http://tmp.acp.org.au/current/
Wednesday, November 25, 2009
only one day to go! - Montalbetti + Campbell; "The Sensualists" and Simon Harsent's "Melt" exhibitions at ACP ...
... quite possibly the most exciting photographic exhibitions Sydney has seen in some time, both on the one opening night; this Thursday night at ACP, Paddington. Don't miss this visual feast!
http://tmp.acp.org.au/current/
http://tmp.acp.org.au/current/
Wednesday, November 18, 2009
Selected Views ... interview with photographer MARK LLEWELLYNN ...
AD So, this is a special preview of the new book, Selected Views. I love the cover image.
ML This is the 2nd edition. It's not quite final yet. There are some images to take out that don't really fit and a few more sections to add. It's a mix of personal and commissioned work.
AD This is fantastic, where is it?
AD This is fantastic, where is it?
ML A little village called Jerseyville on the Macleay River near South West Rocks.
AD Is there much retouching?
ML No retouching, only a little colour in post. I'm trying to get back to the craft, get it looking like a real picture, without too much work.
AD Is there much retouching?
ML No retouching, only a little colour in post. I'm trying to get back to the craft, get it looking like a real picture, without too much work.
AD Do you always shoot on the same equipment?
ML I do now, since I just bought a new digital camera and am exploring it's limitations. I still have my film cameras though. I like my film cameras.
AD You mentioned just before you are trying to get back to the craft - what exactly did you mean by that?
ML Well, you see all my work has been such high-end, highly-produced advertising type pictures I felt burnt out by it all. Amidst the ubiquitous treatments, grades, revisions, re-quotes, re-briefs, indecisions by the decision makers, deadlines, revised deadlines(?), comps, revised comps, client input, client revision, et al and the associated angst, somewhere along the line I lost the the ability to see. Anyway, so I bought this new 35mm Canon camera and I saw it as a good chance to try to see if I could actually take a good picture again - without all the associated carry-on. It was a challenge for me, because for years and years all I had shot was large format film (which I liked very much) - so it was a different way of thinking and looking.
ML Well, you see all my work has been such high-end, highly-produced advertising type pictures I felt burnt out by it all. Amidst the ubiquitous treatments, grades, revisions, re-quotes, re-briefs, indecisions by the decision makers, deadlines, revised deadlines(?), comps, revised comps, client input, client revision, et al and the associated angst, somewhere along the line I lost the the ability to see. Anyway, so I bought this new 35mm Canon camera and I saw it as a good chance to try to see if I could actually take a good picture again - without all the associated carry-on. It was a challenge for me, because for years and years all I had shot was large format film (which I liked very much) - so it was a different way of thinking and looking.
ML In my old book, people see images like this one and don’t think it's a job – I had a whole folio of jobs that didn’t look like jobs that didn’t get me any jobs. Ironic really.
AD These are great.
ML There’s a series of these; how people automatically form orderly queues while waiting at bus stops nowadays.
ML There’s a series of these; how people automatically form orderly queues while waiting at bus stops nowadays.
AD It’s amazing the people aren’t all focused on you.
ML It was amazing because they’d either not notice us at all or they would notice us but they would just look at you, but they wouldn’t actually move a muscle, they’d just follow you with their eyes, it was bizarre.
AD So it sort of evolved, a people study.
ML I had noticed this behavior for some time before I decided to shoot it.. We shot two weeks, two days at the same time and on the same day so a lot of the same people were catching the same buses, and they began to behave differently the second time around. I was shooting from the passenger side window of a car driven by my assistant. Wewas in a car to blend in with the peak hour traffic to remain as inconspicuous as possible. But we had electronic flash mounted on the car to provide light, so we got noticed eventually, Interesting, the second week we did it, people started to cover their faces when they saw us approaching.
ML I had noticed this behavior for some time before I decided to shoot it.. We shot two weeks, two days at the same time and on the same day so a lot of the same people were catching the same buses, and they began to behave differently the second time around. I was shooting from the passenger side window of a car driven by my assistant. Wewas in a car to blend in with the peak hour traffic to remain as inconspicuous as possible. But we had electronic flash mounted on the car to provide light, so we got noticed eventually, Interesting, the second week we did it, people started to cover their faces when they saw us approaching.
ML It just was very interesting, watching this social phenomenon. They were unperturbed to begin but soon becameanxious about being photographed.
ML Thomas Broening in San Francisco did something similar at the same time we did our stuff. He shot people standing on street corners as he drove past. Which is exactly what I was thinking of doing as a second stage to this. I thought it was interesting that he had exactly the same thought, so I emailed him these pics and explained what was going on and he his term for this was “emotional isolation”. People standing virtually side by side, but completely detached from one another. This is a relatively new phenomenon, people queueing at bus stops, it never happened 20 years ago, it never happened when I was a kid, people would just mill around and then get on the bus, and now everything is so ordered. I find it very strange and interesting.
AD: The series of images of people on the pathway are really interesting.
ML: Yes, these series of pictures "People in Motion" were inspired by the early studies of human and animal motion photographed by Eadweard Muybridge in the late1800's. He was the first person to prove that a horse lifts all four hooves off the ground when they gallop. Anyway I thought it might be interesting to take that same concept and give it a more pictorial feel. Hence I set up my camera and a couple of flash heads and photographed who ever might pass in front of me for the next two hours. The results were were surprisingly interesting - particularly when viewed as sequence or montage. I mean, for example, how often do you see somebody ride past on a unicycle? Hardly ever. Yet, there he was. After I did a few of these sequences at different locations they became a sort of visual demographic of that particular location. Very interesting when you start to compare them.
AD Are you keeping the book to a certain number, like 20 or so?
ML I’ll probably only do 25 of them, not hundreds. They’re printed on demand, so I can change them as I go.
AD Did you have a number of images in mind to make up the collection?
ML It will probably be around 60 pages when it’s done. I’ve got a few more sections I want to add; some of the drag racing images.
ML I’ll probably only do 25 of them, not hundreds. They’re printed on demand, so I can change them as I go.
AD Did you have a number of images in mind to make up the collection?
ML It will probably be around 60 pages when it’s done. I’ve got a few more sections I want to add; some of the drag racing images.
AD Is this pretty accurate to the finished book?
ML Print quality wise, is spot on.
AD Do you think this project might lead to an exhibition.
ML I’m definitely working on an exhibition of the drag racing images, there’s so much depth in them and I think it’s unusual subject that hasn’t been looked at in this way. I have many images of the whole scene at the races; kids, people working on cars, the emotion, etc. I'm trying to get pictures that capture the feeling, but are something more than just documentary pictures. As I've discovered, that is quite difficult.
AD It’s all about the people isn’t it, the sub culture
ML Yes, there’s no shots of cars, it’s all about the interesting and rather esoteric behind-the-scenes activities, and also the people of course. You see, drag racing even at the highest professional level is, essentially a family-driven culture. Which makes it very rich in it's emotional and visual content, and much more diverse and interesting from a photography perspective than corporate driven sports.
