NZIPP PRO Report - June Issue by NZIPP NZ Institute of Professional Photography

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INSPIRATION

EDUCATION

INFORMATION

CONTACT US NZ Institute of Professional Photography (NZIPP) P.O. Box 133158, Eastridge, Auckland 1146, New Zealand w: www.nzipp.org.nz e: info@nzipp.org.nz f: @NZIPP i: nzipp_national

COVER Craig Turner-Bullock - NZIPP M.Photog. I

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We welcome your feedback and thoughts. If you have any questions or something to say, we’d love to hear from you, send it through to: info@nzipp.org.nz PRO Report is a publication of the NZIPP © NZIPP 2019. All rights reserved.

NZIPP UPDATE

NZIPP President, Ollie Dale, provides insight into whatâ&#x20AC;&#x2122;s happening behind the scenes of NZIPP.

THE RISE OF FURTOGRAPHY

ILFORD EXPOSURE EVENTS

RENDEZVOUS WITH SOFIA

PROJECT 7:30

LIGHTING A FIRE UP YOUR **** 'Tis the month of Iris and all through the house, not a creature is stirring ... Richard Wood narrates his tale of the Iris Awards season.

IN MEMORIAM We pay tribute to three special people, whose lives have touched many in both the NZIPP and wider photographic community.

NZIPP REGIONAL EVENTS Guest presenters, social gatherings and print critique evenings ... a great line up of events happeing in our regions.

A collaborative project lead by Craig Wetjen and Steve Scalone, rasing money for charity - Ronald Macdonald House in Wellington. 44

THE ART OF PERSUASION The language that is used with sales techniques can truly transform your business. Sarahlee shares some of her proven tips and tricks.

Dennis Radermacher takes us hurtling through the stratosphere in a NASA aircraft, a personal project creating lifetime memories. 42

NEWBORN SAFETY Angela Jury gives her take on newborn safety practices, that introduces the NZIPP's new Safety First Newborn Photographer course.

Check out all the exciting public events happening at Ilford Exposure 2019. Join us at Shed 6, Wellington Waterfront from 20-22 June. 24

SUPER BABY TO SUPER KIDS More exciting happenings as Rachel tells us about her latest Super Power Kids project, a follow on from her much loved Super Power Baby Project book.

Investing in education has really paid off for pet photographer Craig TurnerBullock. His story starts here and continues at ExposurePRO 2019. 22

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NZIPP SPONSORS A huge thanks to all of our sponsors who continue to provide such great support to NZIPP, photographers and photography in NZ.

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Ollie Dale M. Photog. II, NZIPP President

Silly Season is upon us! The time when last minute entries for the Nikon Iris Awards keep us up at night, meanwhile all the people working behind the scenes to make ExposurePRO and Iris happen wonder if sleep is just a myth. Another year has flown by – well, 11 months in this case – and we’re soon off to Wellington again! The annual get-together of all things photographic promises to educate and inspire, with “hands-on” being the focus of the weekend. Our forces have been bolstered recently with the addition of Tim Kelly to the Board – and the Board is excited that Tim has accepted the challenge of supporting the NZIPP move forward, especially with his outside-of-the-institute viewpoint and as someone already respected in the wider photographic community. The NZIPP Board has been making steady forward progress, with some very exciting initiatives planned for release at ExposurePRO. While we all try to unravel what the future holds for the industry, I believe we’re well on the way to being the representative body that will strengthen and support the future of professional photographers in New Zealand.

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Come the next AGM, I’m looking forward to the next President stepping up into my role, whoever that is. I’ve added my flavour to the history of the institute, and it’s an honour to be part of the NZIPP. Like a good line break in a game of rugby, though, I need to be able to pass the ball to keep the momentum going, and for that I need a couple of players in support. The institute needs fresh energy and a renewed drive, but as Kiwis we are notorious for believing we’re not worthy (Wayne's World reference). This means, if you have ideas or a passion for the NZIPP and photographic industry in general, but think you’re not worthy, then you’re perfect for the role! It’s your time! See you in Wellington – come and give us a hug, we’ll need it!

be part of setting industry standards!

new zealand institute of professional photography w. e. f. i.

www.nzipp.org.nz info@nzipp.org.nz @NZIPP nzipp_national

join today!

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THE RISE OF FURTOGRAPHY Text and images by Craig Turner-Bullock NZIPP M.Photog. I

I’ve been photographing people’s pets for a long time now, almost 18 years. So much has happened over that time, including: moving to New Zealand from the tiny Island of Guernsey; publishing three bestselling books and winning Portrait Open Photographer of the Year at the 2018 Iris Awards. But one single thing changed the trajectory of my business more than any other, so before I head to Wellington to share all things dog photography related at ExposurePRO, I thought I’d give you all a bit of background into what that was and how it is having an impact on my business every single day.

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SPOLIER ALERT It’s a very simple answer really - education! Investing in my own personal and creative development as well as in my business skills. Yes, that includes all the less fun stuff like marketing and business management, when I’d much prefer to be out rolling around on the beach with a bunch of furry, fourlegged companions joining in my adventure. In 2016 I had just come out of hospital from a surgery to remove a blockage in one of my kidney’s. I’d had a fair bit of time off work, and I was feeling pretty down about things. Despite the fact I’d been running a reasonably successful photography business for many years, both in Guernsey and here in New Zealand, I never had the confidence to make it my full time job, and I’d never invested in proper education. During the process of diagnosing what was wrong, I found out about a workshop, an “out of this world pet photography retreat”. It just happened to be hosted by three of my pet photography heroes, Charlotte Reeves, Kaylee Greer and Nicole Begley. It sounded incredible and I knew I had to go. The catch being that it was in Spain.

