Photo Live Magazine First Issue

Photo Live is a photography magazine for the photographer. We interviewed a range of talented photographers in genres such as street photography, bird, portraits, fashion, and much more.

Photo Live is a photography magazine for the photographer. We interviewed a range of talented photographers in genres such as street photography, bird, portraits, fashion, and much more.


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PHOTO<br />


live<br />


Scott Bourne<br />

Nick Ghionis<br />

Alfredo Benincasa<br />

Chris Marquardt<br />

Jim Harmer<br />

Mike Rollerson<br />

+ more!<br />


STREET<br />

TRAVEL<br />

BIRD<br />


Lightroom<br />


[ ISSUE ONE 2017 ]<br />

Cover shot by Sarah Fairbanks<br />



... MORE

INSIDE<br />

Featuring:<br />

Scott Bourne<br />

Nick Ghionis<br />

Jim Harmer<br />

Mike Rollerson<br />

Alfredo Benincasa<br />

Sarah Fairbanks<br />

Ayhan Ton<br />

Dean Preston<br />

Tony Buckingham<br />

Chris Marquardt<br />

Nathan Dalton<br />

Victoria Bampton<br />

Podcasts and more...

The Polaroid EE100 was a second gen packfilm<br />

camera. It came out around 1989 according to<br />

Camera Wiki. It had a fixed non-focusing viewfinder<br />

You can pick one up on Amazone for around $70...<br />

Polaroid was an America company founded in 1937. In<br />

2001 Polaroid declared bunkruptcy. The brand lived<br />

on, being sold off, but again declared bankruptcy in<br />

2008. Today, Polaroid is owned by Impossible Project.<br />

<strong>Photo</strong> : Max Jenkins

welcome to PHOTO live<br />

Over to your left, you’ll see a picture of a Polaroid camera.<br />

Polaroid was founded in 1937. Coincidently that is the<br />

same year Popular <strong>Photo</strong>graphy launched.<br />

Today both brands no longer exist, not in their original form.<br />

So too with many other great photographic iconic brands.<br />

Too many to list hear, but sad that these once great brands<br />

no longer exist.<br />

So too with photographers. So many great artists have<br />

come and gone and I think that’s one of the reasons I<br />

wanted to create <strong>Photo</strong> <strong>Live</strong>. I wanted to share the art of<br />

people that inspire me to be a photographer. I wanted to<br />

share the stories of people both seasoned and some that<br />

are new to their art. But with social media being flooded<br />

with so much “noise” I decided that simply sharing a post is<br />

no longer enough.<br />

Welcome to <strong>Photo</strong> <strong>Live</strong>, an online magazine for<br />

photographers about photography. A big thank you to<br />

Giselle Capabianco and Catrian Macri our designers.<br />

Thanks to the amazing people who jumped at the invite to<br />

be in our first issue. We hope you like our very first issue of<br />

<strong>Photo</strong> <strong>Live</strong>.<br />

Rob Jenkins<br />

Publisher and Editor<br />


SCOTT<br />

bourne<br />

6<br />

Eurasian Eagle Owl : Scott Bourne

io<br />

Center,<br />

When planning out our first issue, we wrote<br />

down the names of people we really wanted<br />

in our first issue. Scott Bourne was someone<br />

we really wanted, his amazing photography,<br />

particularly his bird photography is breathtaking.<br />

Plus being avid podcast listeners, we regularly<br />

tuned in to Scott from those early days<br />

on TWIP which he co-founded with Alex Lindsey<br />

and Ron Brinkman to more recently with<br />

Marco Larousse at photopodcasts.com. Before<br />

we interview Scott we wanted to share<br />

his bio...<br />

Scott Bourne is an Olympus Visionary (for<br />

North America,) a professional photographer,<br />

author and lecturer. He’s been involved with<br />

photography for more than four decades and<br />

is an internationally-recognized thought leader<br />

and artist. His work has appeared in more<br />

than 200 publications and he’s received hundreds<br />

of industry awards for his photography.<br />

Scott’s led workshops and seminars, taught<br />

for or spoken at conferences or events sponsored<br />

by Palm Beach <strong>Photo</strong>graphic Center,<br />

Cooperative Communicators of America,<br />

The National Association of <strong>Photo</strong>shop Professionals,<br />

Creative<strong>Live</strong>.com, Lynda.com,<br />

the National Association of Broadcasters,<br />

North American Music Merchants, MacWorld,<br />

Washington Professional <strong>Photo</strong>graphers Association,<br />

WPPI, PartnerCon, PPA, Seattle Art<br />

Marketing Essentials International,<br />

The Consumer Electronics Show and Olympic<br />

Mountain School of <strong>Photo</strong>graphy.<br />

Scott was one of the first photographers ever<br />

to receive the designation Apple Certified<br />

Professional Trainer (T3) for Apple’s Aperture.<br />

He’s also previously held the designation<br />

Certified Adobe <strong>Photo</strong>shop Instructor. He was<br />

one of the first photographers in the country<br />

to receive the Professional <strong>Photo</strong>graphers of<br />

America’s Certified Professional <strong>Photo</strong>grapher<br />

designation and also holds the Master<br />

<strong>Photo</strong>grapher designation awarded by the<br />

Washington Professional <strong>Photo</strong>graphers Association.<br />

Huffington Post recently named<br />

Scott to the top 30 most socially influential<br />

photographers on the web. Website <strong>Magazine</strong><br />

named Scott one of the 100 most influential<br />

people in the history of the World Wide<br />

Web.<br />

Scott’s business acumen and marketing skills<br />

have landed him on the boards of directors or<br />

advisors for dozens of media companies and<br />

Internet startups, as well as several large photographic-related<br />

businesses. Scott is also a<br />

past Dean of Marketing at Skip Cohen University.<br />

He is the co-founder of TWIP and founder of<br />

<strong>Photo</strong>focus, two of the longest-running photography<br />

related sites on the Web. His newest<br />

venture is the <strong>Photo</strong> Podcast Network (www.<br />

photopodcasts.com) which hosts free monthly<br />

podcasts.<br />

Scott was named one of the most influential<br />

photographers on the Web by Huffington<br />

Post. Scott is the author of nine photography<br />

books and has spoken or taught at every major<br />

photography related trade show or conference<br />

in the United States.<br />


8<br />

Happy Fisherman : Scott Bourne

Scott let’s start with the big news for<br />

you and that is you’ve been made an<br />

Olympus Visionary, what is an Olympus<br />

Visionary – is it similar to Canon<br />

Explorer of Light or Nikon Ambassador?<br />

Olympus Visionary is similar (but not<br />

necessarily identical) to other camera<br />

brand ambassador programs.<br />

The Olympus Visionary Program’s<br />

mission is to define the state of digital<br />

imaging for the professional and<br />

advanced consumer audiences, and<br />

to grow support of digital photography,<br />

video and multimedia creation.<br />

When someone talks about Scott<br />

Bourne, the first thing you notice is<br />

you’re an amazing bird photographer.<br />

How did you get started as a<br />

photographer, and what led you into<br />

birds?<br />

My time in photography actually<br />

started in motor sports. I grew up in<br />

Indianapolis and was given a chance<br />

to photograph the Indy 500. I did<br />

motor sports until I realized it didn’t<br />

pay well and switched to weddings<br />

and portraits. When my knees gave<br />

out I switched to nature and wildlife<br />

and eventually settled on birds because<br />

frankly I wanted a challenge<br />

- I decided there could be nothing<br />

more difficult than photographing<br />

small creatures who want to avoid<br />

you and who can fly. I’ve also been<br />

fascinated with anything that can fly<br />

(especially birds) since I was a little<br />

kid. The only possession I have from<br />

my childhood is a wooden bird call<br />

my grandfather left me.<br />

You write in your Artistic Statement<br />

about the vision that drives you to<br />

create or perhaps capture an image,<br />

tell us about that process.<br />

My approach to photography is to<br />

see the photo in my mind’s eye before<br />

I snap the shutter. Occasionally<br />

this leads to long quests such as was<br />

the case with my photo “Cranes in<br />

the Fire Mist.” I spent 13 years looking<br />

for that image and finally found it.<br />

My entire process is backwards for<br />

some people. For instance, when I<br />

am photographing birds I first search<br />

for a background and then I patiently<br />

wait for a bird to come to me. I now<br />

consider myself an ornithologist first<br />

and a photographer second, so I<br />

know to always start in an environment<br />

that is bird friendly but it takes<br />

an amazing amount of patience to<br />

wait on the birds – unfortunately,<br />

patience is something most people<br />

simply can’t find. All of my photos<br />

come this way unless I just get lucky<br />

and when it comes to things like<br />

photographing eagles, luck rarely<br />

enters into it.<br />

Which photos have you taken as a<br />

result of that vision?<br />

Almost all of them. Each shoot takes<br />

a lot of research, planning, preparation,<br />

travel, and of course MORE patience.<br />

Then I find the best situation I<br />

can and wait. I see the canvas as my<br />

background, imagine the bird there,<br />

and wait. I know it’s counter-intuitive<br />

to most people, but it’s the best way<br />

for me personally to get predictably<br />

good results.<br />

I don’t know of many photographers<br />

with a vision statement, why did you<br />

feel the need to include that?<br />

Most photographers write an ABOUT<br />

ME page and I’ve personally decided<br />

that it isn’t ABOUT ME - it’s about the<br />

birds. It takes real passion to want<br />

to do this work. You really have to<br />

love birds. You can’t fake that. Since<br />

I am telling THEIR stories (the birds’<br />

that is) I decided to write an Artists’s<br />

Statement that expressed that idea<br />

and what it’s like to go down the<br />

path. I thought this might be more<br />

helpful than rattling on about myself.<br />

What are the most challenging birds<br />

to photograph and tell us why.<br />

For me, hummingbirds are the hardest<br />

because they are small, fast,<br />

flighty and they are very territorial.<br />

There is also a lot of gear required<br />

to photograph them. You need to set<br />

up perches, flashes (usually four to<br />

eight) and a background. Then you<br />

need to wait for them to come to a<br />

feeder and once they do they begin<br />

to defend it against other hummingbirds<br />

which leaves you with lots and<br />

lots of images of the same bird. That<br />

requires you to move a mile or so<br />

and start all over. It’s time consuming,<br />

takes a lot of money and again a<br />

lot of patience.<br />

Looking through your portfolio, your<br />

eagle shots are quite different to<br />

hummingbirds, for those of us who<br />

don’t know much about bird photography<br />

can you explain how you<br />

approach two very different types<br />

of birds?<br />

Eagles are actually much easier to<br />

photograph as long as you know<br />

where to go and when to go there.<br />

For one thing they are larger and of<br />

course they don’t fly backwards. (In<br />

case you didn’t know, humminbirds<br />

are the only birds in the world that<br />

can fly backwards – which makes<br />

them that much harder.) In fact, most<br />

of my successful bird photography<br />

(including eagle photography) can<br />

be narrowed down to five things -<br />

know where to go - when to go - patience<br />

and finding the right light and<br />

background.<br />

Back to being made an Olympus Visionary,<br />

do you have Olympus specific<br />

projects or workshops you’ll be<br />

pursuing?<br />


10<br />

Since today is my first day on the job<br />

as a Visionary for Olympus (North<br />

America) I am not sure of everything<br />

that they have planned for me, but<br />

I will be speaking at several large<br />

photo conferences here in the USA<br />

on their behalf and we are discussing<br />

other possibilities.<br />

Will you use Olympus equipment for<br />

bird photography and perhaps tell us<br />

the difference between your DSLR<br />

setup as against a mirrorless set up.<br />

Absolutely yes and to best understand<br />

my migration to Olympus,<br />

please read this post. I actually<br />

wrote it before being named to the<br />

North American Visionary team...<br />

http://www.photopodcasts.com/<br />

more-gear/what-ive-learned-aftersix-months-of-shooting-almost-exclusively-with-olympus-micro-fourthirds-cameras<br />

