AIPP Journal - March 2017

Issue 249

How To Value Your Photography Better Prints With Rendering Intents?

Ken Drake’s Photography Zoo APPA: What Is Direct Instruction?

March 2017

CONTENTS 4

The Value of Photography

8

Vale: Martin Schembri APP.L M.Photog IV

Vittorio Natoli says there is great value for photographers in adding service to what they provide their clients. Being professional not only builds respect, but profits too.

One of Australia’s most loved photographers understood what it took to capture amazing photographs, but wasn’t shy of adopting new technologies and making them his own.

Cover

Ken D ra ke APP M.Photo g. I 2016 AIPP AUSTRALIAN PROFESSIONAL PET/ANIMAL PHOTOGRAPHER OF THE YEAR

11

Vale: David Cumming FAIPP In many ways, photography hasn’t changed and we still need to be more than adaptable - as the life and times of David Cumming show.

12

The Entrant’s Direct Instruction

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

In the APPA and Epson State Print Award rules, it states, “Prints must be created by the entrant or under the entrant’s direct instruction, including all post production and printing work”. So what exactly does this mean and why is this a rule for the Awards?

ISSUE 249 / MARCH 2017 18

Rendering Intents When printing your images, such as from Photoshop or Lightroom, you are presented with a choice of ‘rendering intents’. Sometimes the differences can be difficult to see, but if you are looking to produce award standard prints or consistent quality for your clients, understanding these differences is essential!

22

Ken Drake: Animal Whisperer

34

38

With the release of his book Pawtraits just prior to Christmas, AIPP photographer Ken Drake is making his mark as Australia’s leading pet and animal photographer in many ways. Yet his technique is very simple - if you’re prepared to invest the time to learn it.

How Much Could Photographers Lose?

Hopefully our worst copyright nightmare is not about to come true as the Productivity Commission presents ill-conceived suggestions to Government for its consideration. As Chris Shain APP AAIPP Hon. LM explains, the proposed changes must not be allowed as it affects the viability of all photographers to earn a living.

40

Photo Studio: Pricing For Profits How do you set your prices? Do you look around and see what everyone else is charging? And would you continue to do that if you knew ‘everyone else’ was losing money? Portrait photographer Glenn Addison APP AAIPP of Gap Studios explains that we have to know our own numbers if we are to price ourselves for profits.

44

The AIPP Management: Who Does What?

Peter Myers talks with Ashley Karakatsanis about the difference between strategies and policies, and how the Board and National Office work together.

48

Fujifilm GFX: Affordable Medium Format Photographers are always looking for ways to distinguish themselves from their competition and now with the GFX, Fujifilm has a way for them to look different and to create different quality images too.

Why Being Polite On Facebook Is Smart!

Reading Facebook can be like listening to primary school kids arguing in the playground: lots of passion and not much thought or care for the consequences of their actions. But what do your comments on FB say about you? And what do your prospective clients think too?

3

NEWS

The Value of Photography Vittorio Natoli says there is great value for photographers in adding service to what they provide their clients. Being professional not only builds respect, but profits too.

We need to understand that professional

Only professionals would go to these

photography is not just creating a digital file,

extremes and you would know they were

it’s about finding clients, understanding their

professional just by looking at them. They

needs and explaining to them what we can

would have two cameras, two flash units and

do and how we can make their images more

backup batteries. Their car would be full of

memorable and valuable.

petrol, they would have checked the locations the night before or actually visited them the

ADDING VALUE IS EASY

week before, and they had a checklist of what

And there are so many things we can add. It’s

they needed to do.

not just post-production, printing or mounting,

TAGS Busine s s Pro fes s i o n a l i s m

4

but explaining an existing value such as an

SLOW THE PROCESS DOWN

heirloom in the context of family portraiture.

After the shoot, professionals would show

respect by looking through the images and

Professional photographers used to spend

time finding out about a client and proving

discussing them with their clients.

to them that they were professional. They did

this by the way they spoke, the quality of their

really look at and appreciate the pictures, and

sample prints and displays, their certification

they’d give them advice about how many

and industry involvement.

photographs would look best on an album

page.

They spoke about the courses they did,

They’d slow their clients down so they could

how they upgraded their equipment and the

professional licences and insurances they had.

know that their photographer cared about

them and the assignment. It wasn’t just another

They let their clients know about all the

At the end of the process, clients would

things we should do as professionals and they

‘shoot-and-burn’ assignment. It wasn’t shot by

assured them that there was no way they would

an inexperienced stringer, but by someone who

let their clients down.

had invested a great deal of time and effort into

their work, just like a doctor or a solicitor.

laid out and the prints on the wall project who

you are and what you sell.

I think this is what many photographers

today are missing. They are doing 80 per cent

A professional will go through a thought

of the work, but not capitalizing on the 20 per

process of what clients need. What would they

cent of the value that generates 80 per cent of

expect if they were the customer and walked

the profit.

into their home or studio? How would they react to the photographer?

AN EXTRA WEEK’S WAGES

Everyone is busy, but what we also need

do I have good perfume, is my laptop working

to understand is that by slowing down and

and fully charged, will my clients see the

spending a little more time with our clients,

products I want to sell them?

They ask questions like, am I dressed nicely,

putting together the right combination of images for them, might be the equivalent of a

EDUCATE OUR CLIENTS

week or a month’s wages for us!

As photographers, it is up to us to educate our

clients about our value. We can’t expect them to

Many new photographers don’t fully

understand that their clients are happy to pay

know we have an Associateship of the AIPP or

them in abundance if value is offered.

have spent $20,000 on equipment. How would

they know that if we don’t communicate to

However, we shouldn’t expect people to

pay us five times what we ask just because they

them that we are different?

thought we did a good job! That’s ridiculous!

Professional Photographers? We should,

If we don’t believe that as Accredited

Do we tell them we are Accredited

Professional Photographers our time and

because 95 per cent of people calling

skills are worth more, if we’re not prepared to

themselves professional photographers are not!

demonstrate how good our work is or to ask for

a higher price, then no one will automatically

many things we need to do to be successful.

give us either the respect or more money.

This differentiates us, but it’s just one of Respect is so important as a professional. My

bank manager told me once that before anyone

AND IT IS SO SIMPLE.

will be interested in your deal, they have to be

Even if you have a home studio, you can show

interested in you as a person.

your professionalism. You make sure your lawns

are cut, your rooms are clean and prepared, nice

can work with you, then your deal has a chance.

music is playing, sample albums are carefully

However, if you have no integrity, then it doesn’t

If they like you as a person, if they think they

5

NEWS

matter how brilliant your deal is.

about good, better and best. Show them best

and expect them to buy better.

This is something the older members of the

Institute learnt as apprentices and assistants.

