Issue 243
Kerry Martin’s Fine Art of Pet Photography... Is The Fujifilm X-Pro2 A Serious Pro Camera? How To Search In Lightroom Should All Professional Photographers Make Prints?
July 2016
CONTENTS 4
Vittorio Natoli, AIPP National President Western Australia’s Vittorio Natoli APP.L, M.Photog. has shouldered the role of AIPP National President with some clear directions for the future and acknowledgement of all the work done by the previous Board.
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Mercury Megaloudis - Board Member A passionate photographer, a past AIPP Australian Professional Photographer of the Year, and well known for his zest for life, Mercury Megaloudis APP.L, G.M. Photog. has joined the AIPP Board with the goal of making a difference - and bringing back both education and fun.
Cover
Vicki Papas APP AAIPP 2015 AIPP AUSTRALIAN FASHION PHOTOGRAPHER OF THE YEAR
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David Glazebrook - Board Member
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: admin@aipp.com.au
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12
Let’s build on the aspirational nature of AIPP membership, suggests one of our latest additions to the AIPP Board, Master of Photography and Blue Mountains resident, David Glazebrook, APP, M.Photog.
Facebook’s New AIPP Community Okay, it’s not new, but it’s brand new! And it’s a member-only benefit where AIPP members can talk to other members in the privacy of their own Facebook Group. Peter Myers explains.
ISSUE 243 / JULY 2016 14
The ABC of Pet Photography Kerry Martin APP, AAIPP of Akemi Photography was the 2015 AIPP Australian Pet/Animal Photographer of the Year, so she has a few ideas about what it takes to get the most out of her subjects. Here she reveals some of her hard earned ‘secrets’ for capturing expressions that sell.
24
Knocking The Productivity Commission
28 36
38
Real Photographers Make Prints Here’s a challenge for the photography profession: To be a professional, you need to offer your clients prints. If you can’t have prints made from your files, then you need to update your skills so you can. Without the ability to make prints, our profession will never survive!
44
If ever there were an example of bureaucracy taking a wrong path, it is the recent Productivity Commission’s report on suggested changes to copyright. As Chris Shain APP points out, this report must be stopped!
Joshua Holko On APPA Did you hear about what happened at APPA? APPA is the most discussed event in the AIPP and everyone has an opinion. Joshua Holko APP M. Photog. chats to Peter Eastway about a range of issues, from judge training to reining in scores for multiple images.
48
Locating a photograph needn’t be like searching for a needle in a haystack – if you follow a few simple steps with Lightroom. However, Lightroom requires text, words or ratings for its search function to work its best, so start by providing this information when you import and edit your images – and then searching is easy! Here’s how it all works...
Broad & Short Lighting
Why Do Prints Score Less At Nationals? From time to time, a print with a great score at the Epson State Awards will get a lower score at the national APPAs. If we’re supposed to have a single Australian standard, why does this happen? Is it normal? And who is right?
How To Easily Search In Lightroom
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Now that we understand the terms ‘broad’ and ‘short’ lighting, when do you put them into effect? The answer depends on what you want to create as a photographer, but these examples will give you a quick idea of what – and what doesn’t – work so well!
Fujifilm X-Pro2 – Is It Professional? The new breed of mirrorless cameras have most of the features of a fully blown DSLR, but less size and weight. Are they only designed for enthusiasts, or are they now truly contenders for a professional photographer’s camera bag?
3
NEWS
Vittorio Natoli, AIPP National President Western Australia’s Vittorio Natoli APP.L, M.Photog. has shouldered the role of AIPP National President with some clear directions for the future and acknowledgement of all the work done by the previous Board. It is a great honour to take on the role of
office, state divisions and the many committees
National President of the Australian Institute of
and sub-committees who volunteer their time
Professional Photography.
and efforts to nurture our organisation.
I look forward to continuing the task
of promoting and building what is already
SPECIAL THANKS
the peak professional body in Australia for
I would like to specially mention our past AIPP
photographers and video producers, and
National President, Ross Eason, and to thank
recognising the needs and interests of
him for his tireless efforts. He has navigated us
professional image makers in every genre.
through some challenging times and the AIPP is the stronger for his guidance and advice.
TAGS AIPP B o a rd
INCREASING AWARENESS
As custodian of our AIPP brand, I am passionate
was ably supported by our past Chair Felicity
and enthusiastic about supporting the
Biasi, board member Melissa Neumann, ACMP’s
membership, those entrepreneurial women
Richard Weinstein and co-opted Board Member
and men in their chosen fields of specialisation,
Bruce Williams. I’d like to thank these stalwart
delivering quality imaging to the greater public
members for their invaluable service.
and increasing the awareness of the value of
our services.
Lyons, along with Rocco Ancora and Melinda
Comerford, are now joined by Mercury
As image makers become more optimistic
Our veteran national board member Kylie
about our value to society, industry and the
Megaloudis and David Glazebrook to complete
arts, our combined strength will continue to
our Board of six, a Board that in turn is reliant on
be a shining light for our membership and the
the support of our hard working National Office
photography profession generally.
staff and our executive officer, Peter Myers.
I am very excited to be working with the
AIPP Board, the executive team, our national
4
Of course, Ross was not working alone. He
And I would be remiss not to make mention
of the Board’s special advisors, Rochelle Morris
for the professional video producers, and Chris
with many issues that are challenging us today,
Shain for his work in copyright and IP.
such as our position in the market, the services
and products we provide, and the high level of
Moving forward, the AIPP Board is
committed to increasing the benefits for
professionalism required.
our members through the highly successful
Accredited Professional Photographer program,
and the knowledge. All we need to do is use
ensuring the logo is promoted widely to the
it. Please familiarise yourself with the many
community so it becomes the recognised mark
educational resources my predecessors have
of a true professional, thus further increasing
established on the AIPP website, because it
our credibility and value.
is only with this knowledge that we can be
Collectively, we have the skills, the advice
successful in the future.
SUSTAINABLE MODEL In terms of delivering member benefits, I
APPA & THE EVENT
would like to acknowledge the ongoing
In the meantime, I am looking forward to
support of sponsors and trade affiliates. Their
meeting more members and continuing to
assistance is greatly appreciated and I hope we
grow and improve our Institute.
can demonstrate this through our continued
partnerships.
or The Event which is being held at the end of
August in Melbourne. If you haven’t yet booked
Our National Office has achieved a great
My first opportunity is likely to be at APPA
deal over the past few years and while we
your tickets, may I suggest you do so now!
have progressed greatly with our internal
We have an amazing program of inspirational
organisational structure, it has not happened
speakers - and that follows the equally amazing
without challenges to our culture and our
Australian Professional Photography Awards.
profession. Technology changes have also been
See you there!
disruptive, requiring our attention, but we have more than survived. We have established an independent and sustainable model which will enable our future success.
vittorio.natoli@aipp.com.au
0400 418 888
As your representative, I will work with all
our stakeholders to ensure the interests of the profession are maintained and promoted.
I realise that we, the AIPP, must take the lead
5
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NEWS
Mercury Megaloudis - Board Member A passionate photographer, a past AIPP Australian Professional Photographer of the Year, and well known for his zest for life, Mercury Megaloudis APP.L, G.M. Photog. has joined the AIPP Board with the goal of making a difference - and bringing back both education and fun.
