f11 Magazine - Issue 66 - June 2017

ISSUE 66 | JUNE 2017
www.f11magazine.com
CHRIS MCLENNAN
Global roaming
PETER DAVIDSON
Life in reverse
GABRIEL HILL
ImPortraits
COFFEE U FEEL WELCOME TO f11 MAGAZINE
THE HAVANA COFFEE WORKS STORY

BY GEOFF MARSLAND WITH TOM SCOTT
Issue 66 | June 2017
f11 Magazine
P O Box 37-233, Parnell
Welcome to issue 66! Auckland 1151, New Zealand
Our photographers this month hail from New Zealand, the United www.f11magazine.com
Kingdom and Switzerland. Publisher/Creative Director:
Tim Steele
Chris McLennan is a New Zealand photographer who shoots all tim@f11magazine.com
around the world, mainly capturing travel and tourism, wildlife
Editorial:
and culture. We’re sharing images resulting from some of his global
editor@f11magazine.com
roaming, in this instance with particular emphasis on his lifestyle
Advertising Sales:
and adventure work. He’s a man as much at home below the waves
ads@f11magazine.com
Full Page Advertisement as above, and drone photography is also very much a part of his
repertoire of skills. Chris shot our stunning cover. Design/Layout:
Donna Hoyle and Adela Lee
Englishman Peter Davidson is a former commercial photographer of Donna Hoyle Design
who now shoots for himself, favoring the power of monochrome Web Developer:
and delighting in relatively simple kit. He’s enjoying the freedom David MacLeod
and autonomy of being his own client, and clearly casting his
Contributors:
powers of observation on the lives and times of his fellow man. Gary Baildon :: Tony Bridge ::
Gabriel Hill is a Swiss photographer who works commercially, Ian Poole
Havana Coffee is a New Zealand institution. This book tells the astonishing story of specialising in the portraiture and editorial sectors. The work he’s Featured In This Issue:
pioneering Wellington Coffee Baron, Geoff Marsland – a café king, sharing with us is highly personal, as his ImPortraits series Chris McLennan :: Peter Davidson
documents the plight of refugees by focusing on the single item :: Gabriel Hill
roasting entrepreneur, good bloke and caffeine visionary.
many of them carried when they fled their own countries. Two
companion series also feature here and expand on that central Notice To Readers and Advertisers:
The publishers of f11 Magazine take
Havana Coffee Works is a visual symphony theme in different directions. every care in the production of each
issue of this title but we are not liable
of cars, cigars, cafes and coffee roasters.
Each of these image-makers is a fine example of the power of for any editorial error, omission, mistake
or typographical error. In the case of
photography, and the role it plays in all of our lives. advertising material supplied, we as
Marsland’s biography of a home-grown publishers, make no representation and
This issue also contains an interesting guest editorial by Australian provide no warranty as to the accuracy
business success, from its beginnings in of descriptions or offers within. As
businesswoman Libby Jeffery, of Momento Pro. Libby has researched
Cuba Street, Wellington; importing Cuban publishers we accept no liability for any
crowd funding, a process increasingly being used by photographers loss, which any person may incur while
coffee; to setting up plantations in the Pacific; relying on the accuracy or description of
as a method of financing and producing photo books of their own. any statement or photograph herein. The
to its current coffee empire status, bringing It’s a thorough piece of investigation and lends considerable insight views expressed by all contributors are
not necessarily those of the publisher.
Coffee U Feel to the people, is a heady into the process. f11 Magazine reserves the right to
coffee-powered ride from beginning to end. decline any advertising for any reason.
We hope you enjoy these features, and this significant issue, as it Copyright f11 Magazine 2017: All of
the content published in this magazine
celebrates exactly six years of bringing you f11 Magazine. is subject to copyright held either by
It is also a social history of Cuba Street and the publisher in the whole or in part
Wellington over the last three decades, Tim by the contributing photographers.
Any infringement may incur legal action.
with guts, determination, larger-than-life tim@f11magazine.com No part of this magazine may be used in
part or in full in any way without the
personalities and turf wars. express written permission of the publisher.
Under no circumstances is any PDF version
of the magazine permitted to be rehosted,
distributed or shared online in any manner.
Published by Phantom House Books Price: $50.00

www.phantomhouse.com Hard cover & dust jacket f11 for PHOTOGRAPHERS AND AFICIONADOS | 1
THE f11 TEAM
GARY BAILDON aka The Shooter was schooled in the dark arts of TIM STEELE is the ringmaster of the travelling circus that is f11 Magazine.
photolithography, before talking his way into a well-known Auckland studio A former high wire artist for corporate masters in the photo industry, he still
in the heady 80’s. Most of the 90’s were spent in a plausibly deniable series has nightmares about delivering the physically impossible, on occasion under
of roles in the photo industry. After his disappointment at Y2K not signaling the whip of the seemingly insane, and almost always for the terminally
the end of the world, as we know it, he returned to shooting people, products unappreciative. A brilliant escape from the last of these gulags left a tunnel
and fast moving objects for filthy lucre. Helmeted and suited, he now spends for other prisoners and led him to consultancy in strategy, advertising and
weekends in his small German racecar, the latest in a succession of fast toys. marketing. Always impressed by the Bohemian lifestyles, cruel wit and sheer
For shits and giggles he plays both drums and bass in bands you’ve never bravado of professional photographers, he now frequents their studios,
heard of, in places you’ve never been to. shooting locations and watering holes in search of his personal holy grail,
outstanding images to share with f11 readers.
TONY BRIDGE is a fine artist, photographer, writer and photo educator –

sometimes performing all of these minor miracles on the same day. When
not hosting seminars or workshops or messing with someone’s mind, this
wandering nomad is usually to be found somewhere around New Zealand,
four wheel driving up hill and down dale in search of new images and true
meaning. Like any modern day guru, he thinks way too much, constantly
reinvents himself and often pontificates on one of his blogs, enriching us all
in the process. Rather than joining the rest of the team in the cult of Mac, he
insists that he has now constructed the ‘ultimate PC’ – poor deluded man. As
far as we can tell, this is his only flaw…
IAN POOLE has been a member of the AIPP since 1976, holding various GUEST EDITORIAL: LIBBY JEFFERY Since co-founding Australia's first print-
positions within the Institute. Truly a trans-Tasman go between, Poole has been on-demand photo book company, Momento Pro, in 2004, Libby has been a
a long term judge of the APPA's and a guest judge in the NZIPP Awards for passionate advocate for the antipodean photography community, establishing
many years. Well known for his extensive work as an educator at both the Australian and New Zealand Photobook of the Year Awards, and connecting
Queensland’s Griffith University College of Art, and Queensland University of photographers with designers, publishers and distributors, to extend their
Technology, and with a background as an advertising/commercial photographer profile and market locally and internationally. This was a natural progression
in Brisbane, Ian is now turning his hand to finely crafted black and white from communications and media producer roles with the Australian Interactive
portraiture. He is a director of Foto Frenzy, which specialises in photographic Media Industry Association (AIMIA), the Australian Society of Authors (ASA)
education in Brisbane. Erudite, witty and urbane, or so he tells us, he’s one of and the ISP, Ozemail. With a Graduate Diploma in Media Arts and Production,
f11 Magazine's ambassadors in Australia. Libby also has a soft spot for copywriting and journalism.
WARNING – HOTLINKS ARE EVERYWHERE!

Amazingly, some readers are still blissfully unaware that this magazine is a veritable hotbed of hotlinks,
‘It is always important to know when something has reached its
so this is a friendly reminder! There are links to online content such as videos, and to websites which
expand on the ideas on offer here in the magazine. Anywhere you see an image of a computer screen end. Closing circles, shutting doors, finishing chapters, it doesn't
contains a link, there are highlighted links within articles and all advertisements link to the advertisers matter what we call it; what matters is to leave in the past those
websites so you can learn more about the products you’re interested in. Simply click on the ad.
moments in life that are over.’ - Paulo Coelho, The Zahir
If this is still baffling, learn more in our expanded instructions on page 142 of this issue.
2 | Issue 66 | June 2017 f11 for PHOTOGRAPHERS AND AFICIONADOS | 3

FEATURED IN THIS ISSUE
Chris
MCLENNAN
Global roaming
18 © Chris McLennan
COVER IMAGE
Native Inupiat lady in traditional costume,
Bering Sea, Alaska, USA. © Chris McLennan
Peter
http://www.cmphoto.co.nz
DAVIDSON
Life in reverse
64 © Peter Davidson
Contents
Gabriel Welcome
Meet the team
1
2
HILL Contents
In plain sight
4
6
ImPortraits Editorial 8
110
Tony Bridge 10
© Gabriel Hill Guest Editorial 14
APS 138
PSNZ 139
‘I shoot fully digital now and can’t imagine going back to film. AIPP 140
I know it can provide some fantastic creative options for those who AIPA 143
like to create abstract and artistic works. But from a commercial NZIPP 144
perspective digital is really the only option for me, and I much Gary Baildon 146
prefer it.’ - Chris McLennan The Deep End
Ian Poole 150

IN PLAIN SIGHT
THE INFINITE NOW

Cinematographer Armand Dijcks manipulated original
oceanscapes by Australian photographer Ray Collins to create
infinite looping images in full motion, then set the results to
music performed by trumpeter Andre Heuvelman and pianist
Jeroen van Vliet.
studiodaily via Vimeo
CLICK ON THE SCREEN IMAGE TO VIEW THIS VIDEO
CHOCOLATE MOUNTAIN METAL

A New Yorker settles in the California desert near one of the
largest active military bombing ranges in the United States. The
range supports a community of outlaws and anarchists who dare
to scavenge the abandoned missile parts for recyclable metal. A
film by Danielle Davis.
Staff Picks > via Vimeo
BUY MY VITARA
When it came time for Eugene Romanovsky - by day, creative
director and VFX supervisor at Tel Aviv studio Gravity - to sell his
beloved 1996 Suzuki Vitara, he decided to really sell it. The result
is this ridiculously epic ad that continuously tops itself, earning
viral video status with more than four million YouTube views,
and counting…
studiodaily via YouTube
6 | Issue 66 | June 2017

EDITORIAL
NO T H I NG E X I S T S
Generation lost U N T I L I T I S O B S E RV E D
Our family’s photographic history and both the negatives and transparencies –
begins with a collection of small although it would take months to locate any one
contact prints of my grandparents image in particular. Of course a flurry of digital
and parents in their youth, and cameras followed.
some larger very well preserved
Today, in the digital age, as the first of our children
prints of the family weddings
begin to deliver us delightful grandchildren,
of the time. These very tactile
I’m painfully aware that most family occasions
prints, on what I guess must have
are now captured with the ubiquitous cellphone
been double weight bromide
cameras in the hands of everyone present.
papers, have not only survived
but look as great today as they would have done But few of these images are ever printed, and
in the 1930s, 40s and 50s. Lord only knows while some of those that are may find a frame,
where the negatives went, as only prints were they’ll never reach an album. I’m constantly urging
handed down as our heirlooms. ‘print, transfer and backup’ but I fear two things.
My cautions fall on deaf ears, and I’m the only one
I’m a baby boomer. So my early childhood,
doing this.
and that of my siblings, was pretty thoroughly
documented, originally by good quality simple The fashion item status of these cellphones, and
1950s and 60s vintage fixed lens cameras. their resulting short life cycles, compounded by
The resulting well printed and carefully fixed their frequent loss or demise, mean that many of
rectangular images, on what turned out to these images will not survive to be treated as
be delightfully archival papers, have stood the anyone’s legacy.
test of time.
As for the images uploaded to short term cloud
Around my tenth birthday, Kodak 126 Instamatics sharing applications which don’t store the image
entered the household, ensuring that our memories beyond a day or so, well don’t get me started as
from that time and until the late seventies were that’s madness.
captured in the form of square format 3.5 inch
Is all of this progress?
colour prints. Some have survived remarkably
well, but in others colour has shifted. Most have Maybe not.
now been scanned, and saved for future
generations, as once again nobody knows where TS
those pesky negs are. tim@f11magazine.com
Around the time my children, and those of my feedback@f11magazine.com Visit our website for
siblings, were arriving, and thanks to a love of more details:
photography, superb quality 35mm single lens
www.worldphotoadventures.com.au
reflex and point and shoot film cameras were on
hand to lock their childhoods away for posterity.
We now have countless albums, boxes of almost
perfect but rejected for some reason loose prints,
8 | Issue 66 | June 2017

