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Capture Australia - May June 2018

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brilliant new
Why grit matters
Top pros reveal the
secrets of their success
Better together
How collaborations are
changing photography
Down and dirty
Alternative photographic
processes for the
digitally disillusioned
May_June 2018
special liftout
A special 36-page showcase of the best emerging talent,
relying on the expertise of 35 judges to reveal the winners,
runners-up, and top ranked entries across the ten categories.
Emerging photographers worth watching.
A special insight into the world of
a Dutch photographic master.
Five successful pros reveal all; and why talent
and passion are just the initial ingredients for a long
and prosperous career as a professional photographer.
An antidote to the digitally disillusioned – learn what
photographers are doing to stand out from the crowd, and
keep their practice fresh.
We shatter the myth of photography as a
solo pursuit, and examine a number of
collaborations that have produced amazing results.
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Reverentia, from the series, Into the Void,
by Michael Borzillo, winner of the Student
category, and overall runner-up,
Australasia’s Top Emerging Photographers.
Why grit matters
The best thing about writing the editorial for the May/June edition of the magazine is
that the immense effort of running Australasia’s Top Emerging Photographers is now
finally behind me. The massive amount of time and energy is worth it knowing that the
panel of judges I assembled (35 people who judged a total of 92 instances across the 10
categories) are helping to uncover some of the best emerging talent in Australasia. What’s
even more encouraging is being able to track the progress of those entering. There were
countless examples where someone’s submission was “Commended” in 2017, while this
time around they find themselves in the Top 10. And in a few instances, those named
runner-up previously have entered again only to find themselves winning the category.
It’s all very encouraging!
In this very special edition of Capture, I’m delighted to bring you the results of
Australasia’s Top Emerging Photographers 2018. Our competition helps cut through
myriad images out there to be able to shine a bright light on the region’s most talented
and promising emerging photographers. This year, the competition attracted a total of
924 entries (5,544 images submitted), an increase of 15% over last year. In order to
arrive at the category winners, a total of 460 votes were tallied, before being checked,
rechecked, and then weighted. A further 170 votes were tallied in order to arrive at the overall
winner and overall runner-up.
A massive congratulations must go to Leah Kennedy, the overall winner, Australasia’s Top
Emerging Photographer 2018. Kennedy also won the Landscape category. In 2017, she placed third
in the Landscape category. Along with the prestigious title, Kennedy also takes home the grand
prize – a Fujifilm X-Pro2 & XF 35mm f/2 lens valued at $3,298, from our major sponsor, Fujifilm,
along with $3,000. Congratulations and recognition must also go to the overall runner-up, and
winner of the Student category, Michael Borzillo. A very solid effort. And third place overall is
Aidan Williams, who won the Sport category.
In this edition, we speak with five successful professionals across a variety of genres and get
them to reveal their secrets of success. And while talent and passion are crucial, they are very much
just the tip of the iceberg. We’ll learn about grit and presence and gain an understanding of just how
fundamental those characteristics are. When you’re working in a competitive environment, another
critical qualities is resilience and perseverance, and the ability to not only cope with adversity, but
conquer it as well. Head to page 16 for the full story.
Interestingly, when one reflects on the results of the competition, what’s clear is that many
entrants from last year made conscious decisions to work hard, improve the quality of their
submissions, and not be defeated by their previous results. And this takes passion, grit, and
perseverance. The outcome speaks for itself.
And for anyone looking to take on a new challenge, spice up their offerings, and learn an entirely
new skill set, you might want to consider going “old school”. Check out our feature on alternative
processes, on page 24, where we find out how and why photographers are embracing techniques
that predate digital by over a century.
If you haven’t already done so, please sign up for our fortnightly e-newsletter at www.capturemag. and follow us on Instagram (@capture.mag). You’ll also find us on Facebook. So that you
never miss an edition of Capture, sign up to the online version at
Marc Gafen
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© Qing Lin (China) The Insiders (detail).
Emerging photographers strut their stuff.
Niall Chang
Photography was always something that fascinated Niall Chang, but it wasn’t until later in life that
he fully immersed himself in it. “I was an active member of the photographic society in my high
school, spending hours in the darkroom developing film and making prints. But university, building
a career, and starting a family put photography on the back-burner,” says Chang. Everything
changed in 2013 when he attended a landscape photography presentation by the ND5 Group
when he says he was “exposed to landscape photography proper”. It was at this event that Chang
met Tony Hewitt who suggested that he join them at their workshop at Karijini, Western Australia.
And so began an education that would shape Chang into the photographer he is today.
“Other than learning from Australia’s best landscape photography trio, Fletcher, Hewitt, and
Eastway, my photography is also influenced by the likes of British legend Joe Cornish and American
Justin Reznick, both of whom I have had the privilege to travel and photograph with,” says Chang.
As a photographer, Chang wishes to share the special moments of the extraordinary locations
he has visited, capturing the light, the landscapes, as well as the serenity, and the drama. Given the
ecological changes affecting of the planet, Chang believes that landscape photographers have the
responsibility to record and document the environment.
In the future, Chang wishes to be recognised as a classical landscape photographer. “The majority of
my images are single capture. While I understand digital enhancements is a significant part of photography
today, my workflow remains very simple.” This simplicity has produced images which have led Chang
to be a finalist for the title of AIPP NSW Emerging Photographer of the Year for the past two years.
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people talent
Dylan Goldby
Shooting what you are passionate about can be an education in itself.
Coming from a background with no formal training, Australian
Seoul-based fine art and documentary photographer, Dylan Goldby has
grown as a photographer by immersing himself in his personal work.
“Photography for me started as a way to capture all the things I was
seeing when I travelled,” he says. “All of my work has been discovered
through trial and error, reading, and meeting other photographers.”
Goldby started taking photography seriously in 2009, shooting for
various local magazines. “This gave me a huge variety of subject matter
and access to my first clients,” he says. By 2014, Goldby was working
full-time as a photographers. Now, his work revolves around capturing
things that he is passionate about, while his ‘bread-and-butter sessions’
are working with families and young couples, with the aim of capturing
moments of love in a different way. However, it is his personal work
where Goldby’s passions start to really shine. “My personal work is about
the things that make us all different. Our world is shrinking and we are
losing what makes us unique. My goal is to capture that which is unique
before the inevitable gentrification.”
Goldby’s work saw him named as runner-up in the Travel category of
Australasia’s Top Emerging Photographers in 2017. He’s also had two successful
exhibitions; the first to launch his Kickstarter campaign to publish his first book,
about the disappearing culture of facial tattoos among the Lai Tu Chin people of
Myanmar. For his current project, Tattoos of Asia, Goldby is documenting the last
remaining facial tattoos in Asia which will culminate in a book of faces and
stories. “After that, I’ll see which way the wind blows. I know I’ll continue to
make photographs, but it’s hard to say where or what, at this point.”
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Madeline Druce
When you grow up on a farm in rural New Zealand, finding ways to
pass the time and keep yourself entertained is always a good idea.
For documentary wedding photographer Madeline Druce,
photography became that pastime for her. “I got into photography
because my mum was always taking photos . . . she was trusting
enough to let me use her beloved Nikon EF,” says Druce.
Despite knowing that she wanted to have a career in photography
from a young age, Druce put those dreams on hold to fulfil another
dream – competitive snowboarding. She spent five years between
the winters of USA and NZ training and competing, but after a few
major crashes, found that fear of more injury was holding her back
from pushing further in the sport. It wasn’t until her camera gear
was stolen from her father’s car when she was visiting him in New
Zealand that she realised she had some decision-making to do about
her future.
“Life up until then had been pretty fun. I was living the dream
really, but I was at the age where I had to focus on the next step,” says
Druce. It was around this time that she discovered Speos, an intensive
10-month photography course based in Paris that offered study with a
focus on photojournalism, commercial, and fashion photography.
Since that year in Paris, Druce has continued to hone her skills,
and in 2017 rated in the Top 10 for Australasia’s Top Emerging
Photographers in the Wedding category. “What I love about wedding
photography is the constant challenges facing you every minute of
the day. Light and shadow, precise timing, working with people,
finding that perfect pocket of light, searching for something new
and unique for each client,” she says. “I find that within wedding
photography there’s just so much to push you to be better, but also
trusting your instincts and listening to the voice that’s telling you
you’re on the money is OK too.”
Proudly sponsored by F8 Stuff.
Making Photography Better.
Each featured photographer receives
an F8 Camera Strap valued at $109.
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people profile
This is the story of a
provocative observer of the
world and the people who don’t
always make the best of it.
It’s the story of photographer,
Erwin Olaf. Candide McDonald
meets a truly amazing person.
MAIN: Berlin, Freimaurer Loge
Dahlem – 22nd of April, 2012,
from the series, Berlin, 2012.
LEFT: Portrait 5, from the series,
Hope, 2005.
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And while the technical prowess of Olaf’s work continues to ignite
conversations, technique is not the photographer’s guiding light. “As a
photographer, I use one technique. I’m not a technical photographer,
although I think that technique is very important. The viewer should
forget what technique the photographer is using. They should always see
what you are meaning, what you are wanting to say.”
many words have been written to try and describe Dutch
photographic artist, Erwin Olaf’s work – his “highly-polished, precise
and atmospheric visual style,” his emphasis on precision (“painterly
lighting, flawless hair and make-up, settings that create an allure of
serenity”), “his highly theatrical compositions…complex and dramatic
narratives,” “cinematic interpretation of photography,” “incrediblypowerful and expressive tableaux,” and “nuanced vision”.
If you ask Olaf to describe his work, his answer is far simpler. “I’m a stage
photographer,” he says. “I use photography to stage my own fantasies, my own
dream world. As a boy, I dreamt a lot. I like to create a world that doesn’t
exist.” Many of Olaf’s photographic fantasies have a purpose. “Most of the
time, I am trying to tell a story. It’s a fantasy combined with a standard of
technique I want to impart, but also a political view, although I don’t like
protest photography. When my subject is what is worrying me, what is
keeping me busy in my head, my work is best. When I create my own work
and am not working for someone else, I have to express who I am and what is
moving me, combined with a story that is attractive, not just for me.”
A photographer by chance
Olaf had originally planned to have a career in photojournalism, which
he began studying at the Utrecht School of Journalism. But the writing
aspects of the course challenged him. “The technique of writing, I
think, is very difficult because it’s never-ending. You can change and
change and change. In those days [1979] in photographs, you defaulted
to film. You printed to create, you printed to darken – but at a certain
point that was it.” The young man, from a small village called
Hilversum in the Netherlands, was also struggling in a school that was
“far too liberal” for him, he says – a hint, perhaps, that the beginning
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of Olaf’s personal and professional exploration of human sexuality had
begun here. Then, one of the photography teachers asked him to join
his class. “And he gave me a Nikon FM, the camera at the time,” Olaf
recalls. “I loved the weight of it, its material. It was a love affair from
the start. And then I felt love again the first time in the darkroom,
being disappointed at my result, but also wowed.”
