AIPP Journal - October 2016 by Pt 78 Pty Ltd

Issue 246

October 2016

CONTENTS 4

Reviewing Your Business

Christmas Marketing In October!

Now that APPA is over and Christmas is approaching, it’s an ideal time to review your business to make sure it is operating as smoothly and profitably as possible. AIPP National President Vittorio Natoli has some helpful and commonsense suggestions.

Are you going to make some good photography sales before the end of this year? Mary Trantino explains why now is the time for portrait photographers especially to start promoting and marketing for Christmas 2016, and provides three no-nonsense suggestions for the ultra busy festive season.

Cover

Pe ter R o s s i G.M.Photo g. P.B. II 2016 AIPP AUSTRALIAN PROFESSIONAL PORTRAIT PHOTOGRAPHER OF THE YEAR

AIPP Mentoring Program 2017

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

Now is the time to sign up for the next AIPP Mentoring program and your chance to establish yourself with direct instruction from experienced and proven professionals. The AIPP Mentoring Program national coordinator Eric Victor explains.

It’s Easy Being Professional!

Photographers agonise over their technique and the quality of their files, yet when it comes to being a professional, most of our clients have much simpler demands. So what is it that they really want and need?

Drones - New Laws In Operation! Do you use a drone for business? If you do or you’re thinking about it, new rules came into effect on 29 September 2016 and, interestingly for both photographers and video producers, they may actually be more relaxed than the rules they replace!

ISSUE 246 / OCTOBER 2016 20

Robert Edwards APP.L Hon. FAIPP

Past AIPP National President Robert Edwards is a commercial photographer who was instrumental in developing the international digital standards that photographers use daily and probably take for granted. But it wasn’t always so easy!

Julie Moss Hon. FAIPP As the managing director of Photography Studies College in Melbourne, Julie Moss has been instrumental in not only kick-starting the careers of many Australian photographers, but in developing the educational framework.

Christopher Shain APP AAIPP Hon. LM

26 27

Instrumental in the changes to Australian copyright law in the 1990s, Christopher Shain is still a staunch and active advocate for the rights and opportunities of professional photographers.

Peter Cocklin HLM The names Kodak and Peter Cocklin have been associated since 1975 and although now retired to a life a music, there will always be a place for Peter in the profession of photography.

Using Lightroom’s Adjustment Brush

The Adjustment Brush in Lightroom allows you to selectively lighten, darken or edit small areas in the image, without affecting the rest of the photograph. It’s a powerful tool and one all professionals should master in order to give clients a high quality result.

Essential Lighting Patterns

Whether photographers or video producers, we all know you position the lights so they illuminate your subject, but exactly where do you place them? The secret is in the shadows they throw on your subject. Here are three lighting patterns to guide you.

EIZO’s Affordable Monitors

John Sinisgalli The Claude McCarthy Award recognises outstanding service and dedication to the profession of photography, even if in John’s case, it is through his own profession of law.

A good quality computer monitor isn’t a luxury, it’s an essential tool for every professional photographer. And while EIZO has some of the best quality monitors in thebusiness, it also has an introductory range which means every professional can afford one.

Backups With Promise Apollo As professional photographers, we all have our backup and archive solutions, but what about our mobile phones and tablets? And those of our families? The Promise Apollo provides a local solution with cloud like attributes and no monthly fees.

Dedolight - Precision Lighting One way professional photographers and video producers can separate their work from that of amateurs is with lighting and in the world of cinematography, Dedolights have built a strong following because of their quality and versatility. Is a Dedolight right for you?

NEWS

Reviewing Your Business Now that APPA is over and Christmas is approaching, it’s an ideal time to review your business to make sure it is operating as smoothly and profitably as possible. AIPP National President Vittorio Natoli has some helpful and commonsense suggestions. Congratulations on a great APPA and to

to change and evolve around us, so we too

everyone involved, a huge thank you! We have

must move with the trends and demands

an amazing community of members, suppliers,

placed on our business. Here are some of the

sponsors, volunteers and our National Office.

things we can look at:

You all did a great job!

And the images were amazing.

Congratulations also to the new Associates and Masters of Photography - and of course the new Grand Masters of Photography as well! Plans and refinements have already started so we can

• Are we still attracting the same size commissions? • Are we attracting the same type of client

asked for products or services we don’t

But now it’s time to get back to our core

BUSINESS REVIEW

deliver? • Are our job numbers increasing or decreasing?

Every now and then, it’s a good idea to look

• Have our conversion rates changed?

at our business with fresh eyes, to see if it

• Is our turnover increasing or decreasing?

still works as well as it used to, and if it is still

• Is our average spend the same, more or

delivering what we need or expect of it? Should we continue to follow the same systems we have been using for years, or could we tweak and modify aspects to deliver something even better?

clients, with profitability for us?

as we have in the past, or are we being

studios.

Busine s s Pla n n i n g Pu r p o s e

competitive and offering great value to

look forward to an even better APPA in 2017. businesses and running successful photography

TAGS

• Review our prices. Are we still

There’s no doubt that everything continues

less than last year? • Are we more or less profitable than last year? • Have our costs increased or decreased compared with last year? • Are we going to offer new products or

WHAT IS YOUR PURPOSE? What is the purpose? What is your personal purpose? What is your brand’s purpose? Purpose starts with the founder, the person whose idea it was to start the business. In my case, I love taking photos of people that tell a positive story about their life, so I like to create images that make them feel valuable and worthwhile. My purpose is to make pictures that value what’s important in people’s lives, right now. As a reward for achieving this, I feel positive about myself. And because I am passionate about my purpose, it’s easy for me to

talk about it and engage others to believe and follow me on my quest. However, to be authentic, everything else I do around my purpose needs to be aligned. This in turn helps me to decide how everything else should look in my organisation, my business and my life. So, when you find something you believe in, it’s natural to want to improve it and to add more value to it. Other people who help you achieve this need to understand your purpose and be willing to align themselves to the culture you have created, even if they work in

extra services next year, or just continue

that aren’t working, otherwise the trend will

as we have been going?

continue.

• Do we have a business plan, a guide or an idea for the coming year?

different parts of the business. For example, administration and accounts need to be treated with the same passion and dedication. Paying accounts late or poor administration systems can make both you and your clients feel or look bad and that is out of line with our brand’s purpose. Similarly, if our finished goods were defective or we personally looked or dressed ‘shabby’, this also would be contrary to our overall purpose. All of this may seem trivial, but it’s the details that make the difference in performance and outcomes.

In my own case, I have noticed that our rents

Statistics are important. You can keep lots of

them or just a few. In our case, numbers of jobs, average sale, total gross sales, total receipts,

and wages have grown as a percentage of our

number of forward orders and net profit give us

income. This is the result of lower sales, but not

a good idea what areas are working and what

a lower average spend from our customers. So

areas need attention.

what does this mean? It means we did fewer

jobs, so even though we promoted the same,

anyone looking for help in these areas. Contact

we had a drop in conversions. We either need to

our National Office for more details.

The AIPP offers a mentoring program for

market more, improve our conversions, or both!

If you’re analysing your business and you

know your basic statistics, you can look at the affected areas and see what actions weren’t

vittorio.natoli@aipp.com.au

followed or have dropped off. Then you

0400 418 888

reinstate the correct actions or change those

EDUCATION

Christmas Marketing In October! Are you going to make some good photography sales before the end of this year? Mary Trantino explains why now is the time for portrait photographers especially to start promoting and marketing for Christmas 2016, and provides three no-nonsense suggestions for the ultra busy festive season.

TAGS Po r trai tu re Busine s s M a r k eti n g

As we approach the lead up to Christmas,

OCTOBER SOFT-SELL

something strange happens.

