mmmmm... JIM FISCUS Interview - Stockland Martel, via The F Stop...

stylised in the best possible way, fine art of the finest kind. I've made reference to Jim Fiscus' work previously on this blog, when Mark Llewellynn introduced me to his work. The more I see, the more I love his photographic style and his adventure in creativity.

http://stocklandmartelblog.com/



and more ....

http://www.commarts.com/Columns.aspx?pub=2642&pageid=1090

persuasion...

it always amazes me how some photographers can get someone to do just about anything ... this shot of Hugh Hamilton's is one example...

oh, and if you like this shot, you can also vote for it at:
http://facesphotocontest.com/bin/Rate?image_id=1009400845


being producer on a shoot for Swedish photographer Jonas Karlsson recently provided me with another, but until its release, i'll show you an earlier example. this one of Naomi Watts, same client; Esin Goknar - Conde Nast Traveler NY:
http://www.concierge.com/images/cnt/articles/September06/medi/CoverShoot_Sept2006.swf

http://www.studiojonaskarlsson.com/

"I think it is really FREEWHEELING out there" ... ANDREAS SMETANA - Interview ...

How did you first get into photography?

By mistake really, it is a long story....

I kind of fell into it. There was no real calling, it just happened. I feel it suits me, being in full control yet hiding behind a camera....

Have you always shot advertising?

Yes, always. I started back in Austria with Tourism work in ski regions, hotels and so on. Making heaps of mistakes was the best school to learn from.

I’ve come a long way since then. I shoot only Advertising now and still love it.

I think there’s high pressure in shooting and dealing with clients - that’s one of the most challenging disciplines in Photography.

It makes most of my days crazy, but it’s never boring and I like the challenges!

I also think there’s always a great opportunity on pretty much every job to do something amazing and creative, especially when you’re able to get good production value in front of the lens.


Do you shoot editorial as well?

Not very much. The occasional portrait here and there, but I’ve never really broken into that market. I think I’ve been too busy on the Advertising side to really try....

Having said that I do like and wish I did more editorial shooting because it’s all about being creative on the run, rather then thinking it all through like you do for Advertising. That is something I most certainly miss.

Tell me about your most memorable shoot/s?

There are so many...

I have images I just like looking at, but the day is not memorable.

Then I have wonderful and exciting shooting days that are so much fun - that really counts for me.

I think what always sticks with me are the memories of the day...

We went through China and Mongolia for 2 Weeks, which was one of my most amazing trips.

So many places I had never heard of before, and the stuff we were eating I will never forget!

I often feel after a long good day some form of NATURAL high, it’s a good feeling.

And I love working overseas, as long as the jobs aren’t back to back.


How about your favorite image/s?

I truly don't have 1 - but I have a group of images as my own kind of ‘best ofs’ Mature, strong, big images: like setting up the shape of a Navy ship out of 120 marine soldiers... That type of boldness is the thing I really love.

And I always loved the X-box Images we did …

I’ve got a very old shot of 2 people kissing that I simply love….

What sorts of images dominate your folio at the moment or is it an even mix?

I try to be diverse in my shooting style (mostly because I get easily bored ) so my book covers all categories.

Mostly, I do high-end ads but I also shoot simple work to break it up. What makes up the perfect portfolio? That’s the magic question, which I'm not sure anyone can answer....

If you show just your best work you position yourself too high, (which is what I’m told anyway.) if you show more modest conservative work clients like it, it makes them feel safe, but the AD's probably won't book you....

After all these years I still don't know and tend just to go with my gut instinct. We change the book quite often, throw old work out and show the new stuff that reflects the times. We have 16 books so changing images is difficult and costly.

It also depends on the market; we have different books for the States and China. During this GFC I think you need a book for the clients and another one for the AD's.

So to answer your question, I go with my gut instinct but have rules.

I think a portfolio should show many points: like experience. It should give trust and show attention to detail. It should prove confidence...

I also think it’s really personal.

I often get jobs I feel I wouldn't give to myself and then am not considered for some I would be good at.

I always want to do my best for every job, and still do, and always strive to make something a little special (I know how this sounds! ) I've always liked big strong ideas and images so I guess this reflects in the folios...

I am not really answering this question very well........... But I think our portfolio has strength.

On that point: I found more and more we get picked on treatments and I don’t agree with that. In a perfect world I would get booked when people look at and analyze a book. More often now Agencies tell a handful of guys to do the art direction really, by asking for a treatment – and then pick.

As much as I like the opportunity to write treatments, and in the end of the day it’s the moment when a job can be pushed in the right direction, I also think it’s a very lazy development if treatments are asked for before an idea has been sold to the client, and without being asked to estimate the job.

