AIPP Journal - August 2017

Issue 254

August 2017

JOURNAL

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

JOURNAL

CONTENTS 4

The Greatest Thing We Do

8

Visit APPA In Melbourne 25-27 August

AIPP National President is an AIPP Grand Master of Photography and a firm believer in APPA, but even he didn’t earn awards when he first entered the system!

Ask any successful AIPP Master of Photography and he or she will tell you that attending an APPA judging in person was the best education ever received! Make your plans to attend APPA in Melbourne now!

11

Welcome To Sony At Lenscape

Cover

Sh i reen H ammond

One of the biggest names in photography, Sony, is partnering with the AIPP to bring Lenscape to the Gold Coast next year!

A P P. L M . P h o to g. III

2016 AIPP AUSTRALIAN PROFESSIONAL FAMILY PHOTOGRAPHER OF THE YEAR

12

What Is The Nikon D850 Really Like?

As we go to press, Nikon is tempting us with news of a brand new DSLR with features that are potentially mind-boggling? What’s it all about? And will you be able to see it at APPA this month?

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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14

What To Take Away From The Judging No one submits a photograph to APPA they are not happy with, so how do we deal with scores that are below what we expected? There’s a trick to understanding how it all works, by stepping into another entrant’s shoes.

ISSUE 254 / AUGUST 2017 18

William Carroll - 2017 NT Epson PPY Paintings, photographs or both? Darwin’s William Carroll APP takes out the AIPP Northern Territory Epson Professional Photographer of the Year Award with a striking set of innovative portraits.

20

Andrew McConachy - Tasmanian Epson PPY Striking and imaginative illustrative photographs have won Andrew McConachy APP M.Photog. the title of 2017 AIPP Tasmanian Professional Photographer of the Year.

22

Shireen Hammond: Loving Everything

34

There were many reasons the 2016 AIPP Australian Family Photographer of the Year Shireen Hammond APP.L M.Photog III moved her focus from weddings to families in recent years, but at the heart of it all, it’s portraiture that matters.

How Much Do Photographs Cost?

Photography business coach Bernie Griffiths suggests a great way to explain to your clients why professional photography costs a little more - and why it is worth it?

41

The Wedding Album Returns Just as vinyl and film are making a come-back, so too is the wonderful wedding album - if you know how to offer it to your clients. Haley Richardson and Darren Van De Wint have the answers

44 50

How Do We Keep Our Copyright?

Without owning copyright, we may not be able to use our own photographs - or control how others use them. So, how do we retain control over copyright and do we need to keep it at all costs?

...isms: Understanding Photography One of the biggest challenges as a photography judge (and entrant) is having a broad understanding of an increasingly layered and complex artform. Emma Lewis has just the book!

52

Acknowledging Our Board Members The AIPP is a membership organization and our office bearers have always been volunteers, but is it time we acknowledged the sacrifice of some volunteers with an honorarium?

54

Panasonic Lumix DC-GH5 Is this the only camera you need? With 4K video and a 20-megapixel sensor for stills, the Lumix DC-GH5 is a consummate performer, especially when you add in high quality lenses and a raft of professional features.

Platinum Sponsors 3

NEWS

The Greatest Thing We Do AIPP National President is an AIPP Grand Master of Photography and a firm believer in APPA, but even he didn’t earn awards when he first entered the system!

TAGS APPA Awa rd s

I have a confession to make: the lowest score I

members. It’s an amazing tool for recognition

have ever received for an entry into APPA was in

– recognition of your work, recognition by

the sixties!

your peers, and recognition of the craft of

And I think the judges were right!

photography at the award level.

Back when I was starting out, unfortunately

The AIPP offers us something I have always

I wasn’t as sharp as some of our current

admired: professionalism. It’s not the same as

members. For the first three years I didn’t earn a

competitions at amateur clubs because you

single Silver.

are being reviewed by your peers. The best

photographers in the country are giving you a

I felt I was shooting great images, but they

were of ordinary subjects and topics – so

score for your work, so if you earn a Silver or a

good professional practice or, if I’m honest

Gold, you know damn well that you are worthy

with myself, just verging on good professional

of that level.

practice!

When I finally won a Silver award, it was

remarkable!

UNBIASED Once I stepped in the system, I never stopped.

I wanted the feedback every year because it

4

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5

NEWS

However, it’s not just about my own prints.

not just your awards.

Watching prints by other photographers being

judged and listening to the comments from the

lots of other photographers receiving the same

judges is really valuable.

battering as yourself, or the same praise, it’s

much easier to accept.

It shows how easy it is for different people

And once you understand that there are

to have different views and, when it comes to

dealing with your clients, this is an incredibly

being judged, you don’t have a vested interest

important lesson.

in the outcome and so you’re better able to see

the judges’ points of view.

Over the years, the points system lets you

When you watch another entrant’s work

build up to Associate, Master of Photography

and even Grand Master of Photography.

back to your own work and suddenly you’re

understanding what it’s all about.

Plus you can win category titles which can

Gradually you can bring that approach

be great PR and are certainly good for your self-

It’s a great way to learn.

esteem.

The system doesn’t care if you’re a Grand

Master or a student, the print is what matters.

