August 2016 was a great month

For different but related reasons August 2016 was a great month for me.

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In Good Company

Firstly I had a comprehensive portfolio of my photographs published in the online magazine f11::for PHOTOGRAPHERS AND AFICIONADOS.

Secondly I gained my Master of Photography (M.Photog) status with the (AIPP)

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In Equally Good Company.

The first achievement was the result of over nine months of submission and collaboration with the f11 Publisher and Creative Director, Tim Steele.

With some gentle (and often times not so subtle) prodding, Tim was able to move me away from a grab-bag of retrospective images culled from a lifetime of photography into displaying a targeted and curated array of complimentary shots.  For this I will be eternally grateful.  Whilst I have a fair record in curating photographic shows for other people this was proof positive that the artist should rely on the input of a dispassionate party in such an exercise.

As a long time exponent of the black and white process and genre, it was an eyeopener to me that not a single monochrome image was included.

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Istanbul Dolls; © Ian Poole, 2015

The wonder of colour was never more evident than in this portfolio.

Issue 57 commencing at page 98 gave a comprehensive survey of my more contemporary photographs.  The supporting essay alluded to a voyeuristic photographic eye – a statement that I don’t shy away from, albeit not in the wide angle, camera in the face documentary style that is employed by some practitioners of so-called street photography.  I am no Vivian Maier!

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Observations; © Ian Poole, 2015.

What this project did do for me was to isolate a not strongly held view that I was attracted to people and place.  Having been fortunate to travel a few times over the past few years it was obvious that I would document those moments.  But it was the urban landscape (with its attendant population) that attracted my lens more than “the landscape”.  It took an analysis of various submissions for Tim to make this point so strongly – a fact with which I am pleased.

The second part of the bookending of the month of August was my gaining my M.Photog.  The road to this achievement has been paved with many challenges (I Earned a 73 ……. and a few other scores) and (Failure) and (The 2015 APPAs).  In this 40th year of the APPAs (Australian Professional Photography Award), it was a nice co-incidence for me.

I had attended the “test run” of the APPAs 41 years ago at the HYPO Convention at Broadbeach on the Gold Coast, and entered the second APPA and earned a Silver Merit.  Having decided early in my membership of the AIPP that I was a better Judge than an Entrant I chose for a long period to restrict my involvement to the judging table – UNTIL!   Some six years ago a few of my Institute “Friends” took me aside at an Awards Dinner and monstered me.  “Put Up or Shut Up” was the demand.  Thank you Mike Langford APP.L GM.Photog FAIPP,  Jackie Ranken, Peter Eastway APP.L GM.Photog FAIPP FNZIPP Hon. FAIPP Hon. FNZIPP, Ian van der Wolde APP.L M.Photog III Hon. FAIPP, Andrew Campbell APP.L GM.Photog and David Oliver AAP.L GM.Photog.  So, with the exception of the disastrous 2014 Year of the Bronzes, I steadily worked my way through gaining my Associateship and then Masters.

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Birmingham Gallery Cafe; © Ian Poole, 2016.

This year’s Award images also contributed to my gaining a Master of Photography within the New Zealand Institute of Professional Photography Iris Award system.

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Tallin, Estonia; © Ian Poole, 2016.

Huge thanks need to go to Living Image Print and Andrew Merefield (and Darren Jew who was away swimming with whales) for the care and professionalism given to putting these pixels onto paper.  A skilled job for a pair of skilled professionals.

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Opposite The Ritz; © Ian Poole, 2016.

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Edinburgh; © Ian Poole, 2016.

……and a final comment must be made to my talented mentor Adam Finch M.Photog.  Adam has continually challenged, critiqued and encouraged my photographic output.  No good photographer can exist without a mentor (or an Editor).  Thanks.


 

 

 

 

Portfolio Published in f11

It was with some pleasure when I read the current issue of f11 :: for photographers and aficionados.    With a substantial number of contemporary photographs to view it was a joy to see them presented with such care by Creative Director Tim Steele.

