NZIPP PRO REPORT - November 2017 by NZIPP NZ Institute of Professional Photography

PRO Report BE INSPIRED, BE SUCCESSFUL, BELONG

NZIPP MAGAZINE NOVEMBER 2017

NOT A MEMBER OF THE NZIPP YET? 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: · · · · · ·

Epson / NZIPP Iris Awards (member rates); Infocus Conference (member rates); Meeting and Networking opportunities; Professional development; Membership discounts; PRO Report eMagazine.

Come along to the next regional meeting 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 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

We welcome your feedback and thoughts. If you have something to say, send it through to: info@nzipp.org.nz

Cover Image: Image © Anne Geddes

PRO Report / Magazine of the NZIPP

CONTENTS 04

President’s Report Ollie Dale analyses the PP in NZIPP.

Honours Report Having Your Say! Talking about the proposed changes to the NZIPP Honours Distinctions (Awards).

Meet the 2017-2018 NZIPP Board NZIPP’s latest representative line up following the October elections. NZIPP Patron Join us in congratulating NZIPP Patron, Anne Geddes on her induction into the International Photography Hall of Fame.

Regional Updates Auckland, Northland Waikato, Bay of Plenty Wellington

Member Profile Emily Adamson shares her experiences as a wedding photographer and what inspires her.

Photographic Art is My Day Job Janyne Fletcher talks about what her typical day is like as a photographer in a remote part of New Zealand.

The Light in Lightroom Adobe Expert Harry Janssen gives us a run down on the differences in the newly introduced Adobe Lightroom Classic and Lightroom CC.

INFOCUS 2018 Introducing NZIPP’s exciting 2018 event.

Creating Value through a Project Karolina Stus talks about her Kinder World project and recent exhibition.

Accreditation Programme A reminder about the NZIPP Accreditation programme and the contacts for those seeking Accreditation.

Events & Useful Links Get Clicking to follow us on social media and the NZIPP’s Pro Report.

Regional and National Sponsors Special thanks to our Regional and National Sponsors who continue to support us in so many ways.

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EXECUTIVE UPDATE

President’s Report Ollie Dale, F.NZIPP, Accredited Professional Photographer

Immature jokes abound, I’m sure. That aside, for the longest time I misunderstood what the PP in the NZIPP stood for. When I finally did make the distinction, I missed the importance of the actual meaning of it.

than that line being closed and only for those we deem special enough to enter, instead it becomes an attainable goal, and one which the Institute can be on both sides of.

When I first heard of the NZIPP, back in 2007, I mistakenly assumed that the PP stood for Professional Photographers. Makes sense, right? I mean, if you’re going to have an institute full of photographers then likely the institute is all about those photographers?

Yes, we do stand for professional photographers but we also stand for those who wish to be professional photographers, the idea of professional photography, and the education of those who don’t know what professionalism is in the photographic industry.

At some point within the next couple of years I came to the realisation that PP instead stood for professional photography. OK, no big deal.

As the Institute representing professional photography it is our duty to hold to a high standard those who call themselves professional. It’s also our duty to encourage and assist those who wish to become professional, and to engage with members of the public, clients and others who need to understand the value our professional members bring.

It was only recently, amongst all the debate around the idea of a “new” membership category, which we have instituted as the Affiliate Member, that I suddenly had an epiphany around the importance of that distinction. To stand for professional photography means to stand for the idea, the journey, as well as the individual and the industry as a whole. It’s all-encompassing; a mantra; an ethos. If we limited ourselves to standing for professional photographers, we would be a closed group, a club for only the enlightened few. It would be a place of aspiration, yes, but only for those in the Institute, and we would be very much a closed group for “special people”. By taking a stand for professional photography, we instead mark an open-ended line in the sand. Rather

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This is our mantra. This is our ethos. We are Professionalism - living, breathing, and evolving. We are the New Zealand Institute of Professional Photography.

EXECUTIVE UPDATE

Honours Council Report Kaye Davis, GM.NZIPP, M.AIPP II, Accredited Professional Photographer Shar Devine, M.NZIPP, Accredited Professional Photographer Paul Daly, F.NZIPP, Accredited Professional Photographer Harry Janssen, GM.NZIPP, Accredited Professional Photographer

Having Your Say!

Submissions and feedback on the proposed changes have been fantastic and it really shows just how passionate and important the awards and Honours system is to so many. It also shows the variance of opinion on the matter. Thank you to everyone for the lively discussion and feedback. Honours now has a lot to take to the next stage of discussions on this! Why are we proposing these changes? In a nutshell - it’s all about “raising the bar”! Statistics show a fairly significant increase in the number of awards being issued over the past 10 years, the flow-on effect being the increased rate at which many members (and we acknowledge not all) are achieving awards. Through this and other factors we feel the time has come to raise the bar, to add further value to the Honours Distinctions based on a statistical trend that reflects an increased standard of work being entered year on year. There are three main areas [options] we identified as being available at this time for us to achieve this: 1. Eligibility on who can earn merit points 2. Merit point values in the award ranges 3. Adjusting the Honours Distinction levels A fourth option, that of judge development, will be implemented with or without any or all of the above proposed changes. Before we take this back behind “closed doors” (yes, it has to happen), I thought I’d take this opportunity to clarify a couple of things. First, a number have commented that making these changes will “devalue” awards that have been

presented already - this is NOT the case. The system has changed on several occasions over the (30+) years, and no changes have ever undermined prior achievement. Any system needs reviewing on a regular basis; it’s no different to reviewing and adjusting your business pricing structure or model. It doesn’t devalue the work you produced previously. It simply reflects a different time and place - things do change. Secondly, any changes made to the Honours Distinction levels will be done in a manner that is NOT intended to disadvantage anyone - nor do we intend to “demote” anyone or cause people to “lose” what they have already achieved. I reiterate, times have changed and we need to adapt and stay relevant to the times. If we don’t, the tendency will be to devalue awards achieved in the current climate, where they may be perceived as being “too easy” to achieve. Some already suggest this is the case.

