Interview: Jett Street, Top End photographer

Coming from a creative family, and being surrounded by artists most of her life, Jett Street was destined to follow a creative path. Her career in the arts and community industry has meant she has worked with designers, models and musicians in a range of guises.

These days the Darwin-based photographer takes images of her clients through her wedding and family photography work, and shares everyday adventures through her Instagram page Little Karama Gangsters.

Living in a generous artistic town like Darwin has meant Jett has regular contact and collaboration with like-minded creatives. As she puts it, "In Darwin, you don't have to reach out to anyone - you have to try not to bump into them when you are ducking into the shop to buy milk."

You started exploring photography a few years ago - what drew you to it?

After my first daughter was born, I wanted better quality photos than I could get on my iPhone. So I piled all my birthday money together - along with a generous top up from my husband - and bought an Olympus mirrorless camera.

I didn't realise what I was getting myself into. I have categorically lost more sleep to photography than having two children.

In my early years, I played the clarinet, saxophone and drums. After uni I completed a degree in animation and in fine form. While at uni I procrastinated with jewellery making and silversmithing, along with some bad acrylic paintings which are sadly still hanging in our house.

I come from a really creative family. I was always the straighty-180 growing up, but I couldn't fight my genetic lineage forever. My mum had three kids, drove a white BMW and was a photographer. I am basically tracing her footsteps. 

What do you love about taking photos?

My focus is to try to capture all the detail and magic to trigger and preserve those memories and in doing so document the story of our life or those parts of other people’s lives that I’m invited into.

Photography has enriched my life in so many ways: through the interest and observation in our story, of people, light and environment, and to experience and capture new adventures. It is a passion I can pursue whilst being present with my children, and it adds a layer of intent to my days. The photos of our life are the icing on the cake of a pretty fascinating craft. The more you learn, the more you realise you know nothing.

The word “photography” comes from the Greek words “phos” meaning “light” and “graphe” which means “to write.” Photography is the art of writing or drawing with light. I have spent a lot of time observing and studying light, which is a large influence for my work and also a part of my every day. It’s an enchanting thing to notice and one which I would have otherwise ignored. I love light, and sometimes that is all I care about in a photo. But the other 70% of the time, I am also intrigued with capturing the character and the story.

Can you describe your style of taking photos?

I love to capture the antics and character that define our daily life. I adore well-crafted images of ordinary things like eating cereal, brushing teeth, making cubbies and climbing stairs. I usually make mental notes of things the kids are doing, or how they are doing it, which speak to their character. And when possible, I try to catch this on camera. 

I am starting to notice that it’s the challenges and rewards of photography that have me hook, line and sinker. It’s like gambling, but without the imminent bankruptcy.

For the record, I have burnt the porridge while waiting patiently for a moment to happen in that magical morning light. Many of my images come with their fair share of sacrifice.

How does where you live influence your work?

I grew up in Darwin and Karama was the suburb that the KGB came from (the Karama Ghetto Boys that is). So it endearingly became 'the bad part of town.' I reflect some of that gangster-ness in my stories and images.

Some of my first favourite images were taken in the swamp over the road, which I joked was our local park. Because I spend time in the neighbourhood with my kids, we stumble across some great graffiti, behaviour and characters. Living here has given me a creative license and lens through which to view the general rough and tumble of my two girls.

How do you work with your clients to tell an authentic story through photography?

This is something that I am still working on. Many of my first wedding bookings were from people who "didn't want wedding photos."

I developed an approach which is 90% documentary and 10% posed. You need some classic shots in there too, but this doesn't have to come with a side of cheese. I love weddings because there is so much activity, love and magic.

I also do in-home documentary for families and newborns. I encourage families to leave all their daily rituals until I arrive. This way, they are usually so busy doing, and not faking it, that they relax and I get some amazing moments.

You tell stories of your family through words and images. Why is this creative act important to you and how does it complement your professional photography work?

This is one of my favourite rituals and it’s a barometer for how busy and happy I am. If I can pull together some thoughts at the end of the day to share a story and a favourite photo, it means I have some mental space to do that, and it also reflects a presence I have shared with the kids through time and observation.

