At the moment, documentary photographers are a dime a dozen. By this I don’t mean photographic journalists or environmental works but rather that of the documentary of the every day. To say it is common is not to disparage the genre but it can be hard to filter.

Sometimes when you look at a photographer’s work it is simultaneously beautiful and intriguing, so much so that you want to understand where the images are coming from, whose mind are they filtered through, which is why I was so excited to interview our latest love, Sean Marc Lee.

Portable: Hi Sean! Tell us a little bit about yourself, where are you from
Sean Marc Lee: Hello! My name is Sean Marc Lee. I was born in San Francisco, California in 1980 where I briefly lived in Japantown as a child before my family decided to move about 20 minutes outside of the city. I have two younger siblings whom I share the same three initials with because my dad thought it was quite clever and cute that we all matched, including him.

P: What made you decide to make the move to Taiwan?
Sean Marc Lee: I first came Taiwan in 2009 to help a friend shoot a short film as his cinematographer. At the time I was looking for a change in my life and that project more or less became the catalyst. I also met someone on set that really affected me in many ways. At the time I was living in Los Angeles going on nearly 7 years and felt I had reached a standstill. However, it wasn’t until late 2010 that I actually set forward. I packed up, sold some things and moved back with my parents in February 2011 for about 4.5 months before finally landing here in Taiwan in June 2011.

P: Has living in Taiwan influenced any change in your work?
Sean Marc Lee: Well the short answer is yes. But I find with any new place you visit or travel to, you naturally will look at it from an outsider perspective. It’s hard for me to say in absolution though, because I’m not entirely conscious of my process for better or for worse as so much of it is feeling based.

P: What got you into photography, did you start young?
Sean Marc Lee: I remember at a young age playing with cheap point and shoot cameras, but it was my father who initially made me intrigued. He had this old metal Minolta SRT101 that he always used and I would always ask him silly questions, like how do you focus or expose it right, or know what f-stop to use, shutter speeds, etc. It wasn’t until high school that I started just going to the library and checking out books that taught a lot of basics (oh the pre-Google and DSLR days!) By then the Minolta had a broken light meter, and I would just guess everything and be happy something would come out. In college I was a film major and only took a few intro photography classes but everything after has been a lot of trial and error, and shooting a lot of film. I haven’t touched a dark room since school.

P: You’ve got a pretty impressive list of clients, what was your most exciting career moment?
Sean Marc Lee: I suppose it was my first tiny gallery show in New York at the end of 2010. The timing was just right and everything felt good about it.

P: What’s the best place your photography has taken you?
Sean Marc Lee:Getting to meet other photographers and making new friends around the world, especially through the internet.

P: I love flicking through the photos of yours with what appears to be lots of your friends in them, they have such a sense of adventure to them, is that something you set out to acheive or is a by product of just documenting your life?
Sean Marc Lee: I supposed it’s a mix of both because it’s just really how I see the world. As both an collection of experiences and as mental notes or observations of gestures, moments, time and people I love. Sometimes, it’s just some intuitive idea that pops up in my head and I consciously direct someone to do a certain thing. There’s no real “why” to it, but it feels right.

P: I also am really into the way you use light in a lot of your photos- that 7 Eleven shot is fantastic- is that a concious pre meditated tool or does it just happen that way?
Sean Marc Lee: It’s a bit of both, happy mistakes and conscious observations. When and if I do light it’s more as cinematographer, as in the light should have realistic sources. I hate strobes (but on camera flash does have its place!) and prefer movie style hot lights. In the instance of the 7-11 shot, that’s just great luck and the beauty of film.

P: Some of my favorite shots on your site are of an older gentleman hanging out at Disneyland and a few other places- who was that? I want to be his friend.
Sean Marc Lee: My father! He’s a wonderful human being and a child at heart for better or for worse. He’s loved Disneyland since he first went when he was 12, and growing up it was a place our family was very fond of. I’ve been to Disney World twice, and Disneyland countless time. When I took him again in 2009, I bought him a Mickey hat on the condition he wear it all day. Naturally he did. You can totally be his friend. All my friends are his friends. I have friends who just come to hang out and talk to him at his house. They will share movies and drink together. He is also the one responsible for my love of films. I practically grew up in the video store and HBO/Showtime because of his enthusiasm.

P: On your Tumblr, you’ve got some Street Fashion photos; what made you start taking those?
Sean Marc Lee: They are actually commissioned photos for The Wall Street Journal. It’s for a section called Scene Style within their Scene Asia section, which focuses on street fashion all around Asia. They have photographers contributing from major cities all over Asia and I contribute to their Taiwan section.

