Issue 245
September 2016
2016 AIPP Australian Professional Photography Award Results! How To Keep Detail In Your Bride’s Dress Foto Merchant For Easy Photographer Websites Studio Lighting Basics
CONTENTS 4
Increasing Awareness
6
Lisa Saad – 2016 Photographer of the Year
At the AIPP Gala Dinner following the 2016 APP Awards and The Nikon Event, AIPP President Vittorio Natoli thanked the organisation that elected him and outlined an exciting future for professional photography.
A very pleased and motivated Lisa Saad APP M.Photog. III earned the highly desirable title of 2016 AIPP Australian Professional Photographer of the Year from the largest field of category winners ever.
Cover
L i sa S a a d APP M.Photo g. III 2016 AIPP AUSTRALIAN PROFESSIONAL PHOTOGRAPHER OF THE YEAR
AIPP JOURNAL is the official newsletter of The Australian Institute of Professional Photography (AIPP). Editor Peter Eastway APP.L, FNZIPP, Hon. FNZIPP, G.M. Photog., Hon. FAIPP, FAIPP Disclaimer The information provided in the AIPP JOURNAL 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
2
34
Service Is The New Product! Business is easy if you’re willing to connect. Mary Trantino says business has never been better for portrait photographers in the know and provides two examples of how we can change the way we connect with our clients to bring more business in the door.
ISSUE 245 / SEPTEMER 2016 38
Because I Compete With Myself At APPA!
44
APPA has just finished for 2016 and now is the time to consider rule changes for the future? Should photographers retouch their own work, or should we credit the retoucher and printer with their work? Joshua Holko presents his case.
40
The Virtual Reality Wedding? Mark Ruff paints a futuristic picture which is already a reality today, but how many AIPP members are jumping on the Virtual Reality bandwagon? Is this a part of our business future?
42
Unfair Contract Terms Can The ACCC Help? Recent changes to the law will introduce protection for small businesses from ‘standard form contracts’. However, this might not mean as much to photographers as first thought.
How To Keep Detail In A Wedding Dress One of the biggest challenges faced by wedding photographers is keeping detail in all the right places, especially the wedding dress. Here are the essential steps to ensure your clients can see all the fine texture in the most expensive garments of their lives.
48
The Basic Lights When you buy a lighting kit, you are usually presented with two or three light shapers: a dish reflector, an umbrella and maybe a softbox. What do they do and what design features should you look for?
54
Foto Merchant’s Pro Websites The reality for most photographers and video producers is they need an online business brochure, portfolio pages for their imagery, and maybe eCommerce – and this has all been designed and perfected many times before. So why get a custom website built when you could customise a Foto Merchant site yourself?
3
NEWS
Increasing Awareness At the AIPP Gala Dinner following the 2016 APP Awards and The Nikon Event, AIPP President Vittorio Natoli thanked the organisation that elected him and outlined an exciting future for professional photography. Wow, our biggest and most impressive gala
become more optimistic about our value to
evening ever with a wonderful atmosphere and
society, industry and the arts, our combined
a great sense of family and friendship.
strength will continue to be a shining light for
our growing membership and the photography
The 2016 AIPP Gala dinner was the
final chapter of our new Incite event, the
profession generally.
combination of APPA and The Nikon Event. For
those who were able to attend, it was a very
the benefits for our members through the
rewarding, inspiring, memorable and social
highly successful Accredited Professional
week.
Photographer program, ensuring the logo
is promoted widely to the community so
INCREASING AWARENESS
it becomes the recognised mark of a true
As custodian of our AIPP brand, I am passionate
professional, thus further increasing our
and enthusiastic about supporting the
credibility and value.
The AIPP Board is committed to increasing
membership, helping them deliver quality
TAGS AIPP B o a rd
imaging to the greater public and building the
SPONSORS
awareness of our services.
In terms of delivering member benefits, I would
like to acknowledge the ongoing support of
Simply put, I want to increase the value of
professional photographers and photography,
sponsors and trade affiliates. Their assistance is
but to achieve this, we need to educate
greatly appreciated and, as members, we can
ourselves first and the general public second.
demonstrate this through our ongoing support
That’s what Incite, The Nikon Event and APPA
of their respective businesses.
are all about.
Dredge from Nikon, a long-time and loyal
We can be proud of the work already
achieved by our Institute. As image makers
4
In particular, it is appropriate to thank Kylie
AIPP supporter. The Nikon Event has grown
substantially over the years and we sincerely
with our internal organisational structure,
thank Nikon for its contribution.
it has not happened without challenges to
our culture. Technology changes have been
I’d also like to thank Ryan Williams from Leica
and Shant Kradjian from DigiDirect for their
disruptive, but we have more than survived.
collaborative approach to the sponsorship of
We have established an independent and
APPA this year, and a big thank you to all our
sustainable model which will enable our future
trade partners and sponsors who participated at
growth and success.
Incite and in APPA.
As your representative, I will work with all
our stakeholders to ensure the interests of our
WE HAVE GROWN
profession are maintained and promoted.
Today, the AIPP is 3,231 individual members
with a common interest and purpose:
many issues that are challenging us today, such
professional photography.
as our positioning and differentiation in the
market, the services and products we provide,
We have grown. We have 1832 Accredited
I realise that we must take the lead with
members and we are the industry organisation
and the high level of professionalism required.
that represents the photography profession. We
are portraiture, weddings, commercial, schools
infrastructure, knowledge and skills required to
and video. We have accreditation. We have
move our profession forward.
a national office. We have the AIPP Journal.
We have great state representation through
our Institute and our photography. The
our councils. We have APPA and we have
images we create touch the lives of so many
mentoring.
people and make a positive difference to our
communities.
Dare I say we have the best professional
However, collectively we have all the
I love the passion we have for our profession,
photographers in the world? And the honours
and the history.
freely to be part of this family.
We are the AIPP.
As an organisation, we can be proud of our
We are a special group who have chosen
brand and what we stand for. Our National Office has achieved a great deal over the past
vittorio.natoli@aipp.com.au
few years and while we have progressed greatly
0400 418 888
5
AWARDS
Lisa Saad – 2016 Photographer of the Year A very pleased and motivated Lisa Saad APP M.Photog. III earned the highly desirable title of 2016 AIPP Australian Professional Photographer of the Year from the largest field of category winners ever. At the end of a grand gala dinner in Melbourne’s
include moving pictures in a formal sense.
Pullman Albert Park Hotel, advertising
photographer Lisa Saad was announced as the
professional photography and video production
2016 AIPP Australian Professional Photographer
in Australia,” said the national president of the
of the Year in front of a crowd of 460
AIPP, Vittorio Natoli.
photographers and guests.
Lisa Saad , 2016
video producers must meet the AIPP’s required
AIPP Australian
must first win a category. A panel of experts
standard, which has been further lifted this year,”
Professional
then further anonymously assesses all category
he said.
Photographer of the
winners’ work to determine the overall winner.
Year
Innovation, content, creativity, technical
HOW DID LISA WIN?
excellence and impact are the key criteria.
