New Zealand photographer Troy Goodall boasts years of professional experience having worked with global agencies at home and around the globe. Not only has he featured in Lürzer's Archive biennial 200 Best Ad Photographers worldwide, but he’s received some of the most prestigious awards in the industry, from Cannes to AWARD to IPA. Here he shares his experiences about shooting, getting your work in front of the right people, progressing your career. In Australia’ he’s represented by Sydney’s Photoplay Photography.
What inspires you when it comes to photographing people and portraiture work?
A narrative I usually create in my own mind inspires me, and I almost look at them as if I were that person. I try to not only capture people or portraits, but also to put a bit of myself into the image because of my fascination with how diverse every person’s life is, and their different view on the world.
I give little direction to start, and as I shoot and see what’s working I will fixate on a certain pose, and spend time on it. This is often a gut feeling at the time, rather than going back to something after stopping and reviewing what’s already been shot.
How do you evolve and test yourself as a photographer working in advertising?
For photographers, I think there is a natural tendency to always want to grow and to push yourself. Working in advertising we are more often than not working to a brief, so for me it’s about how the work I do outside my commercial work then influences the way I would approach certain scenarios. The overall goal is to be able to add something different and of value to the commercial brief. Not getting too caught up in trends while still being aware of them, and being true to your personal vision.
How did growing up in New Zealand affect your eye for landscapes?
We are pretty spoilt in NZ with so much variety in the landscape within such close proximity. Growing up here it was hard to not just default to shooting landscapes, and for a little while that’s exactly what I did. I absolutely love shooting them. But what I noticed is that the more I shot, the less I wanted to see in the image. I developed a taste for the more abstract and minimal landscapes. Like my portrait work, I like there to be a sense of tension or narrative going on, if only for myself.
Who has been a big influence on your career — whether it be a mentor/fellow photographer?
I couldn’t single out one person; it’s more the photography community. As a whole, I think photographers have become more open and not so closely guarded. When I first started trying to get assisting work, I had already shot a small job for an agency and it was impossible to get any work as an assistant. But I now find reaching out to other photographers much more common and better received. I make a point of trying to catch up with local and international photographers I respect whenever the opportunity arises, and have built some good connections through people I highly respect.
You’ve received awards at Cannes, Axis, and IPA. What do awards mean to you, and how does this recognition help propel you professionally?
It’s always nice to receive recognition for your work, and awards also give you credibility. I think they are a good measure for clients who have never worked with you — it takes a bit of the unknown away for them when they can see that you can deliver to a high, awards standard.
What was the most challenging subject matter you have photographed, and why?
I find all subject matter has its challenges, and without those challenges I don’t think I would achieve the same result. It’s the little bits of problem-solving and thinking outside the box that really gets the creativity out of me. However, I did recently have to photograph a cat wearing a sweater with a two-year-old in a foreign country. That’s probably one of the more difficult shots I have done.
What advice would you give emerging photographers trying to break into the commercial world?
That’s always a tricky one. Without sounding like a broken record, you just have to put yourself out there. Thanks to social media and other online outlets it has become a lot easier to get your work in front of the right people. But it’s important to stay true to your vision so that you don’t get lost in the clutter. And don’t be afraid to reach out to photographers you respect and ask for their advice.
More on Troy Goodall
Chicken Pox series
Contact
Troy Goodall www.troygoodall.com
Photoplay Photography www.photoplay.co
