Feature Friday October 13th, 2017; Sally Kaack

“ ‘Hear the dance, see the music’  is a quote spoken by the legendary choreographer George Balanchine, to describe the relationship between dance and music. In six words, he has articulated how dance visually expresses music, and what dancers should bear in mind when they perform. For many, dance is music made visible.”

This quote is by second year Bachelor of Photography student Sally Kaack as she introduces her folio ‘Revelations’; which explores the natural communicative abilities associated with dancing.



Sally Kaack, ‘Revelations’, 2017



Why did you choose to do photography?
I chose photography because of it’s natural ability to preserve a moment in time. I’ve always had an interest in art and it’s story telling capabilities. Therefore, using photographs to portray thoughts and ideas, as well as recovering the thoughts and ideas of historical artist was a great interest of mine.

What are you working on at the moment?
I’m currently working on a photobook titled ‘We Came As Children’ which photographically explores the relationship between the notions of home and memory – using the nature and benefits of photography as a medium to document and preserve. The project includes archival images that my grandfather took, along with my own images. The series touches on the ‘saudade’ a Portuguese word, meaning ‘the love that remains’.


Sally Kaack, ‘We Came As Children’, 2017

Have you done a body of work that you have found challenging?
I think every body of work is just as challenging. As you grow as an artist, you want to explore new concepts, and find new ways to portray them. This also comes with a higher expectation of one’s self but it’s always a fun challenge, especially when it all comes together at the end – even if not how you envisioned!

Is there a series of work you have done that you are particularly proud of?
I just took part in a small group exhibition, where one of my series called ‘Faded’ was exhibited. This was my first folio that I created last year. It was exciting and nice to share the area with fellow students. With each body of work, I constantly think of something I could have done differently so it’s always a constant strive.

What is your dream job/shoot? Future ambition?
I’d love to be an art lecturer one day. Something I’ve learnt at PSC is how important it is to share concepts and build from one another. I think it’d be extremely rewarding, helping others develop and flourish. PSC has been an exceptional environment in this regard. In the mean time, I enjoy working with dancers and I’d love to collaborate with some of my favourites – one day!


To see more of Sally’s work follow her on Instagram, or check out her website.



Sally Kaack, ‘The Hanger’, 2017

Malaysia Monday; Monica Wilmott

Wanderlust, that deep desire to travel to a place far away, is a familiar feeling in so many of us. What if you had the opportunity to travel overseas and do a workshop with renowned photographers, then sit down and have a drink and chat with them afterwards, all the while improving your photography? Of course you would go! That’s exactly what some of our second year Bachelor of Photography students did. We recently caught up with Monica Wilmott who went to Malaysia’s premiere photography festival; Obscura.


Monica Willmot, 2017


What did you learn about photography?
When I was in Malaysia I learned that photojournalism is something that I wish to explore more in my work. I had some interest in PJ before the trip, but after being there and meeting with (Leonard) Pongo, it is definitely something I want to try out more in the future.

What was your favourite moment?
I had lots of great moments but my favourite would have been seeing my work at the screening, it was really short but I just had this great feeling of pride.

Who was your workshop teacher?
Leonard Pongo, he was great at giving feedback and I feel like I clicked with him a lot.

Did it change your perception on anything?
Being over there made me realise how big the photography scene is in other countries, especially in Asia. Photography is more main stream and in a way more accepted and celebrated over there which I found really cool.

What was your work about?
My original plan before I went to Malaysia was to do a documentary series about a turtle sanctuary in Penang National Park. However Leonard gave me the challenge “Can you make it look post-apocalyptic, like turtles took over the world” which was something I really ran with in my series.

Monica Willmott, 2017

What were some of the challenges you faced?
The main challenge I think I faced was just time and navigating my way around an unfamiliar city. I also found it challenging to just focus on photography for an entire 2 weeks, but also being surrounded by like-minded people 24/7 was something I found really exciting; it was really good to have them around to bounce ideas off at all hours of the day.


Now back in Melbourne, in your second half of second year (over half way through the degree), what are you working on? 
For this folio I am currently working on a photojournalistic series focusing on abandoned farm houses in northern Victoria. I came to this idea because I live in an area that is constantly expanding, I often see farm houses that are full of history, being knocked down and replaced with new estates. My aim with this project is to show people how lovely some of these old houses are and in a way presvere them before they are gone. To find some of the houses I had to do some digging, I focused most of my research on looking at local reports, newspapers, some tourist information brochures and heritage listings for diffrent councils.