Entrants and observers are always impressed
with the winning images, but how exactly does
To be eligible for the title, photographers
Lisa wins $20,000 in cash and prizes, and
“The Awards represent the best of the best of
“To be able to enter, photographers and
each of the 16 category winners also takes
one set of prints stand out above the others.
home $1000 in cash. Along with other prizes, the
How did Lisa’s marvellous images stand above
Awards has a total prize pool of around $40,000.
the other 15 category winners?
MORE THAN PRINTS TAGS APPA Awa rd s
6
In addition to the print prizes, there are also
2016 APPA AWARD STATISTICS
awards for albums and books, but winners are
Award Type # %
not eligible for the overall title.
Silver 809 36.9 %
Silver Distinction
And for the first time, the Awards included
252
11.5 %
three categories for video producers -
Gold 83 3.8 %
documentary, corporate and wedding. Given
Gold Distinction 20 0.9 %
APPA was celebrating 40 years, it seemed time to
Not awarded 1030 46.9 %
AWARDS
The judging of the 2016 AIPP Australian Professional Photographer of the Year. From left to right, Rocco Ancora (APPA Chair), Mark Zed (Chairman of Jurors), Ryan Schembri, Ollie Dale, Anni Payne, Jackie Ranken, Alan Moyle, Hilary Hann, Kaye Davis (NZ), Luke Edmonson (USA), Mike Langford (NZ), Greg Hocking, David Paterson (Category Manager). Empty chair is Peter Eastway. Out of picture Tony Hewitt as Panel Chairman.
Lisa would be the first to admit that any of the
are not compared one against the other - and in
category winners would be worthy winners and
fact, judges are admonished if they do compare
so the overall winner comes down to a matter of
one entry against another. In theory, every entry
opinion. Based on the judging criteria, the panel
into APPA could be given a Gold Award if the
chose Lisa as best representing professional
overall standard were high enough.
photography in Australia.
scores by different panels of judges. Some panels
The process to determine the winner has
been developed over several decades. In earlier
might be harsher than others with their scores,
competitions, it was discovered that the set of
often by just a point or two, but sometimes by
four prints with the highest aggregate score was
as much as five or ten points. This becomes a big
not always the set of four prints the judges would
issue when determining who the overall winner
have selected, had they been given a second
is because suddenly you are comparing one
chance to assess the entries.
score against another and even one point can
make a difference.
During the judging process, entries are
assessed against an independent standard. They
8
During the judging process, prints are given
The judging process was not designed to
AWARDS
determine whether one print or one entrant
So, we have our category winners: who
is better than another, so we take a number of
should judge? We aim for diversity, from AIPP
steps to ensure a fair outcome.
Grand Masters of Photography and previous Photographers of the Year, to category winners
CATEGORY WINNERS
and Masters of Photography. We aim to have a
To be a category winner requires you to have
cross-section of men and women, of different
a high score for all four entries. There are many
disciplines, from different states and different
amazing prints in all the categories, but unless
countries.
the photographer backs them up with three
more amazing prints, they will struggle to win the category.
The top three scoring sets of prints are re-
However, not every judge is available –
2016 APPA ENTRANTS BY CATEGORY
assessed for each category. Usually, if you get
Category
one or two Gold awards, you have a very good
Advertising 17
chance of being in the top three entrants, but in
Alternative Process
some of the categories this year, you needed at
Birth 44
least three Golds to have a chance!
Commercial 84
Documentary 82
By assessing the top three print sets a second
No. Entered # 22
time, the judges can for the first time compare
Family 125
one entrant against another.
Fashion 21 Illustrative 279
PPY WINNER
Landscape 340
The same philosophy follows through for the
Newborn 89
Australian Professional Photographer of the
Pet/Animal 116
Year Award, except we are now comparing one
Portrait 342
category winner against another.
Science, Wildlife and Wild Places 96
Sport 70
In some ways, it is ridiculous to compare
advertising against birth, weddings against sport,
Travel 197
but that’s the game we are all playing. And over
Wedding
the years, most categories seem to get a turn
Album 5
at winning, although historically the wedding
Book
category has struggled a little.
Total 2194
246 26
9
AWARDS
sometimes they may know one of the category
leaving at most 11 categories on the walls, but
winners and feel uncomfortable in the judging
more usually five to seven. Each judge is asked if
role, or indeed be a category winner themselves.
they wish to comment, explaining the pros and
We leave the final selection to the Chairmen of
cons for each set from their perspective. At the
Jurors and the APPA Awards Committee.
end, all the judges are asked if there is anything further they need to add, so by this stage, all the
THE JUDGING PROCESS
judges have been presented with everyone’s
All the category print sets are hung on a wall and
point of view.
the judges are invited to gather in the judging
room. Before viewing the portfolios in detail, the
decision with seven votes, we have a winner. This
judges are asked if there are any conflicts and if
has happened a number of times, but if not, the
there are, a replacement judge is co-opted.
judging process moves to the final stage.
The judging process is chaired by one of the
Normally there are a number of portfolios
APPA committee and each judge is invited to
that didn’t receive a second vote and these are
explain to the panel what he or she is looking
removed, leaving two, three or four portfolios
for in a winning portfolio. What should the
on the wall. Again, the judges are asked to speak
Australian Professional Photographer of the Year
and explain their points of view and, when the
represent? What should the winning set of prints
conversation is finished, the judges submit their
demonstrate? And, given we are a professional
final assessement. However, this time they are
awards, how will the public interact with the
asked to nominate first, second and third and
images?
from this, the overall winner is determined.
This part of the process is always valuable and
Judging like this is consensus and, eventually,
it’s interesting to note that, from year to year, the
a majority decision. It is very rare to have all the
panel is very similar in its direction.
judges in agreement, but given the process and
the calibre of judges involved, I feel we have a
From here, the judges are asked to view the
portfolios in silence and then nominate one
very equitable system.
catagory as the winner. The scores are taken and
if seven or more judges are in agreement, the
completed, you can be sure the winner is a
judging process would finish. I can’t remember
strong, striking and powerful body of work, one
this ever happening!
that is worthy of the title “Australian Professional
Photographer of the Year”.
