Philip Gostelow
Perth, AUSTRALIA\n\np / +61 (0)44977 9436
e / philipgostelow@gmail.com\n\n"},"thumb":"","linkTarget":"","caption":"","overrides":{},"featuredImage":"","dateAdded":"0000-00-00 00:00:00","filters":[]},"10001":{"id":10001,"size":{"content":{"width":false,"height":false},"thumb":{"width":2257,"height":1399},"featuredImage":{"width":350,"height":543},"bytes":0,"pageImages":[]},"label":"Bio","type":"html","content":"
Philip is an Australian photographer, film maker and artist specialising in editorial features, portraiture and corporate branding imagery. After completing a Bachelor of Architecture and following his wanderlust he started his photographic career in the early '90s in Tokyo and has since been based in Sydney, Shanghai and San Francisco, working with some of the world's leading publications including TIME, The New York Times, Wall Street Journal, The Independent Magazine, Forbes and Vogue China. He’s currently based in hometown Perth, Western Australia.
While his imagery has been exhibited and honoured with awards in his native Australia, he has exhibited internationally including being featured at Holland's prestigious Noorderlicht Photo Festival. His project Visible, Now on the fragility of childhood was published as an e-book in 2006 and exhibited at Anzenberger Gallery, Vienna. His Black Christmas Bushfires series (2001) is in the permanent collections of both the National Gallery of Australia and the Museum of Australian Photography.
Currently involved in the production of short film and documentary projects, his latest film Max Pam: The Freddie Incident, on photographer Max Pam, was shortlisted in the Western Australian Screen Culture Awards. His short film Down the Wrong Path featured at Revelation Perth International Film Festival 2018, and experimental short Lunch screened at Chicago's Blow Up Arthouse FF 2021. Current clients include WSJ, The Weekend Australian Magazine and the National Library of Australia.
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EDITORIAL
Asahi Weekly
Asia Literary Review
Australian Financial Review
Australian Financial Review Magazine
The Australian newspaper
Bloomberg
Cathay Discovery
Curtin University
Dragonair Silkroad
The Daily Mail (UK)
The Guardian
Good Weekend Magazine
Forbes
Fortune
In The Black
Manager Magazin
Monocle
Metropolis
Photon
Prestige HK
QANTAS
South China Morning Post
Sydney Morning Herald
The Herald/Age Melbourne
The Telegraph (UK)
The Daily Telegraph (UK)
TIME
Wall Street Journal
Weekend Australian Magazine
CORPORATE & ADVERTISING
AMAT Applied Materials
Anglo Ashanti Gold
Australia Institute
BAU Architects CSBP
Black Swan State Theatre Company
Fortescue Metals Group
HSBC
INTEL
Julius Baer
Kerry Centre
Lenzing
Metropolitan Redevelopment Authority (W Aust)
NIKE
RBS
Standard Chartered Zurich Insurance
ADVERTISING
Addison (UK)
Black Sun (UK)
Block Branding (Perth)
Hare & Hound (Perth)
JW Thompson (Shanghai)
The Brand Agency (Perth)
Wieden & Kennedy (Shanghai)
LUNCH
On a winter's day in the village of Zhou He, Inner Mongolia.
MORNING TEA WITH AUNTIE EVA
A morning tea spent with my great auntie at her retirement unit where she's lived for more than 10 years. As she muses on her day to day life, though her incapacities restrict her movements, she seems quietly content.
BEFORE KUTA
A girl and a boy's reflection on the journey so far: a summer vacation, an adventure in Indonesia, raw and spontaneous ... all before the grating reality of heading to Kuta.
GOING BACK
A woman returns to her native Italy and while traveling to reconnect with family experiences some unexpected insights.
THE GRAVEDIGGER
\r\n\r\n
The first in a series of interstitial doco films based on the theme Working With The Dead. \r\nIn The Gravedigger we follow Glenn French, operations co-ordinator at Pinnaroo Memorial Park, as he muses on the darker and lighter sides of his often times misrepresented vocation
\r\n\r\n(5:25 mins)
\r\n\r\nWritten, Shot, Edited & Directed _ Philip Gostelow
\r\n\r\nMusic _ Paul Armitage
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05:18:44","filters":["docos"],"oldFilename":"The-Gravedigger_crow-copy1.jpg"},"10628":{"id":10628,"size":{"content":{"width":1200,"height":889},"thumb":{"width":0,"height":0},"featuredImage":{"width":0,"height":0},"bytes":263348},"label":"Kimberley-Photo-Journal_landscape-rushing-passed","type":"image","content":"Kimberley-Photo-Journal_landscape-rushing-passed-copy1.jpg","thumb":"","linkTarget":"","caption":"reproduction on art paper/pigment print.\nsize: 12 x 16 inches. kimberley region, western australia, australia, b & w photo; black & white photo; landscape, collage, photo journal, print,","overrides":{},"featuredImage":"","dateAdded":"2015-01-08 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Observer's LIFE magazine","overrides":{},"featuredImage":"","dateAdded":"2015-01-08 02:35:58","filters":[],"oldFilename":"Diana Ross-Tokyo-Dec-1994.jpg"},"10649":{"id":10649,"size":{"content":{"width":780,"height":1200},"thumb":{"width":0,"height":0},"featuredImage":{"width":0,"height":0},"bytes":177741},"label":"Diana Ross-Tokyo-Dec-1994","type":"image","content":"DianaRoss-Tokyo-Dec-1994-copy1.jpg","thumb":"","linkTarget":"","caption":"","overrides":{},"featuredImage":"","dateAdded":"2015-01-08 02:36:28","filters":["PORTRAITS","PORTFOLIO"],"oldFilename":"Diana Ross-Tokyo-Dec-1994-copy1.jpg","postDate":"2025-08-02T10:47:29.002Z"},"10650":{"id":10650,"size":{"content":{"width":0,"height":0},"thumb":{"width":0,"height":0},"featuredImage":{"width":0,"height":0},"bytes":0},"label":"googleab26ab32647977f9","type":"html","content":"googleab26ab32647977f9.html","thumb":"","linkTarget":"","caption":"","overrides":{},"featuredImage":"","dateAdded":"2015-01-08 02:46:14","filters":[]},"10651":{"id":10651,"size":{"content":{"width":0,"height":0},"thumb":{"width":1750,"height":1240},"featuredImage":{"width":0,"height":0},"bytes":0,"pageImages":[]},"label":"MY MOTHER THE COLLECTOR","type":"html","content":"My Mother The Collector honours my mother who passed away at the age of 88.
Her home was her sanctity. For more than 60 years she had filled it with an ever-increasing eccentric collection of antiques and knick-knacks. The collections were spawned from what she lacked as a child. Having been raised in rural Australia during the years of the Great Depression, on what could only be described as marginal farmland in the western wheatbelt, she knew first hand what it was like to go without. In contrast to her stark childhood, she made the family home rich, inside and out.
Her life and loves were reflected in these treasures. During her last days, Elvein's family kept a bedside vigil at the hospice, enabling each in their own way to come to terms with loosing the matriarch and a chance to reflect on her resilience, appreciation of beauty and a life lived.
Each diptych represents an image from Elvein's past paired with one taken either during the vigil or detailing parts of her extensive collection.
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As China's largest metropolis, it's population bulging at 24 million, Shanghai is an emblem of the nation's incredible economic miracle. Representative of contemporary China's urbanism, its vast suburbs are home to the aspirational classes: those who want a piece of the materialistic pie and have their chance at newfound wealth. \n\nBut the promise of a better future comes at a compromise. To many suburbanites, growing materialism and increasing costs of living are bringing unwanted struggles. Welcome to Shanghai's 'burbs: where myriads live amid a boundless sea of faceless high-rise condominiums, streets are coated in construction dust, and omnipresent arterial expressways leading to yet more subruban sprawl. \n\n
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In off-the-beaten-track Ningxia province, north central China, grain crops and sheep have been the region’s economic backbone. Its arid climate, high altitude and rugged terrain limit the arable possibilities for the People’s Republic’s third poorest province, but recent developments in the local wine industry are injecting money into the economy.
Separated from the Mongolian steppe and Gobi desert by the rugged Helan Shan mountains, Yinchuan, Ningxia’s capital, lies on the banks of the Yellow River. Making the most of the fertile flood plains, local farmers who once grew melons, berries and vegetables are fast adapting their skills to tending vineyards.