”

In its well over 30-year history the NZIPP Honours Council has, for the first time, sought input from members on proposed changes to the awards Honours Distinctions. We have done this for transparency, to create awareness and to gauge opinion from those invested in the process.

I hope that by having transparency around this process it brings some sort of awareness of the challenges Honours faces in maintaining a relevant, contemporary and fair system. If nothing else it has possibly revealed to many out there how complex it all is, how one thing impacts another and that it needs to be looked at as a whole as well as the individual parts. Whatever the outcome of this process we know we are not likely to please everyone, but hope that people will see that there are other values in entering the awards. It is a process that enables learning and growth, no matter where you are on the photographic spectrum.

The awards to me have been an amazing opportunity to grow as a photographer. Belinda Lansley

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NZIPP UPDATE

Introducing the 2017-2018 NZIPP Board

NZIPP PRESIDENT

NZIPP DIRECTOR

Ollie Dale - F.NZIPP I

Gino Demeer - APM

Claire Birks - M.NZIPP IV

Hi, I’m Ollie. I like Star Wars. And Lego. Mostly Star Wars Lego.

I’ve been an active member of the Institute for the last nine years and have held various regional and national roles including Regional Chair and Treasurer of Auckland.

Hey, I’m Claire.

I’m also the official photographer for the Auckland International Airport Ltd., where I spend up to two days each week creating still, video and aerial content. I was the NZIPP Auckland Chairperson in 2009-10, and on the Honours Council from 2010 to 2015. I’ve judged at the NZIPP Iris Awards and AIPP APP Awards. Next year I’m excited to be judging at the WPPI Awards in Las Vegas. Now I’m President I suddenly feel the urge to build a wall, but until then I’m looking forward to pushing the NZIPP brand within the community, helping build NZIPP membership around the country, assisting with the new Events Team in their preparations for InFocus 2018, and continuing to build relationships with current and potential sponsors.

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I run an Auckland-based studio which is heavily geared towards commercial and corporate photography. Outside of the photographic industry I sit on a number of other committees, including Body Corporates, one of which I have chaired for over 10 years. I am passionate about all things NZIPP and am optimistic about the future growth of the photographic industry. I plan to continue using my skills to take the NZIPP well into the future, whilst retaining the wonderful history and values that this wonderful organisation has been built on.

I like wine and am easily bribed by it ... Pinot Gris if you need to know! I am “Chief in Charge of Stuff” at Bella Creative, a boutique creative agency, which pretty much means it’s me doing all the Stuff, with a few others brought in to help me stay sane. I also have two young children and am married to Dan. I’ve been involved with the NZIPP and its events for around 3-4 years now. I was originally appointed to the NZIPP Board 16 months ago, and then recently elected to the 2017/2018 Board. I’m passionate about all things NZIPP and am looking forward to contributing to our exciting future.

NZIPP DIRECTOR

Michael Watson - F.NZIPP

Sarah McGregor - M.NZIPP II

Hi, I’m Michael, a commercial and fine art photographer / videographer based in the Manawatu.

My name is Sarah McGregor. I’m a mother of three young children and am based in the top of the South Island.

A Fellow of the NZIPP, I have been involved with the NZIPP, in particular assisting with InFocus, for the past seven years. That includes working behind the scenes running the Iris Awards Livestream for the last four of these. I have a background in videography and education, and am currently working full-time freelancing as MYKL. I’m really looking forward to working with the other Board members over the next 12 months.

I started my business as a photographer six years ago, as a way to work from home and provide an additional income for my family. I never knew where it would lead, and I particularly never expected it would lead me here. Joining NZIPP in 2014 was the single most valuable move in my career. I believe wholeheartedly in the NZIPP and what it does for our profession and the photographic industry. I look forward to working as part of the team to keep our organisation moving in a positive direction.

NZIPP CHAIR OF HONOURS AND BOARD REPRESENTATIVE Kaye Davis - GM.NZIPP, Master of Photog. II (AIPP) The proudest moment in my career to date came in 2013 when I was awarded the NZIPP Grand Master of Photography, alongside being named NZ Professional Photographer of the Year. It was a culmination of years of commitment to an awards process I am truly passionate about, and years of practice and learning. Photography and the NZIPP are a large part of my life and I’ve loved every step of the journey so far No value can be placed on the incredible opportunities and amazing friendships gained along the way. I’m a huge believer in “you get back what you put in to things”. As the current NZIPP Chair of Honours and Board Representative I’m hugely honoured to be able to contribute to and be part of shaping the direction of the organisation and photography in general within New Zealand.