However, I think the most important

attribute of our Awards system is the honesty.

And yes, it’s subjective, but overall you get high quality, consistent grading of the calibre of your

GOOD CRITICISM

work.

It’s great to win awards, but it’s more

educational to get really good criticism.

passionate and to feel good about what we

produce.

I find that what I see as obvious in my

As photographers, we have to remain

photographs is not always so clear to other

people.

celebrate the passion that got us into

photography in the first place.

I might see an expression in a subject’s face,

but be blind to everything else around that isn’t

Our businesses are important, so let’s

See you at APPA!

quite right – the cropping, the light, the camera angle and other distractions.

It took me a while to figure this out, to take

on board what the judges were saying about my work, as well as everyone else’s, but once

vittorio.natoli@aipp.com.au

you understand what the judges are saying, it

0400 418 888

makes a huge improvement to all of your work,

6

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Visit APPA In Melbourne 25-27 August Ask any successful AIPP Master of Photography and he or she will tell you that attending an APPA judging in person was the best education ever received! Make your plans to attend APPA in Melbourne now!

There are many reasons to make a visit to APPA

interspersed with three breaks to give you an

this year at the Melbourne Park Function Centre.

opportunity to meet and talk with our sponsors.

Without our sponsors, the AIPP would

WATCH THE JUDGING

struggle to present such a professional front,

Most importantly, you get to sit at the free

so all we ask is that you spend a few minutes

judging sessions and watch the proceedings.

in each break to visit the sponsors who interest

This year, the APPA Team is aiming to provide

you the most - they will all have stands just

feedback on as many of the prints as possible,

outside the judging rooms.

so it will be even more educational than ever before.

MIX WITH PHOTOGRAPHERS

There are five judging rooms and judging

And while you’re walking through the mini

begins at 8.30 am each day, concluding around

trade show, no doubt you’ll bump into old

7.00 pm.

friends or new acquaintances.

TAGS APPA Awa rd s R eferen c e

And if you see a photographer whose work

SEE THE PRINTS

you really admire, don’t be scared to walk up

And while you can watch the judging online,

and say hello. That same photographer will

you simply don’t get a sense of what the prints

have been in your shoes and has no doubt

really look like.

been helped by his or her mentors in the past.

It’s something they love to do.

The ONLY way to view the entries are as

the original prints submitted and all the Silver awards and higher will be displayed during the

HANG OUT FOR THE DINNER

judging on the walls.

And if that’s not enough, you might still be able to grab a ticket for the gala dinner on the

8

MEET THE SPONSORS

Monday night. Details can be found by visiting

This year, the judging program is being

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LUNCH

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THE OLYMPUS JUDGING ROOM 1

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THE OLYMPUS JUDGING ROOM 1

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LANDSCAPE

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6.45pm

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PORTRAIT

LANDSCAPE

BREAK

THE ----JUDGING ROOM 3

PORTRAIT

LUNCH

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BREAK

THE AON JUDGING ROOM 2

3.30pm

3.00pm

2.30pm

1.15 2.30pm

12.45pm

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11.45am

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SATURDAY 26TH AUGUST

LANDSCAPE

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11.45am

11.15am

10.30 11.15am

10.00am

9.30am

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SUNDAY 27TH AUGUST

THE OLYMPUS JUDGING ROOM 1

THE ----JUDGING ROOM 3 THE AIPP JUDGING ROOM 4 THE AIPP JUDGING ROOM 5

ILLUSTRATIVE

WEDDING

WEDDING

ILLUSTRATIVE

LUNCH

ILLUSTRATIVE BREAK

THE AON JUDGING ROOM 2

WEDDING

9

10

NEWS

Welcome To Sony At Lenscape One of the biggest names in photography, Sony, is partnering with the AIPP to bring Lenscape to the Gold Coast next year!

Sony has joined the AIPP as an official trade

enable us to develop solid relationships

partner and will be a Platinum Sponsor of

with both professional and upcoming

Lenscape 2018.

photographers and enhance the photography

industry in Australia.”

Lenscape is the new name for the annual

professional photography conference

established by the AIPP in 2010. The conference,

Resort & Water Park in Gold Coast, Queensland,

which will run from Saturday, 5 May to Sunday,

at the recently opened multi-million-dollar

6 May 2018, has been carefully crafted to suit

state-of-the-art conference centre.

photographers of all experience and expertise

levels.

Ceremony will also be hosted as a part of the

two-day conference.

Said Peter Myers, “Lenscape has been

Lenscape 2018 will be held at Sea World

The World Photographic Cup Awards

created to suit the budding photographer, the experienced entrepreneur and social bunnies

SONY Α9

alike. And we are delighted to welcome Sony

The Sony α9 offers a range of features that

as a major partner and supporter of Lenscape,

you won’t find on a DSLR. For instance, the

especially since the announcement of the

24-megapixel full-frame camera offers high-

groundbreaking Sony α9 camera which has

speed, blackout-free continuous shooting at

revolutionised the capability of the mirrorless

up to 20 fps, 60 AF/AE tracking calculations per

camera market.”

second and a top shutter speed of 1/32,000

Vivek Handoo, Head of Digital Imaging,

second. One of the advantages of the mirrorless

Sony Australia and New Zealand states, “Sony

design is that you can cover more of the image

is rapidly growing in the digital imaging

area with focusing points. The Sony α9 features

space and is dedicated to bringing out

693 phase detection AF points which cover

innovative camera technology to improve the

approximately 93% of the frame, so you can

photography experience.

position a focusing point wherever your subject

might be placed.

