Words — Aimee Ralfini
Photographer Olaf Petersen is unique in that he resided in Swanson for his entire life (1915-1994) and created a comprehensive photographic body of work documenting people, animals, and the surrounding land. With immigrant parents, his view is perhaps more observatory than most, offering a relatively detached eye. His singular lens perspective gives us insight into a developing West Auckland/Swanson community, the local landscape, and the relationship of the two. It’s not surprising this fascinating collection of work from such a condensed geo-location has recently been inscribed onto the UNESCO Memory of the World Aotearoa NZ National Register, in recognition of its significance for documentary heritage. Lucky for us Auckland Museum is exhibiting the photographer’s oeuvre for the first time in history – shining a light on Olaf Petersen’s insight, love, and regard for the natural world.
Sorting through a lifetime of photography is no easy task, we asked Curator Shaun Higgins for some insights around his curatorial process and what we can expect from the show.
Olaf Petersen. 1968. Usual Spot. Auckland Museum. © Olaf Petersen Estate.
For you personally what attracts you most about Petersen’s work?
I find Petersen’s photographs often offer an intersection of nature, art, and science. Many of his images were created on field trips with the Auckland University Field Club comprised of students and staff across the natural sciences. Closer in age to university professors on many of the trips, Petersen usually chose to be in the background, whether documenting the activities or deliberately seeking a composition. He was known for his patience in finding a shot. If the light was not right, he would simply wait until it was. As someone who grew up in West Auckland I am also attracted to the familiarity of places in many of his photographs. He shows how beautiful and varied these can be, especially his favourite places such as Te Henga.
You have described the photographers work as ‘mid-century modern’ – what are the key factors that define this style photographically?
Modernism at this time evokes notions of sharp detailed images and abstract forms amongst other things. It recognises, rather than hides the unique strengths of photography as a process both in the taking and the printing. The rich tones of black and white photography are particularly well suited to sand, a Petersen favourite.
Petersen said the subject was only a means to an end, and that what he aimed for was a certain mood. He uses light, tone and an understanding of the natural elements he photographs to realise a concept.
If you look at his photograph of sand formations at Lake Wainamu, titled Walkabout, he uses light and shadow and a specific camera angle to turn a dune into a series of towering pillars like an ancient forest. He then adds a human element in the form of children, and even their dog. Or look at the eerie feeling of isolation he creates in So Lonely, taken at Pouto and depicting a lonely oyster catcher walking a sunlit path through a seemingly endless expanse of wind swept sand.
What elements, photograph or series in the exhibition do you think will resonate most with the public and why?
I think Petersen’s sand photographs featuring children will create an emotional connection with visitors. His style of portraits in nature puts us in a fantasy world whether it be at the wheel or atop a giant tree root. Though his photographs are often landscapes with animals, he likes to personify them with titles such as Me & Pop, or I’m Late. Humans are usually in their element, sometimes literally in the rain or on the sand. Petersen’s own presence is rare, occasional in the deliberate form of a shadow looking down into his Rolleiflex held at waist level or mounted on a tripod. His titles are another form of presence, they convey his sense of humour. Many of his photographs were published in the Weekly News and N.Z. Herald, including those he took on field trips.
Olaf Petersen. 1952. I’m Late. Auckland Museum. © Olaf Petersen Estate.
What international well-known artists/photographers would you align Petersons work with in terms of art history and why?
Petersen was a member of several photographic societies and became friends with other members, some of whom would become well known names in New Zealand photography such as Frank Hofmann. But in terms of international photographers I would have to pick Ansel Adams. His style of landscape photography with rich tones and sharp detail and an interest in conservation. Around the mid century, Petersen had only just moved from amateur to professional and the work of contemporaries was likely to have been of interest. Where I find Petersen particularly interesting is his inclusion of a small element like a bird above Lake Manapouri in The Day’s End, or even a small human figure beneath a giant tree in Late Afternoon. This is not merely an aspect of scale, but a sometimes a provocation. Sometimes he celebrates the intersection of humanity and nature, sometimes quite the opposite. Go Home! places a piece of drift wood take at a low angle and resembling a taniwha in confrontation with another a small human figure. Perhaps a similarity with Adam’s conservation interest.
Nature Boy comprises of approximately 60 of Petersen’s original competition prints from the 1930s to 1980s, what was you selection process?
The Petersen photographic archive at the museum is comprised of his negative collection numbering in the thousands, his file prints also in the thousands and a more discrete collection of more than 400 competition prints. The exhibition was primarily selected from the competition prints, representing prints he carefully prepared for exhibit. Though the collection covers Petersen’s career, including his commercial work and documentary photography, both equally large bodies of work. As this exhibition focuses primarily on his nature photography the selection process was about trying to represent the elements and flora and fauna he photographed alongside his field club outings. An introductory section also shows some of his early work as he honed his style and points to his strong connection with his local community. Blending his passion for nature and his love of the camera, it is no wonder his friend Alan Warren called him, Nature Boy.
Olaf Petersen. 1968. Field Club Member. Auckland Museum. © Olaf Petersen Estate.
Olaf Petersen. Ca. 1970. Late Afternoon. Auckland Museum. © Olaf Petersen Estate.
Olaf Petersen. 1970. So Lonely. Auckland Museum. © Olaf Petersen Estate.
Petersen’s images capture fleeting moments in time, reminding viewers of the beauty and fragility of nature. He photographed the landscape around him for 50 years, from when he got his first camera aged 18 in 1933 until the 1980s. They evidence the changes that have taken place over the past 70 years and as such are significant historic documents, making Petersen arguably one of Aotearoa New Zealand’s most talented and understated nature photographers of the 20th century.
Nature Boy: The Photography of Olaf Petersen opens April 7th at Tāmaki Paenga Hira, Auckland War Memorial Museum.
To find out more visit: aucklandmuseum.com
