InterANTARCTICA is a multi-disciplinary project in development by staff and students from the Faculty of Architecture, Design and Planning at The University of Sydney aiming to communicate the impact of climate-change on the continent of Antarctica.)

David: Hi onacloV, the InterANTARCTICA project is really taking off - where is it at now?

OnacloV: It is going to the Tasmanian Museum and Gallery in June 2010… Then to the Climate Change Institute in 2012

David: People seem to get really immersed in the work and that’s great as it’s also raising awareness about a critical issue. Climate change is still very loaded topic. What sort of responses are you getting?

Penguins on an Iceberg #24030869

onacloV: There has been a lot of interest in the installation because climate change is the biggest issue humanity has ever faced.

The audience learnt how to use more environmentally house hold objects, such as energy saver light globes. They also learnt about ice core drilling in Antarctica. Scientists can now record the temperature over the last 890,000 years and counting! Current research findings reveal that that CO2 levels have never risen above 3 parts per million in all that time.

Amazingly, we now know that we have altered the climate by global warming. This is very alarming that in the last 100 years we have fundamentally changed the climate record beyond that of almost the past million years.

For the installation we got footage from the Australian Antarctic Division of scientists drilling ice cores in order to educate people about the urgency and need to address climate change…

David: So in almost a million years the CO2 levels have never been has high as the last 100 years? Are there any simple solutions or are only drastic changes needed to be effective?

Earth's southern hemisphere, satellite image satellite image view of Antarctica. #14329536

OnacloV: Unfortunately, unless we make drastic changes NOW, things will not improve and we will be unable to stop Global Warming.

Current research shows that Australia has had the hottest decade in the history of Australia’s climate, so how what are we waiting for? Action needs to be today as tomorrow will be too late.

David: I think the problem is a lot of people find drastic changes too confronting and even too hard. Tackling day to day problems seems to take precedence.

What role do you see art and new media having in affecting the needed social change?

Robert Smithson's Spiral Jetty, Great Salt Lake, satellite image #14333250

OnacloV: That’s a good question! There is a growing international trend of artists creating work in response to climate change.

Increasingly there are a number of galleries, museums and online resources dedicated to art addressing climate change.

Environmental art refers to art dealing with ecological issues and can be traced back to the late 1960s. The movement is associated with sculptural installation based art movements such as: Arte Povera, Site-specific Art and Land Art.

David: I think the real difference to those earlier movements is the issue is well entrenched in popular culture and on a positive note, it’s very much debated in that sphere.

The interesting thing with the InterANTARCTICA project is that you offer people a way to really experience the direct effect we have our our environment - it’s stripped from the intellectual debate so the message may be more subtle but perhaps more powerful?

Its interactive nature as well as the footage, sound and images creates a very compelling experience.

Can you tell us a little bit about how the whole thing came about?

OnacloV: I was interested in Antarctica because there are a lot of Australian researchers conducting important climate change research…

Australia has a long history with Antarctica and has an amazing research network with the Australian Antarctic Division (AAD).

I was very lucky to work the the AAD. They kindly gave me access to their large video and sound library. This was a huge help creating InterANTARCTICA and without their kind support the work could not have been made… Thanks AAD!

David: Yes, it’s definitely vital to source good quality material - that’s what we’re all about. But diverting the conversation a little - what are your thoughts on experiential advertising, it’s kind of moving into what has been traditionally the realm of art.

Good example (VW’s fun theory): http://peppertt.com/blog/index.php/2009/10/22/volkswagens-the-fun-theory/

Like your own work, a lot of brands are now building campaigns or spaces that play on the experience of the audience. Do you see this as a new area for collaboration between artists and the commercial world or are the two interests entirely different?

OnacloV: Wow! an interesting example of how to use something everyday, make people laugh and effect a change of their behavior.

Recently, I was asked to be on a live video conference with environmental scientists, from the Climate Change Institute, they actually invited an artist to be on the panel! I thought this was wonderful. I also thought this was the future: collaboration.

