Australian Style Maker Creates Wedding and Editorial Art:
Michael Cook

By Margaret Lane

Carving His Own Path Becomes Key To Success

Wedding and fashion editorial photographer Michael Cook dwells in Queensland, a rather small market when it comes to fashion capitals of the world. "Some very good fashion shooters have come from Queensland, but most photographers, stylists and artists looking to make it in the fashion industry inevitably relocate to Sydney or overseas," says Cook. "I didn't want to make a permanent move and needed to find a way to financially support myself here, while still filling my passion for fashion photography.

Fashion First

Cook has had an eye on photography, specifically fashion photography, for most of his life. "Early on I worked in a lab and was able to see what photographers were shooting. I thought it wouldn't be too difficult to produce what I was viewing, so I bought a copy of the Trading Post [local classifieds newspaper] and rang a guy who advertised a 645 medium format camera. About $2K later, I had a camera and was ready to go." He soon booked his first wedding (with help from a little promotion at the lab). But even with a few Australian weddings under his belt, a bit more perspective was needed to examine this new career path, so he set off on a backpacking sojourn through Europe. "Toward the end of the holiday I was sitting in a coffee shop wondering what came next: how to combine photography and my love of fashion. The answer just hit me. At age 21 I opened my first studio shooting makeover portraits," he laughs. "It's funny to look back at some of my original work. It was actually pretty good." He pursued the makeover sessions for about three years, all the while keeping the wedding and freelance fashion work in play. He then tried a hand at the booming real estate market in Australia for the next four years and ended up selling his studio.

But the yearning persisted and by the start of 2007 Cook returned to his staple of shooting weekend weddings and fashion during the week. With renewed energy, he teamed with local gown designers, stylists, models, plus hair and makeup professionals to self-style and direct fashion layouts. As he created more and more of these directional spreads, he found his approach and styling for client wedding imagery shifting--bringing new levels of passion, glamour and high style to his production.

"This freelance collaboration allowed me to cultivate my visions, while giving room to experiment and learn. And this work greatly influences how I now shoot a wedding," he shares. The work eventually opened doors to paid editorial assignments with fashion and wedding publications including Grace Ormonde's WeddingStyle, Creative Weddings, and Bride Tasmania, plus assignments with George Wu (one of Australia's top new talents in fashion), and Wendy Makin Bridal Designs. "Had I moved to Sydney or overseas I probably would have been struggling side-by-side with all the other hot new fashion photographers," he adds. "I can live in Australia and I have the awesome privilege of shooting weddings and commissioned editorial around the globe."

Editorial and Bridal Edge

For both wedding and editorial work, Cook uses a Canon 1Ds Mark II and a range of Canon L series lenses. "To be honest, if I had to go back to handling film I would probably pick a different profession," admits Cook. "I found too many imbalances with film and saw labs drift with their chemicals and color balances. I now have full control of my image and the end result. I also love the new creative side of digital and all the new art papers on the market. The only downside is learning how to produce what you require in Photoshop."

If given the choice between wedding and editorial work, Cook finds editorial to be more challenging due to the amount of time and organization required, which means it's also more satisfying. "To shoot editorial is to have an idea in my head, then to organize everything needed from makeup artists and models to props and locations," he says. "I create an image and see this come together as a completed idea on paper. Sometimes it can take weeks, but the end result is getting the shoot published, walking past a newsstand and seeing my photo on a front cover or in a fashion spread. This is what drives me to go out and do it all again."

Some artists say that it can be easy to get stuck, pegged or forced into shooting a look or style deemed popular for the moment. But for the majority of his work, Cook's inspiration does not come from pages of bridal magazines or analysis of peer wedding shooters. His creative conviction remains aligned with high style, so flipping through leading fashion magazines is more apropos. "I choose everything to suit the look I require and then put it together with usually a very small budget," explains Cook. "I create my vision, which could take influence from an old movie, a music video or a place that sparks an idea; all I need is a small bit of inspiration. I borrow from the look of the late 1800s and early 1900s, I also reference the 40s, 50s and 60s. I love all the old romance." Because most of his current fashion editorial work is not commissioned (in other words shot on speculation and subsequent portfolio mail-out), he maintains full control over elements from start to finish. Another source of inspiration and education is found shooting with other photographers. "It is amazing what can be picked up during shared time and how much influence you can walk away with. I would recommend this to other photographers."

