TheLight Photography Magazine #17

EDISI XVII / 2008 1

EDIS

I 17/

2008

www.thelightmagz.com

FREE

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THEEDITORIAL

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THEEDITORIAL

PT Imajinasia Indonesia, Jl. Pelitur No. 33A,

www.thelightmagz.com

Pemimpin Perusahaan/Redaksi: Ignatius Untung,

Redaksi: redaksi@thelightmagz.

com, Kontributor: Novijan San-

jaya, Thomas Herbrich,

Siddharta Sutrisno, Joey Lawrence,

Mikael Wardhana, Rolfe Horne,

Iklan: [email protected] -

0813 1100 5200, Sirkulasi: Maria

Fransisca Pricilia,

[email protected],

Graphic Design: ImagineAsia,

Webmaster: Gatot Suryanto

“Hak cipta semua foto dalam ma-

jalah ini milik fotografer yang ber-

sangkutan dan pihak-pihak yang

terlibat dalam pembuatannya,

serta dilindungi oleh Undang-

undang. Penggunaan foto-foto

dalam majalah ini sudah seijin

fotografernya. Dilarang meng-

gunakan foto dalam majalah ini

dalam bentuk / keperluan apapun

tanpa ijin tertulis pemiliknya.”

COVER BY: NOVIJAN SANJAYA

AIM HIGH!Pepatah mengatakan, gantungkanlah cita-citamu setinggi langit.

Pepatah yang mungkin dipandang sebagian orang sebagai pepatah klise dan kadaluarsa tersebut rupanya semakin meluntur di kalangan peminat fotografi Indonesia saat ini. Melihat banyak peminat fotografi yang cukup puas mencapai apa yang telah mereka capai saat ini.

Memang ada pesan moral lain yang sering didengung-dengungkan orang bijak untuk selalu mensyukuri keadaan dan pencapaian saat ini. Namun sejatinya usaha mensyukuri tidak harus selalu berarti merasa puas dan berhenti. Berhenti untuk menjadi lebih baik lagi, berani untuk menantang diri sendiri untuk melakukan hal-hal yang terlihat tidak mungkin untuk dilakukan.

Untuk itu pada kesempatan kali ini kami hadirkan pemikiran-pemikiran anti kemapanan dalam berfotografi. Kit dapat belajar dari Joey Lawrence, seorang pemuda berusia 18 tahun yang sudah memiliki kemampuan fotografi yang jauh lebih senior dari usianya. Kita juga dapat belajar dari Mikael Wardhana, seorang fotografer fashion muda yang karya dan pemikirannya mampu membuat senior-seniornya merasa tidak nyaman menyandang gelar keseniorannya. Begitu juga dengan Rolfe Horn, seoreng fotografer senior yang tidak terbujuk oleh segala kemudahan yang ditawarkan teknologi digital dan lebih memilih analog dengan alasan kesempurnaan keaslian berfotografi.

Semoga kehadiran mereka dan pemikiran-pemikiran lain pada edisi kali ini dapat memperkaya dan mencerahkan kita untuk AIM HIGH.

The Light

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COVERSTORY

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MUSICPHOTOGRAPHY

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PORTRAITUREPHOTOGRAPHY

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Banyak orang mengatakan bahwa kemampuan berfotografi seseorang salah satunya ditentukan oleh umur dan jam terbang. Tanpa bermaksud mendukung ataupun menyanggah pemikiran tersebut, pada kesempatan kali ini kami kami menghadirkan Joey Lawrence, seorang fotografer yang baru berusia 18 tahun yang menurut kami memiliki kepekaan, kemampuan dan kematangan berpikir seorang fotografer. Melalui interview kami dengannya, kami temui beberapa jawaban-jawaban spontan yang jujur, sederhana namun memiliki kedalaman arti. Melihat hasil karya, pemikiran dan kemampuannya yang luar biasa ini mengin-spirasi kami untuk membawa semangat positif bagi peminat fotografi Indonesia untuk berkaca sekaligus berani mencambuk diri sendiri untuk berusaha terus menjadi lebih baik lagi. Berikut cuplikan pembicaraaan kami dengannya.

How did you know photography. Tell us from the beginning.I made some home movies when I was little about me being chased by dino-saurs... Then eventually our family got a digital camera point and shoot when I was older. Then I shot some local bands for a bit and eventually got bigger clients, better equipment and more money!

JOEY LAWRENCE, MATURE CAPABILITY OF PHOTOGRAPHY OF A VERY YOUNG PHOTOGRAPHER

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What interesting for you about photography?It makes me responsible for capturing a person and presenting them in one frame.

What makes you love travel pho-tography?Eating all the peanuts on the flights to the locations.

When shooting travel photog-raphy. What do you want to achieved or must be achieved?I am not looking so much for a photo-journalistic image, I am looking for a dignified portrait. The same thought process goes to a subject in a travel portrait as a commercial portrait. I do not believe in separating style based on the subject.

In both technical & non tech-nical aspect, what is the most important thing on doing travel photography.Putting the technical things at the back of your head only, so you may use them but are not distracted by them... and of course making a portrait with dignity.

“Putting the techni-cal things at the back of your head only, so you may use them but are not dis-tracted by them... and of course making a portrait with dig-nity.”

















On Non photography aspect, what should people learn or pay attention more to be a good travel photographer.Learn the story of their subject, what they believe in, or at least something small about them.

What triggering you to create a picture?It is the thing that fuels my journeys, without photography I would not be pushed to meet the interesting people I do, or see the beautiful places I see. I am very blessed to have the opportuni-ties I have.

“It is very important to first spend some time viewing work, learning technicali-ties, and learning but it is also just as important to forget all about other peo-ple’s photography, and ig-nore the industry of it com-pletely. When you do this, you can take a picture more honest to your vision.”













When photography are growing faster. So many photographer have an identically the same style & character. What should a photographer do to get still unique & distinct?It is very important to first spend some time viewing work, learning technicali-ties, and learning but it is also just as important to forget all about other people’s photography, and ignore the industry of it completely. When you do this, you can take a picture more hon-est to your vision.

You also shoot commercial & portraiture. What’s interesting about those two?A new challenge every shoot.

Which one do you like doing it most, travel photography, com-mercial photography or portrai-ture? Why?I like my personal work better because I have more control over my subjects.

What kind of photo deserved labeled as a good photo?A good photo is an image that makes another photographer jealous of course!

“A good photo is an image that makes another photog-rapher jeal-ous of course!”













“Make a lot of mistakes and experi-ment with everything you can.”













Share us some practical tips on making a good photos.Make a lot of mistakes and experiment with everything you can.

Not many young photographer or even they who older than you have better capability and confi-dence on photography. Share us some tips to at least be better on those aspect.I think the best and most successful photographers are always confident but also trustworthy. If someone doesn’t trust you, they will not be able to make a good photo with you and the quality will suffer because of it. A good photographer takes time out of shooting, and adds time into investi-gating.

“I think the best and most suc-cessful photog-raphers are al-ways confident but also trust-worthy. If some-one doesn’t trust you, they will not be able to make a good photo with you and the quality will suffer be-cause of it.”










THELEPASAN


JALANJALAN

BERBURU JET DARAT MALAM HARIPertarungan jago-jago balap mobil formula1 memasuki sejarah baru dengan diadakannya balap mobil malam hari di Singapore beberapa waktu yang lalu. Salah seorang fotografer senior, Novijan Sanjaya berkesempatan mencicipi mel-onjaknya adrenalin dengan menyaksikan event tersebut secara langsung. Dan kali ini ia membagikan pengalamannya secara eksklusif kepada team The Light.

“Gue bela-belain ke sana karena ini balapan malam formula1 pertama kali di dunia. Artinya walaupun banyak fotografer F1 yang sudah pengalaman memotret ajang balap mobil formula1, tapi kali ini semua yang datang sama-sama baru pertama kali motret balap mobil malam hari.” Ungkapnya. Dari sisi pengalaman, Novijan menganggap memotret balap mobil formula1 di Singapore ini sebagai salah satu pengalaman yang benar-benar menarik dan berbeda. “Waktu motret formula1 di Sepang, tanpa earplug pun gue masih tahan. Tapi di Singapore ini, waktu nyoba nggak pakai earplug kuping langsung berdenging lalu jantung pun jadi berdetak lebih cepat. Mungkin itu yang disebut orang dengan memacu adrenalin. Bahkan penonton di pinggir lapangan pun bisa merasakan deg-degan.” Sambungnya. Adalah jarak antara tempat penonton dengan lintasan balap yang membedakan antra sirkuit Sepang, Malaysia dengan Singapore ini. Jarak antara lintasan balap dengan penonton di Singapore hanya mencapai lima sampai enam meter. Dan itu lah yang membuat telinga berdenging ketika jet darat ini lewat di depan kita.


