Making Pig Products more Personable


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! 


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!


KR Darling Downs III; © Ian Poole, 1980

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

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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.



The Photograph and Australia


Ian Poole vs The Photograph and Australia; © Gary Cranitch, Brisbane, 2015.

At the Official Opening of The Photograph and Australia, I should have been concerned when the speakers spent more time defending the curatorial policy rather than lauding the (mostly) fabulous collection of photographs gathered from around the country.

Major photographic exhibitions at the Queensland Art Gallery are few and far between, so this survey production prepared by the Art Gallery of New South Wales is a not to be missed opportunity.  The exhibition’s curator (Judy Annear, Senior Curator Photographs at The Art Gallery of NSW) has an enviable CV from the Australian photographic world.  With the imprimatur of the AGNSW behind her it was a given that collecting this body of work was so successful.

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Tracey Moffatt’s work sits high above historic images of aboriginal Australia. Photo ArtsHub

No, my problem with the show is the layout.

In her catalogue introduction Annear describes the show as taking a conceptual rather than strictly chronological approach to the medium.   This leads to the placement of three photographs, (Beauties, variously 1994/97) by Tracy Moffatt above a case of albums and c1860/80s photographs.  Moffatt’s found photographs have been reprinted in slight colour variations, after the style of Andy Warhol.  Despite a half column of supporting description in the exhibition catalogue it is still difficult to correlate their importance within the show.

The small room full of cartes de visite probably will display more examples of the genre than most viewers will ever see in a lifetime.  Certainly interesting, but obviously AGNSW has a huge enviable collection from which to select.


Only to Taste the Warmth, the Light, the Wind; Olive Cotton, c1939.  (Major promotional image)

In the absence of Australia possessing a domiciled Julia Margaret Cameron, it was always going to be an historical fact that white Anglo-saxon men would feature in early Australian photographic history.  The placement of 40+ variable quality self portraits by Sue Ford along a single wall is an amazing piece of revisionist feminist photographic history.  Ford has clearly earned her place in Australian photographic history with critically acclaimed output going back to the 1970s, but this token filler in a room containing some solitary iconic images by Max Dupain, Olive Cotton, David Moore, Axel Poignant and Mervyn Bishop beggars belief.

The 1883 astronomy photographs of Joseph Turner illustrated an historical moment for Australia, but the inclusion of the additional later images did nothing for the survey.  Similarly the amazing Charles Bayliss illustrations of the world famous Australian inventor Lawrence Hargrave‘s plane models was of a first time interest to me; but their relevance in Australia’s photographic history is drawing a long bow.

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Out in the blizzard at Cape Denison; © Frank Hurley, 1912 (National Gallery of Australia).

On a positive note!  Following three visits to the exhibition, the purchase of the catalogue, research of many online reviews (positive and negative), and the purchase of Photofile, vol 96, I did manage to maneuver my way through the display space and find many old and new favourites to delight, educate and excite me.  Frank Hurley’s depiction of an Antarctic blizzard has probably never been bettered.  Ignoring the degree of difficulty factor, the composition and emotion contained in this relatively small photo was enhanced on discovering through research, that it was one of Hurley’s personal favorites.

As opposed to the image used for the catalogue cover (Beauties, Moffatt), the use of Olive Cotton’s Only to Taste the Warmth, the Light, the Wind was a master stroke.  It brought to light a photo which was sadly unfamiliar to me.  It has a strong aesthetic, but my long distant commercial background noted that the grain structure held up well in the large format illustrations featured in and around the Gallery.

I was very familiar with the JW Lindt image of the body of Joe Byrne hung on a wall to be photographed, but had never seen an original print.  In what is arguably Australia’s first news photograph it neatly illustrates the then preferred newspaper technique of an artist drawing being superseded by photography.  We see in the left hand bottom corner the bowler hatted artist (drawing pad under arm) walking away from his nemesis JW Lindt.  Lindt also features in a personal favourite – Coontajandra and Sanginguble, 1893.  The tall narrow crop of this carbon print (61×30.5cm) indicates that Lindt recognised an aesthetic contained within the photograph, as well as the strong detail shown in the body scarification.  I compliment Annear for including the most subversive images on show – a series of small postcards making a political statement in 1900 regarding the policy of Federation.  The photos of Thomas Hinton may or may not illustrate someone of an unsound mind, but they probably come close to being the first known Australian “selfies”.