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The process of arriving at this point was both interesting and laborious.  My initial idea of submitting a grab bag of images from a checkered commercial career was ruthlessly rejected  (fortunately) by the editorial board.   I was forced to regroup and reassess the work to be presented and be also constrained by the publishing needs of a journal that is produced eleven times a year.

I am in good company with Stephen Robinson’s delightful memories of vintage New Zealand architecture, the NZIPP Iris Award winners and of course the essay by Tony Bridge and equipment review by Gary Baildon.   I am almost embarrassed to mention a column by yours truly amping up the debate about whether photography award entries should (or should not) be the sole work of the entrant.

www.f11magazine.com
f11 Magazine has a social media presence on Twitter: @f11magazine; and
Facebook: Facebook.com/f11Magazine

……and one of the photos that didn’t make the cut –

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New Otani; © Ian Poole, 2015.

No Time Like the Present?

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2016 Hair of the Dog; Photo courtesy of Queensland AIPP.

As a well known and committed procrastinator, it was only a few weeks ago that I realised that a couple of 2016 projects and goals were going to need quite a number of new, exciting and creative photographs taken.  Creativity is one of those skills that has never come easily to me – and probably never will.  So delaying making plans to fulfil the requirements of my own needs was another stuttering step embedded in my procrastination.

I was brought back to reality when a week out from a long-planned speaking engagement I realised that the details loosely floating around in my head needed to be set in audio-visual concrete and speaking notes were required to keep me within the tight time constraints nominated by conference management.

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Portfolio Review, Hair of the Dog; Photo courtesy of Q’land AIPP.

This flurry of activity then generated the realisation that other projects needed just as much urgent attention.

Coinciding with my small commitments to the photography convention was the visit of a couple of international friends who were key-note speakers on the same bill.  My hosting them during their Brisbane stay was one of those privileged benefits gained from having access to peer review from long time friends.  I have banged on often enough in this column about the value of mentors, and peer review to enhance your understanding of your own work, and so here was my opportunity.

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Mike and Jackie; Photo courtesy of Queensland AIPP.

It soon became obvious that it wasn’t the chilled Chardonnay being taken to ward off Brisbane’s humid summer that was doing the talking – but that I had some mental blocks that required re-adjustment.  A lot of the current images that were being compiled to complete these projects were taken on overseas jaunts.  Certainly an obvious way to seek out new visual interpretations, but not necessarily the only way of completing assignments.

NIMBY – not in my back yard – had become part of my raison d’être.  I had become the very person I have spent most of my teaching and mentoring career warning students against.

With some firm and pointed observations my friends noted loudly that I wasn’t spending much time documenting my beloved home town.  ‘Where are the photos of locals and familiar scenes?’ they asked.  Another good friend is working on a personal project titled 500 metres from my desk and I have been giving him strong encouragement on seeing his powerful and creative images.

I was obviously having difficulty in seeing 5 metres from my desk, much less 500!

With these thoughts pulsing through my brain I attended the opening of an exhibition that had had its genesis during Australia’s bi-centennial back in 1988.   The re-hanging of this show would give me a chance to revisit the prints that I had processed for one of the six artists being shown.  A chance to review my processing skills after almost 30 years. They were still in good condition!

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Glen O’Malley + Subject; © Ian Poole, Brisbane 2016.

More importantly I took a camera with me to the gallery.  Now there is a radical thought.  Well for me it was – I know I tell every one else to carry a camera, yet often I am not one to do so.  To my absolute surprise a couple of shots jumped out in front of me.  One or two are tolerable and may well end up residing in a presentation portfolio.

Several conclusions were reached in the past few weeks.  Good photographic friends are valuable beyond words, even if their comments are sharp and cutting and a little too close to the bone; interesting photographs are sitting, waiting for all of us very close to where we are at this very moment; and having a challenge and being challenged is the quickest way to lift the quality of one’s visual output.