P: One of the things I love about taking photos myself is some of the interesting people you get to capture. Do you have any crazy stories about any characters you’ve photographed?

Sean Marc Lee: I have to say, not really a lot of characters! My friends are all characters in their own way, but I think my greatest photo subject will always be my father.

P: Thanks for your time, Sean Marc Lee! You’re the best!

Sean Marc Lee: Thank you!

The post Sean Marc Lee’s Documentary Photography Is Beautiful And Intriguing appeared first on Portable.tv.

What makes Instagram so great is that you are given freedom to photograph even the most mundane aspects of your day and really be artistic with it. Instagram might be a space to show off the events of last weekend or even what you ate, but despite your taste, the social media is a platform where creativity thrives.

Amateur and professional photographers alike are on Instagram showing off their unique talents all while gaining an audience. Their abilities to capture an object or moment captivate us and may even make us think, “Hey, I can do that.” Here are some Instagram photographers you need to start following now.

The post 5 Instagram Photographers You Need To Start Following appeared first on Portable.tv.

We spoke with Kelly Smith of Birdy and Me about her exquisite illustrations, getting inspired in Tasmania and the desire to be wrapped in floral vines.

Portable: You’ve been commissioned by some impressive companies; what do you find they’re after when contacting you to create works? Is it an extension of their brand or a special once-off.

Kelly Smith: I think initially it’s of course your style and the themes within your work that attracts a client and gets them interesting in working with you.
Sometimes it’s about the collaborative element and both of you working together to create something special that will also expose your audiences to each other. But most often for the client it’s about them thinking outside of the box as far as creative imagery goes; trying something a little bit different and having fun with it. That, of course, is about creating an image that’s still an extension of the brand and fits within their aesthetic.

P: What’s your favoured scale to work with, mural or editorial?

Kelly Smith: I work on a really small scale. A3 max. Because the pencil work is so detailed I find that working on a smaller scale makes it easier to keep everything in proportion. Unfortunately this takes its toll on my posture and eyesight!

P: When creating works for your own collections, do you respond to an aesthetic or look first, or are you searching for a particular theme.

Kelly Smith: It can be both! Sometimes I get an image in my head from the start – it might be a certain hair style / beauty look/ gown/ colour/ texture that inspires it – and the idea builds itself around those images pretty organically. Other times inspiration stems from a song lyric, a certain period in history, a theme, and I then need to create a visual that will capture it. Which can be tricky! But fun.

P: Tasmania is a long way from the red carpets and runways of America and Europe; is you’re exploration of glamorous models and fashion luminaries a creative portal for you?

Kelly Smith: I think so! Where I live is so far removed from that world that it’s almost a form of escapism. Through my illustrations I can create my own world, and capture the things that I love and feel inspired by in an image. I can experiment with fashion, try on different beauty looks, explore far off countries, interact with woodland creatures…the list goes on. It’s quite nice to be able to live a little bit vicariously through the ladies in my illustrations!

P: Sticker Fashionista, a grown-up’s sticker book of fun! It’s popping up in fashion stores, high-end stationers and bookstores globally, what was the catalyst for the project?

Kelly Smith: I was approached by Laurence King Publishers about working with them on the project, and at that time it was all about re-inventing this idea of the age old paper doll. I think a lady’s love of playing dress-ups never ages; and again it’s similar to how I feel as an artist. It’s all about taking yourself to another place, another time, living someone else’s life for a little while. It’s a little bit fun and frivolous! So while it’s suitable for a younger audience, it’s essentially fun for all ages!

It’s all about the “Sticker Fashionista” and the fabulous life that she leads; more so in the second book “A Year in Fashion.” But with the first and third installments, it’s also about introducing younger girls (and boys!) to the role that fashion has played through history and the way it expresses cultural differences throughout the world. I think it’s nice to teach younger readers that fashion isn’t just about the idea of beauty or perfection, but about having fun; embracing and expressing who you are as an individual.

P: How do you feel when you’re working on your fashionable figures?

Kelly Smith: I’ve never actually thought about it before! Good question! Aside from thinking critically about the technical aspects, I suppose I feel a sense of whimsy and excitement over what i’m creating. It’s generally something aesthetically beautiful; women, beauty, blooms. Things that I personally love and make me happy! I mean, what girl doesn’t love the idea of being wrapped up in a vine-like arrangement of flowers?