The pivot, on which Olaf turned to become the photographer he is,
was a class assignment to photograph what was not normal. “Next to the
city where I was living, there was an institution for people who were
mentally disabled. I went there for about a week, and because I came
from this little village, this visit was an awakening. There was love.
There was hate, there were fights…every emotion that normal people
have. And although my photographs weren’t good enough, it opened up
my abilities and understanding of my craft. Meanwhile, I was educated
that there was more under the rainbow than normal people, and I am
still thankful for that.”
Sexual awakening
ABOVE: The Ice
Cream Parlor,
from the series,
Rain, 2004.
Shenzhen 2,
from the series,
Waiting, 2014.
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In 1988, Olaf won the Young European Photographer of the Year
Award, in Germany, for his first series, Chessmen – a collection of
images of “imperfect” models, bizarrely styled to resemble chess
pieces. They are both grotesque and beautiful, and overlaid with an
erotic suggestion that runs through all of Olaf’s early work.
Olaf had become a volunteer for the gay movement because, he
says, there was a huge amount of unemployment in the beginning of
the eighties, so there was absolutely no work. This gave him access to a
world he had not yet encountered, but would ultimately shape his
entire future. “So there was an editor in one magazine, and then an
editor in another magazine, and they started to give me work because
they thought my photographs were interesting. Then for one
assignment I had to photograph classical ballet choreographer, Hans
van Manen. He was very interested in art and photography and did
photography himself. He was a friend of Robert Mapplethorpe and his
people profile
technique was based on Mapplethorpe’s – the Hasselblad, the
black-and-white. He had his own darkroom and taught me, not
journalistic printing which is stronger, with a different composition
within the image, but the style that I would come to take on.” Hans
van Manen became a mentor. And Mapplethorpe inspired much of
Olaf’s early work.
Olaf’s self-portraits began in the eighties. He had been working on
a series called Squares, in which he’d asked a lot of people to pose
nude for him. “It was very common, very normal to express yourself
with the human body then. I’m still super-intrigued by the human
body – all sizes and forms. And by the human skin, which is a fantastic
photographic subject, the way skin has light and shadow,” he notes. “I
began to feel guilty because so many people were doing things in front
of the camera for me and I was always behind it. So, I thought I would
make up for it a little bit and also do something in front of the camera
for once. It began with a double portrait of me and my boyfriend at the
time, and then an extreme close-up of my face all punk – it was the
punk era. Later, it became a way to overcome my own fears and
frustrations. One photograph that is very dear to me is the self-portrait
triptych, I wish, I am, I will be.” Olaf has congenital emphysema and
it’s a progressive disease. “It’s confronting, but I took that portrait,
nearly ten years ago because it gave me closure when I started to feel
the impact of it. Before that, my emphysema was kind of an abstract
I’m still superintrigued by the
human body – all
sizes and forms.
Erwin Olaf
thing, something my doctor had told me. It
worked like a therapy. It gave me acceptance.”
Squares is also an exploration of Olaf’s fears
about sex. “You experiment and you think, ‘Oh,
where am I?, ‘Do I dare?’ and ‘Beautiful boys are
so scary,’ so I made a joke with them, like the boy
with the frothing champagne bottle.”
Fantasies and self-exploration
In the 2000s, Olaf’s emotional state became the
focus for his fantasies. The trilogy, Grief, Hope,
and Rain, came from there. “Self-portrait became the core of my work
after the year 2000. The more I can afford to look back, the more
I stay close to myself as an artist and a person. These series from the
past ‘read’ like a diary. ‘Look at that aggressive man I was between
twenty and thirty…and vicious and angry with the world’.”
“Later you see the aggression is going into sorrow for a while and
then into wondering what kind of world I’m living in – as in the series,
Berlin. I saw political clouds coming towards us in Europe and so I
translated that. Recently, I completed a series, Shanghai, based on my
travels there, where I thought, ‘My god, twenty-three million people
in one city. Where are we going and what is this doing to the
individual?’ It’s not like Sydney where you have the most personal
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their cellars and their champagne. But then they guided me. And it
was looking very stilted, very ordinary, and I was very frustrated. It
was a very expensive session with models and everything was going
wrong.” So Olaf went for walk to clear his head and came across the
company cellars that extend 38 metres below the ground and are eight
kilometres long. The soft stone had been carved out in the 17th or
18th century. “Then I saw all of these inscriptions,” he recalls. “People
had carved their names, drawings, and writing. And nature doing its
own ‘drawing’, with dripping water. I started to shoot and crop, and
the images began to look like abstract paintings. And so, for me, a
frustrating job turned into an opportunity. Pure advertising is
difficult. I’ve had my share of that, but if you get a kind of freedom,
then that’s exciting.”
Photography and its siblings
space imaginable and aesthetics and parks and
nature within the city. In those dense cities,
there’s nothing for the individual, no park where
you can lie down and read a book. It’s all work,
work, work. And where are the young women?
The man is still on top. Where are those young
ambitious, intelligent women? There’s always
this ceiling – ‘Oh yeah, you’re a woman, so you
cannot go up.’ This is what keeps me busy in my
head at the moment.” Shanghai is also an
environmental comment. “We’re travelling and we see from the car all
this plastic. I see all these beautiful faces as well and I think, ‘How
can you combine these two – humanity and all this pollution, without
being too political?’” The uncomfortable juxtaposition became a
dominant theme.
These days personal work makes up about 80-85% of Olaf’s work.
The other 15-20% includes advertising, private portrait commissions,
and art campaigns. Olaf is particularly proud of the work he did in the
middle of a campaign for House of Ruinart, makers of champagne
since 1729, in Reims. “They wanted me to make an art work from
If a photographer
stops working,
they die.
ABOVE: Keyhole
3, from the
series, Keyhole,
2011 – 2013.
Chessmen XXIV,
from the series,
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More recently, Olaf has turned his attention to installations and films,
or, to be more precise, the interweaving of installations and films with
photography. “In the last few years, photography has changed a lot and
I like the combination of film and photography – how we present
photography, how we can influence your view by sound, by light,
darkness, and recently I discovered 3D cameras, so you can walk
around a subject and make a statue of it. “A lot of political
photography looks like newspaper photography – kitsch. But in the
recent history of Europe, some things were scaring me. Like the
censoring of nudity. It’s a big part of European art history, and it is not
possible any more. The elegant nude is not possible any more. Then,
there was this precedent of an Iranian statesman visiting Italy, where
the nude was pretty much invented, and they were covering up all the
marble statues from centuries ago. So, I created a nude marble statue
of one of my very good friends – a painter with some extra kilos, and
I asked him if he would pose for me as if he was very critical in a
museum, watching his painting with a dark look.”
Olaf also created a wooden statue of a large-bodied woman, which
referenced the mayor’s response to women reporting being “grabbed by
the pussy” in a crowd in Cologne on New Year’s Eve in 2016. The mayor
had later stated that women have to keep an arm length’s distance from
the men. “So I asked my friend to show me an arm length’s distance.
She posed with her arm held in a very feeble arm’s length, and I
combined her statue with classical nude pictures from my 2016
collection, Skin Deep.”
“I like to combine my installation work with classical work to make
the story less aggressive, less in-your-face. More layered.” And less like
the activist photography he doesn’t like.
Olaf does, though, like film. “I like that it’s much more complicated
than photography. I like technique, although I’m not a tech freak with all
the cameras and so on, so film is a challenge. Film expresses,
sometimes, more than you can say in a still image. And that is what
I like.” But in the combination of film and photography, Olaf has found
a new joy. “A viewer can choose to look for two seconds at a photograph,
but as the creator of a film, I can dictate how long the viewer watches
if they want to understand my piece.”
Olaf’s photography and film series, Waiting, is a statement about
the time it takes to view video art, an exploration of something we all
have to do, and an exploration of the modern world. “[It is a statement]
about a person losing their identity in a group,” he says, “housed in a
fantasy about online dating. If you live in a big city, there are many
people who don’t have a partner any more. I took three women and
people profile
told them a made-up story. ‘You have a date with a man,’ I told them,
‘whom you met three months ago on the Internet. You’ve fallen in love
with a persona on the screen and now you have to date. And this is
the moment. I’m going to photograph you in three stages.’ Olaf saw
these stages as first, optimism – coming in to the meeting place all
dressed up. Then, anxiety – you think maybe he forgot the address or
got it wrong. Then, disappointment, “because we all have that.”
Both the still images and the video show the passage of time.
The film was shot in real time – it runs for the three-quarters of an
hour in which it was shot. The action it captures is therefore entirely
authentic. “The Chinese girl, she collapses over time, her body
language, her face…everything. I didn’t dare interrupt her. It was
perfect.” Later, Olaf asked a composer to compose a piece of piano
music for the film, which he based on the beat of seconds passing.
“After the Grief series, this for me is the one that’s straight from the
heart,” Olaf says.
While so many words have been written about the work of Erwin Olaf,
whose global recognition was enhanced by his designing the Dutch side of
the Euro coin in 2013, so few words have been written about what drives
Olaf to continue working. I ask.
“What should I do different?”
he answers. “If a photographer
Erwin Olaf
stops working, they die.”
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business grit
of success
Almost every description of a great photographer leads with praise for their
passion and talent. You could almost believe that these two attributes are
the essence of success. If you did, you’d be pretty silly. Candide McDonald
examines the inner resources that are actually essential.
ABOVE: Heather Marold
Thomason, Butcher and
Owner of Primal Supply
Meats, Philadelphia, on
29 February 2016.
LEFT: From the series,
Desert Ink.
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poem by journalist, author, and MacArthur “Genius Grant” winner,
Ta-Nehisi Coates that captures the essence of grit. It’s a poem
about writing, but change one word in the first line and it’s a poem
about photography.
The challenge of writing/ Is to see your horribleness on page./ To see
your terribleness/ And then go to bed.
And wake up the next day,/ And take that horribleness and that
terribleness,/ And refine it,/ And make it not so terrible and not so
horrible./ And then to go to bed again.
And come the next day,/ And refine it a little bit more,/ And make it
not so bad./ And then to go to bed the next day.
And do it again,/ And maybe make it average./ And then one more
time,/ If you’re lucky, / Maybe you get to good.
And if you’ve done that,/ That’s a success.
Your “terribleness” might be in your work, in a pitch you lost, in a
go-see that went nowhere, or in a job your client didn’t like so much.
Grit is what you use when you know that the universe isn’t
overseeing the lives of 7.2 billion people and isn’t going to make
yours fabulous. When you’ve come to terms with the fact that life
and careers aren’t fair. And when you stop running from this to that
looking for that fast lane.
amateur photographer needs passion in bucket loads. Without it,
the hobby becomes a chore and the photo-buff wouldn’t do it. Passion
drives an emerging photographer to finesse his or her craft. Passion for
something, but not always photography, is the catalyst for the
photographers that document wars, famine, endangered animals, and
dying jungles. But on a commissioned job, a professional photographer
needs to keep their passion in check. When they’re working with a brief,
a budget, and what the client does and doesn’t like, problem solving
needs to hold the reins. For a professional photographer, passion is
something you call on if you need it. And often, you don’t.