Monica Willmott, ‘Historic’ (working title), 2017


To see more of Monica’s work, follow her on Instagram.

Friday Feature 6th October 2017; Shelby Eade

Today we are featuring second year Bachelor of Photography student Shelby Eade and her experience at the Obscura Festival of Photography earlier this year.


Shelby Eade, “Pink”, 2017

How was your experience at Obscura? What did you learn about yourself or your photography?
It was good but it was intense, my workshop teacher was Wawi Navarroza. I learned a lot about my work flow, and my work ethic as a photographer, as well as how much work goes into every little thing. I also learned how to develop an idea and push it in a short space of time which was helpful to see what kind of drive you have to have.

What was your favourite moment?
My favourite thing was the end of the workshops, at the projection screening of what everybody did and created in those five days. We all came together like one big family.

Did it change your perception of photography?
It changed how I approach photography as a medium, I think more about my concept and how to approach the images themselves. Not just snap shots but thinking and planning for each image.


Shelby Eade, “Pink”, 2017

What was your body of work about?
My work was about the colour pink and my relationship with the colour itself. I looked at the colour and the architecture of the place I was in, finding the similarities between the buildings and my body-the familiar colours and shapes. At the age of six I begged for a Barbie pink room, everything had to be pink. As I grew older the stereotypical association with the colour pink of being weak and sensitive, caused me to dislike it.

Arriving in Penang the bold use of pink covering the buildings is what re-sparked my interest in the colour. The unfamiliar clash of strong shapes used with bold colours, are not common aspects within suburban Melbourne. Discussing ideas and bouncing things off of Wawi helped me push and develop my idea into what it became.

The main challenge I faced was the limitations of such a specific concept. I struggled trying to get it past just the colour, then when it came down to buildings and bodies, I struggled to make my body in the shape of the architecture.


Shelby Eade, “Maribyrnong/Mareingalk”, 2017

What are you working on right now?
My second semester folio. It’s about the Maribyrnong River, memory and home; I grew up near the Campaspe River and used to camp with my family along the Murray. Since moving to Melbourne, I’ve become homesick so I’m using the river as a reflection on my memories and my home.

This folio is a work-in-progress, how has it developed? How have you developed?
I’ve done a fair bit of research on the river and some pretty interesting things have happened. There used to be a meat packing business, and tea gardens; there is now a detention centre which you can see but can’t get to. I now also have more respect for the Indigenous history.


See more of Shelby’s work on her website.

Masters of Arts – Photography tutor; Kristian Häggblom

As the excitement for our new Masters of Arts – Photography program continues to gain momentum, we decided to learn more about the tutors who will be involved. Kristian Häggblom started working at PSC earlier this year, but has already made a lasting impression on the Bachelor of Photography students he works with.

Kristian Haggblom, ‘Queenstown’, 1998


How did your postgraduate studies further your photographic thinking?
Doing a PhD enabled me to concentrate on a long-term photographic project and ensure it was completed to the highest standard. Importantly, it taught me to think more critically about my own work and also write about it with much more clarity.

What advice do you have for undergraduate students?
As an undergraduate student I think you need to saturate yourself in photography and the themes you are researching – read, read, read. I also highly encourage students to experiment, learn the basics, but also break the rules.

Can you tell us about what you are presently working on?
I’m researching a bearded seal that lived in the Tama River in Tokyo for a time during 2002 and then disappeared.

What was the last exhibition or publication or curatorial project you worked on?
Earlier this year I collaborated with an Indian friend and photographer, Farhad Bomanjee, to curate an exhibition of my photographs made in Japan between 2000 – 2008. It was at his gallery in the Kala Ghoda Café in Mumbai and part of the extensive FOCUS Photography Festival.

What do you enjoy about working with graduate students?
Working with graduate students is inspiring as they are very passionate and often I learn from their in-depth research. It is also great witnessing breakthroughs in student projects, when the dot-to-dot process aligns and results become clear.

What’s the best thing about the environment at PSC?
The staff at PSC are all active in varying forms of photography and it is exciting to work in such an engaged an immersive environment.



Take a look at Kristian’s work on his website.


