National Archives of Australia – Photographers/photographs

Speaker: Carol Webber (I think)

Photographs and photographers play a big part at the NAA in Canberra. At the ANN there are over 50 million records and 3 million items such as posters, architectural drawings , maps and photos. There are a few hundred thousand photographs.

The records are post 1901 and are mainly non-private sector ie mainly Government records (all the public service and Canberra based court – High court).

Some of the earlier photos are Canberra photographs – these represent a tiny bit of the private sector. There are also collections of some photographers who have photographed life in early Australia. One of the most prominent is Max Dupain.

There are many exhibitions and these are often dominated by photographs.....such as:

1.Primary exhibitions such as “Memory of a Nation’. This is on all the time and is about Australians – some who stand out & others who are just ordinary people. Another is about the Snowy Mountain Hyrdo-Electric Scheme.

2.Temporary exhibitions such as the Stanley Melbourne Bruce exhibition – the only other Prime Minister who was voted out of office.

3.Touring Exhibitions – such as the Max Dupain photographs of Australian Life in the mid-20^th century. Also there is one called ‘Summers Past’.

Part of the ‘Memory of a Nation’ exhibition is a wall of 227 photographs called ‘Faces of Australia’. The photos are all black and white, back lit and make a very impressive wall. This is some of it:

Most of these photos were taken in the 1950s and 60s (ie post-WWII) by photographers working for the Australian News and Information Bureau. These photos are from all walks of life in Australia. This is the face of Australia which Menzies Government wanted to present to the world.

The Stanley Melbourne Bruce exhibition also contained a number of photographs such as these:

Max Dupain worked for the Government per-WWII and in the 1960s. Hence the NAA has a collection of about 400 of his works.

The exhibition called ‘Summers Past’ is about Australia’s love affair with the sun, the sea and sport.

Several photographers are employed to photograph other photographs as well as maps, architectural drawings etc.

The NAA is a good source of family history. They have records of the wars, migration indigenous and many of these are photographs. There are also photos and records of displaced persons after WWII.

All in all it is a great photographic resource.

PHOTOS: all photographs are from the ANN website: http://www.naa.gov.au

SNOWGUMS STUDIO – LEONE KEOGH

SNOWGUMS STUDIO – LEONE KEOGH

We visited Leone Keogh’s outdoor studio at Williamsdale. She is an ex-journalist and she says that she likes her photos to tell stories. She does family portraits as well as about 45 weddings per year.

She specialises in ‘heritage’ family portraits so that the photos don’t age. They are set in her farm’s natural environmental to which she has added many extra antique props. Some of the props that we saw were:

A truck

A tractor

Old wooden cart wheel

Several different fences & gates

Little wooden cottage (not old but built in an old fashioned way)

Inside the cottage: many old fashioned toys as well as one corrugated wall.

As well as the old fashioned country style, for those families who keep coming back, she has built a terrace house frontage & on the other side of this another Paris-style house front.

If she takes a photo for instance with the subjects looking through the cottage window, she can control the light. Similarly when she shoots inside the cottage. Outside she always photographs in the shade.

She has a small inside studio in her office area which she often uses for babies.

SOME DETAILS

Leone charges $120 for a sitting fee.

She gets canvas done at Brilliant Prints – good & cheap.

Nulab in Melbourne do her paper prints

Seldex – album company. Also good for matte frames, boxes & envelopes.

http://www.seldex.com.au/

Proselect: computer software for clients to view images. Make a layout for a photo book. Great presentation. Hillary also uses this program – easy & good.

STOCK PHOTOGRAPHY – BEN KOPILOW

STOCK PHOTOGRAPHY – BEN KOPILOW

Pros & Cons

Get to shoot what u want

Freedom/lifestyle

No difficult clients to deal with

Patchy income stream / cash flow

Need a good agent – they take 50% of your income

Hard to break into an established agency

Needs constant fresh input.

Risk because investment before income comes in (if it ever does)

LICENCING MODELS

1. $1 down (volume of sales)

2. Royality free (unlimited rights depending on resolution – can use after if u like) $50-$500 – Can sell over & over again.

