Issue 241
Should I Grab A Drone? Is It legal now? Nikon’s D5 - The Perfect Professional Camera? Business Psychology For Better Sales How To Calculate Your Costs By The Shot
May 2016
CONTENTS 4
Insights from the National President Can you be elected for National President? How do you get on a State Council? What are you expected to do when you run for office? As our National President Ross Eason nears the end of his term, he outlines the election processes for the AIPP.
10
APPA Judging Schedule Already!
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Are you coming to APPA this year? Would you like to plan your weekend ahead of time? And is there a particular category you want to watch? If so, the judging schedule is already available, even before entries have opened! How good is that!
Should I Grab A Drone Now?
Cover
CASA has relaxed its red tape for commercial operators of ‘very small remotely piloted aircraft’, meaning professional photographers and video producers can now work for their clients with drones - as long as they are small enough. What does this mean for the profession - good news or does this just open up yet another area for undercutting by backyarders?
Lisa Saad APP.L, M.Photog. 2015 AIPP AUSTRALIAN COMMERCIAL PHOTOGRAPHER OF THE YEAR
AIPP JOURNAL is the official newsletter of The Australian Institute of Professional Photography (AIPP). Editor Peter Eastway APP.L, G.M. Photog., FNZIPP, Hon. FAIPP, Hon. FNZIPP, FAIPP Disclaimer The information provided in The Working Pro and associated publications is made in good faith, but is general in nature. Neither the editor, the publisher or the AIPP accept responsibility for or will be under any liability for any recommendations, representations or information provided herein. The AIPP JOURNAL presents information, opinions and suggestions for subscribers to evaluate in coming to their own decisions in the light of their own individual circumstances. The information should not be relied upon without readers first obtaining independent advice from their own financial and legal advisers. Unless otherwise noted, all articles are written by Peter Eastway. Publication The newsletter is published 10 times a year – monthly with November/ December and January/February being combined. The AIPP JOURNAL newsletter is published by Pt 78 Pty Ltd, ABN 75 003 152 136, PO Box 351, Collaroy Beach, NSW 2097, Australia. Phone: (02) 9971 6857; Fax (02) 9971 6641. E-mail eastway@betterphotography.com
AIPP Membership Contacts Suite G.02, 171 Union Road, Surrey Hills, Victoria 3127 Phone: 03 9888 4111 E-mail: enquiries99@aipp.com.au
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14
Lisa Saad’s Insightful and Clean! So often we relate to photographs that are more than mere records and Lisa Saad APP, M.Photog. III fully understands the importance of generating not only a style of work, but having a reason for each image as well. Read how she has achieved her recent successes.
ISSUE 241 / MAY 2016 22 26
How To Set Up Lightroom Catalogs If you want to use Lightroom effectively, you need to get your head around a Lightroom Catalog. What is a catalog, what does it do, and should you have just one catalog for all the photos you’ve ever taken, one catalog per shoot, or somewhere in between?
Control Light Quality With Light Shapers Last issue we saw how moving your light closer to or further away from your subject changed the quality of the light. In the same way, using different sized and shaped attachments over your light can also change the quality of the light output. There are many ‘light shapers’ to choose from – and they have a dramatic effect on your light.
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Business Psychology For Photographers Vittorio Natoli APP.L, M.Photog. IV spends as much time focusing on ‘business’ as he does on photography. He understands what people want to purchase from a photographer (or a video producer) and what they are willing to pay. And it is this understanding that will help every photographer and video producer’s studio to be more successful.
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Should Big Companies Own Our Copyright? If you think all big companies, organisations and government agencies are out to get your copyright, there may be a change in the air. Just kidding! The AIPP’s Chris Shain participated in the recent Copyright Law and Practice Symposium 2015, but so far, it’s all just talk. Or will something change in the near future?
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How To Calculate Your Costs By The Shot How you present your quote and how you calculate it are two entirely separate matters. Here’s how to work out your quote based on the time it will take you, and then how to present the quote to your clients.
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Nikon’s D5: The Ultimate Ergonomics? One thing that more established camera manufacturers like Nikon have is a longevity of camera design experience, so much so that when you pick up the new D5, you just know it’s going to work flawlessly. It feels solid. It handles beautifully. But is the new D5 an essential tool for you?
3
NEWS
Insights from the National President Can you be elected for National President? How do you get on a State Council? What are you expected to do when you run for office? As our National President Ross Eason nears the end of his term, he outlines the election processes for the AIPP.
PHOTO BY ROBYN HILLS
TAGS AIPP B o a rd
As we head into election time for all State
other members as required to help with specific
Councils, as well as the National Board, I was
tasks.
reminded by a Queensland member that not all
members understand the operational structure
and Vice President are voted on by the State
of the AIPP.
Council at their first meeting.
THE STATE COUNCILS
THE NATIONAL BOARD
The front line of the Institute is comprised of
Our National Board is also elected by the
our state councils. Each has 5 members elected
Accredited Members, but with a subtle
each year by the Accredited Members in their
difference.
respective states. The term is for 12 months,
but we prefer a longer term commitment if
three years, with a maximum of two terms.
possible.
board members to retire by rotation. They
State Councils operate under a Charter
The term for a National Board member is Each year, the constitution requires two
set by the National Board and are primarily
would usually be the two longest serving board
responsible for state events, membership
members. Why? It’s important for three reasons.
inductions, state awards and social events.
• The Board need to stay fresh with new input
It is an absolutely essential part of the AIPP
culture as our State Councils are our eyes and ears on the ground. Their interaction with, and feedback from, our members is vital.
4
The office bearer positions of State President
A State Council would meet once a month
and opinion; • It ensures we do not have board members who sit ‘too long’ on the Board; and • It provides for the transfer of knowledge and skill sets - the two new board members each
at a mutually convenient time to plan coming
year are coached and educated by the longer
events. The State Council of 5 can also co-opt
serving board members.
5
NEWS
The National Board has 6 members (all AIPP
members), as well as provision to co-opt 2
times per year, some meetings face to face and others by teleconference.
additional members as required. The co-opted members usually bring a skill set that is required
NATIONAL OFFICE
at any time, such as a business acumen or to
The operation of the National Office and
undertake a specific task.
the day to day running of the Institute is the
responsibility of the Executive Officer, Peter
The constitution also provides for members
from like bodies who come under our umbrella
Myers. Peter is an employed professional, as are
to have a seat on the board for a given period
all of the staff in the National Office.
of time. An example of this is our merger with
the ACMP. Richard Weinstein as ACMP president
is incumbent on all of us to help carry the work
also sits on the AIPP Board.
load. Each of us at some stage should consider
putting our hand up for a position, be it a
The office bearer positions of National
As members of a membership association, it
President, Chairman and Treasurer are all
worker at an event or a term on State Council or
appointed by the Board at their first meeting.
the National Board. Volunteering is a key aspect
A key part of Board operation and long term
of our culture and, from my experience, it is one
direction is the AIPP strategy and business plan.
of the most rewarding and beneficial aspects of
Both are reviewed regularly and our business
membership.
plan runs up to 5 years in advance.
