Issue 248
Jan/Feb 2017
More Profit From Your Business AdobeRGB or sRGB? Natalie Howe’s People & Emotion Studio Posing: Where Do The Hands Go?
CONTENTS
Cover
N ata l i e Howe APP M.Photo g. I
4
Report Repeat Refine Recycle
6
Nick Ghionis: A New Profession
Vittorio Natoli explains why photography studios of all sizes should regularly review and test their business systems - and change them when necessary.
We know professional photography is difficult right now - and that’s exactly why Nick Ghionis APP.L M.Photog. II has joined the National Board, to see how he can help solve our challenges. What does he have in mind?
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Paul Atkins: Being Imaginative
2016 AIPP AUSTRALIAN PROFESSIONAL NEWBORN PHOTOGRAPHER OF THE YEAR
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A passionate photographer, a pro lab owner and a South Australian stalwart, Paul Atkins’ many skills will be put to good use by our board as one of our new directors. What does he have in mind?
The Problem With Price
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.03, 171 Union Road, Surrey Hills, Victoria 3127 Phone: 03 9888 4111 E-mail: admin@aipp.com.au
2
It’s the established photographers’ experience that can help guide the direction of the newcomers, believes Nick Ghionis. Here’s a great example of how understanding your business can explain why a wedding costs what it does.
ISSUE 248 / JANUARY-FEBRUARY 2017 16
Designing APPA 2017 All the feedback and proposals are in and now the Awards Team has produced the entry rules for the AIPP Epson State Awards and the annual AIPP Australian Professional Photography Awards. Tony Hewitt and Peter Eastway outline some of the important changes and why!
22 26
Why Is AdobeRGB Better Than sRGB?
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Natalie Howe: More Than Newborns The newborn category is hotly contested at APPA and is a growing and popular genre. One photographer who is making her mark is Natalie Howe, APP M.Photog. I, winning the 2016 AIPP Australian Professional Newborn Photographer of the Year.
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Don’t Miss Out On Sales - Sell Albums! Milton Gan APP AAIPP is a passionate believer in wedding albums, not just because they are good for his business, but because they are an important part of a family’s history. But how do you make an album? How do you sell them? All the answers are available...
Why do cameras offer you a choice between AdobeRGB and sRGB? Does it really matter if you use one rather than the other? Here’s a quick overview of the differences and whether or not you need to worry (the answer is yes)!
Posing: What About The Hands?
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Adding More Value Than Anyone Else
Somewhere between the completely natural, relaxed hand posture and the overly posed, formal portrait position is where you want your subject’s hands to end up. It’s really easy to say they don’t look right, it’s a lot harder to pose them correctly. Here’s how.
52
Portrait photographer and AIPP member Glenn Addison of Gap Studios explains that the way to succeed as a photographer is to offer your clients what they perceive as valuable. Without value, even the wealthiest people won’t buy from you.
The AIPP: Who Is In Charge? Peter Myers talks with Ashley Karakatsanis in a video interview about the AIPP Board, the executive officer and who actually runs the AIPP.
3
NEWS
Report Repeat Refine Recycle Vittorio Natoli explains why photography studios of all sizes should regularly review and test their business systems - and change them when necessary. Running a photography studio is no different
and understand the process. The more we do
to running any other business. And successful
it, the easier it gets. And the more it becomes
businesses have systems that allow them to first
a habit, the more we learn about it and the
report what they have done and then to refine
more we understand it. How many thousands
and recycle things so they can do them better.
of exposures have you taken to become a great photographer? Our business needs the same
REPORTING
attention.
We need reports to measure what we have achieved as this is the only way to know if
REFINE
we are reaching our goals or improving our
With repetition comes improvement which is
business.
a refinement of the process, the marketing or a
For instance, some reports might show how
technique. Refinement also means change and
many new leads we get each week, how many
this is an important and essential part of life. It’s
conversions we make from those leads and how
not to be avoided, it’s to be embraced!
many photography sessions we shoot each
week.
comes disruption and that needs to be carefully
managed, but without it there can be no
It’s also really useful to know how many
sales we’re making, how much we make from TAGS Busine s s Peo ple Management
However, it’s true that with refinement
improvement.
each sale, how many clients are repeats (which means we must be doing something right) and
RECYCLE
how many product returns there are (which
So what about recycling things? We need to
may indicate we need to make some changes).
understand the differences between fashions, styles, ideals and values.
4
REPEATING
Repeating any process will enable us to refine
tend to change very much, whereas fashion
Tried and tested ideals and values don’t
and styles have a way of repeating themselves,
functions and involve all employees, from the
even though on the surface they seem different
boss down.
because of new techniques, new technology or
the process employed to achieve new looks.
standardising and improving our activities and
processes, we eliminate waste, improve our
By all means move with the fashions and
Even if you’re working on your own, by
styles, but never forget the underlying values
products and increase our profit.
and ideals.
And a successful photography business
needs to make a profit.
KAIZEN Kaizen is a Japanese word meaning improvement. When used in the business sense and applied to the workplace, it refers
vittorio.natoli@aipp.com.au
to activities that continuously improve all
0400 418 888
5
NEWS
Nick Ghionis: A New Profession We know professional photography is difficult right now - and that’s exactly why Nick Ghionis APP.L M.Photog. II has joined the National Board, to see how he can help solve our challenges. What does he have in mind? “I joined the Victorian Council around 18
marketplace.
months ago because I wanted to give
something back to the profession.
upside down by Uber - it was a major disruption
for what was considered a healthy business.
“However, I used to be one of the armchair
“Look at how the taxi industry was turned
critics, saying you guys should do this or do
“Photography in some ways is the same, but
that, so since I had a little more time, I got
there’s no point looking backwards. If we are to
involved.
survive as a profession, we have to adapt to the changes that already exist in our market.
VOLUNTEERS & HARD WORK
“Being on state council gave me a completely
photographers to look for someone to blame
different perspective about our organization.
and the AIPP is an easy target, but things
have changed and the profession today looks
“I didn’t really understand all the volunteers
“It’s only natural for established
and all the hard work.
completely different to what it did even 10
years ago.
“In fact, I felt really guilty about how I used to
throw fur balls at everyone. TAGS AIPP B o a rd Busine s s
It was like watching a game of sport from
the sidelines – you don’t really know what it’s all
“I don’t see it as a blame game, rather how we
about until you are actually in it.”
appreciate what we do.
This year, Nick has taken a position on
“One of the reasons I put my hand up is
the National Board as he would like to help
because I’m buoyed by the current Board and
the profession set its direction in a changing
the direction it is taking. I see that there will
Photo opposite by Nick Ghionis.
6
A NEW PROFESSION
8
NEWS
need to be some hard decisions made and not
photographer and even to become accredited.
all of them will be popular, but I think for the
longevity of the Institute and the profession,
policed somehow, but I don’t know how just
they will be necessary.”
yet.