3. Rights managed – based on usage – HIGH return (negotiate price but can only use once) – less sales

WHAT DOESN’T SELL

Flowers

Landscapes

Abstract art

Phictures of your own kids or pets

WHAT DOES SELL

Specialised unique/niche subjects

Corporate & business shots

Family & lifestyle shots

People, people, people – with model releases

NB Also need property releases for architecture

Also sell a concept eg environmental

KEY WORDS to sell photos for people to find.

DON’T shoot logos.

Hilary Wardhauph – Wedding photographer

Hilary Wardhauph – Wedding photographer

Hilary is an AIPP master photographer & proud of it. She uses its logo attached to her name logo as marketing.

Pre-photography Hilary was a radiographer. She gave it up & started her own business in 1998. It was v slow at first. Her marketing strategy was a biggish ad in the yellow pages; made herself a logo in black silver & white.

While going through the CIT she held 2 exhibitions – one on environmental portraits & one on 30-something women. After she was qualified she promoted herself through journalists (she had previously worked at the Canberra Times for a short time). There was a new classy magazine in Canberra called Capital Magazine. She introduced a weddings section into the journal. She also competed in the AIPP competitions & won lots of times. This was good for the confidence & good for marketing & networking. Later she had other exhibitions including one with Lindy Holly.

She set herself up with a website which was simple to navigate & the yellow pages contained that address. She also made some cards – nice standing type ones – done at Temcoau.com.

Hilary concentrates on Weddings and portraits. She started with lots of portraits – 40-50 per year, but found that too much. She then reduced to no more that 20 & did more portraits.

Wedding & portraits pay differently. With weddings, they pay a big deposit up front & the rest a month pre wedding. With portraits, Hilary charges $150 for taking the photos then earns more when they order prints.

Fixed Expenses:

Some expenses are incurred week=in week out. These are fixed expenses such as:

Advertising – spends 10% of gross turn over

Equipment

Rent an office

Car

Insurance

Staff

Admin

Accounting bookkeeper (she pays $55 /hr at home)

Communication/phone

Electricity

Professional subscription/education

Legal

Postage/freight/cartage

Job Expenses:

Printing/lab costs

Framing

Albums, books

CDs

Wages

After all of this there is profit. H pays her self $1000/month

She needs to earn $1500pw.

She takes Sun & Mon off & 8 weeks during the school holidays

Total Expenses:

Per year - $100,000 (with 8 weeks off pa)

Per month - $10,000

Per week - $2,500

Per day $500

Per hour $60

This is whether working or not!

She aims for a profit of at lease twice the fixed overheads to cover actual job costs as well (ie albums, prints etc) ( nulab – I think_ $4 for 8x10” print)

DVDs – Hilary chooses Not to give all the full res images to clients so she charges high for this:

$8200 if nothing ordered like albums, prints. BUT if a wedding was about $7500, then she would just charge about $350.

For portraits she would charge $4000 for hi res DVD

Job costs should not exceed 10-15% of total costs of job.

MUST HAVE:

Website

Blog facebook

Visual email

In person portfolio showing

In person networking oppertunities

Social online networking

Adv budget should be ~8-10% gross TO

Quote:

Rather than have a package deals, H just itemises her products.

Assignment 2 - Art Photography - One page summary

Assignment 2 – Careers in photography

ART PHOTOGRAPHY

Chloe Thompson, Amy Mills and Ginette Snow

Brief overview

It is very difficult to define ‘art photography’ or ‘fine art photography’. One could say it is to sell but not for journalism, nor for advertising. That is not the whole definition. There are many art photographers who never sell their photos – they just want to record their feelings as an artist does but on photo material rather than oil, water colour, acrylics or clay. There is a whole range of abilities in art/fine art photography just as there is in other media art. Some sell in the markets, some use top of the range agents and commercial galleries. Some just display their work.

Career path

· No set career path

· Could be part of commercial work with some of the better photos

Pay range

· Difficult to access

· Depends on market and sales

· Some rely on another job whether photography or something else to supplement their income

· If you have really made it as an internationally recognised fine art photographer then very high prices can be charged for images.