China’s modern wine industry started to take off just more than a decade ago, at the same time a new affluence spread across the country.
Wine tourism is likely to be a big boost. Capitalizing on this, Chandon is constructing a strikingly modern winery at its vineyards. Changyu’s Yinchuan winery has just completed an impressive faux French classical château with trellised gardens and marble fountain to impress patrons. If it weren’t for the Chinese gateman, you could swear you were in the Loire. Ningxia regional wineries, large and small, will open their doors to busloads of day visitors ready to wine, dine and buy the local vintages. Wineries now stretch west to east from Xinjiang, Shaanxi, Sichuan, Ningxia, Beijing and Shandong, where the Yintai region has become the country’s largest wine producer.
Commissioned by The Australian Financial Review Magazine
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The Australian Square Kilometre Array Pathfinder (ASKAP) will be the world’s most powerful radio telescope. Still in expansion – it currently has 36 dishes – the telescope will have the equivalent of 96 dishes by the time it’s fully operational in approximately 2023.
Set on the remoteness of Boolardy Station a pastoral lease some 4 hours drive inland across red dusty roads from the nearest regional settlement of Geraldton on Western Australia’s central coast, is by anyone’s standards in the middle of nowhere. With its eye-catching sun-bleached white dishes, the ASKAP cuts a dramatic manmade imposition on the landscape panorama. But it’s not alone in the wilderness. Another radio telescope system on the property spreads across the ochre coloured terrain appearing as robotic silvery spiders. Laid out in square grids, the so called Widefield Array was designed and is monitored jointly by CSIRO and a dozen other Australian and international science bodies. It’s interesting to note that the Murchison shire covers an area the size of The Netherlands, has a population of 113 people, hosts 29 properties and has no townships. Boolardy Station was earmarked as an ideal location for the radio telescope for this reason: it’s quiet – there’s minimal electronic interference from mobile phones and other equipment. While in the neighbourhood I also had the pleasure of experiencing Astrofest – attracting some 300 amateur astronomers and astro enthusiasts from as far away as Perth, 800 kilometres to the south. Where as optical telescopes can view visible light, radio telescopes pick up radio waves across the depths of the universe. Unlike visible light, radio waves travel the entire breadth of the universe without being absorbed and scattered by intervening matter - making it possible to read deeper into the history of the universe than my any other means. As local pastoralist Sandy McTaggart so profoundly stated ”They reckon that the deeper into space you look, the further back in time you go. So when you’re looking at other galaxies you’re actually looking at light from a million years ago. It’s the big question, isn’t it: how did it all begin? Every religion was spawned on the basis of it.”
Commissioned by The Weekend Australian Magazine
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On 31st May 2012, Giorgio Armani orchestrated a major PR and marketing event for the Armani fashion label in China - ‘One Night Only in Beijing’. With an entourage of the world’s fashion journalists, an assembly of 163 runway models and Mary J Bligh as star performer it was a swanky do, with a roll call of A-Listers.
In the lead up to the event, Armani – with his omnipresent entourage – conducted interviews, seminars and promoted his label impressively. Backstage at the big event, Armani oversaw the machinations of the runway to showcase his latest seasonal fashion. Amid the media spotlight and entourage, the 79 year old Armani sometimes appeared a lonely figure, the consideration of a successor to the helm of the fashion empire he built never far away.
commissioned by The Australian Financial Review Magazine
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Shanghai\r\n","thumb":"","linkTarget":"","caption":"","overrides":{},"featuredImage":"","dateAdded":"2015-01-14 02:29:47","filters":["Shanghai: City In Search of a Soul"]},"10657":{"id":10657,"size":{"content":{"width":0,"height":0},"thumb":{"width":0,"height":0},"featuredImage":{"width":0,"height":0},"bytes":0},"label":"","type":"html","content":"
CHINA'S LITTLE AFRICA - GUANGZHOU
It’s estimated there are more than 100 000 Africans living in Guangzhou, China’s third most populated city. Many more visit short-term to conduct trade business and return home. Most of the African’s are associated with trading goods to their homeland in Africa, and can be found around the vibrant and colourful large shopping malls in the city's northern districts of Yuexiu and Baiyun. As part of a diaspora of worker and merchant classes, it’s a case study in globalization.
The African trading area - a vibrant and colourful area of the city where Africans stay/live while conducting their trade to buy merchandise to sell back in their home countries.
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SHANGHAI NOIR - LILONG BY NIGHT
In and around Shanghai’s former French Concession, accessible by gated entries off the busy streets, lie intricate old residential developments known as lilong. With a grid-like pattern of laneways and narrow three-storey buildings, their design is a fusion of European row and Chinese courtyard housing. Built mostly in the period from the 1920s through until early 1940s, they provide a fascinating blend of old lifestyle set amid the clamorous new developments by which they are threatened to be engulfed.
A peak into the confines of the lilong offers the visitor an alternate reality. Within is traditional family life, crowded but peaceful. Extended family living, shared kitchens with the aroma of Chinese cooking, bamboo poles stretching from windows with the days laundry hanging to dry, a lady tending her pot plants, a man tending his bicycle repair stall. But by night they have an altogether different allure. With the light cast by tungsten lamps, and the flickering of neon, shadowy figures roam the realm and the boundaries between present and past blur. This is when the lilong become the backdrop to another period in the city’s vibrant past - the period in which they were built - this is Shanghai noir.
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KANGBASHI - EMPTY CITY
The city of Kangbashi could easily be a setting from the seminal 60s television series Twilight Zone. Picture this: A huge ongoing construction project on the edge of the Gobi desert, built for a million inhabitants where row upon row of highrise apartment buildings line empty roadways. But where are the people? A lone pedestrian or vehicle moving across this desolate urban landscape can appear very conspicuous, almost out of place. But it’s not a television show, in fact it’s very real. In spite of its windswept desert and rolling high plain steppe, China’s Inner Mongolian Autonomous Region is one of the nations wealthiest. Ordos City, of which Kangbashi in a huge subdivision, riding high on a resources boom over the past decade thanks to huge local coal and natural gas reserves, has benefited financially. Its citizens boast a per capita GDP of more than twice that of Beijing. With its local government reinvesting its wealth in modern urban infrastructure and expansion, in 2003 Ordos officials designated for the development of a new district 25 kilometers south. In this new and vibrant community of Kangbashi, new construction continues despite their being so few residents.
The Chinese may well have a similar saying from its lengthy list of ancient proverbs, but the West’s ‘Build it and they will come’ may yet have some truth in Kangbashi.
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LIMINAL - A SUMMER IN BETWEEN
This is a story of a modern family living between continents, outside conventions and without a safety net, caught in the fallout of the Global Financial Crisis in 2009. As an Australian photographer based in China, my two kids were with their mother in California, and my Italian fiancée and I relocated there so I could again be part of my kids lives. As the recession took its toll, and with limited work opportunities, I was forced to abandon my new home and return to the relative familiarity of China. However, in the short time I’d been away that playing field had also changed. I found myself starting from scratch yet again. The following summer of 2010 I had the kids stay with me in China. I was left with trying to pick up the pieces, and conjure where and how we could next all live together. Not an easy fix as it involved juggling freelance career, schooling and family unity.
I took a trip to Thailand with my partner, and a road trip in the Philippines with the kids. We were in limbo, without a course to sail, and it felt I was trying to steer a rudderless ship in a maelstrom. The series echoes our fate that summer, caught fighting an inert force, longing for a way out.
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IN TRANSIT
The sequel to 'Liminal - A Summer In Between' [refer Photo Journals gallery].
Shanghai 2011, I had the kids move from Northern California to stay with me for a sticky, humid few months before moving them to school in Australia. It was a step along the way to resolving a tricky couple years caught in what had become a global economic crisis.
There was a bigger plan - a move to Australia - offering light at the end of the tunnel but no less daunting a transition. For now, we were hanging by a thread in Shanghai hoping for good fortune before crossing the next threshold.
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THE KIMBERLEY
A road trip from Darwin to Broome and back, through the wild and raw Kimberley region of NW Western Australia. Documented as a photo journal.
Series titled 'Travel Journals 1999-2000' exhibited at Stills Gallery (Sydney), 2002
A variety of limited edition Photo Journal prints (including those from The Kimberley) and Photo Collage prints are available for purchase from the artist. Enquire via email on the CONTACT page of this web site.