P: Are you using any unusual tools or mark-makers at the moment in your works?

Kelly Smith: I’m always wanting to experiment with different tools, and it’s something that’s easy to do it in your head – but at the end of the day I just don’t get as much time as I would like to play. I have been using calligraphy pens a lot lately and enjoying adding hand-written elements to my work. I’ve also been paring back the pencil work a bit in some of my personal work, playing around with block colours and darker, harder lines. I adore the ‘unfinished’ look that so many artists have mastered. It’s a little more carefree and creates a sense of movement which I love.

P: Which artists — dead or alive — do you find inspiring?

Kelly Smith: David Downton, Julie Verhoeven, Stina Persson, Kat Macleod, René Gruau. All of them are so skilled at creating so much with so little! Their work is so simple but so effective. Amazing uses of colour and technique. And while they’re not artists as such, Roald Dahl and Walt Disney inspire me beyond words. They were all about letting your imagination run wild without limitation. These guys set the bar in that respect. Genius.

P: If there were one artwork in the world you wish you’d created, what would it be?

Kelly Smith: Anything that René Gruau painted.

P: How do you see your aesthetic developing over the coming years?

Kelly Smith: Again i’d love to develop this style of using pencil and shading more sparingly in my work. Leaving it a little less rendered and polished / more suggestive and edgy. Hard lines, soft colour.
I feel like i’m starting to develop it, but I have an image in my head of what it looks like, and i’m just not quite there yet.

The post Kelly Smith Talks About Birdy And Me’s Exquisite Illustrations appeared first on Portable.tv.

We spoke to artist Sandra Dieckmann about her animalistic, whimsical work and forthcoming talk at the Semi-Permanent festival.

Portable: Describe yourself in one sentence.

Sandra Dieckmann: I’m a think-making, illustrating, womanimal.

P: Your illustrations contain lots of animals, nature and wildlife; tell us why this inspires you.

Sandra Dieckmann: My childhood, heritage and early impressions have influenced my work in a big way. I guess as a child we learn fast and are also most vulnerable to influences. My approach to creating images is definitely is rooted in my beginnings. My head is full of stories and creatures and conversations. I can’t be any other way. Sometimes I think it is the way I was allowed to be free without fear so early on that ignited this dreaminess and the stories I got to know. I explored the woods, spent loads of time reading, drawing and just making things and in the end just never stopped, although I always thought I’d be a vet.

I have had a deep rooted love for animals forever. It’s not that I find them cute or easy on the eye. Their sheer variety is breathtaking, their colors and textures but that is only my fascination on the surface. I think they hold a mystery that teaches us so much about our own lives and I’m so sad how detached we are today from nature. We are part of everything and everything is part of us. I want to remember that this planet is about 4.5 billion years old and has been OK going through it’s own evolutions but since the industrial revolution merely 200 years ago we have managed to rob it of so much of its resources. I wish we turned round and gave back what we took. If not for us then just because we are better then a wrongly designed robot that blindly runs against the same wall over and over again. I have to stop myself here … I just rant!

P: Tell us about your process. How do you start a work, and how long does it generally take until completion.

Sandra Dieckmann: Story telling is something I love. When I start a project most of the time I have a brief. I hardly ever just doodle. A brief from a client or a personal goal. I try and imagine the image before I start but often that doesn’t work completely. I talk about my idea and see how the conversation feeds the imagery then I start. Most of the time an animal or person is the central part of it. Depending on the situation and story of the image a particular animal or animals will come to mind if I haven’t been asked to draw a specific one anyway. I then go through my books and the Internet and my archives and fish out poses and expressions I like. Sometimes I find the perfect one but often I puzzle them together.

I always start with the eyes to establish eye contact and make friends with the character I’m drawing. So the creature comes first and while I’m drawing with pens and pencils and sometimes inks the landscape or setting will slowly begin to form in my head. Once the animal is finished, scanned, edited and coloured I then place it roughly on a page and set out to compose the background. It can all take a long time. I’m a perfectionist and sometimes terribly busy in my imagery. I enjoy this part of play immensely. Slaving over an image is like self therapy.

P: What tools do you use for your work?

Sandra Dieckmann: Mechanical pencils, pen and paper always! Sometimes Indian ink or watercolours but nearly always digital editing in Adobe Photoshop afterwards. I really enjoy digital collage and the flexibility it brings to be able to playfully experiment until you get your vision just right. I also collect and make a lot of textures to use in my work. I personally prefer it when the artist actually touches the paper. A lot of vector art is missing life for me. Imperfections are charming and making mistakes the most crucial part of learning! I think tools are what works for you… whatever that is… having the latest version of a certain program won’t make you a better artist or replace talent and hard work but I do think it can be helpful if you need it.