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NZIPP PATRON

Anne Geddes Hon. Fellow NZIPP, NZIPP Patron

Protect. Nurture. Love. These are the three words Anne Geddes has held as her mantra and inspiration in a photographic career spanning 30 years. During this time Anne has created a phenomenal profile within the international photographic community, both as a photographer and philanthropist. So much so that on November 17 she, along with other photography greats including William Eggleston, James Nachtwey, Cindy Sherman and Jerry Uelsmann, will be inducted into the International Photography Hall of Fame (IPHF). The IPHF annually awards and inducts notable photographers or photography industry visionaries for their artistry, innovation, and significant contributions to the art and science of photography. An organisation that is committed to educating the public about photographic history, the IPHF also collects, exhibits and preserves historical items and images. Describing this year’s awardees, IPHF Executive Director Patty Wente wrote: “This year, the IPHF is honored to recognize 10 creators who have uniquely revolutionized the modern photography industry. Our 2017 awardees are innovators who broke the norm of tradition and conceived their own ways of creatively communicating with the world around them.” What many may not be aware of is that Anne Geddes is both Patron and an Honorary Fellow of the NZIPP.

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Â© Anne Geddes

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Â© Anne Geddes PRO Report / Magazine of the NZIPP

Anne is Australian-born, but it was in Auckland (in 1998) that she established her first professional photographic studio, specialising in children and family portraiture. Anne’s photographic work is iconic within the industry. Her imagery, “capturing the beauty, purity and vulnerability that is the essence of childhood and celebration of new life”, adorns vast collections of greeting cards, calendars and coffee table books. It was following the success of her first calendar in 1992, featuring portraits of young children, that Anne and her husband Kel established The Geddes Philanthropic Trust. This organisation is dedicated to raising funds for the prevention of child abuse and neglect.

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Her innovative and creative photography and philanthropy lead to numerous accolades and awards over the years, including being appointed a “Member of the New Zealand Order of Merit” (MNZM) for services to photography and the community. The NZIPP would like to congratulate Anne on her induction into the International Photography Hall of Fame. Anne, we applaud you for your lifetime of achievements and through your photography, the incredible difference you have made to so many lives.

Â© Anne Geddes PRO Report / Magazine of the NZIPP

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MEMBER STORY

Creating Value through a Project Karolina Stus, M.NZIPP, Accredited Professional Photographer

Karolina Stus is a fine art and portrait photographer based in the Kapiti Coast, shooting personal, fashion and commercial portraits. Stepping into photographing professionally only three years ago, Karolina is already making her mark as a creative and passionate photographer. After moving to New Zealand in 2012 and making the Kapiti Coast home, Karolina feels a strong connection to the local community, and is willing to help and provide support wherever she can. This became the catalyst in her decision to create a project that she would ultimately exhibit, as a way of bringing people together and making it a community event. It was a year ago that Karolina came up with the idea for the project that is currently on display at the Gatsby Tapas Restaurant and Gallery, also forming part of the Kapiti Arts Trail. The restaurant and gallery is a fitting venue: it’s a place where local musicians play and everyone works together to support the community. Her exhibition, titled “World of My Dreams”, is all about that connection. With the exception of one image, a self-portrait taken at the start of her photographic journey, each of the images were produced over the last year. The collection of seven creative fine art portraits and four underwater art nudes all reflect Karolina’s fascination with the human form; its beauty and the “amazing stories that their faces can tell”. The underwater series is intended to make the statement that we should be more proud of our bodies and not be ashamed of them. “Very often violence is so exposed and our kids are raised with all that temper around them,”

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meaning we tend to forget about who we are and what beautiful creatures we are, Karolina says. “I wish we could celebrate that more often as an artist and present that beauty to the public.” The portraits were each created to represent a different time and different era. There are works based on Cleopatra from 48 BC, Joan of Arc from the 15th Century, Lady of Cicadas from the Renaissance era, and Lady with a Clock from the 20th Century. Throughout the process, Karolina worked to make all the props and costumes through collaboration with local artists. This community connection extended to donations of such things as wood, paper, paint and fabric from which pieces were made. An incredibly worthy outcome of the work to date saw Karolina launch her Kinder World project. This non- profit project “uses creativity and imagery to raise awareness and funds to support children with special needs within Kapiti schools”. Money raised from ticket sales to the exhibition opening meant she was able to donate $1500 to the Paraparaumu Beach School to support children with special needs. With one year, 11 works and a fundraising exhibition under her belt, Karolina believes she now has around two more years of work to finish the 12 Kinder World images she plans to create. She continues her journey to raise awareness and funds for her Kinder World project. As a further outcome of her project Karolina has another exhibition planned, alongside further fundraising through the production and sales of a calendar, albums and fine art prints. All money raised will go to her Kinder World school fund.

Â© Karolina Stus PRO Report / Magazine of the NZIPP

Â© Karolina Stus

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Â© Karolina Stus PRO Report / Magazine of the NZIPP

Â© Karolina Stus

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ÂŠ Karolina Stus

A huge thanks to Karolina for sharing her amazing project with us. We really encourage you to follow her progress and support her Kinder World fund, all aimed at improving and enriching the lives of others: www.kinderworld.org.nz www.facebook.com/kinderworldkapiti

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NZIPP ACCREDITATION

Accreditation Programme Sarah Beaufoy M.NZIPP, Mel Waite F.NZIPP & Shar Devine F.NZIPP Accreditation Coordinators

ACCREDITATION

“”

We are very passionate about NZIPP and adhering to the professional standards of the organisation and industry as a whole. It is important for you to become accredited; it is a recognisable professional business standard and is valuable for your ongoing growth as a professional photographer and NZIPP member.

