AIPP Journal - July 2017

Issue 253

Why Copyright Is So Important 10 Things To Make APPA Prints Sing Dan O’Day’s Wedding Lifestyle Epson’s SureColor P800 Printer

July 2017

JOURNAL

Cover

D a n O ’D ay APP M.Photo g. II 2016 AIPP AUSTRALIAN PROFESSIONAL

CONTENTS 4

Educated Clients Pay Higher Prices

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AIPP Board: Louise Bagger

Do you need to charge more for your photography?

If so, how do you justify your price? AIPP National President Vittorio Natoli explains why educating your clients is the only way they will correctly understand your value.

With a background in the navy and a passion for photography, Louise Bagger APP AAIPP hopes to represent the large influx of new photographers with her position on the AIPP National Board.

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We Must Fight For Our Copyright!

WEDDING PHOTOGRAPHER OF THE YEAR

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Do we now need to question Wikipedia for fake news? Its recent campaign to change copyright law in Australia is ‘not fair’ and will be to the detriment of professional photographers.

Why Photographers Need Copyright

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

2

We need to own copyright even if it is just so we can show our own photographs on websites or Facebook.

Without copyright, everything we do falls apart. It is fundamental to what we do. Here’s why.

ISSUE 253 / JULY 2017 18

How To Make Insurance Work For You! The AIPP Journal talks to Jacqui Thomson of PPIB (Professional Photographers Insurance Brokers) about some of the essential issues you need to understand about insurance.

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Kelly Champion - 2017 SA Epson PPY More great documentary photography picks up the top prize for Kelly Champion APP in the 2017 AIPP SA Epson Professional Photographer of the Year (and it’s two in a row as well)!

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10 Things To Make Your APPA Prints Sing

How Do We Judge Photo Illustration?

The Awards are unfairly criticised for being ‘Photoshop’ awards, but is this a problem with the system, the judges or the entrants? Or are the Awards just reflecting the commercial reality of photography today?

Peter Eastway offers a series of short, pithy and succinct suggestions for dealing with the upcoming Australian Professional Photography Awards. Are you going to enter this year?

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Hilary Wardhaugh - 2017 ACT Epson PPY The poigant images by Hilary Wardhaugh APP.L M.Photog. III not only took out the documentary category, but the overall 2017 AIPP ACT Epson Professional Photographer of the Year.

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How Do You Organise Yourself?

All successful photographers have strategies and techniques that make them more effective. For AIPP Board member Louise Bagger, she has a ‘clear desk routine’ and ‘to-do’ lists.

Dan O’Day: Wedding Lifestyle

Adam Williams - 2017 NSW Epson PPY A striking portfolio of landscape images has seen Adam WIlliams APP AAIPP awarded the 2017 AIPP NSW Epson Professional Photographer of the Year.

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The 2016 AIPP Australian Professional Wedding Photographer of the Year, Dan O’Day APP M.Photog. II travels the world for an elite clientele, so how does he work and what equipment does he use?

Epson SureColor P800 Are you getting your award prints ready for APPA? Have you thought about printing them yourself? Not only is an Epson SureColor P800 easy to use, it’s less than $1700 for quality that is every bit as good as the large format models used by pro-labs.

2 5 TH- 2 7 TH A U G U S T 2 0 1 7 MELBOURNE PARK FUNCTION CENTRE

3

NEWS

Educated Clients Pay Higher Prices Do you need to charge more for your photography? If so, how do you justify your price? AIPP National President Vittorio Natoli explains why educating your clients is the only way they will correctly understand your value.

What determines the price we can charge for

our photography? What makes the price of a

know this? They don’t. So we must tell them.

day shoot or a wall print?

as professionals is to ensure our customers’

In addition to the cost of time and materials,

From a customer’s viewpoint, how do they The most important thing we can do

there’s our education.

expectations are being met and exceeded. To

What we know about photography has a

do this, we need to know what our customers

value. The fact that we have spent x-number of

require and if we know that, we can explain to

years learning our craft and skill, x-number of

our customers why what we are providing is

years refining our ability to see and deal with

valuable for them.

people, allows us to produce a higher quality

We can educate them.

result.

And while our price might be more

THE HEAD SHOT

expensive, in the long run, we are actually

Let’s look at a simple example: a head shot.

cheaper because of what we produce.

Most of us are asked to shoot head shots

from time to time and over the years, we have

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

4

CUSTOMERS POINT OF VIEW

built up a lot of experience.

A customer can hire a photographer with little

or no experience who can take a long time

to look different than an insurance agent or a

to produce a result, or he might not produce

board member.

a result at all. Optionally, the customer can

come to us and, because of our experience,

depending on the industry they are in and what

we can produce the result more quickly and,

they are trying to sell. In fact, knowing what

importantly, because of our experience it will be

their customers expect allows us to produce a

better.

better head shot.

We know that a real estate agent needs

Every executive is slightly different

AIPP PROFESSIONAL PHOTOGRAPHY CONFERENCE

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This is going to be an event you won't forget.

Our two-day professional photography conference has been created to suit the budding photographer, the experienced entrepreneur and social bunnies alike over two days Saturday, May 5th and Sunday, May 6th, 2018.

At Lenscape we will have the pleasure of hosting the World Photographic Cup Awards Ceremony. Welcoming the finalists and announcing the winners for 2018.

We'll be announcing our tradeshow, schedules, pricing and speakers before you know it, so take a mental note that next May you're locked in with us. Of course, we'll top it all off with the best kick off and wrap up parties too!

Stay tuned. #lenscape18 5

NEWS

We know how important different looks

educate them, they will have a different view of

and expressions can be. It’s not just a matter of

what being a professional photographer is all

smiling or not smiling, it’s also about pushing

about.

the face slightly forward or slightly back, having

an open collar or a tie, a coat or a shirt, sitting or

they can take a photo. And sure, on occasion

standing, hard light or softer.

these people will fluke a good one.

All these subtleties produce a big difference

Everyone has a camera and they all think

But we can do it ten times a day and nail it

in the final portrait, so understanding our

every time.

customer and our customer’s customer means

we will take a head shot that is far superior to

taking snaps and letting the customer choose

someone else.

the best one.

What we do is very different to someone just

We’re offering a blue ribbon service and

WE HAVE TO TELL THEM

that’s how we should position ourselves.

But how do our clients know what we are

doing if we don’t tell them, if we don’t discuss

head shot is a visual representation of their

their requirements, if we don’t ask questions?

personality. If they say they don’t care how they

They won’t, so it is up to us to educate them

look, then it tells us that they don’t yet value the

and explain all the issues we are dealing with

importance of good photography – and so they

as we create what appears to them to be a

won’t want to pay much for it.

straightforward head shot.

good head shot is, how strongly their customers

And while some people might just take a

Customers don’t always realise that a

However, if we can explain how important a

single head shot, we could provide three or

will relate to a good portrait, suddenly the value

four variations, depending on the message our

of what we do increases.

customer wants to give his or her customer

base in different situations. A customer might

of your prices.