Friday Feature 22 September 2017; Leah Mitchell

Today we are featuring final year Advanced Diploma of Photography student Leah Mitchell who is one of our many mature-age students. Leah’s work has recently been picked up by Nude by Nature as she continues to experiment with studio lighting and product photography.


Leah Mitchell, 2017


What got you started in photography?
From a young age I would save up my pocket money, buy Kodak disposable cameras and take photos of my pets and friends. So the love of photography has always been there. I was a dancer for 18 years, so I was always in front of the camera but now I love being behind the camera.

When you started at PSC did you have an idea of the kind of photographer you wanted to become?
When I started at PSC, my dream job was to become a National Geographic photographer.

What is the most beneficial; thing you have learned up to this point?
If your heart is not in it, it will show in your work.

What has been your most challenging moment so far?
Most challenging moment would have to be my first folio presentation as I used to a have a fear of public speaking.

What about your most rewarding moment?
My most rewarding moment at PSC so far would have to be seeing my short film at the PSC Cinema night and then seeing it used for advertising of the Social Media course.

How has your style developed?
I feel my style has a commercial feel to it now, I do a lot of portraits and still life.

What is the body of work you are most proud of?
The body of work that I am most proud of is my still life series called ‘Seven Deadly Sins’ which was my folio for trimester 3.

Leah Mitchell, Seven Deadly Sins, 2017


What are you working on at the moment?
I recently did a Korean Fashion Shoot which was a collaboration with another photographer for MiranDay Designs. At the moment I have picked up a couple of jobs; I did my first newborn photo shoot, and also have a few family portraits lined up. For my final semester, I am working on a makeup folio inspired by the Wizard of Oz. I’ve actually got my own little studio in the garage at the moment that I’ve using to play with my still life work.

What do you do when you’re not taking photos?
When I am not taking photo’s you would find me in a shopping centre buying new products to shoot.

Where does your motivation come from?
My motivation comes from my passion and love of photography. I could not imagine doing anything else in my life.

What is your dream job?
My dream job is to be a fashion photographer and to see my work on the front cover of a magazine.


Leah Mitchell, 2017

To see more of Leah’s work, follow her on Instagram.

Feature Friday 15th September 2017; Kaitlyn Church

Today we are catching up with second year Bachelor of Photography student Kaitlyn Church who recently went to Malaysia’s premiere photography festival; Obscura in George Town, Penang. Kaitlyn was also selected as having one of the best projects in the Visual Document class, taught by Alana Holmberg and Bella Capezio.

Broken Wind, Kaitlyn Church, 2017

What was your visual documentary about?
A man named Stewart who repairs musical instruments in Thomastown at a place called Broken Wind. My brother and I grew up in band rooms, orchestra pits, and grand theatres. Music dictated our lives and we regularly opted to attend music lessons instead of actual class- often to the disgust of our other teachers. For me music was my means of escaping the stresses of day to day life when I played, I did not think of my worries, but was able to get lost in the rhythm.

What are you working on now?
I am in the middle of a series documenting a small town ‘Population of 7’ which is located in the Anakie Hills. This series documents the people and the landscape of Stieglitz. (It’s still a work-in-progress; I’m trying a few things at the moment but I haven’t decided on anything for certain yet)

Kaitlyn Church, ‘Population 7’, 2017

What are some challenges you have overcome?
I find every series I do challenging in some aspect. I actually started a completely different topic for this assignment but had to abandon it on the day due to terrible weather.

What series of work so far are you most proud of?
My series ‘Reborn’ which was recently on display at The Queen Victoria Women’s Centre is probably the one I’m most proud of. It was such a strange subject matter but I didn’t want to portray it as creepy-as these dolls are often deemed- and I think I was pretty successful in doing so.

Kaitlyn Church, ‘Reborn’, 2017

Do you have any plans for what you want to do with photography after studying?
I’m still not entirely sure where I want my photography to take me, I definitely have a strong interest in documentary and photojournalism so something along those lines would be great, but I don’t have any specific plans as of yet!

What was your experience of Obscura?
Obscura was fantastic! I worked with Leonard Pongo. It was challenging, but in a good way. It pushed me to produce work that is different to what I normally do, and change my practice; I can definitely see the changes since I’ve come back.

Did you learn anything about yourself/photography?
I went to Obscura with the intentions of doing something completely different to what I have done before, I wanted to challenge myself photographically. What I did not realise is how much it would push me in other aspects of my life. I was photographing people on public transport, which forced me to be more confident; especially when shooting.


