Quite a few months back I collaborated with photographer Myuran Ganesh and a team of other creatives on a fashion editorial for magazine submissions. Myuran happened across a previous video of mine (Diaphanous) and contacted me to see if I’d like to shoot a behind the scenes clip for the team.

So we got together on a sweltering day in the Melbourne CBD to shoot a New York style fashion editorial. The day ran with relative ease, and with an exceptional team I felt the experience to be quite fruitful.

In addition to videoing from myself and photography by Myuran Ganesh, this video also features work from model Kaitlyn Ridgehair and make up artist Cynthia Smyth, stylist Dominique Nikita, and assistant Raphael Chan.

This video accompanies stills featured in Issue #29 of Tinsel Tokyo Magazine, and in the May Issue of Elegant Magazine.

Custom 35mm Film

When I first began photographing analogue I sought to experiment with a variety of film types to get a better grounding for what worked best in which situations. A majority of these rolls haven’t been shared publicly, mainly due to the fact that the images were captured quite carelessly as subject matter wasn’t entirely important.

But I’ve been flicking through my catalogues and decided I’d like to share a few shots. The images I’ve attached below are shot off a customized 35mm film type, of which I can’t recall the name but I do remember that I purchased the roll at a shop here in Melbourne called FilmNeverDie.

The images were shot over the span of a couple days; there are a lot of landscape shots and candid street shots, just places I happened to be at when I had my camera on me, nothing was planned. Due to the roll being custom made each frame came out quite differently in either tone or quality, depending on the type of lighting scenario. Overall very grainy, which I don’t particularly mind, but on a very bright sunny day this roll would’ve looked much better.

Anyway, here are some of the highlights –

600nm purple film (2 of 25)

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Ryan and Debbie’s Wedding

Quite a while back I began working alongside Melbourne wedding photographer Shad Watson. The first time I worked with him I was a third shooter and assistant. I was required to photograph in a more candid style, capturing the informal moments and any scenes that caught my eye in between assisting him and his second shooter.

I’ve since joined him on a quite a few weddings as second photographer, with each varying quite a lot in style and theme. The one below for Ryan and Debbie was for a more traditional styled Greek Orthodox wedding. It varies quite a lot in processing to the previous series of wedding images I uploaded of Amy and Nathan’s Wedding.

It was a rare sunny day that was preceded by many dreary ones – a fortunate occurrence for the occasion. It was a huge wedding to work on for my first time assisting within this field, but I enjoyed the experience and was lucky to be working alongside some great people.

I began my day at the Groom’s house and then went straight to the church where the Ceremony would be held. Due to not being the primary photographer for these series of shots they are a little bit lacking compared to my usual wedding posts; there are no preparation photographs of the Bride or many formal shots.

Nonetheless, I would like to share what I did manage to cover of the day. Here are some of the highlights –

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Wedding Shots-120 Wedding Shots-122

The Disposable Camera Project

Last month I came across a Pozible project called The Disposable Camera Project that was curated by a creative workshop group called Colour Box Studio located here in Melbourne. The rules of the project required participants to pick up a disposable camera and photograph all frames on the roll within twenty four hours. They then had to return the camera the following day where the images would then be printed and put on display at a gallery in Footscray called the Ruffian Gallery. Participants wouldn’t see the images they’d taken until the opening night of the ten day long exhibition, which took place in early October.

It was refreshing to photograph very casually without having control over camera settings, focal length, or knowing what exact film type was being used. I really tried to work off intuition without putting in much thought, with maybe one or two shots being intentionally posed. There are some accidental shots in there, with the removal of the last six or seven shots that came out black. The camera packaging said twenty four exposures when there turned out to be thirty – which was strange – so these are just the shots that exposed correctly (enough).

