To examine Ross Honeysett’s photographic oeuvre, reveals a perpetual work in progress, one that never interrupts the flow of ideas. Honeysett's career as a tastemaker began abroad-firstly in London, shooting for the glossies Honey, Vogue and Tatler, then Paris, where he contributed to editorial driven fashion periodicals Glamour and Elle. This period also produced the “Ombres Chinoises” series of personal work. Returning to Australia, a long working relationship with Vogue magazine crafted numerous feature editorials. Honeysett's love and comprehension of both mainstream and alternative interpretations of fashion inspired a period shooting stories for Follow Me, then Oyster magazine-collaborating with stylist Mark Vassallo. Commercially, designer Richard Allan encouraged Honeysett to push the photographic language of advertising-simultaneously acknowledging Honeysett's understanding of and passion for fusing hybrid shooting styles into a singular image. This collaboration birthed the visual strategy for the first Mooks streetware campaign. This seminal image campaign creatively combined reportage, street photography and minimal surroundings. It marked the first time this photographic style had been applied to advertising. The work achieved instant cult status. Evolving his photorealism style garnered the Folio Award for Best Photography in a campaign for Roche (Feeder), before producing memorable campaigns for eLoan (Glue Society) and Levis (Arnold / Ben Frid). Honeysett has the unique ability to create images that engage an audience, that draw you in... “then you notice it.... it’s what’s missing from the photograph that matters” Jonathan Kneebone, The Glue Society A recently completed campaign for Marc Newson’s GStar collection has seen Honeysett collaborate once again with designer Richard Allan. Campaigns for NSW Tourism, Chivas Premium, LG, as well as lensing the inaugural Grazia Magazine editorial stories are evidence that Honeysett maintains balanced judgment when visualising the fast evolving and trend conscious worlds of art, fashion and commerce-where he continues to stamp the photographic environment with his singular style. Honeysett's pedigree as an architectural photographer is peerless. His interpretation of architecture uniquely rendered under the Australian sun manifested in crafting a visual language for functionalist architects Engelen Moore-and has since become the standard for how we view the built environment. A panoramic archive of Engelen Moore’s work and a Government commission-producing a suite of photographs to celebrate the 25th anniversary of the Opera House, are testament to the way Honeysett is perceived-by even the most demanding clients, as the solution to render enduring imagery of acclaimed public and private buildings. Ongoing personal projects give space to Honeysett's exploration of style and approach to varied subject matter. Currently, “Project X” interprets urban life, while “Project Y” searches for a photographic way of visualizing a painters use of sunlight. Honeysett has recently had work commissioned & acquired by the National Portrait Gallery, published in the UK by Ivory Press & has been announced the winner of the Sydney Life prize for photography. Honeysett's commitment to innovation and desire to continually develop his visual style is evidenced in his 'moving stills' portfolio. This growing body of work explores the emotional potential of merging composed stills with motion, creating a sophisticated hybrid image that has its own unique expression.
Entry description: advertising images