I’m on to it now! Stay tuned…


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This essay first appeared in f11 Magazine :: for PHOTOGRAPHERS and AFICIONADOSp152, issue 52 :: March, 2016.

Photographic Review of 2015

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Paris Farewell View; © Ian Poole, 2015

Photographically speaking 2015 has been a reasonable year for me.  Whilst this blog is not about illustrating the best photographs from the rapidly finishing 2015, it is more about what those photographs say about my travels, my activities and as memory joggers.

Paris Farewell View earned me a Silver Award at the AIPP Photography Awards.  By showing a final look back into the doorway of the apartment Louise and I had used in my first visit back to Paris in almost 40 years, I was getting a little bit nostalgic as we left to fly to Turkey.  It is not recommended that you enter a self-portrait in the APPA competition, but I felt that the portrait was less than the interesting spin created by the reflected view.

Paris was the source of another piece of documentary photography that seems much easier to take in that city.

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Orion; © Ian Poole, Paris, 2015

Orion occurred when I followed that great photographic dictum which tells you to always turn 180 degrees in case the “real” photograph is happening directly behind you.  It was.

This was the year that I discovered that great genre of travel photographers – the shot of the platform on the other side of tracks.  It has been around for a long time, but not used by me.  Traveling regularly on the Paris Metro gave me plenty of time to explore the genre.  As I did in Japan later in the year.

I am not one of the great documentary photographers – in other words I cannot thrust my 35mm lens directly into the faces of passers-by.  Using the Fuji XT-1’s adjustable viewing screen I was able to appear as if I was disinterested in the scene in front of me.  It did remind me of all those the years using twin lensed cameras like the Rolleicord and Mamiya C3.

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Arts et Metiers; © Ian Poole, 2015, Paris

Arts et Metiers was our local Metro station and the amazing wheels and cogs dropping out of the ceiling should have been enough to attract me; as was the curved wall/roof which was coated in a bronze metal.  A colour shot obviously, but I felt driven to reproduce it in black and white.  Rightly or wrongly.

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Chapelle Notre-Dame-du-Haut; © Ian Poole, Ronchamp, 2015

A sign pointing to the amazing Chapelle Notre-Dame-du-Haut, constructed by the famous Swiss-French architect Le Corbusier at Ronchamp, caught my eye whilst cruising the auto-route to Beaune.  This mostly concrete building is constructed on the site of a previous chapel that was bombed during WWII.  Considered to be one of le Corbusier’s more striking buildings, constructed late in his career, it has been photographed countless times in its history.  I could not resist adding my interpretation to that list.  I have included Louise by way of size illustration.

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Istanbul Storm; © Ian Poole, 2015

Not only did Istanbul Storm earn me a Silver Award at the 2015 APPAs, but the AIPP has used the photograph as one of the illustrations promoting the Hair of the Dog Convention in Brisbane in February.

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Some Antiques; © Ian Poole, Beaune, 2015

Another photographic aspect that I experimented with was using reflections to further construct an image.  Some Antiques is one of those.

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Wilding Pines; © Ian Poole, New Zealand, 2015

 

I got off to a good start in 2015 with Wilding Pines being shot on 3 January outside of Queenstown in the South Island of New Zealand.  Being shown around by good friends Mike Langford and Jackie Ranken, this late afternoon shot has a gentleness about it.

There must be something linking my friendship with Mike and Jackie to good photography by me.  My final shot in this eclectic review of photographs that I took in 2015 is Listening to the Jazz.  It was taken in their company in Tokyo late in 2015.  Mixing with fellow photographers to create images is, of course, wonderful.  More important though is sharing good food, drink, experiences and naturally, good jazz.  This is what was happening in this photograph.

 

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Listening to the Jazz; © Ian Poole, Tokyo, 2015

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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!)

 

 

 


 

Raising the Bar

Whilst judging at the New Zealand professional photography awards (featured in the September issue of f11 Magazine), offering comments to potential entrants in the forthcoming Australian photography awards and doing portfolio reviews at the Ballarat International Foto Biennale – I’ve noticed a common thread.  Our professional development programs might require concerted effort but they absolutely reward diligence and persistence.