The Disposable Camera Project 2014 Edition
Colour Box Studio


Interview With “Give A Shit About Fashion”

About a week or so ago I was interviewed by the owner of Give A Shit About Fashion – a blog that focuses on upcoming artists, photographers and other individuals who have an interest within the fashion world. My questions focused more closely on my overall personal style, outside of my editorial work, so I really enjoyed the chance to talk about my aims and reasonings behind the photographic process. You can read the original interview here, or simply read the questions and my answers to them below.

Interview With Give a Shit About Fashion
Questions for Elizabeth Burns, Photographer

1. When did you start taking photographs?
I guess it was probably when I did a brief class in high school that taught the basics of analogue photography. I really enjoyed it and definitely took an instant liking to the whole process. But I didn’t really take photography seriously until I took up a tertiary course in Photo Imaging in early 2013, as a desire to try something different. Pretty quickly my interest progressed as I realized I could use photography as a way of learning about other people and sharing those findings publicly to insight thought on the matter being conveyed.

2. How do you want people to feel when looking at your work?
I mostly try to inspire thought or intrigue about a particular topic or the subject within the image. Sometimes I photograph purely for the appreciation of something that I see as beautiful, but it varies depending on the subject matter.

I just try to leave a lasting impression, whether bad or good or just a change of thought on a particular issue. If I inspire people to think about something – anything – then I’d say that was my primary goal.

3. Do you have a favourite shoot?
My personal art projects are something I have a strong affection for. I feel they most closely reflect the way I think and the way I want to express myself through imagery.

There’s a shot I took recently of a boy named Andy Leaf that I unofficially titled “When Alone”. He’s lying in a bathtub and you can see scars across his chest from a surgery he’d previously had done. I feel proud of that photograph because I think it creates an interesting narrative for the viewer to interpret on a subject where I find importance.

I particularly like that the image is authentic. It isn’t a model posing for a shot, it’s a person baring a part of their private life within their own home. I just feel immensely appreciative that people will allow me to document these areas of their lives – that people will trust me to be respectful of the situation.

But I’ve recently been doing a lot of personal work relating to gender identity, sexuality, and social fluidity that have yet to be released, so it mostly just feels rewarding to have a chance to create imagery in areas that I’m currently interested by.

4. How do you get the subject in front of the camera into the final image just the way you want?
In regards to the physical capturing of the image, I do my best to communicate clearly to everyone I’m working with so that people know what to expect from the project. I think an image is mostly affected by the collective mood on the day, so I do my best to be accommodating and make others feel comfortable around me.

I’ve also learnt that direction of a subject is more efficient when you give a situational example so as to give context to the idea you’re trying to create. I feel that communication really is the key.

And in regards to the creation of a concept, I just make sure to plan out exactly what my aims and intentions are in a photo treatment and to map out how I will achieve these goals. Ultimately I think it’s just planning and preparation. I perform better when I know exactly what I want to achieve and am familiar with the environment I’ll be working in.

5. Describe your personal style.
I feel I’m very drawn to ambiguity. I like photographing people who are androgynous or have a striking aesthetic that isn’t particularly normative. I’m attracted to obscurity and “otherness”. I feel a lot of my imagery has a sort of melancholy or wistful undertone to it as a result of those attractions. I like capturing my subjects in a pensive moment and I like to create a feel of some sort of intimacy or closeness within their eyes.

I’m always wondering and questioning, so I think I almost subconsciously was drawn to creating photography that reflected that. I’m not entirely sure, but it was definitely a natural inclination first and foremost.

6. What inspires you to create the imagery that you do? Do other artists inspire you?

Many things inspire me, from social issues, to other works of art, to evolving fashion trends, to changing of personal politics. But mostly, I’m consistently inspired by the people that surround me. I’m inspired by the way that other people work and think and am constantly intrigued by trying to understand differing perspectives.

Mostly my personal work will vary depending on what’s going on in my life, whether more clearly evident or not, but I feel it’s mostly a reflection of what my experiences are.

