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EDISI 17/2008
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EDISI XVII / 2008 1

www.thelightmagz.com
THEEDITORIAL THEEDITORIAL
AIM HIGH!
Pepatah mengatakan, gantungkanlah cita-citamu setinggi langit.
Pepatah yang mungkin dipandang sebagian orang sebagai pepatah klise dan
PT Imajinasia Indonesia, kadaluarsa tersebut rupanya semakin meluntur di kalangan peminat fotografi
COVER BY: Jl. Pelitur No. 33A, Indonesia saat ini. Melihat banyak peminat fotografi yang cukup puas mencapai
NOVIJAN SANJAYA www.thelightmagz.com apa yang telah mereka capai saat ini.
Pemimpin Perusahaan/
Memang ada pesan moral lain yang sering didengung-dengungkan orang bijak
Redaksi: Ignatius Untung, untuk selalu mensyukuri keadaan dan pencapaian saat ini. Namun sejatinya usaha
“Hak cipta semua foto dalam ma- Redaksi: redaksi@thelightmagz. mensyukuri tidak harus selalu berarti merasa puas dan berhenti. Berhenti untuk
com, Kontributor: Novijan San- menjadi lebih baik lagi, berani untuk menantang diri sendiri untuk melakukan
jalah ini milik fotografer yang ber-
hal-hal yang terlihat tidak mungkin untuk dilakukan.
jaya, Thomas Herbrich,
sangkutan dan pihak-pihak yang
Siddharta Sutrisno, Joey Lawrence, Untuk itu pada kesempatan kali ini kami hadirkan pemikiran-pemikiran anti
terlibat dalam pembuatannya, Mikael Wardhana, Rolfe Horne, kemapanan dalam berfotografi. Kit dapat belajar dari Joey Lawrence, seorang
pemuda berusia 18 tahun yang sudah memiliki kemampuan fotografi yang jauh
serta dilindungi oleh Undang- Iklan:
lebih senior dari usianya. Kita juga dapat belajar dari Mikael Wardhana, seorang
marketing@thelightmagz.com - fotografer fashion muda yang karya dan pemikirannya mampu membuat senior-
undang. Penggunaan foto-foto
0813 1100 5200, Sirkulasi: Maria seniornya merasa tidak nyaman menyandang gelar keseniorannya. Begitu juga
dalam majalah ini sudah seijin Fransisca Pricilia, dengan Rolfe Horn, seoreng fotografer senior yang tidak terbujuk oleh segala
kemudahan yang ditawarkan teknologi digital dan lebih memilih analog dengan
fotografernya. Dilarang meng- sirkulasi@thelightmagz.com,
alasan kesempurnaan keaslian berfotografi.
Graphic Design: ImagineAsia,
gunakan foto dalam majalah ini
Webmaster: Gatot Suryanto Semoga kehadiran mereka dan pemikiran-pemikiran lain pada edisi kali ini dapat
dalam bentuk / keperluan apapun memperkaya dan mencerahkan kita untuk AIM HIGH.
tanpa ijin tertulis pemiliknya.” The Light
2 EDISI XVII / 2008 EDISI XVII / 2008 3

COVERSTORY MUSICPHOTOGRAPHY

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



“Putting
What interesting for you about
photography?
It makes me responsible for capturing
the techni-
cal things
a person and presenting them in one
frame.
What makes you love travel pho-

at the
back of
tography?
Eating all the peanuts on the flights to
the locations.
your head
When shooting travel photog-
raphy. What do you want to only, so
achieved or must be achieved?
you may
use them
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 but are
portrait as a commercial portrait. I do
not dis-
tracted
not believe in separating style based
on the subject.
In both technical & non tech-

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



“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.”
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.



“A good
When photography are growing
faster. So many photographer
have an identically the same
photo
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-
is an
image
ties, and learning but it is also just as
important to forget all about other
people’s photography, and ignore the
that
industry of it completely. When you do
this, you can take a picture more hon-
makes
est to your vision.
You also shoot commercial &
another
portraiture. What’s interesting
about those two?
A new challenge every shoot.
Which one do you like doing it

most, travel photography, com- photog-
rapher
mercial photography or portrai-
ture? Why?
jeal-
I like my personal work better because I
have more control over my subjects.
ous of
What kind of photo deserved
labeled as a good photo?
A good photo is an image that makes
another photographer jealous of
course!
course!”


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



“I think the best

and most suc-
cessful photog-
raphers are al-
ways confident
but also trust-
worthy. If some-
one doesn’t Share us some practical tips on
trust you, they making a good photos.
will not be able Make a lot of mistakes and experiment

with everything you can.
to make a good
photo with you
and the quality Not many young photographer
or even they who older than you
will suffer be- have better capability and confi-
cause of it.” 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.



THELEPASAN JALANJALAN
BERBURU
JET DARAT
MALAM HARI
Pertarungan 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.

JALANJALAN JALANJALAN


“...di Sin-
Dari segi teknis, Novijan beranggapan
tingkat kesulitan memotret balap
gapore ini, mobil formula1 malam hari lebih sulit.

Pertama, karena pencahayaan yang
waktu nyo- lebih minim dibandingkan siang hari,
ba nggak
sementara kecepatan rata-rata mo-
bil balap formula1 bisa mencapaui
pakai ear- 300 kilometer per jam. “Teknik yang

paling sering dipakai untuk motret
plug kuping ini adalah panning. Bedanya, kalau
langsung
kita motret panning mobil formula1,
kecepatan panning kita bisa empat
berdenging
kali lipat dari panning mobil biasa.
Jadi buat yang belum fasih dengan
lalu jantung teknik panning pada mobil biasa, akan

mengalami sedikit kendala dengan
pun jadi mobil formula1.” Terangnya. Dari sisi
berdetak
peralatan, memotret formula1 malam
hari menuntut kamera yang mampu
lebih cepat. menangkap gambar dengan baik den-

gan asa tinggi. Novijan sendiri banyak
Mungkin itu bermain dengan ASA 1600 hingga
yang dis-
2000 tanpa exposure compensation.
“Kalau motretnya siang, Speed & ASA
ebut orang
nggak akan ada masalah.” Jelasnya.
Untuk setting speed, Novijan men-
dengan yarankan 1/600 untuk mendapatkan

foto yang freeze. Namun karena ingin
memacu mendapatkan efek dinamis melalui
adrenalin.”
pergerakan-pergerakannya, Novijan
mencoba setting speed 1/60 hingga
1/320. “Setting speed di bawah itu
cenderung akan berantakan speed

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- adanya area yang tidak tertutup pagar.
patkan efek freeze saja namun aksinya Novijan sendiri berusaha mengakali
kruang terlihat. “Kalau di Singapore hambatan ini dengan menjadikan
jangan ambil tiket grand stand, karena garis-garis pagar untuk mendapatkan
posisinya nggak bisa pindah-pindah. efek dinamis. Sementara untuk menda-
Pilih tiket walk about.” Jelasnya. patkan focus yang terpat, Novijan
menggunakan manual focus karena
Mengenai peralatan, Novijan men- jika anda menggunakan auto focus,
yarankan untuk tidak membawa tripod, kamera akan secara otomatis menyetel
monopod saja cukup, karena selain titik focus pada pagar karena berada
tidak banyak terpakai akan membe- lebih dekat dengan kamera dibanding-
bani kita juga dalam mengelilingi kan mobil balap yang ada di lintasan.
sirkuit yang bisa mencapai 5 sampai 6
kilometer. Ia juga menyarankan untuk Dan untuk menambahkan kesan aksi
menggunakan lensa zoom agar lebih yang lebih dinamis Novijan memadu-
flexible mengatur posisi dan framing. kan teknik panning dengan permainan
zoom, sehingga pada beberapa foto
Salah satu hambatan yang ditemui didapat foto yang tajam hanya pada
Novijan dalam memotret formula1 bagian tertentu, seperti helm dan
di Singapore ini adalah hampir tidak ujung depan mobil.










