How did you first start out in photography?
I started taking photos without career in mind but as a hobby. A family dark room in the house I grew up in Rockhampton and then years later in a Sydney garage darkroom. The whole process of developing film and printing was alluring to me, however, it wasn't until I started working with my brother in law, who is a commercial photographer, that I realised this was actually a profession that I could really enjoy!
How has your folio of work evolved over the years?
I have always been into the story telling angle in photos. I used to use more comic scenarios as the basis of my images, however, I am now attracted to a darker humour. So in line with this my images are literally getting darker.
Do you shoot editorial as well as advertising? What would the mix ratio be and which do you enjoy more?
I started shooting mainly editorial and have slowly moved into nearly all advertising. I think this is more of a reflection on the industry than me though as I like both.
Editorial is great for the challenges that can be placed on you. You become the creative, the director, the producer and the technician all with little time and budget. While also, I conversely like advertising shoots for the larger production values, the process put into creating images and working along side various creative teams. Good editorial briefs are rare nowadays for me and I do miss them. For example the Black and White magazine features I've shot were all intense creatively and therefore quite rewarding when complete.
How about stills on TVCs?
I spent a bit of time working various roles on short films before deciding on stills. So I have some interest here. We shoot a handful of TVC's every year and they are always good fun. The challenges of working with little time and often dim lighting compared to my own productions is something that takes experience and isn't as simple as it may look. I recently shot for DDB on a Glad TVC and although I used little gear and the brief was simple enough, it was the lens and camera combination pushed to the limit of what would render sharp, non grainy and colourful images that made the shoot work. When pushing the technical aspects of what your gear can do, you need to balance the associated risks wisely.
What would you like to see change about advertising photography in general?
The old problem of good ideas being buried by advertisers is unfortunately not changing fast enough for mine. The RTA buried the waving the pinkie campaign (is that what's it was called?) for 2 years before releasing it to win awards. Makes you wonder how many other great concepts get lost in time. It seems to me the general public could probably grasp a higher level of creativity thrown at them than given credit for. Although, I did have to explain why the girl in the recent Telstra ad was called Melanie to someone the other week.
How has the GFC affected advertising, editorial and photography in general?
Budgets in general have been slashed and images are recycled more and more. I feel overall it will be a cleansing period for photographers where many will not see it economically viable to continue in the industry. Look at the price of high end digital cameras falling through the floor.
However, the most interesting area affected for me is the Internet. The GFC has made it more a more attractive space to advertise in by being comparatively cheap. Along with environmental reasons and that more people use the net everyday, we have a few factors pushing it to suddenly be the number one media. Unfortunately photography hasn’t garnished a strong position on the net, at this stage, which now has 30% of all advertising budgets spent on it. For example, I used to shoot ads for the major banks consistently, however, now so many people use online banking I see in-branch posters don’t have the same money put into them. So the GFC is catalyst for photographers to think about changes to their practice and new medias.
New techniques and equipment continue to impact on the craft of photography. What is your view on this?
I love that cameras continue to deliver higher resolution, less noise, preview images faster on larger screens and now HD as we all know. I was even reading about a guy who has done a PHD on how to re-focus an image after it was taken. Seriously! Although the fundamental elements to a good picture are not effected by technology much, it has eased the process. Black and white printing in dark rooms still has it's place though and is something I have thought about getting back into one day in the future.
New cameras have also raised the issue of clients now buying there own comparatively (to the past) cheap gear and not requiring photographers for simple shoots. This I feel will continue and that's cool, but it will work out to have it's place. Essentially the easy money brief has disappeared. I do however imagine some clients are now shooting themselves in the foot more often by taking on projects where the technical aspects may not have been apparent until the shoot unravels before them! Again, experience is one of the main attributes a client pays for.
As far as biting off more technology than I can chew goes, I have actually been shooting a few HD videos and even recording and syncing sound. I am taking a slow approach to one day offering video on some projects when it suits the still project I am working on. Recently Curtis Jones Brown asked me to shoot a video as part of a pitch for them. It was the perfect way to test the water and push myself. Editing and directing your subject with sound recording isn't easy! So its good to know your limits when handling new technology. I look forward to finding a niche here, which maybe very handy for internet based applications.
You've done some really interesting projects over the years; Homage to Magritte, Miniature Village, Largest Book. What is the story behind each?
