As an NZIPP Accredited Professional Member you have the support, networking opportunities and camaraderie of your peers within the photographic profession. Becoming a recognised professional also adds to your credibility with clients.
Belonging to an institute that represents all areas of professional photography in New Zealand, with our focus on education, advice and a wide range of membership benefits, will help you improve the success and vitality of your business.
Your Accredited Professional Member benefits will include:
· NZIPP Iris Awards (member rates)
· NZ Photography Show Conference (member rates)
· Meeting and Networking opportunities
· Professional development
· Membership discounts
· Air NZ excess battery allowance
· PRO Report eMagazine.
Come along to the next regional event in your area and check out what becoming a member is all about.
Contact: info@nzipp.org.nz
NZIPP MISSION STATEMENT
To champion, embrace and communicate excellence and professionalism in photography.
CONTACT
New Zealand Institute of Professional Photography (NZIPP)
210 Hill Street
Richmond, Tasman New Zealand
We welcome your feedback and thoughts. If you have something to say, send it through to: info@nzipp.org.nz
F i n n i s h d i g i t a l a r t i s t A n t t i K a r p i n n e n w i l l b e i n N Z f o r a o n e - o f f 3
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Rachael Smith PRESIDENT’S REPORT
Rachael Smith, NZIPP President
NZIPP Master of Photography (with Distinction) Accredited Professional Photographer
Welcome to the New Look Pro Report! We’re excited to roll out this refreshed edition of Pro Report on a quarterly basis in 2025. I’m looking forward to diving into the vibrant stories and updates. A huge thanks to Sarah McGregor for her effort in putting this together, and to everyone who contributed their insights and expertise to make it happen.
Reflecting on the Year and Looking Ahead
It’s been just over a month since our AGM, and the Board has been hard at work setting the stage for 2025. Among the highlights is our annual Board Strategy Meeting in February—a comprehensive three-day meeting dedicated to mapping out NZIPP’s strategic direction. We’ll be setting goals, analysing industry trends, prioritising key initiatives, and discussing ways to grow membership, improve performance, and enhance member benefits. It’s an intense but incredibly rewarding few days.
Celebrating Regional Achievements
Regional end-of-year functions are in full swing, bringing members together to reflect on and celebrate a successful 2024. We are working hard to get all regions working well, and I’m thrilled to welcome two new Regional Teams:
Auckland: Maria Eves and Gino Demeer
Central Districts: Kim Sargent and Simon Cartwright
Having a dedicated team in each region is invaluable. As someone who has been a Regional Rep without a committee, I know firsthand how challenging it can be to plan events and foster engagement alone. A huge thank you to everyone stepping into regional roles for 2025, as well as those who have served in the past. Your efforts create opportunities for connection, collaboration, and inspiration.
For those considering volunteering, being part of a Regional Committee is more than just organising events—it’s about shaping the local photography community, building relationships, and making a meaningful impact. It’s also a fantastic way to develop leadership skills and gain recognition within the NZIPP network. Whether you’re a long-time member or just getting involved, volunteering offers a rewarding way to give back and grow alongside your peers. Contact us today if you’d like to volunteer by emailing info@nzipp.org.nz.
Exciting Events on the Horizon
Antti Karppinen AI Workshops
February will kick off with the highly anticipated Antti Karppinen AI Masterclass, a three-day event that promises to take your skills to the next level. Additionally, Antti will offer an AI Basics Workshop the day before the masterclass—perfect for those new to AI.
Social Media Workshop with Johnny Hendrikus
Thanks to NZIPP Auckland and Lumix, Johnny Hendrikus will return in 2025 with his popular workshop on creating engaging social media content. Learn to transform your photography and video work into fun, attention-grabbing posts that elevate your online presence. Tentatively scheduled for March, this workshop is not to be missed!
2025 NZ Photo Show
Tickets are now on sale for the 2025 NZ Photo Show in August. We’re excited to welcome back CR Kennedy as the Major Sponsor of our Gala Awards event—thank you for your continued support!
Planning for the 2026 NZ Photo Show is also underway. If you’d like to join the organizing team or have suggestions for potential venues, let us know! We’re eager to lock in a location and make the 2026 show even more spectacular.
Updates for 2025
Battery Allowance Approved
Air New Zealand has once again approved the additional battery allowance for Accredited NZIPP Members in 2025. If you need documentation for your travels, email us at info@ nzipp.org.nz.
Honours Council Updates
Our Honours Council has been busy behind the scenes:
• Analysing feedback from Iris Awards entrants.
• Preparing NZIPP’s entry for the World Photographic Cup.
• Finalising the 2025 Asia Pacific Awards release and the 2025 Iris Awards Call for Entries, both coming soon.
Thank you to the Honours Council team for your dedication and hard work—it goes far beyond awards season, and your efforts are truly appreciated.
A Year of Opportunities
As we gear up for an exciting year ahead, I encourage all members to get involved, whether by attending events, volunteering on committees, or simply engaging with your local community. Together, we can make 2025 a year of growth, connection, and creativity for NZIPP.
Let’s make it happen!
If you want to be at the FOREFRONT of AI, this is the workshop for you. With AI moving so quickly and taking the world by storm – you need to take this opportunity!
