We discussed with exhibition curator Aaron Lister the importance of Sherman's work, and what makes this exhibition extra special.Read More
Recently we caught up with Australia's Yan Zhang about his interest in landscape photography. He took some time out to explain how his interest in photography began, and what his plans are for the coming year.Read More
The creation of Photival marks Wellington's first photography festival in over a decade, and this one aims to use the art of photography to open discussion around society and the issues the world faces today. We spoke with Festival Director and Curator Demi Heath about the concept, and what to look forward to during the February 18–March 4, 2017 event.
D-Photo: Photival sounds incredibly exciting! Can you give D-Photo readers a rundown on what the festival is all about?
Demi Heath: Photival is a photography festival for positive change and Wellington's first photography festival in over a decade. Our aim is to celebrate photography as art, show people thought-provoking photographic work from all over the world and connect them with local community groups bringing about change. We are working with established, international, and home-grown photographers, and we’ve partnered with a range of charities. We will showcase a small selection of outstanding work from the general public from our Open Call competition as well as new talent from Wellington's tertiary institutions.
The concept of positive change is one that is closely tied into this festival. Can you explain a bit about this and how photography will encourage and enable a conversation around this?
I wanted to create a festival that not only celebrates the art of photography but also the utility of it. When presenting factual, current, worldwide issues, photography is the best media to enhance already compelling messages. We are showcasing photographers who do this in variously beautiful and empathetic ways.
I see it as unfortunate that I so often leave an exhibition or documentary film screening, asking myself, OK, but what can I do? Photival will be proud to act as a bridge between these two industries so that the audience doesn't have to ask this question, they will be immediately presented with options as to what they can do to get involved. We hope they will not only feel more uplifted after seeing hard-hitting work, but they will be more likely to get positively engaged by giving a koha, signing up to volunteer, or by simply educating themselves further.
Positive social change will be easily accessible, as each exhibition will be linked with a charity, NGO, or activist group that works within the area being showcased by the photographer. Photography is such a diverse industry, but I feel that documentary photography can easily be overlooked and less encouraged as an art practice. I hope that the work we'll be showcasing will exemplify that this practice can be equally artful and informative.
This festival’s theme is Brink — where did this idea originate from? And what do you hope it instills in those who visit the festival?
We as a world population have huge decisions to make, in a very short time period, that are going to affect what the world looks like and how people experience it within the next 50 years. Images from photographers like Sim Chi Yin will generate conversations. Her series The Rat Tribe captures people living on the brink of acceptable living conditions in Beijing, China. I view it as incredibly important to bring these photographs and the subject matter to the forefront of public discussion in an engaging and fresh way. It seems to me that the world is on the brink of destruction or salvation, so these issues and decisions around them are hugely important.
Where will the public be able to see exhibitions and participate with the festival?
Photival will be running from February 18–March 4, 2017. We will be hosting exhibitions across Wellington CBD in various galleries, public areas, and pop-up spaces. Please visit our website photival.com for further information.
What options are available for photographers to get involved?
We are running an open call to the general public until Friday, January 6, 2017, which anyone in New Zealand can enter. We are requesting three images per submission that fit with the theme of Brink, and people can enter more than once if they wish! We have an international panel of expert judges who will be reviewing the work: Athol McCredie, Curator of Photography at Te Papa Museum, Nigel Atherton, Editor in Chief of Amateur Photographer, UK, and Myles Little, Photo Editor for TIME Magazine in New York City. The three selected winners will have their work exhibited in a central city location as well as having one of their images displayed across central Wellington as part of our publicity campaign. People can enter on our website photival.com/open-call
How many photographers are already confirmed to be taking part — can you give us an insight into who will be involved and what they’ll be doing?
We have confirmed eight photographers from all over the world (Canada, China, Egypt, and Germany) for solo exhibitions, and we have a guest curated show by Myles Little, containing work from 30 more photographers. We will also be including work from Massey and Victoria University students, alongside the work of our open call winners. The works being presented cover issues such as wealth inequality, environmental destruction, and mass migration.
