AIPP Journal - June 2017

Issue 252

Do Judges Need To Be Experts?

Lightroom Vs Capture One How To Handle Sales Objections Olympus OM-D E-M1 Mark II

June 2017

CONTENTS

Cover

4

Taking It To The Next Level

7

Portfolios & Board Advisors

8

Olympus New Platinum Sponsor for APPA

With a new AIPP Board in place for 2017-18, AIPP National President Vittorio Natoli says the prospects for the Institute are looking very positive indeed - and for the profession if we embrace the idea of personalizing what we offer.

The AIPP modernises with portfolios for board members and board advisors too!

Pe ter Bl a keman APP AAIPP

Olympus has had a long association with professional photography, ever since the days of film, so it is a pleasure to welcome Olympus as the Platinum Sponsor for the 2017 Australian Professional Photography Awards.

2016 AIPP AUSTRALIAN PROFESSIONAL TRAVEL PHOTOGRAPHER OF THE YEAR

AIPP JOURNAL is the official newsletter of The Australian Institute of Professional Photography (AIPP).

Editor Peter Eastway APP.L, FNZIPP, Hon. FNZIPP, G.M. Photog., Hon. FAIPP, FAIPP Disclaimer The information provided in the AIPP JOURNAL and associated publications is made in good faith, but is general in nature. Neither the editor, the publisher or the AIPP accept responsibility for or will be under any liability for any recommendations, representations or information provided herein. The AIPP JOURNAL presents information, opinions and suggestions for subscribers to evaluate in coming to their own decisions in the light of their own individual circumstances. The information should not be relied upon without readers first obtaining independent advice from their own financial and legal advisers.

Unless otherwise noted, all articles are written by Peter Eastway.

Publication The newsletter is published 10 times a year – monthly with November/ December and January/February being combined.

The AIPP JOURNAL newsletter is published by Pt 78 Pty Ltd, ABN 75 003 152 136, PO Box 351, Collaroy Beach, NSW 2097, Australia.

Phone: (02) 9971 6857; Fax (02) 9971 6641.

E-mail eastway@betterphotography.com Quietly celebrating 25 years of publication.

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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10

Finding First Clients, Finding New Clients For some, the ideal of a professional photographer is having time for a leisurely coffee inbetween a busy schedule, but how do you get that busy schedule in the first place? And how busy are professional photographers really?

ISSUE 252 / JUNE 2017 14

Do APPA Judges Need to Be Experts?

Is it essential to have expert photographers judging our entries, or are we better off having generalists or clients giving their opinions? There are arguments for and against and so in general, we go for a balance.

Here’s why.

20

Aaron Dowling - 2017 WA Epson PPY

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Two state PPY wins in a row must sit very comfortably with new AIPP member Aaron Dowling APP AAIPP.

36

Capture One Vs Lightroom Last issue I challenged readers to test Capture One and compare it with Lightroom. This should not be taken as condemnation of Lightroom which for some of our wedding and portrait photography readers, may still be the preferred raw processor.

42

Handling Sales Objections

Lisa Saad - 2017 Victorian Epson PPY No stranger to the limelight, the current AIPP Australian Professional Photographer of the Year Lisa Saad has now been awarded the 2017 AIPP Victorian Epson Professional Photographer of the Year.

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46

What Happened in Victoria?

26

Back in March 2017, Michael Teo was awarded the PPY in Victoria, so what has happened to change the result?

Peter Eastway explains.

Peter Blakeman - More Than Documentary Travelling the world and taking photographs isn’t a bad way to carve out an existence, as Peter Blakeman APP AAIPP describes it. Yet he likes nothing more than getting away from it all in the remote deserts of central and western Australia.

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When photographers mention ‘handling objections’, our first thoughts might be about dealing with complaints, but in fact, it is much more fundamental than this - as Gap Studios’ portrait photographer Glenn Addison APP AAIPP explains.

Olympus OM-D E-M1 Mark II There is a definite trend towards smaller cameras and given the image quality they produce, why wouldn’t a professional photographer prefer a lighter camera outfit? Certainly helps the back! So, is the latest OM-D mirrorless camera from Olympus the next camera for you?

EIZO ColorEdge CS2730 Monitor How do you get the best type of monitor at the lowest price? The Eizo ColorEdge CS2730 has many of the features found on its more expensive siblings, but at a very attractive price!

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NEWS

Taking It To The Next Level With a new AIPP Board in place for 2017-18, AIPP National President Vittorio Natoli says the prospects for the Institute are looking very positive indeed - and for the profession if we embrace the idea of personalizing what we offer.

The AIPP National Board of Directors remains

involved and are keen to make a difference to

substantially the same for the 2017/18 financial

the Institute and our profession in general.

year.

Over the past 12 months, we’ve spent

quite a bit of time settling in and refining

NEW BOARD ELECTED

processes, but now we’re ready to make some

Louise Bagger from South Australia has agreed

long overdue changes. The more I look at our

to join the Board, with all the current board

profession, the more I realise the basics are out

members remaining.

- and this applies as much to the Institute as it

does to individual members and their studios.

However, there will be a litte reshuffling

within the Board, with David Glazebrook taking

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

4

on the Chairman role from Melinda Comerford,

BECOMING PERSONAL

and John Swainston becoming the National

I guess this has become my soapbox, but I’ll

Treasurer.

say it again: photographers need to be more

personal with their clients so they can explain

Both John Swainston and Paul Atkins remain

confirmed as Co-opted Board members, along

the value of what we do.

with full Board members Kylie Lyons, Melinda

Comerford and Nick Ghionis.

communicate with our clients and prospective

I will remain as National President.

clients. So how do we do this? How do we talk

All the Board members are excited to be

to people more personally?

This means we need to change the way we

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 5

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 .

NEWS

One way is to pick up the phone, but I realise

a sign of the times.

this isn’t as easy as it used to be. If people don’t

recognize your phone number, chances are

lot. Sometimes we email or text them first to let

they won’t answer, so how do you get through?

them know we will call, but the main objective

is to talk to them one-on-one.

If you send them an email, chances are that

In our business, we still use the telephone a

it isn’t read because they are too busy or the

You can’t just send someone a price in a

contents of the email is pre-judged. And when

text message and expect to make a sale. We

it comes to social media, no one reads the fine

need to find out everything we can about our

detail that you need to get across.

customers so we can explain to them why our

But this doesn’t mean we give up.

services are invaluable.