“I think our processes need to be stricter and
“I am a guest lecturer for a photography
SURVIVE & PROSPER
school and I want the AIPP to be an integral
“I’m 53 now and I want to leave something
part of the curriculum so we can nurture the
behind so the profession survives and prospers.
students from the classroom into business.
What we do today will affect the professional photographers of tomorrow.
DIFFERENTIATE OURSELVES
“It’s a new landscape. With everyone having
“That is the biggest problem - teaching
a camera in their phone, why will they hire a
them how to run a business.
professional photographer?
starving artist for a while, but sooner or later you
“Of course, there are lots of reasons and
“There’s nothing wrong with being a
I think the AIPP can help the profession by
have to earn a living or you’re no longer going
educating its members to be more successful in
to be an artist.
business.
of the think tank that approaches it, but I am a
“We can also establish the AIPP as being that
“We have a challenge and I want to be a part
point of difference so when someone does hire
realist.
a professional photographer, their first inquiry
will be to an AIPP member - and an Accredited
make changes for the long term.
Professional Photographer.
“The profession is suffering and we need to “We need to differentiate ourselves to make
us more relevant and that means making the
HUGE CHALLENGE
AIPP more relevant.”
“This is a huge challenge. I am also aware that a number of experienced AIPP members are walking away, so we need to work out how to encourage them to stay.”
A number of older members believe that it is
now too easy to set yourself up as a professional Photo opposite by Nick Ghionis.
9
NEWS
Paul Atkins: Being Imaginative A passionate photographer, a pro lab owner and a South Australian stalwart, Paul Atkins’ many skills will be put to good use by our board as one of our new co-opted directors. What does he have in mind? “Photographers can’t sell unimaginative
photograph than ever before. Modern cameras
products.” It sounds so obvious and yet a quick
are so good and the image on the LCD screen
look around our profession shows that many
is incredibly pleasing, so in many ways, our
photographers are trying to do just that.
customers are already getting their enjoyment from photography.
NOT JUST ORDINARY
Continued Paul Atkins, one of the AIPP’s new
not the sorts of photos we’d want to shoot
Board members, “We can’t do the same things
professionally, but it points to the fact that
we have done in the past.
we need to produce imaginative images and
TAGS
products if we want to stay in business.”
AIPP B o a rd Busines s
when the public walks into our showroom,
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“The public has moved on and interestingly,
“Fortunately, most of these images are
they want prints! They want them! But not
PYRAMID CONCEPT
just ordinary straight prints - they have to be
Paul says his first couple of Board meetings have
presented in a contemporary, stylish way.”
involved a lot of listening.
Paul has been on the AIPP state council
“All the Board members love the profession
in South Australia for many years and runs
and we agree on the pyramid concept,
Atkins Photo Lab in Adelaide, a pro lab
meaning this is an aspirational profession. Most
that serves primarily professionals and a
members who join aspire to being like their
small range for consumers, with a focus on
heroes and we need to help make that happen
domestic photography and fine art. He was
for as many people as possible. If you can last
also a past and final PMA Australia Chairman,
five years as a professional photographer, you
and Past President of the APCI (Association
have a good chance of making it.
of Professional Colour Imagers, a pro lab
association).
many photographers need to and should
take part-time work elsewhere to ease their
“The average consumer can take a better
“However, to make it through those years,
Photograph by Paul Atkins
11
NEWS
financial pressures.
years and then he bought Kevin’s business, but
it was those long earlier years that established
“This is the new reality of professional
photography. Many professionals should remain
Mark’s reputation and his skill, in both
happy part-timers, rather than moving into
photography and business. We don’t have these
pressure sales or bad business models to eke
type of apprenticeships anymore and that is a
out a living.
big challenge when it comes to educating the newcomers.
SPRIGHTLY & ADAPTIVE
“It takes time to establish yourself and that’s
and my job as the owner of Atkins, to help
why I think that if you can survive for five years,
photographers get through the bad lands, to
and if you’re sprightly and adaptive, then you’ll
help them think about their business and offer
make a living out of it. However, not a lot of
interesting products.
people survive that five year period in the ‘bad
lands’.
anymore, the AIPP can at least get people
together once a month for coffee or breakfast
Paul referred to Kevin O’Daly, a past AIPP
“I see one of the core jobs of the AIPP,
“While we mightn’t have apprenticeships
national president and a highly successful
because it’s those meetings where the transfer
commercial and advertising photographer who
of knowledge, in both directions, will take place.
also worked in Adelaide.
“Not everyone realizes that Kevin also shot
employ juniors, run large collaborative studios
Santa photos until not that long ago! I’d suggest
and meet at the lab, and it was these activities
he made a good income each December,
that facilitated things happening.”
“Before digital, photographers used to
more than most people, yet there are many
12
photographers who would think shooting Santa
MORE COFFEE
portraits wasn’t professional enough.
“A coffee shop seems like a good modern
alternative so, once again, we can get
“Yet Kevin has a studio, a nice car and all that
it takes to maintain it.
photographers talking about pictures and
business.”
“He understood the business side of being
a professional photographer. So even though
the AIPP membership has changed, we still
Licentiate APP members to become more
need to understand the business of being a
involved.
photographer.”
experienced members is so important if
“Mark Zed was Kevin’s assistant for many
Paul is also looking for a way for our
“It’s a tough one, but involving our
Kate, Paul, Josephine and Elizabeth Atkins. Photo by Mark Dohring of Bentinmarcs
we want to promote professionalism in the
month to breakfast. Dad (John Atkins) and
industry. I’d love to do some big events, perhaps
Melissa Neumann spent almost a year with
bring out people like Nachtwey again or
few others joining in, establishing this meeting
Crewdson, but we need to be careful funding
‘heart beat’ that became a lynch pin of SA
these events.
membership.
“That’s me with my conservative hat on and
“I think it’s the consistency of the heart
I see the value in being cautious in uncertain
beat that is more important than structuring
times.
what actually happens. You don’t have to eat
breakfast or even be a member, all you have to
“And that’s another reason why I find the
breakfast or coffee meetings so attractive and
do is come along and say, ‘Hi’.
it also helps one of the core benefits of AIPP
membership, connecting people up and down
to the Licentiates, the people we see as heroes.
the aspirational pyramid, helping answer ‘what’s
in it for me’?
who are only too happy to help another
member and that’s the true value of the AIPP.”
In Adelaide, we get 10 to 30 people every
“It’s small events like this that can give access “And there are a lot of Licentiate members
13
EDUCATION
The Problem With Price It’s the established photographers’ experience that can help guide the direction of the newcomers, believes Nick Ghionis APP.L M.Photog. II. Here’s a great example of how understanding your business can explain why a wedding costs what it does. “It’s not uncommon to hear stories where
and the envelope, it’s what’s written on the
customers are unhappy with the photos that
paper that’s important. The consumer needs
were taken by a family member and if they
to understand that this is what they are buying
had their time again, they would have hired
from photographers as well. There’s a mindset
a professional. Hopefully we can look at the
we need to change.