I started out doing this to share anecdotes with family and friends.  It has become a really valued network with other "mamarazzi" from around the world, many who have played a role in my development as a photographer. I love to record all the details and parts of life that are so fleeting. It is basically, my diary, and a future gallery and love letter to my kids, to reflect our life and what I loved and noticed about them. They will never know me as a 33 year old mum when they are older, but hopefully when they read all those tangents, they will get a feel for my character as a Mum of young kids and how much I loved and adored our life.

I feel like I need to post regularly to keep some of my family and friends up to date on what the girls are doing. I also pledged to put my favourite posts into a book at the end of each year, but I still have to do 2016 and 2017. So the public accountability is a good thing.

You’ve recently branched out into sharing your knowledge through workshops – how important is creating connections with other creative people in your community, and how do you reach out to other creatives?

The reason I get so many good photos of my own kids is because I am living the same life, in all the nooks and crannies and for the best light of the day in any room or place we visit. If I teach other people to use their camera, observe light and develop a style of storytelling, then they can too. There is no one better positioned to document your days than you. You know the people, their character and the story and you have a unique perspective on it all.

Photography has helped me to focus on the beauty in our everyday life. Sometimes as a mother at home with kids (before I was working part time) being able to see and capture the humour in the chaos and mess was an absolute saviour. Even if you don't have kids, it injects a creative and interesting perspective into your daily ritual or travels. I hope that others can fall in love with it too.

I am fortunate to have been a part of the arts sector I was very young. I was able to hit up local artists to make animations with their images, use musicians work for soundtracks and collaborate with designers, models and other innovators.

In Darwin, you don't have to reach out to anyone, you have to try not to bump into them when you are ducking into the shop quickly for milk.

I have made some amazing friendships with local photographers who provide a reciprocated love of the craft, are collaborative with skills and ideas, and give my husband’s eardrums a break.

Could you share some other creative women who you are being inspired by at the moment?

My mother Linda Joy is an incredible NT landscape artist. If I keep tracing her footsteps, maybe I will become one in 20 more years.

My sister Matilda Algeria is a brilliant fashion designer. My other amazing sister Imogen is killing it in the recruitment and technology industry, while bringing Make-a-Wish dreams to life in her spare time.

In the NT, Yo Bell, Jess Ong and the rest of the team are doing some incredible work with Spun, their storytelling nights. They are bringing all the best characters and stories to life through their events and podcast. Amazing listening.

In the photography world my top five would be:

• Helen Whittle from NSW, for her beautiful portraits.

• Niki Boon from NZ for the most incredible documentary photographs of her life.

• Twyla Jones for her emotional storytelling.

• Meg Loeks from the USA for her incredible style of classic and magic, environmental portraits of her children.

• Elizabeth Wood from the UK for her storytelling, self-portraits, and general feeling.

Kate Shannon is a freelance writer based in Brisbane after many years living in Darwin. She spends much of her time in the garden with her two little girls, and loves writing and learning about creative people, flowers, and plants.

Photography: Jett Street

Interviews with creative women: Kin & Kind

Photo by  Asch Creative

Sydney-siders Miriam Raphael and Josie Jones met through their children’s daycare, and connected over a shared longing to contribute to their community and bring parents together in a meaningful way.

Over a number of play dates, the idea of Kin & Kind was born. Through Kin & Kind, Miriam and Josie run parent-focused workshops and events which upskill, stimulate and connect parents.

Their program is truly inspired, from making bush toys for city kids and creative indoor gardening, to making iPhone movies and decluttering. Plus there’s an onsite crèche where little ones can be entertained while mum or dad are meeting new friends and learning a new skill.

Miriam and Josie share some insights into running their new creative business, balancing family and work, and the importance of spending time with like-minded creative people.
 

Tell us a bit about your backgrounds. What led you to start Kin & Kind?

MIRIAM: I was working as a freelance writer, editor and radio producer. I spent six months last year travelling in the US with my family, and decided that on my return I wanted to do something different, that preferably didn’t involve staring at a computer all day (writing online listicles!). I knew I wanted to be part of a community initiative where I could produce something tangible each week and connect with other parents.