“kalau kita motret panning mobil

formula1, kecepatan panning kita
bisa empat kali lipat dari
panning mobil biasa.”

“tantangannya bukan sekedar meng-

hasilkan gambar yang tajam. Tapi yang
lebih penting lagi adalah memuncul-
kan aksinya.”







JALANJALAN CONTEMPORARYPHOTOGRAPHY

LIPUTANUTAMA LIPUTANUTAMA
BERBURU
sati cara mempertajam kesaktian
berfotografi mereka dengan semurah-
murahnya dan semudah-mudahnya. “Namun lama
kelamaan, ada
MANFAAT
Upaya memperkaya portfolio yang
rupanya menjadi salah satu senjata pihak-pihak yang
utama untuk “berjualan” jasa fotografi mungkin terlalu
pun membuat mereka harus pintar-
“kreatif” dengan
DARI HUNTING menambahkan
pintar menyiasatinya, karena ternyata
membuat portfolio tidaklah murah.
Sebagian orang yang tertarik akan unsur model pada
obyek landscape.
MODEL
memotret model rajin mengadakan
dan mengikuti sesi hunting model Ada yang menga-
bersama. Nah, ketika mendengar kata takan mereka me-
“hunting model bersama” mungkin nambahkan model
BERSAMA pada landscape
ada sebagian dari anda yang sudah
mulai bisa menebak arah pembahasan
kami kali ini. Ya, kami di team the light
untuk mempercan-
sejak awal berdirinya majalah ini tidak tik, ada pula yang
Pehobi fotografi di manapun meyakini bahwa salah satu cara untuk meningkat- pernah mendukung diadakannya sesi mengatakan bah-
kan kmampuan fotografi, kita perlu saling tukar pengetahuan dan pengalaman hunting model bersama, walaupun wa penambahan
berfotografi. Untuk itulah mengapa komunitas dan klub fotografi menjamur kami juga bukan institusi yang berhak model pada land-
dimanapun. Dengan “bersekutu” pehobi fotografi merasa bisa dengan mudah untuk menentangnya. scape karena mer-
dan murah meningkatkan kesaktian berfotografi. Proses pembelajaran dan tukar eka tidak memiliki
pengetahuan dan pengalamannya pun beragam. Mulai dari melakukan diskusi SA, seorang fotografer yang sudah
terjun di dunia professional dan
kemampuan untuk
bersama, membahasa sebuah foto, saling tukar referensi hingga mengadakan
acara-acara praktek berfotografi bersama atau yang dikenal dengan nama hunt- akademis selama lebih dari 20 tahun memotret land-
ing bersama. Indra, salah seorang pehobi fotografi yang terlanjur keranjingan mengatakan bahwa hunting pada scape yang baik,
mengikuti event hunting bersama pun mengakui bahwa setidaknya melalui hunt- awalnya tidak pernah ditujukan untuk jadi setidaknya ka-
ing bersama ia memiliki portfolio tambahan dengan hanya mengeluarkan sedikit sesi pemotretan yang menggunakan lau landscapenya
biaya. model yang mengarah ke fashion nggak dapat ya
Keterbatasan dukungan finansial dan pengetahuan yang dimiliki oleh pehobi
sebagai obyeknya. “Pada awalnya
hunting dilakukan pada fotografi
modelnya dapat.”
fotografi rupanya membuat mereka harus putar otak adu pintar untuk menyia- landscape, jurnalistik dan human

“Alasan “Jadi per-

interest. Jika kita telaah dari arti kata pertama adalah karena alasan finansial.
hunting sendiri yang artinya berburu Seperti kita ketahui membuat portfolio
kedua maka hunting dalam fotografi juga

seharusnya berburu obyek fotografi.
bagi mereka yang senang memotret
model tidaklah murah. Setidaknya tanyaannya
adalah Dan berburu artinya mencari, menge- selain equipment fotografi yang harus
bagaimana
ketidak- anda bisa
jar, dan berusaha mendapatkan. Untuk digunakan kita juga perlu membayar
itulah tepat jika hunting dilakukan model, make up artis dan juga menye-
percayaan pada bidang landscape karena artinya

mengejar obyek pemandangan, atau
wa atau membeli kostum. Sayangnya
tidak banyak pehobi fotografi yang merealisasi-
diri si fo- pada bidang jurnalistik karena artinya memiliki kedekatan dengan model,
kan sebuah
tografer cerita jika
mencari berburu momen, atau pada make up artis dan designer, sehingga
bidang human interest karena artinya acara hunting model beramai-ramai
dalam anda tidak

berburu cerita dalam interaksi obyek menjadi jalan keluar yang “melega-
dengan lingkungannya.” Ungkapnya. kan”. Melegakan karena biaya yang
meng- “Namun lama kelamaan, ada pihak-

pihak yang mungkin terlalu “kreatif”
ditanggung ditanggung secara kolektif
bersama-sama.” Jelasnya. “Alasan bisa men-
hadapi dengan menambahkan unsur model kedua adalah ketidakpercayaan diri si
gontrol
model elemen-
pada obyek landscape. Ada yang men- fotografer dalam menghadapi model
gatakan mereka menambahkan model satu lawan satu. Seperti sudah dikata-
satu lawan pada landscape untuk mempercantik,

ada pula yang mengatakan bahwa
kan banyak fotografer fashion profes-
sional, bahwa ketika kita berhadapan elemen
satu...” penambahan model pada landscape dengan model satu lawan satu maka
yang
seharusnya
karena mereka tidak memiliki kemam- rasa grogi pasti muncul. Terlebih lagi
puan untuk memotret landscape yang ketika kemampuan berfotografi kita
jadi pendu-
baik, jadi setidaknya kalau landscap- sangat terbatas apalagi model yang
enya nggak dapat ya modelnya dapat.” akan kita foto memiliki pengalaman
Sambungnya. SA mengutarakan
bahwa gerakan “terlalu kreatif” ini
dan kepercayaan diri jauh lebih tinggi
dari sang fotografer. Perumpamaannya kung tercip-
semakin lama semakin berkembang orang-orang seperti ini akan mengajak
tanya ceri-
ta.”
dan semakin banyak peminatnya. “Ada banyak temannya ketika melakukan
beberapa alasan yang saya duga me- pendekatan kepada seorang wanita
latarbelakangi berkembangnya trend yang ditaksirnya. Dia takut berhadapan
hunting model beramai-ramai ini. Yang satu lawan satu dengan wanita yang