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INDONESIA 01.2014
\r\n\r\nA holiday with the kids traveling in the off season to Bali and Gili.
\r\n\r\nA companion piece to BEFORE KUTA [refer Film]
\r\n\r\n\r\nImage gallery continues ...
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UN ESTATE ITALIANA
\n\n
An Italian Summer. In the summer of 2014 I traveled to Italy, my son in tow, to visit with my wife's family: an opportunity for her to reconnect to roots. From her home town of Turin in the north to Puglia in the far south we criss crossed the country reconnecting with family and friends.
\n\n
In many ways the sirocco, the damp wind blowing across the Mediterranean from North Africa, framed our time in the south. More persistent than usual it buffeted the coast, forcing holidaying Italians off the beach.
\nMoving north, in Rome and Venice, where my wife spent her university years, it seemed tourists out numbered the locals. With the cities arterial nodes clogged, these giants of civilisation concealed their best. Night was our escape, the hordes having retreated indoors, we ventured out.
\n\n
We roamed: via Puglia's hellish roads in the south, by train in the north and by foot. Family, food and wine our salvation.
\n\n\n
Image gallery continues ...
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“And above all, watch with glittering eyes the whole world around you because the greatest secrets are always hidden in the most unlikely places. Those who don’t believe in magic will never find it.”
_ Roald Dahl
Visible, Now represents images inspired by the beauty and innocence of childhood.
The sanctity of childhood in modern times has never been in more peril. Capitalism sells the public a dream that is nearly always just out of reach. In pursuit of happiness and security parents are less available for their children. This together with the increasing occurrence of single parent families in society, means the freedom for a child to revel in the spirit of youth is being eroded. Children grow up so quickly.
The transient fragility and ephemeral nature of childhood is an essential part of healthy human development that should not suffer prejudice, poverty or perversion. In an exploration of boundaries - determining its place with in the world - a child by nature is drawn in equal measure to light and darkness. As the child negotiates childhood, their accumulated reservoir of experience acts as the spine that will shape future life.
Honouring the space for a child to imagine, to play, explore and wonder is the most important freedom.
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Prints available from the artist, enquire via email on CONTACT page of this web site.
Leica / CCP Documentary Photography Award 2005 - Finalist
Leica / CCP Documentary Photography Award national touring exhibition 2005/2006
Reportage Festival of Documentary Photography 2006 - national touring projections
Exhibited at Anzenberger Gallery (Vienna) 2006
Published as an ebook by Demoratic Books (GmbH) 2006
Philip's first photo collage's date from 1994, created using black and white fibre based print paper.
The 'Visual Soliloquy' collage series, of which some are displayed here, was included in 'Wonderland', the premier exhibition at Noorderlicht Photo Festival 1999 (Groningen, The Netherlands).
More recent collages are created digitally, using both scans of black and white prints and original digital image files.
A variety of limited edition Photo Collage and Photo Journal prints are available for purchase from the artist. Enquire via email on the CONTACT page of this web site.
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TRAVEL JOURNALS 1999-2000
Photo diaries of travels in India and Australia during the period 1999 and 2000. Original artworks on 12\" x 16\" fibre paper.
Series titled 'Travel Journals 1999-2000' exhibited at Stills Gallery (Sydney), 2002
A variety of limited edition Photo Journal prints and Photo Collage prints are available for purchase from the artist. Enquire via email on the CONTACT page of this web site.
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Daniel tries to reconnect with his former lover Carla after learning he has a terminal illness. Shanghai forms a constant backdrop in the lives of the erstwhile lovers.
THEATRE OF THE IMAGINATION: AN INTERVIEW WITH RICHARD ROBERTS
Set designer Richard Roberts talks about Chinese Opera's 'theatre of the imagination' and his work in designing the sets for Black Swan State Theatre Company's production of Brecht's Caucasian Chalk Circle, in collaboration with the National Theatre of China.
The Black Swan State Theatre Company in collaboration with the National Theatre of China production of Brecht's 'Caucasian Chalk Circle'. Documented during pre-production, backstage and the preview performance. Directed by Dr Wang Xiaoying, it's hoped the production will tour in China during 2017. \nThe show ran 30 July - 14 August 2016 at Heath Ledger Theatre, Perth, WA.
\n\n\n
Commissioned by Black Swan Theatre Company, imagery appearing nationally in The Australian Newspaper, The West Australian Newspaper, and via the web on numerous webzines and blogs.
\n\n\n
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magazine feature photography by Philip Gostelow","type":"image","content":"The-WeekendAustralianMagazine-June-Oscar-family.jpg","thumb":"","linkTarget":"","caption":"June Oscar and family - The Weekend Australian Magazine feature. June Oscar AO is an Australian Aboriginal woman of Bunuba descent, an Indigenous rights activist, community health and welfare worker by Philip Gostelow","overrides":{},"featuredImage":"","dateAdded":"2016-12-06T20:33:32.000Z","filters":["Published Layouts"],"key":"11011"},"11012":{"id":11012,"searchable":true,"keywords":["June Oscar","indigenous leader","Indigenous rights activist","Weekend Australian Magazine","aboriginal woman","portrait"],"size":{"content":{"width":1860,"height":1240},"thumb":{"width":0,"height":0},"featuredImage":{"width":0,"height":0},"bytes":157890},"label":"June Oscar and family - studio portrait photography for The Weekend Australian magazine","type":"image","content":"June-Oscar--family.jpg","thumb":"","linkTarget":"","caption":"Studio portrait - extended family group - Photographed by Philip Gostelow for The Weekend Australian Magazine","overrides":{},"featuredImage":"","dateAdded":"2016-12-07T11:11:36.000Z","filters":["PORTRAITS","PORTFOLIO","LANDING MEDIA-Titled"],"key":"11012"},"11013":{"id":11013,"size":{"content":{"width":0,"height":0},"thumb":{"width":0,"height":0},"featuredImage":{"width":0,"height":0},"bytes":0,"pageImages":[]},"label":"","type":"html","content":"
THE LAST OF SPRING
The last day of spring in an inner-city laneway.
Until the widespread use of iPhones and digital cameras, the humble Indian portrait studio photographer was an integral part of every community across the subcontinent.
At the dawn of that technical transition in the early 2000s, in an effort to record this creative element of Indian life, I hunted down photographers who were still using hand-painted scenic studio backdrops in their studios. No two backdrops being exactly the same, in a tradition that dates back to the 19th century, when photography and its European styling was introduced to the subcontinent via the British Raj, these atmospheric cloth backdrops developed their own Indian vernacular.
In recent decades, regrettably, the hand-painted backdrops are an element of Indian culture that has been swept to the side by the ever-pervasive influence of globalization, together with the aforementioned arrival of digital photography: they’ve lost their appeal in contemporary India. Though part of a not-too-distant contemporary India, sadly, studio photographers and their hand-painted backdrops are now lost to the machinations of modernity.
Paying homage to the portraitists, and in an effort to capture the last of a tradition, I photographed some of the few remaining photographers using
these studio backdrops in northern India, letting them pose in idiosyncratic Indian style.
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DORIS
On the eve of his son's first high school dance, a father grapples with his duty of making sure his heir knows about the birds and the bees while reflecting on the circumstances of his own first dance.
DOWN THE WRONG PATH
A former teenage ice addict, struggling to free himself from the shackles of his past, decides to escape for the weekend only to realise he’s running from himself.
The new $1.2 billion Perth Children’s Hospital is among the best in the world. Designed by JCY Architects and Urban Designers, Cox Architecture, and Billard Leece Partnership, with HKS, the new hospital building has a form and colour palette inspired by the fauna of the adjacent Kings Park.
Opened in May 2018, the 298-bed state-of-the-art facility incorporates panoramic 270-degree views, outdoor spaces and private courtyards for patients and is designed to allow for an abundance of natural light. According to the architects, it is “designed from the child’s perspective.”
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SOFT WHITE CLOUDS
TRAILER In her dream a woman returns to her childhood home to spread her mother’s ashes. While there she meets with a strangely familiar woman who becomes the catalyst in unearthing a secret about her mother that’s been hidden for years.