AIPP as being the go-to guide for hiring a photographer.
THE HAIRDRESSER STORY “I had a hairdresser as a client. When I showed
TAGS Po r trai tu re Busine s s M a r k eti n g
14
THE PROBLEM WITH DIGITAL
her my price list, she said, ‘OMG, I’m in the
“However, our customers are always going to
wrong business’!
complain about our fees. We did a job lately
where the clients were delighted with the
me to have a haircut? She said $45. I asked
photographs, but disappointed with the price!
how long would it take? She said 30 minutes.
They only wanted five digital files and I charged
So I suggested to her that we could forget my
accordingly. That’s the problem with digital
pricelist and I’d just charge her $90 per hour for
files - there’s nothing to feel or touch and they
the work I did.
couldn’t see the value in what I had provided.”
the process of preparing an album. To start, a
In the domestic market, selling prints and
“I asked her how much it would cost for
“Then I dissected the wedding day and
albums gives clients something to feel and
10 hour coverage was $900. Then there were
touch, but even so, comparisons and questions
the planning meetings, the viewing sessions,
of value continue to arise.
the post-production, the album planning, the
album preparation and so on. The result added
“We all know it’s not the paper and the
cardboard, but the image. When I hire a solicitor
up to considerably more than what was on my
to write up a letter, I’m not paying for the paper
price list.
Photograph by Nick Ghionis
“Then I asked her what equipment she
was that I intend to do such a good job that she
needed - essentially a pair of scissors and a chair
would buy some extra pages for her album –
- and compared it to my equipment which was
and that’s where I make my money.
worth $30,000 to $50,000 plus insurance.
our new members about - and it’s also why we
“So who’s in the wrong business now, I asked
“This is exactly what we need to educate
her!
need the members with the experience to stay
a part of the AIPP so they can help show the
“To which she asked, ‘So how come you’re so
cheap’? My answer as a wedding photographer
way.”
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AWARDS
Designing APPA 2017 All the feedback and proposals are in and now the Awards Team has produced the entry rules for the AIPP Epson State Awards and the annual AIPP Australian Professional Photography Awards. Tony Hewitt and Peter Eastway outline some of the important changes and why! It is a tough job being on the AIPP Awards Team
just any suggestion and that’s because it has to
these days. In addition to the formal process of
keep in mind the big picture.
CAGs (Category Advisory Groups), there’s also
TAGS APPA Awa rd s Rules
16
trial via social media and woe betide anyone
THE BIG PICTURE
who disagrees with a popular opinion!
What a minority of members fail to realise is
the big picture. While a proposal might be ideal
However, when the Awards Team is
presented with conflicting requests and
for a particular issue within a category, that
approaches, a decision has to be made.
proposal may have a knock-on effect for all the
other categories as well.
Generally speaking, these decisions are the
right ones. In all cases, they are made with the
best of intentions, so I am hoping that the few
entrants in the landscape category to use stock
members who didn’t get the rules changes all
shots instead of their own work. What happens
their own way will acknowledge the difficulties
if the landscape category winner then goes on
the Awards Team faces and, if the Awards don’t
to win the PPY? Suddenly a small rule change in
work perfectly this year in 2017, there’s always
just one category has a huge impact on all the
another opportunity at the end of the year to
other categories, not to mention the underlying
put forward another proposal.
principle behind the Awards.
Don’t forget, the reason for the CAGs is so
For instance, let’s imagine we allowed
That principle is to raise the standard of
members can communicate with the Awards
professional photography in Australia.
Team. In turn, just look at the number of
changes we’ve made over the past years - the
Awards are not designed to reward imaginative
Awards Team has proved how open it is to
photography, rather imaginative photography
making changes that make the Awards better.
in the context of our profession. There is a
significant difference and when I read some of
However, it doesn’t automatically agree to
Note, it is ‘professional’ photography. The
•
Don Chu APP
17
AWARDS
the Facebook posts, I feel that the writers may
If a fashion portfolio wins, the award could be
be misunderstanding why the AIPP exists and
named the AIPP Fashion Photographer of the
what it is trying to achieve.
Year. The following year, it might be the AIPP Advertising Photographer of the Year. However,
FEWER CATEGORIES
the award will have been won from a substantial
On the one hand, it’s great to have lots of
number of entries and that’s the big picture.
categories to celebrate the many different
disciplines. On the other hand, if there are
be included in Documentary. Fashion and
too few entries in a category, then it is a bit
Advertising will be in Commercial. Alternative
of a stretch to name someone the category
Process will be in Illustrative.
photographer of the year.
Awards Team still has the ability to have the
It can also be considered unfair for entrants in
For 2017, Birth and Sport categories will
Although part of larger categories, the
the larger categories. A wedding photographer
entries judged separately within the category
might be competing against 100 other entrants,
where that is appropriate. And like the wedding
while in some of the smaller categories, there
and portrait categories which are divided
have been as few as four entrants.
into different sub-categories for judging, the
So, where do we draw the line?
commercial category will be divided between
Rather than looking at individual categories
commissioned and speculative work.
and deciding whether they should be retained,
the APPA Team asked how many entries or
between Landscape Open and Landscape
entrants should there be in a category in order
Single Capture, but there is just the single
for a category award to have value.
Landscape prize. However, in this way, the
judges will know what they are looking at.
While an arbitrary answer of 70 to 100
For landscape, the judging will be divided
entries is preferred, those categories that fell short of these numbers may be combined into
ALTERNATIVE PROCESS
larger categories. However, once the winner
One of the small categories that is no longer
is determined, the title name of the category
separate this year is Alternative Process. Many
may be changed to best reflect the nature of
eloquent and rational reasons for retaining
the winning images - and to help the winner
the category were put forward, but it doesn’t
market his or her achievement.
change the big picture outlined previously.
For instance, the commercial category will
include commercial, advertising and fashion.
18
The Awards are still open to alternative
process photography and the Awards Team still
•
Damien Bowerman APP M.Photog. II
19
AWARDS
has the option of ensuring images marked as
the image. For example, a photo of a soldier
alternative processes are judged by experienced
taken in front of a portrait photograph of a WWII
and appropriate judges. However, they will be
soldier may be acceptable, but entering the re-
part of a larger category - Illustrative.
photographed print of the WW11 portrait in its
entirety is prohibited.