We need to use the new media to our

Look at how Airbnb displays its properties

advantage and accept that we won’t be able to

and the information it provides. It’s much more

make contact all the time.

than availability and price. Availability and price are just the starting points. People also want

PERSONALLY PERSISTENT

to know about location, parking, transport,

We may need to send an email first, asking for

appliances and so on.

permission to make a phone call.

want to know more than just our prices,

Remember, the objective of our first contact

It’s the same with photography. Our clients

isn’t to make a sale, it’s to have a conversation.

they need to understand the value of our

And by having a conversation, we can be more

photography for them and the importance of

personal. And by being more personal, we

a professionally captured image for their family,

have a chance to connect with our clients and

their business or their advertising.

engage them.

can’t use it superficially when it comes to our

Professional photographers mustn’t be afraid

The new media is here to stay, but we

of talking to people face-to-face. If we want

businesses. We have to engage with it and take

our businesses to be successful, we need to

it to the next level.

connect with people and show them that we

We need to become more personal.

truly understand their needs.

I think the biggest mistake we can make

is to send someone a message via email or a

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newsletter and assume it has been received.

vittorio.natoli@aipp.com.au

The bounce rate for unopened emails is simply

0400 418 888

Portfolios & Board Advisors The AIPP modernises with portfolios for board members and board advisors too!

The concept of Board Portfolios is new for the AIPP and

helps the AIPP grow and develop to meet the needs of the

came out of recent training which covered association

modern world.”

board governance

The idea is to ask an individual board member to

BOARD ADVISORS

oversee one or more of the key ongoing areas within the

Added Peter, “As the AIPP board looks to the new term, and

structure of the Institute.

to the longer term in general, we would like to develop

an initiative we started modestly a few years ago, creating

Explained Peter Myers, Executive Officer of the AIPP, “In

our case, we have defined these key areas to be: finance;

‘board advisors’.

compliance; honours; awards; education; and commercial

photography.

to formally become board advisors where your expertise

and commitment can help us develop and refine our

“The role of the board member who is responsible

“The AIPP Board is now looking for members in general

for a portfolio is simply one of oversight, a channel of

strategies and focus. We currently have two board advisors:

communication, a sounding board and a person to offer

Chris Shain advises on AIPP advocacy efforts, and

help and communication if needed.”

Rochelle Morris advises on the development of our video

membership.”

Continued Peter, “There is no remit within these roles

for an individual board member to take responsibility for

operations and management.”

board advisors in the following areas:

• School Photography;

The initial allocation of board portfolios to board

Continued Peter, “We would welcome applications for

members will be as follows:

• Sport Photography;

• Finance Portfolio - John Swainston;

• Working with the tertiary education sector;

• Compliance Portfolio - Kylie Lyons;

• Documentary/Reportage Photography;

• Honours Portfolio - Vittorio Natoli;

• Communications and use of Social Media.

• Awards Portfolio - Melinda Comerford;

• Education Portfolio - Nick Ghionis; and

you can contribute and make a difference, we would love

• Commercial Photography Portfolio - Louise Bagger.

to hear from you.

Concluded Peter, “Hopefully members will see this as

a positive initiative, as we do, and as another step that

“If this is something that interests you and you believe

“Please contact us at admin@aipp.com.au (N.B. Please

don’t respond with just a comment on Facebook).

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NEWS

Olympus New Platinum Sponsor for APPA Olympus has had a long association with professional photography, ever since the days of film, so it is a pleasure to welcome Olympus as the Platinum Sponsor for the 2017 Australian Professional Photography Awards.

TAGS Equ ip m e n t Sto r rag e L a Cie

Olympus Australia is was quick to announce

focusing on a new format and new technology.

its partnership with the Australian Institute

of Professional Photography as a Platinum

will continue to evolve and go from strength

Sponsor for this year’s Australian Professional

to strength with the ever growing involvement

Photography Awards (APPA) and the Australian

of our members, the continuing support of

Professional Video Awards (APVA).

Olympus and our other committed trade

partners,” concluded Peter.

As our readers already know, the Australian

Professional Photography Awards is an annual

event that has been running for more than 40

Australian Professional Video Producer Awards

years and is the largest “print only” professional

(APVPA), which will be held in September this

photography awards in the country.

year.

Peter Myers, Executive Officer of the

Olympus Australia will also sponsor the

Kristie Galea, Marketing Manager, Olympus

AIPP, says this partnership is a co-operation

Australia added, “Olympus is thrilled to be

which will see both the AIPP and Olympus

involved in the Australian professional imaging

Australia combining “their shared ethos in a

community and excited to be able to engage

long term commitment to promoting the art

the community with our Micro Four Thirds

of photography and all of the experiences

camera system”.

surrounding it”.

Added Peter, “We’re excited to be working

Olympus Australia Pty Ltd is a subsidiary of Olym-

with Olympus who shares our philosophy of

pus Corporation, headquartered in Japan. Olympus

working for the benefit of the professional

Australia Consumer Division is responsible for the

image making community in Australia.

marketing and distribution of Olympus consumer

and professional products in Australia and New

“With its Micro Four Thirds camera system,

Olympus is a traditional photography brand

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“We are more confident than ever that APPA

Zealand, and the South Pacific generally.

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EDUCATION

Finding First Clients, Finding New Clients For some, the ideal of a professional photographer is having time for a leisurely coffee inbetween a busy schedule, but how do you get that busy schedule in the first place? And how busy are professional photographers really?

When we see a busy professional photographer,

we often imagine he or she is fully booked

spend even more time than this. However, what

every day, shooting.

is their marketing aimed at?

The reality is a little different. Most ‘busy’

Wedding and portrait photographers might

Successful photographers aren’t backward

professionals spend quite a bit of time in

about touching base with prospective clients

the studio doing post-production and, more

directly. it’s one thing to write an anonymous

importantly, marketing themselves for the next

email, quite another to get on the phone or

job.

make an appointment in person.

Sure, the top few per cent of photographers

Successful photographers spend a lot of

can afford to pay a retoucher and hire

their time marketing effectively. What they do

someone for marketing and PR, but the

counts, meaning it’s not enough to post a few

majority of successful AIPP members are single

images on Facebook and hope the world will

photographers with one or two staff (and often

beat a path to your door. A Facebook post is

their staff is family).

followed up with a range of other strategies that all point not to someone booking a job

TAGS M a r k eti n g

50 PER CENT MARKETING

(although that would be nice), but to making

The point to take away from watching a

contact.

successful professional is how much time is spent in marketing and building a reputation.

MAKING CONTACT

Few photographers are hired without

It is not unusual for a successful advertising

or commercial photographer to spend two

interaction. You might be a successful portrait

or three days a week marketing themselves:

or wedding photographer with lots of referrals,

updating their website and social media, writing

but even if a propsective client thinks they are

proposals, sending out estimates and quotes.

going to hire you, they could change their mind

This is general information only. We do not know your specific financial or legal situation and we are not providing you with advice. As such, this article should not be relied upon as legal, financial or accounting advice. Please use this article as a conversation starter with your own adviser.

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•

Katherine Williams FNZIPP

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•

Colin Baker APP AAIPP

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EDUCATION

after that all important first meeting.

two clients. In week 10 - well, maybe 10 clients

No matter how we look at professional

In week one, get one client. In week two, get

photography, no matter how successful

a week is a little too many and so the game

modern media is in getting our message out to

changes. Instead of getting five shoots at $250,

the market, our success relies on a positive one-

you aim to get two shoots at $500 and the

on-one conversation.

other three at $250.