In regards to other specific artists who inspire me, I’ve especially been into the work of photographer Nhu Xuan Hua of late. Her imagery is just unbelievable and encapsulates an aesthetic I wish I could embody. I think if anyone’s work inspires me to create something, they’ve achieved what I would hope to achieve within my own work.

A Common King

Earlier this year I conducted an interview with a friend of mine before she jet set across the seas to pursue a Masters Degree. I hadn’t intended for the series to be published, but I decided I’d send it out to an American magazine I was particularly interested in as a small effort – and I very fortunately received a reply from the editor the very next day explaining their interest in the story. The magazine is called Psychology Tomorrow.

You can see the original interview on their website hereAnd below I’ve added a copy of my own of the interview with all the images I snapped on the day.


It’s nearing the end of June. I arrive at my friend’s house located within the inner suburbs of my hometown in Melbourne. It’s a cold and cloudy winters day, accompanied by intermittent moments of beaming sunlight.

I knock on the front door several times with no answer. I decide to walk around the side through the old wooden fence attached at the back of the house. Walking up the cement path I hear music emitting loudly from the back door that has been left ajar. I see Britta sitting among a pile of bags and clothing, preoccupied with something in front of her.

She’s leaving for Denmark in two weeks to study a Masters Degree in Videography – I’m heartbroken to be losing my friend. This would be my last chance to speak intimately with her and document it for others to read.

It is in this interview that I aim to find out more about the life of a Drag King, and the opinions of a friend who gave me confidence within my own identity.

Zack Lauritzen-1


So what initially drew you to performing as a Drag King and why?

Well I’ve always been into performing. In high school I was in the school play and I was always really into performance art. Then as I got older I got into the queer scene and I became increasingly interested in gender, how society views gender and how you can play with that and use it as a performance in of itself. I found out there was a Drag King night [here in Melbourne] and there was an audition night – they said just show up – and so I did. So that’s how it started really.

Have you ever considered making Drag performance a full time pursuit or is it more of a hobby for you?

Oh it’s definitely just a hobby. I love performing and I love getting that energy out to the audience, but it can also be quite draining.

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I know you go by various names in your personal life, I personally call you Zack – what are the names you go by and what do you prefer to be called? Why did you create these additional names?

Well Conner Lingus is my Drag name, I just thought it was a fun play on words. I started going by Zack when I first moved to Melbourne ‘cause I was questioning my gender at the time. I was considering transitioning but I wasn’t sure, so I felt that I should test the waters first. Being a Drag King actually helped me realize that I didn’t want to transition and that gender bending was just a hobby for me and it wasn’t something that I wanted to do full time.

So you realized you were more interested in being androgynous identified, with female pronouns, instead of actually changing your gender to male?

Yeah, it was just a fun thing to dress up as a dude. Drag definitely helped me understand that better. My birth name is Britta, which is what I’m going by now.

So am I calling you something that you don’t want to be called anymore?

Oh nah I’m fine with whatever. If someone asks, “What should I call you – I’ve got no idea!”, I’d say Britta. But I respond to Britta, Zack or Connor.

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How would you describe your appearance in day-to-day life? How do you feel others would perceive you?

I’m quite masculine – I like to wear shirts and pants to work and even going to lesbian bars I get mistaken as a guy a lot, which admittedly kind of annoys me. If I’m not in drag then I don’t expect to be mistaken as a male, but I think it’s not just in the way that I dress; I’m sort of broad shouldered and I’m built pretty solidly, but it does help for being a successful Drag King.

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How would you describe your appearance in day-to-day life? How do you feel others would perceive you?

I’m quite masculine – I like to wear shirts and pants to work and even going to lesbian bars I get mistaken as a guy a lot, which admittedly kind of annoys me. If I’m not in drag then I don’t expect to be mistaken as a male, but I think it’s not just in the way that I dress; I’m sort of broad shouldered and I’m built pretty solidly, but it does help for being a successful Drag King.

Do you think that your personal style is influenced by drag?

