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michaels ‘Friday Interview Sessions’ PART 5 - Paul Jeffers: News, Features and Portrait Photographer

Welcome to Part 5 in the michaels Interview Sessions! Today’s interview shines a spotlight on Paul Jeffers, a photographer with a diverse and colourful photographic background.

Paul has worked in New York and London in recent years but is currently based in Melbourne. He is specialising in news and current affairs, multimedia features, corporate and portrait imagery. A highly accomplished photographer, Paul’s editorial work has appeared in publications such as The Times London, The Sun, The Guardian, The Sunday Age, The Wall Street Journal and The New York Times.

We get together to discuss his passion for photography and story telling, the importance of immersing oneself in the industry to both network and develop friendships, the impact of significant mentors in his journey, and tools Paul relies upon to get the job done.

Paul has provided us with images, displayed throughout the interview, where relevant to the assignments he is discussing. Enjoy!

Photo by Rajan Zaveri

Firstly Paul I’d like to thank you for taking some time out to answer some of our questions and have this talk today.

As I understand you actually started off photographing BMX riders for cycling magazines in Melbourne and only years later did you turn to social documentary photography and photojournalism. What changed your focus? Was it a matter of artistic ‘maturity’ or was there some defining moment?

Thanks Marc. I spent a lot of time photographing the boys on their bikes doing tricks at the local skate parks and bush trails. It became very repetitive and I realised that all the frames on the film I was shooting began to look the same. My focus tilted toward depicting the social interaction within the group, which revealed a more personal account into their daily life and activities. They couldn’t understand why I was more interested in taking pictures of them going about their day rather that doing a trick. Mind you, neither did I at the time.

I revisited the group years later when invited to photograph a party they were holding at a rental property in Ballarat. Subsequently, I returned a dozen or so times over the following six months to continue the story that eventually became Boys Backyard. The work had depth and purpose, which meant more to me.

Photographer: Paul Jeffers
Images: Selection from ‘Boys Backyard’ series

To celebrate a birthday in the group, the boys hired a surprise strip dancer to get the party started.

Lounging about while drinking a few beers in the backyard is usually how the weekend would begin.

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1 year ago 

The State of Privacy and Photography in the 21st Century

A few nights ago on SBS Insight (October 25th, 2011) a discussion took place around the very topical issue of protecting the privacy of the individual in public spaces.

The federal government is currently looking at whether to introduce legislation that will make it possible to sue someone for a serious invasion of one’s privacy. But this is a highly complex issue and drawing the proverbial line will surely prove extremely challenging.

Federal Privacy Commissioner Timothy Pilgrim asserts that the public is defining ‘privacy’ in much broader terms than the Privacy Act legislation currently recognises. Richard Gilbert, Chief Executive of the Rule of Law Institute of Australia suggests that privacy is not of increasing concern and that a statutory course of action for breaches of privacy would effectively limit free speech.

There is a vast array of scenarios involved here affecting different people, depending on the way they live and the public places they frequent. Such real-life examples include security cameras in private housing, facial recognition technology utilised in nightclubs to record and identify patrons, and cases of media intrusion. In addition to the multiplicity of issues, a further matter for debate is that ultimately what one person deems as harmless could cause great discomfort in others.

The discussion as it relates to photography in public involves everyone and we are likely to see a divide between photographers and the general public as we seek to find balance between ones complete and total ownership of their image and an artist’s right to self-expression…

READ the full article with images on the michaels website blog

1 year ago  7 notes

michaels ‘Friday Interview Sessions’ PART 4 - Charlie Payne: Commercial Photographer

Welcome to Week 4 in the michaels Interview Sessions! Today we talk to another Melbourne-based Photographer, Charlie Payne. Charlie is dedicated to his passion as he splits his time between working in Commercial photography shooting architecture, still life and fashion, and exploring his personal creative expression through portraiture, landscape and luminious photographic work.

Have no doubt we will be seeing much more from this young and talented up-and-coming photographer.

Profile Picture: Charlie Payne


Hi Charlie, thanks for taking the time for a quick interview with me. I see you recently exhibited at ‘The Grotto’ in South Yarra, and noticed more than a few red dots on the walls – I take it the exhibit was well received. Tell us a little about it. 

Hey Marc, my pleasure. Yeah, I had my first exhibition along with my friend, painter, Nick Modrzewski in August. Nick and I had been talking about having a collective show together, so at the beginning of the year we started organising one. I suppose we had a vision and just stuck to it. It took a lot of work to get it all together but we wanted to exhibit in our ‘own’ space so we found one and named it the Grotto; no idea why, and we wanted to run it our own way. We got some very much appreciated support from a number of people and Little Creatures certainly helped us a lot with making the opening an enjoyable experience.  

Somehow we had literally hundreds of people there for our opening night, which was a shock more than anything, but a good one at that. All in all Nick and I both did quite well for our first ‘solo’ exhibition, Nick sold pretty much everything and I did alright for myself too.

So you’re well on your way to becoming an established, professional, commercial and fashion photographer - But where and when did it all begin? What sparked your interest in photography? 

Still a long way to go yet. I have always had an interest in photography and liked using my dad’s cameras when I was younger but never really intended on becoming a photographer until I had to choose something to do. Photography is something that agrees with me in different ways. I like the way it allows you to capture time and do what you want with that moment. I also like how quick it can be, as an art, in that you can have an idea and create something in very little time, if you want to; but for that matter it can also take a very long time too I guess, to evolve from idea to image but that is just another plus.

How did you develop your skills as a photographer? Have you had much in the way of formal training or are you largely self-taught? 

I went to photography school, that is the best way to learn how to use a camera and lights, but I think it is up to the individual to learn how to actually take a photograph. You have to develop your eye and learn to use your tools just by using them, taking something from everything you do. Some of the biggest lessons come from the photos you take that are crap, you just have to be able to realise that they are crap. It is also important to keep evolving your photographic eye, to look at other photographers and creative areas and even work with other photographers. Skills come with experience and I still have a lot to learn.

I’m sure you have had extensive interaction with other photographers over the years - what is the best advice you have received from another artist in the industry?

I think the best thing I have been told is to be open minded as far as what I choose to photograph and not to label myself as one particular type of photographer; I think that is important. You learn from all different photographic genres and can apply what is learnt across the board.

It may be hard to put into a short response but I’m interested to know what you love the most about your job? 

It rarely feels like a job, that’s certainly a big benefit. I think I like the ability to be creative and (sometimes) get paid for it.


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1 year ago  1 note

michaels ‘Friday Interview Sessions’ PART 3 - William Watt: Street Photographer

Welcome to Part 3 in the michaels Interview Sessions. Today we are speaking with Melbourne street photographer, designer and entrepreneur, William Watt. Will is certainly no stranger to us at michaels but it his diverse range of photographic and artistic activities which compelled us to engage Will for a more intimate conversation. Here’s how it went down…

Profile Picture (William Watt)

(Q1) Hi Will Thanks for being part of the michaels Interview Sessions for 2011. Great to have a chat with someone who is obviously passionate about both photography and our wonderful city of Melbourne.

No worries, michaels has been a great help with my recent exhibition and I’ve really enjoyed working with you guys.

(Q2) Lets start at the start. When did your love affair with photography begin? What sparked your interest and how long have you been working as a professional/artistic photographer? 

My grandfather was an esteemed doctor, world traveler and passionate photographer - I missed out on the smarts but I think the other two traits have been handed down. Gramps entered (and won) a lot of competitions at the local camera club, and we always got a preview of the slideshow entries at family get-togethers. I was bored sometimes, but I think looking at so many of his shots early in life sparked an interest.

Mum & Dad had a Polaroid when I was little, which was the first camera I used, and a pretty easy way to get hooked. There were SLR’s in the house growing up which I remember playing with but with pretty poor results.

When I bought my first digital camera (a 3.1 megapixel sony cybershot that cost over $3000) I became obsessed. That obsession grew again with my first DSLR about 5 years ago, and again after buying a 1950’s Rolleiflex to play with.