Led by renowned photographer and AI innovator Antti Karppinen, this exclusive three-day masterclass is crafted to give you direct access to the expertise and techniques that have fueled Antti’s groundbreaking commercial AI projects for nearly three years. With a portfolio that includes collaborations with big brands and high-profile clients, Antti has been at the forefront of AI integration in visual production, pushing the limits of what AI can achieve in photography, art, and multimedia. This isn’t just an introduction—it’s an advanced exploration into the world of AI, combining theory, hands-on practice, and business applications to elevate your skills. Across these three days, Antti will pour his deep knowledge and experience into each session, covering everything from essential tools to sophisticated customization. This masterclass will equip you with powerful techniques to leverage AI in every facet of your creative workflow, giving you a distinct edge in today’s fast-evolving visual arts landscape.
As of 10 December 2024, we only have 6 spaces left to this incredible event.
When: Saturday 22nd February – Monday 24th February 2025
Time: 9am – 5pm each day
Where: The Horse and Trap Function Centre (upstairs loft) – 3 Enfield St, Mt Eden, Auckland
Ticket prices: $1695.00 for NZIPP members (excludes regional members), $2095.00 for non NZIPP members. Tickets include one main meal off the Horse and Trap Lunch menu daily, and filtered coffee/ tea throughout the day, plus a morning and afternoon tea snack.
Book now: https://nzipp.org.nz/product/antti-karpinnen/
It’s not just the incredible workshops or the inspiring speakers— it’s 100% the connections. Year after year, attendees rave about the ability to reconnect with old friends and making new ones.
In a profession where so many of us work in isolation, the chance to come together, share stories, and learn from likeminded people is something you simply can’t get online. The NZ Photography Show offers a rare opportunity to step away from the solitude of your studio and into a community that understands your world.
It’s much more than just networking.
Yes, the friendships and camaraderie are the heart of the event, but the education is the soul. This two-day photography extravaganza is packed with workshops tailored to ignite your creativity and sharpen your skills. With multiple sessions to choose from, you’ll walk away with fresh ideas, practical techniques, and a renewed passion for your craft.
It’s time to invest in yourself and your business.
The NZ Photography Show isn’t just an event—it’s an investment in your professional development. This is your chance to:
• Learn from industry leaders.
• Dive deep into topics that matter to you.
• Gain new tools to grow your business.
• Rediscover the joy of photography in a collaborative environment.
Don’t wait – it’s time to make it happen.
If you’ve been sitting on the fence, now’s the time to take the leap. Early bird tickets are on sale now, offering you the chance to secure your spot at a discounted rate. Don’t just do this for your business—do it for yourself.
The NZ Photography Show is more than an event—it’s an experience. It’s where connections are made, inspiration is found, and careers are transformed. Find out why so many photographers return year after year.
Get your ticket today at www.nzphotoshow.co.nz and join us for a celebration of photography, community, and creativity like no other.
MEANINGFUL ART:
A look behind the scenes with Rebecca Kempton
Rebecca Kempton is a multi-award winning NZIPP Accredited Professional Photographer, based in the Wairarapa district of New Zealand. Known for her skill across multiple genres, we asked her to explain her creative process.
Rebecca, your work often carries a distinct sense of storytelling. What was the initial idea behind this piece, and why did you feel inspired to create it?
I wanted to create a vertical layered piece that brought together the essence of my journey summiting Tongariro, Ngauruhoe, and Ruapehu earlier this year with my In Pursuit of Giants crew. Those mountains hold such personal meaning, and I wanted to encapsulate the experience into a single, cohesive image. Vertical landscapes have been intriguing me a lot lately, partly because they challenge the usual way we approach landscape photography. A vertical format allows the eye to travel up or down the image, almost as though it’s climbing the scene. It creates this constrained yet expansive feeling, and I find it calming. I also think it pushes us as photographers to think differently about what we’re trying to communicate in an image.
How did you approach creating this piece? Can you walk us through your process?
It’s a very organic process for me, which might sound cliché, but it’s true! I started with a rough idea: I knew I wanted the image to be vertical, and I had a selection of images in mind to work with. Beyond that, I let the creative process guide me. I began at the bottom, where I felt the eye should naturally start. For this piece, that was my intentional camera movement (ICM) image of Ngauruhoe. It became the anchor for the composition, symbolizing the beginning of the climb.
From there, I worked my way upward, blending layers from other photos. Each layer was chosen carefully—sometimes it worked, sometimes it didn’t. There were moments when I stepped back and realized something wasn’t right, so I’d adjust, delete, or try a different element. It’s a cycle of trial and refinement.
One specific detail I loved incorporating was an ICM image of one of the crater lakes. If you look closely, it’s near the top—a small hill with a light, flat oval beneath it. Interestingly, people often interpret that area differently; some see sand or waves, which I love because it makes the piece interactive in a way.
I placed the clouds at the very top. While they were clouds I had looked down on during the climb,
I wanted them to act as a visual endpoint. For me, they symbolize the peak of the experience.
Like any landscape we admire, this image needed areas of light and dark, depth, and balance to guide the viewer’s eye naturally.
What advice would you give to someone trying to create something like this?
