Remembering Magnum Photographer Dennis Stock. Stock met Dean in Hollywood in January 1955. Following him on a visit from his birthplace, to New York City, and back to Hollywood, Stock recorded unforgettable images.
Australian wedding and portrait photographer Jerry Ghionis was recently honoured at the 2009 Societies Convention Awards in London, picking up no less than eight awards, including the Photographer of the Year Title.
According the British Journal of Photography, Ghionis managed to dominate a field of 23, 000 images over 33 categories, taking out the fashion and photojournalism categories.
The photographer picked up over $17,000 worth of photographic equipment, including a sparkling new Nikon D3s.
The Melbourne-based photographer began shooting professionally in 1994 at the age of 20, Ghoinis has regularly been listed among the top ten wedding photographers in the world.
‘The trophies I have won are just glass but if they show I have been in some way helpful to other photographers through my images and my workshops then that is praise indeed,’ the photographer told the BJP.
Magnum photographer Dennis Stock died aged 81 this week, leaving behind an exhaustive collection of jazz musicians and movie stars, over 28 books and his instantly-recognisable portrait of James Dean.
Born in 1928 in New York City, Stock was nothing if not prolific, managing to come out with either a book or exhibition every year. He began his photographic career as an apprentice to Life Magazine photographer Gjon Mili, and eventually became one of the first American photographers to join Magnum Photos in 1951.
‘Dennis Stock was among a group of photographers that were able to define themselves through iconic sets of images,’ Peter Hamilton, writer, curator and book publisher told the British Journal of Photography. ‘His images represented the essence of the 1950s cool. They also, perhaps, overshadowed him,’ despite the fact, Hamilton adds, that Stock continued to shoot commissions over the years. ‘He clearly still was a very able photographer.’
Gerald Wilson by MS
Gerald and I focussed on his career while sitting in the Elm Café in Palmerston North. Above us were two of his fine art landscapes. These works are just part of the passion he has for photography – a passion which is almost genetic! “My parents were the foundation of my photographic interests. I have a lot to thank them for as they showed me how photography and business worked.”
Gerald has not been afraid to confront and identify change and opportunity throughout his career. His adventure with photography has parallelled the fundamental technology changes and distribution changes that have taken place in the industry. “I began when I was about 10 with my 35mm Canon QL, going to the local Big Tex restaurant and photographing children’s birthday parties. By my teens I was shooting guests at weddings.”
After finishing school, Gerald headed to Christchurch to stay with family. Christchurch was where he first met Stuart Riddell who was just establishing his first studio. “I was delivering a second-hand television set; soon after I was working for him. Stuart continues to be an inspiration and mentor to me. Other photographers who inspired me included the late Major Tonkin and James White, and in Hamilton it has been my good friend Bill Lindberg.”
Ben Ohau Range, 10 exposures blended – Canon EOS 1DS Mk II. Printed to 3 metre at ImageLab Wellington on their flat-bed Durst RHO 600. Gerald Wilson
The influence of other photographers has also been strong. Gerald remembers his visit to Los Angeles and calling on acclaimed portrait photographer Phillip Charis. “I asked him to look over some canvas mounted prints I was particularly proud of. I unrolled them and he carefully examined them – he said ’Gerald you have no style’. I was devastated but soon realised that the images were individually fine but I was not showing any cohesive and individual style of image making to set me apart. Since then I have worked hard to be different, to have my own style.”
In 1991 he sold Hamilton and moved to Sydney, “… a big and expensive mistake, but I was able to retreat to Auckland where I worked for Stuart until I decided to set up in Palmerston North in 1994.”
Lake Whakatipu – 3 exposures, Bronica ETR. Gerald Wilson
The following year another life changing influence happened. “I was at an AIPP Convention in Sydney where Sebastiao Salgardo was presenting and where he had an exhibition of prints – all large, all mind numbingly beautiful. I returned home and bought a Lieca R8 system and moved to a portrait style based on Kodak’s 3200 ISO black and white film. It was to remain my signature style for over a decade. Hand coloured, dye blended.”
