Joe Wigdahl 10/3/23 Joe Wigdahl 10/3/23

SCENIC WORLD: TERRACE BAR

Recent lifestyle and landscape photography for a series of ads announcing Scenic World’s Terrace Bar. Open seasonally, the Terrace Bar allows for locals and tourists to enjoy evening music, food and drinks while taking in the stunning surroundings and sunsets of the Blue Mountains and the Three Sisters.

Joe Wigdahl 13/8/19 Joe Wigdahl 13/8/19

ORIGIN Energy: Solar for Industry photo shoot

I recently shot a small library of images for Origin Energy’s solar division for both industry and residential uses. I’ve been using a drone more often lately in my advertising shoots where we need a variety of landscape shots to tell the whole story. This was definitely a shoot where using a drone was actually a real necessity and would have been impossible using a helicopter as I probably would have done 5 years ago.

Joe Wigdahl 17/9/18 Joe Wigdahl 17/9/18

Ad Campaign: Weipa Tourism for Rio Tinto

A few months ago I traveled to Weipa in the western Cape York peninsula in Queensland to shoot a campaign for Rio Tinto. Weipa is a small, remote town with a huge bauxite (raw aluminium ore) mine that wants families to come and put down roots as development and local investment looks to grow in the coming years.

Client: Rio Tinto / Weipa Tourism
Agency: ChannelZero
Creative Director: Ben Croft

Joe Wigdahl 22/5/18 Joe Wigdahl 22/5/18

Ad Campaign: Mitsubishi Eclipse Cross

A few months ago I shot a bunch of images for Mitsubishi for their new car in Australia, the Mitsubishi Eclipse Cross.

When we did this shoot this was the only Mitsubishi Eclipse Cross in Australia. It has a busy schedule and the only days I had to shoot it just happened to coincide with the Melbourne Cup race in Victoria, which is something of a holy week there. We couldn't find a location scout who was available (i.e. wanted to take time out of the Melbourne Cup festivities to find locations) so I had to go down to Victoria a week early and find my own locations. Because I really didn't know the Victorian countryside I started every morning looking at Google satellite maps for terrain and roads that might have something interesting to shoot on- especially private properties that looked like they had roads on them that we could get permission to use. I would then spend the next 12 hours driving every day combing over every road in that area and then try and contact homeowners that might have a nice road. After driving around 1000kms of small backroads, at the 11th hour I finally found a family that let us shoot on their land. We couldn't have asked for more amazing weather.

To do the aerial shots I worked with Flying Dragon, a drone company that specialises in high-end cinematography. I had experimented with several readily available drones like the Phantoms and the still image quality just didn't stack up for the size we were going to have to use for the stills. We had to use a camera that was over 30 megapixels to satisfy their print needs and the only drones that can hoist up a camera large enough to do that are the heavy duty 8 blade drones that require professional pilots and cost a fortune. The operator was in charge of the flight controls and navigation on one monitor and I controlled the camera gimbal and captures on the other. I have to say, despite the challenges of short flight times due to battery power, I definitely preferred using a big drone to hanging out of the side of a helicopter.

Client: Mitsubishi Eclipse Cross
Agency: Richards Rose Executive
Executive CD: Adam Rose
CD: Liam Hillier

Joe Wigdahl 13/1/15 Joe Wigdahl 13/1/15

Smithsonian Magazine: The Blue Mountains

Night in the Jamison Valley Blue Mountains

A few months ago I was contacted by the U.S. natural history publication the Smithsonian Magazine to shoot a story on Charles Darwin’s exploration of the Blue Mountains- it’s one of my favourite places in Australia.

It was a shoot that I became more passionate about as I worked my way through the assignment; it was an odd coincidence that I was hired for this shoot- a few weeks before the magazine asked me about doing the assignment my wife and I had decided to move our family to the Blue Mountains. It was a pretty exciting opportunity to explore a whole region that would be our new home. It was early spring when I started the job and the Blue Mountains is much colder and rainier than Sydney, so instead of doing the whole shoot in one trip, I actually had to drive out to the mountains every weekend for a month to get a break from the rain and fog and get all the shots I needed.