Tell us about your famous photo<br />

“Cranes in the Fire Mist”<br />

Thank you for mentioning it. But as<br />

far as Cranes in the Fire Mist goes<br />

- I can’t say anymore about it than<br />

I have in this post I link to below - if<br />

you really want background on that<br />

image read the post and I am sure<br />

you’ll have more than you need.<br />

photofocus.com/2010/11/10/<br />

cranes-in-the-fire-mist-revisited/<br />

And you put up a post on <strong>Photo</strong>focus<br />

on how photographers can try to get<br />

their own shot similar to yours... you<br />

generously share tips and advice, do<br />

you think that more and more pros<br />

are open to sharing to perhaps 20<br />

years ago or am I wrong and pro<br />

photographers have always been<br />

open to sharing?<br />

When it comes to pros sharing secrets<br />

I can’t speak for anyone but me<br />

and I don’t mind sharing everything.<br />

I have always been that way and tend<br />

to associate with other pros who are<br />

like-minded in that regard. My entire approach<br />

to photography is that it is something<br />

that has no scarcity. Someone<br />

else shooting birds for a living doesn’t<br />

diminish me. If they get a great shot that<br />

moves people and makes them money<br />

- that’s good for the birds and for the industry.<br />

Talk to us about your podcasting projects,<br />

you were one of the pioneers behind<br />

This Week in <strong>Photo</strong> and <strong>Photo</strong>focus,<br />

do you have new podcast plans?<br />

I did co-found TWIP with Alex Lindsey<br />

and Ron Brinkmann - then I started <strong>Photo</strong>focus.<br />

I sold that a few years ago to my<br />

business partner Rich Harrington. I still<br />

make guest appearances on both networks<br />

which hopefully shows that all my<br />

old podcasting pals and I still get along<br />

just fine. I also regularly appeared on<br />

hundreds of episodes on the This Week<br />

In Tech TWIT network owned by my<br />

friend Leo Laporte - I used to do shows<br />

there related to Mac computers with a<br />

slight emphasis on how they fit into a<br />

photographer’s workflow.<br />

My new shows all reside at<br />

www.photopodcasts.com. I have been<br />

working with Marco Larousse on podcasts<br />

for more than two years and he’s<br />

a great podcaster and photographer.<br />

We have three shows now (4th coming<br />

soon) on the network every month. One<br />

show deals with gear only, one show<br />

deals with mirrorless cameras and the<br />

other deals with inspiration - the new<br />

show will be Q&A.<br />

Finally Scott, where can our readers go<br />

to discover more about your amazing<br />

photography?<br />

Thanks for the kind words. My basic portfolio<br />

is at www.scottbourne.com - I post<br />

on Instagram at bourne.scott - my Twitter<br />

account is @scottbourne - my Facebook<br />

is www.facebook.com/scottbourne<br />

and my LinkedIn page is<br />


Acorn Woodpecker : Scott Bourne<br />



Cranes In The Fire Mist : Scott Bourne<br />



Diving Duo Of Eagle : Scott Bourne<br />


“In fact, most of my<br />

successful<br />

bird<br />

photography<br />

(including eagle photography)<br />

can be narrowed down to<br />

five things:<br />

- know where to go<br />

- when to go<br />

- patience and finding the right<br />

light and background.”<br />


Mexican Jay : Scott Bourne<br />


Peregrine Foot: Scott Bourne<br />

Golden Eagle : Scott Bourne<br />


Milk Eagle Owl : Scott Bourne<br />

ONLINE:<br />

www.scottbourne.com<br />

www.facebook.com/scottbourne<br />

www.linkedin.com/in/scottbourne<br />


Mike, you’ve been a long time favourite<br />

of us here at <strong>Live</strong> <strong>Magazine</strong><br />

and Cosplay <strong>Live</strong>, but cosplay is not<br />

your only photography passion, what<br />

else are you doing?<br />

It’s always great to be a part of <strong>Live</strong><br />

<strong>Magazine</strong> and Cosplay <strong>Live</strong> so I’m<br />

really excited to be involved with this<br />

new venture!<br />

Cosplay is what originally got me<br />

into photography but I’ve been<br />

starting to mix it up a bit lately and<br />

trying out new areas. I’ve been doing<br />

a lot more with effects makeup<br />

(everything from horror to blacklight/<br />

neon to bright colors, paint and glitters),<br />

experimenting a lot with new<br />

lighting effects and incorporating a<br />

lot of the tricks I’ve learned over the<br />

years. It’s been really refreshing and<br />

a nice change from shooting almost<br />

exclusively cosplay photography!<br />

I’ve already gotten quite a few styles<br />

that I loved and trying new things<br />

makes it a constant learning experience<br />

which is incredibly rewarding.<br />

Is photography your full time job?<br />

MIKE<br />


Not at all. My full-time job is in Quality<br />

Assurance and quite a difference<br />

from photography. This works<br />

out as it makes photography much<br />

more enjoyable and more of a hobby.<br />

A lot of the photography-related<br />

jobs are focused towards areas that<br />

don’t interest me as much (wedding<br />

photography, for instance). While I’ve<br />

shot weddings, live events and portraits<br />

in the past, I’ve always felt that<br />

when it’s a job you’re being hired for<br />

that it’s much more difficult to deliver<br />

the same quality results that you create<br />

when it’s something you’re truly<br />

passionate about. While I do take on<br />

different photography related jobs<br />

throughout the year, I make sure to<br />

limit it to those that actually interest<br />

me rather than taking on all of them.<br />

It keeps it enjoyable and keeps me<br />

shooting any free chance I get!<br />

You’ve been working on a Polaroid<br />

project for a while, tell us about that.<br />

Next month will be the 1-year anniversary<br />

since starting my Instax (instant<br />

film) project. It originally began<br />

as a way to get a few fun behindthe-scenes<br />

shots while at shoots.<br />

I’ve always been a big fan of printed<br />

photos and this seemed like a great<br />

way to get an instant take-away from<br />

every shoot. A one-of-a-kind shot<br />

to keep alongside the digital files. I<br />

quickly grew to love the format and<br />

over the last year picked up close to<br />

a dozen different Instax Cameras,<br />

each with a different look and feel to<br />

it. I’ve shot a bit over 3,000 frames in<br />

the last year at live events, conventions<br />

and photoshoots. It’s definitely<br />

become a regular addition to all of<br />

my shoots and gives a fun little takeaway.<br />

I post many of the photos online<br />

after each shoot and have just<br />

started creating large-scale albums<br />

to keep around the studio.<br />

How do you find using the Instax?<br />

Instax was definitely a learning experience<br />

for me. I grew up shooting<br />

mostly digital, so moving to a filmbased<br />

format with limited control<br />

over the shot was difficult. You begin<br />

to think like the camera, determining<br />

how it sees lighting around<br />

you since anything from a small light<br />

source to an overcast day will have<br />

a much different impact on the photo<br />

than you would get with a digital<br />

camera. Many of the higher-end Instax<br />

cameras offer multiple exposure,<br />

bulb mode and macro modes<br />

which are all fun to experiment with<br />

but incredibly difficult to master. A<br />

handful of the larger cameras allow<br />

for a flash-connection, letting you<br />

trigger the same studio strobes you<br />

use with your digital camera but having<br />

it transferred to an Instax photo.<br />

Watching the film develop over the<br />

course of a few minutes and getting<br />

a really cool one-off shot is very re-<br />



warding and keeps me going with it<br />

and everyone loves to see the shots<br />

at the end of shoot since they give<br />

a unique look that you just don’t get<br />

with digital. With that said, I won’t<br />

be abandoning my DSLR’s anytime<br />

soon!<br />

A lot of your photography is horror<br />

based, why and how did that happen?<br />

I’ve always been a big fan of the<br />

horror genre and loved the unique<br />

designs you see showcased in movies<br />

and games but I never had much<br />

exposure to it outside of the movies.<br />

It’s not often you come across a horror-movie<br />

set or group of zombies in<br />

real life! My first experience was at<br />

a “Zombie Walk” during comic con.<br />

I loved that everyone did their own<br />

take on the horror genre with their<br />

makeup and acting. There were no<br />

rules on how it had to be done, so<br />

everyone did their own thing and just<br />

had a great time. I loved the shots I<br />

got out of it, and one group I worked<br />

with turned out to be the managers<br />

at a local Haunted House. They invited<br />

me back out during Halloween<br />

to take some photos inside and<br />

I fell in love with it. Since then, I’ve<br />

been shooting for several haunted<br />

houses each Halloween season<br />

but also working with many of the<br />

actors off-season to create unique<br />

horror-inspired looks. It was all by<br />

chance that I ran across that group<br />

but it’s made a huge impact on what<br />

I shoot!<br />

Talk to us about cosplay photography...<br />

is it a passion, does it work out<br />

that you can have an income from<br />

this genre or is it something you simply<br />

love doing?<br />




It’s a mix of all of the above for me.<br />

It started out as a passion. Similar to<br />

horror, there weren’t any real rules.<br />

With weddings you needed to shoot<br />

specific shots of people composed<br />

in a specific way, lit a specific way<br />

and edited in a specific way. With<br />

cosplay, that all goes out the door<br />

as you get to put your own creative<br />

touch on it by incorporating interesting<br />

lighting techniques (gelled lights,<br />

smoke machines, projection or neon<br />

lights), lenses (fisheye, macro, ultra-wide)<br />

and editing (composites,<br />

over-the-top edits or something true<br />

to the videogame or cartoon it originated<br />

from). I loved the freedom it<br />

provided and that it was so much different<br />

from a typical portrait session<br />

or live-event.<br />

Over the years it has turned into<br />

somewhat of an income, shooting<br />

different cosplay work for promotions/advertisement,<br />

but it’s something<br />

that I love to do to this day.<br />

Some of the effects are brilliant.<br />

Those Silent Hill inspired photos are<br />

plain creepy. How did you go about<br />

creating them?<br />

Thank you! I try to incorporate practical<br />

effects and real-locations any<br />

chance I get. I made all of the costumes<br />

myself by putting my own<br />

twist on the look of them, most of the<br />

effects are actual practical makeup<br />

application and the photos are shot<br />

on-location with smoke machines<br />

and rain effects wherever possible.<br />

I’ll add any non-practical effects in<br />

post processing as well as do final<br />

color styling and adjustments, but<br />

generally the before and after shots<br />

don’t vary as much as many of the<br />

other cosplay work that I shoot.<br />

We took a look at your special effects<br />

room on Instagram... it’s part<br />

brilliant part nightmare as in, I’d hate<br />

to walk in there at night... do you apply<br />

the effects and make up yourself<br />

or work with an artist on this?<br />

When I first started doing horror-photography,<br />

I hired makeup artists. I<br />

quickly realized it was an expensive<br />

addition to the hobby and began to<br />

work with several artists over the<br />

course of a couple years in order to<br />

pick up new techniques. I couldn’t<br />

tell you the difference between any<br />

beauty makeup effects but I can list<br />

off the differences from a dozen<br />

types of fake bloods and dirts!<br />

One of the things that really got me<br />

interested were that I found many of<br />

the widely available products weren’t<br />

the greatest quality and really<br />

limited the impact of the photos.<br />

Once you get past the widely available<br />

products, you start seeing the<br />

studio-grade (and studio-priced!)<br />

products which provide a much<br />

more realistic effect and greatly add<br />

to the overall photo.<br />

I’m always up for bringing other artists<br />

in for shoots but tend to do most<br />

of the effects makeups myself nowadays.<br />

Ok, let’s talk a bit about your models,<br />

your cosplayers... how do you find<br />

each other and collaborate?<br />

A lot of the people I work with are<br />

friends I’ve met at conventions, live<br />

events or the haunted houses. We<br />

all share similar interests and putting<br />

together shoots outside of these<br />

events gives a lot more creative control<br />

to bring some fun ideas to life.<br />

I’ve met some amazing people over<br />

the years and it’s much easier to get<br />

quality results from someone who<br />

shares a similar passion towards a<br />

genre/style than a fresh model with<br />

no interest in horror or cosplay. I’ve<br />

met several models online (who either<br />

reached out to me or I reached<br />

out to them after showing similar<br />

interests) but most of the people I<br />

work with are those I’ve previously<br />

worked with over the years.<br />

How long does a project take from<br />

start to finish? What steps do you<br />

take when planning a shoot?<br />

This one can vary quite a bit.<br />

Sometimes projects can be very<br />

time-consuming (planning a look/<br />

shot list/location and model, creating<br />

set-pieces, costumes and makeup<br />

applications, shooting and editing)<br />

while others have been a spur of<br />

the moment idea that you can pull<br />

off hours after the initial thought. A<br />

lot of it comes from previous experience<br />

but I also like to try new things<br />

out. Add some extra lights, try new<br />

lighting modifiers, use an odd lens<br />

or shutter settings and you’ll get<br />

some wildly different looks. Lighting<br />

a subject from the front versus<br />

a side-light, backlight or overhead<br />

light will give a much different effect<br />

and create some truly unique shots.<br />

Sometimes I’ll shoot the same look<br />

2 or 3 different times, using different<br />

styles, and end up with some very<br />

different shots each time.<br />



Are the horror themed shots studio<br />

or location or both and what gear<br />

would you take to shoot with?<br />

The horror themed shots are a mix<br />

of studio and location. I love both<br />

for different reasons (locations are<br />

always great as the models can interact<br />

with the surroundings and you<br />

give you a lot of variety in a short<br />

amount of time. Studio is great for<br />

setting up a consistent look, fine-tuning<br />

it and shooting at all times of the<br />

day without having to worry about<br />

ambient lighting and traveling with<br />

gear to locations<br />

My go-to gear would definitely be<br />

a beauty dish with honeycomb grid<br />

and a pair of stripboxes with eggcrate<br />

grids. These give a really narrow<br />

beam of light that lets you focus<br />

on your subject without spilling light<br />

onto your surrounds. Many of my<br />

horror shots are done with these and<br />

I just haven’t found any other modifiers<br />

comparable to them!<br />

Mike I think readers need to see<br />

more - where can they go online?<br />

I’m most active on Instagram: Instagram.com/MikeRollerson<br />

- This is<br />

where I post many of my finished<br />

shots, behind-the-scenes photos &<br />

videos and Instax shots.<br />

I also post the finished shots in higher-res<br />

at www.MikeRollerson.com<br />









ONLINE:<br />

www.instagram.com/MikeRollerson<br />

www.MikeRollerson.com<br />


NICK<br />

T he Wedding Master...<br />

Ghionis<br />

Q - Tell us about that fateful day in Fiji<br />

where it all started.<br />

Like many who travel overseas, Duty<br />

Free is an attractive proposition to<br />

buy and save.<br />

Possibly not so much these days<br />

with the internet, but back in 1985<br />

the savings were considerable. So<br />

I decided to buy my first camera,<br />

which was a Pentax MG.<br />

I never really photographed before<br />

then, and I never owned a camera.<br />

It was when I processed the images,<br />

that I fell in love with <strong>Photo</strong>graphy.<br />

I saw these sunsets that I had photographed<br />

and crystal blue waters<br />

with palm trees that looked like postcards.<br />

I thought to myself WOW, I did these<br />

great photos, and I didn’t even know<br />

what an aperture or ISO was.<br />

Imagine if I knew how to use a camera,<br />

what the possibilities would be.<br />

I was never a good student at school<br />

and I didn’t really know what I wanted<br />

to do.<br />

So began the journey, where at 21<br />

years of age I absolutely devoured<br />

every photography magazine and<br />

books I can get my hands on.<br />

The Pentax didn’t have the ability<br />

to shoot manual and I had realized<br />

shortly thereafter that if I needed<br />

to be serious about photography, I<br />

needed to buy a new camera.<br />

Buying an Olympus OM1, and after<br />

working 5 jobs to save money, I eventually<br />

bought my first medium format<br />

camera Hasselblad 500CM.<br />

Assisting and working for free, just so<br />

that I can learn and get some experience,<br />

I did this for just over 2 years.<br />

By 1989, I had accumulated some<br />

more equipment by way of flashes<br />

and lenses and built my third Darkroom<br />

along the way.<br />

Q - Why weddings, what got you inspired<br />

to shoot what some consider<br />

is the biggest day of someone’s life?<br />

I didn’t actually set out to be a wedding<br />

and portrait photographer. When<br />

I first started photographing, I would<br />

go on trips and shoot landscapes<br />

and street photography.<br />

I even secured a job as a security<br />

guard at a Melbourne newspaper in<br />

the hope that I can get an in with the<br />

photography department.<br />

I realized that a cadetship with the<br />

newspaper meant that I would be on<br />

minimum wage, and at that time I had<br />

a mortgage and wasn’t in a position<br />

to take a drop in salary.<br />

I had a friend who’s father was a wedding<br />

photographer and who needed<br />

photographers, my uncle too, was a<br />

wedding photographer.<br />

It was an avenue that enabled me to<br />

make money from a hobby that depleted<br />

ALL my savings.<br />

I mentioned earlier that I would have<br />

5 jobs at any given time, and most<br />

of them was in the hospitality business.<br />

My family are also in hospitality,<br />

which meant that my people skills<br />

was pretty good.<br />

An asset when photographing people<br />

of all walks of life. To this day, I<br />

would only hire photographers who<br />

have an outstanding record with<br />

people. You can train someone to<br />

take a photograph, but you can’t<br />

train a personality.<br />







42<br />

T he Wedding Master...


Q - What was the very first wedding<br />

you photographed like?<br />

My first wedding was in 1989, and I<br />

can remember it like it was yesterday.<br />

By this time, I had a couple of grooms<br />

coverages and reception coverages<br />

under my belt as a freelance photographer.<br />

I had a friend who was getting married<br />

that insisted I do her wedding. I<br />

refused, as I didn’t want to ruin her<br />

wedding.<br />

Nothing was said until 3 weeks out<br />

from her wedding day, when she<br />

asked me, where will we be going for<br />

photos.<br />

I freaked, as I thought I had made<br />

myself clear that I wasn’t going to<br />

photograph her wedding.<br />

It was too late to find another photographer.<br />

I had asked my uncle to<br />

shadow me and shoot on 35mm film<br />

while I photograph on my Hasselblad.<br />

I was a smoker back then, and I think<br />

I had smoked at least two packets<br />

that day, and remember coming<br />

home, exhausted and vomiting from<br />

stress.<br />

Back in those days, labs would<br />

charge you extra for a quick turnaround<br />

for your proofs, which was still<br />

a week. It was one of the longest<br />

weeks I could remember.<br />

I picked up the bag from the lab drove<br />

to my uncles place, as I didn’t want<br />

to open the proofs on my own. We<br />

took everything off the kitchen table,<br />

made sure that it was clean and then<br />

ceremoniously began to unravel the<br />

proofs.<br />

They were 5in x 5in proofs in sheets<br />

of 12, one by one we would look at<br />

them and the relief was euphoric.<br />

Pictures were great and my uncle<br />

would be punching my shoulder out<br />

of sheer delight.<br />

Needless to say the Bride and<br />

Groom were very happy and I made<br />

a display album out of it, which I had<br />

for many years.<br />

Q - You’re wedding photos are a mix<br />

of capturing moments that are timeless<br />

and also high fashion art… and<br />

yet your albums flow cohesively. I<br />

guess what I’m saying is that some<br />

photographers either do “moments”<br />

and some try for the fashion look,<br />

you do both and it works. How do you<br />

make that mix work so well? How do<br />

you choose the “signature” photo?<br />

I love this question. Too many photographers<br />

choose one over the other,<br />

and invariably market themselves<br />

accordingly. When someone says to<br />

me that I am a photographer who<br />

just shoots moments and dare I say<br />

natural photographs, to me it usually<br />

implies that I lack the skill to pose or<br />

direct effectively, or just don’t care.<br />

There are many elements to a wedding<br />

day or even a portrait. After<br />

a while you get to know the pivotal<br />

moments and you position yourself<br />

to capture them. A good photojournalist<br />

seems to be consistent in capturing<br />

moments, and often people<br />

would say, how lucky was that. You<br />

make your own luck when it comes<br />

to capturing moments and the more<br />

experience you have the more moments<br />

you capture. Getting to know<br />

your client before is also an important<br />

part of not only capturing moments,<br />

but also understanding what<br />

type of photos that would most resonate<br />

with them. Then of course there<br />

is the high fashion art that you described,<br />

where skills of lighting, posing<br />

and direction come to play. Couples<br />

usually have locations in mind<br />

when it comes to their wedding day,<br />

and as a collaboration between the<br />

couple and I , we narrow it down to<br />

a few.<br />

So for example we might turn up to<br />

Parliament House as one of the locations,<br />

if I said I was a moment ( natural<br />

photographer ) only, do I say to<br />

them just walk around naturally and<br />

be yourself ? What does that look<br />

like? Couples 99.9% of the time<br />

turn to me and ask direction, what do<br />

you want me to do? This is when I<br />

would try and bring all the elements<br />

at hand, my tools of lighting, posing,<br />

technique and expression to create<br />

an art piece, that the couple would<br />

frame or put in their album. Choosing<br />

the “signature” shot has more to do<br />

with the couple, than with the photographer.<br />

Earlier on in my career, I<br />

would execute a photograph that<br />

would reap praise among my photographer<br />

friends, and accolades<br />

of how wonderful a photograph is.<br />

When I would show the same photograph<br />

to the couple, occasionally<br />

they didn’t have the same response.<br />

To them, it wasn’t a true reflection of<br />

either their personality or just wasn’t<br />

their cup of tea. I learned earlier on<br />

that a great signature shot is one<br />

that the client loves, not what I think<br />

is great.<br />

Q- You’re a Master <strong>Photo</strong>grapher,<br />

can you tell us what that means…<br />

I am a member of the AIPP ( Australian<br />

Institute of Professional <strong>Photo</strong>graphy<br />

) and WPPI ( Wedding Portrait<br />

<strong>Photo</strong>graphers International )<br />

And they both have milestones by<br />

way of competitions that you can<br />

achieve points towards being a Master.<br />

In both associations I have achieved<br />

the milestone of Master <strong>Photo</strong>grapher<br />

twice with AIPP and three times<br />

with WPPI.<br />

Q - And you’ve won a bunch of<br />

awards, what’s been an important<br />

moment in your photography life that<br />

you can share?<br />

From the moment you pick up a<br />

camera, there are many firsts, that<br />

come to mind. Whether it’s the first<br />

award you receive or the first image<br />

that is published.<br />

It’s easy to pin point one of these<br />

moments as being an important moment<br />

in one’s photography life.<br />



46<br />

I think if you had asked me this question 5, 10<br />

or even 20 years ago, you would get a different<br />

answer every time.<br />

Today however, an important moment for me<br />

came at a wedding I was photographing.<br />

I had taken a photograph of a father of the bride<br />

who had Motor Neuron Disease, and had only<br />

weeks to live. ( I have included the image- see<br />

page 48 )<br />

The daughter organized a slideshow of photos<br />

of her and her dad and various family photos that<br />

had been taken throughout the years.<br />

Instead of the usual father daughter dance, she<br />

organized the whole reception to come to the<br />

dance floor and watch it.<br />

There were laughs and there were tears.<br />

This moment has been engraved in my psyche,<br />

it took me many months to be able to recall this<br />

without being visibly moved.<br />

It gave me the realization that what we do as<br />

photographers in capturing and photographing<br />

families and portraits, we are privy to someone<br />

most precious moments.<br />

A responsibility that has been taken for granted by<br />

so many.<br />

It was this AHA moment that made me feel proud<br />

of all the photos I have taken over the years, and<br />

how I have made a difference to people’s lives,<br />

even if they themselves don’t know it yet.<br />

My biggest awards are my clients.<br />

Q - Many people know of your wedding photography,<br />

tell us a bit about portrait work… are you doing<br />

many of them and what does a client experience?<br />

Weddings are, in essence a series of portraits put<br />

together to tell the story of ones most memorable<br />

day, their wedding.<br />

I love portraits, and I usually tackle them in the<br />

same way I would a wedding. Getting to know your<br />

subject and delivering a fine quality product is just<br />

the beginning.<br />

I am not particularly good at taking newborns, but<br />

anything from 3months and above I love.<br />

When it comes to children, I become a child and<br />

literally on my hands and knees trying to get expressions.<br />

My skills as a wedding photographer certainly help

I think all these artists are just as relevant today as they are when<br />

I first started.<br />

Has it changed today? We are blessed these days to be saturated<br />

with imagery from around the world with Instagram, Pinterest etc.<br />

Whilst over the years I have many of my colleagues that have inspired<br />

me at different intervals throughout my career ( too many to<br />

mention without offending someone I might have forgotten )<br />

Today I look for inspiration everywhere.<br />

It might be something that I saw in a dance routine or a scene in a<br />

movie. Maybe some ones story. Or the passion in a student who I<br />

am mentoring.<br />

Seeing the joy in someone face, when they see an image for the<br />

first time.<br />

What I am trying to say is that, if you open your eyes and your<br />

heart, inspiration is everywhere.<br />

when it comes to photographing portraits of all<br />

walks of life, gender and age.<br />

I also love it when my couples come back for the<br />

next chapter in their lives. From maternity to new<br />

born to the family portrait.<br />

My approach is that of their family photographer.<br />

I recently photographed a bride whose portrait I<br />

had taken when she was 2 years old, and now I<br />

have photographed her 2 year old daughter.<br />

Besides making feel old, its this that truly makes<br />

me happy.<br />

Q - Who inspired you when you started out and<br />

has that changed today?<br />

When I first started,<br />

I followed all the masters Ansel Adams, Henri Cartier<br />

Bresson , Brandt, Irving Penn, Richard Avedon<br />

etc.<br />

I also love Cindy Shermon, Robert Mapplethorp,<br />

Annie Liebovitz, Herb Ritts<br />

inspiration is everywhere<br />

ONLINE:<br />

http://www.nickghionis.com<br />





NICK<br />

Ghionis<br />


Alfredo<br />


52<br />

Jewellery designer: Tin Carena -- Torino - New York Model : Alice Veglio ( Location my studio )

Alfredo is another photographer<br />

we’ve been following for some time<br />

on social media. His mix of fashion<br />

photography, black and white style<br />

and video always jumps off our news<br />

feed. He’s based in Turin Italy and<br />

also works in New York...<br />

Alfredo tell us about your model photography,<br />

are you primarily shooting<br />

models for an agency, personal work<br />

or for editorials?<br />

It’s me to thank you for your kind request<br />

of being part of your first issue.<br />

I’m a professional photographer<br />

and I’m a fashion, glamour, portrait,<br />

commercial, event photographer<br />

and I’m freelance. I collaborate with<br />

models / actors and all my works in<br />

the last years are paid fashion works<br />

or free test to promote the people<br />

I collaborate with to find new works<br />

via the images of the portfolio we<br />

build ( No personal works as far as<br />

now but I hope to have time in the<br />

future for more photo experiments ) .<br />

You also create a lot of excellent<br />

videos for models, are these for their<br />

portfolios?<br />

The videos are paid works or they<br />

are tests business oriented to get<br />

new paid gigs and increase value<br />

and visibility of models.<br />

You also cover fashion events, is this<br />

for magazine or online sites?<br />

I also cover fashion events only if<br />

it’s a paid work . It can happen to<br />

be published in magazines or online<br />

sites.<br />

You shoot quite a bit of black and<br />

white video, are these wanted by<br />

models/agencies?<br />

Black and white videos help in my<br />

opinion to focus more on the subject<br />

and is welcome by model agencies<br />

and brands .<br />

Have you “discovered” any model<br />

talent? What I mean is you hear of<br />

photographers or magazine publishers<br />

often bumping into someone<br />

during a regular day, handing over<br />

a business card and next thing he<br />

or she is getting regular modelling<br />

work..<br />

I’ve discovered many model talent<br />

and now some of them are important<br />

actor / actresses ( TV and<br />

movies more than just modelling for<br />

important brands ) both in Italy and<br />

USA .I’m a photographer, filmmaker<br />

and a model scout so it’s part of my<br />

role and work .<br />

Describe a typical shoot for us, like<br />

the one you did with the model, Alice<br />

Veglio, what goes into a shoot<br />

like that? Do you collaborate with a<br />

make up artist, stylist etc or is it just<br />

you two working on an idea?<br />

I try to find online new talents and<br />

we collaborate . I guide the model<br />

to express herself better and in my<br />

opinion a good photographer is the<br />

one who interacts with the subject<br />

and try to make him / her act in front<br />

of the camera and feel comfortable<br />

and self confident and “ tell a story “<br />

rather than using a lot of post production<br />

( I’m a model trainer too ) .<br />

Make up artist are welcome and important<br />

as well as stylists etc.. . The<br />

goal is to create a portfolio to find<br />

new works together.<br />

The Tin Carena Jewellery shoot featuring<br />

Elena Rotari is like a short story,<br />

same with the Angelique - Fashion<br />

short film, tell us about these short<br />

films and do you combine stills with<br />

these projects or are they separate?<br />

Tin Carena, Maevanika , Stefania P.<br />

etc.. are new brands, great brands<br />

to be promoted both with stills and<br />

videos and some of the short films<br />

are selected by Berlin Fashion Film<br />

Festival too.<br />

What’s your favourite place to<br />

shoot? What location?<br />

Outdoor and indoor locations are<br />

good . There is Beauty everywhere.<br />

I love my city Torino ( close to Milan<br />

) as well as New York where I’ve important<br />

collaborations with producers<br />

and photographers and filmmakers<br />

also involved in New York fashion<br />

week<br />

Do you have 3 tips you can share for<br />

those photographers who’d like to<br />

do get into fashion?<br />

Try to experiment but ask to be paid .<br />

Don’t believe to people that say that<br />

they can live just with fashion photography<br />

( Just a few worldwide can<br />

be just fashion photographers and<br />

make enough money ) . Combine<br />

fashion photography with glamour<br />

photography, street, events, commercial<br />

, senior / corporate portrait<br />

photography etc.. and you can have<br />

a good result to live just with photography<br />

works .<br />

Finally where can readers go to find<br />

out more about your photography?<br />

In a few months www.benincasaproductions.com<br />

will be my official<br />

website as far as now “Alfredo Benincasa<br />

photography” and “benincasa<br />

productions” Facebook pages.<br />

thank You!<br />

ONLINE:<br />

www.benincasaproductions.com<br />

www.facebook.com/alfredobenincasaphotography<br />

www.facebook.com/benincasaproductions<br />



Fashion Designer : Stefania P. High fashion Torino Milan - Florence - Jewellery Designer : Tin Carena - Torino New<br />

York Model : Elma Bayliss Makeup artist : Bobby Miller<br />

Hair Stylist : Angie Aragon in collaboration with the fashion social network NYC - Project Italian fashion in New York<br />

by Benincasa productions Torino - New York<br />


56<br />

Fashion Designer : Maevanika Torino - Amsterdam . Model : Daria - Make up : Rose Vrionides Boubaris<br />

Hair : Revital Simmons ( fantastic photographer too ) Stylist : Siobhan Fenton<br />

Thanks to Tyler Simmons as light assistant in collaboration with the fashion social network NYC<br />

- CEO David Berman and Kennette productions NY & NJ - Project Italian fashion in New York by Benincasa<br />

productions Torino - New York

Jewellery designer : Tin Carena -- Torino - New York Model : Alice Veglio ( Location my studio )<br />