I think it’s the other way around, I think that my interest in drag is influenced by my personal style. My first drag show I ever did I dressed up as a very effeminate gay man and performed to a very effeminate song that was really bitchy and vogue, and that was really fun. I like wearing tight jeans and tight tops and then being able to work that into my drag, it’s just so awesome.

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So do you think that Drag performers are generally more gender fluid in their personal lives?

Oh absolutely. I know a couple of trans-men who started off performing as Drag Kings and then through doing Drag they realized that they were interested in being perceived as male full time and ended up transitioning. So Drag was a venue for them to explore their gender and then confirm that they wanted to be male. Whereas for me it was kind of the opposite, it was a venue for me to realize that I didn’t. So I think a lot of people get into Drag for reasons outside of the performance aspect.

And how do you perceive gender?

I think what I’ve learnt in the last few years is that gender is not as, umm – I don’t want to say important – it’s not as influential over your life as what people would have you believe. Whether you’re born male or female it doesn’t completely change your life path, and it’s sad that some societies – or aspects of our own society – think that it does.

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So would you say that you define gender more from a biological standpoint or how a person might define themselves?

I definitely think that gender is more how people define themself. Like, here’s an example – if you were to ask Joe Bloggs or Jane Smith on the street, “Close your eyes and picture a woman”, and then ask them if she has long hair, if she’s straight, if she’s probably able bodied and white – I’m guessing they’re most likely going to say yes.

Most likely she’s going to fall into these categories – she’s going to be straight, ‘cause that’s just what people think of when they’re going to imagine what a woman is.

Working off that sort of mindset there are arguments for a plethora of genders, where lesbianism is a gender within itself. Because if you ask someone to picture a lesbian, they’ll picture a lesbian, but if you ask them to picture a woman they’ll picture a straight woman as a separation to what they’d imagine for a lesbian.

So sometimes you can identify as a woman but not necessarily relate to the term, and if you’re looking at gender like that by the whole variety of ways that people perceive you socially there can be a whole range of different definitions people hold and how you personally might think of yourself – it’s just so diverse.

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So I know you’ve travelled around the world a fair bit. Of the places you’ve been to, which culture would you say most shares the perspective on gender that you hold?

I can’t really say Australian culture as a whole because the only place that I’ve been in Australia is Melbourne, and Melbourne is meant to be very open. It’s kind of hard to compare us to the rest of Australia – but definitely Melbourne as a city [of the places I’ve been]. There are a lot more queer resources, even the fact that there’s a clinic that caters primarily for LGBTQI people that’s just really awesome.

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Was that available over in your hometown in New Zealand? 

Absolutely not, I come from Auckland that is the capital city of New Zealand, which has a population of about a million. I just went to see the local GP and I had a hard time explaining to her what being a lesbian meant for my sexuality. She still got me to do pregnancy tests and she didn’t quite understand what being sexually active as a lesbian meant to her medically – she just didn’t have training or the real understanding, it was just really frustrating. So it’s definitely great being able to go to a doctor who just knows what that means.

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Do you think that Kings are generally more masculine in their personal lives?

It definitely varies; the two MC’s at [the club I perform at] are quite masculine in their personal lives, but then there’s these two other King’s that are both very feminine in their personal lives. It’s interesting, their own persona and their King’s persona are dramatically different. Some Kings hardly change at all when they go and do a show, they just put on a moustache and that’s about all they have to do whereas some Kings change their entire look ‘cause they are very feminine in their personal lives.

There was this one King that came over from America a couple of months ago and I spoke to her before the show – and she’s there in her skirt and her little frilly tarpan, and then I saw him in his show and it was just amazing – he’s completely different. And not just the way he looks, but his entire energy, just like a switch had been flipped – it was really awesome to watch.

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How accepting do you think society is of Drag Kings in comparison to Drag Queens?

Drag Queens have been a very public figure in the LGBTQI community, for quite a while. They’ve been at the forefront; they’ve been very visible. And I don’t think Drag Kings have been neither nearly as visible nor around as long. So it’s kind of hard to say what people in general think of Kings because a lot of people don’t realize that it’s a thing that exists.

