e56u dhtr

WWW.CAPTUREMAG.COM.AU

AUSTRALIA’S LEADING TITLE FOR EMERGING AND PRO PHOTOGRAPHERS

PRESENTED BY

Winners, runners-up and top 130 entries!

Perfect partners Meet the couples running successful wedding studios

Lessons from the pandemic

August_October 2021 $8.95 (INCL GST)

Pros share their silver linings PRINT POST APPROVED 100005343

START CAPTURING

L E A R N MOR E AT SON Y.COM . AU/C A M E R A S

A L PH A A1

contents AUGUST/SEPTEMBER/OCTOBER 2021

09

THE MONO AWARDS

the mono awards Celebrating the region’s finest B&W photographers. The third year of this single-image competition features three categories: Animals, People, and Places. We showcase the top finalists in each category.

people business tools plus

34

PERFECT PARTNERS

Meet four couples from around the world running successful wedding studios, and gain insights into how they keep their business and marriage on track.

42

LESSONS FROM THE PANDEMIC

48

BULLETPROOF YOUR BUSINESS

Pro photographers on how they’ve kept their business afloat and stayed creative during some of the most challenging conditions imaginable.

Proven strategies from top wedding photographers on how to insulate your business from some of the innumerable things that can go wrong.

06

EDITOR’S NOTE

[capture] aug_oct.21

54

MASTERS OF B&W

How working in black & white allows for the experience of seeing the world in a totally different light, as well as shifting one’s artistic expression.

OUR COVER Just Chill was captured by Diana Fernie in the mangroves at Jardines de la Reina, Cuba. The image of an American crocodile took out first place in the Animals category of The Mono Awards. www.oceanincolour.com.au

capturemag.com.au

3

2021

WEDDING PRESENTED BY

ENTER NOW ENTRIES CLOSE 31 OCTOBER 2021 $15,000 in prizes, including $7,000 cash capturemag.com.au/wedding

YAFFA 13527

MAJOR SPONSOR

CATEGORY SPONSORS

photo © jacob heston

editorial

Finding silver linings I’m thrilled to be sharing the results of The Mono Award 2021 in this very special edition.

© TIM BOOTH

The third time it’s been run, the single-image black and white photography competition presents the very best imagery by Australian and New Zealand photographers. It is run in conjunction with our sister publication, Australian Photography. In this edition, we feature the winners, runners-up, and top placegetters across the three categories: Animals, People, and Places.

The quality of work submitted has been very high and made for a challenging task for our amazing panel of eight judges. The judges, all highly respected professionals and renowned for their mastery of black and white, work across a variety of genres, including portraiture, landscape, documentary, and animals, as well as having decades of traditional print-making experience. I am grateful to all the judges involved with the competition.

Thanks to all those who entered the competition and helped make it such a great success.

Congratulations to all the top placegetters featured in the magazine as well as those who received Highly Commended or Commended. I hope the work featured in the following pages proves to be a fabulous source of inspiration.

For 2021, the three category winners of The Mono Awards are Diana Fernie with Just Chill (Animals), Susan Sventek with Penitent (People), and Melanie Sinclair with Pick-Up Sticks (Places). Of Sinclair’s winning image, one of the judges, Anthony McKee, commented: “This image deserves to be printed big, and printed properly it will reward viewers for a long time”. Meanwhile, another judge, Alex Cearns said that Susan Sventek’s image has “an immediate ‘wow’ factor”. Cearns went on to say that Diana Fernie’s image was “brilliant photographic execution worthy of high praise”.

Congratulations must also go to the runners-up across the three categories: Ashlee Karas (Animals), Cody Nahirny (People), and Tebani Slade (Places). Not far behind in third place were Andrew Dickman (Animals), Karen Waller (People), and Graeme Gordon (Places).

Along with stunning imagery and a brilliant panel of judges helping to make the competition so successful, it simply wouldn’t be possible to run without the support of industry partners. A huge thanks to our major sponsor, SanDisk, and also to our supporting sponsors, Midland Insurance Brokers, Momento, and Momento Pro. Please turn to page 9 for all the stunning work.

Seems like Groundhog Day once again with the pandemic, and how things are going to look next week, next month, or next year is anyone’s guess. The situation is, and has been, particularly tough on our industry, and many other creative fields. But, rather strangely, there have been some silver linings for some. In our story on page 42, Lessons from the pandemic, we get some sagely advice from photographers working in Australia and abroad, across a variety of specialisations, in terms of their experiences, what they’ve learnt, and how they’ve grown.

Lastly, the call for entries for the inaugural Australasia’s Top Wedding Photographers, presented by Sony, is now open, with a closing date of 31 October. The competition aims to discover and showcase the region’s most talented wedding photographers, with winners and runners-up sharing in a prize pool of $15,000, including $7,000 in cash prizes. The best entries will be showcased in the February–April 2022 issue of Capture magazine.

Head to www.capturemag.com.au/wedding.

ABOVE: Gironde.

Editor Marc Gafen marcgafen@yaffa.com.au Contributors Marc Gafen Sophia Hawkes Candide McDonald (and all featured photographers).

ADVERTISING National Sales Manager Jodie Reid Ph: (02) 9213 8261 jodiereid@yaffa.com.au Advertising Production John Viskovich Ph: (02) 9213 8215 johnviskovich@yaffa.com.au SUBSCRIPTIONS greatmagazines.com.au CALL 1800 807 760 EMAIL subscriptions@yaffa.com.au SUBSCRIPTION RATES 1 year $35 1 year PLUS $39 (print + digital) 1 year overseas NZ A$43, ASIA A$43, ROW A$53

Capture is published

by Yaffa Media Pty Ltd. ABN 54 002 699 354 17-21 Bellevue Street Surry Hills NSW 2010 Ph: (02) 9281 2333 Fax: (02) 9281 2750

Yaffa also publishes Australian Photography australianphotography.com Publisher James Ostinga Marketing Manager Lucy Yaffa Production Director Matthew Gunn Art Director Ana Maria Heraud Studio Manager Lauren Esdaile Designer Stephanie Blandin de Chalain Contributions Capture welcomes freelance contributions which are of a high standard. All submissions should be sent by email to the editor or accompanied by SAE for return. We assume no responsibility for unsolicited material.

ISSN 1037-6992

GET CAPTURE ON ANDROID, APPLE AND PC Subscribe to, or purchase single editions of Capture magazine on PC, Android or Apple devices through Zinio. Visit www.zinio.com or download the Zinio app and search Capture.

6

capturemag.com.au

© NIKKI MCLENNAN

Incorporating Commercial Photography. Established in 1963 as Industrial & Commercial Photography.

Marc Gafen – Editor marcgafen@yaffa.com.au

[capture] aug_oct.21

Powerful Storage for Your Toughest Jobs

Max-level speed to get your toughest jobs done faster Creating top-tier content can put a strain on your device, your camera or your system. From the brand trusted by professional photographers worldwide, the SanDisk Extreme PRO® Portable SSD provides powerful solid state performance featuring 2000MB/s* read and 2000MB/s* write speeds in a rugged storage solution that’s reliable for your toughest jobs.

SanDisk Extreme PRO® Portable SSD

AVAILABLE FROM

* Up to 2000MB/s read and write speeds. Engineered with proprietary technology to reach speeds beyond UHS-I 104MB/s, requires compatible devices capable of reaching such speed. Based on internal testing; performance may be lower depending on host device, interface, usage conditions and other factors. 1MB=1,000,000 bytes.

SanDisk and the SanDisk logo are registered trademarks or trademarks of Western Digital Corporation or its affiliates in the US and/or other countries. All other marks are the property of their respective owners. ©2021 Western Digital Corporation or its affiliates. All rights reserved.

THE JUDGES

SUPPORTING SPONSORS

ALEX CEARNS houndstoothstudio.com.au

DOUWE DIJKSTRA

presented by

monochromevisions.net

CELEBRATING THE REGION’S FINEST B&W PHOTOGRAPHERS

WILLIAM LONG longshots.com.au

The Mono Awards is a celebration of the best black and white photography from Australia and New Zealand, and the largest competition of its type in the region. The single-image B&W competition features three categories: Animals, People, and Places. The 2021 contest was judged by a panel of eight respected experts – all masters of the medium – with specialisations covering a wide breadth of genres from animals to landscapes to portraitraiture to documentary and traditional print-making.

A huge congratulations to our category winners, runners-up, and all the top placegetters. Their stunning images appear on the following pages.

Congratulations must also go to those whose work was deemed Highly Commended and Commended. Notification for those entries will be sent via e-mail in the coming weeks.

ANTHONY McKEE anthonymckee.com.au

MATT PALMER mattpalmer.co

The category winners of the 2021 competition are Diana Fernie (Animals), Susan Sventek (People), and Melanie Sinclair (Places). Runners-up this year are Ashlee Karas (Animals), Cody Nahirny (People), and Tebani Slade (Places). Well done! The winners and runners-up will share in a prize pool of $12,500, including $9,000 cash.

A very special thanks to our amazing panel of judges for their time, wisdom, and expertise to help decide the winners. Thanks also to them for sharing their top tips for producing amazing black-and-white images. You’ll find these pearls of wisdom scattered amongst the placegetters.

Lastly, a massive thanks to our major sponsor, SanDisk, and supporting sponsors, Midland Insurance, Momento, and Momento Pro. Competitions like this wouldn’t be possible without their generous support. It’s greatly appreciated. Their involvement along with world-class images from the entrants help make The Mono Awards such a great success. To learn more, head to www.themonoawards.com.au.

[capture] aug_oct.21

JACKIE RANKEN jackieranken.co.nz

CHRIS REID blanconegro.com.au

HELEN WHITTLE helenwhittlephotography.com

capturemag.com.au

9

PEOPLE presented by

WINNER

SUSAN SVENTEK Susan Sventek started her photographic journey in 2017 after raising her two children.