Educate your clients to show them the value

need a different head shot for a LinkedIn account than for a company brochure or a Christmas greeting.

Once you understand this about what you

do, and once your client understands what you

vittorio.natoli@aipp.com.au

are doing, they will be far more comfortable

0400 418 888

paying you $500 instead of $100. Once you

6

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Platinum Sponsor 7

NEWS

AIPP Board: Louise Bagger With a background in the navy and a passion for photography, Louise Bagger APP AAIPP hopes to represent the large influx of new photographers with her position on the AIPP National Board.

TAGS AIPP B o a rd Direc to r s

Louise Bagger says she’s a grassroots kind of

customers. It goes much deeper than that.

person. “I like to know what’s going on, how it

works and if I can contribute, all the better.

Community Facebook page ask for advice and

then come back a couple of days later to thank

“Over the past few years, especially through

the AIPP Reflections project, I have connected

those who contributed to facilitate a positive

with many new members. They are bringing a

outcome, I realise this is what the AIPP is all

new community into the AIPP and I’m hoping

about. And why it is important we all work

to help give them a voice.”

together.

Louise was in the Royal Australian Navy for

“I think the profession could benefit if it were

15 years before looking for a new career. She

regulated. To become a recognised professional

was encouraged by an appreciative friend to

photographer, you would need to be

turn her photography into a profession.

accredited with the AIPP and display the logo.

We want government and business to look for

Louise studied photography under Norman

Weedall at the Gainsborough School of

an AIPP member when they are thinking about

Professional Photography in Adelaide.

photography.

“Coming from a structured background

“But of course, it’s more than the logo. It’s

in the navy, I like a method or a system for

the community and resources we have access

everything I do. I think this is why Norm’s

to within the AIPP that makes it all work –

teaching suited me perfectly.”

the access to experienced members, sample

contracts and video seminars on demand.”

Louise started her studies in 2010 and

following a challenge from Norman, earned

enough money from photography to pay for

photographer, but finds herself shooting more

her course before the end of the year.

corporate and event photography these days.

Her portfolio on the Board will be commercial

“Joining the AIPP is much more than paying

your fees and hoping the phone will ring with

8

“When I see someone on the AIPP

Louise considers herself a generalist

photography.

Photography by Louise Bagger APP AAIPP

9

NEWS

©

We Must Fight For Our Copyright!

Do we now need to question Wikipedia for fake news? Its recent campaign to change copyright law in Australia is ‘not fair’ and will be to the detriment of professional photographers.

Let me summarise and simplify the situation.

determined on a case by case basis.

There’s a photograph (logo, drawing, song) on

The statute does not define what is fair.”

the internet. You like to use it and you can think

up lots of reasons why that’s fair. If there’s a

Council website, “‘Fair use’ is an American legal

problem, you’ll fix it when someone complains.

principle that has enabled large enterprises in

And if someone complains, there’s nothing

the US to use copyright material for free. Under

much they can do anyway (too complex and

Australian law, enterprises pay Australian writers,

expensive), so it’s a no risk situation.

artists, creators, photographers and publishers

And disaster for photographers.

to use their work, unless it’s for public interest

I think it’s time to become a little more

purposes outlined in the legislation, such as

alarmist in our coverage of proposed changes

reporting news or parody.

to copyright law. The experts who represent

creators (including photographers and video

change that, and the Productivity Commission

producers) do not recommend adopting the

in Canberra recently made recommendations

proposed ‘Fair Use’ changes.

to introduce fair use in Australia.”

TAGS Co pyr i g h t

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According to the Australian Copyright

“A minority of industry players want to

The problem with fair use is that people

WHAT IS FAIR USE?

would take advantage of it in ways that are

In the situation above, Fair Use provisions could

economically unfair to us. Already there are

give everyone an argument that says, use the

examples of newspapers taking photographs

photos and worry about the consequences

from Instagram or Facebook and using them

later.

in print and on their websites, without the

permission of the photographer.

The Australian Law Reform Commission

states, “Fair use is a defence to copyright

In comparison, if I were to reproduce one

infringement. It essentially asks of

of their articles in this Journal without the

any particular use, ‘is this fair?’ This is

publisher’s permission, you can be sure their

S W E

N E K A F

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NEWS

©

legal team would be after me.

that allow copyright material to be used, such

as for review and critique.

What is being proposed is a one way street.

Wikipedia used the example of not having

VIDEO EXAMPLE MISLEADING

the right to put the ABC logo on its page about

Wikipedia stated, “Using a VCR to tape TV shows

the ABC. This example is factually wrong.

only became legal in Australia in 2006. Don’t

let Australia get further behind technology.

Council and Partner, Banki Haddock Fiora,

Support Fair Use.”

writes that most first-year law students would

know that Wikipedia could do the same here in

This is completely different to a newspaper

Kate Haddock, Chair, Australian Copyright

editor finding a photograph and relying on the

Australia under the existing law.

Fair Use provisions so he doesn’t have to pay for

the use.

faith can I have in you in the future?

Promoters of Fair Use say that safeguards

So, Wikipedia, is this fake news? How much Continued Kate, “Australian laws already

need to be put in place, but the experience for

allow extracts of copyrighted work to be

many photographers in the USA has not been

displayed without permission in circumstances

positive. Their photographs have been used

that are truly fair. But the so-called “fair use”

because the market feels that Fair Use means

exception would allow much more. The reason

Free Use - and given how expensive it is to

this is causing so much consternation within

sue anyone for breaches of copyright, Fair Use

the artistic community in Australia is that its

effectively is free use.

introduction could potentially allow massive

In some ways, photographers and video

users of copyright material to reduce or stop

producers are no worse off because already it

paying licence fees to creators, including for

is impractical to sue someone for breaches of

commercial uses of their work.”

copyright. The cost and time involved for what

are already small amounts makes individual

parts of our government are trying to do to us.

cases untenable, but when you add up the

hundreds of thousands of breaches, it’s a huge

apply to them, or they already give away their

loss of revenue for photographs.

copyright. However, if this were the best photo

And that’s why we need to be aware of what Many members might think this doesn’t

you had ever taken and a publisher was using it

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NOT THIS WAY

for free, how would you feel?

There is a place for fair use of copyright material.

Australia already has a number of provisions

this link and visit https://freeisnotfair.org/

Act now - make a statement by clicking on

#FREEISNOTFAIR visit https://freeisnotfair.org and use the online form to send your Member of Parliament a message!

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EDUCATION

©

Why Photographers Need Copyright We need to own copyright even if it is just so we can show our own photographs on websites or Facebook. Without copyright, everything we do falls apart. It is fundamental to what we do. Here’s why.

Professional photographers should own the

an advertisement. Although you own copyright,

copyright in their photographs.

this doesn’t let you ignore other laws which may

override copyright.

This is a bold statement and a good starting

position. There are always exceptions to any rule, but let’s begin with the premise that

WHO OWNS COPYRIGHT?

professional photographers are better off if they

In the first instance, the person who takes the

own copyright.

photograph owns copyright. This is great for professional photographers working for clients,

TAGS M a r k eti n g

WHAT IS COPYRIGHT?

with one major exception.