AD So this is a complete overall of your book. I really think people like seeing a mix of personal work and commercial work, personal work is really key – it’s who you are, where you’re at, that insight is so important.
ML Well a lot of the car stuff is irrelevant now.
AD What’s what happening with car photography, they must be still shooting cars somewhere?
ML In Europe
AD What about in Asia?
ML Well, I don’t think so
AD What aren’t they shooting cars in Australia, it’s cheaper isn’t it?
ML They’re not doing it because it’s all been globalised, it’s all being syndicated from Europe and Japan.
AD There’s a lot of global adaptation work going on here with material supplied from overseas to retouch and use in our local market.
ML Well it’s cheap and they don’t really care any more.
AD So you don’t think the whole wire frame 3D retouching has impacted on car photography?
ML Yes, but not in the sense that it has wiped out car photography completely as was predicted early on in the United States. There seems to be two separate work flows now - one photography, one CGI and of course a combination depending on the execution. Early CGI work here replaced a lot of photography for cars, but the process proved to be slow and inflexible to changes, as in the case of the new Commodore launch, (not to mention the mediocrity of the result), that the design company went back to commissioning photography.
AD Even the photography that is happening, is that being shot on location?
ML I seen very little shot on location in a long while, all I’ve seen is strip togethers, very retail orientated.
ML I’ve seen Ford do some CGI work, rendering the vehicles and putting them in the backgrounds. Nothing of any merit really.
AD Do you think there’s a lack of really good ideas getting up.
ML Oh definitely, it’s a lack of good ideas, it’s a lack on money, it’s a lack of really caring about doing good advertising. It’s all money driven basically. I think it’s different in Europe and America where they can cgi much more creatively and it’s developed into a separate production stream in itself, so there’s cgi driven campaigns and there’s traditional photography driven campaigns, talking automotive essentially. It’s being used in other areas now as well, but it hasn’t actually replaced traditional photography, like a lot of people viewed it would, it kind of compliments photography itself, which is quite good. But now people are starting to realise it’s fine art potential. A fellow by the name of Jim Fiscus http://www.fiscusphoto.com/ created a 12 image digital novella which is a personal story of his, about a craftsman who carves the same doll over and over again. He’s used photography and cgi as a fine art medium, so he’s created these fantasy sets, some photographic, some cgi, but it pushes cgi essentially to create artistic scenarios as opposed to just product images, exploring its potential as a tool for fine art.
http://www.commarts.com/Columns.aspx?pub=2642&pageid=1090
AD Do you think that can be applied to commercial advertising.
ML Of course, if they throw enough money at it.
AD It would be nice to see things move in that direction.
ML Hopefully it might come round if they can stop seeing it as tool purely for saving money and see it as a creative tool in its own right. But as soon as they see it like that, as soon as they start to treat it like that, it will require, just like any other creative tool, time and money, so it just comes full circle again.
AD Or diluted to a compromised extent so far from the original intention.
ML Yes, but all that comes back to the concept to begin with. Unless the art director or whoever is driving the concept thinks of it in those terms and not just a product or idea on a stark background, that's all it’s ever going to be. I think they have to change their way of thinking. It might slowly come round again. Advertising tends to follow art trends. People driving it will hopefully get sick of the minimalist product and headline thing and get something a bit more visually interesting. Utilising the power of the photography, and fine visual craftsmanship to engage people, not just inform them.
AD: You mentioned set builds, and examples of great set builds and the power of craft to reposition the brand?
ML: The example of this I always remember is the beautiful work photographed by Francois Gillet for the Brown Bothers Wines campaign commissioned by David Frost. The campaign ran and was developed over almost ten years until 1996. It used elaborate and beautiful styling, specific hand painted backdrops, and fine photography to create a style which became unmistakably and instantly recognisible as Brown Brothers. They didn't even use the bottle in the shots. Didn'tneed to. Frost and Gillet knew the power of fine craft to engage the viewer. Then Brown Brothers decided to change agencies. Compare that to Brown Bothers advertising now, a bottle on a plain background. I think they have effectively despatched their brand to oblivion, exiled in the wasteland of mediocrity.
ML: The example of this I always remember is the beautiful work photographed by Francois Gillet for the Brown Bothers Wines campaign commissioned by David Frost. The campaign ran and was developed over almost ten years until 1996. It used elaborate and beautiful styling, specific hand painted backdrops, and fine photography to create a style which became unmistakably and instantly recognisible as Brown Brothers. They didn't even use the bottle in the shots. Didn'tneed to. Frost and Gillet knew the power of fine craft to engage the viewer. Then Brown Brothers decided to change agencies. Compare that to Brown Bothers advertising now, a bottle on a plain background. I think they have effectively despatched their brand to oblivion, exiled in the wasteland of mediocrity.
AD Do you think they are applying that a bit more in film on the TV side of things and that may lead the way for stills?
ML Film has always been more like that just because of its nature. Film, Hollywood, does tend to lead visual trends, because of the trail off of marketing, the paraphernalia that goes along with it. All the marketing material has the film like visual look to it, that becomes a trend, the style filters downto the mediocrity and ends up as some sort of homogenised, pasteurised, sanitised version of creativity.
ML A gentleman to mention here is Allen Koppe, he’s a cinematographer, well known for shooting automotive stuff, based in Newport and works a lot in China and Japan. What’s interesting about him though is his passion is stills as a hobby, he shoots these really nice landscapes, he loves shooting stills in black & white using a film camera. Consequently,his commerical work as a wonderful photographic style to it, particularly in his sense of compostion.
ML Film has always been more like that just because of its nature. Film, Hollywood, does tend to lead visual trends, because of the trail off of marketing, the paraphernalia that goes along with it. All the marketing material has the film like visual look to it, that becomes a trend, the style filters downto the mediocrity and ends up as some sort of homogenised, pasteurised, sanitised version of creativity.
ML A gentleman to mention here is Allen Koppe, he’s a cinematographer, well known for shooting automotive stuff, based in Newport and works a lot in China and Japan. What’s interesting about him though is his passion is stills as a hobby, he shoots these really nice landscapes, he loves shooting stills in black & white using a film camera. Consequently,his commerical work as a wonderful photographic style to it, particularly in his sense of compostion.
AD Do you have a pretty strong network of collegues that you are often in contact with?
ML I don’t speak to a lot of people in the industry, but I speak to a few other photographers regularly. I speak to Jon Higgs and Scott Davidson quite regularly. Bruce Allen occasionally. Sean Izzard and Simon Harsent,when he's around. Simon’s got an exhibition coming up at ACP;
ML I don’t speak to a lot of people in the industry, but I speak to a few other photographers regularly. I speak to Jon Higgs and Scott Davidson quite regularly. Bruce Allen occasionally. Sean Izzard and Simon Harsent,when he's around. Simon’s got an exhibition coming up at ACP;
http://tmp.acp.org.au/future/index.php#melt
AD Oh, is that the MELT images? I absolutely love those images and I’m really looking forward to the exhibition. What a great project and message.