The landscape by then was being captured on his Hasselblad XPan with a full complement of lenses. The next change was forced on him by fundamental technology changes. Digital had arrived; Kodak signaled the end of manufacturing the film used for making Transproofs needed for sales presentations.
The replacement for the Leicas was the Canon EOS 1DS Mk II and a full kit of L Series lenses. For Gerald it also meant he needed to employ a post-production operator to prepare and manage files. He attracted a top UCOL graduate, Doug Peters, who has recently been replaced by another top graduate, Brad Boniface, who won the 2008 Student Category in the NZIPP Iris Awards.
“I have been an NZIPP member since 1985 and participate in the awards and qualifications process. I am an advocate for more involvement by more photographers – there is strength in numbers, a unity and fellowship.” A qualified Master of Photography, Gerald has been a generous facilitator and regional leader within NZIPP and a passionate advocate for photographer education.
By Malcolm Somerville
Tauranga based professional photographer Nikki South talks about life with her Apple iMac computer.
I bought my 24 inch iMac about a year ago. It was love at first sight! Its sleek silver minimalist design appealed to me and with a 500GB hard drive, and upgraded to 4GB memory, it is perfect for what I do. As a photographer and a designer I often have a few programs running at once. And it is still really fast.
What’s hot?
Everything is hot! The size of the screen, its ease of use, the speed and of course, it looks so very fine in my office!
What’s not?
Sometimes the screen gets too many reflections, even when all the blinds are closed, but I think that is its only downfall, without getting eally picky!
Would I buy one again?
Yes, for sure. Maybe not an iMac though as Apple are always bringing out new technology. I will wait another year or so and until they bring out something bigger, better, faster and even more reliable! Maybe they should make men! So I will be keeping my eyes open. But for now, I love my iMac, and I’m very happy with everything.
I’d really rather have…
A computer that can read my mind, do all my work, upload to the printers or send work out to my clients! Then whip me up something nice for dinner! And maybe send me on a tropical island holiday – but I can’t see that happening in a hurry!
(Hey Nikki, sounds more and more like that Apple iMan – Ed)
Does it make the world a better place?
It makes my world a better place for sure. I spend so much time in front of the computer and it is nice to have a quick machine with a big screen. I like the built-in hard drive. I also have external hard drives that I keep most of my work on. This helps to keep my baby as fast as possible for maximum production. I have two iMacs now and being a great multi tasker I can get twice as much work done! One of my iMacs has a split hard drive. Part of the hard drive is PC based with Windows, mainly for programs that are not available for Mac yet. So you get the best of both worlds.
Has it made me any money?
Absolutely! I could not be where I am today with out it! Go check out an Apple!
Kerry Fox Photo MS
I was in Gisborne 1 January 1990 taking photos of the ‘Tall Ships’ arrival as part of New Zealand’s sesquicentennial. That’s when I first met Kerry. She was enthusiastically taking photos then and still is.
At the beginning of January this year I ran into Kerry at the Gisborne Museum where she was arranging her images in their sales area and introducing a new acrylic based photo product.
For much of the intervening 19 years she has worked for someone else and her photography was a sideline, now that’s changed as she steps out into a new venture. It was always more than just a hobby though, her success in the Agfa – Listener Timeframe competition in ’96 said “…yes – you can do it!”
That enthusiasm has driven her to be probably the best known photographer on the East Coast. Her images are in books, calendars, as canvas prints and now acrylic blocks. It began when she about 12 and was given an Ilford Sprite 127 camera. “We lived in the Hawke’s Bay and we went on Sunday drives. My Nana had an 8mm movie camera. My dad had one as well and also took slides. At school photography wasn’t seen as a girl’s activity so it wasn’t after school that I joined a camera club.”