As a guide we would expect that members have a vast portfolio to select from when submitting. You would consider getting assessed for Accreditation after completing at least; 30 weddings OR 45 portrait shoots OR 45 commercial shoots as the lead photographer. For any questions please contact your Accreditation Advisor or the Accreditation Coordinators. PRE-ACCREDITATION CHECK

Please remember before you can submit for Accreditation you must speak to an advisor. If you don’t have one already, simply email us or contact your Regional Chair, who will help find the right advisor for you. For those already on the path to Accreditation, remember your Accreditation Advisor is there to help you; they have been chosen because they have great knowledge and skill and have a good understanding of what the judges are wanting to see in a submission. While they can’t guarantee a successful submission and we can’t make you use their advice, listening to their feedback, recommendations and suggestions will not only help your chances of a successful submission, it will also strengthen your photography practice overall. ACCREDITATION DATES 2018 dates TBC. For any questions please email: nzipp.accreditation@gmail.com

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ÂŠ Evangeline Davis from Touchy (Joint Winner 2017)

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REGIONAL UPDATES

Auckland Region Words by Chris Traill F.NZIPP Accredited Professional Photographer

This month the Auckland Region welcomes three new members to its committee. Rachel Jordon, who was our Northland liaison, is now officially a committee member. Rachel is also joined by Emma MacDonald and Anil Dumasia on the team. Thank you for volunteering to be part of bringing some exciting events to our region in the coming year. It’s going to be great having some new blood who will bring fresh ideas and energy to how we make Auckland a thriving region to be part of.

both internationally and at NZIPP’s Iris Awards with his mesmerising work and is currently exhibiting at The Waitangi Treaty Grounds Museum gallery.

As part of NZIPP’s The Summit, which became Auckland’s October event, we were lucky enough to have Jason Naylor, Grand Master of the NZIPP, put on a wedding photography workshop.

We will all be meeting in the upstairs room of the Parua Bay Tavern (with its $2 million views, Tom the manager proudly tells me). This tavern is only 20 minutes out of Whangarei, toward the heads. It is full of character, and is the perfect spot for our event to begin. We will then be heading out to the stunning Ocean Beach, or Patau South, depending on what the weather, skies and light (or dark) is offering us.

The enthusiasm, experience and knowledge he was able to share with the tight group that attended was priceless. Jason gave his absolute all, and we literally had to stop him at the end of the day, as the church was booked. Thank you so much Jason - it was so cool to see you work your crafty eye and mind. Also thanks to the wonderful helpers, most of all to our models, husband and wife and famous blogging team Zoe and Junior Blessed In Doublesdoubles. “Thnx for putting up with that cold, Zoe!” To our makeup artist Patrice McNee who went the extra mile, and also to Tenille with her double act of being both the beautiful assistant and celebrant. Lastly, a huge thank you to Harry Janssen who stepped in to be the “Dad” on the day.

Chris has been kind enough to offer his expertise to the NZIPP and talk and walk us through his technique, as well as going out on an actual shoot to get results for ourselves.

This event is open for anyone to attend. It’s free for NZIPP members and their partners, however there is a very reasonable charge of only $25 (NZIPP subsidised) for any non-members who wish to join us. You’re welcome to come and see what the NZIPP is all about. All images © Chris Traill.

There were some very successful established photographers who attended, which shows not only the level of respect for Jason, but also the power of a workshop to reboot and inject inspiration. Good job NZIPP! Our next event is a road trip to the sunny North, on Wednesday November 15th, for a hands-on workshop. We’ve been planning this one for a while and are happy to be taking an event to our Northland members. We’re heading up there to explore the possibilities in the currently trending genre of astrophotography and light painting. We’ve all seen that cosmic imagery! Chris Pegman, of Kerikeri, has had particular success with these types of nightscapes and he would be one of the leaders in this field. He’s won numerous awards

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REGIONAL UPDATES

Waikato Bay of Plenty Region Words by Marama Shearer, M.NZIPP Accredited Professional Photographer

Early October saw the Waikato Bay of Plenty Region have a full-on, fun-filled event with a Commercial Street Photoshoot in Rotorua. Greg Webb from CR Kennedy and James Ensing-Trussel from Topic in Auckland came with lots of toys for us to play with. Their easygoing, approachable and friendly manner was appreciated by all of those in attendance. We were also fortunate to have Rumor HQ come with models and their new range of clothing which really suited the Street Art vibe that we had happening. Stacy, the designer and owner of the clothing line, was super chill and Mahalia their main model was ultra-professional no matter what we asked her to do! We had our own personal vape machine in Claire Birks, which created a really awesome atmosphere! We had the opportunity to play with a range of studio and portable lighting as well as the brand new Profoto A1. What a wicked piece of gear! It is small and powerful with the round format providing a natural light fall-off.

We have been trialling a monthly image review where members are invited to submit up to two images based on a given topic. It has been a great way for members to gain a better understanding of the judging schedule from the Iris Awards and an informal way for us to discuss the authors’ intentions as well as others’ interpretations. Our final review for the year is to create works based on Movement. On Tuesday November 14th we will be meeting in Cambridge, where architectural and construction timelapse specialist Chris Parker will be speaking about commercial licensing and contracting. We are also hoping that Chris will allow us a glimpse at some of his amazing drone and timelapse footage as well. Dinner will be held at Onyx at 5.30pm followed by our monthly catch-up and Chris’s presentation. We will also be revisiting the work that we have begun on our Health and Safety Policies and look forward to putting something together for WorkSafe to check out soon. Please feel free to join us!