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Dari segi teknis, Novijan beranggapan tingkat kesulitan memotret balap mobil formula1 malam hari lebih sulit. Pertama, karena pencahayaan yang lebih minim dibandingkan siang hari, sementara kecepatan rata-rata mo-bil balap formula1 bisa mencapaui 300 kilometer per jam. “Teknik yang paling sering dipakai untuk motret ini adalah panning. Bedanya, kalau kita motret panning mobil formula1, kecepatan panning kita bisa empat kali lipat dari panning mobil biasa. Jadi buat yang belum fasih dengan teknik panning pada mobil biasa, akan mengalami sedikit kendala dengan mobil formula1.” Terangnya. Dari sisi peralatan, memotret formula1 malam hari menuntut kamera yang mampu menangkap gambar dengan baik den-gan asa tinggi. Novijan sendiri banyak bermain dengan ASA 1600 hingga 2000 tanpa exposure compensation. “Kalau motretnya siang, Speed & ASA nggak akan ada masalah.” Jelasnya. Untuk setting speed, Novijan men-yarankan 1/600 untuk mendapatkan foto yang freeze. Namun karena ingin mendapatkan efek dinamis melalui pergerakan-pergerakannya, Novijan mencoba setting speed 1/60 hingga 1/320. “Setting speed di bawah itu cenderung akan berantakan speed

“...di Sin-gapore ini,

waktu nyo-ba nggak pakai ear-

plug kuping langsung

berdenging lalu jantung

pun jadi berdetak

lebih cepat. Mungkin itu

yang dis-ebut orang

dengan memacu

adrenalin.”


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linenya. Sementara di atas itu akan sulit mendapatkan speed line karena akan freeze.” Jelasnya.

Dalam memotret balap mobil For-mula1 ini Novijan berpendapat bahwa tantangannya bukan sekedar meng-hasilkan gambar yang tajam. Tapi yang lebih penting lagi adalah memuncul-kan aksinya. Sementara untuk memak-simalkan teknik panning Novijan men-yarankan posisi fotorgafer tidak boleh terlalu frontal berhadapan dengan mobilnya karena hanya akan menda-patkan efek freeze saja namun aksinya kruang terlihat. “Kalau di Singapore jangan ambil tiket grand stand, karena posisinya nggak bisa pindah-pindah. Pilih tiket walk about.” Jelasnya.

Mengenai peralatan, Novijan men-yarankan untuk tidak membawa tripod, monopod saja cukup, karena selain tidak banyak terpakai akan membe-bani kita juga dalam mengelilingi sirkuit yang bisa mencapai 5 sampai 6 kilometer. Ia juga menyarankan untuk menggunakan lensa zoom agar lebih flexible mengatur posisi dan framing.

Salah satu hambatan yang ditemui Novijan dalam memotret formula1 di Singapore ini adalah hampir tidak

adanya area yang tidak tertutup pagar. Novijan sendiri berusaha mengakali hambatan ini dengan menjadikan garis-garis pagar untuk mendapatkan efek dinamis. Sementara untuk menda-patkan focus yang terpat, Novijan menggunakan manual focus karena jika anda menggunakan auto focus, kamera akan secara otomatis menyetel titik focus pada pagar karena berada lebih dekat dengan kamera dibanding-kan mobil balap yang ada di lintasan.

Dan untuk menambahkan kesan aksi yang lebih dinamis Novijan memadu-kan teknik panning dengan permainan zoom, sehingga pada beberapa foto didapat foto yang tajam hanya pada bagian tertentu, seperti helm dan ujung depan mobil.


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“kalau kita motret panning mobil formula1, kecepatan panning kita

bisa empat kali lipat dari panning mobil biasa.”


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“tantangannya bukan sekedar meng-hasilkan gambar yang tajam. Tapi yang

lebih penting lagi adalah memuncul-kan aksinya.”


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CONTEMPORARYPHOTOGRAPHY


LIPUTANUTAMA


LIPUTANUTAMA

BERBURU MANFAAT DARI HUNTING MODEL BERSAMAPehobi fotografi di manapun meyakini bahwa salah satu cara untuk meningkat-kan kmampuan fotografi, kita perlu saling tukar pengetahuan dan pengalaman berfotografi. Untuk itulah mengapa komunitas dan klub fotografi menjamur dimanapun. Dengan “bersekutu” pehobi fotografi merasa bisa dengan mudah dan murah meningkatkan kesaktian berfotografi. Proses pembelajaran dan tukar pengetahuan dan pengalamannya pun beragam. Mulai dari melakukan diskusi bersama, membahasa sebuah foto, saling tukar referensi hingga mengadakan acara-acara praktek berfotografi bersama atau yang dikenal dengan nama hunt-ing bersama. Indra, salah seorang pehobi fotografi yang terlanjur keranjingan mengikuti event hunting bersama pun mengakui bahwa setidaknya melalui hunt-ing bersama ia memiliki portfolio tambahan dengan hanya mengeluarkan sedikit biaya.

Keterbatasan dukungan finansial dan pengetahuan yang dimiliki oleh pehobi fotografi rupanya membuat mereka harus putar otak adu pintar untuk menyia-

sati cara mempertajam kesaktian berfotografi mereka dengan semurah-murahnya dan semudah-mudahnya. Upaya memperkaya portfolio yang rupanya menjadi salah satu senjata utama untuk “berjualan” jasa fotografi pun membuat mereka harus pintar-pintar menyiasatinya, karena ternyata membuat portfolio tidaklah murah. Sebagian orang yang tertarik akan memotret model rajin mengadakan dan mengikuti sesi hunting model bersama. Nah, ketika mendengar kata “hunting model bersama” mungkin ada sebagian dari anda yang sudah mulai bisa menebak arah pembahasan kami kali ini. Ya, kami di team the light sejak awal berdirinya majalah ini tidak pernah mendukung diadakannya sesi hunting model bersama, walaupun kami juga bukan institusi yang berhak untuk menentangnya.

SA, seorang fotografer yang sudah terjun di dunia professional dan akademis selama lebih dari 20 tahun mengatakan bahwa hunting pada awalnya tidak pernah ditujukan untuk sesi pemotretan yang menggunakan model yang mengarah ke fashion sebagai obyeknya. “Pada awalnya hunting dilakukan pada fotografi landscape, jurnalistik dan human

“Namun lama kelamaan, ada pihak-pihak yang mungkin terlalu “kreatif” dengan menambahkan unsur model pada obyek landscape. Ada yang menga-takan mereka me-nambahkan model pada landscape untuk mempercan-tik, ada pula yang mengatakan bah-wa penambahan model pada land-scape karena mer-eka tidak memiliki kemampuan untuk memotret land-scape yang baik, jadi setidaknya ka-lau landscapenya nggak dapat ya modelnya dapat.”


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interest. Jika kita telaah dari arti kata hunting sendiri yang artinya berburu maka hunting dalam fotografi juga seharusnya berburu obyek fotografi. Dan berburu artinya mencari, menge-jar, dan berusaha mendapatkan. Untuk itulah tepat jika hunting dilakukan pada bidang landscape karena artinya mengejar obyek pemandangan, atau pada bidang jurnalistik karena artinya mencari berburu momen, atau pada bidang human interest karena artinya berburu cerita dalam interaksi obyek dengan lingkungannya.” Ungkapnya. “Namun lama kelamaan, ada pihak-pihak yang mungkin terlalu “kreatif” dengan menambahkan unsur model pada obyek landscape. Ada yang men-gatakan mereka menambahkan model pada landscape untuk mempercantik, ada pula yang mengatakan bahwa penambahan model pada landscape karena mereka tidak memiliki kemam-puan untuk memotret landscape yang baik, jadi setidaknya kalau landscap-enya nggak dapat ya modelnya dapat.” Sambungnya. SA mengutarakan bahwa gerakan “terlalu kreatif” ini semakin lama semakin berkembang dan semakin banyak peminatnya. “Ada beberapa alasan yang saya duga me-latarbelakangi berkembangnya trend hunting model beramai-ramai ini. Yang

pertama adalah karena alasan finansial. Seperti kita ketahui membuat portfolio bagi mereka yang senang memotret model tidaklah murah. Setidaknya selain equipment fotografi yang harus digunakan kita juga perlu membayar model, make up artis dan juga menye-wa atau membeli kostum. Sayangnya tidak banyak pehobi fotografi yang memiliki kedekatan dengan model, make up artis dan designer, sehingga acara hunting model beramai-ramai menjadi jalan keluar yang “melega-kan”. Melegakan karena biaya yang ditanggung ditanggung secara kolektif bersama-sama.” Jelasnya. “Alasan kedua adalah ketidakpercayaan diri si fotografer dalam menghadapi model satu lawan satu. Seperti sudah dikata-kan banyak fotografer fashion profes-sional, bahwa ketika kita berhadapan dengan model satu lawan satu maka rasa grogi pasti muncul. Terlebih lagi ketika kemampuan berfotografi kita sangat terbatas apalagi model yang akan kita foto memiliki pengalaman dan kepercayaan diri jauh lebih tinggi dari sang fotografer. Perumpamaannya orang-orang seperti ini akan mengajak banyak temannya ketika melakukan pendekatan kepada seorang wanita yang ditaksirnya. Dia takut berhadapan satu lawan satu dengan wanita yang

“Alasan kedua

adalah ketidak-

percayaan diri si fo-tografer

dalam meng-hadapi model

satu lawan satu...”