“Hunting model
ditaksirnya. Hal yang paling sering obeynya sehingka ketika direkam pada
terjadi ketika ini dilakukan adalah sang sebuah foto, gambarnya jadi berbicara.
wanita yang ditaksir malah jatuh hati Satu hal yang membedakan keduanya
bersama sama
pada salah seorang teman yang diajak adalah pada capturing story artinya
menemani.” Sambungnya. kita tidak bisa mengontrol obyek,
“Kesimpulannya, bagi saya yang momen dan memiliki keterbatasan
namanya hunting ya obyeknya adalah dalam mengendalikan pencahayaan.
seperti me-
sesuatu yang tidak bisa kita atur, sep- Sementara pada creating story kita
erti alam, momen, dll. Jadi kalau ada memiliki keterbatasan yang nyaris tak
yang namanya hunting model buat terbatas dalam mengendalinak obyek,
mancing ikan di
saya itu salah besar. Dan makin besar momen dan pencahayaan. Untuk itu
lagi salahnya jika dilakukan secara yang termasuk dalam creating story
bersama-sama.” Tegasnya. adalah sebagian besar fashion photog-
aquarium. Arti-
raphy, commercial photography, fine
RW, seorang fotografer fashion yang art photography, still life, portraiture,
berdomisili di eropa pun berpendapat dll.” Tegasnya. “Dari pengertian tersebut
senada. “Saya membagi fotografi keda- bisa dikatakan bahwa “hunting model
nya kita berbu-

lam 2 jenis, yaitu fotografi yang sifatnya bersama” adalah sesuatu yang tidak
capturing story dan fotografi yang sejalan dengan prinsip tersebut. Tidak
sifatnya creating story. Capturing story sejalan karena seharusnya proses hunt-
ru sesuatu yang
artinya menangkap momen penting ke ing yang artinya berburu, seharusnya
dalam frame menjadi sebuah gambar dilakukan pada obyek yang kendalinya
yang indah. Pada bidang jurnalistik dan sangat terbatas atau bahkan tidak bisa
human interest momen di sini berarti kita kendalikan sama sekali seperti
sebenarnya bisa
pergerakan si obyek yang membuat momen petinju terpukul hingga jatuh,
gambar jadi memiliki cerita. Sementara momen gunung berapi memuntah-
pada landscape photography momen kan lahar. Sementara sesi pemotretan
kita kendalikan.”
berarti pencahayaan yang pas, arah model tidak bisa dikatakan hunting
cahaya, intensitas cahaya, posisi awan, karena seharusnya model sangat bisa
ketebalan kabut dan bentuk aliran kita kendalikan.” Sambungnya. “Hunt-
air (kalau ada).” Ungkapnya. “Semen- ing model bersama sama seperti
tara creating story berarti mereka- memancing ikan di aquarium. Artinya
yasa sebuah momen dan pergerakan kita berburu sesuatu yang sebenarnya

“Hunting model saja

Begitu juga dengan memotret model,
karena sifatnya adalah creating story
sudah jelas tidak te-

maka proses eksekusinya seharusnya
dilakukan sendirian walaupun boleh
dibantu oleh satu orang make up artis,
pat, apalagi ketika satu orang fashion stylist, satu orang

designer, dan beberapa orang asisten.
dilakukan bersama-
Tapi komando eksekusi tertinggi harus
terdapat pada satu orang fotografer.”
sama. Mengapa
Tegasnya. “Coba lihat saja, apa yang
bisa anda perbuat pada hunting model
tidak tepat, karena

bersama, apakah anda bisa mengon-
trol si model? Saya rasa tidak akan lelu-
asa. Apakah anda bisa mengatur set
seperti penger- lighting seperti kemauan anda? Saya
tiannya bahwa
memotret model
bisa kita kendalikan.” Tegasnya.
Sementara mengenai “hunting model
termasuk pada kat- bersama” RW berpendapat bahwa hal

ini bahkan jauh lebih salah lagi. “Hunt-
egori creating story,

ing model saja sudah jelas tidak tepat,
apalagi ketika dilakukan bersama-
sementara tidak ada

sama. Mengapa tidak tepat, karena
seperti pengertiannya bahwa me-
motret model termasuk pada kategori
story yang dicipta- creating story, sementara tidak ada

story yang diciptakan beramai-ramai.
kan beramai-ramai.” Coba saja lihat dalam sebuah film bisa

saja ada lebih dari 3 konspetor cerita
tapi tidak ada lebih dari satu sutradara.

LIPUTANUTAMA CONTEMPORARYPHOTOGRAPHY
rasa juga tidak. Jadi pertanyaannya bahwa memang benar tidak ada yang
bagaimana anda bisa merealisasikan berhak melarang seseorang yang ingin
sebuah cerita jika anda tidak bisa men- melakukan hunting model bersama,
gontrol elemen-elemen yang seharus- namun yang harus dipertanyakan
nya jadi pendukung terciptanya cerita.” kembali adalah motivasinya dan
Tegasnya. tanggung jawabnya pada motivasi
itu. “Memang sah-sah saja mengikuti
Tapi di samping kedua pendapat yang hunting model bersama jika tujuan-
kurang berpihak pada trend hunting nya hanya untuk senang-senang dan “...sah-sah saja
model bersama, kami menemukan HK, sosialisasi. Tapi mudah-mudahan mengikuti hunting
seorang fotografer professional muda mereka yang mengaku ikut hunting model bersama jika
yang berdomisili di Jakarta sedikit model bersama dengan alasan itu tidak
tujuannya hanya
lebih permisif terhadap fenomena ini.
HK berpendapat bahwa kita tidak bisa
pernah menggunakan foto-foto yang
didapat dari hasil hunting model ber-
untuk senang-
semea-mena menyalahkan pehobi sama untuk menjajakan jasa fotografi senang dan sosial-
karena proses pembuatannya jauh isasi. Tapi mudah-
fotografi yang ikut dalam sesi hunting diluar kendali dirinya seorang diri. Atau mudahan mereka
model bersama. “Tidak semua orang setidaknya mereka berani mengakui yang mengaku ikut
berfotografi dengan cita-cita untuk bahwa foto-foto itu memang dibuat hunting model
menjadi professional. Ada sebagian pada sesi hunting bersama di mana ia
bersama dengan
orang yang berfotografi hanya un- tidak memegang peranan dalam men-
gendalikan pencahayaan dan model.”
alasan itu tidak
tuk senang-senang, dan jika mereka
Jelasnya. pernah mengguna-
merasa senang dengan mengikuti
sesi hunting model bersama artinya
kan foto-foto yang
sah-sah saja, karena tujuannya adalah Bagaimana dengan anda? didapat dari hasil
bersenang-senang. Mereka bisa ber- hunting model ber-
temu teman sambil memotret model.” sama untuk menja-
Ungkapnya. jakan jasa fotografi
karena proses pem-
Menanggapi pendapat HK, US seorang
buatannya jauh di-
fotografer professional berpendapat
luar kendali dirinya
seorang diri.”
CONTEMPORARYPHOTOGRAPHY CONTEMPORARYPHOTOGRAPHY
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.
neep’s art institute (neep’s) kini hadir untuk bila ingin mengambil kelas tanpa mengikuti kelas sebelumnya.
memenuhi kebutuhan standarisasi dunia fotografi yang Melengkapi kelas-kelas yang sudah ada, juga telah dibuka 2 kelas
semakin meningkat. Mengikuti standar kurikulum luar digital imaging yaitu DI 1 dan DI 2. Fasilitas yang disediakan bagi
negeri yang lebih terarah, sehingga murid - murid di siswa adalah laboratorium komputer, wi-fi internet, perpustakaan
neep’s bisa mendapatkan teknik yang benar. Secara dan studio.
global, dalam pendirian institusi ini, neep’s yang resmi
beroperasi sejak 9 Maret 2007 lalu memiliki tujuan untuk neep’s mempunyai misi untuk menyiapkan murid-muridnya menjadi
meningkatkan apresiasi foto masyarakat Indonesia ke lulusan yang matang dan siap terap di bidang fotografi dan digital
level internasional dengan cara mengembangkan imaging.
standarisasi yang lebih tinggi dalam pendidikan fotografi,
memperluas networking opportunity dan mengeksplorasi Untuk menunjang misi tersebut, maka neep’s art institute membuat
bakat baru di bidang fotografi. Didukung juga dengan suatu wadah neep’s community dimana ini adalah tempat bagi
pengajar yang mempunyai latar belakang fotografi dan alumni, murid dan pengajar untuk bertukar informasi. neep’s
memiliki pendidikan formal fotografi di beberapa negara community mempunyai kegiatan antara lain seminar, workshop,
luar seperti Australia, Amerika Serikat dan Kanada. hunting, forum dan foto galeri.
Dengan demikian neep’s diharapkan dapat menyusun
standar baru dalam dunia pendidikan fotografi di Untuk informasi lebih lanjut dapat menghubungi (021 - 6306262)
Indonesia yang setara dengan standar yang berlaku di dan (021 - 6306333). Atau dapat langsung mengakses ke website
negara-negara maju, khususnya di Asia Tenggara. neep’s di www.neeps-artinstitute.com
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