My best advice? Just start! You don’t need to have the entire concept figured out from the beginning. Sometimes, you’ll start with an idea, and it’ll evolve into something completely different—that’s okay. Sometimes it doesn’t work out at all, and that’s okay too. Every attempt is a learning experience.
I often shoot multiple exposures in-camera, which can be a fun way to experiment. Start with one image that feels right, then build from there, always keeping an eye on layers, depth, and balance. Don’t be afraid to let happy accidents shape the piece; those moments can lead to something unexpectedly beautiful.
When you think you’re finished, take a step back. Look at the image with fresh eyes after a few days, or even squint at it to see if the balance and flow hold up. That distance can reveal things you didn’t notice before.
What was your final plan for this image?
This piece was created specifically for the Iris Awards Landscape Open category. It’s such an incredible platform to showcase creative work, and I felt this piece represented not just the physical landscapes I encountered but also the emotional journey of climbing those peaks.
Lastly, what does this piece mean to you personally?
For me, it’s more than just a composite or a landscape image— it’s a reflection of that experience with the In Pursuit of Giants crew. It captures the ascent, the beauty, and the personal growth that comes with challenging yourself in nature. Every layer in the image tells a part of that story, and I hope it resonates with viewers in their own unique way.
RAW FILES USED BY REBECCA KEMPTON TO CREATE HER AWARD-WINNING IMAGE
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NZIPP is pleased to introduce Team New Zealand for the 2025 World Photographic Cup.
The World Photographic Cup is an international photography competition held annually, inviting photographers from across the globe to showcase the best of each nation and compete for the World Photographic Cup. Each National body selects a team to represent their country. Images are selected in New Zealand by the NZIPP Honours Council, made up of entries submitted to the NZIPP Iris Awards. The selection process comes from NZIPP Accredited Professional Photographers whose images were the highest scoring, and best fit the category criteria of this competition.
On Wednesday 18th December 2024, The World Photographic Cup released the top 10 finalists of each category, and the Best of Nation results. We are very proud of the New Zealand Photographers who were selected to represent New Zealand, and those who placed in the Top 10. A special mention to Andy Thompson, who was awarded Best of Nation.
We will eagerly await the results of the Top 10 announcements in Quito, Ecuador in March 2025.
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Practical Strategies for Thriving as a Business Owner with Johl Dunn BURNOUT TO BALANCE:
Johl Dunn is an NZIPP Accredited Professional Photographer and highly regarded Photography business mindset coach, based in Australia.
https://www.johldunn.com
What a year 2024 has been! One topic I’ve been coaching on and developing strategies for more and more over the past few years is burnout.
As business owners, it’s imperative to have strategies that allow you to switch off, relax, have fun, and not be “on” all the time. With the Christmas break approaching, it’s a perfect opportunity to reflect on what worked this year, what didn’t, what you want to achieve next year, and the kind of work-life balance you’d like to implement.
Burnout affects everyone differently, and we each face unique businesses, circumstances, and family dynamics. Below, I’ve outlined four strategies to help.
Boundaries & Structure
Do you have boundaries? Do you know how and when to say no—even to family and friends? Every time we say yes to something, we are saying no to something else, and often that sacrifice is our own peace and personal time.
Boundaries are crucial not only in business but in life. It’s essential to establish set working hours and only be available to clients during those times. Yes, I’m looking at you if you tuck the kids into bed and then get back on your laptop until all hours!
Structure is equally important, not just for work but for exercise, family time, and personal downtime. By balancing these areas, you ensure that all aspects of your life remain aligned.
Mindfulness Techniques
With technology, phones, and constant notifications dominating our lives, we rarely take time to stop and connect with our thoughts. This relentless stimulation keeps our nervous system in overdrive, often leading to burnout.
Having a toolbox of mindfulness techniques can make all the difference when stress starts to rise. These techniques can be as simple as a quick breathing exercise or sitting outside for a moment of calm. Alternatively, they could be more immersive, like walking in nature, meditating, or swimming.
Productivity
The more productive we feel, the easier it becomes to give ourselves permission to switch off. I encourage my clients to start their day with a simple morning ritual, including identifying their top priorities for the day and time-blocking tasks.
When time-blocking, focus is key. Turn off alerts and emails to avoid the distractions of endless communication. Each time you stop to check a text or email, you pull yourself out of flow, wasting both time and mental energy. Did you know we touch our phones over 2,000 times a day on average? Reduce this habit, and your productivity will soar.
Control and Stress
A major driver of burnout is chronic stress, which often stems from not being present and projecting ourselves into an unwanted future. We stress about things that could go wrong, not having enough clients, or financial uncertainties.
When this happens, our fight-or-flight response kicks in, activating the sympathetic nervous system and flooding our bodies with stress hormones. Over time, this taxes our adrenal glands, drains our energy, and leads to burnout.
The root cause often lies in our need for control. We believe that if we prepare for every worst-case scenario, we’ll be ready when it happens, giving us a sense of control. But the truth is, the future is inherently uncertain, and we cannot control most of it. What we can control is our mindset and actions in the present moment.
When your mind wanders to an unwanted future, let it go. Refocus on the present and take action from there.