“Jadi per-tanyaannya bagaimana anda bisa merealisasi-kan sebuah cerita jika anda tidak bisa men-gontrol elemen-elemen yang seharusnya jadi pendu-kung tercip-tanya ceri-ta.”


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ditaksirnya. Hal yang paling sering terjadi ketika ini dilakukan adalah sang wanita yang ditaksir malah jatuh hati pada salah seorang teman yang diajak menemani.” Sambungnya.“Kesimpulannya, bagi saya yang namanya hunting ya obyeknya adalah sesuatu yang tidak bisa kita atur, sep-erti alam, momen, dll. Jadi kalau ada yang namanya hunting model buat saya itu salah besar. Dan makin besar lagi salahnya jika dilakukan secara bersama-sama.” Tegasnya.

RW, seorang fotografer fashion yang berdomisili di eropa pun berpendapat senada. “Saya membagi fotografi keda-lam 2 jenis, yaitu fotografi yang sifatnya capturing story dan fotografi yang sifatnya creating story. Capturing story artinya menangkap momen penting ke dalam frame menjadi sebuah gambar yang indah. Pada bidang jurnalistik dan human interest momen di sini berarti pergerakan si obyek yang membuat gambar jadi memiliki cerita. Sementara pada landscape photography momen berarti pencahayaan yang pas, arah cahaya, intensitas cahaya, posisi awan, ketebalan kabut dan bentuk aliran air (kalau ada).” Ungkapnya. “Semen-tara creating story berarti mereka-yasa sebuah momen dan pergerakan

obeynya sehingka ketika direkam pada sebuah foto, gambarnya jadi berbicara. Satu hal yang membedakan keduanya adalah pada capturing story artinya kita tidak bisa mengontrol obyek, momen dan memiliki keterbatasan dalam mengendalikan pencahayaan. Sementara pada creating story kita memiliki keterbatasan yang nyaris tak terbatas dalam mengendalinak obyek, momen dan pencahayaan. Untuk itu yang termasuk dalam creating story adalah sebagian besar fashion photog-raphy, commercial photography, fine art photography, still life, portraiture, dll.” Tegasnya. “Dari pengertian tersebut bisa dikatakan bahwa “hunting model bersama” adalah sesuatu yang tidak sejalan dengan prinsip tersebut. Tidak sejalan karena seharusnya proses hunt-ing yang artinya berburu, seharusnya dilakukan pada obyek yang kendalinya sangat terbatas atau bahkan tidak bisa kita kendalikan sama sekali seperti momen petinju terpukul hingga jatuh, momen gunung berapi memuntah-kan lahar. Sementara sesi pemotretan model tidak bisa dikatakan hunting karena seharusnya model sangat bisa kita kendalikan.” Sambungnya. “Hunt-ing model bersama sama seperti memancing ikan di aquarium. Artinya kita berburu sesuatu yang sebenarnya

“Hunting model bersama sama seperti me-mancing ikan di aquarium. Arti-nya kita berbu-ru sesuatu yang sebenarnya bisa kita kendalikan.”


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bisa kita kendalikan.” Tegasnya.

Sementara mengenai “hunting model bersama” RW berpendapat bahwa hal ini bahkan jauh lebih salah lagi. “Hunt-ing model saja sudah jelas tidak tepat, apalagi ketika dilakukan bersama-sama. Mengapa tidak tepat, karena seperti pengertiannya bahwa me-motret model termasuk pada kategori creating story, sementara tidak ada story yang diciptakan beramai-ramai. Coba saja lihat dalam sebuah film bisa saja ada lebih dari 3 konspetor cerita tapi tidak ada lebih dari satu sutradara.

Begitu juga dengan memotret model, karena sifatnya adalah creating story maka proses eksekusinya seharusnya dilakukan sendirian walaupun boleh dibantu oleh satu orang make up artis, satu orang fashion stylist, satu orang designer, dan beberapa orang asisten. Tapi komando eksekusi tertinggi harus terdapat pada satu orang fotografer.” Tegasnya. “Coba lihat saja, apa yang bisa anda perbuat pada hunting model bersama, apakah anda bisa mengon-trol si model? Saya rasa tidak akan lelu-asa. Apakah anda bisa mengatur set lighting seperti kemauan anda? Saya

“Hunting model saja sudah jelas tidak te-pat, apalagi ketika dilakukan bersama-sama. Mengapa tidak tepat, karena seperti penger-tiannya bahwa memotret model termasuk pada kat-egori creating story, sementara tidak ada story yang dicipta-kan beramai-ramai.”


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bahwa memang benar tidak ada yang berhak melarang seseorang yang ingin melakukan hunting model bersama, namun yang harus dipertanyakan kembali adalah motivasinya dan tanggung jawabnya pada motivasi itu. “Memang sah-sah saja mengikuti hunting model bersama jika tujuan-nya hanya untuk senang-senang dan sosialisasi. Tapi mudah-mudahan mereka yang mengaku ikut hunting model bersama dengan alasan itu tidak pernah menggunakan foto-foto yang didapat dari hasil hunting model ber-sama untuk menjajakan jasa fotografi karena proses pembuatannya jauh diluar kendali dirinya seorang diri. Atau setidaknya mereka berani mengakui bahwa foto-foto itu memang dibuat pada sesi hunting bersama di mana ia tidak memegang peranan dalam men-gendalikan pencahayaan dan model.” Jelasnya.

Bagaimana dengan anda?

“...sah-sah saja mengikuti hunting model bersama jika tujuannya hanya untuk senang-senang dan sosial-isasi. Tapi mudah-mudahan mereka yang mengaku ikut hunting model bersama dengan alasan itu tidak pernah mengguna-kan foto-foto yang didapat dari hasil hunting model ber-sama untuk menja-jakan jasa fotografi karena proses pem-buatannya jauh di-luar kendali dirinya seorang diri.”

rasa juga tidak. Jadi pertanyaannya bagaimana anda bisa merealisasikan sebuah cerita jika anda tidak bisa men-gontrol elemen-elemen yang seharus-nya jadi pendukung terciptanya cerita.” Tegasnya.

Tapi di samping kedua pendapat yang kurang berpihak pada trend hunting model bersama, kami menemukan HK, seorang fotografer professional muda yang berdomisili di Jakarta sedikit lebih permisif terhadap fenomena ini. HK berpendapat bahwa kita tidak bisa semea-mena menyalahkan pehobi

fotografi yang ikut dalam sesi hunting model bersama. “Tidak semua orang berfotografi dengan cita-cita untuk menjadi professional. Ada sebagian orang yang berfotografi hanya un-tuk senang-senang, dan jika mereka merasa senang dengan mengikuti sesi hunting model bersama artinya sah-sah saja, karena tujuannya adalah bersenang-senang. Mereka bisa ber-temu teman sambil memotret model.” Ungkapnya.

Menanggapi pendapat HK, US seorang fotografer professional berpendapat





neep’s art institute (neep’s) kini hadir untuk

memenuhi kebutuhan standarisasi dunia fotografi yang

semakin meningkat. Mengikuti standar kurikulum luar

negeri yang lebih terarah, sehingga murid - murid di

neep’s bisa mendapatkan teknik yang benar. Secara

global, dalam pendirian institusi ini, neep’s yang resmi

beroperasi sejak 9 Maret 2007 lalu memiliki tujuan untuk

meningkatkan apresiasi foto masyarakat Indonesia ke

level internasional dengan cara mengembangkan

standarisasi yang lebih tinggi dalam pendidikan fotografi,

memperluas networking opportunity dan mengeksplorasi

bakat baru di bidang fotografi. Didukung juga dengan

pengajar yang mempunyai latar belakang fotografi dan

memiliki pendidikan formal fotografi di beberapa negara

luar seperti Australia, Amerika Serikat dan Kanada.

Dengan demikian neep’s diharapkan dapat menyusun

standar baru dalam dunia pendidikan fotografi di

Indonesia yang setara dengan standar yang berlaku di

negara-negara maju, khususnya di Asia Tenggara.

Saat ini, neeps telah membuka 4 kelas fotografi yaitu

NP 1, NP 2, NP 3 dan NP 4. Kelas-kelas tersebut adalah

kelas berurutan, siswa harus mengikuti placement test

bila ingin mengambil kelas tanpa mengikuti kelas sebelumnya.

