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Photos to Inspire: Alex Cearns
By Lynne Eodice | Wisdom and Inspiration |
Feb 26, 2009
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 CLICK HERE TO SEE A GALLERY OF ALEX'S IMAGES
All images � Alex Cearns
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| Alex Cearns |
Alex Cearns is an award-winning, Australian-based photographer who specializes in animal photography. She is the official photographer for the Royal Society for the Prevention of Cruelty to Animals in Western Australia, and her images have been published in newspapers and magazines internationally.
Double Exposure: What inspired you to become interested in photography initially?
Alex Cearns: In October 2006, I was writing my first draft of a book and needed to take some quality images for it. I decided to visit the historic site of Port Arthur, in southern Tasmania, Australia, as the book was about other people�s supernatural experiences and Port Arthur is allegedly one of the most haunted places in Australia. I felt it would be a good location to capture some moody, ethereal shots.
As a recreational photographer, this was my first holiday dedicated to taking photographs. Whilst my planning of the trip was well organized, my consideration as to the quality of the camera gear required to take the high resolution images needed was not very well thought out.
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| Roo Grass |
After only a few hours of shooting I discovered that my beloved digital point-and-shoot camera had many limitations. Areas of the historic site were dimly lit and my images were either grainy, due to no flash, or overexposed, due to the flash blowing out all of the detail. I was also frustrated at the cameras inability to take sharp zoomed and macro shots. I decided then and there that I needed better image quality and a greater range of zoom.
Upon returning home I took the plunge into the world of digital SLRs and purchased a Canon 350D with a twin lens kit. At that stage I was unaware of the type of photography I was interested in, or was even good at, so I began to experiment by adding macro, wide angle and telephoto zoom lenses to my kit. Over time I figured out what sort of photographer I wanted to be and I sold some of the earlier lenses, preferring to upgrade and use only those which suited my developing style.
After owning my camera for around 6 months, I was still dabbling in many genres of photography�portraiture, landscape, art cataloging, commercial, band photography, macro, etc. I offered to do a family portrait photo session for a close friend as I was keen to develop my website and needed new images to add to my portfolio. We all headed down to a local park and I began to take some photos of her three-year-old daughter doing ballet. As the child was spinning around at a rapid rate I noticed some ducks behind me, so turned and shot off a few frames. Then I saw some swans and seagulls, so grabbed some shots of them too. When I got home later that afternoon, I noticed that I�d taken more photographs of birds than I had of my friend and her family. This was a common pattern that started to develop, and I soon realized that I was drawn to animals and creatures over all other subject matters. I also noticed that my creature shots were better than my other work, and I found them the easiest and most fun to take.
My style had spoken, and I listened as my future as a photographer was sealed�I wanted to become an animal photography specialist. More than being just a pet photographer, I wanted to be able to create vibrant character filled images of any creature, from insects to mammals, birds to reptiles. I wanted to learn about animal behavior, both domestic and wild, and about handling and working with animals. And I wanted to use my work to provoke an emotive response in the person viewing them.
Alex Cearns Photographics was born, and for the last 12 months I have been on a steep and rapid learning curve, combining my wildlife photography with my role as the official photographer for the Royal Society for the Prevention of Cruelty to Animals (RSPCA) in Western Australia (WA).
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| Flamingos |
Oh and the book ended up in hiatus�I discovered that sometimes when you open your mind up to new theories they become a bit more real than you�d hoped for. These �heebie jeebies� put me off and I decided it was best to take a break from the book. Two years later I have no intention of picking it up where I left off. Photography is much more enjoyable and doesn�t keep me awake at night!
DE: Where did you go to school, or are you self-taught in photography?
AC: I�d say that I am mostly self taught in photography. When I purchased my first DSLR it was completely foreign to me. I was totally intimidated by it and even left it sitting in the box for three weeks.
Having used a point-and-shoot for a number of years, and literally seeing something I wanted to photograph, then without any thought or planning, just �pointing and shooting," I was lucky to even know how to turn the DSLR on! I found a local evening short course for beginners on how to use a digital camera and attended with a friend. The course featured tuition on the basic digital camera functions, and simple Photoshop techniques.
With this as my foundation, I furthered my learning by pouring over every photography magazine and book I could get my hands on�something I still do today. I have attended several day-long courses and information sessions on subjects such as wildlife photography, using filters, and travel photography and find that these are a great way to keep abreast with current trends in the industry and to create contacts with other photographers.
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| Orangutan Baby |
However, despite the courses I�ve attended and the books I�ve read, I would have to say that the majority of my knowledge has come from several other photographers who are prepared to share their photographic experience freely, and are keen to mentor others. I have formed lifelong friendships with these like-minded people, and they have always availed themselves to answer a late night question on print resolution, or given up their weekend to teach me about studio lighting. I�ve also formed a strong friendship with an editor working in the print media and with a local gallery, both of whom have frequently, generously promoted me. These people continue to endlessly support and inspire me�and this is my public thank you!
One of the things I love most about photography is that I will never learn all that there is to know. This keeps me interested as it can be like new for me on a regular basis. Being a perfectionist keeps me striving for that perfect picture, and discovering a new technique or trick is a complete buzz which allows me to continually improve on my last shot.
DE: Have you always been an animal lover?
AC: Yes, very much so. I grew up surrounded by animals and spent much of my childhood in farming areas with an abundance of sheep, cows, and horses roaming in the paddocks. We shared our house with at least one dog and cat, and in the backyard were laying chickens and a menagerie of guinea pigs and rabbits. Living in rural Australia, my parents would often rescue injured wildlife, the unfortunate victims coming off second best after being hit by a motor vehicle. I have fond memories of bottle feeding orphaned joeys (baby kangaroos) and tending to injured echidnas and birds, then releasing them after their recovery.