Sarah<br />



One of the positives of social media<br />

is that sometimes you happen upon<br />

people, who’s creativity grabs you.<br />

You follow them and start to really<br />

appreciate their art. Sarah Fairbanks<br />

is someone we found on Instagram,<br />

her street photography, use of light<br />

and shapes got us wanting to find<br />

out more... Sarah, welcome to the<br />

first issue of <strong>Photo</strong> <strong>Live</strong>...<br />

<strong>First</strong> up maybe tell readers about<br />

you. Where are you based what you<br />

do and how you got into photography.<br />

I live in Adelaide, a beautiful city by<br />

the beach where I find my photography<br />

is very much influenced by the<br />

seasons, the leaves on the trees<br />

and the way each month changes<br />

the light and feel of my environment.<br />

Next tell us about your early photography,<br />

what sort of photography<br />

were you doing and did you have any<br />

goals for the future? What I mean is<br />

did you think that you would evolve<br />

so much?<br />

I first got a camera when I was about<br />

18, and had just started medical<br />

school. I was enchanted that suddenly<br />

memories could be turned into<br />

something concrete, printed onto a<br />

beautiful piece of paper. My childhood<br />

was heavily influenced by numerous<br />

moves all around the country<br />

and 14 schools, so I felt that all my<br />

memories in a way, of places were<br />

fragmented. <strong>Photo</strong>graphy changed<br />

that for me. Suddenly I was spending<br />

hours in the darkroom, often until<br />

midnight, feverishly printing, but on<br />

quest for something, that I am still<br />

on. I also took my first street photographs<br />

when I was 21, but I was far<br />

too shy to risk anyone seeing me,<br />

so they tended to be of figures in a<br />

distance. My favourite from this time<br />

was of an old lady walking with her<br />

son. The bow of her legs and the<br />

strong supporting arm of her son<br />

gave meaning to the photo for me.<br />

Did you study photography?<br />

I did not study when I was younger,<br />

but in the last two years have studied<br />

single subjects at CCP (Centre<br />

for Creative <strong>Photo</strong>graphy) which is a<br />

wonderful place.<br />

Are you shooting film? Digital or<br />

both?<br />

I stayed with film from 1988-2004<br />

then finally switched to digital. I love<br />

digital, but I still love film, especially<br />

medium format film. I also love my<br />

iPhone, and my tiny mirror less camera,<br />

all devices have their beauty<br />

and strength<br />

Tell us about film. The camera. Why<br />

and how you found it compared to<br />

digital.<br />

Film has a colour rendition and at<br />

times softness which changes the<br />

feel of a photo. If you look at medium<br />

format film with photos taken with<br />

shallow depth of field they really are<br />

very beautiful. I would like to explore<br />

that in the future.<br />

I also love trying different techniques<br />

and possibilities with my iPhone. I<br />

use “Snapseed” to edit, and it really<br />

is wonderful especially for sophisticated<br />

black and white edits—a good<br />

start point to lead on to Lightroom on<br />

your computer (which I use for all my<br />

DSLR shots). I also have tried other<br />

apps like textures and slow shutter<br />

speed apps that allow you to completely<br />

change the feel and mood of<br />

a photo on your phone.<br />

Do you think travelling overseas<br />

changed your photography? Tell us<br />

about that.<br />

I suppose I spent my whole childhood<br />

travelling—but at that time I<br />

hated it, and longed to set down<br />

roots and keep the wonderful friends<br />

I kept losing.<br />

Then after 4 years in the one city I<br />

travelled overseas as a young adult,<br />

and my eyes were truly opened. I<br />

was fascinated by language, culture,<br />

old buildings and old people, by their<br />

differences and similarities. I was<br />

relatively shy at the time, I longed to<br />

take photos like Henri Cartier Bresson<br />

and those of his era, photos<br />

that seemed to be spontaneous and<br />

deeply human. The main thing travelling<br />

changed was that it allowed me<br />

to feel anonymous, and also times<br />

travelling by myself meant that I<br />

could quietly observe.<br />

When I returned I tried to view my<br />

own city and it’s people with a traveller’s<br />

eyes.<br />

The other great source of inspiration<br />

are various galleries on instagram.<br />

There are some wonderful street<br />

photographers sharing on this medium,<br />

from all around the world, particularly<br />

talented are some Turkish<br />

and Iranian photographers but every<br />

city has it’s street photographers<br />

capturing some of the essence of<br />

their people or their vision. There are<br />

some wonderful instagram galleries<br />

(hubs) of street photography including<br />

@fromstreetswithlove, @lensonstreets,<br />

@hartcollective @myspc<br />

and @mobiography ( mobile phone<br />

images)<br />

You did a nice series of street photos<br />

in Taipei, lots of colour and I really<br />

love the umbrella series... were<br />

you aware of changes in how you<br />

approached shooting?<br />

In Taipei I continued my exploration<br />

of street photography which I started<br />

in Hong Kong in 2014 then Tokyo<br />

in 2015. As always I found myself<br />



drawn to people, especially elderly<br />

people. Again I felt anonymous there,<br />

which gave me the mental freedom<br />

to quietly point my small mirror-less<br />

camera at people in the street, all<br />

the while hoping they would not see<br />

me, but smiling if they did. I love both<br />

colour and texture, as well as people<br />

and emotion.<br />

Tell us about photography in Istanbul...<br />

any challenges or restrictions?<br />

Oh Istanbul. Istanbul is a captivating<br />

city, full of so many layers: from shiny<br />

metal super modern skyscrapers, to<br />

crumbling stones and walls of velvet<br />

colours and textures. It arcs around<br />

the Bosphorus, the beautiful harbour<br />

there, with boats and seagulls, fisherman<br />

and the people of every imaginable<br />

background from ultra religious<br />

to on-the -edge in both dress<br />

and outlook—everything and more<br />

is there. Once you go there you can<br />

see why it is a city that inspired poets,<br />

painters, writers and photographers<br />

over the centuries.<br />

I am very lucky to know another photographer<br />

there, which meant I could<br />

feel part of the city. It is possible to<br />

walk for endless hours through backstreets<br />

and suburbs, always a new<br />

discovery around each corner.<br />

We are hoping to have a collaborative<br />

exhibition of street photos<br />

sometime in 2018 or 2019. Both<br />

of us have had quite a profound influence<br />

on each other’s photography.<br />

He opened my eyes to looking<br />

up, noticing birds and buildings and<br />

modern contrasts, and also to being<br />

meticulous in editing any particular<br />

photo with both it’s framing and texture/tones.<br />

No real challenges there except<br />

the same challenges you have with<br />

street photography anywhere really.<br />

Lots of people have a camera in<br />

Istanbul. and like everywhere in the<br />

world, even old ladies in long headscarves<br />

are taking selfies every-<br />



where, we live in a world where<br />

everybody takes images. I love it.<br />

Let’s look at your current photography,<br />

there’s a whole very unique feel<br />

and look plus you are almost poetic<br />

in your descriptions. Talk about what<br />

you’re doing now.<br />

My latest experimental series was<br />

using slow shutter in the metro in<br />

Moscow. I used my iphone, surprisingly,<br />

because I found I could get a<br />

dreamy soft feel almost like a Monet<br />

painting, but with muted colours,<br />

which added to the mood I had there<br />

of transience and motion, of people<br />

almost lost in a sea of humanity.<br />

Sometimes a photo needs no words,<br />

and other times a small description<br />

adds to the feeling of what I am trying<br />

to convey.<br />





Sarah<br />










ONLINE:<br />

www.instagram.com/saritafair<br />


AYHAN<br />

TON<br />


Hi Ayhan, it’s nice to meet you.<br />

You’re living in Turkey, tell us about<br />

life in Turkey, what do you do for a<br />

job or are you studying?<br />

I live in Istanbul. I have a Business<br />

Administration degree, after finishing<br />

my masters degree in Australia,<br />

I completed my PhD on Organizational<br />

Behavior. I work as a trainer,<br />

professional coach and university instructor.<br />

My work is basically about<br />

listening, understanding and communicating<br />

with people.<br />

How did you get started as a photographer?<br />

I was always interested in photography<br />

and cinema, but did not actively<br />

take pictures. The only exception is<br />

a short period in my late teens when I<br />

had a SLR camera and was interested<br />

in taking portrait shots, but that<br />

lasted only a few years. So, basically<br />

my creativity had a long winter period<br />

until 2 years ago, when both of<br />

my parents died in the same year. It<br />

made me realize that nothing is repeated<br />

in life, that moments have<br />

a special soul which can only be<br />

experienced as they happen. This<br />

event had a profound impact on my<br />

photography.<br />

And how would you describe your<br />

photography?<br />

I try to see the stories that are hidden<br />

in fleeting moments. I try to spot<br />

and highlight the poetry in what feels<br />

to be mundane at first sight. I’m interested<br />

in contrasts, unusual behaviors,<br />

hidden links, near misses,<br />

accidental encounters because they<br />

add to my story telling.<br />

My subjects are usually people who<br />

are on the move, who are experiencing<br />

a moment that will disappear in a<br />

few seconds.<br />

I especially care about their emotions,<br />

whatever they are at that moment.<br />

But my favourite theme is the<br />

feeling of freedom, where you feel<br />

constantly moving and evolving,<br />

knowing no borders or attachments.<br />

(or sometimes people who lack that<br />

kind of freedom) I quite often use<br />

symbols like birds, sea, sky, floating<br />

hair, wind etc because they remind<br />

me of that sense of freedom.<br />

I have to ask, tell us about the birds<br />

that often play a role in your photos...<br />

Istanbul has a huge bird population.<br />

They are literally everywhere, hovering<br />

above your head in every street.<br />

Birds were a forced choice at first,<br />

because they usually photobomb<br />

your pictures. But soon I picked up<br />

on the qualities that they add to<br />

anything they fly past. I love birds<br />

because they symbolize almost<br />

everything about my photography:<br />

freedom, wisdom, motion, emotions,<br />

grace. I can’t imagine living in a city<br />

without many birds.<br />

What areas in Istanbul do you like to<br />

photograph in? Why..?<br />

I love spending time in Karaköy, Eminönü,<br />

Galata, Beyoğlu. Because almost<br />

nobody actually lives in those<br />

neighborhoods, the people there<br />

come from all walks of life for a temporary<br />

purpose with the intention to<br />

go back home at night, so you see<br />

lots of contrast and drama; since its<br />

near the sea, there’s excitement or<br />

sometimes total indifference in people’s<br />

faces, people’s faces talk; the<br />

walls are talking too, with many layers<br />

of texture and graffiti; it all adds<br />

to my themes.<br />

A lot of your photos also feature the<br />

ocean, is this something that draws<br />

you?<br />

We call it Bosphorus, basically it’s a<br />

strait, like a giant salt water river going<br />

through the heart of the city. It<br />

is constantly flowing, moving the waters<br />

from one side of the earth to the<br />

other. There’s also an undercurrent<br />

which pushes the waters back in the<br />

opposite direction. The Bosphorus<br />

also attracts northerly and southerly<br />

winds. When I take a boat ride along<br />

the Bosphorus and breathe in the<br />

fresh breeze, I imagine the air that<br />

fills my lungs came all the way from<br />

Scandinavia, it touched he hair of<br />

a kid playing on the beach, or went<br />

through dark enchanted forests, it<br />

helped a seagull soar and now it’s in<br />

my lungs. It gives a sense of “borderlessness”,<br />

a sense of constant motion<br />

and collision. I believe it shapes<br />

the character of my people, and it<br />

also shaped the character of my<br />

photographs.<br />

Browsing your Instagram feed, you<br />

have a gift for capturing moments.<br />

People relating to each other, living<br />

life, and your post processing style<br />

is very different. Talk us through how<br />

you go about taking photos and then<br />

what happens at the end of the day<br />

when you are finished shooting.<br />

I’m interested in people. I can look<br />

at a crowded street and immediately<br />

spot a person that has potential<br />

for a story. Then I get my camera or<br />

phone ready and wait for them to do<br />

something interesting. And they usually<br />

do.<br />

When shooting, I set aside all my<br />

worries about composition, framing,<br />

timing etc. These are all worries of<br />

the mind and they can all be fixed<br />

later. I only concentrate on seizing<br />

the spirit of that moment, which can<br />

only be done by seeing from the<br />

heart. I trust my gut feelings and<br />

give the controls to my fingers rather<br />

than my mind. My fingers autono-<br />


mously decide what to shoot, when<br />

to shoot. They usually make the best<br />

decisions in split seconds.<br />

I love editing. I believe it’s where the<br />

act of creation starts, because I can<br />

reshape the reality according to my<br />

idiosyncratic perception of what<br />

was happening there. I try to avoid<br />

having a specific editing style. Most<br />

of my edits are actually unique, I try<br />

to improvise rather than follow formulas.<br />

When I pick up a picture I first<br />

ask, “what is the story here”, “what<br />

feelings does it convey”, “how can I<br />

make it stand out”? Then I do whatever<br />

seems necessary to serve that<br />

purpose.<br />


You’re a busy street photographer.<br />

How did that begin?<br />

I was inspired by a street photographer<br />

I know. At the beginning, I was<br />

rather interested in birds, She was<br />

into people and stories. Once we<br />

photographed the city together. I saw<br />

her taking the picture of an old lady. I<br />

found it a bit odd, because I thought<br />

old people are not interesting. But<br />

she said “I wonder about her story...<br />

What does she do... where does she<br />

live... who does she love?” It struck<br />

me. I realized that I could empathize<br />

with people I don’t know. And things<br />

around me took a different meaning<br />

as I started to read people’s stories.<br />

My photography was elevated<br />

to a new level after this experience.<br />

That’s why I owe her so much.<br />

How is Turkey for street photography?<br />

Are there laws or regulations?<br />

Street photography is about capturing<br />

people in unstaged environments,<br />

in moments which can’t be<br />

repeated. So, wherever there are<br />

people, there’s potential for street<br />

photography. You just need to be<br />

polite and learn about the life styles<br />

and worldviews of the people.<br />

Istanbul is a vibrant city with huge<br />

paradoxes; tragedy and joy, poverty<br />

and abundance living side by side.<br />

It is a perfect place for great street<br />

photography. On a sunny or snowy<br />

day, you can spot dozens of amateur<br />

photographers shooting people.<br />

Istanbulers are usually very permissive<br />

and indifferent to being photographed.<br />

I had an experience in rural<br />

Anatolia as well though, people can<br />

be much more scrutinizing there. You<br />

get stopped by some people, asking<br />

you why you take pictures, or why<br />

you don’t take other things like old<br />

mosques or sunset rather than people.<br />

But when I explained the reason<br />

and asked how they were doing,<br />

they smiled and offered me a glass<br />

of tea. This is why I love this country.<br />

How often are you out shooting?<br />

And what do you take on a typical<br />

day of shooting - camera and lens??<br />

I keep seeing pictures everywhere.<br />

So I take pictures quite often, sometimes<br />

in most unexpected places.<br />

Many of my pictures were taken<br />

while commuting. Once a month I<br />

take photo walks. I can take a dozen<br />

decent shots on a good day of photo<br />

walk. I don’t own expensive gear. I<br />

have a midrange mirrorless camera,<br />

and a standard 35mm lens. I like it<br />

because its unobtrusive, lightweight,<br />

and hassle free . I prefer to use the<br />

camera rather than the phone because<br />

of its speed.<br />

Who inspires your photography?<br />

When I think about my library, I see<br />

many books about architecture,<br />

modern art, classic paintings, cinema,<br />

mathematics. I have followed<br />

fashion and photography magazines.<br />

They probably influenced me.<br />

I was also influenced by the dozens<br />

of great photographers I met on Instagram.<br />

But also, as I just mentioned,<br />

by my beloved city, its bosphorus, its<br />

people and its birds.<br />

Finally where can your readers go to<br />

see more of your work?<br />

I have an Instagram page with the<br />

nickname: @ayhanton. I’m always<br />

happy when people visit my page<br />

and even leave some comments.<br />











ONLINE:<br />

www.instagram.com/ayhanton<br />


Dean<br />


Dean welcome to the first issue of<br />

<strong>Photo</strong> <strong>Live</strong>, maybe to start tell us<br />

where you’re based and what sort of<br />

photography you love.<br />

I’m not really based anywhere these<br />

days. Before moving full-time into<br />

photography I was based in Sydney<br />

but now I’m on the road most of the<br />

time.<br />

I try and follow the sun so Brisbane<br />

is about as close as I get to being in<br />

one place for any length of time but<br />

I’ve also spent a lot of time in Los<br />

Angeles for the last 5 years.<br />

I like to shoot outdoors and very<br />

rarely shoot in a studio. I’m not a big<br />

fan of artificial light and flash so natural<br />

light is always my choice when<br />

it comes to lighting a model or landscape.<br />

With the fashion/runway work, are<br />

you shooting for magazines?<br />

I generally work freelance so it could<br />

be for a magazine or newspaper. It’s<br />

getting harder and harder because<br />

Getty now have a monopoly.<br />

It’s definitely a industry that’s changing<br />

rapidly. It’s only a matter of time<br />

before phones can take pictures as<br />

good as a DSLR.<br />

90<br />

Your photography is so refreshing,<br />

natural and seems to be almost<br />

straight from the camera... do you<br />

do any post on them?