(Q3) How have you developed your skills and craft over time? Have you engaged in any formal training, learned from peers and photographic communities you are involved in or are you predominantly self-taught? 

I’ve done a couple of short courses, but mostly I am self-taught. Commuting by bike means I can stop and shoot whenever something pops up and I think shooting on the street is great way to learn the craft, get an eye for light and improve your timing and skills.

Flickr was certainly a factor in it becoming more than a hobby. I realise now that it isn’t a great measure of quality, but when you are starting out a bit of encouragement goes a long way. I would look at photographs from around the world long into the night and the photographers I started following showed me you could photograph ANYTHING. There were really no constraints, so I hit the streets.

I met Dave Carswell after I bought a lovely print of his and he has been a great help in teaching me the ropes of film photography. The photographers I have watched and met through online communities have been great and are constantly inspiring. Melbourne is one of the best cities in the world for photography and I think we make the most of it.

(Q4) Well it’s fantastic you have had that form of mentorship and support. What would you say is the best advice you have received from another photographer over the years? Is there any one suggestion or piece of information that stands out as forever practical and useful? 

Two quotes stand out for me;

“Sharpness is a bourgeois concept.” – Henri Cartier-Bresson.

“To me, photography is an art of observation. It’s about finding something interesting in an ordinary place… I’ve found it has little to do with the things you see and everything to do with the way you see them.” - Elliott Erwitt

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1 year ago  1 note

michaels ‘Friday Interview Sessions’ PART 2 - Tom Goldner: Documentary Photographer

Welcome to Part 2 in the michaels Interview Sessions. Today we are speaking with Melbourne based Portrait and Documentary Photographer Tom Goldner. Tom is an award-winning photographer who developed his skills in many areas within the photographic profession, but has found a true passion in Documentary Photography and Photojournalism. 

After achieving a head photographer position with one of Melbourne’s leading portrait studios and being regularly contracted to photograph at events in South East Asia over the past few years, Tom has since become affiliated with YGAP and is using his photographic ability to raise awareness and fund raise for anti-trafficking work in Ghana.

Tom developed and is leading the ‘Photo For Freedom’ project, which he explains in our discussion, and hopes this inaugural project will become his life’s work. In 2011 Tom was announced as Runner up for the APPA Documentary Photographer of the year.

Profile Picture: Tom Goldner


Great to have you with us Tom. We appreciate you taking some time out to talk about what is happening in your world – which I imagine is keeping you very busy.

Hey Marc, thanks for your kind words and for taking an interest in my project. Michaels have been a fantastic help, I am so thankful for your support.

So tell us when your passion for photography developed? Was it something you were around growing up or was there some experience you had which produced a kind of moment of ‘knowing.’

My passion for photography is difficult to pinpoint. It certainly wasn’t a moment of knowing. My motivations for picking up the camera are constantly changing and evolving. 

I have always been a visual person and as a result, art has always been a part of my life. Both my parents love their art and my mother gave me a great introduction to the subject. She encouraged me at a young age to develop my own work; she also exposed me to the work of many other artists.

At school I was a terrible student. As far back as I can remember I struggled with most subjects. Art and sport were the only things that held my interest. In year 11 & 12 I took up a photography class and fell in love with the traditional process. There is something special about old cameras, film and hand developing that I still find captivating. After I finished high school I enrolled in a three-year photography course. Back then I was desperate to become a successful commercial photographer.

I now find myself with very different motives; my skills have matured and I have different values. I am no longer satisfied with creating beautiful images; I wanted my work to amount to more. Only after I started ‘Photo For Freedom’ did my photography and life goals find the same direction. I couldn’t be happier with where I am as a photographer.


Tell us a little about what you do in the photographic community?

My role in the photographic community is not a huge priority for me. I do however have a great network of photographer friends who are a never-ending source of inspiration. My main purpose these days is to connect and move people from all walks of life regarding the topic of modern day slavery and if these people are in the photographic community that’s a bonus. Recently I have entered many competitions and grants; as a result I have recently become more active within the community.

The Photo For Freedom project, which you are spearheading, sounds like a fantastic initiative - Can you give our readers an overview?

Photo For Freedom is a long term awareness campaign and fundraiser focused on modern day slavery. Although slavery is a topic commonly viewed as a tragic past, it’s a bigger problem now then ever before. There is an estimated 27 million slaves in the world today, more than any other time in human history.

Through the exhibition, book publication, blog, and social media channels I hope to reach, connect and inspire people to raise funds and awareness; and play my part in abolishing slavery. Volta is the inaugural Photo For Freedom project.

Photo For Freedom-Volta is designed to focus attention on child slavery in the African country of Ghana. I have been conducting an ongoing photographic study of daily life and work around the remote Lake Volta region where children as young as three years old are sold by their families to work in the fishing communities. This form of child labour is modern day slavery. Working as bonded labourers, these children are forced to work up to 14 hours a day either on the lake or as domestic servants.

The children live in deplorable conditions, are barely fed and are subject to both physical and physiological abuse. They are outcasts in the fishing communities and have no access to education. As a result of such conditions, these children are highly traumatised and often suffer from stunted growth and water-borne illnesses from lake parasites.

In 2012 my images will be displayed during a photographic exhibition housed at the Y Generation Against Poverty (YGAP) headquarters in central St Kilda. Through sale of Photographic prints and the Photo For Freedom book we plan to raise public awareness of child slavery and funds to contribute to the anti-trafficking work in Ghana. YGAP will use the proceeds from this project to continue combating child slavery in Ghana.

My project partner, YGAP, is a non-for-profit volunteer organisation aiming to create tangible social change, both locally and abroad. Our primary purpose is to empower communities disadvantaged by poverty to be self-sustainable. To achieve this, YGAP aims to inspire volunteers through innovative and creative fundraising projects like ‘Photo For Freedom.’

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1 year ago 

michaels ‘Friday Interview Sessions’ PART 1 - Emily Abay: Fashion Photographer

Welcome to Part 1 in the michaels Interview Series. Today we are speaking with Melbourne and Sydney based Commercial Fashion Photographer, Emily Abay. We have asked for some of Emily’s favourite shots from her portfolio, and have sprinkled them in and amongst the interview… Enjoy!

Profile Picture: Emily Abay

(Q1) Hi Emily, thanks for chatting with us; I know you’re a very busy lady, being a noted fashion photographer and all. If you don’t mind me diving right in, we know you are an established and professional fashion photographer now - but where and when did it all begin? What sparked your interest in photography?

I know lots of photographers would say this, but I literally did grow up with it. My mother is an old school photographer, which nowadays means she worked on film! So I grew up in the darkroom and learning about light. My mum used to make me hold reflectors for her when I was very little and the reflectors were always taller than me! It was quite a funny sight.

(Q2) How did you develop your skills as a photographer? Have you had formal training, are you largely self-taught, or have you had some form of mentoring from other industry professionals? 

I like to think that I’m still learning but I developed my love and skills mostly from my mother. I used to do child modelling so I was always around creative people and it just seemed natural that I would fall into something where I get to use my hands and imagination.

(Q3) Having been in the industry for some time now, what would you say is the best photography advice you have received from another industry professional?

Never stop testing! I don’t care how old or experienced or busy you are. You need to always keep testing, keep refreshing and keep reminding yourself of why you chose to become a photographer. Some of my favourite photos are ones where I have just had an hour mucking around with a model friend.

(Q4) I understand you have had the opportunity to work as a fashion photographer overseas; tell us a little about that experience.

That was a wonderful experience… it’s hard to expand on that without filling pages. But I was very lucky to have worked in New York this year. I worked with some stunning models and had a really great response from the agencies. They were happy to help me and let me do what I wanted with the shoot. It was just great to be inspired again in another city.

(Q5) When you are approached for a fashion shoot how involved are you in the creative process? Does the client typically have a solid grasp of the ‘vision’ of the shoot or is it a responsibility of yours to create a scene to reflect the collection you are presented with?