For much of the last 20 years she has been an Olympus camera user and only in the last few years has moved to the Nikkor lens systems. However much of her time has been working for Barry Teutenberg of D&K Studio – a long established business in Gisborne. “Barry has been a tremendous photographic technical, creative and business mentor over the years. The last few of those years I’ve been photographing schools on his Nikon-based Kodak DCS camera. Before that I spent time photographing children on his Mamiya 6X7 film cameras.”
Gisborne has been good for Kerry and her family. “It’s a good lifestyle, all amenities and very busy with visitors December to March.” The visitors in that period are also good for sales of her printed products which cover landscapes and locations in the region.
Her regional knowledge combined with her photography has given Kerry a national client that she enjoys working for, Bayleys Real Estate, who publishes a number of property magazines. Kerry works on both ‘Country’ and ‘Waterfront’ that feature farming/horticulture and coastal property. “Those assignments take me all around the coast and into the Hawke’s Bay. Often a farm shoot can take a full day as well as aerial photos to cover all the aspects. And often to short publishing deadlines.”
Her equipment now is primarily digital but film, particularly Fuji Velvia with its vibrant colours, is the standard everything is measured by. “I have a Fuji S3 which I still love to use, a Nikon D200 and a very recent purchase, the Nikon D700. I shoot RAW files and do all my own post processing; it seems an hour shooting is at least an hour on the computer. I also have a Bronica SQ 6X6 system and a Hasselblad XPan that I intend to keep shooting film with for some time.”
She also has a Nikon D70 that she bought as a backup at one stage and is about to have it converted to be a dedicated infrared camera.
The D700 has changed her digital experience, “… being full frame I feel I am seeing more… it feels good.”
At a recent ‘Rhythm and Vines’ festival she shot night and day for a commercial client, over 3,000 images. “I was very impressed by the quality of the low light shots, fine grain in situations where I would normally be struggling.”
Her other passion is travel although it seems to involve a lot of photography. Each year she and her husband make a major 5 – 6 week expedition, travel light, choose local buses, boats and get to less travelled parts. Recent years have included trips to Laos, Cambodia and Vietnam. Her last trip resulted in over 10,000 images! “We love to experience the locations, the travel, but mostly it’s the people.”
Her training has not been formal but her learning has been by practice and great mentors. “Barry provided the hands-on experience, Craig Potton and Peter Eastway I have always looked up to and been inspired by. Freeman Patterson has been a brilliant guide. I read the books – it was so me! I attended three of his workshops. In essence I find that the more I shoot, the more proficient I become.”
So 2009 begins for Kerry with a new direction. “It’s been a passion, now I will make it a business.”
Her energy, ideas and talent will drive it.
Colin and I chatted over coffee in his studio in the most recent addition to his home in Ngaio. It was added in 1908 to the original cottage, built in 1895. “The back of the house is to the road as it was built originally facing the railway station.” An ideal studio with large spaces and very tall ceilings.
Colin is now mostly a people photographer – in all aspects from weddings and families to corporate and government events. The previous night he had covered the 40th celebration event for architect Ian Athfield, “… a big lighting challenge that required subtle additional lighting and utilised the low light capability of my Nikon D3.”
Colin relishes situations that call for lighting control that lifts results from the adequate to the amazing. Mixing creative flair with a deep understanding of photo technology helps him get results and fast. His background experience gives him a unique perspective.
Twenty years as a photographer with the RNZAF, covering the ceremonial events, the remote peace-keeping locations, civil emergencies, air-force life and technical. It covered almost every form of photography known, every format, every process. Colin’s assignments took him to the extremes of climate and activity. “I spent almost 4 months on the ice in Antarctica and a little later was in Cambodia covering army engineers on landmine clearance, then on the Mekong River with the navy in their inflatables. At that time there were always bodies floating down.” He remembers clambering into an Iriquois helicopter that was heading out on patrol over Cambodia. “I began putting on a flak jacket but was quickly instructed to take it off and sit on it because any bullets will be coming up through the floor!”