Expenses

· Camera wear & tear

· Studio

· There is often travel involved which is a costly expense

· Computers

· Insurance

· Perhaps a rented/owned gallery

Education requirements

· It varies – could be none

· A qualification in photography or fine arts would be an advantage.

· Being a member of a recognized photographic society like the AIPP would be an advantage.

Method of finding this sort of work

· Entering competitions

· Exhibitions

· Work of mouth

· Contacts

· Marketing – internet.

· Initially selling at markets

Examples of photographers in this field.

Jan Sauvek; Alec Soth; Andreus Gurskey; Idris Khan; Ian MacDonald; Thomas Struth; Andy Small; Tim Flach; Peter Lik; Damian Franco; Lee Duguid; Charles McKean; James Mills; Ebony Whitaker; Michael Boniwell; Ben Messina; Peter O’Day.

QUESTIONS & ANSWERS - BEN MESSINA

Questions and Answers: Ben Messina: Art Photographer

How long have you been a photographer?

Since he was 18 years old. He is now 35, so 17 years.

Do you have any qualifications in photography?

He did 1 year at TAFE. His father was a photographer so he was using a darkroom from an early age.

Do you have any other art-related qualifications?

No.

How did you become an art photographer?

His father was a photographer and when he moved away from Cairns, Ben took over his business. Peter Lik (a well known photographer) used to work in Cairns and he lent Ben his Linhoff 6x17 panoramic film camera. It was then that Ben realised how much he loved the camera and the photographs it produced. He then started selling some non-commissioned landscape photographs and so gave up the rest of his commercial photography. Cairns was a good place to begin because it is so naturally beautiful. However, he then moved to Brisbane and then onto Sandhurst when the rent in Brisbane got too high.

Before you specialised in art photography what other photography did you do?

His fathers business was architecture, fashion and aerial photography when Ben took it over and this is what he did prior to specialising in landscapes art photography.

Do you ever return to other photographic genres?

No

What made you concentrate on art photography?

Mainly he hated the other work and felt that it was not creative enough. However, the pay was good. The briefs were too specific, so much so that his input as the photographer was virtually none.

What is your definition of ‘art’ and ‘fine art’ photography? Is there any difference?

Well it is just a matter of what you choose to call yourself. Many ‘average’ photographers call their work fine art which he would question.

How is art/fine art photography different from other genres of photography?

With art photography your time management is self-managed. You need to be self-motivated, especially as you are often out photographing when other people are usually at home or enjoying themselves elsewhere. At least, this is the case with landscape photography because of the good light during ‘the golden hours’. Commissioned work is usually 9-5. With fine art landscape photography you also need to travel a lot to different places, which can be costly.

Do you show your work to critics in the art photography world?

No.

Do you enter photography competitions?

No, he never has.

Do you have gallery exhibitions?

No.

Have you won any awards?

No, he’s not interested in that.

Where do you get your inspiration from?

Initially his inspiration came from Peter Lik. Now he watches documentaries in order to decide where he should go to photograph. However, he doesn’t look at any other photographer’s work because he thinks it might damage his own creativity. So once he has a good idea where he wants to go, he will mark it on his GPS and go there and photograph. If the light is no good, then he will return at a different time when the light is better.

What equipment do you use?

He primarily uses a 6x17 Fugi, but he also has a Canon 5D Mark II and a 4x5 film camera. Generally he takes transparencies and then scans and works on them digitally. He uses Fuji Velvia 50 film. He processes his film at ProLab. The only artificial lighting he might occasionally use is a 5 million and 1 million candle torch.

How do you promote and market your work?

He works in a tourist area and so has no problem selling his work. He has done so successfully for 9 years. He prints and frames in his house and recently bought a framing business. His business took a few years to get going and when he goes away his partner runs his shop. When he worked in Brisbane there wasn’t such a good tourist market so he marketed himself a bit more. However, in Sandhurst and Cairns there is no need.

How do you sell your work?

Initially in markets but he has had a gallery for many years now. As mentioned earlier he moved to Sandhurst because the rent for his gallery space in Brisbane was too costly. In Sandhurst he has a gallery which he is expanding to double its size as the business grows. He also sells online.