P: You grew up in Germany but live in London. What do you find inspiring about living in London?

Sandra Dieckmann: I did indeed! London is a beautiful and green city and a great place to be creative in. Especially when you are young. I think it drives you on, Everything is on your doorstep. Shows, exhibitions, friends and great talent and all that but I know already that I won’t be here forever. I never fell in love with London and I’m not a city girl. The older I get I ask myself more and more at what price this convenience comes. Maybe I’m afraid I will loose myself in this constant catwalk show and consumerism.

Living in the big smoke is about the opposite of what I depict in my images. I have been asked before if the city may act as some sort of catalyst and I think it must do. I think the city enhances my longing for space and nature extremely. I dream and crave green and space and quiet moments and the beautiful creatures that live in the world. I think my art is my way of finding back to that perfect place in my mind. I hope it exists somewhere but if not… you know what they say… “The way is the aim”.

P: Can you tell us a little bit about what you will be speaking about at Semi-Permanent?

Sandra Dieckmann: I think my presentation will mainly be about my personal development as an artist and also a showcase of my work. I want to talk about what I have learned just by doing something I love to do. How important it is to believe in what you do and to ‘Walk the line’…your line! I also hope to at least communicate through my imagery how precious the planet we live on really is and how magical. I have a deep connection to it and hope that it shines through. Art is a powerful tool for personal catharsis and amazing at connecting people to what is important to you and in return can offer a great escape for those that view it.

Purchase tickets to see Sandra speak at the Semi-Permanent festival here.

The post Sandra Dieckmann’s Wild Wonders appeared first on Portable.tv.

Distortion is something that is very hard to make beautiful, but through her popular distorted gauche portraits, artist Henrietta Harris has managed to do just that. The artist and illustrator uses her paints and pencils to create imagery that is sometimes fun, yummy and colorful, while at other times managing to be dark, thought-invoking and inspirational. Through various magazine features and contributions, Harris is quickly obtaining a following both online and in the art world. We spoke to her about her twisted work.

Portable: How did you first get into doing illustration?

Henrietta Harris: I’ve always drawn and realized it was something I wanted to carry-on with so I kept at it. My family were all very supportive so that helped.

P: Your series on distorted watercolor and gouache portraits is very popular. What was your inspiration for these?

Henrietta Harris: I get this question so frequently- inspiration and influences- but it’s very hard to pin down, and I also like to keep some sort of secrecy and enigma. I suppose mainly I was focusing on trying to stir up feelings in people when they view the art and also trying to push traditional portraiture in interesting ways. The main thing I want is for the viewer to relate to the pieces in their own way, by taking what they want from them.

P: You do a lot of work for the music industry. Are you inspired by music when creating your illustrations? If not, what are you inspired by?

Henrietta Harris: Definitely, I see music in all my art. I listen to it non-stop when I am working and think of my art shows as albums without meaning to. I listen to a huge range of different styles and bands which helps me keep things interesting. Also making band posters helps a tremendous amount with my personal work as it makes me think in a different way, especially if I don’t usually listen to the band much.

P: What is your creative process like?

Henrietta Harris: I’m always collecting reference images, from books and the internet, and always taking photos on my phone. Sometimes a work could be based around colors I want to use and the subject is an afterthought, I’ve also done entire paintings because I like the way their hands are clasped together or something like that, something you might not look twice at.
In terms of actual process, I draw and paint every day, it’s as simple as that.

P: Do you use any editing software on your paintings and drawings? If so what do they add to your pieces?

Henrietta Harris: Not usually. My paintings are designed to be seen in real life. Sometimes I may change colors but I essentially do everything by hand. I tried to get into digital painting for a while but didn’t really enjoy it. I’ll leave it to the pros.

P: Do you have a favorite piece that you have done?

Henrietta Harris: No, this changes daily.

P: What can we expect to see from you in the future?

Henrietta Harris: I’m trying to find time to start on new paintings, I have so many commissions to finish first though! And look out for a show in New York mid-2013.

The post Henrietta Harris’ Gorgeous Distortion appeared first on Portable.tv.

Emma Bergmeier is singing it for the Perth sisters of style. Quickly dismissing any ignorant or rude opinions about Australia’s most isolated capital city and it’s lack of fashion and culture credentials, Emma is not one to beat about the bush. Instead, she’s adamant that her west coast metropolis is an emerging hub of style, sass and skill. And she would know: she’s one of those leading the way.