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Barkelona, as it was called, was a huge risk, but I knew I had to take it. So with the support of my husband Chris, we put all our savings into me attending. Knowing it had the potential to take my career to the next level and give me back some of the confidence I had lost through some difficulties I was going through at the time, including being ill. Getting there wasn’t easy. While I had my place on the workshop confirmed, I then had complications after my surgery, got an infection while I was in hospital, and two days before I was due to fly out, I was desperately trying to get the all clear to go and have a catheter removed so I could travel more comfortably. Thankfully, it all worked out and I made it to Spain. What I came away with from Barkelona changed every aspect of my life forever. I’d spent a week with instructors who gave me everything I needed (and

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more) to return home, quit my day job and focus all of my energy on Furtography, and I did this almost immediately. I met a group of people who have become some of my closest friends and support network, people who ‘get’ me and my crazy passion for photographing dogs. Who, since that first workshop, I’ve seen many more times and also travelled the world with. Barkelona wasn’t the only workshop with Charlotte, Nicole and Kaylee, I attended. The following year I also went to Barkarica (Costa Rica) and the Barkjour (France). Each time I came away with new friendships and knowledge. The investment is hefty, it’s scary to spend large sums of money on a chance. But for me, so far, it has been incredibly worthwhile, growing my business with the

"The investment is hefty, ... but so far, it has been incredibly worthwhile, growing my business with the new found skills, knowledge and tools ..."

new found skills, knowledge and tools to recover the cost of attending within a few months. I can’t tell you how much value we, as professionals, should place on education, the opportunities you can get from working on your craft and your business and refining your skills. If you don’t already budget for education/workshops in your business, please do it! Find a workshop that speaks to you and what you do, look at what you can expect as a return on your investment and get yourself to it, I promise you won’t regret it. 2018 was a really fantastic year for Furtography, and I spent much of it talking about the possibility of teaching dog photography again. I’ve taught before, but not since the start of 2016. It’s funny putting a thought out into the universe, because when you do, things start happening to make those thoughts reality. In late 2018, the Barka ladies told me the fourth workshop was in the planning stage and it was coming

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to New Zealand! To say I was excited that they were coming to my home country is an understatement, I was literally jumping for joy. Then I was asked a question I never thought I’d be asked; Could I actually help with it this time? OH. MY. GOD! Three people I hugely respect, well four if you include Sam, the other half of Dog Breath Photography, who is always at hand with amazing advice at the Barkas, asked me to be an honourary Barka team member! And here in my favourite place, Queenstown! I was going to help teach at the photo shoots and organise finding all our canine models, almost 100 dogs over 2 weeks. Last November, I joined Charlotte for a five-day location scouting mission in the Queenstown Lakes area, which was an adventure almost as epic as the workshop itself.

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Barkzealand was everything I hoped it would be and more. The locations, the dogs, the people, the food, THE FOOD! We crammed as many dogs in as many locations as we could. And if teaching two five-day dog photography workshops back to back wasn’t enough, our passion for what we do is so insatiable that we found dogs and locations to work with on the days before, between and after the workshops! It was incredible. The icing on the cake, literally, was my 40th birthday which fell during the first week. We even celebrated with a video of dogs barking the tune of "Happy Birthday" before classes started one morning. Some other exciting opportunities have come my way for teaching too, some I can’t talk about yet, but what I can finally say is that I’m launching some exciting education resources for pet photography very soon.

the pro photographer event of the year

sunDAY 23 - Monday 24 june 2019 shed 6, wellington waterfront

Brooke Shaden Fine Art Photographer

Courtney Holmes Family Photographer & Videographer

Michael Clark Adventure Sports & Commercial Photxographer

Craig Parry Ocean & Nature Fine Art Photographer

Lauren Bath Travel Photographer & Professional Instagrammer

Craig Turner-Bullock Pet Portrait Photographer

Eric Ronald Wedding Photographer

click here LAST CHANCE TO GET YOUR TICKET BROUGHT TO YOU BY THE PRO REPORT NZIPP MAGA ZINE |

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This brings me to talk about ExposurePRO. I’m so excited to have been invited as a guest speaker this year and to share some of the things I’ve learnt over the last 18 years. I hope that those attending will get a lot from my presentations, regardless of whether or not you are a dog person. My first presentation, “The Art and Science of Photographing Dogs” will of course be focused on all things canine. I’ll be going into detail on how to work with dogs and get the best out of them, how to incorporate them into family photo shoots and I’ll be giving one or two tips on working with other pets. In my second presentation, called “If in Doubt Apply More Glitter: Creating a Fabulous Client Experience”, I'll be talking about how to get started in in-person-sales. How I plan my sessions to get every client to my $3k average sale. Paying attention to little details in your client experience and as much more as I can squeeze in! See you in Wellington and if I seem a little more subdued than usual, it’s probably nerves, so come and say hello and help me shake them off!

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public events for all photograpy enthusiasts

THURSDAY 20 - saturday 22 june 2019 join us at wellington's waterfront

S IRI AWARDS LIVE PRINT JUDGING

Thursday 20 - Saturday 22 June 8.30am - 6.30pm daily

IRIS AWARDS EXHIBITION Thursday 20 - Sunday 23 June 9.00am - 6.00pm daily

FREE ENTRY

Friday 21 June 4.30pm - 7.00pm

Saturday 22 June 9.00am - 4.00pm

FREE ENTRY

academy Galleries, wellington waterfront

Shed 6, wellington waterfront

PRINT GALLERY

PROJECT STREET 7:30

Prints from NZIPP Accredited Professional Photographers on display and for purchase.

Street photography & silent auction, proceeds to Wellington's Ronald MacDonald House.

FREE ENTRY

TICKETS $125

Saturday 22 - Monday 24 June 9.00am - 4.00pm daily (closes 3.00pm Monday)

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TRADE DISPLAY & DEMONSTRATIONS

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Saturday 22 June 7.30am - 5.00pm

CHARITY PHOTO COLLABORATION

shed 6 ENTRANCE, wellington waterfront

CRAIG TURNER BULLOCK Saturday 22 June 10.00am - 11.00am

LIVE DEMONSTRATION

MICHAEL CLARK Saturday 22 June 10.30am - 11.30am

SKATE PARK PHOTO WALK

Watch and learn as Craig works his magic in a live Pet Portrait shoot

Michael take you through freezing and blurring motion in a hands on photo shoot.

FREE ENTRY

TICKETS $20

offsite, wellington waterfront

shed 6, wellington waterfront

FILM MAKER PATRICK BRONTE

BRIAN SCADDEN

PRESENTATION

TIN TYPE PORTRAITS

Saturday 22 June 11.00am - 12.00pm

Saturday 22 June 9.30pm - 4.00pm

Veteran New Zealander's stories and experiences in war & conflict.

Have your very own tin type portrait taken, bookings required - opening June.

FREE ENTRY

$TBA

main stage - shed 6, wellington waterfront

outside Shed 6, wellington waterfront

ANN WORTHY-STEPHENSON

FOR ALL EVENTS & TICKETS

Saturday 22 June 3.30pm - 4.00pm

CHRISTMAS WISH HEART PROJECT

A photography project that brings magic and joy to children in hospital at Christmas time.