In an industry that frequently complains about competition, low prices and difficulty in finding clientele, thoughts to which I don’t necessarily subscribe, it is amazing how much assistance is made willingly and freely available to the truly dedicated, interested and inquiring photographer.

As one of many photographers gathered in Queenstown to find the New Zealand Photographer of the Year, it was a delight to be given such a privileged opportunity to assess fine quality work up close and personally.  The peer review system used requires photographs to be not only assessed by practitioners, but compared against similar genres of images.  The eclectic selection of rotating judges means that a photograph is given as broad an interpretation as is possible, and ensures that a variety of opinions are canvassed.  This entailed gathering a wide selection of photographers capable of judging from both sides of the Tasman Sea, and from many different photographic areas.  The education for both the entrant and the observer, comes from the very candid comments offered on most prints while ensuring that the creator of the work remains anonymous. A lifetime of experience is contained behind the opinions given, and a great deal of information is given freely.  All that remains is interpretation on the part of the viewers and watchers, regardless of whether they have any skin in the game in that session, or on that day.

This was also the case in the print critique evening I attended.  It was an opportunity for photographers considering entering the Australian awards equivalent program.  Photographers were invited to show works-in-progress to a collection of experienced judges with the intention of receiving an indication as to whether the image had real award potential.  Many images were shown, and some astute observations were made, in front of a large crowd.  This process then becomes educative with the comments being made for all to hear and note.

If all this sounds like a university tutorial – you are correct! Knowledge is freely available at these events if you are prepared to see and listen.  The result?  Organisers, judges and participants are steadily inching the bar higher on every such occasion.  It’s a collaborative effort.

The upcoming Australian Photographer of the Year Awards follow a similar style to those just experienced in New Zealand. There is no doubt that a similar vibe will exist in Melbourne this year. Value can be gained with the entrant receiving a ‘peer review’ assessment of their photographic submission, and an observer can gain from looking at, and listening to, experienced value judgments given by some of Australasia’s best photographers.

A different style of education was delivered at Ballarat.  The concept of portfolio review is less well known in the southern hemisphere, but it is a staple at photo festivals in Europe and America.  In fact the Ballarat winner’s prize is a trip to Houston, USA to attend the 2016 Foto Fest Biennale to show their portfolio to a potential panel of over 150 reviewers.

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Kerry Pryor; © Ian Poole, Ballarat, 2015.

The review process involves a financial fee and bidding to spend limited available time with a small number of reviewers.  This has huge rewards for the organised photographer who has done their homework and identified people who may have skills relevant to their photography, and connections to aid their future direction.  The variety of reviewers available stretched from gallery owners to academics, from photographic agents to practicing photographic artists. These were people who were giving their time and skills freely and readily.

From where I sat the bar was raised a couple of times over the past few weeks with the NZ winner, and subsequently the announcement of the Guy Vinciguerra Fellowship at Ballarat.

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© Tracey Robinson (Gold Award + Distinction)

Congratulations to Tracey Robinson in NZ and Kerry Pryor in Melbourne, and to all those who experienced success, in all forms, great or small.

The process of a personal commitment to professional development and a mantra of ‘never stop learning’ certainly requires effort, enthusiasm and dedication from its seekers, and it absolutely bears fruit for those who stick with it, read the signs and follow the road markers.

The process works


Screen Shot 2015-09-30 at 10.44.19 amThis essay first appeared in f11 Magazine :: for PHOTOGRAPHERS and AFICIONADOSp158, issue 47, September 2015.

Ballarat International Foto Biennale Print Collection

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Port Fairy Music Festival 2015; © Paul Griggs.

I have written previously about the pleasure I take in supporting an organisation as important as the Ballarat International Foto Biennale and the concept of print swaps where one’s personal collection can be extended, including more formal print swaps like this.

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Arts et Metiers, Paris; © Ian Poole, 2015.