I would love to say most of my pictures<br />

are straight out of the camera.<br />

But it’s hard when you’re shooting<br />

outdoors without any reflectors or<br />

flash so I tend to do a fair bit of processing<br />

in Lightroom. I shoot raw so<br />

you have a lot of control over the image,<br />

especially in the highlights and<br />

shadows. I don’t go overboard with<br />

the clarity and saturation like some<br />

people do and I tend to keep my images<br />

fairly natural. Hair is always hit<br />

or miss but most of the time you get<br />

an image you’re happy with. I like to<br />

spend only 5 - 10 minutes editing a<br />

photo if possible and Lightroom is<br />

perfect for that.<br />

Much of your photography is based<br />

around models and outdoors, do<br />

you have favourite locations around<br />

Sydney?<br />

Tamarama and Bronte are my favourite<br />

beaches to shoot at with<br />

Camp Cove and Shark Beach on the<br />

harbour side also favourites.<br />

Balmoral is also a great place to<br />

shoot at and has a European type of<br />

feel to it. I like to shoot in the Blue<br />

Mountains too and in and around<br />

Paddington is great for high fashion.<br />

Do the models come to you for portfolio<br />

shoots or is it more collaborative<br />

work.<br />

It’s more a collaborative effort. I’m<br />

very selective about who I shoot<br />

with and it has to be a joint effort or<br />

it generally doesn’t work.<br />

Modelling is an art and a model really<br />

needs to know how to pose correctly.<br />

I can tell a model I want a particular<br />

look or pose but at the end of the<br />

day she or he has to make it look<br />

effortless and natural and that’s not<br />

always easy.<br />

Are you doing any studio work? Do<br />

you have a studio or do you rent one<br />

as needed? Tell us about shooting in<br />

a studio, do you enjoy it as much as<br />

beach shooting.<br />

I hardly ever shoot in the studio.<br />

I think in the last 5 years I’ve done 2<br />

shoots in a studio so I’m like a fish<br />

out of water.<br />

I’m much more comfortable outdoors<br />

and enjoying the sunshine and<br />

occasional thunderstorm.<br />

You’ve photographed some amazing<br />

people, tell us about a favourite<br />

shoot.<br />

I did a shoot in New York a few years<br />

ago in the middle of winter with a<br />

dancer which was great.<br />

I love shooting on Venice Beach at<br />

sunset. It’s hard to get a bad shot<br />

with the sunset going down in the<br />

west behind you.<br />

My all time favourite would have to<br />

be a shoot I did in Los Angeles with<br />

an actress called Marian. We got so<br />

many great shots, Marian knew a<br />

million poses and we both walked<br />

away with big smiles on our faces.<br />

You can’t ask for more than that.<br />

What do you take with you on typical<br />

beach shoot?<br />

Camera wise just the basics with<br />

spare batteries. It’s usually just me<br />

and the model so no reflectors or<br />

a flash. A hat, sunscreen and water.<br />

You can get dehydrated easily and<br />

burnt so be careful. Baby oil is great<br />

if you want that shiny look on a model.<br />

Any tips for photographers wanting<br />

to get started on shooting friends or<br />

models on the beach?<br />

Your model or friend needs to know<br />

how to pose. It just makes it so much<br />

easier and you’ll get some great<br />

shots. Just standing there looking<br />

bored doesn’t cut it.<br />

You don’t want to shoot straight into<br />

the sun so find the right angle and<br />

make sure the models face has no<br />

shadows on it.<br />

Exposure and focus are important<br />

so get that right and you’re on your<br />

way to getting some great shots.<br />

Finally where can our readers go to<br />

find out a bit more about you.<br />

I’m on Instagram @deanprestonphoto<br />

and on 500px at Dean Preston<br />

<strong>Photo</strong>graphy. I’m also on Facebook.<br />


Laura<br />



Kate - Gold Coast<br />




98<br />


“ I like I shoot raw so you have a lot of<br />

control over the<br />

image,<br />

especially in the highlights and shadows.<br />

I don’t go overboard with the clarity and<br />

saturation like some people do and I tend to<br />

keep my images fairly natural.”<br />

Ksenia<br />

ONLINE:<br />

www.instagram.com/<br />

deanprestonphoto<br />

500px.com/deanprestonphotography<br />

www.facebook.com/DeanPreston<strong>Photo</strong><br />


100<br />


Starting his photographic journey<br />

in the dark room, Tony Buckingham<br />

tells our correspondent, Charlotte<br />

Nicholson about the journey into<br />

digital...<br />

Welcome to <strong>Photo</strong> <strong>Live</strong> Tony, please<br />

can you tell us about yourself and<br />

how you got started in photography?<br />

I am a 55 year old freelance photographer<br />

married to artist Gabriella,<br />

previously living in London but now<br />

based 5 miles from the sea in Norfolk<br />

to give our 2 children some fresh<br />

air.<br />

I studied graphic design with photography<br />

in the early 1980s but left<br />

the course and saw an advert in the<br />

West End of London to work in a<br />

darkroom at an advertising art studio.<br />

I luckily got the job and worked<br />

in a few other darkrooms, before<br />

buying a houseboat and moving to<br />

London.<br />

I went for an interview for a job I saw<br />

as an independent black and white<br />

printer thinking it meant freelance. It<br />

was for The Independent, a national<br />

newspaper that was driven by it’s<br />

photography , more magazine style<br />

than any other newspaper. This was<br />

printing news, sport and features<br />

photographs in black and white often<br />

to very tight deadlines.<br />

How did you get into your chosen<br />

genre of photography?<br />

Having access to excellent darkroom<br />

facilities (as well as Leica enlargers)<br />

gave me a new interest in<br />

photography and I often took street<br />

photographs in my spare time.<br />

From working in the darkroom I saw<br />

first hand what the photographers<br />

did and often what we ‘saved’ in the<br />

printing. All pictures then were taken<br />

in available light.<br />

Myself and other darkroom printers<br />

decided to put our pictures up in the<br />

darkroom instead of the photographers<br />

work and someone from the<br />

newly started children’s newspaper<br />

asked who had done certain pictures,<br />

which were mine and gave me<br />

some work.<br />

From there I also began to work<br />

for the daily paper doing the ‘standalone’<br />

pictures they rarely have<br />

now. Finding an interesting event<br />

happening and trying to take a picture<br />

that summed it up. From there I<br />

began to get commissions.<br />

I did a fair amount of architectural<br />

photography when working freelance<br />

later for The Evening Standard,<br />

there are always interesting<br />

new buildings going up in London. I<br />

enjoyed this but newspapers always<br />

want to be the first with a new project<br />

which often meant the site was<br />

mostly still a building site! I always<br />

thought it would be great if you had<br />

proper access and time to picture<br />

the buildings properly.<br />

A friend who is an architect asked<br />

me to photograph a project he had<br />

done for a chain restaurant and a lot<br />

work came from that initial project..<br />

As often the case it is who you know,<br />

networking now is really important.<br />

Which photographers influenced<br />

you, and did they influence your<br />

thinking and career path?<br />

Originally all the photographers working<br />

at The Independent Newspaper,<br />

especially Brian Harris and Norman<br />

Lomax. Norman would always take<br />

chances , he would rate Kodak tmax<br />

at ridiculous speeds and process it<br />

in a secret recipe when photographing<br />

boxers in the gym and they would<br />

have amazing detail and grain. He<br />

also bought a 5 by 4 view camera,<br />

tried it once then used it ( and 35mm<br />

as well) to photograph Kirk Douglas.<br />

Of the 4 pictures he took 3 were out<br />

of focus and one was perfect and<br />

amazing! I think he influenced me<br />

into thinking it is always worth trying<br />

something extra even if you think<br />

it may not work out, it’s only a few<br />



frames of film, not even that now.<br />

Also sports photographer David<br />

Ashdown who would go to a game<br />

at Wimbledon or a cricket match and<br />

come back with 3 rolls of film! Now<br />

everyone seems to need amazing<br />

frame speeds but he could capture<br />

the shot with perfect timing.<br />

Among your works, which one is<br />

your favourite and why?<br />

One of my favourites is the picture<br />

of socialite Tara Palmer-Tomkinson.<br />

It is full of joy, I see too much of the<br />

expressionless, staring in to the distance<br />

type photographs ( which I am<br />

guilty of too!) which people take on<br />

film to make them more ‘serious’. I<br />

like having movement or some mystery<br />

in a portrait<br />

Can you tell us what technology/<br />

software/camera gear you use to<br />

keep focused on what you do best,<br />

as you photograph?<br />

Now I find a wifi card (my old Canon<br />

1DS mark III camera doesn’t have<br />

wifi) really useful. Seeing the picture<br />

instantly on a larger tablet screen<br />

is so much different than through a<br />

viewfinder or on the 3 inch screen<br />

on the back of the camera. Also I<br />

don’t use a tilt/shift lens but use DXO<br />

Viewpoint for lens and geometry<br />

corrections as they are fairly minor.<br />

What is the one thing you wish you<br />

knew when you started talking photos?<br />

I wish I knew digital and ‘phones<br />

would eat away at the business! I<br />

also think it is a good idea to specialise<br />

when you have found your<br />

interest.<br />


“ I like having movement or<br />

some mystery<br />

in a portrait.”<br />




ONLINE:<br />

www.tonybuckingham.com<br />

www.instagram.com/tony_buckingham<br />


CHRIS<br />


If you’ve ever listened to a podcast<br />

on photography you must have<br />

heard about Tips from the Top Floor<br />

with Chris Marquardt. He not only<br />

produces and hosts the longest running<br />

photography podcast, but is an<br />

author, photographer and tour leader...<br />

let’s head over to Germany and<br />

say hello...<br />

Chris how did you get into photography,<br />

when and who got you started?<br />

I’ve always had an interest in various<br />

art forms. I was lucky to be able<br />

to get musical training for over 20<br />

years and over time I learned to play<br />

multiple instruments. <strong>Photo</strong>graphy<br />

also always fascinated, I had access<br />

to our school darkroom and<br />

got to experiment with light fairly<br />

early on. Watching an image appear<br />

out of nowhere in front of my eyes<br />

was a really magical experience<br />

and photography has been a passion<br />

ever since. Like many others,<br />

I started out shooting mostly “from<br />

the gut” without really understanding<br />

what made some pictures work<br />

better than others. Over time - and<br />

especially thanks to my podcasts - I<br />

started digging deeper and gradually<br />

learned how perception plays a<br />

crucial role in photography and how<br />

I could use that knowledge to create<br />

better photography.<br />

You do so many different things -<br />

how did you get started as a podcaster?<br />

In the early podcast days, around<br />

2005, creating a new show wasn’t<br />

as straight-forward as it is today. It<br />

all came down to being at the right<br />

spot at the right time. Thanks to my<br />


music background, I knew how to<br />

produce audio, which helped me record<br />

my first podcasts. My interest<br />

in photography gave me something<br />

to talk about and my business background<br />

allowed me to understand<br />

internet distribution and also helped<br />

me cross the language barrier. I am<br />

German, back then, podcasting was<br />

so new, there were virtually no podcast<br />

listeners in my home country.<br />

Podcasting allowed me for the first<br />

time to find an international audience.<br />

And while I cringe a bit, when<br />

listening to my first few episodes,<br />

over time and with the weekly training,<br />

my English and my production<br />

skills improved. I released my first<br />

episode in April 2005 and the first<br />

months were quite a rollercoaster<br />

ride. I saw this whole field more as a<br />

playground than anything else, and I<br />

had the very naive assumption that I<br />

could explain photography in about<br />

10 episodes. That was my initial<br />

plan, but after a few episodes, Tips<br />

from the Top Floor had 500 listeners.<br />

When Apple later that year released<br />

iTunes 4.9 with podcast support,<br />

that number literally grew ten-fold<br />

overnight.<br />

And a workshop leader?<br />

At the same time as more and more<br />

people discovered the show, I began<br />

receiving emails from listeners asking<br />

me if there would ever be a “live<br />

version” of the podcast. Something<br />

along the lines of a workshop. So I<br />

planned out a first event in my studio<br />

here in Germany and a wonderful<br />

group of people showed up from all<br />

over the world. We had participants<br />

from the US, the UK, from Italy and<br />

from Germany. That’s when I realized<br />

that holding photo workshops had a<br />

chance become part of my business.<br />

This initial workshop in 2006 was followed<br />

by my first US workshop tour<br />

in 2007 and 2008. Through podcasting<br />

I also met Jon Miller, a film-maker<br />

from Colorado who produced “The<br />



Rest of Everest” where he documented<br />

an Everest climb. We ended<br />

up becoming great friends and Jon<br />

came up with the idea to do a photo<br />

workshop at Mt. Everest base camp<br />

in Nepal. We planned it out, opened<br />

it to our audiences and it sold out<br />

within less than a minute. Truly one<br />

of the most surreal moments ever.<br />

This is where my international photo<br />

tours go back to. Since then I’ve<br />

brought photographers to Canada,<br />

Nepal, Tibet, Berlin, Ireland, Japan,<br />

Ethiopia, Iceland, Greenland, Bhutan,<br />

Siberia, Norway, Greenland and Svalbard,<br />

just to name a few. And it still<br />

feels like this is just getting started.<br />

There are so many amazing places<br />

on our planet that I haven’t seen yet.<br />

With all this under your belt, you<br />

wouldn’t have much time left, yet<br />

you are also an author. Tell us about<br />

your books on film...<br />

I’ve written The Film <strong>Photo</strong>graphy<br />

Handbook together with my better<br />

half Monika. Actually she deserves<br />

most of the credit, as she wrote at<br />

least half of it and her writing style<br />

is so much better than mine. The<br />

book aims to bring film photography<br />

into the 21st century. After the mid<br />

90s, film was slowly becoming replaced<br />

by digital, to the point where<br />

I shelved my analogue cameras and<br />

switched. I didn’t touch a film SLR<br />

for ten years, but at one point it became<br />

clear that film photography<br />

wasn’t dead, rather the opposite. It<br />

was clearly in a niche now, but not<br />

only was there a vivid scene around<br />

it, film also offered things that digital<br />

couldn’t. Our re-discovery of film<br />

went hand in hand with learning to<br />

work the larger formats and today<br />

we have our own darkroom and<br />

shoot everything from 18x24 mm to<br />

4x5” large format. After adding film<br />

photography to my workshop portfolio,<br />

we received some interest from<br />

a German publisher and that’s how<br />

our book project was born. The Film<br />

<strong>Photo</strong>graphy Handbook is available<br />

in English and in German (“Absolut<br />

analog”) and we’re currently both<br />

working on other photo-related book<br />

projects.<br />

You’ve been leading workshop tours<br />

for a while, what’s your favourite<br />

places to go and why?<br />

It’s really hard for me to choose favorite<br />

places, they are all so diverse<br />

and each has so much to offer in<br />

their own way. From the cultural side<br />

as well as in terms of photography.<br />

Having said that, I’m a great fan of<br />

the colder climates. <strong>Photo</strong>graphy<br />

of ice and snow and their infinite<br />

variations really clicked with me. I<br />

find the abstract shapes, the people,<br />

the serenity and the colors and<br />

contrasts really intriguing. This never<br />

gets old for me. I went to Iceland<br />

several times, I have fond memories<br />

of Hokkaido in Japan, Lake Baikal in<br />

Siberia was amazing both times I’ve<br />

been there, and Greenland and Svalbard<br />

in the Arctic have left a lasting<br />

impression. To the point that sooner<br />

or later I probably will want to re-visit<br />

all of these places. But then there’s<br />

Asia, the amazing people of Nepal<br />

and Tibet, the first flush tea harvest<br />

in Darjeeling, the cultures and sights<br />

of Ethiopia and the many little unplanned<br />

encounters with wonderful<br />

people make those tours as memorable<br />

as the colder ones.<br />

What happens on a tour? Tell us<br />

about the experience. One thing we<br />

hear from photographers who lead<br />

tours is that people like to do them<br />

more then once..?<br />


Over the years I’ve had many repeat<br />

clients, some travelled with me six or<br />

seven times. If the travel bug bites<br />

you, sometimes it bites hard and if<br />

you travel with someone you know<br />

and trust, deciding to come on another<br />

tour is easy.<br />

Most of my tours include all lodging<br />

and meals, so the clients will only<br />

have to get to the initial meeting point<br />

and we’ll take it from there. While the<br />

photo tours often include well-known<br />

places and landmarks, I always include<br />

ample time to visit places off<br />

the beaten track that are much more<br />

interesting and much less touristy.<br />

On our entire Ethiopia tour we met<br />

less than a hand full of other tourists.<br />

In India we got a spontaneous<br />

invitation to visit a school and were<br />

greeted by hundreds of curious pupils.<br />

In Moscow we went to a local<br />

farmer’s market and made friends<br />

with the mall cops and in Bhutan we<br />

got invited into a farmer’s house and<br />

even got to participate in an archery<br />

training session. While it’s great to<br />

have seen and photographed the<br />

landmarks, these unplanned experiences<br />

are the ones that people will<br />

talk about and remember for the rest<br />

of their lives.<br />

How do you fit so much in - travel,<br />

teaching and podcasting, do you get<br />

much time for personal photography<br />

projects?<br />

I really love what I’m doing, that<br />

makes it much easier to find the time<br />

and energy for it. I also don’t think I<br />

could do one without the others.<br />


Traveling, teaching and podcasting<br />

are all part of a larger picture. The<br />

photo tours are a great source of<br />

stories, which I love telling on my<br />

podcasts. The teaching is an extension<br />

of the podcasts and the<br />

podcasts help people find my photo<br />

tours, books and workshops. It all belongs<br />

together and it all works hand<br />

in hand. And the different areas transcend<br />

into each other, for example<br />

my latest podcast “Curiously Polar”<br />

where I talk with an Arctic scientist<br />

about the polar regions has grown<br />

out of my latest photo tour.<br />

What do you recommend as a beginners/<br />

first timer travellers’ gear<br />

list for going on a tour to say Bhutan?<br />

For me the best camera is the one<br />

that you know best. <strong>Photo</strong> gear is almost<br />

like a pair of shoes. They take a<br />

while to adapt to you and you take a<br />

while to adapt to them. Buying a new<br />

camera a few days before taking off<br />

on a photo tour is probably not such<br />

a good idea. I’ve seen too many people<br />

not heeding that advice and ending<br />

up coming home with sub-par<br />

photos because they had to spend<br />

too much time fighting the new gear<br />

during the tour. Different photo tours<br />

have different points of focus, which<br />

might influence lens selection. The<br />

polar bears in the Arctic are usually<br />

at a distance that requires a focal<br />

length of at least 600mm, while you<br />

might bring a 50mm for New York<br />

City street photography or a 24mm<br />

for Siberian ice-scapes. Also for<br />

wildlife or sports you might want a<br />


114ONLINE:<br />

www.discoverthetopfloor.com<br />


camera with a slightly higher frame<br />

rate, but nowadays all cameras from<br />

micro four-thirds up to full frame can<br />

deliver outstanding and professional<br />

results.<br />

You’ve also created a guide on Lightroom,<br />

how did that come about?<br />

I’ve used Lightroom since it was in<br />

beta and it has quickly become the<br />

main hub of all my photography. It’s<br />

where I manage my photos, where<br />

I edit them and where I print them<br />

from. Over the years, Adobe added<br />

enough features that the roundtrips<br />

to other programs like <strong>Photo</strong>shop became<br />

less and less necessary. The<br />

daily work and the in-depth knowledge<br />

that camera out of that, allows<br />

me to work on my photos at quite a<br />

fast pace. Also shooting between<br />

200 and 400 photos on a typical<br />

photo tour day made me realize that<br />

if I didn’t develop a good workflow, I’d<br />

end up with massive amounts of unedited<br />

photos over time. Today I work<br />

on my photos the same evening I<br />

took them and at the end of a tour, I<br />

have all my photos sorted, keyworded,<br />

rated and edited. With just a couple<br />

of mouse clicks I can bring up all<br />

5-star photos of the last eight years<br />

of photo tours. At one point I realized<br />

that such a workflow could be valuable<br />

for others too, so I put that in an<br />

ebook titled “1 Hour 1000 Pics”<br />

which I’m now giving away at<br />

1hour1000pics.com - this also<br />

spawned a series of video workshops<br />

on Lightroom that go a bit<br />

broader. The latest one is at discoverlightroom.com<br />

(it’s being updated<br />

to the latest version of Lightroom as<br />

we speak).<br />

Your partner Monika also an amazing<br />

photographer, do you have a<br />

hard time choosing which photos go<br />

into your books?<br />

While both Monika and I are working<br />

on book projects, of the two of us,<br />

she has the better photographic eye.<br />

Her compositions are often stronger<br />

and clearer and she tends to get the<br />

shot with much fewer shutter clicks<br />

than I do. And we also make a great<br />

team when it comes to selecting<br />

photos. It’s hard to select pictures<br />

that you have taken yourself. You are<br />

often simply too close and can’t see<br />

them without your memories getting<br />

in the way. It’s much easier if you let<br />

someone else you trust help with the<br />

selection. Monika and I complement<br />

each other really well in that respect.<br />

Who inspires you and why?<br />

I take my inspiration from many places,<br />

often outside photography. The<br />

sense of spacing and placement<br />

shown by Walter Gropius, Architect<br />

and founder of Bauhaus, has influenced<br />

me at least as much as that<br />

of the photography and paintings<br />

of Henri Cartier-Bresson or German<br />

photographer Jim Rakete. The lighting<br />

in the paintings of Jan Vermeer<br />

are as wonderful and as important<br />

to me as the lighting in the photography<br />

of Yousuf Karsh or Arnold<br />

Newman. Music has also instilled me<br />

with a decent sense of rhythm and<br />

melody, which in my eyes both apply<br />

to photography too. I think it’s really<br />

important to look beyond your own<br />

nose. Being curious about many different<br />

disciplines is what makes me<br />

as a photographer today.<br />

Finally Chris, where can readers go<br />

to find out more about you?<br />

My photo tours are at:<br />

discoverthetopfloor.com. You can<br />

find everything else, including the<br />

podcasts, at chrismarquardt.com.<br />

Thanks so much for giving me the<br />

chance to be part of the first edition<br />

of <strong>Photo</strong> <strong>Live</strong>, I really appreciate it.<br />


“Music has also instilled me with a<br />

decent sense of rhythm and melody,<br />

which in my eyes both apply<br />

to photography too. I think it’s really<br />

important to look beyond your<br />

own nose.<br />

Being curious about many<br />

different disciplines is<br />

what makes me as a<br />

photographer today. "<br />





Raychul<br />

the model<br />

MOORE<br />

Raychul Moore is a friend of the <strong>Live</strong><br />

group of publications, we’ve been<br />

lucky to interview her previously in<br />

Cosplay <strong>Live</strong>, but what many fans<br />

may or may not know is Raychul is<br />

also a journalist, model and social<br />

media veteran. One thing most photographers<br />

want to get better at is<br />

social media, and if you’re a portrait<br />

or model photographer or want to<br />

be, you probably want to know how<br />

to photograph and approach models.<br />

So with that in mind, I decided to<br />

reach out to our friend in the U.S …<br />

Raychul, welcome to our first issue<br />

