Adobe Australia’s ‘The Big Picture’ Free Filmmaker Development Program Needs to be Available Throughout Australia, Not Just Melbourne During 2019’s St Kilda Film Festival

Adobe Australia is presenting an educational program during the St Kilda Film Festival in Melbourne on  Saturday and Sunday the 22nd and 23rd June 2019, and it is, apparently, entirely free of charge. 

The Festival organizers describe the Adobe Presents: The Big Picture program thus: 

The 2019 St Kilda Film Festival‘s two-day filmmaker development program covers everything you need to know about making a short film, from inception to distribution and everything in between.

Sounds great, but I want to see this program or something even better offered all around Australia or at least in Sydney. 

How about it, Adobe? 

When I was a kid growing up in another state of Australia, there were two possibilities there for training in film and television, a film and television institute and the state branch of the national broadcaster, the Australian Broadcasting Corporation.

Minorities needed not apply.

The institute was for wealthy, Anglo white boys from the “right” background and the cadetship at the ABC was for not-so-wealthy Anglo white boys from the “right” background or something very close to it.

This was a state still dominated by its Anglo Ascendency and having money and the “right” background remain the prime requirements for getting through the door.

Heaven help you if you were poor, ethnic, indigenous, working class, rural, non-male, of a certain age, a member of the LGBTQI community or some combination of these.

Heaven help you if the stories you wanted to tell fall outside the approved types or genres.

Heaven help you if that meant breaking the rich, white, non-ethnic male dominant narrative which we all perfectly well know is far from the only one that needs to be shared and the near-total dominance of which has lead to the dangerous state of the world today.

Pity if you have been discriminated against all your life, always coming up against closed doors, and yet are still trying to make a positive change for yourself and for those whose stories you need to tell.

Pity if you don’t have the cash or the means to take out a loan to move interstate and get yourself into a course at AFTRS, a university, a private college or some other film, television and digital media training organisation.

Even when Metro Screen in Sydney was operational, its short courses in various production skills were unaffordable for those without the “right” background.

That is why I was pleased but disappointed when I spotted mention of Adobe Presents: The Big Picture on social media.

An overview program like this is certainly better than nothing even if it is not as in-depth and as hands-on as one might like.

An overview program like this is certainly better than the nothing that is accessible to those of us not from the “right” background.

Adobe Presents: The Big Picture – two-day program

 

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The Conversation: Hollywood may be able to afford #MeToo, but it’s a stretch for the Australian arts

https://theconversation.com/hollywood-may-be-able-to-afford-metoo-but-its-a-stretch-for-the-australian-arts-111842

“…the larger task remains to engineer a genuine culture shift at the grassroots of the arts; to adequately support artist wellbeing in a competitive and under-funded sector. Real culture change doesn’t come cheap. It takes money, time and resources and on that front, Australia is a long way from Hollywood.

In our competitive and underfunded sector, power relationships are ever present. It is simply too easy for an artist to not be selected for future contracts if they are perceived to have had mental or physical health issues in the past. Young artists have very strong motivation not to disclose such issues and risk succumbing to career-ending illness or injury….”

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Screen Producers Australia: Australian Screen Industry Code of Practice – Discrimination, Harassment, Sexual Harassment and Bullying

Commentary:

This has, alas, all come about a bit too late.

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Broadagenda Blog: Loud and Luminous: Empowering female photographers

http://www.broadagenda.com.au/home/loud-and-luminous/

“…Women continue to be underrepresented in the photography industry – can you tell us about the Loud and Luminous project and how it attempts to address the imbalance? 

Loud and Luminous is a project that celebrates Australian women photographers. Our mission is to inspire and empower women and girls.

The project came about because myself and my co-creator of the project, Melissa Anderson were a bit frustrated with the photographic and visual arts industry and the fact that it was still male-dominated in many areas. We had read all these statistics about gallery representation for female artists, photojournalists in news media were mainly men, as were art directors in museums and galleries…so we wanted to do something positive….”