AD Oh, is that the MELT images? I absolutely love those images and I’m really looking forward to the exhibition. What a great project and message.
ML Yes, beautiful images. Amazing quality images and prints. It will be interesting to see if people appreciate the subtlety and simplicity he has achieved.
AD How did you start out in photography?
ML I started off as an assistant in the early 80’s, then shooting still life and studio product work. I went freelance and worked mainly out of North Sydney, then out of Phil Gray’s studio in Willoughby just as he was starting to do the panoramas. Then I worked in St. Leonards and freelanced out of Phil Haley’s studio which is where I met Sean and Simon. At that point I started shooting more location work and annual reports. Annual Reports had lots of money, it was good work and I did a lot of it. I started my own studio with Richie Nicholson in Crows Nest which was the old Mark Anthony studio and worked there for a while before moving to Balmain and working with Nick Gleitzman. I was there for 13 years and that’s where I started doing more advertising and design work and location shoots.
AD Were you shooting cars at that stage?
ML I didn’t start shooting cars until '95 / '96.
AD But cars have always been an interest haven’t they?
ML I got into cars is when I was in Balmain. I picked up a big white goods client which funded my interest in wanting to shoot cars. My friends Urs and Jon Higgs were doing it and they were going well and I thought if they're doing it, it can't be that hard! Of course, I soon discovered I had underestimated their talent once again! AD It’s such a niche. ML Yes, a specialised area and what I liked about it was it was essentially shot on location and I like shooting on location and working with beautiful light so it was the best of both worlds. The other thing I liked about it was you couldn’t do it fast, by their very nature, they took a long time to shoot. I prefer working at a casual pace.
ML I didn’t start shooting cars until '95 / '96.
AD But cars have always been an interest haven’t they?
ML I got into cars is when I was in Balmain. I picked up a big white goods client which funded my interest in wanting to shoot cars. My friends Urs and Jon Higgs were doing it and they were going well and I thought if they're doing it, it can't be that hard! Of course, I soon discovered I had underestimated their talent once again! AD It’s such a niche. ML Yes, a specialised area and what I liked about it was it was essentially shot on location and I like shooting on location and working with beautiful light so it was the best of both worlds. The other thing I liked about it was you couldn’t do it fast, by their very nature, they took a long time to shoot. I prefer working at a casual pace.
AD So, nice time frames and really great shoots overall. Why doesn’t that exist anymore?
ML It used to be really specialised here, you know, the art directors wanted to hire specialists for their projects, but then it got to the point where they wanted specialists but you couldn't actually afford to make a living as specialist, there just wasn’t enough work in any one area.
AD So you’d be pigeon-holed as the car photographer too?
ML It was funny as you’d tend to go up against the same people all the time. I used to quote against Ian Butterworth and Lou d’Angelo and occasionally Andreas Smetana. People tend to be put in boxes, it just depended how many boxes you had to be put in. I ended up having 2 boxes; landscapes and cars.
AD So you’d be pigeon-holed as the car photographer too?
ML It was funny as you’d tend to go up against the same people all the time. I used to quote against Ian Butterworth and Lou d’Angelo and occasionally Andreas Smetana. People tend to be put in boxes, it just depended how many boxes you had to be put in. I ended up having 2 boxes; landscapes and cars.
AD Do you have a stand out memorable shoots?
ML I think one of the ones I enjoyed the most was for Subaru where we had to shoot out at Parachilna, about 800kms north of Adelaide, essentially out in the middle of nowhere. It was a big production; we had to close off the highway and have a scaffolding crew to build a tower in the middle of the dessert to look down on the road and we had a guy with a big red petrol tanker going past the car on the road. Two local coppers doing road control who hated each other - one a psychotic nazi highway patrol who was a complete loose cannon. He would pullover girl backpacker tourists just so he could try to chat them up. The other was a local sargent who was a self styled wannabee wine reviewer, who would endlessly rant on about whatever wine we happened to be drinking. AD A huge film set like production with loads of crew?
ML We were there for a week, it took two days to shoot it, 2 days to recce and wrap it, and so it was good. We'd finish shooting at sundown and stand on the top of the scaffolding tower, my assistant and I, having a beer and looking down at the pandemonium below us; scaffolding guys, semi trailers, nazi copper doing burnouts, all the carry on, and I said to my assistant, "What do you think about this?"and he said "Well it’s about time." So that was quite good.
ML I think one of the ones I enjoyed the most was for Subaru where we had to shoot out at Parachilna, about 800kms north of Adelaide, essentially out in the middle of nowhere. It was a big production; we had to close off the highway and have a scaffolding crew to build a tower in the middle of the dessert to look down on the road and we had a guy with a big red petrol tanker going past the car on the road. Two local coppers doing road control who hated each other - one a psychotic nazi highway patrol who was a complete loose cannon. He would pullover girl backpacker tourists just so he could try to chat them up. The other was a local sargent who was a self styled wannabee wine reviewer, who would endlessly rant on about whatever wine we happened to be drinking. AD A huge film set like production with loads of crew?
ML We were there for a week, it took two days to shoot it, 2 days to recce and wrap it, and so it was good. We'd finish shooting at sundown and stand on the top of the scaffolding tower, my assistant and I, having a beer and looking down at the pandemonium below us; scaffolding guys, semi trailers, nazi copper doing burnouts, all the carry on, and I said to my assistant, "What do you think about this?"and he said "Well it’s about time." So that was quite good.
AD Do you have a favourite image
ML I like the shot I did for a self promotion, with a sexy sheep laying on the bonnet of a Porche. Shot out on the Liverpool Plain. It was silly. It was Mike Miller's idea. I always liked working with Mike, I liked his way of thinking.
ML I like the shot I did for a self promotion, with a sexy sheep laying on the bonnet of a Porche. Shot out on the Liverpool Plain. It was silly. It was Mike Miller's idea. I always liked working with Mike, I liked his way of thinking.
AD Do you shoot editorial?
ML I wouldn’t mind doing something editorial, although it’s never really interested me in the past. But now that I’ve been doing this new work for myself I’ve started to have an interest in doing that sort of thing.
AD I guess it’s got that freedom, much more freedom than advertising generally.
ML I’ve seen some really nice editorial work, but mostly produced in America, It’s something I’ve been thinking about, but haven’t gone down that road just yet. When I have some more material I may have a look at it more seriously.
AD What is your view on social media and networking sites like facebook, flickr, twitter, etc.?
ML Personally, I am reasonably indifferent to the new media as such. I haven't embraced as much as I should, except for facebook which I use a little. I think they can be useful tools for cross promotion, especially in combination. I think facebook is such a great thing, which isn't being ultilised to anyway near it's potential. I like to see it used much more to disseminate art and culture.
AD How about stock image libraries and image usage?