7:36 mins © 2020
Featuring_ Deanna Cooney, Fee Menzies, Andreas Piechulik
Director + Writer + Producer _ Philip Gostelow
DoP_ Philip Gostelow
Editor _ Philip Gostelow
Score _ Simon Whitfield
Sound Design _ Simon Whitfield
Sound Technician _ Colin Leitch
Sound Recordist _ Sebastian Boyd + Philip Gostelow
Grading _ Sandbox
The impact of the COVID-19 pandemic on life in Australian has had a profound economic, social and psychological influence, possibly the greatest single impact on our society since WW2. By mid-March, when it was apparent COVID-19 was a serious threat, the federal and state governments initiated the rapid enforcement of broad spectrum measures to contain its spread.
At the onset of the crisis, sensing a significant broad-spectrum impact, I started documenting the changes, the subtle and the obvious, in my neighbourhood of Northbridge: people working remotely from home, bears on picket fences, public play-gyms off limits. It was a surreal epoch but one we adapted to quickly. My coverage grew to incorporate the effects on social gatherings, transport, religious practices, hospitals.
Thanks to timely border control and travel restrictions, indefatigable healthcare staff and with the majority of the public adhering to the privations, so far, Western Australia has gotten off lightly. Though locally life may have returned to all but normal and the COVID-19 epoch now seems like a distant aberration, its impact will be ongoing and some of the changes it brought about will in time become our new normal.
These images are available for purchase and/or publication. Please contact Philip Gostelow directly via CONTACT page on this web site.
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SEMINARS on offer:
How To Take Better Photographs
Aimed at people with digital cameras or iPhones. Incorporates the history of photography, what makes a great photo, the difference between digital cameras and iPhone, how to select your backdrop and frame your photos for optimum creative results.
ALSO AVAILABLE AS A WORKSHOP, SEE BELOW
How To Take Better Travel Photographs
For your next trip, techniques for improving your travel photography;
includes how to embolden yourself to capture the locals and their unique cultures.
How To Take Better Photographs Of Your Grandchildren
Discover techniques for capturing those candid, special moments in their lives for posterity. Learn how to frame in-camera as you shoot and anticipate moments so you’re ready when the moment strikes.
Mastering Photoshop
Master basic Photoshop techniques; Make your images pop! includes basic post-production workflow, and photo adjustment techniques to make your images stand out. Students will need access to a computer with Photoshop software.
Seminars are 60 minutes, conducted at your retirement village, at a cost of $49/person (minimum 5 students, maximum 20 students)
WORKSHOPS on offer:
How To Take Better Photographs
held over four 60 minute classes, 1/week, cost $199/person (minimum 5 students, maximum 12)
Aimed at people with digital cameras or iPhones. Incorporates the history of photography, what makes a great photo, the difference between digital cameras and iPhone, how to select your backdrop and frame your photos for optimum creative results.
Week 1: Introduction to the history of photography, we view great work, learn about choice of location, and discuss framing and timing.
Week 2: Let’s take photos! Using iPhone, iPad or your digital camera, working with other students, and with guidance from me, you learn taking portraits indoors.
Week 3: More practice! We go outdoors for more portraits, learning to work with available light.
Week 4: Submitting your best work from the workshop, and learn from constructive feedback, we view a presentation of everyone’s photos on screen.
Coming Soon!
On Location Workshops
It’s my intention to expand the seminars into on-location workshops, to cover practical photography classes for Nature (flowers, trees, birds, topography), Portraiture (using ambient light) and Urban Streetscapes.
Payments
Participants pay directly into my bank account. In the event of cancellation, payments will be refunded in full within 7 days of the advertised event.
Contact me via my email philipgostelow@gmail.com or my web contact page for enquiries.
Educational Seminars for students of the Third Age
For a new phase of productivity and purpose, live your visual potential in photography!
As a photographer, I’ve enjoyed a career traveling the world, living in Japan, China, the USA and now back home in Australia. For over thirty years, I've worked with leading international publications as a portrait and documentary photographer, also conducting workshops and teaching photography at the University of Western Sydney as a sessional teacher.
Now based back in my hometown of Perth, I’m enjoying sharing my knowledge and travels with a new audience, to inspire and pass on tips to improve your photography and visual literacy. I’m offering short immersive seminars where I guide you through informative, fascinating visual presentations in the comfort of your own Retirement Village.
Seminars are 60 minutes, conducted at your retirement village, at a cost of $49/person (minimum 5 students, maximum 20).
Workshops are held over four classes, each 60 minutes, once/week, at a cost of $199/person (minimum 5 students, maximum 12)
Sample Photos follow … Please click on SEMINAR OPTIONS tab for details on available Seminars & Workshops
“Hi, I’m Quentin”
February 1993
He was in Japan to promote Reservoir Dogs. Although he couldn’t give any details, he was in preproduction on what would become Pulp Fiction, his finished script completed just the month before. The film of course would define Tarantino as an enfant terrible of cinema and garner universal acclaim.
The shoot was commissioned by FIGARO Japon magazine, it was to be in the Ginza district. I sat in on the interview with the editor and a local freelance journalist who I recall was also a road movie buff. It was very relaxed, shaking hands he introduced himself to me “Hi, I’m Quentin”.
I remember the journalist asking him, in regard to Reservoir Dogs, if the painting of a slain San Sebastian in the scene when Michael Madsen’s Vic (Mr Blonde) is wrestling with Chris Penn (Nice Guy Eddie) in Lawrence Tierney’s office, had any symbolism. He wouldn’t divulge. Only now, after all these years, did I realise it was directly connected to what Mr Blonde would do later in torturing and killing the cop.
My shoot followed the interview. They allowed 20 mins for the portrait. I was in a bland office, so I looked for the largest portion of white wall to use as a clean backdrop. I shoot two rolls of 120 film on my Hasselblad. During the shoot QT and I talked about the Toronto Film Festival among other things, its significance in the North America market. I explained I’d been living there prior to relocating a year or two before. Conversation flowed, not awkward, then it was over.
A few days later, walking with friends on a Saturday night near Shinjuku’s Kabukicho district, he crossed right in front of us, carrying what looked like a bag of newly acquired DVDs in a plastic bag from HMV or Tower Records, and still wearing the same coat I’d photographed him in. He didn’t notice me, I didn’t yell out. I could hear his line of conversation with his enthralled Japanese accomplice, a passionate and animated discussion on Japanese action movie figure Sonny Chiba. Oblivious, he passed into the night. I still have his business card, somewhere.
My career as a photographer was kick started after I landed in Tokyo in late 1991. This was well before the days of digital photography, I was largely self taught and had become entranced by the darkroom magic. What I lacked in experience I made up for in gusto. With in a year of landing I was fortunate enough to be shooting portraits for major magazines.
It would continue for the next five years, until I left Japan to start a family in the West. All these years later I look back on this period as being seminal to my career. There was something special about it all, my innocence, the simplicity and honesty of the engagement with the magazine editors and subjects. I didn’t know how good I had it.
Though I would continue to shoot portraits of leading figures in business, politics and the arts in the following decades, these portraits shot during my Tokyo years stand out for me as being the most distinctive. The subjects, visiting Japan to promote their movie or album, were mostly happy to connect with a native English speaker and that resulted in a trust and empathy between the two of us. For the most part we were outsiders in a foreign culture, and as such free from its many strictures. While restricted in shooting time and location, often the only other limit I faced was if the magazine wanted black & white or colour film. It was unpretentious and uncomplicated.
The other part of the alchemy was the use of analogue film ... which involved an awareness of how many frames you had left on the roll, which made you very much in the moment. It also meant having to load and reload the camera, taking time out to chat while doing so. There wasn't the seemingly limitless shooting as has become the norm in the new digital age.
With portraits, you’re in the subjects life for a matter of minutes. It’s your job to connect with them, to built an empathy so as to capture a truth by peeling away at least a few layers of onion skin from the facade. As a gig I cherished it, it had nothing to do with the persons fame or notoriety, this was my great passion.
April 1993
Not a name that’s instantly recognisable, but Sam created some of the 20th centuries most icon movie images … like the one of Marilyn standing over a subway air vent struggling to hold down her skirt, and the portrait of Marlon Brando wearing a ripped t-shirt, an image that became synonymous with A Streetcar Named Desire.
Sam was a talented human being … from an early career as a cartoonist, he graduated from film stills photographer, being a contributor to Magnum Photo agency, and Life magazine covers to Hollywood producer. He become actor turned director John Cassavetes right-hand man on seminal films like Woman Under the Influence, Opening Night and Gloria.