FREE ENTRY

click here NZIPP FACEBOOK PAGE

exposure 2019 events

main stage - shed 6, wellington waterfront PRO REPORT NZIPP MAGA ZINE |

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RENDEZVOUS WITH SOFIA Text and images by Dennis Radermacher

The simple act of asking for what you want can lead to interesting places! As I was hurtling through the stratosphere in a NASA aircraft, I still couldn't believe the series of events that has led me there. I was aboard the world's largest flying telescope halfway to Antarctica, and somehow no one had caught onto the fact that I had no clue what I was doing. That, funnily enough, had been the prevalent theme in my life recently. After moving to New Zealand from Germany in 2010, I decided to abandon ship once more. My career in something-with-computers had provided a safe harbour for 15 years, but the time had come to bail out. Like so many, I decided to drop the hammer and pick up a camera.

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The early days of my business were scary and full of doubt, but a healthy mix of business and creative skills, combined with a love for subject matters that don't fight back, allowed me to quickly build a client base in architecture. Fast forward a few years, and my idea of recreation was to leave the camera at home. I grudgingly had to admit that my passion for photography was starting to show its first cracks. However, a wise man once pointed out that professional photographers have to keep their creative juices flowing through the art of the personal project, and I had been on the lookout for one when I attended an event hosted by the Canterbury Astronomical Society in 2017. On stage, people in beige flight suits were talking about a NASA project called "SOFIA". Say no more, I thought, you had me at NASA. The Stratospheric Observatory for Infrared Astonomy (SOFIA) is a 2.5m infrared telescope aboard a Boeing 747SP Jumbo Jet. Think of the Earth's atmosphere as an ocean of water vapour that interferes with ground-based observations of the stars. To avoid these molecules, SOFIA soars far above commercial airliners at altitudes of up to 12 kilometers. It's modular science equipment makes SOFIA far more flexible than a satellite, while operating at a fraction of the cost. The science team usually flies out of California, but conditions become unfavourable during the northern summer months, so, every July and August, SOFIA relocates to New Zealand, where nights are long and skies are clear. Back home from the event, I did some research and learned two things: SOFIA had received a lot of journalistic attentionn, but the photography had never been quite up to the high standards set by the accopanying articles. Just like that, the idea for a photo essay about SOFIA was born. As a first step, I contacted the programs communications team and was surprised when they

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were interested in my pitch. Their only condition was an endorsement by a major national publication. Well it took some convincing, but I managed to armwrestle the photo editor of a big nature and science magazine into putting his name behind my project. Did I mention that I have no background in journalism at all? I can only assume it was my enthusiasm for the project that convinced the poor man to support me. At the very least he got me off his back by endorsing the project. For the next nine months nothing much happened. Preparations only began in earnest a few weeks before SOFIA's arrival in Christchurch in July 2018. I had to agree to a security screening - I pictured the NSA and CIA talking to my primary school teacher and reading my Facebook posts - and provide information about my medical history. When I was finally deemed neither a risk to myself nor others, I started getting a teeny bit nervous. It was one of many "Oh my God, this is really happening" moments I would have in the weeks that followed.

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During the weeks leading up to the project, I did my best to learn as much about SOFIA and photojournalism as I could cram into my brain. Then one fine day in July, I stood at a nondescript gate of the US Antarctic Program (USAP and SOFIA are flatmates), red visitor badge strapped to my chest, wondering what I had gotten myself into. Introductions with the media team were made in a windowless USAP office. We had a general chat about my vision for the project and what access to people and equipment would be required. As a point of differentiation to existing articles, I wanted to shift some of the focus from science and machinery to show the people who are not usually in the spotlight. Eventually, the story took on a shape of its own, but it helped having a plan of action that I could present in a cohesive manner to start with. I owe a great deal of gratitude to the media team for giving me almost unrestricted access and for keeping me from being sucked into an engine intake.

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Over the weeks that followed, I talked to mission planners, joined the press for a tour of the plane, shadowed maintenance crews as they went about their daily business, badgered scientists, and met one of the NASA bigwigs in charge of the James Webb Space Telescope. I lowered the average IQ in the room on many occasions.

the competing interests of photography, practicalities of the flight, and my own fascination with the subject matter. I grew up a space nerd and was under no illusion that this would probably be the closest I would ever get to space exploration. At times, I had to remind myself to record rather than just experience. Capturing the aurora is a good example of this conflict.

In the end, and despite my best efforts, it was hard to draw attention away from the main event. Flying on SOFIA was unlike anything I had ever experienced. Preparations started with aforementioned security and health clearance. On the day of the flight, I received instructions on donning various safety equipment in case of fire or a water landing. The safety briefing was a sobering reminder that I would be a long way from home. It was followed by a mission briefing to the entire crew for that night.

It is hard to overstate just how magical a moment it was when we approached a shimmer on the horizon. When we entered the thin, grey band of luminescence, it resolved into waves of bright green light that seemingly hung from space like curtains flapping in a breeze. Looking out both windows, I could see it stretch from one horizon to the other, gently following the curvature of the Earth. Even weathered flight veterans of many decades were taking the phenomenon in with the excitement of children. A pilot in his 60s later told me he had not seen an aurora that bright more than onece or twice in his entire career.

Between the enormous proportions of the aircraft, its rustic interior and our otherworldly destination, its visual impact dominated above all else that I had set out to capture. Drawing some of the attention back to the people was not always easy. Another challenge were

It was a moment that will stay with me my entire life. Even writing about it now stirs something deep inside my chest. I would have loved nothing more than to

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relish the moment. After all, taking photographs was my entire reason for being there. The technical challenges of my assignment were more easily overcome. I shot the entire project on Fujifilm X-System cameras and assorted lenses. Most daytime photography was captured on an X-T2 and an XF1655/2.8 zoom lens, since it allowed me the greatest flexibility. Aboard SOFIA I switched to fast primes for their light gathering capability. Light conditions on the aircraft were about equal to a candle-lit dinner, so I had to max out my ISO despite the F1.x apertures I was shooting at. Most images of SOFIS+A's dark insides were taken with an X-H1 body and an XF16/1.4 lens. The XH-1 was particularly handy due to its in-body image stabilisation that helped compensate for the aircraft's gentle rocking. I also carried an X100F in my pocket, which was incredibly handy for quick snaps and interview

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situations. While tripods were allowed under certain conditions, I only took a handful of shots using a compact Novoflex Triobal tripod. Most moments were just too fleeting for setting up a tripod against a cabin wall, cover the window around it with black cloth to keep out reflections, and expose for one or two seconds. The plane was simply vibrating too much and moving too fast to allow for longer exposures. Due to exclusive publication rights, and further delays caused by the US government shutdown late last year, it was early 2019 before I could finally publish the full photo essay on my website. I was very happy with the essay, but it did not feel right to let my piles of notes go to waste. The resulting three-part blog series became a detailed written account of my stratospheric adventures. Now, a year later, the question is where next to take my personal projects. I have a few ideas at the back of my mind that I will start researching once the commercial season finally slows down over winter.