Kaitlyn Church, 2017

What was your favourite moment?
The whole trip was fantastic, but I must say the screening was a standout moment. During the workshop week, I was always out shooting, so I didn’t get a chance to see what my peers were creating. Being able to view not only my own work on a large screen (which was an awesome experience) but to also see what everyone else had been doing that week was great! The quality of the work was outstanding- especially considering it was produced in a week.

Did it change your perception?
It was good to spend a week focusing on something completely different, and it has definitely encouraged me to approach my current work in another direction. I have been experimenting with some of the techniques I used to create that work, with the work I’m currently creating.

What was your work about? 
The work visually explores my habit of people watching especially on public transport.  I find it interesting how public transport brings together people who wouldn’t have been brought together in any other circumstance, and may never see each other again Whether it be the business man returning home from his 9-5 job who falls asleep as soon as he gets to his seat, or the tourist who only came up for the day, staring in awe at all the lights as the train pulls from the station.


Kaitlyn Church, 2017

How did you arrive at this idea?
I had been thinking about doing a project based on public transport for a while now. But I never really had the guts to pursue it. I was struggling to come up with an idea for my project for Obscura so I decided to finally continue with this concept.

What were some of the challenges you faced?
I’m not the most confident person or photographer, so jumping on a crowded bus with a large DSLR was not the easiest thing for me to do. Until this project I never noticed how loud a cameras shutter could be I was so scared someone would yell at me for taking their photo.


To see more of Kaitlyn’s work, follow her on Instagram

Feature Friday 8th September 2017; Luke Rush

Now in his final year of the Advanced Diploma of Photography, we caught up with one of our talented commercial students Luke Rush who recently won his second silver award from the AIPP.



Luke Rush, Untitled Nude

What got you started in photography?
I’ve always been interested in art and decided to leave high school after year 11 and instead studied a cert 4 in visual arts. I’d always taken photos but after a semester of studying the history of photography I thought it sounded like a great career. If I’m honest, I’m not that great of a drawer.

When you started at PSC, did you have an idea of the kind of photographer you want to become?
I’d say it would have been in the second semester of first year when I started shooting fashion just with some friends. I put together a team with a makeup artist, stylist, and my friend modelled for me. After that I loved meeting new people and working with other creatives, so I decided I wanted to be a portrait/ fashion photographer.

What is the most beneficial thing you have learned up to this point?
The most beneficial thing I’ve learned about photography and life is not to force things. Whether that’s in organising shoots, planning folios or just general day-to-day, everything will eventually come together if you work at it and let it happen.

What has been your most challenging moment at PSC so far?
Most challenging moment at PSC so far is always folio season.

What has been your most rewarding moment at PSC so far?
The most rewarding moment I’ve had at PSC was having my work up on the wall for the first time. I was so excited to finally make the wall, which was a goal from as soon as I started here. And it still is!

Luke Rush, 2017

How has your style developed?
I don’t yet know if I have a particular style. Aesthetically I try to differentiate the style in each shoot. I like having even skin tones and rich blacks in all my work. I tend to work best by improvising rather than planning. I find that if I plan shoot to the t I tend to overthink everything on the day and it never goes to plan. Photography is after all about problem solving.

So far, what body of work have you been most proud of?
The work I’m most proud of would have to be my untitled nude series. The series was shot digitally but I processed the images to look like film and then I inverted them to black and white. The idea behind the series was to photograph parts of a women’s body in abstract ways so that some are deceiving at first glance but still recognisable.

What are you working on at the moment?
At the moment I’m working on shooting for my book for my final folio. The focus of the book is really just to showcase the quality of work I have learnt to produce in my time at PSC. The theme of the book is to revolve around skin and flesh.

What do you do when you’re not taking photos?
When I’m not taking photos I’m editing them. But aside from photography I am a swim instructor and lifeguard.

Where do you find your motivation?
I find a lot of my motivation in the people around me. I also find a lot of motivation out of my own passion for photography and the goals that I have for myself.

Who/what inspires you?
I find a lot of inspiration in music videos and movies I watch. In combination with work I see through social media and the internet. At the moment I’m finding a lot of inspiration in Peter Coulson and Jo Duck‘s work. They are vastly different in style and aesthetic, but both get great responses out of the people they work with and I simply just love their work.

What is your dream job/shoot?
My dream job is to work for a major magazine or fashion label, ’till then I hope to work freelance. I’m also in the process of starting up my own portrait business.