How do you price your work?

He has a good idea of what other photographers are charging and thus he prices for that particular market.

Do you need to do other work as well as the fine art photography?

No. If he not away photographing, he in his gallery selling his photos.

From his website his prices are as follows:

75cm x 25 cm - $245

120cm x 40cm $360

150 x 50cm $595

The price includes image printed on canvas & it is stretched around a 3cm thick frame & it also includes freight in Australia.

http://www.benmessina.com/

Haley Richardson – Art Photographer

Haley Richardson – Art Photographer

Haley spoke to us on fine art photography. She makes photographic art that sells to many people.

Focus on what fine art is today.

She has developed a PRODUCT that sells

Focuses on art that sells.

She said she wanted to bridge gap between fine art & making money. Noted that weddings make money.

Conc on hi end of market

Afordable fun & quality

For everyone.

SO…think of your photography as A PRODUCT

Style or Genre ( ie weddings or portraits or commercial ehatever)

Write your ideas down.

Her business – PISTACHIO – does 2-3D images (eg lilly in frame sticking out top & bottom)

Think Consumerism

What sells

Can be mass produced.

Think big picture

Egs of successful photographers:

Steve Parish

Peter Lik

Ken Duncan

Anne Geddies

Jasmine Star

Sarah Rose (weddings)

Kicky Kay

Dan Dolerin (www.pithole.com) - toilet paper with George Bust on it.

HOW to look at IDEAS & how to DELIVER

1. Denographic – with marketing materials can borrow ideas from big companies

2. Where to display

3. Networking – blogs, websites

4. Galleries (but ~60% fee) – they do get local write ups though.

5. Promote yourself – blog, blog, blog

6. Self promotion

markets, shopfronts

Web, blog twitter

Local café

7. Start on micro scale

www.hazeldooney.com

bluetreeartgallery.com

chookook

What Haley did

Started with markets – good, fun

Trade shows – good

Shop owners – not so good. Wanted stuff on assignment

Markets:

Rocks

Paddo

Melbourne

Brisbane

Oztrade

All this opened doors & business grew

Does mass produced stuff but hand signed

Next:

Ark Art – Amimals with attitude – this is another of Haley’s products

Querky

It is manufactured in the Phillapines, so cheaper costs.Plan Longterm

Register as many URLS as you can think of ($25/2 years)

Do Company searches

ABN, GST

How to stay ahead

Database of clients

Stay inspired

How to get out of RUTS?

Books

Journals

Visitr galleries

Lino Prints Hazel Dooney

Set personal projects

Micro goals

Give & get

Reinvent your own brand

Images: http://www.pistachio.net.au/sub_about.htm

Dan O’Day – Fine Art Photographer

Dan O’Day – Fine Art Photographer

Dan O'Day spoke to us on fine art photography. He also does weddings and some of these become 'fine art'. The couples who choose him do so for his particular style of images. (The images above are from his website).

Dan is photographer-of-the-year this year.

Background

Canberra to Sydney to Brisbane to Canberra

His background is painting.

Once he decided that he loved photography, he had an exhibition at Photo Access – 2006 – called ‘Still’.

He uses medium format film

Besides fine art he also does weddings, applied photojournalism. He also does collages

One of his best jobs was to photograph the new Acton precinct (for the Molonglo Group). He did a fine art approach rather than the normal marketing shots.

HIS ADVICE:

Look after yourself

*Treat yourself – do thinks other than ph’y

*Read magazines – look at other ph’ers & try to step outside your comfort zone.

*Conceptulise themes

*Make to-do /to buy lists

Establish your profile

*Start & continually maintain your profile

*Keep it simple

Free Online profile sites

* Flicker

* Humble Voice (www.humblevoice.com)

* Deviant Art

* Red Bubble (www.redbuble.com)

Get out there

Inspire other

open yourself for feedback

Online publications

*Blanket (www.blanketmagazine.com

* WATIM (WeAreTheImageMakers – www.watim.com

* www.MelbournePixel.com

*Noise (www.noise.net)

Hardcopy (magazine rack) publications

KURV (kurvmag.com.au

Capture (Hot stuff) Exposed challenges

Monster Children (monsterchildren.com) – may also have a gallery in Sydney.