Beginning her career with a journalist degree, Emma quickly realised it wasn’t politics or news reporting that took her fancy, but rather a passion for fashion and damn good taste. And as many successful style stories begin these days, she kicked it all of with a blog. Soon enough her musings developed a natty following, and she was offered the opportunity to write, edit and style for local, national and international publications.

Six years later, and writer/photographer/stylist/creative superstar Emma is still going strong, though more recently she has lifted the load a little for personal reasons: her upcoming DIY-inspired wedding has been meticulously planned and styled for months (as you would imagine). We were lucky enough to get some insight into her upcoming big day, as well as speak to Emma about Mad Men-esque styling projects, creative inspiration and her thoughts on the artistic and cultural potential of her beloved Western Australian city.

Portable: You’ve someone with fingers in all kinds of creative pies! Tell us a little about your background, and how you got into it all.

Emma Bergmeier: Though I started my journalism degree with the intention of becoming a politician or a political correspondent of some shape or form (I had loose hopes of becoming Australia’s first female prime minister but Julia Gillard beat me to the punch), I soon realised that politics is dry and incredibly divisive, and that’s when I developed an interest in fashion. I had no idea how to become a fashion writer so I created a blog and that was the catalyst for my whole career really! I initially started out taking street fashion photographs of people around Perth, and because nobody else was doing it at the time, Dropstitch developed quite a following. Street fashion photographs developed into interviews with designers, artists and boutique owners, and from that I was offered writing work for a few national and international publications. Not long after I accepted the position of Fashion Editor at a Perth based publication and that’s when I got my first taste of styling.

Portable: When did you start your blog and how has that progressed?

Emma Bergmeier: I launched Dropstitch six years ago (time flies when you’re having fun!) and it’s changed a lot since those early days. What was once purely a street fashion blog has transformed into a more personal affair, featuring photographic adventures, editorial shoots and coverage of fashion events that tickle my fancy.

Portable: Do you think blogging benefits you as a stylist, or vice versa? How do the two work together?

Emma Bergmeier: Absolutely. I think blogging and styling work hand in hand. Dropstitch is a great forum for me to share my work with national and international readers who would otherwise not likely see my styling work, and I love having a place to post behind the scenes photographs from shoots, and the final products as well.

Portable: Tell us about one styling project that you were particularly proud of.

Emma Bergmeier: I’ve just finished a big styling project for a Perth publication that I’m quite proud of, shot on location at the amazing Council House – a breathtakingly beautiful structure that was built in 1963, and looks like something straight out of Mad Men. I adore the 60s and relished the opportunity to re-imagine vintage styles and silhouettes with contemporary garments. It was a challenge but I’m super happy with how the photographs came out.

Portable: Now that you’re also teaching a styling unit at university; what is the most important piece of advice you give to students wanting to break into the industry?

Emma Bergmeier: Be nice to everyone and keep your ego in check. In my opinion there are far too many people kicking around with unnecessarily inflated egos, and it doesn’t do them any favours. Sometimes being friendly and down to earth is all you need to break into the industry. I also recommend doing as much work experience as possible, in as many fields as possible, with lots of different people. You learn so much through good work experience placements, and it’s a great way to figure out what you want to do with your life.

Portable: I know you’re on a wee break at the moment to prepare for your wedding – congratulations! – can you tell us a little about what you’ve got planned for the big day, and your own DIY twist on the celebrations?

Emma Bergmeier: I can’t believe how quickly it’s come around, only three weeks to go now! I want my wedding to be colourful, fun, unpretentious and to radiate joy, so I’ve embarked on a huge range of fun DIY projects which I hope will add character and personality to the big day. I’m getting hitched at a super cute art deco Lawn Bowls Club, and guests will be able to learn to bowl between the ceremony and reception which should make for some interesting capers. Some fabulous friends of mine are making my dresses – Erin and Kate from On A Whim are constructing the dress I’ll wear at the ceremony and Maevana Mitchell of Peppermint Milk fame is making me a frock to dance in later in the evening.

One of my favourite DIY projects has been turning old paintings into chalkboards, which I’ve then adorned with lyrics from our favourite love songs (think Black Keys, The Zombies, The Beatles, Beach Boys and even some Pet Shop Boys).

Portable: Where do you find your greatest creative inspiration?