TAGS AIPP B o ard
8
Mercury knows that the AIPP has changed.
in a different direction, but from Mercury’s
When president of the Victorian division, his
perspective, the Institute is all about contacts
thing was to do a monthly newsletter, run a
and friendships. He wants to retain them.
monthly meeting and put on a great state
awards. “If you did that, everything just worked”,
are leaving is that the creativity and fun have
he said.
disappeared. It’s something the NZIPP has
rediscovered and I think that’s what we have to
However, today he believes the Institute
“I think one of the reasons these members
needs a change in direction and he’s taken
do, too.”
some leads from the NZIPP’s national president,
Katherine Williams - who coincidentally has just
Institute isn’t only about fun. In addition, there’s
won the 2016 NZIPP Professional Photographer
an invaluable exchange of advice that makes
of the Year Award.
the difference between success and failure.
“Recently I spent five hours with Katherine.
However, Mercury fully understands that the
“When I was a young photographer, I’d
We were driving to a wedding in the country
attend seminars by international photographers
and for most of the trip, she was organizing
like Monte Zucker and Anne Geddes. Not only
the NZIPP awards, liaising with sponsors and
did they show you how they created great
working out what meals everyone would have.
photographs, they gave you material on how to
She was completely hands on and she inspired
market yourself and how to bring work in.
me so much, that I put my hand up to join the
AIPP Board.”
type of education today. I’m told many new
photographers only last three to five years in
Mercury has already given a lot to the
“I don’t think there is enough of this
Institute, but he was concerned that many
the industry and that’s partly because we’re not
of his friends were leaving. Some of them are
teaching them enough about business.”
simply retiring, others saw the Institute moving
We welcome Mercury to the Board!
Mercury’s experience and expertise as a wedding and portrait photographer can be seen above in the perfect placement of his light in a day-to-day portrait sitting. The studio is not dead - in fact, it is making a strong comeback! 9
NEWS
David Glazebrook - Board Member Let’s build on the aspirational nature of AIPP membership, suggests one of our latest additions to the AIPP Board, Master of Photography and Blue Mountains resident, David Glazebrook, APP, M.Photog.
TAGS AIPP B o ard
10
One wonders what tempts David to ever leave
see this new reality as a problem as long as all
his home in the beautiful Blue Mountains,
members run their businesses professionally.
just outside Sydney. Yet you’ll often find him
“The AIPP needs to embrace the changes
travelling to photograph weddings, commercial
happening within our profession so we can
jobs and landscapes. And now you’ll also see
remain relevant.”
him travelling to AIPP Board Meetings!
David is one of our two new AIPP Board
standards in any way. “I want membership of
Members. He has a strong association with
the AIPP to be aspirational. If you’re in there,
his local NSW division and he is a passionate
it’s because membership has a value. It has
supporter of APPA. Himself a Master of
knowledge, education, financial benefits and
Photography, he has been picking up Silver
camaraderie. If you’re going to have a crack
and Gold awards since 2011 and was awarded
at becoming a professional photographer,
the AIPP NSW Science, Environment & Nature
whether parttime or fulltime, joining the AIPP
Photographer of the Year in 2013.
should be an essential step. And just because
you only shoot on the weekend doesn’t mean
However, David has a good balance
However, that doesn’t mean a lowering of
between his passion for photography and
you should only charge half price - we need the
seeing photography as a business and as his
public as well as our members to understand
profession
the value of what we produce.”
“There’s no doubt the profession has
David sees great opportunities for
changed dramatically in the last five years or
helping members to be better with their
so. I think the AIPP may once have been seen
pricing, negotiating and creating a product
as a ‘boys’ club’, but now there are more female
that separates them from non-professional
members - and there are also more parttime
photographers. “With the Board’s help, I’d
members than fulltime.”
like to add to the aspirational nature of AIPP
membership.”
Whether fulltime or parttime, David doesn’t
•
David Glazebrook APP M.Photog.
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NEWS
Facebook’s New AIPP Community Okay, it’s not new, but it’s brand new! And it’s a member-only benefit where AIPP members can talk to other members in the privacy of their own Facebook Group. Peter Myers explains. According to the AIPP’s Executive Officer,
having their own separate groups with limited
Peter Myers, “The Board has always grappled
reach, we have created a new AIPP national
with the AIPP’s presence on social media and
group – the AIPP Community – with a national
how we deal with different types of posts and
reach to every member of the AIPP.”
comments.
AIPP members, including educational and trade
“Around six years ago we began with the
AIPP National Facebook page and that now
partners, will have access – and that’s why Peter
has around 24k followers. It has a fairly active
is calling it ‘the AIPP community’.
following, too, and is a good platform for the
AIPP - but it is also completely public.”
have received an email inviting you to join (If
Seeing how successful the AIPP National
not, check your Trash folder or contact National
Facebook page was, most of the state councils
Office). Members will have access for as long as
and committees also set up their own
they are financial members of the AIPP – lapsed
Facebook page. “Even Eric Victor has his own
members will be removed from the group.
AIPP mentoring group page on Facebook”,
explained Peter, “which is great in one way,
communication to members only, something
but challenging in another because all the
we haven’t been able to do before. There will
information isn’t available in the one place.”
be guidelines, of course, but essentially the
TAGS AIPP Faceboo k Co mm u n i t y
12
The AIPP Community is a closed group. Only
If you are reading this, you should already
“It allows us to lock down the
new group can be used for anything a member
wants to discuss.”
“The world of community and group forums
has changed in recent years and by default,
member, simply search for and visit the AIPP
Facebook appears to have replaced the old
Community on Facebook. Join up! Then
fashioned forums and bulletin boards. However,
bookmark the page in your browser and add it
rather than every state council and committee
to your favourites in Facebook.
So, how do you get involved? If you’re a
13
FEATURES
The ABC of Pet Photography Kerry Martin APP, AAIPP of Akemi Photography was the 2015 AIPP Australian Pet/Animal Photographer of the Year, so she has a few ideas about what it takes to get the most out of her subjects. Here she reveals some of her hard earned ‘secrets’ for capturing expressions that sell. Kerry Martin specialises in capturing the
Kerry says she has photographed dogs and their
connection that animal companions, specifically
people in a variety of locations and finds that
dogs, and their humans share. And when you
by choosing exciting environments, such as the
hear how passionate she is about her subjects,
snow for her Aussie Snow Dogs Retreats, she’s
you begin to understand why her clients love
able to capture a variety of emotion, light and
her work and refer her too.
action.
TAGS Pets Animal s Po r tfo li o
14
“I photograph in my Melbourne based
studio and offer on-location and destination
ALL AROUND
photo sessions. This approach gives me great
“Dogs seem to enjoy my company, as much as I
flexibility with the dogs that I photograph – to
do theirs, so we work well together. Throughout
capture their personality, the things they love to
my career, I’ve learnt that some dogs need a
do with their people and to customise what my
quiet and calm approach, while others thrive
clients would love to have at the end.
on enthusiasm to get the best out of their
photography session.”
