The Excio Captivating Photography Journal Issue 2 by Excio

CAPTIVATING PHOTOGRAPHY

JOURNAL BY

JULY/AUGUST 2023

Our goal is to help people unlock the full value that photography can provide to society.

Thank you for joining us on this exciting journey.

Excio photo community excio – Latin for excite, evoke

WELCOME Welcome to the second issue of the Excio Captivating Photography Journal! On the following pages, we dive into the intriguing topic of AI and photography, discussing whether it presents a threat or an opportunity for our photography world. Join myself and Simon Hertnon as we shed light on the stock photography industry and the effect that AI has had on it. Stephen Milner, a master in the field, guides us beyond the technical aspects of photography and into the realm of artistry. He also presents the “Emotion in Motion” challenge, inviting you to capture the essence of emotions through the power of photography. Join us in our Excio Photographers’ Hub to participate and unleash your creativity. We are thrilled to announce the winner of our Photo Essay challenge, Lorraine Neill, for her captivating essay “A visit to Sumpter Wharf.” We immerse ourselves in her visual storytelling and get a glimpse of her unique perspective on this location. Dan Winner takes us on a nomadic journey, showcasing his extraordinary lifestyle as a traveling photographer. Next, Peter Laurenson invites us to explore Mt Arthur, located in Kahurangi National Park, and discover the hidden gems awaiting adventurous photographers. In an exclusive interview, we sit down with Maddie McLeod, marketing and communications manager at Nikau Foundation, to understand the transformative role of photography in conveying messages and ideas. If you dream of turning your passion for photography into a successful business, Parmeet Sahni, a seasoned photographer and entrepreneur, shares her invaluable insights and secrets for building a thriving photography business. At Excio, we are dedicated to empowering photographers and image users. In June, we launched our Captivating Photography Academy with the first two courses already open for enrollment. Whether you want to learn all the secrets about crafting your photography brand, or gain confidence in your skills, you will find both courses transformational for your photography journey. This issue of the Excio Captivating Photography Journal is bound to inspire you to explore new horizons, challenge your creative boundaries, and rediscover the power of photography. Thank you for your continued support and engagement. Stay creative, A N A LY U BIC H

Captivating Photography journal Issue 2 | Volume I | July/August 2023 Cover photo “Dandelion” by Jan Whybourne Publisher Excio Website home.excio.io Editorial enquiries hello@excio.io

Production Paper used in printing this journal comes from forests that are managed to meet the social, economic and ecological needs of present and future generations and is FSC (R) certified. Print copies are available for on-demand orders at home.excio.io/journal. All rights reserved @ 2023 Reproduction of any material appearing in this journal in any form is forbidden without the prior consent of the publisher. Dislaimer: Opinions of contributing authors do not necessarily reflect the opinion of the journal.

TA B L E O F CONTENTS Beyond the numbers: Mastering the art of photography beyond camera settings Discover the secret to creating soulful images by focusing on expression rather than settings By Stephen Milner

A visit to Sumpter Wharf The winner of the Photo Essay challenge By Lorraine Neill

Photographic locations worth sweating for Mt Arthur, Kahurangi National Park By Peter Laurenson

Photography as a catalyst for effective communication Interview with Maddie McLeod of Nikau Foundation

Building a thriving business: The journey of a professional photographer Interview with Parmeet Sahni

Exploring the nomadic photo journey of Dan Winner Chasing dreams on the open road

AI and photography: Threat or opportunity? By Ana Lyubich and Simon Hertnon

A visual journey Unveiling our Excio Top 10 member submissions

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Beyond the numbers: Mastering the art of photography beyond camera settings Discover the secret to creating soulful images by focusing on expression rather than settings

WO R DS ST E PHE N M ILN E R stephenmilner.com

INTRODUCTION In the world of photography, the allure of camera settings has long captivated the minds of photographers. Aperture, shutter speed, and ISO – these technical variables hold the power to shape the outcome of an image, providing a level of control and precision that is undeniably enticing. It’s no wonder that photographers often find themselves engrossed in the pursuit of technical perfection, diligently studying and mastering the intricacies of their equipment. However, amidst this technical focus, a profound shift has been taking place. A shift towards embracing artistic expression as the driving force behind truly captivating photographs. Beyond the realm of camera settings lies a deeper, more profound aspect of photography that extends far beyond mere numbers and technicalities. It is a world where creativity, emotion, and personal vision intertwine to create powerful images that resonate with viewers.

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CO LOUR IN MOTI O N B UL L F I GHT BY ER NST HA A S

C O N N EC T I O N BY J U DY STO K E S

While important, technical variables provide only a foundation, a starting point from which photographers can work. The relentless pursuit of technical perfection can inadvertently stifle the true potential for artistic growth, hindering the development of a unique artistic voice.

creative interpretation. This artistic identity frees us from the constraints of technical perfection and opens up endless possibilities.

In this article, we go on a journey beyond the numbers, exploring the secret to creating soulful images by focusing on expression rather than settings. We will discover the transformative power of embracing artistic expression in photography and learn how to nurture the artist within ourselves. We venture into the realm where technicalities take a backseat, and artistic vision takes centre stage.

THE ARTISTIC MINDSET Photography is not just about capturing images; it is an art form that allows photographers to express their unique perspectives and emotions. Embracing the photographer’s role as an artist is essential in transcending the limitations of technicalities. To cultivate an artistic mindset, we must recognise that photography is a means of self-expression. It is about capturing moments and infusing them with our

Moving beyond technicalities requires a shift in perspective. While camera settings are important, they should serve as tools to support our artistic vision. Instead of obsessing over settings, we should focus on conveying emotions, telling stories, and evoking a response. An artistic mindset encourages us to explore unconventional approaches, experiment with techniques, and challenge norms. It pushes us to think beyond technical aspects, take risks, and embrace our unique style. By adopting an artistic mindset, we invite curiosity, intuition, and imagination into our photography. We learn to trust our instincts, see beauty in the ordinary, and capture moments that transcend the medium. In the following sections, we will delve deeper into the elements that contribute to an artistic mindset in photography. We will explore the importance of cultivating a clear artistic vision, capturing soulful compositions, and connecting with subjects.

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EDWAR D BY EMM A M I L NER

C O LO U R I N MOT I O N REGATA BY E RN ST H A A S

CULTIVATING AN ARTISTIC VISION

COMPOSITION AND STORYTELLING

Cultivating an artistic vision is crucial for creating soulful and impactful images. It is our unique perspective and personal vision that sets our work apart, and allows us to convey emotions and meaning through our photography. Recognising the power of personal vision is the first step. Photography is not just about technical precision, but about capturing moments that reflect our experiences and worldview. Developing and refining our artistic vision requires deliberate practice and exploration. We expand our visual vocabulary by immersing ourselves in different genres, studying renowned photographers, and seeking diverse perspectives.

