Camille Perry’s Where the Merri Meets Edgar’s Creek and To Make A Mends (2021) shares the anachronistic quality of Hirst’s video. In their sepia tones, the viewer could mistake these prints as late 19th or early 20th century in origin. At first, their monochrome veils the presentness of their subject, before enforcing its stubborn consistency: these images speak of detritus and waste accruing in waterways as both contemporary and historical scenes. For Perry, putting theory into praxis means working as a photographer in a way that makes the ecologically unsafe chemical developing and waste production of conventional analogue photography a footnote of the past. Hand developed and printed using a combination of coffee, vitamin C and washing soda, Perry documents these scenes before utilising her unique processing method to produce large-scale prints as well as film. Spurred on from her work within a large photography processing lab and having witnessed first hand the waste that it produces, Perry’s images both resolve a documentary image of current and damaging accretions in rivers and ecologies, but does so in a way that comments on their ubiquity while ensuring it does not contribute further to it in the process.