“I approach my photography as a dog lover,
so the most important part of my photography
is meeting with the dog and their people,
she always had pets and animals around her as
learning as much as I can about them, their
photography subjects. Throughout her twenties,
connection, the time they spend together and
she travelled quite a bit, including hiking the
the ‘must have’ photos.
battlefields of Turkey and remote parts of Papua
New Guinea, and seeing the contrast between
“I also discuss the type of photography or
Kerry grew up on a five acre property, so
finished art that they are looking to enjoy when
imperial and communist Russia and so much
they display the results on their walls. All of this
more.
information helps us plan their unique photo
experience.”
am mostly self-taught and began taking photos
“A camera was a must-have for these travels. I
Bernese Mountain Dog, Alfie. Photography by Kerry Martin
15
16
for friends and family. After a few photography
“That’s when I founded Akemi Photography
sessions that included dogs and pets, and with
and chose to specialise in pet photography.
welcoming my own dog into the family, I soon
realised pet photography was my happiest
evolve my photography and I’m constantly
place.
reading about other photographers’
“I am always looking for ways to grow and
Old English Sheepdog, Douglas. Photography by Kerry Martin. Gold with Distinction. Cropped slightly here to fit the layout.
experiences and tips to setup and create
photograph any dog, my favourite place for
beautiful photos.
photography is in the beauty of a snow covered
alpine environment. It’s wonderful fun and
“While I love the opportunity to meet and
17
FEATURES
my clients love the photos. Not only do they
shoulder bag for carrying her gear about. “It
have their dog captured in a great location, but
depends on where I am going and what I need
they also have the memories of the experience
for the photography as to which bag I use for a
of heading away together to somewhere so
particular session.
amazing.”
“The other essential gear is what I use to
work with the dogs – anything that is going to
IN THE SNOW
help capture their attention – treats, squeakers,
Certainly Kerry has nailed her technique as
balls. I always have a long leash which is
evidenced by her recent competition successes,
essential if a dog has a tendency to not come
including the 2015 AIPP Australian Pet/Animal
back! Their safety is paramount and a leash can
Photographer of the Year.
be removed in post-production if necessary.”
Her photograph of an old English sheep
Back at the office, Kerry has a dual screen
dog named Douglas (photographed in the
Mac and a MacBook Pro for work on location.
snow - see previous page) was announced as
She uses Lightroom and Photoshop for her
the highest scoring print in its category and
post-production.
one of only a handful of prints to be awarded a
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Gold With Distinction at the Awards that year.
CREATING A STYLE
She more recently won the 2016 AIPP Epson
The photos accompanying this article are
Victorian Pet/Animal Photographer of the Year.
both Kerry’s day-to-day work as well as some
personal work.
“My camera gear is all Canon. I use the EOS
5D Mk III and a mix of lens. My favourite lens
in the studio is the 35mm because it’s a good
have four seasons. On location, I am looking
focal length for my set up and it’s super quick to
to combine the beauty of a seasonal location
focus which you need when working with dogs.
with my gorgeous subjects. It’s the snow in
winter, but there are flowers in spring, falling
“On location, I love to mix it up between the
“Being based in Melbourne, I love that we
16-35mm for capturing fun and quirky wide-
leaves in autumn and water and beaches in
angle photos, the 135mm for beautiful soft
summer. In the studio, I love to use colour
backgrounds and the 70-200mm for capturing
to catch attention, perhaps a contrasting
the action.”
colour to highlight the dog’s coat colour, or a
complimentary colour to draw attention to their
In the studio Kerry has Elinchrom flash
heads and modifiers, and she says she loves
eyes or another feature.
both her Lowepro backpack and Crumpler
“As a dog lover myself, I look for experiences
When the opportunity arises, I like to take profile photos of rescue dogs to help them attract the attention of potential adopters. It’s a valuable photography practice and an opportunity to build my understanding of dogs. Lucky, the puppy in this photo, has quite significant scars on his back. I don’t know how he got them, but it was heartbreaking to see such a young pup and to know that he had already experienced pain and cruelty in his life. He was incredibly timid and I had to approach working with him in such a way as to build his trust, in order to take photos that gave him the best opportunity to find a home. It has a happy ending though: beautiful photos and Lucky has found himself a forever home. Photography by Kerry Martin. 19
Above: Australian Shepherd, Barkley. Below: “Alfie and Pippa were looking to their human to throw the ball but lined up perfectly in doing so which gave me the opportunity for this photo. I love how perfectly their body shapes match and, of course, the beautiful sunset at the snow.� Photography by Kerry Martin.
20
FEATURES
Photography by Kerry Martin.
and photography opportunities that I would
“Following the wonderful results and
enjoy with my dogs and that I think other
feedback from the Snow Dogs, I was inspired to
dog lovers would want to have captured
launch destinations for all four seasons.
as memories, so sunrise and sunset create beautiful lighting and skylines for photography.
PRACTICAL ISSUES
“I often take my dogs to places or on walks
“Scheduling sessions is important. The best
where they get the experience and the exercise,
times are first thing in the morning or just
but I can also see if there’s photo potential.
before and after sunset. If there’s no option
“I was the first photographer in Australia
but to work in the middle of the day, then I am
to offer Aussie Snow Dog Retreats specifically
hopeful for some cloud cover or nice areas of
for photographing dogs, their people and the
open shade.
experience of the visit.
is intentionally simple because when working
“The photography captures the connection
“My studio set up and lighting technique
these clients have with their dog and every
with dogs, there is a limited window in which
time they look at the photos, it reminds them of
they are interested and responsive to what I am
the fun and experience they had in visiting the
doing. If I were fussing with lighting equipment
snow.
during a session, I would be missing the
21
FEATURES
moments way too often. “I do minimal post-processing in Lightroom, while more major jobs such as removing objects such as leashes or background cleanups are done in Photoshop. I frequently use the Nik and Totally Rad Lab plugins to quickly enhance my photos in Photoshop.” Kerry says she also uses three or four Lightroom pre-sets that she has developed for different environments to speed up her postproduction. “I run these as I import the files and then tweak from there as required.” And at the end of the process, Kerry offers a personal preview and artwork consultation for her clients. “At this appointment I show my clients a gallery of photos that I have prepared for them (all are edited) and some wall art design ideas based on what they indicated they would like at their earlier design consultation appointment.” While Kerry is undoubtedly passionate about her subjects, she seems equally aware of the importance in setting up a structured business that is also designed to support her. Kerry Martin Akemi Photography Website: www.akemiphotography.com.au Email: kerry@akemiphotography.com.au “My Japanese Spitz, Keiko, taken in the Sugar Pine Forest near Batlow, NSW.” Photography by Kerry Martin.
22
Facebook: facebook.com/akemiphotography Instagram: instagram.com/akemiphotos
Photography by Kerry Martin.