Evening at the Three Sisters in the Blue Mountains

The ancient Wollemi Pine and the Wolgan Valley where it was found.

In Glenbrook and also in the Wolgan Valley I saw hand paintings in caves which are said to range from hundreds to thousands of years old and it struck me how much more of an impact seeing hand prints made on me than carvings or drawings I’ve seen at other sites. To see a hand print of someone from thousands of years before is to see their size, their age and their physical humanity and connect with them in a way I hadn’t really sensed before. I noticed one set of hand prints where the person must have broken their hand at some point and it healed badly because one of the fingers bent away from the hand in an unnaturally awkward angle. I felt like I was reading some form of ancient text about who lived on this land.

Often when I'm shooting a morning landscape I'll get to the location well before dawn and shoot through the sunrise for an hour or two. Even in a not-so-mindblowing landscape there is usually a moment where the light and the morning atmosphere does something that makes everything light up in the right way. For these shots of what is known as the Jamison Valley in the Blue Mountains off of Sublime Point in Leura, I felt like I was watching a light show- the sun, the mist and the eucalyptus vapor in the air kept changing colors and lighting up the landscape in surprisingly different ways. Every 10 minutes was something different. Finally when I was done I set the camera down in the grass while I was packing up my gear and tripod and grabbed a quick shot- I realised that that was probably my favorite shot of the morning.

Landscape of the changing light of a sunrise in the Blue Mountains from Sublime Point in Leura

I spent a day doing a massive hike in the bushwalk around the Three Sisters. I started off at Scenic World taking the world's steepest train down the escarpment and walked for hours around the bush track. I wasn't keeping track of time and missed their last elevator back up, so I ended up having to climb the near-vertical staircase up the Three Sisters with a backpack full of heavy camera gear after I was already tired from hiking all day. By the time I walked back to my car and put the keys in the ignition I closed my eyes for a second and ended up sleeping for an hour and a half in the drivers seat with the door open.

The cottage that Darwin stayed in was located on the property of the Emirates Wolgan Valley Resort- the most expensive hotel in Australia. I had arrived on a Friday afternoon and it coincided with their absolute busiest time- when the guests are all arriving for the weekend. There were Ferraris and Lamborghinis in the parking lot and guests landing at the helicopter pad and I was given about an hour to shoot what I needed to get before they had to devote their full attention to the guests. Since the magazine budget clearly did not involve staying at the spa, after I was done shooting I had to drive about an hour before I could find a place to stay. The local town was having a big lawn bowling competition and all of the rooms were booked out to drunken retirees enjoying their night out with the boys. The only place I could find to sleep was a room above a loud pub with a bunch of guys arguing about rugby. My bed must have been a junior bed because my feet hung off the bed past my ankles and I could hear a guy in the room next door watching porn on his phone all night. The difference between the Emirates Spa and the sleeping situation I had arrived at could not have been more stark. I had a late dinner at a local bar and was called a "fancypants" by one of the locals. I couldn't really figure out why other than the fact that I was wearing glasses and reading while eating dinner. I guess I was being a fancypants.

I had taken some big hikes getting (sort of) lost looking through a cave system in the Wolgan Valley for some hand paintings that were just too hard to find. Instead I got sunburn and bug bites. After finding only a few hand paintings I struck out for the Mt. Tomah Botanical Gardens which have examples of wollemi pines growing in their gardens. It was the end of the shoot, I had gotten everything ticked off my shot list and I was looking forward to going home the next day.

I was supposed to meet Darwin's great-great-grandson Chris Darwin and shoot his portrait, but despite our best efforts we just couldn't make it happen- he had booked passage on a very slow container ship from France to Australia to reduce his carbon footprint and didn't get back until after the story went to press.