As we are still entering our photos into
sub-categories, when the number of entries reaches the required mass, a sub-category can
PLAGIARISM
be reinstated as a stand alone category the
We are professional photographers and such
following year.
we need to respect the work of other professionals. This means that if you see the work of
BACKGROUNDS
another photographer or artist, you cannot
In the Newborn category, the CAG requested
copy it and enter it as your own.
some clarification of how background and
overlay images were to be treated. This has
compaints about entries that have been very
been done, but the clarification affects all
similar to the work of other artists. Some may
categories.
have been unknowing or subconscious, but if
it is a breach of copyright, we cannot allow it in
In summary, re-photographing existing
In previous years, there have been
photographs or images for any purpose
the Awards.
other than creating a supporting element or
background will be disqualified, unless the
Awards Team to police plagiarism, but after the
existing image is the work of the entrant, 100%
Awards, social media has asked some tough
photographic and must have been taken within
questions about the originality of some winning
24 months prior to the close of entry.
entries. From this year onwards, the rules
include clear instructions prohibiting plagiarism
Similarly, re-photographed images used to
It is not possible for the judges or the
create supporting elements or backgrounds,
and if an entrant is proven to have copied the
either created by the entrant or by a third
work of another, their award will be publicly
party where permission has been granted
withdrawn. This is not a good look for the
(such as purchased physical backdrops,
entrant or the AIPP, so please be careful.
publicly displayed advertising, photographs or
paintings), are permitted only where they help
like to thank all those who contributed to the
contribute to the narrative of the entry, but
feedback process and wish each and every
they must not be the main subject or focus of
entrant a successful awards experience.”
Tony concluded, “The Awards Team would
To view Tony Hewitt’s Awards message, visit the AIPP Vimeo channel: https://vimeo.com/aipp
20
SAVE THE DATE
25 -27 AUGUST 2017 TH
TH
APPA awards dinner | August 28th Entries open | July 10th Entries close | August 10th
MELBOURNE PARK FUNCTION CENTRE 21
C H A R M A I N E H E Y E R A P P. L G M . P H O T O G . I P. B .
EDUCATION
Why Is AdobeRGB Better Than sRGB? Why do cameras offer you a choice between AdobeRGB and sRGB? Does it really matter if you use one rather than the other? Here’s a quick overview of the differences and whether or not you need to worry (the answer is yes)! The reason you use AdobeRGB is because it
contains more colours than sRGB. If you capture
between a good photo and a great one is a
or use sRGB with your photographs, you will
sparkling colour palette, a range of beautifully
potentially lose a lot of colours.
reproduced hues and that requires both
saturated and less-saturated colours.
However, depending on the actual
However, very often the difference
colours in your photograph, the colours of
The following description is intentionally
your subjects, it might not actually make any
dumbed down a little, so experts please bear
noticeable difference.
with me! When we capture a raw file, there isn’t a colour space allocated to our file, so
TAGS L igh tro o m Pho to s h o p Co lo ur Management
22
WHAT ARE COLOUR SPACES
in Lightroom, ACR or Capture One etc, we
AdobeRGB and sRGB are colour spaces, or
can determine what colour space to put the
containers or selections of colours.
photograph into. Any colours that the camera
has captured which don’t fit in that colour
The biggest colour space is essentially what
the human eye can see - all the colours of the
space get changed into slightly different
rainbow.
colours that do.
However, our cameras can’t capture all of
If this is the case, we usually want to
these colours, but they go pretty close.
process our raw files in the largest colour
space possible and most people recommend
Unfortunately, when we take these colours
out of the camera and put them on a screen
ProPhoto. ProPhoto is much bigger (contains
or a print, we lose a lot more colours. The main
more colours) than AdobeRGB or sRGB, but our
colours lost are the high saturation colours and
computer monitors and printers can’t show all
this is a good thing since the majority of colours
of the colours found in ProPhoto.
in the majority of our photos aren’t super
saturated.
the equivalent of AdobeRGB, while prints and
The best most monitors can do is display
TOP LEFT: The small sRGB colour space. TOP RIGHT: The larger AdobeRGB colour space. BOTTOM LEFT AND RIGHT: Adobe RGB superimposed over sRGB, showing how much larger it is. The blues are much the same, but there are significant differences in the reds, yellows and greens.
23
EDUCATION
book reproductions are probably closer to sRGB
be adjusted a little depending on how you are
in range, if that. However, this is a whole subject
viewing this article (on the web, as a PDF), the
on its own. The point to understand is that
relative differences are still there.
AdobeRGB potentially can display more colours.
the highly saturated colours are much stronger
Of course, if a particular photograph doesn’t
have a wide range of colours, then you might
In the photo of the reef, you can see how
in the AdobeRGB version.
not see any difference at all. If a photograph can fit all its colours within the sRGB colour space,
BEST PRACTICE
then changing it to AdobeRGB will make no
As you never know what colours are going to
difference (technical readers, forgive this slight
cross in front of your camera, my suggestion is
sin, but in practice it is correct, most of the
to always shoot in AdobeRGB over sRGB.
time!)
Most readers are portrait photographers, so
when converting their raw files into JPEG, TIFF
24
PRACTICAL OUTCOME
or PSD files, I’d embed the AdobeRGB colour
In looking for photographs to demonstrate the
space on the basis that most better monitors
difference, I struggled. I tried a dozen different
can now display 90% or more of AdobeRGB,
photographs before I found one where the
and printers and output devices are generally
difference was significant enough to show.
able to show more than sRGB, certainly in some
parts of the gamut.
In terms of family portraiture and the few
weddings I’ve photographed, most of the
photos showed no significant differences
photographers, my recommendation is to
- but I didn’t have bridesmaids with super
process raw files into ProPhoto initially. I work
colourful dresses. In terms of portraits, there is a
in a colour space called Joseph Holmes’ DCAM
subtleness of tonality I prefer, but it is too subtle
3, which is similar in size to ProPhoto. However,
to see once reproduced in an eMagazine like
before I hand my files over to my clients, I
this.
convert them into AdobeRGB.
To demonstrate the differences, I have
For landscape and commercial
There are arguments for using sRGB, but my
created copies of the one image, embedded
opinion is that these days AdobeRGB is better
with a different colour space (sRGB and
because technology has moved on. Either the
AdobeRGB). I have then opened them both in
devices can show more colours and if they
Photoshop and placed them side by side and
can’t the software will handle the conversion of
taken a screenshot. So while the colours might
colours much better.
sRGB
AdobeRGB
sRGB
AdobeRGB
sRGB is on the left, Adobe RGB is on the right. Can you see the differences? In the top portrait, the differences are subtle and difficult to see, but in the reef photo, you can see how sRGB has lost the saturated colours.
25
EDUCATION
Posing: What About The Hands? Somewhere between the completely natural, relaxed hand posture and the overly posed, formal portrait position is where you want your subject’s hands to end up. It’s really easy to say they don’t look right, it’s a lot harder to pose them correctly. Here’s how.
TAGS Tech n i q u e L igh ting Po sin g
26
Years ago, I edited articles written by Australian
portrait photographer Ian Hawthorne. Ian was
enough and there’s a very good chance that the
a past AIPP APPA Chairman and a remarkable
old-fashioned will come back into vogue, such
portrait photographer.
is the nature of our society.
