Interview with a polymath: making images with Otilee – Page 01
November 11, 2011
Oh, you renaissance humanists; where would we be without you? That whole ‘a man can do all things if he will’ tenet really shoved it up the Medieval scholastic order, didn’t it? Of course, nowadays every creative seems to lend their hand to multiple projects across a fairly broad range of different practises. They just LOVE to branch out. Those crazy creative polygamists! Just settle down already and learn to commit, you’re making those who focus on a lowly single field look just plain lazy! But let’s face it: we all know they can’t be tied down, and I mean really, why would anyone want to? Perth’s
You’re a photographer who’s heavily involved in all stages of image production. Could you guide us through your creative process, and shed some light on all that happens between that initial flash of inspiration and the image’s completion?
Client meeting > project brief > initial brainstorm > research >
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conceptualisation > more research > conceptualisation / storyboarding / concept boards > model casting > location sourcing / set planning > briefing hair makeup team > sourcing garments / designer or stylist if I don’t do this myself > shooting on the day > selection of final images for post work > post production process including retouching (skin resurfacing / light rendering / colour correcting etc) but also elements of digital illustration / manipulation (incl. painting in hair / eyebrows / props / additional lighting atmosphere etc) > graphic design (if required).
I find the idea of seeing yourself as an image-maker, as opposed to a more traditional photographer, really fascinating. How do you view the difference between the two? Why is one more appealing to you than the other?
The photography aspect of my work is something that I originally ended up taking on purely in order to be able to execute my own ideas. I did a design degree with a creative advertising design major which was heavily focused on art direction but also had supporting units such as graphic design / photography / illustration (and I also picked up some fashion units), so the course sort of provided a wide range of tool sets to allow us to be able to execute our ideas for coursework. I guess this is just
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something I’ve carried on doing, and especially since graduating at the beginning of the recent economic downturn, I feel that its possibly been this ability to wear a couple of hats that has allowed me to do this gig full time for the past year.
I really admire those that do more traditional photography; its a fantastic skill to have and definitely something I hope to keep learning more about. I’m really quite new at it and mostly self taught so this is an aspect of my work I’m only just beginning to be more comfortable with doing.
The lines between single, clearly defined creative roles in this industry seem to be blurring at a rapid rate. Is the notion of being a specialist in one field becoming outdated? If so, why do you think that is?
I think there are still heaps of clearly defined creative roles in the industry, especially for big budget work. Focusing on one area allows you the time and the focus to really nail what you’re doing. Having said that however, I think it’s safe to say that most creative people get bored easily and tend to have their fingers in a few pies; many start in one field and end up in another. The roles in this industry specifically are so closely linked its easy (and sometimes expected) to perform multiple roles if you’ve had the background in a couple and I know for me personally -
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November 11, 2011
I want to… I love the creative process – I would never be content to just hold the camera. I want paint on my clothes, safety-pin pricks in my fingers and bruised knees at the end of the day… makes the final product that much more satisfying.
You recently collaborated with Brendan Ninness on four illustrative pieces for exhibition. How was the process of collaborating in another medium different from working on your own ideas in the world of photography?
Illustration is a medium I’m pretty familiar with (albeit taken a backseat since taking on photography full time); I started out in traditional media doing a fair bit of acrylic / oil painting and marker rendering which is definitely a skill base I’ve in part carried through to the digital medium with how I approach my retouching and post editing process in the photography work too.
The collaboration with Brendan for the Summer! Exhibition was an interesting process, we basically approached it with an initial brainstorm to come up with the four concepts, then drawing the linework for two each and then swapping back and forth to digitally paint each one until we were happy with them … or right up against the print deadline!
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I love working with Brendan (my other half) – we actually collaborate a fair bit on different things in different ways as we live together also so tend to bounce ideas off each other and ask each other for feedback etc. Definitely hope to keep making time for more ‘official’ collaborations though.
Do you find an image evolving the longer you spend on it, particularly in post-production? Or are you committed to staying true to the original idea until it’s been realised?
I’ve got a pretty good idea of how I want something to look before I set out to shoot it – I usually do a fair amount of conceptualisation and storyboarding (put together concept / mood boards etc) to build a concept before casting the model / briefing the creative team etc. However concept/ content aside, technical aspects like lighting have been generally set up to incorporate the post process also. Starting out with a limited education in these technical aspects of the photography process, as well as having limited equipment for a long time, I think I also sort of adapted my post editing style to compensate for that… at least in the beginning – with many aspects of the lighting seen in my finished images being a result of me hand painting them in. I still do this to a certain degree as its almost become a part of my
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‘style’ but I’m definitely starting to get more of a handle on getting the lighting how I want it at the time of shooting.
Is it difficult adjusting to the many different facets of being an image maker? There are such varied, sometimes conflicting, skills required for each distinct part of the process. Directing an entire creative team for a shoot must be a very different environment than sitting at a monitor for hours, finely crafting pixels as part of the retouch procedure!
It is difficult and a lot to juggle but I truly love it. I’m a bit of a spreadsheet nerd so I kind of quietly enjoy busting out Excel to put my production schedules together. My design background helps with the conceptualisation / research process and my high school / first attempt at uni drama / film background as well as being in a band / performing and a very brief time modelling helps with directing models and storyboarding etc… I guess I’m a mixed bag of life experience so I have a good idea of all the facets ‘ideally’ enough to understand, respect, and direct each into a cohesive whole ‘image’.
I’ll be honest, I spent time reading through your blog, trying to uncover the things that made you most excited. I think it’s
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safe to say you have a fairly dedicated passion for high end fashion and footwear design. What is it about these areas of clothing design in particular that fascinate you?
