A section in a book that I’m reading at the moment provided a twist to the ‘you’re the average of the 5 people you spend most time with‘ idea that has been circling the internet for several years now. Specifically it said that if you’re the smartest person you know then you need to get to know some more people, if you’re the most creative person you know then you need to get to know some more people and went on like that for quite a bit. It’s funny that the Ninety Degrees Five group is five people – all are very talented and successful, if the alphabet soup of letters that they are able to append to their names is anything to go by – I wouldn’t mind being the average of this group by any means!
Of this group Christian Fletcher recently won Western Australian Landscape photographer of the year and International Landscape photographer of the year. He’s based in Dunsborough in South Western Australia, which looks like a fantastic part of the world if his photographs are anything to go by and is now on my list of places to visit. Christian seems to work predominantly with digital medium format cameras, which allows him to create large prints of his work, working with photoshop to fully extract the potential in each of his images. Check out the videos below to hear more from Christian himself.
Michael Fletcher is the film maker behind the documentaries that support the Ninety Degrees Five projects. The twin brother of photographer Christian Fletcher he turned to film making in an effort to differentiate himself from the stills that he’s brother was making. I’m quite glad that he did since I really enjoy his style of film making. I wish that he had a fully fledged website of his own. Instead I’ll point you to the video section on his brother’s website here and to his page on Vimeo.
Enjoy a few of my favorite videos above and below from the over 70 that Michael has posted.
I’ve enjoyed poking around on Tony Hewitt’s website as part of learning more about the photographers that make up the Ninety Degrees Five collaborative group. Tony is a wedding and portrait photographer although it’s his landscape and fine art work that I’m drawn to. I was curious to see that he isn’t just what I consider a ‘straight shooter’ but is will to add textures to his photographs and really push them to get the feeling he’s looking for in his photographs. I wasn’t expecting that from some of the work that I’d seen of his as part of the ND5 exhibitions but it just goes to show that it’s worth digging in to get a better sense of the breadth of work people are doing. Check out the interview and other videos of Tony below.
It seemed appropriate, given where my head has been in the last few weeks, to look at the collaborative group Ninety degrees Five this week. One of the questions that I’ve been asking is ‘as a beginning photographer how can you accelerate your improvement’ and realized that being part of a working group can greatly help. While I was thinking about that I was also wondering once you ‘make it’ whatever that means to you then what. Does the group that you’re a part of still work for you, do you move onto a new group that are more aligned with where you’re currently at? Where do the modern day masters go for feedback?
One of the things that came out of the Impressionists was a group sensibility within which the individuals still had a indue voice. I think that could also be said for this group too. The work hangs together as a whole and yet they clearly have distinct voices. Check out the videos below for more about the Pilabara project and South West Light.
When I first saw Hobie Porter‘s work I wasn’t sure what I was looking at – a ‘straight’ photograph, a digital mash-up or what. He is of course a landscape painter, and his work is a juxtaposition of the grand landscape with artifacts that he’s found. Perhaps not surprisingly what caught my attention are his seascapes in which he incorporates old ropes, propellers and a variety of other things that he’s found at the beach. One of the advantages that painters have over photographers is that they are able to paint what ever they imagine and so I had assumed that these beach artifacts were figments of Porter’s imagination. Not so. While there may be an element of interpretation he actually collected these objects for use as reference and then for the exhibition shown in the video below displays them as part of the exhibition. Check out the videos of Porter at work and of him discussing his art below.