23
NEWS
The AIPP At Work
Knocking The Productivity Commission If ever there were an example of bureaucracy taking a wrong path, it is the recent Productivity Commission’s report on suggested changes to copyright. As Chris Shain APP points out, this report must be stopped! The Productivity Commission’s Draft
Recommendations on intellectual property
Copyright Act works okay as it is right now.
arrangements appear to be ideologically
Consumers can make a copy of their DVDs and
driven, designed to protect consumers and not
school kids have very fair access to copyright
creators, and if implemented, would be very
material, so what problem is the Productivity
detrimental to the livelihood of AIPP members.
Commission trying to solve?”
On 27 June 2016, Chris Shain attended
Busine s s Advo c a c y
24
One of the suggestions from the
a public hearing hosted by the Productivity
Productivity Commission was the introduction
Commission where he and several other
of ‘fair use’ along the lines of the provisions in
representatives put forward their contrary
the USA today. However, if there’s one thing
views. It’s not just photographers who would be
that fires up photographers who understand
affected, but everyone from authors with books
copyright, it’s how damaging ‘fair use’ is to our
to big businesses with patents.
profession.
TAGS
Explained Chris to the Commission, “The
Continued Chris in his presentation to the
CONSUMER, NOT CREATOR
Commission, “Photography is a very widely used
At the heart of the problem is the apparent
creative medium. There is an insatiable appetite
desire by the Commission to protect
for good quality visual material in the online
the consumer and drive down prices for
world, but not all photography is equal. There
photography, music and literature. Funny, $10
are many examples of significant moments
for a book or $2 for a song doesn’t seem too
in history that are marked very strongly
expensive in the first place? Compare what
and effectively by a professionally captured
creative people provide with the cost of a cup
photograph and our society would be a much
of coffee and it is ludicrous to suggest that small
poorer place without images like these.
time creatives like professional photographers
are gouging the public.
sourcing of news imagery is widely used,
“Today everyone has iPhones and crowd
•
R o b e r t P i c c o l i A P P. L M . P h o t o g I V F A I P P
NEWS
The AIPP At Work but even so, if our society wants to record
against Prince. However, how many
something properly, from a new bridge to a
photographers have the time or the financial
stillbirth, then a professional photographer is
resources to contest a case like this? And the
called in.”
fact that an artist like Prince is trying to rely on
the ‘fair use’ provisions indicates how fraught
If the ‘fair use’ provisions were brought
into Australia, there is a genuine concern that
the legislation is.
copyright creators could lose up to $1 billion
a year in revenue - and some of that would be
photographer, freelancing for 40 years and my
lost by professional photographers.
income is based on my ability to control the
Said Chris Shain, “I’m a working professional
copyright in my work. There are many situations
Fur ther I nfo Yo u ca n re a d t he Pro d u c ti v i t y Co mmissi o n re po r t here: http:// w w w.p c. g ov.a u / in quir ies /c u r re n t/ in tellec t u a lp ro per t y /d r a f t Th e AIPP ’s resp o n se c a n b e fo und h e re : http://w w w. p c.gov.au / in quir ies /c u r re n t/ in tellec t u a lp ro per t y / su bmissi o n s #po s tdraf t
26
WHAT IS FAIR USE?
in which copyright is the ONLY way I can make
According to the U.S. Copyright Office, ‘fair use’
money from my work.”
promotes freedom of expression by permitting
the unlicensed use of copyright-protected
explained, would make it too easy for people
works in certain circumstances - such as
to use photographs without permission – and
criticism, comment, news reporting, teaching,
without any likelihood of being taken to court
scholarship and research.
by the photographer because the outcome
would be so uncertain.
However, this is such a vague definition that
Introduction of the ‘fair use’ provisions, Chris
it is difficult to prove that unlicensed use isn’t
‘fair use’, thus opening the doors for anyone to
to confuse large corporate companies who
use any copyright-protected material.
demand to own copyright and small, individual
creators, who also need to own copyright.
Take the experience of Australia’s own
Chris added that the Commission seemed
Peter Coulson. His photograph of model Alice
Kelson, posted by Kelson on Instagram, was
recommendations are trying to give consumers
appropriated by US based artist Richard Prince
free and uncomplicated access to content on
and exhibited as part of Prince’s exhibition. In
their phones and screens, but this is incredibly
fact, Prince had used 37 Instagram images for
simplistic.
the exhibition and one was reportedly sold for
over $100,000.
affected by these proposals because they will
limit my ability to earn an income.”
Suffice to say Peter Coulson was not happy
“It appears many of the Commission’s
“As a small time content creator, I’m equally
and nor was another photographer Donald
The Productivity Commission has yet to
Graham who is currently in legal proceedings
respond to the June round of presentations.
•
Jonas Peterson
27
AWARDS
Joshua Holko On APPA Did you hear about what happened at APPA? APPA is the most discussed event in the AIPP and everyone has an opinion. Joshua Holko APP M. Photog. chats to Peter Eastway about a range of issues, from judge training to reining in scores for multiple images. With APPA just around the corner, many
image entry in a sea of single images, but
questions and issues are raised on social media
should they be looking past the presentation to
and in general conversation alike. The AIPP
the quality of the photographs themselves?
Journal had a chat with Victorian nature and
wilderness photographer Joshua Holko, sharing
me, so I made a series of photographs of a polar
his thoughts on some of the challenges facing
bear I had photographed with a motor drive,
entrants and judges alike.
in slightly different positions, and printed them
“This aspect of the Awards really interested
up as though I were entering them to APPA. I
TAGS APPA s s Busine Advordc as c y Awa Co mpeti ti o n Ca tegor i e s
DIPTYCHS, TRIPTYCHS AND MORE...
asked myself, ‘Does this series add to the story,
There has been a trend in recent years for
multiple images to be scored highly, perhaps
does adding one or two more images make the
more highly than the photography in the
presentation any better? What happens if we
individual photos deserves. Is this a reasonable
add in ten or twenty? Given APPA is all about
criticism?
photography and not graphic design, I think in
most cases the single image should be strong
Suggested Joshua, “We’re all looking for
“If an image isn’t strong enough on its own,
new ways to present our work that is unique
enough on its own, or if multiple images are
and different, and that’s great, but it doesn’t
presented, then they should all be strong.”
automatically mean that it is good. If a group of photographs on a matte are mediocre
MORE THAN PROFESSIONAL
individually, should they score highly because
Joshua suggested that one of the best things
of their graphic design?”
an APPA entrant can think about is what they
want to achieve from entering.
It is only natural that judges will have their
interest piqued when presented with a multi-
28
or should one photograph be enough?’
“Very often at the preliminary critique nights,
Photography by Joshua Holko
AWARDS
I’ll hear a judge complimenting a would-be
a collage of 36 or so photographs, but a story
entrant’s photograph by suggesting that the
about the best one.
client would love it, but it won’t win an award.
“APPA is not rewarding what we do daily
is critically important, and this worked for me,
for a living”, explained Joshua. Given these are
but there were also instances where a group
‘professional photography awards’, one might
of average photos seemed to be rewarded for
expect that this is exactly what APPA should be
graphic design, not photography. I’m not sure
rewarding - and it does. A score between 70
the judges got this quite right.”
“How we present our work to the judges
and 79 gives entrants the feedback that they
30
have produced a professional quality image.
WHO DETERMINES WHAT IS GOOD?
WHAT IS AN AWARD IMAGE?