Frnkel

Oyster (colleraborative of other industries)

Selling photos & pricing

Dan was fortunate to fine a gallery to sell his work – Katherine Asquith Gallery

Normally sell photos for $500 (limit of 5)

At Gallery, they sell for $1500 (their cut is 40%) – some galleries take 100%!

Now $1800 per print

Competitions

Avant Card (www.avantcard.com.au) - they print 100s of card & distribute nationwide.

Capture’s ‘Exposed Challenge’

Community Comps

Community Galleries

Tuggeranong Arts Centra – Suzy Edwards

Phoo Access

M16 Gallery – Joseph?

Others

Funding

Arts ACT (arts.act.gov.au)

Enter Competitiions

1Moran Compimentory Ph/ic prize

2 ACMP Projections (www.the projectionss.com

The Pool – Sean Izzard & SimonHansart..meet & greet..//Saatchi&sastchi ??

3 Aipp print awards; Moran Prize

4 Off the wall (www.artmelbourne11.com.au/am10) ?

5 National & Youth portrait prize

Avant card

Capture

Community Comps

LOOK UP Photographers:

Dean Sewell (Occuli Group)

Stephen de Pont

KEEP THINKING!

Sun Studios – 42 Maddox St, Alexandria

Sun Studios – 42 Maddox St, Alexandria

Sun Studios have been going for about 3 years. We were given a talk by Peter Osborn who was co-creator of Sun Studios with Richard Ludbrook. Peter had run Baltrinics a photographic supplier & Richard had a studio called Pioneer Studios. The two minds got together to produce a world class photographic rental studio facility with retail, rental, post production computers & café areas. As well there is good parking for 50 cars. The warehouse was built in the 30s & Peter stripped all the paint back to give the place a ‘rough looking industrial feel’ but with modern equipment.

There are 6 large studios each with a cyclorama, a make up area, lounge area and a kitchen. Two of thse studios have a shutter door so a small car could be photographed inside. (Most automotive photography is done outside these days).

There are million of dollars tied up inn the extensive hire facility. They seem to have everything that a photographer would need to do a studio shoot. These can be used on site or taken on location.

Then we were given a demonstration of some relatively new equipment – a Broncolor Scoro A4S. That is 3200J total & each of the 3 outlets for lights can be operated independently. The piece-de-resistance in that studio was the paralight, a 220cm umbrella looking reflector which is directional. It costs $253/day. The studios cost around $1000/day.

top photos from Sun Studio's website: http://www.sunstudiosaustralia.com/

Studio Commercial - Sydney

Studio Commercial – 53-55 Liverpool Street, Sydney

www.studiocommercial.com

Jason from Studio Commercial gave us a talk about their business. Studio Commercial do editorial, advertising and fashion photography but mostly commercial portrait work. About 40% of their work is commercial portraits (both just heads and/or creative). 60% of their work is on location & the remaining 40% in the Studio. Customers like Ernst and Young are their bread & butter.

In Liverpool Street they have a large factory-type room on the 4^th floor. This has been sectioned into an office/postproduction area, one cyclorama & several smaller studio sectioned off with black curtains. This costs $7000/month. Apparently there is a similar area upstairs for which they are not charged rent. The business was originally started by Ron Freer.

Their marketing is mostly word-of-mouth. An email newsletter is sent to customers 2-3 / year with some of their current work on it – for advertising. Occasionally they put on an exhibition of their private photographic work & ask their clients to the show. This is a type of advertising.

Each of the 6(?) photographers does his/her own postproduction work. They cut down the number of photographs from a shoot & send the proofs in a pdf file (20/page) by email. Then the customer gets back to them picks some out & proper postproduction work is done. Ie only retouch the images that are good so not as time consuming.

Each of the photographers does the photographic work that he/she likes best - depending on the jobs that come in. When the recession was on they had periods when they worked 4day weeks. At least they all kept their jobs. Now it is back to normal weeks’ working. They work in a relaxed atmosphere.

