Quite simply, it is the chance to take a lesson -- or lessons -- with me where I am your photographic creative coach. (Please read my Bio and CV to get a sense of where I am coming from.)
What I am offering is the chance to expand your creative abilities in the art of photography. While I am happy to touch on basic technique, my aim is to encourage you to fulfil your artistic and creative expression when using a camera.
How do I do this? First off I will look at some of your work, during a one-on-one meeting with you. I don't need to see a huge number of images. It's best if you show me a selection of your work as prints in a photo book, or on your computer or tablet.
After viewing your work I’ll discuss a number of ways which will help in taking your photography to a higher level.
On this website I have intentionally presented only a very small number of my photographs. The reason for this is that each one has been carefully chosen for its potential to serve as a jumping-off discussion point on ideas during a coaching session.
The lesson will be an hour- and- a half plus. Follow- up sessions can be arranged however I am confident that if you apply what has been discussed in the initial lesson you will certainly see a significant step forward in your photographic endeavours.
I am a Sydney- based professional photographer who first fell in love with photography in the '70s in my homeland of New Zealand.
Self-taught, I began by photographing anything and everything. I went everywhere with my first camera, a Canon FT (which I still have, serving now as a cherished display piece). After a day of photography I would convert my bed- sit into a darkroom, developing the film and then enlarging, and printing, the resulting images.
I consumed all the books I could lay my hands on about the great photographers and viewed as many exhibitions of art and photography as possible. I still recall the deep impression of seeing a Diane Arbus show and, some time later, standing in awe in front of an exhibition of Edward Weston's work.
My breakthrough into becoming a professional occurred when I was offered the opportunity of working for a small advertising agency: first in their darkroom and then, as my ability increased, becoming their in- house photographer. This position honed my skills both with camera- craft and studio lighting. There was a wide- ranging subject brief where reportage style pictures for annual reports would rub shoulders with producing intricate and involved still- life shots and photographing fashion catalogue images.
Throughout this time in advertising I was constantly working on my own photography which encompassed two major strands: social documentary and motorsport coverage - a passion of mine.
A determination to work in the world of magazine editorial came next. So it was a case of packing my suitcase, crossing the Tasman, and setting up base in Sydney where a vibrant magazine- publishing culture beckoned.
Breaking into the scene proved to be a little harder than I had bargained for. I recall one comment from an editor of a motorcycle publication when I rang him to inquire about the possibility of working for him. "I need another photographer like I need a hole in the head," he snarled.
However, this retort actually helped rather than hindered. I decided I would do my best to show him he did, in fact, need another photographer: namely me.
My strategy was to spend a weekend photographing a motor- cycle race meeting of which I knew he would be keen to get coverage. After printing all through Sunday night, I dropped the photos on his desk first thing Monday morning. Thus a working relationship was cemented with the majority of my weekend's images running in his magazine.
This led to me becoming known to a number of other editors within the magazine group. I was taken on as a casual and was delighted when a full- time staff position followed soon after.
Photographing for a variety of motoring titles was my main work over the next four to five years. During this time I was gratified to win a number of awards and prizes for my automotive photography culminating in winning the first prize of an Alfa Romeo GTV coupe in one major competition.
For 14 years I was Chief Photographer for FPC (now News Magazines) working out of a large, state- of -the- art studio (which I helped establish). The studio incorporated a sizeable cyclorama allowing cars, and even whole room sets to be photographed. There was a generous and impressive array of studio lighting which was constantly in use for an ever- expanding list of titles.
A fortunate aspect of working with magazines over the years was the great variety of work undertaken including shooting food, portraits, lifestyle, architecture and interiors, gardens, room sets, boating -- both power and sail -- besides various sports.
One of the side benefits of this time was being strongly involved in encouraging a number of junior photographers, helping them develop their skills.
After many years of being Chief Photographer, it was time to move in a different direction. And thus began my life as a freelancer.
One of the greatest advantages of this change has been the availability of more opportunities and time to produce my own personal images without having to compromise my vision. This has become a major focus for me. A number of my images have been chosen as finalists in almost all significant Australian photographic art prizes. (See my CV for details.)
Even now, I still remember buying my first camera back in New Zealand and immediately knowing that photography was going to be my muse… to this day nothing has changed.
