D-Photo is after a new look for its Facebook page, and is soliciting help from New Zealand’s passionate photographic community to get the job done.
While we love the current image from reader Anthony Fau (above), it has been up for almost a year now and features the old version of the D-Photo logo – so we’re giving away a one-year subscription (or subscription extension) and photo book to the reader that supplies our next cover.
All images should be sized to the Facebook banner ratio – 851×315 pixels – so crop skilfully and submit an image that best represents the creativity, insight, experimentation, fun and inspiration of D-Photo magazine.
Please send appropriately cropped images to email@example.com with ‘Facebook cover’ as the subject along your name, address, email, phone and any additional details about the image you care to share.
Keep in mind that we will be placing the D-Photo logo somewhere on the image, so let us know if you have a preference.
Get your images in by Monday, September 8 for a shot at the prize; your choice from a range of beautiful photo books and a 12-month subscription to ...full story
Ex-pat commercial shooter Brett Stanley sizes up the competition-to-opportunity ratio for work in Los Angeles
When I first started making the move to Hollywood, people would often ask me if it was a good idea, wouldn’t I be competing against all the other photographers in town? My initial thought was yes, but after weighing up all the information I figured that in a city with almost 10 million people (that’s more than double New Zealand), there had to be a load more opportunities as well. More people equals more products to sell equals more photography, surely.
I was right of course, I wouldn’t be putting it in print if I wasn’t!
The huge number of projects happening at any one time here is staggering, from small commercial shoots to large feature films, this city has it all, and it’s all going on all the time. (more…)
Paul Gummer talks to commercial photographer Dan Molloy about the fallacy of photography being easy work
There’s a perception outside our industry that photography is easy. This way of thinking often extends to the notion that it’s pretty straightforward to become a photographer.
I doubt there is any job in life that is ‘easy’ if a person has a desire to become highly proficient at it and carve out an interesting career. In fact, I am convinced that the more you put into something, the more you get out, and that this holds true for most people. Each of the photographers I have talked to about getting into the industry has found the road hard going. It is the reward of doing something we are passionate about that keeps us at it.
I find it fascinating to analyse why successful people are just that. It all begins and ends in our thought worlds, and one of the keys to success is persistence at pursuing your goal despite the obstacles. (more…)
Kelly Lynch talks with three young photographers who made waves last year within the challenging fashion and commercial environment
Coming up roses
Personable young photographer Oliver Rose has based himself near central Auckland’s trendy hub, Ponsonby Central — the ideal spot to meet clients and discuss image ideas over a strong cup of coffee. Working in close proximity to your requisite caffeine fix is just one of the invaluable tricks the 23-year-old has picked up while working predominantly as a fashion and portrait photographer for the past two years.
In that short time Rose has built up an impressive list of clients, and enough of a reputation that he’s now eyeing up the international market. Rose says he has managed to stay ahead in the highly competitive market because he is eager, passionate and driven, which people notice and like. “Agencies are always looking for something fresh, the new kid on the block,” he explains. (more…)
Adrian Hatwell explores the local options for crowdfunding photographic projects, and the clever creatives putting them to work
In the last five years the idea of crowdfunding has increasingly gathered steam. For many creative endeavours across the globe, crowdfunding is now the first and only port of call necessary to get a project up and running. Uptake has not been quite as vigorous in New Zealand as other parts of the world, but a slow and steady build in popularity has local crowdfunding platforms set to hit a tipping point soon. It’s something the world’s biggest crowdsourcing website, Kickstarter, seems aware of, having opened shop in New Zealand recently.
With its launch in November 2013, Kickstarter joins such local platforms as PledgeMe and Boosted as online destinations for creative Kiwis to float their ideas and vie for the public’s dollar. Internationally, such services have been a valuable tool for photographers in producing a wide array of products — books, exhibitions, films, tours, prints, collaborations — anything that might catch donor attention. (more…)
The Annual Wallace Art Awards is the largest and longest-running awards programme in the country aimed at supporting, promoting and exposing New Zealand contemporary art and artists, and several top photographic artists are in the running for this year’s prizes.
Photographers among the 90 artists named as 2014′s finalists include:
At stake in the awards programme is over $195,000 worth of international residency opportunities and cash prizes. The winner of the top award, the Wallace Arts Trust Paramount Award, embarks on a six-month residency at the International Studio and Curatorial Program in New York.
Last year’s Paramount Award was won by a photographer; Jae Hoon Lee took the top distinction with his digital image, The Dry Valley, pictured here.
For more information about the awards, visit the website.
Auckland-based photographer Parisa Taghizadeh tells The Photographer’s Mail about shooting stills on the set of Jane Campion’s recent television miniseries, Top of the Lake
The Photographer’s Mail: Can you briefly tell us a little bit about yourself and your work?
Parisa Taghizadeh: I am a freelance photographer and film-maker with my own art practice. I was born in Iran, raised in London, and lived in LA for six years before moving to New Zealand. I make work based around issues of cultural and personal identity, and I work commercially to make ends meet. I keep my own art practice alive with a bit of self-motivation, and support from organizations like Tangent, a lens-based collective here in Auckland of which I was a co-founder. (more…)