For the next stage, the category sets that
received no votes are removed from the walls,
10
A second vote is taken and if there is a clear
Suffice to say, by the time the judging is
- Peter Eastway
AWARDS
L isa S aad APP M. Ph oto g. III 2016 A I P P AU S T R A L I A N P R O F E S S I O N A L P H OTO G R A P H E R O F T H E Y E A R Sponsored By Leica and DigiDirect
2016 A I P P AU S T R A L I A N P R O F E S S I O N A L A D V E R T I S I N G P H OTO G R A P H E R O F T H E Y E A R Sponsored By AMI Australian Marketing Institute Finalist - K aren A lsop
11
AWARDS
J oh n An se ll APP. L M. Ph oto g. 2016 A I P P AU S T R A L I A N P R O F E S S I O N A L A LT E R N AT I V E P R O C E S S P H OTO G R A P H E R O F T H E Y E A R Sponsored By DNP Fi nali sts - Tre vor Foon and J an R am say
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AWARDS
Jacqui Dean APP. L G . M. Ph oto g. FN Z IPP Hon . FA I P P FA I P P 2016 A I P P AU S T R A L I A N P R O F E S S I O N A L CO M M E R C I A L P H OTO G R A P H E R O F T H E Y E A R Sponsored By PPIB Fi nali sts - A ndre w R ank i n and S i m on Casson
13
AWARDS
Charmain e Heye r APP. L G . M. Ph oto g. I P.B. 2016 A I P P AU S T R A L I A N P R O F E S S I O N A L C R E AT I V E P H OTO G R A P H E R O F T H E Y E A R Sponsored By Profoto Fi nali sts - M elani e S inclair and Ky m G r iffi ths
14
AWARDS
Pe te r Blake man APP AAIPP 2016 A I P P AU S T R A L I A N P R O F E S S I O N A L D O C U M E N TA R Y P H OTO G R A P H E R O F T H E Y E A R Sponsored By Nikon Fi nali sts - K elly Cham pion and A hm ad S abr a
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AWARDS
Sh ire e n H ammon d APP. L M. Ph oto g. ‑ I I 2016 A I P P AU S T R A L I A N P R O F E S S I O N A L FA M I LY P H OTO G R A P H E R O F T H E Y E A R Sponsored By L&P Digital Photographic Finalists - R ai nee L antr y and K atie K olenberg
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AWARDS
J e rr y G h ion is APP. L M. Ph oto g. IV 2016 A I P P AU S T R A L I A N P R O F E S S I O N A L FA S H I O N P H OTO G R A P H E R O F T H E Y E A R Sponsored By NULAB Finalist - R ober t Coppa
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AWARDS
G e e G re e n slade APP M. Ph oto g. 2016 A I P P AU S T R A L I A N P R O F E S S I O N A L I L LU S T R AT I V E P H OTO G R A P H E R O F T H E Y E A R Sponsored By EIZO Fi nali sts - R ebecca Crof t and Char les Foulsham
18
AWARDS
Jan n ic k Clau se n APP M. Ph oto g. 2016 A I P P AU S T R A L I A N P R O F E S S I O N A L L A N D S C A P E P H OTO G R A P H E R O F T H E Y E A R Sponsored B y Fujifilm Fi nali sts - Ignaci o Palacios and A aron D ow ling
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AWARDS
Ke n D rake APP M. Ph oto g. 2016 A I P P AU S T R A L I A N P R O F E S S I O N A L P E T / A N I M A L P H OTO G R A P H E R O F T H E Y E A R Sponsored By AIPP Finalists: M ar k Tr um ble and K er r y M ar ti n
20
AWARDS
Pe te r R ossi APP. L G . M. Ph oto g. II P. B. 2016 A I P P AU S T R A L I A N P R O F E S S I O N A L P O R T R A I T P H OTO G R A P H E R O F T H E Y E A R 2016 A I P P AU S T R A L I A N G R A N D M A S T E R O F P H OTO G R A P H Y O F T H E Y E A R Sponsored By Kayell Fi nali sts - Vick y Papas and D oug Hall
21
AWARDS
D e lly Carr APP 2016 A I P P AU S T R A L I A N P R O F E S S I O N A L S P O R T P H OTO G R A P H E R O F T H E Y E A R Sponsored By Nikon Fi nali sts - M anuel G or ia and D ani el White
22
AWARDS
An drew Campb e ll APP. L G . M. Ph oto g. 2016 A I P P AU S T R A L I A N P R O F E S S I O N A L S C I E N C E W I L D L I F E A N D W I L D P L A C E S P H OTO G R A P H E R O F T H E Y E A R Sponsored By DES Finalists - S cott Por telli and J oshua Holk o
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AWARDS
Steve S c alon e APP AAIPP 2016 A I P P AU S T R A L I A N P R O F E S S I O N A L T R AV E L P H OTO G R A P H E R O F T H E Y E A R Sponsored By Camera Electronic Finalists - K uo -wei A lex Huang and D on Chu
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AWARDS
D an O ’ D ay APP M. Ph oto g. I 2016 A I P P AU S T R A L I A N P R O F E S S I O N A L W E D D I N G P H OTO G R A P H E R O F T H E Y E A R Sponsored By GraphiStudio Finalists - Nathan M adigan and K elly Tunne y
25
AWARDS
N at alie Howe APP M. Ph oto g. I 2016 A I P P AU S T R A L I A N P R O F E S S I O N A L N E W B O R N P H OTO G R A P H E R O F T H E Y E A R Sponsored By The Baby Summit Fi nali sts - K elly Brow n and Fiona M cguire
28
AWARDS
S e le n a R ollason APP AAIPP 2016 A I P P AU S T R A L I A N P R O F E S S I O N A L B I R T H P H OTO G R A P H E R O F T H E Y E A R Sponsored By Giclee Media Australia Finalist - Vic tor ia B erek m er i
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AWARDS
D av id Edmon son , U SA 2016 A I P P O V E R S E A S P H OTO G R A P H E R O F T H E Y E A R
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AWARDS
An g ie Con n e ll 2016 A I P P AU S T R A L I A N E M E R G I N G P H OTO G R A P H E R O F T H E Y E A R Sponsored By Independent Photo Supplies IPS Fi nali sts - Chr i s S aunder s and M ur r ay R edpath
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AWARDS
Tayla N u ss- S o e h ar to 2016 A I P P AU S T R A L I A N S T U D E N T P H OTO G R A P H E R O F T H E Y E A R Sponsored By Kodak Alaris Fi nali sts - D eanne Holm er and Pam M or r i s
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AWARDS
Pe ter R ossi APP.L G.M. Ph oto g. II P. B
Ph oto g ra p hy St u d i es Co l l ege
2 0 16 H I G H E S T S CO R I N G P R I N T
2016 A I P P T E R T I A R Y I N S T I T U T I O N O F T H E Y E A R
Sponsored By Ilford
Sponsored By Kodak Alaris
S am Harris
J e rr y G h io n i s A P P.L M .P h o to g. I V
2016 A I P P AU S T R A L I A N P H OTO G R A P H Y B O O K O F T H E Y E A R
201 6 A I P P AU S T R A L I A N ALBUM OF THE YEAR
Sponsored By MomentoPro
Sponsored By My Insurance Broker
Fi nal i s t : Peter Li k
Finalists: Sh aron H ug h es, J er r y Gh ion is
33
AWARDS
2016 AIPP Australian Professional Video Producer Awards Introducing the inaugural 2016 AIPP Australian Professional
Video Producer Awards. With the AIPP’s intent to raise the
prior to the final day of judging. On the final day of judging, a
profile of Accredited Professional Video Producers (APVP) and
two minute edit of each video was presented to the panel of
build the community and our commitment to the profession
three judges and the live audience.
of video producers, we see this as an important step forward.
average is the final score. A panel chair will administer the
And just as with APPA, the Australian Professional
Each video was assessed in full by a panel of three judges
Each judge scored the video out of 100 and the panel’s
Photography Awards, these video awards at their core will be
activities of the panel, allowing for scores to be contested,
a peer review. As we push ourselves to improve and excel in
discussed and reviewed. Gold and Silver Awards will be
our professional and personal development, this arena will
presented, as well as the three category winners announced
allow us to work together to raise the bar and the perception
on these pages.
of what makes a professional video producer.