Viewing a good version of Max Dupain’s Sunbaker, 1937; dark, rich, moody and all about the body not the face, was a joy.  Not the pale copies we often see in printed versions.  But where o where are the sporting photographs.  One would assume that the 1956 Olympics recognised a growth spurt and turning point in Australia.  With small exceptions press photographers don’t exist in Annear’s world.  The inclusion of Mervyn Bishop smacks of tokenism in this survey.  Which is sad as Bishop deserves and owns his place in Australian photography, but there are so many other great documentary photographers from Frank Hurley onwards.  Where is a “surf culture” illustrated? (with the exception of Dupain).

I think this leads me to my main criticism.  The Photograph and Australia was too grand a project and of course had a difficulty from its inception.  As someone who has spent a lifetime trying to demystify photography and make it accessible to an everyday viewer, this exhibition is the antithesis of approachable, accessible photography.  It relies heavily on academia and a convoluted rationale so loved by post-graduate students.

Much of the exhibition is wonderful, much of it is valuable beyond words.

It is a must view moment, but in an attempt to display photography as high art it missed a great opportunity.

The Fledgling Food Photographer


Margaret Barker and Ian Poole; © Ian Poole, Brisbane 1970.

As a naive and callow young photographer, it was amazing the confidence I exuded when confronted by a task that was well beyond me!

Working for the now defunct Queensland Butter Marketing Board as a Marketing and Promotions Officer, I was able to convince my manager that a set of recipe cards would sell vast amounts of butter.

Having the resources of a test kitchen with highly qualified home economists readily available, all it needed was the services of a highly skilled photographer – me!

With the wisdom of hind sight, I was probably the weakest link.

The ladies from the test kitchen had qualifications ranging from the Le Cordon Bleu School in London through to vast practical experience in the food industry.


Ready for the Camera; © Ian Poole, Brisbane, 1970.

…. and I had book learning from photography magazines.

I had access to a Century Graphic camera with a roll film back.  Whilst the camera was constructed for a 6x9cm (2 1/4×3 1/4″) cut film holder, it was more commonly used with a 6x9cm roll film magazine.  The Century was a small brother of the classic 5×4″ Speed Graphic.  These robust, utilitarian beasts were the stock in trade of press photographers throughout the 1930s and 40s.  The New York photographer Arthur “Weegee” Fellig was an iconic user of the camera.  With a grave disregard to workplace, health and safety regulations, I set out to document three sets of recipe cards each containing 25 recipes.  A vast undertaking.


The Butter Marketing Board Demonstration Kitchen; © Ian Poole, Brisbane 1970.


“Flip” Morgan, QBB Economist; © Ian Poole, 1970, Brisbane

In a time before I had discovered Polaroid and using colour transparency film extensively for the first time, there was a bit of learning curve getting exposures correct.

The crudeness of the lighting causes me some embarrassment today, but I had enough knowledge to be using Kodak Ektachrome Type B, Tungsten film under these harsh lights.  Book learning can be a wonderful thing.

This exercise certainly fostered my interest in commercial photography, but my usual photographic assignments were of a more mundane nature.  Promotion shots at demonstrations, portraits for publicity and pack shots of product.  All the usual requests of a commercial shooter.


Boonah Dairy Week; © Ian Poole, 1970.

Driving West


Rail Crossing #1; © Ian Poole, c1998.


Looking East; © Ian Poole, c1998.

A driving trip to Winton in North Western Queensland involves some considerable distances through the apparently uninteresting Australian outback.


Barcaldine Masonic Lodge; © Ian Poole, c1998.

Armed with a Hasselblad 903SWC and lots of Agfa 100 and 400 black and white film, I was determined to find photographs nevertheless.  The incongruity of a rail line level crossing in the middle of nowhere was an exercise in working horizontal lines into the square format of the Hasselblad.  A task that I have relished most of my working career.  The upsurge in usage of the smart phone app of Instagram has re-ignited that discussion.