Having always had a passion for photography, she decided to return to study and complete a Certificate IV in photography and photo imaging at Chisholm Institute, Victoria. Her love of drawing and painting from a very young age made photography seem like a natural progression. With her real passion lying with portraiture, she has a keen interest in all genres of photography. Sventek is always looking to create something different and unusual, and she especially loves monochromatic images. www.instagram.com/luvs2click Penitent Penitent is a photograph of my husband who appears in most of my work and was shot in my home studio. I used Profoto strobe lighting with an umbrella feathered, and a large reflector as fill light on a hand-painted backdrop by Conny Van Lint.

It was edited in Lightroom and Photoshop as a monochrome photograph to further enhance the mood and make it more intense and emotional. I wanted a thought-provoking image that was not your typical portrait. The penitent man hides his face from judgement.

He displays feelings of remorse, shame, and regret without any facial expressions.

WHAT THE JUDGES THOUGHT This image has an immediate “wow” factor. The strong pose and central placement of the subject appearing from the surrounding blackness commands your attention.

His mysterious hat dip leaves us asking who he is and wondering about his story.

Expert use of exposure, shading, and lighting has produced a masterful portrait, which is completely at home in black and white. A true work of art!

– Alex Cearns This faceless portrait carries a wonderful air of mystery, leaving the viewer wanting to know more. With the combined assembly of beautiful textures, skilful lighting, and the fantastic use of monochrome tones, this image is breathtaking and perfectly executed.

– Helen Whittle

10

capturemag.com.au

[capture] aug_oct.21

SUPPORTING SPONSORS

WHAT THE JUDGES THOUGHT Gesture, expression, and composition come together to make this multiple exposure compelling to look at. The aligning of the dark silhouetted shape of the body to the forearm and face put emphasis on the eyes and the expression. I feel like the young man is looking through me and past me, totally focused on his own thoughts and circumstance.

– Jackie Ranken A beautiful multi-layered portrait, both mysterious and captivating. Two layers are intertwined, but are hard to separate. As he’s looking straight at you, his eyes are what you see first. And it’s almost like you’re looking into his soul. But then a second layer appears, and it reveals a wider (outside) context. A grainy texture adds to the dreamy look. It leaves the viewer believing that there’s more to this person than meets the eye.

RUNNER-UP

– Douwe Dijkstra

CODY NAHIRNY

Photography for Cody Nahirny has always been about people, whether it’s taking photos of his friends doing stupid things or just capturing them on a night out. His images almost always include people. Two years into his journey, he feels that he’s finally found his own style of unique photos and how to do it the “35mm Cody” way. instagram.com/35mm_cody A moment inside a moment There is just something so satisfying about exposing one frame over another. It’s like you’re building a puzzle you can’t quite see yet. You hope the pieces are in the right place and you try your best with the limited amount of knowledge you have, but at the end of the day we all need a little bit of luck and a film camera in our hands!

The subject in frame is one of my best friends, Rasheed. When I wanted to make the move from ‘place’ to ‘people’ photography, he was my first-ever model and we essentially learnt all the basics together. We actually never really plan our shoots, we just meet up somewhere, skateboard around an area, and take some photos. I captured the image by double exposing the frame. I entered this competition because my sister believed in me enough to pay for my entry, and I wanna make her proud – love ya, Jade.

[capture] aug_oct.21

capturemag.com.au

11

PEOPLE – TOP 50 presented by

3

KAREN WALLER

4

9 8

MAX MAUJEAN

5

10

REZA BAGHERI

PEPIJN THIJSSE

JULIE GILBERT

13

12

DAVID COSSINI

SUSAN SVENTEK

capturemag.com.au

14

DAVID COSSINI

[capture] aug_oct.21

ANGELINA LAMBROPOULOS 15

SUPPORTING SPONSORS

MATT PALMER

7 6

Setting your camera in RAW and then in monochrome mode can allow you to ‘see’ in black and white on the back of your camera. You will still have the colour data to work with later if you wish, but you will have the benefit of instantly seeing what is working and what isn’t in black and white. I find this a great way to shoot in any situation where I do not have control over the environment or its colour.

PETER HOLTON

MICHELLE YOUNG

ALEX CEARNS

JEANETTE SCALES 11

16

NATALIE MEREDITH

CRAIG STAMPFLI 16

FERNE MILLEN [capture] aug_oct.21

WILLIAM LONG

TOP TIPS FROM THE JUDGES

11

By removing all colour from your images, you take away a layer of distraction. Everything has equal status and so to emphasise what the photographer wants others to see, elements like tone, contrast, and exposure need to be tweaked. It’s a balance of these things, combined with strong and interesting subject matter, which makes impactful and memorable black and white images.

Work on a correctly calibrated monitor and regularly calibrate it with a proper hardware calibrator.

Images lacking shadow detail may have been edited on monitors with the brightness being turned up too high.

capturemag.com.au

13

PEOPLE – TOP 50 presented by

19

24

JESSE HARVEY

28

BRIDGET GIBSON

RUTH WOODROW 29

14

20

ANDREA JAMES

SANDRA CHETWYND

18

23

JARVIS SMALLMAN

capturemag.com.au

DAVID COSSINI [capture] aug_oct.21

25

AMBER BOTTERILL

30

DIANE CROWE

SUPPORTING SPONSORS

JACKIE RANKEN 21

KERRY FAULKNER

22

Be authentic and believe in yourself. Be brave and follow your instincts.

Sometimes we make images that thrill and excite us, but we are too scared to show others because they are not “the usual”.

AIMEE GLUCINA

CHRIS REID Keeping it simple is the best plan. Keep the information where it is needed and don’t be afraid to lose detail if it becomes a distraction.

Sometimes too much detail can lose the centre of focus.

Capture the images in the camera, and not via post production.

JENNY DETTRICK 27

31

BETH BAKER

32

ANTHONY MCKEE

MICHELLE YOUNG

JAYNE McLEAN

[capture] aug_oct.21

TOP TIPS FROM THE JUDGES

26

Many photographers are taught that it is a good thing to keep things simple, but too often we are creating boring images; photos that lack a narrative for an audience to engage with. Given the chance, I prefer to advocate for “value-added” photographs, images that have a subject, but also additional subplots within the frame. Nowadays anyone can photograph a portrait or a landscape; as serious photographers, we should be using our skills to see and capture a more sophisticated view of the world.

capturemag.com.au

15

PEOPLE – TOP 50 presented by

34 33

39

45

16

MICHELLE YOUNG

IRMA FERREIRA

LUCIA STAYKOV

capturemag.com.au

AMBER BOTTERILL

40

35

BEC WHETHAM

46

DIANA FERNIE

[capture] aug_oct.21

41

KYSEMI LOW

LENNA FADLE

47

FIONA BIRT

SUPPORTING SPONSORS

36

ADRIAN BULLOCK

37

KERRIE BUROW 38

42

JAYNE McLEAN

43

48 48

BRITTANY TAYLOR

NANCY MORRISON

44

48

JODIE STALLARD

LAURA WALKER

NATALIE FINNEY

DAVID COSSINI

[capture] aug_oct.21

capturemag.com.au

17

PLACES presented by

WHAT THE JUDGES THOUGHT This image of a snow-covered tree plantation might be a simple, single capture, but it is an exceptionally interesting capture. Like a beautiful layer cake, every element of this image is visually engaging, from the foreground to the dark central image, and then into the background. What makes this image so strong though, are the diagonals created by the fallen trees, both in the front and back of this scene, along with the various pathways through the scene that my eyes want to wander up through. This image deserves to be printed big, and printed properly it will reward viewers for a long time.

– Anthony McKee There is something quite mesmerising about this semi-abstract image. The interesting composition of textures, line, and pattern pull me in and capture my attention straight away. On further inspection, I am stunned to see what looks like a forest devastated by fire that is incongruously shown to us covered in snow. This adds another level of interest, making me want to know more. My heart becomes concerned about the outcome of the event and the future of the environment.

WINNER

MELANIE SINCLAIR Melanie Sinclair is a Brisbane-based landscape and creative photographer. She has a Bachelor of Creative Industries (Fine Art) degree and leverages learned artistic techniques in her photographic practice. She also holds a Master of Photography with the Australian Institute of Professional Photography (AIPP) and is an Associate of the New Zealand Institute of Professional Photography (NZIPP). For her, time alone in the landscape is her meditation – an escape from the busyness of modern life. www.melsinclair.com.au Pick-Up Sticks During my trip down the Icefields Parkway, Canada, in late November 2019, I was astounded by the sheer number of trees that had been killed off by the mountain pine beetle infestation. Mountain after mountain of dead trees fallen next to the most breathtaking forests, glaciers, and lakes. It was such a juxtaposition. The image reminds me of absent-minded doodling-sketches that I used to do as a kid, while on the corded telephone to a friend. Yet, in their haphazard resting places, these trees also remind me of pick-up sticks, a fun game of skill and dexterity. In a way, I liken this game to photography and finding the balance between capture and expression.

– Jackie Ranken

18

capturemag.com.au

[capture] aug_oct.21

SUPPORTING SPONSORS

RUNNER-UP TEBANI SLADE

Tebani Slade first developed an interest in photography while at high school, starting out shooting on film, which she still does today, along with digital. Over the years she has exhibited nationally as well as winning a number of national and international awards. A member of the AIPP, her passion lies with travel and documentary photography. One of her favourite quotes comes from Magnum photographer David Alan Harvey: “Don’t shoot what it looks like. Shoot what it feels like.” tebani.com.au Winter Playground This image was taken while in the Pyrenees town of La Molina. I woke to this view from my window very early one morning. There had been light snow fall overnight and the playground was still lit by the night lights as the sun hadn’t risen yet, casting an eerie feeling over the park.

WHAT THE JUDGES THOUGHT I love this image. Quite simply, the photographer has taken an everyday place or structure and presented it in a striking and unique way. It’s a great observation and a great composition, and using the weather, the snow, and time of capture, the scene has been reduced down to a seemingly simple, but very effectively communicated image. Well done!