TONY BRIDGE
© Tony Bridge
Document or
expression
A fork in the road for
photographers
One of the wonderful things about having your for years. Some have walked away, never to ‘Why?’ I asked. me and me alone, to engage in a conversation
own gallery is the people who come in, and return. Only a very few continue onwards. And with myself. I didn’t need to win awards and I
‘Don’t get me wrong,’ she said, ‘this is
especially those who stop for a chat. It is a for some, like Alice my visitor, it takes time didn’t need to meet any criteria other than those
outstanding work, but I will never be able to
singular pleasure when other artists (yes, I count before they are ready to return. I had determined for myself. And what was the
sell it.
myself among their number) stay to talk, worst that could happen? I might begin to listen
because we can find common ground among ‘Your work is really different,’ she pointed out, Here is why. Everyone is a photographer, and to myself, rather than making work to
the bookshelves of art history and practice. ‘Why is that the case?’ these are clearly photographs. Now you and I please others.
both know that they couldn’t shoot work like
I recently had a visit from an artist who initially So, I shared my own journey. And then, when I came to Hokianga, my work
this and that they probably wouldn’t even try.
trained in London, struggled for 5 years to changed radically. At first I didn’t understand
‘You know,’ I said, ‘until I came to Hokianga, I But in their minds, they can, so why would they
survive as an artist, and then went off to study what was emerging, then I began to comprehend.
didn’t sell a single work in ten years. However, pay money for it?’
and practise criminal law for 15 years or so. She Tawhirimātea, the Māori God of The Winds, had
then realised that while law fed her belly, it as the British artist, Damien Hirt says, “you don’t She had a point. So I left, somewhat downcast. blown me home to my ancestral roots. As I
wasn’t doing anything for her soul, so she has stop making art just because nobody is buying”. I headed for a local bar, to drown my sorrows explored my family history, I found a line
returned to her painting. She is ready for it. And One day, several years ago, I took my work to and reflect. In vino veritas, perhaps. stretching back more than 1000 years to the
life has given her a toolbox of experience to a dealer gallery in the hope she might be willing
Then as I reflected upon what she had said, I voyage of the great Polynesian navigator, Kupe
underpin her art practice. to carry it. She was obviously a shrewd operator
saw the gift in what she had told me. I was free. and an ancestor who arrived with him on the
who had a clear understanding of the market.’
Time and time again I have met people who Free to follow my own heart and do what was ocean-going waka (canoe) Matawhaorua. I was
have studied Fine Art and been so traumatised ‘My God, this work is beautiful,’ she said, right for me, and what reflected who I was. I surrounded by my ancestors, and in the middle
by the experience that they couldn’t go near it ‘however, I am not going to carry it.’ had the choice to step away and make work for of a very old spiritual tradition, of which I

ARE YOU A NEW TONY BRIDGE
was genetically a part. Finally, after 63 years
away, I had come home. My own history was
to step back from the, perhaps-frightening,
prospect of encountering ourselves. f11 READER? ARTIST, WRITER, PHOTOGRAPHER,
my topic, and that was enough. TEACHER, MENTOR
The other pathway is to see the camera as
I think in some ways we have come to a kind of pointing inwards, and offering an opportunity ALL OF OUR BACK ISSUES – RIGHT BACK Tony Bridge is one of New Zealand’s lead-
crossroads with the medium. Actually, it is more to look inwards. Perhaps then it might truly TO NUMBER 1 – ARE AVAILABLE ON ing photo educators with over 30 years
of a Y-intersection. We can continue with reflect those understandings in outward and experience as a photographer himself, and
OUR WEBSITE. CLICK HERE NOW!
photography as a medium for documenting, concrete form. as a teacher of photography at all levels.
and that is fine, since the medium has its roots He is an industry commentator, a blogger
Whichever one we choose, the choice is for us and a popular columnist for f11 Magazine.
in the ‘supposedly accurate’ documentation of
and for us alone.
the world around us and there is a long tradition
Bridge now offering bespoke tours:
of doing just that. From Timothy O’Sullivan to TB
William Eggleston, the world ‘as seen’ is Travel with a friend or a loved one, let us create a
tony@f11magazine.com bespoke tour together with dates and destinations
topic enough. to suit you. North or South Island.
www.thistonybridge.com
What has changed however, is the ease with Limited to two guests, travel with me to discover
hidden places and Maori culture. Taking bookings
which it can now be accomplished. Mastery of
for 2017 and 2018 now.
film takes years; mastering digital can be
accomplished in a couple of weekends or at Bridge on his Hokianga Experience tours:
least a few months. Modern smartphones ask ‘Learn about the history and culture of
Hokianga from one whose roots are in this area,
us to do only one thing, to look and see. The
while discovering places only a local with Māori
rest is taken care of for us. At the end of the ancestry will know.’
day however, it is a photograph, and, since
Bridge on his photography workshops:
everyone is a photographer, the value of this
‘Share with others in one of my unique workshops,
has been reduced to a commodity.
designed to get you thinking in new ways
about photography.’
The other path is to use our process as a vehicle
for self-discovery and self-expression, to see Come and visit Bridge’s new gallery
the camera as a mechanical paintbrush and use in the Hokianga:
it, and all the associated post-production Bridge Gallery
techniques, as the canvas for our work, and our 1 Clendon Esplanade, Rawene - on the Twin
Coast Discovery Highway, Northland, NZ.
authentic, individual voice, assuming we know
what that is. And that is the key to making work View and purchase Tony’s evocative images.
Plus there’s often a chance to meet the
that speaks with a new and intriguing voice. We artist when he’s in residence.
need to put as much effort (if not more) into
learning about who we are, if we are to find our Tony’s workshops are always bespoke,
own way across the grasslands. When we are tailored responses to the carefully
focused upon our own journey, then the camera analysed needs, wants and aspirations of
becomes our companion rather than the the photographer concerned. It all begins
authoritarian dictator it has the potential to be. with a conversation, and that conversation
will very likely be an enduring one.
It seems to me that the pathway can be summed
up as consisting of 2 possible options. www.thistonybridge.com
tony@thistonybridge.com
In the first, the camera-as-document, the +64 21 227 3985
camera points outwards, away from us, towards
what is before us. As it has traditionally done.
We do not have to look into ourselves, rather
12 | Issue 66 | June 2017

GUEST EDITORIAL
CROWDFUNDING A PHOTO
BOOK
Over the last ten years, her magnum opus, Wonderland. This sum allowed Pledge Me, to secure $80,000 and approximately In a recent article in the British Journal of
traditional book publishers have her to produce a Standard edition of 2,000 copies, 1,000 pre-orders for her Super Power Baby Photography, Alma Haser, creator of Cosmic
become increasingly resistant a Limited Edition of 250 copies, and a Collectors Project book in 2013. Surgery, also confirmed that she chose to self
to photographic books because Edition of 25 copies. It’s important to note that publish and crowd fund her book via Kickstarter,
they’re considered too niche, The alternative to the ‘All or Nothing’ model is the
prior to the campaign, she already had a social to have more creative control. ‘We (myself and a
and a risky return on investment. ‘Keep it All’ one, where funds are collected as the
media base of 300,000 followers, and had designer) decided it made more sense for this
While more independent art money is pledged. US platforms, Go Fund Me and
enjoyed extensive publicity through major project to do it ourselves as we weren’t going to
book publishers have appeared Indie Go Go, offer both options, and the AIPP
media organisations including Vogue Italia, be producing thousands (of copies),’ says Haser,
on the scene, they generally Australian Photographer of the Year 2016, Lisa
The Guardian, and the BBC News. ‘and we wanted to have a real say over what it
have to be creative with their fundraising to Saad, is currently aiming to raise $100,000 for her
would look like.’
subsidise projects that may not succeed on sales A significant social following and large email Anonymous Man exhibition and book by the end
alone. So unless you’ve secured a trade database have also been key for antipodean of 2017, via Go Fund Me. Our review of over twenty successful Australian
publisher, a generous Arts patron, or you’ve got crowdfunders. Sydney photographer, Louise and New Zealand photo book crowdfunding
Haru Sameshima, of New Zealand independent
a personal savings stash, online crowdfunding is Hawson, credits her blog fans with demanding campaigns hosted between 2013 and 2017,
publisher Rim Books, highlights one of the
a popular and viable solution to bankroll a photo then funding the production of her second book, suggested averages of $19,000 funded, by 211
biggest advantages of crowdfunding a photo
book project. 52 Suburbs Around The World. Hawson chose pledgers at approximately $120 per pledge. These
book, ‘Treat it like a pre-purchase tool. Many
Australia’s homegrown crowdfunding platform, figures are indicative only. To make your dollar
To identify the essential ingredients for a publishers have done that in the past.’ By setting
Pozible, to host her 2013 campaigns. ‘I crowd target achievable it is essential that you complete
successful photo book crowdfunding campaign, up your Rewards appropriately, the campaign is
funded twice during the project. The first a detailed budget that considers the number of
we’ve analysed a series of local and international virtually a vehicle for obtaining pre-orders. It
campaign raised funds needed to start the books you want to produce, as well as the materials
projects that met or exceeded their financial gives real time feedback on the level of interest
project, and the second covered the expenses and postage, as these can vary greatly and impact
target, and picked the brains of their hosts. for your book, and is the perfect indicator for how
associated with printing the book.’ the cost considerably.
many books you need, and can afford to produce,
As the traditional boundaries of book publishing in your print run. The hard data may also assist in The good news is that creative artists have a
began to blur, New York publisher, Aperture Pozible is based on an ‘All or Nothing’ model
securing a trade publishing deal. serious advantage when it comes to crowdfunding.
Foundation, first experimented with Kickstarter where no funds are collected until enough
Pozible Campaign Officer, Elliot Chapple, says that
crowdfunding in 2013 and Richard Renaldi’s book, pledges have been made to meet the financial On that note, many photographers find the
statistics show, ‘the most successful projects are
Touching Strangers. They raised US$80,943 from target. This is the same approach used by the beauty of crowdfunding is the level of creative
for creative arts projects with a great personal
885 backers, a whopping $71,000 more than popular US platform Kickstarter, and New Zealand’s freedom you can achieve with your project,
story behind the project.’ Kickstarter.com cites
intended. Buoyed by success, they have now Boosted and Pledge Me services. without the input from a publisher. Perth
that, ‘63% of successful projects in 2016 were in
underwritten three publications via community photographer, Robert Van Koesveld, published
According to the Arts Foundation website, Art, Crafts, Dance, Film, Journalism, Music,
funding, the latest being Doug DuBois’, My Last his first travel photography book Bhutan
‘Boosted is the only genuinely philanthropic Photography, Publishing and Theater.’
Day at Seventeen, that attracted $31,836 from Heartland with Fremantle Press. His next project
crowdfunding website for arts projects in New Geiko & Maiko of Kyoto was a niche, art book The most successful crowdfunding campaign we’ve
328 pledgers.
Zealand. Donors to Boosted projects are able to project. ‘As it was very much my own project I identified for an Antipodean photo book is The
The most successful photo book crowdfunding claim a tax credit of 33% against their donations.’ was reluctant to give up the degree of control, so Life Of Pikelet by Calley Bena Gibson. You may not
campaign we could identify was hosted by UK Photographer Stuart Robertson chose Boosted I went down the self publishing and crowd be surprised to learn that Pikelet is a dog! Furry
illustrative photographer, Kirsty Mitchell, who in to raise $61,455 to photograph 500 subjects and funding route.’ The use of Kickstarter funded the friends are as popular in book form as they are
28 days in September 2015, raised £334,000 at publish his Peace in 10,000 Hands book, while cost of a commercial print run in Hong Kong online, because they have broad appeal. In this
an average of £30.00 per pledge to self publish NZIPP photographer, Rachel Callander, opted for and freight. instance however, The Life Of Pikelet had an

additional advantage as the book was also a
fundraiser for an animal rescue organisation. The
combination of an accessible subject, a distinct
audience, a story with a strong emotional core,
and a campaign with social objectives, resulted in
Gibson raising $107,000 – a sum $62,000 more
than targeted.
Our tip for the best start with your crowdfunding
campaign, is to choose a local platform dealing in
local currency. We believe that Pozible, Boosted
or Pledge Me will also offer more personalised
and immediate support at all stages throughout
the campaign.
If you want to learn from those who’ve been there,
Stuart Robertson of Peace in 10,000 Hands and
Rachel Callander of Super Power Baby Project will
be sharing their wisdom at the NZIPP Infocus
event in Wellington, NZ on Saturday 17 June, with
a panel discussion on the topic 'Crowdfunding
Gives You Wings'.
Libby Jeffery
Marketing Manager, Momento Pro
My Last Day at Seventeen by Doug Dubois and

Aperture Foundation
Touching Strangers by Richard Renaldi/

Aperture Foundation
The Wonderland Book by Kristy Mitchell
52 Suburbs Around The World by Louise Hawson
Super Power Baby Project by Rachel Callander
Peace in 10,000 Hands by Stuart Robertson
Life of Pikelet by Calley Bena Gibson

A snowboarder enjoys the natural terrain at Snowshoe,
West Virginia, USA. Nikon D4s with 14-24mm f2.8
lens. © Chris McLennan
A comprehensive feature on Chris McLennan's

work follows on the next page.