Passing through the small town of Barcaldine en route to Winton, I discovered the iconic and delightful Masonic Lodge.  Dedicated in 1901, this amazing building had had a chequered career having been “moved” from several small adjacent towns until its eventual settlement in the rural town of Barcaldine.  Clad in corrugated iron, it possess a much more genteel and decorative interior.


Self-Portrait #1; © Ian Poole, c1998.

My destination was Winton where I was to be hosted by that great gentleman Rob McQueen on his cattle property (Leeson), some little distance out of town.  This working property gave me an opportunity to discover and document some run down buildings.



Self-Portrat #2; © Ian Poole, c1998.



Self-Portait #3; © Ian Poole,

Self-Portait #3; © Ian Poole, c1998,








Skeleton; © Ian Poole, c1998.











903SWC On Location; © Ian Poole, c1998.


Photographs for Government


Voting; © Ian Poole, c1985, Brisbane.

An election in my home state this weekend brought back memories of photographic assignments handled for government departments in a time long gone.


Customer Complaints; © Ian Poole, c1985, Brisbane.

The difficulty of satisfying a visually ill-educated bureaucrat, negotiating with a very small advertising agency and their limited experience, managing an ill-considered budget and working with models offered up from the Departmental office and their friends was not a pleasant memory.

Yet another difficulty was the demand for the best and highest quality!  Not a real problem to me, but when that request was translated into a demand for 5×4″ (12x9cm) colour transparencies, it takes on a new realm of difficulty.  The concept of a larger film format is well understood, but my people direction skills were better resolved with medium format (6x6cm) film.  In particular I was happy with a Hasselblad camera where I could quickly reshoot shot after shot.  Not as easy, nor as fast even with a self cocking Sinar P using a mechanical shutter.


Aged Legal Care; © Ian Poole, c1985, Brisbane.


Business Licences; © Ian Poole, c1985, Brisbane.

Some really dated concepts are clearly on show when you see a pipe smoking gentlemen clearly illustrating a concept for a state government department.  Not a problem at that time!

And of course the difficulty of reproducing these photographs after all this time is compounded by the need to scan from the unders and overs of the transparencies remaining after sending off the best shots to the client.



Liquor Licensing; © Ian Poole, c1985, Brisbane.

Unders and overs are exactly that.  The transparencies that were not perfectly exposed – and as such not worthy of sending to a client.  Current day photographers may not have worked with the constraints that transparency film gave to photographers of that time.  Expose correctly or throw the result away!

My final memory of the assignment was the worry by the client that any “supposed” married couples illustrated would be wearing wedding rings.

To hell with cigarette/pipe smoke!



Births, Deaths and Marriages; © Ian Poole, c1985, Brisbane.


Hero Shot; © Ian Poole, c1985, Brisbane.

The End of an Era


Point Light Gallery, Sydney; © Gordon Undy.

The Australian photographic community is about to see the end of an era.

Point Light Gallery founded by Gordon and Lyndell Undy in 1996 is closing this Sunday 21 December 2014.  The Surrey Hills (Sydney) premises has held a treasure trove of gelatin silver and alternative process prints as well as that rapidly disappearing facility – a black and white darkroom.

Point Light

James Dean Motorcycle, Winslow Farm; © George Tice, 1985.

Pygidia; © Maris R

Pygidia; © Maris Rusis, 1991.

It was from Gordon’s photographic print drawers that I was first introduced to photographs from masters like George Tice, Michael Kenna, Paul Caponigro, Ralph Gibson and Jerry Uelsmann.  To be able to handle photographs from people whose work I had only seen in books was stunning.  Let alone Australian photographers whose work deserves a wider audience and acclaim.  The likes of Queensland photographers Maris Rusis, Zigi Georges and Ian Williams were also held by Point Light.

Undy had maintained a solid and dogmatic policy of promoting, showing and debating “old school” photography.  Most work exhibited was gelatin silver based, but there was room for alternative process output.  With this strong raison d’être, Point Light was a sanctuary for like minded photographers.  This photographic genre was passionately supported, promoted and defended.