Hennessy’s Irish Bar ended up being the perfect venue for us as the weather wasn’t tropical for much of our time together. They had a great function space which we quickly turned into our own studio. It really was the best wet weather contingency plan and likely what we would have had to do had it been our own commercial shoot. After the weather cleared a little, we headed down the street to an alleyway for a different look. We can’t wait to see some more of the images from the day. After dinner, Greg gave us a quick presentation about his personal work, before we shared images from members that were related in some way to colour.

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REGIONAL UPDATES

Wellington Region Words by Catherine Cattanach, F.NZIPP III Accredited Professional Photographer

Arriving from Europe and heading straight into an NZIPP Policy & Planning meeting is not usually anyone’s idea of a good time. I have to admit I fully expected to end up beneath the table having a quiet snooze, but in fact it was a really interesting, productive meeting and I had no trouble staying awake. I think we’re all sad to see Katherine step down after a truly visionary presidency, but we are in excellent hands with the lovely Ollie Dale and I am excited about the year to come. The next day I stayed on in Auckland to attend the wedding workshop run by NZIPP Grand Master of Photography Jason Naylor. I don’t even really shoot weddings anymore, but Jason is not only an amazing photographer but he’s also a damned good teacher, and I knew I’d pick up all sorts of great ideas. It was awesome and Jason was so generous with his knowledge - he really gave it his all and must have been shattered by the end of the day! As I write, he is in Fiji recuperating. We unfortunately had to pull the plug on the Wellington region’s September event, a “business speed-dating night”, at the last minute due to low numbers. We were sorry to disappoint those who said they had planned to attend but who hadn’t got around to RSVPing. RSVPs are so important for planning, not just for catering but for an evening like this where several people were

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preparing to come and talk to us. We really can’t go ahead with it and waste their time if there’s a risk that only a tiny handful of people will be there! In last month’s PRO Report Kaye Davis wrote about the importance of supporting regional events; members are crying out for more of them, but then sometimes the organisers are finding they need to do significant last-minute pushing to get people to commit. We understand that plans can change at the last minute, but if you intend to come along to an event, please RSVP as a yes. It only takes a second. :) Speaking of Kaye, Wellington is very excited that she has agreed to be our guest speaker for October, and is going to share tips on compositing and portrait retouching. Then in November we have our annual 10- 10-10 night - Wellington’s very own Pecha Kucha event Wilhelmsen © Nicola - which is always really popular. Ten photographers each have 10 minutes to talk about 10 images, and it can be anything they like. Some show 10 of their favourite shots from across the years, some show 10 ‘failures’ that have a good story behind them, and some choose to show 10 from one particular project they’re passionate about. Plans are also afoot for a Christmas gathering in Wellington in December; a venue has been booked and the committee is meeting soon to nut out details - should be a great event!

MEMBER PROFILE

Emily Adamson M.NZIPP

Accredited Professional Photographer www.emilyadamson.com

This month’s Member Profile puts the spotlight on Emily Adamson as she offers some insight into what drives and motivates her within her photography business. How long have you been a photographer? What sparked your interest in becoming a photographer? I am coming up to seven years as a full-time wedding photographer. I first shot weddings after studying photography in the late 90s on the Sunshine Coast in QLD and it was quite a different ballgame then. It was always a given that I would do something creative or artistic, and I studied Fine Art majoring in Ceramics, dabbled in graphic design and signwriting before my Diploma in Photography. After exploring heaps of areas within the photographic industry, assisting, camera repair stores, photo restorations, printing in labs rah rah rah and shooting everything from food and interiors to newspaper and editorial, I realised that wedding

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photography was the most fulfilling and rewarding type of photography for me. If the question is: ‘What job lets you people-watch, have full access to meaningful moments, observe, celebrate with a glass of bubbles, share in wonderful experiences and create something that is REALLY REALLY important to people?’, then the answer is ‘being a photojournalistic wedding photographer’. How would you describe your photographic style and how it has evolved over the years? I hope that ‘non-contrived’ and ‘real’ are words that come to mind when people see my photographs. I love the candid moments. I have always been drawn to documentary and photojournalistic styles. I definitely am more reactive then proactive. I get my best results

Â© Emily Adamson PRO Report / Magazine of the NZIPP

when people are relaxed around me and are focused on each other and the emotion of their day, and less concerned with the fact that there is a photographer beside them. I most want the photos to capture memories of real moments for them so that when they look at them in years to come, they remember how they were feeling, rather than what the photographer asked them to do. Over the years I have become better at communicating that to people, and selecting images for the Iris Awards has been big in helping me identify it. What gear do you most enjoy using at the moment and why? Canon cameras and prime lenses are my working gear and I really enjoy using them because I know them so well that I don’t really think about them, or even the settings too much while I use them. I have always shot with all manual settings and two camera bodies, and I am constantly changing things without looking - it has become a bit second nature. I think that comes from starting with film cameras, knowing the settings, and for weddings having one loaded with colour and one b&w.