Emma Bergmeier: I suppose most of my inspiration comes from blogs – from street fashion to personal style diaries. I’m really interested in how and why people dress the way they do, and blogs make it easy to analyse fashion from Perth to Paris and in between. My muse just so happens to be my best friend Claire. She’s also a blogger (http://www.the-harbour-master.com/), and is the person who first piqued my interest in fashion. Claire is the best dressed person I know, and she has an amazing knack for wearing pieces in unexpected ways, breathing new life into old garments.

Portable: Who is your favourite Australian designer? Which art/fashion publications do you read regularly?

Emma Bergmeier: Favourite Aussie designer is a tough one, I don’t think I could name just one label in particular, but I adore Romance Was Born, Discount and Gorman – they all have fun with fashion and to me, that’s what dressing is all about!

Portable: As a Perth girl, what is your response to the age old complaint of the city being a bit dull? What are your thoughts on the cultural and artistic potential of Perth, especially in the last few years?

Emma Bergmeier: People who say Perth is dull, are dull! Sure, 10 years ago Perth left quite a lot to be desired in the way of food, fashion and culture, but these days Perth is a really fabulous hub for music, style, art and tasty treats, with new restaurants, bars and boutiques opening up on the daily.

Portable: And finally, what’s next for you?

Emma Bergmeier: Unfortunately I can’t disclose most of what I’m working on at the moment but I plan to just keep on trucking, doing as much styling as I can, while having as much fun as possible.

The post Emma Bergmeier’s Isolated, Stylish City appeared first on Portable.tv.

Briony Ridley grew up in rural Western Australia, but she’s not your average bush baby. Instead, she’s pursued an unlikely career considering her countryside upbringing: fashion photography. Don’t let assumptions about small-town girls pave the way, for Briony is one of the most exciting young style snappers around, with her commissioned work inspired by her love of wide open space, fresh air, and a childhood spent dressing up and making her own fun. It’s a welcome perspective on an oft stifling brief; Briony’s girls don’t pout meaninglessly, her stylish subjects have as much fun and life as the photographer herself.

Her fashion pursuits however, are complimented by a very different form of photography. Briony’s personal work is more than a stone throw away from shooting spiffy sheilas in couture, which only makes us further appreciate her talents. She is more than apt at capturing a sense of space in communities like the one she is from, or the emotions of country folk from her hometown and beyond. The light and composition in personal series such as Dirt Music make us wish we could see such these often bare and always rugged plots through her eyes. And I suppose, through her photography, we can.

Portable recently sat down with Briony Ridley, bush baby turned fashion photographer (but still a little bit bush baby at heart), to talk about how she tackles the contradictory subject matter of her work, her country upbringing, her love of fashion and the unrelenting sense of place that is found within her photographs.

Portable: Tell us a little about your background. How did you go from growing up on a cattle station, to becoming a fashion photographer in Melbourne and beyond?

Briony Ridley: My family lived in a few different places during my childhood, but we always ended up back in the bush. I come from a big family and my parents were very good at documenting our family life (before digital came along!). Living in the middle of nowhere, photography was a great form of entertainment. I always loved looking at photos, but wasn’t always very good at taking them. I have so many photos from primary school of blurry gum trees and feet because of some cute boy I was secretly trying to photograph! When I was 17 my grandma gave me a very heavy SLR and I taught myself how to use it and how to read light without a light meter (it was broken). I was studying literature at university when Nylon magazine first came out. It was the first time I’d noticed fashion photography. A few months later I decided to drop out of my course and move to Melbourne to study to become a fashion photographer at RMIT. It was a very prestigious course to get into, and I did, so that was a relief!

Portable: Describe your photography style in just a few words.

Briony Ridley: Girls, colourful, funny. Funny colourful girls!

Portable: Your portfolio boasts a wonderful mix of personal work (from small-town streetscapes to family portraits), and high-fashion shoots and campaigns. How do you find a sense of balance between these two very different subjects, or is that matter irrelevant when you’re shooting?

Briony Ridley: For me it is all connected, my fashion work has many personal references and vice versa. The subjects may be different but my approach in capturing what I consider a good image is essentially the same. For example, whether I’m shooting fashion or townscapes or family, I like there to be a lot of space in the image, sometimes you can see it, but sometimes its just the feeling of space, the feeling of a nice big deep breath of fresh air.

Portable: Where does your love of fashion come from?

Briony Ridley: I’ve always loved costumes and dressing up. I never had a proper school uniform, and seriously envied the Americans their Halloween. So I have always been a bit obsessed with uniforms and costumes and vintage characters, and anything that referenced my favourite movies. It’s so much fun to put all this in a shoot.