Composition is the language photographers use to tell stories through their images. By skilfully arranging elements within the frame, photographers can evoke emotions and engage viewers. Utilising composition techniques is essential in enhancing storytelling. By considering the placement of subjects, lines, shapes, and patterns, photographers can guide the viewer’s gaze and create a visual narrative. Techniques like the rule of thirds, symmetry, leading lines, and negative space add depth and visual interest.

Experimentation is key to growth. Trying new techniques, challenging conventions, and embracing failures as learning experiences help us discover new ways of expressing ourselves. Refining our vision involves self-reflection and critique. Analysing our work and seeking feedback from mentors and peers offer fresh insights that refine our artistic voice. Cultivating an artistic vision is a continuous process that requires dedication, self-awareness, and risk-taking. Our images become visual stories that reflect our thoughts, emotions, and experiences.

Composition is not just about technical aspects; it’s about expressing our artistic vision. Making deliberate choices in framing and capturing decisive moments allows us to translate thoughts and emotions into visual language. Creating images that evoke emotions and engage viewers requires thinking beyond the obvious. It involves finding the essence of a moment, capturing decisive moments, and revealing unseen stories. Composition allows us to transcend the limitations of the medium and establish a connection with the audience.

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STOR M AHEAD BY ST EP HEN M ILNER

HARNESSING LIGHT AND MOOD Light plays a vital role in photography, shaping atmosphere, mood, and emotions in an image. Understanding the relationship between light and photography is crucial for creating impactful photographs. Light is a powerful storytelling tool. By understanding its qualities, such as intensity, direction, and colour temperature, photographers can manipulate the mood and atmosphere in their images. Soft diffused light creates tranquility, while harsh light evokes intensity.

a period after sunrise or before sunset when warm, golden light enhances the scene’s appeal. Experimenting with backlighting can create depth and evoke emotion. Using light creatively involves understanding its interaction with subjects and environments. By emphasising texture, creating shadows, or revealing details, photographers can enhance their images’ impact. Observation, experimentation, and adaptability are key to harnessing light and mood. By studying light in different situations and learning how to manipulate it effectively, photographers convey their artistic vision.

One technique is utilising the golden hour,

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GROWTH BY EM M A M ILNER

CONNECTING WITH SUBJECTS Establishing a profound connection with your subjects is the key to capturing authentic moments and conveying emotions and narratives through your photography. Creating powerful images requires building a genuine connection with your subjects, whether they are people or key focal points in the landscape. By understanding their stories, emotions, and relationships within the environment, you can capture photographs that resonate deeply. To establish this connection, take the time to truly see your subjects. Observe their gestures,

expressions, and interactions with their surroundings. Engage with them on a deeper level, building trust and rapport. By immersing yourself in their world, you can capture genuine moments that reveal their essence. Your subjects become the vehicles through which you convey narratives and emotions. With thoughtful composition, timing, and direction, you can capture the subtleties that bring their stories to life. Each photograph becomes a visual expression of the human experience or the raw beauty of the natural world.

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As we conclude this journey, we are reminded of the transformative power of embracing artistic expression in photography. By nurturing our creative instincts, developing our unique vision, and focusing on expression rather than settings, we have unlocked the soul of photography. Through our images, we have the opportunity to share our perspectives, evoke emotions, and inspire a deeper connection with the world.

COLOUR IN MOT I O N B IR D I N F LIGHTS BY ER NST HAAS

CONCLUSION: UNLOCKING THE SOUL OF PHOTOGRAPHY Throughout this exploration of mastering the art of photography beyond camera settings, we have delved into the transformative power of embracing artistic expression and nurturing the artist within. By focusing on expression rather than settings, we have discovered the secret to creating soulful images that resonate deeply with viewers. In cultivating an artistic mindset, we have moved beyond the limitations of technicalities and recognised the significance of developing our unique artistic vision. By honing our creative instincts and allowing our personal vision to guide us, we have unlocked the ability to create photographs that truly reflect our artistic voice. Through composition and storytelling, we have explored the visual language and its power to evoke emotions and engage viewers. By understanding the interplay of elements within the frame, we have elevated our images to convey narratives and stories that go beyond surface-level aesthetics. Harnessing light and mood has been instrumental in enhancing the expression in our photography. By recognising the role of light in creating atmosphere and mood, we have learned to use it creatively to evoke the desired emotions and add depth to our images. Establishing a profound connection with our subjects, whether they are people or elements in the landscape, has allowed us to capture authentic moments and convey emotions and narratives. By immersing ourselves in their presence, understanding their stories, and seeking to portray them with honesty and depth, we have created photographs that speak to the viewer on a deeper level.

So, let us continue to explore the artistry within us and use photography as a medium to express our innermost thoughts and emotions. By embracing the soul of photography, we can create images that not only please the eye, but also touch the hearts and minds of those who view them. Photography is a powerful form of artistic expression, and by tapping into its essence, we can leave a lasting impact in the world of visual storytelling.

ASSIGNMENT: EMOTION IN MOTION Task: Experiment with different shutter speeds to capture motion in your photographs. Select a subject or scene that evokes a specific emotion and use various techniques to convey that emotion through the movement in your images. Create a series of photographs that showcase the power of motion to evoke feelings. Written reflection: Write a short reflective essay discussing your experience with the “Emotion in Motion” assignment. Reflect on the process of capturing motion in your photographs, the emotions you aimed to convey, and the techniques you employed to achieve your desired results. Discuss the effectiveness of using motion as a tool for evoking feelings in photography, and how this assignment has influenced your understanding of the connection between motion and emotions in visual storytelling. Share your thoughts on any challenges faced and lessons learned during the assignment.

For all Excio members and Community Hub participants: join our dedicated assignment channel on Excio Hub (hub.excio.io). Share your unique photographs and feel free to consult Stephen directly in the chat with any queries. Receive valuable feedback and take pleasure in discovering the creations of others. The most compelling photographs will be proudly presented in our September issue, so let your creativity flourish!

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A visit to Sumpter Wharf By Lorraine Neill

In the previous issue of our Captivating Photography Journal, Stephen Milner presented a challenge to our readers: to develop their visionary skills by creating a compelling photo essay or series that would capture the essence of a specific place or community. The aim was to go beyond traditional techniques and convey not only documentation, but also a sense of emotion and connection with the subjects. We are pleased to announce Lorraine Neill as the winner of this challenge with her remarkable photo essay on Sumpter Wharf. The essay presents a thoughtfully crafted narrative, with the photographs seamlessly complementing the storyline and exhibiting a engaging cohesiveness in their composition. Lorraine’s essay takes us on a journey to Oamaru’s historic harbour, where she focuses on the shag population that inhabits the derelict wharf. Her images beautifully depict the activities of the spotted shags, which roost on the wharf, showcasing their interactions and the lively atmosphere surrounding them. Through her storytelling and photography, Lorraine sheds light on the ecological importance of Sumpter Wharf, and highlights the need for its preservation.

SUMPTER WHARF AND OAM ARU HAR B O UR , WI T H H O L M E S WH A RF A ND THE BR EAKWAT ER I N T HE D ISTANC E .