Yesterday, one of our clients visited

our studio to make another order. We had

A LIFETIME CAREER

photographed the weddings of her three

They also looked at professional photography

children and we’re still taking portraits of her

as something they were planning to do for the

family.

next 40 years.

Today, we have a lot of photographers come

THE LIFETIME VALUE

and go within five years. They don’t give the

Over the years, she has spent $80,000 with our

professional enough time to understand what is

studio.

required – and these are most of the people we

are competing against.

mindset of staying in the industry for 40 years

and becoming a ‘family photographer’, there’s

The only way we can compete is to add

If professional photographers today have the

service, to be professional. If you only sell raw

still a huge opportunity.

files, you’re leaving services and opportunities

behind for other people to pick up - and they

said he rarely needed to do any advertising later

mightn’t do it as well as you could.

in his career because he got so much repeat

Western Australian photographer Jeff Fisher

business and referral work from his clients.

CONTROL OUTPUT

We have the ability to control our output which,

professionalism.

at the end of the day, is the only tangible thing

our clients see. Even if it is only a digital file,

create. That’s the mark of a true professional

we need to show our clients that our work is

photographer.

From happy clients that appreciated his That’s the type of business you want to

respected and valued.

One thing is certain: you can’t sell

something they can’t see or touch.

You need to show your clients something,

even if it is outside their capacity to buy.

When you go into a car showroom, you

always see the top model, even if you buy something down the scale. We used to talk

6

vittorio.natoli@aipp.com.au 0400 418 888

•

Barbara Brown

7

NEWS

Vale: Martin Schembri APP.L M.Photog IV One of Australia’s most loved photographers understood what it took to capture amazing photographs, but wasn’t shy of adopting new technologies and making them his own.

TAGS M embe r s

Master of Photography Martin Schembri passed

SLRs, notably the Nikon D1.

away late last year at age 63. After a short

time as a surveyor, he turned his passion for

the staid and traditional wedding album could

photography into a career.

be transformed into what was initially called a

‘digital album’.

He began as a school photographer with

Don Wood, but he had a love for all genres of

photography and especially for the final print,

of YSI - You Select It software for the design

so he moved across to photography labs.

of wedding albums. It was quite common to

He began in a Rabbit Photo minilab in

see Martin and one or all of his sons on an

Ingleburn before opening up a Kodak Express

exhibition stand at conventions around the

in Stocklands, being helped by his son Ryan on

world. Again, this is another part of our craft

weekends and school holidays.

today that we simply take for granted.

With this experience and after opening his

He was closely involved in the development

Said Ryan, “Dad didn’t just teach me the

own photography studio, Martin then made

mechanics of photography, he taught me

a huge impact on the profession of wedding

something much more important, something I

and family portrait photography. Many of

wish every photographer could start with: light.

the approaches to lighting, posing and post-

production that we take for granted today were

years until I could start to see the light - or the

introduced or championed by Martin during

‘pockets of light’ as he called it.”

one of his many seminars.

AIPP and the APP Awards system. He will be

He spoke at major conventions both here

and overseas and was an early adopter of digital

Photo opposite of Martin Schembri.

8

With digital technology, Martin saw how

“Dad didn’t let me touch a camera for two

Martin was a passionate supporter of the

greatly missed.

Photo above of a smartly dressed David Cumming in his earlier years.

10

NEWS

Vale: David Cumming FAIPP In many ways, photography hasn’t changed and we still need to be more than adaptable - as the life and times of David Cumming show.

In his childhood years David Cumming fell in

and his team were renowned.

love with photography. With his Kodak Box

Brownie and a hand-written business card,

entertainers, politicians, royalty and heads of

he went knocking door to door, offering his

state, as well as specialist businesses like Colussi

photographic portrait services.

Brothers’ Pumps, located in an old tin shed

down the road from David’s new premises in

Immersed in a milieu of art, science,

Clients included major companies,

technology and sociability, David was in his

Balmain.

element. It was a natural progression from

street photographer (although ‘country dirt road

peak of perfection meant David was a stickler

photographer’ may be more accurate), to young

for maintaining the craft of black and white

cadet and an eventful nineteen year career as a

printing. David Cumming incorporated Slide

newspaper and magazine photographer with

Magic and A-One Colour Laboratories into his

the Herald-Sun and Pix.

business. He was a leader both nationally and

internationally, developing colour Microfiche

Fortunately David could thrive literally on

To ensure the photographs were at the

the smell of an oily rag. He must have! How else

and Cibachrome processing and printing.

could he have taken apart an old bomb Morris,

polished and replaced every single nut and

others including David Moore, Mayu Kanamori

bolt; all the while covering front page stories

and Graham McCarter to print their exhibitions.

like the Bogle-Chandler murder-mystery, the

1956 Melbourne Olympics, and entertainment

International’s highest honour, the Paul Harris

TAGS

sensations like Nat King Cole?

Fellowship. He served as NSW President for the

M emb ers

AIPP and is a Fellow of the AIPP.

It all proved to be an excellent training

David was the photographer trusted by

David Cumming was awarded Rotary

ground to start his own commercial

David is remembered as a friend and mentor

photography enterprise in Sussex Street,

who unstintingly shared his vast knowledge

Sydney. David Cumming Photography never

and insights in photography.

failed to deliver the perfect results for which he

By Judith Jaffé, Berlin, February 2017

11

AWARDS

The Entrant’s Direct Instruction In the APPA and Epson State Print Award rules, it states, “Prints must be created by the entrant or under the entrant’s direct instruction, including all post production and printing work”. So what exactly does this mean and why is this a rule for the Awards?

As professional photographers, many of us

send our work out to labs or bureaus for

years of the Awards is that all entries must

retouching and printing. For some advertising

have been created by the entrant or under the

and commercial photographers, our raw

entrant’s direct instruction.

capture files are provided to the agency or

client for them to use in post-production. This

might sit next to a retoucher or image editor,

outsourcing is very common and helps to

giving real-time instructions as to what

ensure a high professional standard of work.

was required in the final image (budgets

allowing - it happens less often these days).

So, when it comes to professional

One thing that has not changed in all the

In the advertising world, a photographer

photography awards, surely the entry rules

The photographer would ask for an area to be

should reflect what happens out in the real

darkened down here, but feather the edge on

world?

this side and decrease the contrast over there. It was a very specific set of instructions and this is

TAGS APPA Awa rd s Rules

12

SIGNIFICANT IMPACT

what the designers of the original Awards rules

This may have been a reasonable assumption

had in mind.

in the past, but it is becoming increasingly

obvious that not just some, but a large number

file off to a lab or a bureau and asking them to

of print entries have had significant input from

turn it into a Gold Award.

other photographers. In some cases, this input

has been the difference between an average

under the entrant’s direct instruction. In the

score and a very high one.

second scenario, there is no direct instruction at

all.