Chris
MCLENNAN
Global roaming
Chris McLennan is a New Zealand based travel

photographer who works for tourism industry
clients around the globe. He has photographed
in over 50 different countries to date and has
received a number of international photography
awards. He is an ambassador for camera brand
Nikon and computing giant HP. He also holds
endorsement relationships with Lexar, Lowepro
and AquaTech.
Actually to call him a travel photographer is

something of a misnomer, as Chris works across
travel related genres such as lifestyle, adventure,
wildlife and natural history with equal aplomb.
The fact that all of these necessitate travel –
because his clients and shoot locations are
spread all over the globe – is perhaps the
strongest link. In this feature, we’ve chosen to
focus on his lifestyle and adventure imagery.
Spending any time on his website and blog
certainly leaves the viewer with the impression
that Chris must spend a good portion of his life
in hotel rooms, and he will almost certainly have
developed the ability to sleep on airliners.
Competitor during the SUP event at the Noosa Festival of Surfing in Australia. Nikon D810 with 400mm f2.8 lens.
© Chris McLennan
18 | Issue 66 | June 2017 Portfolio :: Chris McLennan :: Global roaming f11 for PHOTOGRAPHERS AND AFICIONADOS | 19
Chris grew up in the rural farming community requirements for the shoot. On this trip I
of Riversdale, not far from Queenstown in New photographed not only the new Marriott
Zealand’s picturesque South Island. Chris began property but also updated imagery for the other
his photography career in 1988 running a Starwood Fiji properties as well. 30 days straight
wedding and portrait studio out of Invercargill. with only 3 days off was a pretty tiring month,
But it wasn’t long before his love of skiing and but at least the weather was great!
the magic of the Southern Alps pulled him to
f11: Your wife Catherine is obviously integral
the bright lights of Queenstown, where he set
to your business, and part of the support
up shop and pursued commercial clients in the
structure that makes your busy schedule
adventure tourism sector.
possible. Can you expand on the way you two
He has worked on commercial shoots in over work together, and does she accompany you
50 different countries to date and his stunning on some shoots?
travel imagery has been recognised with a string
CM: Catherine and I used to travel together in
of international awards. Chris markets his images
the early days, as soon as we got married she
through a stock library and has a range available
started working full time for the business and
for sale as prints through his website.
so she travelled with me on nearly every shoot.
In addition to shooting commercially, Chris But over the years – and since having kids – our
provides guidance and inspiration to photography individual areas of responsibility have changed
enthusiasts globally through a range of Photo a bit and of course the business has grown, so
Tour workshops on offer each year which have now she stays at home and takes care of pretty
seen him take guests to locations as photogenic much all of the business side of things, while I
and unique as Norway, Alaska, Papua New do all of the photography. And that way, when
Guinea, Africa, Fiji and New Zealand. we do travel together it can be an actual holiday,
instead of work!
As we began the process of compiling this
feature, ably aided by his wife and business f11: Is there such a thing as a ‘typical’ year for
partner Catherine, Chris was in the beautiful Fiji you, and what percentage of the time do you
Islands on yet another adventure, returning in spend travelling on various assignments here
the nick of time to help us to gather the and abroad?
necessities. We chatted to Chris about this trip,
CM: My assignments change annually but funnily
and his career.
enough there does seem to be a pattern of
f11: Welcome Chris, what can you tell us sorts. I have a few regular trips each year (the
about the assignment you’ve just returned US in February, Alaska in July, Africa in August/
home from? September), and quite a few regular clients. So
often I’ll have a schedule of sorts planned in
CM: I’ve been in Fiji for a month working for
advance for each year, and any new work just
Marriott, who have just opened their first Fiji
gets slotted in around that. I also try and take
property, the Marriott Momi Bay Resort,
a month off every summer during the
featuring over water bures and a stunning
horizon pool. Marriott recently acquired
Starwood hotels, which is a hotel group that
I’ve worked with around the world for many
years now. To shoot for Marriott or Starwood A billibilli raft floats over the crystal clear waters of Fiji
you need to be a brand approved photographer, with South Sea Cruises. Aerial drone photo.
and there are very specific guidelines and © Chris McLennan
school holidays. So usually I’m flat out from CM: I can remember using my dad’s camera as
February through November, and hopefully a a youngster, maybe six or seven years old. I got
bit quieter during December and January. my first point and shoot as a teenager followed
Catherine keeps track of the days away each quickly by my first SLR. I used that to take photos
year as this is needed for my travel insurance, of my dad who built and raced classic cars. It
and it is usually around 200+ days away from was when I was taking photos of a street race
home on average. - the Nissan Mobile 500 - and those photos were
published in the local newspaper that I first
f11: We’ve elected to show your lifestyle and
realised the possibility of taking photography
adventure imagery in this feature, but is there
more seriously. I took a night course in
any one genre of photography which feels less
photography (literally a few evenings of my
like work and more like play when you’re
time), and it all fell into place after that.
working within it?
f11: What was your pathway into the sort
CM: Mostly I love to take photos of anything
of professional photography you do now,
outdoors, from scenery to wildlife, lifestyle,
and how did you transition from working
culture and adventure. So it is less about genre
in the wedding and portrait studio where
and more about the type of project I’m working
you started?
on and what that gives me the opportunity to
shoot. A commercial shoot that lets me get CM: I knew I didn’t want to be doing weddings
outdoors – such as my work for Snowshoe and portraits, simply because I was far more
Mountain Resort in the US – can be a lot of fun. interested in getting outdoors with my camera
However over the years I’ve built up a range of and photographing the kinds of adventure
Photo Tour products which now take up around activities I liked to be doing. So it was a fairly
half of my working year, and guiding guests on obvious step to close up my studio in Invercargill
these tours is definitely a different vibe to my and move the business to Queenstown, which
commercial work. It’s still ‘work’, because I work was somewhere I had spent a lot of time with
hard to make sure my guests have an incredible my family growing up. Of course I loved the
experience on the tour, and there is a lot to mountains and the skiing and the outdoor
manage. But creatively it’s a wonderful adventures offered by this region. I had to start
opportunity to share the whole image making from scratch trying to find clients, so it was a
experience with others and I get a lot back out lot of door knocking and networking and going
of that. So if I had to pick, then these trips would that extra mile to try and secure the work. But
be the least like ‘work’ and the most rewarding over time the results started to pay off and from
photographically, and from the experience and there, it was really just word of mouth that
perspective of helping others. I also get to travel helped me spread my client base further afield
to locations that I choose, so that’s a bonus as and eventually offshore.
well. Having said that, a lot of my regular clients
f11: Who were your career influences and
around the world have become great friends
mentors, and is there any one person who you
over the years too, so working with them on
feel made the biggest impression on you in
exciting projects can make the whole ‘work’
terms of your own direction?
aspect a lot more fun as well.
f11: What was your earliest exposure to

photography, do you remember when this Golfer at Snowshoe Mountain Resort, West Virginia,
came on to your radar and when exactly the USA. Nikon D4s with 14-24mm f2.8 lens.
bug bit you? © Chris McLennan
CM: To be honest I was so busy trying to do my put my camera in places where a camera
own thing I didn’t really stick my head up long wouldn’t normally go! I used to fly a parapente
enough to look around and see who else was when I lived in Queenstown and he helped me
out there. I am probably a lot more aware of make up an extendable arm on a pivot with a
other photographers now than I ever was back mounting bracket, which I used to take photos
then. Plus, there weren’t a lot of us around in flying over Queenstown (now used by
those days and the internet and social media commercial pilots). I’ve always tried to think a
didn’t even exist. So I didn’t have any mentors little bit outside of the box and when I get to
and I can’t think of any specific influences. I am put one of those concepts or ideas into action
completely self-taught, as I don’t think the night it’s a huge buzz and definitely keeps me coming
course really counts! And even today I still try back for more.
and figure things out on my own, learning
f11: That leads us nicely in to the topic of
through experimentation, practise and thinking
drones, tell us about your use of these, and
outside the square.
are you shooting stills and video for clients?
f11: When did you transition from film to digital
CM: I started using drones just to shoot high
capture, and are you 100% digital now?
res still images and my first UAV’s were rather
CM: I can’t remember the exact date, but I was large customised drones carrying various
pretty early into digital as soon as the first mirrorless cameras. I never wanted to go down
‘affordable’ DSLR cameras became available. I the pathway of the smaller drones with the
shoot fully digital now and can’t imagine going GoPro style cameras. I was only interested in
back to film. I know it can provide some fantastic creating high res quality images that could sit
creative options for those who like to create alongside the rest of my work. So it’s been a
abstract and artistic works. But from a huge process learning about drone technology
commercial perspective digital is really the only and the different options to get decent cameras
option for me, and I much prefer it. up in the air. Commercially, nearly every client
shoot I do now requires some drone photography,
f11: You are technically very accomplished and
and more and more recently they are asking for
using new technologies in your photography,
video as well. I also shoot on the DJI Phantom
is that experimentation and innovation part
4 Pro Plus which is a great portable option, and
of what keeps the flame burning brightly
it’s such a buzz to fly!
for you?
f11: How much equipment do you typically
CM: Yes definitely, that’s a huge part of what I
travel with these days, and what was required
do and when I’m not out there taking photos,
for the recent trip to Fiji?
I’m still busy thinking of new concepts and ideas
in my head and looking for the next opportunity CM: That changes depending on the project,
to try something new. Whether it’s a client shoot but for Fiji I had a full commercial stills kit (three
or a personal project, I’ll often have an idea I’ve camera bodies, lenses, speedlites, filters, Quadra
been waiting to try, or a new way of lights, tripod and light stands etc), as well as the
photographing a subject or topic I’ve drone and my underwater kit. So it’s a reasonable
photographed before… I can remember back amount of excess baggage!!
in the early days my brother (who was an
engineer) making up brackets and mounting The heated pools at Hanmer Springs, Hanmer, South
gear for me back when you couldn’t buy those Island, New Zealand. Nikon D800E with 24-70mm f2.8
kinds of things, because I was always trying to lens. © Chris McLennan
f11: Have you always used Nikon equipment,
and what has kept you with the brand over
recent years?
CM: I started my career on Nikon way back in

1988. When my vehicle was broken into and all
my gear was stolen, I transitioned to Canon as
that was the most cost effective way to replace
my kit at that time. But I eventually moved back
on to Nikon gear and absolutely love it. Having
used both, I do try to avoid the ‘my camera is
better than yours’ dialogue. As your readers will
be well aware, it really is the five inches of brain
power behind the camera that makes the
difference and the best way to create great
imagery is to use the gear that best suits your
needs and personal preferences.
f11: Have you played with medium format

digital, and is this something you would ever
consider for your line of work?
CM: I haven’t used it and given the nature of

my work and the travel involved, plus the long
lenses and equipment required for wildlife
photography, it’s not something I would consider
at this point.
f11: Do you do any post production work while

you travel, or is this all done on your return
home from each assignment?
CM: It depends on the job. For commercial hotel