For stability of the Institute, it is essential that
new members coming onto the Board work with that same long term approach and plan.
PHOTO BY ROBYN HILLS
6
The Board members are all volunteers
without remuneration and are only reimbursed
ross.eason@aipp.com.au
for the expenses they incur. The Board meets 10
0412 108 362
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NEWS
APPA Judging Schedule Already! Are you coming to APPA this year? Would you like to plan your weekend ahead of time? And is there a particular category you want to watch? If so, the judging schedule is already available, even before entries have opened! How good is that!
TAGS APPA Awa rd s
10
For most of the AIPP’s leading photographers,
of getting my entries ready, of putting them
APPA has been an integral part of their
in the print case and sending them off. I love
professional lives for a decade or more.
jumping on a plane and travelling to APPA, and
I especially love the first morning when I get to
What always surprises me is when someone
enters APPA just once. I’m not sure what they
see friends and colleages who I haven’t touched
expected or how they can stop, but perhaps
base with for probably a year or more.
the difference between them and me is that I
attended my first judging in person.
were other newbies like David Oliver and Tony
I can still remember sitting up the back of
Hewitt. Now we’re the oldies and we know lots
the darkened room, five austere judges looking
of photographers, but we tend to congregate
learnedly over a parade of absolutely beautiful
with our generation. I see the same thing
prints. And then my print came up.
happening with all those young guys with
funny beards and girls with tiny tattoos.
My heart was in my mouth, I was shaking
At first, the photographers I’d mix with
slightly and I hung on every word they said.
And one or two of my entries earned a Silver. I
event, a happening and it’s what you make
was hooked.
of it. So you choose. Stay at home and watch
it online. Come along and be a wallflower -
However, I’ve entered APPA some years and
APPA is more than a competition. It’s an
earned no Silver awards. Nothing. Zip! Boy, was I
or be brave and introduce yourself to other
bummed (note I am struggling to write politely
photographers while you’re there.
exactly how I felt at the time), but at no stage
did I feel like giving up. If the judges didn’t like
professional photographer, you have to learn
my work this year, then they were certainly
how to be good with people - and APPA is a
going to applaud it next year!
great place to start, for many reasons.
I find APPA addictive. I love the process
If you’re going to be a successful
See you there!
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NEWS
Should I Grab A Drone Now? CASA has relaxed its red tape for commercial operators of ‘very small remotely piloted aircraft’, meaning professional photographers and video producers can now work for their clients with drones - as long as they are small enough. What does this mean for the profession - good news or does this just open up yet another area for undercutting by backyarders?
TAGS Dro n es RPAs Aer ials
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From 29 September 2016, CASA (The Civil
below 120 metres and more than 30 metres
Aviation Safety Authority) will no longer require
away from other people, only flying more
commercial operators (meaning anyone who
than 5.5 kilometres away from controlled
flies a drone for business purposes) to have an
aerodromes and not operating near emergency
operator’s certificate or a remote pilot licence.
situations.
This will be of great interest to everyone from
wedding to commercial photographers and
notification system.
video producers.
photographers and video producers, such as
Currently, operating a drone as a
CASA is to provide an easy-to-use online A few questions arise for professional
professional photographer or video producer is
will the quality produced by the smaller, lighter
not allowed unless you also have the necessary
drones be sufficient for their clients, and is
and very expensive CASA paperwork. The new
this an area that we need to get involved with
legislation relaxes these requirements for RPAs
to maintain our relevance in a world that is
that weigh less than two kilograms. ‘RPA’ stands
increasingly in love with the aerial perspective.
for Remotely Piloted Aircraft and replaces the
previous term, UAV or Unmanned Aerial Vehicle.
Skidmore, said “People intending to utilise
the new very small category of commercial
However, if you are using a drone
CASA’s Director of Aviation Safety, Mark
professionally, you’ll still need to notify CASA
operations should understand this can only be
and abide by a set of standard operating
done if the standard operating conditions are
conditions, including flying only in daylight
strictly followed and CASA is notified. Penalties
hours, maintaining a visual line of sight, keeping
can apply if these conditions are not met.”
•
D a r r e n J e w A P P, M . P h o t o g . I I I
13
FEATURES
Lisa Saad’s Insightful and Clean! So often we relate to photographs that are more than mere records and Lisa Saad APP, M.Photog. III fully understands the importance of generating not only a style of work, but having a reason for each image as well. Read how she has achieved her recent successes. Lisa Saad is an advertising and commercial
photography should be accessible to everyone
photographer who says she loves to shoot food
and that no one should miss out on the
and people. She’s also a shooting DOP (director
opportunity to work with a professional
of photography) with over 29 years experience in
photographer.
image development, creation and delivery.
analogue media has made me well versed in
“And I’m always on the hunt for unique
photographic briefs.”
“My experience in all platforms of digital and
producing imagery, digital manipulation, branding and campaign requirements, including old school
TWO STUDIOS
techniques.”
“I own and operate two photographic businesses
TAGS APPA Pro f ile
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from my Melbourne studio.
200+ AWARDS
And Lisa has an in-depth knowledge that allows
“The first, Lisa Saad Photographer - lisasaad.
com, is aimed at high end advertising and
her to serve all levels of cliental including pre- and
commercial clients wanting new and diverse
post-production, casting, lighting and camera
imagery, whist the second, Gotham Studios
requirements, crews, locations, retouching,
- gothamstudios.net, is an online, prepaid
composites, layered effects, cinematography,
photography service that supplies functional high-
video editing and delivery.
end photography to B2B clients across Australia, as
well as a learning and mentoring portal for those
awards for her commissioned and conceptual
wanting to increase their skill set in photography
personal work, both locally and overseas.
and maintain and run a photographic business.
Professional Photographer of the Year, the 2015
“I have always believed that good quality
Over the years, she has won some 200+
“Recently I won the 2016 Epson AIPP Victorian
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FEATURES
1. The Original File
2. Cleaning Up
LISA SAAD - ANATOMY OF AN AWARD WINNING PRINT We asked Lisa if she would share the steps involved in creating one of her recent award winning prints. As you can see, the image begins with a strong in-camera capture, but from here it is all down to Lisa’s imagination and post-production skills. The final rendition can be seen on our cover this issue.