Portable: Tell us about a photograph or series that you’re particularly proud of.

Briony Ridley: I love all of my photos taken on trips home to Western Australia, the ongoing Dirt Music series. I love them because of the light and composition and colours, but also because I love the place and driving around in the hot, hot sun taking pictures is what I like to do on holidays. I’m looking forward to adding to the series and spending some time in the sun.

Portable: Where are you living at the moment, and how does a sense of place influence your work?

Briony Ridley: I am currently living in Berlin, and have been for the last few years. Place is a huge component of my work and so living here has definitely challenged and changed the way I shoot, especially considering there is still snow on the ground mid-spring. My dream shoots involve a lot of open skies, sand, and weatherboard, a kind of 70′s/80′s Australian summer aesthetic, so living here I’ve really had to learn to translate my ideas into smaller, darker spaces, and how to shoot on location in the rain and not get everything wet.

Portable: What does your inspiration come from? Are you influenced by any other photographers or artists?

Briony: Inspiration can come from anywhere. A lot of ideas that I have are influenced by movies, or scenes from books, and then develop into something new. I love looking at other photographer’s work but especially fashion photography. I love the work of Venetia Scott, and Russell Drysdale. Russell Drysdale was actually one of Australia’s most acclaimed painters, but in the 50′s and 60′s he also did an amazing job of documenting the Australian outback with his camera.

Portable: What’s next for you?

Briony Ridley: I have been working on a new project, Going Home With Girls, which will be launching very soon, and which I am super excited about, so stay tuned! I also have a million ideas to shoot as soon as the sun decides to come out. I’m hoping to get a lot of new series finished this summer, and then travel to Australia for Second Summer and more shooting!

The post Briony Ridley: Bush Baby and Fashion Photographer appeared first on Portable.tv.

Adarsha Benjamin of the daily arts and culture journal PAS UN AUTRE not only has an eye for the beautiful, but also the ability to capture the sublime with one shot. Often photographers find their preferred subject matter and stick to it, but Adarsha Benjamin’s range is far-reaching. From playful swimsuit editorials (We Are Handsome) to sweeping, lush landscapes, we the viewers are treated to some seriously amazing eye candy again and again. Portable spoke to the analog darling about her work inspirations, passion and upcoming projects.

Portable: How did you get started doing photography?

Adarsha Benjamin: There was the metaphysical reason, my mind was always trying to capture moments and a camera was the only thing that made sense out of that and then there was the circumstantial. I had started a magazine and I wanted to be able to do everything for it ( write, curate, photograph ), plus at the time that I really started taking pictures I had a boyfriend in a band who I often went on tour with and having a camera gave me something to do. Then I fell in love and its been a never ending love story every since.

P: What was the inspiration behind your editorial for Bullet Magazine of We Are Handsome’s Enchanted Collection?

Adarsha Benjamin: Really it was just those swimsuits! They are so fun. I wanted to do something with them that showed them as wearable pieces of art.

P: Do you prefer to shoot with film as opposed to digital?

Adarsha Benjamin: YES. Other than my i-phone I don’t even own a digital camera.

P: Do you have a specific reaction you are trying to emit from the viewer?

Adarsha Benjamin: FEELING. Nostalgia. Love. Thoughts. I’m like a tragic romance novel in a women’s body. I want to emit that. and Inspiration. That’s the best feeling… to inspire.

P: Who or what inspires you?

Adarsha Benjamin: Spontaneous combustions of passion. The baby growing inside me. Flowers. Trees. Those who give with all their heart and who actively pursue their dreams.

P: How does your creative process of shooting short films differ from taking portraits?

Adarsha Benjamin: It’s quite similar actually. I see something in my mind, viscerally, and then I want to create that and when I go to do so, it always comes out different. I’d say I work best purely on intuition and on letting the moment grab me. Films are just moving visions of a dream or a feeling, the portraits aim to be honest interpretations of the subject at hand.

P: What projects do you have coming up in the future?

Adarsha Benjamin: I am working on a series called ” No Matter Where You Go, There You Are ” which includes photographs of women in various hotel rooms and homes, all of which are representing a different emotional state. All together, these women are in fact telling a story that is very personal for me. This will be shown along side a few video installations that are related to the photos. I will exhibit this in LA and at Miami Art Basel. I am also working on a few music films, and slowly, slowly putting together the pieces for a feature I will direct, planning for a few other exhibitions I will be in. Staying passionately active.