– William Long As a judge, you want to be surprised and swept off your feet. Epic mountain ranges or architectural masterpieces easily impress. But I’m more interested in familiar and mundane places, but captured beautifully. And you don’t have to travel around the world to find them. This kids’ playground was shot on a cold winter’s day. The emptiness, due to the weather conditions, adds an eerie look and feel. A place that is usually full of life, colour, and noise is left abandoned and quiet. This ordinary scene has been captured beautifully.

– Douwe Dijkstra

[capture] aug_oct.21

capturemag.com.au

19

PLACES – TOP 40 presented by

3

8

4

GRAEME GORDON

PAULA McMANUS 5

DAVID MUNRO

8

JACQUELINE HAMMER 10

15 12

20

JANINE DAWES

capturemag.com.au

14

WAYNE RILEY

PHILIP BETTS

[capture] aug_oct.21

ANDREA BRYANT

BALA KRISHNAN

SUPPORTING SPONSORS

ANTHONY MCKEE

6

LOUISE WOLBERS

7

Without colour to distract us, monochrome photography forces us to focus on the more critical elements of photography, namely our use of narrative and emotion, light and design. Rather than just assuming that we have to stay within the rules of light and design though, there is nothing to stop us putting extra effort into these elements. Explore adding additional light into your images (or subtracting light if necessary) and learn how to extend your use of design.

Keep asking yourself, ‘How can I make a photograph more interesting?’

CHRISTINE ROCHER

CHRIS REID Make sure to be bold because drama is key to black and white photography, where the dominant mass draws in the eye and the highlights and shadows let the eye wander around the image.

BOB WALPOLE

JACKIE RANKEN 12

17 16

Practise, practise, practise.

The more time that you can dedicate to your passion, the more you will enjoy it and be rewarded by it.

CHRISTINE GOERNER

DENNIS RICKARD

DEAN MAGUIRE [capture] aug_oct.21

TOP TIPS FROM THE JUDGES

11

capturemag.com.au

21

PLACES – TOP 40 presented by

19 18

23

MICHELLE KNIGHT

19

CHRISTINE ROCHER

WENDY COAD

24

29 28

22

CASEY PALMER

CALLIE CHEE

XIAO BIN WANG

capturemag.com.au

GRAEME GORDON

[capture] aug_oct.21

25

ANTHONY COSTER

30

STEVE DAY

SUPPORTING SPONSORS

MATT PALMER

21

CAMERON MEACHAM

21

The strength of black and white photography is highlighting shapes, lines, composition, and the qualities of texture. The best images lean heavily on these strengths while introducing atmosphere, feeling, and even narrative.

DENNIS RICKARD

ALEX CEARNS Shoot in RAW to ensure the best tonal results in your black and white images.

This also makes it easier to edit shadows and highlights. RAW files enable you to manipulate your images the most and give you full control over all enhancements. You can truly produce the result you saw in your mind’s eye.

31

PAM DAVISON

CASEY PALMER

27

IAN NORD

32

GRAEME GORDON

[capture] aug_oct.21

WILLIAM LONG

TOP TIPS FROM THE JUDGES

26

Adobe’s black and white conversion options have improved immensely over the years, however it’s worth exploring and creating your own through Photoshop, as opposed to choosing one of the instant, one-click options.

capturemag.com.au

23

PLACES – TOP 40

SUPPORTING SPONSORS

presented by

33

ALEXANDER SMILEY 34

36

KAREN WALLER 37

39

PAUL ELLIOTT

PETER REICHSTEIN

24

38

HEATHER ROSE

MICHAEL GLASS

STANLEY ARYANTO 40

capturemag.com.au

35

[capture] aug_oct.21

RUSSELL TURNER

ANIMALS presented by

WHAT THE JUDGES THOUGHT The dynamic range, from darkest black to brightest whites, is used well here to help us experience the murky depths below – the home of this grinning, primordial crocodile. The bright whites draw our attention to the big crocodile grin and then along its back, highlighting its eye.

This control of the image leads us to the stunning crocodile skin textures that are abstracted and reflected back from the waterline above.

– Matt Palmer There is a sinister feeling to this environmental portrait that is so apt. Perfect lighting, great camera angle and technique. The teeth are so white, sharp, and menacing, and I can feel the eye looking at me, sizing me up for dinner.

To top it off, there is an interesting reflection of the creature gliding above it that adds to this emotional impact.

– Jackie Ranken

26

capturemag.com.au

WINNER

DIANA FERNIE Diana Fernie was born in England and left for Indonesia when she was six months old. She has lived and worked in Europe, Russia, Asia, the Middle East, and South America. Now settled in Adelaide, South Australia, the globetrotting passion is still strong and is now focused on diving and photographing some of the world’s exotic locations, both domestic and overseas. Fernie is a professional diver with a passion for underwater photography, as well as being an Accredited member of the AIPP. www.oceanincolour.com.au Just Chill “Just chill” is what I uttered to the American crocodile as I approached it. This image was taken with natural light in the mangroves at Jardines de la Reina, Cuba. Snorkelling two at a time to reduce confusion in the water, we were warned to back right off if two crocs approached each other, as they are territorial, and when they do they are at their most dangerous.

[capture] aug_oct.21

SUPPORTING SPONSORS

RUNNER-UP ASHLEE KARAS

Born and raised in Melbourne, Victoria, Ashlee Karas developed a love for the ocean at an early age. After many years travelling, honing her skills and improving her knowledge of the ocean, she is now based in Coral Bay, Western Australia, living her dream job as an underwater photographer. Karas has a passion for wildlife photography, capturing sharks, rays, or turtles, and pairing them with the incredible sunsets and shallow corals that the Ningaloo Reef has to offer. www.ashkarasphotography.com Two to Tango The Ningaloo Reef and its nutrient-rich waters are abundant with wildlife, such as manta rays. These giant filter feeders perform an acrobatic move called barrel rolling, allowing them to scoop up and feed on a concentrated patch of plankton, rolling over and over eating as much as they can. Occasionally, multiple manta rays flock to these areas, synchronising their rolls with one another, creating the illusion of a perfectly choreographed dance. This photo taken in Coral Bay, Western Australia.

WHAT THE JUDGES THOUGHT This image depicts the beauty and elegance of manta rays in a beautiful and elegant manner. The dark depths of the ocean provide an excellent background for the lighter aquatic subjects who seem suspended in motion, with impeccable timing of the image capturing them crossing over in a graceful glide. The underwater lighting is expertly handled to meticulously illuminate both subjects and to show the intricate details of their underbellies, even in the shaded areas. Such brilliant photographic execution is worthy of high praise.

– Alex Cearns The two manta rays have a ballet-like quality, soaring through the ocean’s depths as if performing under stage lights. Black and white is effectively used to create this feeling, showing the sculpture and shape of the animals and the wonderful textures of their skin. The suckerfish help remind us that these animals are part of a broader ecosystem of various creatures that mutually support each other and the ocean habitat.

– Matt Palmer

[capture] aug_oct.21

capturemag.com.au

27

ANIMALS – TOP 40 presented by

3

ANDREW DICKMAN DANIEL TOWNS

4

8

DAVID MUNRO 9

5

MARDI HARRISON

10

15 13

28

DANIELLA CORTIS

capturemag.com.au

14

ROBIN MOON

[capture] aug_oct.21

DIANA FERNIE

MICHAEL SCOTT

JULIA NANCE

SUPPORTING SPONSORS

MATT PALMER

6

JOHN WISEMAN

6

In a black and white image, there isn’t any colour to create differentiation.

Utilising the full range between full white and full black allows a photographer the opportunity to create a visual hierarchy that guides the viewer’s eye around the image. This typically occurs where the image is brightest, or where there is the greatest area of contrast between bright and dark.

PAULA McMANUS

ALEX CEARNS For colour images, it’s often recommended to avoid grain, or digital noise – but for black and white images, digital noise can add a layer of texture and depth, which elevates the overall look and feel of the image and emphasises areas you want the viewer to notice most.

WILLIAM LONG

STEPHANE THOMAS

16

JAYDENE CHAPMAN

12

THERESA PITTER

17

LOUISE WOLBERS

[capture] aug_oct.21

TOP TIPS FROM THE JUDGES

11

With respect to contrast, ensure that the black and white has some punch. In my experience, there isn’t an instant black and white conversion that fits all images.

capturemag.com.au

29

ANIMALS – TOP 40 presented by

19 18

23

28

30

LOUISE WOLBERS

REBEKAH DEBREY

THERESA LEE

capturemag.com.au

JAYDENE CHAPMAN

24

29

SHEREE ALLSOP

NAVIN CHANDRA

[capture] aug_oct.21

19

25

SHARON JONES

NICOLAS REMY

30

KETUT SUWITRA

SUPPORTING SPONSORS

ANTHONY MCKEE

22 21

NICK THAKE

Learn to make the most of the local adjustment tools in your RAW editing programs, particularly when editing monochrome images.

These tools let you do so many things, from applying local contrast through to darkening and softening elements within the frame, and the great thing about doing this work in RAW is that you can even save different versions of the edit as you work, then click between them to decide what you like most. And the beauty of this process is that it is all non-destructive!

SHANNON SMITH

HELEN WHITTLE Pay attention to textures, shapes, and patterns in order to create interest and drama. By bringing these elements together in one frame, you can add intense interest and emotion.

DOUWE DIJKSTRA 26

STEPHANE THOMAS

31

PAUL HAMMOND

ROBERT SMITH

32

ADRIAN BULLOCK [capture] aug_oct.21

TOP TIPS FROM THE JUDGES

27

Be creative, challenge yourself, and think outside the box. Captivate the viewer with a surprising angle. Capture a unique subject that looks mundane and make it look special, or add more surrounding or foreground content to add more layers of context to your photograph.

capturemag.com.au

31

ANIMALS – TOP 40

SUPPORTING SPONSORS

presented by

33

MARGHERITA STANDING

36

GARY TINDALE

38

32

capturemag.com.au

KAREN DUFFY

34

MELISSA JANE CACHIA

37

LOUISE WOLBERS

40

[capture] aug_oct.21

35

GUY DRAPER

38

SHARON JONES

JAYDENE CHAPMAN

TIPQ PMZNQVT DPN BV

people perfect partners

For better

or for worse

For some people, the idea of working with your romantic partner triggers horror. For others, it’s ideal. Strangely perhaps, it’s more common in wedding photography than in other genres. The couples below explain why they paired up in business and how they make it work.

