2 1/2 seconds + polariser,
Fujichrome 50.

After taking the previous shot of the lighthouses and cottages, I climbed to the top of the lighthouse and took this one looking along the coast to the west.

Wilsons Prom from lookout on walking track 11:00am 25 July 1987 Nagaoka Field Camera 5x4" 150mm Linhof Schneider Technika Symmar  f11 1/30 second + polariser  Fujichrome 50

Wilsons Prom from lookout on walking track
11:00am 25 July 1987
Nagaoka Field Camera 5×4″
150mm Linhof Schneider Technika Symmar
f11 1/30 second + polariser
Fujichrome 50

Here is a view of the lighthouse that I took when I was walking out.  The islands in the distance (behind and to the right of the lighthouse) must be East Moncoeur and West Moncoeur Islands.

When I was going through the image at 100% removing dust and debris deposited from inside the scanner, I saw something I hadn’t noticed before.  The image shows the landing and the crane that originally would have been the sole form of access to the lighthouse.  They are just above the cove which is in turn below the huge rock …

Wilson's Prom landing and crane (detail of previous image)

Wilson’s Prom landing and crane
(detail of previous image)

… as you see here.

Cliffy Island

Cliffy Island is a small island off the coast of Victoria near Wilson’s Promontory, essentially the tip of a submerged mountain.  I flew over in a helicopter on the morning of 21 July 1987 on the way to Deal Island (in the Kent Group).

Cliffy Is from air-Edit

Cliffy Island from the Air
About 10:30am 21 July 1987
Nikon FE
85mm Nikkor f1.8 AI (at a guess)
Fujichrome 50

Cliffy Island lighthouse came into operation in 1884.  The lighthouse is 12 metres high and it sits 52 metres above the sea.  It was converted to automatic in 1971, the keepers transferred out and the cottages demolished.  Today the island’s only occupants are seals.

In the days before helicopters, the logistical difficulties of supply and of getting people on and off the island must have been considerable.  … Not to mention the difficulties of building there in the first place.  The lighthouse is built of granite sourced on the island.

There was originally a stone cottage for the head keeper and a wooden duplex building for the assistant keepers and their families.  The stone cottage burnt down in 1919 and all cottages were later replaced.  This island is not the most convenient place to be burned out of your home.

The sides of the island are so steep that they used a landing 25 metres above the sea.  Supplies were lifted up vertically and then swivelled across to the landing.  Getting people on and off the island involved raising or lowering a boat with them in it 25 metres between the landing and the sea.  Then they used a 350-metre cable railway to ferry people and supplies between the landing and the lighthouse.  You can see the landing above in the near corner of the island and also the railway behind it.  If you click on the image you will get a better, larger view.

Until there was a radio telephone in 1926, communications with the mainland must have been intermittent.  I think it was too far to flash signals to Wilson’s Promontory, the next lighthouse.  I would guess they used carrier pigeons but don’t actually know.

I thought I had a second image of Cliffy Island but I found that it was mislabelled and is of Deal Island, taken later that same morning.  I have added this to the post for Deal Island as the last image, though I have usually kept the images in chronological order and it would have been the first taken.

Point Hicks

I visited Point Hicks lighthouse on 25th to 26th April 1987 and again on 17 July 1987.

Point Hicks Jetty 25 April 1987 Nikon FE 35mm 28mm Vivitar Series 1? Fujichrome 50

Point Hicks Jetty
25 April 1987
Nikon FE 35mm
28mm Vivitar Series 1?
Fujichrome 50

This is the historic lighthouse jetty for Point Hicks lighthouse, clearly no longer in use.  This was their sole lifeline in the nineteenth century and even by the 1920s it took two days by horse to reach the nearby settlement of Cann River, only 20 kilometres away.  Using the jetty may have required the high tide unless it was originally much longer.

Point Hicks lighthouse at sunset Arca-Swiss 5x4" monorail camera 5:10pm 26 April 1987 90mm Linhof Schneider Angulon f22 either 1 or 2 seconds plus polariser Fujichrome 50

Point Hicks lighthouse at sunset
Arca-Swiss 5×4″ monorail camera
5:10pm 26 April 1987
90mm Linhof Schneider Angulon
f22 either 1 or 2 seconds plus polariser
Fujichrome 50

Sunset at Point Hicks on a calm autumn day in 1987.  Point Hicks was the first land in Australia sighted by Cook and is named after Lieutenant Zachary Hickes, who first saw land.  However, the location he gave in his log was out at sea and since no-one could determine where he had sighted land it was known as Cape Everard.  Then in the 1970s, some Melbourne schoolchildren doing a project on Cook realised his log was 24 hours out and correcting for this put Pt Hicks at what was then known as Cape Everard.  Consequently the name was restored to Pt Hicks.

It looks calm here but if it were always like this there would probably be no lighthouse.  In 1947, an assistant lighthouse keeper was taken by the sea while tending his lobster pots.