It’s a mix really. Clients come to me for my vision and my skill (I hope hehe), so when they contact me, they generally have it in mind that I’ll be coming up with the concepts and then we’ll workshop them together to achieve their goal. It’s hard work and very time consuming putting together mood boards and finding inspiration so it’s important to have pre-production meetings and try to get as much information as possible from the client as to what kind of things they like. 

 

(Q6) Following that, what do you see as most important to your style of photography? Technique vs creative, if you wouldn’t mind weighing in on the debate!

That’s like asking a motorhead if the engine or the look of the car is more important! They go hand in hand. BUT if I had to choose I say creative. I know a lot of “technical” photographers and I don’t remember their work the minute I turn my head away from the image. I think some of the most beautiful photos I’ve seen in my life have just been lit with natural light. It’s about “seeing” it’s not about being technical.

(Q7) Do you have a favourite shoot – What was special about it?

At the moment my favourite shoot is the one I shot in St.Marks Place which is where I lived in New York. It’s with my good friend Christina @ Chic Management. We just wandered the streets taking candid shots and had a great time. I’ve been shooting with Christina since I started photography so it was great to be able to do that together and have some giggles at the same time.

(Q8) What do you love the most about your job?

Tough question. I love the magic. You don’t see the magic very often, but once in a while you’ll come across an amazing model who is literally like magic in front of your camera and you literally cannot stop shooting her. Every angle is incredible and it just makes the shoot so much more wonderful. I’ve seen magic only a couple of times in my career, but when you do it’s like the most incredible dance in front of your lens.

 

(Q9) Time for ‘What’s in your bag!’ We love asking photog’s what their tools are and why. What is the camera gear and software of choice for your workflow?

I use the Canon 5D Mark II and the EF 85mm f1.2 LII most of the time. I mostly just use natural light so lots of reflectors and scrims.

(Q10) From your personal experience, what advice could you offer to individuals interested in pursuing a career in fashion photography? What does it take to be a fantastic fashion photographer?

It’s a lot of saying YES. I work really hard and I don’t get a lot of time off. I think it’s important to keep updating your folio all the time and submitting work to magazines. Also try to find a great team to work with, a make up artist and a stylist should be your best friends. Also have the guts to call the modelling agencies rather than just using model mayhem. Some agencies are happy to let you test with their new models which means that you get to establish your relationship with the agencies and work with a decent model.

 

(Q11) We know you have a website under your name at www.emilyabay.com, are there any other sites you participate in, ie. Facebook, Flickr and so on… where else can we find you on-line?

Facebook! It’s fantastic. I get a lot of enquiries on facebook so use that as a marketing tool.

(Q12) We would love to know what you have on the horizon? Any exciting projects coming up – anything we should keep our eyes peeled for?

Mmmm I have a few magazines coming out… I’ll be in Karen towards the end of the year and I’ll be featured on the cover of a new magazine called WDC, out at the end of this month. I also have a few campaigns coming up soon, but I can’t say what they are yet. I can say that one of the shoots will be taking me to the Pinnacles in Perth so I’m excited for that.

(13) Lastly, and we’re going to ask you to get creative here… If you weren’t a photographer – what would you be? You can take an original photo, link to an existing image or video, draw a picture, anything you like so long as it’s visual!

That’s a tough one but I think I would be doing this:

 

We will be running this interview series over a number of weeks, releasing one photographer profile each Friday! Keep updated by JOINING THE CONVERSATION on:

“Since graduating from RMIT, Emily has been freelancing and making her mark on the industry. Her raw and uniquely feminine style has graced the pages of popular commercial magazines, including Vogue Australia, Cleo and Culture Magazine.” More about Emily at her website www.emilyabay.com.

1 year ago  10 notes

Is it the Photographer or the Camera: A Question of Skill v Technology

If you click on the title you will be taken to an article written by Steve Huff at stevehuffphoto.com. The piece attempts to frame the argument of whether quality photos possessing a true ‘wow’ factor are attributable to the photographer or the equipment in their possession.

When reading through it you will notice two obvious issues, pointed out numerous times in comments left by readers

(1) There is a questionable push for specific products in this post, and

(2) The method used to make his assertion is not exactly ‘fair’ as the two images below were used to portray the equipment as being most important (when composition of the images, among other elements, is an obvious differentiator here)

Photo 1: Shot with Sony NEX-5


Photo 2: Shot with Leica M9

Nevertheless, the question is valid and often debated, so we put it to you again:

‘Is it the photographer or the camera?’ - Care to weigh in on the debate, let us know what you think?

FYI - We clearly believe it to be combination of equipment and skill, which is why we offer complimentary camera courses with every camera purchase from michaels!

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1 year ago  2 notes

IN FOCUS: Shining a Spotlight on Local Photographic Talent

The following photographers are exhibiting at the 2011 Ballarat International Foto Biennale. As friends of michaels Camera Video Digital, we are proud to be associated with such passionate and dynamic photographic artists. We asked them to tell us a little about themselves and their work - here’s what they had to say…

P A M  K L E E M A N

pam@kleemann.id.au

I’m a photographer and conceptual artist with a career spanning more than 30 years. My photo-media installations explore issues relating to colonialism, consumerism and commodification. I feel that our humanity – the qualities that make us truly human like kindness, compassion, humility and genuine warmth and affection – is increasingly devalued. I also document live music and theatre, am rehearsal photographer for the Melbourne Theatre Company, teach Photography to writing students as part of the Professional Writing & Editing Course at Victoria University (St Albans) and mentor emerging photographers and photography students.

ABOUT YOUR EXHIBITION:

Skinned takes the form of an elegant dinner party table setting, with images of skin as placemats and coasters and bone cutlery as the tools for consumption. Kleemann’s comical MarTiTis are served, and her Bare Essentials bags and accessories accompany the setting, indicating the presence and absence of the diners. Whilst researching for my MA, I was alerted to the concept of colonisation being akin to the colonisers eating off the backs of the colonised, and this is the underlying premise of Skinned. This provocative exhibition is sure to challenge, inspire and delight.http://kleemann.id.au/

EQUIPMENT OF CHOICE:

Canon – because that’s what I started with, and I went with the Canon system when I embraced digital photography, because I’m able to use the film camera lenses on the digital cameras.

ANALOGUE Vs DIGITAL:

A combination of both was used for the Skinned exhibition. I tend to use whatever is going to work best for the project I’m working on.

WHAT YOU LOVE MOST ABOUT PHOTOGRAPHY:

The photographic image is my brush – how I create the canvas is what excites me about photography… how I can use the photographic image to convey a heightened emotional experience and offer layers of meaning and interpretation.

FUTURE PLANS:

Too many to mention! I’m never short of an idea. I am regularly short on the financial resources with which to implement the ideas however! My next project is a series of portraits of African women wearing the colourful head-wrap, with their country of origin featured as a medallion or object of adornment. It will celebrate their identity, their culture and their eternal optimism and hope. The images will pay tribute to the Malian photographer, Seydou Keita, who’s work I find inspirational.

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K O N R A D  W I N K L E R

winkler5@optusnet.com.au

Like many photographers, I started as a painter and sculptor. My brother Henry showed me how to take photos and work in the darkroom, and I fell in love with photography. I’ve been at it on and off ever since.

ABOUT YOUR EXHIBITION:

A series of small black and white prints, mounted and lying on tables so you have to go close to see them properly. And given the nature of the images it can be embarrassing perhaps because some of the images are very explicit. The photos are of that small world of love, intimacy and sex that we normally keep to ourselves. I’ve tried to recover the intensity of feeling that makes our partner’s body the centre of the universe whilst we are in the grip of passion (sex). Afterwards, it may all seem rather strange (like some of the photos) and we go on with other things.

Because the show contains some very explicit material, it is not recommended for children, although my 89 year old mother in law had a good look and survived the experience. For a review check out Culture Mulcher at http://blogs.crikey.com.au/culture-mulcher/ and scroll down to 21 August.

