Making Pig Products more Personable

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KR Darling Downs I; © Ian Poole, 1980

It is 1980 and my fledgling photographic business is grateful for any assignments thrust my way.

My close mate, the Art Director, turns up at my Studio in the old pink church, with a set of water colour renderings that he has just had drawn at the direction of the client.  The Client thought that it would be a good idea to show the source of his product in a cute and humorous way.

The source was a pig!     And the product was bacon! 

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KR Darling Downs II; © Ian Poole, 1980

That is how the KR Darling Downs Christmas Card Assignment was launched.  My reservations about the quality of the concept are more pronounced today than they were way back in another century.

After all, an advertising photographer is just a hired camera sitting around waiting for a commission.

My job was to reproduce the artwork as accurately as possible for printing of Christmas Cards and a possible brochure.  This was a time of black and white newspapers, and whilst it may have been reproduced in the Toowoomba Chronicle, that was not a concern on this occasion.  Working at the 115 Warren Street, Fortitude Valley Studio, and using my Sinar P2 (5×4″) screen-shot-2016-12-21-at-5-34-12-pmcamera, Kodak Ektachrome transparency film and a Kodak Color Control Patch – I more than had this assignment covered!

Founded in 1911 as the Darling Downs Bacon Co-operative, KR Darling Downs eventually closed in 2006 putting 350 people out of work.  The company was a large employer in the Toowoomba region.

My connection was via the advertising agency Hertz Walpole and its art director Gary Edgar.  Over later years I was to produce some food photography for brochures.  My everlasting memory was of executives from the bacon company driving down from Toowoomba bringing packages of product for use in the photography sessions, and their boredom eventually culminating with their disappearance from the studio around lunchtime to visit a hotel.  Fortunately not to be seen again that day!

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KR Darling Downs III; © Ian Poole, 1980

Agency:  Hertz Walpole, Brisbane
Art Director:  Gary Edgar
Artist:  Unknown
Client:  KR Darling Downs Pty Ltd, Toowoomba

You may also enjoy
– https://poolefoto.wordpress.com/2015/12/12/ghosts-from-christmas-past/
https://poolefoto.wordpress.com/tag/cassells-fashion-brisbane/

These transparencies (IAN POOLE does PHOTOGRAPHY file #4737) (and many others), will become part of an online searchable database at the John Oxley Historical Library within the State Library of Queensland during 2017.

 

 

Business Cards – I have had a few.

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Business Card #1; c1966

My very first business card was also a photography card.  The agonising that went into such a simple small text document was amazing.

I had created the strangest collection of partners to combine into a photographic business.  My good mate Alan Larsen was also an accountant – that seemed to make sense.   Another friend was a pianist and vocalist and there seemed to be symbolic relationship between those skills and wedding photography.  Something to be exploited we thought.  The connection with Alan was also based on the fact that he possessed a darkroom – and that was where the wedding photos were going to be processed.  In fact in was in that darkroom on Sunday  17 December 1967 that we heard of the disappearance of Australian Prime Minister Harold Holt.  Yet another useful fact!

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Business Card #2; c.1969

More important than a gold embossed dairy maid, was the fact that my next business card came equipped with a brand new Ford Falcon Station Wagon – luxury beyond anything on my radar; and my first new car.

This card (and attached job) proved that my photography career was still in a transistory state.  It did lead the way to my first food photography jobs and other assignments.

The next card was a pivotal moment in my photographic career.

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Business Card #3; c.1974

I had finally made photography my primary source of income.  Not in a solo business but with a partner.  Greg had worked in an advertising photography studio and I had a bookkeeping background with candid and wedding photography skills – what a combination that was!  We were two steps ahead of being backyarders.  The colour of the card matched the corporate colours, the shade of the Mazda 1500 and the go-faster stripe painted down the wall of the foyer of our first hand built studio and darkroom.

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Brisbane Card #4; February 1976

Card #4 was produced just in time for Friday 13 February 1976 – the first day of business for IAN POOLE does PHOTOGRAPHY.   It was the first day of my striking out solo.  Albeit sharing a large former Lutheran church with David McCarthy OAM Hon. LM, Hon. FAIPP, APP.L AAIPP. former Australian President of the AIPP.

By this time I had been a member of the IAP (the precursor of the AIPP) since the previous year.  It also showed the phone number that I was to use (in slightly various altered iterations) until 2014.

Colour was of importance, as was a different shape (square to make it stand out); and the double denim of the clothing was the latest in denim safari suits!  There was NO trendier photographer in all of Brisbane!

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Business Card #5; c. 1980

Mind you I was to use a Hasselblad camera for most of my working career.

Business Card #5 was starting to show a little more sophistication in graphic design.  The denim remained but the typography was more restrained (and I was still a member of the Institute).