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Do you think that has anything to do with either Drag Queens having a longer standing history in popular culture or is it some sort of sexism against Drag Kings and women in some way?

Absolutely, there’s a really interesting photo of Iggy Pop where he’s in a dress and he’s quoted as saying something like, “I’m not ashamed to dress like a woman because I don’t think it’s shameful to be a woman”. And I just think that it’s seen as very outrageous for a man to put on a dress because a lot of people don’t understand why he’d demean himself and lower his social status by putting on a dress. A woman putting on pants and a suit are seen by some people as aiming for a higher social status and are climbing their way up in the world. And so they’re less threatening because they’re supposedly adhering to the idea that masculinity is what will get you to the top.

So [by being a Drag King] it’s less outrageous because people think they understand their reasoning more, even though that’s not at all where Drag Kings are coming from. If a man puts on a dress they’d be like, “Why would he do that? Why would he make a fool of himself?” and it’s much more of a spectacle – people are more interested in seeing that.

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So overall do you feel you’ve been able to learn from being a Drag King in regards to your perspective on gender, sexuality and societal views? Do you think you’ve been able to become more liberal and open-minded by becoming a part of this aspect of community?

Yes, I’ve definitely been able to learn a lot about the community, and myself. As I said before Drag helped me realize that I didn’t want to transition, but I definitely think I was already pretty liberal and open-minded beforehand. I’ve always seen gender from a very liberal standpoint.

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Amy and Nathan’s Wedding

I was asked a couple months back by Amy and Nathan to photograph their wedding held at the Fitzroy Conservatory Gardens here in the Melbourne CBD. I was of course more than happy to do it, and was excited by the ideas they shared with me for the style of the imagery.

I arrived on the day feeling anxious about the weather, which kept to it’s usual Melbourne style of going through all four seasons in a day. But chance permitted to a favourable outcome, and fortunately the sun presented itself any time we ventured outside.

I’ve put together a couple of my favourite images to surmise the experience of the day. Here are the highlights –

Amy Herawati and Nathan Blake-33Amy Herawati and Nathan Blake-1Amy Herawati and Nathan Blake-9Amy Herawati and Nathan Blake-11Amy Herawati and Nathan Blake-6Amy Herawati and Nathan Blake-5Amy Herawati and Nathan Blake-13Amy Herawati and Nathan Blake-14Amy Herawati and Nathan Blake-24Amy Herawati and Nathan Blake-19Amy Herawati and Nathan Blake-16Amy Herawati and Nathan Blake-20Amy Herawati and Nathan Blake-25Amy Herawati and Nathan Blake-26Amy Herawati and Nathan Blake-35Amy Herawati and Nathan Blake-34Amy Herawati and Nathan Blake-32Amy Herawati and Nathan Blake-56Amy Herawati and Nathan Blake-36Amy Herawati and Nathan Blake-37 Amy Herawati and Nathan Blake-40Amy Herawati and Nathan Blake-42Amy Herawati and Nathan Blake-45Amy Herawati and Nathan Blake-47Amy Herawati and Nathan Blake-48Amy Herawati and Nathan Blake-51Amy Herawati and Nathan Blake-53Amy Herawati and Nathan Blake-55 Amy Herawati and Nathan Blake-49Amy Herawati and Nathan Blake-60Amy Herawati and Nathan Blake-63 Amy Herawati and Nathan Blake-61Amy Herawati and Nathan Blake-68Amy Herawati and Nathan Blake-70Amy Herawati and Nathan Blake-78 Amy Herawati and Nathan Blake-74
Amy Herawati and Nathan Blake-76Amy Herawati and Nathan Blake-73Amy Herawati and Nathan Blake-80Amy Herawati and Nathan Blake-83Amy Herawati and Nathan Blake-84Amy Herawati and Nathan Blake-86Amy Herawati and Nathan Blake-88Amy Herawati and Nathan Blake-100Amy Herawati and Nathan Blake-90Amy Herawati and Nathan Blake-91Amy Herawati and Nathan Blake-92Amy Herawati and Nathan Blake-114Amy Herawati and Nathan Blake-115Amy Herawati and Nathan Blake-117Amy Herawati and Nathan Blake-118Amy Herawati and Nathan Blake-121Amy Herawati and Nathan Blake-119Amy Herawati and Nathan Blake-123Amy Herawati and Nathan Blake-146Amy Herawati and Nathan Blake-127Amy Herawati and Nathan Blake-153Amy Herawati and Nathan Blake-130Amy Herawati and Nathan Blake-128Amy Herawati and Nathan Blake-126Amy Herawati and Nathan Blake-154Amy Herawati and Nathan Blake-147Amy Herawati and Nathan Blake-136Amy Herawati and Nathan Blake-159Amy Herawati and Nathan Blake-152Amy Herawati and Nathan Blake-158Amy Herawati and Nathan Blake-141Amy Herawati and Nathan Blake-150Amy Herawati and Nathan Blake-161Amy Herawati and Nathan Blake-165Amy Herawati and Nathan Blake-168

