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Photographers Showcase

09 Ad Media July 2009

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Photographers Showcase Index

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Match Photographers............................................................................................... 16+17 Nigel Gardiner Photography.......................................................................................... 18 My World............................................................................................................................... 19 Lightworkx Photography................................................................................................ 20 International Rescue......................................................................................................... 21 Charles Cooper Photography........................................................................................ 22 Reload Agency.................................................................................................................... 23 Collective Force................................................................................................................... 23 John Doogan....................................................................................................................... 24

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Hand-rolled tailormade According to TBWA\Whybin’s Andy Blood, the key attributes of a great advertising photographer are “a wild mind and a disciplined eye”. But with budgets shrinking and stock images readily available, wild minds are stepping back to a more considered approach to advertising photography. Patricia Moore reports.

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match --- [verb] to make and be harmonious

www.matchphotographers.com


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ne of the biggest challenges facing advertising and illustrative photographers in the NZ market is finding creatively driven clients who understand, value, and respect true professional photography, says Diederik van Heyningen of Lightworkx

Photography. “Anyone can buy a camera and call themselves a photographer.And people will buy on price.” And the digital revolution has extended both ends of the spectrum, says Chris Parker, president of the Institute of Professional Photographers (NZIPP). “There is some stunning imagery in the marketplace produced by talented people with a discerning client base. “And there is a proliferation of very poor work produced by people who do not have a budget for photography or an understanding of its importance in commanding viewer attention.” In spite of shrinking budgets and a plethora of stock images, it’s not all doom and gloom.Aaron K, executive director of the Advertising & Illustrative Photographers Association (AIPA) reports a fall-off in work for some, with others saying there’s been no noticeable change. “Businesses that need unique, original, tailormade and exclusive imagery for their advertising campaigns will always have to commission stills photography,” he says.“Stock photography, by its very nature, will never be able to meet these requirements.”

changing the rule

CHRISTINA FORCE (THE COLLECTIVE FORCE), AARON K (AIPA), CHRIS PARKER (NZIPP).

The Commissioning Rule, which has long been a thorn in the side of commercial photographers, came under scrutiny last year when an amendment to the Copyright Act was proposed. A change to the rule, by which the commissioner of a work is the default copyright holder, would have brought NZ into line with many other common law countries. However the change of government has seen a change of focus. National favours a complete review of the Copyright Act, something which could set the process back years, says NZIPP’s Parker. But both NZIPP & AIPA say they will continue to lobby for change. “NZ is now decades behind the US and the UK on this particular issue,” says AIPA’s Aaron K. “The fact that we still have the Commissioning Rule in place is not only highly embarrassing, it’s also harmful to the international reputation of our creative sector.”

And Vicki Leopold, owner of Reload Agency, says she’s finding that while budgets are certainly tighter, “it’s definitely not crazy busy like it was this time last year”, and agencies are having to fight a bit harder to avoid using stock shots. “But there’s still a strong demand for advertising photographers.”

Nigel gardiNer photography

8c Charlotte Street, Eden Tce Auckland. Phone 0274813360 www.nigelgardiner.co.nz

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Now with an office across the Tasman, she’s extended her market. “We opened in Sydney in March, and while Australia is also feeling the downturn, it’s working well for us and the photographers we represent.” The current economic climate and reduced ad budgets shouldn’t mean a decrease in quality for brand advertising, says agent Gerardine Turney of Match Photographers.“It should mean an increase. When media budgets reduce it’s more important than ever to have stunning images in your advertising.” The reality is that images are becoming increasingly commoditised, says photographer Charles Cooper. “This can devalue fresh work so photographers need to find niches where they can flourish – the maxim remains, evolve or die.” For a growing number of Kiwi photographers that niche is to be found offshore.The market is shrinking and we are cheaper, says Carla Rotondo, executive producer at production company International Rescue.“Where NZ has been seen as a location rather than a pool of talent, now that budgets are being streamlined, we’re also being seen as a place where there is some very creative talent,” she says. A reputation for being able to ‘stretch the boundaries’ doesn’t hurt either, says NZIPP’s Parker. “Have a look at the NZIPP Epson/Iris award winners. Our photographers are producing world class images.” Agent Christina Force, at The Collective Force, agrees NZ is definitely on the map, but says without leaving the country it’s hard for photographers to build an international name. “A benefit of this crisis has been Asian clients who traditionally use photographers from the US or London finding they’re able to source the same standard of work here, without the big name attached to it. It’s been brilliant for us.”

