Photographing Australians Outback

An extract from Photography Australia: The Ultimate Travel Guide

My connection with photographing people in streets, towns, and rural settings goes back to my years spent wandering Asia in the early 1960s while serving in the Royal Australian Navy. We had a darkroom in the photography department on board, so cruising the street markets, waterfronts, and backstreets of Tokyo, Hong Kong, Singapore, and Manila – and later down the east coast of the US – provided me with considerable pleasure. Later, back in Australia, photographing people at work and play became an early focus for my regional publishing.

Photographing people, especially if you intend to publicly display the images, will involve navigating the laws of privacy, security, and property, but it’s not as daunting as you might think. In Australia, by law, any photographic images taken of people and property visible within or from public places are legal. However, there remain boundaries, especially when it comes to the use of unapproved images sold for use by third parties, especially for advertising products. After forty years of publishing images taken in public places, I have had only a few issues, and none amounted to anything. These days, there are numerous images in existence for services like Google Street View, which record public spaces on a massive scale, presenting the law with a real challenge.

The One Dollar House

In 1984 I was commissioned to photograph Aussie characters of the Australian Outback. I had recently left the Franklin Dam protest in Tasmania and was sporting a NO DAMS sticker when I pulled into Oodnadatta in northern central South Australia. While parked roadside in this tiny town, Richard Lodge approached me, who was curious about why I had the sticker. You see, he took it personally because, by trade, he was a dam builder; dams for cattle stations were his trade. After explaining, we chatted a while, and as the day was closing, he invited me back to his home to camp and watch the sunset over the dunes with his partner Christine Jones. His house took my fancy, so I asked him how much it cost to build. In a broad Australian accent, he replied, ‘Well, the house was built from remnants from the Old Ghan Railway and in the end only cost one dollar, and that was for the nails that held it all together!’

Genres of People Photography

There is ongoing debate among photographers about what truly defines a candid photograph versus a street photograph. Some argue that candid images are those taken when subjects are aware of the camera, while street photography applies when they are unaware; others insist the two terms describe the same thing. Most agree, however, that unlike posed portraiture — which is usually carefully orchestrated — candid or street photographs rely on spontaneity and often feel more authentic. Of course, many world-famous portrait photographers might see that distinction as dismissive of their craft.

While studying the history of specific art genres can open extraordinary new worlds for photographers, particularly when combined with creative post-production techniques, my own approach has always been more practical. I focus on methods and concepts valuable to a travelling photographer — ideas that help you work flexibly, responsively, and with an eye for genuine human moments.

The photographs referenced above, for example, sit comfortably within the category of people at their places of work. My aim is to create images that can be used broadly across the kinds of work I do — whether that’s teaching creative-life philosophies or illustrating natural and social history subjects.

Body Language, Gesture & Expression

Body language is made up of the signals communicated by a combination of posture and gestures. For example, when people are uncomfortable, they tend to cross their arms; therefore, if you see someone with their arms crossed, you can safely predict that they feel uncomfortable. Basically, body language includes anything you can tell about a person (or their mood, thoughts, intentions, etc.) from how they move or the way their body parts are positioned.

A “gesture” is the purposeful movement of a body part (such as a hand, arm, or head) used to signal something to other people. The four images above illustrate expressions that demonstrate the two main groups of street photography: camera-aware and camera-unaware. The top left is with approval of my taking a picture. There was no conversation. I gestured to ask, “May I?” The image at the bottom left involved an established relationship. It was taken with permission after a ten-minute, laidback chat and resulted in me buying the performer’s CD and sending her a series of images. The street performer’s kiss being blown to a child was a passing shot with no interaction. In short, exchanges can be brief or extended. The portrait of Kevin in Oodnadatta was taken during a roadside chat. On one occasion, in the outback rail town of Reid, a roadside photograph resulted in an invitation to stay overnight – the latter has actually occurred on several occasions.

Creating Keywords

While this roughly assembled theme of outback character portraits seems to follow a “hat” theme, this is entirely a result of the editing process. As you collect and catalogue your work, you may choose to add certain keywords like “hat” or “hair” or “wool” or “sheep” (see below). The key wording process achieved in post-production not only helps the creation of themes for possible later posts, blogs, or even books, but also helps focus attention on the many aspects that will confront you while wandering the streets and country byways in search of images.