For photographers, copyright is the ownership

of our photographs. If you own the copyright,

domestically (family portraiture and weddings,

you can do things with your photographs, such

for example), then the customer owns the

as sell them.

copyright in the first instance. However, if we

ask our clients to sign over copyright to us

If you don’t own the copyright in a

When we are taking photographs

photograph, you can’t use it without the

before we take the photographs, then we can

permission of the copyright owner.

still own copyright. This is why it is so important

to use contracts and agreements for everything

And even if you sell a photograph to

someone, you can still own the copyright in the

we do.

photo. This could stop the person you sold the

photo to from on-selling the photo to someone

photographer owns the copyright for

else.

photographs taken for a business client

or herself. However, if the client is a family

So, copyright is the legal control over how

So, with or without a contract, a professional

your photographs are used. Don’t get copyright

purchasing privately, then you need a contract

confused with having the right to publish a

or agreement that states you will own the

photograph or use a photograph of a person in

copyright. If they don’t agree, then they own

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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•

Dean Mansbridge APP M.Photog.

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•

Karl Monaghan APP M.Photog.

16

EDUCATION

the copyright. So, is this a problem?

Many clients don’t or won’t understand how

copyright works. They think that because they

WHY WE NEED COPYRIGHT?

paid you, they can do what they like.

If your client owns the copyright in photographs you have taken for them, then you

SWIMMING POOL EXAMPLE

cannot use those photographs on your website

A good example is a photographer who took

or social media, or sell them to other people,

photos of a swimming pool for a builder.

without the client’s permission.

The builder said he didn’t have much money

and just wanted them for a website, so the

If they own the copyright in your

photographs, they control how the

photographer did the job for a small fee and

photographs are used.

included the copyright with the deal.

For instance, a wedding couple could

The tile company and architect who worked

prevent you from showing photographs you

with the builder loved the photos so much,

took at their wedding on your website or

they bought them from the builder for twice

Facebook page – if they are the copyright

what the builder paid the photographer. The

owner.

builder also used the photos on a billboard, not

just a website. Had the photographer retained

(Of course, they could also stop you by

asking you to agree to this condition as part of

ownership of the copyright, he could have

your contract with them. There are often several

sold the photos to the tile company and the

different ways the use of photographs can be

architect, and charged the builder extra to use

controlled, in addition to copyright.)

the photo on a billboard

So, even if you created the photographs,

©

This is the difference between scraping

you might not be able to use them. Meanwhile,

together a living as a photographer and

your client can take the files you produced to

being paid a reasonable fee for your skill and

a local printer or have them designed into an

experience.

album by other people. You can be completely

cut out of the process. Sometimes you’re quite

years in photography, understanding copyright

happy for this to happen, of course, but then

and contracts can be the difference between

it’s a choice. Unless you own copyright, you

success and failure.

have no choice. You are reliant on the copyright

owners granting you permission to use your

becoming very concerned about changes to

own photos.

the copyright legislation, it is with good reason.

If you plan to spend the next five to 25

So, when you see the AIPP and Chris Shain

17

EDUCATION

How To Make Insurance Work For You! The AIPP Journal talks to Jacqui Thomson of PPIB (Professional Photographers Insurance Brokers) about some of the essential issues you need to understand about insurance.

There’s not much point having insurance if it

covered by other insurances they have, but

doesn’t work – meaning the insurance you take

photographic equipment may not be covered

out needs to cover you for the kinds of risks you

under a standard home contents policy and

face.

there can also be limits to the amount of

equipment you can insure under a travel

For instance, many years ago there was a

photographer who had his equipment stolen

insurance policy. As a professional, you need

from his car. His insurance policy excluded

specific insurance for your equipment.

theft of equipment from his car, so the

insurance company paid him nothing. Had

most professionals would need public liability

the photographer read the insurance policy,

insurance (which covers injury and damage

it was clearly stated that theft from a car was

to other people and property), and potentially

not covered, so the photographer should have

professional indemnity cover (where your

looked around for a better policy.

negligence, error or non-completion of a job

may cause a financial loss to your client). And

Of course, too few people read the fine

In addition to insuring your equipment,

print on insurance contracts, so it’s stories

then there’s the insurance of the studio itself,

and experiences like this that started PPIB –

although fewer professionals have separate

Professional Photographers Insurance Brokers.

studio premises these days.

Stewart Maher and Jacqui Thomson decided TAGS I n sura n c e

they needed to develop an insurance policy

CHANGING TECHNOLOGIES

that took into account how professional

Jacqui Thomson said one of the most

photographers really work, so there would be no

common issues photographers need to deal

awkward surprises – and just in case you were

with is changing technology. “We’re dealing

wondering, theft of camera equipment from a

with a lot of claims for drones right now, but

locked vehicle is covered under a PPIB policy.

photographers shouldn’t automatically assume

that their drones are covered by their insurance

A lot of photographers think that they are

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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hair dog of the

2015

BIRTH PHOTOGRAPHY

AIPP MEMBERSHIP

BENEFITS

AIPP MENTORING

AERIAL PHOTOGRAPHY

ASSESSMENT REQUIREMENTS

AIPP USE OF

ARCHITECTURAL PHOTOGRAPHY

SOCIAL MEDIA

& COMMUNICATIONS

SPECIAL INTEREST GROUPS WORKING WITH

WEDDING

the ATO

PHOTOGRAPHY

(AUSTRALIAN TAX OFFICE)

2017/18 AIPP SIG

AIPP WORKSHOP

MOTHER & BABY

PRESENTERS

PHOTOGRAPHY

& SPEAKERS

WORKSHOPS & PRESENTERS

PORTRAIT PHOTOGRAPHY

A C C R E D I TAT I O N

FOR VIDEO

PRODUCERS

DRONES & DRONE USE PARLIAMENTARY SUBMISSION

Explanation: This SIG is designed to create an AIPP "Position" on the usage of Drones with the objective of creating a written submission to the current (2017) Parliamentary Inquiry. This SIG requires members who can work together to create an AIPP position and work with the National Office to create a final submission.

Members already on this SIG include: Col Boyd, Peter Barnes, Brian Randall, Kevin O Daly, Robert Horton, If you would like to contribute to this SIG and help shape AIPP policies and direction please email us at admin@aipp.com.au.

This is your chance to get involved without committing to a formal council or committee structure.

We would love your help.