It raises the question: Have these entries

This is quite a different process to sending a

In the first scenario, all changes are made

been created by the entrant in accordance with

The second scenario is not acceptable for

the rules?

Award entries.

Original Capture

This is the original c apture, sh with the i ot wide ntention o f cropping retouchin g the edg or es of the f Standard rame. profession al practice .

Direct Instruction

r e h c u o t e r r o r o t i d e n o e h y t a o w t r n o o o i t d , c d u n tr s u e n o v i r a g e h e h r e T o f w e o v s , o e r m is to “re ceiling structu is a direct s i d h n T a . � t s d i h n t l u rig u o s r e g r k e c a h t b , y n l i t n a a t t r a pla s o u j p s i m I t i . n o n i t o i c t ta e r p instru r e t n i o . t t i n d e e p l o a ic n not a h c e m

13

AWARDS

The rules for the Awards are written to

However, to say to the retoucher, “Vignette

encourage photographers to increase their skills

the image” is not direct instruction and nor is

and thereby raise the standard of professional

there a clear outcome. There are thousands of

photography in Australia.

different ways an image could be vignetted,

so you as the entrant need to explain exactly

Sending a file to a lab or a bureau with

vague instructions does not achieve this end.

to the retoucher how you want the image

vignetted.

So, what does ‘entrant’s direct instruction’

mean?

Similarly, it is not enough to say to a

retoucher, “Darken down the image and give it a

DIRECT INSTRUCTION

sepia tone”. You have to specifiy how much the

The skills of an experienced retoucher or editor

image should be darkened and what colour the

can transform a photograph from standard

sepia tone should be.

professional practice into a Gold Award.

However, those skills are not the skills of the

retoucher can darken it down in stages for you

entrant.

and you can say, “More, more, no too much, less,

that’s it.” This is direct instruction.

The judges can only assess what is put in

If you are sitting next to the retoucher, the

front of them and the assumption has always

To send a file off with a set of instructions

been that the work is that of the entrant.

and receive a file back is not direct instruction.

Remember, every entrant signs a declaration

14

that this is the case.

PRINTING VS RETOUCHING

It is black and white.

There is a significant difference between

Direct instruction can happen when you are

retouching and printing.

sitting next to the retoucher and controlling

the process. You can do this via Skype etcetera

steps between conversion of the raw file to the

if you wish to, but the creative process must

final on-screen image. It’s what many of us call

come from the entrant, not the retoucher.

‘post-production’.

If a face needs a pimple removed, you can

Let’s agree that retouching includes all lthe

For example, you start with a raw file,

instruct the retoucher to remove the pimple

process it in Lightroom or Capture One, then

so the result is invisible and the process used

take it into Photoshop and add a series of

to achieve this is up to the retoucher. As the

adjustment layers and maybe an overlay layer or

entrant, you have described a clear outcome:

two.

the removal of the pimple.

This is all considered part of the ‘retouching’

Standard result for ‘Convert to B&W’

When you add a B&W Photosho adjustme p uses a ‘s nt layer, t andard’ al remove th gorithm t e colours. o If you inst retoucher ruct your to conver t to B&W, you shoul this is wh d expect at unless yo u are more specific.

This variation should be instructed by the photographer, not suggested by the retoucher.

d e e n u yo , r e t f a e r a e h u t o n y e t t l h u s g i e l r o e t h r t e s g i h c n s i i l u l h o t o t r t e If r n e o c h t e t l i c h u e h t n i to instr ue channels,w l i a t e d n l i b a t d e r n o a s o l t d a l e d re l n u n o a h h s c u w o o y l l , l l e n i y e w e h s t h e t n u l e v b E d . s n e a n s o d t f i e r n i o e k d s h t y l r n a f o n w a o c h u e o t y a e t h h c t i c i s d h a r w e , h d c e u n o e t t e r m e e t h s t y be ligh s e s d i d s r g a n w o l A sitting a ng edited.The ty, not the i i e v i b t a s i e r e c r u o imag y e e s o . t s ’ s r t e n h a c w retou

15

AWARDS

or post-production process.

not what the Awards are all about.

Once that Photoshop file is finished, it then

If you have good retouching skills yourself,

needs to be printed. Many entrants take their

you are in a better position to administer the

finished Photoshop files to labs and bureas for

post-production work you send out to others.

output, and this is quite acceptable.

Your own retouching skills can be reflected in

the work done by others because you know

However, sometimes the file produced may

not translate onto paper quite the right way and

what is possible, what the standard should be,

the printer may suggest, for example, opening

and hence what to ask for.

up the blacks to produce a better quality print.

and editors are paid more highly than

Note the difference here. A retoucher or

A recent report showed that retouchers

editor can transform the creative intent of an

photographers. Of course, this isn’t the

image during post-production. In comparison,

case at the top of the market, but overall,

the printer is only making adjustments to

photography is no longer valued as highly as

the final output so it best reflects the original

post-production. For many photographers, this

creative intent.

is a sad indictment of our times, but it’s a reality

we need to face. For me, in indicates that if

The first is a creative process, the second one

a process of craft.

photographers are to survive in the future, they

need to hone their post-production skills and

At the risk of simplifying things, a printer

would not make more than a 5% adjustment to

sell them to their clients.

the image file overall. Anything more than this

would not be under the direct instruction of the

raise the standard of professional photography

entrant.

in Australia, it makes sense to encourage all

And as the Awards’ prime function is to

entrants to do their own post-production.

16

THE FUTURE OF THE AWARDS

The Awards Committee is looking at ways to

to credit retouchers, editors and printers who

encourage entrants to do their own retouching.

assisted in the preparation of the entries.

We acknowledge that in the context of a

This year, entrants to APPA will be required

It is being considered that these third-parties

professional studio’s day-to-day work, it is not

will be acknowledged in the Awards book and

necessary for the photographer to do all his or

on the website, but the details are still being

her own retouching or post-production. In fact,

worked through by the Awards Committee.

we agree that a busy studio should engage

specialist retouchers to be profitable, but this is

comments, please let the APPA team know!

in the meantime, any suggestions or

Standard result for ‘Vignette’

If you add a vignette in Photos is done m hop, it echanical ly from th Note how e centre. the right c orner is si darker, du gnificantl e to the fa y ll off of th the studio e light in . Marks w ould be re moved fo this ‘error r ’.