Candide McDonald reports.

34

capturemag.com.au

ABOVE: Lara arriving at wedding ceremony with her father.

MAIN: Chantelle with her father, St Paul’s Church, Melbourne.

[capture] aug_oct.21

They agree that there are challenges, mostly around talking to each other as colleagues when you are also romantic partners. “But it’s nothing that you can’t work out,” they agree. “We both have different personalities,” Wilson says. “I’m the loud, hot-head, who just spews out whatever I’m thinking.

Rocco is more considered and passive. It’s a yin and yang fit.”

There is one element they consider the top priority for any couple working together; to be upfront and honest about each other’s strengths and weaknesses. “The last thing you want is to have two people with very different ideas clashing and ruining the business; potentially ruining your relationship as well,” Wilson says. “We’re also like-minded.

I had a photographer say to me recently, ‘I want my wife to come out on a shoot with me so she can see how hard it is.’ I said, ‘Well, do you love her? Why would you do that?’ Our common drive is to get the best result possible for our clients. Our joint mission is to have happy brides and grooms, and we have the same approach to it.”

Ben and Erin Chrisman. Don’t sweat the small stuff Ben and Erin Chrisman were both newspaper journalists before they became wedding photographers. They then had separate photography businesses; Erin in Atlanta, Georgia, and Ben in Santa Fe, New Mexico.

© TANYA WILSON

Rocco Ancora and Tanya Wilson met as established photographers.

Ancora was a highly awarded wedding photographer internationally.

Wilson had moved into wedding and portrait photography from photojournalism and added teaching to her career.

They met in 2011 and working together was a natural evolution that occurred very gradually, over four years, beginning with Wilson assisting Ancora. “We dabbled a little bit here and there and that was a real bonus. We got to understand how each other works.” There were some scratchy patches early on, they admit. “When we first started photographing weddings together, I’d get in the car afterwards and say, ‘Why are you talking to me like that?’ I was being sensitive because we were partners, and he thought he was talking to the assistant. It took a while to work out the language to use with each other,” Wilson recalls.

Their working relationship then swung to the opposite pole. “But we got over that walking on eggshell stage,” Ancora notes. “Now, we swear and scream at each other, and it doesn’t really matter,” Wilson adds. “Always in the car, though. It’s smooth sailing in front of the client.”

Ancora and Wilson’s roles became divided naturally. Wilson is in charge of client liaison, getting people through the door, and managing appointments. “She pretty much runs the business,” Ancora states. “My happy place is holding a camera in my hand and playing with light.” Ancora also runs all the post-production. “It’s kind of a perfect match; we feed off each other’s strengths and recognise each other’s weaknesses as well,” they agree. “We worked out that my strengths were not retouching, for example,” Wilson jokes, “and what I thought I knew, I didn’t really know.”

Ancora is very clear about the advantages of working with “the love of my life”. “The biggest is knowing that we have each other’s back because we’re life partners as well, and there’s that element of trust that you really don’t get with anyone else. Trust goes up another level because I know that any decisions Tanya would make affect both of us. No decisions are self-serving. And vice versa.” Tanya adds, “When we’re really under the pump, we understand what’s happening with each other; when Rocco’s bogged down or when I am. There’s also the joy of just being creative as photographers together, having conversations and sharing ideas; working together makes it fun.”

© ROCCO ANCORA

Rocco Ancora and Tanya Wilson. Yin and yang

© CREDIT

the other can’t get to it in time; and most importantly someone to travel and work with. Our weddings take us all over the globe, so if we didn’t do it all together, we would never see each other. We also love how seamless and strong we are as a team. We balance each other in so many ways and our clients really benefit from that.”

They agree that working together is not for everyone, but it works for them. “Therefore, we really don’t have that many challenges,” Erin notes.

“We bicker like any couple, especially when you consider we are together 24/7, but it’s always minimal and we get over it quickly. We’ve learned not to sweat the small stuff, and to focus instead on how lucky we are to get to do this work, and to get to do it together.”

They make it work by taking time out. “When we travel for weddings, we try to build in a day or two that’s just for us, where we can have a dinner out or spend the day at the beach. We have a four-year-old daughter, so our weddings out of town are our ‘date nights’, even if it just means we get to have a quick dinner together in the hotel the night before the wedding,” Erin states.

At home, whether they are working on photos or on the business, they respect each other’s passions and opinions. “We also recognise that arguing is healthy because it leads us to arrive at the best decisions for our clients and for our personal lives,” Erin notes. “Of course, that has only come after more than a

They met at a photographer’s wedding in the Mayan Riviera of Mexico, fell in love, and began the process of adjusting their lives so they could be in the same place. “We moved to San Francisco together as Ben had begun getting more clients there and was feeling the pull to make a home there,” Erin explains. They quickly gathered an international client base because Ben’s wedding photography career had begun with destination weddings throughout the world and his reputation grew by word-of-mouth.

The pair work as two lead photographers and they usually shoot weddings together. “We don’t always know who is going to photograph the bride getting ready, who is going to photograph the groom getting ready, or what positions we’ll take during the ceremony. It’s all very organic, felt out in the moment,” Ben states. Erin works with the couples and their wedding planners in the beginning to get everything organised, booking travel, and nailing down logistics. After the wedding, Ben becomes the couples’ main point of contact, handling their album design, wall art design, print orders, and any other questions that come up about production and products. The couple also have two other photographers in their business, as well as a cinematographer.

The advantages of being in business together are many, they say. “We always have someone to bounce ideas off; someone to share struggles with; someone to problem-solve with; someone to be in one spot when

[capture] aug_oct.21

capturemag.com.au

35

© SHARI + MIKE PHOTOGRAPHERS

people perfect partners

It takes time and a lot of trying to find the rhythm of your business.

© SHARI + MIKE PHOTOGRAPHERS

Shari Vallely

decade of learning about each other, learning how to live and work together, learning how to work with each other’s unique personalities, navigating emotions and the highs and lows. We know we have something special, so we work hard at it, because we never want to lose what we have, including this business together that we love so much, and frankly couldn’t live without.”

Shari + Mike. Putting in the work to make it work Shari and Mike Vallely never planned to go into business together. When they met, Shari was a photographer on the side while working as a child and youth care worker and Mike was a full-time dance instructor, teaching at a local studio and travelling around Canada. “At first, Mike came to weddings with me on the weekends to be a support and help any way he could. When

36

capturemag.com.au

TOP: Skògar, Iceland. May 2019. Sade + Patrick.

ABOVE: Vik, Iceland. August 2019. Helen + Clem. “Behind the scenes of life as business owners and parents. Work-life balance...ha ha!”

[capture] aug_oct.21

I upgraded cameras, I gave him the old one and told him to take a few photos,” Shari recalls. “He definitely surprised me, and not long after he was taking photos with me at every wedding. It was when we moved to a new city that we really started to consider pursuing photography full time. And when we finally took the leap, we officially rebranded as a husband-and-wife team. Truly one of the best decisions we’ve made.”

The pair took many years to work out how their business and their romantic relationship would work together and determine their roles within the business. “And to some degree we still are,” Shari says. “It takes time and a lot of trying to find the rhythm of your business. What works and what doesn’t. We do have distinct roles, although we have left room for those to shift as we change and grow. I do the editing and social media.

Mike creates slideshows, sends out galleries, and handles most of the client communication, contracts, and e-mails. We divided the roles in our business based on our strengths, also taking into account what we are less good at, what we really enjoy doing, and our personalities. For everything else that doesn’t fit, or that someone else can do better, we outsource.”

They both feel that the advantages are many. “The biggest one is just having someone around that you can dream with, bounce ideas off, and lean on when you need a break or are having an off day. Having someone you trust in your corner is always an advantage,” Shari notes. “We are grateful every day that we have that. We often say that we feel so much closer and stronger after years of building our business together.” It helps a lot, they add, that they really like each other, so getting to spend so much time together has been a gift. “As wedding photographers, we don’t work a normal 9-5 and our calendar never looks the same. A big advantage to being in business together has been not needing to consider two different schedules

MELBOURNE’S OPEN & FIRING ELEVEN40 STUDIO & EQUIPMENT HIRE

FEATURES – FULL CYCLORAMA ( 11.6M X 11.6M ) – STUDIO ( 11.5M X 16M ) – LIGHTING + EQUIPMENT PACKAGES

PHOTO / FILM / EVENTS

– DRIVE IN CAR ACCESS, – 3 PHASE, A/C, WORKSHOP – CLIENT LOUNGE, OFFICE, – COMMERCIAL KITCHEN + LARGE FRIDGES – LARGE DAYLIGHT SKYLIGHTS WITH BLACKOUT – PROFOTO FLASH AND DAYLIGHT HMI – LARGE RANGE OF GRIP, STANDS & OTHER EQUIPMENT – GREAT BARISTA COFFEE 1140 MALVERN ROAD, MALVERN , VIC 3144, MELBOURNE, AUSTRALIA P: ( 0)3 8823 1140 E: INFO@ELEVEN40.COM.AU

people perfect partners

© CHRISMAN STUDIOS

when planning life,” they add. “When work takes us to different places in the world, we are able to carve out extra time to travel as a family, which has always been a dream.”

Their biggest challenge has been separating life and work. “They’ve become one and the same over the years and the challenge has been finding family time and having conversations that are not work related, which is really hard when you really do love what you do.