How do you think holding the festival in Wellington will enhance the experience? The large number of people? Other factors?
Wellington is a city where everything feels accessible. The variety of exhibition spaces, the supportive creative community, and the geographically condensed nature of the city make it possibly the best city in the world to host this photography festival and bring together a community that appreciates the art form. Wellington has not had a photography festival in over a decade, despite the wealth of photographers, galleries, and people interested in the visual arts, so we’d like to think that the city will embrace this opportunity to celebrate and be inspired by photography across the two-week event.
If people are wanting to follow the progress of the festival, where can they go?
On November 14, one of New Zealand's most-acclaimed photographers, Marti Friedlander, passed away at the age of 88. We delved into the D-Photo archive to find the article written by Tim Grey that we published about Marti and her career back in 2009.
When Marti Friedlander is gripped by an idea, there’s no question of coming between her and its execution. Marti moves quickly and with uncommon determination to investigate whatever has aroused her curiosity, which, more often than not, is a person.
When Marti speaks, she does so with the same unwavering force and direction. People don’t always take it well.
“I think a lot of it is that I’m an opinionated woman,” she explains. “I’m out there, I’m confident, and they’re not confident.”
Few would argue that she hasn’t earned it. After almost 50 years of making photographs that have helped both define and complicate how New Zealanders see themselves and their land, an acclaimed documentary and a national exhibition, Marti Friedlander is a household name. She’s made portraits of practically every prominent New Zealander and her work on Michael King’s landmark book Moko remains as sharp and vital today as it was in 1972.
This month, a new book by art historian Leonard Bell, Marti Friedlander, will offer unprecedented insight into the photographer and her work.
Professor Bell’s interest in Marti’s photography dates back to the very beginning of her career.
“I saw totally by chance — and I can’t claim to remember this particularly well — her first exhibition, which was in Symonds Street at a place called the Wynyard Tavern,” says Professor Bell, who recalls the Tavern as “quite a place” that often featured “satirical cabaret”.
Although Professor Bell and Marti have known each other since the mid-1970s, the idea for the book was born after he wrote an article in response to a 2001 Auckland Art Gallery retrospective of her work. In 2006 he began sorting through the vast archive of more than 50,000 of Marti’s images and negatives held by the gallery, and was surprised by what he found.
“So much emerged that I’d never seen. The diversity of her work really struck me,” says Bell, who chose images that were developed and printed by Marti herself, unlike the photographs developed exclusively for the exhibition. “It’s aimed to show a very different Marti photograph.”
At the centre of the book is a close reading of each of the images, discussing them within the context of the photographer’s life.
“I’ve done it because I’ve got a deep commitment to getting the richness of her work out there into the world,” Bell says. “I hope people look closely.”
Marti appears satisfied with the end result.
“The thing I love about this book that’s coming out from Auckland University Press is that Len understands why I took the photographs,” she says. “Not many artists can say they’ve got that kind of perceptive understanding and insight; I’m really grateful.”
Marti’s achievement was never a foregone conclusion. Born in London’s East End in 1928, she was placed in an orphanage at the age of three. She’s frank when she discusses her origins, but doesn’t linger over the details.
“I’ve known poverty. I’ve known what it is to be really hungry,” says Marti. “The reason I don’t make a big deal about it is because I believe in getting on with life.”
This resolve was put into action from an early age. She first studied photography as a teenager after being awarded a trade scholarship, and later attended art school. Despite her love of painting, she gaily admits that she “singularly lacks any idea of perspective”.
Abandoning art school and in need a regular wage, Marti found work in the studio of Douglas Glass and Gordon Crocker, two of London’s leading photographers. The young Marti turned out to be an exceptionally skilled darkroom technician and earned a reputation as one of London’s finest retouchers. Glass observed that she could produce an image from a blank negative.
She loved her work and her bedsit, and she loved London, where she revelled in the vibrant bohemian lifestyle literally at her doorstep. The idea of leaving the darkroom to get behind a camera never occurred to her.
“I had no idea when I was working as their assistant. I used to develop their negatives and enlarge them and I loved the darkroom,” she says. “Never did it cross my mind that I would be a photographer.”