and resort shoots I will often do the majority
of the post production while on site, sometimes
sending image files back to the office (via
whatever wi-fi connection exists at the location)
for Catherine to do the extra touch ups such as
removing air conditioning vents, signage and
the like. But for the rest of my shoots, I leave
the post production until I’m back in the office
and do it all then. The only unfortunate element Winter skiing, Snowshoe Mountain, West Virginia, USA. Nikon D4 with 70-200mm f2.8 lens. © Chris McLennan
of that is that I have a stack of images from
various trips which I haven’t even looked at yet!
I tend to pick out a few favourites at the time,
and often the rest get forgotten until I have time
to go back and process them fully.
f11: On the subject of post, what’s your typical groups, followed by a South Island photo tour
workflow and what do you use to catalogue back here in New Zealand during November. So
your library of images? I only have half of November left for commercial
work before hopefully hitting the Christmas
CM: I use Lightroom to import, catalogue and
holidays in December. Whew!
process my RAW files, and Photoshop for any
additional touchups that may be required. f11: Can we expect a book from you in the
future, is there something you’re working
f11: Are there any trends in photography today
towards as a publishing project?
that don’t sit well with you or align with your
personal approach to the art form? CM: I am always thinking about a book and
would love to publish something, but I never
CM: Not really, I’m pretty relaxed about all the
seem to find the time. And every time I think I
various methods and styles out there and other
have the right selection of images ready, I go
people’s approach to photography. It’s such a
on another shoot and end up with yet another
subjective art form and I tend to simply
collection of favourites! So it would be hard to
concentrate on my own work, especially when
be content as the minute I print something I’d
I’m busy with commercial shoots, or coming up
find myself wanting to update it!
with new ideas or projects for myself. In fact if
there was one thing that did bother me, it is f11: Thanks Chris, its been a pleasure to feature
when I hear photographers critiquing other your work and share part of your story with
people’s work in a way that is negative or our readers.
discouraging. I’d rather give positive feedback
When not travelling the world in search of his
to encourage others to keep trying to figure out
next photographic adventure, Chris enjoys
what’s right for them and the way they want to
family life split between the wild West Coast of
approach their photography. Stay true to
rural Auckland and his mountain hideaway in
yourself is the advice I usually offer.
remote Glenorchy deep in the South Island.
f11: Assuming that these are not top secret,
We hope you’ll enjoy the imagery on display
what are your plans for the rest of the year?
here, and that you might be tempted to take a
CM: Nothing top secret. I’m currently on holiday deeper dive into the significant collection on
in the South Island with Catherine and the kids his website.
for the school holidays, and two days after we
TS
get back I am up to the Bay of Islands for a client
shoot, followed by another extended shoot in
Fiji for a couple of clients, and then off to the http://www.cmphoto.co.nz
Maldives for stage two of a previous shoot I http://www.cmphoto.co.nz/phototours/
completed at the Sheraton Maldives Resort.
That takes me through to June when I head off
to Norway for my Polar Bear photo tour on the
MS Freya out of Longyearbyen. I am taking
eleven guests on an icebreaker for ten nights
and can’t wait to get there. I then head to
Mexico for a personal trip, followed by my
Grizzly Bear photo tour in Alaska in July. I am Stand up paddle boarding amongst black tip reef
then in Botswana and Namibia from August sharks, Moorea, French Polynesia. Nikon D800E with
through October guiding four more photo tour 14-24mm f2.8 lens. © Chris McLennan
Mountain biking, West Virginia, USA. Nikon D4s with
14-24mm f2.8 lens. © Chris McLennan
‘My assignments change

annually but funnily enough
there does seem to be a pattern
of sorts. I have a few regular
trips each year’
Following double page spread: Hiker, Zion National Park, Utah, USA. © Chris McLennan
32 | Issue 66 | June 2017 Portfolio :: Stephanie Bowers :: Ultimate passion f11 for PHOTOGRAPHERS AND AFICIONADOS | 33
Yoga by paddle board, Viti Levu, Fiji. Nikon D800E
with 70-200mm f2.8 lens. © Chris McLennan
Following double page spread: Aurora Borealis (Northern Lights), Wiseman, Alaska, USA.
Nikon D800E with 14-24mm f2.8 lens. © Chris McLennan
36 | Issue 66 | June 2017 Portfolio :: Petr Hlavacek :: Remarkable diversity f11 for PHOTOGRAPHERS AND AFICIONADOS | 37
Heli hiking above Glenorchy with Wildlight Aotearoa,
South Island, New Zealand. Nikon D810 with 24-70mm
f2.8 lens. © Chris McLennan
‘Mostly I love to take photos

of anything outdoors, from
scenery to wildlife, lifestyle,
culture and adventure.’
Following double page spread: Photographing Okarito Lagoon, Okarito, South Island New Zealand.
Nikon D810 with 24-70mm f2.8 lens. © Chris McLennan
Stand up paddle boarding in the tropics, Fiji. Nikon
D800E with 14-24mm f2.8 lens. © Chris McLennan
‘I shoot fully digital now and can’t imagine going back to film. I know it
can provide some fantastic creative options for those who like to create
abstract and artistic works. But from a commercial perspective digital is
really the only option for me, and I much prefer it.’
Following double page spread: Skiing, Angel Fire

Resort, New Mexico, USA. Nikon D4 with 14-24mm
f2.8 lens. © Chris McLennan
The New Zealand designed ‘FX Bike’ gets air in
Glenorchy, South Island, New Zealand. Nikon D800E
with 300mm f2.8 lens. © Chris McLennan
Following double page spread: Mountain biker, West Virginia, USA. Nikon D4s with 14-24mm f2.8 lens.
© Chris McLennan
Snow Angels from a different perspective. Aerial drone
photo. © Chris McLennan
‘Commercially, nearly every

client shoot I do now requires
some drone photography, and
more and more recently they are
asking for video as well.’
Following double page spread: Kiwi climber Sarah Hay hangs out near Queenstown, South Island, New Zealand.
Nikon D5 with 14-24mm f2.8 lens. © Chris McLennan
Point of view, riding snow machine, USA. Nikon D810
wth 14-24mm f2.8 lens. © Chris McLennan
‘I can remember back in the early

days my brother (who was an
engineer) making up brackets
and mounting gear for me back
when you couldn’t buy those
kinds of things, because I was
always trying to put my camera in
places where a camera wouldn’t
normally go!’
Following double page spread: Snorkelling the coral reefs of Fiji. Nikon D810 with 14-24mm f2.8 lens.
© Chris McLennan
Romantic picnic at Snowshoe Mountain Resort, West
Virginia, USA. Nikon D4s with 14-24mm f2.8 lens.
© Chris McLennan
Aerial view of watersports at Sheraton Tokoriki Resort, Fiji. Drone photo. © Chris McLennan
Parasailing near Denarau, Fiji. Aerial drone photo. © Chris McLennan
Peter
DAVIDSON
Life in reverse
This feature on English photographer Peter

Davidson is another pleasing product of our
submissions process. Peter wrote to the
magazine and revealed a collection of images,
prefacing the submission with this statement:
‘My personal photographic journey is physically
almost over, yet in a very real sense it has just
begun. I graduated photographic college way
back in 1972 and, even knowing a thing or
two, I'm discovering I know so very little.
Despite a lifetime of professional advertising
and corporate photography, it's a medium I
still love. When at its most successful, the
result is not just a picture, it's an empathetic
view of the human condition, what it is to be
alive, be that good or ill. An elusive goal, but
free of client wishes and demands. I am, at last,
my own client.’
Intrigued by this pitch, and the images, we

were hooked. The story is as interesting as the
images which accompany it, and best told in his
own words.
Snarl. David, 2016. Nikon D90 with 50mm f1.4 lens. © Peter Davidson
64 | Issue 66 | June 2017 Portfolio :: Peter Davidson :: Life in reverse Portfolio :: Stephanie
f11 for PHOTOGRAPHERS AND Bowers :: Ultimate passion
AFICIONADOS | 65
‘From childhood, I've been an inherent harder medium to work with than colour, but
observer of life. Since first I can remember, for me it tells a story better and is ultimately
I've always felt a little distant and apart, not far more satisfying.
fully accepting or accepted. My first camera
The pictures here are all personal, non-
was a Kodak Box Brownie 127 when I was about
commissioned unpublished views of life as I've
thirteen. Now looking back, I suppose this simple
happened upon them. I work with available
box gave me that physical barrier and the
light in the main because, to quote Eve Arnold
distance I needed, as well as a way to socially
again, “By the time you set up lights, the image
interact in a way I felt I couldn't otherwise. So
is gone.” But not always. There is always an
photography became a natural affinity for me,
exception to any rule.
giving me an outlet, a way to express myself.
There are many projects I'd like to turn my lens
I'm frankly obsessional with seeing. There's a
towards while I still can and I'm always
lot of luck involved in photography. I don't
enthusiastically open to any interesting projects
consider myself an artist, like a painter or
people might like to suggest or be involved in.
sculptor who can transform their vision into
Currently I'm negotiating with my local hospital
reality at leisure. A craftsman, might be a more
(which last year saved my life) to document
accurate description.
the working lives of the heart specialists working
More often than not, I have no idea if I have a there. There are so many people I admire that
worthwhile result. I just snap pictures that are doing wonderful things. People I'd love to
interest me, that's really all I do. The quest for be able to meet, and perhaps get the chance to
deeper meaning is elusive and intriguing. If portray. Everyone has a story, you just have to
people can infer any meaning or hidden story tease it out.’
from a capture of mine of a moment in time,
His personal and professional journey makes
that's wonderful. But whatever the image, it
for interesting reading, so strap in and prepare
should at least hold the eye, intrigue the mind
for the ride.
and most of all, be memorable. That's what I
strive for. What a picture means to you, or to ‘It was 1968, but not the summer of love, at
me, may be at complete odds. I like that least for not me.
ambiguity. We all see and interpret through the
mirror of our own personal life experiences.’ My decision to follow a photographic life came,
rather ironically, just as I was thrown out of
Peter describes the collection of images he photographic college.
shares here, and some of the process
behind them. It was six months after I'd left school, I had just
turned sixteen and failed my first year college
‘I adhere to a statement which Eve Arnold made: exams. Growing my hair long, discovering girls
“I don't see anybody as either ordinary or and booze and the student life had perhaps
extraordinary, just people in front of my lens.” distracted me...
I'm continually drawn to shape and form and
the tonality of my work is often dark. That glint
of a reflection in a passing bus window or the
spark within a glance, hint of secrets within. To
this end, I do tend to see the world in
Explorations. The Tate Modern, London, England,
monochrome. The light providing nothing more 2016. Nikon D750 with 28mm f2.8 PC lens.
than shape, texture and mood. It's a much © Peter Davidson
66 | Issue 66 | June 2017 Portfolio :: Peter Davidson :: Life in reverse f11 for PHOTOGRAPHERS AND AFICIONADOS | 67
So that summer I found myself a job as a encouraged me to bring him back some “good
“photographer” working the carnival fairground stuff man” for his mag. In the process, I received
rides in the northern English seaside town of great feedback and encouragement from
Blackpool. Given an Olympus half-frame 35mm many other photographers, and eventually
camera and a big Metz hammer-head flash I was offered a job as unpaid tea boy/runner in
was told with a shove in the back and a kick up one studio. Which I would have taken, were it
the backside to, “Stop faffing about being arty not for my being skint, alone and friendless in
lad, and get taking snaps and make some a big, unknown and expensive city. Despite all
bloody dosh!” that, there is no excuse - I should have taken
the job and stayed. Instead, I returned to free
The summer was spent seriously pondering my
bed and board at home. And when a job in
future. But at the same time I was having fun.
Manchester came up that actually paid decent
Riding alongside the carnies, stepping with cool
money for actually being a photographer, I
insouciance off dangerously whirling gallopers
took it.
and waltzers, snapping the girls, their boyfriends,
kids, mums and dads and most importantly, So started my photographic journey in reverse.
learning to talk the talk with strangers.
Industrial photography sounds dull, but actually
In the autumn, I skulked back and enrolled isn't. Especially as Health & Safety was unheard
again in the same college of photography, and of in the early seventies. I was given a car, a
quietly agreed to the humiliation of starting boot full of PF60 flash bulbs, a full Hasselblad
again back in the first year. Much to my surprise, kit and told to go to various locations around
they accepted me. They had decided that I the UK to shoot docks, truck, buses, factories
showed promise and so welcomed me back. It and engineering works. Aged just twenty and
was the sixties summer of love after all. on my own, I was organising whole factories in
pursuit of a great shot. Using up to a hundred
Learning the fundamentals of photography
PF60 one-shot flash bulbs, connected by wires
is always valuable, but the real value of those
snaking over mills, drills and irate workers.
college years was enjoying the freedom to
When the ensuing blast of light erupted,
explore and create my own photographic vision.
someone panicked and shut down the whole
I found, to my surprise, that I had an affinity
vehicle production line. I was not exactly flavour
towards documentary or reportage work. I
of the year, but the shot was cool.
looked at images from the likes of Don McCullin
in awe and dreamed of being just Nothing was too dangerous to attempt.
like him. I desperately looked at ways of buying Standing with a tripod at the end of a dock
a ticket out to the Far East and blagging my container crane suspended sixty meters over
way around that terrible war zone, and of the far side of a ship sounded like a good idea
becoming a famous war reporter. Lack of funds for a shot. And it was... until the crane picked
for a camera, never mind a ticket soon scotched up a container from the hull below and I found
that idiotic idea. But people like Capa, McCullin, myself bouncing on a steel springboard,
Penn, Karsh, Stock, Mair and Arnold all fired my clinging to the camera and a railing for dear life.
passions. Just as Salgado does today. So it was I somehow managed not to kill or injure
inevitable that I would get a job... in advertising.
I did head down to London with my 'folio,

