Page 44 - Australian Photography - September 2017

PROF I L E: GL E N N A DDISO N & H E L E N T R E N N E RY

“I really liked the awkward pose of the duck of self-learning that led to a tertiary education and gaining
and thought of the disco duck as soon as I saw it,” a Diploma in Photo Imaging, as well as starting up her own
says Glenn Addison. “This was a combination of three pet photography business, Ruff ‘n’Stuff Pet Photography.
shots. I shot the duck first with a light either side.
I then photographed a hanging disco ball. Finally I For Glenn Addison, it was a similar path. Adopting a res-
photographed the red curtains attached to light stands cue dog, and disturbed by the stories of neglect and abuse
and a broom handle. Putting it together was easy as no of animals, he decided to help by finding animals new lives
one element interacted with another. with owners who would love them. He began creating proj-
Canon EOS-1DX, EF24-70mm f/2.8L USM lens, 1/125s, ects to help save the lives of shelter animals by volunteering
@ f8, ISO 100.
time and expertise, as well as through financial donations.
RIGHT: “Both our dogs, as well as our three cats, have all Addison has now owned and run five successful
been rescue animals,” says Helen Trennery. “A beautiful family portrait studios for over 20 years, and also owns
image can often save the life of an animal by getting Love Pets Photography where, he says, “ Everything we
them noticed and therefore adopted. I’ve volunteered my do is about creating a legacy that celebrates the love
photography skills over the years with several Rescue
organisations, such as the Animal Welfare League, and connection animals bring to our lives.”
Dachshund Rescue Australia, and Jack Russell Rescue.
This gorgeous girl is Cinnamon, who was adopted quick KNOW THY PET
smart. This was taken inside the cattery, with awful There are two classic types of pet photography – action
light, and no flash, but luckily there was a window with shots and portrait shots. For the modern pet photogra-
some natural light close to her enclosure, which was just
enough. The rest was post-production to brighten her pher, mastery of both is a pre-requisite.
up.” Canon EOS 5D MKIII, Canon EF 24-70mm f/2.8 L II Preparing for either starts well before the camera is
USM @ 35mm, 1/500s @ f2.8, ISO 640 set-up. Addison and Trenerry first ask owners to describe

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