Q&A with Charlie Kinross

We recently had the privilege of speaking with Charlie Kinross, a talented photographer whose work spans a wide range of genres, including architecture, portraits, advertising, and drone imagery. Drawing inspiration from cinema and personal experiences, he brings a distinctive perspective to every subject he captures.

In this Q&A, we dive into his creative process, how he balances commercial and personal work, and the stories behind his captivating landscape and nostalgia driven projects.

Q. Your photography spans diverse genres, including advertising, architecture, portraits, editorial, theatre, and drone imagery. How do you approach maintaining a cohesive artistic vision across such varied subjects?

CK I had to think about this. I guess the consistent element I look for when taking a picture is atmosphere. I draw a lot of inspiration from movies and am usually thinking of a photo as a movie still. I’ve never been one to consciously aim for a distinctive style. If I did, I’d start second-guessing myself and overthinking every shot. My approach is more to look for what inspires me in the moment-and in the edit-and hope it will become, by default, my 'vision'.

Pictured: 'WINTER: Dive, NZ, South Island'

Q. In your 'Winter' exhibition, you captured serene yet desolate New Zealand landscapes. What drew you to these environments, and how did you convey their tranquility and isolation through your lens?

CK At the time I lived in a small apartment in Collingwood with our 1 year old so the vastness and expansiveness of those landscapes really appealed to me. Isolation seemed to be a theme for me at the time. I had just done a series in Nevada called “Ghost towns, Motels and Drive Ins”. In those pictures I was quite adamant about there being no sign of life in the photos, a post apocalyptic feel for me made it more interesting. So I guess that carried on to the landscapes. These days I’m the opposite, I like people in my landscapes.

Pictured: 'WINTER: NZ, South Island'

Q. Your work has been featured in publications like The Guardian, Artist Profile, Qantas Magazine and Frankie Magazine. How do you adapt your photographic style to align with the distinct voices of these platforms?

CK A lot is dictated by who or what the subject is, and the location we’re shooting in which usually comes from the art direction of the publication. And the rest can be as simple as a smile instead of a straight face. Or maybe the lighting, brighter and crisper or more dark and moody depending on the tone. I’m more likely to use flash for corporate and natural light for creative publications.

Q. Balancing commercial photography with personal style, how do you meet client expectations whilst ensuring you maintain artistic expression?

CK With advertising jobs I’ve learned to let go of personal style. You get hired based on some nice natural light shoot you did at dusk because they love that look and feel, but then they plan the shoot outside in  the middle of summer at 2pm which is a completely different vibe. Obviously my creative approach is still part of it but I’ve learned to accept that those jobs are much bigger than me, I’m the camera person capturing their vision and I’m totally okay with that. I enjoy it just as much and love working on set with a big crew. And that only comes with the big commercial jobs.

Pictured: 'Yellow Chair, Bell Street Mall' 

Q. Your 'Charlie's Print Store' offers fine art framed photography. What inspired you to create this platform, and how does making your work accessible in this way impact your relationship with your audience?

CK Quite honestly it was Format that inspired me to set it up. I used to sell the odd framed print but it took up a lot of time having to organise the print, go pick it up, take it to the framer, wait three weeks, pick it up, take it to the person. It’s a lot of time and effort and you can’t really charge too much. But when Format offered this simple easy process for an end product as good as what I was already getting, including delivery, it made it more economical to do. That was before Covid which was great because sales were good during Covid with everyone stuck at home bored and shopping. It still gives me a thrill when anyone buys a print, that a photo I took will be up on their wall and part of their home. 

Q. Your recent series 'Past Lives' captures the charm of old houses and shops in small-town Victoria. What motivated this project, and what stories are you aiming to tell through these images?

CK I’ve always been attracted to old shops and houses. I guess it’s just nostalgia for my childhood. I especially love anything that seems untouched by time apart from wear and tear which adds character.  While working for a farming industry magazine a while back I was often driving 3 or 4 hours out of Melbourne and discovered that once you get past about the 2 hour mark you really start to find the gems. The Melbourne weekenders don’t often go that far so there has been little reason to gentrify in those towns. I’d go and have dinner at the local pub and then wander the town with my camera at dusk. After a few years I realised I had a series and I was fortunate enough to get it published in The Guardian. It was a career highlight for me as I haven’t exhibited much and it’s rare for my personal work to see the light of day.

Pictured: 'Nevada, US'

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Learn more about Charlie Kinross and his photography here: CharlieKinrossphotography.com and follow him on Instagram to stay up-to date with his life and adventures.