Nor did it cross her mind to leave the UK for New Zealand — at least not until a handsome young Kiwi dentist turned up at her door. Gerrard Friedlander, whom Marti had only ever spied in a photograph taken by a friend, dropped in unannounced while visiting London for the first time. The bolshy move was prescient, as the two were soon married and setting out across Europe on the back of a scooter.
While the couple have been inseparable to this day, Marti admits feeling some trepidation when Gerrard proposed. “I hesitated about marrying Gerrard because I loved my job. I knew that if I married Gerrard and went to New Zealand that it would be hard for me to find that sort of job satisfaction.”
As it turned out, Marti was right to feel hesitant. She remembers her first few years in New Zealand as the unhappiest of her life.
“I had been part of a very bohemian community in London. Imagine what it was like to live in Henderson!” she jovially exclaimed to a recent gathering of photographers.
While Gerrard ran a dental clinic, the only chance Marti had to ply her craft in the darkroom was as a nurse, developing photographs of teeth. Feeling increasingly isolated, she tried to fit in by playing the model wife, cooking and preserving fruit. In 1963, Marti and Gerrard suffered a miscarriage.
“It was the most traumatic three years of my life,” says Marti. “You have to get on with life, and I’m the sort of person who does. I said to Gerrard after we’d been overseas, ‘When we get back to New Zealand, I’m going to be a photographer.’”
After returning from Israel, Marti was true to her word. She began shooting portraits of her sister-in-law’s children with a simple Voigtlander camera. Photography became a powerful new tool for Marti to perceive and evaluate the unfamiliar world around her.
“My art was a necessity to try to understand why I had been so unhappy,” she says. “I needed to photograph New Zealand to understand why my response to this empty, rather desolate land had affected me so. And to seek out people, because it wasn’t really that empty.”
Professor Bell considers Marti’s position as an outsider to be one of the great strengths of her photography.
“She’s moved around quite a lot, not just physically but culturally and socially. [Immigrants] often see in ways, and see things in a place, which people who have always lived among it don’t really see,” he explains. “She was coming to her New Zealand subjects with a very astute and different eye to the New Zealand-born.”
Marti agrees that her vantage point was of real benefit photographically.
“People tend to take the country they grow up in for granted. Nothing seems particularly fantastic,” she says, noting that for her, everything New Zealanders thought was ordinary was utterly extraordinary.
In fact, to Kiwis at the time, the camera itself seemed extraordinary, not least with Marti standing behind it. When she first started asking people whether she might take their photograph, her subjects would often enquire whether the picture would go on the television.
New Zealand’s particular form of cultural cringe also had a bearing on how her images were received. “I think New Zealanders couldn’t bear to see themselves photographed. A lot of them I think felt that I was maybe making fun of them,” she says. “But it wasn’t that. It was the fact everything that I saw in New Zealand was just so amazing.”
A local chemist wondered what this intense young woman was up to.
“She was one of the few woman photographers way back then. She used to come in occasionally and I’d think, ‘What the heck is she doing with photography?’” says Graham Glamuzina, who gave up his own career as a pharmacist to establish photographic store Progear. “It was a man’s game. There wasn’t a single woman, excepting Marti.”
Marti admits that, as a female, people were often uncharitable towards her.
“There were lots of assumptions in those days about me, also from the photographers, who were still struggling. They thought that because I was married to Gerrard and he was a dentist that maybe, you know, my photography was a hobby,” she says. “But Gerrard never had to pay for it. I would never have continued doing it unless I could pay for it myself.”
Undeterred by criticism, she continued exploring New Zealand, photographing everything that caught her eye. Her camera recorded the intimate details of the country’s changing face, beginning with an anti-apartheid protest at Myers Park in 1960, and traversing the sprouting suburbs of Auckland and sheep-infested hills. She describes herself as being in the right place at the right time, capturing the country as it began to metamorphose.
“My feeling was New Zealand just had to change. It was so provincial and so smugly content, and I just knew it was going to change,” she says.
To her mind, artists play a key role during pivotal moments of social upheaval and transformation.