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I recently visited Oamaru’s historic Sumpter Wharf for the first time. Oamaru Harbour is a registered historic place, and Sumpter Wharf is one of several historic structures in the harbour precinct. The precinct is a popular destination, both for its history and its wildlife, with a key attraction being the Oamaru Penguin Colony. However, the drawcard for me was the shags. Four types of shag can be seen on Sumpter Wharf, two of which are endemic: the spotted shag (pārekareka), which roosts on the wharf but breeds in the surrounding coastal areas, and the Otago shag (matapo), which breeds and raises its young on the wharf.

The coexistence of both shag species on the wharf showcases the willingness of these seabirds to live in close proximity to people, as long as a respectful distance is maintained. However, Sumpter Wharf is derelict and at risk of collapsing into the harbour. Plans to repair the wharf and ensure its preservation, as well as its continued use as a habitat for the Otago shag, have been in the pipeline for some time. Although several options are under investigation, a final decision has yet to be made.

I had not seen either shag before. Spotted shags are nationally vulnerable, and while they occur around the North Island, they are mostly seen in the South Island. As for the endangered Otago shags, Sumpter Wharf is not only their northernmost breeding colony but also their largest, with up to half of the Otago shag population living in the harbour, making Sumpter Wharf an ecologically important site.

When the photo essay challenge was set, my trip to Sumpter Wharf was already scheduled, making it an easy decision to base my photo essay around the wharf and shags. However, the short time frame and competing demands during my stay posed challenges in terms of planning my story and maximising my photo opportunities. I quickly realised that capturing worthwhile photographs of the Otago shag would be a struggle. While the spotted shags roost at the landward end of the wharf, the Otago shags are located at the seaward end and spend most of their time at sea during this time of year. Therefore, I focused my attention on photographing the spotted shags.

Part of the appeal lies in the story. Spotted shags started roosting on the wharf almost twenty years ago after it was closed to the public in 2004 due to its deteriorating condition. Ten years later, it was discovered that Otago shags were breeding on the wharf. Unlike spotted shags, which breed on cliffs, Otago shags prefer to breed on flat areas, making the wharf an ideal breeding location.

In the end, I have captured a snapshot of Sumpter Wharf and its shag activity during a day in May. I hope that the images convey the interest and enjoyment of observing the shags as they come and go, preen, scratch, display, and jostle for space. Additionally, I aim to showcase the impressive sight of Sumpter Wharf when it is crowded with seabirds, particularly during sunset.

OAM ARU HAR B O UR I S NOW O NLY US ED BY F I S H I N G V E S S E L S A N D P L E A S U RE C RA F T.

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S UMPTER WHAR F W I T H A VI EW O F HO LM E S W H A RF A N D PA RT O F T H E OA M A RU TOWNSHIP IN THE BAC KGRO U ND.

ADULT SP OTTED SHAG S C RATC HING. AL L T HE S P OT T E D S H AG S I N T H E S E I M AG E S A RE N O N - B RE E DI N G. S P OTTED SHAGS I N B R EED ING P LUM AGE HAVE B RI G H T G RE E N - B LU E FAC I A L S K I N , B LU E E Y E RI N G S, A N D A CR E ST OF FEATHER S O N T HE F RO NT AND BAC K O F T H E I R H E A D.

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S P OTTED SHAGS C OM ING IN TO LAND.

S P OTTED SHAGS LINED UP.

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S P OTTED SHAG D I S P L AYING.

A VIEW TOWAR D S T HE S EAWAR D END O F T HE WH A RF I N T H E E V E N I N G, WI T H T H E L A RG E R A N D DAR KER OTAGO SHAGS J U ST D IS C ER NI B L E F ROM T H E SM A L L E R S P OT T E D S H AG S.

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Photographic locations worth sweating for Mt Arthur, Kahurangi National Park WO R DS A N D IM AG E S PE T E R LAU R E N S O N

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A VIEW THROUGH SW IR L I NG C LO UD TO TASM A N BAY F ROM T H E MT A RT H U R T RA I L

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A MT ARTHUR SUM M I T VI EW AT S UNS ET S O UT H WE ST TO T H E T WI N S I N C LO U D AT RI G H T

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A MT ARTHUR SUM M I T VI EW AT S UNS ET NO RT H E A ST OV E R T H E MT A RT H U R RO U T E (S U N L I T ) TO TASM AN BAY (RIGHT )

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A MT ARTHUR SUM M I T VI EW AT S UNS ET NO RT H E A ST OV E R T H E MT A RT H U R RO U T E (S U N L I T ) TO TASM AN BAY ( R I GHT )

In the second article in this series, we join Peter Laurenson on a captivating day-trip adventure to Mt Arthur, where the allure of capturing landscapes is just the beginning. Situated in New Zealand’s Arthur Range, this majestic peak unveils its distinctive karst rock formations and panoramic vistas. Starting from the Flora carpark, a leisurely hike through enchanting beech forest leads to the cosy Mt Arthur Hut. Embarking on a three-hour ascent to the summit, Peter reminds us that there is more to photography than meets the eye. Swirling clouds, dramatic landscapes, and the spirit of exploration await, inviting us to embrace the magic that lies beyond capturing mere scenery.

occasionalclimber.co.nz

In December 2022, my partner Cathy and I shifted south from our home in Wellington to a new one we had built on the foothills above Richmond. From 110 metres above sea level, we gaze directly across to Mt Arthur / Tuao Wharepapa, one of the highest points in the Arthur Range / Wharepapa. Just from our deck, the dawn and dusk photographic opportunities keep me occupied as the seasons unfold. But being so close to the peak compelled me to go and spend a night on it to catch the magic hour. A day-trip to Mt Arthur is popular with outdoor lovers of all abilities. Access is via the Flora carpark situated at 950 metres, only a tad more than an hour’s drive from Richmond. The gravel road to the carpark is mostly in very good order, aside from a steep section where parallel concrete tracks have been laid to counteract the challenges of wet conditions. Winter conditions

should also not be taken lightly. The road cuts through steep mountainous terrain subject to slips, snow, and ice. It’s not much more than an hour’s stroll from the carpark, up through beech forest on a very nicely maintained footpath, to reach the 8-bunk Mt Arthur Hut at 1,300 metres, nestled right at the edge of the treeline. There aren’t too many easier ways to reach the alpine tops than that, which is one of the reasons for the route’s popularity. Another reason is the distinctive and spectacular scenery, defined by karst rock formations. A karst landscape evolves where bedrock is dissolved over eons, forming sinkholes, sinking streams, caves, and springs. Mt Arthur is hard, crystalline marble, transformed from softer limestone laid down under the sea about 450 million years ago.