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As a next step, I would love to take my passion for architecture and outdoor adveture photography to the big, white continent just south of us. I have already figured out that access will not be anywhere near as easy as getting on board SOFIA, but what is life without a good challenge? Let me finish by asking for your help! If you know how a winterproof photographer can hitch a ride to Antarctica, flick me a message to: dennis@lightforge.co.nz

You can follow Dennis through his website at: www.lightforge.co.nz Or on social media via: @lightforge.

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! g n i g d u j e v i l e h t h wat c o t n e p o s ' ps. i t t h e p u bl i c

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S IRI AWARDS

Live print judging - FREE ENTRY THURSDAY 20 - SATURDAY 22 June 2019 ACADEMY GALLERIES, Queens Wharf, WELLINGTON

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a charity event proceeds going to ronaD macdonald house, wellington This June will see Australian photographers Craig Wetjen and Steve Scalone teaming up with 30 New Zealand photographers and photography enthusiasts to be part of a special collaboration. A fun and challenging day shooting the streets of Wellington, editing and printing images that will then be displayed in the Shed 6 Arcade for a silent auction. All in one day! AND ALL FOR CHARITY! In 2018, Project 7:30 raised over $23,500 for charity in Melbourne, Perth and Adelaide. Whether it's photographing or buying a print we'd love you to be part of this fantastic project that connects photography with the local community.

SATURDAY 22 JUNE 7.30am - photographers will start the day spending a few hours in the Wellington CBD concentrating on what they love to photograph within the city. 10.30am (approx) - they will head back to Shed 6 on the Wellington Waterfront where they will edit, print and prepare an image for the exhibition. The cost of paper and printing is included in the ticket price. 5.00pm - a silent auction of the A2 prints from images created during the day will commence. MONDAY 24 JUNE 3.00pm - silent auction closes. Follow the NZIPP website and NZIPP Facebook page for more details.

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LIGHTING A FIRE UP YOUR **** Text and images by Richard Wood, NZIPP G.M.Photog. I

'Tis the month of Iris and all through the house, not a creature is stirring â&#x20AC;Ś not even a mouse. This is because it's ****** midnight and everyone else is asleep. And that mouse has actually been awake in my head for hours riding on the back of a cat, until it disembarked at the docks and boarded a big ship via the ropes. Damn thing found a clock, and now I have that nursery rhyme ringing in my brain over and over!

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Once I’ve finished this draft I’m writing right now I’ll pop my headphones on and walk the street where it’s dark and just me. It becomes my own world then. My music will encourage me to think. It’s just what it does. And who knows, this year you may just see this mouse looking back at us after the panel chair announces “Next print please”. That’s if it hasn’t gone on to become a rat, a cat, a cow or a rhinoceros.

I’ve been entering the Iris Awards since 2009, and we have a ‘love hate’ relationship. I’m often so overwhelmed with work already at this time of year, yet I desire the need to create a set of “My Best Work” to impress the judges. My stress levels are at their highest. My nights are at their latest. My lawns are at their longest. I hear “You’ve done pretty well Richard, why don’t you give it a break”. I hear “Is it worth it in the end?”. God I go mad. Every year…. Crazy. I hate these damn awards! The ‘little me’ sitting on my left shoulder yells things like; “It’s too hard”…. “What’s the point”…. “You’ve got enough”…. “You don’t need any awards”…..“judges aren’t clients”…..

Then the ‘other little me’ on my other shoulder blatantly points out the facts. As creatives we can fall short through emotions and we lay down for our feelings. It’s what we do. This is a time I turn to what is fact. These are MY facts but I’m sure many of us share them.

1. IMPROVED THINKING The Iris Awards lets your mind/brain step outside of what’s every day. The awards encourage you to be innovative and original in your work. This is called thinking outside of the box. Whether it be a piece of work we’ve created FOR the awards…. Or a piece

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of work we’ve created and are looking back on and thinking it should be an entry. We’ve appreciated the difference and magic of that one photograph. Doing this installs the reward for innovation in ourselves. Why is this a great thing? Firstly because when we are innovating, we are growing. A species that never innovates cannot go through evolution. Secondly, whilst innovation is often immediately translated as insanity … it’s actually ‘bringing’ sanity to our day to day work which at times I feel is what actually creates any insanity.

"The Iris Awards lets your mind/brain step outside of what's every day."

2. IMPROVED PERSONAL STANDARD We create or choose work for the awards that we believe for us is ‘great’. Often in our day to day work we can get tied up producing work that we just smile at and think ‘that’s nice, well done” and we pass on to the client. For awards… our own ‘nice’ is not enough. We are striving towards bronzes, silvers and golds. We are looking for ‘greatness’ in our own work. Exercising the mind in trying to produce GREAT work will only do one thing. It will push you further into greatness in your

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abilities as a photographer. Even if it’s only once a year, let’s practice producing ‘greatness’ rather than ‘good enough’ at whatever level we are at.

As an Iris Award entrant you’ll find yourself constantly asking….. “How can I do this”, “How can I do this better”. You will seek out new techniques and methods. You will learn new things and ways. Your tool belt will become larger.

3. COMPLETION Deadlines! How often have we had an idea in our head and never gotten around to creating it or making it happen. There’s always something else taking priority. “The house needs painting”, “I have to finish the new website", “ I need to finish that marketing campaign”. A cool photographic idea is often down the list. When you make the conscious decision to enter the Iris Awards, you’ve set yourself a deadline. And the more time, energy and sometimes money you invest into creating something for that reason, the more important completing that task is. I would love to create new images at high speed throughout the year. But I still find that it's the committing to the Iris awards that fast forwards my production at light speeds. It pushes me to create images I’m proud of. Images I love. And most of these would not otherwise exist if I wasn’t entering the awards, and that comes down to making the choice, and decision, to enter. The world gets to share in my visions rather than them being a fleeting thought in my own mind until the day I leave this earth.