Final Thoughts
Sometimes, we take life too seriously—especially as business owners. It’s important to remind yourself to have fun and appreciate the small moments, as these are often the most meaningful parts of life.
So much of reducing burnout, managing stress, and enjoying life comes down to the quality of our habits. In the next edition, I’ll dive deeper into how building good habits can help create a life of balance and fulfillment.
If this resonates with you or you have any questions, feel free to reach out on Instagram @johldunn.
In a celebration of history and heritage, NZIPP Life Member Hugh Perry has captured the rich story of professional photography in New Zealand in his book, Towards 75 Years of Organisation of Professional Photography: The New Zealand Institute of Professional Photography Story. This work delves into the first 75 years of the NZIPP’s journey, chronicling its evolution and milestones. We will publish a snippet of NZIPP’s history in each future edition of Pro Report.
From Page 6 of Hugh Perry’s book: Formation of North Island Professional Photographers Association
One of the founding myths of the Institute was the amount of energy and enthusiasm contributed by Burt Hobday of Feilding in travelling around the North Island visiting photographers to encourage support for a photographer’s organisation. This was at a time when travel was expensive and time consuming and this exercise was at Hobday’s own expense in both time and money. This contribution, and the voluntary contributions of many who followed, and continue to follow his example, is what brought the Institute into existence and continued its development to the present.
Ken Niven recorded that during the year 1937/8 Mr Burt Hobday approached professional photographers and photographic dealers in Auckland, Wellington, Napier, Palmerston North, Wanganui and many provincial towns concerning the formation and maintenance of either a North Island or New Zealand Professional Photographers Association.4
According to Niven, Hobday received universal support for the formation of a professional photographer’s organisation so a meeting was called to form and register such an association. This was scheduled to begin at 2pm on Monday 5th September 1938 at Palmerston North. Of the 106 North Island photographers invited to the meeting eighty agreed to actually join the association when it was formed. Of that initial eighty, interested prospective members, the following were present at the inaugural meeting. From Wellington: Mrs Marie Dean, Miss Elizabeth Atkinson, Miss Mable Tustin, Mr Phil H Jauncey, Mr Earl Andrew, Mr Spencer Digby. From Auckland: Miss Amy Harper, Whangarei: Mr G E Woolley, Hamilton: Mr H E Gaze, Mr E Calvert, Mr R Clare. From Pahiatua: Mr Milne Allan, Lower Hutt: Mr G W Vaughan, Dannevirke: Mr J S N Potts, Masterton: Mr Henry Hope Cross, Levin: Mr A Billens, Palmerston North: Mr John Lewis, Mr A W Low, Mr E D Woollett, Mr R Anderson, Wanganui: Mr T Metcalfe, Mr Mark L Lampe, Hastings: Mr Stuart Johnson, Mr H J Lovell-Smith, Mr Rolf Keys, New Plymouth: Mr S Latta, Mr E Crago, Mr J Swainson, Feilding: Mr Burt Hobday, Napier: A B Hurst, Taumarunui: Mr H Clegg.
4 Ken Niven: notes of history of the Institute kept in a ring binder and lodged with the Institute’s records prior to 2000.
Photographers in New Zealand September 1938
PHOTOSHOP TIP:
Black and White Image Conversions with Sarah McGregor
Sarah McGregor is an NZIPP Accredited professional Portrait Photographer and NZIPP Master of Photography (with Distinction) III. See more of Sarah’s work: www.minimephotos.co.nz https://www.facebook.com/minimephotography https://www.instagram.com/minimephotos/
Photoshop offers countless ways to achieve the same result, but some methods are simpler and more efficient than others. When it comes to black-and-white conversions, my process is designed to be quick, easy, and effective, leaving you with crisp, high-contrast images while maintaining flexibility in your workflow. Here’s how to do it:
Step 1: Prepare Your Image
Begin with a fully edited colour image. The better your base image, the sharper and more dynamic your black-and-white conversion will be.
Starting with colour allows you to easily create both colour and black-and-white versions, providing more options for client galleries.
Colour edited image ready for conversion
Step 2: Reset Your Brushes to Black and White
Press the D key on your keyboard. This resets your brushes to their default colors—pure black and white.
TIP: Even if your brush looks black, press D to ensure it’s set to pure black, not an off-black colour.
Step 3: Set the Foreground and Background Colors
Ensure black is your foreground colour and white is your background colour. You can toggle between the two by pressing the X key on your keyboard.
Once set, open the Adjustments Panel and select a Gradient Map Adjustment Layer.
Step 4: Choose the Right Gradient Option
If you’re using a newer version of Photoshop, you’ll see a dropdown menu with gradient options.
The default setting is “Smooth,” but for a cleaner, brighter look, I recommend choosing “Classic.”
Toggle through the gradient variations to find the one that best suits your image.
Step 5: Add a Levels Adjustment Layer
This step is crucial for achieving striking contrast.
Open a Levels Adjustment Layer, and adjust the histogram:
Drag the left triangle inward until it touches the start of the histogram on the left (shadows).
Drag the right triangle inward until it touches the start of the histogram on the right (highlights).
This ensures your blacks are deep and your whites are bright, making your image pop.