The length of operation draws the obvious contrast with Imagery Gallery.  Owned and operated by Ruby and Doug Spowart, Imagery operated for a similar length of time, based in Brisbane.  The loss of these two specialist galleries will be a sad loss to Australian photography.

It is highly recommended that any Sydney-siders with an interest in fine quality photographs make a mad dash to Point Light this weekend and beg Gordon or Lyndell to show you one or two master pieces from those fabulous filing drawers.

Fare thee well!

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Philosopher’s Tree, Study 3, Biei, Hokkaido, Japan; © Michael Kenna, 2009



A Wander down Memory Lane

Ian-Poole-Warren Street Photographic Studio; c.1979

115 Warren Street Studio; c.1979

It is often illuminating to wander back through the annals of time.  Following the setting up of my first solo business in 1976, I was pretty proud of the facilities that were created in the old pink former Lutheran church in Fortitude Valley, Brisbane.  Pink, because in the effort of getting the landlord to repaint the exterior there was a mix-up between the landlord, the painter and us as to what constituted the true shade of Tuscan Pink.  None of the concerned parties had been to Tuscany – just David’s girlfriend!

Sharing space with David McCarthy, I now had access to 1,500 square feet (140 square metres) of studio, with an office larger than many contemporary studios today.  A total of over 4,000 sq ft (371 sq m), plus car parking for 5-7 vehicles, plus a courtyard and a storage shed in the back.  I was in photographic heaven.

Interior of Poole Studio Office;

Interior of Poole Studio Office; c1979.

A design magazine wanted to feature the trendiness of this space, and the attached photos give an illustration of the indulgence of space that was to be had in inner city Brisbane.  We were yet to come to grips with central business district crowding, and the subsequent high rents caused by a shortage of space.  That happened thirteen years later.

Ian-Poole-Brisbane-Photographer - Cassells of Brisbane

Sabcar Models (l-r Ruth Manning, Kris Ehrich and Denise Moran; © Ian Poole, c1979.

To contrast the lavish use of space in our shared reception area, and our indulgent personal office space, it is also instructive to note the style, calibre and content of the illustrations that were coming out of the large studio on the first floor.

Straight black and white retail illustrations for news print were the bread and butter of the studio at this time.  White backgrounds and clear, clean lighting, with a rapid turnaround in the darkroom was the order of the day.

Ian-Poole-Brisbane-Photographer - Shop 21;

Shop 21; © Ian Poole, c1979.

Thanks goodness for small specialist women’s outlets like Cassell’s and Shop 21.  Brisbane designer and art director, Malcolm Enright, makes mention of Cassell’s in his article in the Fashion Archives.  And Brisbane model of the era, Liz Golding, mentions Sabcar Model Agency in her interview in Fashion Archives.

Ian-Poole-Brisbane-Photogrpher- Jenny Teitzel

Get it Off with 612 4QR; © Ian Poole, c1980.

The illustrious ABC was a constant client, although their taste in advertising may have changed a little in the intervening years, as is evidenced in this early 1980s Brisbane Courier Mail advertisement.

Jenny Teitzel was the good sport model from Sabcar Agency to “Get it off” for me (and ABC radio).

Ian-Poole-Brisbane-Photographer-Denise Moran-Model

Denise Moran – Nifty Thrifty; © Ian Poole, c1980.

Ian-Poole-Brisbane-Photographer, Denise Moran-Brisbane-Model.

Denise Moran – Bridies of Brisbane; © Ian Poole, c1980.

Nifty Thrifty/Cut Price supermarkets, and the bridal boutique Bridies of Brisbane also supplied assignments along a similar pattern.  In studio, black and white, retail illustrations, shot on a white background; with a quick turnaround from the darkroom.  Thank you Denise Moran from Sabcar Model Agency.




Ian Poole-Brisbane-Photographer Denise-Moran, Sabcar-Model-Agency

Sabcar Hair and Beauty; © Ian Poole, c1980.








Old Concepts

Riverside Blur; © Ian Poole, Brisbane, 1992.

One of the joys of being a mature aged student was having previously held concepts and well established photographic techniques challenged; and being constantly called on by lecturers to provide new visual answers to previously unheard of questions.

One of those questions was to do with the movement during an exposure longer than the usual hand held speeds of 1/60th of a second or faster.