“Our new partnership with the AIPP will

11

NEWS

What Is The Nikon D850 Really Like?

As we go to press, Nikon is tempting us with news of a brand new DSLR with features that are potentially mind-boggling? What’s it all about?

And will you be able to see it at APPA this month?

TAGS Equ ip m e n t Ca mer a N ik o n

12

According to the official press release, Nikon

capture landscapes, weddings, sports, fashion,

is pleased to announce the development of

commercial imagery and multimedia content

the next generation full-frame, high-resolution,

creators.

high-speed digital SLR cameras with the

The D850 is the successor to the D810,

upcoming release of the Nikon D850.

which has been highly praised by its users for

offering extremely sharp and clear rendering,

The announcement coincided with Nikon’s

100th anniversary of its establishment, which

with rich tone characteristics.

was celebrated on 25 July 2017.

So, what will the Nikon D850 be like? What

camera is engineered with a range of new

features will it have? How many megapixels will

technologies, features and performance

be on the sensor?

enhancements that are a direct result of

We don’t know. Yet!

feedback from users, who demand the very

Nikon gives us very few clues, but we

best from their camera equipment.

This powerful new FX-format digital SLR

do know it will be a high resolution camera

because a promotional video talks about 8K

the vast range of photographers who seek the

time-lapse photography.

high resolution and high-speed capabilities that

only a Nikon of this calibre, complemented by

We can also assume it will have incredible

The D850 will exceed the expectations of

low light performance, something Nikon

Nikkor lenses, can offer.

already does remarkably well.

The press release continued, telling us

and we’re wondering if the first opportunity

sparingly little: The D850 will be a formidable

might be at APPA in Melbourne this year? Of

tool for creators who will not compromise

course, the timing of any announcement will be

on exceptional image quality and versatility,

dictated by Nikon Japan, but you can certainly

including both aspiring and professional

check out the Australian Nikon stand at APPA

photographers as well as hobbyists who

and ask a few pointed questions!

Do you want to know more? So do we

13

AWARDS Platinum Sponsors

What To Take Away From The Judging No one submits a photograph to APPA they are not happy with, so how do we deal with scores that are below what we expected? There’s a trick to understanding how it all works, by stepping into another entrant’s shoes.

Talking to our National President Vittorio Natoli

as I was putting this issue together, we both

our system can give out. The limit is imposed

had a laugh about the times our prints had

only by the standard required by the judges

scored less than we expected - or would have

and this standard increases bit by bit, every year.

liked.

20 years ago would not win awards today,

Vittorio is also a Grand Master of

There is no limit to the number of Awards

Many of the photos that won awards

Photography, so he has earned at least 65

although they would still be considered good

Awards points, including five Gold Awards and

examples of professional practice. And if the

10 Silvers with Distinction. However, like all

standard one year was so high, it is conceivable

of the Grand Masters of Photography, he has

that every entry could earn Silver or higher.

entered many prints that did not reach award

standard. Some in the early days, he admitted,

your hopes into a single year, but rather into a

didn’t even reach professional standard.

number of years. And let’s face it, if you want to

The trick to entering APPA isn’t to put all

be an Associate or a Master of Photography, you

TAGS APPA Awa rd s Rules

14

KEEP TRYING

have no choice but to commit to the system for

I mention this because my experience is exactly

a number of years.

the same and when I see entrants leaving APPA disappointed, I understand their emotions

THE PROCESS IS THE BENEFIT

completely.

What many entrants don’t realise is that the

However, I am more disappointed by the

process of putting together four images and

entrants who don’t come back and try again.

making high quality prints is the benefit. Just

Earning Silver and Gold awards isn’t a

entering APPA (and the Epson State Awards)

competition with other photographers, it’s a

teaches you so much about technique and

competition with yourself.

craft, let alone creativity.

Lori Cicchini APP AAIPP

ENTRIES

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TH

AUGUST 2017

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Platinum Sponsors 15

AWARDS Platinum Sponsors

If you have entered APPA a few times, go

your heart and soul into its creation. Now wait

and look at what you entered two or three years

for the score and listen to the comments if any

ago and tell me that you haven’t improved.

are made.

Even Grand Masters of Photography see benefits from the process.

BE DISPASSIONATE

How would you feel if you were the entrant?