Abrah am J offe
2016 A I P P AU S T R A L I A N P R O F E S S I O N A L D O C U M E N TA R Y V I D E O P R O D U C E R O F T H E Y E A R Sponsored By Zeiss
34
AWARDS
Su santo Widj aj a 2016 A I P P AU S T R A L I A N P R O F E S S I O N A L CO R P O R AT E V I D E O P R O D U C E R O F T H E Y E A R Sponsored By Lacie
Abrah am J offe 2016 A I P P AU S T R A L I A N P R O F E S S I O N A L WEDDING VIDEO PRODUCER OF THE YEAR Sponsored By AIPP
35
EDUCATION
Service Is The New Product! Business is easy if you’re willing to connect. Mary Trantino says business has never been better for portrait photographers in the know and provides two examples of how we can change the way we connect with our clients to bring more business in the door. Let’s start by saying that customer service in this
photographer and your client is the quality of
country is appalling.
the service and experience you provide.
Small businesses are closing their doors left,
right and center. Pop-up stores were invented
Internet age and now the Social age.
because so many small businesses cannot
afford the risk of a 3-year lease. Rent is super
the cheapest photographer, they are looking for
scary for most start ups and hiring help is a
someone to connect with.
nightmare!
everywhere we look and live our lifes. LinkedIn
But the truth is that it’s not because
Connection is being pushed on us
is for businesses to connect, Facebook is for
“I had to lower my prices so much that I can’t
friends and family to connect, Instagram is for
make money”.
photos to connect with, Periscope connects
us to the entire world in real time, as does
It’s because we are looking at it the wrong
Facebook Live.
Po r trai tu re Busine s s M a r k eti n g
High end clients are no longer looking for
“business is bad” or “everyone’s feeling it” or
way.
TAGS
We have been though the Industrial age, the
Even the games you play online are
THE KEY DIFFERENCE
connected with someone else in cyber space.
So what is the answer?
time. In fact, you are doing this everyday just by
How can professional photographers keep
their doors open in a digital age when everyone
The answer has been around you all this
using the many apps on your smart phone.
is seemingly a photographer?
36
SERVICE.
CONNECTING
Connect with your clients in a way that they feel
In fact, there has never been a better time
to be in business as a photographer. The
like you get them.
key difference now between a professional
Use words on your Facebook sneak pics to
•
Dean Mansbridge APP M. Photog.
really connect with a potential client viewing
them. Tell your audience why someone came to
to know all about your clients and capture their
you, what was their problem that you solved.
unique relationship.
For example, if you are a pet photographer
You are also showing that you care, you get
More importantly, when you have a booking,
you might write something like this on your
the level of service you provide needs to be
next facebook post:
exceptional right from the start.
“Today we are honouring Jethro the Border
Collie. Jethro has been loved and adored by his
EXCEPTIONAL SERVICE
owner for 11 years. Together they love to spend
For example:
time at the beach, they snuggle on the couch at
• the way you connect personally on the
the end of a long day and they even barrack for the same footy team!”
Next to this comment will be three photos
that show off each of these connections.
So, what you are really doing is showing
your audience that every day people come to you and have professional photography.
booking call; • the environment you choose to meet them in before their shoot; • the attention to detail that you show on their shoot day; • the programs you use during the cinematic viewing of their photos to make their
37
EDUCATION
Click here to listen to Mary’s FREE podcast relating to this topic “What are people really buying”. http://love-it-swipe-it-wrap-it.myshopify. com/collections/podcasts
purchasing decisions emotional;
thing is over-kill.
• the quality of the production of their artwork;
• and the way they collect their finished
the photographers who are valued, rewarded
product. • Do you make personal ‘excitement’ calls to remind them of their appointments? • What refreshments are you offering when they
However, the million dollar photographers,
and love what they do everyday with every client, are providing this level of service, and are in turn rewarded with free marketing in the form of referrals.
meet with you? • Do you have quality chocolates in the cinema room? • Is the room the perfect temperature so they feel comfortable?
VALUED & REWARDED What 1% changes are you doing in your business to give your clients a red carpet, gold class, personalised and memorable experience?
• Are your premises immaculately clean at all times? • Do you make personal phone calls to touch base as to where the production is at? • Is your brand in your packaging for their products on collection? • Are you calling your client a few days later
38
Mary Trantino is the founder of the Photography Business Academy. The Academy specialises in implementing marketing, sales and customer service systems designed to help portrait photographers gain qualified leads, high-paying clients and repeat customers. For free one-on-one consultation call
to see where they decided to display their
Mary NOW. Contact Mary on (03) 9448 2303 or via
artwork?
Facebook www.facebook.com/photographybusi-
Some photographers think this connection
nessacademy
•
Pe te r R o s s i A PP.L GM.Photo g II P. B
39
AWARDS
Because I Compete With Myself At APPA! APPA has just finished for 2016 and now is the time to consider rule changes for the future? Should photographers retouch their own work, or should we credit the retoucher and printer with their work? Joshua Holko presents his case. I read with interest the latest opinion pieces
entries and that we are rewarding the real talent
“Challenge, But Please Don’t Denigrate!” and “Low
behind an entry – and it’s on this issue which I
Scores = Inexperienced Judges?” by good friend
wish to press.
Peter Eastway in the previous AIPP Journal.
Peter and I do not always see eye-to-eye on
ETHICAL ENTRANTS
how much post production is acceptable in a
In some ways it disappoints me that I need to
photograph, but we have the greatest respect
raise the issue of ethics and honesty in relation
for each other and our photography. We have
to the APPA awards. In many ways, the question
discussed the issues of APPA at length and with
of ethics brings us back to why it is we enter
APPA just past, I feel it’s time to share some of
APPA as professional photographers and what it
my thoughts with a broader audience.
is we hope to achieve with our entries.
TAGS APPA Awa rd s Co mpeti ti o n Ca tegor i e s
RETOUCH & PRINT YOUR OWN?
recognised and rewarded by our professional
The issue of whether photographers should
peers, then it is paramount that the entrant’s
retouch and/or print their own work is a prickly
work be entirely his or her own creation (or at
one, but my preference is that it should be
the very least that any outsourced elements
mandatory that all entrants retouch and print
are fully disclosed so that our peers can
their own images.
acknowledge these contributions).
However, the reality is that it just isn’t
practical to enforce a rule that entrants must
compete solely with ourselves (the best reason
print their own work, for all the reasons Peter
in my opinion), then it is equally important that
outlined in his prior pieces.
we are honest with ourselves.