I explored starting with a simple tripod mounted slow speed exposure in daylight, through to more complex settings; and eventually becoming more challenged by the aesthetics contained within the frame.


Hale Street Divides; © Ian Poole, Brisbane, 1992.

The recent construction of a motor way that dissected the old inner city Brisbane suburb of Petrie Terrace was an opportunity for me to make a visual political statement.  The motorway chopped the suburb in half and took away the quaintness of small workers’ dwellings built on small blocks of land.  The tighter image (Hale Street Detail) was possibly more interesting because of the movement illustrated rather than the motorway construction.  In the end I became more interested in the design possibilities than the politics of late twentieth century urban development.


Hale Street Detail; © Ian Poole Brisbane, 1992.

Whilst initially taking photographs within the urban environment, I became fascinated with things of a much more domestic nature.

I realised that my daughter (Nicola and her kitten) were equally good subjects and also provided me with caption/title possibilities that appealed to my dry sense of humour.

The idea of working in the intimate surroundings of my home and with my daughter had not been explored by me before – except as family snaps and the usual family documentation.


Hallway Upside; © Ian Poole, Brisbane 1992

This was a big step forward in my creative development.


Hallway Downside; © Ian Poole, Brisbane 1992.

A further change in my creativity was the technique used in the production of the photographic prints.

Having assisted in curating an exhibition of work by Japanese artists around Queensland, I was impressed by the photographs of Yoshiteru Asai.  Asai-san was a Nagoya based advertising commercial photographer which whom I had an existing friendship.  He was also a multi-talented artist working in calligraphy, ceramics, design and photography.



Untitled_ Artist’s Proof; © Yoshiteru Asai, Japan

He used a technique of exposing his negative onto a piece of photographic paper; but instead of developing the sheet fully in a developing tray, he used a large calligraphy brush and with deliberate strokes applied the developer in the form of a kanji character.  The resultant photograph was then photographically copied and applied to a silk screen and the final image was silk-screened onto high quality, heavy weight Japanese washi paper.


Untitled – Artist’s Proof; © Yoshiteru Asai, Japan

These two pieces are a treasured part of my personal art collection.

The last photographs in the portfolio are the result of a collaboration between Nicola and some unsuspecting dinner guests; and equally treasured within my art collection.

It has been my custom for many years to entertain friends at home.  I enjoy the camaraderie that is created by sharing wine and food and chose to use this environment to create.

I have an underlying fear (caused by a basic insecurity on my part) that through poor directions or instructions my dinner guests may not arrive.  This is the rationale behind this triptych.


What if

What If Nobody Came #1, #2, #3; © Ian Poole, Brisbane 1992.





In Search of Heros

A recent visit to some major art galleries enabled me to put into practice a long held conviction that viewing the originals of much loved artworks is important to understanding their value as classic images.

Whilst my interest lies strongly in photographic images, I am also very conscious of the motivating power that other genres of art hold over photographers.

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The Persistence of Memory; © Salvador Dali, 1931. Courtesy of MoMA, New York

A recent visit to New York gave me an opportunity to view art works ranging from Salvador Dali to Garry Winogrand, from Ansel Adams to Matisse, Manet and on to Monet. To my amazement I found that Dali’s The Persistence of Memory, (more commonly known as The Melting Watches) is quite small – 24.1x33cm!

Having documented the human form over many years I was delighted to view Auguste Belloc’s 1858 Nude first hand at the Museum of Modern Art (MoMA).  This small albumen silver print is more delicate showing rich detail, when seen first hand, than is apparent from reproductions in books or on-line.  What can be gleaned from this photograph by contemporary photographers is the tone and colour that sepia can deliver as opposed to the sickly yellow shade conjured up by inexpert software manipulation.

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Edith Sitwell; © Cecil Beaton, 1927. Courtesy of MoMA, New York

Cecil Beaton’s 1927 portrait of Edith Sitwell is a masterstroke of rule breaking and quality monochrome printing – showing that a well printed image can still be alive over 85 years later.

Staying with portraits, the penetrating stare of Carl Hoefert, unemployed black jack dealer, Reno, Nevada, August 30, 1983 delivers the power, the quality, and the dominating presence that is the trade mark of the large format, monochromatic skills of Richard Avedon.  It also demonstrates the descriptive power of a title!