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3. Adding Main Elements
4. Adding Mood
5. Final Balance (as seen on cover)
17
FEATURES
Canon AIPP Australian Professional Commercial
35mm film. The original darkroom was very small
Photographer of the Year. I’m also the Australian
and had no running water, so I couldn’t do much
Professional Ambassador for Manfrotto and an
but process film. Nevertheless, I spent a lot of time
Ilford Master.”
in there, dreaming of being a photographer.”
So how did Lisa get into photography?
“I didn’t come from a photographic family,
competitive area and Lisa explains you really have
but from an artistic one. My mother expressed
to know your strengths and be able to sell yourself
herself artistically through painting, handcrafts,
to your clients.
sewing and cooking, whilst my father was more
into drawing, woodworking and building. They
with lots of depth. I do believe that every image
both encouraged my sisters and me to pursue
has to exist for a reason, so each image I take is
and build on our artistic skills, so I spent a lot of my
always composed in the viewfinder and always
childhood painting, drawing and making things
exposed correctly.
out of wood and found objects.
Advertising and commercial photography is a
“My style is insightful, clean and multilayered
“My images are technically correct for the
subject that I am taking and even though they are
ALWAYS A PHOTOGRAPHER
structured with every element placed perfectly
“However, I always knew I was going to be a
according to my mind’s eye, they have an ease
photographer. I remember not knowing the
and breath that makes you want to look deeper
name of what I wanted to do, but when I tripped
because they are familiar, but not familiar, at the
over a camera at a local tip where we had our
same time.”
beach house, I learnt the word ‘photography’ and
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‘photographer’. I was six years old.
MANFROTTO AMBASSADOR
However, despite her success, Lisa is far from
“I geared my life to pursue this career and I
also knew quite early on that I was not going to
complacent and continues to push her career
be anything but an advertising and commercial
forwards. “I want to embody my moving images
photographer.
into the same realm as my still images. I have so
many ideas and I am really looking forward to
“My father built me a darkroom behind his
garage when I was about ten and that’s also about
making them come to life.”
the time when I discovered that the camera I
found at the tip was still working and that it took
to point out the importance of good support,
As a Manfrotto ambassador, Lisa was quick
19
FEATURES
especially for studio work. She uses Manfrotto
viewer to acknowledge the structures that
190XPROB and 190XB tripods with 504HD and
support this existence.
804RC2 heads. For lighting, she uses Manfrotto’s
1005BAC and 1051BAC light stands and a host of
experience to become personal, as we imagine
umbrellas and soft boxes.
our own journeys through urban space, and the
mysterious journeys of those who pass us by.”
In the camera department she finds herself
“The addition of the figure enables the viewing
using Nikon D3 and D800 bodies with a wide range of Nikkor optics: 80-200mm AF f2.8ED, 1735mm AF–S f2.8 D, 24-70mm f2.8 D-AFS, 105mm
LISA’S TOP FIVE SHOOTING TIPS
AF Micro f2.8D, 14-24mm AF-S f2.8ED, 50mm
1. Always be prepared before you turn up to a
AF f1.8ED and 85mm AF f2.8ED. She also uses
shoot. Read the briefs, make sure your equipment
Nikon’s SB-900 Speedlight flashes and Gary Fong’s
is working and you know how to use it.
Speedlight attachments.
2. Do not overcomplicate things. Keep your ideas manageable and assure you can execute them.
POST-PRODUCTION
3. Always be pleasant and on time, and listen to
“I use Adobe Photoshop to create the images. The
the client carefully
photos accompanying the article are generally
4. Keep to your word and deliver on your promises.
carefully constructed composites surrounding a
Do not say yes to something when you know you
central image which is captured in the camera
cannot fulfil it.
and cleaned up and added to. Hopefully people
5. Enjoy each and every shoot and always make a
see that the images are considered and thoughtful
connection with the person that is in front of the
because what’s interesting to me is that they each
lens.
have a message.
“The Anonymous Man Series is an intriguing
delve into the constructions of our urban
www.lisasaad.com (advertising & Commercial)
existence. Combining an interest in minimalist
lisa@lisasaad.com
lines and dichotomies, the fleeting figure in each
www.gothamstudios.net
image is placed to create a narrative full of intrigue.
(pre paid photographic services)
https://www.facebook.com/lisasaadphotography/
“Without the figure, each image reconstructs
the space of our urban framework, asking the
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https://www.instagram.com/lisasaad
21
EDUCATION
How To Set Up Lightroom Catalogs If you want to use Lightroom effectively, you need to get your head around a Lightroom Catalog. What is a catalog, what does it do, and should you have just one catalog for all the photos you’ve ever taken, one catalog per shoot, or somewhere in between?
TAGS Pho to s h o p L igh tro o m Tech n i q u e
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If you’re already using Lightroom, you have
photographer.
already set up a catalog, but is it being used the
most effective way?
photographers, once a job is finished, they
rarely need to look at it again, so creating a
There are two schools of thought about
However, for commercial and domestic
catalogs. One school says every photograph
large catalog with everything ever shot inside
you have ever taken should go into a single
doesn’t make as much sense.
catalog. I would imagine this could be
quite important for a stock or landscape
certainly my approach.
STEP 01
Determine how you work. Are you better off creating a separate Lightroom catalog for each shoot you do? Or do you want to keep a record of every shot ever taken in the one central catalog? The advantage of a single catalog is that you’re not constantly opening new ones, but the disadvantage is you may be creating a giant catalog unnecessarily.
Are multiple catalogs the answer? This is
STEP 02
Where do you locate your Lightroom [Lr] catalog? If you have a single catalog, then placing it on your main hard drive in the Pictures folder is as good a place as any. If you’re creating a catalog for each job, then you’re better off positioning it inside the folder that will hold all of the images (and possibly edits) taken for that job. It makes it easier to transfer the job later.
STEP 03
STEP 04
STEP 05
STEP 06
When you choose to open a new catalog, Lr asks you to Create a Folder into which it will place the catalog. If you are using a single catalog, you can place the Lr folder in the Pictures folder. If you are using multiple catalogs, give it a name that relates to your job. I use the date and name: e.g. 160430-Canberra. There are variations on how to do it, but this process will work.
If you were to look inside the folder, you will see that Lr has added three files (which comprise your catalog), plus a folder for holding all the preview files. When you import photos into Lightroom, you do two things: Lr copies the photos from your memory card to the computer, and it creates a thumbnail or ‘preview’ file so it can show you the photos you have.
When you view your Pictures folder on your computer, you will see the folder there - highlighted in blue in this example. Of course, this folder could be called ‘MasterLRCatalog’ or similar if you are going to hold all your photos in a single catalog. Optionally, if you are going to have one catalog per job, then you would create a new folder for every catalog.
