Ian van der Wolde - Photographer
Q: How did you first get into photography?
A: My first foray into photography was at Maranatha Christian School. At first it was just mucking around with film frames in the enlarger, but in Year 11 I picked up a camera for the first time. I’d always been one of the best drawers in the class, so I was pushed towards the arts. In photography class I was told to go out and shoot — and for the first time, I felt an overwhelming sense of freedom. That feeling never left me.
Q: Where did that take you?
A: I went back and did English at night school, then discovered I could enrol at Photography Studies College without Year 12. I studied there for four years, graduating in 1984, and basically never looked back. I opened a studio in 1986 and worked across weddings, portraits, school photography, and commercial jobs like the Priceline stores.
Q: But commercial photography was always the goal?
A: Yes. By 1999 I realised I was too far from where I wanted to be. I dropped everything else and concentrated on commercial work. Around that time I bought my first digital camera, and that rekindled my passion for shooting for myself. In 2002 I entered the APPA awards and won a silver. That was it — I was hooked again.
Q: What do you enjoy shooting for yourself?
A: Long-exposure black and white has become something I’m known for, but I also love street, landscape, and urban photography. My influences range from Bresson and Willy Ronis to contemporary heroes like Michael Kenna. I see photography less as a job and more as a lifestyle. Even now, at 62, I’m still shooting commercially but planning to devote more time to my personal work.
Q: How did you get involved with the AIPP?
A: Photography is a solitary career, and I was feeling disconnected. I joined the AIPP, started attending meetings, and was invited to join State Council. From there I became State President, then moved onto the National Board, eventually becoming National President. I also served on the Honours and Compliance Committees. I especially loved the Honours work, recognising people who used photography to contribute to the community.
Q: What was your reaction when the AIPP collapsed?
A: Mixed. It had definitely become toxic, fuelled by social media, lies, and infighting. But I don’t believe it should have been wound up. The Supreme Court has since said it didn’t need to go into administration — and we now know there was still money in the bank. I think it was mismanaged and members weren’t properly consulted. It was heartbreaking to see it end that way, because for so many of us it really was like a family.
Q: Are you hopeful for the new organisation?
A: Yes, I am. There are good, trustworthy people involved, and they’re already being more transparent with members. But it will only succeed if younger photographers get on board, because the industry has changed. Accreditation is important, as is genuine advocacy. That’s why I’m also a member of the Image Makers Association — they stand for professional photographers and fight the battles many don’t even realise are happening, like copyright and orphan works.
Q: Do you think photographers need that kind of advocacy?
A: Absolutely. Too often people see photography as just pushing a button, without understanding the years of training and the value of the work. We’re worse off without a strong body like the AIPP to unite us. I’ve often thought it would be worth having a community just for photographers — no politics, no hierarchy, just coming together to share, learn, and support each other.