The story that the images accompany can be found on the Smithsonian's website here: http://www.smithsonianmag.com/science-nature/australia-put-evolution-darwins-mind-180953651/?no-ist

Joe Wigdahl 14/5/14 Joe Wigdahl 14/5/14

OPSM ad Campaign in Napier, New Zealand

I recently wrote a post about an ad campaign that I shot for the eyewear retailer OPSM in Busselton, Western Australia with Saatchi & Saatchi. The images below are just a few of the shots that I did for the brand to tell some of the stories of the everyday people in Napier, New Zealand. I love New Zealand- aside from having incredibly beautiful landscapes the people there are quite beautiful and agreeable in their own right. We met a huge range of people from architects, designers, farmers, fisherman, tractor mechanics, vintners and even a Scottish bag piping corps and I felt blessed to be able to meet these people, hear their stories and shoot in such an intimate way. We shot there for a week and I averaged 16 hour days and took portraits of over 50 people and plenty of landscapes and I was exhausted in the end but really had great shoot.

Portrait of young woman bag piper and pipers playing

Landscape panoramic of Napier, New Zealand

Portrait of mother and young baby smiling

Man jogging on Te Mata Mountain, New Zealand

Portrait of small scale train conductor repairing steam train.

Portrait of Architect working on drawings with a lamp and table

The town and its surrounds are an interesting mix of 1930s art deco architecture and farms offering fresh picked cherries, figs, berries and veggies everywhere we went. I ate some of the freshest, tastiest food I've ever had and we felt welcomed by friendly faces everywhere we went. If you're ever there, be sure to check out the lovely people at Aroha and Friends.

Joe Wigdahl 12/3/14 Joe Wigdahl 12/3/14

OPSM Ad Campaign in Australia and New Zealand

I recently spent several weeks traveling and working with Saatchi & Saatchi on a new ad campaign for the eye wear retailer OPSM. The job was a really exciting project for me to be a part of because it picked two small towns- Busselton, Western Australia and Napier, New Zealand- and found people of all ages and walks of life who use and need their product, eye glasses. Saatchi & Saatchi scoured through Australian and New Zealand census data to determine a town in each country that encompassed the broad range of types of jobs, incomes, ethnicities etc. that represent each country. We met with bushfire fighters, a horse whisperer, a bagpipe marching band, a master jeweller and a beekeeper just to name a few. I was really excited by the notion of shooting my favorite subject in advertising work: real people with real stories. These are just a few of the shots from Busselton, Western Australia. I'll post images from the New Zealand campaign which was shot in Napier, New Zealand in the near future.

OPSM Busselton Horse Whisperer Joe Wigdahl

OPSM Busselton Water Reserve Joe Wigdahl

OPSM Busselton Catalog Portraits Joe Wigdahl

OPSM Busselton morning landscape Joe Wigdahl

Like most of the large productions I've been working on lately, I was shooting alongside a TVC production that was filming spots for TV and the web, while I was shooting images for the new catalog, website and everything print- in-store, billboards etc. We shot every day for 10-14 hours a day for 2 weeks and I ended up shooting portraits of over 100 people and a lot of landscapes along the way. Most days I would shoot alongside the TVC crew, grabbing shots when I could and stepping in when the TVC guys were done or had a few minutes to hand the subject and location over to me. In each city I had a day to shoot 25 portraits a day which broke down to a new location, set up and portrait every 20 minutes or so for 9 hours. An exhausting but exhilarating exercise as the opportunity to meet new people with great stories just kept coming. At one point I ended up getting pretty emotional at a small town bag piper rehearsal after feeling so lucky that these people would allow us to come in and be a part of their private experience, something I would have never been able to know about or be a part of if I was on my own traveling through this small town.

At the end of the 2 week assignment I'd shot portraits of more than 100 people, was tired, sore and really missed home but damn, I enjoyed that job. I'd do it again in a heartbeat.

CD: Matt Gilmour Sr AD: Nils Eberhardt Sr Copywriter: Veronica Copestake The TVC/Motion campaign was produced by Tobias Webster at EXIT Films and directed by Stephen Carroll.