Melengkapi kelas-kelas yang sudah ada, juga telah dibuka 2 kelas

digital imaging yaitu DI 1 dan DI 2. Fasilitas yang disediakan bagi

siswa adalah laboratorium komputer, wi-fi internet, perpustakaan

dan studio.

neep’s mempunyai misi untuk menyiapkan murid-muridnya menjadi

lulusan yang matang dan siap terap di bidang fotografi dan digital

imaging.

Untuk menunjang misi tersebut, maka neep’s art institute membuat

suatu wadah neep’s community dimana ini adalah tempat bagi

alumni, murid dan pengajar untuk bertukar informasi. neep’s

community mempunyai kegiatan antara lain seminar, workshop,

hunting, forum dan foto galeri.

Untuk informasi lebih lanjut dapat menghubungi (021 - 6306262)

dan (021 - 6306333). Atau dapat langsung mengakses ke website

neep’s di www.neeps-artinstitute.com

Disamping musik,sektor lain di industri kreatif yang berkembang pesat

adalah fotografi. Industri fotografi diyakini tidak akan mati karena

peminat fotografi semakin meningkat dan teknologi fotografi menjadi

semakin terjangkau. Hal ini secara tak langsung juga meningkatkan

standar fotografi itu sendiri.


FASHIONPHOTOGRAPHY


FASHIONPHOTOGRAPHY

MIKAEL WARDHANA, KEDALAMAN PEMIKIRAN SEORANG FOTOGRAFER FASHIONPada edisi yang lalu kami pernah menyinggung mengenai perbedaan antara fotografer yang benar-benar bagus dan fotografer yang kebetulan bagus. Ada-lah kedalaman pemikiran mereka yang membedakan keduanya. Mereka yang benar-benar bagus tidak sekedar menghasilkan foto yang baik tapi juga memiliki pemikiran yang memberi pencerahan bagi mereka yang mendengarnya. Semen-tara mereka yang kebetulan bagus mungkin dapat menghasilkan foto yang baik namun tidak memiliki pemikiran yang luar biasa.Secara kebetulan pada kesempatan kali ini kami menemukan Mikael Wardhana, seorang fotgrafer Indonesia yang tinggal di Australia. Bagi kami Mikael Ward-

hana memenuhi segala kriteria untuk disebut sebagai fotografer yang benar-benar bagus. Karena selain menghasil-kan foto yang bagus, ia juga memiliki pemikiran yang mencerhakan. Berikut pembicaraan kami dengannya. What brought you to do photog-raphy? Could you share with us a little bit of your background story?My passion for the creative world start-ed when I was very young. Of course, at that time, I didn’t know anything about photography. Our family had one cam-

era and it was this beautiful vintage Voightlander. At the age of about 4, I broke that camera into small pieces. Obviously after that I was grounded; not allowed to touch another camera (hahahaha), at least not until I was old enough to learn. I liked drawing a lot when I was younger and in particular, drawing female figure. I know most kids love to draw, however I was much more ob-sessed with it than the other kids were. I hardly paid any attention in class; I just drew and drew and drew. Which obviously got me into trouble many times with the teachers. (hahahaha). So, suffice to say I have always loved

“So, suffice to say I have al-

ways loved and admired the

female figure since an early

age.”


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Makeup Artistry: Jacqueline Parker | Fashion Styling: Vass Arvanitis | Model: Mena Lovin (Chadwick Management) | Assistant: Shane Lam


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and admired the female figure since an early age. My dad started teaching me how to use a camera correctly when I was about ten. It was a 1978 Canon Rangefinder. This time I didn’t break it into pieces and I started learning what aperture was and what shutter speed was, etc. But unfortunately, the cost of buying films and developing them was too expensive and so I had to stop.

In 2003, I finally bought my first cam-era. It was this plastic low-end 35mm SLR but it was enough to make me feel over-the-moon. I bought a bunch of expired films and soon after that I couldn’t stop snapping almost any-thing and everything. But at that time I didn’t know that it was a start of a brand new exciting journey in my life. How did you learn photography? Did you have a formal education in photography?Yes, I decided to take the full plunge into photography in 2006 and I com-pleted a ‘Bachelor of Art in Photogra-phy’ degree at RMIT University, Austra-lia. It was here that I went from being a “weekend warrior” to a professional photographer.

“When you tell people that you

are a still life photographer

for example, they will re-

spond “ahhhh okay” (with a

bland looking expression) but

if you say that you are a fash-ion photogra-

pher, suddenly people’s reac-

tions change to “wow”. I think

this perception is really dis-

torted because I believe fashion photography is no more or less

difficult com-pared to any

other genre.”


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What is it about fashion photog-raphy that fascinates you?In one word, women.

As I’ve explained before, since I was very young I have always been attract-ed to women and admired their beauty and complexity. So I guess I’m doing fashion photography because it is what my personality responds to.

Fashion photography is the closest sibling to movie making. This is one genre of photography where you can go pretty crazy with your ideas. One thing that fashion photography is not about, is documenting reality. Fashion photography is never about reality. It is about fantasy and story telling. Very much like building a script for a fictional movie.

You build your concept, create the characters and put them into a set, and then you direct the shoot. So you are creating images - not documenting reality. And that’s what fashion photog-raphy is all about.

And that is exactly why I love fashion photography; the dynamic nature of it. There is always something new for every photo shoot. Developing new

concepts, going to new places, new challenges and meeting new and exciting people. I just can’t ask for any better job.

Fashion photography seems to be the choice of many young photographers nowadays. Could you share some thoughts on thisThere are many reasons for this I think.

There is a general perception that fashion photography is the “coolest” genre in photography. People think that being a fashion photographer is so glamorous and you get to hang out with beautiful girls all the time.

When you tell people that you are a still life photographer for example, they will respond “ahhhh okay” (with a bland looking expression) but if you say that you are a fashion photographer, suddenly people’s reactions change to “wow”. I think this perception is really distorted because I believe fashion photography is no more or less difficult compared to any other genre. But I will let you have your own opinion on that.

The problem now is that there are so many other “fashion photographers” out there who are doing it for the

“Fashion photography is the closest sibling to movie making. This is one genre of photography where you can go pretty crazy with your ideas. One thing that fashion photography is not about, is documenting reality. Fashion photogra-phy is never about real-ity. It is about fantasy and story telling. Very much like building a script for a fic-tional movie.”


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makeup artist: Jacqueline Parker | fashion stylist: Vass Arvanitis | model: Mena Lovin (chadwick management) | assistants: Mabel Lim, Shane Lam, Nicole Corbett -- thanks to our outfit suppliers: Dolce&Gabbana | Versace | Roberta Scarpa | Roberto Cavalli | Manolo Blahnik | Calvin Klein


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wrong reasons. What they are doing is actually very degrading. They just want to shoot partially or fully nude girls and basically take advantage of them.

Like what I mentioned before, there are a lot more fashion pho-tographers out there nowadays. Do you think in general their quality is growing as fast as their number?I don’t believe I am in a position to gen-eralize and judge the quality of other young fashion photographers out there. But just like anything else, there

is a hierarchy that goes like a pyramid. The quality photographers become fewer and fewer as it gets closer to the top.

When you are shooting fashion, what are your goals? What do you want to achieve and why?It depends on the project, I suppose. But in general, a successful shoot for me is when every component of the shoot falls right into place. They have to feel right and “believable”, not forced nor over-the-top. It has to have this feeling of elegance.

First the concept has to be striking, the photography technique used has to be appropriate for the concept (more

“The problem now is that there are so many other “fash-

ion photographers” out there who are

doing it for the wrong reasons.

What they are do-ing is actually very

degrading. They just want to shoot

partially or fully nude girls and ba-sically take advan-

tage of them.”


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makeup artistry: jacqui parker | model: claryssa jameson


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“So I guess the most difficult part of being a fash-ion photographer is to be a Captain who can drive the team to success every time under any circum-stance; even when things are going against you. And have you heard the saying “You are only as good as your last job!”


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complicated doesn’t mean its going to be better), the styling has to be great, makeup has to be neat and flawless, and the model has to make the audi-ence believe that she is the character we are trying to portray.

After the shoot, my team and myself will look closely at the images. If they strike us, it means we have exceeded our own expectation. And hence, it is

successful. So we use a lot of “feeling” here. After all, it’s not something we can measure.

And obviously, a successful shoot also means it has to exceed the client’s expectation.

Tell us what is the most difficult part you normally encounter when conducting a fashion shoot?Being a fashion photographer is like being a captain of a ship with a large crew. It is a big responsibility to carry. There are a lot of decisions to make that will eventually determine the suc-cess of the photo shoot.

I am faced with various options and I have to make decisions all through-out the process. Whether it is in the pre-production stage, when shooting, or when post-producing the images. And when a huge amount of money is at stake, making a wrong decision can be disastrous. And fashion shoots are almost always very expensive to run. So failure is really not an option. The pressure is high.