You own and run your own business. Can you tell us a bit about how you do that? I am essentially a one-woman band and I am always somewhere in the “shoot, edit, promote, update, submit, file, market, edit, design, print, shoot, blog, train, meet, edit” loop! Apart from a friend in Australia who does some of my editing to help me keep up in the busiest times, I do everything involved in running my business. I’m also lucky to have extremely supportive family and best friends. Networking with other photographers, attending InFocus and A Bit More Soul, and being really involved on the board in the NZIPP Otago/Southland Region has given me so many connections, encouragement, education, confidence and referrals over the years, which has been the biggest factor in making my business successful. What has been your most successful marketing platform? Do you advertise in magazines/attend expos? Word of mouth and social media are my marketing

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Â© Emily Adamson

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Multi exposure with the Helios Tilt Shift Lens

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35 Â© Justin Aitken

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platforms. I’ve had a website for a long time (but am always quite behind in updating it), I use Facebook but am a lot more active on Instagram and more people find me there. I’m not great at self promotion, in fact I would say I am uncomfortable with it and find Instagram a bit less pressure then FB for some reason. What are the ingredients for success with photography? What have you found that works for you? Depending on what your idea of success is, I think you have to find the thing that you are passionate about, not just what you think will be popular or make you money, and get really good at it. Regardless whether that thing is people, landscapes, cars, fashion, directing photo shoots, or documenting, and regardless of how you work it out, once you can identify that thing you love, and how you love to work, learn how to do it the best you can and then show just that. You will attract likeminded people and it snowballs. Plus, you love doing it! What has been your most memorable shoot and why? My most memorable shoot... OK... the first thing that comes to mind is that earlier this year, I fell in a swimming pool at a wedding and was fully submerged with two camera bodies... but don’t worry, I had spare everything in the car and once I dried out I still shot the rest of

the wedding day and didn’t lose any images. The wonderful bride and groom have referred me to many of their friends EVEN with the embarrassing pool incident. The story I would prefer to share is that I was contacted by a couple who were coming to Queenstown for their “last trip” as he had terminal brain cancer. He asked if I could do a portrait shoot so that she and their children had beautiful photos to remember him by. I will never forget him or them. The details, like her hand in his, or him embracing her, were just so significant. What favourite image have you shot recently? It’s really difficult for me to choose just one favourite image, but I can tell you that all my favourite images happen in the split second when a heap of uncontrollable elements come together! This is usually when I’m immersed in an experience and people trust me enough to let their guards down. I’m feeling it, I anticipate something is about to happen, I bolt to where I want to be and decide how to capture it; the lighting, the action, the reaction (and no one steps in front of me) and the moment happens and I know I’ve got it; it’s exciting and a bit addictive. And then it’s over and gone, and maybe no one else even saw it, but I have it for them (on duplicate CF cards) and they’ll receive it and tell me that they “didn’t

even notice me taking photos” and that they cried and that they will treasure it for the rest of their lives. What are your biggest challenges as a photographer? My biggest challenges are internal: self doubt and worrying about delivering the best results that I can, and also comparing my work to others on social media (even when I am trying not to). I know I am not the only one who struggles with this. I try and avoid the comparison game and just keep telling myself that everyone’s highlight reel (including my own) on social media looks great and I am seeing all my own behind-the-scenes, (which do not look great). Reading your own testimonials page helps. How did the 2017 Iris Awards go for you? The 2017 Iris Awards went great for me! I honestly didn’t have any expectations, I get a LOT out of the process of selecting and entering images, but this year I won the Wedding Classic Category! The judges understood my images this year and got quite excited talking about them and the story behind them. What do you gain from entering the Iris Awards? The whole process and experience of entering the Iris Awards is always a big learning opportunity for me and where the real rewards are.

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The critiquing, the printing and the anxiety as they are about to be judged is such a roller coaster, but every time I have learned so much about how I shoot and what I could do differently to make the communication in the image better. I learn a lot from judges when they don’t award the images! The things that they are looking for are sometimes not there in your image. The impact doesn’t happen. They don’t see the story or the degree of difficulty that you know was there. And that is OK; it’s actually great! Because then you start getting clues on what you can do better. You can still love the image, and you should. Do you have any advice for aspiring photographers? If you are an aspiring photographer reading this, hi! Come say hello at a workshop or something. My best advice would probably be to always pack spare batteries, cards, cameras, shoes and dress (see above swimming pool incident). But seriously, always pack spare batteries and cards. Be open to criticism. It can be really helpful. It can sting at first, but after that, you will look back and think ‘wow, they were so right, I couldn’t see that at the time’.

PHOTOGRAPHIC ART IS MY DAY JOB

Janyne Fletcher F.NZIPP III

Accredited Professional Photographer www.janynefletcher.co.nz

When I was asked if I would like to contribute to this section of the NZIPP PRO Report I was flattered, but the quick answer to the question “what’s in your bag” is... not a lot! I am a primarily a landscape and fine art photographer, mainly based in Ranfurly (population around 1000) in Central Otago. No holds barred, this is without a doubt a photographer’s paradise! I have to admit though, I am not the ideal candidate for a talk about gear. If something takes my attention, I throw the camera on the back seat of the truck and take off down the road. I’ve taken many award-winning photos 10 minutes away from home and the odd one in my jammies. However, I do have a few things that I can share about my gear, the way I work and the benefits of a decent set of tyres on your vehicle.

Mitchell Street Shops, © Janyne Fletcher

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First off, the gear. These are the most important things for me: •

The bag - the main one for me is a bomb-proof Vanguard “o-ring” sealed hard and very heavy case. This gets thrown around, stood on and generally abused. Dust and rough treatment are commonplace for camera gear in Central Otago;

•

The other bags - life would be brilliant if we could all find the perfect bag, so I have a variety of sizes and brands. Occasionally, I end up doing walks into special places so I pick the right one for the occasion;

•

Sturdy tripod. I have a decent heavy Manfrotto tripod and it travels with me most places;

•

I have several Canon 5D bodies of different vintages, a good array of lenses, speedlights, filters and radio triggers; and

•

Good sturdy vehicle - being able to pull well off the road, take on ford crossings and cope with a bit of mud and snow helps a lot. I have a 4WD and a good set of tyres for on or off road. The vehicle is also big enough that I can pack it full of pictures to take to art shows or exhibits.

