Virginia Cummins’ photographic work examines notions of belonging and connection to place. The idea of time is often skewed through her use of obscure vintage cameras from the 1950s and ‘60s — whose inherent lo-fi aesthetic seems to manifest the period of their production. This series of large-scale silver gelatin hand prints calls on the old-world landscape tradition of Romanticism and the quest for “the sublime”. Shot in remote areas of South Gippsland, they explore the positive power of nature and how our immersion in this world can move and change us. Technique is also key. To immerse oneself in the process of traditional photographic techniques, to capture the light of a landscape in a little tin box requires an attitude of meditation. It involves a slowing of the breath, a steadying of the heart and mind, and a synthesis with the natural world.