So, now we come to talent. There are hundreds of thousands of
talented people in every one of the creative arts. If success were just
about talent, there would be hundreds of thousands of superstars.
Talent is a great place to start, but it doesn’t run the show of success.
What does? Well, that’s where it gets interesting. It’s a combination
of three things that anyone can cultivate – grit, guts, and gumption.
Grit isn’t the same as working hard. Grit is a quality within you. Its
siblings are perseverance and resilience. In her book, Grit. The
Power of Passion and Perseverance, Angela Duckworth references a
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business grit
Amy Cuddy
And then there’s presence
Guts has one rule. “If only” isn’t allowed. Guts’ siblings are
determination and courage. Guts is “getting seriously f*cking
organised”, as Lorraine Murphy notes in her book, Remarkability. It’s
taking mistakes in your stride, she adds, not comparing yourself to
anyone but you, being honest, even when something is painful to
admit, doing rather than worrying about it, and using Plan B when
Plan A doesn’t work.
There is, in fact, one more quality with a role in success. It’s called
presence, and it’s the love child of grit, guts, and gumption. It’s about
communicating to others – in what you say, how you say it, and how
you hold yourself in a situation – that you believe in yourself.
American social psychologist, author, and lecturer, Amy Cuddy has
written a whole book on the subject. Here is its essence, in her words:
“Presence stems from believing in and trusting yourself – your real, honest
feelings, values, and abilities. That’s important, because if you don’t trust
yourself, how can others trust you? Whether we are talking in front of two
people or five thousand, interviewing for a job, negotiating for a raise, or
pitching a business idea to potential investors, speaking up for ourselves or
speaking up for someone else, we all face daunting moments that must be
met with poise if we want to feel good about ourselves and make progress
in our lives. Presence gives us the power to rise to these moments.”
Presence isn’t the same as arrogance or being an extrovert. Nor is it
about trying to make a good impression. Its siblings are magnetism and
amiability. Yes, amiability. People with presence are open, which draws
people to them, and egalitarian, which (ironically) gives them power.
Nor, though, is it the same as controlling. In no commercial job ever
was one person given the role of a dictator, benevolent or otherwise.
Presence makes people feel comfortable around you. And people want
to do business with people who do that.
For advertising and portrait specialist Jonathan May, who has been
ranked one of the Top 200 International Advertising photographers by
Lürzer’s Archive for the past three years, it’s everything. “Belief. Belief
in yourself, belief in your instincts, belief in your vision, belief in your
direction, belief the work will come, and belief that you are making a
difference,” he says, is the single most important attribute for success.
Of course, everyone describes these five keys to their success, or
progression, in different terms.
And gumption? According to the dictionary, it’s “shrewd or spirited
initiative and resourcefulness”. Its siblings are confidence and positivity.
It’s best described in an anecdote, so here’s one from my own life. Very
early in my career, I was a journalist for Vogue (Australia). I’d been sent
to cover a party for Rod Stewart with then emerging photographer,
George Seper. Seper had already won a position as assistant to Vogue’s
creative director and head photographer, Patrick Russell. He’d done this
by turning up to an interview I did with the owner of Sydney’s top
nightclub at the time, Arthur Karvan. He had made it his job to know
Arthur because Arthur knew everyone, and made it his mission to be in
the right place at the right time to show Russell his work.
The photo opportunity we’d been briefed on was Rod Stewart’s
on-stage kiss with the current (at the time) Miss Australia. In the
middle of that excitement, George said to me, “Go up there and kiss
him now. I’ll make us famous.” So I did. And he did. I walked onto the
stage and George captured a remarkable image - my face in profile,
planting what appears to be a tender kiss on Rod Stewart’s cheek and
Stewart’s face direct to camera, looking completely startled. I’m not
saying that one carpe diem made Seper the hugely successful
photographer he later became. I’m saying that gumption drove Seper
like a Formula One racing car.
Presence stems
from believing in
and trusting
yourself . . .
ABOVE: Yemeni
brothers climb
the broken stairs
of an apartment
building damaged
by airstrikes in
the Faj Attan
district of Sana’a,
Yemen, 17
August, 2015. Faj
Attan mountain
may have a large
weapons cache
inside, which, if
hit by an airstrike,
some assume
could wipe out
half the city.
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Creativity, Respect & Admiration captured in time
In its 30th year, the Heritage Bank
Photographic Awards are once again open to
all professional and amateur photographers.
This years categories are:
Respect (Theme), Open and
Young Photographer Awards (7 to 17 years)
With no cost to enter, this competition
encourages photographers all over Australia to
explore their surroundings and capture their
own little piece of history.
Important Dates:
May 1: Entries Open 9am
June 29: Entries Close 12pm
September 19: Winners publicly announced
Over $8,000 of prizes to be won*
To enter now visit
*Terms & Conditions apply available at Heritage Bank Limited ABN 32 087 652 024. AFSL and Australian Credit Licence 240984.
Hallmarks of success
Mauritanian man
leans against
the window
frame inside an
old abandoned
building that
is slowly being
taken over by the
Sahara desert.
2017. South
coast of Italy.
RIGHT: Amanda,
floating through
a sea of thorns
and billowing
clouds at the
magical Cactus
Country, Victoria.
[capture] may_jun.18
“Perseverance, desire and passion for your work, kindness, and grit (or
thick skin),” are all in American photographer and journalist, Alex
Potter’s inner arsenal. Potter works predominantly in the Middle East,
her work exploring conflict and trust, loss and isolation within
communities, and relationships.
Likewise for adventure sport and documentary photographer,
Jody Macdonald, grit is her guiding light. “Perseverance. Never
giving up. Basically, if you have grit and do good work, that is
everything,” she says. “I think one thing that really helps me is my
mentality towards adversity. I really try to embrace it when things go
wrong or don’t go according to plan. I try very hard to view it as a
learning opportunity and to be as resourceful as I can to get the job
done,” she explains. “I often end up being more rewarded by the
result. When things are going really wrong, I will take a moment,
while the shit is hitting the fan to identify that this is really more of
an opportunity to learn and focus on what I can do moving forward
rather than what I can’t do. It’s a simple perception shift in my mind,
but it changes everything.”
For May, who has representation in Australia, the USA, and Russia,
grit translates into gratitude and positivity. “If you remain positive, it
helps you persevere. I have experience from a previous life working in
an office surrounded by people, and by nature we are social creatures,
which can sometimes be tough as a photographer. There are often long
hours, sometimes days writing treatments or editing images,” he
explains. “Creative people often have an over-active mind and
sometimes it’s easier to fall into negative mindset, especially when you
miss out on a job to someone else. You need to remain positive and
focus on yourself and the work will always come.”
Melbourne-based wedding photographer, Lucy Spartalis describes
her grit like this: “Stubborn determination and an unending work ethic
Presence is too
often overlooked
by photographers…
business grit
– two things that I didn't even realise I had
before I went out on my own. Accepting that
personal sacrifices were necessary to establish
my business was hard. Saying ‘no’ to countless
social invitations was painful at the time, but
the rewards have made it worth it.”
Lifestyle and interiors photographer Armelle
Habib relies on guts. “I am direct and
transparent. No-one is left wondering what I
think. But I am respectful and diplomatic, and
work with good people.” Habib says that the
market is full of great photographers. “It’s not
enough just to shoot what you see. It’s about
capturing the essence, the feeling, the heart
and soul of the subject. That is not a technical
skill alone. Working with clients that want you
back means you are only as good as your last gig. So it’s a patience
game. And being on your A game every day.”
Potter has gumption. The gumption to back herself. “For me, it
took emptying my bank account multiple times to produce the type of
work, and work on the types of stories, I cared about. No one was
going to commission a new photographer to make work from Yemen,
but I went back time and time again without assignment – because I
cared about the people and the region. I don’t come from a family with
money, nor do I have any investments,” she adds. “Be intentional,
make connections, don't be afraid to reach out and just say ‘Hi’ to
someone you want to meet – but also don't be offended if you never
get an answer.”
Gumption enabled May to conquer the highly-paid world of
advertising photography. “In the advertising world, you need to get
good at writing treatments. This is the time to create trust with the
art director and client,” he explains. “You might have the right style,
but how well do you understand the brief and their brand, and can
you deliver results?” When May was asked to write his first treatment
for a brief, his gumption told him to do a test shoot. He then used its
images in the treatment, and ended up winning the job. And it was
quite a job. He was flown all around Australia shooting portraits for
three weeks. “The agency said the test shoot was the deciding factor,”
he says. “Be proactive. That half a day of my time secured a threeweek payment, so you need to always put your best foot forward.”
Presence is too often overlooked by photographers and yet, when
you ask, it is so often cited by editors, ad people, and other clients in
the reasons they have hired photographers. American advertising
photographer, Chris Crisman, who’s also been named in Lürzer's
Archive 200 Best Photographers Worldwide, recognises presence as his
single most important attribute, although he describes it in a complex
of terms. “Approachability, thoughtfulness, humour, team spirit,
fostering engagement with collaborators.” So, too, does Jonathan May.
“You need to be someone that clients want to spend time with.” For
May, presence is having the attributes you would look for in a good
friend.” Spartalis believes that her “open, friendly, and somewhat
daggy nature” is how her presence is expressed. For her, presence is
“warmth, energy, humour, and compassion. Weddings are such highly
emotionally-charged experiences for so many couples, so to assume
that my relationship with them will be purely a professional one
would be silly. It's truly an honour to be part of these incredible
milestones in people’s lives, and even more so to spend so much of
the day right by their side.”
Lastly, but perhaps, most importantly – not for how you get
success, but whether you recognise it when it’s there – comes the
inner quality of appreciation. Alex Potter explains: “You can be
financially successful and make mediocre work that will never make
an impact. You can make stunning work that's well known in the
photo community, but goes no further. You can make a single image in
your life that changes the world. You also can do none of these, and
still be satisfied because you care about the work you’re doing for a
specific project, or specific community, and have satisfaction in that.
For my part, I'm still figuring out what success means, as I've dipped
my toes into all of the above, but haven't been fully ‘successful’ in all
my endeavours – and that’s OK.”
Chris Crisman
Armelle Habib
Jonathan May
Alex Potter
Lucy Spartalis
[capture] may_jun.18
FOTO L!VE is a unique opportunity to get face-to-face with eight inspiring
photographers and learn the secrets of their success.
Whether you want to improve your shooting and editing skills; turn your photo
business into a lean, mean money-making machine; or get hands-on with the latest
gear; FOTO L!VE has something for photographers of all levels.
Shooting and editing secrets of the pros
9.00am to 12.30pm
As photographers, we all have one simple goal – to take better images. In this unique
half-day session, you will have an exclusive chance to learn first-hand from four acclaimed
photography professionals about what it takes to create stunning images.
All four sessions are aimed at enthusiast photographers with a hunger to develop
and a desire to push their work forward. Our speakers will challenge and inspire you
to think visually and see with a photographer’s eye. But most importantly, you will be
left with real-world examples to help take your image-making to the next level.
FOTO L!VE is the event for passionate photographers in Sydney.
