REFLECTING upon a lifetime taking photographs of prize-winning stud livestock, Max Stephens, Albury, has only one picture to remind himself of his interesting career.
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That picture was not taken by Max, but was a chance photograph taken by a cadet photographer.
Pictured leaning against a bull which had been photographed many times by Max when it had been judged grand champion in Sydney, Melbourne and Brisbane during the late 1970s, it neatly encapsulates the affinity livestock photographers have with their subjects.
It is not simply placing the animal and taking a picture, according to Max.
"You had to have the most amazing patience to bring out the best in the animal," he said.
"Because if the subject is not right when you press the shutter, no matter how many times you press the shutter, it won't make the photo better."
The Melbourne-born photographer said there was definite skill in photographing livestock, and he cites 1950s photographers, sheep specialist Herbert Fyshwick, and cattle specialist Harold Smith, as those who had tremendous influence upon the career of a young man who had not grown up on a farm or had any association with stud animals.
He was particularly impressed by Herbert, who he said “was out on his own when it came to pictures of Merino rams”.
“No one could touch him … but no one could put in the time like Herbert did,” Max recalls.
Another with infinite patience was Lionel Krone, who was the face of the Pastoral Review (a respected journal dedicated to the stud stock industry of Australia) and who Max considers had an excellent grasp of the stud industry and wrote excellent articles.
“He was a good rural and stud illustrative photographer,” Max said.
Max began his career in 1949 with a cadetship as a press photographer with the Melbourne Argus and moved on to become the second photographer for Farms and Home, which used to cover the Royal Melbourne Show.
“I had a flair for taking photographs of animals, and the journalists used to ask for me, which was a bit embarrassing as I was a city kid with no rural background.”
With the imminent closure of Farm and Home in 1956, Max was approached by Lionel Krone.
Max indicated to Lionel he wanted to become involved with journalism and advertising as well as photography, and in 1956 he joined the staff at the Pastoral Review.
“That is where I honed my skills in livestock photography, selling advertising, and with my journalism I got a real grasp of the essence of the agricultural industry especially with the various studs of the different breeds,” Max said.
As he developed a reputation for “having some idea” about what he was doing, particular studs would request he took specific photos for them and he could see an opening for an independent career.
“I decided to go freelance,” Max said.
“It was not a decision I took lightly … lots of people told me I couldn’t make a living out of livestock photography.”
But Max was determined, and he had noticed the growth of breed auction sales, and on-property stud sales which required experienced photography to highlight the virtues of the sale animals.
Initially he saw his future with the stud cattle industry, rather than with sheep.
“I had the job rolling along nicely with the stud cattle sales, but with the beef market crash in 1970 I became involved with Merinos,” Max recalls.
He wrote to various Merino studs in South Australia with whom he had an association from his days with the Pastoral Review, asking if they were interested in having photographs taken of the prize stock – and paying for them.
The late Art Collins, famed studmaster of Collinsville stud near Burra, SA, was the first to respond.
“Max, we are delighted to have you photograph our sheep, it is a wonderful idea,” he wrote to Max.
The late Tom Culley, then studmaster of the Wonga stud, Jerilderie, was another Max recalls with affection who not only had a great influence on the Merino industry, but on his career as a sheep photographer.
When Max went to Wonga for the first time, Gordie McMaster was instructed to assist him in taking the photographs of the Wonga rams.
“Mr Culley was one of nature’s gentlemen and a great breeder of Merino sheep,” Max said.
“He said to Gordie … ‘I think this young bloke has potential, can you tell him what a Merino ram should look like’.
“Gordie certainly helped me … he showed me how to get the tip of the fleece right, and the neck and the underline.”
Max recalls Gordie explaining the photographs are better if taken level with the ram.
One of the last jobs Max did before he retired was preparing the sale brochure on behalf of Charles Mills (Uardry) Pty Ltd for its annual draft for the Dubbo Ram Sales.
Max Stephens retired from a satisfying career without regret.
“When I finished with the photography, I walked away and left it all behind,” he said.