So I guess the most difficult part of being a fashion photographer is to be a Captain who can drive the team to success every time under any circum-stance; even when things are going against you. And have you heard the saying “You are only as good as your last job!”

Share us some tips on how to discover our distinct personal style in our work.This is probably the question I cannot answer for you. If you are doing any form of art whole-heartedly over a long period of time, you are actually doing a study about yourself. It is a journey of discovering who you really are in person, the deepest, unseen fragments of yourself.

When you have a body of work in

“And obvious-ly, a success-

ful shoot also means it has to exceed the cli-ent’s expecta-

tion.”

“If you are doing any form of art whole-heart-edly over a long period of time, you are actu-ally doing a study about yourself. It is a journey of discover-ing who you really are in person, the deep-est, unseen fragments of yourself.”


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make up artist: Jacqueline Parker, Fashion Styling: Vass Arvanitis


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which people can recognize you through, you’ve successfully formu-lated your style. So keep on doing your art and reflect back on your own work continuously. It is a journey and it won’t happen overnight.

Share with us also the mindset & habits that we should have to be up to date to the current trend.(I don’t quite understand this question)Look at other photographers work and study them carefully. Question them why, why and why? Why are they good or why are they not good?

Find a few artists whose work inspires you the most and move towards that direction.

Now I’m not talking about the work of Joe the photographer from around the corner here. You should be looking at world’s best photographers’ work to inspire you. Aim high and it is okay to be a little bit ambitious, because that’s what will take you far.

What words describe your work best?If I can only choose one word, it would

be the word ‘sultry’. Sure I have made many non-feminine images but I always tend to fall back to my own nature - soft, feminine, and sultry.

In your opinion, what makes a great fashion photographer?If we look back, the iconic fashion photographers have always been those who can reflect and respond to the social issue happening in their era. And they dare to respond to that contro-versially. Helmut Newton is one good example for this. And we have photog-raphers like Steven Meisel and David Lachapelle in our time now.

And whats the definition of “great image” for you?Oh wow, it’s like asking what is the defi-nition of delicious food! Everyone will have different opinions about this.

But art is about self-expression and it is something that comes from inside the creator’s feeling. So it works on a personal level. Hence, in my opinion, a piece of art is great when it is able to evoke the emotion of the viewer.

This applies to photography. If you can create an image that can evoke the emotion of the viewer, whether it is love, sadness, grief, awe, or even anger

“Now I’m not talking about the work of Joe the pho-

tographer from around the corner here. You should

be looking at world’s best photographers’ work to

inspire you. Aim high and it is okay to be a little bit

ambitious, because that’s what will take you far.”

“If we look back, the icon-ic fashion photographers have always been those who can reflect and re-spond to the social issue happening in their era. And they dare to respond to that controversially.”


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“A great image has to work on a deeper level than just being ‘eye candy’, like a postcard photo that you will forget in no time at all.”


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makeup artist : jacqueline parker, fashion stylist : rikki-lee lacco, model : claryssa humennyj-jameson, photography assistant : shane lam


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or whatever it may be, you have made a great image. And an image with emo-tional level impact like that will not be forgotten easily.

A great image has to work on a deeper level than just being ‘eye candy’, like a postcard photo that you will forget in no time at all.

Could you share with us, begin-ners, how to learn photography effectively?I think when you start learning pho-tography there are a few things that you have to do. You have to start by learning the basic camera operations like shutter speed, aperture, white balance, ISO, etc. You really need to get very familiar with these. Also, learn about what different focal length of the lens have different effects on your im-age. And finally and most importantly, learn how to use artificial light sources,

flashes and tungsten.

This is photography not cameragraphy, so please stop wasting time arguing about which camera is the best and which lens is the sharpest. Many pho-tographers spend way too much time discussing about their equipment. My advice is, to buy the equipment that you can afford and get over it and start shooting. Working professional pho-tographers treat their cameras as a tool to create their work, just like a painter uses a brush to paint.

After you pass that basic stage, you need to learn how to make striking images more than just correctly ex-posed or correctly composed. This is the stage where you have to think a lot and prepare a lot before you shoot. Learn about colours, learn about light, and most importantly learn about making conceptual images.

And the last stage, which I have dis-cussed before, is finding your work style. This won’t happen overnight and will take many years on the field to develop.

“This is photography not camerag-raphy, so please stop wasting time ar-guing about which camera is the best and which lens is the sharpest. Many photographers spend way too much time discussing about their equipment. My advice is, to buy the equipment that you can afford and get over it and start shooting.”


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makeup artist : jacqueline parker | hair stylist : alvin wong | stylist : vass arvanitis | model : emily pedler


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makeup artistry by jacqueline parker | fashion styling by vass arvanitis | model : melissa riemer (chadwick management)


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LANDSCAPEPHOTOGRAPHY




MASTERTOM


MASTERTOM

COPY, COPY, COPY...Let’s talk about copying!What I’m talking about is picture counterfeiting, i.e. when a photogra-pher takes a picture in exactly the same way as someone else has already done before. Why do people do that?

Let’s look at the amateurs first:The freshman photographer admires a popular photographer and – still in search of his or her own personal style – attempts to take photos “just like the famous X”. That happens every day and is not really a problem. But I would recommend an alternative: try and create your own style! If your favourite photographer X works with soft-focus, for example, then rather than simply copying it, think about why he or she does that! Is it because it makes the setting more harmonious and adds a surreal sense of beauty? If so, and if

that’s what attracts you to that style, then spend some time thinking about how you could create this effect in your own way. For instance, by using only warm colours and soft materials or introducing unsharpness. This is the first step to becoming a much better photographer yourself! And maybe one day others will be copying your style of work...

I have nothing against copying as long as it is used as a learning method. In classical art, it’s part of the training programme. BUT: the result should not be passed for your own work!What makes a picture or photo special is usually the idea behind it. Admit-tedly, it’s difficult finding good ideas for photos all the time. So if you see a really good photo idea, please don’t simply copy it – instead, try and devel-

op that idea one stage further! When I first learnt photography I also tried to copy particular styles etc., but I always ended up with something completely different. It’s so much more interesting to create something new than to copy already existing things! “Citations”, however, are a different

matter altogether. “Citations” are what I call pictures that someone has copied and included a reference to the original. For instance, if you take a photo of the Mona Lisa and add a pair of sunglasses, then everyone should be able to recognise that you’re copying Leonardo da Vinci! A different type of citation is the picture from my last col-umn, where I had re-photographed the painting “Island of Death”. One can only do that, though, if the original “model” is clearly recognisable and the remake contains a new message!

“I have nothing against copying as long as it is used as a learning method.

In classical art, it’s part of the training

programme. BUT: the result should

not be passed for your own work!”


MASTERTOM


MASTERTOM

Let’s turn to the professionals now. When they copy, we soon move into the world of crime!Today I’d like to show you two ex-amples of how a picture or an idea have been stolen from me. Modern reproduction methods make it pos-sible to get hold of good quality image material from print products.

My “Russian spacecraft” photo, as it ap-peared in ARCHIVE magazine

and stolen by a music company in China:

A Taiwanese art-director, although a stranger to me, kindly pointed out that a big music company had used this motif on a 3 million edition CD cover. So I sent this company a friendly letter, and lo and behold – within a week we had agreed upon a pretty sum. I don’t believe that the music company knew that this is as stolen photo – someone sold it to them, but it wasn’t me!


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MASTERTOM

My “Hamster Plane” picture, though, was a different story altogether:

The above photo idea was stolen from me by Turkish advertising agency, Arkabahce. They did, initially, ask me about licensing rights, but couldn’t recall anything about that later on ...

As it was, the result was pretty ama-teurish, and they never paid up. Unfor-tunately, pictures and ideas are quite often stolen from me, and I certainly don’t find out about every case. But I’m inclined to feel it’s on the increase.


MASTERTOM



To finish off, here’s a story to illustrate the most brazen form of copying:Years ago, I met a photographer who thought the world of himself. He felt confident that he could do everything just as well as the best photographers in the world. A pretty dumb attitude ... and a dreadful lack of originality! Anyway, he wanted to take fashion photos and so applied for an interview with a famous fashion brand. Unfortunately, he didn’t yet have one single fashion photo in his portfolio. No problem, he thought ... he got hold of some fashion brochures, cut out the pictures, stuck them into his portfolio and presented them at the inter-view as his own! Not unexpectedly, he was thrown out in no uncertain terms, because the photos and the photographer were already known to the company. No one but Helmut Newton gets away with pretending to be Helmut Newton! That must surely be the crudest kind of copying – simply swapping the copy-rights.

Unintentional copying, however, can happen to us all. There are so many pictures and photos in the world, that it’s not unheard of for two people to have the same idea...

Let there be light!

