When we were living in Sturt St two blocks directly south of the Adelaide Central Market we shopped for our fruit and vegetables there, as well as for our groceries at the Coles supermarket.

I was glad when autumn came with its colours as I found the CBD drab and depressing.

When I was wandering the CBD around 2012-13 I noticed the absence of people compared to Sydney or Melbourne. There was a sense of emptiness.

In 2012 Adam Jan Dutkiewicz, myself and Fichte waked around and photographed the Cheetham Salt Fields at Dry Creek. These saltfields are an area of evaporation ponds stretching more than 30 km along the coast from Dry Creek to Middle Beach.

I am not an architectural photographer In the sense of celebrating buildings that are designed and created by architects as geniuses. My interests in architecture are as history in the sense of interpreting the built form to provide us with a sense of history of Adelaide as the modern industrial city.

A consumer capitalist culture has appropriated the figure of the flaneur as a mere consumer walking around gaping, merely windowshopping, rather than the Benjamin one producer of culture.

The figure of the flâneur can be adapted from the nineteenth century’s dandy figure in Paris to the wandering photographer in 20th century Adelaide through the concept of psychogeography.

I sometimes walked around the West Terrace Cemetery with the standard poodles on our afternoon walks.

I remembered that I had spent a lot of time walking the edgelands in, and around, the Port Adelaide precinct in the 1980s.

Walter Benjamin’s idea of the flâneur is a multivarinate figure that is linked to a rethinking of history, cultural memory, and the changing conditions and media of cultural and historical transmission under capital.

The poodlewalks were a form of drifting or meandering. Where we walked in the CBD was often dictated by the poodles wandering down alleyways and cul de sacs that I would normally pass by.