They do plenty of back ups – at least 4. Two stay in the office & a BlueRay & a hard disk are taken home. The backup software they use is retrospect.

When they do a job for a corporate client, they let them use the images for 1 year for things like websites and newsletters. If it is for advertising work, then they charge an extra 20@ & this covers copyright issues. If they want to buy the image outright, then they negotiate with client.

A good talk.

gm photographics in Mosman

Graham Munro & Lauren Mills from gm photographics in Mosman

Graham gave a very inspiring talk to we students on Tuesday. He owns & runs a very successful wedding and portrait photographic business.

First of all Lauren (Graham’s studio manager) gave us an overview of the business. They have 6 photographers whom they have trained up to Graham’s standard. When they go out to shoot, one of them is put in charge & one goes as an assistant. When they return, the photos go to a postproduction team who are on site. The numbers of photos is considerably reduced so as not to confuse the client too much.

They interview the possible clients in the white leather couch room where they can see all the images on the wall & also face a large screen which is flipping through lots & lots of images. They charge $150 to take the photos, then the client is asked in to view their photos digitally. There are quite a few types of product in terms of books or framed photo to chose from.

Then Graham took over. He is Mr Personality who was extremely stimulating and incredibly passionate about his chosen field of work.

He started off photographing motor bikes; moved into the non-girly side of Playboy magazine, but eventually went from his asking the editor whether their was work for him to the editor ringing Graham & asking him if he had any ideas for the magazine. Eventually ha was talked into doing a wedding & became good, then very good then excellent at that. He set up business & from there it grew. He is an AIPP Master photographer II & is enormously respected Australia-wide as well as having a clientele worldwide.

He is always looking for something different in his photography. He always has a camera with him just in case he sees something that takes his eye (like a new location). His products are always on the change as non-professional photographers catch up with technology in terms of cameras & things like canvas photographs. His products are always a step above everyone else’s. He is a little weary about sharing his newest ideas with local photographers (but will if there is give & take in the deal) but shares them readily with photographers in other locations.

His main tool of marketing is purely word-of-mouth. An excellent photographer is admired & the word spreads. Interestingly he does very little studio work. He has a small studio out the back but far prefers to shoot on location. His images are very creative, casual and warm feeling.

He considers his success is due to a three things. First he is a business man. Second he is an excellent photographer. Thirdly he has the personality that draws people out. You need all three to really succeed in a photographic business. He treats all his clients equally and with great respect whether they spend $500 or $10,000. Sometimes someone who was initially unwilling to spend very much comes back with more requests & some even buy his fine art photography.

He did not let on how he charged for his services.

Reference:

http://www.gmphotographics.com.au/

Geoff Comfort - Commercial Photographer

Geoff Comfort - Commercial Photographer

Geoff took us through a number of his photographs which he says are good but not arty & this is the bulk of his work – aerial and architecture mainly. Then he showed us what he says are his competitive-type photographs.

He is the president of AIPP in Canberra & strongly advises us to join. They can help us in so many different ways.

ADVICE: Own the copyright on your photos. There is a small book on copyright – get to read it.

Eg he spent 2 nights & 4 hours photographing a new building (one night each side). He gave the client 2 exterior shots & 5 interior shots – charged $1600. (noted that in Sydney a good p’her could charge $5000). Then window company wanted copies – for this he charged 50% of the base usage charge (= this is the fee for taking the photo).

AERIAL P’hy:

Geoff doesn’t get the company to pay for the choppa. Rather he marks his fee up. This is an extra charge along with post prodn fees.

HOW DO YOU FIND WORK?

Geoff works for construction companies & word-of-mouth is good. He also emails personal fliers with appropriate photos on them.

Advises: a simple website – simple is quicker to load photos & flip through them.

CHARGES

Can’t give all of these 3:

Quality

Price

Speed

Geoff goes for quality & the price reflects this.

Price reflects lots of things such as:

Overheads – fixed expenses

Competitors

What the client will pay.

You have to decide how much do you want to work & what is your income goal.

He says to get $110,000 pa you need to earn $3780 per week. For this he works 10-20hrs of photography (plus post prodn).