ML Again, I'm indifferent to stock libraries, as shooting for stock has never interested me. I've only ever been interested in assignment work or personal work. I like bringing someone else's idea to life. That what I've always liked about advertising work, and why shooting stock has never interested me. I think image usage is very important. I'll never give usage away for free, I may discount it or package it depending on the circumstance - but I'll never give it away.
Like they say- a servant's worth is higher. People wouldn't expect their servant to work for nothing - why should they expect their (my) pictures to?
AD What would you say are your greatest influences?
ML Harry DeZitter was my main influence early on. Also Clint Clemens, particularly when it came to cars. Both had a wonderful way of capturing the light, which appealed to me very much.
ML I wouldn’t mind doing something editorial, although it’s never really interested me in the past. But now that I’ve been doing this new work for myself I’ve started to have an interest in doing that sort of thing.
AD I guess it’s got that freedom, much more freedom than advertising generally.
ML I’ve seen some really nice editorial work, but mostly produced in America, It’s something I’ve been thinking about, but haven’t gone down that road just yet. When I have some more material I may have a look at it more seriously.
AD What is your view on social media and networking sites like facebook, flickr, twitter, etc.?
ML Personally, I am reasonably indifferent to the new media as such. I haven't embraced as much as I should, except for facebook which I use a little. I think they can be useful tools for cross promotion, especially in combination. I think facebook is such a great thing, which isn't being ultilised to anyway near it's potential. I like to see it used much more to disseminate art and culture.
AD How about stock image libraries and image usage?
ML Again, I'm indifferent to stock libraries, as shooting for stock has never interested me. I've only ever been interested in assignment work or personal work. I like bringing someone else's idea to life. That what I've always liked about advertising work, and why shooting stock has never interested me. I think image usage is very important. I'll never give usage away for free, I may discount it or package it depending on the circumstance - but I'll never give it away.
Like they say- a servant's worth is higher. People wouldn't expect their servant to work for nothing - why should they expect their (my) pictures to?
AD What would you say are your greatest influences?
ML Harry DeZitter was my main influence early on. Also Clint Clemens, particularly when it came to cars. Both had a wonderful way of capturing the light, which appealed to me very much.
"Quality and quanity of light, thats the magic – understanding where it comes from, especially the ambient light and fusing it with flash. To me the ambient light is always the hero, the dominating factor."
"Light moves through a shot. It has a force. It pushes into something. I use the dynamics of light to bring you into the picture. It's like a vacuum which can suck you right in."
– Clint Clemens 1983
http://www.clintclemens.com/
AD Any advice for anyone contemplating photography as a career?
ML I think it’s to your advantage to have a good technical knowledge, particularly for when things go pear shaped, that’s when you really earn your money. Anyone can take a good picture when things are going well, but when things are going shit, that’s when you want to know what's going on.
AD You hit a brick wall
ML Exactly right. Unless you understand why things aren’t working you might not be able to fix them and ultimately it’s your job to fix them, that’s what your client’s paying for. So, shoot as much stuff for yourself, 'cause all the good jobs I’ve ever got have come off a shot I’ve done for myself, ironically. I’ve never done near as much as I should have over the years, so that would be advice, be prolific. Just shoot as much as you can and constantly and have good technical knowledge. Definitely worth learning why things happen to use it to your advantage and make better pictures. And, be persistent.
– Clint Clemens 1983
http://www.clintclemens.com/
AD Any advice for anyone contemplating photography as a career?
ML I think it’s to your advantage to have a good technical knowledge, particularly for when things go pear shaped, that’s when you really earn your money. Anyone can take a good picture when things are going well, but when things are going shit, that’s when you want to know what's going on.
AD You hit a brick wall
ML Exactly right. Unless you understand why things aren’t working you might not be able to fix them and ultimately it’s your job to fix them, that’s what your client’s paying for. So, shoot as much stuff for yourself, 'cause all the good jobs I’ve ever got have come off a shot I’ve done for myself, ironically. I’ve never done near as much as I should have over the years, so that would be advice, be prolific. Just shoot as much as you can and constantly and have good technical knowledge. Definitely worth learning why things happen to use it to your advantage and make better pictures. And, be persistent.
AD Would you recommend photography as a career?
ML I tend to say not, but if you really want to do it, you’re going to do what you really want to do anyway. Anyway, who am i to say? I’m still doing it and I really should be doing something else. If commonsense prevailed I’d be doing something else. Pity nothing else really interests me. An Art Director told me many years ago to look for inspiration overseas, the work that is happening overseas, that’s where a lot of the great work is. It’s really important to stay across what's happening overseas, particularly now it’s really easy with the net and networking sites. Before we relied on books and journals and now it’s instant, you can see what anyone is doing anywhere in the world. Everything is such a cross pollination now.
AD What’s next?
ML Personal projects will take up the majority of my time for the next 3 to 4 months. I'm hoping to launch the drag racing images later next year. I want to shoot some more big race meetings and try to get a more extensive collection of material before I show it.
AD: Looking forward to seeing more of them!
AD: Thanks Mark
All Images © Mark Llewellynn
MARK LLEWELLYNN
AD: Thanks Mark
All Images © Mark Llewellynn
MARK LLEWELLYNN
Friday, November 6, 2009
"one team, one dream"... interview with Stylist extraordinaire, SUZANNE KING ...
How did you first start out in styling?
I first started in the industry as a trained hair and makeup artist, I had been working for a few years when I was approached by a photographer to do hair makeup and styling so I said yes and the styling side grew from there.
Do you still do Hair & Make-up or Styling only today?
Yes I work in both fields, sometimes just styling sometimes just hair n makeup or at times all three depending on the brief and workload.
Are there people you regularly work with in a team or does it change all the time?
I have been extremely fortunate enough to be able to work on a regular basis with leading Advertising photographer Andrea's Smetana and his team, i really love working with them as everyone has creative input and we work together to achieve the brief. I also work with a few other photographers and producers in advertising, I have found over the years that when you can work in with a team you can learn what their style is and you know what to expect from them and they know what to expect from you. Also if you can have a few teams you can pull together and help out when budgets are tough I call it the " one team one dream" idea. You look after them and in turn they look after you
Do you have a most memorable shoot?
I would have to have to say I have a few memorable shoots and they are all for completely different reasons.
One would definitely be a shoot I worked on with Hugh Jackman, I found it so refreshing to work with such a huge name in Hollywood yet have him be so humble and a complete gentleman.
I, for completely non creative reasons, loved working with Snoop Dogg because I have loved his music and been a huge fan since I was at school, which unfortunately is a little time ago now!!
This job definitely has some perks and again another memorable shoot which I'm extremely fortunate to have been able to work on was a trip to Bali. When we got there we had locations already set up but the photographer met what I would call the Australian version of Indiana Jones, and he became our "tour guide" for the rest of the week. He just had so many contacts which allowed us to shoot in the most amazing and breath taking locations which without him we would never have had access to. I remember walking into some private government member's residence and no building codes were kept so they had pools wrapping 'round the inside and outside dropping off into the rice fields, and so on.