Program and speaker details announced soon
SUN 05 AUG 2018
Monkey Baa,
Darling Harbour, Sydney
A masterclass for emerging and professional photographers
1.30pm to 5.00pm
Now more than ever, professional photography demands a unique balance between inspired
creativity and effective business skills. Smart business practices free up more time and energy to
hone your creativity; poor business practices consume excess time and take you away from doing
what you love – producing amazing images.
This session is designed to help you fine-tune these two pivotal elements of your professional life,
and help you not only harness your creativity, but make your business more efficient and effective.
In this practical half-day event presented by Capture, four leading lights of photography will share
their own real-world experiences and hard-won lessons. Find out how to unleash your creativity while
ensuring your business model works seamlessly to help you realise your financial and artistic goals.
Program and speaker details announced soon
Early Bird tickets available until June 29, 2018
Full day: $169 includes Australian Photography L!VE (morning) and Capture L!VE (afternoon)
Half day: $104 choose Australian Photography L!VE (morning) or Capture L!VE (afternoon)
tools alternative process
for the digitally disillusioned
In a world saturated with imagery, standing out from the crowd is only
going to get more and more challenging. A special style, technique, or
approach is likely to be your greatest ally when it comes to setting
your images apart from the billions out there. Alli Harper investigates.
photographers are working creatively and successfully
with alternative photographic practices. But what are their motivations,
and just what exactly is involved?
Pushback to perfection
The digital age has facilitated the pursuit of perfection. Want to be
sure how it will look? Tether! Not sure if you’ve captured it perfectly?
Shoot multiple frames without constraint! Unhappy with the result?
Fix it in post! Why then are we seeing such a resurgence of alternative
(historical) techniques that are both time consuming and
unpredictable? It is precisely in response to this constant and
overriding search for perfection.
Ellie Young is the founder of Gold Street Studios, in Victoria. A
photographic artist, long-standing practitioner, and educator in the
field of hand-crafted photographs, she sums it up perfectly:
“Everything is so fast and digital and immediate and throw away.
Alternative processes produce work that will last. You have ideas and
make choices, like the material you will print on. It’s not computer
generated, and it’s uncontrolled. The work comes from your hands and
from you. There is a sense of your own being that arises from its
With its glut of generic images, social media may play a role in the
dumbing down of photography, but conversely its role in connecting the
ever-growing alternative processes community is important. Social
media, in fact, results in global knowledge sharing, connecting the
converted and generating interest in the uninitiated.
The pull to alternative processes
Alternative processes reflect a move away from the fast and
predictable. Predominantly the domain of pre-digital photographers
wanting to return to their craft, there is growing interest amongst
digital natives who have already contributed to the surge of interest in
wide shut. Wet
plate collodion.
RIGHT: Nordic
Man, 2009, from
the series, Glass
Memories. Wet
plate collodion.
TOP: Chris
& Hammers,
2003, from the
series, Portraits
from Madison
Avenue. Wet
plate collodion.
[capture] may_jun.18
[capture] may_jun.18
tools alternative process
analogue. Some photographers also share the experience of an “Aha
moment”, when a particular artwork so moved them that they felt
compelled to embark on their journey. The key is slowing the process
down. Amongst the photographers interviewed, it’s universally
important to them to engage with the work and create a unique object
with unpredictable imperfections that can be embraced and harnessed.
The path to something different
Young explains how she found herself drawn to alternative processes.
“My father was a lighthouse keeper in New Zealand, and I had an
amazing childhood. Dad used our pantry as a darkroom, and
photography was always part of my life. My working life commenced
in darkrooms for Kodak and in a photographic studio printing silver
gelatin photographs,” Young says. “When I moved to Australia, I
enrolled at Photography Studies College, Melbourne, where I
studied alternative processes and commenced on a different
journey.” Following that, Young studied at RMIT, and in 2000 she
established Gold Street Studios. Her second exhibition, The Print
Exposed, examined the history of photography and featured examples
of daguerreotypes, Cibachromes, and a hologram. Overwhelmed by
the interest in alternative processes, Young arranged workshops and
they sold out. Fast forward to the present and Gold Street Studios,
located in Trentham East in the Victorian highlands, offers a range
of more than 40 workshops, run by international and local
practitioners who share their passion with students. “I am one of the
luckiest people in the world,” Young says. “What I do is a privilege,
and I love it. For me, it is so important to share these processes so
that people’s interest and understanding grows.”
Sydney-based commercial photographer, Adrian Cook has a studio in
Leichhardt. He has worked for major advertising agencies and
magazines around the world for more than 25 years. Cook has shot for
Nike and Vanity Fair, been included in Lürzer’s Archive’s Best 200 Ad
Photographers Worldwide, and exhibited and received awards worldwide.
“I started with traditional processes,” says Cook who was one of the last
advertising photographers to go from film to digital, about 12 years ago.
“It was a forced decision in the end as people wanted files immediately,
but I did find digital really interesting and exciting at first.”
Cook laments the loss of control that he has seen over time as
retouching moves in-house and briefs become requests to replicate an
image that has already been signed off. In Cook’s view, the opportunity
for many photographers to be creative is diminishing. “Photography has
been devalued. Anyone can do it. It’s no longer about what you bring
creatively, but what you cost,” he says.
A few years ago, Cook reached a point where he felt like throwing in
the towel. “I was spending more time in front of a computer than
behind a camera, and that isn’t why I got into photography. I’d lost
enthusiasm and joy, but it’s all I’ve done for 30 years,” he says. Twenty
years ago, Cook wouldn’t have dreamed of doing alternative processes,
but he started to research it online, read books, and buy equipment. “I
did a course with Ellie Young and thought that within two to six weeks
I’d have it. Of course it’s been so much longer than that. It’s a real
investment in terms of learning the craft and getting the equipment,”
Cook says. He enjoys the element of surprise that you don’t get with
digital. “It’s slow and methodical like film, with an element of ‘fingers
crossed’, and it’s so much more rewarding when it works.”
Quinn Jacobson is an American photographer who started his career
in the United States military, serving as a combat photographer in the
eighties. He’s worked with historic photographic processes for almost
two decades, using the wet plate collodion process (1851) as well as
daguerreotype (1839) and calotype (1839). Jacobson has published four
books and travels around the world teaching the collodion process. In
2003, he created the Wet Plate Collodion Photography Forum – an
online portal for lovers of the process worldwide.
Jacobson’s experience reflects that of Cook. A photographer for over
30 years, the work of shooting, processing, and printing film was very
satisfying. He explored digital until he no longer felt engaged. “I knew
it was over for me . . . The wet plate collodion process saved my
photographic life,” he states emphatically. “I started searching for an
aesthetic for my project, Portraits from Madison Avenue, and a process
that would involve me in the image-making process like film did,”
Jacobson says. His enjoyment centred on the ritual of working in a
darkroom and processing images by hand, allowing him time to think
and follow the natural evolution of a project.
Adopting a technique
Silvi Glattauer is a renowned photo-media artist and educator. An
authority on the photopolymer photogravure process, Glattauer is a
founding member of the Baldessin Press and studio, located 50
kilometres from Melbourne in the bushland of St Andrews, where she
works and runs workshops.
A contributing factor to Glattauer’s choice of process arose from her
early love of engravings and etchings. Initially inspired by the traditional
etchings of artists like Goya and Rembrandt, Glattauer sought a way to
[capture] may_jun.18
incorporate photography and printmaking
during her time studying photography in the
late nineties. “I was inspired by the work of
Alfred Steiglitz, and Edward Curtis’ series on
Native Americans. I was already working in a
darkroom, so I particularly related to the
technique of handmade work on paper,”
Glattauer says. “Traditionally, a photographer
would not finalise an image until they were
Quinn Jacobson
happy with it as a print. My process creates the
important connection with the image as an
object.” Glattauer’s students also love the element of surprise and magic
that stems from the process’ imperfection and unpredictability, “that wow
moment” when they pull their print off the press and see it for the first
For Glattauer, photogravure enhances her imagery. “With etching,
the ink really embeds into the paper and becomes embossed in a
unique and sculptural way. It’s these raised lines on the paper that give
the work a strength that cannot be replicated with inkjet printers or
even darkroom printing.” The beauty lies in the combination of ink and ABOVE: Stolen,
from the series,
beautiful papers. “You have artistic control of the process, paper, and
Yahna Ganga.
ink choice, but can also incorporate layers of coloured or Japanese
2016. 8”x10”
paper. This is something that you cannot do with any of the other
processes,” Glattauer says.
Ellie Young is proficient with a broad range of processes, but for her, structure. Four
the four colour carbon process is her passion, “hands down and without colour carbon.
The wet plate
collodion process
saved my
photographic life.
[capture] may_jun.18
hesitation”. For years, Young’s passion was salt prints – the subject of
the thesis for her Master of Applied Science (Photography) at RMIT –
until one day she saw a mono carbon print by Frank Hurley of the
Endurance trapped in the ice in the Antarctic. “I was smitten and I just
wanted to take it home,” Young says. “I did some research and travelled
to the U.S. to learn mono and some colour work.” Young also loves four
colour carbon for its “history, longevity, and the depth of the relief and
tones that it offers”.
Like Glattauer, Young loves the surface relief provided by the four
colour carbon process. “The surface has a texture you can feel. Four
colour carbon is like no other. You lay down the yellow and wait for it to
dry, then you lay down the magenta followed the cyan, and black. It’s
slow and tedious, but it’s also magic. It was an elite process in its time,
commanded the highest prices, and was used to reproduce traditional
painting and artworks.” Recently, Young visited the State Library to
view a rare book produced in 1868. “The original carbon photographs
looked as if they had been created yesterday, the process is so stable
and permanent,” she says. While mono carbon is more commonly
practiced, Young says that only about 30 people in the world today
practice the four colour process. She is only aware of four other
teachers of the process, so it remains relatively unique.
Cook also confirms the importance of a tactile experience.
“Visually, an image is nothing if you look at it on a screen; it’s flat and
boring. You need to hold a tintype in your hands. In the same way that
you can see the brushstrokes on an oil painting, it’s beautiful to see the
ripples and how it looks in the light.”
I do it for the love of
it, not the money...
Ellie Young
are] intimately linked to the past, and each
image has a truly unique characteristic that
cannot be altered,” he says.
Tuffin believes that “photographs lie all
the time”, but truth is important to him.
The images he creates are truthful in the
sense that everything that is there at the
time of the making, is present in the image.
“There is an enhanced sense of honesty.
Mistakes can’t be hidden,” he says. Tuffin is
a strong advocate for rigour and technique,
but loves the serendipity of things that
happen along the way. Once he has gained a
strong control over the process, he likes to
manipulate these idiosyncrasies and use
them in a unique and modern way for the
story he wants to tell.
Fewer people are using mercury and
bromine for daguerreotypes, but they give
Tuffin more room for creativity. If you use
strong iodine and heat the mercury up, you
get strong blues, so you can get creative with
colour in a monochromatic process,” he
explains. For the image, Stolen, a work about
the Stolen Generation, the mother hangs on
the fence while the nurse pushes her child
away under a vast blue sky. “All of a sudden,
the white uniform of the nurse solarised and
went blue, creating a more contrary and
interesting dialogue,” Tuffin says.
