"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

"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.

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

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/

interview with Jeremy Park, Photographer ... from Miniature Village to Largest Book

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.

What are your thoughts on social media sites, like flickr, etc.?

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 ...

PHOTOGRAPHER +61(0)415 850 575

WWW.JEREMYPARK.COM.AU
All Images © Jeremy Park