In the recent Red Dot Ballarat Collection I was lucky enough to receive the Paul Griggs‘ photograph shown above.  The nature of the Ballarat fundraising event is that the photographs are sought as a donation from photographers and exhibited anonymously on the walls of Eleven40 Gallery in Melbourne.  A BIG shout out to Eleven40 for their ongoing support over a number of years.  See their web site for a full set of illustrations and authors’ names.

Because I am an interstate supporter and unable to attend, I had sent my list of preferred (anonymous) photographs to Jeff Moorfoot, Creative Director of the Management Team.  I recognised a couple of the images, thought I recognised a couple of others (mostly incorrectly) and lusted after a couple of other shots.     …..and then waited to be told what my Red Dot investment had achieved.

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Sydney Charles Bromley 1969; © Robert Imhoff.

Firstly, it was lovely to be advised that my contribution, Arts et Metiers, Paris, had been red dotted by that doyen of Australian photography, Judy Foreman.  I hope she enjoys the photograph as much as I did taking it on a recent trip to Paris.  Secondly I gained the Port Fairy Music Festival 2015, which was on my list, but not known as a Paul Griggs’ photograph.  I have been a long time admirer of Paul’s work in the wedding arena where he was one of the first practitioners of reportage using black and white, documentary coverage with a Leica camera.  I can recall judging some of his early work in the AIPP’s Award system with great clarity today.  This is a contemporary example of that skill and will hang with pride in my personal gallery.

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Burj Khalfa 2010; © Tim Griffith

Then come the photographs that I DIDN’T get.  I recognised the Imhoff photograph from the cover of Imhoff: a life of grain & pixels lying on my sideboard.  I should have recognised the Tim Griffith’ Burj Khalifa 2010 as being a great example of his architectural oeuvre – but I didn’t!  The Poole Collection is still missing one of his masterpieces.

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Fiordland Diva; © Jackie Ranken

I am very familiar with the work of Jackie Ranken, but she fooled me this time – I missed this one.  I didn’t miss her partner, Mike Langford’s offering, as I had attempted to photograph the same tree with a much, much lessor result.  Maybe I should go back in winter?

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Mataouri Tree; © Mike Langford

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Goroka; © Stephen Dupont

I should have recognised Stephen Dupont’s homage to Irving Penn with his Goroka, and if I had I would have put him closer to the top of my red dot list.

I was taken by the construction of Jack Picone’s Dhows 1 long before I was aware of his name connected with the photograph.  A Master of the documentary craft, it would also have hung with great pride in the Poole Collection.

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Dhows 1; Jack Picone

I did recognise and enjoy my Queensland mate, Gary Cranitch’s Cane, but Roger Garwood’s Fred And Me…Spectators, Coolgardie, 1975 caught me totally by surprise.  Maybe it was because it was an early work a long ways from what I have come to expect from Roger.  I did bid for it, by the way, as I enjoyed the whimsy of the image.

Works by Doc Ross, from earthquake stricken Christchurch (In The Earthquake Gardens) and Charles McKean (The Family Drawers) were noted as possible contenders for the collection.

Oh the wild dreams of building a fantasy photographic collection from the digital world wide web.

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In The Earthquake Gardens; © Doc Ross, Christchurch

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The Family Drawers; © Charles McKean

The times they are a’changin’

Come gather ‘round people, wherever you roam

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Julia Margaret Cameron by Henry Herschel Hay Cameron, 1870.  The first in a long line of women photographers.

Bob Dylan may have released this legendary anthem in 1963, but in the world of professional photography this sentiment has never been more appropriate.

No, I am not referring to digital replacing analogue photography.  That battle has been fought, and almost all of us have moved on to the digital process of creating photographs. In this war, everyone was a winner.