of <strong>Photo</strong> <strong>Live</strong>!<br />

Whoa, thank you for such an amazing<br />

intro!! And thank you for asking<br />

me to be a part of the first issue, this<br />

is super exciting!!!<br />

You’re a well-established cosplayer<br />

and social media personality; tell us<br />

about your modelling work. How did<br />

you get started?<br />

My best friend was getting into photography<br />

so I was basically his willing<br />

test subject. I had started cosplaying<br />

and really wanted to get more comfortable<br />

being in front of a camera<br />

cause I can be quite shy. So between<br />

shooting with him and doing<br />

more and more cosplay stuff, it just<br />

kinda became a thing I do more fulltime<br />

than just a fun hobby.<br />

You’re also a very popular cosplayer;<br />

do you find the two cross-over?<br />

Yes and no. Some people will say<br />

cosplay is basically “character modelling”,<br />

dressing up in a costume and<br />

modelling it. But that’s not what cosplay<br />

is to me at all. You don’t need to<br />

be a model to cosplay, and a model<br />

in a costume doesn’t equal cosplay.<br />

In modelling you are hired to help<br />

a photographer complete a vision,<br />

whether that’s to capture a moment<br />

or to show off some sort of fashion.<br />

In cosplay, I make my own costumes<br />

and I design some of the pieces myself.<br />

When I’m being photographed<br />

in my cosplays, I’m showing off my<br />

own work and the photographer is<br />

helping me capture the character I<br />

am portraying.<br />

I want to talk a bit more about modelling,<br />

how do you get jobs for modelling?<br />

Jobs in this industry can come from<br />

a bunch of different sources. They<br />

can come from friends who are photographers<br />

that you’ve worked with<br />

before. Jobs can come from discovery,<br />

people who happen across<br />

some of your photos and reach out<br />

to you because they want work with<br />

you. Or sometimes, you can just luck<br />

into something that opens a lot of<br />

new doors.<br />

Can you walk us through a typical<br />

model shoot and maybe compare<br />

that to a cosplay shoot…<br />

A modelling shoot is all about helping<br />

the photographer create an image<br />

or a moment he has thought of<br />

or has been hired to create. So for a<br />

modelling shoot you usually already<br />

know the theme of the shoot; you<br />

get dressed up and made up then<br />

you get in front of the camera and<br />

follow the photographers direction<br />

to help him achieve the goal of the<br />

shoot.<br />

A cosplay shoot is more about<br />

portraying the character you are<br />

dressed as. The photographer will<br />

help pose you still, but it’s up to you<br />

as the cosplayer to really bring out<br />

that character’s personality while<br />

showcasing the costume you created.<br />



122<br />

<strong>Photo</strong> : Seth Hendrix

Browsing your social media, you’ve a<br />

great following across all the social<br />

media networks, and I’m wondering<br />

if that’s normal - what I mean is<br />

sometimes you see a person have<br />

a massive Instagram following but<br />

perhaps not so big on YouTube, but<br />

you’re well established across all the<br />

main social media channels. Did you<br />

build them together or one by one..?<br />

Each social media platform handles<br />

it’s content differently and people<br />

consume their media differently on<br />

each platform; so I’ve always tried to<br />

build them up separately. Like stuff<br />

you post of Instagram might not always<br />

work on Facebook and visa<br />

versa. Also, why would someone<br />

follow you on all your different social<br />

media channels if you post the each<br />

same content on each one? I think<br />

the best way to build up your social<br />

media is to tailor your content to<br />

each platform and how people consume<br />

their media on each one. Give<br />

your subscribers a reason to not just<br />

follow you on Twitter, but to also follow<br />

your Instagram and Facebook if<br />

they want to be involved in all the different<br />

content you produce!<br />

Do you get any negative and how do<br />

you handle any negative on social?<br />

Oh yes, negative comments go hand<br />

in hand with social media. Can’t have<br />

one without the other. Kinda like a<br />

necessary evil, I guess. But you really<br />

just have to let it go and not dwell on<br />

the negative. Focus on the positive<br />

and focus on the people who are<br />

supporting you in what you do. I see<br />

some people who seem get caught<br />

up in all the negative and they don’t<br />

see that by giving attention to it,<br />

you’re inviting more of it. Positivity<br />

will help you grow, negativity won’t.<br />

You’re really busy - I’m reminded of<br />

the word prolific… YouTube videos,<br />

print shops, calendars, blogging,<br />

how do you manage it all? Plus on<br />

top of the cosplaying, visiting cons<br />

and all the work you do…<br />

I’m not one to sit still well. ☺ I like staying<br />

busy and honestly, when you love<br />

what you’re doing…it doesn’t feel like<br />

work! It all started as a passion project,<br />

and I’m just lucky that now I can<br />

call it my career!<br />

Have you got some advice on how<br />

to create blog posts or social media<br />

posts that really connect with your<br />

followers? Often photographers will<br />

have great images to share, but they<br />

don’t know what to write. Any tips on<br />

making the text of a post engaging?<br />

The best part about photos is they<br />

usually can speak for themselves,<br />

so you really don’t need to write a<br />

long intro or post to go along with<br />

the pics. I think it’s best to keep it<br />

short. Something like, “Had such a<br />

great time shooting with /model’s<br />

name at an amazing location at /<br />

location. More pics soon!” Or if you<br />

want to get your viewers involved,<br />

try asking them where are some locations<br />

they’d like to see you shoot<br />

at, recommendations of photoshoot<br />

themes or style challenges. Those<br />

help followers get engaged in your<br />

content and gets them looking forward<br />

to more!<br />

What about Instagram, your feed is<br />

fun, personal, a bit sexy and always<br />

interesting. Do you plan it in advance?<br />

Also … you don’t seem to go<br />

crazy with hashtags..?<br />

Thanks! I don’t plan my postings in<br />

advance, I know I probably should,<br />

but that’s a little too much pre-planning<br />

for me. ☺ But no, I don’t do the<br />

hashtag thing. I find a ton of hashtags<br />

to be rather excessive. Hashtagging<br />

is meant to help people find<br />

your content through search, but using<br />

a hashtag for every small aspect<br />

in a photo or video is a little over the<br />

top. I know people want to grow their<br />

following but keep it simple and the<br />

followers will come! #interview #girl<br />

#cosplay #modelling #purpleshirt<br />

#browneyes #shortgirl #stillinpajamabottoms<br />

#imonmylaptop #dogsleepingbesideme<br />

#todayisthurday<br />

#tomorrowisfriday #ilikepizza<br />

Back to modelling, what’s coming up<br />

for you for the rest of this year? Also<br />

any cosplay events you can talk to<br />

us about.<br />

I’m working on a bunch of stuff<br />

currently! I have several photoshoots<br />

coming up, both cosplay and<br />

non-cosplay. And I’ve got about 4<br />

new costumes in the works that I’ll<br />

be shooting in/debuting soon!<br />


Raychul<br />

<strong>Photo</strong> : Seth Hendrix<br />

MOORE<br />


“I think the best way to build up<br />

your social media is to<br />

tailor your content to<br />

each platform"<br />

We’d love to share a few tips with anyone<br />

wanting to do some modelling -<br />

can you give us 3 tips?<br />

1. The thing that has helped and<br />

still helps me a lot I practicing in the<br />

mirror. It will help you learn your best<br />

angles and facial expressions, which<br />

will then help build confidence while in<br />

front of the camera. Confidence can<br />

make all the difference between a<br />

great photo or an ok photo.<br />

2. Set your boundaries and don’t<br />

make any exceptions. If you feel that<br />

doing nudity isn’t your thing, stick by it<br />

and don’t let anyone talk you into doing<br />

anything you don’t want to do. Don’t<br />

ever be ashamed of your boundaries,<br />

they are for you, and no one else.<br />

3. Lastly, keep it fun! As long as<br />

you’re having fun, then it’s never work.<br />

That doesn’t mean it won’t ever get<br />

hard, it will…but even the challenges<br />

can be fun and help you grow.<br />

Yeah! You can find me on all the social<br />

medias and my website: Raychul.com<br />

YouTube.com/RaychulMoore<br />

Twitter.com/theRaychul<br />

Facebook.com/RaychulMoore<br />

Instagram.com/theRaychul<br />

My print store is where I sell calendars,<br />

personal Polaroids and of course,<br />

prints! Raychul.storenvy.com<br />

And I do have a Patreon.com/Raychul<br />

that’s an amazing community of people,<br />

we have movie nights and game<br />

nights together, a private Discord<br />

channel and they vote on my upcoming<br />

photoshoot themes and cosplays.<br />

It’s a lot of fun and we’re all a bunch of<br />

goofballs!<br />

Thank you so much for including me in<br />

the first issue of <strong>Photo</strong> <strong>Live</strong>!!<br />

Raychul, thanks for talking to us again<br />

and we’d love to talk again soon, where<br />

can readers go to find out more about<br />

you? Tell us about your print site and also<br />

to finish up, Patreon - is that going well?<br />


126<br />

<strong>Photo</strong>s : Rick Basaldua


128<br />

<strong>Photo</strong>s : Rick Basaldua


<strong>Photo</strong> : Seth Hendrix<br />

ONLINE:<br />

130<br />

www.raychul.com<br />

YouTube.com/RaychulMoore<br />

Twitter.com/theRaychul<br />

Facebook.com/RaychulMoore<br />


some photos supplied are uncredited.<br />


andrew<br />


Welcome Andrew to our first issue,<br />

you’re a professional photographer<br />

and run a successful podcaster,<br />

what else are you doing?<br />

Thanks Rob, are you suggesting<br />

running a full-time photography business<br />

and a photography business<br />

podcast isn’t enough!?<br />

Between these, there’s not much<br />

time left most days. My photography<br />

business, Impact Images, is primarily<br />

focused on weddings and portraits<br />

but we’re shooting some sporting<br />

teams and commercial work too<br />

- mainly headshots for local small<br />

businesses here on the Central<br />

Coast of NSW... about an hours drive<br />

north of Sydney.<br />

My wife, Linda runs the business<br />

from the financial side of things,<br />

coordinating shoots and managing<br />

everything. We have a studio assistant,<br />

Tenneille, who we couldn’t live<br />

without. Tenneille handles sales, album<br />

and print design, colour correcting<br />

and ordering. In addition, we have<br />

three associate shooters, there’s always<br />

something happening.<br />

I find I’m spending less time shooting<br />

as the podcasts grow and the time<br />

demands become greater in helping<br />

listeners and members grow and improve<br />

their businesses.<br />

Any spare time I have is spent cycling<br />

which is my outlet and a way<br />

to stay fit. I love racing my bike and<br />

300km plus per week is standard for<br />

me.<br />

Other than that, I love holidays and<br />

travel. It’s rare for me to not have at<br />

least two holidays planned at any<br />

time. At the time of writing, I’m onboard<br />

Singapore flight SQ232 en<br />

route to France to see the Tour de<br />

France and ride in the mountains of<br />

the Pyrenees and the Alps. Later in<br />

the year, I have a photography trip<br />

planned to India. I’m looking for a<br />

couple of photographers to join me<br />

if anyone is interested?<br />

Let’s start with your photography,<br />

you’re a full time professional, what<br />

are you photographing?<br />

When asked, I say weddings primarily<br />

but really, after being in business<br />

for 20 years, the photography work<br />

is more varied than that. Portraits<br />

make up a big part of the business<br />

and is heading toward being the primary<br />

income source.<br />

In addition to weddings, portraits and<br />

some commercial work, we photograph<br />

local sporting clubs through<br />

winter when things are a little quieter.<br />

Linda and our associate shooters<br />

do all the work for these and I find<br />

myself focusing more on the podcasts,<br />

marketing and getting away<br />

on holiday.<br />

How many weddings would you do<br />

a year? And how many portrait sessions<br />

would you do?<br />

Personally, I’m shooting around 12-<br />

15 weddings per year now and I’ll<br />

reduce that number in 2018. I have<br />

a plan to travel from one side of the<br />

USA to the other, staying with photographers<br />

and interviewing them<br />

as I go. I’ve put aside three months<br />

to do this and another month to do<br />

something similar in the UK.<br />

Our associate shooters will carry on<br />

shooting for the studio and pick up<br />

most of the shooting while I’m away<br />

- weddings and portraits.<br />

Before the podcast, we were photographing<br />

a maximum of 72 weddings<br />

each year but it was just too much.<br />




We photograph around 100 Portrait<br />

sessions per year plus engagement<br />

shoots. The portrait sessions are<br />

mainly centred around families and<br />

kids with some pet shoots.<br />

Tell us a bit more about weddings,<br />

what got you started shooting weddings<br />

and maybe tell us about your<br />

first few...<br />

I was working full-time and discovered<br />

photography through fishing. I<br />

was a mad keen fisho and a couple<br />

of my mates were getting published<br />

in fishing magazines. I wanted a slice<br />

of that action to help offset the cost<br />

of my fishing gear but to get published,<br />

the magazines required photography<br />

plus articles. I was all good<br />

with writing, but had never taken a<br />

photo in my life.<br />

I purchased a Nikon F601 film camera<br />

in 1996 and started shooting<br />

transiency film right away - the magazines<br />

only accepted slide film for<br />

publication. It was a steep learning<br />

curve and one I thrived on. I was like<br />

a sponge!<br />

I found my way after reading anything<br />

and everything I could on photography<br />

and was getting published<br />

pretty quickly. Shooting slide film<br />

made for quick learning with almost<br />

no exposure latitude and the ability<br />

to see my mistakes without a lab<br />

making any corrections as with print<br />

film.<br />

Shooting slide film was the equivalent<br />

of shooting digital but having to<br />

wait to see your exposures. Oh... and<br />

I had to pay to see. Each roll of Fuji<br />

Velvia was around $50 to shoot and<br />

process.<br />

I realised how much I loved photography,<br />

I had a friend who was shooting<br />

weddings and I asked if I could carry<br />

his bags and learn the ropes to see<br />

if this was something I could do and<br />

pursue for money.<br />

I was already thinking, could it really<br />

be possible to do photography for a<br />

living?<br />

Not long after, I was booked to photograph<br />

a friend of a friends wedding.<br />

The deal was I shoot in exchange for<br />

them covering film, developing and<br />

printing two sets 5”x7” prints - one<br />

set for the couple, one set for my<br />

portfolio.<br />

This was the start of going pro!<br />

This couple were on the larger side.<br />

Actually, they were big. And it was<br />

their photos that made up my first<br />

promotional album, my wedding<br />

portfolio. Linda and I went armed<br />

with this album plus a few photos<br />

from my second shooting days to a<br />

local bridal expo and we booked 18<br />

weddings!<br />

Brides to be would ask if we had their<br />

wedding date free and Linda would<br />

make a point of flicking through our<br />

empty diary and look up with a big<br />

smile with, “you’re in luck, Andrew is<br />

free that day!” We still laugh about<br />

this expo and our empty diary today.<br />

It was interesting that most of the<br />

couples who booked us from that<br />

expo were large couples. We heard<br />

delighted comment after delighted<br />

comment that we were the only<br />

photographers at the expo featuring<br />

a larger couple in their portfolio and<br />

they loved it.<br />

I was off and running!<br />

Months later, the bookings continued,<br />

I went part time at my day<br />

job and Linda worked hard from<br />

home doing all the admin, accounts,<br />

emails, album assembly and ordering.<br />

While raising our two baby boys<br />

at the time.<br />

A couple of years later, I left my then<br />

part time job completely and it was<br />

full time photography. We haven’t<br />

looked back since.<br />

How did you progress to being good<br />

enough to be a full time wedding<br />

shooter? How did you know you<br />

were ready?<br />

I didn’t really know I was ready and<br />

I was nervous heading out to weddings<br />

in those early days but I knew<br />

this is what I wanted to do.<br />

I still wasn’t a great photographer but<br />

I was good at seeing images I liked<br />

and replicating them at weddings.<br />

I slowly grew my staple of ‘safe<br />

shots’, adding new looks or poses I<br />

preferred for ones I’d grown tired of.<br />

I was developing a look made up of<br />

the photographers work I was influenced<br />

by and admired at the time.<br />

This approach was a fast way<br />

to learn but caused me rethink<br />

everything further into my career<br />

when I realised I never felt worthy of<br />

being labelled a photographer. I was<br />

making a living as a photographer<br />

but struggled with the title. All this<br />

head space stuff occurred later.<br />

Linda and I had a mortgage, two<br />

young children and only my income<br />

at the time. There was no quick decision<br />

to leave the security of my<br />




job until we knew we had enough<br />

bookings and consistent enquiries to<br />

make a go of photography.<br />

Looking back, some of my work was<br />

terrible but I think every photographer<br />

would say the same thing looking<br />

back at their work.<br />

The clients loved what I was doing,<br />

loved Linda and trusted us to photograph<br />

their weddings. The enquiries<br />

kept coming and two years after going<br />

part-time with my day job, I was<br />

given an ultimatum by my employer<br />

- the other worker I was job sharing<br />

with had given his notice... I needed<br />

to come back full-time or quit.<br />

I quit and we made it work. I was a<br />

full-time photographer and Linda<br />

and I were running a successful and<br />

fast growing photography business.<br />

In hindsight, quitting was the best<br />

thing for growing the business and I<br />

should have done it earlier. Quitting<br />

meant no safety net and it was time<br />

to commit to the business, get serious<br />

about marketing and going for it.<br />

Talk us through your process of getting<br />

ready to shoot a wedding, what<br />

gear do you take, bags? What about<br />

lights or reflectors? Maybe fill us in<br />

on a typical day.<br />

Before a wedding I don’t like to do anything<br />

much. I like a no stress, easy<br />

morning and I’m already focussed on<br />

the day and somewhat absent from<br />

everything else going on.<br />

One hour before I need to leave, I<br />

have a bit of a routine in packing the<br />

car, checking gear, showering and<br />

changing. After so many interview<br />

for <strong>Photo</strong>BizX and hearing about split<br />

pants and embarrassing moments, I<br />

always wear dark underwear and<br />

take spare trousers.<br />

Gear wise, this has changed a lot<br />

since the beginning and is always<br />

evolving. Currently I’m using a Domke<br />

shoulder bag which I love for it’s<br />

ruggedness and simple utilitarian<br />

looks.<br />

For shooting, I’m using a Fuji X100f<br />

and a Fuji XPro2 with a range of<br />

lenses, almost all primes. My go to<br />

lenses are the 23mm f1.4 (35mm<br />

equivalent) unless I have the X100f<br />

with me. Otherwise it’s the 56mm<br />

f1.2 (85mm equivalent) or the 90mm<br />

f1.4 (135mm equivalent).<br />

For the reception coverage, I’ve<br />

been using a Nikon D750 and primarily<br />

a 24-70mm f2.8 lens and SB900<br />

Speedlight with Yongnuo triggers for<br />

any off camera flash work.<br />

I’m yet to shoot with the Fuji EF-<br />

X500 flash which I now have and<br />

am hoping this will mean the end of<br />

using the Nikon for reception coverage.<br />

Until now, the Fuji’s just haven’t<br />

delivered the kind of functionality I<br />

like when working with flash at a reception.<br />

The Nikon and speedlight<br />

combination on the other hand, just<br />

work flawlessly.<br />

In addition to my shoulder bag, I have<br />

extra speedlights, a sunbounce reflector,<br />

tripod and other gear in the<br />

car but honestly, I rarely use any of<br />

it on a wedding day. Since discovering<br />

and moving to the Fuji system, I<br />

love working light, with minimal gear<br />

and I’ve only just added the X100f to<br />

the kit - until now, my preference has<br />

been to work with a single camera<br />

body - Fuji or Nikon. I’m making an<br />

allowance because of the small size<br />

and light weight of the X100f.<br />

And after you’ve finished, what do<br />

you do ... back up wise and also post<br />

processing... what do you do there?<br />

After any shoot, I drop my card and<br />

paperwork with my studio assistant,<br />

Tenneille. She downloads and backs<br />

up all the files over two separate<br />

hard drives. The files on her computer<br />

are backed up via time machine<br />

and the copy on the external hard<br />

drive are also copied to another<br />

drive automatically.<br />

From here, all our work will be on the<br />

one set of files with the knowledge<br />

we have three other copies backed<br />

up plus the original card.<br />

I shoot in JPG and don’t use Lightroom<br />

so our workflow probably differs<br />

from most pro photographers.<br />

Following an edit/cull in <strong>Photo</strong> Mechanic,<br />

files are renamed and numbered.<br />

These renamed files are all<br />

put through a photoshop action for<br />

‘enhancement’ and they are now client<br />

ready.<br />

We don’t do anything else with the<br />

files at this stage unless a client is<br />

purchasing an image. Commercial,<br />

wedding and portrait clients will all<br />

see these enhanced JPG’s with no<br />

other work being done on them. Album<br />

designing and sales sessions<br />

are also carried out with these enhanced<br />

files.<br />

Once a print, album or file is purchased,<br />

we’ll do some additional retouching<br />

in either or both <strong>Photo</strong>shop<br />

or Alien Skin’s Exposure.<br />

It’s a simple, streamlined, fast and<br />

easy approach for handling image<br />

files.<br />

Do you have any moments that<br />

stand out as a wedding photographer?<br />



Not any particular moments, none<br />

that would be too different from<br />

every other photographer in that I<br />

feel lucky to be able to do what I do.<br />

As a whole, all the small moments<br />

amount to what I feel has been and<br />

remains a pretty amazing life for<br />

Linda, our boys and me. Through<br />

photography we have always had a<br />

lovely home, great schooling for our<br />

boys and plenty of overseas holidays<br />

and time to enjoy all of them.<br />

To think about everything we’ve<br />

achieved through photography<br />

amazes me.<br />

Ok, let’s talk about podcasting,<br />

you’re running a successful podcast<br />

- talk to us about that part of your<br />

life.<br />

The podcasting has become a real<br />

passion of mine, I love it, I love the<br />

listeners, the Premium Members, the<br />

community. It’s become a special<br />

and valued part of my life.<br />

I know I can affect clients with my<br />

photography, but the podcast has<br />

a similar affect... on steroids! The<br />

emails and messages I receive from<br />

photographers all over the world<br />

leaving their day job to pursue photography<br />

full time because of what<br />

they hear on the podcast is like a<br />

drug I can’t get enough of. I didn’t realise<br />

the impact the podcast would<br />

have when starting it. Sure, I hoped<br />

and dreamt but wow, it’s incredible<br />

now it’s happening.<br />

The podcast started off as a one<br />

day per week thing but it’s almost a<br />

full-time gig now. Between the two<br />

podcasts - <strong>Photo</strong> Biz Xposed and<br />

The <strong>Photo</strong>graphy Xperiment Podcast,<br />

the interviews, editing, show<br />

notes, emailing, managing the active<br />

Facebook group and two virtual assistants,<br />

it’s grown a lot in 240+ episodes<br />

over 4 years.<br />

Both shows are interview based<br />

and focused on photography for<br />

photographers all over the English<br />

speaking world.<br />

<strong>Photo</strong>BizX revolves 100% around<br />

the business side of photography.<br />

My goal in every interview is to get<br />

something valuable the listener can<br />

implement into their own business<br />

- that could be related to marketing<br />

SEO, advertising, branding, networking,<br />

pricing, products, sales, time<br />

management, workflow, etc.<br />