How good are you at talking to people? Do

These goals are not rocket science. If

you need to practise?

you want to be a successful professional

photographer working full time, you should aim

There are very few successful professional

photographers who are not good with people.

for $200,000 a year income.

If you’re new to the profession and you’re

wondering how you get your first clients, then

week. And $4000 a week is eight jobs at $500

the answer is simple: one at a time.

or four jobs at $1000. These are not imaginary

figures and they are also achievable – in time.

Very often we look at where we are and

An income of $200,000 is roughly $4000 a

wonder how we get to our goal. Goals are much easier if we break them down into achievable

THE PROGRAM

steps.

So, if you’re looking for new or more clients, set yourself these goals:

STEP ONE

Week 4: 1 job @ $500 or 2 jobs @ $250;

Your first step for this week might be to get a

Week 8: 2 jobs @ $500 or $1000 in sales;

single client. A portrait photographer might go

Week 16: 1 job @ $1000 + 2 jobs @ $500

on Facebook with a special offer; a commercial

or $2000 in sales. Now you are earning the

photographer might wander down the local

equivalent of $100,000 a year.

industrial centre and door knock.

Week 26: 2 jobs @ $1000 + 4 jobs @ $500 or

$4000 a week.

The majority of photographers don’t try

too hard. This is not meant unkindly, but if you

Now, the first three steps might happen

have other sources of income, there isn’t the

quite easily, while the fourth step might be

necessity to be successful as a photographer.

harder to achieve – but look at the positive side.

On the other hand, if you’re going to spend the

If you meet your Week 16 goal, you’re halfway to

next few years aiming to set up a successful

your ulimate objective and if it takes two years

studio, doesn’t it make sense to put some effort

to get to a $200,000 turnover, that is quite okay.

into it?

In fact, that’s very good!

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AWARDS

Do APPA Judges Need to Be Experts?

Is it essential to have expert photographers judging our entries, or are we better off having generalists or clients giving their opinions? There are arguments for and against and so in general, we go for a balance.

Here’s why.

When we enter the Awards, both the Epson

extra marks for photographs they think were

State Awards and the national APPAs, we expect

challenging to capture or create.

our prints to be assessed by five judges with

experience and standing within the profession.

rare flower, found on top of an active volcano

Let’s take the example of a photograph of a

at full moon. It takes several days trekking to

JUDGING BY OUR PEERS

get to the dangerous location, but the resulting

For instance, we probably wouldn’t be too

photo is unremarkable and had it been taken in

happy with a bunch of amateur photographers

someone’s backyard, it would receive a bare 70

judging our work. Why? Because amateurs

per cent.

don’t understand how difficult it is to take

TAGS APPA Awa rd s Rules

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photographs under professional conditions. Nor

RARITY & DIFFICULTY

do they necessarily have the same expectations

Should the print be scored higher simply

and standards as we do. Only other professional

because the subject is rare or difficult to take?

photographers can truly appreciate our work.

rarity and difficulty to shoot do factor into

However, many photographs entered into

In some wildlife photography competitions,

the awards are not taken for clients – they are

the final score, but these are professional

not taken under professional conditions. More

photography awards and we’re expected to

importantly, judges are only assessing the print

overcome challenges every day.

that is in front of them, not whether it took a

long time or was difficult to take.

ask yourself about a second photographer

who climbed the volcano along with the first

The degree of difficulty or ‘how hard it was

As you answer this question for APPA, also

to take’ is not something we should take into

photographer, but forgot to focus his lens

account when judging prints, although I’m

properly. Is his photo also worth extra points

sure judges subconsciously at least give a few

because of the effort he went to? Of course

•

Linda Beks APP M.Photog.

15

AWARDS

not, we think, because the photo wasn’t sharp.

And in the past, APPA has had picture editors,

But maybe his camera played up – surely it is

publishers, curators, art directors, librarians and

okay to give him the same score given both

other ‘experts’ added into the pool of judges

photographers experienced the same degree of

because of the extra experience they bring.

difficulty? Of course not!

I know we like to think that the people

WEDDINGS & LANDSCAPES

judging our work have some appreciation of

One of the complaints we hear is that a

what’s involved, but I don’t think we should

particular judge is not experienced in a

expect them to care whether or not the

genre and shouldn’t be judging. For instance,

photograph was hard to take. That might be

why would you have a panel of wedding

important for our clients who want to know

photographers judging the landscape

why we have charged so much. It will be

category?

incredibly important to the entrant, naturally.

But in professional photography awards, the

to have the majority of the judges on a panel

only thing that matters is the image.

expert in the genre, but equally, we try to add

As a matter of practice, the APPA Team aims

judges with wider or different experiences. So

GENRE SPECIFIC EXPERTS

on a landscape category panel, we might have

So, if we’re just judging images, if we’re just

three well-known landscape photographers and

giving a subjective assessment, do our judges

two other judges from the documentary and

need to be expert photographers themselves?

wedding genres.

I think they probably do need to be experts,

If we limit our expertise to only the category

but not so they can assess the degree of

being judged, we risk creating an insular

difficulty, but because by the time you have

environment that continues to reward exactly

become an expert, you’ve seen a wide range

the same results, year after year. That would be

of different approaches to photography and

the death of professional photography and the

so your experience and expertise allow you

awards.

to assess an entry compared with a valid

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‘professional standard’.

THE APPA FILTER

Already the AIPP’s awards are accused of having

However, strictly speaking you don’ t need

to be an expert professional photographer to

a particular ‘look’ to them. There was a time

have a good understanding of what is required

when photographers talked about the ‘APPA

to make a good professional photograph.

Filter’, a ‘special technique’ you applied to your

•

Nathan Maddigan APP M.Photog.

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AWARDS

images that guaranteed you a silver award.

photography. There can be differences in what

we can enter into the various categories, but

And there is some truth in this accusation.

Over the years, there have been periods when a

the overall standard of a silver or a gold award is

lot of the photographs bore a strong similarity.

the same.

We see fashions and trends which can last for several years, although eventually there is a

DEPTH OF EXPERIENCE

break-through and we’re onto the next new

We can’t have a system where it is easier to get

thing.

a silver award in one category than another, so

This is not a bad outcome. As professional

we use a pool of experienced judges who can

photographers, we are required to satisfy our

work on any panel because of their breadth of

clients’ needs, so by thinking of APPA as one of

experience.

our clients and producing work to make APPA

happy, we are teaching ourselved valuable skills

much greater depth than people realise. For

which can make a difference in our work lives.

instance, our APPA Chairman Tony Hewitt might

And many of these experienced judges have

be best known for his landscape photography

THE BIG BOLD WORLD

today, but he has photographed nearly 1,000

Nevertheless, when we compare the work

weddings and thousands of portraits as well.

we reward with the huge number of other

organisations and competitions around the

important when we judge and assess a

world, there’s no doubt our judges favour a

category of photography, but it is not the only

particular style or viewpoint.

knowledge required. More important is an

appreciation of the overall standards required

Imagine how insular we would become if

we insisted on having five judges who learnt

for a professional photograph – exposure,

everything they know about their genre

composition, lighting, posing, post-production,

through our system?

printing and so on.