Now, to use your catalog, you need to import your photos and tell Lr where they are going to be stored. Lr makes this process easy. Click on the Import button at the bottom left of the screen (assuming you are in the LIbrary module) and a new Import screen will open up. Essentially, the Import process will copy your photos onto your computer.
23
EDUCATION
STEP 07
STEP 08
STEP 09
STEP 10
Begin by telling Lr where the photos are. You can use the list of locations in the Source panel or click on the right arrow up the top to open recent locations. Essentially, this step is all about telling Lr where the photos are currently - and usually this is on your memory card which is attached to the computer by a card reader or inserted into the SD slot.
TAGS Pho to s h o p Tech n i q u e
24
Now we need to tell Lr where to put the photographs and what we want to do to them. Tick the ‘Don’t Import Suspected Duplicates’ button as this is useful. We can also tell Lr to make a back-up copy at the same time - use the little arrow to the right to select the location of your back-up files.
In the middle of the Import screen, you tell Lr what you want to do. Normally you want to Copy the files from your memory card to your computer - and Lr is smart enough to know this. There are other options, such as Copy as DNG, Move and Add. Keep the last two in mind because if you ever want to move the location of your files, you do it in Lr.
There is no need to rename files, but if you want to, you can do it at the time you import them into Lr. Some photographers don’t rename until after they have done an edit, so clients don’t ask where ‘missing’ files are when they see gaps in the file numbering. Have a look at the custom options - there is a lot of flexibility.
STEP 11
STEP 12
STEP 13
STEP 14
If you’re into automation, Lr allows you to automatically correct your raw files with the Apply During Import feature. No, it’s not a perfect solution, but on the other hand, it’s incredibly useful and will save you a lot of work. For wedding and portrait photographers, I’d use this feature for sure, although it can disguise any exposure errors you’ve made during the shoot.
Note that when you type the name of your new sub-folder, Lr adds it into place as a greyed out folder with a ‘+’ sign next to it. This is assuming you are creating a new sub-folder. You may be importing into an existing folder, in which case it will already be there. It is good practice to check your new folder is in the right place before importing.
Finally, you need to tell Lr where you want to store the photographs. As suggested, choose a sub-folder inside the Lightroom catalog folder. Tick the Into Subfolder checkbox and type the name of the subfolder (‘Millie’ in this case). Next to Organize, select Into one folder. Make sure the folder with your Lr catalog is highlighted below.
Check your settings again and then click on the Import button. Lr goes to work. There are variations on this process, so if you’re unsure of what you’re doing, grab a new memory card, take half a dozen shots, and then practice importing. Check after the importing process where the folders are on your computer. If it all makes sense, then chances are you’re doing it right!
25
EDUCATION
Control Light Quality With Light Shapers Last issue we saw how moving your light closer to or further away from your subject changed the quality of the light. In the same way, using different sized and shaped attachments over your light can also change the quality of the light output. There are many ‘light shapers’ to choose from – and they have a dramatic effect on your light. In the studio, we have full control over the
flattering. Light rays do not reach the subject
quality of our light, if we use the right light
from a single position – they do not travel
shapers.
in parallel. In fact, soft lighting arrives at the subject from a variety of angles and hence to
HARD LIGHTING
produce soft lighting, you need a large light
Light quality basically varies from harsh, hard
source (relative to the size of your subject).
or contrasty to soft and even. Harsh lighting is
very familiar to Australian photographers: the
directions, hard shadows can’t form. The effect
midday sunshine in summer is about as harsh
is very pleasing and, while not necessarily
as you’ll find, followed closely by an on-camera
as dramatic, produces a more appropriate
flash gun. Both light sources are small relative to
rendition in many situations.
TAGS
the subject.
Tech n i q u e L igh ting
Small light sources emit very directional
If light arrives at a subject from a variety of
INBETWEEN
light. The light rays that reach us from the sun
A small dish reflector produces harsh light,
are all travelling parallel to one another. This
while softboxes and umbrellas produce
directional lighting throws hard, directional
softer light. However, in between is a range
shadows. It is contrasty and it can make your
of different light shapers and accessories that
subject look dramatic – like spotlights in a
make harsh light softer (like a large beauty
theatre – or pretty horrible if the shadows are
dish reflector) and soft light harsher (like a
left uncontrolled or are badly placed.
honeycomb grid on a softbox). However, at the heart of all these light
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SOFT LIGHTING
shapers is the quality of the light reaching the
In comparison, soft lighting is far more
subject. Is it what you want?
e t a e r c s e c r u o s t h g i l t c e r i e d r , o r e m l l a d n m a S s e n i l w o d s a e h s m r i t e e d r m a o h S . n i k s e h t ff h o t i y w t i t v i c t e c ff e e d refl o o g o t d e s s u a t e o b n n s a i c t u b , this e r u t i a r t r o p . e e r t u a t r i o a r p t r or co p y l i m a f r o f e l b a r i des
B A C K G R O U N D
Note sourc how the to sh e creates s larger ligh adow ofter t highl trans is less itions ight reflec , and t famil t i v i t y y por h o ff t he sk ere traitu in. Fo re, so bette ft is usua r r. lly
B A C K G R O U N D
Subject
H A R D L I GH T N a rrow d i s h re f l e c to r s
Sub jec t
S OFT L I G H T S of t b ox an d u m b re llas
27
FEATURES
Business Psychology For Photographers Vittorio Natoli APP.L, M.Photog. IV spends as much time focusing on ‘business’ as he does on photography. He understands what people want to purchase from a photographer (or a video producer) and what they are willing to pay. And it is this understanding that will help every photographer and video producer’s studio to be more successful. AIPP national board member Vittorio Natoli is
as he does on his photography.
one of Australia’s most successful professional
photographers, both aesthetically and for his
purchase from a photographer and what they
keen acumen as a business operator.
are willing to pay. And it is this understanding
that will help every photographer’s studio be
Vittorio has taken his single-person studio
and turned it into Viva Photography with ten
He understands what people want to
more successful.
studios in Western Australia and Victoria and over 30 staff.
SYSTEMS IN PLACE
“At some point, I realized that the business
The question I had for Vittorio is, how and
why are his studios successful in comparison
model I was following as a professional
to the average professional photographer who
photographer was replicable. It wasn’t just
struggles to earn the equivalent of the average
about me because other talented people
wage?
could also do what I did. Once I understood that customers would buy from other
TAGS Busine s s Po r trai tu re
FOCUS ON THE BUSINESS
photographers, I saw that I could leverage what
Why are Viva Studios able to command higher
I did by bringing more photographers into the
prices for weddings and portraiture, thus
business. However, I needed a structure and
providing a better income for him, his family
systems to help them - the business model
and his staff?
needed a ‘way’ of doing things.”