So when you pack away your four prints and

send them off this year, you should feel good

And now, how do you feel as a dispassionate

within yourself because there is no doubt you

observer? Were the judges on the right track?

have pushed yourself further along the path to

being a better photographer.

judges have missed the mark. Photography is

There will be times when we believe the

subjective, so this will always happen from time

PROFESSIONAL STANDARD

to time, but look at the big picture. Do you find

So, let’s talk about those scores, specifically

yourself agreeing with the judges more often

scores below 80.

than not? If so, perhaps you can consider their

For many first-timers, a score of 70 to 79 is

scores more objectively in a few weeks time

exactly what you want. This is a measure of skill

after the initial disappointment of getting a

in itself and that’s why we call it ‘professional

score less than 80 subsides.

standard’. In other words, you can be confident

that if you are producing work of this level for

understand that the judging system is incredibly

your clients, you can feel comfortable about

honest and usually very accurate. If you step

your professionalism.

back and look at your results objectively, and

take on board the suggestions if appropriate,

Below 70 and the entry you have chosen

This is the trick to entering APPA, to

does not meet this standard. Normally we don’t

APPA is one of the best and most amazing

see too many prints in the 60s, and when we do,

learning tools at our disposal.

many are by student entrants. However, your

16

entry is anonymous so you don’t need to tell

IT’S ONLY THE AWARDS

everyone if you don’t want to. Rather, perhaps

Every entrant is passionate about photography.

it’s time to look at the other entries and listen

Every judge is equally passionate, but at the

more closely to what the judges are saying.

end of the day, we are only selling opinions.

We can choose to ignore scores we don’t agree

Whether you’re watching the judging online

or in person, when a print comes up, imagine

with, but personal improvement will come from

that it is yours. Imagine that you have poured

taking some suggestions on board.

Proudly supporting the AIPP ATKINS PRO LAB

ATKINS PRO LAB

17

AWARDS

William Carroll - 2017 NT Epson PPY Paintings, photographs or both? Darwin’s William Carroll APP takes out the AIPP Northern Territory Epson Professional Photographer of the Year Award with a striking set of innovative portraits.

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

18

There is a difference between a set of images

creativity and new ideas. If nothing else, you

that shares a creative idea, and a set of images

know that the feedback will be honest.

that displays a sense of style. William Carroll

(commonly known by his Irish pronunciation

advance my interests in the profession of

‘Liam’) submitted four entries that sit in the

photography, allowing me to communicate and

latter category.

gain advice from some of the most successful

photographers and associated professionals in

Strong, distinctive and different to a

“The AIPP provides a vehicle for me to

portrait as we may generally think of it, the

Australia.

judges obviously appreciated its technique

and creativity, elevating him to the 2017

gained a greater understanding of the industry

AIPP Northern Territory Epsion Professional

and where it is heading in the future.

Photographer of the Year.

process that from the outset, I adopted the

“I have been a member of the AIPP

“By being a member of the AIPP, I have

“Judging photographs is such a subjective

since 2015 and I am hoping to achieve my

attitude that it is about the journey and not the

Associateship at this year’s APPAs.

destination. When I receive negative comments,

I reflect on this to remain positive about the

“The work that pays my bills is generally

corporate photography such as public events,

process.

editorial and headshots, etc. I also do the

occasional wedding and family assignments.

provided by the judges pushes me to be more

objective and to open my eyes.”

“However, the work I entered in this year’s

“However, more often than not, the feedback

Epson State Awards was creative portraiture

which is where my interests lie.”

“resulted in a body of work which has some

merit” and that he will be able to use his win to

Once entrants feel comfortable with the

William says that this year his efforts have

awards system, both the Epson State Awards

advance his goal of becoming a “unique portrait

and APPA are ideal forums in which to test your

photographer”.

19

AWARDS

Andrew McConachy - Tasmanian Epson PPY Striking and imaginative illustrative photographs have won Andrew McConachy APP M.Photog. the title of 2017 AIPP Tasmanian Professional Photographer of the Year.

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

20

There is a wide range of techniques and stories

It works even better when you can do both

to be found in Andrew McConachy’s winning

together.

illustrative photographs, from images with a

travel flavour to unusual structures juxtposed

to improve my photography and to learn from

against the sky.

amazing photographers in the industry what it

takes to be a professional photographer.

Not only did Andrew win the 2017 AIPP

“I joined the AIPP to push myself, to continue

Tasmanian Illustrative Photographer of the

Year, but his photograph of the two young girls

award because I know I am being judged by

in red and yellow took out the 2017 Highest

my peers who all produce remarkable work

Scoring Print and then the judges also awarded

themselves. I am reminded of this every time I

him with the title of 2017 AIPP Tasmanian Epson

view all the awarded prints on the wall at APPA

Professional Photographer of the Year.

and the Epson State Awards.”

Andrew is an AIPP Master of Photography

“It was an incredible feeling to win this

No doubt Andrew has had a few prints

and has been a member since 2011.

during his career that the judges weren’t so

positive about, but he remains eager to learn

“I shoot industrial, architectural and travel

images for commercial clients.

from the experience - and the comments made

by the juding panel.

“The work entered into the awards was

illustrative in nature and an extension of work

I did for clients. However, clients often want

and developmental, that any judge makes.

work just like this to get stories across to their

audience.”

and develop.

Some photographers like to enter work they

“I hold on to every comment, both positive “This is what I enter awards for, to improve “Listening and acting on these comments

shoot for clients into the Awards, while others

has resulted in better results for AIPP awards

like to use the opportunity to try something

and more success with clients as a commercial

new and different, to explore new directions.

photographer.”