By adding in judges with different

At the state and national awards, there will

experiences, we broaden the range of ideas and

always be a few prints that, in our opinion, were

influcences and this is incredibly important. But

not treated correctly. Of course, that’s just our

there’s another even more important reason.

opinion, not the opinion of at least three of the

There is only one standard.

judges on the panel.

There isn’t one set of standards for wedding

photography and a different set for landscape

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Some specialist knowledge is indeed

Expert judges are indeed essential, but so

are judges with a breadth of experience.

•

Mark Watson APP

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AWARDS

Aaron Dowling - 2017 WA Epson PPY Two state PPY wins in a row must sit very comfortably with new AIPP member Aaron Dowling APP AAIPP.

TAGS AIPP E ps o n S ta te Pr in t Awa rd s

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Having joined the AIPP only last year, Aaron

for being a member is for the professional

Dowling is already an Associate and a pretty

accreditation and the potential benefits it has in

happy entrant in the AIPP Western Australian

bringing credibility to my business.”

Epson Professional Photographer of the Year

awards: he won it both last year and this!

has yet heard any negative feedback about his

work from the judges!

“I am a landscape and travel photographer.

With so many wins, one wonders if Aaron

In 2015, I entered the WA awards as a non-

member to see how my work stood up against

comments that can be perceived as negative.

the other professional photographers in the

Personally, I don’t take any of this to heart. At

state. I did quite well, but later found out that

the end of the day, the judge isn’t emotionally

you’re not eligible as a non-member to win. So,

invested in my work and only gets a few

I initially joined the AIPP because I didn’t want

seconds to make a judgment. Not every image

that to happen again, but more so because of

will have the same impact on each person that

the fantastic community of photographers I

views it and that’s okay. I am proud of the work

met at the awards. I realised that there was so

I produce and if I get feedback I believe to be

much more to the AIPP and membership than

constructive, I will take it on board. Otherwise,

just the award system.

‘Next print, please’!

“I have connected and collaborated with

“During challenges you will get some

“For me, this year was all about

a few senior members of the AIPP in West

reinforcement. After winning the 2016 AIPP WA

Australia such as Tony Hewitt, Nick Melidonis,

Epson Professional Photographer of the Year

Steve Wise and Johannes Reinhart, and I have

in my first year as a member, it sat in the back

learnt greatly from their generosity of time and

of my mind that there was some luck involved.

knowledge. While these weren’t the reasons

This year reinforced for me that the work I am

I joined, they are the reasons I will remain a

producing is of a high standard as measured by

member.

a professional body, and not a one off. “

“However, ultimately the biggest reason

And no doubt that is very reassuring.

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AWARDS

Lisa Saad - 2017 Victorian Epson PPY No stranger to the limelight, the current AIPP Australian Professional Photographer of the Year Lisa Saad has now been awarded the 2017 AIPP Victorian Epson Professional Photographer of the Year.

Lisa Saad AAP M.Photog. III has taken the use

Professional Photography Awards. Lisa was the

of a concept within our awards systems to new

most highly awarded entrant including:

levels.

• 9 Gold Awards;

• The Epson Signature Award;

Her Anonymous Man series was first seen

by many people after she won the 2015 AIPP

• Highest Scoring Print – 99/100;

Australian Commercial Photographer of the Year

• 2017 AIPP Victorian Illustrative Photographer

at APPA with a set of highly distinctive portraits featuring stylised architectural landscapes with

of the Year; • Finalist 2017 AIPP Victorian Commercial

a lone gentleman, carefully dressed in a smart black suit.

Photographer of the Year; • Finalist 2017 AIPP Victorian Portrait

She was back last year with another series

of intriguing gentleman and slightly more

Photographer of the Year; and • 2017 AIPP Victorian Epson Professional

imaginative landscapes, challenging the judges

TAGS AIPP E ps o n S ta te Pr in t Awa rd s

and the profession in general about what

photography is all about – or more precisely,

a popular presenter on the photography

what photography can be all about.

speaking circuit and has given many seminars

and workshops on how she creates her very

The result we all know: Lisa won the 2016

Following her successes, Lisa has become

AIPP Australian Professional Advertising

individual and stylised imagery, selflessly

Photographer of the Year as well as the overall

sharing her skills and ideas with others.

2016 AIPP Australian Professional Photographer

of the Year.

that she is no overnight success. A Master of

Photography with three Gold Bars, she has been

So, how far can this idea and concept take

However, Lisa will be the first to note

Lisa?

a regular entrant at APPA for many years – and

no doubt she will become a Grand Master of

Much further it would appear based on

the results of the 2017 AIPP Victorian Epson

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Photographer of the Year - for the second year!

Photography in the near future.

23

AWARDS

What Happened in Victoria?

Back in March 2017, Michael Teo was awarded the PPY in Victoria, so what has happened to change the result? Peter Eastway explains.

Challenging situations are what define us as

And given the photos were so different, it

people, whether in business or in our personal

didn’t click with Michael that technically it was

lives. And credit must be given to Michael

the ‘same subject’ and in breach of our rules.

Teo who returned his award as the 2017 AIPP

Victorian Epson Professional Photographer of

and in the other, she was nude with some

the Year with humility and an apology.

rope and a snake. The concept, attire, makeup,

So what happened?

pose, expression, lighting, camera technique,

After all the announcements and fanfare had

composition and post-processing were

“In one, she was dressed to go to a party,

died down, a few weeks later Michael was asked

completely different in both images.”

if two of his photographs included the same

model.

the intent of the rule which is to create four

In many ways, Michael had complied with

content diverse images – and maybe the rule

TAGS AIPP E ps o n S ta te Pr in t Awa rd s

24

DIFFERENT SUBJECTS

needs to be modified in the future.

Under the rules of entry, “No two images

entered are to contain the same subject. The

are rules and if he had breached them, then he

intent of the awards is to produce four unique,

certainly didn’t wish to retain his awards - and

content diverse images.”

hence the comment at the beginning of the

article about challenging situations.

All entries to APPA and the Epson State Print

However, as Michael acknowledged, rules

Awards are reviewed before judging to check

the rules are complied with. The fact that two

understand how he must feel. But also put

of his photos contained the same model wasn’t

yourself in the Awards Team’s shoes who are

picked up during the pre-juding process as the

charged with administering the rules. No one is

similarity wasn’t at all obvious.

a winner in this situation.