Keep in mind I’m a visual person and by writing in a second language I have to use a side of the brain I actually don’t have! - so no – I prefer to be booked on my body of work.

How has the economic crisis affected photography and advertising in general?

I guess commitment and pride for the Product and Ads has gone a little. When everybody gets squeezed and has to tighten their belt there’s less commitment, less time, less production opportunity, less fun....

We still run a big ship with the studio, but we have had to make changes as everyone has.

I personally feel that the Photographers Business has been battered by the GFC but also by the fact that Retouching houses are not partners anymore but rather competition. And they’ve got time on their side, time and growing technology.

There’s an overload of Shooters, where did they all come from? The digital age changed the way we shoot, retouching became the big part and growing one, and so everybody is fighting for the great photography work.

There is more client control, more input from every side, less time for working together, less time for producing and shooting makes it harder to do work that stands out.

It most certainly has changed me: First fear gripped me a little (we don't get too many small jobs and the big ones weren't around in large numbers...) then the old crisis of who am I if not a busy guy around town!

But not being constantly booked out, shooting back to back as we did; I’m enjoying it more, enjoying my life more.

I think Australia is a safe haven compared to other countries and the layouts are getting better already. I don't know- it just makes me want to do better work.

I think it did became more business like: when, what and how much!

I’m often amazed in meetings when nobody talks about what we are trying to do. It’s rare that I hear somebody say we want great outstanding work done.

“Inspirational “is a word so often used - I just don’t think it can be that without passion.

What about new photographic techniques and technology impacting on the craft?

I think it is really FREEWHEELING out there. I remember styles lasting some time, now nothing lasts long. At the same time it makes it interesting.

I love approaching new jobs every time if I can. It’s just how it is and we’re not all trying to shoot (as well) as Ritts, Avadon and so on

It is a shame those Masters are fading....

Out there now is a generation of shooters who have never shot on film.

I think it is a shame- yeah- does it matter to anybody- no.

I personally feel that there is an all over mediocrity in many fields of life and it saddens me, maybe I am getting old, my god!

But seriously I think the biggest change is that when I started out, photographic images where used and shown respect. Now they’re just a small part in the mass of media used to represent an idea and concept.

So yes, the value of photography has changed! I think that often nobody is after Photographs but Pictures.

Is that a bad thing? I make a good living, I love what I do and I if I want to shoot more photographs with more Integrity and Value to me I can. I own 17 pro Cameras... no camera shortage here….

On a private note, I'm just blabbering here... Speed in digital technology changed everything ... it makes our life more desk-bound and faster every day. Talking about global warming and saving resources- I believe at one stage we should start thinking about saving Human Resources as well and not work ourselves to death.

You know, believe it or not- good photography it is what it is; a craft and it’s still alive. A craft means the longer and more you work on it the better the product, so these days deadlines are not made for crafting a shot. Will I survive and work famously until I’m 85? Who knows - but I am trying!
What do you think about new cameras that also shoot video and how they impact on stills photography? Is film an area you might move in to as well?

Do they? Fuck - I’m normally fast with stuff and love new technology, but I kind of believe for as long as we continue working like we do, maybe we don't have to change just yet.

I also think that this is very much the idea where everybody tries to do everything... Honestly I don't know anything about video on cameras yet, I should look into it though...

I’m going to go out and buy one today!

What inspires you for personal projects?

I was hoping this question would not come up!

May as well be honest....

You know Photography for me was always an adventure, shooting, meeting people, running a little business, making a living…. and then I got really busy with commercial work.

So personal work has basically been non-existent over the last years.

The little time I have to myself, I try to have a life with my family and go sailing.

Working so hectically over the years as we did has not always been the best inspiration for personal work either.

Honestly - I so often admire Shooters like Nadav Kandar and the amazing large body of work he creates. At the same time I feel this will come to me later on in life... and I’m exited about it.

Are you working on a project at the moment?

2 children and learning to sail at the moment is my project.

Have you had exhibitions and what are your thoughts on personal projects for exhibitions?

Yes we’ve had exhibitions In London and in Japan over the years, but honestly, I’ve always felt I do it for my career... and yes it works, but I have never felt like I really had anything meaningful to say in the exhibitions.

We did a great project on a concentration camp’s in Austria.... that’s one I got exited about

Sometimes its difficult for me because I enjoy my pictures, I really do; and I love making those memories, the stories, I’m proud of it... but I think does anybody really care to look?

I enjoy looking at other shooters work enormously. Some do it great and they are great!

