Digital cameras, cellphones and streamline advanced devices producing enhanced images with one single click often make it difficult to define genuine photographic quality and raw talent. In this mass circulation of imaging, where almost everyone owns a camera or a set of expensive ‘beautifying’ filters, what qualifies a master photographer?

For Michael Teo it’s all about moments soaked in feelings.

“I thought that if I can open myself enough to be able to see each person with the eyes that their mother or lover sees them, and capture this moment, I could make them happy,” he tells Neos Kosmos.

“My camera is the only thing between that person and myself, the lens is the only means to capture this magical little moment when the eyes light up, making them the most beautiful person in the world.”

Two years ago, Michael couldn’t have imagined being named Victorian Emerging Photographer of the Year by the AIPP (Australian Institue of Professional Photography), let alone receiving dozens of gold and silver awards and distinctions. Though his father was an avid amateur photographer and painter, he was educated as a classical musician and picked up photography only later in life.

“Though I would like to think that I am self-taught, the truth is that I’ve had a lot of guidance from many great photographers who were generous enough to share their experience with me,” he explains.

His love for the art of photography is always developing side by side with his love for music. In fact, Michael got into photography through one of his older music students who later became his mentor. Within two years of constant study Michael became one of the most popular fashion, portrait and commercial photographers. He is also the organiser of the Melbourne Photography Group, running regular photography workshops and events.

“Music and photography are both my jobs now. I’ve been playing the bouzouki for a bit more than 25 years but I was originally trained on the piano, took on guitar and other instruments.

“The reason I chose bouzouki is that apart from it being a complex and interesting instrument, it was always there when I was growing up as part of my Greek heritage,” he says.

Michael Teo was born in Australia to a Greek mum and Chinese father. He feels privileged to have access to two dominant and diverse cultures and grateful for all the experiences that stem from this. Both civilisations have very strong family values, an emphasis on education and carry a strong sense of tradition.

“I consider myself a Greek, a Chinese and of course an Australian, although I think overall people are what’s in their heart and in their mind more than what’s in their genes,” he adds.

“Admittedly, it took me a while to discover my identity both as a person and as an artist. Having a career change while being married with kids isn’t as easy as it sounds.”

The biggest challenge he had to face as a photographer relates to time. At the beginning of everything there’s a big time investment in terms of learning. Michael didn’t start photography until his daughter was born and was a year old. He had to spend all his non-teaching hours studying himself. He remembers not sleeping, missing out on important events in order to keep his job as a music teacher and perfect his photography skills.

“I had one career change after we got married then another one after we started a family. My wife’s support while our family was growing played a great role in my success,” he says.

“That was really tricky and even now it takes up a lot of my time and effort.”

Even though Michael managed to rise above that difficult and uncertain period, he realised that having one focus to direct your energy to, rather than just waiting for things to take care of themselves, is essential.

“I feel that creativity comes from limitation. The feeling of meeting someone’s expectation and even exceeding it, if I can, is priceless.

“There has to be a clear hero in every photo,” he says, stressing that a great photo can’t be about everything – “less is more”.

He can’t think of an ideal person or situation to photograph, however, he does believe there is an ideal state in which to photograph. The same applies to his collaborations. Through acknowledging each member’s creativity, a team can create something that no one could have even imagined working individually.

“It’s not about who those people I work with are, in terms of wanting to work with a particular named professional – it’s more about the synergy between the members of the team,” he continues.

“Ideas thrive and evolve when partners respect each other and contribute aiming for the best result.”

Michael experimented with various types of photography before he found his niche. Portrait and fashion photography. Growing up in a society where mass media is constantly telling people they are not good, strong or beautiful enough, he wanted to capture the natural beauty of the people around him.

“With music we create sounds which make people feel good in a more abstract way, whereas with people, photography in particular, we can make people feel good about themselves.

“Most people are self-conscious and usually don’t like looking at stills of themselves, unless someone takes some time to ‘study’ them and capture their best version even before Photoshop.”

In spite of initially being opposed to digitally processing images, he now believes that a reasonable use of the tool is necessary or even inevitable to complement a photo. Renowned photographer and re-touch artist Julia Kuzmenco was the one to change his mind.

“My ideal Photoshop should be invisible, minor. If you can tell what I’ve done, to me it means I’ve failed,” he says.

“Photoshop is helping me to make the person that I remember at that moment without letting all the minor details steal the show.”

Maintaining a natural feeling and ensuring his subjects feel comfortable make even the more strenuous task of creating a thought-provoking photo seem simple. The results are always intimate pictures exuding spontaneity and effortlessness, which manage to coax the right emotion.

“I am trying to refine my skill as a photographer by taking as many well-considered pictures whilst appreciating the critical input of colleagues and viewers.”

“Even the hardest criticism is constructive when you can implement it to produce better projects and approach each image with as much honesty as you can,” he concludes.

Maybe what determines a good photographer is his intention and the ability to fulfil it.

* For more information visit www.michaelteo.com