Joe Wigdahl 13/2/14 Joe Wigdahl 13/2/14

New Zealand Surfing Day Trip

I recently had 2 huge jobs which both happened to bring me to New Zealand for shooting. We had a brief day with my fantastic assistant Maxy where he took us to an incredible black sand beach north of Auckland and we took a break from the crazy job and spent the evening surfing. I suppose it's a bit of cliche now to say that New Zealand is place full of lovely people and beautiful landscapes but it just is.

Joe Wigdahl 21/8/13 Joe Wigdahl 21/8/13

Vodafone 4G Ad Campaign

I just recently shot a new campaign for Vodafone launching their new 4G service. The job involved working with massive, real letters spelling out the "4G" that weighed several hundred pounds and took a team of moving experts to get the unwieldy, fragile and extremely expensive props into place. We started off at 2:30 AM shooting on Sydney Harbour and finished off the day at 8 at night shooting in a park filled with frollicking dogs in the Eastern Suburbs. Considering the challenges of working on such a long production day on location we really lucked out with weather, the props surviving the moves and avoiding the dog poo at the park and had a great time.

Joe Wigdahl 26/3/13 Joe Wigdahl 26/3/13

Subaru Forester 2013- Norway

A few months after shooting the first leg of the 2013 Subaru Forester's trip around the world, AOI Pro contacted me and asked if I'd like to go to Norway to shoot the next leg. I jumped at the chance- I've always wanted to go to Norway and after I moved to Australia I considered the chances of ever going to be close to nil. Even though there would only be 4-5 hours of daylight a day, -20C most days and it would be something like 28-35 hours of travel each way depending on flight times and delays and it would be right before Christmas, I had to go.

2013 Subaru Forester Norway by Joe Wigdahl

A break in the clouds, Norway.

Buried road markers

A long road through the mountains

Frozen lake at dusk.

2013 Subaru Forester Norway by Joe Wigdahl

The crew lost in the fog.

The “Blue Hour”

Aside from my clients who were from Japan, the entire crew and production were Norwegian and I had the good fortune to meet and shoot alongside a motion crew headed by Norwegian D.P.

Jo Eken Torp

. Shooting in the -20°C temp didn't really bother me as I had lived in Chicago for 10 years and had done shoots in colder temperatures than that. The Norwegians had a lovely habit of standing around and eating waffles and cheese toasties and drinking endless cups of filtered coffee on our downtime and that kept us cozy enough. I was more worried about the fact that we were shooting in Norway the week before winter solstice and daylight would be short and it would mean that not a minute of shoot time could be wasted. Most of the time the motion crew had the car so I had to get whatever I could get without bugging them which meant using long lenses and hiding in the woods while cameras were rolling. When I did have the car to myself I would usually get about 10-15 minutes to get as many of my hero shots as I could before they took the car away from me. To make things more challenging, I completely lost my voice for 5 days of the shoot. I would have to whisper hoarsely to my assistant and then he would have to frantically yell something in Norwegian or English to get things to happen while we still had the car for a few precious minutes. Several times we were ready to start shooting when a cloud or some fog would pass by and everything would get totally lost in white. Nothing had edges or shadows and there was no sense of depth whatsoever. It was like being in an infinite outdoor cyclorama and shooting would become useless. Suddenly a cloud might lift and we'd shoot furiously for 5-10 minutes before it was gone again. On the last day of shooting we had an incredible sunny day and got the chance to see the "blue hour" in which the landscape gets a stunning steely-cyan/blue hue just after the sun sets.

My dad's side of the family is Norwegian- that's where the name Wigdahl comes from. We grew up with lots of relatives in the "Yassir, you betcha, I'll bring some casserole to the pot luck!" Scandinavian diaspora of Wisconsin, Minnesota and North Dakota. During the holidays at the Wigdahl's we ate mashed potatoes and meatballs, pickled herring and lefse covered in butter and sugar. My grandparents had little troll figurines around the house and my family drank coffee from the time we woke up to just before bed. We were told that Uff da! was basically the Norwegian all-purpose curse but my Norwegian friends from Norway told me that it's basically equivalent to shouting "Jeepers!" or "Gosh darnit!" But growing up in New Jersey and being of Norwegian descent meant that we didn't really know anybody else who was Norwegian so we took our grandparent's word (and maybe Garrison Keilor's) for what being Norwegian meant.