I think the idea of artists collaborating with the commercial world is highly important. In order to combat climate change widespread Interdisciplinary collaboration needs to take place with people across disciplines.

David: Agree, collaboration must really help get new ideas not as obvious in the silo of one industry. It’s impressive then that the Climate Change Institute acknowledges the input of artists.

The idea of a sustainable economy is also gaining some momentum (great paper by an ad agency! http://www.bbmg.com/pdfs/BBMG_sustainability_white_paper.pdf).

Do you see any way commercial interests and environmental interest can both be satisfied?

Bedzed: UK's largest eco carbon neutral housing complex in Beddington, London, UK #24126045

OnacloV: Not really… I think we need to take action against climate change. Commercial interests should be secondary.

Unfortunately a lot of companies are pretending to be green so they can have economic benefits - this is very alarming… I have seen this happening a lot in Australia and around the globe.

Cardon tax is a good idea. Because we know that climate change is caused by anthropogenic means (human induced).

We should also tax people when they have children. If we don’t we are not going stop this problem. This may sound controversial. But, every person on the planet has a carbon footprint so they need to take responsibility. It is no longer sustainable to have large families, people need to be encouraged to have smaller ones.

David: There are a lot financial models showing being authentically “green” may actually have long-term economic benefits. Though, it may require a big shift in the way we do things and that could be hard.

As you said, a tax on babies sounds like a controversial idea!

Other questions might need to be asked as well like will this make having children a luxury for the wealthy? How would we rate different carbon footprints (between poorer or wealthier nations / people)? Could this impinge on basic human rights?

It’s a critical issue that definitely requires more input and collaboration…

Can you suggest were people should go to find out more about climate change?

Circular sculpture, Gaia Gardens #21518045

OnacloV: I would strongly recommend a book by James LoveLock: The Vanishing Face of Gaia: A Final Warning (2009)…

A very important book and one that should be read by anyone concerned about climate change. Hopefully, everyone living on Planet Earth!

Lovelock has written a lot about climate change. His writing is easy to access for a non-scientist and is a remarkable account of what we are currently facing as a planet in regards to climate change.

The book also looks at possible future solutions in terms of alternate energy. Lovelock developed the Gaia Hypothesis. Which looks at the Earth as one living organism. Lovelock is also famous for inventing the electron capture detector, which made important discoveries about CFCs and their role in stratospheric ozone depletion.

Lovelock has a wide knowledge across different science disciplines which makes this book a fascinating and horrifying account of the future of our planet.

David: The Gaia theory really polarized the scientific community when Lovelock first proposed it (was it 30 years ago?) - so I’m sure it would be a very compelling read hearing his take on this and his thoughts on where we are and where are going right now.

It’s been a real pleasure speaking with you onocloV - thanks for your time and honesty. Congratulations again on the success of InterANTARCTICA and best of luck with all other future projects!

Join Photolibrary’s Fan Page and see the interview raw on Facebook: http://www.facebook.com/permalink.php?story_fbid=331888660680&id=153303239707

Peter Arnold Images

New York – February 2010: The world’s leading independent producer and distributor of stock images, footage and music, Photolibrary, is excited to announce the acquisition of New York-based Peter Arnold Inc. This acquisition further strengthens Photolibrary’s specialist archives which includes Garden Picture Library (GPL) www.gardenpicture.com, Oxford Scientific (OSF) www.osfimages.com and www.osffootage.com , Fresh Food Imageswww.freshfoodimages.com, Britain on View www.britainonview.com and Monsoon Images www.monsoonimages.com (also out of New York). This merged collection continues Photolibrary Groups’ strategy of providing the picture buying community with easy access, striking imagery and unbeatable service across an ever-growing subject range that straddles the unique and the everyday.

Glenn Parker, Photolibrary Group CEO commented “The Peter Arnold collection will significantly enhance our content in the key specialty subject categories of science, medical and natural history. Coupled with our UK-based Oxford Scientific (OSF) range, the combined collections will number over 200,000 digital images.  As always we will be maintaining the Peter Arnold website and will launch a new and improved version within the next few months. In addition the content will also be placed on our global generalist site www.photolibrary.com thereby further enhancing the revenue generating ability for the Peter Arnold contributors.”