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B r u c e P o t t i n g e r A P P. L M . P h o t o g . I H o n . F A I P P

20

EDUCATION

policy.”

surrounding the case, but at the end of the day,

Restrictions on the use of drones under two

Jacqui explained there were lots of issues

kilograms were relaxed last year by CASA, but

it was an $800 job and the easiest approach for

the results from an insurance perspective are

the photographer was to refund the client.

more accidents and more claims because there

are more people working with drones.

and professional indemnity policies is that they

include legal defence costs. Photographers

“You can’t just assume your current public

“One of the benefits of both public liability

liability insurance covers you – what happens

who don’t think they need this cover should

if a drone crashes into someone at a wedding

ask themselves if they can afford to defend an

or hits a window? We can certainly arrange

action brought against them.

insurance cover for drones, but you need to

inform your broker.”

insurance because they’ll never do anything

wrong, but that’s irrelevant because anyone

Jacqui said many professional

“Many people think they don’t need this

photographers are leading workshops, so they

can choose to sue you. If you find yourself in

should check their public liability insurance

this position, can you afford the legal costs to

still covers them. “You can’t just assume that

defend yourself?

an insurer will be happy if you start taking ten

people to Antarctica on a field trip. That’s a big

standard insurance broker because, for our

difference between giving a little educational

photographers’ packages, we’re actually acting

shoot in a local park. There is a duty of

as the insurer. We have facilities with CGU, NTI

disclosure with all insurance policies”, meaning

and Zurich for the policies we offer, so in turn

it’s up to us to tell our insurers what we’re doing

we’re able to offer our clients better rates.

so they can agree to cover us.

“Every photographer is different. Not all

dealing with us from start to finish. If I have you

will need professional indemnity cover, but

as a client, I look after your insurance premiums

anyone operating a business should have public

and then, if you make a claim, I look after the

liability insurance. People are far more litigious

claim as well. We like to treat our clients as

these days. They are more aware of what their

people, not numbers.”

Proudly su the AI

“We’re a little different than your

“The benefit of working with us is that you’re

entitlements are and what they can challenge.

“For instance, we had a recent query from a

PPIB has been covering professional photographers

photographer whose client was threatening to

for over 10 years and you can find them at http://

sue her because she didn’t like the photos.”

www.photoinsurance.com.au/

21

AWARDS 2 5 TH- 2 7 TH A U G U S T 2 0 1 7 MELBOURNE PARK FUNCTION CENTRE

10 Things To Make Your APPA Prints Sing Peter Eastway offers a series of short, pithy and succinct suggestions for dealing with the upcoming Australian Professional Photography Awards. Are you going to enter this year?

The people who get the most out of APPA are

then you’re looking for silver awards and points

the people who put the most in. APPA has

towards your Associateship. And if you’re a

defined my career, not because of the awards it

regular entrant, then you understand the

has given me, but because of the work I did in

system by now and the aim is for four Golds

creating my entries.

with Distinction.

In other words, whether you win an award

I certainly enter four Golds every year,

or not, your photography will improve by going

but unfortunately, they usually come back a

through the process.

different colour!

But of course it is even better if you win an

award or two. Here are some suggestions to ensure your APPA experience is a happy one!

2. PROFESSIONAL WORK OR PERSONAL WORK? New entrants wishing to benchmark

TAGS APPA Awa rd s Rules

22

1. DETERMINE WHAT YOU WANT TO ACHIEVE THIS YEAR

themselves should enter examples of their very

APPA is designed to provide a range of

score 70 or above, you can gauge how your

outcomes, from establishing a professional

work stands within the profession.

standard of work (a score of 70 to 79) to the

more challenging silver and gold awards with

consistently, we all aim to get a silver award or

scores of 80+ or 90+.

higher.

So what do you want to achieve? If this

best day-to-day professional work, so if you

However, once you’re scoring +70s

The judges are experienced photographers

is your first time entering APPA, aiming for

and most of them have seen and judged

four scores of 78 to 79 (or higher) is a worthy

thousands of images. They also shoot a

goal – it means you are producing a very high

professional standard for their own clients on

standard of professional work.

a daily basis, so if you’re looking for a silver

award or higher, you need to excite them. Many

If you’ve entered APPA once or twice before,

Lori Cicchini APP AAIPP

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entrants to APPA enter personal work because

interest the judges?

it allows them to show images that are a little paid to do, and this certainly improves our

4. HIGH QUALITY POST PRODUCTION IS EXPECTED

chances of earning an award.

Check the quality of your post-production.

And if you learn how to produce a high

Today, professional photographers are expected

quality of personal work for APPA, these skills

to produce images of exemplary quality. Even if

will flow through to the professional work you

your technique is to shoot as much as you can

shoot as well. In a nutshell, this is the overall aim

‘in camera’, your post-production techniques

of APPA.

must still produce a high-quality print.

different from the day-to-day work we are all

3. HOW IS YOUR PHOTOGRAPH DIFFERENT?

production of composite images to win silver

Most photography we see is derivative,

the approximately 1200 prints that earn silver

meaning that someone, somewhere has

and gold awards, over 75% were single capture

probably taken a photograph just like yours.

images. Composite digital files are not needed

No trouble – as long as your photo isn’t a direct

to win awards, but all entries need to have high

copy of someone else’s (which is not permitted).

quality post-production.

or gold awards. At the past couple of APPAs, of

However, to impress the judges into

something that is different from what they

5. WHAT IS HIGH-QUALITY POST-PRODUCTION?

expect generally – meaning a different

The easiest way to appreciate high-quality post-

camera angle, an unusual juxtaposition or an

production is to compare a good print with a

appropriate post-production technique.

bad print. Some examples are provided here.

the award range, you need to show them

24

And no, you don’t need to do ‘tricky’ post-

There are billions of photos taken every day,

Good quality post-production means that

but most of these are ‘snaps’ with nothing of

there is an appropriate range of tones (usually

great interest to anyone except the snapper.

from black to white), that there is detail in the

shadows and highlights (unless excluded for

As professional photographers, we should

be creating photographs that are different,

creative effect), the colour balance is correct

so when you are looking through your

(there isn’t an awkward colour cast over the

photographs for possible entries, ask yourself

image), and that colours are in gamut (you don’t

how is this image different – will it excite and

have areas of super saturated colour which

Ensur e you r entr have ies correc (expo t den sity sure) and c balan olour ce. Ch eck u appro nder priate lighti ng.

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AWARDS 2 5 TH- 2 7 TH A U G U S T 2 0 1 7 MELBOURNE PARK FUNCTION CENTRE

look garish). The image should also be free of

edge, but this is a poor example of vignetting.

sensor spots, dust marks and other blemishes

(and in the case of portraiture, you may wish

superimposed over an image; good vignetting

to re-touch your subjects as well) and the print

is invisible to the eye, using lines and shapes

should be appropriately sharpened (over-

already in the composition to darken down the

sharpening is an award killer).

edges of the frame, thus keeping the focus of

Bad vignetting is a geometric shape

attention inside the frame.

6. CROPPING AND FRAMING

Social media can fool us into thinking our

of your frame, consider darkening them

photography is better than it really is. While

down – it’s not quite the same as a vignette,

it’s wonderful to receive likes and hearts, we

but it makes them less distracting from a

are not necessarily being assessed by other

compositional viewpoint.

