And here’s a few of the final images from the shoots

What’s the idea behind The Window Project
So we now have The Window Project up and running. The idea is simple. We want to take as many portraits as possible in 3 weeks. These are democratized portraits – we have other work to do so we’ve put a camera behind the banner (see below if you’re thinking of nicking it) and set it to take a photo every 5 seconds. Whoever feels the urge to follow on or all of the instructions – STOP, POSE, SMILE will have their photo taken. We’ll periodically take the photos out of the bank where it’s located, throw them into our magical portrait processing machine and put the pictures of people up on our facebook page, creating a gallery of portraits. We hope we can then connect with those people and decide to do something with those portraits down the track – exhibition, book or the like….

By Happier Snapper  |  View on Facebook

How did it start?
When our bank said we could have some window space to promote our business we thought – gee that’s strange for a bank. So what did we do? Well initially we went great, lets put up a banner with ads for our awesome photography courses. Then we went nah, that’s lame, how about we use it for a cool photography project instead. That seemed much more fun!! Then the bank said you’ve got 5 days until you need to install. We said how what when @$%@!! A night of brainstorming, a photoshoot, some banner design, some quick turnaround printing and some creative install ideas and we now have The Window Project…..

By Happier Snapper  |  View on Facebook

Where can I see the photos
At this early stage, we’re collecting the photos every few days and then getting rid of the duds and uploading the ones that look something like portraits onto our facebook page – facebook.com/whoisahappiersnapper. We hope these will then be shared and liked by the facebook community and world will spread like wildfire until there are people lining up to be photographed. Now that would be cool!

Where do I go to get my photo taken?
Just head to the corner of Swanston and Collins St in Melbourne. The project is setup in the window of the Westpac bank, just stand in front of the window with a big photo of a camera in it (looks like this….

How many photos will you take.
We’re trying to take a photo every 5 seconds, 24 hours a day for a month. Our rough calculation (remember we’re photographers not mathematicians) is that we’ll take around 17,000 frames a day which is 100,000+ a week which is around half a million photos over a month!!! . Then we have to edit out all the junk (not a lot of love around here for that job!!!) and give the people back the portrait jewels.

By Happier Snapper  |  View on Facebook

What if I want to nick the camera?
Well, firstly it’s inside the bank. If you want to take on the banks multilayered security system, that’s your choice. Secondly, the camera’s not really worth stealing. We need our high end gear for our regular jobs so the one in the window ain’t that grand. Thirdly, by stealing the camera, you’ll mess up the project and have the bad Karma of all those unmade portraits on your head…

Joseph Feil
By Happier Snapper  |  View on Facebook

What if I don’t want my photo taken?
If you don’t want your photo taken, then please don’t STOP, POSE and SMILE for us. If we do take your photo and you later decide you don’t want it shown, please let us know which photo (via the facebook page) or email us and let us know. We’ll take it down.

Who are you anyway?
We’re a team of photographers who work out of a studio in Port Melbourne called Blue Tree Studios. We work as professional photographers most of the time, working on anything from corporate portraits to high end advertising campaigns and documentary projects. We also run photography courses aimed at helping amateur photographers take better photos.

My photos are often terrible; tell me more about your photography courses
We currently run 2 courses suitable for a wide range of people under our Happier Snapper brand. Our 2 ½ hour introductory course has been running for about a year and we’ve had over 2,000 people through this course who have loved it. It’s aimed at anyone with any camera, is non-technical and fun.

We also run a photography walking tour from the city along the Yarra and into the Docklands. This is a 3-hour walking tour which gives people a hands-on photographic experience in a small class size with loads of personal attention. This one really gets peoples photography jumping along in leaps and bounds. For more information, check the events on our facebook page.

Does this have anything to do with Westpac bank?
Westpac has given us the window, other than that they have had absolutely no input into what we’re using it for. There is no link to the bank, it’s not a promotion for the bank and they get no benefit or use of the images out of it.