Peter Arnold has successfully run his agency since the 1970’s and is delighted with the opportunity Photolibrary presents his collection. “In Photolibrary, I’m happy to have found a good home for the Peter Arnold collection.  After more than 40 years in the photo industry I’m happy to be moving on knowing the Peter Arnold collection will be well-looked out for and given a renewed chance to grow and prosper.”

Alex Craig: life is good , best summer ever , surfing , friends , food

Photolibrary: Did you get some good shots of it?

Photolibrary: Might re-phrase that one - did you get some good shots of the experience? Was it all in Sydney or did you go anywhere else?

Whale oil storage tanks at whaleworld, Australia - PLC-00054158-001 (Alex Craig)

Alex Craig: took no photos over the break , starting ot get back in to it now and planning some trips for later in the year , spent a lot of time down the coast at milton with the parents.

Photolibrary: Does it help to have a break - to get a renewed sense of inspiration? Not sure of the word - sabbatical? A quieting of things before you get back into it?

Alex Craig: I think it’s very important , for me at least , I still love shooting and I don’t want it to feel like work all the time , taking a step back helps keeps things fresh , it also stops me seeing everything in 2D

Photolibrary: Yeah I can imagine what that’s like, doing everyday life things and having that voice in the back of your head saying: “that’s a good shot”, could feel in some way you miss the actual experience?

Alex Craig: exactly and there’s a danger of reducing eveything to a product level , that’s not to say I do that when I’m shooting , it’s something I’m conscious of though

Photolibrary: So, would you say a spontaneity brings about better results in your work or does some type of preparation work better?

Alex Craig: both , if I’m given a brief then I have to have some sort of plan or approach , leaving room for the unexpected of course but if I’m shooting travel stock then it all comes down to the moment , probably why I love that sort of shooting so much

Photolibrary: A lot of the Cuba and Indian content looked as though it was the spontaneous type - what sort of responses do you get from subjects when taking those?

kherjala youths in front of a paan shop , rajasthan , India - PLC-00050245-001 (Alex Craig)

Alex Craig: mostly good , I tend to let people know if I’m taking their picture unless it’s a wider shot , even then it’s worth being sensitive in case people are offended or even just having a bad day and sometimes people love having their picture taken and it becomes a different sort of image , there are so many things you can’t control when shooting that sort of stuff, it’s exhilerating , it’s also keeps you on your game technically

Photolibrary: Speaking of which, we’ve seen some really high quality photos coming in from you - what camera are you using at the moment? And on the other side of that, do you ever play around with lo-fi equipment like Lomo or even pin-hole cameras etc. ?

Alex Craig: I use a canon 5D mk2 , I had a 5D but it fell off a bridge in central india the last time I was there . I’ve shot for years with diana plastic cameras but I’m having a rest from that at the moment , this is a link to stuff I shot in india the trip before last http://www.flickr.com/photos/alexcraig/sets/72157594585171285/

Photolibrary: Wow, that’s a really beautiful collection! Especially as you’ve got a lot of people wearing traditional garb - gives the impression it’s India 30-40 years ago.

From what I’ve seen, it looks like that’s a sort of an undercurrent in your work - capturing what’s culturally unique to wherever you are at the time. There’s also a real storytelling quality there. Is that what you look for when you’re about to take a shot or has that just come about in the process?

pushkar camels and tribesmen and a hot air balloon at pushkar camel fair , rajasthan , India - PLC-00050218-001 (Alex Craig)

Alex Craig: I always look for stories , I guess because as an outsider I’m trying to understand what’s going on around me , I get excited by the things that are different and within that the things we share as people , that aim has been there since I first picked up a camera

Photolibrary: It shows and positions what you do really well as people are tending to seek the quality of your work to make their campaigns stand out. Its an rare cross between commercial and artistic pursuits that’s developing in the stock industry and might just be the positive spin on the influx of “stocky” images flooding micro-stock sites. Anyway, what’s you take on the whole micro-stock / traditional stock library situation?