All photography is subjective, but in the context
But it’s not an ‘award image’. An award
of a professional awards system, there are some
image is not only professional in quality and
basic aspects of craft and technique that must
presentation, it has another level of creativity
be satisfied. You have to achieve a high standard
and impact that sometimes impresses other
of exposure, focus, lighting and presentation. It
photographers more than our clients. It is an
is expected. From here, it comes down to the
aspirational award.
experience of the judges in placing an entry
into the context of contemporary photography.
Continued Joshua, “Many entrants are
creating photographs specifically for the
Based on all the other photographs entered
Awards - and that’s not necessarily a bad thing.
into the Awards this year and in previous years,
However, it also means that good quality
where does this entry sit?
professional work is not always going to be
enough to earn a Silver”.
huge responsibility. It’s not only an honour, in
some way’s it’s a burden because you owe it to
However, Joshua is the first to acknowledge
Added Joshua, “Being an APPA judge is a
that there can be times when two or more
the entrants to do a proper job. As a judge, you
photographs are certainly better than one.
need to familiarize yourself with the work of
“There was an entry last year, presented like a
previous years, and also more widely around the
proof sheet with 36 images and the best one
world in the genres you will judge. At the very
circled in red. I thought this was clever because
least, an APPA judge should go through the
the photographer have given some thought
previous year’s Awards (either online or in the
on how to present his best work. It wasn’t just
book), so they can get a feeling for where the
Judge's Assessment Guide Gold with Distinction
100 99 98
Exceptional vision, creativity and innovation. Remarkable technique. Encompasses excellence in all assessment criteria.
97 96 95 Gold Award
94 93 92
Outstanding visual communication, interpretation and emotional impact. Remarkable technique.
Judge Assessment Criteria • Communication and narrative skills • Imagination • Innovation • Visual and emotional impact • Technique • Lighting • Composition & image design • Timing, anticipation • Processing, post-production and presentation
91 90 Silver with Distinction
89 88 87
Professional excellence. Superior visual communication, imagination, craft and skill.
86 85 Silver Award
84 83 82
Exceeds normal professional practice, with high levels of communication, imagination, craft and skill.
81 80 Professional Standard
79
Approaching award level
78 77-70 Average to very good professional practice, but does not meet AIPP Award criteria.
Approaching 69-60 Meets professional standards in some areas, but needs work in Professional others. Entrant is on the way to Standard achieving a professional standard. More Work Required
59-50 Does not yet exhibit the basic standards required of professional practice.
1
Professionalism A high standard in: • Exposure • Focus • Colour • Lighting • Posing and styling • Composition and image design • Attention to detail • Post-production • Printing • Presentation
31
Photography by Joshua Holko 32
AWARDS
standard lies, what has been done before, what
“However, I do get irked when I see images
is new and different.
that are a composite, but they are not disclosed as such. For instance, you see a beautiful
THE RIGHT TO JUDGE
photograph of Patagonia with some amazing
“How can I as a judge give honest feedback
clouds, but it’s not disclosed as a composite. It’s
unless I am familiar with what’s happening in
important for us to be honest with our viewer.
photography? I owe it to the entrant to have as much knowledge as I can.
WHAT AM I LOOKING AT?
“In the landscape category, there used to be
“At the State Awards, we have a smaller pool
of judges and I think that accounts for some
a distinction between composite and non-
of the differences in scores between State and
composite images, but that has gone now.
National awards. However, just because you’re
However, as a judge, I want to know what I am
a Master of Photography doesn’t automatically
looking at, whether something is a composite
give you the right to be a judge. I believe that
or a single image because it makes a difference.”
first you need to demonstrate a strong core
knowledge of the genres you want to judge.
that this is why there are different rules for
“We have recently had judge training and
different categories. For instance, composite
that is great, but I think it was more focused on
landscape are not allowed into the Science,
mutual respect while the big issue of judges’
Wildlife and Wild Places.
knowledge remains underplayed.”
we agreed that judges can’t take into account
Judges are invited onto a panel because
And it certainly does, but Joshua concedes
“In conversation with Darren Jew recently,
they add to a collective pool of experience and
the degree of difficulty in capture. If I shot
opinion. Not all judges think the same way and
a polar bear after 10 minutes or five days,
that’s an important part of the system. That’s
how could a judge know by looking at the
why there are five judges, not just one.
photograph? I think all a judge can do is assess
“Personally, I think we are in danger of being
what is put in front of them - and that’s why
tagged the Australian Photoshop Awards. I think
it was helpful to know whether images were
it would be unfortunate for us to be seen in this
single captures or composites.”
light because surely we are photographers, not
re-touchers? This doesn’t mean I don’t have the
judges to remove their biases completely, but
greatest respect for what other people do, but I
judging a print isn’t a matter of ‘liking’ or ‘not
am very much an in-camera artist.
liking’ it.
Joshua noted that it can be difficult for
33
AWARDS
“At a critique night recently, I was presented
look back on photographers like Richard
with a birth category entry which, for me, was
Woldendorp as being the father of aerial
very confronting. It’s not something that I ‘like’,
photography, more recently it was Jackie
but the image was incredibly powerful and I
Ranken with her lith printed aerials taken while
scored it a Silver with Distinction. As a judge, it’s
upside down in her father’s biplane (Jackie won
really important to remove the ‘like’ and ‘don’t
the 2002 Australian Professional Photographer
like’. We’re there to see if the photographer has
of the Year with this series, followed up in 2005
demonstrated a level of skill above professional
with the AIPP Australian Photography Book of
standard. Have they taken that next step into
the Year).
Award territory - even if we don’t like the
photograph?
Hewitt’s highly coloured, square aerials in 2013
and the ND5 group’s 2014 AIPP Australian
“When I sit on a judging panel, I like to look
Jackie was followed more recently by Tony
at the score descriptions because they remind
Photography Book of the Year of aerials
me what I am looking for in a photograph. It
photographed above Shark Bay, so while the
can help when you’re presented with images
rush of aerials in following years has produced
that are very ‘popular’ or ‘trendy’.
some beautiful work, how should it be scored at
APPA?
“For instances, over the past few years there
have been many aerial photographs winning
“It’s tough because, as entrants, you’re
awards and many of them are breathtakingly
putting in work to be assessed by your peers,
beautiful. However, as a judge I have to ask
by other professional photographers who are
the question: does this entry demonstrate any
widely read and experienced. It can be really
real creativity, or is it just a snap out of a plane
hard to find something that’s new and different.
window? It’s an interesting question and you
can only answer it on an image by image basis. I
the Awards in the first place. Sit back for a
score it highly if it displays exceptional creativity
second and consider why you are entering - or
and is unique, but a lower score if it only
not entering. If you want kudos from winning
displays something that has been done many
awards, I’m not sure that’s a good enough
times before.”
reason. If you want to know how your work
“I think it all comes back to why you entered
stacks up against the profession generally, I
34
FIRST TO MARKET
can certainly understand that. If it’s to assist
Joshua is referring to the photographer who
you in your development as a professional
is first to market. While in Australia we can
photographer, then that’s an excellent reason.”