Colin’s start in the airforce was a life-defining experience too. At 16 he left the family farm in Southland to train in avionics at RNZAF Woodbourne near Blenheim. “Within 3 weeks I had a massive stroke that resulted in airlift to Wellington hospital with the expectation I wouldn’t survive. I slowly regained everything and on light duties returned to Woodbourne where I continued with avionics until the end of the following year when I transferred to Photography at Ohakea.” In the early recovery period Colin had difficulty walking in a straight line “… so they didn’t want me on parades – which was a bonus.”
RNZAF photography training had a depth not equalled in the theoretical and practical application of the science and craft. Signing on for his 20 year tour of duty equipped Colin with a rich experience and along with many of his compatriots, a springboard into civilian careers. Over the years I have worked alongside and known many of them now active in the wider industry.
The RNZAF tools of trade began with Speed Graphic – a 5X4 camera system – and included over the years Ricoh rangefinder 35mm, Mamiya C330s, Mamiya RB 67s, Hasselblad 503s and Nikon 35mm.
“The most difficult thing to do was photography air-to-air during aerobatics – it was extremely physically demanding and draining. Fighting G forces, everything becomes heavy, holding up the camera – in those days an RB, the weight of your helmet, your arms, concentrating on the task as well as trying to remain conscious as your blood goes to your feet.”
Helicopters feature too while doing vertical shots over Great Barrier Island with a Hasselblad 503. “I was leaning out holding the camera which had a bar with two handles. I was so far out to clear the skids that another photographer had to sit on my legs. I did have a safety harness thankfully. I exposed a frame each time someone slapped my back. At 10,000 feet it was very cold and combined with the forward motion by the end of the job the lefthand side of my face was battered and bruised. The next day I drove to Palmerston North to photograph fellow photographer Mike Provost’s wedding looking like I had been in a fight.”
The last phase of Colin’s RNZAF career was in PR and publicity, based initially in Auckland then Wellington. “Still a wide range of tasks, travel to places such as London for ceremonial events and many hours in the back of Hercs to places such as Somalia to cover UN Peacekeeping activities, and into the Pacific after cyclones. Then Government House for investitures.”
When he left at the end of his contract in 1992, Colin had laid the groundwork for his own business. He had qualified and joined the NZIPP, bought his own kit including lights, a Bronica ETRs system for 120 and remained on Nikons for 35mm as he had used them for most of the last few years in the RNZAF.
The Nikon F90 became the film workhorse and as digital began to arrive he started with the Fujifilm S1 as it took the Nikkor lenses and then moved through a series of Nikon digital bodies – D70, D70s, D200 and more recently the full frame D3, “… that returns all my lenses back to their original values, as I know them.”
With his wife Elena and two children, Colin has found the perfect haven to practise his craft and live a much quieter life within a full family environment.
This article is from The Photographer’s Mail issue #182.
Grahame Sydney and his wife Heidi live in the shadow of Mount Saint Bathans in the heart of Central Otago. Photo HM
Grahame Sydney is best known for his photo-realistic paintings, especially of the Central Otago region where he lives and works. Such is the popularity of his work that his paintings are sold to a private waiting list and many have never been seen publicly, though reproduced art prints of his work have sold in their thousands. Sydney’s latest art book, ‘The Art of Grahame Sydney’, scooped the pool at the Montana New Zealand Book Awards 2000, winning the Montana Medal, the top non-fiction prize, the Readers’ Choice Award and the Illustrative Arts category.
Lesser known is Sydney’s ability as a photographer and cinematographer. His book ‘White Silence’, photographs from his visits to Antarctica in November 2003 and October 2006, was launched at the Antarctic Centre in Christchurch, October this year.