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The Phoblographer: Let’s Talk About the Gender Gap in Art and Photography

https://www.thephoblographer.com/2018/10/09/gender-gap-art-photography/

“… These numbers reinforce the long-standing notion that male photographers receive better deals overall: including, but not limited to, assignments, wages, positions, and exposure. And it’s not even that women don’t make the effort. As the same study found, they do, in fact, do so more than their male peers: more of them are university educated, more engaged in social media, more versatile in terms of technology used, and more digitally savvy.

Which is why it can get irritating and exhausting every time news like a prominent camera brand announcing not one, not two, but 32 brand ambassadors, with literally all of them being male photographers comes out….”

Image of Migrant Mother by renowned female photographer Dorothea Lange sourced from the Library of Congress’ Prints & Photographs Online Catalog (PPOC).

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FUJIFILMglobal: Xtra Turbo X-T3 with Nicole Emanuel

“Australian photographer Nicole Emanual shoots horses on X-T3”

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Fujifilm X-T3 with Fujifilm VG-XT3 Vertical Battery Grip and Fujinon XF 18-55mm f/2.8-4.0 R LM OIS kit zoom lens.

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Fujifilm Grip Belt GB-001. I recommend using camera straps on all your cameras and especially Fujifilm cameras with metal hand grips or vertical battery grips. I have Peak Design camera straps on all my gear, often up to three of them, but this Fujifilm hand grip looks great for battery grip-equipped cameras.

Clicking on these affiliate links and purchasing through them helps us continue our work for ‘Untitled’.

  • Bluestar Eye CushionsB&H – use on the Fujifilm Wide Eyecup EC-XH W eyecup to further enhance its usefulness when shooting video.
  • Fujifilm CVR-XT3 Cover KitB&H
  • Fujifilm EC-GFX Round Eyecup – B&H
  • Fujifilm EC-XH W Wide Eyecup – B&H
  • Fujifilm EC-XT L Long Eye Cup – B&H
  • Fujifilm EC-XT M Medium Eyecup – B&H
  • Fujifilm EC-XT S Small Eyecup – B&H
  • Fujifilm Grip Belt GB-001 for Select X-Series CamerasB&H
  • Fujifilm MHG-XT3 Metal Hand GripB&H
  • Fujifilm NP-W126S Li-Ion Battery PackB&H
  • Fujifilm VG-XT3 Vertical Battery GripB&H
  • Fujifilm Fujinon XF LensesB&H
  • Fujifilm X-T3 Mirrorless Digital CameraB&H
  • Peak design camera strapsB&H

British Journal of Photography: Arles is urged to include more work by women

http://www.bjp-online.com/2018/09/arles-women-letter/

“Rencontres d’Arles says it’s “working on it” as an eminent group of photography specialists publish an open letter in Libération urging the festival director to include more women in the official programme….

… The letter urges Stourdzé to create “a more gender balanced festival” and to do so by next year – as 2019 is the 50th anniversary of the festival, and as: “women artists have no more time to waste!” It also points out that there is an appetite for work by women, pointing out that the New Discoveries section of Arles, in which international galleries are invited to recommend new photographic talent, “arouses public interest, who vote for the award, and regularly reward women”. It also points out that Arles’ Prix du livre went to a woman this year – Laurence Aëgerter, for her book Photographic Treatment….

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PanasonicLumixVideo: Panasonic LUMIX GX9 Shooting Impression by Viviana Galletta

“The new LUMIX GX9 is the one letting fashion portrait photographer Viviana Galletta explore LA’s stylish sidewalks on her terms. Combining incredible image quality with an impressively compact design, its tiltable viewfinder frees her up to capture her unique perspective on the city. A 20.3-megapixel sensor + no low pass filter with Dual Image Stabilisation guarantee head-turning image quality, while creative in-camera effects let her add an artistic flourish to her photography.”

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Panasonic Lumix DC-GX9 in silver and black, from and back, with Panasonic Lumix G Vario 12-32mm f/3.5-5.6 Aspheric Mega OIS kit zoom lens, excellent for stills and good for video so long as you do not hang step-up rings and variable neutral density filters off its front. This lens does not have a manual focus ring so must be focussed via autofocus or back-button focus.