Make It Automatic with an Action
To save time, create a Photoshop action that automates this entire process.
That’s it! Whether you’re working on individual photos or batch processing an entire gallery, this streamlined method will help you achieve beautiful results with ease.
Final image following the black and white conversion method used above.
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MACRO PHOTO
C H A L L E N G E
Challenge yourself to do something different. Take a macro photo between now and 1st February 2025, and submit it for your chance to WIN!
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Needs to be taken between now and 1st February 2025 Images taken prior to the issue date of this magazine are ineligible for entry. The purpose of this competition is to challenge yourself! You need to submit your photo using the link below. You’ll need a google account to sign in.
Will be sent from our Sponsor to the winner. This competition is open to New Zealand photographers only, as it cannot be sent outside of New Zealand. The prize is available in Black only. The prize is not transferable or exchangeable for cash or other products.
A small panel will assess the submitted images and determine a winner. The panel decision is final, and no correspondence will be entered into. See the full terms and conditions when you upload your photo, using the link below.
A Photographer’s Guide to Prototyping Images with Kris Anderson
Australia-based NZIPP Accredited Photographer Kris Anderson focuses his commercial work on branding for performing arts companies, actor headshots, dance photography, and live theatre production photography. A NZIPP Master of Photography (with Distinction), Kris was recognised this year as the 2024 NZIPP Australian Professional Creative Photographer of the Year.
One of the best techniques I use for creating compelling narrative images doesn’t come from photography at all. In a previous life, as a software developer, when we were faced with a project that was tricky or a bit risky, one of our go-to techniques was building a prototype. Prototypes are cheap, temporary, unpolished, and serve a unique purpose - to help you learn about the risky or tricky problem you have to solve, so when you do the real version you do a proper job of it. If your initial approach is flawed, redesign and do another prototype! It derisks the project and gives confidence that the end product will be good.
(Make mistakes early, when they’re cheap to fix.)
I use the same technique when designing a composite image. Prototypes, mockups, storyboards… No matter the name, they bring the same benefits to photographs as they do to software. You know those shoots when you realise too late that you’ve made a mistake, and now your post-production is about salvaging a shoot instead of creating something? That sucks. Prototyping can help you avoid this.
Prototyping techniques
There are three main techniques I use for prototyping images, sketches, mockups and test shots.
Sketches are a great way to start planning shots; they’re quick, cheap, easy to discard and redo. They don’t have to be masterpieces either, you can get what you need even if you have little or no talent for drawing. My favourite sketching tool is my ipad - applications like Adobe Fresco provide gorgeous watercolour brushes that elevate my sketches from awful to adequate! I’ve grabbed a pack of post-it notes in a Sketching Emergency. Paper and pens work great.
When you’re at your computer, grabbing photos or stock from here and there to composite together a super-rough mockup is a great way to plan. You’re aiming for “quick and dirty”, so you don’t have to spend too long hunting down bits and pieces for your mockups.
I’ll very frequently do test shots with the desired location and lighting, and a stand-in instead of the final talent. Test shots are more time-consuming than sketches and mockups, but they can reveal problems with things like lighting, posing, expression and styling. They give you the time to solve problems like this, without being under pressure to fix them fast. (As long as your stand-in subjects are patient!)
Even better - you can mix and match these techniques. Sometimes I’ll take a partially-complete image and refine my next steps by sketching over it.
Let’s take a deeper dive into some of the benefits of prototyping, with examples to demonstrate.
Improve composition
The main benefit I get from prototyping images is flushing out problems with composition. If the composition is unclear in my head, a sketch can help to firm things up - understand the elements I need, the perspective and geometry of the image, the subjects and where to place them. Even when I think I understand the composition, a test shot will often reveal issues that were hard to predict from a sketch.
Here’s an example. Relentless is an image about cyberbullying; instead of leaving bullies at school, now they can follow our kids home and sneak into their rooms via social media. A kid’s bedroom should be their safe haven, but bad elements can come in right under parents’ noses.
Initially I thought Relentless would work well as a side-on image, with floating avatars of bullies on the left, and the child on the right cowering against the wall. The initial sketches and mockup helped to firm up the composition, but spending time on a test shot revealed that those opaque floating screens would either overlap one another and become too hard to distinguish, or be edge-on to the viewer and difficult to see. A second test shot with a new vantage point was much stronger, resulting in a more effective final image.
There was a happy accident in this test shot too; the subject (my daughter) pulled her feet up towards her body and wrinkled the sheets in a way that really drew the eye to her, something we replicated in the real shot.
Practice post-production
Sometimes if you have what might be a challenging postproduction technique you aren’t sure if you can master, a test shot can give you the opportunity to try it out. For example, in Restless, those floating screens incorporated a glitching effect (from saving images as sound files and running those through effects processors in Audacity, before saving them back as image files again). That was a new technique to me and I wasn’t sure if it would work, so experimenting with it in a test shot gave me the confidence to use it in the final product.
Plan and refine lighting
When lighting is a massive part of your final image, sketches help to clarify your lighting - colour, hardness, direction. I find
they’re particularly useful when there is a lighting source IN the composition (practical or composite).