What continues to amaze me is just<br />

how much guests are willing to share<br />

about their own businesses. From<br />

turn over figures, exact prices, advertising<br />

copy, marketing strategies<br />

- nothing is off limits.<br />

The success listeners are finding<br />


with the information being shared<br />

has been astounding and is the driving<br />

force behind the show. I received<br />

an email from Mike Seaman in the<br />

UK last week to say he’s just gone<br />

full time with his photography after<br />

only recently discovering the podcast.<br />

His email message is not out of<br />

the ordinary. That kind of thing continues<br />

to blow me away.<br />

The <strong>Photo</strong>graphy Xperiment Podcast<br />

is a little different. The focus<br />

here is to get inside the head of the<br />

photographer and learn what makes<br />

them tick. Why they do what they do,<br />

how they approach their photography,<br />

how they achieve what they do.<br />

There’s a bigger focus on the creativity<br />

behind the photography and<br />

a lot less about the money making<br />

side.<br />

One listener described the two podcasts<br />

beautifully, he said; <strong>Photo</strong>BizX<br />

is like an intensive business workshop<br />

each week where you go to<br />

learn, improve and grow as a business<br />

operator. The <strong>Photo</strong>graphy<br />

Xperiment Podcast is more like sitting<br />

around with your photographer<br />

mates over a beer or two after class<br />

and talking photography.<br />

You’ve interviewed a real mix of<br />

people from photographers to marketing<br />

and social media experts, if<br />

a reader was wanting to get serious<br />

about wedding photography, what<br />

would you advise them to get in<br />

place first... what I mean is do they<br />

ensure they have the right gear,<br />

the right training or understanding<br />

of photography and what about the<br />

business and marketing side?<br />

The mix of guests on the <strong>Photo</strong>BizX<br />

podcast has been super varied and<br />

funnily enough, it’s not always the<br />

big name photographers who share<br />

the best content to help the listener<br />

get ahead with their business. Often<br />

it’s the lesser known photographer,<br />

scrapping away in the trenches<br />

fighting to be profitable that share<br />

the real gems.<br />

In regard to getting started as a<br />

pro, my feeling is you need to know<br />

how to shoot first. A photographer<br />

should be able to create great photos<br />

no matter the conditions they<br />

face. Sure, some of this will come<br />

with experience and you can’t learn<br />

everything before you give business<br />

a try BUT, a photographer has to be<br />

confident in delivering something<br />

worth paying for, from every shoot.<br />

Once here, it’s all about the business.<br />

And by business, I’m talking<br />

about pricing, marketing, branding,<br />

advertising, networking and being<br />

able to get the phone ringing and<br />

people booking. Without bookings<br />

and sales, you won’t have a business<br />

for long and you’re certainly not<br />

a professional wedding or portrait<br />

photographer.<br />

The biggest hurdle I see for new<br />

photographers is building that consistency<br />

of bookings, shoots and<br />

sales. That doesn’t happen by owning<br />

flash camera gear or even being<br />

the best photographer. Anyone trying<br />

to profit from photography must<br />

work on their business, there’s no<br />

way around that unless you work for<br />

another photographer.<br />

One thing to add... being a pro photographer<br />

isn’t for everyone. Some<br />

of the happiest, best photographers<br />

I see have a full time job and shoot<br />

for fun. To a lot of pro photographers,<br />

that looks and sounds pretty<br />

attractive. Running a business can<br />

be tough and takes a lot of work.<br />

In saying that. I wouldn’t swap!<br />

Are you teaching too or plan to?<br />

My teaching is limited to writing<br />

books and courses based on the<br />

interview content and helping <strong>Photo</strong>BizX<br />

members succeed with their<br />

businesses.<br />

My most recent course on Facebook<br />

Ads has been a great success<br />

but it was all knowledge learnt from<br />

an interview guest (Bernie Griffiths)<br />

that members, listeners and I have<br />


workshopped into a strategy to get<br />

bookings and sales fast.<br />

I enjoyed putting that course together<br />

and the phenomenal feedback<br />

has me thinking about future projects.<br />

So, in regards to teaching...<br />

maybe.<br />

What about future plans, what’s in<br />

the pipeline?<br />

More interviews, more success for<br />

listeners, more travel, cycling and<br />

more shooting.<br />

I’m enjoying shooting as much as<br />

ever, maybe more so. And this crazy<br />

idea to travel across the USA interviewing<br />

and staying with photographers<br />

along the way is the nuttiest<br />

idea I’ve had in a long time. I’d love to<br />

see it come to fruition and I’m sure<br />

that will lead to plenty of other opportunities,<br />

plans and ideas.<br />

Back to your photography, who inspires<br />

you?<br />

Mostly it’s my interview guests for<br />

the podcasts. Once someone’s work<br />

catches my eye, I follow them on Instagram<br />

and reach out for an interview<br />

when the time is right.<br />

Some recent names whose work I<br />

admire.... Joao de Medeiros, Ian Weldon,<br />

Paul Rogers, Edwina Robertson,<br />

Neale James, Donato DeCamillo,<br />

Kaylee Greer, Fer Juaristi, Kirsten<br />

Lewis.. there are so many more!<br />

... And what keeps you going, what<br />

drives you?<br />

I don’t know if there’s any one thing<br />

that drives me. I love what I do and I<br />

feel like I’ve shaped my life to always<br />

be able to do what I love. That alone<br />

is pretty special so yeah, I don’t have<br />

one thing I’m reaching to achieve<br />

each day I wake up. I guess the plan<br />

is to always be a little better at each<br />

of the things I’m working on, that’s<br />

enough drive for me.<br />

I’ve just returned to this question and<br />

I think what drives me is something<br />

internal. I don’t feel it would matter<br />

what I was doing for an income, it<br />

feels like I was born with a drive to<br />

find something I love to do and learn<br />

how to do it well. Looking back, it’s<br />

been the same with everything I’ve<br />

taken on - from school, to sport, to<br />

photography, to work. I just want to<br />

be good at what I’m doing. I’m not<br />

sure if there’s some deep issue<br />

where I need to be proving something<br />

to myself or someone but it just<br />

feels like it’s part of my make up...<br />

maybe its an eldest child thing (I’m<br />

the eldest of four boys) and being<br />

fiercely shaped by my parents when<br />

younger?<br />

Thanks Andrew, where can our readers<br />

go to find out more and perhaps<br />

subscribe to your podcasts?<br />

The best place http://photobizx.com<br />

to check out the podcasts. If readers<br />

would like to hear the full interviews<br />

from each guest and get a taste for<br />

the Premium Membership, there’s a<br />

$1 30 day trial at http://photobizx.<br />

com/try.<br />

For my photography work, you can<br />

find me at http://impact-images.<br />

com.au and I use Instagram purely<br />

for fun and to find photographer<br />

guests at http://instagram.com/andrew_hellmich.<br />





Nathan<br />

Dalton<br />

his Personal Project<br />

"The homeless and the homeless"<br />


Everyone has a story,<br />

and this is always<br />

first and foremost<br />

in my mind. Having<br />

come from a<br />

back ground with<br />

not much money<br />

(born in Africa) and having grown up<br />

in a home where my parents often<br />

reached out to the homeless with<br />

the little that we did have, it birthed<br />

something of a compassion towards<br />

people less fortunate than ourselves.<br />

Growing up I realised sadly a<br />

lot of these people are in these positions<br />

due to poor decision making,<br />

however when you actually take the<br />

time to hear their stories one can’t<br />

but help be moved by the humanity<br />

aspect that we are in the end all human,<br />

we the same.<br />

Be it Adelaide, Melbourne, Sydney<br />

- whenever I go on a business trip I<br />

always make sure I have my camera<br />

with me. Usually after a day’s work<br />

and evening dinner with work colleagues<br />

I head out into the streets<br />

to capture whatever I may find in the<br />

city night life. For many years my<br />

canon 550D and 50mm 1.8 was my<br />

faithful companion on these adventures.<br />

Recently I have moved to Fujifilm<br />

Xpro2 with the 23mm 1.4 lens.<br />

The build of the Fujifilm set up certainly<br />

comes across less intrusive as<br />

a camera set up.<br />

Earlier this year I started I personal<br />

photography series called “The<br />

homeless and the homeless”. The<br />

inspiration behind this was driven<br />

by a compassion for people on the<br />

streets and to give ear to their stories<br />

and then with their permissions<br />

grab some photographs of their raw<br />

reality environments. Homeless and<br />

homeless to me meant that most<br />

often it is not only their physical bodies<br />

that were homeless and living<br />

on the streets, but their dignity and<br />

identity as human beings and sense<br />

of belonging was also homeless. We<br />

all have a story and we all know the<br />

sense of warmth it brings to feel accepted<br />

and heard. My humble efforts<br />

were to be something of this to these<br />

men and woman on the streets.<br />

Like most often in life, you can start<br />

out with good intentions and learn<br />

that their are dangers along the way.<br />

Someone who is coming off a high<br />

or having had a hit of ice can pose<br />

genuine safety issues. It would be<br />

advisable to pursue such photography<br />

with a friend by your side. I have<br />

been cursed, had things thrown at<br />

me and even chased on my adventures<br />

in night street photography<br />

with the homeless. One gentleman<br />

sleeping on the floor inside a Westpac<br />

ATM foyer was delighted when<br />

a small group of us gave him a hamper<br />

of food and clothes in a kit bag.<br />

I asked If I could take a few photos<br />

to which he nodded with a smile in<br />

what I interpreted as approval (as<br />

did those around me). I was taking<br />

a few shots and decided to get really<br />

low and lie down on the ground<br />

and get a lower more creative angle<br />

looking up. I would have been about<br />

4 meters away from this gentleman<br />

so I was not in his private space by<br />

any means. The next thing like a African<br />

Nile crocodile launching out<br />

of the water to grab a zebra, this<br />

gentleman shot up with screaming<br />

fits of rage and headed straight towards<br />

me. Fortunately my reflexes<br />

were sharp (like the lucky zebra that<br />

got away) and managed to escape<br />

a swinging leg intended to kick me.<br />

Once I was on my feet this gentleman<br />

proceeded to chase me. At this<br />

point his obvious intoxication gave<br />

me the clear advantage to get away<br />

as I sprinted down the side street.<br />

Moral of the story - always be alert<br />

and aware.<br />

But then there are the awesome<br />

connections one has that are more<br />

moving than watching Slumdog Millionaire<br />

with a hot box of popcorn.<br />

One gentleman had lost his entire<br />

business, factory, and family and<br />

was now on the streets with nothing.<br />

Yes there were a series of unhelpful<br />

decisions that led to this point, but<br />

in that moment, being in the pres-<br />


ent with this gentleman and seeing<br />

his tears, hearing the remorse in his<br />

tone I could not help but have a heart<br />

that bleed in compassion towards<br />

him. On occasion I’ll buy a pie, coke<br />

and some treats as a small something<br />

of giving to these men and<br />

woman. It’s not payment for the photos<br />

but rather a small token of love<br />

to go hand in hand with hearing their<br />

stories. Usually at this point I’ll take<br />

a few photos, shake their hand and<br />

wish them all the best for a brighter<br />

and more hopeful future.<br />

My growing efforts in this type of<br />

photography is to capture creative<br />

angles and expressions that capture<br />

something of their story. Every line<br />

and scar tells a story. After mentioning<br />

that I will start taking photos I usually<br />

carry on talking and asking questions.<br />

Depending on the emotions I<br />

wish to capture I carefully select my<br />

questions (whilst respecting their<br />

dignity of coarse). The manual toggles<br />

and dials on the Xpro2 certainly<br />

make the textile experience in those<br />

environments enjoyable. Some aspects<br />

of shooting a homeless person<br />

makes the photography easier<br />

when it comes to expectations as<br />

they not a model that requires you<br />

to take a glamours shot. Having said<br />

that though the challenging part<br />

is you don’t have two hours with a<br />

homeless person and posing them<br />

in multiple different clothing sets<br />

getting the perfect shot. Often you<br />

only have a few shots you can take<br />

before they get a little agitated because<br />

you taking to many shots.<br />

Fast thinking, assessing the lighting,<br />

composition all keep you on your<br />

toes to get the best shot possible in<br />

the few shots you do take.<br />

From the photography aspect I<br />

love street photography because it<br />

teaches me you can’t always wait<br />

for perfect conditions before getting<br />

out the camera. It gets you shooting<br />

and gets you out.<br />


"From the photography aspect<br />

I love street<br />

photography<br />

because it teaches me you can't always wait for perfect conditions before<br />

getting out the camera.<br />

It gets you shooting and gets you out."<br />








"My growing efforts in this type of photography is to<br />

capture creative angles and expressions that<br />

capture something of their story.<br />

Every line and scar<br />

tells a story. ”<br />




ONLINE:<br />

www.facebook.com/??????<br />

????????????<br />

ONLINE:<br />

https://www.instagram.com/ispy_digital<br />


Victoria<br />

Bampton<br />

“The Lightroom queen”<br />

The team at <strong>Photo</strong> <strong>Live</strong> were sitting<br />

around sharing a drink and discussing<br />

pre digital photography versus<br />

today’s photography. One topic we<br />

talked about for a while is how much<br />

post processing did photographers<br />

do in the dark room. Talking to our<br />

friend Sarah (see her interview earlier<br />

in this issue) she said that people<br />

like Ansel Adams were masters of<br />

the darkroom.<br />

Dodging and burning, according to<br />

Ansel Adams were required in his<br />

famous photo, Moonrise, so that<br />

the sky looked darker. Doing some<br />

Google snooping around we found<br />

many examples of processing pre<br />

digital. Master printer, Pablo Inirio<br />

use to make test prints and then<br />

make notations on what he felt an<br />

image needed for the final print.<br />

Today things are easier, there’s no<br />

need to get a master printer to do<br />

the hard work (although having a<br />

good retoucher is a bonus for many<br />

photographers), you can do quite a<br />

bit of adjusting in Adobe <strong>Photo</strong>shop<br />

Lightroom. With that in mind we<br />

asked the Lightroom Queen herself,<br />

Victoria Bampton about post processing<br />

of images both in the past<br />

and in today’s digital world.<br />

Victoria welcome to <strong>Photo</strong> <strong>Live</strong>, can<br />

you start with telling us about yourself.<br />

Thanks for the invitation. I’m a Lightroom<br />

author based in England,<br />

where I live with a cheeky West<br />

Highland White Terrier called Charlie.<br />

My father has been a professional<br />

photographer since the 1970’s,<br />

so I grew up in the family business.<br />

I worked with him for a few years,<br />

then started a raw processing company,<br />

offering editing services for<br />

wedding photographers. When the<br />

Lightroom beta became available in<br />

2006, I knew it was going to revolutionize<br />

photography workflows, so I<br />

jumped in with both feet.<br />

How did you become the Lightroom<br />

Queen?<br />

Immediately following Lightroom 1’s<br />

release, I was spending a lot of time<br />

answering questions on the forums,<br />

and other forum members kept suggesting<br />

I compile them into an ebook.<br />

Imagining a 10 page document,<br />

I decided to give it a try... and it grew<br />

from there! Thanks to the support of<br />

my loyal readers, I now get to spend<br />

all my time writing and supporting<br />

Lightroom users.<br />

Back to the opening paragraph, do<br />

you know much about pre digital processing<br />

of photos as in dodge and<br />

burn and other techniques used?<br />

I understand the basic idea, but that’s<br />

before my time! The same principles<br />

still apply today though, whether<br />

you’re using a digital darkroom or a<br />

chemical one.<br />

The aim has always been to draw<br />

the eye to certain areas of the photo,<br />

and away from distractions. It’s<br />

fascinating to see how they used to<br />

mark up the photos in “the old days”<br />



and we can do essentially the same<br />

thing today with our digital tools.<br />

On to Lightroom, is working in the<br />

post processing area your full time<br />

job? What’s involved in your typical<br />

work week?<br />

These days, my business partner<br />

runs <strong>Photo</strong>shop Services, our raw<br />

processing company. Since 2012,<br />

Lightroom has been my full time job.<br />

My normal week includes writing<br />

regular tutorial blog posts, replying<br />

to emails from my readers and supporting<br />

users on numerous Lightroom<br />

forums including my forum<br />

(https://www.lightroomforums.net)<br />

and the official bug report/feature<br />

request forum (https://feedback.<br />

photoshop.com/photoshop_family/).<br />

I spend a lot of time testing Adobe<br />

software, and I’m currently working<br />

on 2 new books, with 1 more book<br />

and 2 video series in the works after<br />

that. I never get bored!<br />

Are you shooting much yourself and<br />

what’s your favourite genre of photography?<br />

I don’t get to shoot as much as I’d<br />

like to, so vacations are my time to<br />

escape the office, travel and shoot.<br />

Landscapes and seascapes are my<br />

favorites, because it’s peaceful and<br />

calm. I enjoy photographing animals<br />

too, as I can get lost in the moment,<br />

waiting to see what they’ll do next.<br />

<strong>Photo</strong>graphy has to be one of the<br />

best ways to relax!<br />

Can we get a few tips? For example,<br />

you’ve gone out and taken some<br />

landscape photos in colour, what’s<br />

the first few things you do in Lightroom?<br />

When I get back from a shoot, the<br />

first job has to be culling the bad photos<br />

and picking my favorites. Most<br />

of us tend to get a bit snap-happy<br />

and editing all those photos can be<br />

overwhelming. Sorting through them<br />

first, allows us to focus our time and<br />

efforts on the best photos.<br />

Before you start editing, it’s important<br />

to stop and analyze the photo.<br />

Where does your eye go, are there<br />

any distractions, and then technically,<br />

is it too light, too dark, not enough<br />

shadow or highlight detail, does it<br />

have a color cast, is there noise, and<br />

so forth. The results of that analysis<br />

affect what I do next, but most of<br />

the time, I start with Exposure, getting<br />

it in the right ball park, followed<br />

by Highlights and Shadows, and<br />

then Contrast, because Highlights<br />

and Shadows will have flattened the<br />

midtones. Once that’s about right,<br />

it’s easier to go back and fine tune<br />

the white balance. Then I move on<br />

to clarity and local adjustments, and<br />

finish up with sharpening and noise<br />

reduction.<br />

I find a lot of photographers struggle<br />

with setting the white balance, especially<br />

on landscapes. In a lovely landscape,<br />

there’s often nothing neutral<br />

to use for a click white balance. Over<br />

time, you can learn to adjust it by<br />

eye, but if you struggle, shooting a<br />

light neutral card such as a WhiBal<br />

makes it really easy to get the “correct”<br />

white balance, which you can<br />

then tweak to taste.<br />

What about Black and White - same<br />

question...<br />

A great Black & White starts with a<br />

great color photo. The white balance<br />

can be used creatively for B&W, but<br />

as a general rule, I’d try to at least<br />

get the overall Exposure and White<br />

Balance right before switching to<br />

B&W. Next I’d tweak the B&W mix,<br />

perhaps darkening blue skies and<br />

lightening pale greens to add to the<br />

contrast. I love a contrasty B&W image,<br />

but you have to be careful not<br />

to lose the shadow and highlight<br />

detail. The Clarity control can give<br />

the image a nice gritty feel without<br />

losing the detail. You started out talking<br />

about Ansel Adams, and dodging<br />

and burning using the Adjustment<br />

Brush can make or break a B&W image.<br />

It allows you to draw the eye of<br />

the viewer to specific areas of the<br />

photo, and away from distractions.<br />

And for portraits - what is the first<br />

few things you do?<br />

I treat portraits in exactly the same<br />

way, first analyzing the photo before I<br />

start making adjustments. For closeups,<br />

I’m more likely to do a little teeth<br />

whitening and spot removal, but I<br />

don’t like to go overboard. There’s<br />

nothing worse than a portrait that<br />

looks like it’s been photoshopped!<br />




Let’s talk presets - love them or not?<br />

Why?<br />

Like any tool, presets can help<br />

or hinder, depending on the way<br />

they’re used. I see a lot of people<br />

trying to use presets for absolutely<br />

everything, but they’d get a better<br />

result if they learned to use the sliders.<br />

Presets also tend to come and<br />

go with fashion, making photos look<br />

really dated, whereas good photo<br />

editing is timeless.<br />

On the other hand, presets can be a<br />

great way of getting some inspiration<br />

when you’re stuck, or learning which<br />

sliders to combine to get a particular<br />

kind of look, or just ensuring consistency<br />

over a set of images.<br />

Adobe’s subscription plan has proven<br />

popular as it makes a lot of their<br />

software more immediately affordable,<br />

but does this give opportunity<br />

for different companies like Capture<br />

One or even Apple’s <strong>Photo</strong>s opportunity<br />

to break into the market in a<br />

bigger way?<br />

The <strong>Photo</strong>graphy Plan is a fantastic<br />

deal, because it means everyone<br />

can have access to industry-standard<br />

tools at a very low cost. There<br />

has been a sudden influx of new editing<br />

tools, and some of them show<br />

great promise. That’s really exciting.<br />

There hasn’t been a lot of choice for<br />

users over the last few years, and<br />

competition is a really good thing, as<br />

it pushes these companies to continue<br />

to grow and innovate.<br />

You’ve got a bunch of great books<br />

on Lightroom, even a free one, tell<br />

us about your books, how long does<br />

it take you to put one together and<br />

are you asked by publishers or even<br />

Adobe to write them or are they your<br />

own product?<br />

How long it takes depends on the<br />

size of the book, but I like to spend<br />

the time to think it through properly.<br />

A free eBook might take 3-4 weeks<br />

to perfect, but on the other end of<br />

the scale, I spent 2 years completely<br />

rewriting my main LRCC/6 book.<br />

I’ve been offered book deals by<br />

big publishers, but I’ve turned them<br />

down. I want to be able to write the<br />

books that readers want to read, not<br />

the books that the publishers want<br />

to publish. Self-publishing gives me<br />

control over the whole process,<br />

so I’m not limited by page or word<br />

counts, or someone else’s vision of<br />

how the book should look, but instead,<br />

I can take feedback directly<br />

from my readers. They’ve given me<br />

some great suggestions over the<br />

years, and I’m constantly tweaking<br />

and improving the books based on<br />

their comments.<br />

Finally if someone wants to learn<br />

about Lightroom where should they<br />

start? I mean do they get your free<br />

download book and go from there?<br />

Yes, my free Lightroom Quick Start<br />

eBook:<br />

www.lightroomqueen.com/quickstart<br />

would be a great place to start. It’s<br />

designed, not only to guide new<br />

users through the basics, but also<br />

helps them avoid the most frequent<br />

problems I see, such as thinking their<br />

photos are “in” Lightroom and then<br />

deleting the originals. Many readers<br />

then move onto the Fast Track that<br />

weaves its way through my main<br />

Missing FAQ book, taking their learning<br />

one stage further, and then they<br />

can dip in and out of the rest of book<br />

when a particular topic takes their<br />

interest.<br />

Adobe also has some excellent Getting<br />