Aside from the curiosity of knowing where one's ancestors comes from, I think my brother and I were always sort of plagued by the question of "How much of this is my fault and how much is it genetics?" hahaha. Scandinavian music that makes it abroad seems to be either insanely heavy death metal or club music. Scandinavian films tend to favor the silent, expressionless, melancholic hero bathed in dusky blue light. The dusky blue light was true but everyone I met in Norway was really lovely and chipper and constantly offering me a cup of coffee. My assistant did point out that the snowsuit I was wearing while in Norway was the kind of snowsuit that homeless people wear- so that might be a reason why everyone was so keen to offer me coffee and a waffle but I was stricken by generally how friendly the Norwegians were and how perfect their English was and it made traveling a breeze. I kept thinking what a shame it was that I couldn't spend some serious time in Norway to meet more people and to see how this incredible landscape could transform from white to green.

Joe Wigdahl 28/2/13 Joe Wigdahl 28/2/13

Subaru 2013 Forester- Australia

In September I was asked by the Japanese advertising agencies Hakuhodo and Aoi Pro to take part in a year-long project shooting the new Subaru Forester as it began a drive around the world through some its toughest terrain. I shot stills alongside a motion/TVC production headed by the Australian cinematographer Daniel Ardilley with the Australian production handled by Dynamite Productions. I felt pretty lucky to be involved in this production as I knew I was going to be going to parts of Australia that I probably would never get the chance to go see otherwise and I'd be able to go up in a helicopter to get some great views of the incredible Aussie outback landscape. We first shot in a rather desolate spot outside of Broken Hill, where all the old Mad Max films were shot. While we were shooting we had to endure temperatures of 38°C and higher and the only things that seemed to occupy this blazing landscape aside from the occasional dry shrub were flies. Lots and lots of flies. It was my first time out in the real desert of the outback and I wasn't prepared for how that fine red dust gets into everything, so I spent most of my downtime when I wasn't shooting cleaning my camera and lenses. On our shoot in the Flinders Ranges we were climbing hills in 4x4s so steep that we ran the risk of flipping backwards. I still remember our location scout telling us before we had to drive up the longest, steepest hill of the track to get to one of our locations, "You have to commit to it and go forward and not stop. If you hesitate or stop, you will roll backwards and probably die. You'll also probably kill whoever is behind you." Nice. I don't tell my wife about those parts of the job.

Still, I had a blast shooting alongside a fantastic crew and production team and I enjoyed working with my clients so much that it inspired me to start learning Japanese. They were happy enough with my work on the Australian production that they brought me out to Norway in December to shoot another leg of the Forester's journey around the world. (I'll post images from that in a week or two.)

Subaru Forester, Australia, photography by Joe Wigdahl Photography

Subaru Forester, Australia, photography by Joe Wigdahl Photography

Joe Wigdahl 15/2/13 Joe Wigdahl 15/2/13

Nikon D5200 "I Am Imagination"

Back in August I worked with the German advertising agency Jung von Matt ( JVM) on the "I Am Imagination" campaign for the new Nikon D5200. It was also one of the several jobs I've done this year alongside a TVC/motion production where I was the still shooter. I had the pleasure to work alongside Danish director Henrik Henson who shot the motion spot for this campaign.

