As we countdown to the launch of the 2015 Australian’s Annual, with the associated group Gallery Exhibition, we wanted to give all those fans of fashion and fine art photography something to tease their creative appetites. Over the next 10 weeks we will be giving viewers of FIB.com a chance to see interviews and some of the work that will be in the MASTERS OF PHOTOGRAPHY Vol 13 Australians Book and Show.
Aboud is recognised for her audacious portraiture. Her subjects have ranged from Lina Wertmüller to Frank Stella, Wim Wenders, Gough Whitlam, Imran Khan, Debbie Harry and Cate Blanchett.
Here is a snippet of our interview with the talented Michele Aboud.
With the evolution of photography today, the rise of the “selfie”, the boom of image publishing sites like Instagram, and the use of Photoshop and other beginner level image Filtering effects, it could be said that there has been a Democratisation of imaging making, and that anyone with an iPhone is now a photographer. How has this changed the industry? What does it mean for the professional photographer? And where do you see it going?
Professionally speaking, there has been a seismic shift from the photographer working in mystery to an all out involvement of the world engaging with photography. It’s not that difficult to create something new that intrigues the viewer through the many apps/Alien skin treatments that are readily available.
Images are easily manipulated to look “special”. Will this change? I’m not sure. The one thing I know is that we, the audience, will forever demand a different perspective to the last image we’ve seen.
Fashion photography, in the past has been seen as a prestigious almost exclusive club, do you think things have changed in that regard?
Fashion has become egalitarian; the variety of how it is recorded and created has so many different expressions. Many more people are using it as their creative voice now.
The late great Corinne Day refused to retouch her models, thus producing raw & sometimes gritty natural images, which stand in stark contrast to the kinds of heavily adjusted kinds of images created by people like the fashion duo; Mert & Marcus, whose end result is nearly 80 percent retouching and post production. Where do you stand on post photo manipulation?
Each to their own way of expressing, I appreciate many aesthetics. When I look at a photograph I can definitely feel the intention of the photographer, which can be enlightening or indulgent.
Nick Knight the British photography has been quoted as saying his favourite camera is his iPhone 6 not his Hasselblads. What do you say to that comment, and that “The best camera is the one you have with you at all times”.
I love snapping on my iPhone, I take great shots at times. I also like the discipline of a more elaborate camera, just in case I want to use the image for exhibiting.
The likes of photographers Nick Knight & Rankin have become media brands in their own right. Not only are they photographers but also media publishers, editors, journalists & writers. How important is innovation and the addition of new skills today? Is it enough to be a pure play photographer or do you need to add other elements to keep at the top of the game?
I feel you need to be aware of how the market and its demands are changing, best to be enthused rather than overwhelmed. And a bit of plain old curiosity doesn’t go astray.
Do you know of any rising new stars from here or abroad that you predict big things for in the industry?
I’m not sure about the “new” stars. The world of photography is so transient now.
What skills aside from the technical image making set do you need to learn & master to make it to the top level in photography?
This aspect has always been discussed; it involves how you communicate with the client and flow of shooting on the day. Your level of pre-production will also impact how the shooting day progresses.
What the leading magazines, websites on the art of photography that you look to and respect above all others?
I particularly enjoy the website “Nowness”, Love Magazine, Another Magazine and Paris Vogue.
What kind of things do you do to promote your work these days? What kinds of things do you do to get new contracts and commissions?
I enter a lot of worldwide photographic competitions and I usually do quite well. Last year I was successful with the Taylor Wessing Portrait Prize, National Portrait Gallery, London. Being selected for these prestigious photographic awards allows me to share the results through social media and to keep my clients posted.
Where do you ideally need to be based to be an internationally successful photographer?
New York would be a good start. Maybe LA if you like celebrity shooting, but I’m not sure of the European market.
How do you describe your style & technique? How do you keep it fresh in such a rapidly paced industry?
You can only be true to yourself when it comes to style and technique; people always recognise that. My style is clean with an edge of intrigue and I like working with polarities.
There will always be elements within my images that will hopefully captivate the viewer.
Are you loyal to a certain camera/s? How do you keep up with ever changing technology?
Technology is like a horse bolting with the cart. Be happy with what you have, you can always change when the time is right, or dare I say, “upgrade”.
Where do you find your inspiration? Do you have a muse, have you in the past? Why do you think you did that?
Inspiration is an internal process. The trick is not to have attachment to it because ideas flow much better if you just let it be. I have had several muses in my life, there is a certain aspect that I like to capture from one person and continue to explore through time.
What has been your career highlight so far?
There have been quite a few highlights. Lately, it was seeing my portrait of Stella Dearing hanging in the National Portrait Gallery, London.
I studied photography in London and if someone had told me: “in three decades you’ll have an image exhibited here,” I would not have believed it.
The above is a partial excerpt from the MASTERS OF PHOTOGRAPHY “Australians 2015″
To contact Michele Aboud check out her website here