intending to see people and gauge my own Porthole on the world. My grandson taken using my
marketability. While there, I met with Bob daughters little snapshot camera, 2012. Canon IXUS.
Guccione of Penthouse Magazine infamy, who © Peter Davidson
myself and won an award in the Financial Times and photographers were particularly frowned
Industrial Young Photographer awards. The trip upon) while photographing Princes and Kings,
to London for the award booze-up was cool. other very rich men and politicians. In between
But I was soon bored with the job. all that, I was shooting corporate brochures and
advertising for most of the world's largest
So I took another working for a mail-order
companies and agencies. I was in it for the
studio. It paid well. Hint: Don't get a job just for
excitement and money, not the art. My love of
the money...
documentary had slipped further into the
Working with 10x8 plate cameras and shooting background. Given the locations I found myself
mundane merchandise quickly makes a boy in, another series of great missed opportunities.
photographer turn to booze and parties
On the upside, I was having a ball. King Fahad
for consolation.
gave me a watery-eyed glower when I came
I lasted two years, gave it up and decided to go too close, and David Rockefeller was as
AWOL and travel around North America for a charming as his henchmen were intimidating.
few months. I cheekily wrote, on the off-chance, And Sheik Yamani, the Saudi oil minister who
to Yousuf Karsh and he astonishingly replied had not long previously plunged the UK into a
with an invite to visit him. So I stuck my thumb three day week by restricting UK oil, was
out and hitch-hiked from Toronto to Ottawa urbane, friendly and unassuming. Despite
and said hello. He must have been quite taken Yamani being under house arrest at the time,
aback by this young, long-haired scruffy youth he tasked me with shooting his son's wedding.
from England turning up with a just a backpack. A rather interesting three day long affair it was
I'm afraid I was too star-struck to make much too. Another wedding I covered was spread
of an impression, but he was unfailingly polite between Saudi and London, during which I was
and generous, showing me his home and studio, surprised to be mentioned in the national
chatting with me for an hour or so. I returned tabloid press as the “court photographer”. I
to my YMCA lodgings in some converted prison never did get that call from Buck House though...
cells feeling inspired and awed and a little
Photographically, there were many near fatal
depressed. I was then twenty four and felt time
scrapes as there was no risk assessment or
was running out.
indeed much safety procedure at all. While
The mid-seventies in England was the time of shooting the finishing touches to a new airport
the winter of discontent. Strikes, protests, great runway being built alongside the original, a 737
social change, the Irish troubles. It was a great jet decided it was open and tried to land. This,
time to be a documentary reportage despite me standing in the bucket of a huge
photographer. Having no money or camera gear bright yellow Caterpillar digger parked on the
is a problem if you want to do that however. So runway with me thirty feet in the air. I
of course, instead of capturing these momentous wondered why the driver was sprinting away
events, I gained employment as a lecturer at until I saw the plane bearing down. I think the
my old college. Jobs were thin on the ground, pilot must have seen my frantic waving, as he
and as they said, it's a job. Two years later I saw opened up the throttles at the last minute and
an opportunity to work in Saudi Arabia and I went around. I can still smell the fumes of the
again jumped ship quicker than a rat down a jet exhaust.
drain pipe.
The next ten years were spent as a freelance Ageing. Lagos, Portugal, 2013. Leica M9 with 35mm f2
agent dodging being arrested (as photography lens. © Peter Davidson
Then there was the time I climbed aboard an Yousuf Karsh, an extraordinary portrait
ancient WW2 vintage company re-supply aircraft photographer of the great and the good.
for an ARAMCO oil drilling exploration team
“Within every man and woman, a secret is
deep in the The Rub' Al Khali or The Empty
hidden, and as a photographer, it is my task to
Quarter, the largest sand desert in the world.
reveal it.” and, “Look and think before you
The DC3 Dakota was filled to capacity, one half
open the shutter. The head and mind are the
with seats, the other with goats and equipment.
true lens of the camera.”
There was a small gap in the seal of my window
and the pilots were retired American servicemen. Don McCullin, his shot of the American soldier
Indiana Jones would have felt quite at home. and his dazed, glazed expression. Haunting.
We took off, following a directional beacon out
to the exploration site, which, if we missed Portrait of Dennis Stock by Andreas Feininger
meant we could well be lost and unable to get for Life magazine in the year I was born, 1951.
home. It had happened before, and the poor An astonishingly modern picture even by
souls involved had never been found. today's standard, and his shot of James Dean,
hunched over walking through a rainy street.
Throughout my time there I operated alone, That feeling and mood, just wonderful.
with no health insurance, no car insurance and,
Robert Capa, his picture taken in the French
of course, no mobile phone. In the first couple
town of Chartres in 1944 of a female collaborator,
of years, even to call the UK required a week’s
her hair shaven and surrounded by a baying
notice to the telecommunications office
mob as she cradles her baby. Just oh,
downtown. It was, as you might say, quite
my goodness.
character building. I loved it.
Sebastiao Salgado, his work is astonishingly
Returning to the UK, Nikon offered me an emotive and beautiful. A modern master. His
exhibition in London which was nice but led shot of the gold mine workers of Serra Pelada,
nowhere. And the process of bringing up a family the human ants climbing impossible hills with
meant stability and no further risk taking so I improbable loads.
opened a photographic mini-lab and family
portrait studio and basically settled down to Vivian Maier, an unknown woman photographer
the life of a retailer.’ who only found fame after her death. Beautifully
seen and captured images of everyday
As to his influences, Peter is quick to catalogue life, wonderful.
a range of image makers:
WeeGee, (or Arthur Fellig), a man who never
‘There are so many photographers whose work gave up looking for that great shot. His picture
I admire. of kids sleeping on a fire escape, just burns in
my visual memory.
Irving Penn, his shot of Picasso is extraordinary.
“Pose and gesture that both hint towards the
inner life of the subject”. Advice I try
to remember.
Margaret Bourke-White sitting precariously

with her camera atop the Chrysler building in
Concorde. One of the last flights into Heathrow
1935. Showing that women take their England, from NYC, 2003. Nikon 5400.
photography just as seriously as men, if not © Peter Davidson
more so.
Dougie Wallace, his 'in your face' images of
people on the street are uncompromising and
utterly astounding. His Harrodsburg series is
wonderful. And all in colour, which
works perfectly.
Tatsuo Suzuki, a Japanese street photographer

who only took up photography five or so years
ago. A very keen eye and strong images.’
Asked about his equipment preferences, Peter

provides some detail:
‘As Don McCullin said: “I only use a camera like

I use a toothbrush, it does the job.”
I concur.
Over the years, I've used just about every

camera type appropriate for whatever job was
in hand. Horses for courses, but for what I am
doing now, it's not really about the camera, it's
about the image. And if the image is strong, it
doesn't matter if it's noisy, grainy, or blurry,
taken on a mobile phone or snapshot camera.
Look at Capa's Normandy beach landings.
They accidentally boiled all his film and
somehow they look even better. I stick with
Nikon because I started with a Nikon F (which
I still have) and Nikon cameras have never let
me down. Through the FE, FM2, F2, and F3.
They all just worked. As did the Hasselblad
cameras, and Sinar technical cameras which
were once my staples.
I no longer own high end 'Pro' gear as I don't

need to. My current equipment consists of
a modest Nikon D750 and it’s just fine, with
my second current camera being a Leica M9.
That's a bit extravagant perhaps, but it's small
form is simple and it's inconspicuous - and as
mine is covered in black electrical tape, even
more so. Good glass is more valuable than the
body it’s attached to.
Night train, Camberley Station, Surrey, England, 2015.

Nikon D90 with 50mm f1.4 lens. © Peter Davidson

My lens choice is small and I don't use zooms,
which I find just make me lazy. For the Leica I
have two 35 year old pieces of lovely glass, a
35mm f2 Summicron and a 90mm f2.8
Elmarit. Both are small and fully manual.
My Nikon glass is a 24mm f2, 28mm f2.8 PC,
50mm f1.4, and a 135mm f2.’
In conclusion, Peter sums up his present

situation, and reflects on the journey.
‘Now retired, I'm rediscovering what I really

loved about photography in the first place. I'm
free of clients, their dire advertising demands
and grimly repetitive merchandise photography.
Hence my sense that I've lived my life in
reverse. I'm doing now, what I should have
done right at the beginning. I remember
feeling time was running out when I was
twenty four. It really is the case now, so I'm
determined to make the most of it.
How would I describe my current work? Good

story telling has tension. So I try and give my
pictures the visual equivalent, some hidden
story if people care to look and imagine.’
Long may he continue to tell these stories.
TS
Blog
500px
Heading Home. Camberley Town, Surrey, England, 2016. Nikon D750 with 135mm f2 lens. © Peter Davidson
1x
Following double page spread: Taking in the sails, Mevagissey, Cornwall, England 2014.
Leica M9 with 35mm f2 lens. © Peter Davidson
78 | Issue 66 | June 2017 Portfolio :: Joel Strickland :: Need for speed f11 for PHOTOGRAPHERS AND AFICIONADOS | 79
Determined commuters, Siem Reap, Cambodia, 2012.
‘I'm frankly obsessional with seeing. There's a lot of luck involved

in photography. I don't consider myself an artist, like a painter or
sculptor who can transform their vision into reality at leisure. A
craftsman, might be a more accurate description.’
World's end, Bristol Channel, England, 2011. Nikon D90 with 18mm f2.8 lens. © Peter Davidson
Monsoon. Ayer Tawar, Malaysia, 2012. Leica M9 with 35mm f2 lens. © Peter Davidson
Night out. My daughter, 2010. Nikon D90 with 85mm
f1.4 lens. © Peter Davidson
‘…I do tend to see the world

in monochrome. The light
providing nothing more than
shape, texture and mood. It's a
much harder medium to work
with than colour, but for me
it tells a story better and is
ultimately far more satisfying.’
Railway men, Didcot Railway, Oxfordshire, England,
2011. Leica M9 with 35mm f2 lens. © Peter Davidson

The conversation. Prague city tram, Czech Republic, 2005. Nikon D70 with 18mm f2.8 lens. © Peter Davidson Inner lives. Prague city trams, Czech Republic, 2005. Nikon D70 with 18mm f2.8 lens. © Peter Davidson
‘Over the years, I've used just about every camera type appropriate
for whatever job was in hand. Horses for courses, but for what I am
doing now, it's not really about the camera, it's about the image.
And if the image is strong, it doesn't matter if it's noisy, grainy, or
blurry, taken on a mobile phone or snapshot camera.’
Look! Air show spectators, 2009. Nikon D70 with 85mm f1.4 lens. © Peter Davidson The look. Prague city trams, Czech Republic, 2005. Nikon D70 with 18mm f2.8 lens. © Peter Davidson
Rest period. Palm oil worker, Malaysia, 2015. Leica M9
with 35mm f2 lens. © Peter Davidson
Wanderlust. Waterloo Station, London, England, 2015.
Leica M9 with 90mm f2.8 lens. © Peter Davidson
‘My lens choice is small and I don't use zooms, which I find just
make me lazy. For the Leica I have two 35 year old pieces of lovely
glass, a 35mm f2 Summicron and a 90mm f2.8 Elmarit. Both are
small and fully manual. My Nikon glass is a 24mm f2, 28mm f2.8
PC, 50mm f1.4, and a 135mm f2.’
Following double page spread: Wet night on the

Bund. Shanghai, China, 2012. Leica M9 with 35mm f2
lens. © Peter Davidson
The painter. Artist Alan Brain, 2006. Nikon D70 with
85mm f1.4 lens. © Peter Davidson
‘Now retired, I'm rediscovering

what I really loved about
about photography in the first
place. I'm free of clients, their
dire advertising demands and
grimly repetitive merchandise
photography. Hence my sense
that I've lived my life in reverse.
I'm doing now, what I should have
done right at the beginning.’
The car. Morgan Car Company, Malvern, Worcestershire, England, 2014. Leica M9 with 35mm f2 lens. © Peter Davidson
The apprentice. Morgan Car Company, Malvern, Worcestershire, England, 2014. Leica M9 with 35mm f2 lens.
© Peter Davidson
The cobbler. Fred at work in his shop, 2009. Nikon D90 with 18mm f2.8 lens. © Peter Davidson
Metal working. Morgan Car Company, Malvern, Worcestershire, England, 2014. Leica M9 with 35mm f2 lens.
© Peter Davidson
Following double page spread: Making the cut. Morgan Car Company, Malvern, Worcestershire, England, 2015.
106 | Issue 66 | June 2017 Portfolio :: Joel Strickland :: Need for speed f11 for PHOTOGRAPHERS AND AFICIONADOS | 107
Home alone. Pet dogs waiting for their owner to
return. Fleet, Hampshire, England, 2012. Leica M9 with
90mm f2.8 lens. © Peter Davidson
‘Good story telling has tension.’
Gabriel
HILL
ImPortraits
Gabriel Hill is a Swiss photographer who works

mainly in commercial and editorial portraiture.
Most of his clients are high profile business
people, mainly from the Basel pharmaceutical
industry, but also include ambassadors, Olympic
athletes and show business personalities.
However, the work he’s sharing here is much
more personal. Gabriel has focused his cameras
and his energy on documenting the plight of
refugees living in Switzerland today, and
eloquently tells the story in his own words.
‘There are refugees living in the house that sits