Sometimes in business you need to have hard conversations with business partners. Sometimes in marriage you need to have hard conversations with life partners. Keeping these separate so they don’t spill over on each other is a constant challenge,” they note. The importance of finding separation between life and work really hit them hard when they had their daughter. “She gave us a new perspective on life and a deeper desire to find a rhythm that allowed us to still love working, but to prioritise living,” Shari says.

The Vallelys make it work by putting in the work. Shari adds, “By being better listeners and communicators. By sticking to our roles and giving each other space in those roles. With lots of patience and understanding. By being open to feedback. By asking for help when we need it. By being willing to change and shift. By setting goals and having something to work towards. These all keep us moving in the same direction, motivated, and excited about life.”

Erika and Lanny Mann. Making dysfunction function

© TWO MANN

Erika and Lanny have been named Fearless Photographers in 2014, 2015, 2016, 2017, 2018, and 2019. Fearless seems also to be a necessary element of their working together as a couple; neither feels that it is easy. “Our challenges are probably the same that every marriage goes through. They are many, they are intense, and when we’re in the middle of those challenges, they’re all-encompassing. But when I think about it, if we didn’t work together, we’d just have different challenges,” Erika says. “Marriage is hard and working together definitely makes it harder, or we think it makes it harder, but it also makes it easier in that you share so much.” They are, however,

ABOVE: Taiwan couple Christine and Chiaming cuddle in an alleyway while the townspeople of Paro, Bhutan, walk past.

38

capturemag.com.au

[capture] aug_oct.21

© CHRISMAN STUDIOS

people perfect partners

RIGHT: Persian bride dancing on table at wedding reception.

40

capturemag.com.au

© TWO MANN

aware that working together holds one overriding advantage. “We can have as much economy as possible in creating our life together,” Lanny acknowledges. “Not only are we self-employed, meaning that we don’t have to answer to anyone other than ourselves, but we have one business rather than two careers, which we would have to balance to craft our life together.”

The pair began working together primarily and, in fact, working in photography as well, so they could share their adventures together. Both were working in jobs that involved getting people outdoors, and travelling became an important part of their life together. “Photography gradually morphed into more than a tool to share our travels with friends and family,” Erika recalls, “but definitely not intentionally.” One of the main catalysts was their two children. “I didn’t really want to go back to work.

I especially couldn’t see myself going back to a 9-5 job,” Erika says, “so we decided to start a photography business. In retrospect, we probably would have worked fewer hours had we kept the 9-5, but we’re still very happy to be self-employed.” “I’d say we had similar interests and were just happy doing everything together at that stage of our lives. We probably made the decision so that we could,” Lanny adds.

They don’t do everything together in the business. In fact, they try to keep as many things as possible separate because they are aware that it’s very hard to give a business relationship, married life, and parenting life space when work is such a big part of your life. They both have separate offices and separate roles in the business. “We still end up doing a lot of things together in the business, but that comes with a lot of fighting and a lot of disagreements,” Erika admits. Lanny adds, “In some cases, a lot inevitably ends up being done together. In others, we are able to divide and conquer.” “We do that according to our strengths, or how we perceive our strengths, so anything that needs to be done quickly and efficiently is done in my neck of the woods; anything that needs to be done perfectly is usually in Lanny’s,” Erika notes.

When asked how they make it work, Erika is quick to note that people only think that they make it work. “We do make it work,” Lanny notes.

“But not in the way people imagine,” Erika insists. “It’s easy to look in from

the outside and assume that it’s easy,” she adds. “We make it work, but that involves struggle, huge failures,” Lanny notes. “It’s full of dysfunction,” Erika admits. “I wouldn’t say what we’re doing is working perfectly; we’re struggling just like everyone else out there. The struggles of marriage are pretty universal and, in our case, making the business work is intertwined with making the marriage work. It’s hard.”

CONTACTS Chrisman Studios www.chrismanstudios.com Rocco Ancora & Tanya Wilson www.roccoancora.com Shari + Mike www.shariandmike.ca Two Mann www.twomann.com

[capture] aug_oct.21

MAIN: Trobriand Girl. Multimedia artwork. 110cm x 80cm on canvas. “I photographed this girl on Kiriwina Island, part of the Trobriand archipelago east of mainland Papua New Guinea, as she stood waiting to perform in a traditional yam harvest ritual. The pattern which has been overlaid onto the photograph is from the splashboard of a Trobriand Island canoe. After printing the photo onto canvas and painting on the gold leaf, coloured fibre strands from a traditional grass skirt were applied.

FAR RIGHT: “I had an idea for a series on Elements, and had already organised this shoot when we experienced our first lockdown. Because it was outside in the courtyard next to my studio, everyone agreed to proceed with minimum crew.

I felt afterwards that it was a great visual metaphor for our battle against an airborne virus.”

42

capturemag.com.au

[capture] aug_oct.21

business the pandemic

Lessons from the

pandemic If you think of crises as tests, then buckling under their weight is not an option. Tests make you stronger. COVID has been a mighty crisis. Four photographers from different genres share the tests they endured. And conquered. Candide McDonald reports. photographer Gabriël Scharis has emerged from a year that tested, and tortured, wedding photographers with a smile on his face despite its rigours. He learned to become very flexible in his business. And that saved his business. It began as soon as COVID restrictions were announced.

He had a wedding that day and the restrictions were made public during the wedding. “It became a very strange wedding,” he explains. “During the day, all the guest mingled as usual, but in the evening they had to be split up, half in one room viewing the ceremony on a screen and the other half participating. From that point, COVID got me.” Weddings began cancelling.

Scharis was more fortunate than some, though. One of the locations at which he shoots weddings decided to continue to hold them “behind closed doors”. So Scharis continued to shoot a lot of wedding parties there, which were held as if COVID didn’t exist. “It was really strange for me, with masks and ten guests in some weddings, and then these weddings with 100 guests and partying,” he says. Those weddings were the first reason he had a good year and won a lot of awards. He was named eighth in One Eyeland’s Best Wedding Photographer in the World competition in 2020. But the run didn’t last forever. “There was one wedding in November at that location with a dinner and all the trappings, even though these were not allowed, and 40 guests, even though only 30 were permitted,” he recalls. “After the actual ceremony, the police came with six cars and stopped the whole wedding. The bride was crying. They begged the police to allow the dinner and reception to continue, but the entire wedding was stopped. People became angry, so they all had to be removed from the location two by two. And, as photographers, my brother and I had our names written down. We had to be very, very careful from then on.”

That wedding ended Scharis’ dream run.

He began to shoot very small weddings. “2020 didn’t look good for me,” he admits. But he had an idea. Instead of producing the large albums he had been, Scharis began producing small albums and offering people upgrades for 250 euros per 5cms. “I told them the biggest albums were the nicest, the most beautiful,” he recalls, “so almost all upgraded.”

By doing a number of smaller shoots he was successfully able to mitigate

Shock came first In Australia, Chris Budgeon felt the shock of COVID immediately. “I feel the photography business is driven by momentum and forward motion, and when COVID struck the advertising industry, the door slammed shut very abruptly. Personally, I had several major shoots booked or in pre-production, and that of course all came to a screeching halt. There are five freelance photographers at my studio, who all had the same experience. It was a head-on car crash.” It was the same for Paris-based photographer Greg Finck. He specialises in destination weddings in Europe for an American clientele. “I don’t have any local clients, so as people could not travel the world, my business was basically down to zero. I shot one wedding in 2020, compared to an average of twenty each year, and I have three in the books for this year.”

COVID gave Australian photographer David Kirkland a massive hit as well. “I lost five assignments in the month coming into lockdown, just as I was stepping into the working year. More than eighty per cent of my

© CHRIS BUDGEON

© DAVID KIRKLAND

Dutch

any significant loss of income, and was in fact able to save enough money for his first mortgage – a dream he thought COVID had destroyed.

[capture] aug_oct.21

capturemag.com.au

43

RIGHT: “While I generally shoot colour, lockdown gave me the opportunity to go back into my archives and produce black and white prints of photos, including this one of the secretive Duk-duks of East New Britain, gathered on the ash plains of Tavurvur Volcano, Papua New Guinea.”

© DAVID KIRKLAND

business is overseas and, even when borders open allowing me to get out of Australia, it will take some time for my clients’ coffers to fill enough for them to be in a position to commission work. My business involves publishing books of my work on South Pacific destinations and I sell images through my on-line photo library. There was no one travelling in the South Pacific to buy the books, and magazines who usually buy my images were struggling to stay afloat themselves, so they weren’t buying either.”

Finck stayed afloat because he is also the general manager of his wife’s bridal design company. “We have twenty employees and it was important to stay on top of the situation during these rough times. Luckily, her business was less impacted than mine as she has more local clients, and an e-shop that boomed with online sales during COVID.” Budgeon was still able to photograph without breaching lockdowns. He has his own studio where he also lives, so still life shoots went ahead, albeit without assistants and stylists, but with remote creative oversight. “I am also extremely grateful to have had the full support of my agent and producers at Photoplay who made sure I didn’t disappear down too many rabbit holes during the lockdowns.”

Kirkland cut costs, suspended staff, and focused his energies back on Australia, picking up scant work with local tourism authorities and operators. “JobKeeper was handy,” he adds. “I headed off on several road

trips of Queensland and sold from my library as I went. We build and host on-line photo libraries which provided some additional income but, as the lockdowns rolled on, it seemed every time I snared an assignment, a border closed or spending was suddenly prioritised elsewhere.”

The positivity challenge Staying positive and creative was a challenge for all three. Budgeon says, “I feel as though self-discipline was really the saving grace for me. I treated every weekday like a normal working day, even during Melbourne’s 100-day lockdown, but would allow myself to slack off during the weekend, even though every day was essentially the same.” He wrote a list every night of the things he wanted to achieve the next day, got up early, and approached each day like a regular day at the studio. He set out projects and photographic goals for himself, like shooting twenty new folio still life images in twenty days. He spent time in the darkroom and printed a backlog of negatives and shot 4X5 film portraits of anybody interesting he knew who lived within walking distance of the studio.