How about a favorite image resulting from a shoot that you styled on?
It's hard to pick a favorite job as their have been so many I have loved working on but I would have to say one that stands out to me was a Hyundai Tucson shoot I did with photographer Andreas Smetana. The brief was a damsel in distress needing her hero to rescue her from a spider whilst on the bonnet of the car.
The reason why I loved it was the styling was very "Mills 'n' Boon" with a comedic edge, the sky was a wash with drama and we shot it all in separate elements so I had to match a house door with the one on location as the existing one didn't work for their angle. I also had to have a fence made and source greenery which again added to the drama and mystic the lighting created.
The finished shot ended up appearing in an industry top images annual in Israel.
Do you work in editorial as well as advertising?
Not any longer, I use to work in editorial but I find advertising is what interests me the most.
How about film / TVCs and longer term project jobs?
I still work on TVC's but not too many, I find I much prefer stills to TVC's. I have worked on short films also but have never gone down the direction of film. I always thought that one day when I was older I would move into film as you get booked for such a long period of time from months to a year so I thought the stress of needing to find work on a daily basis would be over but I now don't think I would like to be tied to the same work. I think I love the fast turn around of print and feel I'm addicted to the fast pace and pressure of tight deadlines!!!!!
What types of styling jobs dominate your folio at the moment or is there a mix?
I think there is definitely a mix in my folio from celebrities, lifestyle, and mainstream advertising.
Do you use assistant stylists on many jobs?
Yes I do use assistants, not on every job as I do think I have a slight control issue and I'm not the best at letting go of tasks for someone else to help create my vision.
How have you found this year given the GFC and it's impact on the industry?
It has definitely been the slowest year I can remember and I have been in the industry for 10-12 years now. I will however say that again working with the photographers I do has allowed me to stay rolling along when I know of so many people in our industry being made redundant and having to look for alternate work. It seems to be picking up again which is a sigh of relief but I would say the budgets have not come back to what they once were.
Who would you say influences and inspires you the most in your work?
I have a variety of different influences from fashion designers like Roberto Cavaand Karlli, Balmain and Karl Lagerfeld. I''m influenced from obviously fashion shows in Paris and Milan but what also inspires me are shows like grand designs where people take huge risks designing out of the ordinary conceptual homes using all different forms of materials.
I would also say certain music icons for me are huge influences in what inspires my style. I love Beyonce, she dresses sexy chic, confident and always with a level of bling!!! Other style icons for me are Kanye West and Sean John combs. Weather it be an add campaign for their next fragrance, the cover of a leading fashion magazine or there new music clip they have they sleekest cars, locations, latest and hottest fashion designers and always push their style to the limit which I cant help but admire and like to take segments of in my own briefs when I can!!
What are your thoughts on social media sites, like flickr, facebook, twitter, etc.?
Honestly don't like them at all. Call me a technophobe but I'm just not interested in following what people are doing every minute of the day and really how do they find the time to keep people updated and what are people doing finding the time to read it!!!
How about your thoughts on electronic marketing?
I think that it definitely has its advantages especially in regards with time for everyone. If you have a website then no one has to spend time waiting for a book to arrive and in turn be sent back. Its also a great way of sending an e-card which just keeps clients updated on your latest campaigns.
I do still however love to keep a portfolio as I don't think you can ever replace beautiful prints!
Your view on agents?
My personal view on agents are they defiantly have a key role in our industry but I have found overtime with styling in particular that the producer and photographers I work with like being able to speak directly with you. If there is a change in a brief be it an addition or a complete restart on a theme its easier to call you direct and know straight away what can be resolved and how instead of having to wait for an agent to get hold of you had work through the solution. It may mean that dealing direct without an agent you can waver some charges that an agent would insist be paid to you but as I said for myself I like the direct approach.
What advice would you give someone starting out in styling (and/or hair & make-up)?
mmm my advice would have to be.... follow your passion, this is definitely not as glamorous as it is made out to be so you definitely need to have a passion for your craft, its a lot of hard work, you may need to work long hrs and there is no such thing as a weekend if sourcing needs to be achieved for a tight deadline.
Try flicking though all styles of magazines be it fashion, lifestyle or food and see who the photographers and stylists are, this way you can start narrowing down certain styles you feel most drawn to . Contact agencies who represent these photographers, stylists etc. and ask to be given the chance to work as an assistant for free, the more onset knowledge you can get the more you learn, most of what goes on behind the scenes onset cant be taught at colleges and is what will put you lengths ahead of other people trying to get a start in the industry.
I also think its important to be able to try and assist on all diff types of areas like film, TVCs, editorial and advertising. It's interesting how different each of the fields are and the skills required so until you experience all then you cant really find what you maybe best suited for.
Anything else you’d like to share?
Not sure how to keep this answer short so here goes, basically the most important things Io feel that make a successful stylist in this industry is common sense, working at an extremely fast pace and above all else open communication which definitely involves listening to the clients needs!!!!!!
All images in this post are copyright protected ©
SUZANNE KING STYLIST
Mobile: 0414 865 076
Email: suzanneking@ozemail.com.au
Do you still do Hair & Make-up or Styling only today?
Yes I work in both fields, sometimes just styling sometimes just hair n makeup or at times all three depending on the brief and workload.
Are there people you regularly work with in a team or does it change all the time?
I have been extremely fortunate enough to be able to work on a regular basis with leading Advertising photographer Andrea's Smetana and his team, i really love working with them as everyone has creative input and we work together to achieve the brief. I also work with a few other photographers and producers in advertising, I have found over the years that when you can work in with a team you can learn what their style is and you know what to expect from them and they know what to expect from you. Also if you can have a few teams you can pull together and help out when budgets are tough I call it the " one team one dream" idea. You look after them and in turn they look after you
Do you have a most memorable shoot?
I would have to have to say I have a few memorable shoots and they are all for completely different reasons.
One would definitely be a shoot I worked on with Hugh Jackman, I found it so refreshing to work with such a huge name in Hollywood yet have him be so humble and a complete gentleman.
I, for completely non creative reasons, loved working with Snoop Dogg because I have loved his music and been a huge fan since I was at school, which unfortunately is a little time ago now!!
This job definitely has some perks and again another memorable shoot which I'm extremely fortunate to have been able to work on was a trip to Bali. When we got there we had locations already set up but the photographer met what I would call the Australian version of Indiana Jones, and he became our "tour guide" for the rest of the week. He just had so many contacts which allowed us to shoot in the most amazing and breath taking locations which without him we would never have had access to. I remember walking into some private government member's residence and no building codes were kept so they had pools wrapping 'round the inside and outside dropping off into the rice fields, and so on.
How about a favorite image resulting from a shoot that you styled on?