This variation should be instructed by the photographer, not suggested by the retoucher.

d r a d n a t -s n o n y l l a a o c d fi i c to e t p n s a o t w d e d e e n If you n d e l t u h o g i w l e u b o y o , t e r t t e , e n n r i n a o g c g vi t A h . s g i s r e c e o h r t p t g e n h i t t t g e reques n i s gn i i v v r e e p h t u s e y l b t c n e during a r i c d t a e r h t a g u n o i unless y is not someth your behalf. is n h o t r , r e o h t i c u ed o t e r e h t y b e don

17

EDUCATION

Rendering Intents When printing your images, such as from Photoshop or Lightroom, you are presented with a choice of ‘rendering intents’. Sometimes the differences can be difficult to see, but if you are looking to produce award standard prints or consistent quality for your clients, understanding these differences is essential!

TAGS L igh tro o m Pho to s h o p Co lo ur Management

18

The standard advice for rendering intents is

as an Epson inkjet printer), we are going from

to choose Perceptual because it is safe, but

a large colour space with lots of colours to a

in doing so you may be desaturating all the

smaller colour space with fewer colours.

colours in your image, unnecessarily so.

photographs will not fit inside the smaller

However, over the years printers and devices

The larger colour space used by our

have greatly improved and so this article is

colour gamut that our printer can produce.

going to recommend that you choose Relative

Colormetric as your rendering intent, most of

get jammed inside the smaller space?

the time.

colours that can’t be reproduced by the printer)

However, depending on the colours that

Where do all the colours go? How do they We know that the out-of-gamut colours (the

are in your photograph and the printer/paper

move into gamut, because when we make our

combination you are working with, there may

prints, our out-of-gamut colours are given a

not be any noticeable difference between the

colour that is close. But what else happens?

two settings. Also, please note that I am writing

this article in a non-scientific way that may skirt

change or do they stay the same? And how far

around some issues in order for clarity on this

into the gamut do the out-of-gamut colours

particular issue.

move, or do all the out-of-gamut colours end

Do the colours that are already inside

up with the same value?

WHY DO WE NEED RENDERING INTENTS?

When we change from a larger colour space

we need rendering intents.

(our image file in AdobeRGB or ProPhoto RGB,

for example), to a smaller colour space (such

formulas for moving colours from one colour

The short answer is there are several ways

that the colours are ‘re-mapped’ and this is why Rendering intents are different recipes or

These two yellows are ‘out-of-gamut’

In-Gamut Colour.

This colour can be reproduced within the colour space.

Note how all the yellows have moved, even the yellow that was in-gamut.

(Above) Perceptual Rendering Intent

These two yellows are ‘out-of-gamut’

In-Gamut Colour.

This colour can be reproduced within the colour space.

The out-of-gamut colours are moved to the closest match, so two different colours may end up as the same colour.

The in-gamut colours don’t move as much as with Perceptual.

www.betterphotoshoptechniques.com

Relative Colorimetric Rendering Intent

39

19

EDUCATION

space to another, from one colour gamut to

performed. (It is not generally recommended

another. Whether you’re changing the colour

for photography either).

profile associated with an image file (Convert to Profile), or using the Print dialog, you’ll come

WHICH DO YOU USE?

across a dialog called ‘Intent’.

So, one choice for photographers is Perceptual in which all the colours are changed, even those

FOUR INTENTS

that are within colour gamut. The idea is that by

There are four intents generally available:

changing all of the colours, we can end up with

Perceptual, Saturation, Relative Colorimetric and

a rendition which is ‘fairly’ accurate, but it does

Absolute Colorimetric. Adobe describes these

this at the expense of moving all the colours,

rendering intents as follows:

even those that are already in gamut (i.e. that

can be reproduced accurately by the printer).

relationship between colours so it’s perceived

as natural to the human eye, even though the

which moves out of gamut colours to the

colour values themselves may change. This

closest match, and leaves in-gamut colours

intent is suitable for photographic images with

more or less untouched. If most of your colours

lots of out-of-gamut colours.

are in gamut, then this is the best rendering

Saturation Tries to produce vivid colours in

The other option is Relative Colorimetric

intent, but if you have a lot of out-of-gamut

an image at the expense of colour accuracy and

colours, then the result can be ‘blobby’ colours

generally it’s no good for photography!

as a number of different colours can end up as

Relative Colorimetric Compares the extreme

exactly the same colour.

highlight of the source colour space to that

of the destination colour space and shifts all

weddings, with the exception of some dresses

colours accordingly. Out-of-gamut colours are

worn by bridesmaids, colours generally fall

shifted to the closest reproducible colour in the

within the gamut of good quality colour

destination colour space. Relative Colorimetric

printers and so Relative Colormetric will work

preserves more of the original colours in an

best. Most of the time!

image than Perceptual.

In the world of family portraiture and

In all situations, Perceptual desaturates

Absolute Colorimetric Leaves colours that

colours slightly to bring out of gamut colours

fall inside the destination gamut unchanged.

into gamut, so if you don’t have out of gamut

Out-of-gamut colours are clipped. No scaling

colours in the first place, you don’t need to use

of colours to destination white point is

Perceptual.

20

Perceptual Aims to preserve the visual

Above: In the Photoshop print dialog, there is a choice of four rendering intents. However, in Lightroom (below), there are only two choices as outlined in this article. This is because Lightroom really is only used by photographers, but Photoshop is used much more widely, such as in the graphic arts and reproduction industries.

21

FEATURES

Ken Drake: Animal Whisperer With the release of his book Pawtraits just prior to Christmas, AIPP photographer Ken Drake is making his mark as Australia’s leading pet and animal photographer in many ways. Yet his technique is very simple - if you’re prepared to invest the time to learn it.

22

Ken Drake has been receiving plenty of media

love of photographing animals.

attention recently with the launch of a new

book Pawtraits and of course winning the

shot for a private client or a charity I work with.

2016 AIPP Australian Professional Pet/Animal

I don’t shoot personal work, which is probably

Photographer of the Year. His studio based

not a good thing, but I simply don’t get any

photography is simply inspirational from

time to do it!”

the lighting to the posing, but no doubt the

underlying reason for his success is a genuine

special projects each year, such as the charities

“Every single award I have won has been

However, Ken does shoot a number of

Photography by Ken Drake

23

FEATURES

he mentions, and this gives him plenty of

that our business success is mainly due to my

opportunity to experiment and pursue new

wife Beck. She has had a long career in sales,

ideas.

marketing and customer service and she also

has a genuine passion for animals. She really

“When I’m shooting a standard portrait

for a client, I try to get 40 different photos so

understands the close bond that people share

there are 40 different options for the client to

with their pets.

choose from. However, a special project like a

calendar for a charity doesn’t have the same

session. Animals can often take a little longer

client requirements and so I can spend a couple

than humans because you need to allow them

of hours with just one animal to get something

time to settle in. They don’t take instructions

amazing.

directly like humans either, so you need to find

“Each client receives a two hour portrait

other ways of working with them.