FASHIONPHOTOGRAPHY FASHIONPHOTOGRAPHY
MIKAEL
hana memenuhi segala kriteria untuk
disebut sebagai fotografer yang benar-
benar bagus. Karena selain menghasil-
WARDHANA,
kan foto yang bagus, ia juga memiliki
pemikiran yang mencerhakan. Berikut
pembicaraan kami dengannya.
KEDALAMAN
What brought you to do photog-
raphy? Could you share with us
a little bit of your background
story?
PEMIKIRAN
My passion for the creative world start-
ed when I was very young. Of course, at
that time, I didn’t know anything about
SEORANG
photography. Our family had one cam-
era and it was this beautiful vintage
FOTOGRAFER
Voightlander. At the age of about 4, I
broke that camera into small pieces.
Obviously after that I was grounded;
“So, suffice to not allowed to touch another camera
FASHION say I have al- (hahahaha), at least not until I was old
enough to learn.
ways loved and
admired the I liked drawing a lot when I was
Pada edisi yang lalu kami pernah menyinggung mengenai perbedaan antara female figure younger and in particular, drawing
fotografer yang benar-benar bagus dan fotografer yang kebetulan bagus. Ada-
since an early female figure. I know most kids love to
draw, however I was much more ob-
age.”
lah kedalaman pemikiran mereka yang membedakan keduanya. Mereka yang
benar-benar bagus tidak sekedar menghasilkan foto yang baik tapi juga memiliki sessed with it than the other kids were.
pemikiran yang memberi pencerahan bagi mereka yang mendengarnya. Semen- I hardly paid any attention in class; I
tara mereka yang kebetulan bagus mungkin dapat menghasilkan foto yang baik just drew and drew and drew. Which
namun tidak memiliki pemikiran yang luar biasa. obviously got me into trouble many
Secara kebetulan pada kesempatan kali ini kami menemukan Mikael Wardhana, times with the teachers. (hahahaha).
seorang fotgrafer Indonesia yang tinggal di Australia. Bagi kami Mikael Ward- So, suffice to say I have always loved

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

“When you tell and admired the female figure since an
people that you

early age.
are a still life My dad started teaching me how

photographer to use a camera correctly when I
for example, was about ten. It was a 1978 Canon
they will re- Rangefinder. This time I didn’t break it
spond “ahhhh into pieces and I started learning what
okay” (with a aperture was and what shutter speed
bland looking
was, etc. But unfortunately, the cost of
buying films and developing them was
expression) but too expensive and so I had to stop.
if you say that
you are a fash- In 2003, I finally bought my first cam-
ion photogra- era. It was this plastic low-end 35mm
pher, suddenly SLR but it was enough to make me
people’s reac- feel over-the-moon. I bought a bunch
tions change to
of expired films and soon after that I
couldn’t stop snapping almost any-
“wow”. I think thing and everything. But at that time
this perception I didn’t know that it was a start of a
is really dis- brand new exciting journey in my life.
torted because I
believe fashion How did you learn photography?
Did you have a formal education
photography is in photography?
no more or less Yes, I decided to take the full plunge
difficult com- into photography in 2006 and I com-
pared to any pleted a ‘Bachelor of Art in Photogra-
other genre.” phy’ degree at RMIT University, Austra-

lia. It was here that I went from being
a “weekend warrior” to a professional
photographer.

“Fashion photography is
What is it about fashion photog- concepts, going to new places, new
raphy that fascinates you? challenges and meeting new and
the closest sibling to movie

In one word, women. exciting people. I just can’t ask for any
better job.
making. This is one genre

As I’ve explained before, since I was
very young I have always been attract-
Fashion photography seems to
of photography where you

ed to women and admired their beauty
and complexity. So I guess I’m doing
be the choice of many young
photographers nowadays. Could
fashion photography because it is what
can go pretty crazy with

you share some thoughts on this
my personality responds to.
There are many reasons for this I think.
Fashion photography is the closest

sibling to movie making. This is one your ideas. One thing that There is a general perception that
fashion photography is
fashion photography is the “coolest”
genre of photography where you can
genre in photography. People think
go pretty crazy with your ideas. One
that being a fashion photographer is
thing that fashion photography is not
about, is documenting reality. Fashion not about, is documenting so glamorous and you get to hang out
with beautiful girls all the time.
reality. Fashion photogra-

photography is never about reality.
It is about fantasy and story telling.
When you tell people that you are a still
phy is never about real-

Very much like building a script for a
life photographer for example, they will
fictional movie.
respond “ahhhh okay” (with a bland
You build your concept, create the

characters and put them into a set, and ity. It is about fantasy and looking expression) but if you say
that you are a fashion photographer,
story telling. Very much like

suddenly people’s reactions change to
then you direct the shoot. So you are
“wow”. I think this perception is really
creating images - not documenting
building a script for a fic-

distorted because I believe fashion
reality. And that’s what fashion photog-
photography is no more or less difficult
raphy is all about.
tional movie.”
compared to any other genre. But I will
let you have your own opinion on that.
And that is exactly why I love fashion
photography; the dynamic nature of
The problem now is that there are so
it. There is always something new for
many other “fashion photographers”
every photo shoot. Developing new
out there who are doing it for the

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

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
“The problem now fewer and fewer as it gets closer to the
is that there are so top.
many other “fash-
ion photographers” When you are shooting fashion,
what are your goals? What do
out there who are you want to achieve and why?
doing it for the It depends on the project, I suppose.
wrong reasons. But in general, a successful shoot for
What they are do- me is when every component of the
ing is actually very shoot falls right into place. They have
degrading. They to feel right and “believable”, not forced
just want to shoot nor over-the-top. It has to have this
partially or fully feeling of elegance.
nude girls and ba- First the concept has to be striking, the
sically take advan- photography technique used has to
tage of them.” be appropriate for the concept (more

makeup artistry: jacqui parker | model: claryssa jameson

“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!”

successful. So we use a lot of “feeling”

