Christian Nimri


The Argus’ Holly Knight interviews Christian Nimri, who works as a freelancer photographer, covering; events, portraiture, music, and fashion, whilst also studying photo media at Griffith. Holly asks Nimri about his personal style and the impact of social media on photography as a career choice.


How did you get into photography?

My whole life I’ve enjoyed photography, mostly street photography. I did some graphic design on forums and would occasionally find some really, really nice photos people have taken. I would roam the albums of Flickr and Photobucket going through street, portrait, and concept art. Though I mainly started when I was creating Youtube videos (I know… so embarrassing). One day I posted a photo I took and people actually liked it, the rest is history.

What is your photographic style?

Over time my style has transformed constantly and to be honest, I’m still trying to figure out something that I can stick to, and develop into my own. I can say right now my main styles are Events, Music, Fashion, and Portraits. Especially with portraits, I love to emulate the look of film. Though I’d really like to better my skills with concept photography.


Where do you get inspiration?

I follow a bunch of Facebook groups and photo forums (Flickr, 500px, etc…) that bring a lot of inspiration to my work. There are so many communities that are so positive and help you progress much faster through proper critique. However, my biggest inspiration is a friend from Melbourne, Jackson Grant. He mostly does wedding photography, his editing and continuous progression of style is something that gets me to do the same.

I’ve known Jackson for years, so we’ve both had the opportunity to see each other develop and progressively become stronger in our fields.

What do you want to say through your photographs, and how do you do to achieve this?

A funny thing I’ve noticed, previously I never had a story behind my photographs. I would just go out and shoot and see what I can come up with. The past me would think the ‘in the moment’ an improvised photo shoot. Now it’s different; my photographs can have themes, stories, emotions, previously thought out. I want my photographs to tell people the story of the subject.

For example, the photo of my father and my grandmother shows the trial and struggle behind being a caretaker. It’s an all-day, all night gig.

In my music photography, the passion behind the artist and how they’re performing. It’s a whole self-image that their performance is creating.



If you could only shoot one thing for the rest of your career what would it be?

Festivals and music for sure!

It’s so exhilarating. Especially as I’m a massive fan of a lot of the musicians I photograph - it’s a win-win. There is also something about being amidst the action and having to fight for the best area, photo pits are bloodbaths!

As well as music photography being so much more. You get to go to music festivals, concerts, and if you’re good enough or know the right person, travel with the bands. It’s all a memorable experience, I can retell the stories of every single shooting experience I’ve had with music.

Do you think that with the current age of social media and selfies that photography as a profession is losing traction?

I don’t think it’s losing traction. As a profession it’s becoming a lot more mainstream, however, it’s still got the grit behind it. Like you can’t just purchase a camera and start taking self-portraits and have it automatically become your job. There’s so much work that goes behind successful photography businesses and personalities. Especially those built through social media. Social media is bittersweet, it’s given selfies and narcissism a big pay rise- but that doesn’t halt photography as a profession.


Where do you see yourself in the next few years?

Hopefully graduated, that’s for sure, ha! In all seriousness, I’d really like to see myself being able to travel for photography. I’ve been getting into fashion, but also very well integrated into the music scene. It’ll be some blood, sweat, and tears, but it’ll be worth it later.


Delly Carr


By Lina Frunk




Delly Carr is Australia´s top freelance Sports photographer. His 30 years of ethics and lifetime list of clients reads like a who´s who of the Australian sporting scene.

Delly Carr loves Star Wars, collects old toys, and has a big box filled with years of scrapbooks. They are, he claims, the essence of himself. He hates his cat, Peaches, and she hates him. This isn’t the side we usually see of the acclaimed sports photographer; we see the images, not the man.

His photographs blur the line (usually thick) between sports photography and fine art in a nuanced and creative way. It is Delly’s personality that really has something to offer aspiring photographers. Luckily for us, Delly is not afraid of sharing his success.

“Sports photography is part of my life, I’m obsessed by it,” states Delly Carr.


‘Obsessed’ is a word that keeps popping up when you listen to Carr speak about his photography. Along with the words ‘compulsive’ and ‘perfectionist’. He claims it´s these descriptive words that make him difficult to work and live with. However, it is also those words that have enabled Delly to create a magic formula in order to become a great photographer. At an Adelaide swimming event, Delly noticed the shapes of light on the pool, how it moved when a swimmer swam beneath it. He came back the next day; checking the swimming schedules, and the light. He waited for hours before everything lined up the way he had imagined.