21

FEATURES

Shireen Hammond: Loving Everything There were many reasons the 2016 AIPP Australian Family Photographer of the Year Shireen Hammond APP.L M.Photog III moved her focus from weddings to families in recent years, but at the heart of it all, it’s portraiture that matters.

Shireen Hammond and her husband Robert are

predominantly a ‘meet and greet’ location for

getting ready for a fancy dress party when the

wedding clients, but we had always done our

AIPP Journal calls.

production at home (except for four years at the

Cottage Studio in Eltham,) because we wanted

The phone is answered amid laughter and

confusion, and Shireen is obviously relieved that

to be around while our four children were

we are not an important client because she has

growing up.

just slipped on a box of hot curlers Rob left out

for the party!

remaining staff member, we combined the

rents of the house we were living in, the

“I don’t mind putting myself out there”, said

“Last May after letting go of our last

Shireen, her comment completely unrelated

Cottage Studio, part of the Fitzroy studio and

to the hot curlers, but very suitable in any case.

the storage unit we held, and moved to a larger

“When I had the big ‘C’, we really did lose nearly

property on an acre in Templestowe, which

everything.

costs us far less in rent

“I’m a wedding and portrait photographer

“Besides the lovely grounds, it has a beautiful

who started life as a commercial photographer.

room that we’ve turned into a home studio/

We have a warehouse studio in Fitzroy which is

viewing/sale room and a separate room for the

Photography by Shireen Hammond APP.L M.Photog III. Said Shireen, “This is a very special image and the beginning of a personal project whilst going through chemotherapy.

Canon 24-70mm lens, f8 @ 1/60. Natural light only.

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23

FEATURES

office/production. It makes us happy to wake

photography properly, to become a professional

up in the morning and has given us back our

photographer!

lives and created a great work/life balance.

company where we designed, manufactured

“There is now space and privacy for our

“Robert and I had an image and marketing

family, the peace and tranquility of a ‘retreat’

and printed in-house, social garments for the

for our clients, all the warmth of a beautiful

corporate market, such as Macquarie Bank, Lend

home environment with a WOW factor that our

Lease and Mercedes Benz.

couples and families always comment on, when

they drive up the ‘avenue of honour’ driveway.

the Grand Prix, supplying companies such as

And it costs us far less in overheads, so it’s a win-

Shell Helix Racing, Holden and Honda. We did

win all round.

everything for the official Grand Prix catalogues,

except photograph the end product.

“Greeting our wedding clients and capturing

“We also specialised in Hi Tech race wear for

our families and newborns in this warm,

gorgeous space is much more comfortable

employed (and we tried a few) never seemed

and far more personal and it has increased the

to photograph the garments with great care or

average spend on the sales we make.

attention to detail and it annoyed the hell out of

me after all the effort we had gone through to

“If I’m really honest, I think it’s because we’re

“I noticed that the photographers we

less stressed and much happier and so we can

create them!

now give every single customer the personal

attention and time we’ve always tried to do, but

occasion, I remember saying to Robert, ‘OMG, I

not always achieved.

could do better than that!’. Of course I couldn’t,

“After seeing the results of the shoot on one

but that planted a seed that would lead me into

INSIGHT

photography as a career.”

Growing up, Shireen always had a camera

TAGS Awa rd s Po r tfo l i o Hamm o n d Po r trai tu re Weddi n g s

24

in her hand and was known as the family

FIGHTING CANCER

photographer. “I woke up on the morning of my

Over the next decade, Shireen and Robert

35th birthday and decided I wanted to study

built a highly successful wedding photography

Opposite Top: Taken at a mud brick workshop for Laughlan, a well known puppeteer in Eltham.

Canon 24-105mm, f7 @ 1/40 second on a tripod. Natural light only.

Opposite Bottom: Fitzroy Town Hall. “My couple loved Grace Kelly and wanted something a little vintage and more theatrical.” Canon 16-35mm, f5.6 @ 1/1600 second. Natural light with Elinchrom Quadra’s used for fill. Photography by Shireen Hammond APP.L M.Photog III.

25

FEATURES

Above: Taken on the Puffing Billy Railway and very carefully organized. “We found out the timetable and planned the wedding around it.

Yes, it was a dream image for my couple as they are railway mad and were getting married in the Dandenongs. We waited for Puffing Billy to pass and then knew we had 20 minutes before the train returned. We also pre-planned what we were going to do off the tracks a few weeks before, so we knew exactly what we had to do for this one shot. BOOM!” Canon 24-105mm lens, f13 @ 1/400 second, natural Light with fill flash.

Below: Essendon Airport with Air Nostalgia. “This received a Gold with Distinction in 2009 at the National Awards. It was my first Gold with Distinction and I was very excited. Canon 16-35mm, f11 @ 1/500 second, natural light only. “There is a strong grain applied to the image as we wanted a vintage film look. Photography by Shireen Hammond APP.L M.Photog III.

26

Above: “I love landscapes and beautiful surrounds, so it’s lovely to show them off once in a while.” Canono 24-70mm, f8 @ 1/250 second, natural light.