“Behind the scenes of every movement and every change, things are happening and we don’t really have it written down in depth. The writers and the artists are the ones who are observing it and, if I may say so, the photographers,” explains Marti. “Every single photograph I took in New Zealand is an agent for change.”
For Marti, the reason why you take a photograph is its most important element.
“I feel like an activist in myself. Photography is merely an adjunct to my participation,” she says. “Photography is not only about exhibiting. It’s about your philosophy.”
This article was originally published in the October–November 2009 issue of D-Photo (Issue No. 32). Make sure you add a copy of this issue to your bookshelf now:
At the recent 2016 International Photography Awards, Kai Schwoerer was awarded second place in the Sports — Field Sports category with his image Rubgy in the mud (seen below). Schwoerer moved to Christchurch, New Zealand, after leaving Germany where he was primarily a sports photographer. We caught up with him about his place-getting and about his plans for his photography now that he's made New Zealand his home.
D-Photo: You've recently taken out second place in the Sports — Field Sports category at the 2016 International Photography Awards. What does this win mean to you?
Kai Schwoerer: It's a great feeling. It's second place but it doesn't matter because being among the winners at this competition means you are a winner. This is one of the most highly regarded awards in the photography world and I expect this will give me a further boost and really good exposure with exhibitions in New York and other cities around the world.
Can you describe your favourite styles/genres of photography, and what drew you into shooting these styles?
Before I moved to New Zealand two years ago, I exclusively worked as a sports photographer. And this meant in my home country, Germany, I mainly covered football. After moving to Christchurch I had to widen my field of work because there is simply not enough happening to make a living from sports photography. I was lucky enough to get in touch with Tourism New Zealand very early on and therefore had the chance to get into many different genres, like landscape, event, and even food photography for them. Since the beginning of 2016, I have worked a lot for Getty Images, and now cover basically everything from architecture to portrait photography. I still love to cover sport, but I get more and more into studio photography. And with all the possibilities in New Zealand, I absolutely fell in love with action and adventure photography. I definitely don't want to work in only one genre any more.
Can you please give us a bit of background around your winning shot — where was it taken, how did you capture the moment, what gear were you using?
The shot was taken in the dying minutes of the Crusaders First XV rugby semi-final between Christ's College and Shirley Boys' High this August in Christchurch. It was raining the whole day, so the pitch was extremely muddy. In fact, I could not even recognize the shirt numbers of the players after a couple of minutes. This created a very special atmosphere. I had been hoping to get this in a rugby match for quite a long time. I wanted to get as close to the action as possible, so I took the photo of the ruck with my Nikon D4 and a 400/2.8 lens. The most important equipment was the rain cover though, to protect the gear from the masses of mud.
What's in your photography kit at the moment? And is there anything on your wishlist?
I've got a Nikon D5, D4, D810, D800, and Nikkor 400mm f2.8G ED AF-S VR, 70–200mm f/2.8G ED-IF AF-S VR, 24–70mm f/2.8G ED AF-S, 14–24mm f2.8G ED AF-S and 50mm f/1.8G AF-S lenses, a 1.4 converter, and Elinchrom lighting gear. The next item on my wishlist is the Nikkor 400mm f2.8E FL ED VR lens, but that's not too urgent.
What projects are you working on at the moment? Any plans to enter more competitions?
I just started a new project named Missing Out where I accompany athletes that were close to being able to take part in the Olympic Games, but missed out. I find it interesting to see how they continue their daily life, especially what they do on the day they would have competed at the Olympic Games.
I'm definitely keen on entering more competitions. Although I've won a couple of international competitions, I never managed to win at national photo competitions. So that's my new target for New Zealand now.
Joseph Shirriffs is in the final stage of his Diploma of Film Making course at SAE Auckland.
We recently caught up with him and asked him to run us through his experience exploring the various facets of his creative interests.
The SAE Creative Media Institute has appointed a new film department coordinator — academic and film-maker Michael Miller, who will head the institute’s Bachelor of Film Arts degree and Diploma in Film Arts.Read More