The concept of a middle-aged, scarred, corpulent, white, anglo-saxon male doing nude self-portraits resonated with me in a totally unexpected manner.  John Coplans’ Untitled Study for Self-Portrait (Upside Down no. 6) was a confronting monochromatic tryptych of large format Polaroid prints. The vertical construction was unusual, but created a strong and valid story.  This turned the sexist attitude to photographs of the nude on its head – figuratively!

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Images de Deauville; © Paul Outerbridge, 1936. Courtesy of MoMA, New York.

A complete change of pace brought me in front of Paul Outerbridge’s 1936 colour photograph Images de Deauville.  This tri-colour carbro print is large, (40×31.1cm) complex, and was one of the first abstract images that I struggled with early in my photographic career.  The interplay of soft colour, conflicting shapes and deliberate shadows, illustrated how sophisticated it was to create a striking visual image using many of the objects used in old-fashioned first year photography classes teaching light and shade.

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The Empire of Light, II; © Rene Magritte, 1950. Courtesy of MoMA, New York

The Empire of Light, II; by Rene Magritte was a strong indicator of how close artists and photographers can be.  This almost photo realist painting would not be out of place in a photographer’s portfolio if it had been created within a camera.  I was struck, yet again and for the umpteenth time, by how important it is for photographers to be aware of great paintings and great artists in order to have the widest illustrative frame of reference possible.

The thrust of this essay is the importance of being aware of the original physical manifestation of the photograph (or painting of course) as opposed to a digital or printed illustration.  And yes, I do recognise the apparent contradiction of including links to the online digital manifestations of the images referred to in this article!

I had to go to New York to re-discover this obvious fact, but you can do the same by looking for original photographs of admired work within your community.  We all have access to galleries, museums and even libraries that hold original photographic pieces.  Make a point of seeking them out and studying their nuances and details.

Then plan a bucket list trip to one of the great galleries of the world and seek out some photographic heroes.  I did – and I certainly wasn’t disappointed.

Bon voyage!


Screen Shot 2014-10-13 at 11.42.16 AMThis essay was first published in f11 :: for PHOTOGRAPHERS AND AFICIONADOS  (August 2014, page 137)  image001


Photography Institutes – some things never change

The Institute of Australian Photography (IAP) was the earlier name for the august body that is now called Australian Institute of Professional Photography (AIPP).  Founded in 1963 with Claude McCarthy OAM Hon. FAIPP as the inaugural President, the IAP was the first serious attempt to create an Australian national photographic body that would represent professional photographers both to clients, to government and to industry.  A recurring theme was the desire to mount an advertising campaign that would address some of those concerns.

Claude McCarthy’s son, David McCarthy OAM AAIPP Honorary Life Member, Hon. FAIPP, was IAP President in 1976/77.  As an advertising and commercial photographer based in Brisbane, David felt that he should use his skills and contacts in the advertising world to mount such a campaign.

IAP_03_blog_PooleMany attempts had been made to devise a plan that might advertise and promote a discussion about professionalism.  Attempts had been made previously on a local and a State level but lack of funds always created the biggest hurdle.  By utilising connections within the advertising agency world in Brisbane, David was able to convince a prominent art director to create a series of advertisements that were of a professional nature.

IAP_01_blog_PooleDavid was responsible for most of the photography.

IAP_04_blog_PooleAs I shared studio premises with David McCarthy, and was an Australian Councillor (precursor to today’s Board) and a former Queensland President, it followed that I was aware of, and assisted with some of the campaign.

IAP_02_blog_PooleThe campaign was created sometime in the mid 1980s.  Exact date is unknown.

IAP_05_blog_PooleIt would lovely to report that the promotion was a smashing success and boosted earnings of photographers across the country.  Sadly that was not the case.  I have a feeling that one or two of the layouts were run in country/regional Queensland, but newspaper placement costs made the whole effort unusable.


These historical documents represent a minute portion of an archive of negatives, transparencies, photographic prints and memorabilia that has been gifted to the John Oxley Historical Library, State Library of Queensland.