Below: Bali. Canon 70-200mm f4 @ 1/60 second, tripod mounted,natural light. Photography by Shireen Hammond APP.L M.Photog III.

27

Above: Inside the very beautiful mud brick home of the Mayor of the Shire of Nillumbik. Canon 70-200mm, f2.8 @ 1/40 second, hand held, natural light.

Below: The Tea Party. “Capturing children doing what they do best, playing with each other. I love creating bespoke images for my beautiful clients if it’s humanly possible.” Photography by Shireen Hammond APP.L M.Photog III.

28

FEATURES

business, shooting around 200 weddings each

year from 2006 to 2012.

needed to earn money quickly to cover

their expenses and support the family, so

“At the peak of our game in 2009, we

As Shireen recovered, she and Robert

leased a beautiful, expensive Cottage Studio in

they switched their focus from weddings to

addition to the Fitzroy Studio. However, at the

portraiture.

end of 2012, our wedding bookings dropped

greatly. I remember many photographers in the

photography and it’s a long time frame. For us,

wedding industry were extremely concerned

there are at least eight contacts with the bride

that something had changed.

and groom, including the day of the wedding

and a full day planning the album.

“Then literally a week before speaking at

“There is so much work in wedding

the Nikon Event in 2013, I learned I had breast

cancer. I returned home to an already struggling

making the album and the profit is minimal if

business with far too many overheads and a five

your clients don’t upgrade their albums to a

year commercial lease we couldn’t get out of.

larger size.

“We had 78 weddings booked, 32 of which I

“Add in retouchers to the cost of physically

“Compare this with portraiture where

was personally supposed to shoot, so I needed

you’re producing five to 10 images compared

to replace myself.

to 80 to 200 for a wedding, and the total time

investment is closer to six hours rather than

It all seemed to happen at once.... and I think

the moral of the story is, if you are an owner

six days: there can be much more profit in

operator, make sure you have all the right

portraiture.”

insurances in place, not just for your employees,

But there was another reason for the switch.

but for YOU.

“Yes, we had public liability and equipment

NEW PROJECT

insurance, but for one reason or another, we

Shireen found it hard sitting at home during her

had never got around to setting up loss of

cancer treatment and just doing nothing.

income, business interruption, trauma or life

insurances which cover situations like this.”

when she wasn’t up to doing anything, but in

Her medication meant there were weeks

between she had to do something. A full day

WEDDINGS TO PORTRAITURE

shooting a wedding was probably beyond her,

“We ended up losing nearly everything. We cut

and in any event, weddings are booked way

all our overheads, let go most of our staff and

in advance. There must be something else she

essentially started again.”

could do?

29

FEATURES

“We were losing our business. One week

shooting through multiple operations, chemo

out of every three of chemotherepy, I felt good,

and almost losing our business, winning the

almost like myself. I decided I needed a project,

2014 AIPP Professional Family Photograther of

something to help me heal - and something

the Year, doing something I love, in the state

that could help bring in some money

that I love, was icing on the cake in a year which

immediately to the business.

had been one of the most heart-wrenching of

our life.”

“I called Bernie Griffiths, my friend and a

great mentor when I was starting out, who is now a business coach. I asked him to help me.

THE JOURNEY

Today, Shireen says she’s loving her career. “I’m

“Together we came up with a bunch of

ideas and one of them was to capture the

at a time in my journey when everything has

good people of Eltham and their furry friends.

come together and feels comfortable and right.

These would be one hour shoots which were

manageable for me at that time.

especially now that I know who I am, what I’m

good at and where my strengths lie.

“What started as a business booster turned

“I’m loving everything that I’m doing,

into a paid, personal project, which in turn

helped us raise thousands of dollars for a local

connections, about the people passing through

charity, build up a massive community spirit in

my life. It’s about the lessons and wisdom I’ve

our town, build up my strength and passion to

taken from those connections and how I’ve

shoot again, and help save our business. The

used and passed on those ‘gifts’ to my own

piece d’resistance saw us publish a beautiful

family.

coffee table book called Home is Where My Dog

Is, of which we are extremely proud.

on that knowledge is something I absolutely

have a passion for.”

“It also encouraged many families who had

“For me, it’s always been about the

“Teaching, mentoring, sharing and passing

never had family portraiture before, commission

me to have a session which in turn brought

She has won the AIPP Victorian Epson Wedding

more money into the business.

Photographer of the Year four times, the 2014

AIPP Victorian Family Photographer of the Year,

“Finally, after the immense struggle of

And Shireen certainly has the credentials.

One of Shireen’s earlier wedding photographs where she developed a style which included a whole lot of veil throwing! Canon 16-35mm, f4 @-1/250 second, natural light. Photography by Shireen Hammond APP.L M.Photog III.

30

31

32

FEATURES

the 2015 AIPP Wedding Photographer of the

Year and last year, the 2016 AIPP Australian

at weddings to create some drama, as well as

Family Photographer of the Year, “which was

Elinchrom Quadras on location and outdoors.

absolutely Amazballs!”

Of all the lighting gear we have, they would be

my favourites.”