EQUIPMENT OF CHOICE:

A Leica M5 that I have had for 40 years. Totally indestructible and only 3 batteries in all that time. I use that for colour. A Leica M6 with a close up 50mm lens that I really like. OK but not as tough, and I’m really rough on equipment. A Mamiya 7 (6x7) I bought this to make me think more about each photo before I take it, and for the good big negs.

ANALOGUE Vs DIGITAL:

Analogue for the look and archival quality of negs over digital storage. And because I think digital too quickly becomes an editing rather than a composing operation because it is too easy to snap away. For me anyway.

Digital for big archival prints. I’m too dumb to use computers to their full potential, so I need Tim from the dungeon at Michaels and other friends to help me.

WHAT YOU LOVE MOST ABOUT PHOTOGRAPHY:

It’s sort of dumb, but in some ways honest rendition of reality. And the tradition of photography as photography, before photographers started calling themselves artists as if photography was not good enough. The best photographers are of course artists, I think.

FUTURE PLANS:

I’m working on a project about the changes way out in the western suburbs where paddocks become factories, housing estates, prisons and massive flyovers that feed the traffic away from the city to the land of new dreams and aspirations, for those that can’t afford the city. Four of these photos are currently in a show at Tarrawarra Museum of Art called Boundary Line. http://twma.com.au/exhibitions/event/boundary-line/

I also have seven photos in a show at The Dax Centre called Melancholia. They are large colour photos of my mother in law looking very very sad after her husband died a number of years ago. This show will be touring to Wodonga later in the year. http://www.daxcentre.org/current-exhibitions

I also want to do a series about how crap it is getting old, but I don’t know yet how I’ll do it. I think I’ll call it Affliction. I want to show the look of pain in old people’s faces that young people (luckily) don’t even know exists.

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K A T E  G O L D I N G

kate@kategolding.com.au

Kate Golding is a Melbourne-based photo media artist with a background in theatre and education. Her artistic practice is concerned predominantly with the representation of people and landscape. A former high school teacher, she has taught in Australia, Japan and the U.K.

Kate recently returned to study, completing a Bachelor of Arts majoring in Documentary Photography at RMIT. In addition to her artistic practice, Kate facilitates photography workshops in association with several community-based organisations in Melbourne.

ABOUT YOUR EXHIBITION:

INKED: The ‘Inked’ photographic series was created as a response to the space in which it is exhibited; a combined tattoo studio and gallery in Ballarat. Earlier this year, photographer Kate Golding was fortunate to meet the talented artist Kit Ratcliffe who owns, operates and creates within Iron Flamingo. The opportunity arose for the two to work together in creating a portrait series including current and past clients of Kit. The images were all shot in a disused space above Iron Flamingo, making use of available light in most cases. Wherever possible the photographer and sitter collaborated in choosing the pose and the final image that represents the sitter in the exhibition.

EQUIPMENT OF CHOICE:

Canon 5D Mark II. 24mm & 50mm primes. Why? Image quality.

ANALOGUE Vs DIGITAL:

Both

WHAT YOU LOVE MOST ABOUT PHOTOGRAPHY:

Finding beauty in all things.

FUTURE PLANS:

‘Meditations’ exhibition at Off The Kerb Gallery 66B Johnston St Collingwood

16 Sept – 7 Oct, Opening night 16 Sept 6-9pm

http://www.melbournefringe.com.au/fringe-festival/show/meditations

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M I C H A E L  C A R E W

michael.carew@gmail.com


Photographer, painter & all round troublemaker

ABOUT YOUR EXHBITION:

As part of the Melbourne Silver Mine (www.silvermine.org.au) I’m exhibiting in two shows; “Sets” where each photographer displays a thematic selection of their photography and “Just Don’t Call It Street” that is obviously not a collection of street photography!


EQUIPMENT OF CHOICE:

I use everything from point & shoot to a full view camera, digital, polaroid, 35mm & medium format. For me the diversity of tools is as interesting as the diversity of photographic opportunities.

ANALOGUE Vs DIGITAL:

I utilise both, as I feel that both have their own role to play

WHAT YOU LOVE MOST ABOUT PHOTOGRAPHY:

Those rare shots that really convey “the moment”.

FUTURE PLANS:

Contemplating an exhibition of Polaroid/Instant photos.

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C A R L Y  M I C H A E L


Carly Michael is a documentary photographer based in Melbourne, Australia.

She graduated from RMIT University in 2010 with a bachelor’s degree in commercial photography, majoring in documentary photography/photojournalism.

Passionate about nature and man’s place within its landscape, Carly’s work tends to explore this dynamic relationship. She is driven by the desire to simply observe; to record the world as it is.

ABOUT YOUR EXHIBITION:

“Planet earth is our home .It is where we all live. It lovingly provides us with our needs, yet we take it for granted. We use it, we abuse it, and we do not tend to give much back. Mother Nature functions in a very delicate balance and if we upset this balance by continuing not to acknowledge, honour or value all that she provides for us, we will surely face the consequences. Earth is our home.

It is what we all have in common. It is our collective responsibility to understand and conceptualise the four elements as it is through their interaction that life on earth can continue to exist.” – the four elements series, 2010 

Without the interaction of the elements – earth, air, fire and water – life on Planet Earth could not exist.  The four elements are the life force on which both man and nature depend for their survival.  This exhibition will focus on the element of air, exploring the theme of spirituality set against the backdrop of the Central Australian landscape.

EQUIPMENT OF CHOICE:

I use a Canon 5D with a 24-105mm lens. I love that it has a full-frame sensor which gives me the most value out of my lens.

ANALOGUE Vs DIGITAL:

Digital – I like the immediacy – but I tend not to make any adjustments to my work

WHAT YOU LOVE MOST ABOUT PHOTOGRAPHY:

I love that photography is all about light.

FUTURE PLANS:

I will be traveling abroad in a few weeks time to focus on my next project, ‘The Fifth Element’, which will compliment my previous series, ‘the four elements’. I have also been very fortunate to have been invited to continue exhibiting the AIR exhibition as part of the Ballarat International Foto Bienalle as a permanent collection until I return at the end of 2012. I will be posting regularly on my website www.carlymichael.com.au

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michaels Camera Video Digital proudly supports local photographers through its professional film processing and development as well as large format and fine art printing services. Contact Tim (03) 9672 2351, our resident printing expert, when preparing for your next exhibition, or see our online printing services here… we can help! 

1 year ago  3 notes

rowtaylor: this is tim ainsworth his the printer at Michael’s camera store. absolute legend and certainly knows his stuff. his been a big help with my exhibition. id highly recommend printing there 

rowtaylor:

this is tim ainsworth

his the printer at Michael’s camera store. absolute legend and certainly knows his stuff. his been a big help with my exhibition. id highly recommend printing there 

1 year ago  32 notes View high resolution

Tips - Ways to instantly improve your flash photography

As you learn more about photography, you may find yourself using your inbuilt flash less and less to avoid unwanted side effects such as red-eye, overexposed ‘rabbit in the headlights’ photographs and generally harsh and unflattering light. But if you learn a few basic tips you can harness the light to work to your advantage and improve your photos. An external flash unit and/or light modifying tools can also be a worthy investment to allow you to take your photography to a whole new level.

If you are shooting with a compact camera or the in-built flash on your DSLR, the cheapest and quickest way to improve your flash photography is by making adjustments to the flash compensation. The closer you are to your subject, typically the more you will need to dial down your flash output. On compact cameras this will usually be found in the menu options, whilst DSLRs generally have a dedicated flash button that you hold down whilst rotating the dial. Start with -0.3 or -0.7 and work from there, subtracting more flash output if necessary. Try to balance the ambient light with the flash to avoid black backgrounds. You can do this by setting a slower shutter speed (around 1/30) to enable enough time for the camera’s sensor to record the ambient light. If your compact camera does not allow you to adjust the flash compensation, a similar effect can be achieved by setting your camera to ‘Night Portrait’, ‘Party’ or ‘Slow Sync Flash’ mode.

To read the full article, click here.