Point Hicks lighthouse, cottage and star trails 9:00pm 25 April 1987 Nikon FE 16mm fisheye f3.5 25 minutes

Point Hicks lighthouse, cottage and star trails
9:00pm 25 April 1987
Nikon FE
16mm fisheye
f3.5 25 minutes

This is a twenty five minute exposure by the light of the full moon and we are looking almost exactly south, which is why the stars are tracing circles.

Point Hicks lighthouse in early morning Arca-Swiss 5x4" monorail camera 6:45am 26 April 1987 65mm Schneider Super Angulon (?) f16 either 1/2 or 4 seconds plus polariser Fujichrome 50

Point Hicks lighthouse in early morning
Arca-Swiss 5×4″ monorail camera
6:45am 26 April 1987
65mm Schneider Super Angulon (?)
f16 either 1/2 or 4 seconds plus polariser
Fujichrome 50

Point Hicks lighthouse in the early morning light.  The lighthouse was built in 1888/89 of concrete and commenced operation in 1890.  The cottages are made of wood.  At thirty-seven metres, it is the tallest lighthouse on the Australian mainland.

Point Hicks Stairwell from below 25 April 1987 Nikon FE 35mm 16mm Fisheye Fujichrome 50

Point Hicks Stairwell from below
25 April 1987
Nikon FE 35mm
16mm Fisheye
Fujichrome 50

This is a view looking straight up the lighthouse from below, with illumination by daylight (from the open door on the ground floor and a window near the top).

View through lens  25 April 1987 Nikon FE 35mm 16mm Fisheye Fujichrome 50

View through lens
25 April 1987
Nikon FE 35mm
16mm Fisheye
Fujichrome 50

Here we are standing inside the first-order lens of Point Hicks lighthouse.  As usual, the view through is upside down, with the clouds on the bottom and the sea on the top.  The glass is red over to the left because if the mariners can see that, they are on a dangerous bearing.

View of lens from top 25 April 1987 Nikon FE 35mm 16mm Fisheye Fujichrome 50

View of lens from top
25 April 1987
Nikon FE 35mm
16mm Fisheye
Fujichrome 50

This is looking down on the lens from above.  We are still inside the lantern room at the top of the lighthouse.

Point Hicks stairwell from below Arca-Swiss 5x4" monorail camera 9:00am 26 April 1987 65mm Schneider Super Angulon f32 20 seconds Fujichrome 50

Point Hicks stairwell from below
Arca-Swiss 5×4″ monorail camera
9:00am 26 April 1987
65mm Schneider Super Angulon
f32 20 seconds
Fujichrome 50

This is another view looking straight up the stairwell of the lighthouse but the door is now closed and ground floor illumination is by artificial light.  The lighting further up is still daylight.  This is an image from a large format camera rather than the previous fisheye image on 35mm film.

S.S. Saros, sunk 1937 and wrecked on the rocks 6:00pm 26 April 1987 Arca-Swiss 5x4" monorail camera 90mm Linhof  Schneider Angulon f6.8 25 minutes Fujichrome 50

S.S. Faros, sunk 1937 and wrecked on the rocks
6:00pm 26 April 1987
Arca-Swiss 5×4″ monorail camera
90mm Linhof Schneider Angulon
f6.8 25 minutes
Fujichrome 50

The remains of the bow of the S.S. Faros, which sunk nearby in 1937.  All passengers and crew were saved.  The lighthouse keeper told me the ship originally sunk in the sea and the bow we see here washed up some years later on these rocks during another storm.

This is a twenty-minute exposure.  By the time I had finished it was dark and neither of us had brought a torch.  We had to gingerly pick our way back over the rocks.

Looking down Point Hicks stairwell to Keeper on pulley Arca-Swiss 5x4" monorail camera 17 July 1987 90mm Schneider Super Angulon Fujichrome 50

Looking down Point Hicks stairwell to Keeper on pulley
Arca-Swiss 5×4″ monorail camera
17 July 1987
90mm Schneider Super Angulon
Fujichrome 50

Finally, here is an exposure I took when I came back for the second time.  It took me quite some time to set up the view camera on my heavy Manfrotto 85B tripod, centred in the tower and with the tripod tied in place for good measure.  There was too much light coming in the window from the level just below us so the keeper hung a sheet over it.

You can see him down the bottom of the tower and his name is Chris Richter.  In the early days of the lighthouse, the light was rotated by a clockwork mechanism in turn powered by a weight that slowly dropped down the tower.  Every now and then the keepers had to wind the weight back up again from the lantern room, which may have kept them fit just doing that.  When the clockwork mechanism was converted to electric, a block and tackle was installed instead so the keepers could lift heavy weights up to the top, as we see here.

(Note of trivia:  With this post we’ve passed 100 lighthouse images and 2,000 images for the Blog).