The model had completely different attire

Put yourself in Michael’s shoes and

However, it is a lesson for all of us. Please

and make-up, so it would be challenging for

read the rules carefully! If you breach them, then

anyone to know it was the same person.

the result may be disqualification.

Proudly supporting the AIPP

FEATURES

Peter Blakeman - More Than Documentary Travelling the world and taking photographs isn’t a bad way to carve out an existence, as Peter Blakeman APP AAIPP describes it. Yet he likes nothing more than getting away from it all in the remote deserts of central and western Australia.

The Documentary category at APPA is

Peter says it’s really important to stay

sometimes controversial when the gatekeepers

hydrated because you’re in the middle of a very

of ‘true documentary’ photography can appear

dry desert. “And you must take all your own

overly defensive about photographs that don’t

supplies into the festival, including water, food

quite fit the mould. However, there could be

and alcohol. It is dry, very dusty, hot during the

no disputing the documentary character of

day and cold during the night. A face mask

Peter Blakeman’s four entries and his category

and goggles are mandatory and, as the festival

win as the 2016 AIPP Australian Documentary

is spread out over a very big area, a pushbike

Photographer of the Year.

comes in handy for getting from one side to the other.

BURNING MAN

Two of Peter’s images look quite surreal, but all

perhaps the biggest challenge is dealing with

is explained once you understand they were

the elements. The dust is relentless and just

taken at the Burning Man gathering at Black

when you think it is about to clear, it packs an

Rock City, Nevada.

even more powerful punch to the point that

visibility can be reduced to only a few metres in

“This is one of the most incredible

“Everything is constantly changing, but

experiences one could ever have. It’s like

front of you.

walking into a real life painting and you can be

as outrageous as you want to be.”

handle these situations, as long as you don’t

“Nikon’s pro gear is weather-sealed and can

Opposite: The Aurora at Whitehorse, Canada. Photo by Peter Blakeman.”

26

27

FEATURES

change lenses in the middle of a storm! Many

the Whitsundays.

photographers tend to leave their cameras

in their bags during these times, but I was

pictures, so I walked in and asked if I could work

shooting a wedding and so I didn’t have a

for them. A few days later, I was taking pictures

choice. I simply had to trust the capabilities of

of people getting onto boats. However, as I am

the weather-proofing.”

a divemaster, I purchased a Nikonos V and that

“I saw a shop that took happy tourist

eventually turned into shooting underwater

TAGS Awa rd s Po r tfo l i o Bla k em a n Sp o r t D o cu m e n ta r y Travel

THE MECHANIC

portraits of divers and snorkelers out on the

Peter is a trained mechanic and his family is in

Great Barrier Reef.

the excavation business, but his dream was to

travel full time.

Jumping employed photographers, so I

introduced myself to them and started work the

“And get paid to do it”, Peter added! He came

close working at Charlotte Pass Village in the

next day. Those six years were some of the best

Snowy Mountains, working on snow transport

days of my life.”

machines, but one summer he found himself

gold prospecting with a cousin.

after a season at Perisher photographing skiers

and snowboarders, he went to the Second ESPN

“He lent me a metal detector and on the

Peter was still interested in snow sports and

morning of my second day, I found my first

Winter X games at Crested Butte, Colorado and

piece of gold. It was a rather large piece and

then to Whistler, Canada. “The pictures I took

with it I bought my first DSLR camera: a Minolta

over there were well received and many were

X700 with a 50mm f1.4 lens.

published in outdoor, sport and adventure

magazines around the world. I also showed

“I was very excited about having my first

pro-looking camera, but I was unable to put

them to a London sports agency and they

the film in! I had to go back to the shop, very

started accepting my images for their library.

embarrassed, and ask them to show me how to

In those days, it was all done with transparency

load the film.”

film, so it would take almost two weeks to get

your images out into the world.

Six months after purchasing that camera,

Peter had a cover on a magazine and he figured

that was a great way to go travelling and get

capturing a picture that is unique. I find working

paid at the same time. Not long after, he was in

in harsh conditions generally provides unique

Opposite: Sport photography by Peter Blakeman.

28

“From there I heard that A.J. Hackett Bungy

“However, I am most passionate about

29

FEATURES

Cycling photo by Peter Blakeman. Peter says that what gets him excitied is taking photographs that are different and unique in someway. Sometimes this means shooting in the great outdoors during inclement weather, but on other occasions it’s a matter of using his imagination.

30

31

FEATURES

Peter Blakeman covers a wide range of subjects. You can guess who this band is!

32

backgrounds. Unfortunately, it is very difficult

cameras and lenses at the ready for whenever

to capture a sense of harshness unless the

an image presents itself.

weather, nature and the elements are all against

you, so it is only then that you can capture the

for the D810. I loved the D810, but the D810A

true emotion of being there.

is also perfect for night photography. I can

“I also think it’s important to take a step

shoot a festival at night at 12,800 ISO and not

back from the viewfinder to appreciate where

have to worry about missing the shot. Plus the

you are and what you are doing because it

results of the Milky Way during long exposures

really allows you to appreciate the now. And

are sensational and it is also very capable as an

when you look back on your pictures, you can

everyday camera too.”

relive those emotions. That to me is the most

important part of taking pictures.”

D810A are really incredible, much better than

“The new Nikon D810A is my replacement

Peter says the star photos on the Nikon

his D4 and he’s heard just as good as the D5.

EQUIPMENT

For a photographer who is always travelling,

and produces images with a warm colour

Peter doesn’t skimp on gear. His standard kit is

balance, but you can fix this easily enough

something like this:

in Photoshop and the colour tinge can work

• Nikon D4

wonders for some subjects - such as the photos

• Nikon D810A

at Burning Man. It creates a unique, funky look

• AF Fisheye-Nikkor 16mm f/2.8D

to the colour which I like.”

• AF-S Nikkor 14-24mm f/2.8G ED

• AF-S NIKKOR 24-70mm f/2.8E ED VR

to set up the camera and go to bed! Naturally

• AF-S VR Zoom-Nikkor 70-200mm f/2.8G IF-ED

he’s using the intervalometer built into his

• AF-S VR Zoom-Nikkor 200-400mm f/4G IF-ED

camera. “Exposures longer than 20 seconds

• 2 x SB 910 Speedlights (rarely used)

produce movement in the stars, so I keep that

• 15-inch MacBook pro.

in mind when I’m setting my ISO and selecting

• All carried in a Think Tank Airport

the aperture.

“I find this kit gives me sufficient scope for

“It’s true the camera struggles with sunsets

Peter says his technique for shooting stars is

“However, there are places along the Gary

any of the situations I find myself in.

Junction Road in Western Australia where we’re

more than a day’s drive from the nearest main

“If I am travelling by car in Australia, I also

have a D700. I put all three cameras on the

town. There might be a few smaller settlements

passenger seat and that way I can have three

around, but there’s absolutely no light pollution

33

FEATURES

unless the moon is out.”

and I am appreciative of the service NPS gives.