I think the answer is very simple: Vittorio
spends as much time focusing on ‘the business’
photographer (and perhaps that is you) doesn’t
Photography by Vittorio Natoli and Viva Photography
28
Vittorio explained that the average
29
Photography by Vittorio Natoli and Viva Photography
30
FEATURES
think too much about streamlining all the
When we talk about systems, Vittorio suggests
things they do as a professional photographer,
that most photographers think of filling in forms
from answering inquiries to importing raw files.
and having a checklist for a wedding shoot.
“Everyone has their own way of doing things
“However, I think it is more fundamental than
and often photographers working on their own
this. What is your purpose as a photographer?
do the same thing in different ways on different
What are you offering and what is your value to
occasions for different customers.
your clients?
“However, you can’t produce a consistent
“For Viva, our purpose is to honour people’s
product unless you have a system that first
lives, values and self-esteem through creative,
works for you and, second, will work for other
beautiful imagery. It’s about giving back to our
people as well.”
customers, to find something that is unique
about the client and telling them through our
Viva Photography takes many commissions
every week, so Vittorio needed systems
images that their life is important and valuable.
for everything that his studio does, from
taking telephone and email inquiries to the
sell. If we were just selling photographs, we’d go
photography and sales sessions.
broke because everyone can take a photograph.
What we’re producing has a much higher value.”
Does a small, single-operator photographer
“Without this purpose, we have nothing to
need systems as well? I think so. Some of these systems will come from experience and habit,
DON’T UNDERVALUE
but the process of actually writing down the
Vittorio acknowledges that many
systems can transform the way your business
photographers are missing this crucial point
operates on a day to day basis.
because they’re ‘just taking photos’ and
undervaluing what they are providing.
However, the bigger picture is also
important. Around Australia there are thousands
of photographers all doing things completely
chains that took thousands of portraits
differently and this is what is challenging us
every year. Their proposition was ‘affordable
most as a profession.
photography’, but with smart phones and
compact cameras, photography today is
If we were more like doctors or lawyers who
“There used to be several large photography
work to similar standards, it would allow us
essentially free and so they went out of
all to increase the value of what we produce
business. There’s no point offering ‘affordable’ if
and for the public to appreciate what a true
it can be obtained for nothing.
professional photographer really is.
“This is why our proposition is so important.
31
FEATURES
Yes, we are professional photographers and
the other brands don’t. As photographers, it’s
we’re providing photographs in exchange for
important for us to understand this psychology
money, but really what our customers are doing
and to tap into our customers’ values.
is buying a part of their life which is incredibly
valuable to them. It’s usually their children or
extra $380? Because we’re selling our clients a
a family event, but we’re not taking snapshots
piece of themselves in a way they haven’t seen
with a phone, we’re creating portraits of
before. As professional photographers, we know
people’s lives.
how to light and pose our subjects, to make
them feel good about who they are, and when
“Let’s say I’m selling a portrait for $400 and
“So, why are our photographs worth the
another photographer is selling his portraits for
you’re in touch with their essence and adding
$20. Where is the other $380 coming from? My
in this extra value, some of your clients will be
portrait has to have $380 more value if I am to
willing to spend $3000, $4000 or even $5000 on
stay in business and that value comes from the
a portrait session.”
purpose I have as a professional photographer.
I’m not just taking a record shot, I am going out
just about photographing a baby, it’s about
of my way to find out all about my customer
the circumstances or the story behind the
so that when I create their portrait, they see
newborn’s family. It’s a subtle but incredibly
something in it that is incredibly valuable to
important difference.
For instance, newborn photography isn’t
them.
“This value could also be in the $20 portrait
HELPING OUR CLIENTS
as well, it’s just that the photographer hasn’t
“The baby might be the love of their life, there
identified it yet.” Or perhaps the confidence to
may have been difficulties getting pregnant, or
charge for it.
perhaps there was some misfortune that makes this birth extremely important. Something that
32
WANTING AN EXPERIENCE
is rare or special for one family might not be so
Vittorio explains it’s all about human
important for another, so we need to identify
psychology. People want an experience. Why
what is valuable to each of our clients. This is
do they purchase a luxury car? It is just a means
why we meet and talk to our clients before the
of transportation with four wheels, so why
photography session. Who are these people
spend five or even ten times more? The answer
and what do they really want?”
is because it makes the customer feel better or
special. It certainly gives them something that
our clients don’t know what’s important to
Interestingly, Vittorio suggested that often
Photography by Vittorio Natoli and Viva Photography
33
FEATURES
them before they have their photography
people and get them interested in it.
session. “It’s our job to find out what they are
looking for by asking questions and being
portrait photography to some extent, but you
interested, otherwise we might be delivering
have to find out where their interest comes
something that’s not required”. Or valued.
from and why it is important to them. Only then
“It’s true that most families are interested in
can you build their desire around what you are
MARKETING NEED
offering.”
“You cannot create a successful portrait
photography business just by putting your
out of business, it was reportedly doing $30
studio name out there. It does not happen.
million a year in sales, but those sales didn’t get
Portraiture is a flat demand curve. Unlike
distributed back into the market, they simply
weddings where there is a deadline date, in
disappeared. This is because PixiFoto created
portraiture the photographer has to create the
the market for its portrait photography services
need. You’re not stealing these clients from
- meaning that unless we are out there creating
other photographers, you’re creating them. Very
a demand for portraiture, it is not going to
few people want a portrait until you create a
happen automatically.
Vittorio also noted that when PixiFoto went
demand.”
34
Customers who spend $5000 on portraiture
PUTTING A VALUE ON IT
don’t just pass your studio and make a booking,
“It’s only when we promote what we are
Vittorio explained. “You need to create a market
doing on social media, put up a banner or
and then build the desire in your customers
tell someone that we find customers who are
to want it. Generally you create a niche
interested.
product, such as baby, teenage, glamour or pet
photography, and within that niche will be a
pay a lot of money, but another at a different
connection with some clients who want what
time may think it is worthless. This is nothing to
you’re offering.
be surprised about because the person buying
our work is the one putting the value on it.
“We have done surveys that show we’re
“One customer will love what you do and
only ever skimming the market. Out of 6 million
They will know if they can’t afford $2000 for a
families, there might only be 200 ready to buy
collection of portrait prints, but if they realise
our product or services at any one time! The
they are buying a tailor-made product that is
percentages are very, very small, so you have to
unique to them, then they are more likely to see
work out a way to show your products to lots of
the value in what you are producing.
