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Archive for July 2014


The Brownbill Effect’s first international gig

– posted by Sally

I worked with photographer Nikole Ramsey on her folio last week and within 24hrs, I had her quoting on a shoot in Hong Kong. She got the job and flew out Tuesday morning. How exciting, The Brownbill Effect's first international gig.


The prestigious SUNSTUDIOS Assistant & Emerging Photographer Award is now open for submissions

– posted by Sally

The SUNSTUDIOS Assistant & Emerging Photographer Award is synonymous with celebrating the creative flair and innovative talent of emerging photographers in the Australian industry.

Now in its fifth year, the prestigious award is driven by the theme of ‘Alter Ego’ and its many interpretations as a stills photographic form. The award aims to promote new talent within the photographic industry and provide photographers with exposure to industry leaders in attendance on the opening night.

Every year SUNSTUDIOS deliver a new group of judges, leaders in their own area of the photographic industry, to review the submissions and choose the top 20 entrants for exhibition and ultimately a winner and runner up. This year, the judging panel consists of:

• Jane Robinson - Producer/Agent at The Artist Group
Tom Evangelidis - Pro Photographer and Director of Black Eye Gallery
• Sandra Harrison - Commercial Editor - Visuals at Fairfax Media

The submissions period will culminate in an exhibition of the finalists work, opening on the 26 September 2014 at SUNSTUDIOS Sydney, and continuing until 31 October 2014.

To be eligible for the Award and Exhibition 2014 work must be received by Thursday 28 August 2014 close of business 6pm.

Click here for more details



– posted by Sally

Native Australian ingredients will star on menus at the upcoming Uluru in View: A MiNDFOOD Photography Expedition weekend.
Words by Natasha Dragun

An exclusive photography weekend in the
 spiritual heart of Australia, the Uluru in View: A MiNDFOOD Photography Expedition promises to celebrate one of the world’s most sacred, not to mention stunning, sites.

The weekend (October 10-12, 2014) is set to be an interactive and engaging way to improve your photography skills while developing a deeper appreciation for the drama of the Australian Outback.

The weekend brings together three of Australia’s most noted photographers – Grenville Turner, Wayne Sorensen and Wayne Quilliam – who will host a variety of informative workshops for photographers of varying skill levels, including camera and lighting techniques; post-production techniques; plus portraiture, landscape and food photography.

The weekend will also give guests a taste for native produce, with a number of culinary journeys on offer to highlight the country’s finest fare. Over the course of the event, guests will enjoy Tastes of the Outback: an unforgettable alfresco dining experience with a contemporary bush tucker-inspired menu showcasing regional produce.

Aboriginal chef Mark Olive, aka The Black Olive, will host a culinary masterclass as part of the event.

“I got excited about cooking watching my mum and aunt cook. It was like magic,” Olive says.

Having worked in the industry for more than 35 years, Olive is one of the chefs responsible for demystifying and popularising native Australian ingredients over the years. “When I launched my first restaurant in the mid-90s, people were too scared to try anything. I’d get around that by making menu items look like something they’d eaten before. There’d be filet mignon, but it would be kangaroo fillet. There’d be emu, but I’d sit it on a bed of warrigal greens instead of spinach. Rather than mushroom sauce there’d be a pepperberry sauce. I’d make lasagne with crocodile meat, and I’d add lemon myrtle to the crumbs coating my parmigiana,” he says.

Olive went on to host an indigenous cooking show, The Outback Café, on the ABC and write a cookbook with the same name. “I think it’s only been since then that people have begun to understand indigenous flavours,” says Olive. “The popularity really started to peak five years ago. People are more in tune with trying kangaroo, croc, emu.”

Olive’s Tastes of the Outback dining experience and masterclass during the Uluru in View: A MiNDFOOD Photography Expedition will bring to life exciting indigenous ingredients, such as native basil and thyme, lemon myrtle, river mint, wattle seed, quandong, lemon aspen and muntrie berries.

“We’ve embraced every other food culture in the world except for what’s in our own backyard and we should be proud of it. I’d love to see indigenous food as Australia’s national cuisine; I’d love everyone using our native herbs and spices. We should be pushing our own food in our own country.”

Working with all kinds of photographers from all sorts of industries for many years has given photographic consultant Sally Brownbill great insight into what makes an image special
– what works and what doesn’t. Brownbill will be one of the experts on hand at the Uluru in View: A MiNDFOOD Photography Expedition. Here, she offers her tips on what makes a good food photo and portfolio and talks to photographer Greg Elms, whom she has worked with on portfolio development over the years.

The Fundamentals: Food photography is one of those areas where there are simple, clear prerequisites to getting good end results. The food has to be appealing; lighting, props and styling are important; and getting the right angle is also a must.

When you are taking food photos, it’s also a good idea to make sure there are a number of different dishes to choose from – try shooting desserts, pastas, meats, condiments and drinks, all at different angles.

Try to tell a story with your photos: when dealing with food photography, there are many elements in play. If you’re shooting at a winery, for example, show the food, but also bring in photos of the grapes, the wine, the people and the terroir.

The Portfolio: When you get to the stage of putting a portfolio of your images together – even if it’s just for friends and family to look at – there are a number of things to consider. If you’re laying out images next to each other, a nice way to display food shots is adjacent to an ingredient: for example, a bowl of pasta next to a bunch of vine-ripened tomatoes.

Alternatively, if you have taken a lot of photos of one thing – say, drinks – then gather them together and build a spread of images. This way, in one spread you offer a great sense of the variety, with lots of colour and contrast. Complementary images such as flowers, kitchen scenes or gardens can also work well with food.

The key to any great portfolio is to have ebbs and flows, while maintaining a story throughout – try to keep the viewer wanting to see more and take them on a journey.

