Commercial - I started with Performing Arts in particular classical ballet, moved on to Opera, Theatre, Orchestras, Modern Dance, and Alternative performances. Then sort of fell into Actors headshots & Model Portfolios. Eventually I then tackled my first Wedding, which sort of snowballed into way too many. Had my own interest early on with landscape photography. And then I was asked to shoot for an advertising agency, which then developed into my preference for commercial work. Over the years I've probably covered just about every genre of photography. And still cover just about everything really
Intro:
Apologies for this sounding formal, but this is a quick copy of the 1st paragraph of my resume
My diverse and innovative approach to my work is a result of a wide and varied professional background. Originally from the UK, I studied both the performing and visual arts, starting my professional life as a performer, resulting in a 17 year career as a Principal Ballet Dancer with The Scottish Ballet. A five year involvement in Marketing and Sponsorship followed, eventually focusing my energies on one subject, my lifelong passion - photography. My photographic career effectively began in 1975, quickly establishing a niche market in the highly specialised field of performing arts photography in Europe. My work evolved to include a varied range including corporate and commercial photography. 1990’s brought about a permanent move to Australia, forming Longshots Photography; concentrating on the exciting and varied areas of Corporate, Location, Industrial, Advertising and Studio photography
What inspires your work?
Sheer enjoyment, of doing something I really love.
I love what I do, and I do it with an overwhelming passion.
I’m fortunate to work in a field that both inspires and challenges me. The passion never seems to recede; the challenges never seem to diminish; the diversity always a thrill, a constant path of opportunities and creative solutions.
You need passion in this game. And of course that needs to be in collaboration with a business approach - ie earning a living.
Do you act on your own imagination?
Yes. I enjoy seeing others images, but I rarely, if ever, feel as if I would like to emulate someone elses style.
What do you enjoy shooting the most and why?
I enjoy the challenge of the shoot. Mainly these days I prefer to shoot buildings, and industrial structures. I find this area the most technically difficult and challenging - especially when at first glance the building or structure is devoid of any obvious beauty. I tend to "stalk" these places, often spending ridiculously long hours of waiting, and looking, for that right shot/sweet spot/unique view combination
What are your future aspirations in photography?
I'd like to travel more, across the world again and shoot great architectural works of art.
What do you know now that you really, REALLY wished you knew when you started?
Funny I've been thinking about this question for over a month, and still haven't come up with a suitable answer. You see I passionately believe in things are meant to happen - ie if I wished something hadn't happened, then I wouldn't be here today, and I wouldn't be the same person I am. Which doesn't mean to say that I will sit around and hope something happens. That takes some effort, which I'm happy to put in in spades. However once it's happened and it has not been a pleasant experience, then it can be turned around and you will always benefit from learning from past experiences. That more of a philosophy than an answer.
But I did think that there was one thing I wished I knew when I started my professional life; and that is I wished I'd met my Muay Thai trainer about thirty years ago instead of ten years ago. It's something I absolutely love, but wish my body wasn't in my mid 50's, when I'm in my mind a lot younger!
What was the best advice ever given to you?
I arrived in Brisbane 18 years ago from the UK, and spent many days visiting other photographers, seeking an assistant position. The best advice was from someone I now regard as a very very good friend, who asked me why not rent a share in his studio? Instead of seeking a photographic assistants position. As, to him, it was obvious I may as well dive in and take the risk of getting my own work, as opposed to working for anyone else.
Advice for novices?
By novices, I'm assuming that you mean novice to being a professional. In that sense, this would be my advice:
Its a hard slog. And it's often a lonely one. If you have the discipline to push yourself constantly, then go for it and don't look back. But if you think it's easy to turn your hobby into a profession, then don't bother.
If you mean novice as a photographer. Just go out and shoot. Shoot as much as you can. Read as much as you can, and I don't mean read from anonymous contributors on forums. Read real books. Read credible people who have some experience of putting their money where their mouths are. I initially learnt everything from simply buying large numbers of specialised books on the subject of photography. I had no internet to rely on. And I had no digital instant response. I simply learnt by trial and error. There's no problem with making mistakes, and stuffing up. You just have to remember to learn by them, and be honest enough to admit that its your fault if you do stuff up.
Boundaries to your shooting (morally/ethically)?
I've always thought of myself as open to many things, but when it comes to boundaries, that tends to be what I would do and not do in respect to my clients. As I'm a great believer in karma, what you give out, you get back etc. I agree with the AIPP code of ethics, which as a member I've signed. And that is basically doing the right thing in business, and treating your clients with honesty and respect.
Funniest photography moment?
Long story, but at a small (eccentric ) wedding I shot some time ago in Brisbane - very very early in the morning - (I was shooting it reportage style, in the background etc - until the end, when I'd been specifically asked for some family group shots) - saying to a reasonably famous rock star to "Mate, don't know your name, but you're not family are you?" - group laughs, so I carry on - he's holding on to very attractive sister of the bride - "Come on, get out of the way", group laughs more, so I continue with a few more jocular remarks, until the whole group shots are all done and dusted. My "mate" walks up to me as I'm packing the gear away, and everyone is sitting down for the bridal breakfast (told you it was eccentric), and I start worrying that he's a bit naffed off. He leans over me as I'm crouched down packing the gear away, and he asks me if I've shot any rock concerts before (which I had, Rolling Stones in Brisbane, Tina Turner in Glasgow as a couple of examples I muttered). And then the penny sinks in to place and I remember at the bride and groom briefing they asked me if I would be put off if there was a celebrity at the wedding, and they told me who it would be. I now started to stammer a bit more, as my new "mate" Neil Diamond, (argggh idiot William!!) commissioned me there and then to shoot his concert that night!