For the next four weeks, your business needs

to subtly tell your target market that they need

People go a little crazy on the roads, social

calendars fill up and we start to reflect on

to get their butts into gear and start thinking

the goals we set at the beginning of the year,

about Christmas time.

hoping that we’ve achieved at least some of

them and that, importantly, retail spending

your service at this stage. This is simply about

goes bananas!

getting your potential clients to think about the

end of the year and their family.

Christmas is now less than 12 weeks away,

Don’t make the big mistake of hard selling

but for portrait photographers, Christmas starts

now!

not have achieved yet in the year, help them to

think about family gatherings and entertaining,

In fact, if you haven’t thought about

Help them to think about what they may

marketing to Christmas clients yet, you are way

help them think about their child’s first

behind compared to the supermarkets who

Christmas or their kids playing together.

have had tinsel for sale since September. There

has never been a better time to make money in

Christmas is coming. Kmart do this very well

business.

each year.

Creating a Christmas business plan ahead

‘Soft-sell’ simply means to plant the idea that

Their TV ads at the moment showcase their

of time is always a good idea. So if you haven’t

everyday products ˗ not Christmas themed

already done so for this year, all is not lost. Here

products, just the same stock that they have

are a few ideas and practical suggestions to

had all year. Except in October, they create a

get your marketing sorted in the lead up to

quirky little stop motion ad where their every

Christmas.

day products dance on the screen and create

Christmas shapes like snow flakes or Christmas

on a family photo that go something like

decorations.

this: “With Christmas only 12 weeks away, I

wonder who is hosting Christmas this year?”

They strategically choose items such as

outdoor entertainment settings, clothes, cups,

or, “Comment below with your favorite

glasses etc. They always come up with a catchy

Christmas food”, or, “What was the best

saying like, “Are you ready?” or, “Whatever you

present you ever received for Christmas”? • Change your Facebook banner or your

are doing, wherever you are going, whatever you need, Kmart wants you to have a great

business profile picture into a Christmas

Christmas”.

theme.

Statistics have shown that 12% of customers

start Christmas shopping in September and 20% of consumers start in October.

NOVEMBER - DIRECT MARKETING November is the time to ramp up your

SOFT-SELL PHOTOGRAPHY?

marketing to directly target your audience with

So, how can we soft-sell portrait photography?

specials and branding. Here is just one example:

Here are some suggestions:

• Use the traditional Christmas colours of red,

Send out Christmas cards to your clients on

1 November! Offer a gift certificate to be used

green and white when using photos for

before Christmas, with the promise that their

social media. Maybe you have a red couch in

photographic artwork will be ready to hang for

some of your photos or a green scarf?

display in their home before Christmas.

• Create a simple video or photo slide show,

• Make the card vertical.

showcasing your clients over the past year. • Add a saying to your video that is in line with

• Preferably the same size as your gift

your studio values and purpose. • Play Christmas carols in your studio. It

How is your Christmas card made up?

certificates. You may want to personalise the card

may just make you a few extra sales for a

(depending on how many you have to send

Christmas present. Classic example are the

out) by using a photo they purchased on the

supermarkets playing Christmas carols whilst

front of their card.

you shop, just in case you forgot to buy

those extra ingredients for the pavlova you

do this with. I would recommend www.lovejk.

were thinking of making for Christmas.

com.au as they allow one card purchases. It’s an

• When posting to social media, use words

easy-peasy upload, super quick turn around and

There are a number of online stores you can

EDUCATION

the card quality is awesome. • Make sure your logo is on the front of the

This is why planning is super important. Plan

card and very visible. Don’t hide it in the

you marketing for the month of December,

corners – after all, this is a card from you.

January and February now.

• Have all your business contact details on the back of the card.

December is the month when potential

clients are on the hunt for that one person who

• Use a simple message on the inside to let

is so hard to buy for. Being present on social

them know that you value them and why

media and in business alliances for the next

they are valued clients to you.

four weeks is very important for your new year

• A gift certificate of genuine value for them

marketing into your day!

bookings.

to use and a second certificate for them to

Create strong alliances with businesses who

pass onto a valued friend or family member.

have the same type of clients you are looking

• Expiry date 31 March of the following year.

for.

• Make sure your vouchers are transferable.

• Make the envelope a bright red or green

leading up to Christmas and ask if there is some

Talk with them about their marketing plans

colour.

way you could include your vouchers in their

Just because you have hundreds or

client gifts or promotions.

thousands of clients on your database, does not

mean they all get a Christmas card.

and emotional spending is at its highest.

We all have clients we would rather not see

again, for one reason or another! Only market to

This is the time when budgets are forgotten And we are in the business of emotional

purchases.

those clients who spent over a certain amount of money.

For example, our studio average this year

Mary Trantino is the founder of the Photography

was $3000, so we only sent out Christmas cards

Business Academy. The Academy specialises in im-

and vouchers to those who spent $2000 or

plementing marketing, sales and customer service

more.

systems designed to help portrait photographers gain qualified leads, high-paying clients and repeat

DECEMBER FUTURE MARKETING

customers. For free one-on-one consultation call

Just when you think things cannot get any

Facebook www.facebook.com/photographybusi-

busier or more hectic, you need to throw

nessacademy

Mary NOW. Contact Mary on (03) 9448 2303 or via

â&#x20AC;¢

Lori Ci cchi ni APP AAIPP

NEWS

AIPP Mentoring Program 2017 Now is the time to sign up for the next AIPP Mentoring program and your chance to establish yourself with direct instruction from experienced and proven professionals. The AIPP Mentoring Program national coordinator Eric Victor explains.

AIPP Mentoring Program national coordinator Eric Victor.

TAGS M en to r s

The core purpose of the mentoring program is

businesses for a long time, but who also have a

to facilitate young (and maybe not so young)

deep commitment to sharing their knowledge

photographers to find their feet in what can be

for the benefit of the profession as a whole.

seen as a daunting profession.

your personal success will depend on your

In fact, their challenge has changed little for

They may offer advice and shortcuts, but

the last 50 years, even with the advent of new

commitment and your ability to solve issues.

technologies. It is still a matter of pricing, self

confidence and commitment.

networking and interaction within your group.

Mentoring will also show the value of

These are the core topics of the program.

Mentoring is not teaching photography, rather

MENTOREE: TONY EVANS

the business of photography. So don’t expect

Tony Evans was mentored by David Simmonds

lighting courses, although naturally the mentors

for commercial photography.

will be happy to comment and critique your folio.

photography as a career at the age of 33, after

We are not offering a course, but a program.

“I only made the decision to take up

The difference is to be well understood. We

an eight year corporate career in sustainability.

follow a timeline with set tasks, but we are

I had a bit of an idea about how to take photos,

not delivering a set syllabus as an educational

but very little on how to build and maintain a

institution would.

successful photography business.

How these tasks are handled depend

“I would absolutely recommend the

greatly on the dynamics of the group and its

mentoring program to any photographers

participants.

who feel that they could benefit from an

open, informative dialog with an experienced

Mentoring is the art of listening and our

mentors are good at it. We have chosen

professional photographer, who is not afraid to

photographers who have run successful

give away all their hard-earned secrets.

â&#x20AC;¢

Ja cq ui D ea n APP.L G.M.Photo g. Hon . FAIPP FN Z IPP FAIPP

â&#x20AC;¢

Sh a nno n H a r th

NEWS

“I was blown away with how open my mentor

“However, the groups makeup nicely

was to helping me with the tough questions,

extended my areas of interest into video

particularly around quoting and invoicing, but

production and fine art. It speaks nicely to

also around branding and the more boring

the sum being greater than the value of the

things like insurance and finance.

individual parts.

“The format of regular small group meetings

“I wanted to understand more about what it

feels so much different to going to a one-off

meant to work as a commercial photographer.

workshop.