Photography by Vittorio Natoli and Viva Photography
“This is a whole process in itself: preparation
give you money for something they can get
of the product or offer, qualification of the
cheaper elsewhere and that’s why we need to
customer, producing the right images that
produce something that is different. They are
meet the customer’s needs so that when you
not taking home a print, they are taking home
deliver the final product, they love it. None of
their life story and the things they value and
this is ever by chance. It is quite deliberate - a
appreciate.”
structured delivery.”
So, what are you selling to your clients?
Just like a luxury car is structured and
deliberate. The product has been carefully
Vittorio Natoli is an AIPP Master of Photography
designed to appeal to its market. “You are selling
with four gold bars. His business Viva Photography
a value and the people buying from you agree
offers wedding and portrait photography in West-
with that value.”
ern Australia and Victoria and is also a franchise
business. www.vivaphotography.com.au
Concluded Vittorio, “People aren’t going to
35
NEWS
Should Big Companies Own Our Copyright? If you think all big companies, organisations and government agencies are out to get your copyright, there may be a change in the air. Just kidding! The AIPP’s Chris Shain participated in the recent Copyright Law and Practice Symposium 2015, but so far, it’s all just talk. Or will something change in the near future? What needs to change is that photographers
advance about who’s going to get what and
don’t just give everything away to anyone
under what conditions. Then we will make
who asks! Too often all we’re interested in is
our best efforts to translate that into a legal
getting the job, not the paperwork or the
form, which protects everybody.’ Has that ever
consequences of losing our copyright - and
happened?”
control over our photography.
TAGS Busine s s Advo c a c y
36
The AIPP does what it can to let members
FAIRY TALE
learn and understand the importance of
Most photographers would be laughing at
business matters. The AIPP also advocates on
this questions and while Chris conceded it had
members’ behalf in many ways.
happened, it was a very rare occasion indeed.
For example, Chris Shain is often out
Normally, Chris noted, large businesses,
working on behalf of the AIPP. On this occasion,
organisations and government departments
the chair of the session in which Chris Shain
dictate the terms and conditions of a
AAP AAIPP participated at the 2015 Copyright
photography contract.
Law and Practice Symposium was Dr Simon
Longstaff AO, Executive Director of the Ethics
ask for the contract to be changed before
Centre.
signing, the usual response is to accept the
conditions in case the client looks for another
He asked Chris, “Have you ever had an
And while the photographer can legally
experience where perhaps, in advance of a
photographer.
contract being produced, the lawyers have
sat down, or at least the clients, and said,
“When I get up in the morning, I just want to
‘Let’s agree on the core principles about what
shoot pictures.
we’re trying to give legal effect to. Let’s talk in
Why does this happen? Continued Chris,
“That’s the problem. I’m a creative. I’m not a
•
Simone Hanckel APP AAIPP
NEWS
business person or a lawyer.
reasonable for the client to own these rights
“That’s why I do what I do and that’s why
Now, in some situations it might be quite
most creatives, musicians, writers, film makers,
and if the photographer is being reasonably
painters, you name it, we just want to make our
paid, then that is a fair outcome.
work. Let’s create some stuff that is useful for
society and give us fair credit.”
organisations hire lawyers to write contracts
The problem is that most larger
that simply grab all rights as an opening gambit.
BALANCE LOPSIDED
They may agree to licensing if you ask them, but
“But the corporations want to own the content.
the point Chris and Simon were making is that,
Maybe that’s a worthy thing to go after from
ethically, large organisations shouldn’t be asking
their perspective, but the balance is completely
for more than they reasonably need.
lopsided.”
photographer continues to own the copyright
Commented Simon, “It does seem there
A licencing arrangement where the
is an ethical issue if you’ve got a person who
is more often a fairer outcome.
just wants to take pictures and they are trying
to deal with a highly sophisticated legal
its members are aware of what copyright and
framework which has been developed with lots
licencing mean because too few photographers
of precedents.
are even aware of the rights (and restrictions)
under copyright.
“Even if the agreement is fair, I suspect
And one of the AIPP’s challenges is to ensure
there’s bound to be a bad taste in your mouth.”
GOVERNMENT TURN AROUND?
38
LOSING CONTROL
Interestingly, a representative at the symposium
And yet, Chris added, large businesses
from a government department commented
demanding copyright is a daily occurrence.
that it is no longer their approach to insist
on owning copyright. He also believed that
When photographers hand over copyright
of their images to a client, that means the
licensing rather than grabbing copyright was a
photographer can no longer use those
more ethical approach.
photographs without the client’s permission.
So, no using the photographs on your website
government agencies can be the worst when
or social media to market yourself, no using the
it comes to insisting on owning all copyright,
photos to enter awards. Nothing - unless your
especially when so much of the work is simply
client lets you use your own work.
locked up and never used.
Unfortunately, in Chris’s experience,
•
K r i s t e n C o o k A P P, M . P h o t o g .
39
NEWS
Observed Simon, “That’s a very interesting
don’t want other people using it.
issue. If [the photography] is not actually to be
A third audience member from the
used, then in what sense should you ethically
publishing world added, “Publishers who insist
assert ownership over something in order to
on owning copyright even for works that are
just lock it away, and for it to never be seen
going to go out of print in a year of two, still
again?
hang onto them because it is part of the asset build of the corporation.
COUNTER ARGUMENT
Replied Chris, “That’s often one of our counter
which add value when they try to sell the
arguments in dealing with these things.
company to somebody else.”
We say to our clients, ‘What do you want to
It is hundreds and thousands of licences
Simon concluded that the symposium had
use this for? Let’s set up something that allows
not discovered any particularly good reasons
you to use it’. But generally they come back
for large corporations grabbing copyright from
with, ‘We need to own everything. We need to
photographers and that it was good to see the
own the copyright, we want you to waive your
Commonwealth [government] was moving in
moral rights’ and so on.
the right direction.
Said Simon, “I would argue that’s actually
However, warned Chris Shain, the
poor planning on their part, because they think
symposium has changed nothing for the day
the safe position is take everything”.
to day operations of photographers around Australia. It’s still up to us to look at the
TOO MUCH EFFORT
contracts we receive and decide whether or not
A member in the audience suggested that large
it is in our interests to sign them.
companies and organisations can’t be bothered
with the administration of managing licences.
contract and send it back to your client. You’ll
It’s easier to just own copyright. If you’ve got
be surprised how often they agree to your
everything, you never have to look at it again
reasonable changes.
If it is not, change the terms of the
and you don’t have to manage it.
Another audience member suggested that
for corporations, owning copyright is all about
Chris continues to follow the development of this legisla-
locking other people out of using things.
tion which will no doubt eventually have an impact, one
way or another, on all of Australia and potentially New
If a corporation wanted to create something
to be associated with their brand, then they
40
Zealand as well.