(Source: michaels.com.au)

1 year ago  2 notes

michaels ‘Friday Interview Sessions’ PART 5 - Paul Jeffers: News, Features and Portrait Photographer

Welcome to Part 5 in the michaels Interview Sessions! Today’s interview shines a spotlight on Paul Jeffers, a photographer with a diverse and colourful photographic background.

Paul has worked in New York and London in recent years but is currently based in Melbourne. He is specialising in news and current affairs, multimedia features, corporate and portrait imagery. A highly accomplished photographer, Paul’s editorial work has appeared in publications such as The Times London, The Sun, The Guardian, The Sunday Age, The Wall Street Journal and The New York Times.

We get together to discuss his passion for photography and story telling, the importance of immersing oneself in the industry to both network and develop friendships, the impact of significant mentors in his journey, and tools Paul relies upon to get the job done.

Paul has provided us with images, displayed throughout the interview, where relevant to the assignments he is discussing. Enjoy!

Photo by Rajan Zaveri

Firstly Paul I’d like to thank you for taking some time out to answer some of our questions and have this talk today.

As I understand you actually started off photographing BMX riders for cycling magazines in Melbourne and only years later did you turn to social documentary photography and photojournalism. What changed your focus? Was it a matter of artistic ‘maturity’ or was there some defining moment?

Thanks Marc. I spent a lot of time photographing the boys on their bikes doing tricks at the local skate parks and bush trails. It became very repetitive and I realised that all the frames on the film I was shooting began to look the same. My focus tilted toward depicting the social interaction within the group, which revealed a more personal account into their daily life and activities. They couldn’t understand why I was more interested in taking pictures of them going about their day rather that doing a trick. Mind you, neither did I at the time.

I revisited the group years later when invited to photograph a party they were holding at a rental property in Ballarat. Subsequently, I returned a dozen or so times over the following six months to continue the story that eventually became Boys Backyard. The work had depth and purpose, which meant more to me.

Photographer: Paul Jeffers
Images: Selection from ‘Boys Backyard’ series

To celebrate a birthday in the group, the boys hired a surprise strip dancer to get the party started.

Lounging about while drinking a few beers in the backyard is usually how the weekend would begin.

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The State of Privacy and Photography in the 21st Century

A few nights ago on SBS Insight (October 25th, 2011) a discussion took place around the very topical issue of protecting the privacy of the individual in public spaces.

The federal government is currently looking at whether to introduce legislation that will make it possible to sue someone for a serious invasion of one’s privacy. But this is a highly complex issue and drawing the proverbial line will surely prove extremely challenging.

Federal Privacy Commissioner Timothy Pilgrim asserts that the public is defining ‘privacy’ in much broader terms than the Privacy Act legislation currently recognises. Richard Gilbert, Chief Executive of the Rule of Law Institute of Australia suggests that privacy is not of increasing concern and that a statutory course of action for breaches of privacy would effectively limit free speech.

There is a vast array of scenarios involved here affecting different people, depending on the way they live and the public places they frequent. Such real-life examples include security cameras in private housing, facial recognition technology utilised in nightclubs to record and identify patrons, and cases of media intrusion. In addition to the multiplicity of issues, a further matter for debate is that ultimately what one person deems as harmless could cause great discomfort in others.

The discussion as it relates to photography in public involves everyone and we are likely to see a divide between photographers and the general public as we seek to find balance between ones complete and total ownership of their image and an artist’s right to self-expression…

READ the full article with images on the michaels website blog

michaels ‘Friday Interview Sessions’ PART 4 - Charlie Payne: Commercial Photographer

Welcome to Week 4 in the michaels Interview Sessions! Today we talk to another Melbourne-based Photographer, Charlie Payne. Charlie is dedicated to his passion as he splits his time between working in Commercial photography shooting architecture, still life and fashion, and exploring his personal creative expression through portraiture, landscape and luminious photographic work.

Have no doubt we will be seeing much more from this young and talented up-and-coming photographer.

Profile Picture: Charlie Payne


Hi Charlie, thanks for taking the time for a quick interview with me. I see you recently exhibited at ‘The Grotto’ in South Yarra, and noticed more than a few red dots on the walls – I take it the exhibit was well received. Tell us a little about it. 

Hey Marc, my pleasure. Yeah, I had my first exhibition along with my friend, painter, Nick Modrzewski in August. Nick and I had been talking about having a collective show together, so at the beginning of the year we started organising one. I suppose we had a vision and just stuck to it. It took a lot of work to get it all together but we wanted to exhibit in our ‘own’ space so we found one and named it the Grotto; no idea why, and we wanted to run it our own way. We got some very much appreciated support from a number of people and Little Creatures certainly helped us a lot with making the opening an enjoyable experience.  

Somehow we had literally hundreds of people there for our opening night, which was a shock more than anything, but a good one at that. All in all Nick and I both did quite well for our first ‘solo’ exhibition, Nick sold pretty much everything and I did alright for myself too.

So you’re well on your way to becoming an established, professional, commercial and fashion photographer - But where and when did it all begin? What sparked your interest in photography? 

Still a long way to go yet. I have always had an interest in photography and liked using my dad’s cameras when I was younger but never really intended on becoming a photographer until I had to choose something to do. Photography is something that agrees with me in different ways. I like the way it allows you to capture time and do what you want with that moment. I also like how quick it can be, as an art, in that you can have an idea and create something in very little time, if you want to; but for that matter it can also take a very long time too I guess, to evolve from idea to image but that is just another plus.

How did you develop your skills as a photographer? Have you had much in the way of formal training or are you largely self-taught? 

I went to photography school, that is the best way to learn how to use a camera and lights, but I think it is up to the individual to learn how to actually take a photograph. You have to develop your eye and learn to use your tools just by using them, taking something from everything you do. Some of the biggest lessons come from the photos you take that are crap, you just have to be able to realise that they are crap. It is also important to keep evolving your photographic eye, to look at other photographers and creative areas and even work with other photographers. Skills come with experience and I still have a lot to learn.

I’m sure you have had extensive interaction with other photographers over the years - what is the best advice you have received from another artist in the industry?

I think the best thing I have been told is to be open minded as far as what I choose to photograph and not to label myself as one particular type of photographer; I think that is important. You learn from all different photographic genres and can apply what is learnt across the board.

It may be hard to put into a short response but I’m interested to know what you love the most about your job? 

It rarely feels like a job, that’s certainly a big benefit. I think I like the ability to be creative and (sometimes) get paid for it.


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michaels ‘Friday Interview Sessions’ PART 3 - William Watt: Street Photographer

Welcome to Part 3 in the michaels Interview Sessions. Today we are speaking with Melbourne street photographer, designer and entrepreneur, William Watt. Will is certainly no stranger to us at michaels but it his diverse range of photographic and artistic activities which compelled us to engage Will for a more intimate conversation. Here’s how it went down…

Profile Picture (William Watt)

(Q1) Hi Will Thanks for being part of the michaels Interview Sessions for 2011. Great to have a chat with someone who is obviously passionate about both photography and our wonderful city of Melbourne.

No worries, michaels has been a great help with my recent exhibition and I’ve really enjoyed working with you guys.

(Q2) Lets start at the start. When did your love affair with photography begin? What sparked your interest and how long have you been working as a professional/artistic photographer? 

My grandfather was an esteemed doctor, world traveler and passionate photographer - I missed out on the smarts but I think the other two traits have been handed down. Gramps entered (and won) a lot of competitions at the local camera club, and we always got a preview of the slideshow entries at family get-togethers. I was bored sometimes, but I think looking at so many of his shots early in life sparked an interest.

Mum & Dad had a Polaroid when I was little, which was the first camera I used, and a pretty easy way to get hooked. There were SLR’s in the house growing up which I remember playing with but with pretty poor results.

When I bought my first digital camera (a 3.1 megapixel sony cybershot that cost over $3000) I became obsessed. That obsession grew again with my first DSLR about 5 years ago, and again after buying a 1950’s Rolleiflex to play with.