Here’s an example. The Muse tells the story of an artist that is driven to create commercially marketable work to sell… but the work they feel compelled to make for themselves is very different. The final image is a complete composite, and it was important to get the lighting right when shooting the main subject. Here’s one of the first sketches, annotated with lighting choices, and then the shot of the main subject (not yet integrated into the composite) with appropriate lighting. The scene had three light sources: An angry greentinted fluorescent tube above the painter, warm light from an open door to one side, and cold light coming in from an elevated window at the back.
Use as a collaboration tool
A picture is worth a thousand words, right? If you’re working on a collaborative project, a prototype of some kind is super useful for communicating it to others that might be working with you on the project. They can help you to bring others on board to your creative vision, and more deeply understand the reasoning behind choices you make.
In this sketch for Sleepless, I wanted to capture the feeling my wife related to me about how it felt sometimes when she had an anxiety attack during the night - with her head swimming in facts and tasks and responsibilities for hours, while I slept soundly next to her. She would often play a game on her phone to lull her mind to rest.
I returned home one day to find she had stuck papers all over the walls and ceiling of our room, just like in the sketch, ready to be photographed. I wasn’t around to give any direction; she interpreted what was necessary based off of the sketch.
Prototypes aren’t the perfect tool for every image - I can’t imagine a landscape photographer sketching out a beautiful tree they’re going to photograph tomorrow to get the composition right! And prototypes don’t always find every problem; I’ve still “finished” a piece and then taken it back to the drawing board after discovering weaknesses. It’s 100% ok to work on an image and let it grow and change organically without having a plan to work to. But for some images, prototypes are an absolute life-saver, helping you to ensure your completed work is effective.
NZIPP LICENCE & ORDER - COMMERCIAL
NZIPP STANDARD TERMS AND CONDITIONS OF ENGAGEMENT
NZIPP QUICK MODEL & PROPERTY RELEASE
NZIPP STANDARD MODEL RELEASE
NZIPP PROPERTY RELEASE
NZIPP BOOKING AGREEMENT
NZIPP STANDARD TERMS & CONDITIONS OF ENGAGEMENT PORTRAIT & WEDDING
Caroline Doyle is an NZIPP Accredited Professional Photographer and NZIPP Associate of Photography, based in the Bay of Plenty region of New Zealand.
Photography is an art that captures the beauty of life’s moments, and for this photographer, the focus is on maternity, newborn, and family photography. These specialities allow Caroline to preserve cherished milestones for families, turning memories into timeless art.
The Beginning
Caroline’s love for photography started nearly 22 years ago while at high school. It was a year 12 subject at Sacred Heart Girls College in Hamilton that ignited her future career. This led Caroline to a 3-year Bachelor of Media Arts degree with a photography major at WINTEC.
Why Photography?
“It was all I ever wanted to do since studying,” she says. Nothing else was ever an option.
Balancing Business and Family Life
Her biggest achievement? Running a thriving photography business while raising four young children. “It’s the hardest thing I’ve ever done in my life,” she admits, “but I’m proud of the resilience it’s building in me.”
Another proud milestone is earning her Associate of Photography this year, a testament to her dedication and craft.
Advice for Photographers starting out
For those just starting out in photography, her advice is simple: “If you can, go overseas and work for a photographer or big studio. The experience is invaluable—it’s the single best thing I did for my career. If that’s not possible, find a mentor and absorb everything you can like a sponge.”
Being Part of the NZIPP Community
Joining the New Zealand Institute of Professional Photography (NZIPP) has been a game-changer. “The community is everything,” she says. “I love being among other photographers at all different stages of life and their careers. It’s wonderful to feel part of something bigger.”
The Asia Pacific Photography Awards are an online digital photography competition, open to all skill levels from anywhere in the world. This is a great way to test the waters of photography competitions, or prepare for the 2025 Iris Awards.
AMBER GRIFFIN
Business and Photography Questions and Answers with Richard Linton FOCUS POINTS:
Richard Linton is an NZIPP Accredited Professional Photographer and NZIPP Life Member, based in Christchurch, New Zealand. Richard has been a photographer for over 20 years and runs a successful photography business. He has a wealth of knowledge in technical aspects of photography, including camera gear, lighting, and business practice.
QUESTION:
I’m confused about insurance and tax. I have had an insurance claim paid out as a cash settlement and want to know if this payment is taxable?
The short answer is maybe or more likely probably.
As I understand it, it all depends on what the payment is for, here are some common examples...
1) Your claim is for piece of equipment that was been stolen or damaged beyond repair and it is on you asset register (i.e. you have claimed depreciation for it).
There likely will be a tax implication, but only for part of the payment.
Imagine you have a $6000 camera that is two years old and you have claimed depreciation on a diminishing value basis at 33% each year. After year one it’s book value is $4030 ($6000 less 33%), after the second year it’s bopk value is $2693 ($4030 less 33%). If the insurance company pays you exactly that amount, you would not have to pay any tax on the settlement as you have effectively just turned a $2693 book value asset into $2693 in the bank = zero sum gain. But if they settle for more e.g. $4000, then you have effectively recovered $1307 ($4000$2693) of the previous depreciation that you have claimed and this $1307 would be treated as income for tax purposes. Think of it like the insurance company buying the item off you.