The next major move came with the transfer of the Studio to the Brisbane inner city suburb of Red Hill.  This was truly a one man business conducted from my home and enabled me to do some of those family things like taking a daughter to and from her local school. Ian-Poole-Brisbane-Photographer Card #6 was a utilitarian object with the addition of a facsimile machine to the Studio’s assets.  Smaller space but more facility.  Upper Clifton Terrace gave me the impetus to move from being a lecturer at the College of Art, Griffith University, to being a post-graduate student at the same institution.  This opportunity opened all manner of photographic avenues to me with exhibitions being held and curated, and artist’s residencies in places like Japan (courtesy of the Australia Council for the Arts).

Business Card #7 was the result of a commercial graphic art studio and the resources of the Government of the Great State of Queensland.

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Business Card #7; 1994

No mention was made of my membership of the now named Australian Institute of Professional Photography (AIPP), but I was able to flaunt my newly gained post-graduate status from Griffith University.

Joining the Queensland Government Photographic Unit gave me an opportunity to travel the state photographing all manner of projects and people.  Including an awful lot of “grip and grins” – hand shakes and ribbon cuttings!

Card #8 was an opportunity to indulge some of the finer things in photography.  Curate exhibitions at Gallery Frenzy, write articles for f11::for PHOTOGRAPHERS AND AFICIONADOS and spend a little time taking some portraits of special people.

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Business Card #8; 2012

I now no longer had a formal Studio, but I did have the freedom to chose where and when photographs could be created.

Documenting a career via one’s business cards is an interesting exercise in graphics, desires, dynamics and reactions to what is happening in and around your life.

My career has been as varied as the cards would indicate!


 

The Failed TV Campaign

 

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Channel O; © Ian Poole, Brisbane, 1980.

When you work closely with one or two major clients it is possible to become part and parcel of their visual sounding board and assist in producing new ideas or presentations.

Such was the attempt at winning the sales and promotion account with the Brisbane TV station Channel O.  (Now Network 10, Brisbane)

My good friend (and valuable photography client) Gary Edgar, was Art Director at the Brisbane office of the Hertz Walpole Advertising Agency.  As was the case then and now, agencies would regularly pitch ideas to clients seeking to gain their advertising budget.

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Gary Edgar; © Ian Poole, Brisbane, 1980.

Whilst elsewhere in Australia the Channel O network had become Channel 10 in January 1980, in Brisbane the network still traded under the Channel O banner.  A situation that continued in Brisbane until 10 September 1988.

This campaign had everything going for it.  The art director and the photographer playing major roles.  A friendly TV cameraman (he had access to a camera) and of course that staple of the 1980s – a pretty female face wearing a swim suit!   This was August 1980 after all.

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Channel O Model; © Ian Poole, Brisbane, 1980.

The model’s name has been sadly lost over the decades, but it is highly likely that she was the receptionist at the advertising agency.

Gary was a keen sailor and it naturally followed that both he and his 14′ Hobie Cat had to feature in a proposal that was aimed at sun, sand and water loving Brisbane audiences.

The water activity shots were photographed at Shorncliffe on the Redcliffe Peninsula during one of our regular Sunday afternoon sailing sessions.  Gary wasn’t the only one with a Hobie Cat – it was an activity that we both indulged.

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Shorncliffe; © Ian Poole, Brisbane, 1980.

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“O” for the Glasses; © Ian Poole, Brisbane, 1980.

The studio photographs were taken at the Old Pink Church in Warren Street, Fortitude Valley, Brisbane.  The electric motorised Hasselblad (500EL – same as the one taken by NASA to the moon) in the top photograph, was a cantankerous old beast that was used mainly in the Studio.  Too big, too heavy, too unreliable to take outside!

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Eyewitness News; © Ian Poole, Brisbane, 1980.

 

 

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Gary Edgar (alternate); © Ian Poole, Brisbane, 1980.

 

 

 

 

 

 

 


These photographs form part of the Poole Collection held by the John Oxley Library, State Library of Queensland.  #5072 – Hertz Walpole Advertising, these transparencies (and thousands of other negatives and transparencies) will be available for public access within the next twelve months.   These materials, as well as films and digital stories are available for viewing in the John Oxley Library Reading Room or online via their catalogue OneSearch.


 

Sabcar – a Brisbane Model Agency

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Cheryl and Andrena; © Ian Poole, Brisbane March 1977

An opportunity to re-connect with the Principals and members of the Brisbane based model agency Sabcar , is also an opportunity to see some old photographs.

Most of these shots were taken to produce a major poster promoting all the talent at the Agency at that time – March 1977.

Produced at my studio at the old pink church in Warren Street, Fortitude Valley, it was a major exercise in logistics.

The negatives from this (and all my other commercial photographic output) is now stored at the John Oxley Library within the State Library of Queensland.

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Cigarette; © Ian Poole, Brisbane, March, 1977.