If you have bright areas that cut the edges

professional photographers. consider how they are cropped. Just because

8. IS YOUR PRINT TOO LIGHT OR TOO DARK?

your camera produces a 3:2 ratio frame, doesn’t

In the APPA Rules you will find the lighting

mean you have to keep it. Look at your image

specifications for the judging environment. It

and consider whether the composition could

is useful to view your own entries, before you

be strengthened or the communication

have them mounted and matted, under similar

improved if you cropped it: is there too much

lighting conditions.

sky or too much foreground; are there awkward

shapes or tones around the edges that are

too light or too dark, simply because the

better removed?

photographer did not use a colour-managed

monitor, or did not check that the print had the

26

When it comes to your APPA entries,

Don’t read this suggestion as having to

It is not uncommon for entries to be

tightly frame every shot – there is certainly

correct density.

room for creative negative space. However,

you’ll often see judges putting a hand or a card

balance – if you’re checking your prints indoors

up to their eye as they crop an entry in their

at night with standard household lighting, this

mind – you should do this yourself first.

is a completely different colour to the lights that

7. DOES VIGNETTING HELP?

your prints will be viewed under at APPA.

When you mention vignetting, many people

imagine a clearly visible oval shape with a blurry

of light does to your prints is important, but

A similar criticism can be applied to colour

Understanding what the colour and intensity

Proudly supporting the AIPP

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the takeaway is to view them under the same

found at APPA!

conditions as they will be judged. If you can’t

do that, look at them in daylight, but in shadow,

great education, but when you attend APPA in

not direct sunlight. This is better than under

person, you get to see the prints up close (and

tungsten lights indoors.

they can be totally different to the digital files

You can watch online and that gives you a

you see on screen), plus you get to talk and mix

9. MOUNTING AND MATTING

with other entrants and photographers.

One way to really kill a print’s chance of success

is to mount it poorly (with bubbles or creases),

silver or gold award, and the audience applauds,

or to submit it with a damaged or scuffed

you’ll be on cloud nine for months.

matte.

Some photographers with negative

experiences at APPA never enter again because

As professionals, we should never submit

If you’re in the judging room when you win a

our work to clients in this way, so we certainly

they don’t manage their expectations correctly.

shouldn’t do it in the Awards.

gold at APPA, which means 60 per cent do not.

There can also be a temptation to use

Around 40 per cent of entries earn a silver or

coloured mattes around your prints, with

colours that match the hues in the image.

Master of Photography who hasn’t bombed

Don’t!

out completely at APPA at least one year – it

happens to everyone, so suck it up and try to

While a colour matte can work, in 99/100

I don’t know a single Grand Master or

examples I have seen, they do not! Stick with

win the game next year.

a plain white matte. Some photographers like

black mattes, but if this is you, make sure the

important game. It’s a very productive game. It’s

matte you select really is black. Many black

educational. But no one died because they got

mattes just look dark grey when viewed under

a low score at APPA and there’s always next year

the strong APPA lighting.

to do better.

But nothing is quite as bad as a coloured

If the judges don’t ‘get it’, don’t worry.

matte. (Please send all complaints about this

You will have many clients over the years

comment to colourprejudice@aipp.com.au.)

who don’t get it either, so learning to deal with

Yes, in many ways, APPA is just a game. It’s an

success and failure at APPA is a great way to set

28

10. ENTER AND ATTEND APPA

you up for a satisfying career.

All the most educational, uplifting and

demoralising experiences you can have will be

mine?

Now, where are those four gold prints of

X

X

k c la b r o e it h w y s a Make your life e .

0 0 1 f o t u o s e im t 9 9 mattes are best

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AWARDS

Hilary Wardhaugh - 2017 ACT Epson PPY The poigant images by Hilary Wardhaugh APP.L M.Photog. III not only took out the documentary category, but the overall 2017 AIPP ACT Epson Professional Photographer of the Year.

Portrait by Lindi Heap

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

30

Hilary is well known both in her home town

just captured moments, with no Photoshop

of Canberra and around the country as an

manipulation.

accomplished photographer, judge and entrant.

A generalist photographer like so many of us,

year. They have a somber mood and they make

her business includes everything from head

mention of topical issues which highlight

shots (including the well-known faces of many

human frailty. They are images that don’t

parliamentarians), weddings, events and public

necessarily have a wow impact, but sneak up on

relations.

you. They are real images, with heart.

However, if you get to meet Hilary, you’ll

“My images are also a reflection of my last

“So I am exceedingly grateful for the

learn first and foremost that she is passionate

recognition and for the fact that the craft of

about photography.

capturing an image has been recognised.”

For the AIPP ACT Epson State Awards, Hilary

Hilary’s four documentary images cover a

entered four prints into the documentary

range of topics and issues, from highly personal

photography category. This was an intentional

photographs of her family to commentary on

decision because Hilary likes the fact that no

the world at large.

composites are allowed and that only minimal

post-production is permitted. The integrity of

who lives with cerebral palsy, seemingly defies

the capture must be respected.

gravity in his weekly swimming lesson in a

warm water hydrotherapy pool.

“There was much criticism of the AIPP

The striking water portrait of Dylan (top left),

Australian Professional Photography Awards

in 2016, saying it was more like the Photoshop

with his condition by helping his body relax, a

awards.

welcome relief from his daily life.”

“My award is not a told-you-so moment.

Explained Hilary, “The warm water helps

With another image, Hilary also won the ACT

I am absolutely shocked that I won, but also

AIPP Epson Highest Scoring Print, an honour

extremely happy because my images were

she shared with Kelly Tunney.

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AWARDS

Adam Williams - 2017 NSW Epson PPY A striking portfolio of landscape images has seen Adam WIlliams APP AAIPP awarded the 2017 AIPP NSW Epson Professional Photographer of the Year.

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

32

To say Adam Williams is addicted to the AIPP’s

forever.”

award system is possibly an understatement!

the initial judging results.

The dedicated landscape photographer

Adam says he was initially disappointed with

current generates most of his photography

income from teaching others how to get more

into the Awards I thought I had four images that

out of their own photography.

would connect with the judges on an emotive

level. Then when they didn’t connect, I started

“I joined the AIPP because that’s what

“I’m sure that sounds a little odd, but going

professional photographers do and that’s what I

to doubt my ability as a visual communicator.

wanted to be.

“I have entered the awards for the last

roughly. It’s not so much the score, rather that

four years and can honestly say that it alone

my last two photos failed to draw a passionate

has been the single biggest factor in my

response that disappointed me.

photography progress.

board and use the infomation to improve.

“The Epson State Awards and APPA are

“I think my scores were 92, 86, 82 and 80

“However, I always take all the comments on

the two ‘must-enter’ awards for me each year.

There’s nothing better than bringing my

heading down a very personal pathway, chasing

visions to life in print and then having the best

a passion inspired by the romantic painters of

photographers in the country judge them live.

the mid 1800’s. There is a certain satisfaction in

What a rush!

having this work awarded at the highest level.