Commentary

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Panasonic Lumix DMC-85, also named DMC-GX80 in certain territories and Lumix GX7 Mark II in Japan, with the excellent and tiny but grossly underestimated Panasonic Lumix G Vario 12-32mm f/3.5-5.6 collapsible kit zoom lens. The Panasonic Lumix G Vario 35-100mm f/4.0-5.6 Aspheric Mega OIS collapsible zoom lens makes a fine telephoto companion lens.

Panasonic has released its very first photographer video for the Panasonic Lumix DC-GX9 featuring German fashion photographer and model Viviana Galletta, perhaps signalling the camera’s intended user base or at least two of them, fashion photographers working on location and women.

Ms Galletta is a former user of the Lumix GX80, known in the USA as the DMC-GX85 and in Japan as the Lumix GX7 Mark II, as she attests in an interview by the German Lumix G Experience website.

Will there be further such videos in the series and what genres of photography will they feature?

Will they, too, be created by West London creative agency Brave, notable for its female creative director, Caroline Paris, in an industry still employing far too few female creatives altogether and even fewer in senior agency roles?

This is the first time that, to my knowledge, Panasonic’s Lumix brand has commissioned an advertising agency to produce its YouTube videos and the move has its merits.

I have worked at and for top British creative hotshop advertising agencies, incidentally while living just down the road from Brave, and have some insights into how the agency/client relationship can work at its very best.

Great agencies can help a brand understand itself and its products by acting as, as the great Australian copywriter John Bevins puts it, brand custodians that know the brand better than its owners.

That is crucial for giant global corporations like Panasonic with their many product divisions, product types, constantly churning management infrastructures and management staff, and a tendency to forget those divisions’ achievements, history and missions.

Panasonic’s product pages appear to be orienting the enthusiast-level GX9 towards street photographers as opposed to the documentary and photojournalists and other professionals at whom was aimed the flagship-level GX8, and this fissure between the GX8 and its supposed successor in the GX9 has created confusion, dismay and disappointment in the ranks of the GX-series’ professional user base.

Brave may be able to help Panasonic better understand the GX-series and the havoc it has wreaked by replacing an advanced flagship camera with a lower-order camera, and how to better target another user base given the GX9’s more limited feature and applications set.

Brave could also have a hand in better evening up the extreme lack of gender balance in the marketing of photography and video production hardware.

The Panasonic Lumix DMC-GX7, ancestor of the GX9 aka the Lumix DMC-GX7 Mark III

The Panasonic Lumix DC-GX9 aka Lumix GX7 Mark III hearkens back to the first Lumix GX7 camera, though minus its rather decent built-in grip.

What does the GX8 flagship camera have that the GX9 enthusiast camera does not?

Enough said. The Panasonic Lumix DC-GX9 is anything but a replacement for the Panasonic Lumix DMC-GX8.

A great 4-lens kit of little, lightweight Lumix lenses

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Panasonic Lumix DMC-GX8 with, left to right, Panasonic Lumix G Vario 12-32mm f/3.5-5.6 Aspheric Mega OIS, Panasonic Lumix G Vario 35-100mm f/4-5.6 Aspheric Mega OIS, Panasonic Lumix G 20mm f/1.7 II Aspheric and Panasonic Lumix G 42.5mm f/1.7 Aspheric Power OIS. Image produced at CameraSize.com.

Recently I have been digging into online information about Panasonic’s Lumix G lenses in an effort to understand their benefits and differences from the Panasonic Leica DG and Olympus M.Zuiko Pro lenses that are often perceived as being sexier and more professional.

While I default to the Olympus M.Zuiko Pro prime and zoom lenses for professional stills and video due to their weather sealing, high-quality optics and constriction and especially their repeatable manual clutch focus, Panasonic’s Lumix G lenses are worth a serious look given their adherence to the Micro Four Thirds format’s founding philosophy of high quality combined with affordability, small size and light weight.

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Panasonic Lumix GX8 with Panasonic Lumix G Vario 14-42mm f/3.5-5.6 Aspheric II Mega OIS kit zoom lens, also worth considering for lightweight, small camera stills and video projects.