So cost to clients:

$350/hr photography + $125 post prodn = $500ph

$190/hr photography + $125 post prodn =$300ph

Then he went on to talk about quotes & then the AIPP but he went too fast to take notes.

HINT foe aerial ph'y: Stitch photos

GOOD TALK

Photos from Geoff Comfort website: http://www.geoffcomfort.com

Assignment 2 - Careers in Photography - BEN MESSINA

Ben MASSINA - a landscape fine art photographer from Sandgate in Queensland

We asked him these questions:

1. How long have you been a photographer.

He has been a photographer since he was 18 years & he is 35 now

2. Did you get a photographic qualification.

Did a year at Tafe. However his father was a photographer & he was using a darkroom from an early age.

3. Did you get any other sort of artistic qualification.

No

4. Are there other areas of are in which you work now or in earlier days.

& 5. How did it all start?

& 6. If so was that worthwhile in helping you get to where you are now.

& 7. How DID you get to where you are now?

& 8. Are there any other areas of photography that you have concentrated on – now or in earlier days. –

His father moved from Cairns where he had worked as a photographer for years & so Ben took over the business. At that time it was architecture, fashion & aerial. Well known photographer Peter Lik worked there too & sometimes Ben worked for his company. Lik lent him his Linhof 6x17 panoramic film camera & he realised how much he loved the camera & the photos it produced. He started selling some non-commissioned landscape images & gave up the rest of his commissioned work. Cairns was a good place to start as it is so naturally beautiful.

Later Ben moved to Brisbane & then onto Sandhurst when the rent in Brisbane became too much.

9. What made you concentrate on art photography.

The main reason was that he was hating the other work. They were not creative even though the money was good. The briefs were so specific that he had almost no input to the photo.

10. What is your definition of 'art ' & ‘fine art’ photography. Is there any difference?

Well it is just a matter of what you call yourself. He indicated that many average photographers call their work ‘fine art’ which I think he would question.

11. How is art/fine art photography different from other forms of photography.

With art photos are your time management is basically up to you. You need to be motivated especially as when you photograph these are so often times when people are usually at home or enjoying themselves somewhere – that’s the case with landscape photography anyway because of the good light. Commissioned photographic work is often 9-5. With fine art landscape photography you also need to travel to places which is costly

12. Is it necessary to present your work to critics or get oral & written reviews in order to 'pass the test' in being an art photographer? Didn’t do that.

13. Did you go in competitions or have gallery exhibitions? No

14. Have you won awards? No not interested in that.

15. How do you get inspired? He watches documentaries to decide where to go. He doesn’t look at other photographer’s work as it might damage one’s own creativity. So he gets a good idea about where he will go, marks it on the GPS & goes there. If the light is no good, then tags the spot on the GPS & goes back when light is good.

16. Are there extra bits of equipment that you personally need in order to be a fine art photographer such as what lenses do you use or what way of lighting do you use?

His primary camera is a 6x17 Fugi, but he also has a Canon 5D mark II & a 4x5 camera. He takes transparencies generally which he scans & works on then digitally. He uses Fuji Velvia 50 speed film. He gets his film processed at ProLab. The only artificial lighting he uses sometimes is a 5 million candle torch & also a 1 million of same. (Used the torch for the desert photo that was a 6 hour exposure.

17. How do you promote & market your work? Doesn’t. He works in a tourist area & has no problem selling his work. He has done this successfully for 9 years. He prints & frames in house. He recently bought a framing business. He business took a few years to build up. When he goes away his partner (life partner) runs the shop. Incidently when he worked in Brisbane, there was not such a good tourest market so they did market themselves a bit but in Sandhurst & when he was in Cairns, there was no need.

18. Do you get commissions and if so how do you price your work?

& 19. How do you work out how to price particular photos that you sell?

He has a good idea what the other photographers’ work is selling for & he prices for the particular market.

20. Do you need to do other work as well as your fine are photography? No

From his website his prices are as follows:

75cm x 25 cm - $245

120cm x 40cm $360

150 x 50cm $595

The price includes image printed on canvas & it is stretched around a 3cm thick frame & it also includes freight in Australia.

References for photos

http://www.benmessina.com/