“Every now and then you get lucky and one

“Over the last 12-18 months, I have been

“Winning prestigious awards like this can

of your idols not only judges your photo, but

really give my profile as an educator a lift. I

goes on to challenge for it. Hearing that one of

recently launched an education site www.

your photos has emotionally moved one of the

easywayphotography.com.au, so it certainly

photographers you have looked up to for years,

adds a lot of credibility to have the AIPP APP

wow!!!! Those moments will stick in my memory

certification and the associated awards.

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AWARDS

Kelly Champion - 2017 SA Epson PPY More great documentary photography picks up the top prize for Kelly Champion APP in the 2017 AIPP SA Epson Professional Photographer of the Year (and it’s two in a row as well)!

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

Perhaps there is a movement in the air as yet

moment” being announced as the 2017 AIPP SA

another set of documentary photographs takes

Epson PPY.

out a major prize.

were all amazing moments which I was privy to

The winner of the 2017 AIPP SA Epson

“I felt I had a strong portfolio and the images

Professional Photographer of the Year award is

– they are all very special to me.

Kelly Champion - and she’s developing quite a

reputation in our awards system.

cloud your judgment”, acknowledged Kelly,

referring to the common experience of entering

“In 2015, I joined the AIPP as an emerging

“However, sometimes this attachment can

member and won the SA AIPP Emerging

personal work that the judges don’t always see

Photographer of the Year, which was a huge

quite the same way as the entrant!

honour. “

Then in 2016, Kelly became a fully accredited

the other finalists and entrants are highly skilled

member of the AIPP (APP) and entered the AIPP

professionals with such high standards of work.”

Epson State Awards in two categories.

Kelly has a Bachelor of Visual Arts from

the University of South Australia and says her

“That year, I was a finalist in the portrait

“Winning is such an honour, especially as

category, I was awarded the AIPP SA Epson

“number one favourite subjects to photograph”

Documentary Photographer of the Year

are her daughters. Her studio, Kelly Champion

and the overall AIPP SA Epson Professional

Photography, specialises in wedding, family and

Photographer of the Year. “

portrait photography.

And this year she’s done it again! She

“I approach all three with my documentary

entered three categories, was a finalist in the

style. I love to find humour in a situation and I

family category, won the documentary category

always try to view a scene differently.

and is the 2017 AIPP SA Epson Professional

Photographer of the Year.

work professionally and my dream job is

shooting for National Geographic!”

Kelly says it was a “surreal but wonderful

“My ambition is to follow my documentary

NB - Tasmanian and Northern Territory winners will be published next month!

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How Do We Judge Photo Illustration?

The Awards are unfairly criticised for being ‘Photoshop’ awards, but is this a problem with the system, the judges or the entrants? Or are the Awards just reflecting the commercial reality of photography today?

Do you have to be good at Photoshop to win

this makes our work more valuable or ‘pure’?

an award in the Epson State Awards or at APPA?

Some post-production for exposure, contrast and colour is required – even in the days of film

STATISTICS SPEAK

we would make these adjustments as a bare

Sometimes people look at the winning

minimum. That’s what professionals do!

portfolios and make the assumption that all the

And these are professional awards.

winning entries are the same.

36

So, when we see some highly illustrative

ILLUSTRATIVE COMPARISONS

images like those submitted by Lisa Saad and

So, how do we deal with composite images?

Adam Williams in the Epson State Awards this

We have to judge them because this is what is

year, there is an outcry from the ‘establishment’

happening out in the real world.

that the awards are being hijacked by

Photoshop. Poppycock!

the judges. We need the judges to compare

these ‘works of art’ not just against other

Based on the last couple of Awards books,

The problem isn’t with the entrants, but

over 75 per cent of entries awarded are single

photography, but graphic design and painting.

capture images.

is because their work satisfies the requirements

The label ‘Photoshop awards’ is being

The reason Lisa and Adam won their awards

erroneously used to describe composite

of both good photography and good design.

images. The vast majority of entries are not

composites and nor are the awarded prints.

‘composite images’ look more like a painting

than a photograph, and so the judges score it

However, every image entered into the

However, there have been occasions when

awards should be processed to some extent

very highly because it is ‘new’ and ‘different’.

by Photoshop, Lightroom or Capture One.

Hopefully we are not entering an image straight

remarked, just because something is new

out of the camera in some bizarre belief that

and different doesn’t make it good. We have

As iconic Australian painter John Olsen

•

Vanessa Mac aulay APP M.Photo g. I

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a history of art that has established certain

standards and levels that we accept as ‘good’.

that are very like Lisa’s Anonymous Man images,

should they be rewarded with golds? My view

The problem our judges face when

So, if someone now enters photographs

handing out exceptionally high praise for

would be probably not - it would need to

some composite images is that when you

demonstrate its own level of brilliance.

compare the entry against a background of

contemporary art and graphic design over the

of something that has been entered before,

past 50 or 100 years, the entry doesn’t stack up

or work that is in the public arena, then it is

(a personal view, of course).

unlikely we can elevate it to gold. It might get

If we see work that is highly derivative

a silver with distinction because it is a brilliantly

NOT IN ISOLATION

executed example of an existing genre or

When you look at the recent work of Lisa Saad,

approach, or maybe only a score in the 70s

there is an elegance and sophistication in her

because, apart from the idea, the execution is

technique, composition and colour. Are her

what we would expect of any professional.

photographs more design than photography?

That’s not a question we even need to ask

and babies in baskets. These ‘ideas’ have been

because she has created them photographically.

around at APPA for many years now, so a score

in the high 70s might be appropriate for a

The question we should ask as judges is,

For example, there are a lot of square aerials

how does Lisa’s work fit into the scheme of

standard reproduction. A silver with distinction

photography and contemporary art. Are they

might be given to an example done very well,

strong as photographs? And if they have a con-

but the entrant really needs to take the concept

nection to art, are they also strong as examples

or quality of aerials or babies to a new level to

of graphic design? I think the answer is yes and

earn a gold. That is my subjective opinion.

they were deservedly gold.

And this is the challenge for our judges

when assessing composite images that are

38

WHAT IS A GOLD?

more like graphic design than our traditional

The idea behind a gold award is to

view of photography, such as those seen in the

acknowledge some form of brilliance. It might

illustrative and portrait categories. Our judges

be a classic subject reproduced with exquisite

need to be familiar with both graphic design

beauty, but this is rare. More likely it is because

and painting to understand where an entry sits

the image investigates a new area or takes an

within the world of art, not just the world of

existing idea further than it has been before.

photography. Let the discussion continue!

Photograph by Lisa Saad APP M.Photog. III

39

EDUCATION

How Do You Organise Yourself?

All successful photographers have strategies and techniques that make them more effective. For AIPP Board member Louise Bagger, she has a ‘clear desk routine’ and ‘to-do’ lists.

TAGS Admini s tr a ti o n

40

“My ‘clear desk routine’ comes for my time in the

the list. These should be done first. However,

navy when at the end of each working day, we

there are lots of other jobs and projects that are

were expected to have a clear desk.”

great ideas for the future, just not right now.