We just did some great images of objects after they had landed by throwing them from different heights for a huge wall Installation in Clemengers

(I actually just got back a 4 a.m. this morning)

I need to feel like I am good enough!

How about awards, I understand you were in New York recently?

Yes - I was nominated for the Lucie Awards ‘International Photographer of the year’ in NYC. It is kind of the Oscar's for Photography, created 8 years ago to celebrate photography.

They look at a body of work rather than the last campaign.

Check it out: http://www.lucieawards.com/index.php

Advertising was a very small category but I was there and very happy to be a part of it. I felt incredibly honored and slightly out of place. I’m not talking myself down here, but half the guys who won awards I have their books in my Studio.

Nadav Kandar won my category and honestly I was shitting bricks and praying to God not to let me win! The category before was "Reportage" and the winner who shoots mainly war Pictures gave an amazing speech about world peace, - I had nothing to follow that! so I was saying over and over

‘ Don’t let me win, don't let me win’ - yet I really wanted to win!

You know awards are great, always an honor, though I tend to win overseas more often than here at home. Ah one day...

Who would you say are your greatest influences?

They say one should ‘part the person from the Art one likes’. I can never do that. For me it is always their work and their story.

You know I admire so many people, Penn, Avadon, James Nachtway, and God- where do I start?

I love Nadav Kandar’s work, he produces real Photographs for Commercial media... images that make you feel something.

It started out when there where the supermodels and they where shot by super photographers. I loved that period, there was so much work I had never seen before, and Ideas I hadn’t seen and they touched me. That's what they should do I guess...

There’s a guy, (no disrespect) I cant remember his name, he would follow police cars and shoot deadly car accidents in Mexico, that was striking... amazing work.

I never loved Helmut Newton’s work…I never felt it - but I do sense the power in it that comes from his life story... and just loved him and his life story.

That’s what I love so much about Photography, the power of it all and the range. There are such different fields and I love them all for different reasons.

Who really influenced me is a songwriter Leonard Cohen if you want to know! A true gentleman who is amazing with such meaning in his songs.

He is playing in the studio every day. My assistants have been taking the piss out of me for years about it!

What are your thoughts on social media sites, like flicker, facebook, twitter, etc.?

Not a lot of time for them really, sure its great

…. Is it good for business?

How about your thoughts on stock image libraries and photographic image usage?

... I forgot to mention this before. Stock images were another slap in the face for commercial shooters. That’s life though isn’t it.... more people wanting a piece of the cake. Live and let me live I say!

Seriously though, this is a great idea, and is obviously working extremely well. You know Commercial Photography is a commercial business so you have to deal with other businesses, and frankly I can't change it. They are just other people trying to make a living, good on them.

Does it make it tougher? Yep!

Your view on agents and producers?

It's like love. It works out sometimes, other times it doesn’t!

You need them and want them and they need you.

I’ve done in-house production for years so I appreciate their work… the thousands of estimate changes and problems they sort out...

I love it when they’re part of creative solutions also, seeing that light bulb go off for solving a problem.

They are mostly the unsung heroes you know.... I take all the credit (and would be so lost without the team...)

They are a very big part of a good image!

Anything else that you've been involved in recently that you’d like to share?

Yep- I don’t like the fact that Retouching became this big thing where everybody wants to make the money.

Agencies talk about wanting great work but then some in-house retouchers can't deliver.

I think the quality in Australia has deteriorated when it comes to post-production.

Not quite sure how I can as a photographer deliver any kind of direction if in the end I loose control and the last crucial step is taken away.

The magic was very often in the darkroom. Delivering files to retouchers and then having no say will not work for anybody in the long run.

If it is "just work" fine, make the money, but if there are great layouts, great potential, please let the good guys retouch and let one person lead... it shows in the final image.

I think postproduction should be POST- production and not the moment when everybody starts to art-direct and fiddle.

I think Photography itself had a tough time last year.

We’ve done OK, we’re still getting in great layouts, getting good briefs so we’ve done some good stuff, and I most certainly can feel the creative demand is on the rise again, so I think this year should be a fun one.

Lets hope!

All Images © Andreas Smetana

ANDREAS SMETANA PHOTOGRAPHY
http://www.smetana.net/

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/

 

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?

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 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 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.

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 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.

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.

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. 

His website: http://www.allenkoppe.com/ 

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;  

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.  

http://www.meltportraitofaniceberg.com/ 

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.

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 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.

 

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.

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.

"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."

– Harry DeZitter 1990

http://www.dezitter.com/galleryhttp://www.dezitter.com/gallery

"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.

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

http://www.markllewellynn.com/

"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