Shireen joined the AIPP as a student

“I use a Dedo video light for indoor shoots

member in 2000, but she said her career didn’t

really take off until she started entering APPA

but part of her heart has moved to family

and the Epson State Awards.

portraiture in its many guises.

Shireen continues to shoot weddings,

“Changing our life direction, getting out of

CAMERAS AND LIGHTS

the rat race and consciously making the choice

“Over my 17 years, we’ve purchased pretty

to downsize has been so good for us.

much all of our camera gear, lighting and

printers from Kayell Australia as I love the

what fills my heart, whatever that may be.

support they give my business.”

me trust my judgement implicitly as the

Why Kayell? “Because we all know it’s great

“Now I shoot what makes me happy and “And having the people who commission

until a piece of equipment breaks, then what

‘professional’, has changed not only me, but also

the hell do you do? So I’m a massive advocate of

our business and its direction.”

buying everything in Australia and developing long lasting relationships with our suppliers.

“I’m using the Canon EOS 5D Mk IV and I

have five lenses that I use every day.

“The lenses I love the most are the 100mm

macro and the 70-200mm f2.8 IS. Oh and probably my wide… Ha ha ha, okay, I take that back, I’d say all of the lenses are my favourites for different reasons!

com.au. If you would like to contact Shireen directly,

“I have always been a bit of a lighting girl. I

love painting with light to create the ‘look’ of my

You can see Shireen’s website at www.fovphoto.

her email is shireen@fovphoto.com.au

studio work.

Opposite: Taken in client’s home using window light only. Canon 24-70mm, f5 @ 1/200 second.

Photography by Shireen Hammond APP.L M.Photog III.

33

EDUCATION

How Much Do Photographs Cost?

Photography business coach Bernie Griffiths suggests a great way to explain to your clients why professional photography costs a little more - and why it is worth it?

With photography something that everyone

just from you.

thinks they can do themselves, it has become substantiate the prices they need to charge.

SO HOW MUCH DO PHOTOGRAPHS COST?

While we know that professional

Article by Photography Business Coach Bernie

photography isn’t just a matter of picking up

Griffiths.

a camera and pressing the shutter, our clients

don’t. If they did understand all the experience

doesn’t mean they know how to use it.

and skill needed to consistently capture great

In the digital age, when anyone with an

photographs, they wouldn’t object to our prices.

iPhone and a Facebook page can market

So, how do we tell them?

himself or herself as a photographer, it is

Following is an article written by

important to find a photographer who you can

challenging for professional photographers to

TAGS Busine s s Pr icing Po r trai tu re

Just because someone owns a camera,

photography business coach Bernie Griffiths,

trust to capture your memories. After all, those

specifically for professional photographers

precious moments disappear in a flash.

to add to their websites or as a blog post. He

When considering a photographer, it is

suggests this is a good starting place when

a good idea for you to find out about the

the question of price is raised by a potential

photographer, their experience, reputation, and

customer.

business policies.

Photographers’ prices tend to be based on

Said Bernie, “Feel free to use it, but please

respect the time and effort that it took me to

an industry standard equivalent to their skill and

write, and please make sure that you credit me

experience.

with the article”. a great idea because then the information is

PHOTOGRAPHY TECHNIQUES YOU MAY NOT KNOW.

coming from a third-party and an expert, not

Good professional photographers do a lot more

34

In fact, crediting Bernie and his website is

•

Kris Anderson APP AAIPP

35

EDUCATION

than point and shoot, hoping to get a great

balance.

image.

Professional printing companies have

If you are looking for experts in the field

the right equipment and correction services

of photography, they have the knowledge,

and supply a range of archival photography

expertise and equipment to produce high-

materials such as metallic and art papers, Italian

quality images that produce creative, perfectly

canvas, acrylic, and more.

printed portraits.

If your prints from a discount store fade

General-use cameras continue to

over a short period of time, don’t be surprised!

improve and so does the equipment used by

Only a professional photographer will supply

professionals.

you with your photographs on lifetime archival

If you want images to frame and put on your

paper.

wall, quality albums or even digital files to do it yourself, be aware that a professional-quality

THE HIDDEN RISK YOU TAKE

printing service can provide much better prints

Good professional photographers have strong

than those you might get at the local discount

reputations, since what they do is personal,

store.

creative and image-based.

Their work is easy to check out on their

36

ARCHIVAL PHOTOGRAPHS OR DIGITAL FILES?

website or Facebook page, and look for a

Professional cameras produce images of much

genre that you want photographed.

higher resolution than standard cameras.

Do your research to find a professional who

Professional lighting techniques and an

works in the style you want for a price that you

understanding of light can also make the

are willing to pay.

difference between a so-so image and an image

Set up a consultation appointment with

that can ‘pop’ off your wall.

those whose work seems to be what you like.

Using more flattering angles, unique

Use this initial meeting to find out more

perspectives and correct camera settings

about the photography experience, products

clearly separates ‘real’ photographers from their

and pricing.

amateur or part time counterparts.

When looking at their work, take note

Professional photographers use refined

of the style and variety of images, and how

editing techniques to clear up imperfections

that matches your personal preferences. Pay

and provide controlled contrast and colour

attention to poses, angles, lighting and other

photographer who specialises in the particular

•

Melanie Silva APP

EDUCATION

techniques.

taken.