I felt a significant gap between what we

were learning at college and the pull of the

“The learning is so much deeper. On top of

this, being in a group with a handful of people

markets that we were being encouraged to get

who are in a similar situation to yourself –

experience in.

although in different parts of the photography

industry – was a great support when you are

in business, but that did not immediately

questioning what the hell you have gotten

prepare me to market and price myself as an

yourself into!

independent creative. The mentoring program

helped enormously.

“Two great things David embedded in me

“I’ve got a pretty extensive background

was the value of licensing and of acting like a

professional from the start.

a mentor and one’s peers. It’s like you’re roped

together on a glacier, feeling brave and safe at

“I have used his advice and wisdom to

John Carruthers

“It’s an incredible opportunity to learn from

educate several of my clients about why I need

the same time.”

to charge for licensing my images, and why

they need to pay more for longer and broader

David were not to give his work away, and to

licenses.

be politely relentless in understanding what the

client wants.

“I think that given the individual nature of

Tony Evans

John says the key points he took away from

the photography industry, any opportunity

The intake for 2017 is now open and you will

to get together with a group of your peers to

need to register via the AIPP website: http://aipp.

drag some much-needed wisdom from an

com.au/join/aipp-mentoring-program.

experienced mentor should be really cherished.”

You will find a lot more information about

the program there, but if you are stuck, you can

MENTOREE: JOHN CARRUTHERS

contact Randal at the AIPP National Office or

John Carruthers was also mentored by David

email me - eric@ericvictor.com.au.

Simmonds in the commercial and editorial fields.

Hope to see you in 2017.

EDUCATION

It’s Easy Being Professional! Photographers agonise over their technique and the quality of their files, yet when it comes to being a professional, most of our clients have much simpler demands. So what is it that they really want and need?

TAGS Busine s s Pro fessi o n a l

This article is an over-simplification, but talking

their call or answered their email (not the

to successful photographers and customers

quality of their photography). So, there’s a really

of less-than-successful photographers, the

simple question to ask yourself:

anecdotal evidence is clear:

HOW GOOD ARE YOU AT RETURNING CALLS AND MESSAGES?

PROFESSIONAL PHOTOGRAPHERS ARE POOR COMMUNICATORS.

It’s not rocket science, is it! And we don’t even

What does this mean? Surely our brilliant

have to aim for a 100% result – answering

photography speaks for itself? I’m sure it does,

95% or even 90% would be excellent business

but this isn’t what lets photographers down. It’s

practice.

far more obvious than that.

businesses these days can’t afford to hire a

As a group, professional photographers do

So, how do you set it up? Most photography

not return telephone calls, emails or messages.

secretary or personal assistant, so it’s up to you

to make it happen.

In other words, potential clients ring us up

and, by not answering, we don’t give them the

opportunity to buy from us.

messages at least once a day, or if you don’t like

listening, turn off phone messaging completely

I’ve spoken to a few experienced

Make it a habit to listen to your phone

photographers in the last week and funnily

and have messages delivered as texts.

enough, all of them said (in one way or

another) that the most important thing they

phone, email and social media messages at

did in business was to return calls and answer

least once a day, or within 48 hours.

messages.

it a rule, then the simple act of putting yourself

And two of them said that when they

Then make it a habit to answer all your

It’s not a difficult thing to do, but if you make

asked why their clients booked them, the most

in contact with prospective clients practically

common answer was because they returned

guarantees you more business.

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.

NEWS

TAGS CASA Dro n es RPA

According to CASA (Civil Aviation Safety

RPAs and there are two issues. First, is your RPA

Authority), Australia’s safety laws for drones

under two kilograms, and second, what are the

(technically called Remotely Piloted Aircraft or

restrictions?

RPAs) vary depending on whether you are flying

commercially or recreationally.

between 100 and 2000 grams, professional

photographers and video producers will not

According to its website, from 29 September

Called ‘very small RPAs’ and weighing

2016, if you are flying for money, or any form

need an RPA operator’s certificate (ReOC), or a

of economic gain, you need to have an RPA

remote pilot licence (RePL). However, they will

operator’s certificate (ReOC), unless you’re flying

have to notify CASA at least five business days

an RPA weighing less than two kilograms, in

before their first commercial flight and agree to

which case you only have to notify CASA.

operate by the standard operating conditions

and the guidance in advisory circular (AC) 101-10.

If you are flying for fun and not for any form

of economic gain, then the regulations are less

restrictive and allow you to fly an RPA without

website - https://www.casa.gov.au/standard-

needing to be certified, providing you follow

page/commercial-unmanned-flight-remotely-

some simple safety rules. These are not covered in

piloted-aircraft-under-2kg.

this article.

• You must only fly during the day and keep your

Existing holders of UAV operator’s certificate

Details about how to register are on the CASA

The restrictions include the following:

(UOC) can continue to operate as per their

RPA within visual line-of sight. This means being

certificate and will only be issued a ReOC if the

able to see the aircraft with your own eyes at all

certificate is varied or renewed.

times. • You must not fly your RPA higher than 120

UNDER 2 KILOGRAMS The ‘get out of jail’ card applies to lightweight

metres (400 ft) AGL (above ground level). • You must keep your RPA at least 30 metres

The Phantom from DJI is under 2 kg and can be used for professional purposes - if the image quality is good enough.

NEWS

away from other people. • You must keep your RPA at least 5.5 km away from controlled aerodromes. • You must not fly your RPA over any area where, in the event of a loss of control or failure, you

shy of three kilograms - and so you need a ReOC certificate to fly it professionally. This is obviously a pity for professionals because the larger units tend to have more features and potentially higher quality cameras as well.

create an unreasonable hazard to the safety of people and property on the ground. • You must not fly your RPA over or near an area

GET A CERTIFICATE ANYWAY? CASA notes that while it is now easier for

affecting public safety or where emergency

commercial operators to fly a very small RPA,

operations are underway (without prior

there are still many advantages to gaining your

approval). This could include situations such

ReOC.

as a car crash, police operations, a fire and

associated firefighting efforts, and search and

to operating under the standard operating

rescue.

instructions, greatly limiting where and how you

Not having a ReOC means you are restricted

• You can only fly one RPA at a time.

can fly. You will also be unlikely to get insurance,

leaving you solely liable for any incident or

This frees up professional photography and

video operations considerably, assuming the RPA

accident arising from flying your RPA. Continues

you wish to use is below two kilograms. So, how

CASA, clients are therefore less likely to hire you if

much do the new bevy of drones hitting the

you’re uninsured.

market actually weigh?

ReOC holders also have additional privileges

including:

LIGHTWEIGHT DRONES DJI seems to be the flavour of the month for

but not closer than 15 metres, from a person.

drones. The new Phantom 4 Aircraft, with a list

• night time flying (with night approval).

price of $2099, is claimed to weigh 1380 grams

• the ability to get exemptions to the regulations

including propellors and battery. This includes

e.g. beyond-visual-line-of-sight.

a built-in 4K camera which would make it very

However, be aware there are also state licensing

attractive for a range of video jobs and many

requirements for various flight activities - it’s not

photography jobs as well.

always just CASA you have to appease.

• permission to operate closer than 30 metres,

However, as soon as you move up the DJI

scale to one of the Inspire 1 units (which start at

For more information, visit the CASA website

around $3400), you’re into an aircraft that is just

www.casa.gov.au

At over 2 kilograms, the DJI Inspire will not be able to be used by professional photographers and video producers without an RPA Operatorâ&#x20AC;&#x2122;s Certificate

AWARDS

Robert Edwards APP.L Hon. FAIPP Past AIPP National President Robert Edwards is a commercial photographer who was instrumental in developing the international digital standards that photographers use daily and probably take for granted. But it wasn’t always so easy! In a Melbourne watering hole, one evening after

but Robert, a modest man who tries to keep a

a day of judging in June 2011, conversation

low profile, graciously declined. Like many, his passion for photography began in high school. He was hooked the moment he saw his first image magically appear in the developer under a dim darkroom light.