4. IMPROVED CRAFT The Iris Awards will also improve your craft at light speed. Especially if you attend print judging. Often

" ... if your clients love your work, hey, maybe the judges will too ... if they point out any areas that need improving, then fantastic, you've just grown in your craft."

even if you receive an elusive Gold Award, it can be likely that you’ve had at least one judge sitting there tearing it apart first, pointing out the image's ‘weaknesses’. The Iris Awards is a time to be critiqued. Now this may not suit all personalities. It can strike crushing anxiety into many. I often hear “I don’t need a bunch of ‘so-calleds’ to tell me how good or bad I am, my clients love my work!” I feel this is either out of fear, they’re completely missing the point, or, their passion for business well outweighs their passion for photography. Now if your clients love your work, hey, maybe the judges will too. And if they point out any areas that need improving, then fantastic, you’ve just grown in your craft. You’ve become better in what you’ve chosen to dedicate yourself to.

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Now the following might seem a bit on the nose but it’s only an example and I’m big enough to stand by my example. The clients of Mr Whippy think that stuff is the best thing in the world. Kids run out from their driveways screaming for the stuff. A Mr Whippy ‘TRUCK DRIVER/OWNER’ will see no need for improvement. However a DESSERT CHEF with a love for ice cream and their craft may seek innovation and development, for at the end of the day… icecream is what they love. We need to decide how much of us is the truck driver and how much the ice cream connoisseur. If you still have a heart felt passion for photography, then have your errors or your weaknesses pointed out to you! They will strike a chord with you and you WILL remember! You will remember critiques from your entries years down the track. Trust me. This is growth!

studio a few weeks ago. We were discussing the big eyed, caricature/bobble head effect that’s been seen around. I said “2011! ... Death by Photoshop." Sue laughed and said, “That’s hilarious you remember that... but I know you'd do it beautifully now”.

Also remember, that the judges are passionate about it too and many of them will remember critiques they have given years later. This very thing happened when I sat with Sue Bryce and her staff at lunch in her L.A

It’s a never ending journey. The Nikon Iris Awards will light a fire behind your a*** and get you moving. The deadline is like the added petrol. It hurts. But it’s all worth it. You need to decide whether you are happy

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Both the entrant and the judge remember! In the days that passed when I arrived home in New Zealand I took it upon myself to try again what I had done in 2011 - guess what, I’d improved!

In a nutshell, the Nikon Iris awards will push you. It will push you to see and learn new ways, to experiment, think differently, think harder, and it will push you to SEE clearer whilst your understanding of the craft grows.

MIRRORLESS

R E T H I N K S P E E D, P R E C I S I O N A N D C O N T R O L W I T H T H E N E W E O S R S Y S T E M .

Learn more at canon.co.nz/rethink

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having your work sit as it is. Or whether you want it to evolve with the rest of the industry. And trust me, the industry is moving fast! My advice is don’t sit still. That’s how fossils are created.

Not welcoming critique from educated industry peers is somewhat arrogant and as a result can lead to ignorance in our own craft. This is called sabotaging yourself and your craft.

Without critique from our peers, we can only understand what WE know. We can only receive critique from ourselves and of course our friends and Mothers who all think we are awesome.

My own introduction to the Iris Awards was a humbling one. However I’m thankful, for if it wasn't for the awards I may still be running horizons through the faces of brides. In fact, I dedicate almost all of my

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progress as a photographer, my skill, my craft, my insight, my understanding, the direction of my career, my growth and the incredible and wonderful people I’ve met along the way to the awards system.

You can check Richard out at the following:

The growth the Iris Awards has pushed me through is not just reflected in print entries but through my every day work. I wouldn’t be half the photographer today without them.

Richard’s creative mentoring and class support group can be found on Facebook ‘Richard Wood Creative Fine Art Portrait.’

Educator and Mentor www.creativeportraitseries.com Richard works as both a photographer and educator/ mentor through The Portrait Masters system. www. theportraitmasters.com

Instagram - @richardwoodphotography

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S IRI AWARDS bo o k

c o mme rc i a l

d o c u me nt ary

c reat i ve

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i l l us t rat i v e

nat ure

po rt rai t o pe n

w e dd i n g i n-c a m e r a art i st ry

po rt rai t i n-c a m e r a art i st ry

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key DATES Online entry registrations close - FRIDAY 07 June 2019

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w e dd i n g o pe n

Print/book delivery deadline - MONDAY 17 june 2019 LIVE JUDGING - THURSDAY 20 - SATURDAY 22 JUNE 2019

f l e s r u o y challenge t oday! ONLINE entrY REGISTRATIONS CLOSe Friday 7 June FOR THE 2019 nikon iris awards ENTER NOW * click the button

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SUPER BABY TO SUPER KIDS Text and images by Rachel Callander, M.NZIPP

Rachel Callander is a familiar face within the New Zealand Institute of Professional Photography. Her journey, through creating the Super Power Baby Project book has amassed her a large following and inspired many. This is her continuing story... It is incredible to see how far the Super Power Baby Project book has traveled since launching it among those of you who were present at Infocus Rotorua in 2014. It has quite simply hijacked my entire career.

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Because of the Super Power Baby Project book, I find myself no longer a wedding photographer, no longer in the business of photography at all technically. But I am using photography to change hearts, to inform culture of the need to shift further towards tolerance and acceptance of difference and disability. My full-time work now, involves speaking to health professionals across the broad spectrum of the health system, all over the world, encouraging them and giving them tools to consider their words, attitudes and judgements towards disability and difference. I am not a health professional, yet I have been invited into their space to share my perspectives. This is the power of photography and of the artist. It breaks down barriers because it speaks a universal language. It speaks to the heart and head all at once and cuts through with dignity and elegance. I now live in Perth, Western Australia and have been asked to create a version of the Super Power Baby

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Project for Western Australiaâ&#x20AC;&#x2122;s largest Disability Support Services provider. My gorgeous partner Nathan (who some of you have met and will meet in June at the ExposurePRO conference) and I have just finished interviewing and photographing 33 children and families for Super Power Kids, a follow on book which launches here in Perth on the 4th October 2019. This exceptional book celebrates the lives and abilities of children in New Zealand with chromosomal or genetic conditions and was inspired by my late daughter, Evie, who was born with a very rare condition herself. In the two and a half years of Evie's life, I learnt a lot about the use of the language of disability in the community, schools and health system and have spent the subsequent years following Evie's death, continuing to explore the impact and implications of how language is used by health professionals, teachers, family and community - to positive and negative effect.

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"This is the power of photography and of the artist. It breaks down barriers because it speaks a universal language."