How To Master Photoshop Layers “The secret to photographic technique is layers, and that’s whether you use Photoshop or Lightroom.” How To Master Layers is a series of video/article presentations by Peter Eastway. To purchase and view on your computer, visit: www.betterphotography.com $6.49 each or $19.95 for all four titles
If you download the files from the website, they will not play properly on the iPad.
35
AWARDS
Why Do Prints Score Less At Nationals? From time to time, a print with a great score at the Epson State Awards will get a lower score at the national APPAs. If we’re supposed to have a single Australian standard, why does this happen? Is it normal? And who is right?
TAGS APPA Awa rd s Co mpeti ti o n Ca tegor i e s
36
When discussing the AIPP’s photography
had, why aren’t the results more even from one
awards programs, I often begin with the
awards to the next?
comment that all photography award and
competition results are subjective.
easier to agree that it is a little harder at the
National Awards, just like the swimming or
We have five human beings giving an
There are many reasons, but it’s probably
opinion about the value of the print.
tennis becomes harder between state and
national events.
They are expert opinions, but as we know in
all walks of life, different experts can have quite
different opinions. It shouldn’t surprise us this is
similar scores. If you scored 83 or 84 at State,
the same in photography - and that’s why we
usually you’d get a Silver at Nationals too.
have five judges, not one.
Statistically, it is unusual for a print to get Gold
at State and nothing at Nationals, but it has
This is also why our Awards are represented
However, the vast majority of prints receive
by a range of scores. It’s hard to say one print is
happened. I don’t have an answer why.
worth 82 and another must be better at 83. It’s
much fairer to say both prints are Silver awards
more experienced judges and, overall, their
because, at the end of the day, the difference
standards are higher. Your work has to be good
between 82 and 83 is relatively meaningless.
to impress them.
Of course, the difference between 79 and
The National awards have a larger pool of
And there’s also the chance that a print
80 is professional standard versus Silver Award
judged at Nationals has already been seen at
standard. One point can be very important.
the State awards - and so there is less impact if a
judge is seeing it the second time.
So, granted there is variability in the scores
we receive, but why do the scores at the State
It shouldn’t make a difference, but perhaps
awards appear to be higher than those at
it does. As I said, the judges are human and all
Nationals? With all the judge training we have
competition results are somewhat subjective.
•
Andy Cheung APP
37
FEATURES
Real Photographers Make Prints Here’s a challenge for the photography profession: To be a professional, you need to offer your clients prints. If you can’t have prints made from your files, then you need to update your skills so you can. Without the ability to make prints, our profession will never survive! Everyone who picks up a camera thinks they
computers and digital storage, we have seen
are a photographer, so how do professional
constant change.
photographers stand apart? What makes them
different to someone with an expensive, fully
no longer be read and there are many formats
automatic camera set to program mode?
that are no longer available. Many computers
Answer: Prints.
today don’t have CD/DVD drives, so how long
Now before you stop reading and think this
will our recent clients have access to their files
is a load of rubbish, please spend a couple of
(assuming the media is still readable)?
minutes considering my thoughts and see if you
agree. I’m not saying your clients have to buy
it will only take one company to go out of
prints, but I am suggesting you have to offer
business to shake apart this brave new world as
prints as part of your work as a professional.
well.
TAGS Busine s s Pr in ts
38
The floppy disks some of us remember can
And while we have cloud storage today,
Historically, nothing in the digital realm has
ONLY PRINTS LAST
survived as long as a photographic print. Yes,
Let’s begin with domestic photographers - such
there are limitations with prints as well, but
as wedding and family portrait photographers.
kept in an album or drawer like many important
We know that the majority of our clients
family keepsakes, they will last a lot longer than
engage our services because, deep down,
digital files.
they expect the photographs to last a lifetime.
Most of us have family photos of our parents or
likely to behave. They are unlikely to make
grandparents we can relate to, but what will our
multiple backups of their digital files every few
shoot-and-burn clients have in 10 or 20 years’
years to refresh their data, so it is up to us to
time, let alone a couple of generations?
recommend a medium that is most likely to
last the two, three or more generations that our
Let’s look at the facts. In the history of
Note, I am talking about how clients are
fact or fiction?
To be a Professional Photographer you need to be able to make
PRINTS our profession’s challenge
39
FEATURES
•
Heath Wade 40
FEATURES
clients expect.
be turned into a print or just used on a website.
We should be recommending prints.
It’s a quality thing.
Some clients won’t want them. That’s
fine! We can’t force our clients to buy prints,
DIFFERENT GOAL POSTS
but we can offer them. It also gives us an
Many professionals correctly believe that
opportunity to explain that if they want their
their quality of work sets them apart as
grandchildren to look at the photographs they
photographers. I have no doubt it does, but our
are commissioning today, they need to have
problem is convincing our clients.
prints. They can still have digital files, the prints
are provided as an addition.
photos with their phones and they are loving
The world’s population is already taking
the results. Why would they need a professional
WHAT ABOUT COMMERCIAL PHOTOGRAPHERS?
photograph when their phone does everything
Commercial, advertising, fashion and stock
photographers don’t make a lot of prints these
photographs won’t last. They will be lost forever
days, but their clients sometimes turn their files
when the owner loses the phone, changes
into printed matter (even if we acknowledge
phone carrier or stops paying their cloud
most uses are web based).
storage fees.
One of the reasons for suggesting all
that they need? Or they think they need. We know that the majority of those phone
So when someone does make the effort
professional photographers offer prints is to
to approach a professional photographer, it
impose a minimum image standard.
must be for an important reason. They expect
our image quality will be good because we’re
A lot of images I see that are provided to
clients as digital files are below professional
professionals. However, they possibly won’t care
standard - and naturally I’m excluding AIPP
whether our quality is much better than what
Accredited Professional Photographers from this
they take with their own phones!
statement!
To be printed, a file needs a basic level of
good we think we are, no matter how much
processing for density, contrast and colour that
better we are than the average snap shooter
makes it appropriate for printing - and many
with a camera phone, it isn’t going to earn us
other applications.
money. As far as these people are concerned,
their snapshots are usually ‘good enough’.
Let’s ensure all the files we send to clients
are of ‘print’ standard, whether or not they will
The point I am making is that no matter how
Our skill alone will not always define us
41
FEATURES
as professional photographers. We need
between the photos their secretary takes and
something more. We need marketing,
the files that will be presented by a professional
advertising and interesting products.
photographer.
4. In the commercial world, it’s not always
That’s why I suggest we need prints.
the case that a client will want a print, but I’m
OUR PRICE LIST
still selling prints from time to time for the
I have two recommendations.
boardroom or the office from jobs I have shot
1. All APP domestic photographers should
for a client. If clients don’t know you can make
include prints on their price list. They can
a print for the wall, or more likely, if they simply
still offer digital-only services as well, but
never think of it, they certainly won’t order one!
it’s important to show our clients that their
Let’s put the idea out there!
photography can be turned into prints.
5. I am not suggesting that to be a professional
2. All APP commercial photographers should
you need to make your own prints. There are
refer to their files as ‘print quality’. To say ‘print
many business models where the photographer
ready’ is a bit difficult depending on how a
hands over the raw files to other creative people
client might wish to use the files, but ‘print
who handle the post-production and printing.
quality’ says it all.