Budgeon created an entirely new website and spent time reading. “I took up painting again and created a series of portraits based on people I had photographed and had a regular exercise routine, which I called Prison Exercise,” Budgeon says. Staying in regular contact with friends and colleagues in the photographic community, both here and abroad also really helped keep things in perspective for Budgeon.

The stoicism saviour © CHRIS BUDGEON

Kirkland hit a low at first. “It took me about a month to pick myself up and recognise the unfolding circumstance could be an opportunity, both personally and professionally. I’m an introvert anyway, so I was happy to be on my own in my own space. Many of my friends who weren’t, suffered terribly. With time not spent frantically running around from assignment to assignment, I took the time to read and get creative. First up, I became a student of Stoic philosophy (I know, who would have

44

capturemag.com.au

[capture] aug_oct.21

business the pandemic

N EW O N ID ES SE RI PO SE

thought?), which laid the foundations for my attitude throughout the pandemic and led to my determination to arrive at the end of it at least a better photographer than I went in.” He also created his eighteenth table book and produced six fine-art pieces, large canvases of his photographs, painted with gold leaf, and embellished with artefacts he has collected in his travels, built a new website, developed a limited-edition print collection, which is being represented by two companies, and dived into his archives to add thousands of photographs to his commercial photo library that never would have seen the light of day. “Throughout this process, I’ve been studying the work of photographers I admire, and I’ve been practising a range of post-production techniques I never had time to discover. Importantly, I’ve also taken the chance to re-evaluate where I want my photography to take me over the next ten years. I’m thankful that I’m still standing and, assuming things return to normal soon, I’ve concluded that, at least for me, this pandemic has had a silver lining.”

For Finck, staying buoyant has been the most difficult part. “When you spend an average of 50% of the year on the road, travelling to very exotic places to photograph events, it’s been very difficult to stay grounded for almost 18 months.” He found it difficult to stay creative too. “To counter that, I documented a lot of photos for my family, photographing my kids and wife, and taking them to beautiful places locally here in France. My wife also surprised me with a trip to Lapland last winter, which definitely revigorated my creativity. Finally, we had a side project and decided to renovate a house in Provence. It’s been our COVID project and occupied us for the past 12 months.”

Silver linings There have been silver linings for all. For Finck, it was an opportunity to step back, slow down, and be grateful for his family. “This has helped me to regroup and realise that I usually struggle with work-life balance. When the stress of COVID is behind us, I want to have a better balance between my professional and personal life, and make sure that I’m present for my kids

leofoto.com.au [capture] aug_oct.21

capturemag.com.au

45

business the pandemic

© GABRIËL SCHARIS

There isn’t much point needlessly worrying about events and conditions that are completely out of your control.

Chris Budgeon

© GREG FINCK

and wife. Spending some quality time with them during the past 18 months has been a blessing.”

Budgeon found new skills. “I forced myself to multitask and do things that normally I might have a team member or crew take care of. I was offered a charity job shooting four studio scenes for a HeartKids campaign, right in the middle of Melbourne’s 100-day lockdown. I accepted it as a challenge and did the entire job on my own – set building, propping, styling, assisting, rigging, and shooting. I had to find new ways to do things, like moving and erecting 6mX4m flats around the studio on my own. Adaptability and flexibility are key elements in our line of work, and I was really pleased with the campaign’s outcome. It helped build relationships with the advertising agency involved and made me feel like I had done something very worthwhile for a good cause.”

46

capturemag.com.au

Kirkland re-evaluated his business model, with plans to streamline his client base and focus on two main areas likely to generate a passive income – publishing travel books and selling images through his online photo library. “I’ve also had the time to become familiar with aspects of my business I previously delegated to staff, and I believe I’m now in a better position to manage it more efficiently and, hopefully, more profitably as we move to calmer waters.”

Lessons learned

PREVIOUS PAGE: Ivy. “Studio portrait shot on 4X5 B&W film.

No crew, but the talent did her own makeup.”

LEFT: Rime Arodaky Iconics campaign.

[capture] aug_oct.21

All those interviewed were happy to share the lessons they’ve learned so far during the pandemic and the various lockdowns. “There isn’t much point needlessly worrying about events and conditions that are completely out of your control,” Budgeon advises. “A life is a life until it isn’t, so I try to make sure I use mine wisely, not wastefully. You don’t actually need that many resources to produce your own photographic work, just a bit of lateral thinking applied in a positive way.”

Finck’s first recommendations is to try to stay positive, even in rough times. “Don’t let the stress of running a business drive you. Keep on investing. You’re never as visible as when you invest in crisis times. And don’t burn energy or money on futile things, but invest on the core of your business and the core of your brand,” he adds.

Kirkland got a great deal from studying Stoic philosophy, and has shared his experiences on his blog, stating that it’s not for everyone, but that it worked for him. “To stay in the game, indeed to get to the top of it, you need to want to be a better photographer today than you were yesterday. The learning curve includes knowing your equipment so that using its various settings is a reflex, studying the work of other photographers – both within and outside of your genre, and mastering a wide range of post-production techniques,” he says. “In short, you need to be prepared to evolve your skills and eye as a photographer at every possible opportunity.”

For Scharis, doing things differently, like offering small albums and upgrades, proved to be most advantageous. “Use downtime to build your network. Make friends with fellow photographers. Ask them to send you any double-booking, and that you’ll send yours to them.

CONTACTS Chris Budgeon Greg Finck David Kirkland Gabriël Scharis

www.chrisbudgeon.com www.gregfinck.com www.kirklandphotos.com www.trouwfotograaf.nl/en

premium albums, books, stationery

©

Ju s

tin

tk Ai

Don’t let their photo memories disappear into the digital mist. Do their photos justice in a world class album lovingly crafted in Australia.

Make memories last a lifetime at momentopro.com.au/capture

en

business advice

Bulletproof your business

Any commissioned job can go wrong. Wedding photography is particularly vulnerable. Bride, groom, and family will have invested vast amounts of emotion into the event and there will undoubtedly be a gaggle of “reviewers”. Few freelance businesses have plump buffers between success and demise, but experience is an ally. Here is the gift of four photographers’ experience.

Candide McDonald reports.

“Mishaps

happen on a daily basis. It’s never about the problem, but how we respond to the problems.” This wisdom comes from Australian photographer and photography coach, Jai Long. “The trick is to make sure you have big and new problems. You don’t want to be stuck on little old problems over and over. Every business will have problems, so you might as well aim to have big, exciting problems that will teach you something new and push you forward.”

When life has other plans

© KY LUU

Not everyone feels the same courage well inside them at the thought of confronting business problems. Perseverance is an asset, but Australian wedding photographer Dan O’Day has two bulletproof solutions. The first is human. “Second shooters! The universe’s gift to wedding photographers!” he states. “I can recall a handful of times over the years where key parts of a wedding day were missed because of equipment malfunction, guest obstruction, or a spontaneous run sheet change that correlated with a loo break

48

capturemag.com.au

[capture] aug_oct.21

© KY LUU

switching cards throughout the day,” he notes. “And when I’m travelling home from a wedding, I even go to the effort of removing the backup cards from my cameras and keeping them in my pocket when I, say, go into a service station for only a few minutes. I just don’t believe there’s a limit as to how cautious you can be with backing up your images or making sure they don’t leave your side until they’re going on their merry, complete way, directly to your happy couple.”

For South Australian wedding photographer Ky Luu, extreme time pressures are the greatest hazard. “We had one wedding where the celebrant somehow got her dates mixed up and ended up being two hours late to the ceremony,” he recalls. “So, the two and a half hours that the couple had allocated for our photos before the reception ended up being only half an hour.” Experience, he adds, teaches you to stay calm and try to maximise the time you have left. “Being able to think creatively and visualise amazing photos from ordinary or unusual locations is the key,” Luu says. He also works hard to retain the creative intent of the images. “With us, the photographer who takes your wedding photos is the person who carefully edits your wedding photos. We have a

– all of which would have been completely lost had I not had a second shooter standing by.”

O’Day contracts a second shooter for wedding days even if it hasn’t been paid for by the couple and even if the wedding isn’t large. “We’ve all been in moments at weddings where we go to do something intuitive, and life has other plans. Having a second takes the stress out of that moment.” O’Day’s other solution is pragmatic. It’s real-time expectation management. This is very simply being upfront about what is to be the likely result of a shoot, especially one that has been cut short, or experienced another minor problem, like rain. O’Day is careful to set in his clients’ minds the reality of what happened on the day and what they can expect from the finished product. “Bringing awareness to the elements beyond my control helps the couple understand all the factors at play,” he says.

Equipment failure crises are easier to overcome, O’Day adds, by getting ahead of them before they start. He only ever shoots with both a main card and backup card in two camera bodies throughout the day.

“These are also 128GB main cards and 128GB backup cards in each, to mitigate the risk of damaging any cards and/or losing any files with

[capture] aug_oct.21

capturemag.com.au

49

© DAN O’DAY

strong stance on this, being inherent perfectionists. It ensures that photos end up how we envisioned them when we took them.”

Journey together

© JAI LONG

American photographer India Earl’s primary insurance against mishaps is also human. It’s customer service. “Over the years I’ve realised how important it is to curate every stage of my client’s experience to be able not only to give them beautiful photos, but a great experience from beginning to end,” she notes. “I feel that a lot of photographers think their client’s experience starts when the camera is in their hands, but it starts and extends way beyond that. From the moment they first find my work, through our e-mails and calls together, and far past actually delivering the photos, I am tailoring each part of that workflow to my couple’s experience.”

Earl’s policy comes from first-hand experience – as a photography subject. “I remember having a famous, high profile photographer take my photos years ago, and although the images turned out incredible, I felt incredibly awkward the entire time, not because of how I was being photographed, but the experience leading up to it caused a lot of miscommunication and confusion on my end. Following that, I had a photographer, who was just starting out, photograph me and the experience was wildly different. I felt as though I could really be myself; I was so comfortable with them. And it shows through the photos. They’re the favourite photos I have of myself.”