Robert began his career at Australian Capital

Television in Canberra during the late 1980s. Robert went on to attain a BA (Visual Arts) in photography and electronic media at the University of South Australia, relishing in the socio-history of photography. After graduating, (L-R) Richard Bennett, Robert Edwards, Ian van der Wolde and Greg Hocking. Photo David Simmonds.

turned to the subject of older members who

Robert moved to Sydney to assist commercial

were beginning to ‘go out of focus’.

photographers.

This discussion led to the need for a history

With the guidance of David Roche and Chris

of the Institute to be written, before it became

Shain, he networked with members of AIPP

too late. ‘Do it’, said National President Robert

and FACE (later ACMP) - in particular with the

Edwards and the Board will fund it. And it did.

Wildlight Photo Agency. Assisting Phil Quirk and

Andrew Rankin, Robert was later invited to join

Behind that very subtle, quirky sense of

humour was a forward thinking and decisive

the prestigious agency.

president.

client list of magazines, corporations and

The offer was made at the time to put

By the mid-1990s, Robert built up his own

Robert’s photograph on the cover of The

media agencies, many of whom he still services

History of Professional Photography in Australia,

nearly twenty years later for media relations,

AWARDS

advertising, annual reports, videos and TVCs.

president from 2010 until 2012.

In 1996, Robert shot his first digital job for

Upon becoming president in 2010, there

Qantas. That started another obsession, that of

were many challenges within the AIPP

digital standards or at the time, lack of digital

Board for business. Social media usage was

standards.

presenting many communication problems

and the Board, together with the new EO

Over the next 20 years, Robert lobbied

software and hardware vendors to adopt

Peter Myers, were instigating many changes

a common standard for archiving digital

throughout the AIPP.

photographic images.

and common sense level headed approach

He was invited to be an alpha tester and

Robertâ&#x20AC;&#x2122;s immense skills, his determination

consultant in the USA for Adobe, Microsoft

were perfect to manage these challenging

and beta tester for Nikon, Extensis and Phase

and changing times.

One.

changes surrounding membership

Robert presented several workshops

Robert managed the constitutional

on digital asset management for the AIPP

categories. He further developed the

and ACMP as well as PICA, PMA and tertiary

Accredited Professional Photographer and

institutions.

the Continuing Professional Development

Program and the resulting benefit is the

In the mid-2000s, photographers took the

lead and began developing a universal digital

certification of AIPP Accredited Professional

photography standard.

Photographers.

At home the Australian Photographic

At the end of Robertâ&#x20AC;&#x2122;s term as president,

Digital Imaging Guidelines were created,

membership exceeded 3000 for the first

under the guidance of William Long, with

time. Today Robert represents the AIPP at

Robert as the chief author.

Standards Australia and the International

Organization for Standardization on ISO,

As AIPP representative, Robert contributed

to the Universal Photographic Digital Imaging

Technical Committee 42.

Guidelines published in 2007, which were

later adopted by the US Library of Congress.

contribution to the AIPP and to the

photographic profession, the AIPP confers on

In 2008, Robert was co-opted onto the

In recognition of his outstanding

AIPP National Board at the invitation of the

Robert Edwards the distinction of Honorary

national president Jacqui Dean. Robert served

Fellow.

as national vice president and was national

-- Richard Bennet

TAGS APPA Award s

AWARDS

a new industry focused direction, interviewing

community education, arts and employment

many across the industry to ascertain what sort of photography education the industry needed.

Through early experiences, she found

that colleges such as PSC had no recognition and no voice. She was a founding member, board member and past national chair of the Australian Council for Private Education and Training, a council aimed at representing the educational interests and value of colleges such as PSC. Julie Moss. Photo David Simmonds.

programs, Julie Mossâ&#x20AC;&#x2122;s career within the

photography industry spans more than 30

served on a number of boards and councils

years. Having a distinguished career dedicated

at a state and national level which oversaw

to photographic education and a passion for

quality assurance and training standards for the

providing an environment that nurtures and

education industry. Julie has participated in a

develops new generations of competent and

number of Australian Government delegations

creative image-makers, Julie is an advocate for

promoting Australian education and training

the interests of photographic education and

in Japan, Latin America, China, India and

training at a national and international level.

Indonesia, and has presented at a number of

international conferences.

Julie Moss is the managing director of PSC,

Passionate about quality education, she has

Melbourneâ&#x20AC;&#x2122;s Photography Studies College.

In the early 1990s, PSC became one of the

When she joined PSC in 1986, Julie commenced

first private colleges to be registered by the

an industry wide evaluation of the college to set

Victorian government and the first diploma

AWARDS

level qualification in photography to be

link to community organisations - connecting

nationally accredited.

photography with communities.

With the support of Dr Robin Williams, then

In 2005, in the same year as the death of her

Dean of RMIT, the first formal credit transfer

life and business partner, the late Roger Hayne

arrangement between a private vocational

(himself an Honorary Life Member of the AIPP),

college and a university was established,

she led the College through the change from

enabling PSC graduates to articulate into a

analogue to digital photography. There were no

Degree in Photography at RMIT.

roadmaps and very few staff who had expertise

in the new technology. There were many who

PSC was the first Australian college

authorised to provide photographic education

said it couldn’t be done! So, against a backlash

to international students. This enabled Julie to

of criticism and a genuine lack of expertise in

take PSC to the world.

the new area, she forged a completely new set

of education programs and set a new course for

Julie strove to increase the educational

opportunities for photographers, empowering

the college, to ensure its survival and growth

the uneducated apprentices to stand on

into the digital age.

their own, and develop their own vision and

business acumen. She then worked with the

with this new technology. Experienced

media union to ensure that the photographic

photographers needed skilled assistants who

education provided by the photojournalism

were ‘digital natives’. New opportunities arose

major at PSC was a key pathway into the

for graduates as highly skilled retouchers and

industry.

image managers, and in more recent times as

video and moving image creatives.

Seeking input from the AIPP, she established

She saw opportunities for her students

a mentoring program for all final students as a

In 2011, she drove a new direction for PSC,

way of ensuring a sustainable mix of education

gaining registration as a Higher Education

and industry connection. First established in

Institution with course accreditation for a

1993, it continues to link final year students to

Bachelor of Photography. In 2013, PSC was

the photography profession.

invited as the first Australian college of the US

Her passion for community engagement

Society of Photographic Education, providing

and social justice led her to initiate PSC’s unique

the opportunity for Julie to share expertise on

Photography in the Community program,

best practice in photographic education with

which has continued over the past 30 years,

US colleagues.

providing opportunities for PSC students to

Julie has also established a pathway

AWARDS

program for graduates of the advanced diploma

a strong relationship between PSC and the

and experienced professionals to gain a degree

Institute.

in photography, and in 2017, will introduce

the only dedicated Masters of Photography

an assignment requirement of all final year

program in Australia.

students to ensure they were judged by the

profession, and 2013 saw her implement a

Attending her first AIPP Convention in

In 2005, Julie made entry into the APPAs

1988, she committed the college to increased

program where all final year students received

participation with the AIPP wherever and

AIPP student memberships as part of their final

whenever possible. Over the years, Julie has

year enrolment.

provided students to work behind the scenes,

she has provided her college as a venue for AIPP

Committee in 2013 and 2014 and finally,

seminars, workshops and the VPPYs, and even

under Julie’s and her staff’s guidance, PSC has

this past week has seen the college used for the

been awarded the AIPP Tertiary Photography

APPA print break out, as it has numerous times

Institution of the Year consecutively every year

before.

since 2011, No mean feat!