This new book, Super Power Kids, is also Evie's legacy, and teaches us a lot about ourselves, and how we negotiate conflict, grief, hope, uniqueness, celebration, and a meaningful life. Along with Nathan, I'm extremely excited to be making a similar book that focuses on children and families in culturally diverse Western Australia. Wrapped around this launch is also a photographic exhibition, festival and campaign focusing on strengths and abilities of everyone in the community. We’re hearing things from parents that has the power to change the world, and paired with the images of their children, who shine out of every page with so much life and joy, it makes for a pretty amazing read. Things like, “the most traumatic event that’s ever occurred in my life has given me the greatest sense of purpose”, and, “horrible things happen to ordinary people and they deal with it in extraordinary ways”. Our book’s ultimate message is that everybody has value. The photographs are the gateway to this message being absorbed and believed.

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RESOLUTION | MASTERED The 42.4MP back-illuminated CMOS sensor with the latest generation image processor captures the finest details, in 10fps high-speed continuous shooting with accurate AF tracking. The real potential of full-frame is now unleashed.

join today!

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N Z I C C R E D I P R O G R

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Accreditation Coordinators Shar Devine F.NZIPP, Ann Worthy-Stephenson, Craig Turner- Bullock NZIPP Accredited Professional Photographers

The New Zealand Institute of Professional Photography has always been committed to and passionate about setting and encouraging minimum standards within the photographic profession of New Zealand. As such, it runs the NZIPP Accreditation Programme that recognises best professional practice in both business and photographic standards. This programme offers members the opportunity to be supported in their growth and development towards meeting set standards and becoming an NZIPP Accredited Professional Photographer. In todays market, we feel it is even more important for photographers to become accredited, as this recognition reflects an achieved level of business and photographic practice within the profession. Continued membership with NZIPP also helps support the maintenance of these levels, through professional development opportunities such as regional events, the annual Iris Awards, and the national conference.

"The strongest path to assured success is together!"

2019 ACCREDITATION ROUNDS February 2019 May 2019 August 2019 November 2019

For information or questions please email: nzipp.accreditation@gmail.com

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new zealand institute of professional photography w. e. f. i.

www.nzipp.org.nz info@nzipp.org.nz @NZIPP nzipp_national

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NEWBORN SAFETY Text and images by Angela Jury

As a professional organisation the NZIPP values and places safety as an imperative skill in the photographing of newborn babies. I'm therefore very excited that they are about to release a comprehensive safety training and certification process for professional photographers. It is an honour to be entrusted by parents to photograph and handle, with care, their little miracle within those very first days. It is our responsibility to ensure we provide a safe, welcoming and nurturing environment, that engages parents in a respectful and treasured experience that they will fondly remember.

Right top: The straight out of camera image shows the bean bag supporting the baby underneath. Right bottom: Post-production magic gives the illusion the baby is hanging in it's cocoon wrap.

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Left: Supporting the baby while photographing is key to the baby's safety. The process requires taking multiple shots that are later blended during post-production to remove hands. Above: The final result.

Obtaining the newborn safety certification will give you a distinction to your business practice, establishing you as a quality professional providing an exemplary service. The new programme has been developed by experienced newborn photographers to meet the current market. Completing the course is aimed at enabling you to confidently work with the vast range of newborn posing options and diverse range of props with skill and confidence. Through undertaking the course, you will gain skills to not only enhance your posing workflow but place safety and the wellbeing of your clients as your fundamental objective. This will subsequently enable you to enhance your creative concepts and vision for your photography session with the confidence of working safely and with confidence as a certified newborn photographer.

Training areas in the course include, but are not limited to: studio cleanliness and equipment safety; hygiene practices; newborn handling and safety posing; adequate studio temperature control and circulatio; prop safety and correct usage; safety incorporating family members, including young children and pets; and, accommodating the wellbeing of new mothers and family members. The safety of the baby is always the most important primary aspect of your session. This resource, being released very soon, will provide you with a tool kit, enabling you, as a photographer of newborn babies, to meet (exceed) the standards and requirements of client expectations and the creative flow of the photography session with professionalism, keeping babies safety and wellbeing as the primary concern.

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Above: Supporting the baby while photographing to protect baby from potential injury. Above: The final result, after post-production techniques to remove the hand.

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! t s r i f y t e f a s n r o b new safety first newborn photographer certificate Course content has been created and finalised Course Terms & Conditions have been signed off by the NZIPP Lawyer The Safety First Newborn Photographer Certificate requires the submission of information on Newborn Photography safety practices. Those who complete and pass the course will receive a certificate and logo for use in their business. NZIPP Accredited Professional Photographers who successfully complete the course will be listed on the NZIPP website. A bi-annual revalidation course will be required to retain the right to promote yourself as a Safety First Newborn Photographer, use the logo, and have a place on the website listing. Course Cost Free for NZIPP Accredited Photographers $55 for Provisional, Affiliate and Student members $195 for non members

registrations open 1 july 2019 *Terms & Conditions apply

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SELLING - THE ART OF PERSUASION Text and images by Sarahlee Cobb

I’m Sarahlee; owner, photographer & recovering awkward person at Sarahlee Studio. I wanted to write an article on sales as it’s a large and often neglected side of business, however, focusing on it has helped me grow my turn-over an average of 200% p.a. for the last three years. Whether you are fifty years ahead or five years behind me, I hope the tips shared here help you feel more confident selling your craft, and enable you to earn the numbers you deserve.

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Have you ever sat back and thought about the language that you use and how to say the words you choose? Do you realise how much of an impact this may have on how many photographs someone might choose to buy? If you think of it like helping your new best friend to decide what they want and then giving it to them it becomes so much easier to get the results you want and convince them that it was their idea all along. Let’s simplify things, and take the intimidation out of sales. Because being good at sales is vital to the success of your business, the sustainability of your craft and paying yourself well. 1. Have a plan...(scripts & pitches) Just like having a plan about what you want to shoot before you start, a plan equals an easier and higher quality result. Planning what you are going to say, before you’re in a position where you have to say it, means that you’re going be more confident in what you say, your client will have more confidence in you, and the overall result will be that much more professional. Scripts are literally a default set of sentences that you can fall back on when your brain goes blank and you don’t know what to say. And a pitch is the collection of these planned sentences.

2. Set expectations… Just like it gives you security to know what to say, sharing an overview of what’s to come gives your client security in knowing what to expect. This gives you the great opportunity to replace any preconceived ideas your clients may have by telling them how you do things. But don’t over whelm them, the next step in the process should be detailed, the step after that should just be an outline. This is really important

when you want them to hand over their credit card. You don’t want it to a surprise when it comes for them to pay.