TAGS Awa rd s Po r tfo l i o Drak e

MANAGING THE ZOO

“I’m photographing exactly what I want to

good idea of the personality of the pets, the

photograph - and that’s photographing

important traits and expressions they want us

animals.”

to capture and an idea of where in their home

they are wanting to display their artwork.

Ken explains that it was animals that

“By the time my client comes in, I have a

brought him into photography in the first

place. “My big thing is to show the world that

with the clients as part of our pre-consultation

animals are intelligent, emotional beings just

and connected with them about their pets,

like we are. They’re not just furry robots that

their relationships with them, their personalities

follow you around wanting food, so my goal in

and what they love and adore the most about

photography is to bring out their personalities

them. It’s the little things about their fur-kids

to show they are not so different from us.”

that people cherish and want to remember -

and that’s what we’re trying to capture with the

Ken and Beck’s Brisbane studio is called Zoo

“One of our staff members will have spoken

Studio and they do eight portrait sessions per

camera.

week, every week. “We’ve built up a very loyal

clientele over the past ten years and we have

just about putting the animal on a stool and

a lot of repeat business. I have to point out

taking a photo. I play with the dogs, rolling

“Although I shoot in the studio, it’s not

Opposite: “There’s a subtle brown toning through this photograph of geese that ties the whole picture together. I’m learning more and more about colour and how it can be used successfully.”

24

25

FEATURES

“When the four dogs were projected at the Awards night, everyone went, ‘Awwwwww’.

It was a wonderful moment to get that reaction.” Photography by Ken Drake.

26

27

FEATURES

“There can be quite a bit of post-production when it comes to putting in textures and colour, but you have to get the lighting right no matter how much Photoshop work you do. I’m keen to get as much in camera as I can.” Photography by Ken Drake.

28

around on the floor with them if necessary just to get the right expression. And if you look at the expressions we’ve captured in the photos on our website, you’ll see all sorts of different things.

“Our clients don’t necessarily know exactly

what they want to buy before the shoot, but we do spend a lot of time preparing them so they have a good idea. They know our focus and expertise is large prints for the wall and they know how much they cost. If a prospect just wants a couple of small 5x7 prints, they generally don’t come to us. Every single

because out of every eight shoots, one will be a

day we work very hard on our marketing

return customer and two or three are referrals.

communication and brand building to make

sure we attract the right type of clients to Zoo

outdoors where most people photograph their

Studio.

pets?

So, why shoot in the studio? Why not

“We don’t feel the need to offer digital

packages as we spend a lot of time and money

STUDIO LIGHTING

educating potential clients on the value we

“When I came from London 10 years ago, I was

offer - and the benefits of working with Zoo

very inexperienced as a photographer. I was

Studio for the entire end to end process which

used to a beautiful Northern European light, so

results in beautiful, high quality artwork for their

when I arrived in Perth, I really struggled with

walls.

the harsh light. I like being in control of the

light in a repeatable way, so if I photograph my

“Cheap and badly printed images from a

high street printer also reflect badly on a high

subjects in the studio, I know what I am going

quality brand’s reputation.

to get. I don’t have to worry about the vagaries

of the light and weather.

“We produce beautiful photographs for the

wall and when people see what we have to

offer, that’s what they want to buy. They want to

tongue is hanging out around his knees,

book Zoo Studio.”

that’s not such a good look! And if another

dog walks past, I instantly lose their attention.

And Ken must be doing something right

“And outside, if it’s a hot day and the dog’s

29

FEATURES

I’m absolutely not bagging natural light

second is short enough to kill any ambient light

photography, it’s just not something I do very

affecting the exposure or recording subject

often. I’m much more at home working in

movement.

the studio where I have all the control and I

“Perhaps one of the most important things

feel there is less that can upset or distract the

you can do as a pet photographer is to get

animal.”

your camera below their eye level. This all

comes back to getting better eye contact with

Ken moved to Nikon DSLRs and the D800/

D810 because, he says, you need lots of

your subject emotionally. Looking down from

megapixels to capture the detail in fur and

above on the animal doesn’t give you the right

feathers. “We sell a lot of products printed on

connection, whereas down low you’re on an

aluminum, so you need plenty of detail to make

equal footing with them.”

them work. I find the Nikon has better autofocus

and that means more keepers per session and

zoom and says his favourite focal length is

the dynamic range of the D810 is just fabulous.

35mm. “This is a bit of a challenge in the studio

I’m often photographing a white dog next to a

because I can end up including the edge of

black one, or a single dog with black and white

the backdrop, bits of stands and lights, but

patches. If wedding photographers think they

the benefit is the 35mm makes you feel you’re

have a problem exposing images with their

involved with their world. You feel you’re there

subjects, they should try pet photography!”

without too much wide-angle distortion.

Ken works with a 24-70mm or 24-120mm

In terms of lighting, Ken uses Paul C. Buff

Einstein lights brought in from the USA. “I need

AWARDS

flash with very short flash durations. I started

“When you photograph animals, you have to

with Bowen and they are nice lights, but the

speak their language. Someone who specialises

flash durations were too long when working

in animals can be head and shoulders above

with a moving animal. Now I ship in the Einstein

a standard high street studio because of their

lights because they have ultra-short flash

knowledge and experience.

durations and that suits my style of work.”

“We just photograph animals. I have studied

animal behaviour and body language for years,

30

TECHNIQUE

and the more I learn, the better my photos

Ken is working in a relatively dim studio, which

become.”

he admits challenges his autofocus system,

but the flash synchronisation speed of 1/200

seem obvious why Ken enters the Awards.

With so much success at APPA, it might

31

FEATURES

Above: “When we started, no one was doing black backgrounds, but now there are nearly a dozen photographers in Queensland doing it and trying to compete on price. There’s no doubt the profession of photography is becoming more challenging and this is why it’s important to constantly improve and push forwards.” Photography by Ken Drake.

32

“There are two main reasons, beginning with

get on social media, but your fans don’t really

marketing. If you win some awards, it can really

know what they are talking about.

help to establish yourself, especially when you’re

just starting out.

photographs of animals, but you can’t listen

to them. You need the opinions of other

“However, I also want to have my work

“Everyone loves photography, especially

judged by my peers. It’s easy to think you are a

professionals to really know where you stand

great photographer because of all the likes you

and that’s why I enter the Awards, so I can

“Successful award photographs are more than just great technique. I think it’s important to have an element of story-telling as well. A lot of people think that if you have a good camera and you take enough photos, you’ll get a good one, so we need to take our photography further and we can do that with story-telling. Look at Peter Rossi and Charmaine Heyer – they are telling stories with their photographs and they’re just fabulous. I’m not saying everyone should be doing the same work, but you can learn a lot from the leaders in Australian photography and that’s what I’m trying to do.”

measure my progress against the best.”

sales will go to a range of charities supported by

Zoo Studio’s registered charity – The Zoo Studio

Well, from here on in, there will be many

photographers entering the Awards to measure

Foundation.

their progress against Ken and perhaps a great

place to start is his book Pawtraits.

over $82,000 for animal welfare and the team

Published by New Holland, Pawtraits is a

lavish hard cover book and a percentage of all

Last financial year their Foundation raised

donated hundred of hours of their time.