These are placed down the bottom of the list

The idea isn’t to sweep everything into a

waste paper basket on the side of the desk,

and are carried forward from list to list.

rather to use the last 10 or 20 minutes of each

day to sort through all the current jobs and

every week. The list might be on a form with a

queries that need to be attended to on the

number, a description and a column for a tick.

following day. And part of this process is to clear

I might even highlight some of the things that

up your desk and to produce a to-do list so that

should take priority. However, there are some

things are not forgotten.

jobs that will remain on the to-do list for weeks

or even months until I eventually get around

“I don’t have one big long to-do list, but

“I like to have a fresh to-do list, at least

several. Sometimes it’s just a few dot points on

to them. They are not urgent, but they are

a sticky note. And while I mightn’t forget what

important enough for me to want to remember

I have to do, writing things down lets me plan

them.

the activities for the next day, making sure the

most important things get done first.”

let my clients down by not calling them back

or not finishing a job when I said I would. That’s

Of course, Louise mightn’t finish every day

So why does Louise do it? “I don’t want to

sitting at her desk, but it’s a process she does

why spending a little time each day to plan, to

regularly. It also lets her switch off after work,

clear the desk, is so important.

comfortable she will remember what needs

doing.

telephone calls to make and one email to write.

They were priorities on my to-do list so I did

So, does Louise finish everything on her

“For instance, this morning I had two

to-do list every day? Of course not! The most

them first.

important and pressing jobs are up the top of

“It’s basically a part of my life.”

Photography by Louise Bagger APP AAIPP

41

FEATURES

Dan O’Day: Wedding Lifestyle The 2016 AIPP Australian Professional Wedding Photographer of the Year, Dan O’Day APP M.Photog. II travels the world for an elite clientele, so how does he work and what equipment does he use?

Many people dream of the exotic lifestyles lead

wedding photography.

by successful photographers travelling around

the globe for an international clientele. While

business in 2009, I still pinch myself that I get

the financial reality of self-employment can be

to shoot weddings all over the world and

a little more onerous, once you’ve tasted it, you

Australia-wide. I really do feel like I’m living in

can’t easily go back to a day job and the only

some sort of a dream.

option is to push on forwards.

year and 29 of them are not in my home town.

And enjoy the challenge.

“Since going full time with my wedding

“These days, I shoot around 30 weddings a

I spend a lot of time on the road, but when I

FRESH AND EMOTIVE

am home, I work from my home studio. I also

spend a couple of days a week working in my

If you get to meet Dan O’Day, you’ll have

no doubt that he is enjoying the challenge.

other company at our Braddon studio space, All

Not only is he creating wonderfully fresh and

Grown Up Weddings.”

emotive photographs, which concentrate on the ‘seeing’ rather than the ‘post-production’,

VISUAL NARRATIVE

he has managed to carve out a living in what

Dan won the 2016 AIPP Australian Professional

is a highly competitive part of the profession:

Wedding Photographer of the Year, sponsored

Photography by Dan O’Day APP M.Photog. II

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43

FEATURES

by GraphiStudio, and this was after being the

life, focusing on multiple streams of income to

category bridesmaid two years previously!

avoid the risk of having all of our eggs in one

basket before it’s hatched in glass houses (or

Explains Dan, “Documentary could be

described as the technique I use when shooting

something like that)!”

weddings. I love to tell stories through imagery

– to deliver a visual narrative. My influences in

and think isn’t that nice, while others will note

paint and contemporary art contribute to a

what is a fundamental part of all successful

smaller, but just as important part of the capture

businesses and photographers: planning.

process.

their busy schedules to plan for their future.

“I have a background in fine art painting,

A lot of photographers will just read this

Dan and Andrea are taking time out of

so I’ve always had a love for composition and

How often have you done that? And why do

colour. Painting got me into exhibiting, which

successful people spend time on business and

landed me in the art world, which eventually

personal planning? Because it works!

led a friend of mine to give me my first camera.

wedding photography, isn’t a sustainable long-

“I shot my first wedding in 2007, then left my

“Physically being out in the field, with my

9-5 job and went full time in 2009. I gradually

term retirement plan for me (I don’t think my

shot more and more, until at one point I was

back can take much more), so we’re working on

shooting 60 weddings a year!

less physical ways to channel more money into

the business.”

However, I landed in the hospital with

pneumonia a couple of times, so after that, I learned my limits and I’ve been working on

SHOOT FOR YOUR CLIENTS

establishing a more streamlined business model

Being a professional photographer is more

ever since.

than just pressing the shutter button, it’s all about marketing, sales, procurement and being

TAGS Awa rd s Po r tfo l i o O ’Day Weddi n g s

MAPPING THE FUTURE

incredibly creative with a camera.

“Today, I’m business partners in Dan O’Day

Photography with my partner Andrea, who will

this year, explaining his approach to wedding

become my wife in August (woohoo)!

photography. Of great interest was his pricing

and what he offers. His packages begin at

“We’re currently mapping out our next 5-10

years of projection in business and personal

Dan spoke at WPPI in Las Vegas earlier

around $5000 and, after his clients have

Many of Dan O’Day’s photographs exhibit a great understanding of light.

44

45

FEATURES

46

Dan O’Day offers his clients a wide range of different angles, styles and compositions.

47

Photography by Dan O’Day APP M.Photog.II

48

FEATURES

selected their favourite images, he designs what

• 2x Canon EOS 5D Mark III bodies;

is essentially a final album for them.

• Canon EF 24mm f/1.4L II USM;

“We might fatten it out with a few extra

• Canon EF 35mm f1.4 L USM;

images that we think will better tell the story,

• Canon EF 50mm f/1.2L USM;

but I prefer them to select the images they want

• Canon EF 85mm f/1.2L II USM;

up front.

• 2x Speedlite 580EX II Speedlites; and

• His iPhone light!

“I hear quite a few photographers

complaining that clients don’t choose the best

shots, but I think they’re forgetting that it’s our

programs and apps as the basis of his workflow.

clients who will live with the album for the next

He begins with PhotoMechanic to ingest and

50 years. If those are the images they want, let

select the best images from each shoot.

them have them!

have to clog up my Lightroom catalogues with

And if we want to design an amazing

In terms of software, Dan lists the following

“It’s a lot faster than Lightroom and I don’t

sample album that features what we think is our

a lot of images I will never use.”

best photography, we can do that at another

time.”

select his best 500 or so photos from the

wedding and then only those best shots are

It’s an efficient business model, but it’s

Essentially, Dan uses PhotoMechanic to

presented artfully and clients are willing to

moved across to his Lightroom catalogue.

accept his design recommendations.

couple of plugins like Alien Skin.

What you’ll find when viewing Dan’s work

In Lightroom, Dan goes to work with a

is a huge variety of subjects, concepts and

“I use Alien Skin because it has a much more

compositions. Sure, all the images are based

advanced grain feature than Lightroom, plus a

around wedding photography, but it is his

few little colour curves and tones that give my

ability to create wide variations within his work

images extra punch.”

that establishes his credentials.