Luu also places a great deal of emphasis on the importance of relationships. “It’s one thing to take a great photo, but forming strong connections, where there’s good banter throughout the day, is a key ingredient to our success in the industry thus far. Being able to read the group and having the social skills to change that vibe if needed is super important, and word-of-mouth and referrals from previous clients and from within the industry have helped our business stand strong,” he says.

Like O’Day, Luu’s foremost fortification against disaster is pragmatic. His cameras hold two memory cards at a time, and each of

50

capturemag.com.au

[capture] aug_oct.21

business advice

his photographers always has two cameras on hand. Regular location scouting ensures he has a range of places “up his sleeve” should he need to change locations quickly during a shoot due to unforeseen circumstances. “Being able to think quickly and pivot when you need to is key in this industry,” he notes. “Some things you really just can’t pre-plan,” he adds.

Being able to think quickly and pivot when you need to is key in this industry.

Helping hands

Ky Luu

For Long, protection goes beyond the shoot.

It’s making sure the business runs smoothly at all times and the solution, he says, is to outsource. “There are things that I’m good at and things that I’m rubbish at, and one of the best things we can do, not for only our business, but also our mental health, is to outsource what we aren’t good at, when we can,” he notes. “The feat of running a small business is so multi-faceted and I believe we, as creatives and photographers, dive in only thinking about the parts that we’re good at. But with so many parts of the business needing our attention, it can be easy to neglect the nuts and bolts of the operation that help us run the thing in the first place.” Long’s strong suit, he says, is not the day-to-day tasks. “I’m good at conceptualising and photographing, for

example. But I’m shit at reconciling expenses or answering e-mails in a socially acceptable turnaround time frame.”

For making it through 2021, Long also believes that a solid marketing strategy is paramount. “I think too many photographers rely on getting leads from one source, such as Instagram or Google. But the algorithm on those platforms can and will change at any moment. You don’t want to have a business that will be affected by things out of your control. To combat this, you need to build a marketing strategy that brings in leads every day from different sources.” Long has nicknamed his system “lead a day”, and his aim is to get a lead every day of the week from a different source.

Busy vs business Most small business owners get caught up in the everyday goal of making income – the small picture, so to speak. But it is critically important to see the big picture, to work with an understanding of what it is that makes their business run well. For Long, it’s customers and clients. “Without them, you have no business,” he says. “If you want to build a successful business, you need to learn how to be client-centric.

Make your products and services for your clients and what they love. Too many photographers won’t change or adapt their services for their clients.

They make their clients change for them. If you run a business like this, you will lose the game moving forward. The market is too saturated for businesses that don’t put their clients wants first,” he adds.

You won’t leave home without it You can stay at home and be a legend in your own lunchbox, or you can become part of the Assistant Register. Then you’ll be getting out there with Sally ( # % ! ę # with photographers, videographers and producers. Who, by the way, are # Join the Assistant Register now and start growing your professional network.

Call Sally today on 0403 302 831.

thebrownbilleffect.com

[capture] aug_oct.21

capturemag.com.au

51

business advice

© INDIA EARL

If you are not investing in yourself, you can’t expect others to invest in you.

Jai Long

on a degree and three years of your life to learn things that won’t help you make a bigger impact or make more money. It just makes no sense in 2021. You need to get your priorities right. Learn how to make the money you deserve for the work you are already doing, so you can offer an even better service to your clients, and you will be around for years to come. Build something you are proud of. Work towards your potential, and the rest will follow.”

O’Day says one should never get complacent in business. The industry is too saturated with talent to accommodate uninspired work. “I think it’s easy to do, especially once you get a rhythm with weddings, and when you’re tired, to just get through it. You start shooting the same images, the same way, the same locations, for every wedding you shoot, and it starts to water down the work you’re producing. Keep trying new things, shooting different ways, scouting and going to different spots, inspiring yourself with things that aren’t other wedding photographers’ work. It all helps you stay fresh.” Earl adds that it’s important not to be sucked into the clarion call of market trends. “I want to be tapped into what’s happening without letting comparison be the thief of my joy and inspiration,” she says.

Earl’s top two priorities are setting expectations through copy on her website and being personable with my clients. “Letting go of all expectations of what the experience ‘should’ be and going with the flow always creates space for the best photos and memories to come through for them. When things are forced, or expected to go a certain way, it usually ends up leading to disappointment on the client’s end.” She makes sure to prep her clients so that they’re at ease and happy to ‘go with the flow’. “It completely changes the experience on both ends,” she says, “making them more comfortable and trusting, and me more creative and intuitive with their needs.”

This credo feeds into her approach for fortifying a photography business against catastrophe. It’s controlling expectations. “I’d recommend getting clear on what type of experience you want to give your clients, then looking at each part of your workflow and integrating that soul into it. Client guides, e-mails, calls, contracts, delivery, blogging, all of it. The more you infuse your ‘why’ into each part of your business, the easier it will be to attract the people that trust you and value you for your gifts and talents.”

Long’s top tool is investing in yourself. “If you are not investing in yourself, you can’t expect others to invest in you. That’s just the hard truth. I personally spend around 10% of my yearly income on personal development, courses, coaches, and mentoring. People say it’s risky to spend $2,000 on a course to learn photography or business, and they think it’s fine to spend tens of thousands of dollars

52

capturemag.com.au

Fundamental fortifications It’s not impossible to make your business bulletproof. In fact, the fundamental fortifications are simple. “Learn to be a great communicator and be socially aware. Being able to read the mood and developing natural ways to help your clients trust and engage with you is imperative to getting great wedding photos,” Luu notes. “Never stop learning, even if you think you’re at the top of your game,” he adds.

“Attend workshops. Draw inspiration from other people’s success stories, whether from inside the industry or from some completely different industry altogether,” he says. “There are always so many parallels in our experiences in different fields that you can tap into. Have an ongoing passion in not being afraid of doing something different.”

Long seconds this advice. “Gone are the days when your photography will speak for itself and you can book work by doing nothing but shooting. You need to evolve, adapt, and learn new skills constantly. Too many of us are on the defence, but not enough of us are playing from offence. Instead of having backup plans, give yourself the best chance to succeed with Plan A.” Lastly, there’s joy. It’s contagious and it will infuse into your work.

“If you don’t love what you do and don’t have fun doing it – then you’re in the wrong industry,” Luu states.

CONTACTS India Earl Jai Long Ky Luu Dan O’Day

[capture] aug_oct.21

www.indiaearl.com jailong.co www.bcaptured.com.au danodayphotography.com.au

Subscribe & save 28% Renew or subscribe to Capture with auto-renewal for just $6.40 PER ISSUE (print + digital copies)

Conditions: This offer is only available to readers with an Australian postal address. By subscribing via auto-renewal you give Yaffa Media authorisation to charge your nominated credit/debit card account or direct debit bank account regular amounts, in regular instalments, as set out in the terms of the subscription you are purchasing, until you request it to be stopped, or your card or account expires. You may voluntarily stop your subscription at any time by providing Yaffa Media’s customer service department (subscriptions@yaffa.com.au) with written notice. For full terms & conditions, visit www.greatmagazines.com.au.

YAFFA 12863

VISIT WWW.GREATMAGAZINES.COM.AU/CAPTURE OR CALL 1800 807 760 AND QUOTE AUTO-RENEWAL

tools masters of B&W

54

capturemag.com.au

[capture] aug_oct.21

Everything is

black & white Living in a world awash with colour but shooting and producing images in black and white not only allows one to experience the world in an entirely different light, but, as those interviewed reveal, it also provides an opportunity to shift one’s artistic expression. Sophia Hawkes shares valuable insights.

© TIM BOOTH

A

MAIN: Sir Hardy Amies – Couturier, from the collection, A Show of Hands.

[capture] aug_oct.21

black and white photograph will strip away an element of life most of us take for granted and engage with all the time, colour. In doing so, our attention will focus on aspects we might easily have missed if colour was present. “Black and white has a way of simplifying and focusing our attention.

The absence of colour leaves behind the essential elements of an image – light and dark, shapes and lines, expression and gesture,” says Brence Coghill.

Coghill is a Melbourne-based multi-award-winning photographer who since 2018 has used the wet plate and tintype technique from the 1850s to create black and white images. Coghill has an affinity for black and white photography and feels that critical elements of a portrait can be enhanced by the absence of colour. “When I’m shooting portraiture, a black and white image removes distractions and brings greater focus onto the gesture and expression of my subject. I’m less distracted by the background or the colour of their jacket, and instead more captivated by their expression and drawn into the moment captured in the image,” he says.

Tim Booth also believes one of the powers inherent in black and white images is that they remove distraction. Based in the UK, Booth gained international recognition after publishing his seminal project and awardwinning book, A Show of Hands. “Black and white imagery encourages the viewer to appreciate structure, tone, and composition above all else. Sometimes, it’s almost as if colour acts as a camouflage that stops our brains looking deeper into the substance of the image,” says Booth. “If someone’s looking at a colour photograph of a tree, the brain spends far more time evaluating the colour of the tree, rather than the shape of it – so if the photographer shot it because of its shape, rather than its colour, they’re sending a mixed message,” he says.

The absence of colour also moves us one step further away from reality and into the realm of the dramatic. Veteran photographer Ralph Gibson has been shooting for decades and early in his career was assistant to greats including Dorothea Lange and Robert Frank. “Reality exists in three dimensions, one hundred percent scale, and colour. When making a photograph, you reduce reality into two dimensions, as well as reducing the scale of the subject. Then, if you reduce it again into black and white, you’re three steps away from reality and a lot of drama comes into the picture as a result. Colour is only two steps away, so it’s less dramatic,” says Gibson.

capturemag.com.au

55

© TIM BOOTH

tools masters of B&W

A black and white image might invoke the dramatic, although Chris Reid, owner/operator at Blanco Negro (one of the last dedicated professional black and white film darkrooms in Australia), also finds freedom in black and white images. “Black and white is unnatural to the human eye, so there is an instant freedom from the usual and familiar,” he says.