Pawtraits cost is $49.95.

33

NEWS

The AIPP At Work

How Much Could Photographers Lose?

Hopefully our worst copyright nightmare is not about to come true as the Productivity Commission presents ill-conceived suggestions to Government for its consideration. As Chris Shain APP AAIPP Hon. LM explains, the proposed changes must not be allowed as it affects the viability of all photographers to earn a living.

According to the letter drafted by Chris Shain

Commission would have serious and wide

and sent by Peter Myers on behalf of the AIPP

ranging impacts on our members’ ability to

to the government, “Proposed changes to

continue making a living

copyright legislation have a very significant

impact on the ability of our members to make a

slices of the Australian lifestyle and the ever

living.”

changing social history of this country for future

“More importantly, the ability to document

generations would be placed in great jeopardy.”

TAGS Busine s s Advo c a c y Co pyr i g h t

INCREASINGLY DIFFICULT

The AIPP is taking an active position along with

very closely with the Australian Copyright

many other creative organisations to block

Council. He has reviewed their comments

suggested changes to the Copyright Act which

to the Department and endorses them

would mean further erosion of our income

wholeheartedly.

earning capacity. Continued the letter:

“The majority of photographers are small

the Arts Law Centre of Australia to articulate to

businesses and industry surveys show that the

government many of the legal issues that are

vast majority of them are not making large

affecting us.”

“We rely on organisations like them and

incomes.

“The work we produce is used extensively

OVERALL REACTION

by the community, governments and business.,

“We also work closely with Copyright Agency/

but the ability of the creators to monetise their

Viscopy. Many photographers rely on income

imagery is becoming increasingly difficult.

from CA/Viscopy and we also strongly endorse

the comments they have made.

“Many of the changes to IP and copyright

arrangements proposed by the Productivity

34

Chris explained that the AIPP works

“Our overall reaction to the final report is

•

Jan Ramsay APP M.Photog.

NEWS

The AIPP At Work generally one of disappointment. The voices of

individual artistic creators like photographers

abuse from poorly thought out Orphan Works

seem to have been largely ignored.

legislation.

Yo u ca n re a d t he Pro d u c ti v i t y Co mmissi o n re po r t here: h ttp:// w w w.p c. g ov. au /inqui r i e s / co mp lete d / in tellec t u a lp ro per t y /re po r t

attention and we would welcome involvement

the term ‘Copy(not)right’ is very negative and

in any further discussions on the issue of

shows a lack of impartial objectivity to the task

making legitimate orphan works more

at hand.”

accessible.

For example, the report suggests that the

“However, we don’t feel the PC listened very

life of copyright only needs to be five years,

carefully to concerns expressed by many people

something that for photographers is completely

about the significance of Orphan Works to our

ludicrous.

profession.

The Productivity Commission doesn’t seem

to have heard the overwhelming criticism of a

SMALL CLAIMS

proposed US-style Fair Use exception either.

However, not everything the PC put forward

was disagreed with.

Contrary to the PC’s comments that Fair Use

makes outcomes more certain, our professional

colleagues in the USA reel in horror at the way

Federal Court small claims system needs

Fair Use is applied.

investigation, but we must listen very closely to

the needs of the creators of copyright.

There is no more striking an example of the

“We are in strong agreement that a simpler

lack of fairness than in the recent USA case,

Cariou v Prince.

individual photographer to bring a copyright

infringement case before the courts, due to

“The AIPP would be very keen to come to

“Currently, it is almost impossible for an

Canberra at any time to discuss this case and

complexity and costs. The AIPP would welcome

show why such a broad Fair Use exception

any opportunity to give input on this issue.”

as proposed by the Productivity Commission

would be a nightmare for photographers.”

previously, copyright has a major impact on the

viability of photographers to make a living.

A recent article by Patrick Kilbride (US

Chris concluded in his letter, “As outlined

Chamber of Commerce) in The Australian

newspaper, Arts section on 9 February 2017

ministers or departmental officials involved

says, a lot:

in the decision making process at any time to

“Unfair disadvantages could flow

from ‘fair use’ proposal.”

36

“We understand that this area needs

consumers and business. The continual use of

Fur ther I nfo

“Rather, there are lots of comments around

Photographers are also very susceptible to

“We would be willing to meet with the

discuss our concerns.”

•

Christopher Ian APP M.Photog. I

37

EDUCATION

Why Being Polite On Facebook Is Smart!

R e a d i n g Fa c e b o o k c a n b e l i k e l i s t e n i n g t o p r i m a r y s c h o o l k i d s a r g u i n g i n t h e p l a y g ro u n d : l o t s o f p a s s i o n a n d n o t m u c h t h o u g h t o r c a re fo r t h e c o n s e q u e n c e s o f t h e i r a c t i o n s. B u t w h a t d o y o u r c o m m e n t s o n F B s a y a b o u t y o u ? A n d w h a t d o y o u r p ro s p e c t i ve c l i e n t s t h i n k t o o ?

38

We all know the comments I’m talking about

because they get shared the most, but what

things in the heat of the moment without

might make the zealous writer feel good and

thinking how they will be read or understood

powerful, even righteous, can have unintended

by other people.

consequences. For the writer!

If you have negative comments to write

on Facebook, try to phrase them in a way that

While this article is prompted by posts on

When we’re on our own, it’s easy to write

the AIPP website, it isn’t just about us. A recent

is respectful for both you, the person you’re

interview on television talked about a change in

writing to and everyone else who reads it. If it is

people’s perceptions of ‘bullies’ and ‘rude people’

still harsh, sleep on it and post it the following

on Facebook. Negative comments poorly

morning - if you still feel the same way.

phrased on Facebook say far more about the

writer than the object of the post.

just our friends who are reading our posts, but

I know when I read some comments, I

potential clients and employers as well. Do your

wonder if the person writing them would say

Facebook posts paint you as a cranky old man,

the same thing out loud if the recipient were

or a young, stuck-up snob?

standing in front of him or her?

a bullying or rude comment, how you respond

At the WPPI photography awards in Las

What we need to remember is that it’s not

Similarly, if you are on the receiving end of

Vegas this year, Jerry Ghionis asked all the

speaks volumes about what you’re like to

judges when they were talking about a print to

deal with in business. There are few situations

imagine that the entrant was sitting in front of

where you shouldn’t bend over backwards to

them, right next to their print. I thought what

apologise and do whatever it takes to make it

a great idea for people writing comments on

right. Remember, people are always reading

Facebook!

these posts, long after they were written.