•
Zaharoula Harris APP AAIPP
41
EDUCATION
How To Calculate Your Costs By The Shot How you present your quote and how you calculate it are two entirely separate matters. Here’s how to work out your quote based on the time it will take you, and then how to present the quote to your clients. If your contact is an employee who is earning
of which we have to deduct all our costs and
$40 an hour (say $80k a year), and you tell him
business expenses. For example:
or her that your photography rate is $200 an
photographers shoot for fewer than 10 - 20
ANNUAL INCOME $144,000 LESS ACCOUNTING $1000 ADVERTISING $5000 CAR $10000 COMPUTERS $3000 ELECTRICITY $1000 EQUIPMENT HIRE $5000 OVERHEADS $5000 PROPS & TOOLS $5000 STUDIO RENT $15000 SUPER $5000 TELEPHONE/INTERNET $4000 TRAVEL $5000 YOUR SALARY $80000
hours a week, excluding holidays, which
Suddenly that $200 an hour doesn’t look
changes the equation somewhat:
so good, does it? But try explaining to your
$200 PER HOUR X 15 HOURS PER WEEK X 48 WEEKS PER YEAR = $144,000 ANNUAL INCOME
potential client that you’re both earning much
your fees before presenting them to your client.
hour, there is often an immediate disconnection between you.
While more experienced people might
understand that your hourly rate is just a means to calculate a fair price, these days it seems more likely that people will simply multiply our hourly rate by a full time job:
$200 PER HOUR X 40 HOURS PER WEEK X 52 WEEKS PER YEAR = $416,000 ANNUAL SALARY
TAGS Busine s s I nvo ici n g
Wow, if only that were true!
The reality is that most commercial
Now, before we get too excited, this is our
total ‘billable’ or gross income for the year, out
the same! It’s much easier not to talk about an hourly rate in the first place – even though you may need to use an hourly rate to work out
The simple fact is that no self-employed
This is general information only. We do not know your specific financial or legal situation and we are not providing you with advice. As such, this article should not be relied upon as legal, financial or accounting advice. Please use this article as a conversation starter with your own adviser.
42
CALCULATE ON TIME BASIS 20 EMPLOYEE PORTRAITS 2.5 EMPLOYEES PER HOUR 8 HOURS @ $187.50 PER HOUR TOTAL: $1500 QUOTE ON PER SHOT BASIS 20 EMPLOYEE PORTRAITS $75 PER PHOTOGRAPH TOTAL: $1500
43
EDUCATION
commercial photographer is behind the camera
have seen photographers who bill out $90,000 a
40 hours a week, 52 weeks a year. On average
year and keep $80,000 as a salary, but this is the
a commercial photographer is shooting one or
exception. It is more usual to bill out $120,000
two days a week, maybe three if they are lucky.
to $180,000 to end up with an $80,000 salary.
However, no matter how many hours a week
The amount you need to bill your clients
you are shooting, you will need to estimate or
each year will equal your salary plus all your
calculate this information to work out your fees.
business costs.
So, our objective is to use our hourly rate to
If you have been in business for a few years,
work out how much to charge our clients, but
you can look at your previous tax returns to get
we keep this information to ourselves. We then
an idea of what you spend and then add your
turn our hourly rate into a cost per photograph
desired salary on top.
to present to the client (and the reasons for
doing this were spelt out in the previous issue
worked full time, I would suggest doubling your
of the AIPP Journal).
salary.
If you’re just starting out or haven’t yet
However, I have intentionally suggested the
STEP 1. WHAT DO YOU WANT TO EARN AS A PERSONAL SALARY?
figures on the previous page as an aim point, so
Our first step is to simply state what do we want
STEP 3. HOW MANY HOURS CAN YOU CHARGE OUT?
to earn a year. Let’s make it easy and follow the current example: $80,000.
let’s assume we need to bill $144,000 each year.
If you are a sole-trader or working through
44
STEP 2. WHAT DO YOU NEED TO BILL EACH YEAR?
a family company where you’re the only
If we want to pay ourselves $80,000 a year, we
washer. However, clients won’t pay you to do
will have to charge our clients more than this
the bookkeeping or your marketing, they only
so there is enough to cover our business costs
pay you for the time you are working for them.
and overheads. How much more can change
depending on whether you work from home,
between one and three days a week. For the
whether you contribute to superannuation and
purposes of our example, let’s call it two days a
how frugal you are with business expenses. I
week.
photographer, without staff, you’re doing everything from managing director to bottle
Most commercial photographers work
•
Antony Watson APP AAIPP
45
•
Benjamin Liew APP M.Photog.
46
EDUCATION
STEP 4. CALCULATE YOUR HOURLY RATE
The shot rate is calculated as follows:
Grab a calculator and work out your hourly rate
Now you have a rate that is harder for the
by dividing the number of hours you will work
client’s contact to argue with on a personal
in the year into the total you will bill.
level. Whether $75 is within their budget is
HOURS PER DAY X 2 DAYS PER WEEK X 48 WEEKS PER YEAR
= 8 = 16 = 768
Now take the total you need to bill annually and divide it by the number of hours you will be charging your clients.
ANNUAL BILLINGS HOURS PER YEAR HOURLY RATE
$144,000 768 $187.50
$1500 / 20 SHOTS
= $75
one thing, but at least your client isn’t thinking you’re earning $400k a year!
STEP 6. PRESENTING THE QUOTE OR ESTIMATE When you present your quote or estimate, don’t just send it through with a two line email. Show your client how professional you are by
Now, that was easy, but what does this mean?
including it in a booking form or a letter.
It means that if you work on average two days a
week for $187.50 per hour, you’ll be able to pay
contracts and agreements that you can use.
yourself $80,000 a year as a salary.
The AIPP website has a number of sample Note that a quote for a job is generally
considered to be a fixed price, so that whether
STEP 5. WORKING OUT YOUR SHOT RATE
it takes you one day or two, you have commited
So when a client asks you to quote for a shoot,
your first step is to estimate how long it will
so that if the job were far more involved, you
take. Let’s say a job will take one full day, or 8
may be able to charge more than the original
hours. How much will you charge?
estimate. Of course, you may not get another
8 HOURS X $187.50
= $1500
to shooting the job for that price. An estimate gives you some wriggle room
job from that client if they are not expecting
However, we have decided we don’t want to tell
it, so be clear and transparent in all your
our client the hourly rate, or even a daily rate, so
negotiations.
we convert this amount into a per shot rate.
For example, let’s say the client required
is that if your client now turns around and asks
you to take 20 bottles of wine or 20 corporate
you to take a few extras ‘while you’re here’, you
portraits.
can happily do so and charge them extra!
