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category_outlined / Photography
CaptureCapture

Capture

January-February 2019

Capture is Australia's top selling professional photography magazine. The bi-monthly publication covers all facets of the professional photography industry, in particular equipment, marketing, training, pricing, finance and rights management. Capture's mission is to help professional photographers stay informed and up-to-date, to help them grow their business and develop their careers. Capture also showcases the latest photography and editing products, equipment and techniques from Australia’s best known companies and trend-setters. It reaches the whole photographic community, including editorial, advertising, wedding, photojournalism, events, fashion and portrait photographers, plus assistants and aspiring students

Country:
Australia
Language:
English
Publisher:
Yaffa Publishing Group PTY LTD
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6 Issues

IN THIS ISSUE

access_time3 min.
seeking widsom

(© LAUREN GREENFIELD/INSTITUTE)When it comes to education, photography is an usual beast. And the view with regards to its importance and relevance can be polarising. After all, some argue that you don’t need a degree to work as a photographer. Yet every year, thousands and thousands of people across Australia sign up for formal education in photography; be it a certificate course, Bachelor’s degree, or even post-graduate study. Invariably, people’s reasons differ, as do their needs for education that is predominantly practical, theoretical, or a combination thereof. In our feature on page 24, we canvas opinions from some of Australia’s best known photographers as we seek to understand their motivation for engaging in formal education and ask them to outline some of the key benefits–both professional and personal.Over the last…

access_time4 min.
talent

Joel PratleySince winning a film camera as part of a competition when he was a kid, Joel Pratley always had a connection with photography. However, it wasn’t until he took a camera with him on a nine-month backpacking trip five years ago that photography became something that Pratley decided to take more seriously. “It gave me, for the first time in my life, a mental clarity,” Pratley says. “When I came home, I had a new outlook on life, and promised myself I would do it with my camera in hand.Pratley says that life is very serendipitous. “Timing plays a big part,” he says, “and being open to take gut-instinct risks.” Self-taught, Pratley credits much of his learning to his good fortune of landing a casual job at a well-respected…

access_time14 min.
lauren greenfield

The fifth-anniversary party for KM20, a high-end clothing and accessories boutique, Moscow, 2014.The slot machines at the New York New York Hotel & Casino, Las Vegas, 2008. (ALL IMAGES © LAUREN GREENFIELD/INSTITUTE)The project, Fast Forward, was also the beginning of an obsession, an addiction, Greenfield admits, to exploring addiction–“addiction to consumerism, addiction to more, addiction to fame, to all of these things that we’re striving for,” Greenfield states. “I guess I’m trying to deconstruct culture so that we can see the matrix that we’re living in.” The matrix that we’re living in can be very ugly. Greenfield’s second book and first film, Girl Culture, documented how girls’ identities become embroiled in their bodies and how they learn at a young age that their bodies are their currency, that their bodies…

access_time14 min.
the ethical photographer

Former football player Paul Mortimer poses for a photograph in Penge, UK, on April 22, 2012. Mortimer has experienced harassment by police profiling.Looking back at photographic history, there are several points in time that one could highlight when considering the relationship between photography and ethics. But one example in the early 1990s has remained the most noted and most referenced example of a photograph that sparked in-depth and widespread debate about the ethical implications of a single picture. In 1994, South African photographer Kevin Carter won a Pulitzer Prize for an image he took the year before–that of a young, emaciated Sudanese boy stalked by a vulture. Appearing in The New York Times in March of 1993, the image prompted hundreds of calls to the newspaper with readers wanting to…

access_time3 min.
campaign trail

Justin OverellWhile the brief asked Justin Overell to depict scenes that communicated the dangers of train travel, they were scenarios that would look too macabre if they were set in the real world. However, Overell helped bring to life his client’s message through cartoon-like caricatures which struck a balance between comedy and seriousness. “Taking them into a cartoon world makes the images appear more slapstick, but still retains a clear safety message,” says Overell. From the beginning, Overell knew this would be a CGIheavy job, however good lighting and photography was important to make it easier for him in post. “The best way to execute the shoot was to let the heavy machinery on location dictate the light,” says Overell. “With trains in a rail yard, there are only specific…

access_time12 min.
hitting the books

Mirror 8, from the Vanity series. Courtesy Arc One Gallery Melbourne and Hamiltons Gallery London. (© MURRAY FREDERICKS)We’ve all heard that age-old adage that you can’t teach art. But in the modern age, photography is as much a business as it is an art. To get your career as a professional photographer off to a flying start, you not only need to know what you’re doing, from a technical and creative perspective, you also need a healthy dose of business acumen. We assess the pros and cons of committing to formal study versus learning while doing, and speak with renowned photographers to get insights into their paths of learning. Sam Edmonds investigates.Ask an array of working professional photographers about their academic backgrounds and you’ll be met with a very broad…

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