One of the nicest experiences I’ve had shooting a portrait. Sam was in town to promote a Cassavetes retrospective. His eyes exuded warmth, the kind that people are drawn toward. He was curious as to how I ended up in Tokyo, pursuing my passion for photography. Perhaps he could see something of his younger self in me, following dreams, soaking up every experience. I posed him in front of one of his photos of John, and knowing what respect he held for him, when it came to printing in the darkroom, left the ceiling aircon outlet as a ‘halo’ over his head.
We were all getting on so well FIGARO editor Asako Akai suggested we go to lunch, joined by Sam's son Larry, also a regarded photographer. Sam wasn’t short of a story. A day to remember.
\"Miss Ross\"
December 1994
It’s a remarkable thing really, to be granted permission to photograph someone. For me there was no better way of doing that than via black and white film. No better way of revealing what may be happening under the surface, peeling away the layers.
My shoot with Diana is a great example of how a portrait shoot can turn so horribly wrong, but end up so horribly right. I had occasion to shoot Diana Ross for an English newspaper magazine in December 1994. They’d been trying to get her to agree to an interview and photos for some time, but she was good at dodging and weaving. They’d pinned her down finally, and it was to happen in Tokyo. She was in town for - of all things - an Amway event where she’d perform to an audience of 40,000 at Tokyo Dome. She kept dodging. She cancelled our scheduled shoot at her hotel suite, and with only one night remaining, a shoot was planned following her final night in town following the concert. I was allocated a room backstage where I set up backdrop and lighting, and another where I could wait with my assistant Yuki and leave my gear. Diana's very genial UK PR man briefed us indicating that she was expecting the photo shot but to not photograph her hands, she didn't want her hands shown in detail. At 51 years of age, hands tend to show age.
Staff were to address her as Miss Ross. Hmmm, OK. All good. During the show I took shots of her performance from stage side, and the affable personal security guy, an ex British commando, informed me that she usually does a 20 minute encore, so we’d safely have 30 minutes to be ready for her shoot. Easy, I sauntered off with Yuki backstage, all I needed to do was load film into my cameras, I’d have plenty of time. I’d just sat down in our room when the door burst open, it was the Brit security guy. “Miss Ross is ready!” The door closed. Diana true to form and unpredictable. No encore. I hadn’t even loaded the film. Yuki had become catatonic. My now quivering hands did their best to load colour in one camera, and a roll of Tri-X in the other. I bolted out the door, pulling Yuki with me. We only had to walk 50 metres. There she stood in front of my red hand-painted backdrop with entourage. Queen Bee.
It wasn't so much me greeting her - there was no hand shake - as me attending her. She appeared in control, but strangely nervous. Having just walked off stage she still wore heavily layered stage make-up, which for photographs, made her feel totally vulnerable. In dodging and weaving our photo shoot she’d lead herself into a corner: she was obliged to honour the shoot, this was her last opportunity, but I could sense her insecurity at being exposed. Still shell-shocked and fumbling for exposure settings I set about shooting. I was operating on auto pilot. Unable to maintain the star facade, at one point she covered her face with her hands. Instinctively I shot one frame, and continued but it was over before I knew, may be 2 minutes.
Though I didn’t realise, in a way I had been presented a gift. Despite minimal shoot time, and no chance at a pre-shoot ice breaker chat, thanks to her insecurity she’d shed layers of onion skin before me. I’d got a total of little more than a dozen frames … 10 colour, 6 B&W. Nothing. Then she was off, I thanked her, she thanked me. I didn’t even get to see what I’d shot, the film had to go back with the journalist the next day to London. It was published a few weeks later. A cover pic. The caption “What’s Diana Hiding?”, the image black and white, Diana covering her face with her hands.
My career as a photographer was kick started after I landed in Tokyo in late 1991. This was well before the days of digital photography, I was largely self taught and had become entranced by the darkroom magic. What I lacked in experience I made up for in gusto. With in a year of landing I was fortunate enough to be shooting portraits for major magazines.
It would continue for the next five years, until I left Japan to start a family in the West. All these years later I look back on this period as being seminal to my career. There was something special about it all, my innocence, the simplicity and honesty of the engagement with the magazine editors and subjects. I didn’t know how good I had it.
Though I would continue to shoot portraits of leading figures in business, politics and the arts in the following decades, these portraits shot during my Tokyo years stand out for me as being the most distinctive. The subjects, visiting Japan to promote their movie or album, were mostly happy to connect with a native English speaker and that resulted in a trust and empathy between the two of us. For the most part we were outsiders in a foreign culture, and as such free from its many strictures. While restricted in shooting time and location, often the only other limit I faced was if the magazine wanted black & white or colour film. It was unpretentious and uncomplicated.
The other part of the alchemy was the use of analogue film ... which involved an awareness of how many frames you had left on the roll, which made you very much in the moment. It also meant having to load and reload the camera, taking time out to chat while doing so. There wasn't the seemingly limitless shooting as has become the norm in the new digital age.
With portraits, you’re in the subjects life for a matter of minutes. It’s your job to connect with them, to built an empathy so as to capture a truth by peeling away at least a few layers of onion skin from the facade. As a gig I cherished it, it had nothing to do with the persons fame or notoriety, this was my great passion.
My career as a photographer was kick started after I landed in Tokyo in late 1991. This was well before the days of digital photography, I was largely self taught and had become entranced by the darkroom magic. What I lacked in experience I made up for in gusto. With in a year of landing I was fortunate enough to be shooting portraits for major magazines.
It would continue for the next five years, until I left Japan to start a family in the West. All these years later I look back on this period as being seminal to my career. There was something special about it all, my innocence, the simplicity and honesty of the engagement with the magazine editors and subjects. I didn’t know how good I had it.
Though I would continue to shoot portraits of leading figures in business, politics and the arts in the following decades, these portraits shot during my Tokyo years stand out for me as being the most distinctive. The subjects, visiting Japan to promote their movie or album, were mostly happy to connect with a native English speaker and that resulted in a trust and empathy between the two of us. For the most part we were outsiders in a foreign culture, and as such free from its many strictures. While restricted in shooting time and location, often the only other limit I faced was if the magazine wanted black & white or colour film. It was unpretentious and uncomplicated.
The other part of the alchemy was the use of analogue film ... which involved an awareness of how many frames you had left on the roll, which made you very much in the moment. It also meant having to load and reload the camera, taking time out to chat while doing so. There wasn't the seemingly limitless shooting as has become the norm in the new digital age.
With portraits, you’re in the subjects life for a matter of minutes. It’s your job to connect with them, to built an empathy so as to capture a truth by peeling away at least a few layers of onion skin from the facade. As a gig I cherished it, it had nothing to do with the persons fame or notoriety, this was my great passion.
March 1994
Otto was promoting Wim Wenders follow up to Wings of Desire … Faraway, So Close! And he had top billing. He and his wife had a suite in the plush Okura Hotel, one of Tokyo's finest. The interview and shoot were conducted there, in the living room. I was trying out a new lighting set up and thought it would work well with Otto, extenuating the character of his face.
He didn't do much in the way of international movies following Faraway, So Close!, and so had limited exposure in English speaking regions of the West. His star still shone brightly in Europe though, acting in mostly German TV and movie productions.
His very recognisable face and gentle demeanour always take me back to his angel Cassiel in Wings of Desire. Quietly spoken he was a real gentleman and no fuss.
June 1994
I started shooting for Rockin’On magazine in 1994. Possible the best Japanese contemporary music publication, it covered both Japanese and international music trends. They were doing a story on Guns ’N Roses rhythm guitarist Gilby Clarke, who was in Japan to promote his debut solo LP Pawnshop Guitars. The shoot was scheduled for Sony head office in Tokyo in the early afternoon.
Knowing GNR had a reputation for excess I expected the worst, thinking Gilby to be either recovering from the night before or starting early on tonight's partying. I couldn’t have been more wrong. He was alert, courteous and showed no signs of having partied too hard.
Having played in a bunch of LA bands in the 80s, he joined GNR in 1991 following Izzy Stradlin’s sudden departure. Slash had credited him with saving GNR when he first joined. Gilby had had a three year tenure as rhythm guitarist with GNR, and his solo album featured contributions from all members of the band at the time.
I started the shoot in the spacious ground floor lobby before trying for some environmental shots outside where there was some roadwork going on. He’d been cool so far but I could tell his patience was being tested when I started shooting on the road. It was enough, I had my shots, we called it quits. Back inside I heard his manager ask him how the shoot went “Yeah great, he was an English guy”. Ha, no offence taken Gilby at being mistaken as English.