The post Adarsha Benjamin’s Analog Dreamscape appeared first on Portable.tv.

Magdalena Lutek, or Nishe, has captivated us with her introspective photographic subjects. Subtle and dreamlike upon first look, Nishe’s wistful ladies seem caught in the middle of a contemplative moment, almost as if they are planning an escape from it all. Portable spoke with the photographer about her work and inspirations.

Portable: How did you get started doing photography?

Magdalena Lutek: When I was 15 I found my father’s old camera in the attic and I haven’t stopped photographing since then.

P: Do you prefer to shoot with film as opposed to digital?

Magdalena Lutek: Film and instant film.

P: There seems to be a lot of contemplative moments, are you drawn to introspective themes? If not, what themes do you seek in your work?

Magdalena Lutek: Yes, there are some introspective elements in my works, I wish to portray what I know best—longing for the past, melancholia, anxiety, loneliness. Some of my works, especially earlier ones, tended to be very introspective.

P: Your use of natural light is beautiful, how do you go about capturing that raw feeling?

Magdalena Lutek: I’ve always been inspired by nature and the light changes that occur during the day. I look at everything closely and see beauty in the way light reveals shapes and colours of the surroundings.

P: Do you have a specific reaction you are trying to emit from the viewer?

Magdalena Lutek: A personal connection to what the photograph portrays. An understanding.

P: Who or what inspires you?

Magdalena Lutek: Nature, light, painting, forests, childhood dreams, people that I photograph.

P: What projects do you have coming up in the future?

Magdalena Lutek: Currently I have no plans, I’m just waiting for the summer.

The post Magdalena Lutek’s Wistful Women appeared first on Portable.tv.

Mary Gaudin is a Kiwi photographer who has lived in London and is now living in France’s idyllic south west. With a penchant for interiors and architecture photography, she’s recently released a lovely booklet full of images from an apartment in Marseille. She also creates thoughtful and sweetly titled Life Books for customers, filling them with pictures of people’s homes that represent who they are. We’re quite tempted to purchase one for ourselves.

But Mary does not just photograph nearby spaces, for she has taken her camera to places far beyond Europe and New Zealand. Her photography is thankfully lacking in any tacky sightseer garishness, and she recently revealed to Portable her secrets to avoiding such tourist ponce, along with some details about her latest projects and her love for a good Antipodean coffee.

Portable: When did you start taking pictures?

Mary Gaudin: I got the bug after I was given a Minolta camera for my 18th birthday. But it really wasn’t until I was living in London that I decided to take it more seriously & to study photography.

P: Where are you based now and how did you end up there?

Mary Gaudin: I married a Frenchman & now live in the south west of France, in Montpellier.

P: Where is your favourite place in the world to shoot?

Mary Gaudin: I don’t really have a favourite place to shoot. Anywhere with beautiful light. The  Mediteranean has incredible light.

P: Where did your love for photography and travel come from, and how do you think the two pursuits compliment each other in your own life?

Mary Gaudin: For years I didn’t take many photos when I went travelling and now wish I had taken more. Recording moments while travelling, whether in notebook form, through photography or sketching, enriches the experience while you’re there & later when you look back.

 P: What is your secret to travel photography that isn’t gaudy or overly touristy?

Mary Gaudin: Use the light & look out for small details that catch your eye.

P: Are you influenced by any photographers in particular, or any other artists?

Mary Gaudin: There are so many photographers & artists that inspire me for many different reasons. At the moment I have a huge crush on Viviane Sassen’s work. I’ve also made a lot of artist friends through the internet who are continuously inspiring. But I think it’s architecture that has the greatest influence on how I see the world.

P: Tell us a little about your Life Books.

Mary Gaudin: I like taking photos of interiors which are full of every day living. Life Books are an extension of this and are a way of people having a record of their homes to look back on.

P: Congratulations on your recently released booklet SIX TEN. We love it! Can you tell us a little about the project and where the inspiration came from?

Mary Gaudin: Thanks! I spent some time in an apartment in Le Corbusier’s Cité Radeuse in Marseille and took a lot of photos while I was there. Yoko at Bookletpress made a little booklet of some of my photos of the interiors.

P: What’s next for you?

Mary Gaudin: This spring I’m going back to New Zealand for 6 weeks to do a project photographing midcentury homes throughout the country. I’m really excited to be doing a project like this & to have great coffee every day for 6 weeks!

The post Mary Gaudin’s Spaces appeared first on Portable.tv.