It's hard to pick a favorite job as their have been so many I have loved working on but I would have to say one that stands out to me was a Hyundai Tucson shoot I did with photographer Andreas Smetana. The brief was a damsel in distress needing her hero to rescue her from a spider whilst on the bonnet of the car.
The reason why I loved it was the styling was very "Mills 'n' Boon" with a comedic edge, the sky was a wash with drama and we shot it all in separate elements so I had to match a house door with the one on location as the existing one didn't work for their angle. I also had to have a fence made and source greenery which again added to the drama and mystic the lighting created.
The finished shot ended up appearing in an industry top images annual in Israel.
Do you work in editorial as well as advertising?
Not any longer, I use to work in editorial but I find advertising is what interests me the most.
How about film / TVCs and longer term project jobs?
I still work on TVC's but not too many, I find I much prefer stills to TVC's. I have worked on short films also but have never gone down the direction of film. I always thought that one day when I was older I would move into film as you get booked for such a long period of time from months to a year so I thought the stress of needing to find work on a daily basis would be over but I now don't think I would like to be tied to the same work. I think I love the fast turn around of print and feel I'm addicted to the fast pace and pressure of tight deadlines!!!!!
What types of styling jobs dominate your folio at the moment or is there a mix?
I think there is definitely a mix in my folio from celebrities, lifestyle, and mainstream advertising.
Do you use assistant stylists on many jobs?
Yes I do use assistants, not on every job as I do think I have a slight control issue and I'm not the best at letting go of tasks for someone else to help create my vision.
How have you found this year given the GFC and it's impact on the industry?
It has definitely been the slowest year I can remember and I have been in the industry for 10-12 years now. I will however say that again working with the photographers I do has allowed me to stay rolling along when I know of so many people in our industry being made redundant and having to look for alternate work. It seems to be picking up again which is a sigh of relief but I would say the budgets have not come back to what they once were.
Who would you say influences and inspires you the most in your work?
I have a variety of different influences from fashion designers like Roberto Cavaand Karlli, Balmain and Karl Lagerfeld. I''m influenced from obviously fashion shows in Paris and Milan but what also inspires me are shows like grand designs where people take huge risks designing out of the ordinary conceptual homes using all different forms of materials.
I would also say certain music icons for me are huge influences in what inspires my style. I love Beyonce, she dresses sexy chic, confident and always with a level of bling!!! Other style icons for me are Kanye West and Sean John combs. Weather it be an add campaign for their next fragrance, the cover of a leading fashion magazine or there new music clip they have they sleekest cars, locations, latest and hottest fashion designers and always push their style to the limit which I cant help but admire and like to take segments of in my own briefs when I can!!
What are your thoughts on social media sites, like flickr, facebook, twitter, etc.?
Honestly don't like them at all. Call me a technophobe but I'm just not interested in following what people are doing every minute of the day and really how do they find the time to keep people updated and what are people doing finding the time to read it!!!
How about your thoughts on electronic marketing?
I think that it definitely has its advantages especially in regards with time for everyone. If you have a website then no one has to spend time waiting for a book to arrive and in turn be sent back. Its also a great way of sending an e-card which just keeps clients updated on your latest campaigns.
I do still however love to keep a portfolio as I don't think you can ever replace beautiful prints!
Your view on agents?
My personal view on agents are they defiantly have a key role in our industry but I have found overtime with styling in particular that the producer and photographers I work with like being able to speak directly with you. If there is a change in a brief be it an addition or a complete restart on a theme its easier to call you direct and know straight away what can be resolved and how instead of having to wait for an agent to get hold of you had work through the solution. It may mean that dealing direct without an agent you can waver some charges that an agent would insist be paid to you but as I said for myself I like the direct approach.
What advice would you give someone starting out in styling (and/or hair & make-up)?
mmm my advice would have to be.... follow your passion, this is definitely not as glamorous as it is made out to be so you definitely need to have a passion for your craft, its a lot of hard work, you may need to work long hrs and there is no such thing as a weekend if sourcing needs to be achieved for a tight deadline.
Try flicking though all styles of magazines be it fashion, lifestyle or food and see who the photographers and stylists are, this way you can start narrowing down certain styles you feel most drawn to . Contact agencies who represent these photographers, stylists etc. and ask to be given the chance to work as an assistant for free, the more onset knowledge you can get the more you learn, most of what goes on behind the scenes onset cant be taught at colleges and is what will put you lengths ahead of other people trying to get a start in the industry.
I also think its important to be able to try and assist on all diff types of areas like film, TVCs, editorial and advertising. It's interesting how different each of the fields are and the skills required so until you experience all then you cant really find what you maybe best suited for.
Anything else you’d like to share?
Not sure how to keep this answer short so here goes, basically the most important things Io feel that make a successful stylist in this industry is common sense, working at an extremely fast pace and above all else open communication which definitely involves listening to the clients needs!!!!!!
All images in this post are copyright protected ©SUZANNE KING STYLIST
Mobile: 0414 865 076
Email: suzanneking@ozemail.com.au
Thursday, November 5, 2009
"Detour" - an interview with advertising photographer; Gary Sheppard -
Having shot a Cannes Gold Lion award winning campaign this year, building on an existing repertoire of award winning advertising campaign images, I caught up with photographer Gary Sheppard for a brief chat on past, present and future, including my particular love for his images shot during his photo essay adventures in middle America.
How did you first start out in Photography?
I originally trained to be an ecologist but its interesting the way life tends to put "Detour" signs in your best laid plans. Ever since I was a kid I've been fascinated by things optical. Things like telescopes and microscopes allow you to extend your vision. I remember getting a microscope kit in grade four and being so excited about seeing things in a new way that I was obsessed with it. Telescopes came later and were another variation on a theme. But somehow I never made the leap to cameras and photography. A chance encounter and an interesting conversation changed that. That was a "Detour" moment. Realising that cameras not only allow you to extend (and even create) your vision but to capture it and allow others to share it was a pivotal moment. The rest, as they say, is history.
Do you have a most memorable shoot?
I could nominate something exotic but I think I'll have to go back to the very first shoot that I undertook as a "professional" photographer. I'd just made the transition from assistant to photographer and one of the established photographers in the studio referred a shoot that he couldn't be bothered doing on to me. It seems silly now but it loomed in my mind as a "make it or break it" event Would I rise to the challenge and would the client be happy with the results? To say that I was nervous waiting for the trannies to come back from the lab would be an understatement. It still brings a smile to think of how inexperienced I was back then.
How about a favourite image?
Hopefully my next one.
Do you shoot editorial as well as advertising?
No, I only shoot advertising. I can understand the argument that by shooting editorial it allows you to hone your skills and show people what you are capable of but I guess I use my personal work for that. I did do an editorial shoot once as a favour for a friend. It was a great success and got in that magazine's 10 best photos of the year but I find editorial to uncontrolled. With editorial you may go out and get a fantastic shot, or maybe not. There are so many things beyond your control. With advertising you know in advance you're going to get a great shot. You've had time to think of the best approach, you've done your treatment and everything that can be locked down has been. Then, after you've got the shot and the result is in the bag its time to improvise and play around in the hope that you'll get a serendipity moment and something magical will happen. I guess that's kind of like adding an little editorial shoot on at the end. The other reason I don't shoot editorial is the pay rates. I can't understand how anyone makes a living doing it.