Storytelling

Creating a storyline in your mind’s eye is a skillset you hone over time. These images, which collectively paint a picture of the process from mustering, yard working, shearing, and relaxing (the sleeping “gun shearer” ) are of higher value as a complete photographic story.

Top Ten Phototips

1. Build rapport before you shoot
If you’re working on a project, leave your cameras behind at first and discuss with people what you hope to achieve. This approach works especially well in small communities — such as a cattle camp, a homestead, or an Indigenous community. To make meaningful portraits, you need to connect not only with individuals but with their culture, rhythms, and traditions.

2. Be highly selective
Look for faces with character and people who clearly belong to the landscape or community you’re in. Unguarded, unposed expressions are often the strongest, although people who are fully aware of the camera can also create engaging and playful moments.

3. Trust your instincts
If something looks and feels right, photograph it — think later. Spontaneity is everything. My memory is full of missed prize-winners that vanished while I hesitated!

4. Blend in
In busy public places, I rarely ask permission. Instead, I blend in by being casual and avoiding the “professional photographer” look. I certainly don’t carry three cameras around my neck.

5. Work every angle
Don’t leave a scene until you’ve explored every possible viewpoint. If you began shooting candidly, shift gears — speak with your subject, let them become aware of the camera, and keep photographing. This often creates a second wave of strong images.

6. Defuse tension gently
If you take a frame and your subject becomes hostile, turn the camera away and photograph something else. This softens the moment and can stop a situation from escalating.

7. Prioritise body language
The body speaks far louder than the surroundings. Pay close attention to posture, gesture, and the subtle ways people hold themselves.

8. Respect boundaries
If someone is glaring at you before you even raise the camera, put it aside and introduce yourself — or simply walk away. In Australia, it’s legal to photograph people in public for non-commercial purposes, but courtesy is vital. Read up on your rights at Arts Law — it’s essential knowledge.

9. Use movement to your advantage
If you sense someone may be camera-shy or resistant, shoot without breaking stride or rely on zone-focusing techniques. Photographing from a car with a long lens can also be effective — a vehicle makes an excellent mobile hide.

10. Keep your kit simple
Light, unobtrusive gear helps you stay agile and relaxed. An SLR or mirrorless camera with a single zoom lens is ideal. Even better is a compact rangefinder — quiet, unobtrusive, and perfect for natural portraits.

More in Module 1: Capturing the Essence Photographing Australia: The Ultimate Travel Guide

Photographing Bush Kids

While I’ve worked with children in many environments, it’s the kids of the bush who most captivate me as photographic subjects. Their appeal lies in their extraordinary sense of connection to the places they call home. For Indigenous kids, this connection is deeply cultural; for all country kids, it springs from an ability to accept what they have and make the very most of it.

Outback adults know how to work hard and play hard — and the kids certainly know how to play hard, too. They greet anything new with lively curiosity, responding to art, animals, outings and simple surprises with an innocent delight that opens up magnificent photographic possibilities. With very little effort from the photographer, images of bush kids often burst with dazzling spontaneity and unguarded joy.

 Some Tips For Photographing Bush Kids

Children in the Australian bush are endlessly curious, energetic, and authentic — a joy to photograph, but they require extra care and awareness.

Always get permission

Approval from parents or carers is essential whenever you need to be near, speak to, or photograph a child. You may know your intentions are honourable, but a caregiver doesn’t — and ignoring this reality can lead to some very direct feedback.

Protect children’s identity

Never publish a child’s name, online or in print. Avoid including identifiable signage or landmarks that reveal their exact location. These precautions may feel heavy, but children’s safety must always come first. When possible, share copies of the photos with parents or carers.

Spend time, not frames

To capture natural photographs, spend time with children rather than snapping immediately. They’ll quickly drift to something new — it’s up to you to keep them engaged and comfortable so the real moments emerge.

Get down to their level

If you photograph from adult height, you’ll mostly capture the tops of their heads. Squat, kneel, or sit on the ground. Meeting children at eye level produces intimate, storytelling images full of life and authenticity.

Click on the link and view images that are a small part of my collection from 1981 to 1986, as I wandered Australia’s outback bush camps, cattle and sheep stations, and remote towns and community centres for book projects. I discuss the ethics and etiquette of photographing people in both urban and especially bush settings in my Photographing Australia Ultimate Travel Guide