There is frankly little kudos in receiving a
However, we can ensure photographers
are behaving honestly and ethically with their
40
If we are entering because we want to be
Or, If we are entering because we want to
gold award for an image if you have outsourced
the retouching and printing and provided little-
in front of us as judges, then surely we have to
to-no direction to the craftsmen who carried
acknowledge that the retouching is a major
out these tasks.
component of the final print score?
There is even less kudos if you fail to
There are countless examples I could cite
acknowledge the skills and contribution of the
where it was external third party retouching
retoucher.
that elevated a capture to an award standard.
Yet it was the photographer who was awarded,
The entrant might receive a pat on the back
from friends and congratulations from their
with little or no mention of the often very
peers, but deep down, when the shine wears
significant contribution of the retoucher.
off, they will know it was not entirely their own
work. And how much kudos is there in that?
vague and open to abuse. Asking a retoucher
to retouch a capture with a vignette and colour
I can tell you from personal experience,
Frankly, the current rules are just far to
there is absolutely nothing sweeter than
adjustments, drop in a new sky etc. can just as
receiving gold and silver awards when you shot,
easily be followed up with, ‘And make it a gold
retouched and printed the work yourself.
award please’.
RETOUCHING IF NOT PRINTING
TWO PROPOSALS
If we accept that it is not practical to enforce a
I propose that we consider an amendment to
rule whereby photographers must print their
the APPA rules that requires all photographers
own work, then we are left with the significant
to complete their own retouching and sign off
issue of retouching.
on it as their own work.
I am of the belief that all entrants should
Practically, a short term solution might be
retouch their own work and sign off on their
to award half points to entries with third party
entries as such.
retouching, thereby acknowledging the entry
was not entirely the work of the photographer.
Retouching is simply a core skill in digital
photography nowadays and a great many other
photographers agree on this point.
a 92 Gold Award with disclosed third party
retouching, the entrant receives 1 point instead
However, if we were to continue allowing
By way of example, if the image scores
external retouching, then shouldn’t we be
of 2.
awarding (or at least acknowledging) the skill of
the retoucher as much as the photographer?
many entrants would suddenly start retouching
their own work?
If we can agree we are awarding the print
And if we took this approach, I wonder how
41
NEWS
The Virtual Reality Wedding? Mark Ruff paints a futuristic picture which is already a reality today, but how many AIPP members are jumping on the Virtual Reality bandwagon? Is this a part of our business future? Imagine this …
space to see any part of the scene at any time.
A wedding is announced.
People are invited.
• You can see the toast.
Sadly, not everyone can make it.
• You can see reactions to the toasts.
These potential guests may be interstate or
• The wedding bouquet is thrown - you can see
even overseas and;
TAGS Busine s s Video VR
42
At the ceremony:
where it goes and who catches it.
• are too sick to travel,
• Watch people dance.
• cannot afford to travel,
• are too busy to travel.
uses YouTube as the content delivery network
so anyone, anywhere in the world can watch it.
Imagine if you could give them the ‘best seat
An immersive video is streamed ‘live’ and
in the house’ and it is ‘live’.
Well, almost live as there is around a 10-15
second delay.
Imagine a small camera set up at the end
of the aisle. You can see the couple walk down
It is even recorded so you can see it later.
the aisle. You can see the reaction of the parents
Did you miss something or were you looking
faces. You can be there when they kiss for the
in the wrong direction? Well, now you can
first time.
replay it and view it from any direction (again
and again).
Virtual Reality allows you to see all this. It
does not mean wearing a headset, although,
you can if you have one.
be set up pretty much anywhere. I mean, I can
set this up in a travelling car!
The scene is there, you decide where you
The system is completely portable and can
want to look.
never likely to be, but it is cool.
More importantly, it creates a rectilinear
The quality of VR is never great and it is
image (a window) through which a scene can
I threw this site together very quickly:
be navigated by either tapping and dragging
http://vrlive.net.au/
on a mobile device, or by moving the phone in
Check it out!
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.
43
NEWS
Unfair Contract Terms - Can ACCC Help? Recent changes to the law will introduce protection for small businesses from ‘standard form contracts’. However, this might not mean as much to photographers as first thought. New laws could strike down unfair ‘standard form
the parties about the transaction;
contracts’, giving relief to many small businesses
• whether the other party was, in effect,
similar to the protections already enjoyed by
required to either accept or reject the terms
consumers.
of the contract in the form in which it was
presented;
Magazine photographers have often felt
bullied by large publishers when presented with
• whether the other party was given an
a ‘take it or leave it’ contract, often imposing
effective opportunity to negotiate the terms of
onerous conditions that hand all the rights in
the contract;
their photography to the publisher.
• whether the terms of the contract take into account the specific characteristics of the other
TAGS Co n trac ts ACCC
44
WHAT IS A STANDARD FORM CONTRACT, AND WHAT TYPES OF TERMS MIGHT BE “UNFAIR”?
party or the particular transaction.
According to the ACCC, standard form
being able to download software or buy an
contracts are contracts which provide little or
airline ticket online.
no opportunity for the responding party to
negotiate the terms – they are offered on a ‘take
terms that may be unfair including:
it or leave it’ basis.
• terms that enable one party (but not another) to
avoid or limit their obligations under the contract;
Under the legislation, factors that have to be
Clear examples would no doubt include the
types of contracts you need to agree to before
The ACCC then gives examples of contract
taken into account in working out whether or
• terms that enable one party (but not another)
not a contract is a “standard form contract” are:
to terminate the contract;
• whether one of the parties has all or most of
• terms that penalise one party (but not
the bargaining power in the transaction;
another) for breaching or terminating the
• whether the contract was prepared by one
contract; and
party before any discussion occurred between
• terms that enable one party (but not another)
to vary the terms of the contract.
the images you’re commissioned to take.
Returning to a contract between a publisher
In this context, also note that it is not, of itself,
and a photographer, will these be ‘standard form’
illegal to include provisions in contracts that are
in the relevant sense, and will a term giving
felt by one or other party to be unfair – and you
copyright to the publisher be classified as unfair?
don’t want to get into a bad contract and then try
to pedal backwards relying on the new provisions.
According to lawyer Ian McDonald, special
counsel at Simpsons Solicitors, such a contract
may not necessarily be a ‘standard form’ contract
term in a contract, but there is now a risk that a
as understood under the new law – it will all
provision might be found to be unfair if it is in a
depend on the circumstances of each case.
standard form contract. But if you have the ability
or the opportunity to negotiate a contract, then
Also, a term giving the publisher ownership of
As Ian stated: “It is not illegal to have an unfair
copyright may not necessarily be ‘unfair’. Again, it
the chances are it is not a standard form contract.”
will depend on all the circumstances.
contract that you think is unfair after the new
As Ian notes: “It’s important to be clear about
That said, if you do find yourself with a
what these changes mean for small business.
provisions come into effect on 12 November
Just because you think a contract is unfair doesn’t
2016, get professional advice.
mean it will be covered by this new law. The contract has to meet the tests outlined.”
WHAT DOES THIS MEAN TO US?