Seems that instead of insulting him, he was really taken with my treating him like a normal person.
Where do they think the market for photography is headed?
The real problem these days in the commercial field, is that the buyers of commercial photography are less educated, then they were just ten years ago. So it's hard to explain that there is an obvious price difference between Photographer A, who is in the BMW league, and Photographer B, who is in the Hyundai league. Imagine trying to explain, that yes, there is a considerable price difference between the Photog A and Photog B, when Photog B has a website that 50% of the images on their site, are not even their own, but images used (quite legitimately) from an online stock photography site (and not shot by that photographer). And don't be surprised. I witnessed this early last year for the first time, and have since seen at least 5 other "photographers" doing this.
What/who would they like to shoot and why?
Dali Lama - other than being a Buddhist myself, I just think he's one of the most important people of this century.
President Barrack Obama - one of the first real people to be elected this post, and will have a significant impact on how we all live in the next decade.
Which celebrity would you want to have a photographic session with and why?
Robert De Niro - his honesty, down to earth, great face, great character.
Robert Williams - similar to De Nero, and of course his humour.
Rees Witherspoon - again her honesty, down to earth, and I she's gorgeous.
Which Spice Girl they would like to be and why?
Well for me it has to be Emma - Baby Spice - who always perfected that total tease look - and was marketed in that role perfectly (Small detail courtesy of Google), she wasn't their first choice - replacing one of the first selected, who went on to swell the ranks of one of those many "if only could have been" sortastars "Michelle Stephenson".
This is Longshots' favourite photo because...My favourite shot is probably my most recent shot, the one I'm the most happiest with. However if my favourite is one that has stood the test of time, then it would have to be this one. This image is 34 years old. Shot in the autumn of 1975 in Paris in Monte Marte.
On the technical side it was shot on a Nikkormat film camera, with a 50mm lense. It was shot on just the fifth roll of film I had ever put through the camera (and I still have the negs! - filed and stored). It was also shot with a technique that I use today. I didnt want to stare or break the atmosphere by putting my camera to my eye. So I focused the camera on something that was the same distance away, I then put the camera over my shoulder on its camera strap and walked past them and pushed down on the camera to get it a) stable and b) level. As I slowly walked past I gently pushed the shutter.
No chance to check if I captured it. No chance to check exposure. Just the one shot. And I had to wait for 2 months before I got around to developing the film - again one of the first films I developed :)
This is my Henri-Cartier Bresson image. A name I was ignorant of and wouldnt really find out about for another 15 odd years. Here is a quote from a truly great photographer:
For me the camera is a sketch book, an instrument of intuition and spontaneity, the master of the instant which, in visual terms, questions and decides simultaneously. In order to “give a meaning” to the world, one has to feel involved in what one frames through the viewfinder. This attitude requires concentration, discipline of mind, sensitivity, and a sense of geometry. It is by economy of means that one arrives at simplicity of expression.
To take a photograph is to hold one’s breath when all faculties converge in a face of fleeing reality. It is at that moment that mastering an image becomes a great physical and intellectual joy.
To take a photograph means to recognize – simultaneously and within a fraction of a second– both the fact itself and the rigorous organisation of visually perceived forms that give it meaning.
It is putting one’s head, one’s eye, and one’s heart on the same axis
Henri-Cartier Bresson.
From a point of view of explaining whats happening ( or the reason I like it so much) it shows parisian life in the 70's - My first working trip abroad. And life in Paris was just about perfect at the time. Montmarte was, and still is a an artists retreat, with the Moulin Rouge literally just around the corner, and the red light district Pigalle, almost on the other side of the street - the busker's joined by two happy drunks - the paris cafe is full with the usual noise, and on the left of the frame someone is just about to walk into my view. But the most haunting look is the "tramp" looking out of the window, directly into my lens. A miracle that it was in focus. A miracle that it was level. And I can assure you that I've nothing to the image in PS other than what could be done in the darkroom. As a side note, I once enlarged just the section of the "tramp" looking at me to a 20 x 16 inch print - the size of the grain from the film was absolutely awesome
What was your first big break?
Being selected as one of the photographers that was recognized for making a substantial impact in the evolution of Dance photography in a retrospective of dance photography exhibition which toured the UK and Europe in the mid to late 1980's. As it happened, I had more shots selected than any of the other dance photographers that I looked up to.
Do you still take pictures for pleasure/art/just the fun of it?
Absolutely - I really do enjoy what I do. I don't always carry a camera with me though.
Do you have:
1) Public Liability Insurance ?
2) Is your photographic gear insured?
3) Do you quote for a job, or do you set your price. Or do you expect the client to suggest what they will pay?
4) Do you always put all of your work agreements in writing?
Yes to all of those - you really have to do all of those these days. And perhaps the last one is in that list of things I do wish I'd done earlier.