Shooting the stars in Australia is a relatively

If it is very dirty, I can leave it there and pick up

pleasant experience, but quite different to some

a replacement camera so I can keep shooting if

of the cold weather areas.

need be. The NPS people are very helpful.”

“In Whitehorse, Canada, it was so cold when

Peter agreed with Delly Carr that sport

I was shooting the aurora that I set up the

photography has become extremely tough and

camera and then got back into my vehicle and

so he’s looking at taking one-on-one and small

watched it through the window. Much better to

group tours out into remote Australia.

sit inside with a bottle of bourbon than freezing

outside with the camera!

no tracks, no roads, just amazing landscapes.

“I leave the camera outside most of the day

“There are places out there where there are “I took a guy out recently and he was

so it acclimatizes, then set it up at night and

amazed that I travel out into these areas alone,

go to bed. It will keep taking pictures until the

but this is what I’m used to. And shooting the

battery runs out and I can check on the results

stars out there is unbelievable.

in the morning!”

(Left) Peter Blakeman on the road and selfsufficient! (Right) NPS must love Peter when he comes back with his cameras looking like this!

And advice for aspiring professional

photographers?

NIKON SERVICE

Peter was very complimentary about Nikon and

experiment and learn from your mistakes. Even

its service for professional photographers.

today I am still making silly mistakes, turning

“If I need any gear, I can generally send

what could have been a great image into an

NPS (Nikon Professional Service) an email and

unusable one. But that’s the fun of the job.”

“Most important is to keep taking pics,

depending on availability, I can pick it up the

34

next day.

You can see more of Peter Blakeman’s photography

on his website at http://www.extremefilm.com.au

“There are also times I need my gear cleaned

Photographs by Peter Blakeman

35

EDUCATION

Capture One Vs Lightroom Last issue I challenged readers to test Capture One and compare it with Lightroom. This should not be taken as condemnation of Lightroom which for some of our wedding and portrait photography readers, may still be the preferred raw processor.

TAGS L igh tro o m Ca pture On e R aw p ro c e s s i n g

So, why the challenge? As professionals, we’re

very similar results. They don’t necessarily

always looking for an edge. A better camera,

do this naturally, but I have tweaked both

a better lens, a better idea. Sometimes ‘better’

programs to end up with a very similar result.

doesn’t have to be measurably better, just

different from what our clients use. It can be

with skin tones, maybe there isn’t such a need

part of the theatre of professional photography

for Capture One instead of Lightroom?

that I talk about.

the environment or with colourful clothing,

So, when it comes to our raw processing

Then again, if you’re shooting portraits in

software, simply using Capture One makes

perhaps Capture One will give a subjectively

us different and that may be useful in our

more pleasing result.

marketing and storylines.

can see that the two applications produce a

But Capture One may also be an additional

In the second example of a travel shot, you

expense and, as all good accountants will

different mix of colours. Set the greens in the

tell you, minimise your business expenses to

car to be identical and you’ll find the blue in

maximise your profits. The only reason we

the sky is different. Set the blues to be identical

should purchase Capture One is if we think it

and now the greens are different. And there are

produces a superior result.

differences in the warm hues as well.

Last issue (AIPP Journal #251 - April

Add in a little more contrast and Capture

2017) showed how similar Capture One is to

One suits the way I like to process and edit my

Lightroom in terms of processing our raw files.

raw files, whether shot on Phase One, Canon,

In this issue, I want to show you how similar and

Nikon, Leica or Fujifilm.

different the two applications can be.

the free Capture One trial and compare for

For instance, in the portrait over the page,

both applications have been able to produce

36

For photographers dealing predominantly

However, you’ll only know if you download

yourself. Try it this week!

37

EDUCATION

01

When the same file is opened in both applications and any adjustments that may have been automatically made removed, the files look pretty similar on screen. Lightroom shows the vignetting a little more strongly than Capture One, but is easily adjusted.

02

The Pick White Balance or White Balance Selector tool is activated and clicked on the background near the subject’s head. There are slight differences, but too slight to be of any consequence.

38

en h w e c n s a l e a n b o t r u n i o l k s Co h . r t i a l i w g m i n s i l e a t i u de q s i alone

Skin ion t c a r f a r s e t e f n o s to d n a r e warm ightroom in L . s p a perh

03

For typical portraiture like this, both programs are very similar in terms of output and response when it comes to exposure, contrast and highlight/shadow control. On the basis of this example, both programs are pretty similar, with just subtle differences in skin tones.

04

At 100% enlargement, Lightroom has a softer output than Capture One with the default settings. Naturally, these can be adjusted in both programs, but for weddings and family portraiture, maybe Lightroom is better suited to softer, more pleasing skin rendition?

39

EDUCATION

01

With no adjustments made, Lightroom chooses to put more detail in the highlights, while Capture One shows more in the shadows. This is neither right nor wrong, just two different interpretations.

02

The Pick White Balance or White Balance Selector tool is activated and clicked on satellite dish. Interesting how the green car and blue sky are more saturated in Lightroom, while the orange paintwork is more saturated in Capture One. Again, not better or worse, just different.

40

h t i w rs u o l e o c c n r a e l a g b n o e r t i .

St e h n w O d r e r a u d t n p a sta C n i g n i t t se

d n a e n O n o e r e u e r g a Capt s i . d r a c m o n o e r e t r h g e Lig h t g n i d n re

03

When exposure, contrast and highlight/shadows are adjusted, further differences in the way the two programs operated are quickly seen. Tonally, these two images have been adjusted to look like each other, but in matching tonality quite closely, colour differences still remain.

04

At 100% enlargement, Capture One appears to be slightly sharper with more contrast, while Lightroom a touch softer. Perhaps this is why the portrait on the previous page looked slightly better in Lightroom (softer), whereas with this travel photo, the extra sharpness in Capture One is helpful.

41

EDUCATION

Handling Sales Objections When photographers mention ‘handling objections’, our first thoughts might be about dealing with complaints, but in fact, it is much more fundamental than this - as Gap Studios’ portrait photographer Glenn Addison APP AAIPP explains.

Not knowing how to handle an objection is

know when and how to handle objections

one of the major reasons photographers don’t

before they arise by creating value.

charge enough.

And objections start way before the

OBJECTION = BUY

photographer has even picked up a camera,

Objections are buying signals: people are telling

so this topic has nothing to do with making a

you they don’t yet have enough information to

mistake and fixing it up for your client.

make a decision.

We all make mistakes and, naturally, we do

We should welcome objections because

whatever it takes to fix it up for the client.

they’re often the first step to a sale.

Photographers are good at influencing

However, more fundamentally, objections

arise because we want to charge more than

beliefs through imagery, but need to learn how

the client wants to pay. In fact, often objections

to influence people during the sales process by

arise if we want to charge at all and certainly

creating emotional value.

there are many professional photographers who

struggle to charge their clients what they think

objection:

they are worth.