Yours sincerely,MasterTOM(Thomas Herbrich)


THEINSPIRATION


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MEMELIHARA KEMUNGKINANBeberapa saat yang lalu, seorang teman yang baru saja pindah peker-jaan menceritakan tentang kekayaan sang pemilik perusahaan tempatnya bekerja. “Bos gue punya semua. Sebut industri apa aja, dia punya. Mulai dari otomotif, stasiun TV, telekomunikasi, makanan, semuanya dia punya. Total kekayaannya mencapai 20 triliun ru-piah.” Begitu kira-kira ungkapnya. Saya pun menanggapi cerita tersebut den-gan antusias. Cerita tentang kekayaan ini pun terus berlanjut hingga akhirnya teman saya ini pun bercerita bahwa pada suatu waktu ketika ia mendapat kesempatan untuk bertemu dengan sang pemilik perusahaan tempatnya bekerja. Ia pun berkata kepada bosnya tersebut, “Pak, kok bapak masih mau sih usaha macam-macam. Kalau saya punya uang 20 triliun rupiah, saya ber-henti kerja, lalu saya beli tanah di bali yang menghadap ke pantai kurang leb-ih 1 hektar, lalu saya bangun villa yang kurang lebih menghabiskan dana 20 milliar untuk tanah, bangunan, lengkap dengan isinya. Lalu sisa uangnya saya belikan saham blue chip, saya masuk-kan deposito dan surat berharga yang

aman. Kira-kira saya bisa dapat 2 trliun per tahunnya dengan hidup nyaman, tiap hari bermain dengan anak dan istri di pantai menikmati hidup.” Menangga-pi perkataan teman saya tersebut sang bos pun menjawab dengan tersenyum, “Karena itulah kamu tidak mempunyai uang 20 triliun rupiah. Karena sebelum kamu punya uang 20 triliun rupiah kamu sudah berhenti dan memilih menikmati hidupmu.”

Cerita nyata tersebut memberi pencer-ahan pada pikiran saya untuk beberapa saat. Dan karena ini majalah fotografi, maka saya akan mensarikan moral dari cerita itu dengan hubungannya den-gan dunia fotografi Indonesia. Berapa banyak dari anda yang ingin menjadi fotografer yang sehebat fotografer terbaik di komunitas anda? Jika anda bergabung di komunitas online dimana anda biasa saling tukar kritik dan poin, apakah anda ingin menjadi seperti fotografer yang memiliki poin tertinggi yang teknik dan style fotografinya berusaha dicari dan dicontek orang? Apakah anda berhenti di situ? Atau apakah anda

“Bercita-cita un-tuk bisa sehebat Ansel Adams memang tidak secara otoma-tis memberikan garansi bahwa anda pasti men-jadi sehabat Ansel Adams. Tapi setidaknya itu memberi-kan anda bahan bakar berupa semangat dan ketekunan un-tuk mendalami fotografi hingga sekelas Ansel Adams.”

“...dibandingkan bercita-cita un-tuk menjadi fo-tografer sekelas fotografer top di komunitas anda, bercita-cita menjadi Ansel Adams secara otomatis menghadiahi anda lebih ban-yak kemungki-nan.”


THEINSPIRATION


FINEARTPHOTOGRAPHY

tertarik untuk menjadi sehebat Artli Ali, Sam Nugroho, Nico Darmadjungen, Oscar Motuloh, Julian Sihombing? Lagi-lagi, jika anda tertarik, apakah anda berhenti di situ atau anda juga ingin menjadi sehebat Helmut Newton, Ansel Adams, Patrick Demarchelier, David Lachapelle?

Bercita-cita untuk bisa sehebat Ansel Adams memang tidak secara otoma-tis memberikan garansi bahwa anda pasti menjadi sehabat Ansel Adams. Tapi setidaknya itu memberikan anda bahan bakar berupa semangat dan ketekunan untuk mendalami fotografi hingga sekelas Ansel Adams. Jika anda bercita-cita untuk menjadi sehebat Ansel Adams, kemungkinan terbai-knya anda akan menjadi sehebat Ansel Adams, walaupun kemungkinan terburuknya anda tetap jadi fotografer kawinan yang bahkan dibayar sukarela sekalipun masih tidak laku. Namun

dibandingkan bercita-cita untuk men-jadi fotografer sekelas fotografer top di komunitas anda, bercita-cita menjadi Ansel Adams secara otomatis meng-hadiahi anda lebih banyak kemungki-nan.

Teman saya di awal cerita tadi mungkin hanya bercita-cita memiliki uang 20 milliar untuk dihabiskan dengan mem-bangun villa di bali. Sementara bosnya memiliki cita-cita jauh lebih besar, bah-kan lebih besar dari 20 triliun rupiah yang sudah dimilikinya. Dan mungkin itu yang membawanya kepada angka 20 triliun.

Pertanyaannya, bercita-cita ingin menjadi sehebat siapakah anda dalam berfotografi? Atau jangan-jangan hanya fotorgafer terhebat di komunitas andalah fotorgafer hebat yang anda kenal?

ROLFE HORNE, MAKE WORLD PRETTIER THROUGH HIS LENSHow did you know & learn photography? Tell us from the beginning.My first camera I bought at a garage sale when I was 8 years old. I was fasci-nated with the camera and the photos it would produce. I was only able to photograph a few rolls of film with that camera because my $2/week allow-ance wouldn’t cover the costs. When I was 14, I rediscovered photography. I had a paper route so I could afford the costs. I initially wanted to photograph my friends doing skateboard stunts, though after I built a darkroom when I was 15 I really got into black and white


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and began photographing the land-scape as well. What makes you do photogra-phy? What interesting about it?Photography is a meditative ritual for me. The consistent pace of life at home can be somewhat overwhelming, so going out to photograph is like a vaca-tion. I get in the car, drive somewhere, then hike around to see if I can find something interesting to photograph. I have always been interested in the landscape, as I like to travel. Be it driving down the Pacific Coast High-way to Big Sur, or traveling abroad, I find it very enriching to see the world and find unique perspectives of the scenery. You learn photography from analog era. What is the different between the analog photog-rapher era and photographers who learn photography on digital era?I think working traditionally (analog) requires much more patience. Nothing is immediate when working tradition-ally. With digital, one can see the results on the screen of the camera immediately, while working with film, one must develop the film in the dark-room (which my be half a world away if


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“I prefer ana-log photog-raphy. The power of a photograph is that it rep-resents real-ity. A certain reality. By keeping with traditional methods, the chain from the scene in front of the camera to the film to the final print is totally linked together.”


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traveling) What I can do in photoshop in 5 minutes may take 5 or more hours in the darkroom. Which one do you like better, digital photos or analog photos? Tell us the reason.I prefer analog photography. The power of a photograph is that it represents reality. A certain reality. By keeping with traditional methods, the chain from the scene in front of the camera to the film to the final print is totally linked together. If I used digital imaging in the process, the element of reality is erased, discrediting the true power of a photograph. This is be-cause once in the digital arena, one can manipulate a scene so easily, like the way Hollywood makes sci-fi or fantasy movies using digital techniques.


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“A commer-cial photogra-

pher is working from without (take a photo

of this product for company),

while a fine art photographer

is working from within”


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You had assisted some com-mercial photographer & fine art photographer. What the differ-ent between the two of them in term of characteristic & mindset? A commercial photographer is work-ing from without (take a photo of this product for company), while a fine art photographer is working from within (I like this so I will photograph this). Does that make sense to you?


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“Ansel would find a scene he liked and

then wait for the conditions

he felt were right to make

a photograph. Sometimes

he would wait days for the

correct clouds and light. Most

people don’t have the time or patience to wait

so long. Also, Ansel could re-

ally see what he felt and express

those feelings. visually”


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Some people said that black & white photo is easier to be looked good compared to color photo. Do you agree on this? Tell us the reason.I think either will look good if done cor-rectly. B&W is removed one level from reality because of the monochrome nature. Humans generally see in color, so that may explain why a B&W print may be more compelling to view. Do a very good black & white photography like Ansel Adams did is very difficult. Only few photographers can. What are they missing that ansel adams have done.An 8x10 inch camera! (laughing)… Ansel would find a scene he liked and then wait for the conditions he felt were right to make a photograph. Sometimes he would wait days for the correct clouds and light. Most people don’t have the time or patience to wait so long. Also, Ansel could really see what he felt and express those feelings. visually Zone system is one of the best techniques of producing pho-tos. Unfortunately only few that knows the right definition of it. Can you simplify what zone system is, what is the advantage


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“A good print is one that has luminosity, al-most a glow from within the image it-self. The bal-ance of tones, the relationship of shadows to highlights are very impor-tant in black and white pho-tography. Not every photo needs a deep black or a bril-liant white. It is in the knowing which makes an expressive, fine print.”