Luke Rush, Red, 2017


To see more of Luke’s work, check out his website or follow him on Instagram.

Samantha Everton Visits PSC

Our Advanced Diploma of Photography art major students were treated to an artist talk today by Melbourne-based artist Samantha Everton. With incredible attention to detail in her images, Samantha discussed her practice; using a series of hidden wires and support harnesses – every element and movement within her images is captured in-camera.

Samantha Everton, ‘Marionettes’


With the students in their final year, Samantha also spoke about how necessary commitment, determination and drive are to sustaining a long-term artistic practice, while also speaking about how she manages her practice as a business.


This was an invaluable insight for our final year Advanced Diploma of Photography students! Thank you very much for dropping in Samantha!

See work by our art major students, and please contribute to their Pozible for their end of year exhibition.

AIPP Commercial Photographer of the Year 2017; Angela Miller


On the night of the APPA awards, PSC Lecturer Julie Wajs and her former PSC student Angela Miller APP AAIPP, chatted about how she felt winning the ‘2017 Commercial Photographer of the Year.’


Tell me about the feeling you had when you saw your prints (that won you the ‘2017 Commercial Photographer of the Year’) come off the printer. How did you feel? 


In my commercial work so much time goes into working with the client – discussing the brief, pre-production, the studio shoot and the final edit. So seeing the final images being printed is like seeing a final culmination of all that work (and long hours) in one image! When it’s all exactly like you imagined, it’s a brilliantly satisfying feeling for both myself and the client.

All my work is printed at Capture to Print by Rocco Ancora, (where I also assist as a digital retoucher when I’m not working on my own business Indigo Blue Studio). Printing is a total science… colour, calibration, print profiles, paper choices, it all plays a part. At Capture to Print, paper choice is determined by the images at hand. What you see on the screen, Rocco replicates exactly on paper and some.

What does winning this award mean for you? 

This is the first year I’ve entered the Commercial Category so the award means the world to me. It is such an incredible feeling being recognised by my industry peers! It means I’ve been doing something right – being myself, doing my thing and shooting for amazing clients. I’ve been determined this year to shoot true to my style of photography and not try and be something I’m not. (If the brief doesn’t feel like it suits my style I’m not inclined to go through with the job anymore.)

Admittedly, it’s nice to be at a stage in my photography where I’m beginning to know quickly what I do and don’t want to be doing! This award also proves to me that you never stop learning. I think every shoot I’ve done I can take something from it, good or bad and learn from it no matter how big or small the work is.

Would you like to add something else? 

I’m still kind of speechless, I’m so glad you are here to help me celebrate.

You’ve played a huge role in my development, forever grateful.


Feature Friday 1/9/2017; James Bugg

After almost missing an entry to the national awards, one of our final year Bachelor of Photography students James Bugg has won a silver at the Australian Professional Photography Awards in the landscape category.

James Bugg, 2017


What got you started in photography?

I had an interest ever since I was introduced to my father’s camera kit, my interest grew throughout high school and then I was just hooked.

When you first started at PSC did you have an idea of the photographer you wanted to be?
I always knew the kind of work I liked and was drawn to, however when I started at PSC  the photographer I wanted to become was different to the one I am now. PSC refined the vision I had for myself and my knowledge and inspirations broadened. I guess ultimately I hope the photographer I want to become constantly evolves and changes with time.
What has PSC taught you?
PSC has taught me so much, from technical aspects to information about the industry, It has really expanded my photographic knowledge. However the most beneficial thing PSC has given me is constant inspiration from the staff to push myself and my thinking.
What are you working on at the moment?
At the moment I am working on a project called “The Pines” which documents a small town in Melbourne’s south-east. The town, once a pine plantation is now a community struggling to get by. A prevalent culture of drugs, violence and socioeconomic status cause harsh realities to be prominent. The work deals with ideas of escapism and struggling Australian sub culture and will be presented in book form at the end of the year. See Work In Progress 
What do you do when you are not taking photos?
When I’m not taking photos I like to play music or get outside and go camping. I’m normally taking photos though, or looking at them at least.
Do you have a dream job/shoot? 
Not really, my dream clients would be Time, The New York Times and The Guardian, as well as publications such as Aint-Bad and British Journal of Photography.
To see more of James’ work, follow him on Instagram, or take a look at his website.