By Happier Snapper  |  View on Facebook

I am quite proud to have one of the photographs from my recent work in Japan selected for the 2011 edition in the Travel section (see image 4 below (also in the slideshow at the bottom).

Also included in the Annual are plenty of interesting insights from professional photographers on the best websites, blogs, software, studios, applications, equipment and more. Its a wonderful summary of some fabulous photography from throughout the year and a fascinating insight into the preferred tools, website hang outs and more of professional shooters. Capture magazine can be purchased at all good newsagents or subscribed to online at Yaffa Publishing.

Below are 2 galleries containing a larger selection of images from Japan.

Japan | Winter – Images by Joseph Feil

Japan | Winter Monotone – Images by Joseph Feil

Some are being published as books, some as traditional magazines, some as well designed online presences and some for ipad. I thought I’d take a quick look at a few of them and see whether this is the start of a new resurgence in outlets for quality photography and longform storytelling, or simply another round of hopeless idealists destined for a glorious but short existence.

Burn Magazine

Burn is curated and created by Magnum photographer David Alan Harvey and has been running since late 2008. It calls itself an evolving journal for emerging photographers and publishes new stories or singles at least 3 times a week via their online presence at www.burnmagazine.org. It is funded by direct donations and I assume some specific sponsorships.

As David says on his about page “burn is born from an educational imperative and to bring strong photographic essays and powerful text to not only photographers, but to anyone fascinated by a visual and literary interpretation of our complex planet. Your interpretations may be either journalistic in nature or esoteric subjective pieces. I hold all artists in high regard. With me as editor/curator you need never think “what does he want or like?” I will push you to do your thing, not mine…

We will do something very special right here on burn. A collaboration between thee and me. Adventure. Always exploring new territory. With YOU as the authors.”

Burn is interesting not just because of the high quality of stories that regularly emerge from the website, but also because they have begun to publish an online magazine/book. They are now up to edition 02 – which can be purchased worldwide for EUR35 + shipping – http://www.burnmagazine.org/essays/2011/10/buy-burn-02-in-print/

“Burn 02 is not a repeat of Burn online. Burn 02 is its own original work. A 1500 copy limited editon. Online is terrific, but when you hold 02 in your hand, you will know what photography is all about from our perspective. I am not published in it. I wish I was. The place to be published for sure”.

Also of note is the emerging photographer grant which they fund, details of which can be found here – http://www.burnmagazine.org/emerging-photographer-grant/

TAKE Photography Magazine

TAKE is a new venture by the guys and gals at Sydney design house DESIGN IS KINKY , and published it’s first edition on July 2011 – http://www.takephotomag.com/. It features a strong lineup of mostly well established Australian Photographers, with the first issue containing work by Tamara Dean, Stephen Dupont, Adam Ferguson, James Brickwood, Lee Grant, Martin Mischkulnig, Toby Dixon,
Lisa Wiltse and others and a preview can be viewed here – http://issuu.com/emptymag/docs/take_one_preview

Issue Two is currently available for pre-sale (which is helping fund the second edition) and they threw submissions for that edition open on facebook and then received a fairly overwhelming selection (duh!). Hopefully we’ll see it soon and as per issue 1 I’m assuming it will be available both online and at decent quality newsagents.

Timemachine

Timemachine is one I recently came across and is published by Lee Grant (formerly of Light Journeys) and Tom Williams. Also in it’s second bimonthly edition, it provides online galleries only at this stage. Submissions are loosely based on the current editions theme and encouraged from a wide pool of contributors. To date those published include Fiona Morris, Katrin Koenning, Michael Corridore, Ingvar kenne and Loiuse Porter – http://timemachinemag.com/

“Timemachine publishes contemporary photography from Australia and elsewhere in the world. Our emphasis is on showing new work and longer term projects; and bringing the concerns of photographers and their colleagues to wider attention. Do countries or cultures breed different ways of thinking and seeing? This is a place to look at new Australian image making alongside a selection of what’s emerging from around the globe.”