The charter of the PSC course advisory panel

She was chair of the AIPP Education Sub

Julie Moss, the AIPP takes great pride in

that was established in 1996 stipulates that the

awarding you an Honorary Fellow.

panel chair must be a current or former AIPP

-- Ian van der Wolde

state or national president, again cementing

Christopher Shain APP AAIPP Hon. LM Instrumental in the changes to Australian copyright law in the 1990s, Christopher Shain is still a staunch and active advocate for the rights and opportunities of professional photographers.

Prior to 1998, the copyright in commissioned

During the 1990s the AIPP and ACMP

photography in Australia belonged to the

vigorously lobbied the federal government to

commissioning party. This arrangement

bring about copyright reform. On 11 July 1998,

severely limited photographers’ rights and their

the Federal Government sat for the first time

prosperity.

on a Saturday since 1993, when the Senate

AWARDS

debated the Copyright Amendment Bill to

Centre for Photography in Sydney for most of

amend section 35(5) of the Copyright Act.

his career.

At 8.54 p.m. this amendment was passed

and Australian photographers became the owners of the copyright to their work (with the exception of domestic photography). It was a great achievement which has enabled photographers to earn on-going income from their photography.

Christopher Shain played a pivotal role

in this breakthrough. Chris was and remains one of the most determined, persuasive and persistent educators and lobbyists in Australia

and overseas for Photographersâ&#x20AC;&#x2122; rights.

since the early 1980s. He was the first elected

president of the ACMP, subsequent chairman

Chris has been a successful and passionate

Chris has been a member of the AIPP

commercial photographer for more than 35

and a member of ASMP. He was a director of the

years, making creative photographs on location

Australian Copyright Council for eight years and

for a wide range of clients in the corporate,

is currently an advisor to the board of the AIPP

industrial and architectural genres.

on copyright and other government legislation

that impacts the profession.

Following tertiary education as an

engineer, Chris began his working career as a

photographerâ&#x20AC;&#x2122;s assistant, including 10 years

Events and to many local photographer and

working alongside the Australian photographic

student groups.

icon, David Moore. He has personal work in

Chris spoke at the launch of a white paper

the Australian Photographers Collection and

written by the law faculties of Melbourne

has been a finalist three times in the Head On

University and the University of Technology

Portrait Prize. His heritage and architectural

on orphan works. He has given evidence at

work has been used in a wide range of books

Federal Government Senate enquiries, several

and publications that are in major collecting

state government enquires and has briefed the

institutions, including the Historic Houses Trust,

Law Reform Commission several times over the

the National Trust and the NSW Supreme Court.

past few years on proposed changes to both

He has lectured part time at the Australian

the Copyright Act and the Privacy Act, and

(L-R) Greg Hocking, Richard Bennett, Chris Shain and Ian van der Wolde. Photo David Simmonds.

He has spoken at Vivid, Head On, two Nikon

AWARDS

the impact that changes might have on the

photography profession. He has been invited

twice to speak at the Biennial Symposium

outstanding contribution to the photography

on Copyright (an international symposium

profession, particularly as a champion of

for IP lawyers) and most recently he gave a

photographers’ rights, the Institute honours him

presentation to the Productivity Commission

with the distinction of Honorary Life Member.

enquiry on proposed changes to the

-- Richard Bennett

In recognition of Christopher Shain’s

Peter Cocklin HLM The names Kodak and Peter Cocklin have been associated since 1975 and although now retired to a life in music, there will always be a place for Peter in the profession of photography. Our profession is full of high profile and high

with NZIPP member John Pedersen in

achieving individuals, but every now and then,

Whangarie, New Zealand. In 1971, Peter found himself in the UK as well as travelling through the Middle East, India and Nepal. On his return to London, Peter heard the call of the sea and joined P&O as a ship’s photographer and was soon back in the Antipodes sailing out of Sydney on the SS Himalaya.

That introduction to Australia was enough

for Peter to decide to live in Sydney, where in 1975 he found himself working for Kodak’s (L-R) Greg Hocking, Richard Bennett, Peter Cocklin and Ian van der Wolde. Photo David Simmonds.

Motion Picture Division. In 1984 Peter married a quiet achiever comes into view, who by their

Christine and after a period of travelling the

selfless actions makes a huge contribution to

world, settled in Christine’s home town of

our Institute and profession.

Brisbane where he managed the commercial

lab, F-Stop.

Peter Cocklin began his professional

photographic career at eighteen as a trainee

Once again, Kodak’s call was too strong

AWARDS

for Peter and he found himself working as a

instrumental in maintaining Kodak’s ongoing

Technical Sales Rep for Kodak Professional.

support of what were Kodak funded events,

During this time, Peter also lectured part time

badged under the AIPP banner. Peter was also

at the Queensland College of Art where he

a champion of promoting the benefits of AIPP

also completed his Graduate Diploma in Visual

membership to the many photographers he

Art (Photography). The late ‘80s and early ‘90s

would meet in his role as Kodak Professional

was an exciting period of time to be at Kodak

Manager.

Professional, as the division pioneered digital

capture, scanning and printing.

main passions of photography and music still

In 1999 and after a period of time as

burn brightly. Peter is in his second year of a

Business Development Manager for Kodak

Bachelor of Music at Melbourne Polytechnic

Professional in South East Asia, Peter took on

with his principal instrument of double bass

the role of Portrait Social Segment Manager in

seeing him playing both classical and jazz music

Melbourne and eventually manager of Kodak

around the Melbourne scene.

Professional. During this time Peter developed

a close relationship with the AIPP and together

achiever, but over many years he certainly has

with the then AIPP President Phil Kuruvita,

made a big noise as a champion of the AIPP. The

brought Steve McCurry to speak at PMA in

AIPP takes great pleasure in honouring Peter

Sydney, the National Gallery of Victoria and the

Cocklin with a Honourary Life Membership.

Auckland Art Gallery of New Zealand. Other

-- Greg Hocking

Peter is now retired from Kodak, but his two

As mentioned before, Peter is a quiet

speaker programs soon followed and Peter was

John Sinisgalli The Claude McCarthy Award recognises outstanding service and dedication to the profession of photography, even if in John’s case, it is through his own profession of law. Named after the founding father of the AIPP,

outstanding service and dedication to the

the Claude McCarthy Award is awarded to an

Institute.

individual who has been identified for their

This year’s recipient is not a photographer.

AWARDS

In fact, he is not even involved in the

No problem, I’ll just call John and ask him

photographic industry. Rather, he is a

over, I said. This I did and John was there in a few moments. I should point out that John is also my next door neighbour so he didn’t have far to come.

After a lengthy discussion, John gave us

the advice we needed and was off home again. It wasn’t until the next day when Greg asked what time we had called John, that I checked my phone and discovered that we had called after 11:00 p.m.

Being someone who gets annoyed when

I receive calls after 9:30pm on a weeknight, (L-R) Ian van der Wolde, John Sinisgalli, Richard Bennet and Greg Hocking. Photo David Simmonds.

prominent lawyer and one who is recognised

I felt terrible, yet John had arrived eager to

as an authority in many areas of law, but in

help and said nothing about it.

particular in the area of copyright and this is

why he was first introduced to us.

while we are on this subject, I hope John will

accept our apologies.

For the past 12 or more years, and in most

instances pro bono, John Sinisgalli has been

the go to person for legal advice to the AIPP.

over the years and on request provides a

John is an asset to the Board, the National

free first consultation to all of our Accredited

office and sub committees, offering legal

members, should they need assistance on

support and advice whenever requested.

a legal matter, and in this capacity we look

forward to many more years of expert advice

As Chairman of Compliance, I constantly

John has also helped many members

use him as a sounding board. John is always

and guidance.

approachable and eager to assist.