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AR ETE HUT, DAW N AUGUST F 8, 1/12 5 S EC , I S O 1 2 5, 24 M M

During the ice ages, glaciers carved smooth basins on the flanks of Mt Arthur, scouring and polishing the marble. The basin floors are pock-marked with sinkholes where surface water drills its way underground into extensive cave systems. These sink holes are often so deep that when you peer down into them there is just blackness. Some smaller holes can be hidden by tussock so, when travelling across this terrain, you should not assume the next step is solid ground. From hut to summit takes around three hours. Above Mt Arthur Hut, the trail remains very well trodden and clearly defined. Very soon after leaving the bush, spectacular karst formations greet you – with Tuao Wharepapa dominating the distant skyline. It’s a bit more of a scramble for 200 or so metres beneath the summit, but nothing to be concerned about in good conditions. Being 1,795 metres high, the broad peak can often collect cloud coming from the west by late morning or early

afternoon. Therefore, I figured the best chance to enjoy magic hour was to bivvy up on top. I figured that if dusk was clagged in, I’d still be in place for dawn. Factors to consider before spending a night out are that there are no toilet facilities or water source available on the summit. If the weather does close in, as it did for me around dusk, wind can really increase and the temperature will drop significantly. I didn’t get ideal conditions, but the swirling clouds around the Twins, just to the south, made for some great landscapes. Sadly for me, dawn saw me scurrying off the cloud-engulfed top, tail between my legs, as the wind threatened to blow me off my feet. But that location, offering a magnificent 360 degree panorama, will ensure that I’ll be back. A crisp, calm winter’s night out on top might be the ultimate photographic location worth sweating for, or perhaps shivering for.

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Photography as a catalyst for effective communication Interview with Maddie McLeod of Nikau Foundation In marketing and communications, incorporating compelling photographs can bring ideas and messages to life, filling gaps, and instantly conveying information that words alone may struggle to achieve. To gain insights into the significance of photography, we spoke with Maddie McLeod, marketing and communications manager at Nikau Foundation – the Greater Wellington region’s community foundation. Maddie explores the impact of photographs in creating a tangible connection with audiences, and shares examples of how authentic, captivating photographs have effectively conveyed their organisation’s mission. We also talk about how, by capturing candid moments and maintaining a focus on the primary subject, powerful photos can elicit specific emotions and MADDI E MC L EO D PH OTO BY STE P HE N A’C O U RT nikaufoundation.nz

Please share your background and how you initially entered the field of marketing and communications? Additionally, what aspects of your role do you find most fulfilling or enjoyable? My background in marketing and communications started at university – I did a BCom, majoring in marketing, and a BA, majoring in Art History, at the University of Canterbury. Since then, I have been fortunate to work in multiple areas of the industry, from agency roles to those on the client-side, working with clients ranging from influencers to professional services to retail, and organisations in the beauty and not-for-profit sectors. There are many aspects of my current role at Nikau Foundation that I love, but the ability to tell compelling, human-centered stories is by far my favourite part. We have the privilege to be connected to many incredible community organisations doing good mahi to support our region. To play even a small part in making sure their stories are told and shared is the most rewarding and humbling pleasure.

Many organisations have also noted that sharing our stories and quotes helps them to better articulate what they do, making it easier to secure funding and share their mahi with the community and potential donors.

In your opinion, what is the significance of incorporating photographs into marketing and communication efforts? How do they help bring ideas and messages to life? Photography adds an incredible amount of impact to marketing and communications. It often fills gaps, helps your audience to understand what you do in an instant, and communicates so much more than a paragraph on a page otherwise would. For us, including photos from the community organisations we support in our own communications helps to showcase the incredible impact funding from Nikau Foundation has for the people and places of our region. It also helps to create a sense of materiality, and the palpable impact that people can make when they give through us.

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What, in your view, makes a good photo? Do you have an example?

seem like a scary process, we chose to introduce our team by including their portraits in our grants communications.

For me, the best photo is one taken between takes. It is the photo taken when posture lightens, muscles relax, and the subject exhales. The best photos capture the true personality and candid mood of the subject, which tell the story better than anything more posed.

Through this, we were able to humanise the process, put a face to the name, and create a less intimidating grants application experience.

Spacing is also really important. Although it is ok for a photo to be busy, it shouldn’t be so busy as to take away from the primary subject or intention of the image.

How do you believe photographs impact readers or viewers? Can you provide examples of specific instances in your career where photographs have had a powerful effect? Absolutely, photographs have the capacity to illicit certain emotions or prompt specific actions. For us, we use photography to break down the ‘us’ and ‘them’ to create a more accessible, inclusive funding experience. Acknowledging that applying for funding can sometimes

Why do you place importance on using authentic, captivating photographs in your marketing and communication initiatives? How do these types of photographs contribute to conveying Nikau Foundation’s message effectively? Nikau’s mission is to build healthy, thriving, and resilient communities across Te Upoko-o-te-Ika-a-Māui the Greater Wellington region. To do this, we need to wear a lot of hats. We need to be a strategic investor, an accessible funder, a fundraiser, and a storyteller – and speak to a range of stakeholders throughout the community. Captivating and authentic photography helps to cut through and get our message across to all our key audiences in a succinct and meaningful way.

N IKAU FOUNDATIO N T EAM P HOTO BY STEPH EN A’C O URT

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For someone evaluating whether a photograph is suitable for use, what advice would you offer? What key elements or characteristics should they consider? My first bit of advice would be to reflect on your brand values and what your audience wants to see. If one of your brand values is to be accessible, choose photos which convey joy and fun, for example. If your brand is professional, go for images that are clean. Above all, authenticity is the most important thing, which means all your brand images don’t need to be super planned or professionally taken – sometimes a slightly blurry photo taken on an iPhone is the most authentic way to tell your story and accurately convey what you do.

Throughout your career, what challenges have you encountered in sourcing the right photographs for your projects? How have you overcome these challenges, and what lessons have you learned along the way? Throughout my career, I have worked directly for, or on behalf of, organisations with varying budgets and resources. Often, I haven’t had the budget to commission a photographer, so we have [had] to find stock imagery to suit the tone and style of the brand. Stock images are a great resource and are certainly something that all marketers use, however, it can sometimes be a challenge to find something that speaks to your audience, is suitable for the context in which you operate, and doesn’t come across as cheesy. Finding the Excio Captivating Photography Library (excio.io) has helped Nikau Foundation to introduce imagery that resonates with and is authentic to New Zealanders. We are the Greater Wellington region’s community foundation and with help from stock photos from Excio, we have been able to communicate this visually.