By the end of the year Gilby found himself on the wrong side of Axl’s wrath and he was out. He played on Slash's Snakepit album the following year and reunited with Guns N' Roses members during the live performance at the band's Rock and Roll Hall of Fame in 2012.
July 1993
The Swedish-American actor made his name as the taciturn bad guy in Fargo … hard to forget the scene of him feeding the body of accomplice Steve Buscemi into a wood chipper.
Peter was in Tokyo directing a production of Shakespeare's Midsummer Night's Dream at Tokyo's Globe Theatre and promoting Damage, one of his first international movies where he starred alongside Juliette Binoche. I photographed him in the offices of the theatre company in Shin Okubo. He mentioned that he lived in New York and had been to Tokyo a few times on invitations to director theatre, and liked it here. Thankfully he was nothing like his character in Fargo. A down-to-earth charmer.
Apart from 1996s Fargo, he'd go on to memorable cameos in 1997s The Lost World: Jurassic Park (where he was eaten by a pack of annoying little dinosaurs), The Big Lebowski in 1998, and both Constantine and The Brothers Grimm in 2005. His theatre work notwithstanding, it seems he's never out of work with nearly 200 film and TV credits and counting.
January 1995
I’d been commissioned to shoot a portrait of a young American singer who was getting a lot of buzz. I’d only heard one of his songs, which hadn’t set me on fire, but was excited by the prospect nevertheless.
It very nearly didn't happen. Traveling in Tokyo usually meant juggling a bunch of train connections to get anywhere. Receiving a fax (remember those?) of the location where I was to shoot, a radio station, rather than take two train lines plus long walks lugging my gear between, I decided it would be easier if I rode my bike to a station just 10 minutes away from my apartment, and from where it was only a couple stops to my destination. That bike ride meant I had to carry my two camera bags, one over each shoulder, and negotiate the busy high street, uphill most of the way. Once across the main east-west thoroughfare with overhead freeway, the reward was a steep downhill to the train station. Easy.
A little out of breath, I arrived at the train station only to realise I had left my wallet at home. Damn! No ticket, no ride. What to do. I had no choice. Looking at my watch I figured with a bit of luck I had just enough time to head back and pickup my wallet, but that involved the unenviable steep uphill climb with those two heavy bags, zigzagging down the pedestrian high street, and repeating the route back to the train station. But that’s what I did.
Red faced and exhausted I got to the studio just in time. Literally seconds after my arrival Jeff, jumping like a bean with adrenaline, and his backing band, stepped out of a live studio set on radio. I joined Jeff, the band and the journalist in the large wood panelled basement room. I set up lighting and taping my red cotton sheet as backdrop onto the far wall before sitting in on the interview. Half an hour later I had my opportunity to talk and shoot.
I’d been briefed to not mention Tim, his late folk-rock singer father who’d passed away from an overdose in 1975. Why wasn't made clear to me ... I didn’t know if Jeff held animosities toward his dad, or simply that he didn’t want comparisons, his music would stand alone.
Meeting Jeff, talking, I was taken aback by his shyness. Humble, softly spoken. And his band the same. Given a comp ticket to his show a few days later, not knowing what to expect, the visceral concert culminated in his rendition of Hallelujah … his soul laid naked on stage, and with it the audience transcended into another realm. I was a convert.
Great to see his album Grace climb higher up the Rolling Stone listing of the top 500 albums of all time in 2020.
January 1995
The Auteurs 1993 debut New Wave was said to have been one of the early sparks of the Brit Pop, though the band were always on the fringe of that movement, and had only moderate commercial success, something that in no way reflected on their music and talent.
It was a shoot for local Japanese rock magazine Rockin’On. It was winter, Luke, the singer and songwriter, walked in wearing a heavy coat and using a walking stick. He moved gingerly, a man aware of limitations. I asked him what had happened, he replied casually that he’d broken his ankle some months ago after jumping down from a wall while drunk. He was in good spirits nonetheless and happy to be in conversation.
The band was on the radar of the alternative music press, and their second album Now I’m a Cowboy had established them as a band to watch.
We were waiting for bassist Alice Readman, Luke’s girlfriend at the time, who’d been waylaid. I started by photographing Luke, chatting about life in Tokyo, and later when Alice arrived got some two-shots. The band were doing some shows in Tokyo, I didn’t get to go, though happy to have had the chance to meet Luke and Alice.
August 1994
The Japanese star had had a long and illustrious career , dating back to the 60s. His star had risen in the 80s with a string of successful movies that had reached international audiences including Kagemusha, The Funeral and Tampopo … in the process working with seminal directors such as Kurasawa and Itami.
I travelled with the journalist down to Yamazaki-san's house in the exclusive Kamakura district south of Yokohama. He had a beautiful modern home, a sleek design featuring off-form concrete. We sat outside for the interview, shaded from the sun in his spacious garden and had Japanese tea. Following the interview I shot his portrait, outside in the garden. He was very gracious and courteous and a chain smoker. Most of the photos I took had him smoking.
January 1995
Cassandra had recently come to note as a classy Jazz chanteuse. Her 1993 release, Blue Light 'til Dawn brought her to a wider audience with acoustic, country blues tinged arrangements. In Japan she was touring with her follow up album New Moon Daughter, which would top the Jazz charts and for which she’d win a Grammy as Best Jazz Vocal Performance.
At the start of the interview she mentioned she was getting low in energy, hungry, having been doing interviews since early morning without a break, and no food. I offered to go get her a chocolate bar, and my assistant Yuki went to a nearby convenience store and picked her up a Snickers or Mars bar (can’t recall). Saved the day! While photographing she said her boyfriend was a photographer and had shot the album cover. I sensed a sincere, good soul.
April 1994
You may not recognise the name, but if you’ve listened to Pink Floyd’s The Dark Side of the Moon, Rolling Stone’s Sympathy for the Devil or Carly Simon’s You’re So Vain you would have heard her distinctive vocals as backing singer. Known as 'Mama Soul', she also had a commanding presence, as I found out when I photographed her in her hotel suite. She was friendly but I picked up on the no messing with me vibe. And no doubt she'd earned it.
Together with her sister she’d written the stage musical Mama, I Want To Sing which had a long run in Harlem and later in London. It was due to have a short run in Tokyo, and this was the reason for Doris’ visit.
Early in her career she'd co-written and sung the top 10 1963 hit Just One Look, which would also be a hit for The Hollies ... no easy feat back then for a woman let alone one of colour.
Further chart success evaded her, and in 1969 she relocated to London where one of her earliest gigs was arranging and singing on the gospel-tinged chorus of the Rolling Stones You Can’t Always Get What You Want. Other session work followed, leading to her working alongside the likes of Eric Clapton, Ginger Baker, Keith Richards and George Harrison. George had Doris signed to Apple and produced her self titled album. Sadly, little or no marketing was extended to her release and it sank without denting the charts.
She stayed in London, and continued with backing vocals and arranging, clocking up credits with Nick Drake, Dusty Springfield and the aforementioned Carly Simon and Pink Floyd. She returned to the States in 1974 where she hit the casino and nightclub circuit until the successful staging of Mama, I Want To Sing in the mid 80s.
March 1994
I hadn’t heard of Sara before this shoot. I’d been briefed that she was director of When Pigs Fly, a film starring Alfred Molina and Marianne Faithful that was opening in Tokyo, and that she was also the long time partner of New York auteur Jim Jarmusch. In person she was easy, relaxed and fun. I was taken by her watch, which was a rather large man’s watch. She said she’d been in Moscow recently and had bought it from a street market.
When the shoot was over I mentioned to my friend Andrew, who was assisting me for the day, that she was really down-to-earth - talking about her day to day life, going out to lunch, to parties. He replied, yes, just that all the people she hangs out with are famous.
As co-writer and producer of Stranger Than Paradise and with Broken Flowers having been inspired by her idea it’s fair to say Sara has been a good part of Jim’s success over the years.
June 1994
There would have been no Sex Pistols without manager and impresario Malcolm McLaren, and the world would have been a much duller place for it. He may not have started the Punk movement but definitely pushed it into the headlines with his fashion and marketing savvy.