3. Adjectives… Let’s think about how you describe your service and products. Do you use words like ‘archival’ and expect people to know what it means? We need to describe to them in everyday words so a person understands the value of what we (as photographers) sell. Words like, “museum quality”, “guaranteed to last 75+ years”, “heirloom quality”, “pass on for generations”, “hand made”. Instead of the word ‘posing’, which can trigger a response of apprehension, why not elaborate and say, “I will direct you how to sit, stand and smile.” Write down a list of adjectives, words that describe what you do in a way that eludes to high quality and high service. Words you can then include in your scripts and increase the value of what you do in your clients mind.

4. Body Language… When you talk about what you do, what is your body language saying? Do you light up with wide eyes and a big smile, breathing deep and talking slightly fast? Do you mimic back to them their own body language to show that you’re emotionally invested in talking to them? As photographers we study, coach and understand body language more than most, focus on using your own body-language to get your client excited about working with you and buying from you. They will literally mirror the emotions you show to them.

5. Leading Questions… Leading questions are questions that will give you the answer you want, and they can also help build

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excitement and emotional investment, reducing the chance of cancellation/postponement. Instead of “what size?” Try “do you want a collection for the wall or something smaller for the coffee table?” The clients will picture the finished product in their own home and see themselves already having it, and by using the word "collection" they will envision buying multiple photos not just one.

6. Personal Values/Pain Points… You can also use leading questions to make the clients feel extra special. Instead of “why did you want to do a shoot?”, ask them, “what inspired you to do a photo shoot now?” This will tell you what they value in the service you’re providing; it’s something that you can remind them of later and use at their sales appointment. For example, if the session was because the family was together for the first time in x years, remind

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them that they miss each other when they’re apart, that they don’t get to see each other often, that this is a rare opportunity, how great their decision was to do it now. Bring this up at the sales appointment so they want to take home as many photos as possible.

7. Make them feel safe to say no… Always give your client the feeling of security that they can turn around, say no and you’re okay with it. Utilise words like “if”. This will give them the opportunity to feel like they can still say no, when really you’re making them believe that it’s already planned out and going to happen. “If you choose to do a photo shoot…” “if you decided on this album…”. Always follow up with a leading question, “if you did a photo shoot, who would you like to be photographed with?” etc.

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8. Show what you want to sell… Just like if you want more family shoots, show family shoots in your marketing. If you want to sell more large framed pieces, show large framed pieces to your clients. As creatives it is second nature for us to imagine a finished artwork but not everyone has the creative foresight we do. This is your opportunity to show your clients exactly what each of your products looks like. The more time you spend describing one product or service the more the client will choose that one. 9. Social proof... ‘Social proof’ is a concept where if the majority of people buy one option, it must therefore be the best option. You can use social proof in sentences like “the most popular option is x”, “A lot of people choose x.” “What clients have done in the past is…”.

11. Most importantly educate yourself… Search out the people that are doing what you want to do, and getting the results you want. Use a little bit from everyone else’s scripts/pitches and keep working your words until you’re comfortable with them. Steal like an artist, look to all industries not just photography. Read sales books, watch online educational videos and push yourself into situations where you have to talk to new people so you can use what you’ve practised. Finally, keep changing the up your words until you're comfortable with how you say it and you’re getting the results you want. It’s worth the temporary awkwardness for the long term confidence. Believe me, positive growth will be your reward.

This is also has a very important role in marketing on social media, the more people comment favourably on a client’s image, the more they believe they made the right decision in choosing you as their photographer.

10. Ask for the Sale… Never forget to ask for the sale, or ask for the booking. If they’re excited about doing it and you have given them an outline on the price expectations, ask, “Shall we book a date for your shoot?” Or, if they did a shoot, ask them, “What date is best for you?”, "Are you happy with everything you’ve chosen, shall I write up the order?”, “Shall we settle the payment?”. Most people will not book or pay for a session until you ask them outright. This can also save you a lot of time while waiting for them to get round to it. This means you can have it all settled before they talk themselves down to a smaller order.

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LENA TULLOCH

1938 - 2019

Image ÂŠ Sarah Beaufoy Holland

So many in the photographic community will know Bob Tulloch, NZIPP President (1985-1986) and Life Member of the NZIPP. Sadly, and suddenly, Bob lost his wife and best friend, Lena Tulloch on 20 May 2019. Lena and Bob met in 1974, and from that day were a formidable team in the photographic industry, establishing Tulloch Photography (Tauranga) and the camera store Camlab. In 1988 they established Superlab, a photo processing and printing business to bring control over the standards of photographic printing. In 2015 Bob and Lena sold Superlab to Queensberry so they could focus on their new photography studio and gallery, in Mt Maunganui, where Bob sold his landscape work.

Together they achieved remarkable things and non more than together through their contribution made within the institute. As a result of this Lena was firstly awarded the Silver Spool Award (1990), followed by being made an Honorary Member of the NZIPP in 2006. Lena was a cherished and supportive wife , mother of five children, grandmother to 11 and great grandmother to three. She will always be remembered for being the person whose welcoming and warm personality, along with her incredible smile, lit up every room. A person who touched the heart of so many. Our deepest condolences go out to Bob and all of the family.

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MALCOLM J. MCGREGOR

1927 - 2019

It is with great sadness to hear the news of Malcolm McGregor's passing on Sunday 3 March 2019. Most New Zealand photographers would remember Malcolm, as the man who coordinated and published 'A Day in the Life of New Zealand'. The project involved 75 New Zealand photographers, as well as 8 internationals, and was shot on one single day on Friday March the 18th 1983. The project was massive, taking 'Mac', (as he liked to be called), several months to organize and coordinate, with photographer meetings happening both in Auckland and Wellington prior to the actual day. Photographers all over the country were asked to map out their own day, with most starting just after the stroke of midnight and finishing in the last hours of the day. The project gained national TV coverage, as well as appearing in every newspaper and magazine throughout the country. The project brought together photographers from all over the country and made them feel like a family. Mac referred to himself as "The smallest publisher in the world", mostly because of his size, which was also a bit of a joke for him, as he was quite short in stature, but he was huge in personality. Everyone he met, liked him, trusted him and believed in him. As a publisher, Mac was most interested in publishing photographic books, going on to Publish 'A Day in the Life of London', 'Christmas in Australia', 'Han Su Yin's China', 'Korea, Land of the Morning Calm', to mention just a few. For a boy who was born and educated in Dunedin, he became noted internationally by publishing some of the worlds greats. For those of us who were lucky enough to spend time in his company, we will miss him dearly. Vail Mac - Mike Langford.