In many ways, it appears this change to the
Unless or until there is a court case, we will
not know for sure whether or not the sorts of
legislation may have little effect on the majority
agreements offered by large publishers are
of contracts photographers enter into with
vulnerable to attack under the new laws – and
their clients. However, it is useful to know that
no doubt at least the larger publishers will be
these provisions are there when we are entering
reviewing their contracting practices to lessen
into rental contracts or purchasing software,
the risk that their commissioning agreements are
particularly over the internet.
caught by the new provisions.
This means that the best approach is still to
Ian McDonald is one of Australia’s leading copyright
negotiate and put your case with the publisher
lawyers and is recommended in the leading interna-
as to why you (rather than the publisher) should
tional legal review guide Legal 500. He is a well-known
retain copyright. As a fall-back, see if you can
and popular speaker and writer on copyright, moral
negotiate for either a higher rate up-front or a
rights and performers’ rights. He can be contacted at
share of income down the track from licensing of
Simpsons at imcdonald@simpsons.com.au
45
EDUCATION
How To Keep Detail In A Wedding Dress One of the biggest challenges faced by wedding photographers is keeping detail in all the right places, especially the wedding dress. Here are the essential steps to ensure your clients can see all the fine texture in the most expensive garments of their lives. Don’t shoot JPEGs! While experienced
by using the histogram on your camera. Take
photographers can nail the exposure for a
a test shot before each location and check
white dress in a JPEG, a raw file will give you
that the histogram is not ‘clipping’ to the right
better detail in both the dress and the black suit
(touching the right hand side of the graph). If it
at the same time. And if your photo is a little
is, reduce the exposure so it is not.
overexposed, then a raw file is more likely to let
you recover highlight detail than a JPEG file.
camera is created from a tiny JPEG. It is showing
The histogram you are seeing on your
the information in the JPEG (which is dumbed
CAPTURE FIRST
down), not the information in the raw file, so if
There are two tricks behind detail in both the
your histogram is just touching (clipping) the
white dress and the dark suit. The first is to
right side, chances are your raw file will have
shoot in raw and process the file later on.
detail in the whites. However, to be sure, don’t
let the histogram clip in the first place.
If you shoot in JPEG mode, the camera
essentially makes a file with less tonal range
TAGS L igh tro o m Tech n i q u e
46
and fewer colours than the raw capture. It’s a
POST-PRODUCTION SECOND
dumbed down photo file and, unless you have
There are a number of different ways you can
a specific reason to shoot JPEGs, should be
process your raw file to get the most out of it.
avoided.
with the dress and adjust the suit (start with
The second trick is to ensure the exposure
Essentially, you decide whether to start
is correct. If you overexpose the detail in a
the highlights and bring the shadows up), or
wedding dress, you cannot bring it back.
start with the suit and take the dress down
Don’t worry so much about the black suit –
(start with the shadows and darken down the
concentrate first on the white dress.
highlights). It sounds more complicated than it
is.
You ensure your photos are not overexposed
STEP 01
Your original exposure is the key to a good result. Don’t just use the histogram in Lightroom or Photoshop, use the histogram on the back of your camera. Take a quick test shot and ensure that the highlights are not touching the right side of the graph (circle). If they are, adjust your exposure down so they are not. Now you know you have detail in the whites.
STEP 03
One option is to use the Shadows and Blacks sliders in the Basic panel in Lightroom. The same approach can be taken in Adobe Camera Raw through Bridge or Photoshop. And Capture One allows you to adjust the shadows. By using these controls,we can lighten the groom’s suit without affecting the detail in the bride’s dress too much.
STEP 02
This photo is a typical scenario (although agreed the soft lighting makes it easier than direct sunshine): The histogram is good (not clipping the highlights on the right) and there is plenty of detail in the bride’s dress. However, the groom’s suit is very dark and detailless. The challenge is to lighten the suit without lightening the dress (and losing all that wonderful detail).
BEFORE AFTER
47
EDUCATION
For example, set the exposure so the overall
image looks correct, including detail in the
find the same applies to the white and highlight sliders.
dress. Next, use the shadow and black sliders to lighten up the suit.
SELECTIVE ADJUSTMENTS
In terms of production, you want to develop
Optionally, you could lighten up the whole
image so the suit looks correct, and then use
your technique so you can do your adjustments
the highlight and white sliders to darken down
globally, because this is quicker and more
the dress (and bring the detail back). This will
profitable. However, there may be times when
create a different result, as the overall image
you need to make ‘selective’ adjustments to get
will remain lighter, but that’s not necessarily a
the best result.
problem, rather a different interpretation of the
scene.
can give it more presence (local contrast) and
enhance the detail, but you probably don’t
These are what are known as global
For instance, adding clarity to the dress
adjustments because when you use them, you
want clarity on the bride’s face or she could
are affecting the whole image. All highlights
end up looking like her grandmother (with the
or all shadows are being adjusted, no matter
greatest respect to her heritage).
where they are in the image.
In these situations, you can use an
adjustment brush or a layer to adjust the
BLACKS OR SHADOWS?
dress ‘selectively’, without affecting the rest of
When using the sliders, it can be tempting to
the image. Try the clarity slider and even the
give them both a good nudge, and sometimes
dehaze slider. Different materials and lighting
you have to.
conditions will respond differently, so there’s not
a single solution.
However, generally you’ll find that a
small adjustment to the black and a stronger
adjustment to the shadows gives a better result.
like this, a relatively large brush with a soft
This is because if you push the black too much,
edge (large feather value, like 100%) is all that’s
you are affecting the ‘black point’ or the darkest
needed. Although the effect may overlap into
value in the scene. While you want to see detail
surrounding areas, usually you can control it
in the suit, for example, you don’t want to lose
so the overlap isn’t visible in the final edit. It
the blacks completely.
saves a lot of time compared to making a very
precise mask, which is certainly challenging in
The takeaway is that each of these sliders is
different, so experiment carefully. You will also
48
When you use the brush for an adjustment
Lightroom or Capture One.
STEP 04
BEFORE AFTER
STEP 05
BEFORE AFTER
Another option is to increase the exposure overall,which lightens the suit. However, this also lightens the dress, the background and everything else. Use the Highlight and Whites sliders to recover detail in the dress, but note that you now have quite a different looking result. This is not necessarily better or worse, rather a different interpretation. Which do you like?
While it will slow down your production, selective editing of your image with an adjustment brush allows you to change one area without changing another. For instance, to add lots of detail to the bride’s dress, you might use an adjustment brush in Lightroom and push the Clarity or even the Dehaze sliders up. You don’t need to be too precise with your brushwork.
49
EDUCATION
The Basic Lights When you buy a lighting kit, you are usually presented with two or three light shapers: a dish reflector, an umbrella and maybe a softbox. What do they do and what design features should you look for? When SLR cameras were first manufactured,
directed towards the subject.
they always came with a standard 50mm lens
which was difficult to master.
reflector is usually silver and highly reflective,
the quality of the light remains harsh and
It seems the same applies to lighting kits,
However, because the inside of the dish
with most offering a standard dish reflector as
strong.
the most basic light.
There are many different types of dish
reflector design which alter the shape of the pool of light and the quality of the light.