Alex Craig: I don’t really know enough about it but there are a lot of photographers who are producing passionate , individual work to compete with the more generic images, hopefully there’s room for both but people tend to decide,  if the images used aren’t effective then it will show on a commercial level but again I don’t really know.  I have a really good relationship with Photolibrary and I don’t see how that would be achieved at one of the many microstock venues , there are so many changes going on in all of the media based industries it’s hard to guess where all the pieces will fall.

Photolibrary: That’s true, I guess markets are as varied as the people that make them.

So besides Flickr and our “Alex Craig” search (http://ow.ly/13EqJ) - where else to get the latest on your photography explorations? Also any other photography expeditions in the pipeline for you in the near future or long term?

Arm out of open car window, Ave Simon Bolivar, Centro Habana, Havana, Cuba - PLC-00042432-001 (Alex Craig)

Alex Craig: I’ve got a website , www.alexcraig.com.au that’s about it - going travelling again at the end of the year but nothing till then gettin’ a bit itchy but there’s commercial work here

Photolibrary: Nice website!

Thanks for your time participating in our first Facebook interview - it was great speaking with you and look forward to seeing more of your work in the future.

Alex Craig: thanks so much david , really enjoyed.

See the interview raw on Facebook: http://www.facebook.com/permalink.php?story_fbid=285626679287&id=153303239707

The problem is simple - you the so and so of the whatever company needs to communicate that your product has value enough for someone to take notice and relinquish some hard-earned cash. A few ideas get thrown around and added to a document titled [fill in the blanks] strategy or [fill in the blanks] campaign etc. Essentially, we’re still attempting to solve a communication problem.

Fresh listening

So, what’s this communication thing?

Because we’re reducing things left right and center, why not do it even further by saying communication is all about gaining a mutual understanding? If we don’t understand each other, communication gets really tricky.

And how does understanding come about?

Strip it down once more and lets say that at the very least when you can connect to some type of shared experience/s, understanding will follow. At that point the billion dollar question is how does a brand connect with people’s shared experiences?

Your product at some point must have come about to “fill a gap in the market”. This is essentially saying, there is a human need that is not being met or there’s a human problem that’s not being solved and that’s why the product is there. So whatever it is you sell somehow solves people’s problems and meets a human need. This is not necessarily a material need - there’s markets for emotional needs, economic needs, intellectual needs etc. So the shared experience involves the conditions that brought about the need for your product to exist in the first place.

Some companies go beyond marketing and branding and ask the question: why?

Why does the company exist? What is its contribution? etc.

These questions are not esoteric but are at the core of knowing how brands can make a real connection and find social authenticity. When your brand does that, it becomes a cultural resource.

The economic drive is secondary to it’s primary purpose that is about how it contributes or how it creates connections and builds meaning in society. Economics then becomes a value reality-check that tells us just how well it’s achieving its primary goals - if it’s socially relevant, if it still adds value, value is given back to it (in terms of money). And this keeps the product alive in the realm of economic exchange.

To put it simply: when your product is not about money, people throw money at it.

Why?

When your product is not about money - people throw money at it

Because when making money is a primary activity drive, quality suffers - your product is no longer any good. On this level we start making lots of shiny but empty things and marketing becomes more a form of deceit. The purpose for these things is not to add value, not to solve any real problems but to get the most out of the least. Eventually the veneer cracks and businesses fall.

It’s much easier to start with quality, marketing is then about communicating this quality and your company’s value is rewarded by economic value.

That’s why we’re beginning to see at Photolibrary that what you actually want is quality - and we have an abundance of quality images, footage and music. The next step for us is to keep finding better ways to show you the quality content we have, help you easily find it and improve the systems that enable you to do so.

2010 will prove an exciting year here at Photolibrary, be prepared to be surprised!

Royalty free New Zealand images

Rights managed New Zealand images

Jo Sowry

Jo Sowry is Photolibrary’s NZ Account Executive and an avid photographer. She has an excellent working knowledge of Photolibrarys extensive NZ landscape and lifestyle images. Jo is a native of Whangerai but is now based from Photolibrary’s Mairangi Bay Auckland office.