Any assistance in putting names to faces would be greatly appreciated.

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Denise Moran; © Ian Poole, Brisbane, March 1977.

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Narelle Meuller; © Ian Poole, Brisbane, March 1977.

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Gloria McQuilty and ?; © Ian Poole, Brisbane, March 1977.

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Karen Radel; © Ian Poole, Brisbane, March 1977.

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Julie-Anne Ross; © Ian Poole, Brisbane, March 1977

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Michelle Calcutt and Denise Moran; © Ian Poole, Brisbane, March 1977

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Albert Park; © Ian Poole, Brisbane, March 1977

 

On a technical note, the majority of portraits in this very large project were shot on the medium format Hasselblad camera system using a 6x6cm black and white negative.  Both Kodak and Ilford films were used.  There were some shots taken using a Nikon 35mm outfit.

Additionally the bulk of the assignments were taken in the Warren Street Studios with a handful of sessions taken at Albert Park.

 

 

Further stories featuring Sabcar Model Agency are told here:

 


 

 

Ghosts from Christmas Past

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Poole Yule + Cindy Limque; © Ian Poole, Brisbane, c1977

There was a time when I spent a lot of time creating Christmas cards and photographic invitations for parties.

The above shot was created very early in my career at 115 Warren Street, Fortitude Valley and I was very proud of the old pink church that I shared with David McCarthy.  It took every piece of lighting that I possessed to illuminate the interior of the church, and using Kodak Ektachrome type B (Tungsten) film to record the lighting correctly but enhance the blue of the twilight, I felt that I was working at the extremes of creative photography.  Image my horror to discover either that year or the next, that a Melbourne photographer had used a similar technique and shot for their card!

Ian-Poole-Brisbane-PhotographerSharing a studio space as I did meant that David and I were able to co-host a Christmas party each year and share the costs etc between us.  The need to create an interesting invitation that would attract the attention of our respective clients was paramount.  Various advertising agency creative directors were kind in offering us their writing and art direction skills, but Kevin Fielding and Gary Edgar were two who gave generously of their time and skills.  Ian-Poole-Brisbane-PhotographerAdditionally there was a big input from our respective staff, not only assisting in the production and shooting of the image to be used, but the complex production of the text and subsequent printing of the photographs.  The invitations were always sent out as 10×8″ black and white prints to reinforce the fact that we were creative advertising photographers.

The complexities of sharing the hosting of such a party was illustrated in many ways.  There was a time when Brisbane was a two brewery town – Castlemaine Perkins Fourex and Carlton United.  The two respective advertising agencies were our clients albeit not necessarily for photographing beer.  As was the custom of the time, our parties were held in a large courtyard under a large poinciana tree, with a BBQ in one corner and several plastic rubbish bins filled with ice and cans of beer.  Knowing that the majority of our guests drank XXXX beer and not wishing to offend the Agency representing VB beer, we spent the night surreptitiously scattering VB cans into the bins so as to appear as if the beers were disappearing equally. Ian-Poole-Brisbane-Photographer

This was the late 1970s and early 1980s – the Sir Joh Bjelke-Petersen years in Queensland.  Whilst the gerrymander (I have referenced the ABC’s Antony Green for a succinct explanation) gave the ruling Country/National political party a stranglehold on Queensland politics, elections were nevertheless strongly fought.  So it came to pass that our Christmas Party was held the night before a Queensland election and we had the amazing scene of three sitting members of Parliament fighting each other to work the tongs at the BBQ, thereby being in a position to offer an opinion with every hamburger cooked.  After some consternation at this, David and I eventually chose to avoid the BBQ that night and concentrated on having a drink with clients hoping that the festivities did not turn ugly.

I seem to recall that the gerrymander won again the next day!


 

My First APPA Silver Award c1977

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APPA Silver Award; © Ian Poole, Brisbane, 1977

Entering the second Photography Awards held by the Institute of Australian Photography (IAP) in 1977 was as nerve racking as it was entering the APPA held in Melbourne by the Australian Institute of Professional Photography (AIPP) last year (2015).  The IAP was the precursor of the AIPP – Australia’s premier professional photography body.

My very first Silver Award came from an image taken during the following campaign shot at my Warren Street Studio (Brisbane).

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Harlequin Music Centre #5; © Ian Poole, Brisbane, 1976

Whilst this is a different frame from which the Award print was made, it is interesting to note the Hasselblad format Ektachrome transparency and the information contained therein.  I was still using Lowel Tota lights prior to investing in a commercial set of Bowens flash gear.  Very effective lighting but terribly hot in a Queensland Studio.  But it was an easy way to get a lot of lighting for little investment.

Harlequin Music (later to become Toombul Music Centre) and later still closing its doors in 2008, was the campaign client.  My client was good friend Gary Edgar, Art Director at Pemberton Advertising Agency.