“If you are
I am faced with various options and I
here. After all, it’s not something we have to make decisions all through-
can measure. out the process. Whether it is in the
doing any
pre-production stage, when shooting,
form of art
whole-heart-
And obviously, a successful shoot also or when post-producing the images.
“And obvious- means it has to exceed the client’s And when a huge amount of money is
ly, a success- expectation. at stake, making a wrong decision can

edly over a
long period
be disastrous. And fashion shoots are
ful shoot also Tell us what is the most difficult almost always very expensive to run.
means it has to
exceed the cli-
part you normally encounter
when conducting a fashion
So failure is really not an option. The
of time, you
are actu-
pressure is high.
shoot?
ent’s expecta- Being a fashion photographer is like
So I guess the most difficult part of
ally doing a
tion.” being a captain of a ship with a large
crew. It is a big responsibility to carry.
being a fashion photographer is to be
study about
a Captain who can drive the team to
There are a lot of decisions to make
success every time under any circum-
yourself. It
is a journey
that will eventually determine the suc-
stance; even when things are going
cess of the photo shoot.
of discover-
against you. And have you heard the
saying “You are only as good as your
last job!”
ing who you
Share us some tips on how to really are
complicated doesn’t mean its going to discover our distinct personal
style in our work. in person,
be better), the styling has to be great,
makeup has to be neat and flawless, This is probably the question I cannot the deep-
and the model has to make the audi- answer for you. If you are doing any
est, unseen
fragments of
ence believe that she is the character form of art whole-heartedly over a long
period of time, you are actually doing
yourself.”
we are trying to portray.
a study about yourself. It is a journey
After the shoot, my team and myself of discovering who you really are in
will look closely at the images. If they person, the deepest, unseen fragments
strike us, it means we have exceeded of yourself.
our own expectation. And hence, it is
When you have a body of work in



make up artist: Jacqueline Parker, Fashion Styling: Vass Arvanitis
“If we look back, the icon-

which people can recognize you Find a few artists whose work inspires
through, you’ve successfully formu- you the most and move towards that
lated your style. So keep on doing
your art and reflect back on your own
direction.
ic fashion photographers
work continuously. It is a journey and it Now I’m not talking about the work of
have always been those
who can reflect and re-
won’t happen overnight. Joe the photographer from around the
corner here. You should be looking at
spond to the social issue

Share with us also the mindset & world’s best photographers’ work to
habits that we should have to be inspire you. Aim high and it is okay to
up to date to the current trend.
(I don’t quite understand this question)
be a little bit ambitious, because that’s
happening in their era.
And they dare to respond
what will take you far.
Look at other photographers work and
to that controversially.”
study them carefully. Question them What words describe your work
why, why and why? Why are they good best?
or why are they not good? If I can only choose one word, it would
“Now I’m not talking about be the word ‘sultry’. And whats the definition of
the work of Joe the pho- Sure I have made many non-feminine
images but I always tend to fall back
“great image” for you?
Oh wow, it’s like asking what is the defi-
tographer from around the to my own nature - soft, feminine, and

sultry.
nition of delicious food! Everyone will
have different opinions about this.
corner here. You should In your opinion, what makes a
be looking at world’s best
But art is about self-expression and it
great fashion photographer? is something that comes from inside
photographers’ work to If we look back, the iconic fashion

photographers have always been those
the creator’s feeling. So it works on a
personal level. Hence, in my opinion,
inspire you. Aim high and who can reflect and respond to the
social issue happening in their era. And
a piece of art is great when it is able to
it is okay to be a little bit

evoke the emotion of the viewer.
they dare to respond to that contro-
ambitious, because that’s

versially. Helmut Newton is one good This applies to photography. If you can
example for this. And we have photog- create an image that can evoke the
what will take you far.” raphers like Steven Meisel and David
Lachapelle in our time now.
emotion of the viewer, whether it is
love, sadness, grief, awe, or even anger

“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.”

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

“This is photography not camerag-

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. raphy, so please stop wasting time ar-
guing about which camera is the best
and which lens is the sharpest. Many
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. photographers spend way too much
Could you share with us, begin- time discussing about their equipment.
ners, how to learn photography
effectively? My advice is, to buy the equipment
I think when you start learning pho-
that you can afford and get over it and
start shooting.”
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 After you pass that basic stage, you
flashes and tungsten.
get very familiar with these. Also, learn need to learn how to make striking
about what different focal length of the images more than just correctly ex-
This is photography not cameragraphy,
lens have different effects on your im- posed or correctly composed. This is the
so please stop wasting time arguing
age. And finally and most importantly, stage where you have to think a lot and
about which camera is the best and
learn how to use artificial light sources, prepare a lot before you shoot. Learn
which lens is the sharpest. Many pho-
about colours, learn about light, and
tographers spend way too much time
most importantly learn about making
discussing about their equipment. My
conceptual images.
advice is, to buy the equipment that
you can afford and get over it and start
And the last stage, which I have dis-
shooting. Working professional pho-
cussed before, is finding your work style.
tographers treat their cameras as a tool
This won’t happen overnight and will
to create their work, just like a painter
take many years on the field to develop.
uses a brush to paint.


makeup artist : jacqueline parker | hair stylist : alvin wong | stylist : vass arvanitis | model : emily pedler
makeup artistry by jacqueline parker | fashion styling by vass arvanitis | model : melissa riemer (chadwick management)



LANDSCAPEPHOTOGRAPHY LANDSCAPEPHOTOGRAPHY

MASTERTOM MASTERTOM
COPY, COPY, COPY...

that’s what attracts you to that style, op that idea one stage further! When I
Let’s talk about copying!
then spend some time thinking about first learnt photography I also tried to
What I’m talking about is picture
how you could create this effect in copy particular styles etc., but I always
counterfeiting, i.e. when a photogra-
your own way. For instance, by using ended up with something completely
pher takes a picture in exactly the same
only warm colours and soft materials different. It’s so much more interesting
way as someone else has already done
or introducing unsharpness. This is the to create something new than to copy
before. Why do people do that? “Citations”, however, are a different
first step to becoming a much better already existing things!
matter altogether. “Citations” are
Let’s look at the amateurs first: photographer yourself! And maybe
what I call pictures that someone has
The freshman photographer admires one day others will be copying your
copied and included a reference to
a popular photographer and – still in style of work...
search of his or her own personal style “I have nothing the original. For instance, if you take a
– attempts to take photos “just like the I have nothing against copying as long against copying as photo of the Mona Lisa and add a pair
of sunglasses, then everyone should be
famous X”. That happens every day as it is used as a learning method. In long as it is used as able to recognise that you’re copying
and is not really a problem. But I would classical art, it’s part of the training
a learning method. Leonardo da Vinci! A different type of
recommend an alternative: try and programme. BUT: the result should not
In classical art, it’s citation is the picture from my last col-
create your own style! If your favourite be passed for your own work!
What makes a picture or photo special part of the training umn, where I had re-photographed the
photographer X works with soft-focus,
for example, then rather than simply is usually the idea behind it. Admit- programme. BUT: painting “Island of Death”. One can only
copying it, think about why he or she tedly, it’s difficult finding good ideas the result should do that, though, if the original “model”
does that! Is it because it makes the for photos all the time. So if you see a not be passed for is clearly recognisable and the remake
contains a new message!
setting more harmonious and adds a really good photo idea, please don’t your own work!”
surreal sense of beauty? If so, and if simply copy it – instead, try and devel-

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!

MASTERTOM MASTERTOM
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.
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 ...

