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“All I’m trying to do is present a language informed by lighting”

You’ve probably already stumbled upon Daniel Goode’s photography without realising it. The prolific Sydney-based shooter graces the pages of Grazia Magazine and GQ among others with his distinctive and captivating frames. Controlled and measured in his approach, Dan harnesses light to speak a cinematic language defined by simplicity.

Like many young photographers, Dan’s first exposure to the lens came at the age of 12, sifting through the family electronics drawer for a gadget to document his imagination.

“I found this little digital point and shoot camera in the house and took it out skating with my brother, I’d love to see those images…”

What imaginably was an epic montage of Dan and his brother ripping through their neighbourhood would ignite a long-standing love for skateboarding and photography. Drawing on his roots, Dan’s 2017 work “Western Feelings” explores the construction of Nepal’s first international standard skate park. The anthropological series captures the emotions of those involved with and appreciative of the project, portraying all personal aspects of this colourful subculture.

“I just wanted to shoot it loose. The title came from a comment I overheard when someone was explaining how these Nepalese kids can pick up skateboarding so fast; in comparison, I lived a bit more of a cushioned life when I was growing up.”

These days, Dan’s work is more brand and editorially focused, bringing his unique aesthetic to the worlds of fashion and still life photography. Whether it’s a studio set for Vogue or the great outdoors, there is a controlled sense of cohesion to all that may be seen or suggested in his frames. Often only involving a model, carefully curated objects and soft tones, Dan’s work is cinematic; a feeling he seeks out when behind the lens.

“I’ve always loved cinematography, and I feel like I respond to that mood in images.”

When asked what camera spends the most time in his hands, he leans on some of the finest optics and precision German engineering in the game, perfectly suited for his intimate photographic style.

“It would easily be the Leica. It just encourages a certain style of frame, very effortless to use and the lenses are just full of character.”

Dan is currently represented by The Artist Group for editorial and commercial pursuits, a Sydney-based agency with an eclectic group of creatives ranging from photographers to hair stylists. Jumping on their roster 5 years ago, the process has been a collaborative one, bringing his considered compositions to the table. From an outside perspective, the notion of being on set with clients like Russh Magazine, Marie Claire, and Harper’s Bazar may seem daunting. Dan allows his work to speak for itself, thriving in the opportunities to shoot with the industry’s finest.

“I think when you’re growing up you have a vision as to what that setting is going to feel and look like, but it’s super chill”

Unlike most professions, the nature of photography can be blurred between passion and professional output. By applying the same mentality to all compositions, Dan’s approach remains genuine no matter the domain.

“Naturally the context of the work changes but the principle remains. I try and keep it that way, striving to make each shoot feel like there’s a personal element to it.”

As someone in the business of deciding what looks good visually, his selection process is one of introspection. For Dan, the best shots should grab a hold of you, taking up some real estate in your head.

“It’s always the ones that bother you, reappearing in your thoughts and wanting you to return to it. I think the best ones really feel like a unique moment in time, unlike anything else.”

With a growing portfolio in an industry that can be swayed by fleeting trends and flavours of the month, Dan’s work possesses an innate understanding of personal style, unwavering in his pursuit of a language shaped by light.


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