Born in Dunedin in 1948, Sydney attended Kings High School and the University of Otago, graduating BA (English and Geography). Following Secondary Teachers’ College, Christchurch, he taught at Cromwell District High School before travelling to the UK and Europe in 1973-74, then returning to Dunedin to commence a full-time art career. “At Kings I was already a keen watercolour painter with some years of private tutoring and art classes behind me, and an associate member of the Otago Art Society, but the school camera club and its inspirational teacher Reg Graham provided a creative outlet for a few of us in a school otherwise devoid of art. Guided by the charismatic Reg, we began to consider some of the rudiments of composition, cropping and awareness of the world inside the frame.” Sydney continued his interest in photography at home with an enlarger set up in his parent’s kitchen and later during his time in London. “A period that I lost heart in painting,” he would spend weekends on photo expeditions with his Asahi Pentax Spotmatic. “I have boxes of prints from these eras,” says Sydney.
Sydney paintings are very recognisable. “The paintings aren’t done to say much about what they’re looking at, they’re done to say things about me,” he explains. “What I find hard getting through to people is that although the paintings’ subject matter is landscape, they are fabrications in a great many ways. They are like this because of the sort of person I am. Paintings, like first novels, are always primarily autobiographical. They’re not so much a sense of the place but a sense of about me. A painting is a one-shot only, everything packed into one compressed, single, carefully considered offering.” Sydney puts his painter’s eye to the camera and admits that it is much more challenging to produce photographs that can be recognised as his. Talking about ‘White Silence’ Sydney said, “With the technical stuff being taken care of by the gear, everyone can take great photos in Antarctica but mine have to be different, distinctively my own”. In the excellent, well researched introduction to ‘White Silence’, Sydney writes about the beginnings of his fascination with Antarctica and about the three major Antarctic artists whose work he believes towers over all others: artist Edward Wilson and photographers Herbert Ponting and Frank Hurley.
Sydney shoots in RAW but his pictures are not manipulated apart for exposure compensation. “I don’t like photo-manipulation, it looks like a new art form. I’m a traditionalist though I am entranced by movie post-production possibilities”. As a professional in the visual world he says it is natural to be aware of what others are doing. “I have always loved movies and wanted to be a movie maker. I’ve watched films analytically and am aware of what goes on in making films.” He has formed a film company called Hinterland Productions.
Following ‘White Silence’ Sydney is working with Penguin Group NZ Ltd to complete two more books in the next two years, each of them with a predominant photographic content. The next is provisionally titled ‘Finding El Dorado: the Story of the Old Dunstan Road’ and is the book to accompany his documentary film on the landscape revealed en route to the Central Otago Goldfields, which remains much the same today as it was back in the 1860s. The third book, tentatively titled ‘Grahame Sydney’s Central Otago’ is due to be released in late 2010 and will be a collection of Grahame’s best photographs of his beloved Central Otago, accumulated over many years.
‘White Silence’ was shot on Canon EOS 350D and EOS 400D cameras. Canon NZ has now partnered with Sydney to sponsor equipment.
As he completes his book and film projects he will use the latest camera equipment supplied by Canon. Rochelle Mora, Canon NZ’s photographic product manager, is thrilled to have someone like Grahame Sydney showcase the abilities of Canon’s cameras. “I know people will be blown away by Grahame’s ability to capture the incredible beauty of this unique country on camera as well as he would have on canvas.” For his film projects Sydney will use the professional XLH1 High Definition Digital Video Camera and an HV20 High Definition Digital Camcorder, a compact model. For his still photography Canon has equipped him with an EOS 1DS Mark II and an EOS 5D with a range of lenses.
Sydney believes, “ … that it is much more challenging for today’s photographer to create a distinctive, identifiable manner or style than it was when photography was an uncommon art, more professional – less democratic – than it is today.” He says that, “Digital and computer intervention have forced photography out of the chemically tainted air of the darkroom into the fresh glaring daylight of everyman normality, and the old, hard-won skills are seldom any longer applicable. Fewer decisions are now made deliberately and the human hand – and heart – has a much-reduced presence in the process: the computer does the work, so there is a far smaller opportunity for that unique, necessary temperament to be displayed. It is harder, in other words, to be a fine, distinctive photographer these days.”