in front of my studio. So while most of my
clients have way more money than the average
person, only a few meters away live people who
don't have anything. It was this contrast that I
always found disturbing, but also fascinating.
Around 3 years ago my Facebook timeline was

constantly showing posts from my friends
looking for donations for refugees in need.
ImPortraits : Ahmed, 23, fled from Eritrea in 2013. ‘I

got on board of a ship in Libya which had to bring us
to Italy. I couldn’t take anything with me except the
clothes I was wearing and a tiny little piece of paper
with the phone number of my family on it.'
© Gabriel Hill
110 | Issue 66 | June 2017 Portfolio :: Joel Strickland

f11 for PHOTOGRAPHERS :: Need for speed
AND AFICIONADOS | 111
Touched by the refugee crisis, and the selfless
help of many of my friends, I began thinking
about what I could do to help them.
I noticed that the word refugee was all over

the place in the media and that many people
were talking about them, but barely anyone
had ever seen a refugee or talked to one.
Often times I would read comments like this

one on social media, “…it can't be so bad where
they come from, as all of them posses a cell
phone which means they have to be rich.”
As a photographer it was clear to me that I

wanted to do something with portraiture but
there are already millions of images about the
refugee crisis out there. I concluded that most
of these images were very dramatic, or showed
a large group of refugees so that individuals
became lost in the anonymity of the masses.
I didn't want to be just another photographer

taking refugee portraits. I wanted my portraits
to mean something. I have to be honest, I didn't
expect such a huge success with this series but
there are some factors that can help in getting
a project noticed.
It was some months before my first thoughts

of making a portrait series with refugees came
to fruition. One of the reasons that I wanted to
do this series was, that I wanted to show people
living here in Switzerland exactly who those
people who came here to seek shelter were,
and to gain some insight into the circumstances
that had caused their flight.
I felt that these refugees deserved not only a

face, but a voice as well. It quickly became clear
that some text had to accompany the portraits.
Many refugees here in Switzerland face a lot
of distrust; even though Swiss people are
quick to donate money when it comes to a
ImPortraits : Sejla, 33, fled from Bosnia in 1992.

© Gabriel Hill
112 | Issue 66 | June 2017 Portfolio :: Joel

f11 for PHOTOGRAPHERS AND Strickland :: Need for| speed
AFICIONADOS 113
catastrophe that happens elsewhere. Basel for those tragic stories, with just the names, the as not all of them spoke English. It took a year and our work so naturally I had some of those
example is an area that has quite a high faces and the possession changing. to get 10 refugees in my studio. moments too. One moment you’re excited
earthquake risk, so people respond to such about an image and the next day you can't
I used a Hasselblad digital medium format It is completely understandable that most of
events in other places generously. stand it.
camera with an HC 50-110mm f4 lens for this them had more pressing problems when they
With war it is a different game. War is man portrait series. I knew that I wanted to show arrive here than the desire to feature in a It wasn't that I thought my project was so great
made so many people think the refugee crisis the portraits in the exhibition life size and the photographer’s project. Many of them feared that every newspaper had to write about it.
is somehow their own fault. With wartime 40 megapixel sensor would be enough for that. that it would have a negative impact on their Instead, I felt sad for the refugees I took portraits
experiences now only a distant memory for I used a broncolor Move 1200 generator with asylum application. Sadly, the most common of, fearing that they might get the impression
some people in Switzerland, I felt that there a large para umbrella and positioned it close to objection was that they where traumatised by that no one cared about them enough to
were Swiss people who struggled to empathise the subject so I would get very soft light. On their experiences and didn't want to talk display the images and tell their story.
with the refugees on their doorstep. It’s hard the other side of the subject I used a large black about them.
About a year and a half into the project, I
to empathise with someone without a common V-flat with a small white paper stitched to the
When each person was in my studio, I sat them received a letter saying that my project was
thread, or a certain feeling of connection. V-flat to get just a tiny little bit of fill light
down at the table and let them tell me their chosen by an international jury of the Swiss
from that side.
With that in mind, I came up with the idea to story. From time to time I would ask a question photo award as one of Switzerland’s 7 best
show the refugees with their most important I hoped that the portraits would be formal and and take some pictures. A connection between works in photography. I had totally forgotten
possession, often a single item that they were timeless, hence the technical implementation the subject and the photographer is essential that I submitted my images to this award so it
able to carry when they fled their own land. I was very simple. The strongest design elements so I used a remote trigger to ensure I wasn't was a huge surprise, and also gave me new
thought that onlookers seeing these portraits were the subjects’ pose and their expression. hidden behind my camera. This was more motivation to continue to work on the series.
would immediately think about what he or To be honest, I thought it would be much easier relaxing for my subjects. I think every
One day I came across a website called vice.
she would take with them if they were forced to get refugees in front of my camera. I contacted photographer knows this situation, one moment
com and saw that they were writing quite a lot
to flee their homes or country. For a split second all the organisations and institutions working you are talking with your subject and everything
on the whole topic of refugees. So I sent them
one is in the same situation as that refugee with refugees but most of the time I wouldn't is very easy and relaxed, then you point the
an email to see if they were interested in my
once was. even get an answer to my request. Governmental camera at them and everything changes. Using
project. Two weeks later, I got a phone call from
organisations mostly had no personal contact a remote trigger really helps with this problem. the editor in chief from the Swiss site and he
Part of the concept was that the portraits would
be shown in an exhibition. I wanted to give these with refugees so they couldn't help me make I always work with model releases but if your told me that they would be happy to write
people a face and a voice but I also wanted to connections. Surprisingly, NGO's had no interest subject can't read or write, or doesn't understand something about it. That was the moment that
help them actively. So I decided that I wanted in helping me as they saw no value in my work. all these legal terms, this can be quite a challenge. basically changed my whole career as a
to make a book out of the project and that all They simply had no time for a photographer. Eventually, I came up with a very practical photographer. Two days after the article was
earnings from the book would be donated to solution. I just recorded my subjects on video published on the Swiss vice.com site it showed
One NGO working with refugees here is called up on the UK site and from there on it went on
an organisation that is helping refugees. OESA. It is funded by most of the big Swiss while I was explaining exactly what I planned
to use the images for. to all the vice sites around the globe. From then
We often see images of refugees in camps living churches and their aim is to help people in need on, I received tons of email with media inquiries
in poverty and poorly dressed. I wanted to go without asking if they are here illegally or As for the name of the series, I decided to go and I was completely overwhelmed. I had
a different way, to show them with some kind legally. When I first contacted them, they had with ImPortraits which is a made up word from requests for newspaper features, TV interviews,
of pride. So aesthetics was a big thing in this no interest in my project. It is difficult to win the two words, important and portraits. My and podcast interviews. So far the series has
series. I felt that the portraits should be simple someone over with your own ideas by email so ImPortraits series is not only about the refugee been published in 50 or 60 countries. I also got
and without artificial drama. I had decided to I asked them if I could speak to the person in crisis and migration problems, but also about requests from photo agencies offering me a
use one of my hand painted backdrops from charge with a brief phone call. The person in materialism in general. contract as a photographer and I am now
Oliphant Studio New York that had a very subtle charge called me, and instead of 5 minutes I represented in the USA and UK. I’m still getting
talked for an hour with the woman. After that From time to time I would contact newspapers
texture and not too much of its own personality. requests for the ImPortraits series, and email
she agreed to let me on their premises so I to highlight my project but I never got a single
Above all, these portraits should be about the from people telling me that they were touched
could ask some refugees if they were willing reply to my emails. Many of my friends told me
person. Nothing more, and nothing less. by the refugees’ stories.
to be part of the project. From time to time I to let go of the project as it wasn't going
The setup stayed the same for every portrait. would go there to see if anyone was willing to anywhere. I think most photographers have As fast as the whole story went viral, it was over
The idea was to underline the repetitiveness of come to my studio. Language was a big challenge those moments when we question ourselves again. What has lasted is that I have lots of
114 | Issue 66 | June 2017 Portfolio :: Gabriel Hill :: ImPortraits f11 for PHOTOGRAPHERS AND AFICIONADOS | 115
media contacts now and when I am doing a
new project the chances of it being published
are much higher than before the whole thing
went viral. I try to use this power for good
projects and to highlight some great
humanitarian organisations.’
Gabriel’s original ImPortraits series was the start

of a larger work. The first ten images shown
here, on pages 111 to 127, are the ones largely
described in this article. The next six images,
pages 128 to 133, are from his New ImPortraits
series, which asks a selection of Swiss residents
what they would take with them if forced to
flee their homes today.
The New ImPortraits series was captured on a

Sinar P1 8x10” camera with a Schneider
Kreuznach Symar-S 6.8/360mm lens using
Impossible Project black and white instant film.
‘It was always a dream of mine to shoot a project

with a large format camera and this series was
perfect for it. Instead of shooting in my studio
I went to my subjects’ homes and took some
environmental portraits. The biggest challenge
here was that I didn't know what to expect
lighting wise at these locations. Good planning
was very important for this series as I wasn't
able to bring any more equipment than needed.
I don't have a car and everything has to fit on
my cargo bike.
The Impossible Project film has an ISO of 640

which isn't fast enough if I’m shooting in a small
room with small windows and/or bad light so I
definitely had to take some strobes with me.
Depending on my needs I usually work with a
broncolor move 1200 kit or broncolor generators
but in this case my 2 Siros 800L flash heads were
perfect. Typically, I used one strobe to light
ImPortraits : Migmar, 59, fled from Tibet in 1959. 'In

1959 I fled with my father, my mother, my sister and
my grandparents from Tibet to India. I was two at the
time' © Gabriel Hill
116 | Issue 66 | June 2017 f11 for PHOTOGRAPHERS AND AFICIONADOS

Portfolio :: Joel Strickland | 117
:: Need for speed
the subject and one to control the environmental
light situation. The broncolor Siros outdoor kit
was my first investment when I made the
transition to being a full time photographer as
they were very affordable for a young
photographer and, in my opinion, their quality
and reliability is incomparable.
Regarding the light modifier, I went with my
broncolor Para 133. I work with a lot of different
light modifiers but the Para is my “go-to” light
modifier when I don't know what to expect at
a shoot as it gives me unlimited possibilities to
control the light, and the lighting quality. With
the focusing tube I can make the light softer or
harder, and focus it directly on where I need it,
thanks to the parabolic shape of the umbrella.
Working with a large format camera slows
everything down and helps focus on working
precisely in a very planned way. It was a great
experience for me and even though the
Impossible Project instant film is a bit tricky
regarding quality and predictability I am happy
with the result and will continue to build
the series.’
Finally, the remaining four images from Gabriel,

on pages 134 to 137, are from a companion
series called Good People. This collection
features those who work with, and support,
refugees in Switzerland. The Good People series
was shot with either a Canon EOS 5Dsr and a
24-70mm f2.8L II USM lens, or the previously
mentioned Hasselblad combination.
‘While I was working on my ImPortraits series

I got to know many people who work for
humanitarian organisations and a few months
back I thought, "Why not show the other side
of this whole crisis?" so I began portraying
ImPortraits : Marie-Therese, 62, fled from DR Congo

in 2008. 'I had to leave my home from one second to
the other. Unfortunately, there was no time to take
anything with me.' © Gabriel Hill
people who stand up for human rights and/or
help other people. I've portrayed highly
committed individuals who are working with
homeless people, University Professors who
are doing peace research, Nobel Peace Prize
nominees, pastors working in refugee camps
and many more outstanding people who make
up the Good People series.’
We’re privileged to be able to share this work

with you, and thank Gabriel most sincerely for
making this possible.
TS
http://www.thegabrielhill.com
‘I didn't want to be just another

photographer taking refugee
portraits. I wanted my portraits
to mean something.’
ImPortraits : Farhad, 27, fled from Afghanistan in