• Create an inspiring story;

Why?

• Educate people about how you enhance their

TAGS

Most photographers don’t know how to

Busines s Pr icing

influence a client’s beliefs. What a client believes

life; • Create more value in your product than clients

when meeting you may be quite different to

thought was possible.

what they need to believe if they are going to

hire you.

encounter and address them before they

become an objection, while influencing people

Often their beliefs are incorrect or

exaggerated or baseless, so it’s important to

42

There are three approaches for handling an

You need to anticipate the objections you’ll

emotionally and logically.

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

43

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

44

EDUCATION

How is it some companies defy the odds and

Everytime we talk to a client, it’s an

grow sales massively, regardless of economic

opportunity to educate them, create value in

times? And why is it most photographers

what we do and what it will mean for their life,

complain that customers won’t pay what their

as opposed to the results they can get with

work is worth?

their own camera.

It’s the experience that creates the story. The

INITIAL CONTACT

story and the education build the value for a

The answer is they keep getting objections that

client to pay a premium price.

they can’t answer satisfactorily.

this for all four major customer connections.

That’s why photographers compare their

You need to think about how you can do

prices to competitors, then keep their prices

1. The first is the booking call. This needs to be

similar or lower so customers will still buy from

all about the client, asking leading questions

them.

and getting them fully engaged.

This is not a long term strategy.

2. The excitement/confirmation call to re-

Handling price objections starts from

engage the customers’ emotions and get them

the initial contact a customer has with you.

excited. Reinforce previously communicated

It doesn’t just happen at the end of the sale.

value and build even more value.

It’s done by engaging potential customers in

3. In the photography session, you use

the story of why you do what you do, while

previous conversations to further connect with

educating them about what you do, and

the client and create their story.

building value in the experience and what the

4. The sales session. We use an 11 step system

end result will mean to people over the long

that guides clients to the outcome we want.

term.

influence used in conjunction with your sales

This happens over multiple contacts with

each client.

Being a great sales person is all about

system to get predictable results.

You need to understand why are you in

business for your customers. What impact do you want to have? What do you stand for as a

Glenn Addison runs the successful Gap Studios in

company? What do you believe? This is how you

Sydney and Brisbane. He has developed a series of

inspire people.

in-depth training videos for professional portrait

photographers - for more information, email Glenn

Most companies tell people what their

product is and what it does.

directly at Glenna@gapstudios.com.au

45

NEWS

Olympus OM-D E-M1 Mark II There is a definite trend towards smaller cameras and given the image quality they produce, why wouldn’t a professional photographer prefer a lighter camera outfit? Certainly helps the back! So, is the latest OM-D mirrorless camera from Olympus the next camera for you?

Given the flagship professional DSLRs from

105 JPEGs. With the mechanical shutter, the

Nikon and Canon have sensors around

frame rate drops to 10 frames per second, but

20-megapixels (even though both companies

this still compares well with the 12 or 14 fps of a

have larger sensor models as well), is this all a

large, pro DSLR and its mechanical shutter.

professional photographer really needs?

to do the talking. It’s how it is intelligently using

For a lot of photography today,

And Olympus hasn’t just left the frame rate

20-megapixels is ample. And now that Olympus

that frame rate which is of interest.

and the Micro Four Thirds system are offering

a 20-megapixel sensor, it seems likely that

capturing 20-megapixel files the moment you

professionals will be seriously considering

half press the shutter button. Then when you

models like the new OM-D E-M1 Mark II.

fully depress the shutter button to take the

For instance, its Pro Capture mode starts

photo, it retains up to 14 of the most recent

TAGS Equ ip m e n t Sto r rag e L a Cie

MORE THAN A DSLR

exposures as well. So, if you were waiting for

However, the OM-D E-M1 Mark II is a little more

that perfect expression or gesture, you’ll have it!

than just a smaller version of a DSLR.

great feature; for portraiture and weddings,

Making the most of its mirrorless design,

Olympus has introduced some technical

it could be a great feature, although it may

features that can’t be matched by the DSLR

require a little more storage than you want and

design.

more time editing the shoot as well.

For instance, it offers up to 18 frames per

second capture rates with AF/AE tracking, and

ELECTRONIC VIEWFINDER

60 fps with AE/AF lock.

And while early electronic viewfinders had their

limitations, the new EVF on the OM-D E-M1

The super fast 18 fps can be achieved with

an electronic shutter for up to 77 raw files or

46

For wildlife and sport photography it is a

Mark II provides smooth and fast display at a

The diminutive Olympus OM-D E-M1 Mark II

47

The Olympus OM-D E-M1 Mark II has a Pro Capture Mode that starts recording images before you fully depress the shutter, so you’re guaranteed to capture the ‘precise moment’.

48

NEWS

120-fps frame rate and a 0.005-second display

body construction is splashproof, dustproof,

time lag.

and freezeproof to -10°C. Sealing throughout

the entire body keeps out sand, dust, rain, and

In fact, everything on the OM-D E-M1 Mark

II seems to be faster. The 121-point autofocus

other droplets, which is necessary for life with a

system uses the more sensitive cross-type

professional photographer.

sensors with a new moving subject tracking

algorithm. The camera features Face/Eye priority

four options: Standard records to a specified

autofocus and five levels of continuous AF

card; Auto Switching continues recording on

tracking sensitivity. It all leads to a camera that

the other card when the specified card is full;

gets the timing and focus right more often.

Dual Independent records to both cards at

Dual SD card slots have been included with

specified image quality settings; while Dual

4K VIDEO

Same records to both cards with the same

With more and more of our work designed

image quality mode.

for online use, we’re similarly being asked to produce more and more video as well. And

ACCESSORIES

even though our clients only want it for the

And it’s important for a professional camera

web, chances are they’re asking for 4K.

to have a good range of accessories and

interchangeable lenses.

The OM-D E-M1 Mark II supports digital

cinema standards like 4K (4096 x 2160), a 24P

The OM-D E-M1 Mark II offers several

frame rate and a 237 Mbps bit rate. Hand-

accessory flash guns (and will work with studio

held 4K video recording is achievable with the

flash too), a remote cable release, viewfinder

help of a 5-axis image stabilisation system and

eyecups and even underwater housings -

electronic stabilisation, without the need for a

everything is there.

tripod or gyro.

The HDMI Monitor now supports a 4:2:2

camera offers focal lengths from 7mm (on a

output for expanded colour correction range,

7-14mm zoom) up to 300mm (which is like a

and there are two HDMI output modes, one for

600mm for a full-frame DSLR). And like the DSLR

an external monitor, the other for an external

systems, there are standard and professional

recorder.

quality optics to choose from - the M.Zuiko Pro

In terms of lenses, the Micro Four Thirds

is the range readers will probably look at first.