I love design! I love all its different faces. I’ve dabbled in pretty much all of it at sometime or another (that’s not to say that I was good at it, haha, but I’ve tried!). In terms of fashion and shoe design specifically, I used to design and make a lot of my own clothes when I was younger and would have studied fashion design instead of creative advertising design if it wasn’t for my truly shit sewing skills!! I really really suck at it. My grandmother was a designer / dressmaker and my mum has always a been a bit of an ‘unofficial’ wardrobe/interior/food styling guru so it’s something I’ve also grown up around. However, I started making couture shoes a couple of years ago by frankensteining op-shop finds and reworking the uppers. I love doing this, it so much fun (and an excuse to bum around bunnings for an afternoon). I’ve recently been researching how I can do this properly and start making them from scratch, right down to designing custom heels and getting them made out of cast resin / metal etc. I’m hoping to possibly start a label in the next year or so. Not promising anything but I’d ideally like to start taking this aspect of my work to the next level.
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November 11, 2011
Fashion is, by its very nature, primarily about creating trends. Do you think there is room for truly unique, original imagery within the world of fashion photography, or do creatives concern themselves more with being aware of key trends and how to recreate them?
I think as a designer, in general, its part of your job to be aware of the current market and trends as well as having a fashion-forward approach to your client work. In this way for commercial purposes I think its relevant and important to have an idea of how key trends, and recreating them, may be appropriate for a certain client and their target market.
By the same token, its in being aware of them that you can also choose to avoid them and take deliberate measures in the conceptualisation process to attempt to put together something that is more innovative and exciting, which ultimately is how trends start in the first place.
In my client work I generally try to push the latter rather than the former but in a market like Perth, the safe route is definitely more favoured. But that is the nature of the beast and that’s fine, which is why I think most creatives try to make time for as much personal work as possible and this is where you can really go nuts with pushing boundaries.
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You’re located in Perth, Western Australia, which, for the uninitiated, is one of the most isolated metropolitan areas on earth. Has this isolation had any impact on your work, or do you think the notion that geographical location plays any significant part in the work you create has now become largely irrelevant?
I think isolation is a major ingredient in the fashioning of creative people in general. You’re forced to try harder in order to get noticed, even if only for the simple reason of it being harder to get seen. Boredom in the isolation is a massive factor too I think, having lived in many small towns around WA and also on the Cocos Islands growing up. Its not so bad in recent years with the internet, but definitely growing up; having absolutely nothing to do forces you to create things to do and I think also makes you look at the world a bit differently. Being brought up on a heavy dose of 80’s pop culture through an extensive home vhs library of movies and music videos has also been massive influence on my aesthetic too I think, among a variety of other things.
Do you think there is a singular unifying voice or theme running through your work? How would you summarise it?
As I see myself as a designer, as opposed to an ‘artist’, I like to
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think that my work in its content is diverse enough to reflect the needs & image of the client, however I guess if there was a unifying element it would probably in that diversity. I have my own personal style that I have in my ‘art’ and how I style myself, but I don’t think that is necessarily too obvious in my work – or at least I hope not. I love theatre and the drama of fashion so I enjoy taking on a challenge with conceptualising client work that has a different aesthetic to my personal one.
I guess the other unifying theme would be anything ‘hyper-real’. I don’t do photojournalistic or street-style photography, or shoot weddings, for example. I guess the other unifying aspect is definitely my art direction in combination with the photography and post process.
How much room for creativity do you have in a commercial environment? Do you feel you are able to create images that are still inherently Otilee, or is it necessary to create a personal body of work, external to the commercial world, to truly achieve that?
I’ve been really lucky to be able to push a lot of my own creativity in my commercial work to date. Marketing myself with the portfolio I created while doing my design thesis (which was
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art direction and styling in fashion photography and advertising), I sort of set myself up for pitching myself as an all round creative ‘image-maker’ instead of a photographer. There has been a bit of work that has come about as a knock on effect of other work without the client realizing I’ve also art directed it, and just wanted me to shoot it and retouch it which is fine. I’ve been so grateful for those opportunities too but I’ve definitely been trying to make a conscious effort lately to try and only take on work that allows me to perform both roles.
Looking ahead, what are some of your goals for the future?
I’d really like to establish myself as someone that people come to because of my solid understanding of fashion marketing and image branding. A specialist image maker of sorts in the fashion and advertising industry – even if this means I eventually need to put down the camera for client work. I am constantly trying to better my technical photographic skills but I know there are many people out there that are much better at it then me that I would love to work with in an art director / stylist capacity. That, or possibly get into film / music video art direction / production design too.
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November 11, 2011
Okay, here’s a hypothetical question: for whatever reason, I don’t know, you opened a hellmouth or Adobe became the almighty ruler of the universe (and your stereo), anyways, you found yourself in a situation where you were only allowed three albums to listen to whilst retouching, for the rest of your life. What would they be, and why would you choose them?
Skid Row, Skid Row
I love every single song on this album… I’ve loved it since I first heard it when it came out when I was in primary school. So I guess its nostalgic but Seb’s voice is amazing, and the whole band were ridiculously hot – there’s not much more inspiring then that.
Christian Death, Only Theatre Of Pain
Another one of those albums where I love every song and love singing along. Actually singing along to music is something I do a lot when I’m retouching…. and drive my boyfriend, and cat and probably neighbours insane in the process.
Judas Priest, Painkiller
Another great one to sing along to and feel like I’m totally awesome rocking out like a loser at my computer.