Jacobson also finds that the advantages far outweigh the limitations
of the process. “Once you fully understand it, you can see both the
technical and conceptual possibilities are both exciting and endless,”
he says. For him, the excitement exceeds anything that digital, and
even film, can offer. The most important aspect is the aesthetic.
“There’s nothing quite like it,” he says. “It’s beautiful, dreamy, honest,
and revealing.”
Like Cook, Jacobson confirms that an investment of time and
money is needed to get good at it. “I can say, with the utmost
confidence, that a person needs at least two or three years working in
the process to get proficient at it; about 10,000 hours. Who’s willing to
commit to that today?”
Originally from Newcastle upon Tyne, England, Paul Alsop moved
to New Zealand in 2010 to work as a doctor. After becoming
disillusioned with digital photography, Alsop taught himself film
photography in the hospital boiler room after finishing work on the
wards. One day, Alsop saw Chuck Close’s portraits of Kate Moss. “I
Working historical techniques in new ways
Craig Tuffin is a freelance photographer, artist, and educator, living on
the Tweed Coast in Northern New South Wales. Tuffin has won
numerous awards for his work and is represented by Gold Street
Studios in Victoria/Beijing, and the Lebovic Gallery, Sydney. His work
is in the official collection of the National Gallery of Australia, as well
as many other private and public collections around the world. “I am
not interested in making an old looking image using new processes. I
am interested in revisualising in a contemporary context,” Tuffin says,
who does not have a preferred process, but works with wet plate
collodion (ambrotypes, tintypes, and glass negatives), daguerreotypes,
and a variety of printing methods (salt, albumen, platinum palladium,
carbon, and silver gelatin). “For me, it is important that the medium
matches the message,” he states. For his Yahna Ganga series,
photographs of Aboriginal Australians, Tuffin used photographic
methods that created an image as a singular object (daguerreotypes,
ambrotypes, and tintypes). “These techniques act as metaphors. [They
[capture] may_jun.18
tools alternative process
was smitten right then. Close’s images were jaw-dropping and hyperreal, and as Close explained best, ”The only other time you see
someone up close in so much detail is when you are making love to
them!” He discovered that Close’s images were made with the
daguerreotype process, but was not keen on the risks posed by mercury
vapour. “I wanted to make awesome images, but not die doing it,” says
Alsop. “My research of this period of photography led me to the wet
plate collodion process, and the rest is history”.
Alsop takes about 20 minutes to make an image from start to finish.
He too is drawn to the slow and purposeful nature of the technique,
particularly the characteristic absence of candid moments. “Subjects
tend to change their demeanour whilst waiting for an exposure to occur,
and I’ve heard people describe the experience as ‘spiritual’. They get
time to go to another place in their heads, if only for a few minutes,”
Alsop says.
Evidence seems to indicate that those who commit to working with
alternative processes do it for the love, and not for the money. “You
certainly wouldn’t be in alternative processes to make a fortune,” Young
says. “I do it for the love of it, not the money, although my trips to
China to teach have been a form of reward because they are so well
received,” Young says.
This sentiment is echoed by Glattauer who finds it financially viable
due to print sales, especially since she has become known for the
photopolymer photogravure process. However, she too mentions doing
it for the love of it, and any income generated goes towards enabling
her to create more. Like Young, she has found a lot of interest in
workshops. “People want to get their hands dirty and have a different
experience to digital. My techniques create the perfect marriage
between digital and handcrafted print making,” Glattauer says.
Cook shows his tintype plates to agencies and gets an enthusiastic
response. In many cases, art directors have never seen them before.
He’s converted a caravan into a darkroom for commissions, but believes
that it’s only commercially viable if the end result is the tintype itself.
Recently, he produced work for Strand Hatters, as their product lends
itself well to the technique, and [clothing brand] Fred Perry, although
Cook describes it as more like a self-funded campaign or collaboration
that will eventually result in an exhibition in London. He also takes
commissions for special occasions, recently photographing three
generations from one family. “I do evening sessions that take a few
hours and it’s a real experience for people, one they can talk about. In
25 years from now, no-one will have any pictures. It’s a big risk putting
your faith in technology that will change. Today’s cheap prints are not
done on proper paper, they won’t last and will be gone over time, but a
tintype will last for 200 years,” Cook says.
Jacobson’s income is derived from selling his books, teaching
worldwide, commissions, and selling at exhibitions. He too works to
fund his personal projects. “My mother’s people were Navajo,
descended from the Ket people, and I’ve started a project that I call,
Ghost Dance: Native American Massacre Sites,” says Jacobson who is
photographing sites where the American military slaughtered Indians.
His focus has been on the massacres that occurred between about
1850 and 1900, at the time that the wet collodion process was in use.
”We need to remind people of the injustice in the world and hope that
our contributions will help to change the way we treat people that are
different from us,” Jacobson says.
Commercial viability
Alsop’s forays into commercial photography have included a
commercial shoot for a bespoke eye care company. Consisting of
handcrafted fine art portraits in magazines, on billboards, and on the
back of buses, he was extremely happy with the end result, but stresses
this could not be replicated en mass due to time and cost. Alsop also
believes that the novelty would soon wear off if done commercially on
more than a handful of occasions. He believes that there is potential
via the fine art market, especially with incidental artefacts adding to
the fine art element, but adds, “People often ask, ‘Can I have that one,
but can you do it in colour?’ demonstrating their fundamental lack of
Alternative processes can be exhilarating and rewarding, but it takes
time to learn the craft. Using an alternative process alone is not
enough. All the principles behind creating good images still apply.
The photographers interviewed create powerful portraits, still life,
and landscape images, and all have stories to tell. They are interested
in raw truth, objects you can touch and hold, and a sense of the
everlasting. They are abundantly patient and embrace imperfection.
This community is generous in sharing their passion. They may
derive income from it, but the overwhelming message is that they are
in it for the love.
ABOVE: Longeared bat.
with digital
LEFT: Will.
[capture] may_jun.18
Paul Alsop
Adrian Cook
Silvi Glattauer
Quinn Jacobson
Craig Tuffin
Ellie Young
an egoless road of artistic discovery
[capture] may_jun.18
projects collaborations
The myth of the photographer as a solo artist appears
to be dominating our contemporary photography
culture. But you only have to scratch the surface of this
myth to discover that it isn’t necessarily true, and that
there is much to gain from photography collaborations.
Sophia Hawkes reveals the motives, benefits, and
challenges behind collaborations.
seeking creative stimulation, fresh
perspectives, and a network of people, may discover that a
collaboration is the perfect vehicle. In his recently published book,
Photography and collaborations: From Conceptual Art to Crowdsourcing,
author Daniel Palmer emphasises photography as a “social rather than
solitary act”. By contrast, the historical and current narrative of
photography in museums and art schools presents photography as “an
art of individuals who produce discrete works,” Palmer states. Although
“in the 1960 photography and contemporary art merged in a significant
way,” he continues.
A montage of motives
MAIN: Phoot
Collaboration with
Lauren Randolph.
Angel & Hana,
from the series,
Raw Beauty.
[capture] may_jun.18
Typically, what motivates photographers to collaborate varies from project
to project. For French-born, New York-based fashion photographer
Antoine Verglas, it was his curious nature, sensitivity, and openness to all
art forms that drew him to collaborating. “A collaboration is an exchange of
ideas, it’s progressive, and helps you go further,” he says. Verglas began
carving his niche and trademark style in the fashion industry in New York
in the 1990s. Developing an intimate documentary style of fashion
photography, his work with supermodels and actresses such as Cindy
Crawford, Penelope Cruz, Angelina Jolie, and Julia Leskova has frequently
been labelled as ‘uninhibited’. Verglas’ images have appeared in prestigious
magazines such as Elle, Vogue, Esquire, GQ, and Maxim. Together with
visual artist Bradley Theodore, he created the exhibition Raw Beauty,
projects collaborations
other fields, not other photographers. But in Copenhagen, Denmark,
the photo collective Sara, Peter and Tobias is thriving. The collective
consists of Tobias Selnaes Markussen, Sara Brincher Galbiati, and
Peter Helles Eriksen. The trio’s first collaboration, Phenomena, toured
in Holland and America and resulted in a published book. They were
recently awarded the Forhanna Grant to assist their current project,
The Merge, to be exhibited in Holland at the Bredaphoto Festival in
September this year. The decision to collaborate formed organically as
they shared a studio space three years prior to Phenomena. However,
the decision was fuelled by a shared desire to dissolve the
“romanticised ego of the photographer”. Tobias says that they wanted to
see if it was possible to merge and become stronger as a group.
Being aware of their own egos, they didn't know if it was possible.
Initially, the plan was to collaborate only on
Phenomena, but due to the project’s success,
they decided to form the collective two
years after completion. Their loyalty to their
quest to dissolve egos led them to co-own,
and create everything within the collective.
Furthermore, they don’t get attached to
ownership of ideas or subjects.
For Ryan Schude, the reason behind his
collaborations is more functional than the motives explored so far.
Schude is based in Los Angeles and works as an advertising, editorial,
and fine art photographer. His narrative, tableau vivant (living picture)
style is remarkable, and, although carefully staged, often appears
spontaneous. Indeed, this style alone is a collaboration between theatre
and visual arts. However, this doesn’t mean that the photographer
choosing to produce this type of image collaborates with other artists;
they may merely direct them. But Schude has from time to time
collaborated with other photographers, directors, stylists, and even
doctors, in the true sense of the word. “I would love to pretend there
was some romantic notion about getting out of my own head and
blending creative juices with my closest friends and family for the
greater good of our artistic endeavours, but it was much more
functional than that. For him it’s a matter of knowing his own
limitations and reaching out to those around him with resources he
doesn’t have. Instead of simply hiring these resources, Schude relies on
a collaborative approach.
also create artistic
Growth and widening your scope
[capture] may_jun.18
A collaborative approach typically helps all the way from the idea phase
to execution and completion; you can get much more done artistically,
administratively, and when it comes to promotion. Sara says that when
it comes to getting the job done, you can divide yourselves and cover a
lot more ground and people than you would on your own. “The energy
you get from other people being as excited as you are is the best battery
to keep the project going and promoting it,” she says. Moreover, if three
people think something is a good idea, Sara believes that you have
more certainty that you're going after the right target.
Through their collaboration, Redfern and Coates have developed an
approach to storytelling they call “slow journalism”; they stay in one
place until they get a “deep feeling for what is going on” and then move
on when they both believe they’ve got what they can. Redfern calls this
a “vacuuming” of as many photos and as much information as possible.
Afterwards, they’ll sort out the particulars of the story. This approach
was used to create the book, Eternal Harvest, as well as the upcoming
blending the realms of street art and fashion photography, where the
canvases were the bodies of renowned models. He’s also collaborated with
the street artist, Senz and is currently working on a new collaboration.
Married couple and collaborators, Jerry Redfern and Karen J.
Coates met at university in America. A few years later, when moving to
Cambodia they decided to collaborate as it seemed like the natural
thing to do; Redfern was a photojournalist and Coates was a writer.
