The Argus’ Aliah Murillo interviews photographer Klaus Pichler about his photo book series ‘Just the Two of Us’ based on the costume community, giving an insider look on the person behind that mask through the juxtaposition between being in costume while at home.
Jacob Pedersen interviewed by Zakariyya Paruk
Jacob Pedersen, also known as Alterego Visuals is a photographer and videographer based out of Brisbane, Australia. He studied Bachelor of Multimedia, majoring in Film at Griffith University. Coming from a background of film, Jacob had always turned down photography opportunities until he decided to shoot some photos with friends in order to develop his skills. He believed that having the prior camera knowledge through film helped him to achieve a quicker learning curve, compared to the usual time it takes to learn photography. He is now a very competent photographer who shoots many professional applications, most notably his stage and music photography. Jacob also plays a role in content creation for one of Brisbane’s best lifestyle and fashion blogs, DopeKoto.
Rune Johansen interviewed by Sofie Skadal
Patrick Hamilton interviewed by Alexandra Gonzalez-Mendoza
Brisbane based photographer, Patrick Hamilton is initially a photojournalist, however he has plenty of experience in other areas of photography such as commercial or advertising, portraiture and commercial portraiture, family portraiture, he also does documentary photography, such as documenting for weddings, and on top of all that he delves into some street photography as well as sports photography. With over 30 years of experience he has also managed to hold a number of exhibitions throughout his career.
Interview by Raqchela Corbu-Miles
…A Boy of Great Promise a photo series about the transition period of life after prison. Canadian born photojournalist Cory Wright met Owen, after his release from maximum security in 2013. Wright sought to challenge the notion of “paying your debt to society” through considered imagery and an intimate approach.
Colette Sandstedt interviewed by Shaun Carney
You have worked on Mythbusters, Under Water Universe, the History Channel, Discovery Network, National Geographic, Red Bull Media, Woods Hole Oceanographic Institution and a bunch of other impressive films, what work are you proudest of?
Well I loved working on Mythbusters it was my first job out of grad school, it was such a fun show to work on and it was such a good science show, so I really liked that. I really liked Underwater Universe because that was a one hour documentary on the ocean, which was totally great. I got to write, direct and produce it, so it was like doing my own show so that was really fun. I really loved working with Woodshole Oceanographic Institution because I spent the summer on a Russian research ship filming submarines going to the bottom of the ocean, so I was on board for two months with that in the mid Atlantic. We filmed whales from the fuji blimp and we filmed rocket launches from Cape Canaveral.
How did you make the progression to move away from ‘corporates or companies’ so to speak to try and fund your own documentary?
I knew I always wanted to do my own feature documentary. I still write, direct and produce for TV and I met Ky Michaelson when I was out doing a TV shoot, so it’s good because sometimes your work can find you cool subjects. After I met Ky I thought this was an amazing story with an amazing character and that is when I started pursuing it as a feature documentary. I kind of found the perfect character with a perfect story for me. It was something that hit all my interests.
How long had the project been developing before making the decision to go ahead with funding?
Well, it has been a long process which is kind of normal in documentaries. I had originally taken the idea to a company I was working for at the time and we were going to try and do it, but the person who owned all the footage of Ky’s rocket launches wasn’t willing to let us use the footage because he said it was a cost issue for him. Then years later I kept on it and stayed in touch with Ky, then Gary Benz who is an old friend of Ky’s from back in their stunt days purchased all the footage to preserve it for Ky. So with that change I went to Gary and started working with him. Even though it didn’t work the first time back in 2007, I knew it was such a good story so I never let it go and just stuck on it.
You mentioned that Ky learnt to build things through watching other people and using his mechanical photographic mind, but there must be more to how Ky has managed to be so successful and accomplish all that he has whilst being dyslexic?
I do think Ky is a genius. I don’t think just anybody could go out and do what he did. He would credit his dyslexia for being very very stubborn and he will tell you himself he has a chip on his shoulder because he always felt like he wasn’t good enough or smart enough. It gave him this Johnny Rebel attitude where if you tell Ky he can’t do something he is going to go and do it. He credits the women in his life for helping things run and I asked him “Some of the stuff you are working with is really dangerous Ky, you can’t just try it and see how it goes,” and he replied “I would just have a friend read me the instructions.”
As the Director/Producer of Rocketman, you are $20,000 short of the $68,537 you were aiming for when crowd funding, what are the process’s you go through now to make this work?
We wanted to be really transparent about what it would cost to shoot all the interviews so the $68,537 was the full amount, but as anyone who has made a documentary will tell you it’s an on going process. You get a chunk of money and you shoot as much as you can, you get a chunk of money and do as much post production as you can. It is not like feature films where you only start shooting when you have the full budget. We will do as many interviews as we can. I see the crowd funding as one step because we grew our audience, got a significant amount of money, but now a lot more people know about us so there are a lot more opportunities that are going to open up because of this.
From Deadly Women and Dark minds to Underwater Universe it seems as though Rocketman is quite different your previous work, does much change in your thinking, researching or filming to work on a project like this?