Started videos:<br />

helpx.adobe.com/support/Lightroom.html,<br />

which are an ideal companion to my<br />

Quick Start book.<br />





Left: Original image<br />

Left Bottom: Straight black and white<br />

Right Bottom: Brushed black and white<br />

ONLINE:<br />

www.lightroomqueen.com<br />

www.facebook.com/lightroomqueen<br />


podc<br />

No matter what you’re sort of photography<br />

you’re into, there’s a podcast<br />

for you. From podcasts dealing<br />

with gear and news like Petapixel,<br />

to the brilliant Candid Frame where<br />

host Ibarionex Perello interviews<br />

photographers and digs into their<br />

stories. Scott Bourne (one of our interviewees)<br />

is a long time podcast<br />

host as is Chris Marquardt with Tips<br />

from the Top Floor. The great thing<br />

about podcasts is you can listen anytime.<br />

For me it’s driving to work. My<br />

journey each day is around 50 minutes<br />

so plenty of time to listen to 1 or<br />

2 per day... sometimes more.<br />

Friends they tell me they listen whilst<br />

visiting the gym, going for a walk, or<br />

riding the bus. I plug my iPhone into<br />

the USB plug (or via Bluetooth) and<br />

select a podcast and while driving,<br />

I’m either catching up with the latest<br />

in the world of photography, listening<br />

to someone tell their story or hear<br />

about tips and techniques.<br />

Over the next few pages are some<br />

of our favourites ...<br />


asts<br />

for photographers<br />

The Digital<br />

Story<br />

Hosted by Derek Story, this is a very<br />

community focused podcast with<br />

Derek talking through news in the<br />

world of photography, tech topics,<br />

tips and tools and often including<br />

regular blog posts on the show. The<br />

Digital Story is informative and fun,<br />

and Derek has one of those warm<br />

deep voices that you like listening<br />

too - like Ibarionex.<br />

www.thedigitalstory.com<br />

Tips From<br />

The Top<br />

Floor<br />

Or as Chris Marquardt often shortens<br />

the title to TFTTF, is a podcast<br />

that’s been around longer then any<br />

other. TFTTF is a weekly show as<br />

Chris describes it “... about all things<br />

photography since 2005. Reaches<br />

a global audience and features a<br />

strong community...” Listening to the<br />

show is like listening to a friend talk<br />

about photography. Chris answers<br />

listener questions, chats about the<br />

occasional new gear release and<br />

gets into detail on how things work,<br />

doing so in such a way that the listener<br />

finds fascinating. Educational,<br />

fun and often inspirational. TFTTF<br />

also has a great community using<br />

Slack.<br />

www.tipsfromthetopfloor.com<br />


improve<br />

photography<br />

It’s a mix of gear, news and specific<br />

genres on the Improve <strong>Photo</strong>graphy<br />

podcast feed, topics include travel,<br />

portraits, post processing and photo<br />

news. The on air talent are friendly<br />

and knowledgeable and well worth a<br />

listen!<br />

www.improvephotography.com/category/roundtable<br />

PPN:<br />

<strong>Photo</strong><br />

Podcast<br />

Network<br />

Hosted by Scott Bourne with cohost<br />

Marco Larousse, this is Scott’s<br />

new portal for all their photography<br />

podcasts. The network is for people<br />

who love photography and as the<br />

site says, is not affiliated with any<br />

camera manufacturer. Scott has an<br />

informed approach to any podcast<br />

and is one smart guy who doesn’t<br />

take in all the PR “BS” and tells it<br />

like it is. Marco too is up front on<br />

any issues from camera brands. The<br />

show is a mix of news and tips and<br />

opinions on all things photography.<br />

A great chemistry exists between<br />

these two guys and you need to add<br />

this to your podcast feed!<br />

www.photopodcasts.com<br />

The Candid<br />

Frame<br />

Host Ibarionex interviews photographers<br />

from around the planet and<br />

from very different genres about<br />

how they got into photography and<br />

who they are, who or what they<br />

shoot and gets into the “whys” not<br />

about the gear, but about the passion<br />

of photography. Listening to<br />

The Candid Frame is like listening<br />

into a conversation between friends<br />

who love photography. Great voice<br />

to listen to also, I could listen to Ibarionex<br />

read a bunch of audio books!<br />

www.ibarionex.net/thecandidframe<br />

<strong>Photo</strong>biz<br />

Xposed<br />

Hosted by Australian pro photographer,<br />

Andrew Hellmich this is one for<br />

the photographer wanting to grow<br />

their photography business. Andrew<br />

interviews other photographers who<br />

are full time and some part time but<br />

all working as photographers as part<br />

of their job. Sometimes Andrew will<br />

interview marketing experts, design<br />

experts and social media pros... all<br />

with the view of helping the amateur<br />

and pro who want to turn their passion<br />

into the career. Andrew’s also a<br />

fun guy to go street shooting with -<br />

we had a fun competition one time<br />

in Sydney... but that’s a story for another<br />

issue.<br />

www.photobizx.com<br />


Other’s we love include TWIP - This<br />

Week in <strong>Photo</strong> which is hiatus at<br />

the moment so I’ve not mentioned it<br />

in the main list. Hosted by Fredrick<br />

Van Johnston, the TWIP show was<br />

probably one of the most listened<br />

to shows on air. Originally it featured<br />

Scott Bourne, Alex Lindsay,<br />

Ron Brinkman and the always smiling<br />

Steve Simon. To me those were<br />

the golden years of TWIP - fun and<br />

informative, but to his credit, Fredrick<br />

Van Johnson has taken over the network<br />

and had moulded TWIP into his<br />

show. What happens next while the<br />

show is being re-tooled ..? Well, we’ll<br />

wait and see.<br />

Also check out Martin Bailey’s podcast,<br />

Lensworks, <strong>Photo</strong>focus,<br />

Petapixel and highly recommended<br />

as is LensWork and The Grid by<br />

Scott Kelby.<br />

This is only a short list - there’s dozens,<br />

maybe hundreds more to keep<br />

you entertained and educated every<br />

week, so go exploring on your podcast<br />

app whichever that may be, and<br />

feed your photography passion.<br />


Corey Hayes<br />

Around a year ago I came across<br />

Corey Hayes’ photos through a project<br />

he did called, “Alter Ego.”<br />

That project got quite a bit of media<br />

as it showed a bunch of regular<br />

people who love dressing up in<br />

cosplay. It was almost like finding<br />

our your neighbour was a super<br />

hero... looking deeper into Corey’s<br />

photography you find out he’s passionate<br />

about photographing people.<br />

Whether it’s actors, musicians...<br />

it’s all about people. Corey’s based<br />

in New York City and has had his<br />

work appear in The New York Times,<br />

Vogue UK, GQ and many other magazines<br />

and has published a book,<br />

Nightshift NYC with Russell Leigh<br />

Sharman and Cheryl Harris Sharman.<br />

Corey welcome to the first edition of<br />

<strong>Photo</strong> <strong>Live</strong>...<br />

I’d love to know what it’s like to be<br />

a working photographer in New<br />

York City, sitting thousands of miles<br />

away in Australia, we have this preconceived<br />

conception of New York<br />

being a thriving, gritty in places city,<br />

with people everywhere and always<br />

something happening.<br />

That is usually people’s perception<br />

of it, and there’s quite a bit of truth<br />

to it. For me New York has always<br />

been a very neighborhood scene.<br />

I live on the Upper West Side and<br />

for the most part stay pretty close. I<br />

know my laundry person, the people<br />

at my local teashop, and recognize<br />

folks at all of my usual haunts, so<br />

for me it is not unlike some of what<br />

I experienced growing up in a small<br />

town. Being a working photographer<br />

is tough! I think I can best sum it up<br />

with a story. The first time I dropped<br />

off my portfolio was at Blue Note Records.<br />

When the person at the front<br />

desk took it she placed it in a pile of<br />

other portfolios and one in particular<br />

I recognized as one of my favorite<br />

photographers. I immediately realized<br />

that I needed to constantly be<br />

working on improving my work as the<br />

people I was competing with were<br />

some of the best photographers in<br />

the world.<br />

Tell us about your photography, what<br />

sort of work are you doing most often?<br />

After spending about 5 years in NYC<br />

assisting other photographers and<br />

another 8 doing work as a freelance<br />

photographer, this past year I’ve<br />

made a big shift in my work and have<br />

started working with a non-profit<br />

called New York City relief that helps<br />

the homeless here in NYC. Most of<br />

my day to day work these days is<br />

photographing the poor and homeless<br />

folks we serve, and trying to<br />

help them recapture some dignity in<br />

their lives.<br />

What about personal work - do you<br />

have much time for projects?<br />

I do still take on clients from time to<br />

time, and try to make time for personal<br />

work as well. I find that now<br />

that I’m trying to make these two<br />

areas converge. I’m a bit more discerning<br />

when it comes to which jobs<br />

I take. After working with the homeless<br />

for the past year, it’s hard to go<br />

back to a place of wanting to see a<br />

lot of fancy hair and makeup in my<br />

images. Right now I want to see<br />

more of the beauty that resides in<br />

each person without anything added.<br />

<strong>Photo</strong>graphing people right when<br />

they walk into the studio, that is what<br />

I’m exploring right now.<br />

You do quite a lot of actors headshots,<br />

what’s your process? I mean<br />

what do try to capture on a shoot?<br />

Wow, these are really good questions!<br />

My process always begins<br />

with a meeting. I always try to grab<br />

coffee with the actor I’m planning to<br />

shoot beforehand. If I do anything<br />

right in my work it starts with getting<br />

to know someone first before put-<br />




ting a camera in between us. Then I<br />

ask a few key questions like; “What<br />

characters appeal to you?”, “Who<br />

are you usually cast as?”, and “If you<br />

could have any actor’s career, who’s<br />

would it be?”. This helps me to figure<br />

out what they want an image of<br />

them to portray. I don’t believe in a<br />

generic headshot. If you are an actor,<br />

I think that your headshot should aim<br />

directly towards the roles you want<br />

to play. When I did Dane DeHaan’s<br />

first head shots out of acting school,<br />

I was really impressed that he had<br />

such a clear grasp on what made<br />

his image and how that affected the<br />

roles he wanted to be cast for. The<br />

photography is the photography, but<br />

the forethought of “What do I bring<br />

to this craft?” can really help create<br />

a headshot that defines you.<br />

What about your musician photography,<br />

do you approach it differently to<br />

something like the actors?<br />

Yes! End of the day, all musicians<br />

want is a photo to make them look<br />

cool. I don’t mean that in a bad<br />

way or conceited way. Actors want<br />

something specific, and usually want<br />

it to play into their image. Musicians<br />

are usually much more open to<br />

something artistic, and creative, as<br />

long as it fits with where they are<br />

creatively. With musicians, I want to<br />

listen to their latest songs and that<br />

alone is usually enough to give me<br />

a starting point. I can start thinking<br />

about visuals after listening to and<br />

reading the lyrics. They are also<br />

usually a bit more interested in<br />

collaboration which usually elevates<br />

the places that the photos can go.<br />

Sometimes not. But I’ve been pretty<br />

lucky to work with some really<br />

creative people.<br />

Your Chrysta Bell photos are stunning,<br />

they seem to really capture her<br />

personality, as many of your photos<br />

do, how do you bring that out?<br />

Thank you! Chrysta was still living in<br />

Austin and I had just moved to NYC<br />

when that shoot came together.<br />

Capturing someone’s personality<br />

depends on two parts for me. The<br />

first is creating a safe space for<br />

someone to be themselves. The<br />

second is what is that person willing<br />

to bring to the shoot? I believe that<br />

I’m pretty good and creating a space<br />

where people can not be judged and<br />

have a sense of freedom to be part<br />

of a creative process, but part two I<br />

don’t have much control over. It reminds<br />

me of how people feel when<br />

they look in a mirror. We all see a reflection<br />

that is distorted through how<br />

we feel about ourselves, but some<br />

people are comfortable with that<br />

view, and others just are not.<br />

The Jenny Owen Youngs photos are<br />

very film like, beautiful grain, what’s<br />

the story behind them?<br />

Jenny and I became friends through<br />

other musicians I had photographed.<br />

We had talked about collaborating<br />

and though a few conversations we<br />

had talked about how she is a huge<br />

Buffy the Vampire Slayer fan. She<br />

is also an introspective, funny, multi-layered<br />

person and not that comfortable<br />

being photographed. We<br />

went a diner in New Jersey that Jenny<br />

loved and shot for about and hour<br />

and a half. I feel like those photos are<br />

actually more fitting now than when<br />

we shot them a few years ago because<br />

Jenny and her partner recently<br />

started a Buffy podcast that you<br />

can find here: https://bufferingthevampireslayer.com/<br />

You’ve got lots of beautiful black and<br />

white, talk about that and perhaps<br />

share how you create a black and<br />

white.<br />

Black and white photography in<br />

some ways has been a return to<br />

where I started in photography<br />

when I worked in the darkroom. I<br />

don’t want to bore people with the<br />

HOW of making a black and white,<br />

especially because I’m not a tech<br />

head when it comes to photography.<br />

What interests me to constantly try<br />

to get rid of the the non-essentials<br />

in my images. I’m pretty much a<br />

minimalist in both my work and my<br />

life, so I like seeing how much of the<br />

non-essential information I can get<br />

rid of. This is why I’m so drawn to<br />

black and white. It’s making a portrait<br />

of the bare essentials of that person.<br />

Currently I’m especially drawn to find<br />

beauty in the rawness or unrefined<br />

parts of people.<br />



Ok, what about something funny<br />

that’s happened during a shoot, care<br />

to share something with our readers?<br />

There have been lot’s of funny moments<br />

and maybe even more when<br />

I was assisting other photographers<br />

in NYC. I think one that was<br />

both funny and interesting is while I<br />

was photographing cosplayers for<br />

my “Alter-Ego” project. One of the<br />

cosplayers named Ruby Rinekso<br />

brought his Man-Bat costume which<br />

took him a solid hour to fully put on.<br />

Ruby is usually a really sweet, funny,<br />

rock-and-roll kind of guy, but once<br />

the costume was on, his persona<br />

completely changed. My photo assistant<br />

Claire was so creeped out<br />

by it that she was really shook up<br />

for the rest of the day. I found that to<br />

be one of the most interesting parts<br />

of the entire cosplay project; seeing<br />

people’s personalities change once<br />

they became the character they<br />

were cosplaying.<br />

Let’s say a fairly new photographer<br />

you meet asks for a few tips on portrait<br />

photos - what 4 or 5 tips would<br />

you give them?<br />

1. Shoot what you love. If you love<br />

something, then it matters to you. If it<br />

matters to you, it will never be boring<br />

and you’ll always want to return to it<br />

and discover more about it. One of<br />

the most impactful things I’ve ever<br />

done is to revisit a subject over and<br />

over.<br />

2. <strong>Photo</strong>graphy is something you get<br />

good at fairly quickly, and then takes<br />

a really long time to master. (I’m nowhere<br />

close to mastering it!!)<br />

3. Know when to pick up the camera<br />

and when to put it down. It is too<br />

easy to live vicariously through photographing<br />

something, and not actually<br />

being part of it.<br />

4. Find your style. This is really<br />

tough, but it comes through finding<br />

out about yourself. There’s a million<br />

photographers out there, but none<br />

have your accumulated experience<br />

or point of view. Once you find your<br />

point of view, and what you want to<br />

say, there will only be one photographer<br />

that shoots like you.<br />

5. Respect your subject. Anything<br />

I get that is personal from my subjects<br />

begins with respecting them<br />

first. This takes time and there are<br />

no shortcuts. I don’t believe that any<br />

subject/person is just for you to get<br />

your needs met.<br />

What gear do you take on your on<br />

location shots or on-the-street musician<br />

photography<br />

I’ve admitted I’m no gear-head when<br />

it comes to photography, so I travel<br />

light. I’ve been much more interested<br />

in shooting with natural light over the<br />

past 3 years which makes it even<br />

easier to travel unencumbered. My<br />

camera is a Canon 5D mark III, and<br />

24-75mm lens and a fixed 85mm.<br />

I love fixed lenses! They make me<br />

move more to get the framing I want.<br />

Aside from that, usually a reflector,<br />

or scrim, some blotting papers and<br />

chewing gum. (The gum is only for<br />

me! I don’t let people chew gum<br />

when they are being photographed!)<br />

Finally Corey, where can readers go<br />

to see more of your photography??<br />

My website of course, and there is a<br />

photoblog there that I post to pretty<br />

frequently.<br />

(www.coreyhayesphoto.com)<br />

Instagram: @coreyhayesphotos<br />




film classi<br />

CAME<br />

It’s a cold winters day here in<br />

Australia and so what better thing<br />

to do then head into your favourite<br />

camera store and talk to the<br />

pros about some old classic film<br />

cameras. We met Tom Taylor from<br />

Camera House on Grenfell Street<br />

in Adelaide and got to play with<br />

these beauties.<br />

<strong>First</strong> up is the Pentax K1000, we<br />

asked Tom all about it...<br />

The Pentax K1000 model was<br />

Made by the Asahi Optical co<br />

in Japan. A 35mm full manual<br />

controlled slr body, Completely<br />

mechanical not reliant on batteries<br />

to run any part of the camera<br />

with the exception of a button cell<br />

battery for the built in light meter.<br />

Utilizing the K-mount pentax<br />

fit lens bayonet , Pentax<br />

manufactured some of the best<br />

lenses to support their cameras.<br />

Made from 1976-1997 It was<br />

almost bullet proof and most<br />

Schools were supplied this model<br />

not only for there build quality<br />

but also a very easy camera to<br />

operate.<br />

This camera when new would have<br />

sold for about a third of the price<br />

of the Nikon equivalent and yet<br />

equally as good.<br />


c<br />

RAS<br />

RAS<br />


"A great deal of Leica M3 bodies used to cover th<br />

Next up we saw this old Zeiss<br />

sitting on the shelf, Tom what can<br />

you tell us about it?<br />

This is the Zeiss super Ikonta<br />

533/16 - this one being the early<br />

model made in 1937-52 Manufactured<br />

in the Zeiss factory in Germany<br />

.<br />

Uncoupled exposure meter, 12 exposures<br />

6cmx6cm on 120 roll film,<br />

This is a most awesome compact<br />

medium format camera with the<br />

sharpest lens on the planet,<br />

Over engineered being German<br />

manufactured, Zeiss Tessar 80mm<br />

2.8 LENS IN A Compur rapid shutter.<br />

Considering the age of this camera<br />

it would still produce outstanding<br />

image quality and highly valued<br />

by camera collectors. One of the<br />

best built and compact medium<br />

made.<br />

Then I saw that classic red dot<br />

calling me.. the Leica M6, ok Tom<br />

talk to us about the Leica cameras<br />

here...<br />

The Leica M6 is now a classic<br />

35mm rangefinder camera that<br />

comes from a long line of M series<br />

bodies which started from 1954<br />

onwards and now M8 M9 Didital<br />

bodies.<br />

Made in the Ernst Leitz wetzlar<br />

factory in the early days.<br />

M6 accepts all m mount Leica bayonet<br />

lenses and leica screw mount<br />

with adaptor, These are the best<br />

optic available for 35mm cameras.<br />

This one is a chrome body and<br />

at $1750.00 great value. These<br />

seems to go up in value each year<br />

and are really popu;ar with press/<br />

photo journalist and street photographers<br />

,One word sums it all<br />

up. Amazing optical performanc e<br />

of their lenses,<br />

Compact beautifully manufactured<br />

equipment and cost a fortune<br />

when new.<br />

A new M9 or 240 body now<br />

$9500.00 aud. Pus A standard<br />

Summilux or summicrom lens another<br />

$2500/3500 Australian.<br />

A great deal of Leica M3 bodies<br />

used to cover the Vietnam war and<br />

other uprising around the world.<br />

Some of the top press photographers<br />

are still pounding their old<br />

leica gear and still winning top<br />

press photo awards.<br />

French master and pioneer of<br />

street photography Henri Cartier-Bresson<br />

used a Leica M3 for<br />

most of his photography, One of<br />

many famous artist who chose the<br />

Leica system.<br />


e Vietnam war and other uprising around the world.<br />

"<br />

Now The Vintage Leica 111F with<br />

collapsible Elmar 5cm f3.5 Lens,<br />

Again same factory in Germany<br />

1950-56 This model accepts the<br />

Leica screw mount lenses not the<br />

M bayonet type, Very useable but<br />

the most desirable models to camera<br />

collectors and historians.<br />

Some of the early models can<br />

easily sell for massive figures at<br />

auction.<br />

In 2012 in Vienna Austria a Leica<br />

O series prototype one of only 6<br />

made in 1923 was auctioned and<br />

sold for a world record of $2.79<br />

Million dollars US.<br />

So please check your Grandparents<br />

house and sheds, Who knows<br />

what may turn up.<br />

All the 35mm leica cameras are<br />

popular for a great number of reasons,<br />

German engineering, precise<br />

optics and compact easy to use<br />

models that travel well and super<br />

reliable, The bonus is like the old<br />

vintage car they get more valuable<br />

with age if looked after.<br />

Most shooter will use black and<br />

white film but colour can be used.<br />

Rolls Royce of the camera business,<br />

Not unlike classic BMW<br />

Mercedse benz and Audi etc<br />

We hung around for a while longer,<br />

talking about old cameras, I took<br />

a liking to a few range finders and<br />

played around with them. Outside<br />

it began to rain and I thought<br />

about those iconic street shooters<br />

wandering Paris or New York<br />

with their rangefinders in hand.<br />

Capturing life on the streets no<br />

matter what the weather. Eventually<br />

we had to leave and get back<br />

to the real world of work, digital<br />

everything and a life where the<br />

web is the centre of your day. I can<br />

only imagine the peace of wandering<br />

those streets without needing<br />

or wanting to check Facebook or<br />

email. Where there were no smart<br />

phones that interrupted the simple<br />

joy of being alive and taking<br />

photos.<br />


One thing photographers have in<br />

common is the desire to progress as<br />

artists. For some it might be technical<br />

skills, others the creative, more<br />

artistic side. And for many of us, it<br />

is both sides that we want to grow<br />

in. Fortunately some photographers<br />

that are further along that pathway<br />

are more then happy to share and<br />

teach others. Jim Harmer is one of<br />

those photographers. He’s got an<br />

amazing eye, brilliant technical skills<br />

and loves sharing his knowledge.<br />

You may have heard of Jim through<br />

his online site, Improve <strong>Photo</strong>graphy<br />

or from his podcast or social media.<br />

We got together with Jim and asked<br />

how it all began...<br />

Thanks Jim for talking to us, tell us<br />

how a law student decides instead<br />

to be a photographer, educator and<br />

podcaster..?<br />

During law school I taught adult-ed<br />

classes at night for retirees. I started<br />

the blog as a way to communicate<br />

with my little class so I wouldn’t<br />

have to repeat the teaching of the<br />

basics of photography each time I<br />

I think what helped me grow in the<br />

early stages were that the photography<br />

blogging arena was much less<br />

competitive back then. There really<br />

weren’t that many photography<br />

blogs, so it helped me to get started.<br />

Also, I began locally. I was teaching<br />

classes and workshops in my own<br />

city, so people got to know me per-<br />

JIM<br />

harmer<br />

got a new class. Pretty soon, hundreds<br />

and then thousands of people interest in my website. It made peosonally<br />

and it generated much more<br />

were visiting Improve<strong>Photo</strong>graphy. ple comment and share my articles,<br />