C OLOUR RUN PHOTO BY THE S HI F T FO UNDAT I O N

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Building a thriving business: Journey of a professional photographer Interview with Parmeet Sahni

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WO R DS A ND I MAG E S PAR M E E T SA HN I Parmeet’s journey into professional photography began when she shared some photos of her youngest daughter on Facebook. A family friend, impressed by her work, approached her to capture moments of her own children. As word spread about Parmeet’s photography skills, she started receiving recommendations and requests from friends, leading her to realise the potential in her talent.

instagram.com/ soulfulmemoriesbyps facebook.com/ soulfulmemoriesbyparmeetsahni

When I look back at where I’ve come from, it’s always quite overwhelming. You see, upon my migration, I had spent a few months without a job and was battling depression. I kept persevering and setting goals though, and now I’m a happy working mother with my own professional photography business. Seeking guidance from fellow photographers, and participating in photography groups, she gathered multiple perspectives that helped her make informed decisions while setting up her home studio. I enrolled myself in many workshops and watched an endless amount of tutorials to prepare myself. It’s definitely a big investment, but keep in mind that you don’t need to purchase everything tomorrow. Get the basics, and slowly build your way up. While pursuing her passion, Parmeet started by offering complimentary photoshoots to experiment, find her style, and showcase her work on social media. I uploaded regularly to Facebook and Instagram, sometimes twice a day to

get traction and, eventually, enquiries started filling my inbox. In the midst of working a full-time office job and taking care of my family, I purposefully didn’t opt for too many platforms. I wanted to provide quality over quantity. ‘How much should you charge?’ is one of the hardest questions when starting your own photography business. When I was deciding the pricing of my services, I decided to keep the costs as low as possible. My goal was not to make money, but to provide as many memories as I could to as many families and lovely clients as possible. Therefore, I created different packages at different price points to suit the needs of every query that comes my way. Each package offers a different number of photos. In my family or newborn shoots, some packages are just for photos of the child, others include shots with immediate family, and some with extended family members, and so on. They are priced taking into account how many photos are taken, how many models there are, how long the session will take.

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Parmeet’s Facebook page has emerged as her primary platform for promotion, sharing her work, and connecting with potential clients. Today, my Facebook page is my primary source of promoting and sharing my work and has more than 2,000 members and over 150 positive reviews and recommendations. That’s my treasure! On the days I feel low, I go through the reviews and they instantly fill me with encouragement and motivation. The photography landscape is rapidly changing and it’s getting harder to break through the noise. As a professional in the field of family, maternity, and newborn photography, Parmeet has valuable observations and sage advice. At least in my business, I have witnessed notable shifts driven by growing client demands and competition. Increase in family sessions: Family photography has

seen a surge in demand, with more people seeking professional portraits to capture special moments with their loved ones. The desire to preserve and commemorate these memories has resulted in a significant rise in family session bookings. Growing competition: With the accessibility of digital photography equipment and editing software, the number of photographers entering the industry has increased. This has led to a more competitive environment, making it essential for photographers to differentiate themselves and find unique selling points. Evolving consumer expectations: Clients today are more discerning and have higher expectations when it comes to the quality and creativity of their photographs. They seek photographers who can deliver exceptional work that reflects their individuality and captures the essence of their special moments.

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Standing out in our competitive photography market can be challenging, but here are five strategies you can adopt to differentiate yourself and attract more clients. Define your niche: Identify your unique strengths and interests within photography. Specialising in a particular genre, such as newborn, wedding, or landscape photography, allows you to develop expertise and establish yourself as an authority in that field. Develop a strong brand: Create a distinctive brand identity that reflects your style, values, and the experience you offer. Invest in professional branding elements, including a welldesigned logo, website, and social media presence that accurately represent your artistic vision. Provide exceptional customer service: Go above and beyond to ensure a positive experience for your clients. Excellent communication, responsiveness, and personalised attention can help you build strong relationships and generate positive word-of-mouth referrals. Showcase your unique vision: Develop a signature style that sets you apart from others. Find your creative voice, and consistently deliver photographs that evoke emotion and tell a compelling story. Focus on creating a distinct visual identity that resonates with your target audience. Network and collaborate: Join local communities, engage with other professionals in the industry, such as wedding planners, event organisers, or local businesses, to expand your reach. Collaborating with complementary vendors can lead to mutual referrals and increased visibility.

When working with clients, I always prioritise the following aspects. Clear communication: Establish open lines of communication from the initial inquiry to the final delivery of images. Actively listen to your clients’ needs, clarify expectations, and provide transparent information about your services, pricing, and timelines. Regularly update clients on the progress of their projects to maintain a strong relationship. At the end of a long day, even when exhaustion sets in from multiple photoshoots, I make it a point to personally respond to each and every message, expressing my gratitude to clients for their feedback, even if it’s just a few words. Personalisation and understanding: Take the time to understand your clients’ vision, preferences, and unique requirements. Tailor your approach, posing, and editing style to reflect their personality and create a personalised experience. Show genuine interest in their stories and build rapport to make them feel comfortable and valued. Professionalism and reliability: Demonstrate a high level of professionalism throughout the entire process. Be punctual, well-prepared, and organised for each session. Deliver on your promises and exceed expectations whenever possible. Providing a reliable and consistent experience will foster trust and ensure client satisfaction. By adapting to the changing photography landscape, establishing a unique identity, and prioritising exceptional client experiences, you can thrive amidst growing competition and build a successful photography business in New Zealand.

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Exploring the nomadic photo journey of Dan Winner Chasing dreams on the open road 38

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U LVA I S L A N D I S A PA RA DI S E FO R N AT U RE P H OTO G RA PHE R S. A F E M A L E S E A L I O N I S S U N BAT H I N G O N T H E G O L DE N SA N DS.

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WO R DS A ND I M AG E S DA N W I NNE R

Dan Winner is a nomadic photographer who has masterfully intertwined his passion for travel with his love for capturing breathtaking moments through the lens. In an endeavour to uncover the secrets behind his extraordinary lifestyle, we accompany Dan (virtually!) as he shines the light on the limitless possibilities that lie beyond the confines of a conventional existence.

How did you first become interested in photography? It all started with a hiking trip to Hawaii in my early twenties, and the hundreds of videos and photos I took during the trip. The sheer quantity made me think I’m never going to look at the footage again. But having some great memories of the trip, I made an effort and went through it all, picked images and scenes I most liked, and decided to put a nice little video together. From there, I was more and more interested in video editing and I had a lot of fun over the years. Many friends enjoyed them a lot and said that this is what I should do as a job. Then a few years back I scored an awesome job in tourism marketing. This exposed me to plenty of amazing and professional content. I always tried to shoot my videos with 60 frames per second, but it was then when I realised how powerful one single frame can be. A single frame that inspires you and opens up your imagination. I found it fascinating what you can do when you have the ability to capture the right moment.

As a travelling photographer, how do you choose your destinations? Is it based on the kind of photographs you plan to take, or is it more spontaneous? I look back at my videos and they all have one thing in common – my passion for travel. Having worked in offices for almost 20 years and slowly but surely getting tired of it, I decided to drastically change something and follow my passion. I sold everything, quit my job, and bought a caravan. From that point on, the journey became the destination. I can’t really say that I choose a destination, it is more that I literally follow the wind and the sun. The wind is very useful for my other big passion, which is paragliding. And the sun became an enabling source of my lifestyle – solar energy runs my fridge, my water pump, and lets me charge my camera and other devices. Spending plenty of time in the great outdoors, naturally my current photos are mostly inspired by the surrounding landscapes and nature. However, I admire other photographers’ macro and portrait shots as well, and maybe at some point the journey will lead me into this direction, too.