It is different to the true crime stuff I have done, but it is one of those things. Most documentarians take work to support themselves while they are making the movies, but my main focus with Woodshole, Mythbuster, Underwater Universe and with the Redbull stuff has always been science and adventure so its been keeping within that trajectory. I have a screen writing background; I went to school for screen writing, so with structuring stories there might be some style differences between Television and Film, but I know what those are so it is just a matter of which tool you pick out of your bag. I’m really lucky I have a background in screen writing, because it has helped me with everything that I have done, because you are always having to think in terms of structuring a story. So you do have to know what you are doing, I wouldn’t want to produce Rocketman like I would a TV show, I would want to do it like a Theatrical Film because it is going to give it a different quality.
Do you have any influences or motivators that keep your passion going?
I do, Toni Myers directs all the IMAX movies about space and they are so beautiful it makes me realise why I wanted to make movies that move people. She is a big hero of mine, she did this beautiful film on the Hubble Telescope that she directed and produced.
When people become aware of Ky’s feat on May 17 2004 to be first entity to officially launch an amateur rocket into space, and watch this documentary. Do you think it will empower dyslexic people and encourage people to overcome adversity and how are you planning on conveying that?
I know it will, just from what we have seen from visiting a dyslexic school during the campaign and we have plans to visit another one this year. The reaction of the kids when they saw Ky and heard his story was unbelievable, it just brought us all to tears. It was really moving because these are all people that don’t learn the conventional way, or were told they were stupid and when they realised Ky was just like them it was really beautiful. It doesn’t hurt that Ky is doing his rockets, cool cars and stunts, so this isn’t one of those sad documentaries on dyslexia because there is going to be explosions and race cars and stuff like that. The thing that I want to do is keep it fun, so it is a movie that you would want to see anyway and not super heavy because the heart is already there, we don’t need to do anything to bring the heart out.
Interview by Vebjoern Nilssen
Why did you and Igor Marchesan choose to cooperate on the project Inside Outside Under?
Igor asked me to join him for a journey in Romania, and he agreed when I suggested to stay for at least a couple of months. When we left, we had no plans about what we were going to do, but we were guided by curiosity and passion. During a short break in Bucharest, we accidentally bumped into the community of Gara de Nord, and we decided to deepen our knowledge about that issue. We were already travel mates, but our mutual trust grew even stronger during the following months: we shared very hard times and we supported each other when in rather dramatic moments of instability. Even more than working together as photographers, we cooperated as human beings in the odyssey of life, and Igor is a great person, humble and compassionate.
What drove you to document the underground life in Gara de Nord?
In Bucharest we met a bizarre guy: he was dressed with leather jacket, chains on his wrists and ankles, and he walked without shoes, followed by a pack of a dozen dogs. We found out he was the respected leader of a street community that lived in front of the train station. We went for a visit and they welcomed us for a couple of hours in their house underground. It was so surreal, tragic and fascinating that we decided to know more about it. This is how our project started.
How would you describe the underground life?
It would take too long to answer properly to this question, but we’re going to write as much we can in the text of the upcoming book about our experience. There are so many observations and feelings involved, it’s rather impossible for me to say everything in a few lines. If I had to choose just a few adjectives, maybe they would be: uncertain, moving, extreme.
How did you manage to blend in with the population of the underground, getting so close that you could get your personal portraits? Did you encounter any problems by doing so?
We simply started spending most of our time with them, trying to socialise. We introduced ourselves and let them know us. We had patience, without forcing our way into their existence, and they eventually recognised our sincere curiosity. Over time our relationship grew closer, and we started to feel real affection. Participating observation is the well-known method of anthropological research, but we probably ended up doing “observing participation”. I admit we sometimes felt quite confused, as if we were really melting with the community.
What did the experience give you in reference to what it told you about the people living underground in Gara de Nord, and how their living conditions were?
After spending so much time with them, I had to reconsider my own condition and my own values. I was impressed by the way many of them chased their dreams of having their own house and family, something I never really considered to be my priority. They lived in a tunnel, but they did great effort to clean and make it comfortable. I wondered if it was the time for me to do the same, and try to find some stability after many years spent like a tramp, but I haven’t reached any conclusion yet.
Were the subjects shown the finished work, if so how was their response to your work?
I don’t think the work can be considered finished. Maybe the book will be the most conclusive expression of our work. Unfortunately, most of our subjects are no more available at the moment. Many of them died and many others are now in prison, but during our stay there, they kept watching the pictures we took, requested portraits and made fun of each other. Many of our printed photos were used as painting inside the tunnel, gifts for friends in jail, or memories during a funeral. They were definitely aware of our intentions, and some of them explicitly asked us to ‘let the world know their stories’.
Do you have any plans of revisiting this project on any level later on?
I have no real plans about what I will do. I’m going to follow the stories of the people I met, but most of them are in prison right now. As I said, we’re going to make a book that will contain a great part of the experiences, observations and photographs of the last 3 years. In any case, as a very important part of our photographic career and our personal lives, I’m quite sure the project will come again in our thoughts, even if it will probably appear in new and different shapes.
Multimedia by Marita Gjerde
19 year old Filipino dancer Jem, discusses how dancing has impacted his life. Living his life as a young gay man, dance has given him the freedom to express his emotions through every single moment. He has the ability to tell stories and show who he is through the power of dance.
Multimedia by Martine Kolstad
Drew McPherson, tells the story of how he began surfing professionally at a young age. Growing up he stepped away from the commercial side of the sport and continued to surf as a free spirit while living in Byron Bay, Australia.