The good thing about charging by the shot
47
NEWS
Nikon’s D5: The Ultimate Ergonomics? One thing that more established camera manufacturers like Nikon have is a longevity of camera design experience, so much so that when you pick up the new D5, you just know it’s going to work flawlessly. It feels solid. It handles beautifully. But is the new D5 an essential tool for you?
TAGS Equ ip m e n t Ca mer a s DSLR
48
There are three cameras I place at the top of
its relatively high purchase price?
the ergonomics pot and one of them is the
Nikon D5 (and the Nikon D4/D4s which it
While autofocus has become incredibly
supersedes).
sophisticated, there are few cameras that match
the Nikon in terms of absolute speed and
True, it is a large, professional DSLR and
One improvement is its autofocus system.
some commentators query whether there is a
precision. Yes, some of the newer cameras offer
market for larger, heavier cameras given that
blisteringly fast focusing on paper, but when it
mirrorless designs could shed lots of weight.
comes to tracking a real subject in real life, they
Why break your back unnecessarily?
don’t match the performance of the D5.
Yet other photographers complain about
Nikon has introduced an overhauled AF
the tiny mirrorless cameras being too small to
system based on a Multi-CAM 20K autofocus
hold and feeling like a lightweight toy. Is no one
sensor module, offering 153 focus points, 99 of
happy?
which are the more accurate cross-type sensors,
for dense coverage of the focusing area.
There are so many photographers with
so many differing requirements that there is
However, as with all DSLR designs, the
definitely room for the new Nikon D5, as large
autofocus sensors don’t (and can’t) cover the full
and durable as it is.
area of the viewfinder like a mirrorless camera can.
IMPROVED AUTOFOCUS
However, the D4 and D3 before it were also
who want to use super-telephotos with
highly durable cameras, built to take the rough
teleconverters, the entire AF system now
and tumble of life in a photojournalist’s camera
operates at -3 EV (meaning you get full
bag or on the shoulder of a sport photographer.
autofocus on all autofocus points, even with
What improvements does the D5 offer to justify
a 2X teleconverter on an f2.8 telephoto) and
For sport and wildlife photographers
49
50
NEWS
much improved low light operability. Even
while both Nikon and Canon are crowing about
better, the central 15 focus points operate at
their new super fast frame rates, I’m not sure
-4 EV and will support lenses with a maximum
that in practice it will be a game changer. Don’t
aperture of f8 (any nine points are available for
get me wrong: having 12 frames per second will
selection).
be wonderful, but 10 fps on the D4 was pretty
cool too!
There’s no doubting the speed of the D5’s
autofocus system and with the high number of
individual focus points, you can very precisely
of a new autofocus system with a faster frame
apply focus - assuming you have the time to do
rate. It will certainly help sport and wildlife
so. If not, then the automatic ranging options
photographers capture critically sharp images
for choosing groups of sensors for focusing
at exactly the right point in the action.
come into play.
20-megapixel sensor? Why not 36-megapixels
So, the autofocus is fast, what about the
frame rate?
What is a game-changer is the combination
So why does the D5 only have a
like the D810? Is this a flaw in what is supposed to be a flagship professional camera?
IS 12 FPS ENOUGH? The D5 offers 12 frames per second continuous
LOW NOISE
shooting and can buffer up to 200 14-bit
I have yet to test the D5 for low noise, but
uncompressed raw files (assuming your card
the new 20-megapixel, full-frame sensor is
can write the information quickly enough). This
rated up to ISO 102,400 as a regular setting.
is incredible performance by any standards,
Given how good the D810 is at ISO 6400 with
whether you’re shooting surfing, football or
a 36-megapixel sensor, the D5 seems to be
wildlife.
continuing Nikon’s love affair with low-light
photography.
But some of the mirrorless cameras are
offering up to 30 frames per second by allowing
And you get better low light performance
you to choose a single frame from what is
with a smaller number of pixels simply because
effectively a 4K video feed. Is this what the
each individual pixel well can accommodate
Nikon engineers need to aim for?
more photons of light (non-scientifically
speaking). It’s a matter of physics that has yet to
Personally, I think the difference between 12,
14 or 30 frames is not going to bother too many
be engineered away.
photographers. We’ve been very successful with
less than 10 frames per second in the past, so
20-megapixels? Maybe not, but perhaps I am
FUR THER DE TAILS http://w w w.n i kon . com .au /en _AU/abou t/ produ c t_n ews/n i kon - d5
So is this an excuse for only having
51
NEWS
not the typical users. If we accept that the
The D5 also offers 4K UHD time-lapse movies
D5 is aimed predominantly at news, sport,
in-camera.
wildlife and photojournalist photographers, then 20-megapixels is more than enough and,
CREATURE COMFORTS
since they’re not chasing pixels, Nikon can
On the back of the D5 sits a high-resolution 3.2-
chase low light performance as it did with its
inch, 2,359k-dot touch screen LCD monitor.
revolutionary D3. The D3 re-wrote low-light
camera performance and the D5 appears to be
display monitor enables ‘nimble’ confirmation
continuing in this vein.
and high-speed navigation of a large number
According to Nikon, the touch screen
of images using a frame advance bar, and
52
WHAT ABOUT 4K VIDEO?
supports an efficient workflow with text input
Many news and sport photographers tell
and the like. The high-resolution monitor
me they are being pressured increasingly
provides an extremely clear display with live
to produce small video segments for their
view photography, even when the display is
publishers, so equipping the D5 with 4K video
enlarged.
seems very sensible.
while both are equipped with double memory
Some might wonder why you have 4K video
The camera comes in two versions and
if you only need 20-megapixel stills, so the
card slots, they only support a single media
argument doesn’t fly perfectly.
type, one being for XQD cards and the other for
CompactFlash cards.
However, in addition to 4K UHD
(3840×2160)/30p, 25p or 24p, the D5 also
records HD and Full-HD movies. Alternatively
incorporated and are twice as fast as with the
with a simultaneous HDMI output, movies can
D4S. The Wireless Transmitter WT-6, available
also be displayed on an external monitor or
separately, offers high-speed transfer of image
recorded as uncompressed video to an external
data to a computer or an FTP server over a
recorder.
wireless network, with a maximum range of
approximately 200 metres. Communications are
Now combine this with the camera’s
Both wired and wireless networks have been
maximum standard sensitivity of ISO 102,400,
significantly faster with support for the new IEEE
as well as even higher sensitivity settings up to
802.11ac (2×2 VHT80) standard.
Hi 5 (equivalent to ISO 3,280,000), and perhaps
Nikon is onto something here for recording
along to the The AIPP Nikon Event and see for
movies at these high sensitivities.
yourself!
So, is this the camera for you? Why not come
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