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CAPE C AM PBEL L : PARAGL I D ING AT O NE O F MY FAVO U RI T E P L AC E S, C A P E C A M P B E L L I N MAR LBOROUGH W I T H ITS ST U NNI NG L I GHT H O U S E AT T H E E N D O F T H E RI D G E

What has been your most memorable photographic journey around New Zealand? The South Island’s West Coast and Fiordland have been very memorable. I usually look for some shorter day hikes off the beaten track, as I’m not the biggest fan of multi-day hikes that include sleeping in huts with 20 snorers. Having a track to yourself – best case scenario – lets you find some good inspiration. I absolutely love the birdsong during bush walks on the West Coast and the thick forests in Fiordland. One of my favourite short hikes is up Mount Burns in Fiordland. It is quite remote and [you pass] through a magical forest, until it opens up to an alpine, tussockcovered landscape with many many beautiful tarns, while in the background kea deliver the soundtrack to the experience.

How does living on the road impact your creative process? Does the constant change in scenery inspire you or does it present challenges in terms of consistency and focus? The lifestyle really enabled me to linger longer in one place. I see plenty of overseas tourists, but also retired Kiwis with their flash motorhomes, who for some reason move onto the next place after only one night. I have the luxury to really deep-dive into a region, enjoy stunning sunsets as well as thunderstorms, talk to the locals, and wait for the wind to come right so I can launch from a nearby hill or cliff. It sometimes is hard to get back into looking through the latest photos and editing them, as there’s always so many other things that you can do – like paragliding – instead of sitting in front of a screen.

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ONE OF MY FAVO U R IT E S HO RT HI K E S : MO U N T B U RN S I N F I O RDL A N D. I T I S A S H O RT ST E E P C L I M B THROUGH A T HI C K AND M AGIC AL FO R E ST, U N T I L YO U RE AC H A T U S S O C K- C OV E RE D L A N DS C A P E WITH MANY B EAU T I F U L TAR NS.

How have you managed to balance your passion for photography with the practicalities of living on the road? What kind of sacrifices have you had to make? I can’t really say that I have found the perfect balance yet. Living on the road is awesome, full stop. But of course you need to make some money to fund this lifestyle. Photography doesn’t do this for me just yet. People always believe living in a caravan is almost for free, but there’s ongoing maintenance, fuel, campsite fees, insurances, etc, etc. It is not necessarily cheaper than renting a flat, for example, but obviously you get to travel all the time. Apart from the finances, there are only a few luxury things

I had to sacrifice that other people would consider normal things of everyday life. Like having a very long hot shower (I do however have a hot shower every day), or just opening a tap and not having to think about where to get some more drinking water from. Pushing a button after using a toilet and everything just disappears. Doing laundry at home. Or using a toaster, hair dryer or microwave or any other high wattage device for that matter. I really enjoy the minimalist lifestyle and I can’t get my head around why virtually everyone needs enormous houses with rooms full of mostly nice-looking clutter. What I certainly gained with this lifestyle is time – the biggest luxury there is. Time for myself. Time for my partner. Time to be in nature. Time for photography.

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GLOW ING B O UL D ER S : T H E H O L E I N T H E RO C K B E AC H AT C A P E FO U LWI N D I S S P EC TACU LA R AT HI GH T I D E AN D RE V E A L S A C A L M A N D MYST E RI O U S L A N DS C A P E AT LOW TIDE .

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Are there any locations in New Zealand that you feel a particular connection to – where you would consider settling down? Some places tick a lot of boxes for me. They are scarce, but they do exist. Places where you can just open the door and an adventurous good vibe awaits you right there. (It seems paradoxical to jump in the car to drive somewhere for half an hour, to be in nature or stroll along a beach for 20 minutes, only to then drive back for another half an hour.) Cape Foulwind on the West Coast is one of those magical places for me. I wake up to the sound of the ocean, and observe seagulls soaring above the cliff. I can still be in bed and watch the flaxes and cabbage trees moving in the wind, see if the waves are whitecapping or not, and watch the clouds so I get a feeling for how strong the wind is without leaving the comfort of my bed. I have the Kawatiri Coastal Trail right in front of my caravan, so I can go for a bike ride during sunrise. Or I walk down the stairs to the picturesque Hole in the Rock Beach and go for a swim, while having the whole beach with its stunning sandstone formations to myself. If the wind comes right, after breakfast I can jump on my bike with my paragliding gear on the back, and cycle ten minutes to the lighthouse where I can launch at a spectacular bay and fly for a couple of hours. This can all be done before lunch, while I haven’t burnt a single drop of diesel and the sun has charged my batteries to 100%. It doesn’t always line up that perfectly, but days like this do indeed exist.

“”

“I wake up to the sound of the ocean, and observe seagulls soaring above the cliff. I can still be in bed and watch the flaxes and cabbage trees moving in the wind, see if the waves are white-capping or not, and watch the clouds so I get a feeling for how strong the wind is without leaving the comfort of my bed.”

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S UNSET AT CAPE FO U LW IND : NO M AT T ER I F IT’S A B E AU T I F U L S U N S E T O R A RAG I N G TH U ND ER STOR M . T HE HO L E IN T HE RO C K B EAC H I S A LWAYS V E RY P I C T U RE S Q U E .

Do you see yourself continuing with this nomadic lifestyle indefinitely, or do you have plans to eventually settle in one place? If so, where would that be and why? I think it is hard to just abruptly end this nomadic lifestyle. Once you realise you can just move your house to a different location for a change of scenery, it is somewhat addictive. Sure, some places don’t have a good vibe and you just go there for practical reasons, but then you have the ability to just move on the next day. When I was younger, it was mostly my jobs that determined where I lived, and once you moved to that mostly unfamiliar place for the job, you tried to get used to it. Well, now I can really cherry-pick and just stay where it feels good. However, sometimes you have a bit of a void inside of you. A longing for a base, for familiarity, for a place where you

don’t have to use your phone to find out where the nearest supermarket is. A place with old friends you can trust. Marlborough is that place for me in New Zealand, that place I always come back to – to catch up with good friends and have fantastic flights along Marlborough’s south coast. I’m currently working on a setup where I can just skip winter and alternate between Europe and New Zealand. I think, ultimately, it would be great to have a proper base here as well as somewhere in Europe. It would provide the desired familiarity in two places – two places I can always come back to while still living the nomadic lifestyle and following the sun. But I’m not talking about a big house. If anything it could be a tiny house, or even a yurt. I became a much happier person after I realised that materialistic things don’t do much for your happiness, at least not in the long run.