JPEG Mini is used to compress his files

before uploading them to his website and client

HUGE GEAR GUY (NOT)

galleries on Pixieset. Although the resulting

And while many photographers are passionate

files are smaller and faster to load, JPEG Mini

about the equipment they use, that doesn’t

achieves this without a loss of image quality.

describe Dan.

“I’m not a huge gear guy (not like that...), but

my main wedding kit consists of the following:

ONLINE To populate the blog pages on his website, Dan

49

FEATURES

uses Storyboard by Code&Hustle. “It runs out

album in less than 15 minutes and it looks

of Photoshop. You tell it what width your blog

excellent!

is and how much space you want between

photos and then Storyboard collates them into

but essentially you load your photos into the

an interesting pattern, depending on how many

program in order, and as you tell SmartAlbums

images you have and what shape they are. You

where to insert page breaks, it immediately

can also adapt the layout design manually – it’s

creates a page layout.

super easy.

‘When you’re happy, Storyboard outputs the

quite what you want, you just hit the down

photos as a series of images you simply upload

button and you can see around 30 different

to your blog!”

designs to choose from!

In terms of showing his photographs to

“It’s a little hard to explain how it works,

“Usually the layout looks great, but if it’s not

“It also works really well with Lightroom

clients, Dan uses Pixieset for his online gallery.

because any changes you make to your files in

Clients, friends and family can see all the photos

Lightroom will be automatically updated within

from the wedding and order prints if they like.

SmartAlbums.

However, before the couple sees their gallery,

Dan produces a highly emotive and impressive

like it and they must do so because we get so

slide show just for them. He uses SmartSlides by

few changes. We’re stoked!”

Pixellu.

great prints and albums, how do you get your

“The first time they see my photos is how I

“I guess the real test is whether our clients

So, with the mechanics of producing

want them to see their day. I select 250 to 300

photography to stand out?

images and add in some music for a 15 minute

presentation. The slide show is much more

explore is perspective. I’m constantly working

emotionally invested than a computer screen

on creating more exciting compositions in my

with a grid of images.”

images, looking at a common situation with a

different visual take.

Most of Dan’s clients order a wedding album,

“One of the main things I continually

so after they have seen the slide show and the online gallery, they will indicate which photos

You can see more of Dan O’Day’s work on his web-

they want in their album.

site at http://danodayphotography.com.au/. You

can also see when Dan is giving a presentation on

“I think SmartAlbums is the best album

design software out there. Not only does it include great templates, you can design an

50

this website here https://www.artandtheheart.com/

Photography by Dan O’Day APP M.Photog.II

51

NEWS

Epson SureColor P800 Are you getting your award prints ready for APPA? Have you thought about printing them yourself? Not only is an Epson SureColor P800 easy to use, it’s less than $1700 for quality that is every bit as good as the large format models used by pro-labs.

TAGS Equ ip m e n t Pr in ter Ep so n

Entry into our current awards system requires

certainly provide the quality you need.

prints. It’s one way professionals can distinguish

what they do from the millions of snapshooters

17” roll support, so you can make prints

who sometimes own cameras more advanced

17-inches by one metre or more.

than our own!

A 2.7” LCD screen offers keypad and gesture

Even if we don’t sell prints as part of what

The P800 can also be fitted with an optional

Operating the P800 is very straightforward.

we do, being able to produce print-quality files

navigation that in turn allows you to check the

is an essential skill for a professional.

printer status, ink levels and perform routine

maintenance tasks. It also includes a number

And once you can produce print-quality

files, it’s a relatively small step to produce the

of handy help screens to remind you what you

prints themselves.

need to do!

It’s true that at the heart of good printing

Inside, the 2800 x 1440 dpi printer uses

is a good quality colour management system,

Epson UltraChrome HD pigment inks, which

but this is as easy as buying two things: a good

deliver a very high black density, rich colours

quality monitor and a good quality printer.

and great contrast on a range of media types. It

Once you have these, someone can install a

produces the quality needed to win awards at

couple of profiles and you will be producing

APPA.

high quality prints in no time.

and new cartidges cost around $70 each. The

So, what printer do you purchase?

There are nine 80 ml ink cartridges on board

P800 ships with a set of 64 ml starter inks to get

EPSON SURECOLOR P800

you going.

If this is your first printer, or if you only need to

52

produce a relatively small number of prints up

PAPER OPTIONS

to A2 size, then the Epson SureColor P800 will

Most printers offer two types of black ink, which

Epson SureColor P800 with optional rollpaper support.

53

Epson’s SureColor P800 has nine bays for its inkset.

54

NEWS

produces the base tonality of most images. You

The P800 comes with Epson Print Layout

need a good strong black to produce prints

software, a plug-in for Adobe Photoshop,

with impact.

Lightroom, and Nikon ViewNX. Images can be

printed individually or several can be ganged

One black ink is designed for gloss papers

(usually called Photo Black), while the other is

up on a single sheet for economy, either

for matte papers (Matte Black). In earlier Epson

borderless or with a choice of border sizes and

printers of this size, switching between the inks

styles.

was done manually, but the service has now

been automated in the P800.

an advanced gallery wrap function which

produces output that is suitable for mounting

The P800 has several paper feeding options

The Epson Print Layout software also offers

so it can handle a range of media types and

onto a frame, and it also allows you to adjust

thicknesses.

the colour and density. However, we would

suggest that colour and tonal adjustments here

For instance, the art papers many entrants

favour for their APPA prints are put through a

are unnecessary if you are using a good paper

front feeder, which in turn allows the printer’s

profile.

footprint (desk space) in your studio to be much

smaller.

your computer, monitor and printer so they

all work together – using monitor and printer

The printer when open and operating

The way to print consistently is to set up

measures 684 mm (W) x 963 mm (D) x 550 mm

profiles.

(H) and weighs around 20 kg.

as what you see on your monitor, so if there’s a

One neat feature is a choice of connections.

This means that the print is exactly the same

You can choose USB, Ethernet or connect

problem with the print, rather than adjusting

wirelessly with an automatic Wi-Fi setup, even

the printer, you adjust your file in Photoshop or

if you’re not working in an area with an existing

Lightroom.

network. The P800 has a Wi-Fi Direct feature

which means no router is required – and no

of the P800 with similar features (but no

cables either!

roll feeder), so if space in your studio is at a

The SureColor P600 is a smaller version

premium, this model is still able to produce

EPSON PRINT LAYOUT

your award prints, with a maximum print size of

A3+.

You can also print to the P800 from your

iPad, iPhone, tablet or smartphone using Epson iPrint software or Apple AirPrint.

http://www.epson.com.au

55

SPECIA

L FOR B

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Save 20

Use Co u

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Offer E

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de: BPM AG 31/12/ 2016

Peter Eastway’s

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

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

KNOWLEDGE

JOURNEY

ACUMEN

POST-PRODUCTION

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

1. Which Cameras Are Best for Landscapes?

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

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

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

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

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

17. Which Photo Editing Software?

18. Where To Now That You’ve Finished?

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