Ian would get into trouble for writing
On the other hand, stick around long
I won’t be at all surprised to see formal,
long and elaborate articles about posing, but
studio lit portraiture becoming the latest
he was incredibly passionate about portrait
fashion statement, mainly because it is so
photography and the art of creating a correct,
different to the average photo taken with a
formal photograph.
smartphone.
I too was greatly interested in portraiture
and so I didn’t mind editing his articles. In
FORMAL APPROACH
fact, I enjoyed them because they were most
Thirty or fifty years ago, most portraits were
informative.
taken in a photography studio.
I wasn’t necessarily going to implement all
The lights were often bolted into position,
of his suggestions, but I certainly wanted to
there was a small choice of background colours
know the ‘correct’ way to do things.
and styles on rollers (so they could be easily
changed), and subjects sat on posing stools or
Of course, what is ‘correct’ in one era can
be seen as out-dated and old-fashioned in the
stood as the portrait dictated.
next.
As the whole process was formalised, it
POSING SAMPLE
POSING SAMPLE
Fingers Apart
Natural Gesture
TO LOOK RELAXED
TRY NOT TO BE TOO POSED
You can p ut the subject’s h behind he ands r back and the probl em goes away. Oth erwise, try to ensure the hands look relax ed and natural.
e h t t c e r i d u o y r f I e h g n i r b o t t , e subjec c a f r e h o t d n s ha i h c u o t e h t e l a r ensur u t a n s a d n a light . e l b i s s as po
Sometimes the best way to get a natural hand position
Rather than having the hands crossed or in a pocket,
is to ask the model to stand up, turn around several
you can ask your subject to bring their hand up to their
times, and sit back down. Often their hands will
face. There are lots of different ways the hand can be
naturally fall into place and you can take the photo
positioned. When you’re not taking photographs, look
(assuming they don’t fall over due to dizziness). Before
around at how people pose themselves naturally in
you press the shutter, ensure the hand position looks
everyday life. This is a good way to learn.
natural. 27
EDUCATION POSING SAMPLE
POSING SAMPLE
SIZE RELATIVE TO FACE
IS THIS REALLY WHAT YOU WANT?
Big Hand
Although relaxed, th e hand at first glanc e looks ra ther large comparis in on to the face, and bend in th the e wrist co uld be sai d to be ‘awkwa rd’.
, r e x o b a s i t If your subjec e t a i r p o r p p a n a s i s i h t s p a h r e p d e h c n e l c r o f pose. Watch e r a y e h t t s e fists and sugg ! o t o h p e h t r o unclenched f
While the chin is not deformed because it only has
Sometimes your subjects will be a little nervous and
light contact with the hand, the hand itself looks quite
this can cause them to clench their fists. Usually your
large at this angle and so close to the face. The wrist
portraits will look more relaxed if the hands are also
is also bent at an acute angle and is perhaps not the
relaxed. This particular pose is definitely not a winner!
most flattering pose.
28
King Hit
POSING SAMPLE
POSING SAMPLE
Pressing Down
A Light Touch
DON’T COVER THE FACE
BUT IT CAN STILL LOOK FAKE
If you ask your subj ect to brin hand to h g her er face, en sure she d actually le oesn’t an on it o r she won happy wit ’t be h the resu lt.
is th , ce fa r e h g in ch u to y tl h lig h g Althou e th se u ca e b s u io sc n o -c lf se it b a ill pose is st pose is too perfect.
If you ask your subject to bring their hand to their face
Even when you get all the angles and pressure
or to lean on their hand, don’t let them put too much
points right, the final portrait may not look natural or
pressure on their hand or the face will be distorted.
believable. Perfect posing can work for a formal shot,
Similary, don let the hand cover up too much of the
but these days, we’re generally looking for naturalness
face - unless this is intentional.
and so this pose looks a little too perfect.
29
EDUCATION
made sense to have people standing in a formal
other arm. You don’t want the fingers in the
stance as well.
shape of a fist either, as that is rather aggressive.
And you don’t want the fingers straight as nails
You wouldn’t expect to see a formal
photograph of the Prime Minister lounging
as that looks rather odd as well.
around on his throne in a t-shirt and singlet. This
might be appropriate for an outdoor candid
should look relaxed and at ease.
shot, but indoors, in a formal studio situation, he
is more likely to be dressed in a suit, standing or
the fingers (I seem to remember there should
sitting regally, looking into the camera.
be a little more space between the middle and
And what about his hands?
ring fingers than the other fingers, but I may be
Assuming the photograph is longer than
making that up), and don’t position the thumb
a head and shoulders crop, hands have to go
Generally speaking, the fingers and the hand There should be slight spacing between all
so it looks chopped off.
somewhere. You can put them behind the subject’s back and that solves the problem to
FRAMING
some extent, but generally speaking, hands are
Similarly, try to keep the wrist slightly bent,
important compositional elements and need to
but not too much. If the angle of the wrist is
be used well.
too great, it creates unwanted tension in the
portrait. If it looks too straight, it’s similarly too
Use them poorly and the whole portrait can
fall apart.
tense.
FINGER POSITIONING
portrait. Try not to chop off half a set of fingers
Ian Hawthorne and a number of other wedding
or half a forearm. The place where the frame
photographers I worked with would talk about
ends over your subject is important and it
the hand placement and position as being an
might be better to bend the arm a little to bring
integral part of every portrait.
it within the frame.
My memory of their instructions has no
There’s a lot to hand positioning in
doubt been blurred somewhat over time, but
portraiture, but in the end, it all boils down to
the principles remain with me.
producing a natural result, even if it’s a formal
portrait.
Generally speaking, the hand needs to be
relaxed.
need to make them look good, then that’s half
If the arms are folded, you don’t want the
fingers of one hand crushing the life out of the
30
We also need to look at how we frame the
If you’re aware of the subect’s hands and the
the battle.
SARAH MAK VIDEO
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31
FEATURES
Natalie Howe’s new studio - her favourite space for shooting. (Opposite) Photo by Natalie Howe.
Natalie Howe: More Than Newborns The newborn category is hotly contested at APPA and is a growing and popular genre. One photographer who is making her mark is Natalie Howe, APP M.Photog. I, winning the 2016 AIPP Australian Professional Newborn Photographer of the Year.
32
However, Natalie Howe’s scope is much wider
variety my work gives me. And it keeps me on
than newborns and she is just as comfortable
my toes. I’m always learning and I am able to
photographing older children and weddings.
cross over my skills from one type of session to
another.”
“I photograph people and emotion, that is
my genre. Whether it be a newborn, a cheeky
Natalie says she photographs approximately
toddler or a beautiful wedding, I enjoy the
30 weddings each year and during the week
33
FEATURES
A view inside Natalie’s studio with a presention of sample photographs for clients to consider.