In 2003 Grahame Sydney was made an Officer of the New Zealand Order of Merit, for services to painting.
Antarctica & Central Otago Pix: photos Grahame Sydney
With national chains of home appliance stores and others selling digital cameras at discount prices through bulk buying, amateur photography has had a huge revival over the last few years. The consumer has of course benefited from the lower prices and has taken to the new technology like a duck to water. The downside of all this however has been the demise of many traditional Kiwi photographic shops, at last count down to just over 100 compared to three to four times that number ten years ago.
One of the survivors is Photo & Video International, Christchurch, who are bucking the national trend by going from strength to strength. Owner Greg Bramwell has become well known and respected nationally and internationally with both amateur photographers and professionals. His formula is simple … product range, knowledge, service and honesty. And this month Greg and his staff are celebrating the 20th birthday of what has become an iconic New Zealand photographic business.
Greg was born in Dunedin and educated in Christchurch. An old boy of Riccarton High School, he went on to Fine Arts at Canterbury University majoring in photography. His tutor was Lawrence Aberhart. Greg road raced motorbikes till he ran out of money so his then-girl friend, Jules (now his wife), applied on his behalf for a job at Paul’s Cameras. “I can’t remember what it was now, but I was tied up doing something so Mum went to the interview … and I got the job. I worked there for eight years and consider it excellent grounding.” In December 1988 he opened Photo & Video International in the Merivale Mall. Twenty years later he is still in the same shop, though has expanded into adjoining premises, making the present shop three times larger.
“We’ve grown with no real aim apart from being an enthusiast’s photo shop,” says Greg. “We encourage people to potter in the shop.”
While the business is a genuine owner operator (Greg is down to around 60 hours per week from the original 80), each staff member treats the job as if it is their own shop. “They have complete autonomy … no commissions, no competitions but plenty of fun. Nearly every day finishes with an informal meeting over a beer.” Greg’s management style is relaxed and trusting. Although he is there, there is a fair amount of peer management without him having to be involved. Greg is proud of his, “ … great staff. Two have been with me more than 15 years and two more have been here over ten years. And all my staff take a great pride in selling the right gear to clients.”
But retailing is more than selling. Knowing what to buy and when to stop buying is just as important. “We purchase by committee and often on a whim, but the plan is to have everything in stock that we will be asked for in a month. However, because of small margins and the competitive nature of the market today, we need 10 to 11 stock turns per year. Despite that we tend to have the exotic items always in stock and staff can place special orders for clients without referring to me,” Greg added. Further, “All of our stock is New Zealand new. We import ourselves only to fill gaps.”
During the 1990s the traditional importers and wholesalers discouraged professional photographers from dealing direct. This included hospitals, universities and government departments. Greg made a conscious decision to fill the gap by wooing the professionals. The advantage to clients was the ability to trade in gear for new models. “Our secondhand department grew and we became a ‘one stop shop’ … the photographers’ camera shop. Staff build relationships in the shop. Most customers deal with their own staff member.” Greg said that secondhand was ‘enormous’, dropped at the start of digital, but now is ‘fantastic’ again. He knows that the secondhand listings are the main reason people visit his website. “We love trade-ins and appear to be one of the few retailers enthusiastically promoting secondhand.”
The Internet has of course been a great help. Greg registered his domain name, www.photo.co.nz very early, as he did his freephone number 0800CAMERA. Now he has a staff member answering emails full-time. “The target is to reply to customers within 15 to 20 minutes. We try and despatch web orders the same day and even have a late courier pick up. Most of our customers know what they want. They just need availability and price. We have never put a price up in ten years. Everything comes down.” An ex-employee updates the website at least once a day.
The success of Photo & Video’s website has seen the demise of Greg’s popular, ‘when time permitted’, magazine and price list, ‘F. STOP’. Looking through the November 1998 edition it was great to read the ‘Digital Cameras’ article. Greg talked about the latest cameras having up to 1.5 million pixels and Smart Media Cards available in 16 Mb versions. Also, ‘Compact Flash Cards – getting a bit more serious here, up to 48 Mb storage’. Crikey! How things have changed in ten short years.