2007. ‘...the smugglers told us to throw everything
away. I didn't have the heart to toss out the photo of
my mother, so I hid it under my clothes. I haven't seen
my mother since I left, so this picture of her is very
important to me.’ © Gabriel Hill
ImPortraits : Yosief, 20, fled from Eritrea in 2014. 'I
kept a small book with phone numbers and a few
photos from my childhood.’ © Gabriel Hill
‘I used a Hasselblad digital

medium format camera with
an HC 50-110mm f4 lens for this
portrait series. I knew that I
wanted to show the portraits in
the exhibition life size and the
40 megapixel sensor would be
enough for that.’
ImPortraits : Mahmoud, 20, fled from Lebanon in 2014. 'A few years ago I converted from Islam to Christianity and a
priest gave me this Bible. Here in Switzerland I live in an asylum with predominantly Muslims – my family are the only
ones who know I converted. That's why I can't show my face...' © Gabriel Hill
ImPortraits : Nazim, 26, fled from Afghanistan in 2011. 'The only thing I have left is this little book from the police
academy and a necklace my mother gave me.' Gabriel Hill
‘I felt that these refugees deserved not only a face, but a voice as well.
It quickly became clear that some text had to accompany the portraits.’
ImPortraits : Vinasithamby, 64, fled from Sri Lanka in 1984. 'Since I had to leave my family behind, these photos were
the only things that were important to me, and luckily I could carry them on me.' © Gabriel Hill
ImPortraits : Suleyman, 18, fled from Afghanistan in 2014. 'From all the things I took with me, only this cell phone is left.
My mother bought it just before I fled.' © Gabriel Hill
‘I hoped that the portraits would be formal and timeless, hence the
technical implementation was very simple. The strongest design
elements were the subjects’ pose and their expression.’
New ImPortraits : Beatrix, 66, doctor's assistant. 'Playing the traverse flute was a dream I fulfilled at the age of 43. New ImPortraits : Franz, 78, physician. 'My passport is the most important thing I would take with me.' © Gabriel Hill
Since that day it accompanies me…' © Gabriel Hill
'It was always a dream of mine to shoot a project with a large format
camera and this series was perfect for it. Instead of shooting in my studio
I went to my subjects’ homes and took some environmental portraits.’
New ImPortraits : Romea, 6, 'I would take my hedgehog with me. Without him I can't sleep…' and Laurin, 'My most New ImPortraits : Simona, movement pedagogue. ‘I would take these Daruma with me. Japanese Daruma dolls are
precious item I would take is this photo book because it contains memories…' © Gabriel Hill seen as a symbol of perseverance and good luck.' © Gabriel Hill
New ImPortraits : Anna, 23, college student. 'If I had to flee from my homeland I would take my boxing gloves with me.' New ImPortraits : Thomas, 48, primary school teacher. 'I have chosen this Netsuke, a small carved figure from Japan.
© Gabriel Hill It's very small so it would fit in my trouser pocket…' © Gabriel Hill
Good People : Esther. © Gabriel Hill
‘While I was working on my ImPortraits series I got to know many

people who work for humanitarian organisations and a few months
back I thought, "Why not show the other side of this whole crisis?"
so I began portraying people who stand up for human rights and/or
help other people.’
Good People : Yvonne. © Gabriel Hill
Good People : Mussie. © Gabriel Hill
Good People : Olga. © Gabriel Hill
Communicate, Propagate and Disseminate author’s statement of no more than 250 words.
The author/photographer’s ‘theme’ and
For a long time the options available for associated images can be on any subject deemed PSNZ Exhibitions Open to the Public traditional techniques with modern technology
Australian Photographic Society members to socially acceptable. The bonus for the to present their creations to us.’
show their work was limited to a handful of At the recent PSNZ 65th National Convention
participants is that their image set will be printed
(Photography on the Edge, held at Waipuna The New Zealand International Salon (NZIS) was
competitions and exhibitions mostly related to at 18”x12” at no cost for display at the venue.
Hotel and Conference Centre 6-9 April 2017) also open to the public over the convention
the attainment of photographic Honours. Non- Hopefully this exhibition will be well supported
two PSNZ supported exhibitions were open to weekend. Operated under the patronage of
Honours options available included postal and and repeated in future.
the general public for viewing. The steady flow the Federation Internationale de l’Art
digital folios and print exhibitions at APSCON
of visitors and numerous exclamations of Photographique (FIAP) and the Photographic
but each of these is severely limited in its The APS has recently opened a couple of new
appreciation at the standard and variety of the Society of America (PSA) this Salon was
audience reach. The defunct print publication closed Facebook groups. One, Friends of
works displayed reiterated the value of sharing reintroduced to the international circuit after a
Image only appeared bi-monthly and the Australian Photographic Society, has now
these competition events with the general hiatus of almost 20 years.
member’s gallery on the APS website is static. gathered more than 500 members. The APS has
public. Both exhibitions offered PSNZ an
half a dozen Special Interest Groups and the
opportunity to enhance its profile and to The NZIS received almost 8,000 projected
Recently there have been some exciting Contemporary Group is the first to create its
encourage non-members to consider how they entries from 64 countries. This quantity of work
developments which have expanded the range own closed Facebook group. Currently it has 85
might utilise competitions such as these to take involved six judges over three full and very
of possibilities for members to get their images members who are very active. While the number
their photography to another level. intensive days to decide upon the 20%-25%
on show, communicate their thoughts and of regular participants is relatively small there selection threshold.
interact in real time. are many ‘lurkers’ watching from the sidelines. The PSNZ National Exhibition is an annual
The flow of images and the vigorous discussion event held in conjunction with the National There were some stunning images competing
The Conceptual Art Portfolio Award (CAPA) is a that breaks out from time to time is interesting for the 52 awards offered (including the PSNZ
Convention. Open to both PSNZ members and
self challenging project in which a conceptual to watch. gold medal). New Zealand photographers fared
non-members, the exhibition features both
idea is realised through the creation and exceptionally well gaining 23% of the awards,
prints and projected entries.
presentation of a series of photographs. Success The print magazine Image has been replaced two of which were presented at the PSNZ
does not rely upon one-off ‘hero’ images as by four downloadable newsletters which are 1588 entries were received from 360 National Convention. Full results from the NZIS
typically seen in competitive exhibitions. Quite published monthly. These are E News, The photographers. A total of 453 awards were can be accessed from this page.
the opposite in fact. The photographer is Printer, Monitor, and Free Expressions. E News bestowed. Full results from the National
required to develop a carefully ordered set of is the official voice of the APS while the other Exhibition can be viewed here. Both the National Exhibition and the NZIS will
photographs illustrative of the creative concept. three are produced by Special Interest Groups. be operated by PSNZ in 2018. The National
It is a contemporary form of artistic The exhibition also featured the ‘sets’ of those Exhibition will be linked to the PSNZ 66th
representation in which a personal idea or These developments in communication provide PSNZ members who were successful in gaining National Convention in Dunedin (April 2018)
concept takes shape without reference to more rewarding ways for members to show their PSNZ Honours (Licentiate, Associateship and the NZIS will be timed for September/
conventional aesthetic principles. images and relate to one another than were or Fellowship) and winning sets from several October so as not to conflict with other Salons
ever available in the past. PSNZ Club Salons. The quality of work was at and events held at the beginning of the year.
Another development is a Themed Exhibition once daunting and inspiring. As Peter Robertson, As always, PSNZ encourages your participation.
associated with 2017 APSCON at Forster, NSW. Robert Dettman PSNZ President says ‘It is truly inspiring to see
The organisers are looking for members to tell Chairman Social Media Sub-committee the work of photographers who demonstrate Karen Lawton
a story in a set of ten images together with an Digital Division committee member their vision, skill and courage to build on PSNZ Councillor for Communications
138 | Issue 66 | June 2017 This APS page is sponsored by f11 Magazine. This PSNZ page is sponsored by f11 Magazine. f11 for PHOTOGRAPHERS AND AFICIONADOS | 139
These AIPP pages are sponsored by f11 Magazine.
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The 2017 AIPP Queensland Epson Professional Photographer of the year
TONY BRIDGE BUT WAIT –
ARTIST, WRITER, PHOTOGRAPHER, THERE’S MORE…
TEACHER, MENTOR
Tony Bridge is one of New Zealand’s lead- HOW TO FIND THE LINKS TO EXTRA
ing photo educators with over 30 years CONTENT IN f11 MAGAZINE
experience as a photographer himself, and www.aipa.org.nz
as a teacher of photography at all levels. Each issue of f11 Magazine contains dozens of
He is an industry commentator, a blogger hotlinks, all expanding on our content and offering
and a popular columnist for f11 Magazine. an enhanced readership experience.
Bridge now offering bespoke tours: There are links to online content such as videos,
Travel with a friend or a loved one, let us create a
and to websites expanding on the ideas on offer
bespoke tour together with dates and destinations here. Passing your cursor over the link usually
to suit you. North or South Island. highlights it.
Limited to two guests, travel with me to discover
hidden places and Maori culture. Taking bookings Anywhere you see an image of a computer screen
for 2017 and 2018 now. contains a link, usually to video content.
Bridge on his Hokianga Experience tours: There are links highlighted grey within articles which
‘Learn about the history and culture of may provide further explanation or take you to a
Hokianga from one whose roots are in this area, photographer’s website.
while discovering places only a local with Māori
ancestry will know.’ All advertisements link to the appropriate website
Bridge on his photography workshops: so you can learn more about the products you’re
‘Share with others in one of my unique workshops, interested in.
designed to get you thinking in new ways
about photography.’ Finally, there are email links to many of our
contributors so you can engage with us.
Come and visit Bridge’s new gallery
in the Hokianga:
Bridge Gallery
1 Clendon Esplanade, Rawene - on the Twin HOW TO USE THE LINKS
Coast Discovery Highway, Northland, NZ.
View and purchase Tony’s evocative images.
A single click of the mouse will activate the link
Plus there’s often a chance to meet the you’re interested in. Here’s how they behave
artist when he’s in residence. depending on how you’re reading the magazine:
Tony’s workshops are always bespoke, ONLINE readers will note that these links open in
tailored responses to the carefully a new tab, or window, in your web browser, so you
analysed needs, wants and aspirations of won’t lose your place in f11, as this stays open in
the photographer concerned. It all begins it’s own tab or window.
with a conversation, and that conversation
will very likely be an enduring one. If you’re reading our PDF on your computer, Acrobat/
Adobe Reader will open the link in your browser
www.thistonybridge.com while holding the f11 page open for you to return to.
tony@thistonybridge.com
+64 21 227 3985 If you’re reading our PDF on your iPad, iBooks will
ask you if you wish to leave to open the link. Once
“Being an active member of the AIPA has had a huge impact on my photography career. This industry
you’ve viewed the link contents in Safari, simply
can be a lonely one, so the sense of community and support I’ve received is invaluable. The AIPA is a
return to iBooks where you’ll find f11 remains open huge resource for inspiration and business know-how. It’s raised my profile, saved me money through
on the page you were last reading. discounts and package deals, and brought me in contact with the best photographers in the business.”
Enjoy. Ian Robertson

www.ianrobertson.co.nz
This AIPA page is sponsored by f11 Magazine.
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These NZIPP pages are sponsored by f11 Magazine.
© Lindsay Adler
GARY BAILDON
cameras serviced (you actually did that in those I couldn’t say much as the client had selected
days) and packed a load of film to eliminate as and booked the model.
much risk as possible. My strategy was to shoot
every site at least twice, on both cameras, The makeup was very good and while it didn’t
marking the film so that I would take only a quite cover it all I knew with a bit of retouching
Near disasters quarter of it to the lab - with the rest kept in