“I ended up with an angel, I ended up with wings and a halo,” Delly explains. That image wouldn’t have been possible without Delly’s fascination and patience. Sometimes, however, patience needs an acquaintance, courage, to take over.



Delly recalls his three-day trip to capture San Fermin, running with the bulls, in the Spanish city of Pamplona. He spent the first two days behind the safety of the fence where all other photographers were, but those photos turned out to be “shit”, according to Delly. On the third day, he decided to go to the edge of the cliff, or in this case, climb under the fence. He was in the direct line of the bulls, in order to capture that perfect moment. He got it, but it didn’t come without a price.

“The bull’s hoof hit my camera,” Delly says. He admits that it easily could have hit his head, landing him in a Spanish hospital with an expensive bill or worse.



“The more seasoned bull photographers thought I was an idiot, and they were very close to being right.” Delly argues that courage, with a bit of recklessness, is a key element to get the best images.

Based on the great shots Delly produces, he could easily be arrogant and get away with it. Instead, he comes across as incredibly humble. With most of his best images, he applies a notion of luck. If the bull hadn’t jumped at that precise moment, you wouldn’t be able to see the runners in the background, and the image wouldn’t be the same. Delly advocates being cocky about your images. If you’re not, who will be?



Japanese fashion designer, Minori was inspired by Delly’s style of photography. Delly made such an impression Minori, that she made a dress in his honour: the ‘Delly Dress’, capturing his recurring theme of earth and sky in the design. An accolade for any artist is to be commemorated in someone else’s work.


Eliot Dudik


The Argus’ Magnus Westerlund interviews photographer and storyteller Eliot
Dudik about his work. Giving an insider look on how he creates his content.


Where do you get your inspiration?

My inspiration comes from many places, I teach photography at The College of William & Mary, in Williamsburg, Virginia. So much (of my) inspiration comes from my students and colleagues there. I surround myself with a non-stop deluge of imagery from the past and works currently being created. I do a lot of research by way of, art books that I enjoy dissecting. In terms of problems, the artist faces and how they went about forging a path toward completion.


How do you find your stories?

When I'm not driving, I'm running from task to task without much time to ruminate. But once I'm on the road, I have the time and space to pick through all sorts of things that have been coming in and out of my consciousness. I'll dissect an idea while I'm driving, from start to 1000 finishes. And often by the time I step out of the vehicle, I'll have the motivation and initial direction to create.


What do you look for in the stories?
Nothing specific, other than questions that I don't already have answers to.



What made you want to be a photographer?

I suppose it was the realization that photography holds the potential to communicate ideas, to change the way people think and understand the world. It can be a difficult but rewarding endeavour.


How long have you been doing this?

About 16 years


How many stories have you done?

I've done about 11 projects, published 7 books, including 2 collaborative projects/books.


Where do you go to get your stories?

I go wherever the story takes me. So far that has been through 49 of the 50 States (U.S.A). I'm anxious to start looking outside The United States, but thus far I've remained very busy exploring and trying to make sense of cultures, history, and current circumstances within the U.S. I've gone back and forth on whether I need to better understand cultures at home in order to understand cultures abroad, or whether traveling outside the U.S. and trying to understand other cultures would help me understand my home.

Australia is one place I'm excited to explore one day.


Adam Bradford


Don’t Judge Me

By Zara Lynette Tansley

Adam Bradford considers himself a contemporary pictorialist. Staging images and working primarily with fashion and portraiture through a conceptual lens. He harnesses the potential of the photographic medium, exploring the complexities of the human form and mind.


“Don’t Judge Me” is a photographic series that examines how an individual’s perception of self is not definite and that one’s identity can be distorted by an outsider looking in. Using a combination of still life and portraiture, the work draws upon symbolism that relates to themes of sexuality, drug use, and body image.

The presence of this imagery outlines, that it is often the practices that an individual engages with, that stimulate an outsider’s assumption of their character. This notion is furthered through the covering of the muse’s eyes (or part of). Essentially these factors of the work demand the viewer to ask the question, ‘how do we define identity?’

Due to the size of the girl pictured with the measuring tape, do we assume she is lazy, insecure or has a lack of self-control? Each and every one of us have been influenced by the expectations that society has crafted, expectations that leave this girl stripped and bound by an identity that we’ve predetermined without even knowing her.