(Q3) How have you developed your skills and craft over time? Have you engaged in any formal training, learned from peers and photographic communities you are involved in or are you predominantly self-taught? 

I’ve done a couple of short courses, but mostly I am self-taught. Commuting by bike means I can stop and shoot whenever something pops up and I think shooting on the street is great way to learn the craft, get an eye for light and improve your timing and skills.

Flickr was certainly a factor in it becoming more than a hobby. I realise now that it isn’t a great measure of quality, but when you are starting out a bit of encouragement goes a long way. I would look at photographs from around the world long into the night and the photographers I started following showed me you could photograph ANYTHING. There were really no constraints, so I hit the streets.

I met Dave Carswell after I bought a lovely print of his and he has been a great help in teaching me the ropes of film photography. The photographers I have watched and met through online communities have been great and are constantly inspiring. Melbourne is one of the best cities in the world for photography and I think we make the most of it.

(Q4) Well it’s fantastic you have had that form of mentorship and support. What would you say is the best advice you have received from another photographer over the years? Is there any one suggestion or piece of information that stands out as forever practical and useful? 

Two quotes stand out for me;

“Sharpness is a bourgeois concept.” – Henri Cartier-Bresson.

“To me, photography is an art of observation. It’s about finding something interesting in an ordinary place… I’ve found it has little to do with the things you see and everything to do with the way you see them.” - Elliott Erwitt

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michaels ‘Friday Interview Sessions’ PART 2 - Tom Goldner: Documentary Photographer

Welcome to Part 2 in the michaels Interview Sessions. Today we are speaking with Melbourne based Portrait and Documentary Photographer Tom Goldner. Tom is an award-winning photographer who developed his skills in many areas within the photographic profession, but has found a true passion in Documentary Photography and Photojournalism. 

After achieving a head photographer position with one of Melbourne’s leading portrait studios and being regularly contracted to photograph at events in South East Asia over the past few years, Tom has since become affiliated with YGAP and is using his photographic ability to raise awareness and fund raise for anti-trafficking work in Ghana.

Tom developed and is leading the ‘Photo For Freedom’ project, which he explains in our discussion, and hopes this inaugural project will become his life’s work. In 2011 Tom was announced as Runner up for the APPA Documentary Photographer of the year.

Profile Picture: Tom Goldner


Great to have you with us Tom. We appreciate you taking some time out to talk about what is happening in your world – which I imagine is keeping you very busy.

Hey Marc, thanks for your kind words and for taking an interest in my project. Michaels have been a fantastic help, I am so thankful for your support.

So tell us when your passion for photography developed? Was it something you were around growing up or was there some experience you had which produced a kind of moment of ‘knowing.’

My passion for photography is difficult to pinpoint. It certainly wasn’t a moment of knowing. My motivations for picking up the camera are constantly changing and evolving. 

I have always been a visual person and as a result, art has always been a part of my life. Both my parents love their art and my mother gave me a great introduction to the subject. She encouraged me at a young age to develop my own work; she also exposed me to the work of many other artists.

At school I was a terrible student. As far back as I can remember I struggled with most subjects. Art and sport were the only things that held my interest. In year 11 & 12 I took up a photography class and fell in love with the traditional process. There is something special about old cameras, film and hand developing that I still find captivating. After I finished high school I enrolled in a three-year photography course. Back then I was desperate to become a successful commercial photographer.

I now find myself with very different motives; my skills have matured and I have different values. I am no longer satisfied with creating beautiful images; I wanted my work to amount to more. Only after I started ‘Photo For Freedom’ did my photography and life goals find the same direction. I couldn’t be happier with where I am as a photographer.


Tell us a little about what you do in the photographic community?

My role in the photographic community is not a huge priority for me. I do however have a great network of photographer friends who are a never-ending source of inspiration. My main purpose these days is to connect and move people from all walks of life regarding the topic of modern day slavery and if these people are in the photographic community that’s a bonus. Recently I have entered many competitions and grants; as a result I have recently become more active within the community.

The Photo For Freedom project, which you are spearheading, sounds like a fantastic initiative - Can you give our readers an overview?

Photo For Freedom is a long term awareness campaign and fundraiser focused on modern day slavery. Although slavery is a topic commonly viewed as a tragic past, it’s a bigger problem now then ever before. There is an estimated 27 million slaves in the world today, more than any other time in human history.

Through the exhibition, book publication, blog, and social media channels I hope to reach, connect and inspire people to raise funds and awareness; and play my part in abolishing slavery. Volta is the inaugural Photo For Freedom project.

Photo For Freedom-Volta is designed to focus attention on child slavery in the African country of Ghana. I have been conducting an ongoing photographic study of daily life and work around the remote Lake Volta region where children as young as three years old are sold by their families to work in the fishing communities. This form of child labour is modern day slavery. Working as bonded labourers, these children are forced to work up to 14 hours a day either on the lake or as domestic servants.

The children live in deplorable conditions, are barely fed and are subject to both physical and physiological abuse. They are outcasts in the fishing communities and have no access to education. As a result of such conditions, these children are highly traumatised and often suffer from stunted growth and water-borne illnesses from lake parasites.

In 2012 my images will be displayed during a photographic exhibition housed at the Y Generation Against Poverty (YGAP) headquarters in central St Kilda. Through sale of Photographic prints and the Photo For Freedom book we plan to raise public awareness of child slavery and funds to contribute to the anti-trafficking work in Ghana. YGAP will use the proceeds from this project to continue combating child slavery in Ghana.

My project partner, YGAP, is a non-for-profit volunteer organisation aiming to create tangible social change, both locally and abroad. Our primary purpose is to empower communities disadvantaged by poverty to be self-sustainable. To achieve this, YGAP aims to inspire volunteers through innovative and creative fundraising projects like ‘Photo For Freedom.’

Read the Full Interview on the michaels website

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michaels ‘Friday Interview Sessions’ PART 1 - Emily Abay: Fashion Photographer

Welcome to Part 1 in the michaels Interview Series. Today we are speaking with Melbourne and Sydney based Commercial Fashion Photographer, Emily Abay. We have asked for some of Emily’s favourite shots from her portfolio, and have sprinkled them in and amongst the interview… Enjoy!

Profile Picture: Emily Abay

(Q1) Hi Emily, thanks for chatting with us; I know you’re a very busy lady, being a noted fashion photographer and all. If you don’t mind me diving right in, we know you are an established and professional fashion photographer now - but where and when did it all begin? What sparked your interest in photography?

I know lots of photographers would say this, but I literally did grow up with it. My mother is an old school photographer, which nowadays means she worked on film! So I grew up in the darkroom and learning about light. My mum used to make me hold reflectors for her when I was very little and the reflectors were always taller than me! It was quite a funny sight.

(Q2) How did you develop your skills as a photographer? Have you had formal training, are you largely self-taught, or have you had some form of mentoring from other industry professionals? 

I like to think that I’m still learning but I developed my love and skills mostly from my mother. I used to do child modelling so I was always around creative people and it just seemed natural that I would fall into something where I get to use my hands and imagination.

(Q3) Having been in the industry for some time now, what would you say is the best photography advice you have received from another industry professional?

Never stop testing! I don’t care how old or experienced or busy you are. You need to always keep testing, keep refreshing and keep reminding yourself of why you chose to become a photographer. Some of my favourite photos are ones where I have just had an hour mucking around with a model friend.

(Q4) I understand you have had the opportunity to work as a fashion photographer overseas; tell us a little about that experience.

That was a wonderful experience… it’s hard to expand on that without filling pages. But I was very lucky to have worked in New York this year. I worked with some stunning models and had a really great response from the agencies. They were happy to help me and let me do what I wanted with the shoot. It was just great to be inspired again in another city.

(Q5) When you are approached for a fashion shoot how involved are you in the creative process? Does the client typically have a solid grasp of the ‘vision’ of the shoot or is it a responsibility of yours to create a scene to reflect the collection you are presented with?

