Innholdsfortegnelse for June - August 2020 i Photo Review

When the coronavirus pandemic upended life as we knew it, the effect on documentary and news photographer Sean Davey’s personal work was not perhaps what one might imagine. For twenty years the Canberra native has made a name for himself working with editorial publications, corporate organisations, not-for-profits and government departments. Sean’s work has garnered commendations from the likes of World Press Photo (Contemporary Issues category in 2020), National Photographic Portrait Prize (Runner-Up 2016), the Olive Cotton Portrait Prize and the Moran Contemporary Photography Prize (Highly Commended 2009) competitions. In 2017 he was commissioned by the Department of Foreign Affairs and Trade to photograph the winding down of the Australian Government’s Regional Assistance Mission to the Solomon Islands, a commission that enabled him to continue his personal documentary work in the…

How many times have you been in a city and seen snapshooters trying to photograph 'the sights' with their cameras on auto and flashes blinking repeatedly? Total futility; built-in flashes can’t cover much more than a metre or two from the camera. If only they switched off the flash they might get some nice, usable shots. Yet they persist. This feature will outline the benefits of available light photography and explain why, as photographers, we've never had a more persuasive set of reasons for leaving the flash at home or, at least, disabling the camera's built-in flash. We’ll show that simply shooting with nothing more than whatever light is present when the shutter is released can yield much more interesting images. So why is available light preferable to using an…

Where have you gone on your family’s farm to get phone reception? I’m in the middle of a paddock. It’s stormy and I’ll go behind a tree if it gets too windy. It’s a 2000-hectare sheep farm on the Murrumbidgee River [near Cooma, in southern NSW]. It’s beautiful, quite hilly country and half of our land is pretty much untouched wilderness. My father’s family goes back six generations here, having first settled in about 1880. And 1840 on my mum’s side, just up the road. I live in my grandfather’s old house. Do you do most of your wildlife photography on the farm? Almost all of it’s here and within 100km of home. I have the snow an hour away, the coast an hour away, and a very big backyard…

“We can use visual storytelling to help us navigate our uncertain future” An Olympus Visionary for the better part of half a decade, Michaela Skovranova has devoted herself to the art of documentary storytelling through her photographs and filmmaking. What began with a primary focus on underwater projects and personal work has widened to now include broader environmental stories. ‘In 2017 in addition to personal projects,’ Michaela says, ‘I started working as a photojournalist with National Geographic and since then my work has expanded to working with a range of different clients such as Greenpeace, Time Magazine and Instagram.’ As the mix of her photographic interests has changed, so too has her approach to picture-taking. ‘I have started to delve deeper into human and environmental stories both above and below…

Why visit The ‘Art Islands’ are in Japan’s Inland Sea, which lies between the main islands of Honshu and Shikoku. The islands have become increasingly attractive to visitors since the first Setouchi International Art Festival (www.setouchi-artfest.jp/en) in 2010, and they are currently on many art lovers’ ‘bucket lists’. The Setouchi festival covers just over 100 days and is spread across three seasons – spring, summer and autumn – and 12 islands, as well as the port cities of Takamatsu and Uno. It was established to address issues arising from massive depopulation in recent decades due to lack of job opportunities. Bringing contemporary art and architecture to the islands – along with performing arts and exhibitions of local crafts, local cuisine and traditional culture – the festival has provided residents with…

Our last readers' survey showed 94% of Photo Review's readers print their photographs, with 51% of them printing at home. Of these, 62% plan to produce large prints this year and most use specialised printing media. Of those who resort to outsourcing, the majority use professional labs, the next most popular option is a regular photolab and only 15% use an online service. While serious enthusiasts usually know how to find reliable information on printing equipment and techniques, for a hobbyist, choosing the best combinations of printer and media can be tricky. Setting up a 'digital darkroom' at home can be costly and will require space and time to devote to image editing and printing. Outsourced printing can be a hit or miss affair. So we felt it was time…