Nikon D5200 “I Am Imagination” Photography by Joe Wigdahl

Nikon D5200 “I Am Imagination” Photography by Joe Wigdahl, Advertising Agency Jung von Matt

Joe Wigdahl 27/11/12 Joe Wigdahl 27/11/12

Australian Desert Landscapes

I know that I haven't been updating my blog very much lately but it's because I've actually been pretty busy and unfortunately many of the jobs that I've been working on have confidentiality agreements that don't allow me to talk about the jobs until several months after I've shot them. But I've got loads of new images to show you and I hope you like them. In August I had the opportunity to go to one of the salt flats/lakes in South Australia for a photoshoot. It was my first time in the true Australian Outback desert and I was thrilled that someone was sending me out there because there are a lot of places in Australia that are so remote that I have no idea of when I'd ever get the chance to go see them unless someone sent me there. I got to really see a glimpse of the Australian interior with loads of kangaroos, emus and the red dust that makes the light so incredible at dawn and dusk.

I had rented the Nikon D800 for the job and I was going to be staying out in a sheep station that was hours from anywhere with lights and there was a new moon so I knew I would have the perfect opportunity to capture some amazing landscape and night shots. At the particular salt flat where we were shooting there was only about 4cm of water sitting on top of a hard white salt surface so it created a mirror effect that made anything standing on it look like it was resting on glass. It was an incredible experience being there and taking pictures there and my only wish is that I had more time off set to take more personal shots like the ones you see below.

Joe Wigdahl 17/9/12 Joe Wigdahl 17/9/12

Bondi Kite Festival

Last week I covered the Bondi Kite Festival for a local Bondi magazine "Life in the Bubble" and had a great time getting my feet wet in the Bondi surf while shooting these amazing kites. More images and the story can be seen here: http://www.lifeinthebubble.com/issue/2012/may/windsofchange

Joe Wigdahl 25/7/12 Joe Wigdahl 25/7/12

Monocle Magazine: Sydney Swimming

Last month Monocle Magazine featured the most liveable cities in the world and of course, Sydney was one of them. They wanted me to travel around the Sydney area and document the people and places that makes swimming feature so strongly in the Sydney lifestyle. I traveled around the northern beaches like Balmoral and Manly and many of the eastern beaches like Clovelly, Maroubra and of course, Bondi. I'm a big swimmer myself so I was really looking forward to hitting the spots that I love and getting the chance to find some new ones.

Below is Murray Cox. It was sheer luck meeting Murray as he was the first person I met on the first morning I went out to begin shooting for the article. It turns out Murray has been swimming in Sydney his entire life and is one of those rare swimmers who has "connected the dots," which means he swam every beach in the Sydney area from Palm Beach in the north down to Kernell in the south. He knew everybody associated with swimming in Sydney and put me in touch with just about everyone else I had to shoot for this article. What a find!

It was the beginning of winter here in Sydney when I began to shoot for this article, so most swimmers had retired until spring. Most of the people I met for the article were the few hard-core all season people. When I first moved to Australia I swam year-round as I was accustomed to swimming in chilly Lake Michigan (the water temp in Lake Michigan still never gets warmer in the summer than Sydney gets in the winter) and I would happily spend an hour or so in the winter water in my board shorts. A lifeguard had come out once to check to make sure I didn't have hypothermia and I sort of laughed at the idea of being that cold. Now, a year and half into living in Oz and I'm completely acclimated and I can't go in the water for more than 10 minutes without reaching for my wetsuit and feeling like I'm going to freeze to death.

My mother happened to be visiting us from the U.S. for a few weeks so I decided that it would be a great way to show her a bit of Sydney by taking her with me to Balmoral to shoot one of the Balmoral women's swimming clubs. The women loved that I brought my mom to a shoot and my mom ended up being so inspired by the incredible fitness of these swimmers (many of whom are my mom's age or older) that she decided afterwards to join a swim club.

Joe Wigdahl 30/6/12 Joe Wigdahl 30/6/12

Chicago Storm Pictures

I woke up this morning with an email from a friend back in Chicago warning me that several people were sending around a picture on Facebook that I took, claiming that it was theirs. Apparently there were some pretty ominous clouds over Chicago and someone either mistakenly (or intentionally) said that this picture was taken yesterday of the same storm and at some point, the image went viral on Facebook and Reddit with several people claiming they took it

I've got prints of the image available for sale in my store here.