Josie was a daycare mum friend with a background in corporate marketing.  We were both surprised at the dearth of parent-focused activities in the mid-week morning space and about the lack of authentic parenting conversation (that didn’t revolve around feeding your kid solids or decorating a nursery). She was thinking along the same community-focused lines and the idea developed over a couple of playdates back in February.
 

What was it like to start your own creative business?

MIRIAM: It’s an unbelievable experience. So many highs, so many lows. Kind of like having your first child! I can’t believe how much we’ve learned in such a short time. I love that any idea that we have, we can try and make happen and believe me, we have plenty. But then, there are so many ideas and only two of us! Plus we’re responsible for everything from getting bums on seats at every event to making sure there’s enough coffee to go around, which is no small undertaking. Keeping up the energy and motivation especially on a difficult day is also hard – we really lean on each other.

In terms of rewards, there’s nothing better than hearing positive feedback about something you’ve created from scratch. Nothing. When someone tells us they loved the event, met a new friend, or went away with a new skill/perspective on their lives… we literally do a happy dance! 

It’s wonderful being able to tailor the business around our personal lives so we have the flexibility to do kid drop-offs and be there for all the school activities. I do not miss having to ask permission to come in at 9:15 am so I can drop my daughter at school. 

Photo by Studio Something

How do you put together your program and decide what and who to feature?

MIRIAM: There’s so much noise out there in the parenting space, so we want to stand out with interesting, thought-provoking content. I use the same skills I did as a radio producer, and ask the questions: ‘Is it a compelling story?', 'Are they good talent?’ We use a general litmus test, ‘Is this something/someone that would inspire and excite us?’ If it doesn’t, it’s out. We can’t sell that.

JOSIE: We do lots of research and spend time talking to others about what they are interested in and the topics parents are grappling with. We also regularly survey our parents to find out what really motivates them.
 

How important is it for creatives to connect with other likeminded people?

MIRIAM: So important! I often forget this as we get so focused on the nitty gritty of each event. It’s easy to get bogged down in the practical details and lose sight of the bigger vision. Then I’ll have a coffee with another business owner creative and suddenly be filled with excitement and ideas once again. You never know where a conversation will take you… also these connections are a great space to vent and normalise the challenges we all have to deal with.
 

How do you make time for creativity in your day-to-day lives?

MIRIAM: I’m passionate about books and long-form journalism. I was inspired by Lorelei Vashti who replaced Facebook with a subscription New Yorker app on her phone. It’s totally cut down my Facebook use (Instagram is a work in progress). I’m a podcast obsessive which I squeeze in while cooking/cleaning up and hustling the kids around. My current favourite is Invisibilia.

Josie loves to blog. She’s a prolific writer and finds it really therapeutic… I have no idea where she finds the time!

Photo by Studio Something

You both are juggling a creative business and family – do you have any tips about making it all work?

JOSIE: Ha ha, I wish. Designating time for work and kids/family is really important. So it’s good to know how much time in the day you have for work and working out realistically what you can achieve in that time. Because there are two of us, it does make it easier to lean in and lean out when kids get sick or there is something happening at the kids’ school.

I recommend having an open and honest conversation with your partner about the load they will pick up regarding childcare. It’s tempting to load it up on the small business owner who works from home! But this isn’t good for business, family or your sanity.
 

Who are some other creative women who are inspiring you at the moment?

JOSIE: Miriam! Also Uldouz Van Eenoo from The Mother’s Den. I just finished her Success Circle and it was a brilliant experience.

MIRIAM: I’m inspired by women who are honest about the mess and chaos of life and kids, but still manage to be brave, create and get sh*t done. The designer Elke Kramer, artist Emily Besser and all-round creative Johanna Bell are friends who energise me in this way.  
 

What would you say to other women considering starting their own creative business?

JOSIE: Just do it. It’s OK to have high ideals but be conscious about whether any of those high ideals are stopping you from just getting going. Nothing is ever perfect and you have to be prepared to adapt and change the business as you go. Talk to as many people as you can – but like all the advice people give new mothers, you must work out what advice works for you and where your values are before you can decide what path to follow. Not everyone’s advice will work for you. But equally if someone gives you advice that you don’t like, ask yourself why this rankles you – does it highlight a shortcoming you’re not ready to address or is it just bad advice?
 