One evening when conducting a

dedication to the AIPP, the AIPP honours John

Compliance Committee meeting in my

Sinisgalli with the Claude McCarthy Award for

home, Greg Hocking and I were stuck on

2016.

where to go with a particular issue and felt

we needed a legal perspective in order to move forward.

To this day he has never mentioned it, so

In recognition of his long service and

-- Ian van der Wolde

â&#x20AC;¢

S i m one Addi s on APP AAIPP

EDUCATION

Using Lightroom’s Adjustment Brush The Adjustment Brush in Lightroom allows you to selectively lighten, darken or edit small areas in the image, without affecting the rest of the photograph. It’s a powerful tool and one all professionals should master in order to give clients a high quality result.

TAGS L igh tro o m Tech n i q u e

Some photographers will argue that if you get

JPEG, but in doing so, the camera is throwing

your lighting and camera angle right, there is

away important tonal and colour information.

little need for selective post-production. And

This means that when Lightroom looks at the

this is undoubtedly true – we don’t want to be

file, it is limited in how much it can change

sitting in front of a computer all our lives.

the image before the edits look stressed and

unnatural.

On the other hand, when we have captured

a great shot in difficult lighting conditions –

such as at a wedding or while travelling when

and cameras are today, there really is no need

we might not have as much control over

for the majority of photographers not to shoot

proceedings as we wish – it is imperative that

in raw. The raw workflow in a program like

we have the tools and skills to remedy the

Lightroom is essentially identical.

situation.

Lightroom compared to Photoshop. While in

Lightroom’s Adjustment Brush gives us

And given how powerful our computers

There are some masking limitations in

much of the power of layers and masks found

theory you can create masks in Lightroom that

in Photoshop. Using soft-edge brushes, you

are every bit as accurate and precise as those

can make seamless adjustments to multiple

created in Photoshop, it is much more difficult

areas, adjusting everything from exposure and

and labour intensive.

colour deficiencies to adding in a little sparkle

or contrast for creative effect.

edge masks that permit simple adjustments to

tonality and colour, enhancing the image so it

Working in Lightroom, all your adjustments

Where Lightroom excels is in providing soft-

are non-destructive, so your original files are

better communicates or represents its subject.

unaffected. However, if you’re not capturing raw

files, you are greatly limiting what Lightroom

Adjustment Brush in Lightroom – there are,

can do for you. Some photographers shoot in

however, many variations in technique!

The following pages show how I use the

STEP 01

STEP 02

STEP 03

STEP 04

There is no single best way to approach every image, but I find it best to set the overall exposure first. In the image above, the background is correctly exposed (to my liking), there is detail in the highlights on the fingers and the hat, but the face is a little dark - as you would expect in this light. The aim is to introduce a reflector in postproduction.

If this is your first time using the Adjustment Brush, all the settings should be at their zero positions. ‘New’ should be highlighted in white opposite the Mask label. Use the drop down menu to the right of the Effect label and choose what you want to do. In this case, we want to lighten the face, so choose Dodge (Lighten). Lightroom sets the exposure at +0.25.

The Adjustment Brush tool in Lightroom is found above the Basic panel and below the histogram (shown circled). Click on this icon to open the Adjustment Brush menu. You can make adjustments for most of the normal edits you use – such as exposure, contrast, tonality, colour and sharpness etc. There is also a range of presets which act as starting points.

Although Lightroom has set the Exposure to +0.25, this can be changed either before you apply the Adjustment Brush, or afterwards. To make it easier to see where I am applying the adjustment brush, I usually ramp this up to +1.0. If this effect is too strong (or not strong enough), I can change it later.

EDUCATION

STEP 05

STEP 06

STEP 07

STEP 08

The brush size will depend on the size of the area you wish to adjust, but personally I start with the feather and flow at 100%. I don’t as a rule use the Auto Mask. However, in Lightroom I am just using soft edge masks, so as a general rule I make the brush as large as I can, because that in turn will mean the feather (the edge of the mask) is as soft and invisible as possible.

Once your adjustment is in place, you can return to the Adjustment Brush panel and increase or decrease the adjustment you have made. Here the exposure has been increased from +1.0 to +2.0 - and this is obviously too much. You can also see where the effect starts and finishes more easily, which is poor technique.

Use the brush to paint directly onto the image. It’s pretty straightforward you’ll see exactly where you have been. Importantly, the 100% feather setting and the large brush mean that you don’t see where the lightening effect starts and stops - it is essentially ‘Invisible Photoshop’, or should I say, ‘Invisible Lightroom’.

You are not limited to using just one adjustment either. In this case, both the Shadows and Blacks have been lightened in order to put detail into the eye sockets. This is a very powerful tool for refining your images.

STEP 09

STEP 10

STEP 11

STEP 12

Once you are finished making your adjustments, click the Done button at the bottom right of the screen to save them. Lightroom closes the Adjustment Brush menu, but fear not, you can always return to the adjustments to edit or delete them.

If you hover your mouse over the white circles, a red mask will display on the screen, showing you the area that the Adjustment Brush is affecting. This can be very useful when you are trying to troubleshoot some of your adjustments (where has the mask gone too far or not far enough), or just working out which Adjustment Brush is which.

To access a previous Adjustment Brush, or to add another one, click on the Adjustment Brush icon again. The Adjustment Brush menu will open, but in addition, existing Adjustment Brushes will show up on top of the image as little white circles in the area of the adjustment. Click on these white circles to edit existing Adjustment Brushes.

With the Adjustment Brush menu open, you can also add another Adjustment Brush. Just check the Mask is set to New (it probably is by default) and start painting away. Notice that the Adjustment Brush setting will be remembered from the previous brush, so you will probably need to adjust this to more appropriate settings.

EDUCATION

Essential Lighting Patterns Whether photographers or video producers, we all know you position the lights so they illuminate your subject, but exactly where do you place them? The secret is in the shadows they throw on your subject. Here are three lighting patterns to guide you.

TAGS Tech n i q u e L igh ting

It’s all very well to have studio lights and a

and your subject work together.

model, but where do you place them? At

what angle should they light your subject?

and a lighting pattern that works well for one

subject might be disastrous with another!

There are no hard and fast rules for

lighting and many studio photographers and

video producers (and lighting directors and

Richard Poole said, “Think of studio lighting in

technicians), have made their names for the

the same manner as lighting the landscape:

way they interpret the fall of light on their

direction and elevation with a moveable light

subject.

source”.

However, that’s not particularly helpful

New Zealand master photographer

In other words, it’s not just the angle of

when starting out and you have yet to gain

the light to the subject, but the height of the

the experience needed to create perfect

light as well.

lighting.

And just as we observe the effect of light

on the landscape, so we need to observe

LIGHTING PATTERNS

light on our subjects. This is why modelling

Portrait photographers talk about a number

lights are so important for studio flash, but of

of different lighting patterns or positions,

course, shooting digitally means you can also

such as beauty, butterfly, loop, Rembrandt

use constant light sources.

and split. These lighting patterns are great

starting points because they are reasonably

look at how the light falls on your subject and

generic and work with a lot of different

how that affects your portrait.

subjects.

subject moves his or her head around, the

But this is one of the keys to great portrait

photography: understanding how the light

Different faces require different treatments

The point to take away is that you need to

You should also remember that as your

effect of your lighting pattern will change,

LIGHTING SAMPLE

Loop Lighting THE GENERAL PURPOSE LIGHTING PATTERN FOR MOST SUBJECTS

The m ain o r key need the s s to be ab light ubje ct po ove dow n, th i nting e n you it aro mov und e until shad the ow is form ed. e h t s i ' p o o l ' e e h h t T f o e p a r e sh d n u w o f o d a e h d s i s e h t t o o t n d t u an b , e r s e o p n p u e the h t g n i h c u o t lip.