MASTERTOM LANDSCAPEPHOTOGRAPHY
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 THEINSPIRATION
MEMELIHARA KEMUNGKINAN aman. Kira-kira saya bisa dapat 2 trliun

“Bercita-cita un-
Beberapa saat yang lalu, seorang
“...dibandingkan
per tahunnya dengan hidup nyaman,
teman yang baru saja pindah peker-
jaan menceritakan tentang kekayaan tuk bisa sehebat tiap hari bermain dengan anak dan istri
bercita-cita un-
Ansel Adams
di pantai menikmati hidup.” Menangga-
sang pemilik perusahaan tempatnya
bekerja. “Bos gue punya semua. Sebut
memang tidak
pi perkataan teman saya tersebut sang
tuk menjadi fo-
industri apa aja, dia punya. Mulai dari
secara otoma-
bos pun menjawab dengan tersenyum,
“Karena itulah kamu tidak mempunyai tografer sekelas
otomotif, stasiun TV, telekomunikasi,
tis memberikan uang 20 triliun rupiah. Karena sebelum fotografer top
di komunitas
makanan, semuanya dia punya. Total
kamu punya uang 20 triliun rupiah
kekayaannya mencapai 20 triliun ru-
garansi bahwa kamu sudah berhenti dan memilih
anda, bercita-
anda pasti men-
piah.” Begitu kira-kira ungkapnya. Saya
cita menjadi
menikmati hidupmu.”
pun menanggapi cerita tersebut den-
gan antusias. Cerita tentang kekayaan jadi sehabat Ansel Adams
Ansel Adams.
Cerita nyata tersebut memberi pencer-
ini pun terus berlanjut hingga akhirnya
teman saya ini pun bercerita bahwa
Tapi setidaknya
ahan pada pikiran saya untuk beberapa
secara otomatis
pada suatu waktu ketika ia mendapat
itu memberi-
saat. Dan karena ini majalah fotografi,
maka saya akan mensarikan moral dari menghadiahi
kesempatan untuk bertemu dengan
kan anda bahan cerita itu dengan hubungannya den- anda lebih ban-
yak kemungki-
sang pemilik perusahaan tempatnya
gan dunia fotografi Indonesia.
bekerja. Ia pun berkata kepada bosnya
bakar berupa Berapa banyak dari anda yang ingin
nan.”
semangat dan
tersebut, “Pak, kok bapak masih mau
menjadi fotografer yang sehebat
sih usaha macam-macam. Kalau saya
punya uang 20 triliun rupiah, saya ber- ketekunan un- fotografer terbaik di komunitas anda?
tuk mendalami
Jika anda bergabung di komunitas
henti kerja, lalu saya beli tanah di bali
online dimana anda biasa saling
yang menghadap ke pantai kurang leb-
ih 1 hektar, lalu saya bangun villa yang fotografi hingga tukar kritik dan poin, apakah anda
kurang lebih menghabiskan dana 20 sekelas Ansel ingin menjadi seperti fotografer yang
milliar untuk tanah, bangunan, lengkap
dengan isinya. Lalu sisa uangnya saya
Adams.” memiliki poin tertinggi yang teknik
dan style fotografinya berusaha dicari
dan dicontek orang? Apakah anda
belikan saham blue chip, saya masuk-
berhenti di situ? Atau apakah anda
kan deposito dan surat berharga yang

THEINSPIRATION FINEARTPHOTOGRAPHY
ROLFE HORNE,
tertarik untuk menjadi sehebat Artli
Ali, Sam Nugroho, Nico Darmadjungen,
Oscar Motuloh, Julian Sihombing?
MAKE WORLD
Lagi-lagi, jika anda tertarik, apakah
anda berhenti di situ atau anda juga
ingin menjadi sehebat Helmut Newton,
Ansel Adams, Patrick Demarchelier,
PRETTIER
David Lachapelle?
Bercita-cita untuk bisa sehebat Ansel
THROUGH HIS
Adams memang tidak secara otoma-
dibandingkan bercita-cita untuk men-
tis memberikan garansi bahwa anda
jadi fotografer sekelas fotografer top di
pasti menjadi sehabat Ansel Adams.
komunitas anda, bercita-cita menjadi
Tapi setidaknya itu memberikan anda
LENS
Ansel Adams secara otomatis meng-
bahan bakar berupa semangat dan
hadiahi anda lebih banyak kemungki-
ketekunan untuk mendalami fotografi
nan.
hingga sekelas Ansel Adams. Jika anda
bercita-cita untuk menjadi sehebat
Teman saya di awal cerita tadi mungkin How did you know & learn
Ansel Adams, kemungkinan terbai-
hanya bercita-cita memiliki uang 20 photography? Tell us from the
knya anda akan menjadi sehebat
milliar untuk dihabiskan dengan mem- beginning.
Ansel Adams, walaupun kemungkinan
bangun villa di bali. Sementara bosnya My first camera I bought at a garage
terburuknya anda tetap jadi fotografer
memiliki cita-cita jauh lebih besar, bah- sale when I was 8 years old. I was fasci-
kawinan yang bahkan dibayar sukarela
kan lebih besar dari 20 triliun rupiah nated with the camera and the photos
sekalipun masih tidak laku. Namun
yang sudah dimilikinya. Dan mungkin it would produce. I was only able to
itu yang membawanya kepada angka photograph a few rolls of film with that
20 triliun. camera because my $2/week allow-
ance wouldn’t cover the costs. When I
Pertanyaannya, bercita-cita ingin was 14, I rediscovered photography. I
menjadi sehebat siapakah anda dalam had a paper route so I could afford the
berfotografi? Atau jangan-jangan costs. I initially wanted to photograph
hanya fotorgafer terhebat di komunitas my friends doing skateboard stunts,
andalah fotorgafer hebat yang anda though after I built a darkroom when I
kenal? was 15 I really got into black and white

FINEARTPHOTOGRAPHY FINEARTPHOTOGRAPHY
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

“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.”


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.


“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”

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?

“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”


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


“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.”

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

“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.”
“...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.”

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?

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.


