Photojournalist and Photography Studies College graduate Darrian Traynor spent the last three years in Gaza, Jordan and Lebanon documenting the lives of displaced post war communities. His latest exhibition 'Occupation Displacement' tells the stories of people who have fallen between the cracks. Darrian talks about his work, why being a photojournalist is never just a job and how Photography Studies College's mentor program was his window into the industry.

Monday 30 July 2018 6-7.30pm

Photography Studies College (Melbourne) is proud to present documentary photographer Isabella Moore for our 46th Image Makers Seminar!

Isabella Moore is an Australian/Peruvian documentary photographer based in Sydney, she independently researches and captures her own stories using both analogue and digital photo mediums. Her work has been featured in The New York Times, The Guardian UK, The Observer Magazine, Svenska Dagbladet, The Internationalist, YEN Magazine, Frankie, OYSTER, Dazed Digital and VICE. Isabella is interested in exploring her observations of contemporary Australian society, the way in which it is formed and how it continues to evolve. Commonly addressed themes are gender, identity and culture. Isabella was recentlyawarded a 'Highly Commended' for her finalist photograph 'Significance of Ceremony' in the Moran Prize, 2018.

On a recent assignment in Asia I shot still images, produced video clips and recorded sound bites from the location to be used as a soundscape for a sequence of images.

Technology has rapidly changed the way we think and work as photojournalists. To continue working in this genre many photojournalists have diversified, added extra skills and become multimedia experts. They have learnt to shoot videos, acquired interview skills and been taught how to write articles. All of this helps the photographer to have more control over projects and offer extra value to a media organisation. After all, when you pitch for an assignment you need to offer something that sets you apart from your competitors.

A number of photojournalists and documentary photographers are struggling to earn a decent living and yet they are still not willing to embrace the changes happening around them.

The Chilean piper played patiently while we waited for the light to be in the right place. I had allowed an extra  day on this assignment to research the location and determine the best time to make the image.

I arrived a lot earlier than I needed too, a habit I acquired early in my career from watching other photographers  at work. As a young man I assisted a National Geographic Photographer on a project. He asked me to get to the location early in the morning and I thought I had but he was already at there when I arrived, planning and preparing. By the time the talent arrived and the sun was rising, the photographer had everything in place        and was ready to shoot the image.

This weekend saw the conclusion of the World Press Photo Awards 2018 held on 13-14 April at Westergasfabriek in Amsterdam.

The winning image of ‘the burning man’ (above) taken by Ronaldo Schemidt from Venezuela as part of a series of images documenting the Venezuela Crisis of 2017 was a popular choice. Ronaldo, who works for Agence France-Presse, is based in Mexico. During his presentation and panel discussion at WPP with his fellow Venezuela based AFP photographer Juan Barreto, he presented images of the lead up to the events documented in his winning image, and spoke of the risks to the photographer placed in an undeclared  ‘civil war’. The victim suffered 70% burns to his body and remains alive and hidden in his home country.

The smoke was slowly spiralling from the woman’s ear as the surgeon leaned over to complete her work. 

The doctor was performing a middle ear operation for a patient on The Lifeline Express, a train that has been converted into a travelling hospital. The train journeys across India to poor, remote villages, and the medical staff from India and overseas donate their services for free. On this occasion, we were parked at the Wardha railway station in the state of Maharashtra while the medical staff performed surgery and provided treatment for polio, cleft palates, middle ear infections, cataracts and dental conditions. 

Documentary photographers are often accused of focussing on the negative side of life, only taking pictures of dead bodies, conflict and misery. One critic claimed that some photographers climb over loving couples, cooing babies and contented grandparents in order to shoot the only negative aspect of an event. To a certain extent the critics are right but I don’t believe this is always the truth. 

For instance, in my project about Village Life, I am trying to look not only for the challenges facing rural communities but also the joy, rewards and life enhancing moments that can be found in villages.

Recently, I was in Italy photographing Italo Mondovecchio, a farmer from Tuscany. “Can I get my chicken?” Italo asked. He returned from the shed tenderly holding a beautiful looking bird. I lifted the camera to take the portrait and immediately Italo burst into song serenading, with gusto, his best friend, the rooster.

Waiting is a big part of my working life as a photojournalist. Waiting to be contacted, waiting for permission, waiting for the light and waiting for the right moment to happen. Recently, I was waiting at a Timor Leste prison for permission to photograph the inmates. I sat behind the metal bars watching the sun going down hoping we could start taking pictures before it got too dark. Getting into a prison as a photographer is not always easy. Permission has to come from the guards, warden and often politicians, all of which takes time. Everyone has a vested interest in what I see and photograph except regrettably the prisoners themselves. Waiting was uncomfortable, the buckled chair wobbled and threatened to collapse each time I moved. Across the compound I could see men with the word prisoner, emblazoned in bold letters on their shirts. I’ve photographed prisons in other countries. Sometimes it’s easy to get in and on other occasions I’ve waited days, weeks, even months to be told no, I can’t come in. Once when I was at a prison in the Philippines a guard with a gun strapped across his chest, performed karaoke for me as I waited to meet the prisoners. On this occasion I was lucky. I got permission, passed security, went through the gates and then I waited for the prisoners, also the captive audience of the guard’s karaoke via loudspeakers. A poorly performed Elvis Presley numbers doesn’t make waiting any easier!

In the midst of our end of year presentations and exhibitions, PSC has added an exciting element to the journey of our students as they embark upon a new chapter. Louise Clements, the co-founder / curator of FORMAT Festival is coming to town for our next Image Makers Seminar on the 27^th of November. All tickets are free, but you are required to book your seat by going to our Eventbrite Page. In addition to this, we will be giving our students, alumni and guests a chance to get their folios reviewed by her!

In the midst of our end of year presentations and exhibitions, PSC has added an exciting element to the journey of our students as they embark upon a new chapter. Louise Clements, the co-founder / curator of FORMAT Festival is coming to town for our next Image Makers Seminar on the 27^th of November. All tickets are free, but you are required to book your seat by going to our Eventbrite Page. In addition to this, we will be giving our students, alumni and guests a chance to get their folios reviewed by her!