Business Cards – I have had a few.


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!


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.


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.


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!


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.


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.


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 Job of the Photographic Gallery Director


Gallery Director Flashing his Red Dots; photo by Lachlan Gardiner, 2013.

The role of the Gallery Director is mixed and varied.

Curating images with the would be exhibitor and then booking the space should be the hardest part of the process.  Even assisting in choosing wines is fraught with discord – how can a Chardonnay drinker cope with the current trend to guzzle Sauvignon Blanc?   Selection of cheese comes with its own little traps – too much camembert or brie will break the bank, and a too mature cheddar will break the dentures of the targeted collector whom you are trying to woo.

The recent opening of NEPAL, the Himalayan Kingdom and it’s People by Damian Caniglia at the Gallery I am involved with (Gallery Frenzy), is a case in point.


Opening Night – Nepal; photo by Lachlan Gardiner, 2013.

With fellow Director Darren Jew, we worked with Damian in selecting his photographs – a process that took several meetings from which various combinations of images were discussed prior to formalising a layout to fit the gallery.  Damian had the clever idea of involving the local branch of the Nepal Australia Friendship Association (NAFA), who generously provided Nepalese food for the attendees.  This went down a treat.  Whilst Damian and the NAFA Chair were to speak on the night, it was my role to host the evening, declare the Exhibition officially open and diplomatically bring forward the concept of purchasing a photograph from the many wonderful images hanging on the walls.  Damian had not only a wonderful set of photographs, but a wonderful group of attendees and we made some great sales on the night.  There can never be enough emphasis given to the selection part of the process.  It is here that a successful exhibition is created.  Sometimes great photographs have to be excluded because they do not add to the mix that is going up on the walls.  A wall full of great photographs that is disparate in its selection is jarring compared to a wall full of themed, balanced and complementing images.  In the Nepal Exhibition we were able to gather various and quite different styles into areas separated from each other.  Thus portraits (that were quite haunting in style) were clustered together and away from the panorama photographs that were dramatic and bold and striking.  This is where the artist and the gallery must collaborate to good advantage.

From both the Gallery and the Exhibitor’s point of view, it is wonderful when the venue is crowded, there is much discussion and debate about the photographs, the food disappears (as does the Chardonnay) and the RED DOTS start to appear!


131 Anonymous Photographs


Add On 2013 Exhibition; Depot II Gallery, Waterloo, Sydney.

Imagine 131 untitled, unnamed, uniformly sized, non-competitive, plainly printed photographs without rank or status or embellishment snaking around the pristine walls of a warehouse style gallery.  What a wonderful concept!

The power of the images is not their size, but the fact that a democracy has been dictated via the almost mundane and banal presentation.  The viewer must approach each piece to discover content, context; and in doing so, is then encouraged to view its neighbour etc etc etc.  AddOn2013

The AddOn Curator, Charles McKean, and Festival Director Moshe Rosenzveig are to be congratulated for staging this great event.

The Head On Photo Festival, Australia’s largest photo festival and the world’s second largest festival is heading into its fourth year; Head On celebrates a wide range of photography across all genres from photojournalism and reportage through commercial to fine-art.  With over 200 events at 100 venues, the 2012 festival was a resounding success.  The 2013 Event has just opened.  The Add On exhibition gives another perspective to the concept of showing photography.

For a small fee, exhibitors get to participate in a well run exhibition, and at the end of the show receive a randomly drawn image from another participant.  In my case I used an image that I have written about before, but has never been publicly shown (if the interweb world of blogging doesn’t count).  Thanks for fellow Foto Frenzy Director Darren Jew for the insitu image.  And I wait with interest to see what image will shortly grace the Poole Collection.


The Nevis Tree; image courtesy of Darren Jew.


The Last Weekend; © Darren Jew, 2012.

Such is the anonymity of this Exhibition, I am unable to acknowledge the authors of the images either side of me.

But I can show an image by Darren – one that is not piscatorial in nature.

The value of Exhibitions such as these is that the photographs are viewed as images – entirely without supporting detail or text.  Whilst I am aware that I am hanging in very good company (the exhibitor list contains some big Australian names), the viewer will enjoy the show the strength of its visual impact, not its crowd drawing personality or publicity campaign.

And such is the confidence of the non-attending exhibitor, I can’t help but think that this group of animated attendees at the Opening last night were busily discussing my image so clearly in the background – or maybe it was the vintage of the champagne………..


Image courtesy of Anni Payne, Sydney.

Cameron Attree – published photographer

Cam Attree prepares to launch his book; © Ian Poole 2013.

Cam Attree prepares to launch his book; © Ian Poole 2013.

One of the joys of being a mature photographer is that you are often called upon to open Exhibitions, act as a Master of Ceremonies, and generally give spontaneous off-the-cuff comments to groups of people – ‘cos you’ve been around for a long time……


One of those occasions occurred last night.

We at Foto Frenzy (disclosure – I am one of four Directors) held our first exhibition opening at Gallery Frenzy.  These will continue at roughly monthly intervals through the year. (hint – the 2014 Gallery bookings are now being discussed).  Not only was it Gallery Frenzy’s first formal exhibition, but also a first solo exhibition for Cameron Attree.  In conjunction with the Naked in Baja Mexico Exhibition, Cam has produced a boxed, hard cover book.  This edition has been printed on the new Canon DreamLabo 5000 at Picture works, Melbourne.  All of the reproductions are of a very high standard, but my greatest response was to the quality of the black and white images.  They are close to gelatin silver analogue prints.  Cam, a Brisbane based photographer (and fellow Foto Frenzy Director) has been involved with the American based ARTnudes Network, and this current exhibition is a result of his endeavours in Mexico in 2011.


St Merrique, Casa Dracula Veiled; © Cam Attree 2013; 1 of 5, 16×24″.

Cam used the Pozible crowdfunding creative projects system to generate interest and finance for this activity.  With a series of incentives ranging from signed prints through to a signed hard copy of his book, Cam was able to generate enough funds to start the project.  Using the opening ceremony last night, Cam was able to present the signed books to many of his initial backers.  This was well received by those supporters in attendance.

Print editions will be limited to five photographs, and prices range from $A395 (11×17″ matted) to $A750 (16×24″ matted).  The limited edition coffee table book has been printed in high definition using a 7 dye-based ink system never before seen in a photo book; offering colours with a wider spectrum and greater detail.  Bound in a laser engraved black linen cover, the 230gsm paper gives the pages a real photographic feel.  Limited to 100 copies, each book will be individually numbered and signed and will include an open edition art print; presented in an English Black Arlin bookcloth presentation case.  Remaining books will be on sale for $A395.

Brooke Lynne, Green Rocks 1, © Cam Attree; 1 of 5, 11x17".

Brooke Lynne, Green Rocks 1, © Cam Attree; 1 of 5, 11×17″.

The exhibition will be on show at Gallery Frenzy, 3/429 Old Cleveland Road, Coorparoo, Brisbane, until 15 March.