orkshop ini mengenai bagaimana

persiapan sebuah fotosession. Proses pre
production dari sebuah fotosession ,tips
dan trik fotografer bekerja sama dengan
art director,make up artis, wardrobe dan
model sehingga lay out yang sudah dipilih
bisa dikerjakan dengan hasil akhir yang
sesuai dengan keinginan klien. Workshop
ini mengambil tempat di tebing dan
sangkar burung. Hari pertama ,diadakan
neep's dan t he light magz mengadakan f ot ograf i 2 sesi workshop. Untuk sesi workshop
workshop bertema : Out door exposure 2 FASHION pertama Clarissa menerangkan soal
PHOTOGRAPHY FOR ADVERTISING pada tgl 18 s/d settingan lampu dan konsep fotonya.
20 Juli 2008 di Ujung Gent eng Dengan pembicara Konsep foto di tebing adalah karnaval.
Seminar kemudian dilanjutkan oleh 02, pemandangan sunset di Ujung Genteng
Sehingga baju yang digunakan pun meriah 03, melihat penyu bertelur
Clarisa Jayakumara dibantu oleh Paddy dan make up yaciko, sebagai make up artist untuk dunia 04, menikmati hidangan barbeque
banyak warna warni.Kenapa dipilih tema 05, sesi workshop di sangkar burung
artis didukung oleh Yachiko. advertising. Apa saja yang harus bisa
carnaval untuk di tebing? karena biasanya
dilakukan oleh seorang makeup artist
foto di tebing identik dg baju yang
dalam memenuhi keinginan atau konsep
melambai lambai, jadi kali ini mau
foto yang diajukan fotografer. Workflow
menampilkan tema yang berbeda.
makeup artist, tips dan trik dalam
menyiasati model yang kelelahan atau yang
Sesuai dg tujuan fotonya, untuk fashion,
tampangnya sudah loyo atau yang
maka gaya yang dilakukan oleh model
berjerawat.
sebisa mungkin tidak menutupi bagian
baju yang detailnya ingin ditampilkan.
Setelah dari seminar ini perserta hunting
Setelah melihat beberapa contoh foto,
pantai dan sebagai malam penutup
para peserta dipersilahkan memotret dan
diadakan barbeque bersama dengan
menata ulang pencahayaan dengan
seluruh perserta dan panitia. Karena Ujung
bantuan dua orang asisten profesional dari
genteng terkenal dengan proses Penyu
Primacolor. Untuk sesi workshop kedua
yang sedang bertelur, beberapa peserta
yaitu pemotretan di sangkar burung.
pergi untuk melihat proses Ini.
Konsep fotonya adalah ayam yang sedih
karena terkurung, kali ini model
Acara ini ditutup oleh pemberian
mengenakan wardrobe bulu bulu seperti
souvenir oleh pihak Canon yang bertindak
ayam,kemudian harus berpose di dalam
sebagai sponsor.
kandang yang besar.Setelah worskhop
selesai peserta bersama-sama hunting foto
Semoga acara ini bisa bermanfaat untuk
tebing di malam hari.
seluruh perserta dalam proses mereka
menjadi penerus-penerus fotografi di
Hari kedua Clarissa membawakan
Indonesia.
seminar tentang pemotretan di dunia
advertising,tentang apa yang diinginkan
oleh creative director dr fotografer, apa
saja kewajiban kewajiban fotografer dalam
mengeksekusi sebuah job,siapa saja partner
partner yang akan membantu fotografer
dalam eksekusi,workflow dari sebuah
job.bahkan sampai ke masalah menetukan
harga.

WHERETOFIND WHERETOFIND
JAKARTA Perhimpunan Fotografi Taru- CybiLens Jl. KH Hasyim Ashari No. 18, Jakarta POIsongraphy Satyabodhi
Telefikom Fotografi manegara PT Cyberindo Aditama, Mang- SUSAN + PRO ConocoPhillips d/a Ratu Prabu 2 Kampus Universitas Pasundan
Universitas Prof. Dr. Moestopo (B), Kampus I UNTAR Blok M Lt. 7 Ruang gala Wanabakti IV, 6th floor. Jl. Kemang raya No. 15 Lt.3, Jakarta jl.TB.Simatupang kav 18 Jl. Setiabudi No 190, Bandung
Jalan Hang Lekir I, JakPus PFT. Jl. Letjen S. Parman I JakBar Gatot Subroto, jakarta 10270 12730 Jakarta 12560 Himpunan Mahasiswa Planologi
Indonesia Photographer Pt. Komatsu Indonesia FSRD Trisakti e-Studio NV Akademie (HMP) ITB
Organization (IPO) Jl. Raya Cakung Cilincing Km. 4 FSRD Trisakti, Kampus A. Jl. Kyai Wisma Starpage, Salemba Tengah Jl. Janur Elok VIII Blok QG4 No.15 Gedung Labtek XI A, Jl Ganesha 10
Studio 35, Rumah Samsara, Jl. Jakarta Utara 14140 Tapa, Grogol. Surat menyurat: jl. No. 5, JKT 10440 Kelapa Gading permai Bandung 40132
Bunga Mawar, no. 27, Jakarta LFCN (Lembaga Fotografi Dr. Susilo 2B/ 30, Grogol, Jakbar VOGUE PHOTO STUDIO Jakarta 14240
Selatan 12410 Candra Naya) SKRAF (Seputar Kamera Ruko Sentra Bisnis Blok B16-17, TASIKMALAYA
Unit Seni Fotografi IPEBI (USF- Komplek Green Ville -AW / 58-59, Fikom) Tanjung Duren raya 1-38 BEKASI Eco Adventure Community
IPEBI) Jakarta Barat 11510 Universitas SAHID Jl. Prof. Dr. Shoot & Print Lubang Mata Jl. Margasari No. 34 Rt. 002/ 008,
Komplek Perkantoran Bank HSBC Photo Club Soepomo, SH No. 84, Jak-Sel jl. Boulevard Raya Blok FV-1 no. 4, Jl. Pondok Cipta Raya B2/ 28, Bekasi Rajapolah, Tasikmalaya 46155
Indonesia, Menara Sjafrud- Menara Mulia Lt. 22, Jl. Jendral 12870 Kelapa Gading Permai, jkt Barat, 17134
din Prawiranegara lantai 4, Jl. Gatoto Subroto Kav. 9-11, JakSel One Shoot Photography Q Foto SEMARANG
MH.Thamrin No.2, Jakarta 12930 FIKOM UPI YAI jl. Diponegoro no. Jl. Balai Pustaka Timur No. 17, BANDUNG PRISMA (UNDIP)
UKM mahasiswa IBII, Fotografi XL Photograph 74, JakPus Rawamangun, Jkt PAF Bandung PKM (Pusat Kegiatan Mahasiswa)
Institut Bisnis Indonesia (FOBI) Jl. Mega Kuningan Kav. E4-7 No. 1 Lasalle College Digital Studio College Kompleks Banceuy Permai Kav A-17, Joglo Jl. Imam Bardjo SH No. 1
Kampus STIE-IBII, Jl Yos Sudarso JakSel Sahid Office Boutique Unit D-E-F Jl. Cideng Barat No. 21 A, Jak-Pus Bandung 40111 Semarang 50243
Kav 87, Sunter, Jakarta Utara Kelompok Pelajar Peminat (komp. Hotel Sahid Jaya). Jl. Darwis Triadi School of Photog- Jepret MATA Semarang Photography
Perhimpunan Penggemar Fotografi SMU 28 Jend Sudirman Kav. 86, Jakarta raphy Sekretariat Jepret Lt. Basement Club
Fotografi Garuda Indonesia Jl. Raya Ragunan (Depan RS Pasar 1220 jl. Patimura No. 2, Kebayoran Baru Labtek IXB Arsitektur ITB, Jl Ganesha FISIP UNDIP
(PPFGA) Minggu) JakSel Jurusan Ilmu Komunikasi eK-gadgets centre 10, Bandung Jl. Imam Bardjo SH. No.1, Semarang
PPFGA, Jl. Medan Merdeka Selatan FreePhot (Freeport Jakarta Universitas Al-Azhar Indo- Roxy Square Lt. 1 Blok B2 28-29, Jkt Spektrum (Perkumpulan Unit DIGIMAGE STUDIO
No.13, Gedung Garuda Indonesia Photography Community) nesia Style Photo Fotografi Unpad) Jl. Setyabui 86A, Semarang
Lt.18 PT Freeport Indonesia Plaza 89, 1st Jl. Sisingamangaraja, Kebayoran Jl. Gaya Motor Raya No. 8, Gedung jl. Raya Jatinangor Km 21 Sumed- Jl. Pleburan VIII No.2, Semarang 50243
Komunitas Fotografi Psikologi Floor baru, Jak-Sel, 12110 AMDI-B, Sunter JakUt, 14330 ang, Jabar Ady Photo Studio
Atma Jaya, JKT Jl. Rasuna Said Kav X-7 No. 6 LSPR Photography Club Neep’s Art Institute Padupadankan Photography d/a Kanwil Bank BRI Semarang, Jln.
Jl. Jendral Sudirman 51, Ja- PSFN Nothofagus (Perhimpu- London School of Public Relation Jl. Cideng Barat 12BB, Jakarta Jl. Lombok No. 9S Bandung Teuku Umar 24 Semarang
karta.Sekretariat Bersama Fakultas nan Seni Fotografi PT Freeport Campus B (Sudirman Park Office V3 Technology Studio intermodel Pandawa7 digital photo studio
Psikologi Atma Jaya Ruang G. 100 Indonesia) Complex) Mall ambassador Lt.UG/47. Jl. Prof Jl. Cihampelas 57 A, Bandung 40116 Jl. Wonodri sendang raya No. 1068C,
Studio 51 PT Freeport Indonesia Plaza 89, 1st Jl. KH Mas Mansyur Kav 35 Dr. Satrio, Kuningan, Jakarta Lab Teknologi Proses Material ITB Semarang
Unversitas Atma Jaya, Jl. Jendral Floor Jakarta Pusat 10220 Cetakfoto.net Jl. Ganesha 10 Labtek VI Lt. dasar, Kloz-ap Photo Studio
Sudirman 51, Jakarta Jl Rasuna Said Kav X-7 No. 6 FOCUS NUSANTARA Kemang raya 49D, Jakarta 12730 Bandung Jl. Kalicari Timur No. 22 Semarang