Second to the story, generally speaking, is how I fill my days, but I am always up for a bit of variation: I am not an early riser by choice but I have learned to love early starts. My devoted partner Deane is usually up before the birds. So if the light is right, I will head out first thing in the morning and try for some shots around the district. I will photograph and maybe make a few notes on my iPad (I use Evernote). I love the stark simplicity of Central Otago and it is a beautiful but challenging environment to photograph. If the light isn’t right, I may find myself doing a little research. I greatly admire other photographers’ work, but appreciating other forms of visual art is good because I put away my technical photographer’s brain

and consider the image. My inspiration can also come from just absorbing lots of visual “things” that are not necessarily art. I have learned to make notes about my ideas - cue the iPad with Evernote. On slightly less inspirational days, I become more absorbed in the administrative side of my business. I enjoy this aspect and I am very grateful for my more practical pathway into the “creative industries”. Working in the commercial world gave me skills in finance, marketing and business management. It also told me a lot about where my long-term prospects didn’t lie!

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At the Gallery: During the morning, I will head down to the “shop”. This is an old art deco-style shop on the main street opposite the pub, and the Otago Central Rail Trail runs down the back boundary. A splash of white paint on the interior has set off the timber floors and given me a nice environment to work in. The shop is about 30% gallery and the rest is a workspace where I edit, print and frame my photos. I enjoy working in the gallery: I meet many interesting people from all over the world who are visiting the region and I get fantastic support from the locals. I always print my own work. I still have plenty to learn but I have bonded well with my Canon wide format, 12-colour pigment ink IPF6500 printer. I print on a variety Ilford media and particularly enjoy their matte fine art papers.

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For popular pieces we have standardised “cutting lists” or “recipes” we follow. I mat and mount all of the prints and I quite enjoy my times standing at the mat cutter it gives me a little quiet time for my brain and it is right beside the heat pump - an important consideration when it is sub- zero outside. Deane is very tolerant of my creative whims and helps me make frames for the prints, and using our “cutting lists” we may make multiples of the same thing. Then we put them together with the glass, give everything a really good clean and add the finishing touches. They are then ready to hang on the wall of the gallery or be stored for times when we are busy or for a major event like an art show. This can all be quite hard work at times but I love the fact that I am not reliant on another business in my supply chain - this is important in a rural area. I have a pretty amazingly varied and rewarding career. If you are ever passing through Ranfurly, pop in for a look.

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Lightroom Classic

The Light in Lightroom Harry Janssen, GM.NZIPP, Accredited Professional Photographer www.harryjanssen.nz

Lightroom CC

Lightroom Classic [the old one] and Lightroom CC [the new one] - Two of a Kind The current version of Lightroom (the folder version) is now called Lightroom Classic. The new version of Lightroom (the web-cloud version) is called Lightroom CC. The difference is exactly that; the Classic version is folderbased, so all your image files are stored on your desktop or laptop computer and it’s nearly impossible, or very difficult, to work on the same files on different computers via Lightroom. You could share the Catalog files via “The Cloud” using DropBox or similar. But then, where are the image files located? You could sync them via cloud services as well, but the upload/download times are impractically long. Even with fiber broadband running super fast, it’s still a lengthy mission. For professional photographers like us, it is normal to come home from a shoot with a few thousand images, and I’d say impossible to upload all of these to a cloud server. Another issue is the giant amounts of drive space this would take. You end up paying for the extra storage space required, unless you only keep the “current” files in the cloud and archive the older files on desktop drives. But this makes for a hugely complex workflow: it’s not quick and efficient, and it is error-prone.

I have always maintained that it is impractical for photographers to work via a cloud-based system. My thoughts on this haven’t changed with the introduction of Lightroom CC (the web-cloud version). You can create whatever super-smart software you like, but the weak link will always be “bandwidth”. It simply takes a lot of time to upload and download; not very practical! But some creative thinkers have developed their own ways of working with this dilemma. If working on more than one machine is important, workarounds do exist. But I won’t go into the details of that. In the meantime, many users have been asking for a cloud-based workflow for Lightroom. Not so much professionals, but people who shoot with mobile devices. Please do not underestimate the mobile phone photographers. More pictures are taken every day on a mobile device than all other cameras combined! Workflow for those users on Lightroom Classic is cumbersome. Adobe did introduce a synchronise function between Lightroom and mobile devices a few years ago, but it seemed to be a bit remedial. So... Welcome to the birth of little Lightroom CC. Keep in mind this is totally separate from the Classic version, and you can install both versions if you want. A consideration: this is only version 1.0, so a bunch of features are not yet available, though more will be added in future versions.

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New features in Adobe Lightroom Classic include: new colour and luminosity masking, performance improvements and a new embedded preview workflow for faster culling of images.

Develop Local Adjustment Masking (Range Mask) The new Color Range Masking and Luminance Masking tools allow you to build complex masks for local adjustments. This means you can now mask detailed areas, such as trees, and make localised adjustments, which was previously impossible without moving into Photoshop.

For greater accuracy, click and drag rectangles around the colours you want to adjust. Adjust the Amount slider

The Color Range Mask selects an area based on sampled colours, and the Luminance Range Mask selects pixels based on their brightness.