They are currently online only but would seem a great candidate for print at some point. Also it is well worthwhile checking out their Links page for a high quality list of Magazines, Festivals, Galleries, Agencies and Competitions.

MARTYN JOLLY: Facial Velocities

MICHAEL CORRIDORE: Today's your birthday

TERESA COS: I was there

ELENA DORFMAN: The Pleasure Park

CLAIRE MARTIN: Femme Fatale

FIONA MORRIS: Miss South Sudan Australia

ZED NELSON: Love Me

SUSANA RAAB: Consumed

SASHA WOOLLEY: Limelight

Once magazine

Once Magazine is taking the ipad angle with a premise built on a simple idea:
“It started with a simple realization: photographs look great on the iPad. And the problem? We couldn’t find any to look at.

The more we dug the worse things seemed. While photographs impact more people than ever before, outlets for visual storytelling weren’t keeping pace with either technology or shifting reader habits. The entire concept of curated photography, we realized, was ripe for a serious rethinking.

The product of our ensuing efforts is Once, a new magazine for the iPad that shares subscription revenue 50/50 with each issue’s contributors. This is, no doubt, something different. But Once is more than a magazine on a device and more than a new model. We’re excited to bring the photo story into the age of the app, and have an amazing set of features in development for both readers and photographers.”

Once Magazine — Available Now from Once Magazine on Vimeo.

The other interesting part here is that they split the app store revenue for each issue with contributors in a 50:50 split. They seem to be getting some good collaborative partners on-board as well, including Agence VU and LUCEO for the first edition. It’s got great photojournalism work and with the right social media marketing approach maybe they can cut through and generate a loyal subscriber base. I’d suggest checking out their blog - http://blog.oncemagazine.com/

If you’ve got a favourite photography magazine, hit it up in the comments….

The long awaited 2011 Ballarat International FOTO Biennale has finally begun and presents a wonderful opportunity to see a huge and impressive array of photography from both Australian and International artists. The Core program consists of 21 shows over 7 key venues (all within 5 minutes walk of each other in the Ballarat CBD). The Fringe program consists of 66 venues and over 80 shows. Then there are projections, workshops, special events, competitions and masterclasses. Luckily there is a month to see it all….

So with that much to offer, how do you choose what to see and do? I decided to head up to Ballarat from Melbourne to see what I could manage in a day and thought I’d share my thoughts on what I liked, what was worth seeing and how I spent my time.

Before I begin, let me clarify that my thoughts are based on my own personal preference. You may love what I hate, and hate what I love – that’s the wonderful thing about art. Also, I didn’t get to see everything in one day, so many shows will go unremarked on (but I am hoping to get back and see the rest so check back in).  For the record I did see all the core shows and 33 Fringe shows in the one day, starting around 10:30 and finishing around 5.  We also stopped for lunch, had afternoon tea by the lake and walked nearly everywhere.

So, here we go. Starting with my favorites and then working back:

My Absolute Favourites

Colin Page: Gossamer -Venue A (C):

This work is large, bold and impressive.  It features portraits taken under UV and infra-red light and the effect is both dramatic and powerful.  The subjects are engaging and the skin details revealed by the lighting technique create a real sense of vulnerability about our bodies and lives.   This was a standout and Colin has gone to a lot of effort to not only execute an idea but also to spend the required time, effort and money to create significant pieces of work.

John Gollings: Bushfire Aerials – Venue G (C):

John Gollings is without doubt a brilliant photographer.  A reasonably small but beautifully produced series of aerial B&W photographs following the Victorian bushfires, they have a lyricism, balance and beauty which defies the subject matter.   In the manner of a photographer who is on top of every aspect of the images he exhibits, these are flawless, perfect and stunning.