PROFESSIONAL SPECS Although a mirrorless design, the camera’s

http://www.olympus.com.au

49

NEWS

EIZO ColorEdge CS2730 Monitor How do you get the best type of monitor at the lowest price? The Eizo ColorEdge CS2730 has many of the features found on its more expensive siblings, but at a very attractive price!

Every photography knows that you can’t

edit your photographs accurately unless

AdobeRGB colour space so images shot in

your monitor is also accurately rendering the

AdobeRGB will be displayed correctly. Photos

tones and colours. And most experienced

of vibrant blue skies and lush green forests are

photographers invest in an Eizo monitor

reproduced faithfully in a way that monitors

because Eizo is considered the best.

limited to an sRGB colour space cannot display.

The CG2730 reproduces almost the entire

Using the DisplayPort or HDMI inputs, the

ENTRY LEVEL

CG2730 offers 10-bit simultaneous display

But they are not inexpensive, so as a starting

from a 16-bit look-up-table (LUT) which means

point, check out the Eizo ColorEdge CS2730

it can show more than one billion colours

which costs around $2220.

simultaneously. This is 64 times more colours

than you get with a standard 8-bit display,

The entry model to Eizo’s range, the CS2730

is still a large 27-inch monitor with a built-in

resulting in smoother colour gradations and

colorimeter and ColorNavigator 6 software for

better contrast.

automatic calibration. All computer monitors

tend to ‘drift’ in terms of colour and tonal

monitor is adjusted at the factory to ensure the

reproduction, so it’s part of a professional’s

smoothest colour gradations in your images.

workflow to calibrate regularly (at least once a

month).

technology, but you only have to look at your

images on an Eizo monitor to see the difference.

The 27-inch screen has a native resolution

The gamma level for each ColorEdge

Of course, there’s a lot more to the

of 2560x1440 pixels, which offers a pixel count

Check out where you can see Eizo monitors on

double that of 1280x1024 and 60% more than

display at Eizo’s website.

1920x1200 resolutions. This gives you plenty of

50

space to work with images, tool palettes and

See more at: https://eizo-apac.com/graphics/col-

other windows

oredge-cs2730

Eizo’s entry level ColorEdge CS2730 color monitor retails for around $2220

51

SPECIA

L FOR B

P READ

Save 20

Use Co u

pon Co

Offer E

xpires

%

ERS

de: BPM AG 31/12/ 2016

Peter Eastway’s

Online Landscape Photography MasterClass Learn the art, craft and business of landscape photography with a member-only subscription to Peter Eastway’s Landscape Photography Masterclass. The online delivery includes 18 classes (each comprising 3 movies and 3 articles), featuring equipment, techniques, inspiration and Photoshop post-production. Start at any time. Learn at your own pace. There are no exams! Replay and re-read as often as you like. And share your comments and ideas with other MasterClass members. To view, read and experience a free sample Landscape Photography MasterClass, please visit our website and follow the links ...

www.betterphotography.com Landscape Photography MasterClass - Contents FINE ART MOVIES

KNOWLEDGE

JOURNEY

ACUMEN

POST-PRODUCTION

1. Monte Fitz Roy, Patagonia 2. Mount Nemrut, Central Turkey 3. Cape Palliser, New Zealand 4. Cappella di Vitaleta, Tuscany, Italy 5. Elephant Island (Iceberg At Sea) 6. Pilbara Storm, Western Australia 7. Steeple Jason, Falkland Islands 8. Nevis Tree, South Island, New Zealand 9. Zabriskie Point, Death Valley, USA 10. Oxer Lookout, Karijini, Western Australia 11. Segovia Castle, Central Spain 12. Great Barrier Reef, Australia 13. Western Macdonnells, Central Australia 14. St Gregory’s, Ani, Eastern Turkey 15. Weano Gorge, Karijini National Park 16. Clinging Tree, Dales Gorge, Karijini 17. Ishak Pasha – The Mosque Behind 18. Stirling Ranges, South Western Australia

1. Which Cameras Are Best for Landscapes?

2. The Best Lenses For Landscapes 3. What Is The Best Aperture To Use? 4. Camera Support For Maximum Clarity 5. Camera Bags - Sensible Approaches 6. Landscape Photography Accessories 7. Colour Temperature & How It Works 8. Correct Exposure And The Histogram 9. Using The Light For Landscapes 10. How To Stitch Panoramas 11. Archival Landscape Prints 12. How To Shoot Aerial Landscapes 13. Composition Part 1: Subject Matter 14. Composition Part 2: Framing & Cropping 15. Composition Park 3: Viewpoint 16. Composition Part 4: Placing The Horizon 17. Composition Part 5: Centre of Interest 18. Composition Part 6: Rule of Thirds

1. Patagonia, South America 2. Favourite Places In Turkey 3. Favourite Places in South West USA 4. Favourite Places In Italy 5. Central Spain for Castles 6. The Pilbara, Western Australia 7. Easter Island, Pacific Ocean 8. Niseko, Hokkaido, Japan 9. Shooting The Pyramids, Egypt 10. Hamilton Island, Australia.

11. Queenstown, New Zealand 12. Ancient Ani, Eastern Turkey 13. Amazing Papua New Guinea 14. Karijini National Park, Western Australia 15. Cruising For Landscape Photographs 16. Reaching Your Destination 17. Scotland & The Isle Of Skye 18. Antarctica & The Southern Islands

1. Potential Markets for Landscape Photos 2. How To Price Your Landscape Prints 3. Creating Landscape Prints For Sale 4. Publishing A Book of Landscapes 5. Publishing A Book How Finances Work 6. Presentation: Why It’s So Important 7. Setting Up Your Own Website 8. Setting Up An Exhibition 9. Shooting For Books & Magazines 10. Limited Edition Print Sales 11. Computer Power - Do You Need More?

12. Landscape Print Sales Paperwork 13. Print Sizes And Paper Surfaces 14. Shooting Landscapes That Sell 15. Getting Photos Published With Words 16. Do You Need A Business Plan?

17. Which Photo Editing Software?

18. Where To Now That You’ve Finished?

1. RAW Conversion Technique 2. Darkening & Lightening With Soft Light 3. Multiple RAW Conversion Technique 4. Luminosity Masking Technique 5. Colour Balance – Getting It Right 6. Local Contrast – Two options in Photoshop 7. Vignetting – How It Can Improve Images 8. Lab Color - Full Control in Photoshop 9. Nik Software - Using Viveza Plug-in 10. Photomerge For Stitching 11. Channels for Hue/Saturation Adjustments 12. Making Selections In Photoshop 13. Sharpening In Photoshop 14. Black & White Conversions 15. Focus Stacking (Helicon Focus) 16. Lightroom Catalogs for Landscapes 17. Big Black & White Punchy Landscapes 18. High Pass Filter For Landscapes With Pop!