BACKGROUND Hair Light

Background Light

Subject

Key Light Fill Light

Loop lighting gains its name from the shape of the nose shadow - it should be a loop or an oval. You create this shadow by having your key light above the subject so the shadow is thrown down towards the lips, but it should only reach about half way. You then move the light around the subject (in a half circle) to create a threedimensional lighting pattern. The background and hair lights are not needed to create the loop, and the fill light reduces the strength of the loop shadow. It isn't needed either, but loop lighting doesn't have to be created with a single light. It's all about positioning the key light and once you do, everything else falls into place. In theory!

EDUCATION LIGHTING SAMPLE

Butterfly Lighting FOR BEAUTY AND FASHION

If you have both a key light and fill , they to be need posit ione in a l d ine a s this light i does ng patte n't w rn dime ant mu ch nsion ality.

d e n o i it s o f p o t t h n A lig d in fro ow r n a h t h n a c hig r t e c e d j n b u u s w e o d th a s h k s o l l lo a t m a s h t a . e y s fl r o the n e a butte se u k i l o t t i d e ab e n ! u n o o i y t Yes, imagina your

BACKGROUND Hair Light

Background Light

Subject

Key Light Fill Light

Beauty and fashion photographs typically don't have nose shadows floating across the cheek. While there may be shadows under the chin, the idea is to keep the face flat and without creases or wrinkles! To create this lighting pattern, position the key light in front of and above your subject. Your subject is likely to be facing the camera head on. Watch the shape of the shadow (and, of course, the angle of your subject's head). If you're using a fill light as well, it will be a little lower and very close to the same axis as the key light.

LIGHTING SAMPLE

Rembrandt Lighting ADDING DRAMA TO THE PORTRAIT

it a r t r In po hy, the p a r g o f t o o n h g p i s s i e l g a t n l ti h tel g i l n dt o n t a h r g b i l f m o e e R e l h t g f n o a i r e t d i the adow s h s e h t face.

The fi ll ligh t sho be ke u ld p t pow l o w in er so you d kill th on't e Rem effec t, ret brandt ainin stron ga g, dr amat ic light .

BACKGROUND Hair Light

Background Light

Subject

Key Light Fill Light

To create Rembrandt lighting, begin with the key light slightly on one side of the subject and raise it up until the nose shadow is two-thirds of the way between the base of the nose and the upper lip. Next, move the light in a half circle to an angle of around 45Â°, or until you see a triangle of light on the opposite cheek. Adjust your fill light to taste, but if it is too strong, you will lose the dramatic Rembrandt lighting effect.

EDUCATION

which in turn may require you to re-position

photography.

your lights.

Loop lighting is your standard lighting

pattern that is suitable for almost any

LIGHT SHAPERS

situation. It mightn’t create a lot of mood, but

At the same time we’re positioning the lights,

it will look professional.

we can’t forget about exposure or the quality

of the light we are using. For portraiture, we’ll

not looking for character lines or personality,

probably be using a beauty dish, umbrella or

so a flat, frontal lighting with few telltale

a softbox, rather than a bare bulb.

shadows is required.

With the modelling light on (or our

For beauty and fashion, you’re probably

And finally there’s Rembrandt lighting.

constant lights on), we can move the lights

While the feeling created by this lighting

and/or the model and observe where the

pattern is reminiscent of some of Rembrandt’s

shadows fall. The way the nose shadow falls

paintings, there are few paintings that

is key to several lighting techniques and, if

actually have the signature triangle of light

you can get the shadow in roughly the right

on the shadowed cheek! Nevertheless,

place, you’ll have roughly the right light as

Rembrandt lighting can certainly be a crowd

well.

pleaser.

Don’t use these rules fanatically because

subjects with different shaped faces may

LIGHTING IN MOTION

require different approaches. These lighting

One of the challenges when lighting for

patterns also assume your subject is facing

video productions is keeping in mind the

the camera, more or less.

movement of your subject. This isn’t such a

big problem for simple camera interviews

Lighting patterns are a little like the rules

of photographic composition: they are made

where your subject(s) are seated or generally

to be broken, but you need to understand

locked into position.

them in order to break them creatively, and

not look like you don’t know what you’re

through or around a scene, more dramatic

doing.

lighting patterns (like Rembrandt) are harder

However, when your subject is moving

to maintain. If you don’t have control over

THREE TO GO

where your subject is moving, the general

On the previous pages are three lighting

consensus is to go for a flatter, broader light,

patterns for three types of portrait

like loop and butterfly.

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L FOR B

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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!

NEWS

EIZO’s Affordable Monitors A good quality computer monitor isn’t a luxury, it’s an essential tool for every professional photographer. And while EIZO has some of the best quality monitors in the business, it also has an introductory range which means every professional can afford one. Being a professional photographer comes with

discount stores and even the screens provided

some basic responsibilities, such as providing

on an average laptop computer are unlikely to

your clients with digital files and prints that

provide you with an accurate result.

are correctly processed – meaning accurate

TAGS Co lo ur ma n a a g e m e n t M o n itor s

exposure and correct colour.

SCREEN TEST

Here’s a test for your own computer monitor.

So, how do you know that what you are

providing is correct? How do you know it

Open Photoshop and create a blank, white file.

matches international standards? How do you

know your clients will see what you see when

black to white gradient across the file and then

they open your files on their computer?

posterise the image into 21 steps (instructions

are over the page).

Unfortunately, in most situations we can’t

Next, use the Gradient tool to create a

control how our files are viewed by our clients,

but we can ensure that what we supply is

mathematically accurate numbers, with no

correct so that if our clients do view it correctly,

colour. How do you use this?

they will see what we see.

it should have an even progression of tones

This is what colour management is all about.

What you now have is a step wedge of

When you look at this file on your monitor,

Colour management is a process that allows

from black to white. If it doesn’t the contrast

us to produce work that matches an agreed

and brightness of your monitor is either not set

standard. It means the reds on our monitor will

correctly, or is not capable of being set correctly.

closely match the reds on any other correctly

calibrated monitor or print reproduction.

grey areas - because there are no colours in the

file (we know it is only grey). If there are colours,

However, good colour management

Similarly, there should be no colours in the

practice requires us to use a good quality

it indicates the monitor needs to be calibrated,

colour monitor. The cheap $100 screens at the

or it is not capable of being calibrated.

Above: Eizoâ&#x20AC;&#x2122;s FlexScan EV2750. Below: A black to white step wedge.

STEP 1 In Photoshop, create a blank white file. File > New... you can use the settings shown here, but all thatâ&#x20AC;&#x2122;s required is a white file.

The result should be a white image like this.

STEP 2 Add a gradient from black to white. Choose the Gradient Tool and ensure the tool is set from black to white. Drag the tool from right to left across the image to produce a gradient from black to white.

STEP 3 Posterise the image into 21 steps. Image > Adjustments > Posterise. This is a quick way to produce a step wedge of 21 steps in 5% increments from black to white. And as these are just numbers, we know exactly what the values are.

NEWS

There are many other aspects to monitor

The EV2750 uses an LED-backlit IPS (in-plane

design and testing, but if the results are not

switching) LCD panel with a 178° viewing angle

good, what is a good starting point when it

that minimises color shift and contrast changes

comes to a new monitor?

when viewing the screen at an angle.