Food photographer Greg Elms shares tips on capturing the perfect shot.

How important is lighting in food photography?
Food is nothing without great lighting. In many respects I shoot the light, not the food. For me, light is as much an ingredient as any element in a recipe photographed. I aim to highlight the sensual qualities of any dish or food element with light that lends a sense of form to the food. Essentially, I’m trying to give the illusion of depth, to insinuate the third dimension in a two-dimensional photograph.

How else do you make food photos look appealing?
Of course, great lighting 
is nothing without great composition. The composition of the food on the plate
 needs to have harmony in lines and forms – to create
 a result that has a visual rhythm, accentuated by well chosen lighting. These days 
I rarely work without a chef 
or cook preparing the food,
 as well as a food stylist with whom I work closely on the propping for each shot and
 on the final composition.

How important is 
social media for food photographers?

I’m a relative latecomer to social media, but Instagram is the perfect way to easily share your favourite images. Of course, you can create a blog or website, but the communal nature and ease of sharing on Instagram provides instant feedback.

Read about the Uluru in View: A MiNDFOOD Photography Expedition weekend here

Follow Greg Elms through Instagram gregelmsphoto

Sally Brownbill


Magnum announces Sohrab Hura as its latest nominee

– posted by Sally

Magnum Photos names Indian photographer Sohrab Hura as a nominee following the agency's 67th AGM
Gemma Padley — 2 July 2014. British Journal of Photography

Magnum Photos has named Indian photographer Sohrab Hura as its latest nominee. The announcement was made following the agency’s annual general meeting, which took place in New York at the weekend.

“Olivia Arthur and Susan Meiselas encouraged me to apply,” Hura told BJP on the phone earlier today. “I was a bit nervous and scared in the beginning about what it would mean to be a Magnum nominee, and to be out there in the photo world… I’ve been working on my own for a long time and I’ve been quite cut off from the photo scene, enjoying the freedom. But then I got lots of welcome emails from Magnum photographers. A lot of them told me to keep doing what I do and to not change myself for Magnum. In fact, I’m trying to switch off from knowing that I got selected, so I can focus on my work… It feels like something to try out, to see if being part of something works for me. I’m quite excited because, a lot of us [photographers] were inspired by and looked up to Magnum in a big way when we were growing up.”

Currently based in New Delhi, Hura trained as an economist at Delhi University and at the Delhi School of Economics. The 32-year-old took up photography in 2001, but began to focus on “trying to say something in my photographs” in 2005, after finishing his studies.

To date, Hura has worked on projects that touch on themes that include India’s economic boom, and the effect of this on the lives of people in rural parts of the continent, namely a small region in central India called Pati, where Hura has been concentrating his efforts.

The photographer, who was featured in BJP in July 2011, has also been working on a ‘two chapter’ personal project called Sweet Life (2005 to 2014). Chapter 1, Life Is Elsewhere (2005 to 2011) focuses on his life and relationship with his mother, who has been diagnosed with paranoid schizophrenia. He began a second project, (Chapter 2) called Look, It’s Getting Sunny Outside!!! (2008/9 to 2014), when she started to get better, he explains. This is also finished now, although it has yet to be shown widely. Hura hopes to publish both projects as books in the future.

He is currently working on The Song of Sparrows in a Hundred Days of Summer (2013 to ongoing), which features photographs taken in a small village in the state of Madhya Pradesh, in central India. “I’m trying to photograph the summer – to photograph something intangible about it, the heat.”

“Photographing at home was difficult for me,” he adds. “I asked myself lots of questions about honesty, and I think I got a bit screwed in the head with that work, so I’m taking a bit of a break from working in an autobiographical [way]. Right now I’m looking to the outside world, as a way of relief, but maybe I’ll go back into my own world.”

The application process to become a Magnum nominee involved submitting some 60 photographs initially, Hura says, after he was nominated by Magnum member, Olivia Arthur. At a later date, he submitted a book dummy, video, and a wider selection of images, “that show my entire process, from when I started to now, and how I’ve changed over the years, [as a photographer].”

“I’m always working on four to five different things at the same time that are completely different from one another in terms of the language, narrative, story and equally importantly, the tone,” he says. “This way of working keeps me happy and it is closer to who I am because I am each one of those works.”

Every year for the past 67 years, Magnum Photos has held its AGM in either London, New York or Paris. From 26 to 29 June, Magnum photographers, representatives from photographers’ estates and the agency’s international staff flocked to New York to discuss company business and to vote on potential new members, associates and nominees. The AGM took place across three venues: the International Center of Photography, Milk Gallery, and creative space, NeueHouse.

In addition, Moises Saman has been made a member of Magnum, and Bieke Depoorter and Jérôme Sessini have been made associates.

Magnum also named the winner of the 2014 Inge Morath Award as American photographer Shannon Jensen for A Long Walk, a project about the hundreds of thousands of refugees who have travelled hundreds of miles on foot from the Blue Nile state in Sudan to South Sudan. Rather than photographing the refugees, Jensen chose to focus on their worn-out shoes.

Martin Parr was unanimously elected president of Magnum Photos International; previously he served as interim president.

Giorgio Psacharopulo steps down as chief executive officer, while David Kogan, a journalist and former global managing director of Reuters Television, has been appointed executive director, effective immediately.

In a press statement, Parr reflected on the recent changes at the agency, commenting: “This is an exciting time for Magnum. We have consolidated and increased our photographer base with a very talented group of people coming from diverse photographic and cultural backgrounds.”

Image © Sohrab Hura/Magnum Photos, From the series Life is Elsewhere (2005 to 2011).

British Journal of Photography

Magnum Photos

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