A deeper, narrower dish reflector throws a
smaller pool of light with more directional light. A larger, shallower dish throws a wider pool of
DISH REFLECTOR TAGS Tech n i q u e L igh ting
light, but remains very directional.
It’s probably the cheapest light shaper as well, but that would be unfair criticism because the dish reflector is an important light to have, especially in a multiple lighting situation where the dish reflector’s harsher light can be supplemented by a softer fill light.
With most flash heads, the flash tube
is exposed and emits a harsh light in a hemispherical pattern.
The dish reflector controls the spill of the
light, directing it in a single direction, so instead of light bouncing all around the studio, it is
50
UMBRELLA The next cheapest light is an umbrella, although some lighting manufacturers have taken the art of umbrella design to new heights.
However, the principle is the same: instead
of the flash light being directed straight onto the subject, it is bounced into an umbrella so that the light that reaches the subject is much
LIGHTING SAMPLE
Dish Reflector HARD LIGHT FOR CREATING DRAMA, MORE CHALLENGING TO CONTROL
n w o r h t s Shadow r o t c e fl e r sh i d e h t y b d n a t p u r ab e r o m e r a od o G . e l b a notice tic a m a r d , for strong s d e e n e r ca , e r u t i a r t por g n i c a l p n ni e k a t e b to . t h g i l e h t
The c o
by th e
ntras
dish
can m
t crea
reflec
ted
tor
ean v ery brigh t, ove rexpo high sed lights , espe cially notic eable in the shee n on a sub ject's face!
BACKGROUND Background Light
Subject
Dish Reflector
A dish reflector is harder to use than a softbox or umbrella because the angles of light and shadow are very strong and they need to be positioned carefully in relation to the subject's pose. So while not a popular light with beginners, expert lighting technicians can create powerful portraits filled with drama, but these same technicians would opt for a softer light for most family portraiture.
51
EDUCATION LIGHTING SAMPLE
Umbrella SOFT FLATTERING LIGHT, SPILLS OVER BACKGROUND
e h t , s t h g i Like all l ss e n t f o s g resultin s e n i l w o ad h s e h t f o ow h n o s d depen the o t s i t h ig l e h t e s o cl e h t r e s o l c e h T . t c e j sub he t r e t f o s light, the r. a e p p a s shadow
The umb rella thro ws a much so fter light , but a silver in terior ca n still produce a specul arity as show n on the forehead .
BACKGROUND Background Light
Subject
Umbrella
An umbrella produces a much more satisfactory light for family portraiture than a dish reflector because the shadows aren’t as harsh. You can control the quality of the light by choosing different types of umbrellas (whether silver, gold or white on the inside), different sizes and different shapes. The main problem is that you can’t always control where the light spills over onto the background.
52
LIGHTING SAMPLE
Softbox
SOFT FLATTERING LIGHT, CONTROL OVER BACKGROUND
Perhaps t h
e most
telling ch a of the sof beautiful
racteristic
tbox is th
e
gradation s
from high
shadow – shadows,
light to
soft edge
s a e r a w o d a h s While s u o i r va e h t , rk a d e r a t h g i l e th f o s e angl n e p o x o b t f o s e h t re from a y e h t o s , p u them of s e s s e c e r p e e d t o n black.
d
per fect fo
portraitur e..
r
BACKGROUND Background Light
Subject
Softbox
As with all light sources, the final quality of the light is determined by how close the light is placed to the subject, and the relative size of the light to the subject. To get a very soft quality of light, move the softbox in as close to the subject as you can, without the softbox appearing in the photograph. However, this may be too soft, in which case, move the light away until the effect is as you want it.
53
EDUCATION
softer and less directional.
out all over your set. The light from the flash
goes straight through the white fabric cover
The size of an umbrella (and they come in
different sizes) is much larger than a standard
which softens the light.
dish reflector, and as we have learnt, the size of
the light relative to the subject, the softer the
still continue past your subject and possibly
light.
reach the background, but the area over
which the softbox illuminates the set is more
An umbrella is the quickest and easiest way
Of course, light from your softbox will
to produce soft flattering light, but it does have
controllable.
a downside.
The light from the umbrella produces a
shapes. While a square shape is standard,
wide pool of light and so in addition to lighting
rectangular softboxes are useful because
your subject, it also lights the background and
they can more easily control the spill of light
surroundings. Spill light from an umbrella isn’t
elsewhere on the set.
easy to control.
to remember that the lights you use will
There are many umbrella variations. The
Softboxes come in different sizes and
When shooting portraiture, you need
inside of the brolly can be white, silver, gold or a
be reflected in your subject’s eyes, creating
combination for different qualities of light.
catchlights.
A deep or conically shaped umbrella focuses
The shape of these catchlights will be square
the light better, or you can use a translucent
or rectangular if that’s the shape of your softbox,
umbrella and push the light through the fabric
so some photographers prefer to use octagonal
towards the subject. However, in the latter case,
shaped softboxes, or they add a black fabric
you might as well use a softbox.
mask with a circle cutout onto the front of the softbox, so the catchlight is circular.
Softboxes can use extra internal pieces of
fabric to further soften the light; they can also use grids on the front to make the light more directional, and the older your softbox, the more likely the light will take on a yellow colour
SOFTBOX
54
because the fabric begins to colour.
Some photographers love this as it gives
A softbox is better than an umbrella because
their portraits ‘better’ colour, but it’s nothing
it contains the light, preventing it from spilling
that can’t be tweaked in post-production.
SPECIA
L FOR B
P READ
Save 20
Use Co u
pon Co
Offer E
xpires
%
ERS
de: BPM AG 31/12/ 2016
Peter Eastway’s
Online Landscape Photography MasterClass Learn the art, craft and business of landscape photography with a member-only subscription to Peter Eastway’s Landscape Photography Masterclass. The online delivery includes 18 classes (each comprising 3 movies and 3 articles), featuring equipment, techniques, inspiration and Photoshop post-production. Start at any time. Learn at your own pace. There are no exams! Replay and re-read as often as you like. And share your comments and ideas with other MasterClass members. To view, read and experience a free sample Landscape Photography MasterClass, please visit our website and follow the links ...