Frances Mocnik: The Night that follows Day – Venue G (C):

This is by far the most impressive documentary work in the Biennale.  It is a touching, amusing, thought provoking and grounding view of the confronting process that occurs after death.  Every image is necessary, each is multi-dimensional and each is adding to the story.   I had come across this work before but there were a few images that were new and the effect on me just as strong as when I first saw it.

Great Shows Worth Seeing

Maggie Diaz: One Way Ticket – Venue A (C)

Another documentary piece that is easy to view and thoroughly engaging.   Featuring B&W street documantary images from the 50′s, 60′s and early 70′s, these show a nostalgic view of places like St Kilda and Elwood Beach, Luna Park, the Melbourne Zoo and many other iconic locations in Australia and in the USA.  Many of the images include candid people, with a real slice of life feel, reminiscent of Time and Life magazines.  Loved it!

Tony Whincup: Playgrounds – Venue C (C)

I really enjoyed this series.  It was thoughtful, concise, well executed and possessed a strong sense of colour and composition to bring it all together.   The images are stark and devoid of people, yet the exploration of the spaces is such that people are front of mind when looking at the images.

Jan + Sarah Saudek: Dolce Vita – Venue A (C)

Not sure how best to describe this work.  It is humorous, sexual, confronting, sad, contrived and thoroughly engaging.  Of all the work exhibited, it is the least likely to be forgotten.  It won’t be to everyone’s taste but a quick read about the artists history helps give the work more context (nice article here at arts hub) and gives the work a real sense of being a true extension of the photographers life.  There’s also the issue of the image not on display which The Age discusses here

Duffy: The Man Who Shot The Series – Venue B (C)

The first 6 images as you walk in on the left are incredible.  Black and White fashion taken in the 60′s mostly (the Vogue image 2nd along is spectacular), these are beautifully created images, with that perfect mix of style and desire.   His later work (like the Bowie image on the left) is more edgy, in line with the fashion of the times.  The man is a genius but I felt the show was a little hit and miss for me for some reason.  I guess for a retrospective show that covers such a long period of cutting edge fashion and the work of a true trend-setter, there are inevitably going to be a range of images that appeal to different people

Louviere + Vanessa: As Id…[Creatures & Chloroform] – Venue B (C)

These were really interesting.  Not my cup of tea and a long way from straight photography as a record of an event or time.  These images are very much in the realm of the artworld and to be honest, their meaning was somewhat difficult for me to interpret.  Yet at the same time, I couldn’t help appreciate the strong emotional response they exuded.  The images have a definite strength and boldness.  Some will love them, some probably won’t, but it’s hard to ignore them.

Jack Picone: Nuba – Venue D (C)

A beautifully photographed and printed series.  Picone is fully immersed in his subjects world, providing an insiders perspective of a way of life that is far removed from anything we know.  There is a genuine familiarity with his subjects which shines through and a strength of character in his subjects which transforms the work from mere observation to a much stronger engagement.

Istvan Horkay: One Day of Mrs Houdini – Venue G (C)

This is another show that I was extremely impressed with but didn’t connect with fully.  The works are incredible muti-layered tableaux with a visual quality that is exceptional.  There is obvious thought and meaning behind the many hundreds of layers that make up these images and it again creates a desire to understand the images and the artist further.

Kathleen Winder: Columba Livia – Venue 8 (F)

This was a pleasant surprise!  Who knew pigeons could be so fascinating.  Exquisitely photographed in a clean, simple style resembling Andrew Zuckerman, the quality of the images and their display is first class.  But it’s the pigeons that are the stars of the show, constantly surprising with their uniqueness and personality.  A great show!

Christian Pearson: Conversations with the Land – Venue 24 (F)

OK so this one maybe shouldn’t be here as the venue wasn’t actually open.  We did however get a decent look through the window and I’m pretty sure it’s good, interesting work, featuring cubist styled landscapes which looked great (from afar….)