“Stories need photos, and photos sell better with stories,” Redfern says.
In 2005, they embarked on their biggest project, reporting on people
living and dying amongst bombs in Laos. Between the years of 1964
and 1973 the U.S carried out the “largest bombing campaign in history
against the tiny country of Laos . . . and as much as 30 percent of what
was dropped didn’t detonate at the time,” Redfern explains. “Those
bombs remain in the ground today, still deadly.” The couple spent eight
years reporting on the topic before publishing a book, Eternal Harvest:
The Legacy of American Bombs in Laos, in 2013. The project “is a
combination of photos and written stories,” he says. The couple
continues to report on this issue, currently finishing a documentary
based on the book.
When you hear about photography and collaborations you most
commonly hear about photographers collaborating with artists from
documentary. “I don’t think there’s any way we could’ve worked like
that without collaborating, and that collaboration made the book a
coherent whole,” Redfern says.
Practical benefits aside, collaborations also create artistic
advantages. For Tobias, it was being challenged as a photographer that
was the greatest benefit. “It’s an amazing opportunity to challenge how
you work and perceive things as an individual. In sharing everything
with two other people, you invite them into your own practice of being
a photographer and that creates a whole new way of seeing
photography,” he says. The collective doesn’t see or do photography in
the same way, so coming together naturally creates something very
different than if they were working alone. “The result has been
aesthetically homogeneous, but there’s more tension and diversity,”
Peter says.
The added creative perspectives collaborations bring is not lost on
Schude. “Just because you envisioned something in a particular way,
doesn’t mean it was the best way. Having another perspective right
there with you is the best check and balance you could ask for,” he
says. He also values the time spent with people whose company he
enjoys and discovering what they can co-create. “The best part isn’t the
result, it is the process along the way,” he says.
Verglas loves the artistic stimulation collaborations bring. A way
of bouncing your creativity off another artist’s minds, Verglas says
that collaborating connects you to fresh networks of people. Looking
at photography with “different eyes”, it also opens up opportunities
to new exhibiting possibilities. Redfern echoes these sentiments. “I
like the extra eyes, the extra ears, the extra research, the different
view of the world,” he says. He adds that inevitably collaborations
build better stories. Coates has led him to a range of stories and
places he wouldn't have considered on his own. “Two minds look at
the same story from two complementary perspectives – words and
visuals,” Redfern says.
Trust boosts creativity
Red House.
Collaboration with
Justin Bettman.
LEFT: Weapon
laser on rolling
base with
rotating tip and
three retractable
pen-like laser
tips. Culver
City, USA. From
the series,
The Merge.
[capture] may_jun.18
All those interviewed agreed that before launching into a collaborative
project, it’s helpful, if not vital, to know the people you’re collaborating
with to ensure there’s mutual respect, as this fosters trust, which is
crucial. “You have to be willing to give up some – and perhaps a lot – of
control, so you need a person you can trust with that. Working with a
person you like, but whose work you don’t like, will lead to conflict. And
vice-versa . . . It’s a matter of trusting one another’s professional instincts,”
says Redfern. Verglas on the other hand talks about a “mutual respect for
the art”. He expects the same respect he offers, and asks the person he's
working with to let him do what he does best, and gives them the same.
Sara, Peter and Tobias have an intimate understanding of how trust
affects the outcome of a project. “When you are in a collective with
people that you trust, you are safer, so you can make bolder choices,”
Peter says. Sara shares a story of them shooting a robotic hand in a lab
to highlight this sentiment. Two of them were staying in the “safezone”, setting up a “perfect shot, with the light, going into the details”,
the third one seeing the others “playing it safe” was given the space to
experiment doing snap shots. In the end, one of the snap shots was the
best image. Tobias adds that it can be hard to balance safety and bold
moves working on your own. From her experience, Sara says that it can
projects collaborations
also be hard to judge your own work at times, especially if you’re
exhausted or have spent a long time scanning images. Then it’s great to
have trusted team members to assist.
Schude too talks about trust. “The trust you put in your
collaborators opens up your thoughts at times during a stressful
situation when they can get muddled with all the other intricacies of
the shoot.” Also important, he believes, is to have a very direct
conversation about what level of involvement is expected from each of
the collaborators. Doing so is a great way to minimise some of the
challenges collaborations can bring.
Overcoming challenges
As with any project, collaborations will present challenges. A major one
is facing your ego and being willing and able to debate your ideas and
work. Verglas says that if challenges arise, it’s always because of egos.
If an artist has too much ego, they may be unable to collaborate. The
best way to approach challenges and obstacles is via discussion. If
agreement can’t be reached, then the collaboration might not yield the
desired outcome. Similarly, Sara, Peter and Tobias will spend countless
hours discussing, debating, and sharing ideas, images, and how to get
the job done. Peter states that although it’s time-consuming and
challenging, it provides a strong safety network from which you can
push boundaries and your photography further. “It's good to remind
yourself that you are part of a collaboration to have these discussions
that you otherwise wouldn't be having,” he adds.
“It's an open debate about how I can improve. How I can
challenge something,” Sara says. “If you can't handle that, maybe
collaboration is not for you.” Collaboration is always back and forth,
but discussions are for the better of the project. “It’s the motor,” she
adds. It can be difficult and frustrating to present an idea only to
have it shut down, or talk for a day about one thing. But in the end
ABOVE: Two men
rest next to the
winch used to
bring up dirt from
their hand-dug
gem mine in
rural Rattanakiri,
Cambodia, 2016.
[capture] may_jun.18
As with any
will present
the outcome of joint efforts are always greater than if working in
isolation, according to Sara, Peter and Tobias.
Sara, Peter and Tobias’ project allowed them to take a lot of time to find
mutual ground and understanding. By contrast, Schude’s projects have a
tight time-limit, and as a result, considering differences in opinion proves a
challenge for him. “When it’s in the middle of a shoot, you need to come to
a conclusion fast because people are waiting on you. If it is in the pre- or
post-production process, you have a little bit more leeway to look at things
differently,” he says. “If you can afford the opportunity for options, trying it
both ways during shooting is ideal so that everyone feels heard,” he says.
To collaborate effectively, you’ve got to be open to have conversations about
your images and ideas, as challenging as this might be.
Collaborations will bring a unique challenge, namely to face your
own and others’ egos. If you're up for this challenge, and to debate
and discuss your work, they can open you up to new and valuable
perspectives. Working together with other artists and photographers
can be creatively stimulating. Additionally, collaborations may help
you create a safe space from which you can experiment and take risks
to reap unexpected rewards. Working with others may also open up
new avenues to promote your work. Really, there’s no good reason not
to get together with people you know and respect and begin a new
creative project. They say there’s nothing new under the sun, but
maybe blending what’s already there in new ways is possible, with a
bit of help from your friends.
Jerry Redfern
Sara, Peter and Tobias
Ryan Schude
Antoine Verglas
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one portfolio, in some instances their names
may appear more than once on lists where the
judges have ranked their work accordingly.
In late June, Capture will notify via e-mail any
photographers whose work was selected as
‘Highly Commended’ or ‘Commended’.
Welcome to Capture’s tenth annual awards
showcasing the very best emerging photographic
talent across Australia and New Zealand. The
awards recognise, encourage, and promote
talented photographers in the early stages of their
careers. In 2018, the competition attracted 924
entries across the 10 categories, comprising
5,544 images, and represented an increase of
15% from 2017. Categories attracting the highest
proportion of entries were Portrait and
Landscape, while the Student category showed
the most significant year-on-year increase.
invited to submit portfolios of six images across
any of the ten categories. Students of
photography and those with no professional
experience were also eligible to enter. After an
initial review of entries by the editor of Capture
magazine, a shortlist was produced.
We relied on 35 judges, all of whom lent their
expertise across a number of categories, to vote
on the shortlist, indicating their top five favourite
portfolios. From the category winners, judges
were then asked to rank their five favourites to
determine the overall winner – Australasia’s Top
Emerging Photographer 2018.
To be a contender for the title of Australasia’s
Top Emerging Photographer 2018, photographers
with less than four years’ full-time experience
working as a professional photographer were
In this issue we name the winners, runners-up,
and top ranked portfolios (Top 10, Top 15 or Top
20) in each category. As photographers were
able to enter the same category with more than
[capture] may_jun.18
The success of this competition lies with the
stunning quality of entries received, the
involvement of an amazing panel of judges, and
the support of our sponsors. Each year, judges
note the challenge of choosing the category
winners. A massive thanks and gratitude to the
leading professionals for their time, wisdom, and
experience scrutinising the entries to help
determine the winners.
Much thanks must also go to our major
sponsor, Fujifilm, and all our category sponsors:
DJI, Dragon Image/RED, EIZO, Jinbei, LaCie,
Merrell, Momento Pro, National Portrait Gallery,
QNAP, and Sally Brownbill for their generosity
and commitment to supporting emerging
photographic talent. This year the total prize
pool for Australasia’s Top Emerging
Photographers was worth over $18,500, with
$11,000 in prizes, plus cash prizes of $7,500.
The Emerging Photographer of the Year receives
the grand prize – a Fujifilm X-Pro2 & XF 35mm
f/2 lens valued at $3,298, plus $3,000.
Category winners receive prizes from our
category sponsors plus $450.
Find the winners and their entries at from June 2018. Keep
up-to-date with the latest news from Capture via
our fortnightly e-newsletter, connect with us on
Facebook (
or on Instagram (@capture.mag).
COVER AND ABOVE: Images by Leah Kennedy,
Australasia’s Top Emerging Photographer 2018.
We relied on some of the world’s best
photographers and industry professionals to help
uncover the hottest emerging talent in the region.
We’re extremely grateful to have them involved!
• Adrian Dennis –
• Ami Vitale –
• Art Streiber –
• Brett Boardman –
• Chris Crisman –
• Dallas & Sabrina Kolotylo –
• Dan O’Day –
• Derek Swalwell –
• Ed Peers –
• Erwin Olaf –
• Gary Sheppard –
• George Apostolidis –
• Ignacio Palacios –
• James Simmons –
• John Gollings –
• Juli Balla –
• Kate Geraghty –
• Kelly Tunney –
• Kristian Dowling –
• Krystle Wright –
• Lisa Saad –
• Marcus Bleasdale –
• Matthias Hangst –
• Mike Kelly –
• Nichole Sobecki –
• Nirav Patel –
• Paul Hoelen –
• Rankin –
• Ron Haviv –
• Sally Brownbill –
• Samm Blake –
• Sean Izzard –
• Tim Griffith –
• Tim Tadder –
• William Long –
• Keep your imagination and creativity at the
forefront of your mind when creating images
for any art submission.
• It is very important that the images tell a story
and reinforce one’s personal style.
Our judges were asked to share their top tips for
anyone planning on entering next year. Here’s
what they said.
• Many of the entries used architecture as a
graphic composition element rather than a place
that is designed for use, and sitting within a
larger context. Architecture exists in place,
space, and time. Entries that sought to show it
as places in use, in time, and at differing scales
were more compelling than those showing it as a
still life or lifeless stage set.