www.betterphotography.com Landscape Photography MasterClass - Contents FINE ART MOVIES
KNOWLEDGE
JOURNEY
ACUMEN
POST-PRODUCTION
1. Monte Fitz Roy, Patagonia 2. Mount Nemrut, Central Turkey 3. Cape Palliser, New Zealand 4. Cappella di Vitaleta, Tuscany, Italy 5. Elephant Island (Iceberg At Sea) 6. Pilbara Storm, Western Australia 7. Steeple Jason, Falkland Islands 8. Nevis Tree, South Island, New Zealand 9. Zabriskie Point, Death Valley, USA 10. Oxer Lookout, Karijini, Western Australia 11. Segovia Castle, Central Spain 12. Great Barrier Reef, Australia 13. Western Macdonnells, Central Australia 14. St Gregory’s, Ani, Eastern Turkey 15. Weano Gorge, Karijini National Park 16. Clinging Tree, Dales Gorge, Karijini 17. Ishak Pasha – The Mosque Behind 18. Stirling Ranges, South Western Australia
1. Which Cameras Are Best for Landscapes? 2. The Best Lenses For Landscapes 3. What Is The Best Aperture To Use? 4. Camera Support For Maximum Clarity 5. Camera Bags - Sensible Approaches 6. Landscape Photography Accessories 7. Colour Temperature & How It Works 8. Correct Exposure And The Histogram 9. Using The Light For Landscapes 10. How To Stitch Panoramas 11. Archival Landscape Prints 12. How To Shoot Aerial Landscapes 13. Composition Part 1: Subject Matter 14. Composition Part 2: Framing & Cropping 15. Composition Park 3: Viewpoint 16. Composition Part 4: Placing The Horizon 17. Composition Part 5: Centre of Interest 18. Composition Part 6: Rule of Thirds
1. Patagonia, South America 2. Favourite Places In Turkey 3. Favourite Places in South West USA 4. Favourite Places In Italy 5. Central Spain for Castles 6. The Pilbara, Western Australia 7. Easter Island, Pacific Ocean 8. Niseko, Hokkaido, Japan 9. Shooting The Pyramids, Egypt 10. Hamilton Island, Australia. 11. Queenstown, New Zealand 12. Ancient Ani, Eastern Turkey 13. Amazing Papua New Guinea 14. Karijini National Park, Western Australia 15. Cruising For Landscape Photographs 16. Reaching Your Destination 17. Scotland & The Isle Of Skye 18. Antarctica & The Southern Islands
1. Potential Markets for Landscape Photos 2. How To Price Your Landscape Prints 3. Creating Landscape Prints For Sale 4. Publishing A Book of Landscapes 5. Publishing A Book How Finances Work 6. Presentation: Why It’s So Important 7. Setting Up Your Own Website 8. Setting Up An Exhibition 9. Shooting For Books & Magazines 10. Limited Edition Print Sales 11. Computer Power - Do You Need More? 12. Landscape Print Sales Paperwork 13. Print Sizes And Paper Surfaces 14. Shooting Landscapes That Sell 15. Getting Photos Published With Words 16. Do You Need A Business Plan? 17. Which Photo Editing Software? 18. Where To Now That You’ve Finished?
1. RAW Conversion Technique 2. Darkening & Lightening With Soft Light 3. Multiple RAW Conversion Technique 4. Luminosity Masking Technique 5. Colour Balance – Getting It Right 6. Local Contrast – Two options in Photoshop 7. Vignetting – How It Can Improve Images 8. Lab Color - Full Control in Photoshop 9. Nik Software - Using Viveza Plug-in 10. Photomerge For Stitching 11. Channels for Hue/Saturation Adjustments 12. Making Selections In Photoshop 13. Sharpening In Photoshop 14. Black & White Conversions 15. Focus Stacking (Helicon Focus) 16. Lightroom Catalogs for Landscapes 17. Big Black & White Punchy Landscapes 18. High Pass Filter For Landscapes With Pop!
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EDUCATION
Foto Merchant’s Pro Websites The reality for most photographers and video producers is they need an online business brochure, portfolio pages for their imagery, and maybe eCommerce – and this has all been designed and perfected many times before. So why get a custom website built when you could customise a Foto Merchant site yourself? In some ways, using Foto Merchant to create
few hours your website is completed (although
your website is a bit like using a preset in
Foto Merchant also has custom website services
Lightroom or an action in Photoshop. All the
as well).
important techniques are used and applied,
but the process is much simpler and quicker for
company and you can have your own website
you, the end user!
for as little as $7 a month. However, for more
features you can pay $14, $28 or $80 a month,
Having a custom built website might allow
Foto Merchant is an Australian based
you to refine your design and operability like
plus if you sell through the website, there is a
no other website on earth, and if you have the
commission payable on each sale. However, for
budget, go right ahead!
what the service offers, it’s a great fit for many
professional photographers. Let’s run through
Interestingly, a photographer at the recent
Incite Nikon Event revealed he had spent over
some of Foto Merchant’s key features.
$7000 with a website developer and still didn’t
TAGS Web site s
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have quite the site he wanted. Compare this
CUSTOMISABLE DESIGN
with the $200 - $400 a year you could spend
Years ago, a custom website cost thousands
with suppliers like Foto Merchant and one
of dollars. Clients loved them. Then it cost
would ask if the customisation was worth it.
the photographer more to upgrade as web
Aesthetically and passionately, perhaps, but as a
technology changed. Clients still loved them,
business expense, would our clients really care?
but gradually it dawned on photographers
that what their clients really loved were their
Many photographers choose suppliers like
Foto Merchant because they take the hassle
photographs. As long as the design was clean,
out of producing a website. All you have to do
they’d love lots of different websites!
is follow simple menu instructions and within a
Foto Merchant has a range of clean, stylish
EDUCATION
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EDUCATION
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EDUCATION
designs and a new drag and drop web page
you against a screen grab (but that’s where the
builder means it is super easy and quick to build
watermark will help).
your content.
your photos as prints, or as digital files complete
Foto Merchant also offers a range of photo
With eCommerce activiated, you can sell
gallery layouts which are suitable for both
with licence, download, size and time limits that
mobile and desktop experiences (the layout
you determine.
resizes based on the platform).
And if you want to sell your photos online,
BLOGGING
there is a complete order system with a fully
Foto Merchant suggests there is no need for
integrated e-commerce shopping cart. You can
a Wordpress website as it provides built in
accept secured credit card payments online
blogging and social sharing tools.
with Stripe or PayPal.
A blog is probably one of the most
important things we can do to market ourselves
SEO OPTIMISATION TOOLS
online and even if we post our blogs on social
In a competitive world, you want potential
media and other websites, links should work to
clients to find you and with so many
drive our readers back to our website.
photographers jockeying for position, this can
be a challenge. However, if you can isolate your
sales and if you want to simplify your workload,
differences and unique selling proposition, Foto
you can sign up with a Foto Merchant partner
Merchant’s SEO optimisation tools will help
lab that will take care of the printing and
you to rank as high as possible on all the major
shipping for you, with rapid delivery to your
search engines.
customers.
With your photos visible to the world, you
In this way, hopefully we’ll generate some
Other features include using your own
can protect them with watermarking and
domain name for your Foto Merchant website,
Foto Merchant allows you to upload your own
lock down galleries with passwords, and
logo and dynamically brand all of your images
exporting galleries directly from Lightroom.
w w w.fotom erch ant.com
without affecting your originals.
Foto Merchant also helps prevent theft so
FUR THER DE TAILS
Foto Merchant has discounts of 15 to 25% for AIPP
people copying your images will only save
members and you will find further detail on the
an invisible pixel called “kittens.gif”. Right click
sponsors pages on the AIPP website:
protection covers all images, thumbnails and
http://www.aipp.com.au/sponsors/Fotomerchant-
slider animations, but of course will not protect
and-The-AIPP
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PROUDLY SUPPORTING THE AIPP