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of using it, and how it work.The Zone System is a method of expos-ing a piece film and developing that film accordingly to achieve desired effects. Basically, it is expose for the shadows and develop the film for the highlights. The advantage is that one can produce a negative with consis-tency, which will print well on a grade 2 black and white photo paper. It would take a book to explain how it works, which is why Ansel wrote The Negative! Of course, the Zone System won’t work with digital photography. Explain what is your “tone sys-tem” really are?Since I use roll film, I do not have the luxury of fine-tuning each individual negative. Generally, I expose for the highlight tones. I let my feelings of the scene dictate what this might be, sometimes an overexposed negative is better, sometimes an underexposed negative. I use a film developer called pyrogallol, which is very forgiving. It allows me to use this method. When creating a picture, do you got the idea first or do you get to the location first then get trig-gered?Both. I will go to a location with the intent of making a photo because I


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“Create images from your heart. Pho-tograph what you are drawn to. Whatev-er it is that excites you, that is what you should do, because if you don’t, you will never make that expres-sive photo.”


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“...keep photo-graphing. Prac-

tice. I made many thou-

sands of nega-tives and prints before I began to grasp what

makes a good fi-nal photograph.

Take classes to further your

studies. Look at work by pho-tographers you

admire and study the im-

ages you like.”


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have been there many times in the past and I think the light will be appropriate for the subject. I do enjoy traveling, so often I will get in the car and drive until I see something, or go for a hike and find something. I really like it when I find something to photograph that is unplanned. Even by going to a specific place, I never really know what I will photograph. Somehow, the elements in a scene strike me in some way so that I am compelled to photograph them. That is usually what happens in my work. Mention one word that describe your photos.Timeless. Speaking about fine art. Share us some tips to improve our level of art sense since fine art often perceived as a “difficult to under-stand” thing.Create images from your heart. Photo-graph what you are drawn to. Whatev-er it is that excites you, that is what you should do, because if you don’t, you will never make that expressive photo.

Do you think a photographer should learn about print mak-ing? How important it is, and what is the advantage of learn-ing that?


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I think that all aspects of photography is important. Composing the image, exposing the negative, developing the film and printing the image. The print is probably the most important though, because it is what we present to the world. There are many good photographers who cannot make a good print. A good print is one that has luminosity, almost a glow from within the image itself. The balance of tones, the relationship of shadows to highlights are very important in black and white photography. Not every photo needs a deep black or a bril-liant white. It is in the knowing which makes an expressive, fine print. Share us some tips for beginner to learn photography properly.The best tip I can give is keep pho-tographing. Practice. I made many thousands of negatives and prints before I began to grasp what makes a good final photograph. Take classes to further your studies. Look at work by photographers you admire and study the images you like.


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LIPUTANUTAMA


LIPUTANUTAMA

Seminar kemudian dilanjutkan olehyaciko, sebagai make up artist untuk duniaadvert ising. Apa saja yang harus bisadilakukan oleh seorang makeup art istdalam memenuhi keinginan atau konsepfoto yang diajukan fotografer. Workflowmakeup art ist, t ips dan trik dalammenyiasati model yang kelelahan atau yangtampangnya sudah loyo atau yangberjerawat.

Setelah dari seminar ini perserta huntingpantai dan sebagai malam penutupdiadakan barbeque bersama denganseluruh perserta dan panitia. Karena Ujunggenteng terkenal dengan proses Penyuyang sedang bertelur, beberapa pesertapergi untuk melihat proses Ini.

Acara ini ditutup oleh pemberiansouvenir oleh pihak Canon yang bertindaksebagai sponsor.

Semoga acara ini bisa bermanfaat untukseluruh perserta dalam proses merekamenjadi penerus-penerus fotografi diIndonesia.

orkshop ini mengenai bagaimanapersiapan sebuah fotosession. Proses preproduction dari sebuah fotosession ,t ipsdan trik fotografer bekerja sama denganart director,make up art is, wardrobe danmodel sehingga lay out yang sudah dipilihbisa dikerjakan dengan hasil akhir yangsesuai dengan keinginan klien. Workshopini mengambil tempat di tebing dansangkar burung. Hari pertama ,diadakan2 sesi workshop. Untuk sesi workshoppertama Clarissa menerangkan soalsett ingan lampu dan konsep fotonya.Konsep foto di tebing adalah karnaval.Sehingga baju yang digunakan pun meriahbanyak warna warni.Kenapa dipilih temacarnaval untuk di tebing? karena biasanyafoto di tebing identik dg baju yangmelambai lambai, jadi kali ini maumenampilkan tema yang berbeda.

Sesuai dg tujuan fotonya, untuk fashion,maka gaya yang dilakukan oleh modelsebisa mungkin t idak menutupi bagianbaju yang detailnya ingin ditampilkan.Setelah melihat beberapa contoh foto,para peserta dipersilahkan memotret danmenata ulang pencahayaan denganbantuan dua orang asisten profesional dariPrimacolor. Untuk sesi workshop keduayaitu pemotretan di sangkar burung.Konsep fotonya adalah ayam yang sedihkarena terkurung, kali ini modelmengenakan wardrobe bulu bulu sepert iayam,kemudian harus berpose di dalamkandang yang besar.Setelah worskhopselesai peserta bersama-sama hunting fototebing di malam hari.

Hari kedua Clarissa membawakanseminar tentang pemotretan di duniaadvert ising,tentang apa yang diinginkanoleh creative director dr fotografer, apasaja kewajiban kewajiban fotografer dalammengeksekusi sebuah job,siapa saja partnerpartner yang akan membantu fotograferdalam eksekusi,workflow dari sebuahjob.bahkan sampai ke masalah menetukanharga.

neep's dan the light magz mengadakan fotograf iworkshop bertema : Outdoor exposure 2 FASHIONPHOTOGRAPHY FOR ADVERTISING pada tgl 18 s/d20 Juli 2008 di Ujung Genteng Dengan pembicaraClarisa Jayakumara dibantu oleh Paddy dan make upart is didukung oleh Yachiko.

02, pemandangan sunset di Ujung Genteng03, melihat penyu bertelur

04, menikmati hidangan barbeque05, sesi workshop di sangkar burung


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JAKARTATelefikom FotografiUniversitas Prof. Dr. Moestopo (B), Jalan Hang Lekir I, JakPusIndonesia Photographer Organization (IPO)Studio 35, Rumah Samsara, Jl. Bunga Mawar, no. 27, Jakarta Selatan 12410Unit Seni Fotografi IPEBI (USF-IPEBI)Komplek Perkantoran Bank Indonesia, Menara Sjafrud-din Prawiranegara lantai 4, Jl. MH.Thamrin No.2, JakartaUKM mahasiswa IBII, Fotografi Institut Bisnis Indonesia (FOBI)Kampus STIE-IBII, Jl Yos Sudarso Kav 87, Sunter, Jakarta UtaraPerhimpunan Penggemar Fotografi Garuda Indonesia (PPFGA)PPFGA, Jl. Medan Merdeka Selatan No.13, Gedung Garuda Indonesia Lt.18Komunitas Fotografi Psikologi Atma Jaya, JKTJl. Jendral Sudirman 51, Ja-karta.Sekretariat Bersama Fakultas Psikologi Atma Jaya Ruang G. 100Studio 51Unversitas Atma Jaya, Jl. Jendral Sudirman 51, Jakarta

Perhimpunan Fotografi Taru-manegaraKampus I UNTAR Blok M Lt. 7 Ruang PFT. Jl. Letjen S. Parman I JakBarPt. Komatsu IndonesiaJl. Raya Cakung Cilincing Km. 4 Jakarta Utara 14140LFCN (Lembaga Fotografi Candra Naya)Komplek Green Ville -AW / 58-59, Jakarta Barat 11510HSBC Photo ClubMenara Mulia Lt. 22, Jl. Jendral Gatoto Subroto Kav. 9-11, JakSel 12930XL PhotographJl. Mega Kuningan Kav. E4-7 No. 1 JakSelKelompok Pelajar Peminat Fotografi SMU 28Jl. Raya Ragunan (Depan RS Pasar Minggu) JakSelFreePhot (Freeport Jakarta Photography Community) PT Freeport Indonesia Plaza 89, 1st Floor Jl. Rasuna Said Kav X-7 No. 6 PSFN Nothofagus (Perhimpu-nan Seni Fotografi PT Freeport Indonesia) PT Freeport Indonesia Plaza 89, 1st Floor Jl Rasuna Said Kav X-7 No. 6

CybiLensPT Cyberindo Aditama, Mang-gala Wanabakti IV, 6th floor. Jl. Gatot Subroto, jakarta 10270FSRD TrisaktiFSRD Trisakti, Kampus A. Jl. Kyai Tapa, Grogol. Surat menyurat: jl. Dr. Susilo 2B/ 30, Grogol, JakbarSKRAF (Seputar Kamera Fikom)Universitas SAHID Jl. Prof. Dr. Soepomo, SH No. 84, Jak-Sel 12870One Shoot PhotographyFIKOM UPI YAI jl. Diponegoro no. 74, JakPusLasalle CollegeSahid Office Boutique Unit D-E-F (komp. Hotel Sahid Jaya). Jl. Jend Sudirman Kav. 86, Jakarta 1220Jurusan Ilmu Komunikasi Universitas Al-Azhar Indo-nesiaJl. Sisingamangaraja, Kebayoran baru, Jak-Sel, 12110LSPR Photography ClubLondon School of Public RelationCampus B (Sudirman Park Office Complex)Jl. KH Mas Mansyur Kav 35Jakarta Pusat 10220FOCUS NUSANTARA