And he was the nicest guy … in town to promote his latest album Paris, I was expecting an attitude but jet-lagged and dapper Malcolm was gracious, interested and uncomplaining. The way it would roll for these out-of-towners in Tokyo to promote their music or film was pretty grueling. They would usually be in country for less than a week, and each day was scheduled with back to back magazine, newspaper, radio and TV interviews. It would be nothing to have 10 or more in a single day. I was fortunate with Malcolm, I had him on his first day, I think his first interview off the plane. He hadn't had a chance to become jaded.
April 1993
One of my nicest experiences in portraiture. Cult English filmmaker Alex Cox gained early career kudos in the 80s for features Repo Man and Sid and Nancy. A refreshing personality Alex was ebullient, engaged and at ease. We shot in an Shibuya cinema foyer, I was introduced along with FIGARO editor Asako Akai. She explained to Alex her family name meant red in Japanese, and handed him a new issue of the magazine which also happened to have a red cover. He replied with faux shock “Is this some kind of communist plot?!” The ice broken instantly, we all laughed.
Alex has a very rubbery face, which I counterbalanced by using dramatic lighting which also cast into relief the off-form concrete backdrop to nice effect. He was in Japan to promote a film he’d directed, Highway Patrolman, shot a couple years earlier on a shoestring in Mexico. Tokyo was good for international indie movies, there were a few great cinemas that championed indie movies and had loyal followers, me being one.
At the time he was living outside Madrid with his Spanish wife, and introducing a weekly film show on British TV. Never working with big budgets, he explained his approach to filmmaking as adapting to whatever the location presented, and never waiting for certain weather - just shoot it. I liked the sound of that.
Before a Q&A for his film a few days later I presented him with a print from our portrait shoot. Not sure if he liked it, but he was very gracious.
March 1996
Mick was to be the last celeb portrait I shot in Tokyo. I was gone a few months later to resettle in Australia. Simply Red were touring Japan, and FIGARO were doing a profile on Hucknall. In person he had a very ruddy complexion, good thing I was shooting B&W.
As a way of relaxing the subject, breaking down the veneer, I like to casually engage them in conversation while I'm shooting. May be I just got him on an off day, but I could tell his cordial replies were paper thin. The tour was heading off to Australia after Japan, so I tried to steer talk to that subject. Soon enough he off handedly spat out “Australia, Australia, stop asking me questions!” I was on borrowed time, conversation wasn’t going to work. I’d been told he had a diamond imbedded in one of his incisors, so to finish off I asked if I could get a few closer frames with his smile. He begrudgingly obliged, then I called it quits.
March 1994
I hadn’t heard of Sara before this shoot. I’d been briefed that she was director of When Pigs Fly, a film starring Alfred Molina and Marianne Faithful that was opening in Tokyo, and that she was also the long time partner of New York auteur Jim Jarmusch. In person she was easy, relaxed and fun. I was taken by her watch, which was a rather large man’s watch. She said she’d been in Moscow recently and had bought it from a street market.
When the shoot was over I mentioned to my friend Andrew, who was assisting me for the day, that she was really down-to-earth - talking about her day to day life, going out to lunch, to parties. He replied, yes, just that all the people she hangs out with are famous.
As co-writer and producer of Stranger Than Paradise and with Broken Flowers having been inspired by her idea it’s fair to say Sara has been a good part of Jim’s success over the years.
I'm happy to be able to offer for the first time editioned prints of a selection of my portrait work from '90s Tokyo.
These Giclee fine art prints are printed on archival museum grade Canson cotton rag 310gsm ultra smooth paper from France. All prints include a 5cm border.
All prints come with a unique embossing on the bottom right corner (with in border) and are individually numbered on reverse side with the photographer’s signature.
Additionally, your print will come with a letter verifying the print edition and includes Philip’s story behind the image.
PRINT SIZES
Small (edition of 50)
Price: 550 AUD \t
Square (Hasselblad) images
Canvas 65 x 65cm / actual image ~ 55 x 55cm \t
Rectangular images\t\t\t
Canvas 53 x 80cm / actual image longest side ~ 70cm\t
Large (edition of 50)
Price: 1100 AUD
Square (Hasselblad) images
Canvas size 90 x 90cm / actual print size ~ 80 x 80cm\t(images not exact sq as incl rough black edge)
Rectangular images
Canvas size 77 x 110cm / actual print size ~ 67 x 100cm
\t
Custom (open editions)
We’re happy to receive requests for custom sized prints. Want a larger size? No problem, email us at philipgostelow@gmail.com
PURCHASING INSTRUCTIONS
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Within 48 hours you’ll receive an email confirmation of your order providing details for payment (international payments accepted via direct bank transfer). Once payment is received, we will send a confirmation email with print preview & estimated shipping dates.
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Prints are shipped free within Australia and internationally. Rolled prints are packaged in protective tubes with padding. All orders are shipped within 10 working days.
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My career as a photographer was kickstarted after I landed in Tokyo in late 1991. This was well before the days of digital photography. I was largely self taught and had become entranced by the magic of the darkroom. What I lacked in experience I made up for in gusto. With in a year of landing I was fortunate enough to be shooting portraits for major magazines.
It would continue for the next five years, until I left Japan to start a family in the West. All these years later I look back on this period as being seminal to my career. There was something special about it - my innocence and the simplicity and honesty of the engagement with the magazine editors and subjects. I didn’t know how good I had it!
Though I would continue to shoot portraits of leading figures in business, politics and the arts in the following decades, these portraits shot during my Tokyo years stand out for me as being the most distinctive. The subjects, visiting Japan to promote their movie or album, were mostly happy to connect with a native English speaker and that resulted in a trust and empathy between the two of us. For the most part we were outsiders in a foreign culture, and as such free from its many strictures. It was unpretentious and uncomplicated.
The other part of the alchemy was the use of analogue film ... having to load and reload the camera allowed me to take time out to chat with the subject while doing so. Though time was always limited, there wasn't the seemingly limitless shooting as conducted with the new digital cameras - using film it seemed you were infinitely more astute at capturing the exact moment as opposed to covering yourself by overshooting with a digital camera.
With portraits, you’re in the subjects life for a matter of minutes. It’s your job to connect with them, to built an empathy so as to capture a truth by peeling away at least a few layers of onion skin from the facade. As a gig I cherished it, it had nothing to do with the persons fame or notoriety, this was my great passion.
Here's a selection of those portraits shot in Tokyo ...
TOKYO 1991-1996
My career as a photographer was kick started after I landed in Tokyo in late 1991. This was well before the days of digital photography, I was largely self taught and had become entranced by the magic of the darkroom. What I lacked in experience I made up for in gusto. With in a year of landing I was fortunate enough to be shooting portraits for major magazines.
It would continue for the next five years, until I left Japan to start a family in the West. All these years later I look back on this period as being seminal. There was an innocence and simplicity, an honesty of the engagement with the magazine editors and subjects. I didn’t know how good I had it.
Though I would continue to shoot portraits of figures in business, politics and the arts in the following decades, these portraits shot during my Tokyo years stand out for me as being the most distinctive. The subjects, visiting Japan to promote their movie or album, were mostly happy to connect with a native English speaker and that resulted in a trust and empathy between the two of us. For the most part, the subjects and I bonded as outsiders in a foreign culture, and as such free from its many strictures.
The other part of the alchemy was the use of analogue film ... as a photographer I was always aware of the number of frames I had left on the roll, which helped keep you in the moment, and I could take time out to chat with the subject while having to reload film. Though time was always limited, there wasn't the seemingly limitless shooting as is the case with the new digital cameras.
Shooting a portrait you’re in the subject's life for a matter of minutes. The job at hand is to connect with the subject, to built an empathy, capture a truth by peeling away at least a few layers of onion skin from the facade. As a gig I cherished it, it had nothing to do with the persons fame or notoriety, this was my great passion.
Here follows a selection of those portraits shot during my Tokyo years ...
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Short documentary on gender diverse sami electric blue bird, who creates electronic music from plants, the process of which mirrors their own transition.
Teaser ...
DIGITALIS
<p>https://vimeo.com/manage/videos/691713195</p><p><br></p>
DIGITALIS
https://vimeo.com/manage/videos/691713195
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Image gallery continues ...
THE FREDDIE INCIDENT
Photographer Max Pam recounts an experience from his seminal years traveling Asia in the early 1970s, the impact of which is life changing.
Adapted from Pam’s soon to be released memoir ‘Contingency of Eye Contact’ published by Editions Bessard (August 2023).
