“Discover Your Unique Voice in Street Photography”: Melbourne 3-day Intermediate/Advanced Street Photography Workshop (September 5-7th, 2014)

Do you feel that when you look at your street photographs, you have a hard time defining your style? Do you dream of creating unique and eye-popping images that stand out from the crowd? Do you want to find that signature style that you can put your stamp on and be proud to share with the world?

If so, I am excited to invite you to my upcoming 3-day Intermediate/Advanced Street Photography Workshop in Melbourne (September 5-7th, 2014). The workshop will be limited to an intimate class of 12 passionate individuals who want to polish their skills and break outside of their comfort zones.

This unique workshop will give you the opportunity to hone your street photography voice, vision, and style while giving you the skillsknowledgeand confidence to take your street photography to the next level.


Interview Sophie Wedgwood by Sian Dolding

Street photography that goes beyond poverty porn

It seems like street photographers are a dime a dozen these days, and with everyone wanting a slice of the curb-side action you better get your story straight. With a trigger-happy, candid quality at its core it can be easy to shoot street-style and lose your message, which is why ex-Dazed bod Sophie Wedgwood's series Hanoi to Havana is a soon-to-blow diamond in the rough. The series, which explores the backstreets and boundary lines of some of the most underpriviliged areas of South America and Asia, has that instinctive essence so unique to street photography that collides with the heady lethargy of Wedgwood's subjects. Taking her cues from the greats like Alex Webb and Jim Goldberg, she injects a powerful social commentary into her work, never trading too hard on the 'poverty porn' card so many street photographers jump at somewhat disingenuously. Still fresh to the game, we've got the scoop on the first in this ongoing series on foreign street cultures.

Fill us in on your photography background? What first made you want to start shooting?

Sophie Wedgwood: I couldn't say when I first started taking photos, but my mum always had old film cameras and disposables lying round the house and I guess I took to it rather intuitively. Then as I got older and began travelling more through Italy and France, I think I was confronted with so much culture and lifestyle that was foreign to me I felt it couldn't go 'unphotographed'.


Source (http://www.dazeddigital.com/)


Talking Heads, CBGB, 1977

There were six or seven photographers present at the birth of punk, but there will only ever be oneGodlis. That's right—I shit you not—we're talking about a punk photographer whose surname is actually Godlis. Many of those other photographers who were lucky or smart enough to have been shooting on the Bowery in the early 1970s favored the bright flash and sharp focus championed by music journals of the day, but David Godlis, newly arrived from Boston in 1976, began shooting in a romantic and painterly style using long exposures in available light. Drawing on his hero Brassaï’snuanced scenes of Paris nightlife in the 30s, Godlis captured early shows by Blondie, Television, the Ramones, Richard Hell and the Voidoids, Suicide, Talking Heads, Dead Boys, Patti Smith, and more at their now legendary incubator, CBGB. 


Source (http://www.vice.com/)


The line between popular culture and the reality of conflict is no longer clear cut, but where does this leave photography?

Tom Seymour — 26 August 2014

In February 2011, the Arab Spring spread to Libya. After a week-long siege, the town of Ajdabiya fell when French aircraft bombed the Gaddafi-loyalist troops. Here, a local man is pictured thanking God for the victory while standing on a burning tank. He was aware of Mads Nissen, the photographer, so he was actively presenting an image of himself for the camera. Image © Mads Nissen, courtesy Panos Pictures

Before he was killed in Libya, war photographer Tim Hetherington talked of “the feedback loop” – the self-perpetuating link between the reality of conflict and its portrayal in popular culture. But where such fictions were once tightly controlled, the internet has opened the floodgates, creating an ever-increasing circle that is seemingly more gruesome than ever before.

A few months before he died, Hetherington submitted to Vanity Fair a series of photographs of US soldiers fighting in Afghanistan. At the time, Francis Ford Coppola’s Vietnam epic Apocalypse Now was getting a re-release. The designers atVanity Fair mixed the images up, mistakenly using Hetherington’s shots to illustrate a review of the famously conceptual rendering of war.

It was an ironic mistake. Just before the photographer died covering the uprising in Libya, he wrote of what he termed “the feedback loop” –


Source (http://www.bjp-online.com/)

GEAR REVIEW // The Fujifilm X30 by KEVIN LEE

Since it’s introduction the Fujifilm X10 and X20 has always felt a little bit lacking compared to its X100s brother. It’s always sported an optical viewfinder that was good but did not truly vibe well with the camera’s zoom lens. Now Fujifilm has gone in the opposite direction and given the new X30 a full-time EVF plus a few other upgrades that will make everyone notice its new street shooter.


Source (http://www.thephoblographer.com/)

Kodak discontinues BW400CN film

Gemma Padley

image Antonio Ragni

Kodak Alaris has said that it holds “a steady decline in sales and customer usage” responsible for its decision to discontinue Professional BW400CN film.

The company, which formed in September 2013 following Kodak’s reorganisation, said in a statement: “We empathise with the Pro photographers and consumers who use and love this film, but given the significant minimum order quantity necessary to coat more product combined with the very small customer demand, it is a decision we have to make.”


Source (http://www.bjp-online.com/) (http://www.filmsnotdead.com/)