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CA PE C AM PBELL

Could you share the details of your current setup in your van? How have you adapted to manage your work and live in such a compact space? My partner and I moved out of a big 3-bedroom house into our caravan. The living space we have now is roughly 12 square meters. Of course, we had plenty of furniture in the house before, decoration on the walls and what not. It was hard in the first place to get rid of things, especially things that you are emotionally attached to – for example, some wooden furniture I made myself. But once you start the process it gets easier and easier. Letting go of materialistic things is one of the most fulfilling things I have done a few times in my life. And then you just hit the road… there is no chance you have forgotten something, because everything you own is in the back. I’m quite handy and have changed a few things in the caravan. There is a permanent bed now, a table with two comfy swivel skipper seats, a full kitchen (four gas hobs, grill, oven, etc), a full bathroom with a separate shower and toilet. It was quite a gamechanger for us when I installed a dedicated drinking water tap with an under-bench filter. We had a 4-metre awning fitted to the caravan to be able to work or just chill outside on sunny days without getting burned. We have a wireless network setup. I have installed a few USB ports to charge things like mobile phones, and a small inverter for our laptops. We don’t have a TV, we rather read books. And if we do

want to watch a movie, well then there’s still our laptops. Every four months or so we make an effort and declutter. People scratch their heads over how we can live with so few things and still regularly throw out some items. But we have everything we could possibly need. The process is easy. Have we used this item in the last 4 months? Yes: keep. No: throw out. It looks like we now actually still have storage room left in the caravan. It might seem like a small confined space, but one thing to keep in mind is: you just open the front door and there you have the biggest living room in the world.

Living in a van and travelling around New Zealand must present unique challenges. How do you protect and store your photography gear to ensure it’s not damaged while you’re on the move? You can easily get carried away with thinking about how to protect your gear. While I’m still careful, I seem to not worry too much about it. Just as with the lifestyle, I’m pretty minimalistic with my gear, but I do recommend investing in insurance that includes accidental damage (for people who own a house, content insurance would most likely cover this). Apart from that, things break and that’s okay. While it is not a nice feeling when it happens, it usually opens a door for something else.

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With the limitation of space, how have you adapted your photo editing process? What kind of portable devices and software do you use to edit your photographs? Big bulky computers are a thing of the past and certainly wouldn’t work for us in the caravan. About half a year ago I bought myself the latest iPad. While it took a bit of getting used to, especially being a Windows-geek my whole life, I love using it for editing. The touch screen combined with the pencil are perfect for editing, especially when using software where you have a masking option. The device itself is super slim and takes up almost no space, which is perfect for our setup.

Looking back, is there anything you wish you’d known before you started this journey? What advice would you give to photographers considering a similar lifestyle? I wish I started the whole journey a bit earlier, but there is also a good chance that I wasn’t ready for it then. A mantra I live by is: trust the process. Even though the stories we tell are mostly the nice and fluffy ones, we all know that sometimes things do go wrong. However, once you start the process pieces seem to always fall into place. Maybe it’s a different place than you imagined, but it’s usually a good place. It is easier if you have a rough idea of what you want to do. Don’t aim for perfect. I see the majority of people hung up on a materialistic lifestyle. House, mortgage, flash ute

in the driveway, you name it. Most of them work really hard in a job they hate. Or maybe it’s just the people at work they don’t get along with. But they stick with their jobs because the money is so good, so they can afford all those luxuries and post photos on social media about their two weeks all-inclusive trip to Fiji. I’m not sure if that makes people truly happy. I do know that it is really hard to break the cycle and not think about what other people think about you – been there, done that. Big changes always feel weird. But sometimes you have to be open, make yourself available for new things, and opportunities will automatically find you. When I tell people about my current lifestyle, I keep hearing, “You’re living the dream.” Well, yes, for one thing it is my dream. But it’s hard work, too. It’s not a holiday. If you’re considering this lifestyle, it would certainly help if you are quite handy and can improvise, accept drawbacks, and have a bit of a backup plan if you’re close to running out of money. It’s not a walk in the park, you have to take a big leap starting this journey. You have to go all-in and stick to your values to do it properly, to find your happiness. Otherwise, it is just short trips over long weekends, to escape from a life you’re not truly committed to. This is me, writing on a plane to Europe, to skip the winter and escape the short days in New Zealand – having booked my ticket only five days ago. Always following the sun, always trusting the process.

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AI and photography Threat or opportunity? THE ARTIFICIAL INTELLIGENCE (AI) REVOLUTION Unless you have been living under a rock, you will have heard about AI and know that it is transforming the way we live and work. AI has been influencing our lives through our interactions with digital businesses (like Google and Meta) for many years. But AI has recently evolved into a tool that many of us can use directly – from generating written content and images to learning languages and preparing legal documents. The impact of AI on our lives is unquestionably vast and unprecedented.

We humans are naturally apprehensive about new technological breakthroughs. Just consider the invention of photography, when many artists initially believed that their craft would become obsolete. Similar concerns were raised when cinema emerged, challenging the relevance of live theatre performances, or when streaming platforms started to compete with traditional television. However, history has shown that different mediums can coexist and even find opportunities for collaboration.

WO R DS A NA LY U B ICH AN D S I MO N H E RT N O N

IS THIS HOW WE IMAGINE T HE F UT U R E O F P HOTO G RA P H Y ?

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HOW DOES AI IMPACT PHOTOGRAPHY AND PHOTOGRAPHERS?

real people who invested time, effort, savings, and passion into their work.

In the case of AI and photography, AI can assist photographers in numerous ways, such as photo culling, editing, and providing inspiration. However, it is crucial to distinguish between AI assistance in editing a photograph, such as object removal or sky replacement, and AI-generated images.

At the very least, Adobe should provide some form of reimbursement to photographers for using their images to train AI. However, it is unlikely that this will be seriously considered. According to a Twitter thread from Adobe, “Adobe’s use of Stock content is covered by our Stock Contributor license agreement. We are developing a compensation model for Stock contributors and will share details once Firefly is out of beta.” How long will it be in beta? What is the model? Have contributors been consulted?

Presently, we think the most significant threat to photographers is not necessarily AI itself, but rather the insidious eroding of photography as a fairly-rewarded artistic and commercial endeavour. While technology has helped talented musicians the world over to earn money from selling songs to the public – and gain valuable exposure to new markets in the process – photographers seldom sell their work, image users seldom pay for photographs, and the identity of the creative behind a photograph (the provenance) is seldom known. In other words, the photography industry as a whole is astonishingly underdeveloped compared to the music industry.

WHAT’S HAPPENING IN THE STOCK IMAGE INDUSTRY? In 2021, we took time to investigate how the stock image industry rewards photographers and we were shocked to learn how little photographers earn from their work. The amounts are tiny – typically a few cents for the use of an image – or non-existent, but it is the percentages (the slice of the pie) that really dismayed us – and fired us up.

According to a report from Stock Performer1, the average revenue per image per month on Adobe Stock since 2022 is less than US$0.04.