TAGS Awa rd s Po r tfo l i o Howe
she concentrates on photographing newborns
and portraits.
a camera in my hand and a concert shirt on
my back, especially when I was younger. They
“My favourite session, however, is a newborn.
“For as long as I can remember, I always had
I hug one and think, ‘Put it down, put it down! I
are my two loves. I was the photographer for
know it smells good but…’ Ha ha!
the school magazine back in 1989 (it was also
such a great year in music) and I studied at TAFE
My portrait and newborn sessions are taken
at my gorgeous studio and weddings can
twice, once in 1991 and then between 2005 –
have me heading anywhere from the Cook
2009.
Islands and Fiji to the Hunter Valley, Southern
Highlands, Canberra or Sydney.
my career right now. Business is busy and we’ve
“I am actually exactly where I want to be in
just bought the property/studio of my dreams.”
34
INSIGHT
Like many professionals, Natalie’s involvement in
winning photographer today, which doesn’t
photography began during her school years.
hurt her marketing efforts. For her, the most
Natalie can certainly claim to be an award
Example of Natalie Howe’s day-to-day work for clients.
notable awards have been second place at WPPI
2016.
in 2010 for a bridal party image; first place in the
International Aperture Awards for weddings in
Masters last year. It’s been an amazing
2009; receiving her first gold at APPA in 2013
rollercoaster and if I could tell my 16 year old
and her first gold with distinction at state level
self what I know now, I’m pretty sure I wouldn’t
last year; winning NSW Family Photographer of
believe it.”
the Year 2015 and, of course the AIPP Australian
Professional Newborn Photographer of the Year
that’s what she bought first and she’s stuck
“I also earned my first gold bar for my
Natalie uses Canon DSLRs because, she says,
35
FEATURES
36
Example of Natalie Howe’s day-to-day work for clients.
37
FEATURES
with it. “My go to cameras for weddings are the
and cost is mind blowing!”
Canon EOS 5D with a 70-200mm f2.8L zoom
and an EOS-1 Dx with a 24-70mm f2.8L. I also
article are examples of Natalie’s day-to-day
have the 100mm macro and the 50mm f1.2 that
work.
Most of the photos accompanying this
I use to drop out the background.
38
“For portraits I use two Canon EOS 5D’s as
TECHNIQUE
the weight of the EOS-1 Dx is just too much.
“I’m hoping this year to have more time
for personal projects, but unfortunately (or
“I’m also a PC girl (OMG I know – cue gasps)!
I have a Raid5 Dell workstation which is an
fortunately), the studio has been so busy the
absolute beast.
past few years, I’ve had zero time for anything
for me. Award images are usually client work
“I print myself up to 16x20” using the Epson
3880 and it’s been a serious game changer for
too (except for my noughts and crosses image
me in the studio! It allows me to print work so
last year, which I elaborated on and received a
much more quickly and I can do reprints more
Gold with Distinction at State).
easily too. I set it to print of a night and I wake
up to my printing done! Turn around, quality
it’s a newborn, portrait or wedding, and weather
“My technique varies depending on whether
Opposite and Above: Examples of Natalie Howe’s day-to-day work for clients.
plays a huge part too.”
Canberra and Wollongong.
Natalie says she loves natural light, especially
‘rim’ lighting when the sun is low in the
depending on the overall look of the image
afternoon during an outdoor session’
desired. I own quite a few lights and modifiers.
Sometimes I’ll keep it simple and use one large
“I’m always shooting into the light and
“In the studio, my technique varies
exposing for the light falling on my subject’s
soft light, or mix it up and use fill lights and
face. This is usually my rule of thumb for
backlighting. Normally, however, my lighting is
weddings and portraits, however during a
set at a 45 degree angle to my subject. I am also
wedding, if I’m given a bright day with striking
fond of clam shell lighting when the mood suits
architecture, then I’ll use the light differently.
it.”
“My favourite place to photograph is my
Like most portrait photographers, posing is
studio. It’s my happy place and most clients
a challenge and Natalie admits it can be quite
come to me. I have them travelling from all
tough. “I am always learning. I find it best to ask
over Sydney and as far away as Queensland,
my subjects questions, questions that relate to
39
FEATURES
Example of Natalie Howe’s day-to-day work for clients.
their age. Then they start to forget that you have
waste of time for my busy studio.
a camera and open up.
backup site and links sent to clients after they
“I’ll always get the ‘mum and dad’ shot (you
“All my work gets saved into my Zenfolio
know the one, looking at the camera, smiling
have finished their order (in case they want to
angelic), but then after that is ticked off, my
order more).
clients will barely look at the camera. It’s all
about interaction with their family, nature and
finished products which are sent out to either
bringing out their personalities.”
Seldex or Brilliant Prints.
For post-production, Natalie uses Bridge
“I print myself when I can except for larger
“My packaging products are by Seldex,
and Adobe Camera Raw, claiming not to be a
USBs are by Bespoke, bags by Concord bags,
big fan of Lightroom. “I do a first run cull, then
marketing materials by either Bullprint,
rename and edit the images through Bridge
Vistaprint or Fastprinting.”
prior to ordering. All ordered files from my in
40
person sales are then fully retouched. I never
For more information, visit Natalie’s website at
retouch prior to ordering because I find it’s a
www.nataliehowephoto.com.au/
41
EDUCATION
Don’t Miss Out On Sales - Sell Albums! Milton Gan APP AAIPP is a passionate believer in wedding albums, not just because they are good for his business, but because they are an important part of a family’s history. But how do you make an album? How do you sell them? All the answers are available... Animal and pet photographer Ken Drake said
albums.
that the generation of today doesn’t value
digital files because they are associated with the
don’t have to be old fashioned or uncool.
internet, with downloads and with being free.
And the current generation loves the printed
product, so all wedding photographers need
This puts photographers who only sell digital
files at an immediate disadvantage. Agreed,
to do is learn how to make, market and sell
some photographers have the marketing skills
wedding albums. And it’s easy and fun!
to sell digital files profitably, but the general
experience is not profitable, especially for
album advocate, so much so he’s developing a
wedding photographers.
special hands on workshop all about creating
New South Wales’ Milton Gan is a wedding
and selling wedding albums for anyone who’s
TAGS Weddin g s Album s
Old school, maybe, but wedding albums
SELL ALBUMS
interested.
If you want to be a successful wedding
42
photographer, able to earn a full time living
SOFT SELL
from photography alone, it will be very difficult
“A lot of photographers are hesitant about
to achieve just selling digital files. Fortunately,
selling wedding albums and I think it’s mainly
there is another way and that’s to sell wedding
because they simply don’t know how. In my
•
Simon Bills APP AAIPP
43
EDUCATION
role as AIPP NSW state president, I saw a lot
of photography studios and how they are run
they need to allocate this much budget for
and many of them are missing out on huge
their photography, then that budget will go to
amounts of income because they are either
another vendor.
scared of selling or they haven’t been taught
how to soft-sell as a consultant.
to tell our clients why they need more of the
wedding budget for their products!”