What can workshop participants expect when they come to a Kin & Kind event?

JOSIE: All our events are different. The common thread is that each one connects and (hopefully) inspires parents to engage their post-baby brain, start conversations and laugh. It’s not to say that parents don’t do those things daily, but this is about giving parents permission and tools to be more than just someone’s mum or dad.
 

What do you hope for the future of Kin & Kind?

JOSIE: Is global domination not enough? In all seriousness, what we want is for Kin & Kind to be part of a change movement that supports, encourages and makes it possible for all parents to feel comfortable taking time out for themselves. We strongly believe that when parents look after themselves and invest in themselves, it is good for them and good for their kids. As long as that happens, we will be happy.

Website / Facebook / Instagram (@hellokinandkind)

Kate Shannon is a freelance writer based in Brisbane after many years living in Darwin. She spends a lot of her time in the garden with her two little girls, and loves writing and learning about creative people, flowers, and plants.    

Photography by Asch Creative (first photo) and Studio Something (

A slow fashion success story

Photo by Maggie McGowan, Winnie Duncan from Urapunga, wearing Graham Badari's Nabarlek dja Ngarrbek (Rock Wallaby and Echidna) print.

A social enterprise run by two creative women is bringing fabrics of Northern Territory indigenous communities to the world. Magpie Goose NT is the brainchild of Maggie McGowan and Laura Egan, two young entrepreneurs based in Katherine in the NT.

Maggie and Laura work with Aboriginal art centres in four communities -  Wadeye, Gunbalanya, Tiwi Islands and Maningrida - to produce screen printed fabric, designed by local artists, to be made into women’s, men’s and children’s clothing.

The name is a nod to the classic northern Australian bird, known for its distinct look and quirky behaviour.

“Magpie geese sit on top of mango trees and get drunk on the fermented mangoes,” says Maggie. “That idea is reflected in our brand; we’re bold, bright and strong.”

Maggie came up with the Magpie Goose concept during her travels to indigenous communities in the Territory, working with Aboriginal legal aid.

“I started discovering art centres, particularly the bright colours and patterns of the fabrics made there, and how they told incredible stories of that community,” says Maggie.

“I spent a lot of time going around and having a yarn. Art centres are often the hubs of communities, where artists sit down while they’re weaving or painting, and you can have a chat.”

Photo by Callum Flinn

Feeling disheartened by the underemployment in communities Maggie knew she wanted to contribute in a different way, other than through her legal work.

“There’s so much passion and interest around Aboriginal culture and products, I thought, if I can have my own social enterprise that provided employment opportunities, I could affect change.”

She and Laura pitched their case to Enterprise Learning Projects (ELP), an NT-based organisation supporting inclusive businesses in indigenous communities. ELP funded them to buy 200 metres of fabric to start the production process.

Maggie and Laura went to Bali and had a handful of garments produced in simple designs and started wearing the pieces themselves. At the end of 2016 they did a ‘soft’ launch in Darwin, before all their friends went down south for Christmas. They sold the majority of their pieces, and their customers wore the Magpie Goose garments over summer in other parts of the country, building further interest in the bold designs.

Each design tells a story of people, place and culture.

“There’s definitely a move for slow and ethical fashion and knowing the story behind the clothes you wear. Our clothing is a conversation starter.”

A lightning bolt moment came when Laura was chased through San Francisco airport by people asking her where her clothes were from.

“We then realised that there was a big demand for it,” says Maggie.

Photo by Sarah Mackie.Laura and Maggie (L to R)

The pair started a Kickstarter campaign and reached their target of $20,000 within 24 hours, ending up with over $100,000 of pre-orders.

An important part of the business model is ensuring opportunities for Aboriginal people to be involved, and Maggie says they hope to involve people from the communities that the fabric is produced, through writing stories of the artists and designs; modelling the garments; and liaising with the media.

Maggie says that eventually she’d like to have people in each community employed by Magpie Goose NT.

“Our next steps are to visit all the communities and finding out how Magpie Goose can best work alongside art centres, to enable their growth and provide opportunities as the business expands.” 

Kate Shannon is a freelance writer based in Brisbane after many years living in Darwin. She spends a lot of her time in the garden with her two little girls, and loves writing and learning about creative people, families, flowers, and plants.    

