This exceptional event gives New Zealand photographers, assistants, and students an invaluable opportunity to hear entertaining and insightful presentations from some of the world’s most renowned professional photographers. In addition, attendees will also gain an immense amount of useful and relevant information about the advertising and editorial industries – knowledge that can be used to achieve future success in the photographic arena.
The 2013 Image Nation Photography Conference will take place at the Unitec Mount Albert campus on Saturday, June 22 and Sunday, June 23 from 9:00am until approximately 7pm on both days (lunch and afternoon tea will be provided).
Flora // Mechanica was produced using a machine that controls the photographic apparatus in order to create images automatically. I chose to use this method of creation as I am interested in understanding to what extent machines can produce engaging images, and to explore what role detail, precision and perfection play in this process.
The idea was to shoot a series of images that were born through a process that was quite in contrast to my regular commissioned work. The usual creative process follows a tight brief and preconceived idea of what the final image will look like (art direction, scamp, casting, styling, location scouting, planning, execution). So I wanted to shoot something that was equally of a high aesthetic but had little or no planning – other than to set out with gear, an assistant and see what hand lady-luck dealt us. The underlying theme was to centre the story around land workers, so we would head out of the city and try to find real characters going about their working lives - and convince them to have their photos taken. Some were keen – most weren’t, but usually they could be persuaded into sparing us a few minutes of their time.
The results are interesting in that they appear on one level as beautiful commercial creations; carefully lit and posed – but transcending this they also have a power and integrity that commercial images could never attain. Gnarly faces, earthy work clothes, and a myriad of small details in each frame that help tell the background story to who the person is.
At first glance Making Up for Lost Time is a pink filled, slightly humorous series with heavy elements of masquerade. It is both of these things, but at a deeper level each image in this series is a fragment of a larger and revealing portrait of a melancholic psyche.
The use of pink in this series is my way of clambering to make up for events missed out on in the past. An accidental form of childhood feminism caused a refusal to participate in specifically feminine activities. This series is made in response to these regrets. Now over-compensating and excessively re-staging events (real or imagined) finally fulfills these fantasies.
The conceptual foundation of this body of work is an exploration into the relationship between functionality and standardised visual structure, the context being commonly disregarded transitional spaces that we often interact with on a daily basis. Through utilising specific techniques and maintaining a consistent analytical approach, various parallels can be drawn between each location. Photographing at night allows not only a sense of isolation and solitude to come forth, but also allows these environments to transcend their orthodox appearance. The unequivocal lack of human beings interacting with and within these spaces intermittently renders their functionality dormant, therefore challenging and altering common perceptions of the balance and relationship between function and visual structure.