• Photography is about storytelling, and this
category demands the most narrative
attention and focus. Successful portfolios told
a visual story in only six images and exhibited
a variety of lens and compositional choices
that made the stories dynamic.
• A combination of consistency and an obvious
vision is what won me over. Offer the viewer a
good selection of images that are visually
enticing and convey a clear message that
makes them want to know about the story.
• The best portfolios showed consistency in not
only image selection, but image editing also.
Portfolios that combined a mix of monochrome
and colour images were generally excluded, as
well as those with a variety of unnecessary
crops. The same could be said for the choice
of editing techniques for no clear reason, other
than the vision of the photographer being on
solely stand-alone images, instead of images
that work together in some way.
• Please avoid clichés: if you’ve seen it before,
you can bet the judges have. Without having
some unique visual interpretation, it won’t rate.
• Subject knowledge in terms of season, time of
day, and shooting angles is paramount, and
lighting will always be king. Don't lean too
heavily on techniques and post processing at
the expense of good camera craft, as bold,
simple compositions with fresh, thoughtful
perspective will always shine through.
• Portraiture should leave the viewer with the
feeling that they’ve learned something about
the subject or that they’d like to learn more.
• If the portfolio isn’t filled with one particular
theme, this is where versatility becomes more
important. Shying away from a theme can imply
a photographer may not have a clear vision, but
if the folio shows versatility on an emotional and
technical level, this can make up for that, and
even surpass a folio with a one-theme focus.
[capture] may_jun.18
ABOVE: Image by Michael Borzillo, winner of the
Student category, and overall runner-up.
• There is a difference between merely showing
action and telling a story. It is the ability to do
the latter that has this type of imagery
transcend the genre and occupy the thoughts
of the viewer at a much deeper level.
• I was looking for people that pushed
boundaries and strived to create original,
thoughtful, and interesting work.
• There was strong traditional imagery that was
handled well, alongside a good understanding
of new techniques. In most entries, the
students have grasped the concept of
storytelling, and have included in their six
images a relationship to each other.
• The best photographs had me gazing for
several moments as I got lost in the
atmosphere, culture, landscape, and location
of the places they portrayed.
• Over saturation of images and excessive
manipulation in post processing was very
distracting and took away from the power of
the images. Also, it’s crucial to look much
deeper into each story and learn that great
visual storytelling is so much more than just
taking colourful photos.
• The best portfolios exhibited a consistent and
unique style throughout, combining emotive
portraits with well documented, authentic
• I was mainly looking for true emotion and style,
reflected in composition, posing, and editing.
The winning folio stood out with a sparse,
consistent elegance of intriguing subject matter
shot under difficult conditions. It is engaging
and thought-provoking with a memorable
composition that speaks of photography’s
original promise of freezing a moment in time
with found subject matter. – John Gollings AM
I just loved this series of images the minute I
saw them. Firstly, the story throughout the
series has been given the same treatment,
tonality, colour palette, and starkness across
the board. All of the images invite the viewer to
look into each shot and scrutinise the process,
and consider whether the image is in fact an
illustration or a photograph. The photographer
has taken the harshness of the scenes and
turned it into an art piece.
The series is powerful, and you can’t help be
mesmerised by the subject matter. The
photographer has been able to create such a
strong series by keeping the frames simple, and
understanding that it is the simplicity which
provides the images with their uniqueness.
Each image is engaging and, above all, shows
to me the photographer’s individuality. After
all, that is what I am looking for as a judge – a
point of difference. – Sally Brownbill
Born and raised in Perth, Leah Kennedy had the opportunity to move to
Cork, Ireland in 1999 for six months, and didn’t return until almost 10
years later. It proved to be a pivotal point in her life where the slow process
of realising her passions, and pursuing them, began. In 2013, a
photography workshop was the catalyst cementing her passion for creativity
and visual imagery. Now, almost 10 years since her return from Ireland,
photography and arts are even closer to her heart, and she pursues both
with a clearer sense of purpose and intent. Kennedy is particularly intrigued
with the ambiguous nature of the world, the complexities, the
misconceptions, and the grey areas in life, as very rarely is something black
or white.
During her career to date, Kennedy has received an impressive array of
accolades from being named 2015 AIPP WA Creative Professional
Photographer of the Year to taking the title of AIPP WA Illustrative
Professional Photographer of the Year in both 2016 and 2017. In 2017, she
was named AIPP Creative Photographer of the Year, was a finalist for AIPP
WA Landscape Professional Photographer of the Year, and placed third in
the Landscape category of Australasia’s Top Emerging Photographers.
Fujifilm X-Pro2 & XF 35mm f/2 lens valued at $3,298, plus $3,000.
[capture] may_jun.18
Aerial photography is fast becoming a popular
genre, and more often than not the results seem
as though you’ve seen them before. What I love
about these pictures is their originality. The
subject matter is compelling, composition is
simple, yet strong, and the overall imagery
cohesive. The result is a beautiful, memorable
series that I’d love to hang on my own wall.
– Sean Izzard
I found this beautiful portfolio both gratifyingly
cohesive and refreshingly exploratory in nature.
Although it ranges from busy to minimalist
across its breadth, it still ties together
wonderfully well through its consistently
delicate colour palette, exquisite subtlety of
detail, and strong sense of design. Each image
lends a certain air of graphical precision and
the impression of clear deliberateness to what
the photographer has chosen to include and
exclude in the well-considered compositions.
The viewing perspective lends a kind of
detached voyeurism to me, and speaks a lot
potentially of the photographer themselves. In
short, a very solidly presented, intriguing, and
visually appealing body of work! – Paul Hoelen
2 018
Born in Perth, Australia, Leah Kennedy has always had a passion for
the visual arts. Her photographic work has become a way of conveying
an experience of a place, time and/or concept. For her, photography is
a vehicle for expressing the contrasts that life and humanity provide
– a way of processing the complexities that surround us daily.
EIZO ColourEdge CS2420 photo-editing monitor (RRP $1,430).
TOP 20
Leah Kennedy
Joanne Piechota
Murray Fox
Mieke Boynton
Leah Kennedy
Jarrad Parker
Leah Kennedy
Joanne Piechota
Arun Sen
Nico Babot
Joanne Piechota
Alex Ham
Tim Wrate
Will Eades
Geoffrey Goddard
Jason Woods
Yan Zhang
Jeff Jones
Stuart Westmore
Kieran Stone
Tim Allen
[capture] may_jun.18
Melbourne-based photographer, Joanne Piechota is known for her soul-soothing landscape
images. Inspired by contemporary Australian painters, Piechota’s photography captures
beautiful brush stroke textures without any digital manipulation. She has lived and photographed
in China, Japan, and the USA, where she studied at the International Centre of Photography in
New York City. As a full-time IT professional, Piechota spends her weekends escaping the 9 to 5
grind, creating beautiful imagery that whisks the viewer away to another world.
[capture] may_jun.18
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2 018
Michael Borzillo was born and raised in
Melbourne. After completing a degree in
engineering and almost eight years in the
industry, he decided to quit his job and
spend a number of years travelling. He
returned home with the desire to become
a photographer. Following three and a
half years studying photography at RMIT,
he graduated in November 2017. Since
completing his studies, Borzillo has
continued his assisting work and is in the
process of setting up his business as a
portrait and architectural photographer.
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[capture] may_jun.18
TOP 10
Before Dutch-born Miranda Kremers settled in Melbourne,
London was her home for over a decade. She now divides
her time between image-making and her family – her
husband and three children. Kremers is in her final year of
the part-time Advanced Diploma of Photography (commercial
major) at Photography Studies College, Melbourne. She can
distil complex issues into simple, direct communication. Her
work straddles commercial, documentary, and art, and this
is most clearly observed in her evocative portraits.
[capture] may_jun.18
Michael Borzillo
Miranda Kremers
Will Rampling-Bauer
Jason Smith
Madeline Begley
Chloe Stathopoulos
Marina Zivkovic
James Thorn
Jason Smith
Steven Penman
Emma Sanders
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getting outside and inspiring others
to get out there too.
With this in mind, we want to invite
you to capture your “Outdoor Australia”
in the first ever Merrell Australia
photo competition.
With a $20,000 grand prize and lots
more to be won, there is no better time
to get outside!
For full details and to enter visit
TOP 20
Lara Gilks
Melanie Jasmin
Camilla French
Krystle Ricci
Candy Goldsmith
Helen Whittle
Nicole Wells
Jordan Adams
Sarah Talaj
Tracy Botica
Candy Goldsmith
Joel Pratley
Aaron Burgess
Candy Goldsmith
Nic Bezzina
Lucia Staykov
Robin Yong
Louise Faulkner
Jennifere Thompson
Anna Turner
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Based in Wellington, New Zealand, Lara Gilks strives to test
boundaries in her photography – exploring the precipice
between the macabre and the beautiful, perfection and
imperfection, human and inhuman, dream and reality. She
has received multiple awards for her work, including three
Honourable Mentions at the 2016 International Photo
Awards, three Honourable Mentions at the 2016
Monochrome Awards, and was awarded a Silver at the PX3
Photography Awards in 2016. Her work has been published
in Creative Quarterly and she was a Wellington finalist for
the Clifton Art Prize 2017. Gilks’ work has featured in a
number of exhibitions, including the Auckland Festival of
Photography in 2017, Creative Quarterly magazine’s Top
100 Group Show in New York in February 2018, and the
Photoforum Group Show in April 2018.
$450 plus a National Portrait Gallery Prize Pack, valued
at $295.
Portrait photographer Melanie Jasmin is
based in the Yarra Valley, Victoria. She has a
Bachelor of Arts in Classic Mythology and
Archaeology from Monash University.
Self-taught, she picked up a digital camera
with the arrival of her children in 2014.
Unsatisfied with candid snapshots, she
pushed herself to develop her style and
artistic vision, learning about colour theory,
light shaping, and post process editing
techniques through research and by reaching
out to others within the photographic
community. With an eclectic and broad set
of influences from Rococo and Neoclassical
painters to Greek mythology and modern
pop art colours to vintage children’s picture
books, Jasmin creates imagery that elegantly
combines both historical and modern
influence in her beguiling portraits. Her
images transport her, and her viewers, to a
nostalgic and idealised time, but they still
maintain a distinctly contemporary quality.
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Beth Mitchell is a contemporary fine art photographer based in
Brisbane, Australia. Following senior school years, largely
spent out of the classroom studying and practicing
photography, she discovered and developed her niche –
unifying the underwater and portrait photographic genre. Her
emotive and captivating art depicts stories of beauty and
ethereal themes underwater. Detailed design and handcrafted
elements evoke dreamlike, yet poignantly real images.
$450 plus Jinbei Mars portable flash SE value kit (RRP $769).
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TOP 10
Bri Hammond is a photographer fascinated by the lives, living habits, and spaces of
creative people. Prior to her career in photography, she spent a year in Treviso, Italy,
working as a graphic designer at Benetton’s Creative Research Centre, Fabrica. Since
graduating the BA Photography (Commercial) course at RMIT in 2015, Hammond has
been a frequent contributor to Frankie magazine.