What I am suggesting is that the end product,
whoever does it, is capable of being printed to a
So, instead of producing a quote or estimate
for 20 photographs, it would be ‘20 print quality
high, professional standard.
photographs’. What do these changes do?
1. It lifts the standard of our craft. To make a
to the profession. From where I sit, I see
photograph ‘print quality’ requires a higher
some very successful studios, but many more
standard of work than a file merely destined for
photographers who are struggling to make a
social media and that’s important for the whole
living. In many cases, photographers struggle
profession.
because they aren’t yet as good at business as
2. For domestic photographers it puts our
they are at photography.
clients on notice that they can buy prints. This
in turn gives us something extra to sell to our
stand apart?
So, do you agree? This article is a challenge
Is this one way that can help our profession
clients - it can only be a good thing for both
42
parties.
If you’d like to make comments or suggestions,
3. For commercial photographers it puts our
please send them to eastway@betterphotograpy.
clients on notice that there is a difference
com.
•
Simon Bills APP AAIPP 43
EDUCATION
How To Easily Search In Lightroom Locating a photograph needn’t be like searching for a needle in a haystack – if you follow a few simple steps with Lightroom. However, Lightroom requires text, words or ratings for its search function to work its best, so start by providing this information when you import and edit your images – and then searching is easy! Here’s how it all works... Whether you’re using a local search on your
Lightroom uses the terms Text, Attributes and
computer or Google to trawl the internet,
Metadata.
finding and filtering all information and
photographs works on the same basic
can think of Text as the keywords and tags
principles. You need to have something that is
that you add to your photographs; Attributes
searchable!
are the flags, stars and colours you give your
For the purposes of this discussion, we
photographs during editing, and Metadata
WE NEED KEYWORDS!
comprises all the camera settings.
While there are some search functions that
will look for a copy of a photograph (Google
you to add in keywords and tags so it can in
will do this and there’s a lot of new technology
turn help you find the right photographs later
coming that may make this more available in
on.
So, for Lightroom to work its best, it needs
the future), you can’t ask Lightroom to look for words. “Search for a young girl with dark blond
WHERE IS LIGHTROOM LOOKING?
hair and a blue blouse...” Lightroom can’t yet
Lightroom’s Library Filter feature will look in the
recognise photographs in this way.
catalog that is open. So, if you have one catalog
for every photograph you have ever taken, and
photographs of Mary Smith by describing her in
TAGS L igh tro o m Tech n i q u e
44
However, if you have added to the
photographs of Mary Smith metadata (such
you have added keywords and tags to your
as keywords or tags) that includes the words
photo files, Lightroom will be able to find your
‘Mary Smith’, ‘blond’ or ‘blue blouse’ , then the
photographs.
Lightroom search function will work because
it can recognise text, words and ratings.
say a catalog for each job, then chances are you
However, if you use lots of smaller catalogs,
STEP 01
STEP 02
STEP 03
STEP 04
Searching in Lightroom is primarily done in the Library module. Up the top right of the screen, in the Library Filter bar, you will find the words ‘Filters Off’. Click on these words and a drop-down menu will appear, allowing you to ‘filter’ the images shown in the develop module based on a range of different options. The keyboard shortcut is the backslash: \.
The most obvious search or ‘filter’ is for a specific word, so the Text attribute comes in handy. Leave the default ‘Any Searchable Field’ in the first drop down box; you may wish to change ‘Contains All’ to ‘Contains’ in the second drop down box, then type in your search (e.g. Mary Smith). Lightroom will now show you all the files which include Mary Smith in the metadata.
Also in the middle of the Library Filter bar you’ll see the four options to filter or search by: Text, Attribute, Metadata or None (which is turned off ). The Library Filters bar is where you will do most of your searching and it can be very powerful, especially when you have added keywords and tags to your photographs upon ingesting or during editing.
Of course, sometimes you may need to be more specific in your search, especially if every photo in the catalog has a particular tag or keyword in it. You have to think a little laterally from time to time to get the search function working for you. Take a look at the options in the two drop down menus and you’ll soon see how powerful Lightroom’s search feature is.
45
EDUCATION
don’t need Lightroom to do much searching.
photographs with one or more stars, so they
Your task may be to find the job catalog or
filter on two or maybe three stars, thus reducing
folder first - and so it’s important that your
the number of shots they will work with. The
catalog naming system allows you to find jobs
idea is to use the filtering function in this way to
quickly and easily in the first place. This was
speed up your post-production.
covered in detail in the previous issue of AIPP Journal.
OLD FILES
For current shoots, we generally know where to
Unless you have added a keyword or a tag to
your files, Lightroom won’t find them for you!
find them, but if a client wants you to pull out a
photo from a family portrait or a wedding, and
Lightroom will also filter on folders within
your catalog, so if you don’t want to filter every
you don’t have keywords or name tags, what
photograph you have ever taken, you can
can you do? Often your diary will have the date
restrict your search to specific folders.
you did the shoot - and assuming your camera is set to record the correct date, it will be a
SEARCH AND FILTERING IN PRACTICE
straightforward matter to go into the Metadata
Most photographers rate their files after a shoot,
usually by giving a rating of one or more stars,
variety of different specifications. For intsance,
but you can also add flags or colours instead.
once you have found all the photos taken on 1
Usually, only files that are going to be
May 2012, you could then filter for only those
shown to the client or edited are given a star.
photos with 4 or more stars, or taken with an
Some photographers give different star ratings
85mm lens.
depending on how good the photograph is,
others just start with one star for the initial run
in the Library Filter bar, hold down the shift key
through.
and click the next option.
Once the whole shoot has been assessed, the
You can also sort and filter based on a
To keep more than one search option open
If you are doing the same complicated or
folder or catalog can be ‘filtered’, selecting the
compound search regularly, you can go to
Attribute section and ticking the one star. All the
the Custom Filter drop down box and add the
photos without a star rating are hidden, making
current settings as a custom filter.
it easier to see what you’re working with.
star rating - and the custom filters as well. Very
Photographers who give a range of star
ratings might think they have too many
46
search area and filter or choose by date.
Finally, the Film Strip also allows to filter by
handy!
STEP 05
The Attribute search bar lets you select images based on the flag, star or colour rating you’ve provided. If you haven’t rated your images, this feature won’t work! When using the Rating selection, you can choose when you select a number of stars if it is greater than, equal to or less than. The default is greater than, so selecting 1 star will select 2, 3, 4 and 5 stars as well.
STEP 06
The Metadata search option lets you choose from a range of different specifications for your files, from date, camera, lens to creator, job and copyright status. For the average working professional, it’s useful, but not as good as adding keywords and tags and doing a text search. The metadata search fields available are shown opposite.
47
EDUCATION
Broad & Short Lighting Now that we understand the terms ‘broad’ and ‘short’ lighting, when do you put them into effect? The answer depends on what you want to create as a photographer, but these examples will give you a quick idea of what – and what doesn’t – work so well! Every studio photo on a web page or in a
these terms anymore, since so much portraiture
magazine is a lesson in lighting. Note the types
is shot without studio lighting, but an
of lighting you like and then work out how they
understanding of these principles can be very
were created. One trick is to look at the eyes
helpful.
because you can usually see the lights reflected
in them (unless they have been retouched out,
LIGHTING PATTERN
of course!)