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JANAY JOHNSTONE

1987 - 2019

A wife, a mother, a photographer, and member of the NZIP; Janay was a wonderful mum to her beautiful boy and so excited to meet her wee girl due this month. Commencing her working life as a graphic designer, Janay's newborn photography career started in 2015, launching Tee-Jay Photography following the birth of her own son and watching him being photographed as a newborn. She immediately recognised the importance of capturing those precious moments that pass so quickly. A talented photographer, Janay was a bubbly and vivacious person with a heart of gold, and was also described as an absolute baby whisperer. During her career as a photographer, Janay became part of the Heartfelt volunteer network, giving herself and her precious time to other families, visting hospitals to photograph babies who were seriously ill or had died during birth. Janay and her own unborn baby girl sadly passed away together on March 6, 2019. Our hearts go out to Mark and Tiare.

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We’re preparing to get all judgmental here in Wellington, with our annual ‘Mock Print Judging’ ahead of Iris, and also the chance to spend a day at a workshop with visiting Australian judge trainers learning on how better to critique photographs. The latter is a great opportunity not only for current and future judges, but for all attendees, as it will also no doubt provide some helpful tools for assessing the pros and cons of our own work. Like other regions, Wellington has decided to pay the cost of the ticket price for NZIPP members, as we see it as a valuable investment in our members. We are delighted to welcome Chelles Roberts-Garthwaite and Bob Zuur to the team of people helping all things NZIPP's Wellington Region run smoothly. Chelles has kindly put up her hand to take over the job of putting together the newsletter from Jason Naylor, who has been doing it for an impressive six years! Thank you so much Jason, not only for all your work on the newsletter but for everything else you’ve done for our region. I have to admit I’m hoping your assistance with connecting laptops and projectors at meetings will be ongoing…

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We had a great meeting last month, hearing from one of New Zealand’s best-known photographers, Rob Suisted (thanks again to Jason, who managed to twist Rob’s arm). Rob is a natural story-teller, both in his imagery and his presentation, and it was a fascinating night. He regularly travels to the Antarctic and Arctic and showed us some gorgeous work from those trips, and from his utterly beautiful book “Molesworth”, about New Zealand’s largest high-country station. Rob was quite shocked when it took out the prestigious Booksellers Choice Award at the NZ Post book awards in 2014, beating Eleanor Catton’s famous “The Luminaries” (which won the 2013 Man Booker Prize). It’s a good job he decided to turn up for the awards ceremony after all. It’s also a good job he’s not allergic to beestings. He showed us a wonderful photo of hive workers at Molesworth, and then a not-so-wonderful photo of his own seriously swollen face a good two days after the shoot. He asked the station owners if they happened to have an Epipen, and was told ‘nah mate, if you were allergic you’d be dead by now.” Rob finished up by running us through the Country Calendar 50th anniversary book project he was commissioned to shoot by TVNZ, where each chapter focused on the lives of certain people around the country. Many of his photographs for the book needed to multi-task, because each chapter was to include only around eight images, so they all had to convey more than one message. It was documentary photography at its most intense and was very inspirational. I loved also that Rob is living out his beliefs - not only does he express his love of nature through his photography but he’s also bought land near Wellington and is in the process of restoring it. Thank you to our friends at Wellington Photographic Supplies for hosting the evening - we really appreciate your support of our photographic community. And thank you Rob for a really entertaining evening, and for bringing your corgi Kate! I want one. Here’s a photo of her waiting patiently for her share of the pizza. Catherine Cattanach M.Photog. IV Wellington Regional Representative Images © Catherine Cattanach PRO REPORT NZIPP MAGA ZINE |

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In May, we had the opportunity for Kim Hamblin, of The Portrait Studio, to lead a discussion on Products and how we can differentiate ourselves with artful products. We talked about various business models, and the advantages of each - with and without products. We also talked about why products are important, what to look for in suppliers...how to get started with products and how to choose the right ones for your Studio.

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In late August, we'll be getting together for some life drawing practice! The Art Centre has a workspace with 30 easels, so we're organising an instructor and model and do some sketching. Learning to observe the human body...the shapes & curves, along with the highlights and shadows. This is sure to help with our “seeing” in photography! Come Spring, we'll be hosting one of the world's preeminent master printers, Rocco Ancora. Over from Australia for, Rocco will be taking us through “Everyday Printing to Fine Art and Beyond”. One of AIPP's most awarded photographers, winning Australian Wedding Photographer of the Year four times, Rocco is one of only three people in the world to have achieved both Grand Master of the AIPP and the WPPI (Wedding and Portrait Photographers International, in the United States), being the third most awarded photographer of the organisation. We are shaking in our boots excited with this, and will keep you updated on dates, times, etc! Ann Worthy-Stephenson ANZIPP Canterbury/Westland Regional Representative

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Nathan Wallis, photograph supplied by Nathan, photographer unknown.

April saw the Otago Region hold a print critique evening at the newly refurbished Kelk Photography studio. We took this as a chance to go through any changes in the Iris Awards "Call for Entries" document. There was good discussion about the new requirement of supplying the digital files as well as other minor changes. It was also great to see everyone bringing along images for critique and feedback. It's always nice to be able to run ideas past a group before deciding on which prints to enter and into what categories. "Thanks to everyone who came along and contributed to a lovely evening! Can’t wait to see your final entries." - Nicola Wilhelmsen

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Recently, we had David Oliver (Grand Master of Photography, AIPP), an acclaimed Australian wedding and portrait photographer, talk to us in Queenstown. He generously shared his knowledge, experience and stories with us, openly talking about his business and in-person selling. David's candid approach to portraiture certainly gave us all inspiration on how to continue developing our own craft & businesses. One big take-away for me was his suggestion of starting a library of photography books of photographers you admire, and studying what it is about their photographs that draw you in. He also talked about a number of famous photographers he himself looked up to and how their imagery had influenced & shaped his own work. It made me think about how we have in some ways lost touch with those important influences from the past; social media now being the preferred platform where we go for daily inspiration. In May we held our final image/print critique catch up in preparation for the Iris Awards in June. These are always a great, safe environment to get feedback & suggestions from our peers. These sessions also the perfect chance for first-time entrants to ask questions about printing, matting, etc! Heidi Horton NZIPP(AP) Otago/Southland Regional Representative

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