The homage to Magritte was originally to be a homage to Jeffery Smart. It was essentially a self devised work in order to build a more interesting folio so I could approach ad agencies and offer something creative. It worked well and somehow I still get calls from people wanting to buy prints. I have been asked to shoot other artist homages, however, I feel its been done now.
The miniature village was a great find. It looked set up and highly stylised, however, for my part it was pure documentary. Something I hadn't done much of previously. Ian put over 15 years of hard work into that mini village so I felt very privileged to have his permission to take on the project of shooting it and being able to give it a new interpretation and audience.
We have also just printed possibly the largest and smallest books ever in Australia with Digital Press. It was really a challenge to shoot a whole book in one day due to time constraints, so I came up with simple idea we could pull off. We set up a simple studio on Bourke street and shot close ups of passersby, asking them for a few quick shots and a few words of advice. The book is called " footpath philosophers"... When opened it's about 3 meters wide!! The camera’s resolution was pushed, but handled the job well. I was so impressed that I contacted the camera company to let them know.
Personal projects aren't cheap, even the portraits on Bourke street cost me a few thousand all up. (I blew the largest and most expensive flash tube available). However, all personal projects usually pay back in time through new commissions. I would have to say the Magritte series was perhaps the most profitable shoot I've ever done. The trick of course with personal work is having good ideas. I wish I had them more often.
What inspires you for personal projects?
Personal projects are something I used to work hard on to start my career. Now they are something that I do only when a good enough idea comes up. I am actually (very slowly)building a house in the country, so power tools tend to get more time than the camera on weekends at the moment. I figure I'll try and pursue art photography when older or when this house gets finished. My uncles grandfather, Bertram Park, published a photography book called "A Study of Sunlight and the Female Form". Maybe I'll follow on with that path?
Do you have a most memorable shoot and favourite image?
If I were to hang one of my own photos on a wall in my own house - I guess I'd choose this one from the miniature village series.
I really don't have any time for social networking sites. I guess I would rather have a drink with someone than share a twitter. Can you share a twitter?
How about your thoughts on stock photography and image usage?
Stock imagery is a tricky one. I might consider selling some of my images via a stock library, but feel they are usually too cheap and cluttered. Getty is as near as you get the photographer’s to arch enemy as they try to subvert the careers of photographers, art buyers and photographic producers. I just hope good quality photographers don't feel the need to become economic slaves as large stock libraries try to take over the industry. Of course that is a bit hard-line and I acknowledge their place. It just seems to be homogenising of creativity and I sincerely hope agencies don't make too many deals with them for all of our sakes.
Image usage is also a tricky one. If anyone could produce the image in question then I guess royalties seem unjustifiable, so the question is: have you produced a creative work that warrants your name to be put on it? I think about this when quoting.
Photographers are really in the same camp as actors, writers, musicians, illustrators and fine artists. All have the copyright over their creative work. I do, however, feel that royalties could be better spread across the whole creative team when that is justifiable. Designers and art directors sometimes seem to get a bit of a raw deal in my opinion. Without image usage though a lot of good photographers would struggle as their clients don't shoot a new campaign, but would rather rehash older work more and more in these economic times.
Your view on agents and producers?
I have worked along side a few freelance producers and have also worked with a few photographic agents. For me, the ‘one photographer and freelance producer combo’ is ideal. I like to be pretty much over all areas of a shoot and feel with an agent this isn't as easy. Currently I work with Corina Slack, who came from Universal Music where she was a label manager handling large budgets, budgets we could only dream of! However, as good friends and work colleagues we offer a personal approach to our clients that I feel is better for everyone involved.
Bite Me was a good example of a fair sized production using a freelance producer and working as a two man team to oversee multiple aspects of a shoot. Various talent from street and agency, a large crew with food, hair and clothes stylists, meetings and client relations as it was direct with no agency, conceptualisation of ideas from beginning and large shot list over two days and then finally retouching.
Any advice you can give assistants or anyone first starting out in photography?
My advice is don't pay to study at one of the private photography schools. But rather learn as an assistant and shoot personal work. I think at least 2 or 3 years full time assisting should expose you to enough variety to take what you want to add into your own style of working. If you can assist a photographer that you earn respect from, then ask to borrow gear for personal work so you have a chance to be hands on with good gear. I would be wary of commercial photographers that haven't done time as an assistant.
Some of my favourites ...
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All Images © Jeremy Park
He gives good interview....I miss Black and White and the fun you could have there. We both had fun there!
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