the fridge as a hedge against something
the images would probably pass inspection.
Then, when it came time for her to disrobe for
untoward happening. the (utterly tasteful) body shots, that included
No it’s not a new reality We flew and I shot and my assistant bagged
back, legs and arms in various combinations,
it became apparent that the poor girl’s skin
show - perhaps it could be? all the E6 transparency film in four lots and we was literally covered in seriously angry acne.
headed back to Auckland to process at our
usual lab. My assistant dropped the film off I took the client to one side and said we have
explaining the importance of the shoot. A to send her home this will NOT work at any
level. She disagreed and insisted that we
couple of hours later I got a call from the lab
continue with the shoot as she was on a
saying there had been an 'accident' and two
I frantically searched the bags, the car and the deadline and felt that her designer could fix it.
In the many years I’ve been making pictures rolls had not been properly clipped on to the
studio for the missing roll while wondering why I knew from experience that only a couple of
for a crust I’ve had precious few ‘incidents’ on hanger and had fallen into the first developer.
people would have the skills to properly fix it
the job. Luckily on the odd occasion something’s it was suddenly so cold, and why time seemed They resembled thick mud to look at and were,
and told her so but my pleas fell on deaf ears.
gone awry it’s been down to someone else in to have slowed down! In the end there was of course, unusable.
the process not me! However there have been nothing for it but to head back to the locations I bit my tongue and bravely went where no
near misses… one by one and search around in the dark. The lab tech's voice was trembling as she
photographer should have been made to go. I
imparted the news and asked if I could come
softened the lighting as much as humanly
The missing roll of wedding film I found nothing, so I went back the next day over and talk to the manager. I went over and
possible but was still very uncomfortable
when it was light and again found nothing. I I have to admit to letting them stew
This incident took place in the late 80s at an handing the files over as my name was attached
stressed for all of the Sunday wondering if I’d uncomfortably for nearly fifteen minutes. In
Auckland studio that shall remain nameless… to them. The invoice was paid promptly and
lost an exposed or an unexposed roll. Praying fact, they were apologising so hard I couldn’t
Of course, at the time there was nothing digital, after another month of not wanting to know,
of course that it was an unexposed roll… get a word in before finally revealing my spare
except my fingers, on this shoot. It was also I visited the company website to see if they’d
bag of unexposed film. They’d already agreed
well before the days where a bride and groom On Monday morning, in horror, I told my studio actually been used. To my horror, there they
to process the whole job for free and although
came to expect several hundred images, mostly partner what had transpired. After an were… A lot of work had been done but sadly
I said it wasn’t necessary in light of my backup,
of dubious worth, to remember their day by. uncomfortable pause in the proceedings, he the model now looked like a recreation of
the film all duly arrived back minus an invoice
The premium package back then was 80 hand looked sheepish and then, finally relented, herself from Madame Tussauds Wax Museum.
and accompanied by a very good bottle
printed final images in a high quality leather telling me, ‘I don’t know how to tell you this Luckily that kind of job doesn’t involve
of scotch!
album, and to get that final 80 we would shoot but I swiped a roll out of one of those boxes photo credits…
up to double that number of exposures. for a headshot last week and forgot to tell you The model
The beach, the rocks and the Hasselblad
about it…’ There was blood on the floor.
The camera was a 6x6 Hasselblad 500CM and This one’s more recent and all names have
I’m out of space to go into this in detail but I’m
the film backs were 120 which meant 12 images The very expensive aerial shoot been changed to protect the innocent. I took
sure many readers can imagine how this one
per roll of film. I set off from the studio with 4 on a fairly straightforward job shooting a series
This story also took place in the 80s. I landed goes. Incidentally it’s virtually interchangeable
intact bricks (of 5 rolls) and after shooting each of beauty images for a body product
a job for a property developer shooting with ‘The D3X and the spa pool’ story. I hasten
roll I religiously put the exposed roll back in manufacturer for web and print use.
several sites in Queenstown and Wanaka to add that only one of them involved me…
the brick to make sure none went missing.
from a helicopter. This was no tiddler either, it It started well enough, the client and stylist Be careful out there fellow shooters, and like
On this occasion, I got back, emptied out the was a Bell Jet Ranger especially rigged for were at the studio when I got there with their
any good boy scout, ‘always be prepared!’.
gear bags and the film and went to grab the photography with harnesses and no door and fine product and numerous props to be used
exposed rolls to put in the fridge to go off to it cost a then astronomical $1500 per hour. in the pics. I set about lighting the first shot Buzz
the lab on Monday when I noticed I had 19 Knowing the cost of positioning flights to get when the model arrived. I noticed immediately
rolls on the bench in front of me. I was missing me there, plus chopper would be an unnecessary that she had a lot of acne on her face and neck Gary (Buzz) Baildon
a roll! burden on me if I screwed it all up, I had the but quietly hoped makeup would cope with it. buzz@f11magazine.com
Queenstown Centre for IAN POOLE does PHOTOGRAPHY
Continued from page 150...
Creative Photography including Australia, would likely class this

photograph as child sexual abuse material and
Datta would be guilty of producing and
distributing child pornography. What further
incensed many commentators was knowing
Datta’s image had been seen by numerous photo
editors, juries and curators in the two years
since it had been taken and that, seemingly, not
one had questioned his judgement or ethics.
With an active and long-term membership of A recent visit to Sydney’s Head On photography
the Australian Institute of Professional festival offers an insight into local curatorial
Photography (AIPP); a lifetime of photographic attitudes towards photojournalism. Walking
New Zealand Photographic Workshop Specialists – 2017/18 experience; an extensive role in judging
through the portfolios on exhibit in the Lower
photographs in Australia and New Zealand;
and a post-graduate degree in visual arts; Ian Town Hall venue the content included a range
Jackie Ranken and Mike Langford, both internationally Poole is well placed to assist you with your of subjects – violence and persecution driven
award winning photographers, judges and lecturers based photographic images. Ian’s previous teaching
ph by religion, transgender children, Aboriginal
in Queenstown, New Zealand. experience at university level, as well as strong communities, the sexual politics of young men
industry activity, gives him powerful skills in
Mike Langford Canon Master, Grand Master NZIPP, and women – with light-relief celebrities and
passing on photographic knowledge.
Australian Travel Photographer of the Year 2013, feel-good hope for the poor thrown in for
NZ Travel Photographer of the Year 2012. Are you looking for assistance in any of the good measure.
Jackie Ranken Canon Master, Grand Master NZIPP, following?
NZ Landscape Photographer of the Year 2013 & 2014, Whilst the Head On curators chose to steer clear
NZ Professional Photographer of the Year 2012, • Portfolio construction and development of the ‘if it bleeds it leads’ approach to
NZ Creative Portrait Photographer of the Year 2012, • Initial advice for a photographic exhibition photojournalism a number of the portfolios
Australian Landscape Photographer of the Year 2012. • Curatorial assistance with an exhibition
OUT NOW! certainly had an air of ‘trending now on social
(opening night details – even choice of wine)
Join us for hands-on, practical workshops, where you can use Creative Landscape Photography II Fieldguide • Re-assess your photographic output – media’. Certainly populist, and Instagram share-
our CANON EOS 700D cameras and/or trial our range of lenses Creative Travel Photography I Fieldguide weddings/portraits worthy, providing the opportunity for us to stare
and filters. All camera brands are welcome. Our aim is to teach • Writing a strong artist’s statement at someone else’s misfortune.
and inspire. We will enhance your camera skills and develop your • Choosing strong photographs for competition
creative palette. We believe you will leave our workshops totally entry We would all do well to consider the wider
inspired and excited about your own photographic future. We implications of a scenario such this one,
always run small groups of eight students with two tutors. Ian works from Teneriffe, an inner city
Brisbane suburb, but there are many ways to unpleasant to contemplate though it is. The
Our 2017 Workshops/Tours: contact and speak to him. production of photographs might usually be for
June 22-27 Catlins immediate consumption, but these will also
July 13-18 Mt Cook 1 SKYPE | EMAIL | SNAIL MAIL | FACE-TO-FACE
Aug 17-22 Mt Cook 2 very likely come in for due and reflective
Aug/Sep 31-5 Haast
+61 0424 727 452 ~ poolefoto@gmail.com observation decades, or perhaps even a century
Sept 14-19 Fiordland Fieldguides to Creative Photography. See
Oct/Nov 25-9 Myanmar (Full) our website or click here for more details.
Blog poolefoto.wordpress.com or two, later.
Nov 15-25 Japan Autumn (Full) Skype poolefoto
Ian Poole
Our 2018 Workshops/Tours: Photo Safaris – run from Queenstown, NZ
(with Lisa Kurtz)
March 15-20 Otago One on one tuition: NZ$260 for 2 hours
April 20-24 Autumn Colours
May 17-22 Catlins
One to two tuition: $180 per hour Poolefoto.wordpress.com
May/June 29 -4 Bali
5 hour Photo Safari: NZ$380 per person ian@f11magazine.com
June13-27 Kashmir & Ladakh See: www.photosafari.co.nz
Oct/Nov 25-9 Myanmar
Email: info@qccp.co.nz | Ph + 64 3 4090272 | + 64 27 6722788

f11 for PHOTOGRAPHERS AND AFICIONADOS | 149
www.photosafari.co.nz www.qccp.co.nz
THE DEEP END – IAN POOLE THE FINAL FRAME © Peter Davidson
So this is
photojournalism?
With the recent furore surrounding figure from a Mary Ellen Mark photograph into
photojournalist Souvid Datta’s questionable one of his own images. Datta also entered the
practices the veracity of photography is back in work of two colleagues into competitions
the spotlight again. claiming it as his own. Astonishing indeed, and
Datta is rightfully being hung out to dry. Previous
This time it is a double-whammy. Not only did
award sponsors have rescinded titles and prizes
Datta document a child sex-worker being raped
and his nomination for Magnum’s Graduate
(and in doing so has ignored a litany of laws and
Photographer Award has been revoked.
ethical guidelines) he has since also been outed
for plagiarism. In a further act of poor judgment, The pressure Datta speaks of, and of course
a popular online photography network used competition not only from fellow photojournalists
Datta’s image to promote a competition it was but every Tom, Dick and Mary with their
running. This is undoubtedly not one of prosumer DSLR, is such that to stand out from
photography’s finest hours. So how did it get the crowd there is less consideration of
to this? measured reflection in the production of
photographs, and a reliance on the shock-and-
Speaking in 1964 photojournalist Dorothea
awe value of provocative images. The temptation
Lange stated ‘It takes a lot to get full attention
to make those images more salacious is always
to a picture these days, because we are
there and it is in this context that the Datta story
bombarded by pictures every waking hour…’
first came to light.
Lange of course had become famous for her
Migrant Mother photograph, an iconic image A joint LensCulture-Magnum Photos competition
of the Great Depression. If Lange was feeling used a Datta image for promotional purposes.
that pressure fifty years ago in a pre-digital, That image showed a child sex-worker being
pre-online world, today’s photojournalists are raped. The rapist remains anonymous. The
facing exponential pressure in a world where image was used to encourage photographers
awards and going viral have become the twin to enter the competition. Human rights activists
measures of success. pointed out that in publishing the image there
is a breach of UNICEF’s principles which include
In dissecting his own sins Datta points to his
changing the names and obscuring the identities
need as a freelancer for validation and exposure
of children identified as victims of sexual abuse
in a fiercely competitively industry, and
or exploitation. Legislation in many countries,
denounces his own acts as foolish, abhorrent
and irresponsible. For readers who are not fully
aware of the circumstances, Datta inserted a Continued on page 149...
f11 Magazine for mobile users!
While we think the best way to consume f11 is by browsing the
page ip version on our website – on a lovely large screen –
many are choosing to use mobile devices for ease, portability
and convenience.
www.f11magazine.com
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you download this PDF and open it in iBooks – a these in your iBooks Library for access anywhere
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ISSUE 66 | JUNE 2017

THE HAVANA COFFEE WORKS STORY

Published by Phantom House Books Price: $50.00

TONY BRIDGE is a fine artist, photographer, writer and photo educator –

WARNING – HOTLINKS ARE EVERYWHERE!

2 | Issue 66 | June 2017 f11 for PHOTOGRAPHERS AND AFICIONADOS | 3

4 | Issue 66 | June 2017 f11 for PHOTOGRAPHERS AND AFICIONADOS | 5

THE INFINITE NOW

studiodaily via Vimeo

CLICK ON THE SCREEN IMAGE TO VIEW THIS VIDEO

CHOCOLATE MOUNTAIN METAL

Staff Picks > via Vimeo

CLICK ON THE SCREEN IMAGE TO VIEW THIS VIDEO

studiodaily via YouTube

CLICK ON THE SCREEN IMAGE TO VIEW THIS VIDEO

6 | Issue 66 | June 2017

8 | Issue 66 | June 2017

10 | Issue 66 | June 2017 f11 for PHOTOGRAPHERS AND AFICIONADOS | 11

12 | Issue 66 | June 2017

14 | Issue 66 | June 2017 f11 for PHOTOGRAPHERS AND AFICIONADOS | 15

My Last Day at Seventeen by Doug Dubois and

Touching Strangers by Richard Renaldi/

The Wonderland Book by Kristy Mitchell

52 Suburbs Around The World by Louise Hawson

Super Power Baby Project by Rachel Callander

Peace in 10,000 Hands by Stuart Robertson

Life of Pikelet by Calley Bena Gibson

A comprehensive feature on Chris McLennan's

16 | Issue 66 | June 2017 f11 for PHOTOGRAPHERS AND AFICIONADOS | 17

Chris McLennan is a New Zealand based travel

Actually to call him a travel photographer is

f11: What was your earliest exposure to

CM: I started my career on Nikon way back in

f11: Have you played with medium format

CM: I haven’t used it and given the nature of

f11: Do you do any post production work while

CM: It depends on the job. For commercial hotel

‘My assignments change

‘Mostly I love to take photos

Following double page spread: Skiing, Angel Fire

‘Commercially, nearly every

‘I can remember back in the early

This feature on English photographer Peter

Intrigued by this pitch, and the images, we

I did head down to London with my 'folio,

Margaret Bourke-White sitting precariously

Tatsuo Suzuki, a Japanese street photographer

Asked about his equipment preferences, Peter

‘As Don McCullin said: “I only use a camera like

Over the years, I've used just about every

I no longer own high end 'Pro' gear as I don't

Night train, Camberley Station, Surrey, England, 2015.

74 | Issue 66 | June 2017 f11 for PHOTOGRAPHERS AND AFICIONADOS | 75

In conclusion, Peter sums up his present

‘Now retired, I'm rediscovering what I really

How would I describe my current work? Good

Long may he continue to tell these stories.

‘I'm frankly obsessional with seeing. There's a lot of luck involved

‘…I do tend to see the world

88 | Issue 66 | June 2017 f11 for PHOTOGRAPHERS AND AFICIONADOS | 89