Sassari Australia

A couple of weeks ago I photographed for the Melbourne based boudoir clothing label Sassari Australia. I also briefly assisted and grabbed a few tips off photographer and videographer Raid Laabi for the behind the scenes video that he was shooting.

Here you can see me at work, almost looking like a real professional –

Peter Coulson – Melbourne Fashion Photographer

Peter Coulson is a fashion photographer situated in Melbourne, Australia.

His work is often provocative, and has been the subject of much debate. His work focuses on a variety of topics, often addressing controversial issues ranging from religion, sexuality, gender and power.

He has received much acclaim throughout his photographic career (2011 Canon AIPP Australian Fashion Photographer of the Year, 2010 Canon AIPP Australian Professional Photographer of the Year, 2010 Canon AIPP Australian Commercial Photographer of the Year, 2011 Epson AIPP Victorian Commercial Photographer of the Year, 2010 Epson AIPP Victorian Commercial/Advertising Photographer of the Year, 2010 Epson AIPP Victorian Illustrative Photographer of the Year, 2010 Runner-up Epson AIPP Victorian Professional Photographer of the Year) though Peter maintains it’s his need for expression that drives him to create, not the awards.

I meet a buzzing Peter at his studio in Killsyth, business titled Koukei Studios. It’s mid December of 2013. I enter into a large warehouse room, covered in white paint from wall to wall. There are two large cyclorama’s on either side of the room. Another photographer is shooting a large chopper bike on the left side of the room in the larger cyclorama – I’m amazed by the gigantic equipment being used, with a massive overhead soft-box hanging from above and a huge ten metre high Broncolor octagonal soft-box sitting in the adjacent studio area. I sit waiting at his desk, and after sorting out some bits and pieces Peter joins me, continuing to work whilst I interview him. He has a friendly and candid presence.

I chose to interview Peter, with me as the aspiring student, and he as the established professional. I wanted to see what knowledge I could gain from his years of experience. I may not be a journalist, but I’ve done my best to ask questions that would be useful for other artists from within this field. The replies are according to my recollection and are not word for word as I did not record the session. I hope this will do justice.

Interview With Melbourne Photographer

Peter Coulson

Have you always been interested in photography?
It was initially a hobby – I was photographing musicians and bands on the side to start out with. The passion grew over time – I just wanted to create. I can’t paint or sing, but photography I could do – I needed a way to express myself. I was shooting all the time, and eventually opened a business and began photographing the products for that, so it just progressed from there.

Did you consciously decide to work towards being a full time photographer?
It was a passion first and foremost but I definitely felt the need for a career change. I was unhappy with the previous work I was doing. I was photographing all the time and started to get to know people. I eventually began receiving recognition and various work opportunities presented themselves to me, so I decided to take that route.