PHOTOGRAPHER CHARLES COOPER.

And it’s rewarding. “One or two really nice overseas jobs can take care of three months’ worth of work,” says Van Heyningen. “It’s creatively very satisfying. It’s more engaging, you’re working with people who respect and understand your work and the rewards are financially greater.” Match’s Turney rates NZ photographers very highly, and is clear about what’s driven the talent here. “I represent several photographers acknowledged as being in the world’s top 200 by Lurzers Archive. “They’ve reached that level through delivering on the amazing work of our local creatives. That’s seen them noticed internationally and opened a huge number of doors for us and secured some lucrative and creative campaigns.” Turney says, in the quieter NZ market, top photographers are more available, presenting an opportunity to collaborate and produce quality campaigns despite shrinking budgets. “We’re finding smart art directors are taking advantage of this and offering their clients some of the world’s best shooters for jobs, and budgets that previously may have gone to less experienced photographers.”

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Vo c a t i o n ,

Location.

charles cooper. photographer www. charlesphotographs . com

mobile. +64 -21 388 828

tel . / fax. +64 -9 520 3399

apia

email . charles .c @ clear. net. nz


photography

New Zealand’s ďŹ nest photographers as seen on bestadsontv.com

www.collectiveforce.co.nz

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photography

Printing to canvas is becoming increasingly popular for commercial images, says a spokesperson for online store My World. “It’s a big, vibrant way of presenting anything you want to put on the wall – more funky and exciting than traditional mounting.” And the number of uses is growing, with advertising images being downloaded and transferred to canvas to use when presenting creative, at point of sale or in various marketing activities such as trade fairs. My World turns work into art, with advertising and illustrative photography printed on canvas and displayed in public spaces and boardrooms – either by ad agencies or clients to whom the prints on canvas are gifted.

Kiwi advertisers are also thinking more globally. But shooting campaigns in far flung parts of the planet is costly.This is where Global Network comes in, says International Rescue’s Rotondo.“It’s a unique service that offers NZ clients access to over 2000 photographers around the world.” “While we always suggest using one of our local photographers first, an agency may not have the budget to send a photographer from here. Global Network’s contacts are people I can trust to deliver the goods – even something involving perhaps six shots in six countries within a week. We can arrange it because we have access to the photographers.

We’ve actually handled such a project very recently.” As for those wild minds? “Photographers need to defend their art when they feel it’s necessary, but there’s always some compromise involved when you’re shooting some else’s idea,” says Christina Force. Charles Cooper puts it in a slightly more colourful manner;“Bear in mind that creative and art directors are visually intuitive people who often have to go to war with truly hairy-handed marketing neanderthals, some of whom would make a rock weep – but the purse string they hold is the biggest club of all. “While we can – and must – guide, counsel, urge, even plead, ultimately it’s their call, and we have to respect that. I’d like to think the image has primacy, but am realistic enough to know that it is often just part of the means to an end.”  

websites

showoffs

DIEDRICK VAN HEYNINGEN (LIGHTWORKX), GERALDINE TURNEY (MATCH), CARLA ROTONDO (INTERNATIONAL RESCUE).

www.nzipp.org.nz www.aipa.org.nz www.charlesphotographs.com www.lightworkx.co.nz www.internationalrescue.co.nz www.collectiveforce.co.nz www.matchphotographers.com www.reloadagency.com www.myworld.co.nz

www.landscapephoto.co.nz

Stunning New Zealand Landscape Photography

all photographs © John Doogan FNZIPP

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Photography showcase July 2009