I’ve already observed, commented here and reflected on the manner in which professional photography is performed.  The days of a photographic studio in the Main Street of every town and large suburb have gone; to be replaced by photographers working out of homes, or perhaps their car, at the beck and call of clients via their ubiquitous mobile phones.  For many, gone forever are the studio, the receptionist and the sales area.  No comfy sofas, no coffee machine…

This change of process and facility will also be driven by a revolution in the dynamics of the profession.  As an example, we are now seeing a dramatic re-balancing of the gender mix amongst photographic practitioners.  What has been a distinctly male domain for the first three quarters of photographic history has now moved positively towards a real gender equity in the profession, a long overdue and welcome development.

New entrants with new vision, and new ideas, influence established categories such as child portraiture, and create entirely new ones, such as the upsurge of new born or ‘birth photography’ businesses.  This segment has been pioneered by a mainly female group of practitioners and has been firmly evidenced by the dramatic increase of women in the membership ranks of our professional institutes.  Many of these people possessing academic skills other than photography, looking for job satisfaction that can be combined with raising a family and woven into a lifestyle choice.  Admirable and desirable traits, ones we can all learn from.

The challenge for both the photography industry and our professional bodies is how to maintain craft skills as opposed to simple recording skills.  Many of these new entrants to the industry are formally educated – but not necessarily in photography.  Clear progress that goes a long way to lift broad education standards in an industry that sometimes lacked them in many areas.

The methods and techniques used by our institutes to interact with their membership is now, more than ever, of vital importance if these bodies are to establish, and maintain control of, professional standards.  And our creative industry simply has to differentiate itself from sophisticated amateur users with access to relatively inexpensive methods of recording images.  Our professionalism must now align inseparably with our creativity to define exactly what we do, and precisely where we add tangible value.

It may well be said that the black magic skills of old time analogue photographers has been swept away by the digital tsunami, but if we fail to harness the opportunities that present themselves alongside the new faces in our membership, we will also be swept away.

The well founded desire of new entrant photographers to embrace a work/life balance while being an integral part of our industry is an opportunity that should not be lost by clinging to an outdated ideal based on a previous business model.

Changing business hours, changing business locations, changing and improving interaction with family members, changing methods of interacting with clients – these should all be connected to producing better, and more creative, photographs.

Maybe Dylan was ahead of the game!

Screen Shot 2015-06-10 at 11.19.46 AMThis essay first appeared in f11 Magazine :: for PHOTOGRAPHERS and AFICIONADOSp144, issue 44, June 2015.

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.

Print Swap at Hair of the Dog

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Hilary and Prints; © Ian Poole, Brisbane, 2015.

One of the interesting side events at the recently completed Hair of the Dog Convention held by the Australian Institute of Professional Photography in Brisbane was a print swap between participants.

I have known Hilary Wardhaugh for many years through our shared membership of the AIPP and being fellow Judges at the Institute’s award system.

In between dancing the Tango, photographing Federal Members of Parliament and documenting weddings, Hilary runs a successful Canberra based business.

It was nice to add this delightful seascape to my gallery of photographs by photographers – Australian and international.

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Beach Game; © Hilary Wardhaugh, 2015

Hilary tells me that it was taken over the Christmas break with an out of date roll of Kodak film.  Ignoring the technical details I am taken by the iconic nature of recording what is essentially a summer activity in this part of the world.  The placement of small figures at the bottom of frame and the unrelenting harshness of the Australian summer sun is recorded with great accuracy.

In return, Hilary received my Central Otago Hut photograph taken in 2013.  This is a genuine favourite of mine and credit must be given to those generous New Zealand photographers, Gilbert van Reenen, Mike Langford and Jackie Ranken who orchestrated the journey to this ancient gold mining region in the South Island of NZ.

The concept of swapping prints amongst fellow photographers is one that I support and have practicised for over twenty-five years.  Not only does it foster a sense of camaraderie, but it also enhances my display wall!

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Central Otago Hut; © Ian Poole, 2013

 

Details about previous Print Swaps include – https://poolefoto.wordpress.com/2013/02/13/print-swap/ and https://poolefoto.wordpress.com/2013/02/19/results-of-the-print-swap/