I am considering adding three of the four lenses illustrated above to my first purchase, the excellent collapsible Lumix G Vario 12-32mm f/3.5-5.6 Aspheric Mega OIS lens, and I will probably purchase them secondhand as I did the 12-32mm given much of my lens budget needs to go into M.Zuiko Pro lenses for professional documentary projects.

  • Panasonic Lumix G Vario 12-32mm f/3.5-5.6 Aspheric Mega OIS – only available on the secondhand market or when bundled with a Lumix camera.
  • Panasonic Lumix G Vario 35-100mm f/4-5.6 Aspheric Mega OISB&H – a fraction of the price of Panasonic’s Lumix G X 35-100mm fixed maximum aperture alternative.
  • Panasonic Lumix G 20mm f/1.7 II AsphericB&H – the “perfect normal” focal length I much prefer to the more usual 25mm “standard” lens that I find a little too narrow.
  • Panasonic Lumix G 42.5mm f/1.7 Aspheric Power OISB&H – reportedly excellent fast portrait-length short telephoto lens for portraiture, documentary photography and photojournalism.
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Cosyspeed Camslinger Streetomatic Plus camera bag is an excellent waist-pack for carrying a minimal kit such as a GX8 plus two or three small lenses or one large one.

The only downside to all these five small, affordable, lightweight lenses is that you will need to attach one or two step-up rings if you wish to use your 77mm or 82mm diameter fixed or variable neutral density (ND) filters for video production.

Their filter diameters range from 37mm through to 46mm, and top-quality step-up rings, protection filters, UV filters and ND filters can be limited in those sizes.

The 12-32mm zoom does not have a focussing ring for focus-by-wire; the 20mm pancake prime may be too short to fit your fingers behind step-up rings and ND filters for manual focussing and the 12-32mm and 35-100mm are collapsible lenses whose mechanism may not safely support step-up rings and NDs.

Otherwise, these look like a terrific matched set of lenses for stills photography and video when you need to carry your gear in small bags like those made by Cosyspeed.

All these lens purchases are predicated on Panasonic continuing to make professional-quality rangefinder-style cameras like the GX8 and that, sadly, currently remains under question.

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  • Panasonic DMW-EC3 Eyecup for the Panasonic Lumix DMC-GX8 Digital CameraB&H
  • Panasonic DMW-EC5 EyecupB&H – for the Lumix DC-GX9
  • Panasonic Hand Grip for Lumix DC-GX9 Mirrorless CameraB&H
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  • Panasonic Lumix DMC-GX8 Mirrorless Micro Four Thirds Digital CameraB&H
  • Panasonic Lumix DMC-GX85 Mirrorless Micro Four Thirds Digital Camera with 12-32mm LensB&H
  • Panasonic Lumix G Vario 35-100mm f/4-5.6 ASPH. MEGA O.I.S. LensB&H

Australian Cinematographers Society: ACS Harassment, Discrimination & Bullying Policy

http://www.cinematographer.org.au/cms/page.asp?ID=20044

It is the policy of the Australian Cinematographers Society (ACS) that every member of the Society and the greater Film and Television industry has the right to work in an environment free from any gender, race, disability, religious, sexual orientation discrimination or harassment and bullying of any kind. This includes any verbal, emotional, physical, cyber or sexual harassment.

The Society will not tolerate any behaviour that is considered threatening or disrespectful towards or by any of our members or guests….”

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PDN: Sexism in the Photo Industry: Can’t We Do Better?

https://www.pdnonline.com/features/industry-updates/sexism-photo-industry-cant-better/

“… Sexism—from paternalism to discrimination to outright harassment—is a problem in just about every work setting, and the photo industry is no exception. As photographer Nadiya Nacorda puts it, “Sexism does not stop at the photo industry’s doorstep. It comes inside, and goes in your fridge, cracks open a beer, and sits on the couch.” Female photographers we interviewed expressed anger, frustration and resignation over the sexism they frequently encounter. They also expressed defiance—and hope….”