It’s a mix really. Clients come to me for my vision and my skill (I hope hehe), so when they contact me, they generally have it in mind that I’ll be coming up with the concepts and then we’ll workshop them together to achieve their goal. It’s hard work and very time consuming putting together mood boards and finding inspiration so it’s important to have pre-production meetings and try to get as much information as possible from the client as to what kind of things they like. 

 

(Q6) Following that, what do you see as most important to your style of photography? Technique vs creative, if you wouldn’t mind weighing in on the debate!

That’s like asking a motorhead if the engine or the look of the car is more important! They go hand in hand. BUT if I had to choose I say creative. I know a lot of “technical” photographers and I don’t remember their work the minute I turn my head away from the image. I think some of the most beautiful photos I’ve seen in my life have just been lit with natural light. It’s about “seeing” it’s not about being technical.

(Q7) Do you have a favourite shoot – What was special about it?

At the moment my favourite shoot is the one I shot in St.Marks Place which is where I lived in New York. It’s with my good friend Christina @ Chic Management. We just wandered the streets taking candid shots and had a great time. I’ve been shooting with Christina since I started photography so it was great to be able to do that together and have some giggles at the same time.

(Q8) What do you love the most about your job?

Tough question. I love the magic. You don’t see the magic very often, but once in a while you’ll come across an amazing model who is literally like magic in front of your camera and you literally cannot stop shooting her. Every angle is incredible and it just makes the shoot so much more wonderful. I’ve seen magic only a couple of times in my career, but when you do it’s like the most incredible dance in front of your lens.

 

(Q9) Time for ‘What’s in your bag!’ We love asking photog’s what their tools are and why. What is the camera gear and software of choice for your workflow?

I use the Canon 5D Mark II and the EF 85mm f1.2 LII most of the time. I mostly just use natural light so lots of reflectors and scrims.

(Q10) From your personal experience, what advice could you offer to individuals interested in pursuing a career in fashion photography? What does it take to be a fantastic fashion photographer?

It’s a lot of saying YES. I work really hard and I don’t get a lot of time off. I think it’s important to keep updating your folio all the time and submitting work to magazines. Also try to find a great team to work with, a make up artist and a stylist should be your best friends. Also have the guts to call the modelling agencies rather than just using model mayhem. Some agencies are happy to let you test with their new models which means that you get to establish your relationship with the agencies and work with a decent model.

 

(Q11) We know you have a website under your name at www.emilyabay.com, are there any other sites you participate in, ie. Facebook, Flickr and so on… where else can we find you on-line?

Facebook! It’s fantastic. I get a lot of enquiries on facebook so use that as a marketing tool.

(Q12) We would love to know what you have on the horizon? Any exciting projects coming up – anything we should keep our eyes peeled for?

Mmmm I have a few magazines coming out… I’ll be in Karen towards the end of the year and I’ll be featured on the cover of a new magazine called WDC, out at the end of this month. I also have a few campaigns coming up soon, but I can’t say what they are yet. I can say that one of the shoots will be taking me to the Pinnacles in Perth so I’m excited for that.

(13) Lastly, and we’re going to ask you to get creative here… If you weren’t a photographer – what would you be? You can take an original photo, link to an existing image or video, draw a picture, anything you like so long as it’s visual!

That’s a tough one but I think I would be doing this:

 

We will be running this interview series over a number of weeks, releasing one photographer profile each Friday! Keep updated by JOINING THE CONVERSATION on:

“Since graduating from RMIT, Emily has been freelancing and making her mark on the industry. Her raw and uniquely feminine style has graced the pages of popular commercial magazines, including Vogue Australia, Cleo and Culture Magazine.” More about Emily at her website www.emilyabay.com.

Is it the Photographer or the Camera: A Question of Skill v Technology

If you click on the title you will be taken to an article written by Steve Huff at stevehuffphoto.com. The piece attempts to frame the argument of whether quality photos possessing a true ‘wow’ factor are attributable to the photographer or the equipment in their possession.

When reading through it you will notice two obvious issues, pointed out numerous times in comments left by readers

(1) There is a questionable push for specific products in this post, and

(2) The method used to make his assertion is not exactly ‘fair’ as the two images below were used to portray the equipment as being most important (when composition of the images, among other elements, is an obvious differentiator here)

Photo 1: Shot with Sony NEX-5


Photo 2: Shot with Leica M9

Nevertheless, the question is valid and often debated, so we put it to you again:

‘Is it the photographer or the camera?’ - Care to weigh in on the debate, let us know what you think?

FYI - We clearly believe it to be combination of equipment and skill, which is why we offer complimentary camera courses with every camera purchase from michaels!

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IN FOCUS: Shining a Spotlight on Local Photographic Talent

The following photographers are exhibiting at the 2011 Ballarat International Foto Biennale. As friends of michaels Camera Video Digital, we are proud to be associated with such passionate and dynamic photographic artists. We asked them to tell us a little about themselves and their work - here’s what they had to say…

P A M  K L E E M A N

pam@kleemann.id.au

I’m a photographer and conceptual artist with a career spanning more than 30 years. My photo-media installations explore issues relating to colonialism, consumerism and commodification. I feel that our humanity – the qualities that make us truly human like kindness, compassion, humility and genuine warmth and affection – is increasingly devalued. I also document live music and theatre, am rehearsal photographer for the Melbourne Theatre Company, teach Photography to writing students as part of the Professional Writing & Editing Course at Victoria University (St Albans) and mentor emerging photographers and photography students.

ABOUT YOUR EXHIBITION:

Skinned takes the form of an elegant dinner party table setting, with images of skin as placemats and coasters and bone cutlery as the tools for consumption. Kleemann’s comical MarTiTis are served, and her Bare Essentials bags and accessories accompany the setting, indicating the presence and absence of the diners. Whilst researching for my MA, I was alerted to the concept of colonisation being akin to the colonisers eating off the backs of the colonised, and this is the underlying premise of Skinned. This provocative exhibition is sure to challenge, inspire and delight.http://kleemann.id.au/

EQUIPMENT OF CHOICE:

Canon – because that’s what I started with, and I went with the Canon system when I embraced digital photography, because I’m able to use the film camera lenses on the digital cameras.

ANALOGUE Vs DIGITAL:

A combination of both was used for the Skinned exhibition. I tend to use whatever is going to work best for the project I’m working on.

WHAT YOU LOVE MOST ABOUT PHOTOGRAPHY:

The photographic image is my brush – how I create the canvas is what excites me about photography… how I can use the photographic image to convey a heightened emotional experience and offer layers of meaning and interpretation.

FUTURE PLANS:

Too many to mention! I’m never short of an idea. I am regularly short on the financial resources with which to implement the ideas however! My next project is a series of portraits of African women wearing the colourful head-wrap, with their country of origin featured as a medallion or object of adornment. It will celebrate their identity, their culture and their eternal optimism and hope. The images will pay tribute to the Malian photographer, Seydou Keita, who’s work I find inspirational.

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K O N R A D  W I N K L E R

winkler5@optusnet.com.au

Like many photographers, I started as a painter and sculptor. My brother Henry showed me how to take photos and work in the darkroom, and I fell in love with photography. I’ve been at it on and off ever since.

ABOUT YOUR EXHIBITION:

A series of small black and white prints, mounted and lying on tables so you have to go close to see them properly. And given the nature of the images it can be embarrassing perhaps because some of the images are very explicit. The photos are of that small world of love, intimacy and sex that we normally keep to ourselves. I’ve tried to recover the intensity of feeling that makes our partner’s body the centre of the universe whilst we are in the grip of passion (sex). Afterwards, it may all seem rather strange (like some of the photos) and we go on with other things.

Because the show contains some very explicit material, it is not recommended for children, although my 89 year old mother in law had a good look and survived the experience. For a review check out Culture Mulcher at http://blogs.crikey.com.au/culture-mulcher/ and scroll down to 21 August.

EQUIPMENT OF CHOICE:

A Leica M5 that I have had for 40 years. Totally indestructible and only 3 batteries in all that time. I use that for colour. A Leica M6 with a close up 50mm lens that I really like. OK but not as tough, and I’m really rough on equipment. A Mamiya 7 (6x7) I bought this to make me think more about each photo before I take it, and for the good big negs.