Darren james: Untitiled – Venue 28 (F)

Situated in a coffee shop on Sturt street, the images are a bit difficult to access due to the limitations on hanging space.  As such many are set way up high near the roof.  Irrespective of this, Darren has produced some lovely and intimate images that are engaging, beautifully printed and quite gorgeous.  Watch out for the poetic red print inside the cafe (back right) and also the right hand image hanging in the window.

David Simmonds: Finding Sacred Space in a Secular World – Venue G (F)

David has been a leading commercial photographer for many years and his art prints are nothing short of spectacular.  These are very big prints and their size both suits the subject matter and allows one to appreciate the attention to detail and perfection in each image.  Stunning architecture with a themed message on a large format really makes these work.

Solid Shows Worth a Look

Judith Crispin: The Cartographers Illusion – Venue A (C) – liked many of these a lot but felt that the flow of them was difficult to absorb due to the alcove nature of their hanging.  A few images that didn’t work for me but lots that did.
Chris Budgeon: What is True – Venue A (C) – These are strong pieces, with a very cinematic style somewhat reminiscent of Gregory Crewdson.  Large glossy prints, a well thought out subject matter and some really interesting pieces.  Unfortunately they are really hard to look at because of some serious reflection issues in the space – I was wearing a light coloured top and couldn’t escape my mirror image a lot of the time.
Lisa M Robinson: Snowbound – Venue B (C) These had some evocative images of places and items being released or held in by a snow filled landscape.  Again, a strong series but I thought some of the images were a touch off making it really work.
Rodger Donaldson: All Dogs Shot – Venue B (C) A large body of work and some really interesting and often amusing images. Real slice of life stuff and I liked the style but overall was left underwhelmed for some reason.
Sarah Louise Jackson: Creatures – Venue C (C) An impressive body of work for a young photographer, featuring wild animals shown in evocative B&W canvas prints.  A felt they were a bit overworked and they reminded me a lot of Nick Brandt’s work.   Sarah is passionate about Animal Welfare and is using these images to help raise awareness of the issue (which I’m sure they will)
Heather Dinas: The Hymn of Kassiani and Two Brides – Venue F (C) Another one that suffered from serious reflection issues and a less than ideal installation.  Once again this is a series displaying depth of thought as well as exquisite execution.  The images are sensual and beautiful and it’s a shame they are so hard to take in properly.
Maleonn: Little Flagman – Venue D (C) I was quite excited to see this after seeing the preview image but underwhelmed at the actual series.  Smaller pieces than I expected and again, not helped by a really poor hanging (no light on them at all) and the first couple of frames had exceptionally dirty glass.   Maleonn is obviously a very talented photographer with a cinematic and cleanly designed style associated with a narrative approach and I’m keen to see more of his work.
Alfred Gregory: Significant Moments of Time – Venue F (C) I had the pleasure of meeting and photographing Alfred a few years ago and as such I’ve seen a lot of these before.  As always, these are great documentary photographs.  The Blackpool series continues to impress and the large prints from the Everest expedition are awe-inspiring.  If you haven’t seen this work, it’s well worth a look.
Aldona Kmiec: Transient – Venue 14 (F) This was a surprise set of work that isn’t perfect but had some genuine moments of wow!   Essentially street / art photography in B&W, some of the images such as the multi-exposure Sumo and some of the upside down shadow prints were very strong.  I like it.
Carolyn Buckley: Shindo No Iken – Venue 16 (F) These are photographic compositions inspired by Japanese styling and textures.  They’re an interesting juxtaposition and blending of photographic images that I thought worked well.
MAP Group: Mapping Ballarat 2 – Venue 15 (F) Ok, I’m a bit biased here but it really is worth a look.  I’m biased as I have 3 images as part of this show but there is some genuinely good work on display, all photographed in and around Ballarat.  The images by Meredith O’Shea are the standouts, with some strong work by Melanie Faith Dove and others as well.  It’s also worth checking out the extended set of images by parking yourself on the street bench outside the visitor information centre where you’ll see the images projected on a TV in the window.  I’d recommend coming after dark with a blanket and a mug of hot tea!
Julie Millowick: Quotations – Venue 16 (F) Julie’s work is always thoughtful, exquisitely produced and the type of work that grows on you the longer you look at it.  It’s hampered a bit in this space by reflections but certainly worth a good look.
Eric Algra: Ned Kelly Was Here – Venue 29 (F) The first thing about these are they are in need of a good edit.  But amongst the excess I found a light-hearted, well shot and well printed series of photos exploring the legend of Ned Kelly in a very Australian fashion.  With an edit, larger prints and a bigger space, this has the makings of a strong show.  Documentary in style, it reminds me of a USA road trip series, done Australian style.
Neil Cash: The Shape of Music – Venue 29 (F) These are really interesting and meticulously put together.  A compilation of images and graphics based around music, these are very graphic in their design and very clean in their execution.  They don’t come across as photography, more as graphic design but I liked them anyway.
Teagan Glenane: Issa’s Story – Venue 29 (F) It’s a shame these don’t have the space to breathe on the wall somewhere as they are a sensitively photographed documentary series with a really strong and emotive storyline.  Unfortunately they’re a bit cramped and hard to engage with in the busy space they occupy but the quality of the work is undeniable.
Dave Tacon: Xpan – Venue G (F) A great format and some great shots from a number of interesting places in this series by editorial photographer Dave Tacon.  The wide format really works in telling a story within a single frame and many of these do that very well.
Jeanne Wells: Things of this World – Venue 35 (F) These are fun and unique.  They capture tiny slices of life using a wet plate collodion method and not only is the end result engaging and emotive, but the process by which they are created is on show as well.