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Harlequin Music #3; © Ian Poole, Brisbane, 1976

Whilst some of the shots were to be used in press advertisements, the primary reason for the shooting session was to create some strong, powerful images to be used as large wall decorations.  The Art Director and I were concerned that normal continuous tone photographs would not  have much impact.  I had been experimenting with a black and white technique called tone line drop out.  This high contrast technique (or line conversion) was more commonly used in commercial printing and produced a negative/positive that had little or no grey – just black and white.

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Harlequin Music #1; © Ian Poole, Brisbane c1976

The actual shoot was fairly big deal for me, as it involved gathering a large amount of stock and props as well as hiring a specialist model.  Judy Addis was a Jamaican born model who was working for a local model agency (June Dally Watkins) and had a secondary job as a jazz singer.

She was perfect for the processing technique we had in mind.  From the tests that we had done in the Studio darkroom I realised the number of conversions needed was going to stretch the time of my assistant (Cindy Limque) and Wayne Eeeles (who worked in the David McCarthy Studio) was drafted to assist.  The resultant shots from the session were then converted to prints via high contrast negatives for the client selection.  To enable a photographically inexperienced client to pick and choose, a huge volume of material had to be produced.

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Harlequin Music #2; © Ian Poole, Brisbane, 1977

Note the music cassettes and cartridges being placed into the toaster – Art Director sense of humour!

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Harlequin Music #4; © Ian Poole, Brisbane, 1977

The ease in which Photoshop has done away with these arcane is amazing.  Such skills were held by the most experienced of darkroom workers.

I am indebted to Wayne Eeles for not only assisting with the treatment in the first instance, but corroborating the details recently, as my memory fades – unlike the well processed black and white negatives from which these scans were made!

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Harlequin Music #5; © Ian Poole, Brisbane, 1977  (Oh to have had Photoshop to strip out the light stand waaay back in 1977!)

 

 

 


 

The Pink Church in Warren Street

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115 Warren Street, Fortitude Valley, Brisbane; © Ian Poole, c1986

A major part of my photographic career was spent working out of a former Lutheran church in Fortitude Valley, Brisbane.  Shared with that Industry stalwart David McCarthy OAM, AAIPP, Hon. LM Hon FAIPP for over thirteen years, it served as my office, studio, darkrooms, home and learning/teaching facility.  It was a defacto home for the Institute of Australian Photography (IAP) the precursor to the Australian Institute of Professional Photography (AIPP) as David had been both Queensland and Australian President of the organisation and I had been Queensland President, and we were both long term members of both organising Councils.

I have written before about this building (A Wander Down Memory Lane) where I described some of the output from this studio.

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Interior 115 Warren Street; © Ian Poole.

The building was on two levels with our offices and darkrooms on the lower level and the upper (former church) level used as studios and change room facilities.  With a peak in the roof of over 10 mt and an approximate 11×7 mt floor space we had ample room for a studio each that could be opened into one space should the assignment require it.

The Glory to God in the Highest inscription was protected by a giant flying Superman installed above it.  Our Landlord Pastor was always intrigued by this, but was far too polite to query it.

The aesthetic questions of colour temperature versus good looks from the stained glass windows was solved with black outs and sheets of polystyrene foam.

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Studio Area; © Ian Poole.

The Studio was a heavily worked space with fashion, model portfolios and vast amounts of commercial product documented in this area.

Ranging from purpose built room sets for furniture catalogues to sausages for Woolworths, and laundry sinks for Everhard, the studio was an almost every day work area.  Lighting ranged from Strobe 1000 in the early days, through Bowens Quad 2000 units, to Balcar and finally my favourite – the Bron equipment.  That consisted of a Hazy-light and many heads powered by four floor packs.  The fabulous Swiss made Foba studio stand held our cameras and a Foba product table supported the Woolworth’s sausages.

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Denise Moran + Sabcar Model Agency Talent; © Ian Poole, 1976.

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Nobody Said the 70s Were Pretty; © Ian Poole

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Everhard Tubs; © Ian Poole, c1980, Brisbane.

Many staff members supported the work environment, and included Darren Jew, Wolfgang Schoenknecht, Wayne Eeles, Cindy Limque, Rod Buchholtz, Andrew Campbell, Joy Thompson, and a string of others.

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Joy Thompson in Reception; © Ian Poole, c1977, Brisbane.

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Poole + Hobie + Cindy Limque; © Ian Poole.

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New Mazda for McCarthy; + Darren Jew & Wolfgang Schoenknecht; © Ian Poole, c1985

And a final image from the times.  The day David McCarthy drove in with a two-door hard top Mazda and a very, very young group of staff guys came out to inspect.  The one and only Darren Jew (before he discovered fame, fortune and whales) and Wolfgang Schoenknecht.  It is amazing how small this world is as I still know and respect these guys after all this time.