Profiles

Asked if he’d describe himself as a photojournalist, Roger Garwood hesitates for an instant – but only an instant. ‘Yes I would.’ he says. ‘It’s a word I always found rather pretentious. Frankly, these days there are lots of people out there calling themselves photojournalists, some of them can barely read or write. But I’m a little less cautious about using the term now. It’s become more acceptable, whereas years ago it was one of those trendy things to call yourself.’

When you think about it, a great wedding photographer has to have the lighting knowledge of a studio expert, the agility and unobtrusiveness of a street photographer, and the unerring sense of timing of a Cartier-Bresson. Nor is that an end to it. The truly successful wedding shooter also has to be a skilled diplomat and behavioural psychologist in order to cope with the surging emotions of a special day. And of course he or she can’t ever miss any of the must-have shots of those not-to-be-repeated moments (the aisle, the rings, the kiss).

Anita Mathews Pollard’s poised and slightly cinematic photographs are for the most part small objects, often no larger than a postcard – and that’s exactly the way she wants it.

A group of 10 Australian photographers are making a significant mark on the national and international photographic scene – and even photographic history – through their dedication and commitment to the process of making pictures. Collectively called Oculi they have more than 20 world-class awards between them and a massive wealth of working experience as photojournalists. They seek process over outcome, and their work reminds us that creative excellence is about dedication to one’s craft while allowing the spirit of discovery to lead the way. Oculi is showcased on their website, where the photographers post a changing gallery of images of daily life.

One country, one person, one Australia. The idea came to Melbourne’s Michel Lawrence out of disgust, but the result was much more positive.

Simon O’Dwyer’s earliest recollection of the Great Ocean Road was as a five-year-old coming home from Melbourne. “I remember for the whole time thinking that the car was going to go over the cliff”, he said, “back in those days they didn’t have any safety rails.”

Photo Review discovered Mark Higgins after running an informal photography contest on the fine arts website www.redbubble.com

Given his particular fondness for the sweeping landscape, it’s not surprising that he also has a favourite photo community site devoted to the aforementioned genre. Called naturephotographers.net, Yoon says ‘it’s basically a Who’s Who of landscape photographers. Pick up any international landscape or outdoor photography magazine, and you’ll see many familiar names from NPN. A couple months ago I actually joined the staff as a moderator on that site, so I’ll be doing even more critiqueing.’

Generations of Australian fliers began their careers by clambering into the forward cockpit of a Tiger Moth. Back in the days when the aircraft were used for training, the student was closest to the engine while the instructor sat in the aft cockpit. There aren’t too many Tiger Moths left, but there are still a few lovingly-restored models plying the skies of rural Australia. It is one such machine that photographer Jackie Ranken and her pilot father have been using for some time as a picture-taking platform.