“Many photographers associate wedding
“If we don’t put up our hand and tell them
“The other vendors are more than happy
albums with hard selling techniques, but that’s
not the case at all. It’s important to flip this idea
photographer in 2010. His background was
on its head because our customers expect us to
in advertising, media and marketing. He had
sell to them and indeed most of them want us
also worked in sales, so he knew that to turn
to – as long as we have something that interests
professional, he had to do it properly.
them. We’re not just wedding photographers,
we’re also wedding consultants and they want
about wedding photography that I needed to
us to tell them what they need and how much
learn so I could offer my clients something they
to spend.
needed and to my mind, there is no better way
of showing off your wedding photos than in a
“Statistically, there have always been a few
Milton became a full time wedding
“I asked myself, what were all the aspects
problem photographers who have given the
book or an album.
majority a bad name, but that doesn’t mean we
should all be lambasted for doing our jobs.
wedding clients an album. I also wanted to offer
“A wedding is a very unusual situation. The
them the best quality and after researching the
couple will never again spend the same amount
market, I settled on Queensberry Albums from
of money on an event they have very little
New Zealand.
knowledge about and so when they’re dealing
with vendors – from the reception, the flowers,
with them today, but there are many great
the dress, the hire car – they are looking for
album and photo book providers around.
“From day one, I have always offered my
“I loved their sample albums and I’m still
advice.
SAMPLE ALBUMS
44
WEDDING BUDGET
“When setting up as a photographer, it was
“I think a lot of photographers overlook the fact
important to invest in some sample albums.
that wedding couples are being sold to by all
People don’t want to buy something unless
the other vendors.
they can feel and touch it, so you’re not going
to sell someone a $2,000 album if you don’t
works.
have samples to show them first.
how much we love Queensberry Albums.
“Most couples can’t tell the difference
“So, right now on my home page, it says
between average and great photography, but
I’m promoting the albums as much as my
they can see the difference between a great
photography so when clients come to visit
album and a cheap product.
me, it’s no surprise I want them to purchase an
album. They’re already on the same page, so to
“Through the AIPP and going to the soup
kitchens at other studios, I started to pick up
speak!”
some really valuable tips on how to increase my income through album sales.
DESIGN PROCESS
And preparing albums is not difficult.
“Perhaps the most important thing we can
do is educate our clients right from the start,
Everything can be outsourced if necessary, but
from when they visit our website and before we
software like SmartAlbums makes it very easy.
meet. They need to see wedding photography
as leading to a wedding album and once I
workflow and it boosted our sales even more
started implementing these tips, I found it really
because now we have our clients personally
“We incorporated SmartAlbums into our
45
EDUCATION
involved in the design process. However, they
what the photographer and the clients are
don’t have to take a whole day off, we can do it
comfortable with.
all in two hours.
selling extra album pages to most of our clients,
“By involving our clients in the album design
“The point I want to make is that we’re
process, it means they are more committed to
yet there are lots of wedding photographers out
the album and so when we arrive at the finished
there who think it is impossible to sell albums in
design, everyone is happy with it. And if there
the first place.
are extra pages, that’s okay because we’ve told
them beforehand that if they like the photos we
photographers and it’s easy to generate this
shoot, they’ll probably want to buy a few more
revenue just by changing a few small things in
spreads.”
your marketing and workflow.”
When asked why not sell clients a larger
“Yet this is where the revenue is for wedding
Milton acknowledges that not all wedding
album in the first place, Milton explained it’s all
photographers are the same. There are ‘shoot-
about education.
and-burn’ photographers, part-timers and
destination photographers.
“When we meet our clients the first time,
we explain that a standard album comes with
20 pages because we don’t know how long the
approach. Rather, we’re trying to work through
wedding will be or what’s involved.
all these different business models and show
how all of them can benefit from selling albums,
“Twenty pages is our base, but all the sample
“We’re not looking to offer a one size fits all
albums we show have at least 25 or 26 pages.
without spending too much more time in
As a studio, we don’t go for huge upsells. We
production and sales.
may go as high as 30 pages and then when the
clients get involved in the final design, it might
so I understand their workflow.
drop back to 26 or 27.
“I’ve spent time with a lot of photographers “A lot of them say they are time poor,
preferring to spend more time with their
46
MARKETING
families and kids.
“Of course, the number of pages also depends
on how you design the album – how many
what I’m trying to demonstrate through this
photos you put on a page. We could easily
workshop is that album sales can help you
stretch the album out to more pages, while
achieve the lifestyle you want, without more
other photographers might go for fewer pages
time. If you generate more income from each
with the photos crammed in. It’s all about
wedding, you can shoot fewer weddings and
“That’s completely understandable, so
spend more time with your family too!
printed photograph.”
“Call me a traditionalist at heart, but I think it
“The seminar will be called the Album
is our responsibility as wedding photographers
Atelier and full details can be found at www.
to offer albums. Shoot-and-burn is the easy
thealbumatelier.com. It will be a modern
option, but these clients are rarely shown a
workshop with traditional values, held at the
sample album or even pointed to a website
Sydney Golden Age Cinema, 24 and 25 June
where they can have an album made. This is not
2017. Places are limited to just 50 people per
very professional.
day, so pre-registration is encouraged!”
Speakers include photographers Dan O’Day,
ALBUM ATELIER
Haley Richardson, Darren van der Wint and Lara
“I’d like to see a return to the wedding album
Hotz, pro album designer Renee Blake, and
as being something offered by all professional
Libby and Geoff from Momento.
photographers. Digital technology simply doesn’t last long enough. It’s risky and the only thing that will last a generation or more is the
Full details at www.thealbumatelier.com
47
EDUCATION
Adding More Value Than Anyone Else Portrait photographer and AIPP member Glenn Addison of Gap Studios explains that the way to succeed as a photographer is to offer your clients what they perceive as valuable. Without value, even the wealthiest people won’t buy from you. So what exactly is value? When a client is in the
questions to help us find ways to add more
market for photography, it can be challenging
value for our clients. Questions like:
for them to work out what is good value and
• Why would people be compelled to hire us
what is not. A Facebook photographer offering
instead of our competitors?
a half hour session and 20 files to download
• What makes us unique?
might seem great value for $150, compared
• What’s our X-Factor?
with a portrait studio offering an enlargement
and half a dozen matted prints for $2,000.
to stand out. Once you know how you can
consistently add extraordinary value to your
Surely clients will go for the $150
“Finding your X-Factor is your opportunity
photographer. Or will they?
customers, and you can communicate that
value in a way that engages people, this
There are many successful portrait
photographers offering a level of service and
becomes your irresistible offer and you’ll be way
product that has so much value, clients are
ahead of the game.”
happy to buy from them. At a basic level, the
$150 photographer is offering digital files, while
important X-Factor they can have is a different
the $2,000 photographer is offering wall art that
style of photography, but the reality is that
features the family making the purchase.
high quality photography is expected. You’re
TAGS
If you can wrap your head around what
more likely to be successful if you package the
APPA Awa rds
clients are looking for, then Gap Studio’s Glenn
photography differently or create an amazing
Addison’s advice makes a lot of sense.
portrait photography experience.