Image credits: Sarah Mackie, Maggie McGowan, Callum Flinn

Book review: The Artist's Way, by Julia Cameron

Described on the cover as “A Course in Discovering and Recovering Your Creative Self,” Julia Cameron’s The Artist’s Way is regarded by many as a way of life. The book, which turns twenty-five years old this year, is known as the creative person’s bible, helping us tap into our creative desires and ignite—or reignite—our artistic spark.

The Artist’s Way is presented as a twelve-week course, working through the steps of “creative recovery.” Each chapter outlines an area to address in our artistic unblocking, with exercises such as affirmations, lists, check-ins to challenge core beliefs about being an artist, and ways to override the internal censor that so often sabotages our creative pursuits.

Cameron, a prolific author, poet, playwright, and artist, shares her experiences finding her creative mojo and overcoming barriers in her creative career. She encourages readers to open themselves up to inspiration by being playful, ignoring the quest for perfection, and simply showing up.

Cameron reckons the acts of coming up with ideas, being inspired, and creativity itself, are all the influence of a higher power. References to God’s input into the creative process are peppered throughout the book, but you don’t have to be religious to find it helpful or to complete the program.

Here are a few of the key insights I took from the book:

The morning pages The practice of writing daily “morning pages” is at the heart of The Artist’s Way, and is one part of this book that I use regularly. Every morning, you write three full pages of whatever comes to mind as a way to clear out negative, superfluous “clutter” and make room for positivity, clarity, and creativity. These pages aren’t designed to be kept or shown to anyone else, let alone published, but the idea is that if you do them daily, creative gems will eventually show up. Cameron says that she’s been doing them every day for years, and thousands of her devotees swear by them.

The artist date Another of Cameron’s essential tools is the “artist date.” This is the act of spending an hour or two alone each week pursuing something that piques your interest. A date could be a visit to a museum, a walk around an unfamiliar neighborhood, a browse in a bookshop, or simply time collecting and arranging shells at the beach. Artist dates are designed to feed our inspiration; Cameron describes them as “assigned play” and “more mischief than mastery.”

Surround yourself with those who encourage your creative practice Cameron encourages us to safeguard our artist within by avoiding the people in our lives who are negative influences when it comes to making art; she calls them “crazymakers.” “Do not expect your blocked friends to applaud your recovery,” she writes. “That’s like expecting your best friends from the bar to celebrate your sobriety.”

The importance of noticing Cameron shares a lot of herself and her experiences in this book. One anecdote about her late grandmother particularly resonated with me. She tells of her grandmother’s ability to pay attention to the details of life, describing the letters her grandmother wrote detailing her surroundings, which she called “flora and fauna reports.” For example: “the roses are holding even in this heat… My Christmas cactus is getting ready…the little Shetland looks like she’ll drop her foal early.” Her grandmother noticed the beautiful details of life, even when life wasn’t so cheery.

Cameron describes her grandmother as “standing knee-deep in the flow of life and paying close attention,” and prods us to do the same, as this is where we find inspiration, connection, and sanity.

The Artist’s Way has a knack of either strongly binding or dividing its readers. My dog-eared copy has been a constant companion on my creative journey, as well as the journeys of many, many others.

Kate Shannon is a Brisbane-based freelance writer. She spends much of her time in the garden with her two little girls, and loves writing and learning about flowers, plants, and creative people. Follow her on Instagram at @thehanburys.

Interview with creative women: Renae Handy, Wallflower Floral Design

Based in the seaside suburb of Sandgate in north Brisbane, Wallflower Floral Design is the brainchild of Renae Handy, florist and all-round creative lady. Wallflower has had a steady rise since it started in 2015, and Renae and her four staff are kept on their toes arranging and delivering flower orders, creating floral bouquets and installations for weddings, and being part of events and photo shoots.

How did you come to being a florist?

My parents own a wholesale nursery and I grew up surrounded by plants. My first job was putting things in pots when I was six years old, working in the nursery. So it’s in my blood, the horticultural thing.