com, so I started writing more resources<br />

for the world. The site took pressive than it really was back then.<br />

which made the site look more im-<br />

off from there and now gets a million<br />

people a month visiting the site. You’ve got an amazing portfolio and<br />

somehow you have carried over a<br />

look or style across all genres, tell us<br />

about that.<br />

Why do you think you’ve managed to<br />

be so successful, what I mean is you<br />

have a massive following online that<br />

is a full time business if I’m right?<br />

I feel like the look of my photos is<br />

constantly changing as I improve<br />

and learn knew things. I wouldn’t<br />

necessarily even say that it’s super<br />

consistent. I try to keep things fresh<br />

and not get stuck too much in a rut.<br />

What’s your favourite genre to shoot,<br />

if you have one of course?<br />

Landscape<br />




You’re also a teacher, can you tell us<br />

about that journey.<br />

Once my blog started getting massive<br />

amounts of traffic, I started<br />

selling online photography classes.<br />

This was before Youtube was huge,<br />

so they sold really well at the time.<br />

I’ve evolved as things have changed,<br />

and now I do most of my photography<br />

teaching on Improve<strong>Photo</strong>graphyPlus.com,<br />

which is a subscription<br />

site where photographers can get<br />

hundreds of hours of photography<br />

instruction, Lightroom presets, and<br />

tons more for $19/month.<br />

What are you offering photography<br />

students on your Improve <strong>Photo</strong>graphy<br />

site?<br />

Improve <strong>Photo</strong>graphy publishes free<br />

tutorials every single day, has an<br />

active youtube channel, releases<br />

a podcast twice a week, and maintains<br />

a very popular subscription<br />

site called Improve<strong>Photo</strong>graphyPlus.<br />

com, where people can subscribe<br />

to get video training on all different<br />

types of photography. We also offer<br />

those same videos as one-off purchases<br />

on the Improve <strong>Photo</strong>graphy<br />

store.<br />

On to podcasting and content creation,<br />

when did that all start?<br />

I started back in 2009 and the site<br />

has grown incredibly since then. We<br />

now have a team of 15 writers who<br />

create content each day, and awesome<br />

podcasters who produce our<br />

show.<br />

Tell us about the latest changes in<br />

the Improve <strong>Photo</strong>graphy Podcast<br />

network. What I mean is I’ve noticed<br />

a few podcast networks (for want of<br />


We’ve decided to streamline our<br />

podcasting. Before, we were producing<br />

multiple different shows and<br />

it became unwieldy to produce that<br />

many podcasts each week, and the<br />

marketing became jumbled to tell<br />

a new user to subscribe to 5 different<br />

shows. Now, we’re moving<br />

everything to one podcast--the Improve<br />

<strong>Photo</strong>graphy Podcast. Each<br />

Monday, users get a new episode of<br />

a different genre-specific podcast<br />

like <strong>Photo</strong> Taco, Tripod (landscape<br />

photography), Portrait Session, and<br />

Latitude (Travel <strong>Photo</strong>graphy). Then<br />

each Friday the listeners get our<br />

popular roundtable show where we<br />

have the hosts of all the podcasts<br />

come on and talk photography.<br />

My goal is to create the best quality<br />

photography podcast with excellent<br />

prep. Something information<br />

packed and well-produced. Creating<br />

the most number of shows was the<br />

wrong goal.<br />

Ok - I have to ask, social media,<br />

what’s working, what’s not, what’s<br />

frustrating you and why?<br />

Over the years I’ve amassed a gigantic<br />

social media following. I’m really<br />

grateful for that, and there was a<br />

time that it was the single thing that<br />

helped the site to grow. We now<br />

have a million followers on social<br />

media, and 650,000 of them are on<br />

Facebook. Yet, Facebook only generates<br />

less than 2% of the traffic to<br />

Improve<strong>Photo</strong>graphy.com now.<br />

Facebook has taken a stubbornly<br />

anti-small business attitude over the<br />

last few years. They publicly stated<br />

their goal is to only show posts<br />

to 1% of the people you get to like<br />

your Facebook page. It now costs<br />

me over $3,000 just to boost my<br />

Facebook posts so that HALF of the<br />

audience I built gets to see the post.<br />

Think about how insane that is!<br />

Facebook essentially says “Send<br />

traffic from your site over to Facebook.<br />

Get them to like your page. If<br />

you do, we’ll let you pay us $3,000<br />

to let half of them see your post.<br />

Otherwise, only 1% of them will see<br />

it.” No thanks. I’m done playing their<br />

game.<br />

My efforts going forward are on Youtube<br />

and making my own site the<br />

best it can be. I’d rather just encourage<br />

people to come right to the site,<br />

where they can follow everything<br />

we do.<br />

So the best place for readers and<br />

fans is the Improve <strong>Photo</strong>graphy<br />

site?<br />

Absolutely. We are pouring a crazy<br />

amount of resources into making the<br />

Improve <strong>Photo</strong>graphy site the very<br />

best it can be. With a large team of<br />

writers producing excellent content<br />

each day, tons of great videos, podcasts,<br />

and more... it’s the place to go.<br />

Fun question, what would be a<br />

dream destination to visit and shoot<br />

and what would you take with you?<br />

Right at the top of my list right now<br />

is Tasmania. It’s almost never talked<br />

about in photography circles, but I’ve<br />

spent the last two years working on<br />

a new app called Really Good <strong>Photo</strong><br />

Spots. It’s an app with THOUSANDS<br />

of awesome photography locations<br />

around the world, that you can easily<br />

search and find. It’s perfect when<br />

traveling that you can just press the<br />

“Spots near me” button and BOOM!<br />

Your trip research is done for you.<br />

Anyway, while researching locations<br />

for the app, I was blown away with<br />

the spots in Tasmania. It’s an incredible<br />

place, and one that I never hear<br />

photographers talking about.<br />




ONLINE:<br />

www.Improve<strong>Photo</strong>graphy.com<br />

www.photographyidaho.com<br />


chris<br />

niccolls<br />

Chris you’re the host of The<br />

Camera Store TV, how did that<br />

start out<br />

Jordan and I decided to do a<br />

store tour really only in an effort<br />

to have some sort of audio visual<br />

appeal on our website. He had<br />

just recently started at TCS and<br />

had a background in film making. I<br />

taught photography regularly and<br />

so was capable of public speaking<br />

in front of crowds. So we figured<br />

we would give it a try and see<br />

what happened. It was not our<br />

best production to say the least<br />

but there was something there and<br />

we worked well together. The rest<br />

is history.<br />

Do you think the traditional<br />

photography store business model<br />

needs to change? What I mean is<br />

we’ve seen major retailers in the<br />

past close, how do you see the<br />

future for your type of store?<br />

It’s has changed drastically. If you<br />

think of it in terms of a pyramid,<br />

the base and largest group of<br />

people were the casual memory<br />

makers wanting point and shoots<br />

and simple cameras. In the<br />

middle you had a smaller group of<br />

enthusiasts who took photography<br />

in a more serious way buying SLRs<br />

and advanced lenses. At the top of<br />

course the smallest group are the<br />

working professionals. Cell phones<br />

largely took away that whole<br />

bottom layer and thus a big part of<br />

the photo industries business. So<br />

the key for us during this downturn<br />

is to diversify into drones, and<br />

video equipment, sound gear,<br />

and even telescopes. Further it is<br />

because of our website and across<br />

canada sales which is in no small<br />

part supported by the YouTube<br />

brand we’ve created. Hopefully<br />

in the future we can branch out<br />

into more international sales and<br />

continue to improve our web<br />

presence.<br />

On the Youtube channel, you’ve<br />

probably tested and played with<br />

as many different cameras as<br />


The camera store TV host<br />

anyone on air, any cameras<br />

stand out for you with the type of<br />

photography you like?<br />

You bring up a unique problem<br />

for sure. At the outset it sounds<br />

amazing getting to use the<br />

latest photo gear all the time as<br />

it arrives. We also do get early<br />

access to a lot of new products<br />

which is as awesome as it sounds.<br />

However it also creates an issue<br />

for me as a photographer. I’m<br />

always having to start from square<br />

one learning the ins and outs of a<br />

new camera. I don’t get to really<br />

achieve that level of comfort using<br />

a camera for a long time. That<br />

intuitive level of proficiency that<br />

really makes photography flow.<br />

Not complaining though! I do get to<br />

play with all the latest gear all the<br />

time.<br />

Speaking of your photography<br />

what is it you love shooting?<br />

For me i started out shooting<br />

black and white film on the street.<br />


I love photographing people, the<br />

randomness of life, and beautiful<br />

light as I find it. I will say though<br />

that doing the show has pleasantly<br />

forced me into many other fields<br />

of photography. For the show i now<br />

have to do landscapes, people,<br />

architecture, and even a little food<br />

once in awhile. It’s helped me grow<br />

quite abit.<br />

Tell us what would be the perfect<br />

day for you (taking photos)<br />

My perfect day taking photos<br />

would actually be to put the<br />

camera in a bag and go fly fishing<br />

or shooting firearms instead.<br />

Maybe a nice canoe ride or<br />

hike. But if i still take the camera<br />

with me that counts right!? I am<br />

thankful that the show keeps.me<br />

shooting on a regularly basis so<br />

that I can pursue other things I<br />

want in my freetime.<br />

Back to Youtube and podcasts in<br />

general, where do you see this<br />

media in say 5 years?<br />

That’s tough one to predict. We<br />

will obviously always want media<br />

at our fingertips from now on. The<br />

age of scheduled programming is<br />

over and we want it how we want<br />

it, when we want it. On demand.<br />

My oldest son is twelve and<br />

YouTube is such a big part of there<br />

age group now. They will grow up<br />

to be the producers of content in<br />

the future and from what I can tell<br />

now, it’s gonna be a video game<br />

world.<br />

Some of our favourite shows are<br />

yours and also was, Digital Rev<br />

that seems to have gone into<br />

hiatus since Kai, Lok and Alamby<br />

moved on, do you have any<br />

thoughts on that? Can they or will<br />

they bounce back?<br />

That was a big change for sure<br />

and I’m surprised they didn’t try<br />

to at least keep the engine going<br />

more fervently. I’m happy for kai<br />

and lok though. They seem way<br />

more creative and way happier too<br />

now. In the end the show is really<br />

it’s people and not it’s brand so I’m<br />

happy to see followers joining the<br />

ex digital rev crew in their future<br />

endeavours.<br />

For readers who’d like to perhaps<br />

get into creating a channel or<br />

even a podcast what do you<br />

and Jordan and the team do to<br />

prepare for an episode?<br />

Say goodbye to our families and<br />

disappear for hours and hours<br />

until the children barely recognize<br />

us. Im joking, but only slightly. It’s<br />

lots of hours and lots of work and<br />

Jordan and I easily spend more<br />

time together than with anyone<br />

else. Kinda scary... for him mostly.<br />

Anyone getting started on a<br />

channel should be passionate<br />

about it and give themselves over<br />

to it.<br />

A fun couple of questions, when<br />

you and Jordan have a few drinks<br />

to do your gear show, who drinks<br />

the most and what’s the choice of<br />

beverage?<br />

Weve done quite a few now<br />

and it varies from pitcher sized<br />

old fashions, to straight whisky,<br />

to craft beer. He always drinks<br />

more because he loses all the<br />

drinking challenges. We need to<br />

find something he can beat me at<br />

to level the playing field. I’m also<br />

thinking tequila...<br />

Let’s say you can choose one<br />

camera and one lens to go on<br />

a holiday, what would you take?<br />

Let’s say a warmer climate like<br />

Asia in spring..<br />

For me personally I use Panasonic<br />

and own a GH5. For me it’s the<br />

ideal combo of stills and video.<br />

Jordan also has one and loves it<br />

for that very same reason. It has to<br />

be appreciated that the lenses and<br />

tripods required are also smaller<br />

for micro 4/3rds and this all helps<br />

to make them ideal travel cameras.<br />

What bag would you choose for<br />

that trip?<br />

I’m digging the Manfrotto bags<br />

lately. I like their green street<br />

series bit overall they are stylish<br />

enough and affordable. We’re<br />

looking into the peak design gear<br />

as well and if I had unlimited finds<br />

I’d probably own a few ona bags by<br />

now.<br />

What’s your favourite photo you<br />

have taken so far?<br />


Oh man. Probably a picture of a<br />

young elephant trainer in Thailand<br />

with his elephant. It’s black and<br />

white and you can find it on my<br />

Instagram feed @tcstvchris he had<br />

such a genuine expression and I<br />

enjoyed the scale and framing the<br />

elephant created around him. It’s<br />

funny but for me photos are like<br />

fish. After I’ve “caught” one I let it<br />

go and move on. Maybe I should<br />

spend some time looking back a<br />

little.<br />

And finally where can readers go<br />

to find out more about you and the<br />

TCSTV?<br />

Definitely please visit the above<br />

Instagram channel and keep<br />

watching the show in youtube.<br />

Jordan and I feel the thing that<br />

makes our show unique is how<br />

much of our actual sincere<br />

personality is in there. No act<br />

is put on although we do swear<br />

more IRL. Also our live show is<br />

now nearly.every saturday mirning<br />

at 930mst so we cant even edit<br />

our personalities on that one.<br />

Watching the show is the best way<br />

to get to know us. We also love<br />

taking to people on Twitter and<br />

Instagram so check out the feeds.<br />

Chris<br />

Twitter @tcstvchris @tcstvjordan<br />

Instagram @tcstvchris<br />

@thecamerastoretv<br />

Jordan<br />


a film by Cheryl Dunn<br />

Everybody Street is the sort of<br />

documentary that we really need<br />

more of. It’s an in-depth look at<br />

some of the world’s best street<br />

photographers who use New<br />

York City as their canvas. The<br />

film covers 9 decades of street<br />

photography and pays tribute to<br />

the “spirit of street photography<br />

through a cinematic exploration of<br />

New York City.”<br />

There’s a flow to the film, the<br />

pacing is tight so you never<br />

get bored or drift off. Featuring<br />

iconic photographers including<br />

Bruce Davidson, Mary Ellen<br />

Mark, Boogie, Bruce Gilden and<br />

many more, it’s a film that shows<br />

you different approaches to the<br />

street photography genre by very<br />

different photographers. From<br />

Boogies’ (Vladimir Milivojevich)<br />

attraction to the darker side<br />

of people he’s captured gang<br />

members aiming guns at him,<br />

people shooting up and the danger<br />

of the street at night.<br />

Everybody Street also features<br />

the “in-your-face” brilliance of<br />

photographer, Bruce Gilden who<br />

captures characters he comes<br />

across as he wanders through<br />

the city. His style is unique and<br />

not often copied, you have to<br />

see him in action to understand<br />

what I mean. With a sense of<br />

humour, Gilden documents<br />

the unique among the city’s<br />

inhabitants. Then you’ve got the<br />

prolific Mary Ellen Mark (1940-<br />

2015) who travelled the planet<br />

extensively, documenting subjects<br />

such as Mother Teresa, brothels<br />

in Bombay, homelessness, the<br />


“A picture is a picture.<br />

What’s it matter what<br />

tool you use?”<br />

- Jill Freedman<br />

demonstrations in opposition to<br />

the Vietnam War and transvestite<br />

culture to touch the surface of her<br />

accomplishments.<br />

Also included are Jill Freedman,<br />

Rebecca Lepkoff, Jeff<br />

Mermelstein, Joel Myerowitz,<br />

Martha Cooper, Jame Shabazz,<br />

Clayton Patterson, Ricky Powell,<br />

Max Kozloff, Luc Sante and<br />

Elliot Erwitt.<br />

It’s a must see film, not just for<br />

those who are interested in street<br />

photography, but photography<br />

across all genres. Hearing how these<br />

amazing artists approach their photography<br />

is an education no matter what you’re into<br />

shooting. It’s available on a number of sites<br />

including:<br />

Vimeo: https://vimeo.com/ondemand/<br />

everybodystreet/70639661<br />

iTunes : https://itunes.apple.com/au/movie/<br />

everybody-street/id997499593<br />

Buy online:<br />

http://www.everybodystreet.bigcartel.com/<br />

Don’t rent -<br />

BUY this movie!<br />

You’ll want to<br />

watch this more<br />

than once.<br />




Interview with Cheryl Dunn, Film<br />

Maker, <strong>Photo</strong>grapher and the<br />

director and producer, editor of<br />

Everybody Street.<br />

Cheryl Dunn is a brilliant film<br />

maker. We reviewed her “must<br />

see” film, Everybody Street in this<br />

issue simply because it’s a great<br />

movie about street photography,<br />

and also because I’m not sure it’s<br />

as well known in the community<br />

as it should be. I reached out to<br />

Cheryl and asked if she had a few<br />

minutes to talk about the movie<br />

and what might come next...<br />

Thanks for talking to us Cheryl,<br />

first up what inspired you to make<br />

Everybody Street?<br />

I was asked by a museum in<br />

lower manhattan to come up with<br />

a film idea that could play within<br />

an Alfred Steiglitz exhibition .<br />

i wanted to make a film about<br />

photographers who had followed<br />

in his foot steps and gone out and<br />

created substantial bodies of work<br />

about the streets of NYC. after<br />

showing the short at the museum<br />

and then being invited to show it at<br />

the Tate modern i went back into<br />

the project to expand it to feature<br />

length because there was so much<br />

more to say .<br />

How difficult was it to<br />

book interviews with the<br />

photographers?<br />

As I said The film was initially a<br />

commission from a museum to<br />

make a short My total production<br />

time for that short was just 3<br />

months. Some of the people I<br />

approached had timing issues<br />

but I would say I got most of the<br />

photographers I reached out to<br />

. Joel Meyerowitz was a family<br />

friend of one of my producers and<br />

he was my first interview .<br />

I knew Bruce Davidson’s gallerist<br />

and went through those channels..<br />

they were both so lovely but you<br />

have to remember if you are<br />

approaching someone, and asking<br />

them to give you their time you<br />

shout think about a few things:<br />

why should they care, what can i<br />

ask them that they haven’t been<br />

asked numerous times before .<br />

so i really did my research and<br />

because i am a shooter myself, i<br />

focused on more insider questions<br />

or the psychology of street<br />

shooting... I also shot 16mm of all<br />

the photographers. Many of them<br />

have made films themselves and<br />

I think they appreciated that.. I<br />

asked Bruce to go into the subway<br />

with me , and he watched me labor<br />

over loading a 100 foot load in<br />

my beaulieu 16mm camera. He<br />

gave me more of his time maybe<br />

because he acknowledged my<br />

efforts and was he cool with me ..<br />

when I went back into shooting for<br />

the feature I was able to get more<br />

people because I had the short<br />

to show and timing was better for<br />

some.<br />

Who was the most interesting<br />

person to interview? Our guess<br />

would be Bruce Gilden, but we<br />

could be wrong..?<br />



They are all so different and<br />

extreme . some of these<br />

photographers have been doing<br />

this for over 60 years . I would<br />

never really say anyone was more<br />

interesting but I did have a funny<br />

street experience with bruce<br />

gilden.<br />

When we were Shooting Bruce<br />

Gilden in mid town manhattan<br />

he said he never goes on 47th<br />

st.. which is the diamond district.<br />

Most people milling around the<br />

streets here are either carrying,<br />

diamonds, guns, or cash , . we<br />

stepped on the street and he took<br />

one picture of a girl looking at<br />

herself in a shop mirror . the flash<br />

went off and she immediately<br />

turned around and tried to hit him<br />

. he blocked her punch and all of a<br />

sudden 3 big dudes appeared out<br />

of nowhere holding bottles and<br />

cans ready to jump him .. That<br />

was pretty memorable . he got<br />

very wound up afterward, and<br />

went on about what he would<br />

have done to those people if this<br />

were back in the day when he was<br />

more wild.<br />

Will you do a follow up film or<br />

something else with photography<br />

as the subject?<br />

Possibly . maybe more like a<br />

series.<br />

Finally if people want to buy or<br />

rent Everybody Street, where<br />

should they go?<br />

They should go to my site http://<br />

everybodystreet.com/<br />

To buy a dvd or watch on vimeo .<br />

And you can also see it on Netflix<br />

and other streaming services<br />




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