•

Simone Addison APP AAIPP

39

EDUCATION

Photo Studio: Pricing For Profits How do you set your prices? Do you look around and see what everyone else is charging? And would you continue to do that if you knew ‘everyone else’ was losing money? Portrait photographer Glenn Addison APP AAIPP of Gap Studios explains that we have to know our own numbers if we are to price ourselves for profits.

Business is like a sport and once you understand

operate, what their expenses are, or most

the rules of the game, you can start to win in a

importantly, if they’re actually making any

big way.

money.

Busines s Pr icing

40

A lot of small ( and big business owners for

successful business operations, not just

that matter) talk about sales. We don’t care how

photography.

much money we make in sales, we only care

about what we keep at the end of the day.

Knowing your numbers and pricing for

profits is one of the fastest and biggest ways to

massively change your business from making

a lot of businesses don’t make any profit, even

average income to making massive income.

though they’re making huge sales. Businesses

But it does require a basic understanding of

that operate like this are pretty much working

financial statements.

for free.

TAGS

Getting this right is fundamental to all

Be very careful with this concept because

This doesn’t have to be boring or unpleasant

and I’m sure some people reading this have just

VALUE YOURSELF FIRST

glazed over, but don’t worry, I won’t go into it

A lot of small business owners don’t think

here. However, you can’t really price for profits

about their own wages as a cost. If you work

without it.

in your business, you are a wage. You have to acknowledge your time when pricing your work

DON’T COPY PRICES

because it has a value.

One thing you cannot do is base your prices

on what other photographers are charging. It’s

money left over, but that’s a really poor strategy.

irrelevant.

employees a wage, plus we cover all of our

You don’t know how their businesses

A lot of photographers get paid if there’s In our business, we pay ourselves and our

Examples of the day-to-day portrait photography offered by Gap Studios and Glenn Addison.

41

Examples of the day-to-day portrait photography offered by Gap Studios and Glenn Addison.

42

EDUCATION

expenses and still make 25% profit.

makes a huge difference to your profit.

This is why it’s important to know the

Generally speaking, our wage costs are

desired outcome for your business. You need

around 30%; cost of goods is around 13% (and

to know what you want to earn first because, if

should be no higher than 25%); marketing costs

you do, you can reverse engineer the number of

are 3% and our G&A is around 23%, but this

clients you’ll need to create the sales required to

requires constant attention.

give you the profits you want.

The goal is to break everything down so that

KNOW YOUR NUMBERS

you know exactly what it costs to work with a

However, we know that these numbers are

client.

going to set us up well to have a bottom line of around 25% profit.

WHAT ARE YOUR COSTS?

You can’t determine your prices unless you

fastest way to make more profit is to manage

know all these numbers to the cent. There’s no

your expenses, not necessarily to just make

way you can pull some random numbers out of

more sales. Of course, more sales are great, but

the air and expect (or hope) to be profitable.

it’s how you keep the money you earn that

matters.

For instance, what are your cost of goods

Once you have an established business, the

sold. When a client buys photography from you,

how much are you spending on the photos,

client you can determine your pricing.

frames and albums you provide?

Your cost of goods sold can be thought of

client through our doors. That may sound like a

as a percentage of your sales and it will change,

lot, but you might be surprised by what it costs

depending on how much you charge.

you when you do your sums.

Two photographers can pay the same price

Only once you know what it costs to have a In our business, it costs us $620 to have a

If we charged what most photographers

and provide exactly the same products to their

charged we’d be out of business.

clients, but have completely different cost of

So, what should you really be charging?

goods sold percentages - depending on how much they charge.

Glenn Addison runs the successful Gap Studios in

Sydney and Brisbane. He has developed a series of

For example, if the cost of prints and a frame

was $200, a photographer charging $1000

in-depth training videos for professional portrait

would have a 20% COGS, but a photographer

photographers - for more information, email Glenn

charging $2000 would have only 10%. This

directly at Glenna@gapstudios.com.au

43

EDUCATION

The AIPP Management: Who Does What?

Peter Myers talks with Ashley Karakatsanis about the difference between strategies and policies, and how the Board and National Office work together.

DIFFERENT ROLES

agreed with them.

The role of the AIPP Board is to develop the

strategy of the AIPP. These strategies must be

me, asking if I think they are workable and if

developed within the rules and regulations

they will help reach our strategy objectives,

found in our Constitution, including the ‘objects

so there is a lot of discussion and planning

of association’ which tell us who the AIPP is and

involved.

Equally, the Board will propose policies to

why we exist.

TAGS AIPP G over na n c e

44

The role of the Board is to interpret these

RESPONSIBILITIES

objects and to develop strategies that will meet

When the final policies are authorised, my role is

them.

to deliver them by virtue of operational tactics

and the day-to-day running of the organisation.

Now, what the Board needs to do in 2017

would be very different to what was required

So, the Board is responsible for the strategies

back in 1995. That’s the role of the Board –

and I am responsible for the policies to

to interpret current circumstances, what’s

implement them.

happening in the outside world, and to develop

long term strategies to meet them.

governance, which is to oversee all the people

in the Institute.

As the Executive Officer, I have some impact

The Board also has a responsibility of

on that strategy development, but in the end, it

is the Board’s role and responsibility.

on councils and committees, as well as

the general membership. The Board needs

My role is to implement the Board’s strategy.

This includes National Office staff, volunteers

The Board will provide a number of strategies

to ensure these people are fulfilling their

and ask me to define what polices could

roles correctly, which is quite separate from

be implemented to deliver them. My role is

developing strategy. Neither I nor the National

to come up with those policies, but I can’t

Office have governance responsibilities, ours is

implement those policies until the Board has

purely operational, delivering the policies.

•

Shannon Harth APP

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 46

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

STRATEGY IN ACTION

governance – such as the Honours Committee

A current example of a strategy is in relation

and the Compliance Committee.

to the AIPP Awards. The Board’s strategy is

to make the AIPP Awards the premiere print

level and council members can nominate

awards in Australia. The policies we have put

themselves simply because they’d like to help

in place include requiring all entries to be

out and serve the AIPP.

prints, not digital. The seeding and qualification

process means that just to enter APPA is an

member can nominate to be a council member

achievement in itself, reinforcing APPA’s position

– you don’t need three year’s membership or

as the premiere awards.

have 15 service merit points as you do for the

Board. And in fact, this is a great way to get the

And there is a commonality in the Awards

Councils are the face of the AIPP at a local

Unlike Board members, any accredited

from state to state, so a member entering in

experience needed for the Board.