AWARDS:
HeadOn 2025: Portrait finalist
Taylor Wessing Photo Portrait Prize 2025, NPG: 2nd round finalist
HeadOn 2024: Portrait semi-finalist
HeadOn 2021: Landscape semi-finalist
Bowness Photography Prize 2020: Finalist
Clip Awards 2020: Finalist
Australian Photography Awards 2020: Shortlisted (Documentary)
WA Media Awards Feature: Photo Essay nominee 2016
WA Media Awards Feature: Photo Essay nominee 2015
Leica / CCP Documentary Photo Award: Finalist 2005
Iris Award for Portraiture: Winner 2004
Leica / CCP Documentary Photo Award: Finalist 2003
Gold Coast Ulrick Schubert Photo Art Award: Finalist 2003
MARUBI Albania Int’l Contest of Photography: Jury Prize 2002
Australian Commercial & Magazine Photographers Collection #8 2001
Australian Commercial & Magazine Photographers Collection #7 2000
Australian Commercial & Magazine Photographers Collection #5 1998
EXHIBITIONS/FESTIVALS:
Indian Photo Festival Indian Portrait Studio Photographers (Hyderabad, 2024)
Bathurst Foto Biennale Mass Isolation Australia exhibition (2021)
Anzenberger Gallery Visible, Now (Vienna, 2006)
Reportage Photojournalism Festival (Sydney/Melb/Brisbane 2006) Visible, Now
Reportage Photojournalism Festival (Sydney/Melb/Brisbane 2005) New Shanghai
Leica/CCP Documentary Photography Award (National tour, 2005-06)
Foto Freo Indian Portrait Studio Photographers (Fremantle, 2004)
Reportage Photojournalism Festival (Sydney/Melb/Brisbane 2004) Indian Portrait Studio Photographers
Reportage Photojournalism Festival (Sydney/Melb/Brisbane 2003) Black Christmas Bush Fires
Stills Gallery Travel Journals 1999-2000 (Sydney, 2002)
Leica/CCP Documentary Photography Award (National tour, 2003-04)
Reportage Photojournalism Festival (Sydney/Melb/Brisbane 2000) Shadipur Kathputli Colony
Noorderlicht Photo Festival (Groningen, Holland, 1999) Wonderland exhibition, photo collages
Australian Commercial & Magazine Photographers (Sydney/Melb) Collection #8 1998
Australian Commercial & Magazine Photographers (Sydney/Melb) Collection #7 1998
Australian Commercial & Magazine Photographers (Sydney/Melb) Collection #5 1998
Space Edge Prague & Portraits (Tokyo, 1994)
MONOGRAPHS:
Visible, Now e-book, Democratic Books (Germany) 2006
BIBLIOGRAPHY contributions (select):
Viewfinder: Photography from the 70s to Now National Library of Australia (Matthew Jones) (2023)
Mass Isolation Australia Exhibition Bathurst Foto Biennale (2021)
In A New Light: Australian Photography 1930s-2000 National Library of Australia (2004)
Intersection: Photography, History & the NLA National Library of Australia (Helen Ennis) (2004)
At Home In Australia National Gallery of Australia (Peter Conrad) (2003)
COLLECTIONS:
National Gallery of Australia
National Library of Australia
Museum of Australian Photography (MAPh, Melbourne, Australia)
Museum of Art & Photography (Bangalore, India)
State Library NSW
State Library WA
+ private collections
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Selected for the Australian Directors Guild’s Directors Immersive, CinefestOZ 2019
Max Pam: The Freddie Incident (13 min short doc; Australia) 2023
Director/writer/co-producer; Finalist 2023 WA Screen Culture Awards.
Premiered at Revelation Perth International FF 2024; featured at St Kilda Film Festival 2025 & Sydney Undergound FIlm Festival 2025.
Photographer Max Pam recounts a life-changing experience from his seminal years traveling Asia in the early 1970s.
Down the Wrong Path (9 min short film; Australia) 2018
Director/co-producer, premiered at Revelation Perth Int'l FF 2018
A former ice addict, struggling with his past, takes a weekend away.
Doris (7 min short film; Australia)
Writer/director/producer premiered at CinefestOZ FF 2018
A father grapples with his duty of making sure his heir knows about the birds and the bees.
Lunch (2 min doco; China) 2016
Premiered at Chicago BlowUp Arthouse FF 2022
On a winter's day in the village of Zhou He, Inner Mongolia.
Going Back (6 min doco film; Italy) 2014
Director/camera/editor
After a decade away, Vanessa returns to Italy and reflects on her life.
Before Kuta (2 min doc film; Indonesia) 2014
Director/camera/editor
Young siblings on vacation, before the grating reality of heading to Kuta.
Pop (10 min short film; Shanghai, China) 2013
Director, Co-producer & co-writer with Kirk Kjeldsen
In Shanghai an estranged Western couple reunite after Daniel writes a letter telling of his terminal illness.
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Education: Oral History certificate course with Dr Elaine Rabbitt / 2023
In keeping with my practice of storytelling across several media, I also work as an oral historian, working with the National Library of Australia
and the State Library of Western Australia.
2026 Perth's Bhutanese community
2024-2025 Australian Responses to COVID-19 Oral History Project;
National Library Australia, +20 oral history recordings.
2024 Kathy Barrett-Lennard OAM recording; National Library of Australia
2023 Bohdan Warchomij, Ukrainian-Australian photographer;
Ian Molyneux, architect and historian
oral history recordings; State Library of Western Australia.
2023-24 EDITORIAL PORTRAIT WORKSHOPS, Fremantle Arts Centre
PRIVATE PORTRAIT WORKSHOPS, Huzzard Studios
2004 August – Nov LECTURER / TUTOR (Edith Cowan University, WA)
Dept. of Communications, Design & Media
Lecturer and tutor in Photojournalism
1998 March - 2003 Nov LECTURER / TUTOR (University Western Sydney, NSW)
Dept. of Communications, Design & Media
Lecturer and tutor in Photojournalism, Photography in Design
page 4/5 continue > ...
In Delhi, a city of slums, Shadipur Depot was one of the filthiest slums of all. But visitors who braved its narrow, verminous streets would find an incredible world inhabited by conjurers, puppeteers, bear-trainers, snake-charmers and fire-breathers. Hidden away at its heart was the most extraordinary village in India. The 500 or so families who live here were some of the country's foremost traditional folk artists. \n\nHaving moved here from around the country in the hope of finding better opportunities in the city, Shadipur’s artists came from an itinerate, wandering heredity and many of their folk traditions and magic were inextricably bound to Hindu mysticism. \n\nThough once popular distractions at weddings, private functions and religious festivals in later years the far-reaching effects of cable television - available to even the poorest households - coupled with the mass appeal of movies and videos, had pushed these traditional artists to the fringe of modern Indian society.\n\nContinuing crafts that had been passed on from father to son, mother to daughter for generations, Shadipur's street-performers had limited opportunities - disco music, videos and computer games holding sway over traditional entertainment values. Buoyed by a strong community spirit and pride, the people of Shadipur struggle to continue their hereditary crafts as India moves into the 21st century.\n\nI first photographed in Shadipur in 1998, and returned to complete the feature for the UK's The Independent Sunday Review magazine the following year. Over the years, whenever I was in Delhi, I'd drop by and meet with some of the families I'd photographed and share a chai. Sadly, in 2017, after developers stitched up a deal with the local authorities, the slum was bulldozed to make way for condominiums. A small number of the performers who could prove they had been long-term residents received apartments in the new development as compensation. Most didn't, and were forced to relocate and find homes elsewhere.\n
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This small Himalayan democracy, with Buddhist roots dating back centuries, is widely known for its philosophy of Gross National Happiness. Only in recent years has Bhutan begun opening its doors to broader global influences. Tourism remains tightly regulated, and the economy is still largely service- and agriculture-based. Limited employment opportunities and relatively low wages have contributed to a steady outflow of young people, many of whom come to Australia. Through costly student and spousal visas, they are able to study and work, often with the hope of securing permanent residency.
For some, Perth represents a pathway to permanent residency. For others, it is a temporary base: a place to gain education, earn higher wages, and build financial stability before returning home.
Meanwhile, as part of a long-term effort to modernise and diversify the economy - and to attract its youth back - Bhutan’s King, a deeply revered figure, has initiated an ambitious project: Gelephu Mindfulness City, a sustainable urban development on the country’s southern border with India. Still in its early stages, the project is expected to take several decades to complete.
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