I'm glad that people really appreciate this picture, I've always liked this shot and it's really flattering to see so many people get excited about it. Copyright/intellectual property infringement aside, it is a bit upsetting that people would claim they took it or claim erroneously that it depicts something that happened yesterday although it actually happened four years ago. (I blogged about it right after I took these shots several years ago.) If anything, I'd like to make sure I get credit for the picture because I was the moron who was stuck in a helicopter taking pictures during a massive lightning storm and I probably used up a lot of my good luck taking those pictures.

If you happen to see someone claiming credit for this picture or sharing it from someone else who claims that they've taken it, can you politely correct them, tell them that I took it and point viewers here?

Thanks!

Joe Wigdahl 5/6/12 Joe Wigdahl 5/6/12

Tasmania / Smithsonian Magazine

I was recently asked by the American publication The Smithsonian Magazine to shoot a cover story featuring Tasmania and Tasmania's world famous MONA Museum. I was asked to document Hobart, shoot the Mona museum and some portraits of its notoriously camera-shy owner David Walsh and then afterwards make my way up to the Freycinet Peninsula to document the award winning Sapphire Hotel, Wineglass Bay and the incredible surrounding landscapes. The article can be read here.Unfortunately due to the location agreements I had to sign with MONA and the Sapphire Hotel, the pictures I took were only allowed to be published in the Smithsonian Magazine so I've just put in a few landscape shots from the trip.

David Walsh- MONA Museum Owner

Brian Ritchie

Tasmania landscape shots- a wooded path.

I had no idea what to expect before I met David Walsh, owner of the MONA museum in Hobart. I couldn't find much about him before I went to the shoot except that he had created his wealth as a professional gambler and that the museum was actually his personal art collection. I also knew that he hated meeting photographers and having his picture taken and that his persona, at least in print, was that of a recluse. His assistant Delia had warned me that I might only have 10 minutes tops to shoot him. When he finally arrived I immediately took a liking to him and I had one of the most interesting conversations I'd had in years and we ended spending almost 2 hours talking and shooting. We talked about the spirit and energy behind collectors and collecting and the function of art. The conversation bounced around from game theory to physics to ancient seafaring and trade and I left the shoot wishing I could spend a lot more time listening to him.

Afterwards I got the chance to meet former Violent Femmes bass player, Brian Ritchie, who now lives in Tasmania and coordinates music events for MONA and for much of the Hobart music scene. He and his wife Valuni Kulasakera own the best tea company in Australia, Chado Tea, and they welcomed me into their home so that I could shoot a portrait of Brian for the story, drink some tea and reminisce about our favorite Milwaukee haunts.

I only had a few days to shoot in Tasmania but it was so beautiful and the people were so friendly that I definitely plan to return soon.

Joe Wigdahl 24/4/12 Joe Wigdahl 24/4/12

Mazda BT-50 Shoot: Zoom Zoom Magazine

Last month I was asked by the UK's Redwood Media Group to shoot a story featuring Mazda's new BT-50 model for its award-winning online presence, Zoom Zoom Magazine. They wanted to tell a story about a day in the life of a BT-50 owner with a natural, reportage feel- showcasing its versatility by following the owner through rough terrain, a surf trip, a trip to the zoo "glamping" (glamorous camping) with his nieces and capped with a night out on the town.We had a looonngggg shot list for the 2 day shoot and I was working alongside Jefferson Grainger, from Corporate Video Australia, who was shooting the motion segment of the piece for the web. Working alongside a motion crew on the same production can be pretty challenging for a still shooter because it can significantly cut into the time there is to shoot- especially if the motion crew is shooting sound or if they don't want to give time to the still shooter (which happens a lot). Thankfully that wasn't the case in this shoot as Jefferson and I both realized that we were going to have to really work together to make sure that each of us got what we needed and it was actually a lot of fun bouncing ideas off one another as to how to get as many good shots as we could in the time that we had. The client was really happy with the results and I just finished shooting a second feature in Sydney for Zoom Zoom Magazine last week. I've included the tears and just a few of the images from the shoot here.