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Beth Mitchell
Bri Hammond
Lauren Phillips
Anna Turner
William Xu
Romon Yang
Eliza Kinchington
Ingrid Hendriksen
Tetiana Matsypura
Marissa Alden
For pro photographer Leo Edwards, the move to a Jinbei studio lighting
setup was one of the best decisions he’s ever made. He explains why he’s
never looked back.
Micro system, Lightweight, 250 watts,
TTL, HSS, Freeze mode, LED Modeling
300 shot full power Lithium Battery
I should explain that I stumbled across Jinbei by chance when I moved
to Australia last year. Prior to that I was heavily invested in a European
lighting brand and loads of modiiers. About two years ago one of my
monolights failed on a shoot. Unfortunately, it was just over two years
old, so was out of warranty. It had to be sent back to the manufacturer
who I believe replaced the capacitor – long story short, the repair was
only few dollars off the price of buying a new light! That was followed
closely by a commercial shoot here in Australia when my three-year-old
battery started smoking and crackling – again, the cost of repair was
going to be similar to the cost of a new unit.
It just doesn’t quit. I’d recently returned from an expedition to Lo
Manthang where I’d taken 2 x my Swiss units which averaged about 150
pops per battery at fully power - this thing achieves 500-600 with total
reliability. Now I have added 2 x HD610 TTL and 2 x Mars 3 micro kits and
could not be happier.
Read the full Full blog post here:
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Even as a child, Rowena Meadows remembers being driven by
intense curiosity to understand peoples’ stories. Her interest
in human behaviour led her to become a psychologist.
Although no longer working in this field, her innate desire to
make sense of individual and relational behaviours is evident
in the style of her documentary work. Based in Melbourne
with her family, Meadows has been shooting whole-day
documentary sessions with families for the last three years.
She placed second in the Documentary category for Capture
magazine’s Top Emerging Photographers in 2017.
$450 plus a full-day studio hire at Dragon Image, including
RED 8K camera, lens, and lighting equipment hire, valued at
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TOP 20
Rowena Meadows
Annette Ruzicka
Rowena Meadows
Geoffrey Goddard
Kirsty Greenland
Julijana Griffiths
Franck Gazzola
Brydie Piaf
Shelley Reis
Mridula Amin
Madeline Begley
Nic Bezzina
Sergio Leyva Seiglie
Annette Kirby
Ricci Schwarzler
Joel Pratley
Rachel Phillips
Cathy Ronalds
Nic Bezzina
Royce Holliday
Alexander Robertson
Matthew Willmann
Annette Ruzicka is a documentary and portrait
photographer based in Melbourne, Australia. Her
background in conservation had developed in her a
strong desire to share the stories and reveal the
heroes behind Australia’s environment movement,
including, not least of all, the first Australians. Since
her departure from the sector and entry into
photography, her work has branched out into social
justice issues, creating raw and personal stories. This
started with the most personal and trying work of all
– her own story.
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Based in Noosa, Queensland, wedding photographer Ben Sowry spends the majority of his
working year travelling around Australia documenting modern love stories of people madly
in love. He was selected as one of Rangefinder’s 30 Rising Stars of Wedding Photography
in 2017 after quitting his day job as an electrician to pursue wedding photography in 2016.
$450 plus a credit voucher worth $500 from Momento Pro.
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TOP 15
Ona Janzen is a multi-award-winning photographer based in the Blue Mountains, west of Sydney.
Primarily a portrait and wedding photographer, Janzen often exhibits her fine-art work in regional
and commercial galleries. In all of her work, she aims to capture natural, often raw, poignant
moments – seemingly between states – when one is most present, most conscious...and hold this
space. Janzen was selected as a finalist for the Head On Portrait Prize in 2014, and has been a
semi-finalist for both Head On and the Moran Contemporary Photographic Prize several times.
Her work has been recognised nationally at the AIPP Australian Professional Photography Awards.
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Ben Sowry
Ona Janzen
Damien Milan
Anna Turner
Piotrek Ziolkowski
Jack Gilchrist
Andrew Hardy
Michelle Troop
Alex Szczesniak
Aimee de Haan
Jamie Murcutt
John Kung
Michelle Troop
Steven Duncan
Paris Hawken
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Mark Forbes’ approach to photography comes
from an underlying fascination with people and
their interaction with the environment. He has an
uncanny knack of capturing the layers of beauty
that exist everywhere around us and is an avid
people watcher. Using light is a key aspect of his
work, and he is equally well versed at creating
engaging environmental portraits, or capturing
architecture from a unique perspective. He has
shot for brands including Mercedes Benz and
Samsung. While client work is shot on digital, he
still enjoys shooting all of his personal projects
on 35mm and medium format film.
$450 plus a DJI Spark, valued at $629.
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Kristyn Taylor is a Sydney-based artist,
traveller, and amateur photographer.
Since 2013, when she picked up her first
DSLR, she has become increasingly
passionate about photography. Her day
job as the director of a ceramic workshop
business gives her the flexibility to
pursue her photography passion. In
2018, Kristyn was named amateur Travel
Photographer of the Year by Australian
Photography magazine, and she was
ranked in every category she entered.
TOP 20
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Mark Forbes
Kristyn Taylor
Renee Doyle
Kevin Norris
Jacqueline Bawtree
Clara Davies
Deonne Kirk
Luke David
Don Chu
Renee Doyle
Kieran Stone
Kirsty Greenland
Renee Doyle
Catherine Matthys
Clay Cox
Simon Linge
Amy Mercer
Kieran Stone
Chealse Vo
Melanie Desa
Kieran Stone
John Wiseman
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Aidan Williams was born in the Blue Mountains, NSW,
in 1996, and was shooting with disposable cameras
from the age of five. At seven, he received his first
Kodak camera. During his early years, he learnt that
exploration and discovery could be experienced
through a lens. Williams received a Diploma of Photo
Imaging from the Nepean Arts & Design Centre. He
believes that preparation, understanding, and
diligence in your subject field is key to success. For
him, photography resonates on a deeper level, where
freezing and capturing a moment in time gives an
immeasurable and humbling feeling. He has
experience with Sydney's major newspapers – Sydney
Morning Herald and Daily Telegraph. He’s also had
images published on National Geographic’s website.
$450 plus LaCie Rugged Thunderbolt USB-C 5TB
portable hard drive (RRP $599).
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Hamish Laing remember being given a
beaten up, twice-borrowed greyish box
that took floppy disks, and floppy
pictures. He was Sandra Bullock in The
Net, his pre-teen espionage phase in full
flight. It was this kind of bulky and drawn
out process that led him to study at the
Queensland College of Art. His processes
are now bulkier and more drawn out, but
his images are less floppy. Laing’s work
consists largely of portraits and surfrelated social documentary.
TOP 10
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Aidan Williams
Hamish Laing
Nick Green
Simon Bischoff
Dennis Tan
Joe Menggolo
Andrew Day
Colin Levitch
Shaun Tanner
Nathan McNeil
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Born in the United Kingdom in 1963, Michael Miller lives and
works in Sydney, Australia. Although very much an emerging artist,
Miller has had two exhibitions at Edmund Pearce Gallery in
Melbourne, had work hung twice in the National Photographic
Portrait Prize, at the Head On Portrait Prize, and at the Moran
Contemporary Photographic Prize at the NSW State Library. As an
artist, he likes to utilise a hybrid of skills and techniques with the
aim of portraying a concept in a visually poetic way.
TOP 20
Michael Miller
Suellen Cook
Matthew Willmann
Leah Kennedy
Nguyen Dang
Lara Gilks
Daniel Anderson
Michael Miller
Graham Earnshaw
Isabel Lok Yi Chan
Sam Ferris
Debbie Hartley
Ayman Kaake
Steve Sumpton
Victoria Baldwin
Madeleine Kuklych
Theresa Lee
Michael Miller
Mikail Brennan
Ian Kemp
Sarah Malone
Michael Miller
Jordan Robins
$450 plus folio appraisal by Sally Brownbill, valued at $350.
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The birth of Matthew Willmann’s first
child saw a new desire to document every
milestone in her life. This fuelled his
interest in photography. Now 14 years in,
he is still learning and studying the
subtle art of photography. In 2014, he
successfully completed a Diploma of
Photo Imaging, and in 2016 won
Photographer of the Year with the then
Clique Photography Club. His images
show stories, emotions, dreams,
passions, and his surroundings. They are,
in fact, how he sees the world.
Suellen Cook is a Tasmanian-based
photographic artist. Her images,
through the process of individually
photographing many specific elements,
combine to tell a whimsical and often
quirky story that powerfully capture
the imagination. Her portfolio explores
the concept of being alone, but not
lonely, where the viewer steps onto a
stage where all the actors have left, but
there is a strong sense that something
is about to happen, but exactly what
is not entirely clear. The scene invites
the viewer to become the actor and
the storyteller. An award-winning and
successful exhibiting artist, Cook’s
works are permanently displayed at
Gallery Salamanca, in Hobart, Tasmania.
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A trained commercial photographer,
Sally is one of Australia’s most
highly respected photographic
A much sought-after judge, lecturer
and keynote speaker, Sally has
developed a professional reputation
in Australia and overseas as the
authoritative voice on folio
construction and editing images,
developing the professional
standing of talented photographers.
With a one-on-one meeting, Sally
will take a serious look at what
you’ve got. Once you both have
a clear understanding of where
you’ve been, where you are at
the moment and exactly which
direction you want to go with
your photography, the fun begins!
You can choose a 2 hour
consultation and appraisal of your
work where Sally will answer all
your questions and offer strong
practical feedback. Or together you
can work to create a personalised
folio, edit images for your website
or plan & edit your next exhibition,
all resulting in a body of work that
embraces who you are as a
Phone: 0403 302 831
With his main interest in urban landscapes, Mark Brierley
became an emerging member of the AIPP to aid him in the
pursuit of a career in architectural photography, where he
combines geometric patterns with symmetry and bold uses of
colour. Inspired by Australian painter Jeffrey Smart, Brierley’s
images centre around turning the everyday scenes we see into
playful allusions whereby they are apparently beautiful, but
hold no real value. His focus emphasises how the man-made
environment has, and continues, to take over the natural world.
$450 plus QNAP TS-251+ NAS (RPP $449).
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TOP 20
Mark Brierley
Geoffrey Goddard
Alan Coligado
Jeremy McPherson
Chealse Vo
Mihai Florea
Danny Tan
Kathy Wallace
Domenico Stallo
Cameron Meacham
Mark Brierley
Helen Holdsworth
Alan Zhao
Matthew Tuffield
Domenico Stallo
Kim Williams
Bruce Bull
Nick Doolan
Iain Swanson
Geoffrey Goddard is an internationally
awarded art director and designer who
graduated from the University of South
Australia with a Bachelor of Arts in Visual Art,
majoring in photography and digital imaging.
He lives in Sydney, Australia, pursuing his
passion for architecture, landscapes, and
street photography. He was a finalist in the
2017 Head On Landscape Prize.
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