ANALOGUE Vs DIGITAL:

Analogue for the look and archival quality of negs over digital storage. And because I think digital too quickly becomes an editing rather than a composing operation because it is too easy to snap away. For me anyway.

Digital for big archival prints. I’m too dumb to use computers to their full potential, so I need Tim from the dungeon at Michaels and other friends to help me.

WHAT YOU LOVE MOST ABOUT PHOTOGRAPHY:

It’s sort of dumb, but in some ways honest rendition of reality. And the tradition of photography as photography, before photographers started calling themselves artists as if photography was not good enough. The best photographers are of course artists, I think.

FUTURE PLANS:

I’m working on a project about the changes way out in the western suburbs where paddocks become factories, housing estates, prisons and massive flyovers that feed the traffic away from the city to the land of new dreams and aspirations, for those that can’t afford the city. Four of these photos are currently in a show at Tarrawarra Museum of Art called Boundary Line. http://twma.com.au/exhibitions/event/boundary-line/

I also have seven photos in a show at The Dax Centre called Melancholia. They are large colour photos of my mother in law looking very very sad after her husband died a number of years ago. This show will be touring to Wodonga later in the year. http://www.daxcentre.org/current-exhibitions

I also want to do a series about how crap it is getting old, but I don’t know yet how I’ll do it. I think I’ll call it Affliction. I want to show the look of pain in old people’s faces that young people (luckily) don’t even know exists.

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K A T E  G O L D I N G

kate@kategolding.com.au

Kate Golding is a Melbourne-based photo media artist with a background in theatre and education. Her artistic practice is concerned predominantly with the representation of people and landscape. A former high school teacher, she has taught in Australia, Japan and the U.K.

Kate recently returned to study, completing a Bachelor of Arts majoring in Documentary Photography at RMIT. In addition to her artistic practice, Kate facilitates photography workshops in association with several community-based organisations in Melbourne.

ABOUT YOUR EXHIBITION:

INKED: The ‘Inked’ photographic series was created as a response to the space in which it is exhibited; a combined tattoo studio and gallery in Ballarat. Earlier this year, photographer Kate Golding was fortunate to meet the talented artist Kit Ratcliffe who owns, operates and creates within Iron Flamingo. The opportunity arose for the two to work together in creating a portrait series including current and past clients of Kit. The images were all shot in a disused space above Iron Flamingo, making use of available light in most cases. Wherever possible the photographer and sitter collaborated in choosing the pose and the final image that represents the sitter in the exhibition.

EQUIPMENT OF CHOICE:

Canon 5D Mark II. 24mm & 50mm primes. Why? Image quality.

ANALOGUE Vs DIGITAL:

Both

WHAT YOU LOVE MOST ABOUT PHOTOGRAPHY:

Finding beauty in all things.

FUTURE PLANS:

‘Meditations’ exhibition at Off The Kerb Gallery 66B Johnston St Collingwood

16 Sept – 7 Oct, Opening night 16 Sept 6-9pm

http://www.melbournefringe.com.au/fringe-festival/show/meditations

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M I C H A E L  C A R E W

michael.carew@gmail.com


Photographer, painter & all round troublemaker

ABOUT YOUR EXHBITION:

As part of the Melbourne Silver Mine (www.silvermine.org.au) I’m exhibiting in two shows; “Sets” where each photographer displays a thematic selection of their photography and “Just Don’t Call It Street” that is obviously not a collection of street photography!


EQUIPMENT OF CHOICE:

I use everything from point & shoot to a full view camera, digital, polaroid, 35mm & medium format. For me the diversity of tools is as interesting as the diversity of photographic opportunities.

ANALOGUE Vs DIGITAL:

I utilise both, as I feel that both have their own role to play

WHAT YOU LOVE MOST ABOUT PHOTOGRAPHY:

Those rare shots that really convey “the moment”.

FUTURE PLANS:

Contemplating an exhibition of Polaroid/Instant photos.

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C A R L Y  M I C H A E L


Carly Michael is a documentary photographer based in Melbourne, Australia.

She graduated from RMIT University in 2010 with a bachelor’s degree in commercial photography, majoring in documentary photography/photojournalism.

Passionate about nature and man’s place within its landscape, Carly’s work tends to explore this dynamic relationship. She is driven by the desire to simply observe; to record the world as it is.

ABOUT YOUR EXHIBITION:

“Planet earth is our home .It is where we all live. It lovingly provides us with our needs, yet we take it for granted. We use it, we abuse it, and we do not tend to give much back. Mother Nature functions in a very delicate balance and if we upset this balance by continuing not to acknowledge, honour or value all that she provides for us, we will surely face the consequences. Earth is our home.

It is what we all have in common. It is our collective responsibility to understand and conceptualise the four elements as it is through their interaction that life on earth can continue to exist.” – the four elements series, 2010 

Without the interaction of the elements – earth, air, fire and water – life on Planet Earth could not exist.  The four elements are the life force on which both man and nature depend for their survival.  This exhibition will focus on the element of air, exploring the theme of spirituality set against the backdrop of the Central Australian landscape.

EQUIPMENT OF CHOICE:

I use a Canon 5D with a 24-105mm lens. I love that it has a full-frame sensor which gives me the most value out of my lens.

ANALOGUE Vs DIGITAL:

Digital – I like the immediacy – but I tend not to make any adjustments to my work

WHAT YOU LOVE MOST ABOUT PHOTOGRAPHY:

I love that photography is all about light.

FUTURE PLANS:

I will be traveling abroad in a few weeks time to focus on my next project, ‘The Fifth Element’, which will compliment my previous series, ‘the four elements’. I have also been very fortunate to have been invited to continue exhibiting the AIR exhibition as part of the Ballarat International Foto Bienalle as a permanent collection until I return at the end of 2012. I will be posting regularly on my website www.carlymichael.com.au

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michaels Camera Video Digital proudly supports local photographers through its professional film processing and development as well as large format and fine art printing services. Contact Tim (03) 9672 2351, our resident printing expert, when preparing for your next exhibition, or see our online printing services here… we can help! 

rowtaylor: this is tim ainsworth his the printer at Michael’s camera store. absolute legend and certainly knows his stuff. his been a big help with my exhibition. id highly recommend printing there 

rowtaylor:

this is tim ainsworth

his the printer at Michael’s camera store. absolute legend and certainly knows his stuff. his been a big help with my exhibition. id highly recommend printing there 

Tips - Ways to instantly improve your flash photography

As you learn more about photography, you may find yourself using your inbuilt flash less and less to avoid unwanted side effects such as red-eye, overexposed ‘rabbit in the headlights’ photographs and generally harsh and unflattering light. But if you learn a few basic tips you can harness the light to work to your advantage and improve your photos. An external flash unit and/or light modifying tools can also be a worthy investment to allow you to take your photography to a whole new level.

If you are shooting with a compact camera or the in-built flash on your DSLR, the cheapest and quickest way to improve your flash photography is by making adjustments to the flash compensation. The closer you are to your subject, typically the more you will need to dial down your flash output. On compact cameras this will usually be found in the menu options, whilst DSLRs generally have a dedicated flash button that you hold down whilst rotating the dial. Start with -0.3 or -0.7 and work from there, subtracting more flash output if necessary. Try to balance the ambient light with the flash to avoid black backgrounds. You can do this by setting a slower shutter speed (around 1/30) to enable enough time for the camera’s sensor to record the ambient light. If your compact camera does not allow you to adjust the flash compensation, a similar effect can be achieved by setting your camera to ‘Night Portrait’, ‘Party’ or ‘Slow Sync Flash’ mode.

To read the full article, click here.


(Source: michaels.com.au)

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About:

michaels is the must visit destination for everyone interested in photography, video or digital devices. Trading from Lonsdale & Elizabeth St since 1916, it is one of Australia's largest photographic specialists.

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