48
Many photographers think that the most
“You need think about how you can
ASKING QUESTIONS
create more intangible value than anyone
“Adding value is all about asking yourself
else through the service and experience you
questions. We constantly ask ourselves
provide for clients. It has to be value that goes
Examples of the day-to-day portrait photography offered by Gap Studios and Glenn Addison.
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Examples of the day-to-day portrait photography offered by Gap Studios and Glenn Addison.
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beyond people’s ability to measure and once
yourself for a few days to experience what other
you think you have it, you have to keep going or
businesses are offering their clients.
your competition will catch up. It’s not enough
to just maintain a high standard, you have to
bring to the market that your competitors don’t?
consistently innovate and improve it.
If you don’t know, you need to know.
Glenn suggests becoming a consumer
“Who are you as a business? What do you
“Go and have a portrait experience yourself.
EDUCATION
Do some market research so you know what
“What are the standards you run your
other photographers are offering and then
business by that make you stand out? Think
create an experience and a level of service for
back to the high end businesses you visited
your clients that far surpasses what is being
during your research. Your business has to have
offered by your competitors.
higher standards than your competitors and you cannot tolerate anyone in your business
FUN RESEARCH
that has poor standards. If you do, at best you’ll
“If you don’t want to visit other photographers,
keep getting poor results, but more likely you’ll
there’s another way to understand what’s
go out of business.
happening.
whatever you ask if they perceive there is
“Try going to the best fine dining restaurants
“Value is everything. People will pay
in town and spend a night at the best 5 star
enough value in it for them. It doesn’t matter
hotel in your city. Analyse everything they
if they’re wealthy or just getting by, providing
do, down to the smallest detail. See how they
value is the key.
present their business to their customers.
more than what you have to offer, they will
“Sure, this research will cost you a bit of
“If they value the money in their pocket
money, but the investment will more than pay
never buy from you.”
for itself in no time. What ideas can you take
back to your business? Most of our ideas and
how you present them and what your clients
training at Gap Studios have come from outside
experience. Now make them valuable!
So, look at your products and services,
of the photography industry.” “What unique experience or idea do you have
AIPP member Glenn Addison runs the successful
that your clients won’t find anywhere else.
Gap Studios in Sydney and Brisbane. He has also
What experience or service are you missing in
developed a series of training videos for marketing
your business that you either need to learn or
portrait photography. Visit http://www.photogra-
employ?
pherinsiders.com/
“It’s all about making strategic decisions
about what you offer to clients so you can influence them to buy from you, and then maximising your resources to achieve your goals and improve the quality of your clients’ lives in some way.
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EDUCATION
The AIPP: Who Is In Charge? Peter Myers talks with Ashley Karakatsanis in a video interview about the AIPP Board, the executive officer and who actually runs the AIPP. The AIPP is a special type of membership
volunteers and are not paid for their time. It is a
company and, like other companies, it is
big commitment for anyone to undertake.
governed by its members. Ultimately, we have
the power to control who governs us.
director, you need to have been an Accredited
Professional Photographer (APP) for at least
However, this shouldn’t be confused with
Explained Peter Myers, to become a
one or two members having the power to
three years and have 15 AIPP service points. This
control the organisation on their own. A
ensures that directors will have experience as
company is like a democracy and its leaders are
a practising photographer, as well as a history
elected by its members (or shareholders).
and background of service to the AIPP (often
through divisional councils).
If you want to make improvements or
changes to the way the AIPP operates, there are
There are six places on the Board and each
processes and rules that we have all agreed you
year, two of these places are up for re-election.
need to follow.
Essentially, you become a director for three years and you can be re-elected once, giving
TAGS AIPP G over na n c e
BOARD OF DIRECTORS
you a maximum term of six consecutive years.
The AIPP’s Constitution is a collection of
The three year term is quite an imposition on
objectives and rules which govern how the
the director, but it does allow for continuity of
AIPP operates. The Constitution is up dated
management and overall, appears very sensible.
from time to time so the organisation can adapt
to changing circumstances, most recently in
the strings forever, so having a maximum of six
November 2013.
years is sensible too.
The Constitution lays out how the AIPP will
be governed – who its leaders will be and how
THE PRESIDENT
they are elected.
Each year after the election, the six Board
members sit down and decide who will be the
The AIPP’s leaders are the directors -
collectively the Board of Directors. They are
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Similarly, you don’t want one person pulling
president, the chairman and the treasurer. As
•
Matthew Elder
•
Sarah Long APP
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EDUCATION
members, we don’t have a direct say in who
OTHER DIRECTOR TYPES
these people are, just as we don’t have a direct
While the six board members undoubtedly have
say in who our prime minister is.
wide experience between them, they don’t for
a minute assume to know everything and this is
While you can be a director for six years, you
can only be the president, chairman or treasurer
why the Board is able to ask for help.
for three years, although conceivably you could
be president for three years and then chairman
board members whose term is a maximum of
for three years. In a perfect world, you’d
one year (unless re-nominated) and who has
probably be an ‘ordinary’ director for one or two
voting rights at meetings.
years, before becoming president for two or
three years and then finally the chairman.
member to assist and advise, but these
The Board can nominate two co-opted
The Board can also nominate any other
‘associate’ directors do not have a vote. In this
BOARD VACANCIES
way the board has access to the skills and
From time to time, directors will resign. This
knowledge it needs to do its work properly.
is something that happens regularly in the unusual. Personal circumstances can change
EXECUTIVE OFFICER AND NATIONAL OFFICE
and so provision needs to be made to replace
The interaction between the Board and the
these directors.
national office will be covered in more detail
These are called ‘casual vacancies’ and rather
in future article and videos, but essentially the
than having to go through the time consuming
Board develops the ideas and policies, and it’s
and costly election process again, the AIPP’s
up to the executive officer and the national
constitution allows the remaining directors to
office to implement them.
nominate a replacement.
to and fro as the logisitics and outcomes are
corporate world and should not be considered
The replacement director is appointed for
the remaining term of the vacating director, but
Obviously there is a lot of communication
worked through.
of course can stand for re-election.
Although not elected in the usual manner,
You can listen to Peter Myers and Ashley Karakat-
such a director has all the same powers of the
sanis talk about governance in a FAQ Friday video
other directors and can also be elected to the
which you’ll find on Vimeo here: https://vimeo.
office bearing rolls of president, chairman and
com/199532329
treasurer.
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