To prevent eye fatigue, a brightness sensor

EIZO FLEXSCAN

called Auto EcoView detects the changes in the

The EIZO FlexScan are ‘general purpose’

ambient brightness that occurs throughout the

monitors, but are a step up from an everyday

day and automatically adjusts the screen to the

monitor. They have a slim design, are frameless

ideal brightness level.

and are available in black or white, but more

important are the specifications.

most LED backlights, many people perceive

flicker on their screen which causes eye

For instance, there are three FlexScan

Due to the way brightness is controlled on

monitors recommended for photographers.

fatigue. The FlexScan EV series makes flicker

Each has a 10-bit lookup table (LUT), whereas

unperceivable without any drawbacks like

most monitors have 8-bit LUTs. The advantage is

compromising colour stability.

a greater range of tones and colours, and hence

a more accurate photograph on screen.

league as Eizo’s flagship ColorEdge monitors,

they do come with a five year, 30,000 hour

The monitors provide the equivalent of an

sRGB colour space, there are separate controls

While these monitors are not in the same

warranty.

for brightness, contrast, colour temperature and gamma, and there is RGB adjustability for more

To see more details on the recommended EIZO Flex-

accurate calibration with DataColor Spyder or

Scan monitors, visit

Xrite i1 calibration devices.

FlexScan EV2750

http://www.eizoglobal.com/products/flexscan/

The introductory FlexScan EV2450 is a 23.8”

screen with 1920x1080 pixel resolution. It offers

ev2750/index.html

a maximum brightness of 250cd/m and retails

FlexScan EV2455

for $682.

http://www.eizoglobal.com/products/flexscan/

ev2455/index.html

For a slightly brighter screen at 300cd/m2,

the 24” FlexScan EV2455 retails for $850 and

FlexScan EV2450

offers 1920x1200 pixels, while the larger 27”

http://www.eizoglobal.com/products/flexscan/

FlexScan EV2750 features 350cd/m2 brightness,

ev2450/index.html

FUR THER DE TAILS w w w.ei zoglobal.com

2560x1440 pixels and retails for $1650.

NEWS

well for all file types, but if you’re looking for a

family’s mobile and tablet devices wirelessly.

solution to automatically back up your work

It’s a 4TB hard drive with enough ‘smarts’ to find

computers, then Apollo isn’t quite there yet

your photos and videos and up to 10 people

(the main limitations being the software as the

can use the one Apollo.

technology can certainly do it).

TAGS Co lo ur ma n a a g e m e n t M o n itor s

automatically grabs new photos and videos

INSTALLATION

for storage. Even better, these files can be

The Apollo comes with an ethernet cable

accessed by other family members - assuming

and a power adapter. Plug it in, turn it on and

permission has been granted. While not a super

download the app onto your phones, tablets

sophisticated system, it is clean and simple, and

and computers. Once you have registered

easy to understand for photos and videos.

yourself, you can invite other users and attach

other devices seamlessly.

You don’t have to be near the Apollo

unit itself. Since the Apollo is connected to

the internet, you can upload your files from

could take some time, depending on how

anywhere, even using your mobile phone data

much data there is, so Promise recommends

(although this could be on the expensive side if

plugging in your device to ensure enough

you are moving a lot of files). In this way, it really

power. If it does stop, the sync process will just

is like cloud storage, with the main difference

pick up again from where it dropped off.

being the storage device is at your home or

office.

$480 (including GST).

Once connected to the internet, the Apollo

The first time you sync your phone or tablet

The unit has a recommended retail price of

The Apollo is compatible with Time

Machine backups for Mac, and it can be

Promise Apollo is distributed in Australia by Blonde

pressed into service for Windows users as

Robot – http://www.blonde-robot.com.au/

The Promise Apollo will store and share all types of files with a range of different devices.

NEWS

award was granted in 2003 and the Cinec

photography and producer on film projects

Award in 2002, 2010 and again in 2014 for the

worldwide. Inspired by these experiences, he

DLED series of focussing LED lights.

developed numerous technical innovations

TAGS Co lo ur ma n a a g e m e n t M o n itor s

(over 30 international patents), most of them

CONSTANT OR FLASH?

around lighting.

In photography, there are many reasons to use

flashguns, which are great if you only want to

For instance, Dedo improved the traditional

Fresnel concept by introducing a new optical

see what your lighting looks like after taking a

system that dramatically improved light output

shot.

(efficiency) and controllability. When traditional

studio lights reach a focusing range of 1:3

like while you compose it in the viewfinder or

(maximum 1:6), Dedolight optical systems offer

on a viewing screen, then you have to go for

1:25 (and up to 1:53). It provides a perfectly

continuous light. However, the photometric

clean beam without any stray light (the clean

mismatch between a modelling light and

beam concept).

the actual flash, as well as the limitation of

our ability to perceive the performance of an

In the film world, in broadcast and in

If you want to see what your shot will look

photography, Dedolights are part of the

extremely short flash duration, are convincing

standard arsenal of the professional. They are

reasons to use continuous light instead of flash.

used in the smallest productions to Hollywood

blockbusters (Harry Potter, Lord of the Rings,

digital camera or back to adjust colour

Armageddon, etc.).

temperature settings in steps of 50 Kelvin. This

means you can achieve specific colour nuances

The OSCAR committee of the Academy

In addition, it is possible in a professional

of Motion Picture Arts and Sciences awarded

by using colour temperature settings that are

Dedolight twice (1990 and 2003). The Emmy

different from the norm, without any filter or

NEWS

light loss.

distribution is claimed to be cleaner than

Dedolights range from the traditional

The Ledzilla2’s colour rendition and colour

halogen and HMI, to the new LED soft and

comparable LED lights. The light can be

focusing lights.

powered from any 6 V to 18 V DC power source. Optional battery shoes are compatible with

LED LIGHTS

Sony, Panasonic, Canon and Nikon mini-DV

LED lights offer many advantages, not least is

batteries.

your subject’s comfort as they are a lot cooler

than the old ‘hot lights’.

is very frugal when it comes to power. Using

Sony’s NP batteries as an example, up to 330

And there are many different Dedolight

While retaining it’s high output, the Ledzilla2

models, so let’s start with the small and portable

minutes run time is possible with the NP-F950

LedZilla2. It actually comes in two variations.

7.2 V, 6000 mA.

The LedZiilla2 is a single colour temperature

(daylight) unit with no colour shift when

consumption drops accordingly resulting in

dimmed.

twice the run time. It can also be powered from

any Anton/Bauer or PAG system, car cigarette

Optionally, the LedZillaBI is a bi-colour unit,

When dimmed to 50 % light output, power

meaning you can set the colour temperature

lighter output or battery belt. It also features a

from below 2700K right up to 6500K (above

‘power available’ LED indicator.

standard daylight). This means you can choose

to match the light on your subject to the

addition of attachments and light modifiers

ambient conditions, or to contrast it as you

such as soft boxes, soft tubes and more.

choose.

Lemac with offices in Sydney, Melbourne and

The Ledzilla2 uses a high-power LED in

The front-end bayonet mount allows the

Dedolights are distributed in Australia by

combination with Dedolight double aspheric

Brisbane. Its website has a comprehensive

optics, resulting in the ‘clean light’ explained

listing of all the various Dedolight models, but

earlier, with an angle-of-view from 4 ° to 56 °.

possibly your best start is to give someone a

FUR THER DE TAILS

Smooth and even light distribution is offered at

call as they will quickly direct you to the most

w w w.ei zoglobal.com

each and every focusing position.

appropriate equipment for your purposes.

The LedZilla2 also features a wide-angle

flip-up diffuser for a 70 ° angle spread of light

To see more details on the Dedolight LED models,

and can convert from its native daylight into

follow this link: http://www.lemac.com.au/Prod-

tungsten with a simple flip-down filter.

ucts/Lighting1/LED.aspx

PROUDLY SUPPORTING THE AIPP