Although we use the term ‘black and white’, there’s naturally another element to consider: grey. “Black and white is such a misleading term as we usually deal with every shade of grey in between. Compared to colour, the main focus is the highlights and shadows, and we worry about having too much or not enough,” says Reid.

Simplicity is one of the keys aspects of black and white photography.

Coghill believes an uncluttered image with a dominant subject is where it’s at. “If your image feels disconnected and uninteresting, this is often because it’s not clear what the subject is in your image,” he says. Once Coghill is clear on his main subject, he sets out to make this more prominent. This understanding guides him in his pursuit of the ultimate black and white image. “I will look for a subject with compelling lines, shapes, and texture, and generally a harder light source to provide good contrast and definition. If I’m working with a softer light, I want there to be a strong light direction to ensure that there are obvious bright and dark elements to give definition to the shapes in the scene,” he says.

Cast your gaze on the shape of things

© BRENCE COGHILL

“Things are seldom what they are because of what colour they are; it’s because of what shape they are,” Booth says. “Our brains look for patterns before colour. Say you’re photographing the sea, for instance. If you’re shooting it because it’s a wonderful blue, then obviously it’s a colour shot. If you’re shooting it because of the shape of it, the curve of the beach, a jut of rocks, whatever, then I’d argue it should be in black and white. If on the other hand you’ve been drawn to the tonal range within your image, then you’re pretty much on the fence and only you can decide which way to jump,” he says. Is colour important to the story of your image? Booth knew he wanted to tell the story of the hands he was shooting for A Show of Hands. “For the hands, I was looking at shape, texture, and composition. The colour of the hands was irrelevant to their story and would just have been a distraction. The ‘colour’ in a black and white image is all in the tonal range,” he says.

Black and white photography is about lines, shapes, structures, and distinct textures. Adrian Cook, who recently showcased his silver gelatin and wet plate collodion artwork at his exhibition, Some Pictures, has one top tip to photographers wanting to understand how to master the interplay between light and dark elements in black and white photography. “Learn about the zone system,” he suggests. “One white, one black, and seven greys, and don’t crop in post – get it all in camera.”

In order to learn how to create images with ultimate definition, you have to understand how tonal values work, and Coghill urges photographers to study certain paintings to figure this out. “Look into monochromatic painting and how different tonal values are used to define an object or a scene to show shape and dimension. Without a distinct difference in tonal value there’s not enough distinction between the elements in a scene, and the image will feel flat,” he says.

56

capturemag.com.au

[capture] aug_oct.21

Exploring a world beyond colour The quest to capture a brilliant black and white photograph is an adventure, an act of daring to be different. You have to be fearless in the face of that ugly creature called failure. “I don’t think one should have the goal to ‘master’ black and white photography,” says Booth.

© BRENCE COGHILL

I don’t think one should have the goal to ‘master’ black and white photography.

Tim Booth have your camera, you might intersect an interesting event worth photographing, but if you just sit around on the street waiting for something to happen, you won’t get anything. I didn’t pay attention until much later, at about the age of twenty-eight when I was working on my first book, The Somnambulist, at which point I realised just how important a point of departure really is.”

Traditional or modern, film or digital?

Gibson points out that digital and film are but different languages, as are black and white versus colour. When he began his photography career, digital wasn’t an option. It wasn’t until 2012 when Leica sent him a digital camera and asked him to do a shoot, because he was TOP LEFT: Sir Ranulph Fiennes - Explorer, from the collection, A Show of Hands.

BOTTOM LEFT: Unguarded. Wet plate collodion image on 4”x5” aluminium plate.

Created as part of a series that reflects on how technology and social media have caused us to become increasingly disconnected from the people around us.

TOP: Portrait of music producer, Aussenwelt.

RIGHT: Gurrumul #4. Shot on Polaroid Type 665 in Sydney, 2011. Limited edition of 12.

Archival silver gelatin print.

[capture] aug_oct.21

© ADRIAN COOK

“There’s no winning post you pass. Photography is a journey without the need for a final destination. I haven’t ‘mastered’ black and white. I am constantly trying to improve.”

To improve, you have to experiment. There’s no growth without experimentation, no experimentation without mistakes, and experimentation is the birthplace of originality. Gibson learnt about the importance of originality from Robert Frank who called Gibson while working on his movie, Me and my Brother, and said: “I might fall flat on my face on this one, but at least I’m trying to do something different”. Gibson says that the top advice he got from both Frank and Dorothea Lange was not to imitate other photographers which he admires. “Somehow manage to do your own work, become your own photographer,” he says.

Persistence and an acceptance of the price of greatness are golden keys offered by Reid. “Photography is a challenge and analogue photography is even more so. But learning from one’s mistakes just makes you a better photographer/printmaker. It takes time to learn in the darkroom or behind the camera, and experience generally always costs something, either money or time, but usually both!”

As with anything, having a theoretical understanding of how a great black and white image is created isn’t enough. You have to practise, of course. Begin to search for scenes and subjects you think will translate well in black and white. “There are plenty of instances where you’ll find potential images that either contain little colour or have such strong contrasting colours that they immediately lend themselves to black and white. The most important thing of all is to go out shooting in the first place. When something stops you and makes you bring your camera up to your eye, ask yourself the questions: ‘Why did I do that? What drew me to lift up my camera?’.

The answer should tell you whether to opt for colour or black and white. Trust yourself,” says Booth.

Remain active in your search. It’s not enough to simply take your camera with you and sit down somewhere hoping a suitable subject will appear. This is something Gibson was told early on, but which took him years to truly understand and begin to act on. The twentyone-year-old Gibson showed his work to Dorothea Lange who shared some invaluable insights. “Dorothea said, ‘I see your problem, Ralph.

You have no point of departure,’ and I replied, ‘That’s true, Dorothea’.

She gave me what turned out to be the key to my entire career. She said if you’re going down to the drugstore to buy toothpaste and you

capturemag.com.au

57

tools masters of B&W

RIGHT: Ralph Gibson’s first digital capture, on a Leica M Monochrom, after 55 years of shooting on film.

BELOW: Francesca, 2010.

© RALPH GIBSON

known for his black and white photography, that he used a digital camera. “The day that camera arrived, I’m talking to my psychoanalyst and I say to her, ‘I’ve been fifty years in the darkroom. I don’t know what to do with this thing’. But I walked out on the street and took my first digital photograph of the manhole and the bicycle. I look at the display, and I say, ‘That looks like it could’ve been taken by me’. Since then, I have not loaded a roll of film or shot a single frame [on film] and probably never will again. I really like digital. I got to reinvent myself at the age of seventy-five; not something you get a chance to do very often,” Gibson says with a cheeky look in his eyes.

Booth has learnt a lot about how to shoot black and white images from his passion for wet plate images. “Shooting wet plate introduces a load of constraints and complexities that I have to understand and work with.

These limitations make me slow down and work in a more considered way – thinking more critically about my composition, lighting, and approach.

I’m frequently forced to approach things differently, and this leads to more interesting results that I may not have arrived at otherwise. It’s also very satisfying to step away from the computer and use your hands to create images with a physical medium,” he says.

Cook largely learnt how to shoot black and white images by developing other photographer’s photographs in the darkroom he worked at in London. “Because I already knew how to print, I knew what to look for in terms of light and shade when composing an image,” says Cook. He began to carry a camera loaded with black and white film everywhere he went. “Having the knowledge to print one’s own work well on a fibre-based paper is a really lovely and satisfying thing to do. For me, a beautifully printed silver gelatin image is the final part of the B&W photographic process.” Reid agrees. “I think you develop

your eye by developing and printing your images, although it is not an intuitive process to begin with.”

Although Coghill has a passion for wet plate photography, he doesn’t discredit digital and how useful it can be. “Try shooting in black and white mode on your digital camera. This will help you learn as you shoot by focusing your attention on the highlights, shadows, and shapes in your composition. You can do this on most cameras and still capture your images in RAW so that you can still process the image however you like after the fact. You may even find that this helps the compositions of your colour images,” he says.

Reid, on the other hand, suggests that shooting with film will help you evolve as a black and white photographer. “With analogue, I love the idea that mistakes can happen no matter how experienced one is using a camera or an enlarger, and these ‘mistakes’ can often lead to new ideas or inspiration. With film, every frame or sheet is considered before pressing the shutter, as every frame is one less frame on the roll, and every frame costs money! I find this attitude helps to keep me focused on the subject at hand. I have no delete or Command Z,” Reid says.

Whether or not you choose to use film or digital when you endeavour to capture those strong lines, shapes, and contrasts of your subject, be sure to have made yourself at home in the shadows. Be inspired, study other photographers, but heed the warning not to imitate. Be clear on the story you want to tell and why black and white is the best language in which to tell it. Then watch the drama present itself through your images. Make tonal values your allies as you embark on the adventure of capturing a bit of the mystery lurking beneath the layer of colour.

© ADRIAN COOK

CONTACTS

58

capturemag.com.au

[capture] aug_oct.21

Tim Booth Brence Coghill Adrian Cook Ralph Gibson Chris Reid

timbooth.com brencecoghill.com adriancookphotography.com ralphgibson.com blanconegro.com.au

Remarkable Form, Exceptional Function.

Meet the new standard in small format printing. With expanded gamut, dedicated photo & matte black lines and a new 10-colour UltraChrome PUR ZL[ [OL ,WZVU :\YL*VSVY 7 HUK 7 YLKLÄ UL ( ( PTHNL X\HSP[` PU H JVTWHJ[ Z[`SPZO MVYT MHJ[VY ZTHSSLY [OHU [OL WYL]PV\Z NLULYH[PVU Experience exceptional. Experience Epson.

www.epson.com.au/prographics