Tasmania will get the same experience as a

member entering in Western Australia. That

of years, while Council members are voted in

wasn’t the case previously. So, these are all

each year. If more than 5 people nominate, an

tactics we have put in place that lead to the

election process takes place.

Board’s overall strategy which is to make the

AIPP Awards the premiere awards in Australia.

what their role is and what they are expected

to do and can’t do. Within that charter they are

Strategies have long term outcomes, but

Committee members may stay for a number

Councils are given a charter which explains

the policies we have put in place appear to be

given fairly free rein to do what they need to

working on the basis that the Epson State Print

achieve, but National Office is always there to

Awards are seeing an increase in the number of

help and guide them when required.

entrants, we believe we have more consistent

judging at APPA than in the past, and as a result

and Category Advisory Groups (CAG) which

we are getting better PR and publicity.

allow members to get involved with the AIPP

There are also Special Interest Groups (SIG)

without the formal structure of a council or

COUNCILS & COMMITTEES

committee.

There is a difference between councils and committees, although both are comprised of

You can listen to Peter Myers and Ashley Karakat-

volunteer members.

sanis talk about the AIPP (and lots of other presen-

taitons too) on the AIPP Vimeo channel which you’ll

Committees are appointed by the Board

and usually have specific functions to do with

find here: https://vimeo.com/aipp

47

NEWS

Fujifilm GFX: Affordable Medium Format Photographers are always looking for ways to distinguish themselves from their competition and now with the GFX, Fujifilm has a way for them to look different and to create different quality images too.

The GFX is Fujfilm’s first medium format digital

The lenses are obviously bigger (to handle the

camera - and medium format is something

larger format sensor) and the camera body is

many readers should consider if they wish

deeper too. However, we’re comparing the GFX

to separate themselves from the thousands

to what are already very small cameras.

of people who call themselves professional

photographers.

Canon EOS 5DSR and there’s not much in it.

Ca mer a s M ediu m fo r m a t Fujif ilm

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Weight and volume are very similar, so what

camera to be a successful photographer, but it

Fujifilm is presenting is access to medium

is one way in an incredibly competitive market

format photography without the penalty of size

place to make a difference.

or weight.

TAGS

No, you don’t have to buy a medium format

Put the GFX up against the 50-megapixel

The GFX body is retailing for $9995 and

lenses will cost around $2-3000 each, so

EXCELLENT QUALITY

suddenly medium format isn’t that much more

After opening the test photos I shot in Fujifilm’s

expensive than a top of the line DSLR, and yet

Raw File Converter, I can confirm that the image

considerably less expensive than many of the

quality is stellar. The colour is excellent and

existing medium format systems.

there is plenty of exposure latitude.

However more important than this is the

Shooting with the camera is a beautiful

fact that medium format photography is now

experience. Apertures are controlled on the

available in a camera body that is as easy to use

lens, shutter speeds and ISO on the camera

and as versatile as a DSLR or CSC.

body with generous dials that can be locked into position (very much X-Series design). The

SMALL BODY, LIGHT WEIGHT

detachable electronic viewfinder is large and

The GFX features a 50-megapixel sensor in a

very bright with a 3.69 million dot screen, but

compact, mirrorless camera body that isn’t

you can also use the 2.36 million dot touch-

much larger than the smaller X-Pro2 and X-T2.

screen LCD on the rear of the camera. On

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Test photos taken with the Fujifilm GFX were based on the reviewer’s preference for landscapes - after all, if you have a 50-megapixel sensor, you want to capture lots of detail. The GFX doesn’t disappoint. However, don’t write this camera off as being for landscape and advertising photographers. Wedding and portrait photographers will revel in the extra detail when doing those large family group shots because now you’ll be able to recognise everyone very clearly, even in a large print! What a sales opportunity! And with excellent low light performance (especially for medium format), it is an ideal camera for late afternoon weddings and family portraits on the beach. This is a 40 second exposure using an ND filter - the sensor has no trouble with long exposures or higher ISO settings.

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NEWS

the top of the camera is another LED screen

with extended sensitivities from ISO 50 up to

detailing important camera settings, but this

102,400. ISO 100 to 800 work brilliantly well, but

information can also be seen on the rear LCD or

at ISO 6,400 and 12,800 you can clearly see the

in the electronic viewfinder itself.

effects of the higher settings.

Personally, I’d prefer another dial for

Nevertheless, you need to remember you

exposure compensation, similar to the X-Pro 2,

are looking at a 50-megapixel file, so if you

but maybe that’s just me!

view at 50% magnification on screen, this will

approximate what you’d see from a comparable

When it comes to autofocus, the mirrorless

design allows Fujifilm to offer up to 425

24-megapixel DSLR and suddenly you realise

autofocus points spread across almost the

there’s a lot you can do with these files.

entire image area, meaning it is very unlikely

you will want to focus on something that is

format and you can certainly enjoy low light

not covered. Importantly, you can adjust the

shooting with the CMOS sensor.

focus point very easily, even with the camera to

your eye, using an eight-direction focus lever.

is only 1/125 second, although you can

The GFX also offers Face Detection and Eye

choose between first and second curtain

Detection AF so suddenly the camera is looking

synchronization.

very appealing for professional wedding and

portrait photographers.

standard 63mm f2.8, a 120mm macro and

a 32-64mm zoom. You can also mount

One of the challenges faced by wedding

The high ISO settings are a boon for medium

In the studio, the flash sync speed

On release, there were three lenses: a

photographers is exposure latitude. Whether

Hasselblad H lenses. However, If the GFX is to

shooting from inside a dark church to a bright

become a favourite for wedding and portrait

outdoors, or simply maintaining detail in both

photographers, for instance, then Fujifilm

the bride’s white dress and the groom’s black

needs zooms the equivalent of a 24-70mm and

suit, medium format sensors benefit from a

80-200mm, which are standard fare in these

generous exposure latitude. The GFX is claimed

genres.

to have 14-stops (EV) dynamic range and this is

The GFX system will allow you to shoot

one of the prime reasons for switching from a

medium format quality with the convenience of

DSLR or CSC up to medium format.

a small, compact camera. And it is as automatic

FUR THER DE TAILS http://w w w.fu ji fi lm . com /produ c ts/di gi tal_ cam eras/gfx/f u ji fi lm _ gf x_50s/

as you want to make it. For more details, visit

LOW LIGHT PERFORMANCE

http://www.fujifilm.com/products/digital_

The GFX has ISO settings from 100 to 12,800,

cameras/gfx/fujifilm_gfx_50s/

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