WHERETOFIND WHERETOFIND
DINUSTECH Jurusan Fotografi MALANG MEDAN PONTIANAK GORONTALO

Jl. Arjuna no. 36, Semarang Fakultas Seni Media Rekam MPC (Malang Photo Club) Medan Photo Club Pontianak Deviantart Masyarakat Fotografi
50131 Institut Seni Indonesia Jl. Pahlawan Trip No. 25 Malang Jl. Dolok Sanggul Ujung No. 4 Samping CP: Bryan Tamara Gorontalo
Jl. Parangtritis Km. 6,5 Yogyakarta JUFOC (Jurnalistik Fotografi Kolam Paradiso Medan, Sumatra Utara 0818198901 Graha Permai Blok B-18, Jl.
SOLO Kotak Pos 1210 Club) 20213 Rambutan, Huangobotu,
HSB (Himpunan Seni Ben- UKM Fotografi Lens Club student Centre Lt. 2 Universitas UKM FOTOGRAFI USU KALTIM Dungingi, Kota Gorontalo
gawan) Universitas Sanata Dharma Muhammadiyah Malang. Jl. Raya Jl. Perpustakaan no.2 Kampus USU Badak Photographer Club (BPC)
Jl. Tejomoyo No. 33 Rt. 03/ 011, Mrican Tromol Pos 29 Yogyakarta Tlogomas No. 246 malang, 65144 Medan 20155 ICS Department, System Support AMBON
Solo 57156 55281 UKM KOMPENI (Komunitas Section, PT BADAK NGL, Bontang, Performa (Perkumpulan
Lembaga pendidikan seni Mahasiswa Pecinta Seni) BATAM Kaltim, 75324 Fotografer Maluku)
dan design visimedia college SURABAYA kampus STIKI (Sekolah Tinggi Batam Photo Club KPC Click Club/PT Kaltim Prima jl. A.M. Sangadji No. 57 Am-
Jl. Bhayangkara 72 Solo Himpunan Mahasiswa Pengge- Informatika Indonesia) Malang, Jl. Perumahan Muka kuning indah Blok Coal bon. (Depan Kantor Gapensi
mar Fotografi (HIMMARFI) Raya Tidar 100 C-3, Batam 29435 Supply Department (M7 Buliding), kota Ambon/ Vivi Salon)
YOGYAKARTA Jl. Rungkut Harapan K / 4, Surabaya PT Kaltim Prima Coal, Sangatta
Atmajaya Photography club AR TU PIC JEMBER PEKANBARU ONLINE PICK UP
Gedung PUSGIWA kampus UNIVERSITAS CIPUTRA Waterpark UFO (United Fotografer Club) CCC (Caltex Camera Club) SAMARINDA POINTS:
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yogyakarta 60219 68126, Jawa Timur Planning, Main Office 229, Rumbai, da Photographers Community) http://charly.silaban.
“UKM MATA” Akademi Seni FISIP UNAIR Univeritas Jember (UKPKM Pekanbaru 28271 Jl. Manggis No. 55 Voorfo, Sa- net/
Rupa dan Desain MSD JL. Airlangga 4-6, Surabaya Tegalboto) marinda Kaltim www.studiox-one.com
Jalan Taman Siswa 164 Yogya- Hot Shot Photo Studio Unit Kegiatan Pers Kampus Maha- LAMPUNG http://www.focusnu-
karta 55151 Ploso Baru 127 A, Surabaya, 60133 siswa Universitas Jember Malahayati Photography Club SOROWAKO santara.com/articles/
Unif Fotografi UGM (UFO) Toko Digital jl. Kalimantan 1 no 35 komlek ged. Jl. Pramuka No. 27, Kemiling, Bandar Sorowako Photographers thelightmag.php
Gelanggang mahasiswa UGM, Ambengan Plasa B23. jl Ngemplak PKM Universitas Jember 68121 Lampung, 35153. Lampung-Indonesia. Society
Bulaksumur, Yogya No. 30 Surabaya Telp. (0721) 271114 General Facilities & Serv. Dept -
Fotografi Jurnalistik Club Sentra Digital BALI DP. 27, (Town Maintenance) - Jl.
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Kampus FISIPOL UPN “Veteran” VANDA Gardenia Hotel & Villa 76112
Jl Babasari No.1, Tambakbayan, Jl. Raya Trawas, Jawa Timur
Yogyakarta, 55281

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EDISI 17/2008

EDISI XVII / 2008 1

tanpa ijin tertulis pemiliknya.” The Light

2 EDISI XVII / 2008 EDISI XVII / 2008 3

4 EDISI XVII / 2008 EDISI XVII / 2008 5

How did you know photography. Tell us from the beginning.

6 EDISI XVII / 2008 EDISI XVII / 2008 7

8 EDISI XVII / 2008 EDISI XVII / 2008 9

10 EDISI XVII / 2008 EDISI XVII / 2008 11

What makes you love travel pho-

In both technical & non tech-

14 EDISI XVII / 2008 EDISI XVII / 2008 15

16 EDISI XVII / 2008 EDISI XVII / 2008 17

18 EDISI XVII / 2008 EDISI XVII / 2008 19

“It is very important to first

What triggering you to create a

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You also shoot commercial &

Which one do you like doing it

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“I think the best

will not be able Make a lot of mistakes and experiment

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gapore ini, mobil formula1 malam hari lebih sulit.

waktu nyo- lebih minim dibandingkan siang hari,

pakai ear- 300 kilometer per jam. “Teknik yang

plug kuping ini adalah panning. Bedanya, kalau

lalu jantung teknik panning pada mobil biasa, akan

pun jadi mobil formula1.” Terangnya. Dari sisi

lebih cepat. menangkap gambar dengan baik den-

Mungkin itu bermain dengan ASA 1600 hingga

dengan yarankan 1/600 untuk mendapatkan

memacu mendapatkan efek dinamis melalui

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linenya. Sementara di atas itu akan sulit

Dalam memotret balap mobil For-

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“kalau kita motret panning mobil

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“tantangannya bukan sekedar meng-

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