Do you find a mix of images in your books is necessary in our local market? What sections of images do you have in your books at the moment?
I believe that having a mix is important in that you never know what brief is coming in next. Is it portraiture or cars or still life etc? We've all heard about the red shoe syndrome and its very much alive and kicking. I think the Australian market in particular is way too small to overly specialise and still expect to remain busy. Overseas you've got a better chance to do that. I once heard a story (possibly apocryphal) of a photographer in New York who was so specialised he only shot broccoli. And only frozen broccoli at that. Now that's specialised. Try making a living in Sydney doing that. The sections of images in my book change quite often but they are divided into commissioned and personal.
How has the GFC affected advertising and photography in general?
A lot of people are vying for their piece of a smaller pie.
What about new techniques in photography. Are new types of cameras impacting on the craft?
Well obviously the rise of digital was the biggie over the last decade. I regard it as both a blessing and a curse. Don't get me wrong, I love the way digital has taken a lot of the technical work out of photography and allows you to concentrate on the creative aspects when on a shoot. No more worrying about whether Mr Schiempflug would agree with your placement of focal planes. No worrying about whether the bellows has a leak in it or whether the lab would stuff up the processing. And so on. Digital allows you to see what you're getting straight away and if anything is wrong with the image you'll know about it there and then rather than tomorrow when the film comes back. And therein lies the problem with digital. It has become so easy to take a well focused, well exposed shot and to see the result instantly that anyone (even the client) can do it. The technical craftsmanship involved in producing an image has been removed and so anyone can pick up a camera and become a photographer overnight. However, as we all know, "oils ain't oils" and images ain't images so our job as professional photographers is to sell based on our "eye", creativity and vision and not on our technical skill. In regard to future developments it will be interesting to see how the manufacturers of medium format gear meet the challenge of ever-improving 35mm cameras. Companies like Canon have such massive R&D advantages over the likes of Hasselblad that I think a shakeup is due in the not-too-distant future. And if Canon brings out a medium format camera as has been speculated I think it would be game over for the current crop of medium format. Then you've got RED cameras coming on stream. The gear they will be releasing next year looks mighty interesting. They will do for movie and TVC film use what digital has done for still film. Its already blurring the line between motion and stills and I think in the future more people will be doing both.
You've shot quite a lot of car photography. What are your thoughts on car photography today and it's future?
Without being too glib, CGI.
Is that one word or three?
You have some wonderful personal projects in your book; America - motels, guns, alligators, etc. Can you talk a bit about these and what inspires you for personal projects?
I've always been interested in America and the way it seems like Australia but with a twist. Its sort of like in those old Star Trek episodes where a transporter malfunction occurs. The person who steps off the transporter pad looks the same as the one who went in but there's a subtle difference. That's the way America appears to me. Its like a bigger version of Australia but one from a parallel universe. Things are almost the same but there are some strange anomalies. With my latest photo essays I tried to focus on some of the things that struck me as odd or different from what we are used to here. The inspiration for personal projects seems to come out of nowhere. A chance encounter or random thought might strike a chord and result in a personal project.
Are you working on a project at the moment?
I have a project that I've been trying on and off for a few years to get off the ground. It would be amazing but barring the development of a close personal friendship with the Turkish President I don't see it happening.
Who would you say are your greatest influences?
I guess the usual suspects spring to mind. Erwin Olaf, Nadav Kender, Gregory Crewdson, David La Chappelle. It changes from time to time and depends on the mood I'm in.
What are your thoughts on social media sites, like flickr, facebook, twitter, etc.?
I'm on Facebook as I regard that as the default standard. Even then I go through hot and cold patches where I'll be active for a week and then not check it for ages. I think I should be more active but the novelty wears off pretty fast.
How about your thoughts on stock libraries and image usage?
Puts on Frankenstein monster voice: "Stock libraries bad. Image usage good."
Allow me to expand on that. Stock libraries are a part of life and although I don't think they do the photographic community any favours they are here to stay. I think the predatory policies of some of the major players are known to most people but business is business and there's not much anyone can do about it. Once it really hits its stride it will be interesting to see how sites such as Flikr impact their business model. The major achievement ten years ago of the ACMP was the securing of copyright for photographers, thereby facilitating our charging for usage on our images. For that I will be eternally grateful. I believe that it should be integral to the business model of any photographer.
Your view on agents / producers?
I can see the value of having an agent/rep and when I first moved to Sydney I had one. It depends on the individual and where they are in the marketplace but I believe that the most important asset you can have in this business is a good producer. Without one it would be extremely difficult to work on high end advertising assignments. The work load of shooting and producing would be too much for one person to handle.I've been extremely fortunate to have worked full time with my producer and business partner Jules Zuppicich for the last six years. In the last two years James Wallis has come on board as well. They are both amazing and I can't speak highly enough of them.
How did you first start out in Photography?
I originally trained to be an ecologist but its interesting the way life tends to put "Detour" signs in your best laid plans. Ever since I was a kid I've been fascinated by things optical. Things like telescopes and microscopes allow you to extend your vision. I remember getting a microscope kit in grade four and being so excited about seeing things in a new way that I was obsessed with it. Telescopes came later and were another variation on a theme. But somehow I never made the leap to cameras and photography. A chance encounter and an interesting conversation changed that. That was a "Detour" moment. Realising that cameras not only allow you to extend (and even create) your vision but to capture it and allow others to share it was a pivotal moment. The rest, as they say, is history.
Do you have a most memorable shoot?
I could nominate something exotic but I think I'll have to go back to the very first shoot that I undertook as a "professional" photographer. I'd just made the transition from assistant to photographer and one of the established photographers in the studio referred a shoot that he couldn't be bothered doing on to me. It seems silly now but it loomed in my mind as a "make it or break it" event Would I rise to the challenge and would the client be happy with the results? To say that I was nervous waiting for the trannies to come back from the lab would be an understatement. It still brings a smile to think of how inexperienced I was back then.
How about a favourite image?
Hopefully my next one.
Do you shoot editorial as well as advertising?
No, I only shoot advertising. I can understand the argument that by shooting editorial it allows you to hone your skills and show people what you are capable of but I guess I use my personal work for that. I did do an editorial shoot once as a favour for a friend. It was a great success and got in that magazine's 10 best photos of the year but I find editorial to uncontrolled. With editorial you may go out and get a fantastic shot, or maybe not. There are so many things beyond your control. With advertising you know in advance you're going to get a great shot. You've had time to think of the best approach, you've done your treatment and everything that can be locked down has been. Then, after you've got the shot and the result is in the bag its time to improvise and play around in the hope that you'll get a serendipity moment and something magical will happen. I guess that's kind of like adding an little editorial shoot on at the end. The other reason I don't shoot editorial is the pay rates. I can't understand how anyone makes a living doing it.