The average percentage of image library income shared with photographers is unfair and off-putting – around 2% on average by our calculations. Not surprisingly, the percentage of well-equipped photographers bothering to contribute their images to libraries is also just a few percent. And it’s worth noting this means the pool of photos for image users to choose from is relatively miniscule. Imagine Spotify, but with just 2% of the songs, and most of them identifiable as, say, “elevator music”. Again, this is sign of an immature industry. Since 2021, Adobe has allowed AI-generated images for contribution, and earlier this year, they introduced their own AI-generating tool called Adobe Firefly. According to Adobe, the uniqueness of their Firefly offering lies in its suitability for commercial use, as they train it on photographs contributed to the platform using a “clean dataset”. It’s worth noting that this dataset comprises millions of photographs created by

In summary, our research has led us to conclude that the stock image industry, overall, is profoundly unfair in its treatment of photographers, and profoundly flawed in its service to image users. This conclusion prompted us to design and develop an image library model that serves the ideals of fairness and abundance (quantity and quality), and so the Excio Captivating Photography Library (excio.io) was created. But we will write about the library in a future issue. Right now, as stock image platforms unfairly use AI to compete against their contributing photographers, we believe it is important to raise awareness about how AI is being used across the industry.

WILL AI-GENERATED IMAGES SATISFY THE STOCK IMAGE MARKET? We don’t think so. The Stock Performer report referred to earlier also revealed the sell-through rate for all Adobe Stock files since 2022, which stands at a mere 13%. This means that 87% of all assets on the platform have yet to make a sale. Given the tiny percentage of photographs being submitted to stock image platforms by photographers, you would expect more of them to be used by at least one image user. But why download an image that serves no purpose? Quality matters. As we raised in Issue 1 of this journal through the Excio Captivating Photography Framework, the majority of photos on stock image platforms are nondescript or unappealing. This is not the fault of photographers; rather, it is a consequence of how these libraries were designed and structured to milk an underdeveloped market fuelled by underpaid photographers. The result is an inundation of staged photos that, by default, lack engagement and captivation. In other words, we recognise them as “stock images” and their appeal is as limited as “elevator music”. In today’s busy hyper-stimulated world, where organisations of all types and sizes are vying for audience attention, fresh, authentic, and captivating photographs remain in (very) short supply. And AI can’t resolve this issue because hand-crafted outputs simply connect with us more than machine-produced outputs. Ultimately, as talented, creative photographers, only we possess the skills – and humanity – to meet the demand for captivating photography.

1 https://www.stockperformer.com/blog/is-ai-killing-the-stock-industry-adata-perspective

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DOES THE PROLIFERATION OF AI PRESENT ANY OPPORTUNITIES FOR PHOTOGRAPHERS? While it may appear that the unethical use of AI by stock image platforms is further eroding the earning potential for stock photographers, it also presents certain opportunities. Looking at the bigger picture, out of approximately 300 million images contributed to Adobe Stock overall, around 200 million new images have already been generated by customers using Firefly during its beta phase. It is still early days for AI, and in another year’s time there will likely be millions more AI-generated images on these stock platforms. As a result, most contributors will either have left the platform or switched to contributing AI-generated images given they currently yield higher income. But as a consequence, we predict the the demand for authentic, real-world photography by humans will grow. And to thrive in this environment, photographers need to be prepared. We think it is time to move away from following popular social media trends, to develop a distinctive style, find a niche, and establish a strong online presence so that when your skills are needed, they can be easily found.

WHAT ARE THE AI LESSONS FOR IMAGE USERS? If you find yourself on the other side of the equation, needing images for marketing, sales, education, or any other purpose, would you choose real photographs or AI-generated images? Adobe Stock is introducing Firefly to commercial enterprise customers, assuring them of its safety, and stating that if a customer faces infringement claims, Adobe will assume legal defence responsibilities and provide some monetary coverage for those claims1. 1 https://venturebeat.com/ai/adobe-stock-creators-arent-happy-with-fireflythe-companys-commercially-safe-gen-ai-tool

“ WHAT IF WE C O UL D TAK E R EAL P HOTO S?”

We think the risk in using AI-generated images is much higher and more immediate than just a lawsuit. The first risk is to your brand and your relationships by coming across as cheap, inauthentic, and unethical through your choice of AI-generated “photos”. Increasingly, we see companies and other organisations that prioritise fairness, sustainability, and ethical principles ending their patronage of unethical stock image platforms. Sadly, image users who are aware of the issues we have outlined, but who continue to purchase visual assets from unethical platforms, are perpetuating a complex but real injustice.

AS A PHOTOGRAPHER OR IMAGE USER, WHAT CAN YOU DO? As a photographer, experiment, capture more fresh and authentic photographs, discover your niche, and learn how to stand out. As an image user, start exploring alternative ways to find or create the photographs you need. Consider local image libraries designed to reward photographers fairly. For both, we encourage you to spread awareness by discussing the issues raised in this article with others. Adobe Stock and other stock image platforms that engage in unfair practices fail to realise that humans are their most valuable asset, not AI. He tangata, he tangata, he tangata – It is the people, it is the people, it is the people. Only we can be the actors, the storytellers, and the change-makers; not technology.

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A visual journey Excio Top 10 In this vibrant photo journal section, we proudly present the top 10 featured photos that have captivated our senses. These exceptional snapshots were carefully chosen from the vast collection uploaded by our passionate Excio members to their portfolios, our expansive library, and shared within our thriving Community Hub. Each photograph embodies a unique narrative, a moment frozen in time, encapsulating the diverse perspectives and creative vision of our talented community.

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BY DA MO N M A RS H ALL Lucky timing on the beach at Waihi. Hope those three ladies found their pot of gold!

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BY B R E NT HI G H AM Went on an early morning walk from the golf range and came across this dead tree with the rising sun behind it.

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BY JA N W HYB O U RN E The pasqueflower. When the buds first emerge they are surrounded in a hug by their lacy greyish-green leaves. When the flower finally emerges it is a beautiful shade of purple whose colour varies from cluster to cluster. Some are quite dark, others lighter, but they all have vibrant golden stamens. The stems, leaves, and flowers are all covered in fine silky soft hairs, which makes for great backlighting when photographing them.

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BY LO R RA I NE N EILL Honeybee on exotic plant, covered in pollen.

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BY MI KE MO ORE The quaint main street of Kaysersberg. In 1648, the city became a part of France, although most inhabitants continued to speak German. From 1871 to 1918 and (again from 1940 to 1944) Kaysersberg belonged to Germany. The area around Kaysersberg is one of the finest wine-growing areas in Alsace. The first vines were brought here in the 16th century from Hungary. Wine produced from the pinot gris variety is a local specialty.

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BY A NN KI L PAT RIC K Young man jumping into the harbour on a sunny day in Wellington.

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BY GL E NDA W ILKS Sunset, Pelican Waters Sunshine Coast, QLD, Australia.

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BY TRAC E Y WA LK ER The light shining through a courgette from our garden reveals all the intricate details of the flower.

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BY SA NDY MC C LEARY I’m really enjoying working with layers and seeing what different effects they have on an image.

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BY S O NYA SM A RT Hopeful fisherman on a beach at sunset, with small incoming waves.

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“Big changes always feel weird. But sometimes you have to be open, make yourself available for new things, and opportunities will automatically find you. ” Dan Winner