It all really started when I did the flowers for a friend’s wedding. I cut a whole lot of sunflowers from my dad’s neighbour’s farm and just arranged them. People loved it and I really liked doing it. So I started doing flowers for friends’ weddings for free and for fun… using Woolworths flowers!

Then I thought, maybe I could make this into a business. I registered the name and created an Instagram page. I did a cert II and cert III at a flower school after I opened the business. I didn’t write a business plan; I’ve just been following the tumbleweed!

I was that person who was always chopping and changing jobs. I went to see a career counsellor and said, “Look, I don’t know what to do with my life. I want to start a café, be a real estate agent, or be a florist.”

And she said, “If you want to start a café, you need money and a business degree. You’re too nice to be a real estate agent; that whole industry will destroy you. And florists, they don’t make money so don’t be a florist.”

For so many years I tried many different things, which has meant that this business has a really solid grounding.

What does a typical day look like for you?

Bunch colourful

I go to the market on Mondays and Thursdays and pick up whatever we need for our week’s orders and for the shop. On market days, I get up at four am—so if someone wants to be a florist and she’s not a morning person, it’s not the job for her!

While I’m at the market, I’m thinking on my feet, making decisions about what is going to work. If I’m buying for a wedding, I try to imagine the bride, which colours she looks good in, and what her vision is. When I’m buying for the shop, I have to think about what’s going to look good, what’s going to sell, and what’s going to last.

If you don’t make quick decisions, the florist behind you will probably snatch up the flowers. It’s a bit of a scramble in the mornings! It can be stressful, but also fun.

At around seven am., I bring back the boxes of flowers. Then the girls and I spend time preparing them. We use tools to take the foliage off the stems, then cut the stems and put them in water. That takes a long time. We do a lot of work to ensure the flowers last as long as possible. We then do all the orders, talk to customers, and make up arrangements. We get a lot of walk-in enquiries. I also do bride consultations, so I’ll talk with brides and do up quotes. We often get stylists and photographers coming in, too.

Then we might do some deliveries and close up around four or five pm. It’s a pretty busy day.

Describe your floral philosophy. What does a Wallflower arrangement look like?

Our arrangements are whimsical, textural, eclectic, and natural. We pride ourselves on not being predictable.

Traditionally, florists are trained to have a hero flower, like a big rose or lily, then a complementary flower, a filler flower, and some greenery. That’s the basic recipe; florists have used it for so long, over and over again. I think that’s one reason I was so passionate about starting this shop—because of that recipe and tradition. Flowers are so beautiful, but because they were being presented in such a bland structure, people lost appreciation for their natural beauty. I’m passionate about showcasing flowers in their natural form.

Arbour

What are the challenges of being a creative and an owner of a small business?

Some people think being a florist is a fairytale job, which sometimes it is because we do get to play with flowers. But sometimes it can be high pressure; it’s stressful to come up with something creative when you don’t have enough time.

Renae and flowers.crop

It’s hard to be a creative and a businessperson at the same time. I’m split down the middle. There’s the voice saying, “You’ve got to protect your brand. You’ve got to make money.” But then there’s the other side saying, “Stick to your true self, do what you love.” As an artist, you’re emotionally attached, and you take time to make something beautiful, but as a businessperson, time is money… It’s such a battle.

Another challenge is to ensure my staff are happy. I want to encourage them personally and to help them find their place in Wallflowe. If my staff isn’t happy, nothing works.

In my family, my dad’s the businessman and my mum’s the creative. My dad is my business mentor. Every Thursday, we have a family dinner and I talk to him about my business challenges. He gives me great advice.

What does the future hold for you and Wallflower?

It’s important to keep learning, so I’ve got my eye on some courses I’d like to do to challenge myself.

For Wallflower, I’d like to increase the scale of the work we do, and do more installations, events, and weddings. More connections and collaborations. I want us to stretch ourselves and what we can do. It’s an exciting time.

Renae’s floral creations can be viewed on the Wallflower Floral Design website, Facebook page, and on Instagram (@wallflower.floral.design).

Kate Shannon is a freelance writer based in Brisbane after many years living in Darwin. She spends a lot of her time in the garden with her two little girls, and loves writing and learning about creative people, flowers, and plants.    

Photos by Renae Handy (top, middle) and Kate Shannon (bottom).