AIPP Journal - Jan/Feb 2017

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?

10

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

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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.

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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.

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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.

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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

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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.

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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.

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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

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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

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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

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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

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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.

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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

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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.

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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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