If you hadn’t been paid by your insurer, but instead simply sold it to someone else the same rules would apply regarding depreciation recovered. Similarly if they settled for less than the book value e.g. if they gave you $2000, you could claim a loss on sale of $693 ($2693-$2000).
2) You have damaged stock e.g. a flood has damaged your inkjet paper that you stored on the floor.
Almost certainly this time this payment would be treated as taxable as income as the insurance is effectively refunding you the purchase price of the paper (and you would have previously claimed the cost of the paper as an expense). Note that this would also apply to a settlement for a low value asset (under $1000) that you have not included on your asset register.
Don’t forget that you will also have likely have to account for the GST in any insurance payment as accounting (and book values of assets) are normally recorded exclusive of GST.
Whatever you do, get professional advice from an accountant or at least look up the info on the Inland Revenue website. Be aware that a Google search may land you on a page from another country and the rules aren’t applicable to New Zealand.
QUESTION:
I provided a quote to a client, who has now added changed their requirements from what they briefed me and I feel guilty charging them more than I said I’d do the job for.
ANSWER:
If the job hasn’t changed but you took longer than you thought to get it done, you probably need to suck it up, eat the loss and use it as a learning experience, but if your client has ‘moved the goal posts’ on you then you should not be feeling guilty about being paid for any additional work.
If you asked an electrician to add upgrade the lighting in your home office and then while they were there asked them to also add a couple of new power points for all your tech you’d expect to pay more than the quote right?
Business and Photography Questions and Answers with Richard Linton FOCUS POINTS:
If there is a scope change, inform your client that it is a variation before doing the extra work and let them know them that it will have an impact on the invoice you’ll be sending. Variations are even covered in the AIPA/NZIPP Standard Terms & Conditions, which is another good reason to make sure you always use them.
12. CHANGES TO THE ESTIMATE
12.1 Estimates of fees and Job-Related Costs are estimates and not firm quotations and are liable to alteration. The Photographer must bring any increase to the estimate, of 10% or more, to the attention of the Client. Any change to the job specifications made or agreed by the Client may alter the fees and Job-Related Costs.
You mentioned in your question that you had provided a ‘quote’ for the job. Personally I suggest you don’t use that word and I recommend using words such as ‘estimate’ or ‘proposal’ instead as this implies it is not a fixed price and is open to variation and/or negotiation.
Variations, scope change and other ‘mission creep’ are quite common and you don’t want to get trapped with a client saying ‘but you quoted $x’, even when they changed the job requirements.
Scope change may fall into one of many areas, the most common ones I see are...
• clients wanting to reschedule or postponing at the last minute
• clients wanting to split what was meant to be a single shoot over several sessions/site visits
• more subjects to be photographed than briefed
• changes in the number of images the client wants to be delivered
• expectations around retouching requirements
• changes in the deadlines for deliverables i.e. client suddenly wanting the images immediately
I’m very careful in my proposals to clearly state the number of sessions/site visits, the total maximum amount of time I’m expecting to be shooting, how many subjects are to be photographed, how many images are to be supplied, the expected time/level of post production and when the final images will be delivered. Anything outside these variables is fair game to be paid for in my books.
Sometimes however you have to balance your relationship with your client verses the additional fees you might charge and I often do small favours for clients (under promise, over deliver). I always show the extra work on the invoice but often will do an adjustment line item to reduce the extra cost as a favour. This lets them know the value of the extra work and can build a good relationship but be aware that some clients do seem to constantly be moving the goal posts on every job. In those cases I try to have a grown up conversation about this and suggest that the past pricing can’t continue to apply. I’ve found that they usually accept this when the matter is raised. If you get push back put the shoe on the other foot and ask them what they would do if their clients acted in the same way, I’m sure you’ll find they wouldn’t be nearly as tolerant/flexible to scope change as you’ve been with them.
Auckland: UPCOMING REGIONAL EVENTS:
NOTE: This workshop differs from the masterclass.
Overview:
This workshop is designed as a beginner-friendly introduction to artificial intelligence for creatives, photographers, and digital artists. Participants will gain foundational knowledge of AI, explore its growing impact on creative industries, and learn how to harness AI tools to enhance their workflow and creative outputs.
Objectives:
Understand the basics of AI and its relevance in creative work with a simplified explanation of AI, machine learning, and generative tools. Discussion on how AI is shaping photography, digital art, and other creative disciplines.
Explore a variety of AI-powered tools and their capabilities, with a hands-on exploration of diverse AI tools. Examples might include AI for image editing, generative art, text-toimage creation, and more. The focus will be on showcasing the practical outcomes participants can achieve with these tools.
Addressing participant questions, sharing experiences, and discussing the future of AI in creative industries.
Key Takeaways:
Participants will leave the workshop with a clear understanding of what AI is, how it can be used in creative workflows, and inspiration for integrating these tools into their own practices.
Who Should Attend:
Open to all creative professionals, students, and enthusiasts with an interest in learning how AI can elevate their artistry and streamline their processes.
Requirements:
No prior knowledge of AI is required. Participants are encouraged to bring a laptop or tablet if they wish to explore tools during the workshop.