In store, ‘The Lab’ was set up as an Agfa photo-finishing laboratory with the latest technology. With Agfa’s demise Greg moved to Fuji but still operates one of his old Agfa machines. The Lab processes negative film in-house and there is still professional wedding photography printing from film. With new in-store viewing and ordering technology digital customers are becoming more print aware again. “Because so many more photos are being shot now with digital, The Lab is becoming as busy as ever.”
But what about the future of photographic equipment and specialist stores? Greg believes that, “Every main centre will still have room for an enthusiast’s camera store.” And, “The current enthusiasm for digital SLR will continue for four to five years.” Despite current uncertain economic conditions Greg believes that the future of specialist photographic retailing is going to be good. “People will still want nice things.”
So what about the future for Greg Bramwell? “Well, I train every day and have completed 28 marathons. Jules and I have three lovely daughters and I’m saving for their weddings. But the future for me … well, it will be more of the same, after all what else can I do … I’m unemployable.”
Many Happy Returns Greg and all the best for the future.
Sarah has recently returned home to Napier from a journey through Borneo, Brunei and Sabah. ”A wonderful region; I took a lot of photographs and was delighted with the cultural and food experiences.”
Traveling each year in that season between weddings has always been her goal and is now firmly on her calender. “At the end of each wedding season I am pretty much burnt out and need that month off to regenerate.”
It is also the time she has to look over what she has been doing over the season and to look at changes – fine tuning what differences she can make as she begins the new season. It covers all aspects of her business. The day we spoke she had been re-arranging her studio space… shifting furniture and lighting so she had a dedicated shooting area and dedicated client sales area.
This year she is also looking at new software for client presentations as she has found Adobe’s Lightroom a bit limiting in that role so ProSelect “… looks like it will do that job well.”
Another change this year has been in her presentation and marketing. “Although I have a strong sense of design I know we all try to do everything and this year I went to an experienced design agency who have developed a great multi-page foldout brochure for me and have asked the questions and guided my picture choices in a way I perhaps wouldn’t have done myself. Certainly it is more costly but the bonus has been that they like my work enough to commission me to do an interesting people profile shoot of a good sized local legal firm.”
Napier is home town to Sarah and her early education included a design diploma at the then Hawke’s Bay Polytech – now EIT. Then, with photography firmly in her sights, she went and did the Wellington Polytech (now Massey) Photography Diploma. Graduating in 1996 her intentions were more to the art side and in those earlier days were focussed on exhibitions and galleries. “I was self motivated and my genre, if anything, was about observation – different kinds of light and how it fell. I also had work that utilised ‘botanical’ things.”
The photographers and styles whom she admires and respect include the work of Richard Avedon, August Sander, Fiona Pardington and Joel-Peter Witkin. ”Witkin’s were controversial, they were large format, rich and bazaar, yet very striking.”
Asked about what personal work she is doing now, Sarah said that at the moment she is creatively quite fulfilled with her normal work – enough to not have other projects on the go. “I spend a lot of time in post-production preparing my files so they are print-ready for my lab, NuLab. I treat every image to give them a look that helps make my work my own.”
Her principal camera is the Nikon D300 and most used lens the 70-200 f2.8 zoom. “Although my new favorite is my 50mm f1.8 which has normally been hiding deep in my bag! A lovely portrait lens.
“I shoot Raw on everything – I like the safety and the control it gives me later.”
Her studio flash are Bowens. Her production is on an Apple G5 tower “… a mid sized Intel model with a 24 inch Cinema screen – I dream of a 30 inch sometime in the future.” For portable and presentations she has an Apple Powerbook which in the client area she plugs in to an Epson projector.
Now her main season is about to begin, Sarah is rested, has almost got all the preparation made and with not many days available, a busy season ahead.
www.sarahhorn.co.nz
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