Jl. KH Hasyim Ashari No. 18, JakartaSUSAN + PROKemang raya No. 15 Lt.3, Jakarta 12730e-StudioWisma Starpage, Salemba Tengah No. 5, JKT 10440VOGUE PHOTO STUDIORuko Sentra Bisnis Blok B16-17, Tanjung Duren raya 1-38Shoot & Printjl. Boulevard Raya Blok FV-1 no. 4, Kelapa Gading Permai, jktQ FotoJl. Balai Pustaka Timur No. 17, Rawamangun, JktDigital Studio CollegeJl. Cideng Barat No. 21 A, Jak-PusDarwis Triadi School of Photog-raphyjl. Patimura No. 2, Kebayoran BarueK-gadgets centreRoxy Square Lt. 1 Blok B2 28-29, JktStyle PhotoJl. Gaya Motor Raya No. 8, Gedung AMDI-B, Sunter JakUt, 14330Neep’s Art InstituteJl. Cideng Barat 12BB, JakartaV3 TechnologyMall ambassador Lt.UG/47. Jl. Prof Dr. Satrio, Kuningan, JakartaCetakfoto.netKemang raya 49D, Jakarta 12730

POIsongraphyConocoPhillips d/a Ratu Prabu 2 jl.TB.Simatupang kav 18Jakarta 12560NV AkademieJl. Janur Elok VIII Blok QG4 No.15Kelapa Gading permaiJakarta 14240

BEKASILubang MataJl. Pondok Cipta Raya B2/ 28, Bekasi Barat, 17134

BANDUNGPAF BandungKompleks Banceuy Permai Kav A-17, Bandung 40111JepretSekretariat Jepret Lt. Basement Labtek IXB Arsitektur ITB, Jl Ganesha 10, BandungSpektrum (Perkumpulan Unit Fotografi Unpad)jl. Raya Jatinangor Km 21 Sumed-ang, JabarPadupadankan PhotographyJl. Lombok No. 9S BandungStudio intermodelJl. Cihampelas 57 A, Bandung 40116Lab Teknologi Proses Material ITBJl. Ganesha 10 Labtek VI Lt. dasar, Bandung

SatyabodhiKampus Universitas PasundanJl. Setiabudi No 190, BandungHimpunan Mahasiswa Planologi (HMP) ITBGedung Labtek XI A, Jl Ganesha 10Bandung 40132

TASIKMALAYAEco Adventure CommunityJl. Margasari No. 34 Rt. 002/ 008, Rajapolah, Tasikmalaya 46155

SEMARANGPRISMA (UNDIP)PKM (Pusat Kegiatan Mahasiswa) Joglo Jl. Imam Bardjo SH No. 1 Semarang 50243MATA Semarang Photography ClubFISIP UNDIPJl. Imam Bardjo SH. No.1, SemarangDIGIMAGE STUDIOJl. Setyabui 86A, SemarangJl. Pleburan VIII No.2, Semarang 50243Ady Photo Studiod/a Kanwil Bank BRI Semarang, Jln.Teuku Umar 24 SemarangPandawa7 digital photo studioJl. Wonodri sendang raya No. 1068C, SemarangKloz-ap Photo StudioJl. Kalicari Timur No. 22 Semarang


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DINUSTECHJl. Arjuna no. 36, Semarang 50131

SOLOHSB (Himpunan Seni Ben-gawan)Jl. Tejomoyo No. 33 Rt. 03/ 011, Solo 57156Lembaga pendidikan seni dan design visimedia collegeJl. Bhayangkara 72 Solo

YOGYAKARTAAtmajaya Photography clubGedung PUSGIWA kampus 3 UAJY, jl. babarsari no. 007 yogyakarta“UKM MATA” Akademi Seni Rupa dan Desain MSDJalan Taman Siswa 164 Yogya-karta 55151Unif Fotografi UGM (UFO)Gelanggang mahasiswa UGM, Bulaksumur, YogyaFotografi Jurnalistik ClubKampus 4 FISIP UAJY Jl Babar-sari YogyakartaFOTKOM 401gedung Ahmad Yani Lt.1 Kampus FISIPOL UPN “Veteran” Jl Babasari No.1, Tambakbayan, Yogyakarta, 55281

Jurusan FotografiFakultas Seni Media Rekam Institut Seni Indonesia Jl. Parangtritis Km. 6,5 YogyakartaKotak Pos 1210UKM Fotografi Lens ClubUniversitas Sanata Dharma Mrican Tromol Pos 29 Yogyakarta 55281

SURABAYAHimpunan Mahasiswa Pengge-mar Fotografi (HIMMARFI)Jl. Rungkut Harapan K / 4, SurabayaAR TU PICUNIVERSITAS CIPUTRA Waterpark Boulevard, Citra Raya. Surabaya 60219FISIP UNAIRJL. Airlangga 4-6, SurabayaHot Shot Photo StudioPloso Baru 127 A, Surabaya, 60133Toko DigitalAmbengan Plasa B23. jl Ngemplak No. 30 SurabayaSentra DigitalPusat IT Plasa Marina Lt. 2 Blok A-5. Jl. Margorejo Indah 97-99 Surabaya

TRAWASVANDA Gardenia Hotel & VillaJl. Raya Trawas, Jawa Timur

MALANGMPC (Malang Photo Club)Jl. Pahlawan Trip No. 25 MalangJUFOC (Jurnalistik Fotografi Club)student Centre Lt. 2 Universitas Muhammadiyah Malang. Jl. Raya Tlogomas No. 246 malang, 65144UKM KOMPENI (Komunitas Mahasiswa Pecinta Seni)kampus STIKI (Sekolah Tinggi Informatika Indonesia) Malang, Jl. Raya Tidar 100

JEMBERUFO (United Fotografer Club)Perum taman kampus A1/16 Jember 68126, Jawa TimurUniveritas Jember (UKPKM Tegalboto)Unit Kegiatan Pers Kampus Maha-siswa Universitas Jemberjl. Kalimantan 1 no 35 komlek ged. PKM Universitas Jember 68121

BALIMagic WaveKubu Arcade at Kuta BungalowsBloc A3/A5/A6 Jl. Benesari,Legian-kuta

MEDANMedan Photo ClubJl. Dolok Sanggul Ujung No. 4 Samping Kolam Paradiso Medan, Sumatra Utara 20213UKM FOTOGRAFI USUJl. Perpustakaan no.2 Kampus USU Medan 20155

BATAMBatam Photo ClubPerumahan Muka kuning indah Blok C-3, Batam 29435

PEKANBARUCCC (Caltex Camera Club)PT. Chevron Pasific Indonesia, SCM-Planning, Main Office 229, Rumbai, Pekanbaru 28271

LAMPUNGMalahayati Photography ClubJl. Pramuka No. 27, Kemiling, Bandar Lampung, 35153. Lampung-Indonesia. Telp. (0721) 271114

BALIKPAPANFOBIAIndah Foto Studio Komplek Ruko Bandar Klandasan Blok A1, Balikpapan 76112

PONTIANAKPontianak Deviantart CP: Bryan Tamara0818198901

KALTIMBadak Photographer Club (BPC)ICS Department, System Support Section, PT BADAK NGL, Bontang, Kaltim, 75324KPC Click Club/PT Kaltim Prima CoalSupply Department (M7 Buliding), PT Kaltim Prima Coal, Sangatta

SAMARINDAMANGGIS-55 STUDIO (Samarin-da Photographers Community)Jl. Manggis No. 55 Voorfo, Sa-marinda Kaltim

SOROWAKOSorowako Photographers SocietyGeneral Facilities & Serv. Dept - DP. 27, (Town Maintenance) - Jl. Sumantri Brojonegoro, SOROWAKO 91984 - LUWU TIMUR, SULAWESI SELATAN

GORONTALOMasyarakat Fotografi GorontaloGraha Permai Blok B-18, Jl. Rambutan, Huangobotu, Dungingi, Kota Gorontalo

AMBONPerforma (Perkumpulan Fotografer Maluku)jl. A.M. Sangadji No. 57 Am-bon. (Depan Kantor Gapensi kota Ambon/ Vivi Salon)

ONLINE PICK UP POINTS:www.estudio.co.idhttp://charly.silaban.net/www.studiox-one.comhttp://www.focusnu-santara.com/articles/thelightmag.php

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TheLight Photography Magazine #17