The example photos use three lights. Two of
the lights are just ‘padding’ or ‘fill in’ lighting.
Opposite are three portraits with different
lighting patterns. You will probably only like
The background light creates the graduated
one or two of them – and this is a good start.
effect. The fill light is behind and above the
Learning to be discerning about what you like
camera and its job is to illuminate the subject
and don’t like is the key to lighting effectively.
broadly. The stronger the fill light, the lighter the
TAGS
shadows. If there was no fill light, the shadows
Tech n i q u e L igh ting
the angle of the light in terms of left or right.
would be very harsh, especially when the key
However, if our subject changes her pose to
light is 90° to one side.
the other side, then these lighting patterns all
change as well. The lights might not move, but
to demonstrate the effect of the key light on
their effect on the subject changes completely.
our subject, the light that creates the light
and shade and dominates how our subject is
48
You’ll notice the problems if we talk about
This is why portrait photographers talk in
The main purpose of these examples is
terms of broad and short lighting, so it doesn’t
illluminated. It’s a pretty straightforward lesson,
matter whether it’s the left side or the right side.
but if you’re setting these patterns up yourself,
(See the previous issue for an explanation of
also experiment with how high or low the lights
broad and short lighting.)
are positioned. We’ll cover this in more detail in
future articles.
Not many portrait photographers talk in
Key Light 45° Left
3 LIGHT SET UP
Key Light Front On Key Light 90° Right
BACKGROUND Background Light
BACKGROUND Background Light
BACKGROUND Background Light
Subject
Subject
Subject Key Light
Key Light
Fill Light
Key Light
Fill Light
Fill Light
This is called a 'broad light'. The
When the key light and the fill light
As you move the key light around to
'broad' side of the face is the side
are essentially lighting the subject
the other side of your subject, the
facing the camera, or the side of the
from the same angle, there is very
shadows become more noticeable
face where the distance between
little modelling in the face. Note that
and the result more dramatic. This
the ear and the nose is greatest. It is
because the lights are higher than the
example probably isn't what you
camera left, the model's right side,
subject that there is still some shadow
want for a family portrait, but could
in this photo. When the key light is
under the chin, but this could be
be good for a theatrical effect. (See
on the 'broad' side of the face, it is
eliminated by lowering the light a little.
previous issue for a good example of
called broad lighting. However, for
Flat lighting is often used in beauty and
short lighting for portraiture.) How
traditional portraiture, photographers
fashion, but is not so popular for family
deep the shadows are is determined
tend to prefer short lighting, as seen
or corporate portraiture.
by how much fill light you use.
in the previous issue of the AIPP Journal (AJ242). 49
NEWS
Fujifilm X-Pro2 – Is It Professional? The new breed of mirrorless cameras have most of the features of a fully blown DSLR, but less size and weight. Are they only designed for enthusiasts, or are they now truly contenders for a professional photographer’s camera bag? If Hasselblad was happy to have Fujifilm’s
mirrorless cameras today look and behave like
involvement with its camera and lens design
the conventional SLR design, they are quite
over the years, there’s no doubting Fuji’s
different beasts.
acceptance as a manufacturer of professionally
specified cameras.
(because they can be).
Indeed, Fujifilm developed a range of
Importantly, they are smaller and lighter While this might not be so important for
different format professional film cameras,
a studio photographer, it is of great interest
from 6x17 cm panorama cameras to the studio
to professional photographers who work on
based GX680. It is no stranger to the world of
location. It makes their job easier.
professional photography.
In the past, our clients would often judge
their photographer based on the camera being
X-SERIES
used – and not the photographic results! These
Today, Fujifilm doesn’t produce medium format
days people are much more sophisticated and
cameras or even full-frame DSLRs, but it has
knowing. And camera’s like the X-Series models
taken a niche role in the new mirrorless camera
from Fujifilm certainly look the part.
design. TAGS Equ ip m e n t Ca mer a s M ir ro r l e s s Fujif ilm
SLR and later DSLR cameras needed a reflex
mirror design so you could see your subject
The largest challenge until recently for Fujifilm
through the lens that would actually take the
(and the other mirrorless cameras) was
photograph, rather than having a separate
convincing people that 16-megapixels was
viewfinder lens and the inevitable problems
enough.
with parallax error.
because both Canon and Nikon’s flagship
However, with digital technology, that
requirement no longer exists and while many
50
X-PRO2
In many ways, it was an odd argument
DSLR cameras, designed specifically for
51
52
NEWS
professional photographers, only sported 16- to
viewfinder if you want one (like the rangefinder
18-megapixel sensors anyway!
design of old), or at the flick of a switch, an
electronic viewfinder as well. Plus there’s a
Even today, the latest Canon and Nikon
professional SLRs use roughly 20-megapixel
combination optical and electronic viewfinder
sensors, although both have 36- or
with a digital enlargement of the focus area.
50-megapixel models as well.
It is very cool!
Where DSLR designs can struggle to give
But being mirrorless doesn’t mean you can’t
have bigger sensors (in terms of the number of
you focus points around the edges of the frame,
pixels). Sony has a 42-megapixel body and now
the X-Pro2 provides very fullsome coverage.
Fujifilm has launched a 24-megapixel X-Series
model: the X-Pro2.
1/8000 second, the body has weather resistant
construction, and the camera is more dials and
There will be few professional applications
where a 24-megapixel sensor isn’t enough, so
Shutter speeds range from 60 minutes to
knobs than LCD menus.
now the question becomes whether or not a mirrorless camera can do the job.
LENS RANGE However, what really makes the new X-Pro2
FULLY FEATURED
a serious professional camera is the range of
The simple fact is that the new X-Pro2 has
lenses it now offers.
all the features a professional photographer
needs - and a host of extras that are loved by
90mm (and given the sensor is APS-C size, this
enthusiasts.
equates to a 21mm to 145mm range) with wide
To date, the majority of photographers
maximum apertures (f1.2 on the XF56mm R
taking up the X-Series cameras have been
lens), while the zoom range starts with a 10-
photojournalists, travel, portrait and wedding
24mm (15-36mm) f4 R OIS wide-angle and
photographers.
extends to the 100-400mm F4.5-5.6 R LM OIS
WR telephoto!
FUR THER DE TAILS
the light of the rangefinder design, being small
w w w.fu ji jfi lm .com .au
and quiet. And the X-Pro2 takes it a step further
yet match the professionally specced DSLRs in
with a strong retro look.
terms of continuous shooting.
In fact, the X-Series has been considered in
However, the X-Pro2 is far from retro in
There are prime lenses from 14mm to
Autofocus is fast and accurate, but it doesn’t
However, with such a small size and weight,
operation. It has an amazing hybrid multi
it’s definitely a camera to consider. It will
viewfinder, which gives you an optical
certainly lighten your load.
53
PROUDLY SUPPORTING THE AIPP