PSC is now working on an arrangement with Phase One that will benefit students and the college alike. Watch this space of further announcements on this one.

In the meantime – check out Ian’s work at www.alteredimages.com.au and more about PhaseOne at www.phaseone.com

Photo caption: Phase One reps James Johnson (far left) and Colin Johnston (far right) pictured here with (l-r) well known Australian photographer, Ian van der Wolde, PSC’s Managing Director, Julie Moss, Studio Manager, Dru Blumensheid and Chief Technology Officer, Adi Selimanovic.

“US photographer Garry Winogrand said “hopefully you risk failure every time you make a frame”
His words encourage me to ‘have a go’
Nothing ventured
Nothing gained

A desire to tell a story through images
A need to express myself creatively
An opportunity to have a go
and make the journey as amazing as possible

A love of humanity
A need to connect with others
A privilege to be doing what I love
This is why I photograph”

For more information:
Press Photography: then & now. With Bruce Postle & Melanie Faith Dove | Monash Gallery of Art

Click here to watch the interview on ABC iview

Over several winter seasons, Joey has lived, worked and travelled around Japan. These images were taken on his most recent road trip around Hokkaido using a medium format Hasselblad. Joey hopes the series will express the beauty of this magical place and show some of the reasons why he has fallen in love with the land, snow and lifestyle of the island.

This is the second People’s Choice award and it reinforces the democratic credentials of the prize with over 3500 visitors to the exhibition voting for their favourite portrait.

Upon hearing of the award, Faith Dove said ‘Being voted People’s Choice winner is extremely exciting. To be chosen by the hearts and gut responses of the public means I have communicated effectively and touched the viewer. To me that is the definition of success’.

The National Photographic Portrait Prize is an annual event intended to promote the very best in contemporary photographic portraiture by both professional and aspiring Australian photographers. The Gallery is offering a prize of $25,000 for the most outstanding photographic portrait.

Melanie Faith Dove’s portrait, Face of South Sudan 2012.

Kevin Moore ed., Starburst: Colour photography in America 1970–1980, exh. cat. Cincinnati Art Museum, 2010, Hatje Cantz Verlag, Ostfildern.

Starburst: Colour photography in America 1970–1980 is the catalogue of an exhibition at the Cincinnati Art Museum in 2010. The 1970s saw a grudging acceptance of colour photography in the art world. The process was difficult because colour seemed to accentuate surfaces in images, and this superficiality gave a new—and for some unwelcome—kind of innocence to the representation of American society. Suburbia, fashion, gardens and landscapes, and material culture captivated the eye for a decade. Colouring was often not subtle. The popular taste for fuschia, orange, and aqua now seems faintly ridiculous, like the fashion for pale blue eye shadow.

Astutely, the curatorship here leavens the truly mundane with the haunting emptiness of William Eggleston, the proto-punk nude photography of Les Krims, the incipient Postmodernism of Robert Heinecken’s appropriation of advertising imagery, and the understated social observation of Mitch Epstein, Helen Levitt, and Neal Slavin. Essays by the principle author Kevin Moore and Leo Rubinfein explain these phenomena, and an essay by James Crump gives an account of what was to settle out of this tidal wave of colour, even as it was overtaken by the cooler, slicker, and more disengaged 1980s.

The Hub.

© Michael Coyne, Rehabilitation Centre, Iran (1985)

In conjunction with the current exhibition ‘WAR/PHOTOGRAPHY: Images of Armed Conflict and Its Aftermath’, Annenberg Space for Photography has published an in depth article focusing on Michael’s experience during his an eight year period in Iran.

This article gives insight into Michael’s journey, the background to his images and his recollections of shooting in challenging circumstances.

Michael Coyne has been a Senior Fellow at PSC since 2011. In this role he lectures and mentors students of PSC, particularly those interested in photojournalism and documentary photography.

He is based in Melbourne, Australia, and has worked on assignments and appeared in magazines such as: Newsweek, Life, Time, National Geographic Magazine, New York Times, Sports Illustrated, Smithsonian, German Geo, French Geo, Paris Match, Madame La Figaro, London Observe Magazine, London Independent Magazine, Travel Holiday, and Vogue.

His numerous awards include: American National Press Photographers Association, Overseas Press Club of America, FCC Hong Kong Human Rights Certificate, Children’s Book of the Year, The Religious Book of the Year.

WAR/PHOTOGRAPHY: Images of Armed Conflict and Its Aftermath will show at the Annenberg Space for Photography through June 2, 2013.

When did you get into photography? 
When I was 15. We were required to learn a new skill for a year 9 project. I borrowed my Dads 35mm SLR and really enjoyed playing around with it. I got a digital SLR that Christmas and was hooked from then on. 
 
How did you come across PSC? 
A student in the year above me at my high school, Rene Mitchell-Pitman (now a PSC final year Commercial student) told me about it, and his plans to attend. I came to the open day when I was in year 12 and the college seemed like a cool place to study.

What did you expect? 
I didn’t have too many preconceived ideas, but I like the students are all down to earth.

What have you enjoyed the most at PSC? 
I really enjoy the passion that the teachers emit. It’s contagious and I think the supportive environment that PSC maintains is the most valuable part of being a student here. 

How do you mange you time at PSC, work, friends etc? 
I took a gap year in Canada after year 12 and it has been somewhat difficult to transition back into structured student life, or structured life in general. 

What’s your dream job? 
Anything where I can travel. Perhaps a photojournalist working for VICE magazine or running my own travel blog and hopping around the world.

Where do you think you’ll be in ten years from now?
Not sure yet- I don’t like to plan that far ahead, it ruins the surprise.

What advice do you have for future students? 
Establish a solid file management structure for the mountains of photos you will take and be organised in general.