A love and respect for all animals was instilled in me from a young age and I have always been surrounded by creatures. I currently live with my 15 year old Persian cat, 11 year old tabby cat, and 10 year old cocker spaniel. They are all highly animated and have strong personalities, and as such are often the subjects of my photography around the house�much to my Persian cats� displeasure as she has perfected the art of looking away as soon as the camera is pointed in her direction. She is my toughest subject to date, and I�m adamant that I will achieve that perfect photo of her someday, despite her best efforts to be uncooperative.
DE: When did you become the official photographer for the Royal Society for the Prevention of Cruelty to Animals in Western Australia?
AC: I became the official photographer for the RSPCA in July 2007. After realizing that animal photography was the paradigm I wanted to work in, I was keen learn and develop my skill set and to do that, I needed access to animals. I was also interested in aligning myself with a charity group who had an interest in animal welfare. This was my ideal�to have access to animals to photograph and to contribute to a worthy cause at the same time.
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| Kookaburra |
I have always felt strongly about the injustices committed against animals, so I used this as a starting point and conducted some online research. I discovered that the RSPCA WA did not have a dedicated official photographer, so I put together a proposal and strong portfolio of images, and met with the RSPCA marketing and public relations staff. They were thrilled with the concept of working together and felt that my previous experience in law enforcement (14 years) would be beneficial when dealing with some of the tougher photography assignments�unfortunately it�s not just always cute puppies and fluffy kittens.
Of course, the RSPCA didn�t (and still don�t) have a budget to even consider a photographer so I work pro bono for them, but the rewards for me are threefold�there is a �pay off," a "responsibility," and a great deal of happiness.
1) The most obvious benefit I receive is that I am heavily promoted by the RSPCA to a large public audience. The RSPCA is a known and respected organization within the community (both in WA and nationally) and people always respond favorably when they find out about my official photographer role. Through this promotion my wildlife print sales have increased, as has my profile as a photographer. My RSPCA association gives me an instant ethical credibility in the way I handle and work with animals.
This is my �payoff."
2) I have the ability to take editorial images of animals which affect people, stir emotions, and provoke thought and response. I feel that representing the RSPCA in absolute photographic truth is my social responsibility to them. My images are used in newspaper advertisements, magazines, campaign material, brochures, online, even as evidence in court. They range from sweet, pretty photographs to shocking and graphic pictures but all are equally important to record the full functionality of the RSPCA and its Inspectorate.
This is my �responsibility."
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| Baby Chick Hatched |
3) I get to work with some of the most amazing RSCPA staff and volunteers saving the lives of abused and neglected animals on a daily basis. These people deal with distressing and upsetting acts of unimaginable cruelty, yet continue to persevere in a sometimes thankless and daunting job. They shower every animal with care and kindness. To be a witness to the journey of the animals from near death to a full recovery is truly amazing, and I feel very privileged to be a part of the RSPCA family and to be entrusted with documenting their important work. This is the �happy."
To be honest, the �happy� is the best reward of all.
DE: Who are your primary clients?
AC: My primary client is the RSPCA WA, however there are subsidiary clients through them, such as the state newspapers, sponsors, and the public. Basically I take the images as required by my relevant shot brief and the RSPCA marketing and public relations section then disseminates the pictures as required. Overall, the aim of my images is to educate the public, and promote and raise funds for the RSPCA. I shoot in both natural and artificial (studio) environments, depending on the intended use for these images.
I also take photographs for a wildlife rehabilitation centre in the Perth foothills, and am a contributing photographer for a national animal rights group. The purpose of these images is the same as for those I take for the RSPCA.
From the business perspective of Alex Cearns Photographics, I take animal and wildlife images of my own volition and sell my works as limited edition prints. I sell online via my website (see below).
This allows me to reach a local, national and international market. I also sell prints through a gallery in Western Australia. Occasionally I do a pet photography session, though when it comes to time dedicated to my business I try to spend the majority of it taking images of non-domestic animals. For my animal images I only shoot in natural light, and if I�m taking photographs of captive creatures I try to stick to the establishments who lean towards free range residents.
Inside Alex Cearn's Camera Bag:
I currently use the following equipment:
Canon 5D body with battery grip
100-400mm L Series lens � Used for wildlife photography when I�m taking animal portraits or need to put some distance between myself and my subject.
28-105mm L Series Portrait Lens � Used for wildlife photography when I want to include some environment in the image. Also used for most of my studio work at the RSPCA.
50mm Canon Prime Lens � Used for low light animal photography, often used in the RSPCA shelter where the lighting can be poor.
105mm Sigma Macro � Used for macro shots of creatures.
70-300mm Canon lens � I use this when I travel to destinations where the luggage weight limit is low, and the 100-400mm lens is too heavy to pack.
2 x Canon Convertor and set of extension tubes
Polarizer
Velbron tripod/Manfrotto Tripod
Elinchrom 200-watt lighting kit and various vinyl backdrops (great for wiping up any animal accidents) and backdrop stand.
If I require additional lighting, or more light power, I hire a 600-watt kit for that particular shoot.
Learn more about Alex Cearn's work at www.alexcearnsphotographics.com.au and at www.redbubble.com/people/acearns
CLICK HERE TO SEE A GALLERY OF ALEX'S IMAGES
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Last Updated: Jul 10th, 2010 - 16:19:44
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