category_outlined / Photography

Capture November - December 2017

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

Yaffa Publishing Group PTY LTD
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$6.59(Incl. tax)
$36.29(Incl. tax)
6 Issues


access_time2 min.
a changing landscape

(© ADAM FERGUSON)Welcome to The Annual 2017 – my favourite, and most challenging edition of the year. An opportunity to take a hard, long look back at the year that’s been in the advertising, editorial, and wedding and portrait industry, it’s also a platform to show off some of the strongest work shot over the last 12 months, submitted by photographers during our call for submissions. The one frustrating aspect of the November/December issue is that it is not bigger, and the process of having to select only a small subset from the impressive volume of images submitted is indeed a challenge. I really wish it was possible to show off more work. So, a very big thanks to all who made submissions. And to all those who made submissions…

access_time9 min.
the year in review

(© KATIE KOLENBERG/HEARTSTORY PHOTOGRAPHY)The size of the portrait and wedding industry is growing. Fast. As more and more clients come to appreciate the true value of good photography, the demand for services increases. But that does not mean that there is now an abundance of work to go around for everybody. Instead, in many instances, the complete opposite appears to be true as pressure to provide lower-cost services plagues a fair proportion of the market, with no shortage of choice for clients.Much of this is driven by the fact that the barriers to enter the market are now practically non-existent. And Los Angeles-based wedding photographer, Brian Callaway of Callaway Gable has noted that there are too many photographers and not enough jobs around. “All you have to do is buy…

access_time11 min.
the year in review

More, more, more for less, less, lessAcclaimed British photographer, Rankin’s review of the last year will, most likely, feel very familiar to many. “The industry is shifting, more so this year than ever before,” he notes. “The old format of three images and a 30-second film isn’t enough anymore. Clients want multiple assets and more than just two types of executions. They want more content for smaller budgets, without losing the quality or tone. They want instastories, gifs, cinemagraphs, still lifes, animations, and then the traditional stills and film, and lots more of them, plus BTS and testimonials. All in one continuous style.”There are two ways to respond to profit stresses. One is to whine. The other is to adapt yourself. Rankin chose to adapt. “I’ve tried to embrace these…

access_time12 min.
the year in review

Dion Horstmans, Sculptor. (© MICHELE ABOUD)Sometime around mid-July, a number of the world’s most noteworthy photographers, seemingly in chorus, took to social media in praise of a story in The New York Times – a story told in Australia by an Australian photographer. Photographers like Peter van Agtmael, Anastasia Taylor-Lind, and a plethora of others were celebrating Adam Ferguson’s personal pilgrimage and photo-documentation of a several thousand kilometre drive to the heart of his home country. Breaking a number of readership records for the Times, the series takes the reader on a whirlwind tour of those parts of our country so often at the extreme periphery of both the world and Australians alike. And for those who saw the resulting images, the series seemed to provide a breath of fresh…

access_time1 min.

SPONSORED BY2 CHRIS BUDGEON Ricki. From the series, Ancient of Days.3 KEREN DOBIA The Filmmaker. Portrait of retired Australian filmmaker, John Richardson.4 BILL GEKAS The Archer. Classically influenced, lit location portrait, part of the long-term Masters Series project.5 MICHAEL CLARK Portrait of Red Bull Air Force team member, Jeffrey Provenzano at Kirby Chambliss’ ranch, near Eloy, Arizona. Shot for Red Bull.1 TINTIN HEDBERG Portrait of Jasmine Dwyer. Hair and makeup: Justin Henry @ Vivien’s Creative.2 KYM GRIFFITHS Bone Collector. The subject has been collecting bones for as long as she can remember. Every bone has a story, a place, and memory for her. Latin names of the animals are written on her body.3 CHRIS HOPKINS Portrait of Aman Tawqi Kunen, Mentawai elder and Sikerei. Siberut Island, Mentawai, Indonesia.4 KIRSTEN WOODFORTH…

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1 KIERAN STONE Great Ocean Gem. By day this iconic location is packed full of visitors. By night, it can be the loneliest place in world.SPONSORED BY2 RICARDO DA CUNHA Hanging on the Edge. A composite image that aims to evoke a feeling of resilience, despite impending doom.3 PAUL HOELEN Seeking Tendrils. Retoucher: Adam Williams.4 PETER BARNES Sellicks uncovered. Aerial view of the south end of Sellicks Beach, SA.5 LEAH KENNEDY Progress. Swakopmund, Namibia. From the series, Change, exploring the effects of man on the landscape.1 LUKE TSCHARKE Crescent Cave. Early morning light filters through a sea cave near Crescent Head, New South Wales.2 PAMELA PAULINE Moose in Moose, Wyoming 2017.3 STUART WESTMORE Narvik, Norway.4 MIHAI FLOREA Yallourn.5 RICARDO DA CUNHA In memory of Matt. “A composited image dedicated to…