Luminance Range Mask:

Color Range Mask: First add a gradient or brush mask, then select Color from the Range Mask pop-up. Select the Color Range Selector (eyedropper) and click on your chosen colour in the photo. You can add up to five samples.

to narrow or broaden the range of selected colours. Hold down the Alt key (Windows) / Opt key (Mac) to display the mask as grayscale while moving the slider, so you can easily see the selected area.

First add a gradient or brush mask, then select Luminance from the Range Mask pop-up. Adjust the Luminance Range slider to set the endpoints of the selected luminance range, then use the Feather slider to adjust how smooth the falloff is at either end of the selected luminance range. Hold down the Alt key (Windows) / Opt key (Mac) to display the mask as grayscale while moving the sliders, so you can easily see the selection.

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Adobe Lightroom CC - The New One! You can install Lightroom CC from your Creative Cloud control panel. There is a slight difference in the icons to tell them apart. The LR CC version has rounded corners. When you run it for the first time, check your settings in the preferences panes.

Panel 1: Enter your Adobe Creative Cloud user name and password.

Panel 2: Local Storage, you can check the box to keep a copy of your images on your local drive, or, click on Change Location to select where you want the images to be stored on your computer.

Panel 3: Should be all OK, but do select Automatic in the Panel Tracks option. This is similar to Solo Mode in Lightroom Classic. It automatically closes a panel when you open another to keep vertical scrolling to a minimum.

Note: If you made changes in any of the panels, make sure to restart Lightroom CC by clicking on the restart button on the bottom left to enable those changes. Now you’re all set to go!

Adobe Lightroom CC - Download the iPhone, iPad or Android Apps Next thing to do is to download the Lightroom apps for your device(s). And again, during the first run, make sure that you are logged on with your account details.

Select the Lightroom CC camera module and take a picture. It should now appear in the desktop version. So, next time you go for a walk, when you come home, the images will be waiting for you in Lightroom CC.

“This is not a user manual - if you are keen to try out the new Lightroom CC web-cloud version, think about how you are going to use it. I recommend you keep files from both Lightroom versions separated”.

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Adobe Lightroom CC - Albums and Filters Click the + symbol to add images from computers or drives. To organise your work, create Albums (similar to Collections).

Select images and drag into the create album. You can filter images by date (Year, Month, Day).

Lightroom CC - Using the amazing Adobe Sensei to find an image Lightroom CC on desktop is a completely new app for Mac and Windows. Lightroom CC is designed from the ground up to focus on photographers’ needs as they move between their devices, and to tap into the power of cloud-based photo editing and management of collections and albums. Lightroom CC features a new interface that makes it easy to organise AND edit from the same streamlined

experience. Your original images, edits, and metadata are synced and stored in the Creative Cloud. Once they’re in the cloud, Lightroom CC taps into Adobe Sensei to automatically tag your images for search. Using the Sensei technology; in the example below, I searched for “boat” and without having to add any keywords, all my images with boats magically appear.

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Adobe Lightroom CC - Correcting an Image Lightroom CC uses the same terminology as Lightroom Classic, so it is very easy to use. Buttons for Light, Crop, Healing Brush, Adjustment Brush, Linear Gradient, Radial Gradient and a “More” option (3 dots). The “More” option lets you edit in Photoshop for example. All other tools work and behave pretty much the same as the Lightroom version you are used to.

Lightroom CC - Save and Share The Cloud Button in the top right hand corner brings up a display which shows space used, devices connected and a sync status check. The Share / Save button lets you do exactly that, save image(s) to your hard drive, and you can post images to Facebook too. As I mentioned before, this is version 1.0 of Lightroom CC. A lot of things aren’t there yet. But because it is so lean and simple, it is a nice way to get started.

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Adobe Lightroom CC - A Summary Lightroom CC - The web-cloud version with apps for iOS, Android, tvOS, web browsers, PC’s and Macs. It uploads everything to the cloud so you can access all of your photos everywhere. It’s only the first release, so features are still a little bit limited, new features will be introduced with each update. Lightroom Classic - The latest version of the Lightroom we are used to, with performance enhancements and other improvements. This version stores all of your photos on your computer, as it always has done. A take-over bid - Is Lightroom CC going to take over from Lightroom Classic? Personally I can’t see it, but you never know what the future holds. My reasoning is, imagine the wedding shooter coming home with hundreds if not more images from large file cameras like the new Nikon D850. It is just impractical to upload all of these images to a cloud service. Lightroom Classic is ours and it’s here to stay. Getting started - Before you get started with Lightroom CC, explore all the inand-outs of this new software to find out how it would ‘sit’ in your workflow. Figure out how you will used it first before installing it. Lightroom CC is not for everyone. It is at this point not a complex programme, so it won’t take you very long to determine if it would work for you.

This is version 1.0 - This is a total new program, not an add-on or upgrade. The features are very limited at this point, more functions will be introduced with every new release. Keep work-flows separate - Use Lightroom Classic and Lightroom CC for separate work-flows. DO NOT use both for the same job(s). For example, I use Lightroom Classic for all my client and personal professional workflows. I use Lightroom CC for iPhone and compact camera photography. Installation of Lightroom CC - You are limited to two active installations on computers but any number of mobile devices. All computers and devices have to be signed on to your single user Creative Cloud account. Your images are also accessible via the browser version of Lightroom CC. Go to: https://lightroom.adobe.com and log-into your Adobe account.

The Lightroom CC interface Some keyboard shortcuts PRO Report / Magazine of the NZIPP

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