When: Friday 21st February 2025, 1pm - 4pm
Where: The Horse and Trap Function Centre (upstairs loft) – 3 Enfield St, Mt Eden, Auckland
Ticket prices: $15.00 for Auckland NZIPP members, $49 for other NZIPP members, $99 for AIPA/ PSNZ members and $149 for general admission.
Buy tickets at: https://nzipp.org.nz/product/ai-basics-withantti-karpinnen-copy/ www reallygreatsite com 01
With Tracy Kennedy NZIPP ACCREDITATION
Tracy Kennedy is our Accreditation Team Leader and is an NZIPP Accredited Professional Photographer and Master of Photography with Distinction. Tracy specialises in Wedding Photography and is based in the Waikato region of New Zealand.
When you step into the world of professional photography, you know the stakes are high. Clients expect exceptional work, trustworthiness, and proof of your skill. That’s where NZIPP Accreditation comes in. It’s more than just a label; it’s a symbol of quality, professionalism, and dedication. Whether you’re a seasoned photographer or just starting out, becoming accredited through NZIPP can elevate your career.
Why NZIPP Accreditation Matters
1. Professional Recognition
NZIPP Accreditation is the gold standard for professional photographers in New Zealand. It’s tells your clients you’ve met the professional standards for technical competency, creativity, and ethical business practices. This credibility can be a gamechanger, helping you stand out in a competitive market.
2. Enhanced Client Trust
When clients see the NZIPP Accredited logo, they know they’re hiring a true professional. It signals your commitment to quality, ongoing education, and ethical business practices. This trust can lead to stronger client relationships, more referrals, and ultimately, a thriving business.
3. Earning NZIPP Distinctions
As an accredited member, you gain the opportunity to earn NZIPP Distinctions: Associate of Photography, Master of Photography, Master of Photography with Distinction, and Grand Master of Photography. These titles aren’t just decorative; they’re earned through consistent excellence in photographic craft, innovation, and professional development. They showcase your growth and expertise, solidifying your reputation among peers and clients alike.
Accreditation: A Process That Strengthens You
Achieving NZIPP Accreditation involves more than submitting your portfolio - it’s a journey of growth and learning. The accreditation process challenges you to refine your craft, focus on your unique style, and deliver images that meet high standards of professional practice.
What It Means for Your Business
For your business, NZIPP Accreditation is a marketing powerhouse. It demonstrates your commitment to excellence and gives clients a tangible reason to choose you over competitors. Accredited members also enjoy access to a community of like-minded professionals and exclusive benefits, keeping you at the forefront of the industry.
Why You Should Take the Leap
Photography is more than just taking pictures; it’s about building trust, telling stories, and delivering value. NZIPP Accreditation strengthens your ability to do just that. By becoming accredited, you’re not just investing in your career - you’re investing in the future of your craft and the trust of your clients.
Are you ready to elevate your photography business and achieve the recognition you deserve? Start your accreditation journey today and discover the power of being part of NZIPP’s professional network.
The Process
1. Accreditation rounds are held four times per year - in march, May, September and November. You need to be an Affiliate member of NZIPP to apply.
2. We have a dedicated Facebook group for potential Accreditation applicants, with information fed through from the Accreditation team regularly to help guide you through the process.
3. We’ll advertise Accreditation rounds in advance to give you time to prepare. The first step in the process is to go through a pre-assessment round, This is held around two weeks prior to the Accreditation assessment. The panel look at your image submission, and give overall feedback to help prepare you.
4. When you apply for Accreditation you’ll need to choose your area to become accredited in. This may be Portrait, Wedding, Commercial, or a specialised area of photography. We provide applicants with an Accreditation guide, which details all the information for applying.
5. You’ll also need to submit some business information with your application. This includes proof that you are in business, and proof that you hold public liability insurance.
6. Accredited members maintain their Accreditation status by undertaking continued professional development. Members are reviewed four-yearly to ensure they are meeting the requirements of an Accredited Professional Photographer, and annually if they have been an Accredited member for more than 25 years.
If you would like to know more about NZIPP Accreditation, email the team: accreditation@nzipp.org.nz.
Next Accreditation round: Pre Assessment applications close on 28th February 2025. You need to complete Pre-Assessment before an Accreditation round.
CLASSIFIEDS:
For Sale and Wanted Photography Gear
FOR SALE: Horseman 4x5 Monorail. One lens (135mm in lens-panel & dodgy shutter, 9 double-dark-slldes, 6x12cm 120 rollfilm back, 2 cases. Also Seitz Roundshot 35mm 360-degree camera. Both good nick. Offers. Wellington.
Email Nick Servian: nicholasservian@gmail.com
FOR SALE: Lindsay Adler Westcott Optical Spot (RRP $1489) and Environmental gobo pack ($249), excellent condition. Selling at $1150 for both. Designed for Profoto but they attach over the light with a simple snap-down clip and would fit any studio light with a 10cm diameter. Includes focusable 150mm f3.5 lens, but the optical spot has a Canon EF mount so you can use any Canon lens on it if you want to throw the light wider. The light comes with eight gobos and five coloured gels, and the Environmental pack gives you an extra 10 window/foliage gobos.