Where would you say you find inspiration for your images?
I don’t really actively seek inspiration, but I am inspired by other fashion and portrait photographers. It’s very evident in my work. If you know your history you’ll be able to pick whose work I enjoy immediately – photographers like Peter Demarchelier, Peter Lindbergh, Helmut Newton, et cetera. I enjoy the dark shadows and contrasted images – the black and white just enhances that effect.

Do you ever go to galleries around Melbourne or attempt to connect with the local artists around the city?
Other than the people I work with directly I don’t really go out into the local community. I find it all to be a bit of a bore, I don’t seem to fit in with those types. I just want to photograph really.

What would you say has been the most efficient way of marketing yourself as a professional within this industry?
Without a doubt Facebook. It’s what everyone is using and if you know how to utilize it properly you can build an audience very quickly. You need to constantly upload new images all the time, one by one. Uploading multiple shots of the same shoot diminishes the strength of the best image – you’ve got to choose your best shot and stick with it.

Are you interested in other mediums of art? If so, who are your favourites?
Not particularly, I mostly only look at other photographers and an assortment of films. I often watch the live streams on SHOWStudio found on YouTube. The Nick Knight stuff is just amazing. They’re very long videos but you can see every little aspect that goes into a professional photo shoot, nothing is hidden. It’s a great way to see how the professionals work.

How would you describe your photography?
I try to create something unique, something beautiful and emotively enticing. You’ll always notice within my photographs that I try to tell a story with the models eyes. You can tell what someone is thinking or feeling simply through the expression in their eyes.

And how do you get your models to show those kinds of expressions?
It’s a long process – I’ll shoot the same model two, three, four times at eight hours per session. This is so I can get to know them and so they feel comfortable in front of the camera – I try to photograph them as a person rather than a model. I talk to them and get to know them, and by the third day I’ll get some of the best shots because they’ve let their guard down – they’ll show their true self in front of the camera.

What do you feel has allowed you to become as successful as you are now?
Shooting every day and constantly producing new work. I haven’t had a day off for years – I was even here in the studio on Christmas Day. You just need to be entirely committed to what you’re doing.

What is your process for setting up for a photo shoot? Do you make photo treatments or do you sketch out ideas?
If I come up with an idea on the spot, when travelling or what have you – I usually use this little drawing app on my iPad and sketch up the idea quickly. [Scrolling through different sketches] you can see I just do something quick and basic that will jog my memory again at a later date. And in regards to photo treatments, I only really write them up for big projects.

What tools of the trade do you find to be the most useful?
The Hassleblad, definitely – the higher dynamic range is wonderful. The image quality is unbelievable. I often shoot with an octagonal softbox, but it all varies and depends on what subject I’m working with really. For the most part I work with natural light – no reflectors – working in a big white studio with large windows you get some great light quality.

What outlets have allowed you to learn the most in regards to both composing imagery, understanding the technicalities required for a photograph, and establishing yourself as a professional within the industry?
Shooting an idea and just physically practising all the time. Honestly, assisting other photographers and going to school doesn’t do anything – look at me, I didn’t study to get where I am. It’s all about just constantly producing new work and mastering your skills, and you can only do that by physically picking up a camera and getting out there.

You also need to be extremely fussy with your work – I’ll spend a full day perfecting a lighting scenario just so that I can get that exact right shot. Don’t ever just move onto the next shot and settle for something so-so, go over everything and nail that shot you wanted.

So would you say it matters if you have a technically correct image?
Not at all – of course it depends what you’re photographing, it matters if it’s a product shoot – but for my own portraiture if I want something to be black I’ll make it black. If the image looks good, that’s all that matters.

Overall, what would you say has been the most difficult obstacle to overcome throughout your photographic career?
Myself, confidence within my work and the ideas I produce. Being sure that what you’re producing is worthwhile in some way and staying completely convicted with the ideas you come up with.