Bridal photography trends in Australia are definitely moving away from the traditional and Cook is seeing more and more brides wearing creations from independent couture designers or donning one-of-a-kind stunning pieces. Fashion-forward gowns make a perfect mesh for his forward-looking imagery, and hybridization of planned and unplanned, natural and high fashion. Come wedding day, Cook captures candid images using available light, and he enjoys ignoring all the rules by shooting into the sun, purposely blurring shots and so forth. "A wedding is shot with personality, so I use minimal equipment. This allows me to move freely. Many of my images encompass a lot of movement: running, walking, swinging or animated expressions that I stir up in the couple by saying something funny." Mood and ambience are easily preserved, but he finds optimal poses don't always happen naturally--it may be necessary to create this by adjusting environments, lighting and other conditions.

Tools of His Trade

This lens lover claims to have a fairly laid-back personal style and that if he connects with bridal clients on a first meeting they generally book him. "I'm not after every client, just the ones that love what I do," reveals Cook. "I book about 95 percent of the people who come to see me, and most of the time they have already seen my images on the Web." Even though he insists his work style is casual, his client wedding imagery and editorial art are anything but offhand. He's a master at producing high-profile looks with stunning settings, dramatic coloration and flawless skin tones.

Cook also gains a lot of publicity from his website. "My site is a very important tool, especially now that we are offering services outside of Australia," he stresses. "I direct everyone there and do not book a first appointment until they have seen my work. I want the customer to know what I shoot and have a rough idea of price before I see them." While the space and the site are important, perhaps the biggest marketing tool has been his magazine submissions. More succinctly, it's his dedication to putting the time and investment into making editorial layouts on spec and then contacting target publications. A recent coup is the six-page January spread in Grace Ormonde's WeddingStyle magazine. Producing winning images gives him a marketing leg up with industry peers. "Once you have shot a fantastic layout using their gowns or services, a vendor will promote you to clients," he smiles.

Other essential tools for this shooter include a precise system of backup and archival for RAW image files, first to hard drive and then DVD. He personally converts to JPEG or TIFF, depending on whether it is a commercial shoot or a wedding, then sends files to a pro lab in Sydney; the studio has an Epson 3800 but most images are outsourced. "I have a really good retoucher for anything out of my league or when I don't have time. He knows me well enough now that I can just give him a basic rundown." A set of Bowen lights and a boom stand and beauty dish are at the ready in-studio, and location lighting includes a portalight for outdoor fashion shoots. High on his list is a new, digital medium-format camera for studio and fashion work. "I am eagerly awaiting the release of the new Pentax 645D which will fit all of my old lenses."

Cook also counts his new membership in WPPI as a super tool for building a business. "I joined last year because I wanted to enter more competitions and hopefully gain recognition outside of Australia," he notes, "I thought the WPPI would be a good source of information for any questions I may come across when shooting overseas, and I think the networking will be a true benefit."

All or Nothing

"It used to be about money and how to make it," Cook says. "I don't think like that any more. When I used to think that way I was never very successful." A bit more inclined to a business plan of laissez faire at the moment, he finds it a challenge to succinctly outline too many distinct plans for the future. This is partly because recent success has come so rapidly, and partly because a few more career chips are waiting to fall. One thing is definite: His goals have changed regarding business. "I want to be the best no matter if I make money or not. There is no middle road for me. It really is all or nothing.

"I wanted my big break and it's happened over a period of time by shooting fashion submissions," continues Cook. "It has changed my photography style, won me some awards, given me a few editorial projects and changed the way I look at the industry and my future. Success is a recent reward with most of what I have been working towards happening in the last six to 12 months." Singling out his most solid business decision, he adds, "The old adage about having too many fingers in the pie definitely made me half an expert at everything and great at nothing. In the long run, it's precision that will bring success." For 2008 Cook is going global and will embark on marketing to U.S, U.K. and European customers. For more information about Michael Cook, visit www.michaelcookphoto.net.au

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