Shows with something worthwhile (or that you might like more than me)

Les Horvat: Momentum of the River’s Flow – Venue A (C)
Anton Van Der Schoot: My Art – Venue 33 (F)
Osamu James Nakagawa – Venue E (C)
Darrian Traynor: American Fine Dining – Venue 59 (F)
Cynthia Karalla: After Death Options – Venue G (F)
Carly Michael: Air – Venue 6 (F)
Rosalind Lawson / Lynden Nicholls: Meniscus – Venue 8 (F)
Jane E Brown: Afterlife – Venue 14 (F)
Group Exhibition: Melbourne Silver Mine – Venue 38 (F)
Lea Williams / Paul X Stoney: Eclectic Decisive Moments – Venue 34 (F)

And Then

Carmel Riordan: The Mighty West – Venue 27 (F)
Gypsy Pennefeather: Cafe Bibo – Venue 21 (F)
Simon Peterswald: Chrome – Venue 29 (F)
Patricia Gabb: Polar Bears of Hudson bay – Venue 29 (F)
Mel Woolcock: View and Review – Venue 1 (F)
Emma Blee / Roger Farrell / Meredith Harvey: Inhabited Space – Venue 3 (F)
Gabrielle Hingston: Melbourne Street Scenes – Venue 2 (F)
Melanie Jayne Taylor: On the Rise – Venue 32 (F)
Lawrence Winder: Continuum – Venue 20 (F)
Jack Wilson: What Costume Shall the Poor Girl Wear – Venue 4 (F)
John Lamb: Textures of Italy – Venue 4 (F)
Lorraine Harvey: Dancing in Ballarat – Venue 13 (F)

Finally, though some shows may not be in my must see lists, congratulations to everyone who made the effort to be included in the biennale. It’s wonderful that the Biennale is inclusive enough to offer space to both experienced and new artists of varying levels of both photographic and exhibiting skills. In addition, many of the venues (in particular, but not only the fringe venues) are not well suited for photography and thus work that is excellent is often let down by the space which contains it – a necessary compromise when hosting this many shows.

Leave you own opinions and favorites in the comments below…

I love photographing people on the move – it’s street photography for the modern age where people never seem to stay still.
City Movers – Joseph Feil