Do you find a mix of images in your books is necessary in our local market? What sections of images do you have in your books at the moment?
I believe that having a mix is important in that you never know what brief is coming in next. Is it portraiture or cars or still life etc? We've all heard about the red shoe syndrome and its very much alive and kicking. I think the Australian market in particular is way too small to overly specialise and still expect to remain busy. Overseas you've got a better chance to do that. I once heard a story (possibly apocryphal) of a photographer in New York who was so specialised he only shot broccoli. And only frozen broccoli at that. Now that's specialised. Try making a living in Sydney doing that. The sections of images in my book change quite often but they are divided into commissioned and personal.
How has the GFC affected advertising and photography in general?
A lot of people are vying for their piece of a smaller pie.
What about new techniques in photography. Are new types of cameras impacting on the craft?
Well obviously the rise of digital was the biggie over the last decade. I regard it as both a blessing and a curse. Don't get me wrong, I love the way digital has taken a lot of the technical work out of photography and allows you to concentrate on the creative aspects when on a shoot. No more worrying about whether Mr Schiempflug would agree with your placement of focal planes. No worrying about whether the bellows has a leak in it or whether the lab would stuff up the processing. And so on. Digital allows you to see what you're getting straight away and if anything is wrong with the image you'll know about it there and then rather than tomorrow when the film comes back. And therein lies the problem with digital. It has become so easy to take a well focused, well exposed shot and to see the result instantly that anyone (even the client) can do it. The technical craftsmanship involved in producing an image has been removed and so anyone can pick up a camera and become a photographer overnight. However, as we all know, "oils ain't oils" and images ain't images so our job as professional photographers is to sell based on our "eye", creativity and vision and not on our technical skill. In regard to future developments it will be interesting to see how the manufacturers of medium format gear meet the challenge of ever-improving 35mm cameras. Companies like Canon have such massive R&D advantages over the likes of Hasselblad that I think a shakeup is due in the not-too-distant future. And if Canon brings out a medium format camera as has been speculated I think it would be game over for the current crop of medium format. Then you've got RED cameras coming on stream. The gear they will be releasing next year looks mighty interesting. They will do for movie and TVC film use what digital has done for still film. Its already blurring the line between motion and stills and I think in the future more people will be doing both.
You've shot quite a lot of car photography. What are your thoughts on car photography today and it's future?
Without being too glib, CGI.
Is that one word or three?
You have some wonderful personal projects in your book; America - motels, guns, alligators, etc. Can you talk a bit about these and what inspires you for personal projects?
I've always been interested in America and the way it seems like Australia but with a twist. Its sort of like in those old Star Trek episodes where a transporter malfunction occurs. The person who steps off the transporter pad looks the same as the one who went in but there's a subtle difference. That's the way America appears to me. Its like a bigger version of Australia but one from a parallel universe. Things are almost the same but there are some strange anomalies. With my latest photo essays I tried to focus on some of the things that struck me as odd or different from what we are used to here. The inspiration for personal projects seems to come out of nowhere. A chance encounter or random thought might strike a chord and result in a personal project.
Are you working on a project at the moment?
I have a project that I've been trying on and off for a few years to get off the ground. It would be amazing but barring the development of a close personal friendship with the Turkish President I don't see it happening.
Who would you say are your greatest influences?
I guess the usual suspects spring to mind. Erwin Olaf, Nadav Kender, Gregory Crewdson, David La Chappelle. It changes from time to time and depends on the mood I'm in.
What are your thoughts on social media sites, like flickr, facebook, twitter, etc.?
I'm on Facebook as I regard that as the default standard. Even then I go through hot and cold patches where I'll be active for a week and then not check it for ages. I think I should be more active but the novelty wears off pretty fast.
How about your thoughts on stock libraries and image usage?
Puts on Frankenstein monster voice: "Stock libraries bad. Image usage good."
Allow me to expand on that. Stock libraries are a part of life and although I don't think they do the photographic community any favours they are here to stay. I think the predatory policies of some of the major players are known to most people but business is business and there's not much anyone can do about it. Once it really hits its stride it will be interesting to see how sites such as Flikr impact their business model. The major achievement ten years ago of the ACMP was the securing of copyright for photographers, thereby facilitating our charging for usage on our images. For that I will be eternally grateful. I believe that it should be integral to the business model of any photographer.
Your view on agents / producers?
I can see the value of having an agent/rep and when I first moved to Sydney I had one. It depends on the individual and where they are in the marketplace but I believe that the most important asset you can have in this business is a good producer. Without one it would be extremely difficult to work on high end advertising assignments. The work load of shooting and producing would be too much for one person to handle.I've been extremely fortunate to have worked full time with my producer and business partner Jules Zuppicich for the last six years. In the last two years James Wallis has come on board as well. They are both amazing and I can't speak highly enough of them.
We've formed a joint company called Diamond Firemonkies (DFM) so we can keep photography and production tightly integrated.
This is one of the major selling points for us as from the first contact with an ad agency they know us and they have certainty in regard to who they will be dealing with.
I think its important for Jules and/or James and I to be involved as a team in every step from the initial presentation of the folio right through to the post-retouch follow up of a job.
We model this more on a TVC director/producer arrangement rather than on the traditional photographer/agent model. (I guess that's influenced by the fact that Jules used to be a TVC producer).
I'd wouldn't feel as comfortable if I knew my folio was being taken around with a stack of others by anyone who happened to be free in a rep's office. Likewise, I would think the client would not have as much confidence in getting first rate service if they knew that I was one of a dozen or so photographers that were being represented by a company and that they were going to be assigned either a producer in a next-off-the-rank or possibly freelance basis.
A producer who may be juggling other jobs for other photographers.
At the top end of advertising clients want and indeed expect you to be focused 100% on their job and their job alone.
One on one and available 24/7.
Having full time producers is such an asset when dealing with clients and complicated shoots. So working as a team the level of service and attention to detail that we can deliver is unsurpassed. With even a modest advertising shoot the amount of to-ing and fro-ing from the agency to the producers can be mind boggling. You need to have someone with their eye on the ball the whole time and who can establish a rapport with the art buyer or agency contact. This level of dedicated service is of enormous value to the client and ad agency and we find it engenders a respect and loyalty that I could not achieve as a single operator.
Any advice you can give assistants or anyone first starting out in photography?
Its a different world from the one I started out in. I was just speaking to someone the other day about this and came to the conclusion that I don't know how you would do it now. Work hard and say no to drugs I guess.
Anything else you’d like to share?
Nope, that's about it.
All Images © Gary Sheppard
All Images © Gary Sheppard
Diamond Firemonkies (DFM) P/L
Jules Zuppicich Producer +61 (0) 409 558 459
Gary Sheppard Photographer +61 (0) 418 786 498
http://www.garysheppard.com/
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