So give Jo a call for all of your NZ image needs.

Photolibrary New Zealand

joanne.sowry@photolibrary.com

0800 746 888

Unit C2, 59 Apollo Drive
Mairangi Bay
Auckland 0632

First of all, there are a lot of avid Mumbrella readers here at Photolibrary, it’s a great (and entertaining) way to stay in touch with industry happenings, but I think it’s more so the impression of getting an authentic / non-bias perspective from you guys that really works - is this part of the strategy for Mumbrella?

In truth, it wasn’t something I thought out very much beforehand. But life tends to be more interesting if you can say what you think. I’ve always tended to take the view that you owe it to your readers to speak your mind, rather than to try to make people like you by saying nice things about everyone. It’s what I’d always tended to do when I worked in print, but there, you only got the chance to do so once an edition. With Mumbrella, I can say what I think several times a day.

Can you tell us a little more about how Mumbrella came about?

I’ve written about media and marketing in my last three editorships – B&T here in Australia, Campaign Middle East in Dubai and Media Week in London – so it was natural to focus on that subject.

If there was a gap in the market it was for a site that was updated all day, rather than once a day all at once, like the established players. But more importantly in retrospect was the ability to allow people to easily discuss the key topics. The conversation has been the key.

What sort of feedback are you getting from the industry? What do people think of it?

It’s been very positive. Most people seem to recognize that we’re an alternative voice and are offering something genuinely different. Now that we have more traffic than our longer established rivals, those who sat on the sidelines have started to come on board too. It’s been a big year and we expect another.

There’s a lot of talk about the benefits of consumer-centric communication / having a dialogue with customers, especially with the surge of interest in social media. How important is this for Mumbrella?

Social media’s very important to us. A lot of our traffic come via Twitter, and more importantly, many of our most committed commenters – vital to kickstart these conversations – come out of Twitter. As a journalist, the dialogue also produces a lot of fresh stories for me as people send me tips and drop me links.

Do you think monologue-built / product-centric brands are a thing of the past?

You could accuse Apple of that. I think they’ve got a bit of time just yet.

You’ve been powering up the Adage Power150 international rankings for marketing blogs in a very short time. What do you think has contributed to Mumbrella’s success here?

In truth it was more a case of slow and steady progress. But they had a technical glitch which saw us fall away for a couple of months before apparently rocketing into the top 50 when they fixed the feed we were scoring zero on.

Funnily enough, unless they stay on top of things, I think the Power 150 is measure that is going to have to fight hard if it wants to maintain its credibility – I’m already noticing a couple of individual social media stormtroopers who appear to be gaming their blogs (and damaging their user experience) to try to score better on it. The problem is that PostRank (one of the Power 150’s measures) gives too much weight to quantity of comments, meaning that there is an incentive to feed crap into your comment stream just to get your comment count up. Next time you see a blog that republishes every single Twitter reference, no matter how irrelevant, inane or repetitive into its comment stream, that’s probably what they’re up to.

So, what’s next for Mumbrella and Focal Attractions?

We’re back in the print business! We’ve just bought the film industry magazine Encore. Revitalizing the print edition and developing an online strategy for Encore is our next big thing.

In your opinion, whose doing cool & interesting things in the media and marketing sector we should keep an eye out for (locally or on the world stage)?

That too hard for a short-termist like me! I think social media’s rise has a way to go yet though. There are certainly media players I admire here though – Crikey & Australian Anthill leap to mind, and nobody can ignore whatever News Ltd decides to do next with its online strategy.

The Stock Photography industry has moved from selling content solely from professionals to anyone with digital camera can upload and sell stock for next to nothing. Has this had any effect on the media and marketing industry?

On the fringes, yes. But I suspect that few within the industry (except those running picture libraries) would put the effect in a list of the top five issues keeping them awake at night.

Tim Burrowes aka Dr Mumbo - first Studio 33 appearance:

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