Check a photographer’s Facebook reviews,

So, keep an open mind about how much

references and written testimonials.

you intend to spend. Most people tend to

Being a member of a professional

spend a lot more than they had anticipated,

organisation like the AIPP also shows a level of

once they see their photographs.

commitment to grow a photography business And as an AIPP member, these professional

YOU WANT A GUARANTEE, DON’T YOU?

photographers are bound by a set of

Most photographers charge a fee between

professional rules of practice, a code of ethics,

$95-$250 for the photography session, at their

and adequate public liability insurance.

studio or at an outdoor location. Newborn

The AIPP also certifies photographers

sessions usually take a lot longer, so expect

through a process which involves submitting

these fees to be higher.

photos and reaching a certain high standard.

and keep skills current.

Individual small print and digital file prices

can vary from as little as $35 each for the

HOW TO GET THE BEST FROM YOUR PHOTOGRAPHY SESSION

hobbyist photographer to $195 and above

You will find that most inexperienced

Photography.

photographers offer very little customer service

If you are looking for a photographer to

and so will put your images onto an online

produce stunning décor photographs for your

gallery for you to make your selections.

wall to add that warm personal touch to your

Obviously when they do this, you will be

surroundings, choose a photographer who

unable to ask them relevant questions about

specialises in wall art and shows examples on

the images like cropping, removing unwanted

their website.

for an experienced, award winning Master of

facial blemishes, making the images black and Personal ‘one-on-one’ purchasing sessions

EXPECT PRICES FROM $1,000 AND UPWARDS.

are the way that the better photographers will

It is common for clients of the top

help, guide and advise you on getting the best

photographers to spend $5,000 and more on

from your images. Let’s face it, the only time that

photographs for their wall. Make sure that any

you can decide what you want, is when you see

wall products you order come with at least a 10

the photographs that your photographer has

year guarantee. This is normal procedure with

white, etc.

38

full time photographers, but you are unlikely to

photographers in England, USA, Canada, and in

get this with a hobbiest.

four states in Australia.

Purchasing wall art is like buying furniture

for your home. Quality always comes at a higher

that there is a market for professional portrait

price.

photography that will support many of us, if

However, most importantly, he shows

only we run our businesses professionally and

CONNECTING BY PHONE IS THE KEY

market appropriately.

You should definitely shop around and find a

National Family Portrait Month (www.

photographer whose work you really like, rather

familyportraitmonth.com.au) for the month of

than simply making your decision based on the

July.

cheapest price.

If you do go with a lower rate, make sure

Australia participating and also raising funds for

the photographer you hire has the skills and

the charity, beyondblue.

experience you are seeking and produces a

“In the first two weeks it created over 200

reasonable quality of work.

photography sessions for photographers, so

There is a price to be paid for a good

by the end of July, I expect that to be over 400

professional photographer and as the old saying

sessions.

goes, you almost always ‘get what you pay for’.

Beautiful, lasting memories on your wall

sale of $600, that means it is adding $240,000

don’t happen by chance, they happen with an

into the photography industry.

appointment. Calling the photographer and

“That pleases me. Last year we did 600

having a two minute chat is the quickest way to

sessions, and the year before it was 250 sessions.

have all of your questions answered, and to find

That is a total of $750,000 into the photography

out if they are the right ‘mix’ to preserve your

industry, in just three years.

priceless memories.

“Yes, I believe that the industry is alive and

well for those who have the desire to go out

Article Bernie Griffiths. Copyright 2017

For instance, Bernie set up the

There were 34 photographers across

“Even with a conservative average portrait

and get it.”

USING THIS ARTICLE Bernie Griffiths writes that he is a fan of the

AIPP and what it represents to professional

berniegriffiths.com or email him at info@aswpp.

photographers. Based in Melbourne, he coaches

com.au

You can read more at Bernie’s website at http://

39

The trick to selling wedding albums and photo books is to have some samples on hand to share with your prospective clients.

These albums are from Momento Pro.

40

EDUCATION

The Wedding Album Returns Just as vinyl and film are making a come-back, so too is the wonderful wedding album - if you know how to offer it to your clients. Haley Richardson and Darren Van De Wint have the answers Do clients want wedding albums? Yes!

course, not all books are created equal, so this is

when we love to get our Momento Pro albums

Recently in Sydney, Haley Richardson and

Darren Van De Wint were part of The Album

into the couple’s hands, so they can touch the

Atelier, a one day intensive workshop with

quality and see the images unfold before their

Momento Pro as the major sponsor. The event

eyes.

was a huge success with many participants

reporting immediate sales after following the

the cost is too high because the misconception

advice of the practising mentors.

is that, after the wedding is finished, they can

go online and create their own book easily and

Both Haley and Darren are AIPP Masters of

Couples will not buy an album if they feel

Photography and their presentation showed

cheaply because they have all ‘the files’.

how every wedding photographer can easily

increase their income from in-person sales.

their computer and never see the light of day

(except for being flashed at low resolution on

So, do clients want wedding albums? Here’s

how Haley and Darren responded:

social media, where they are forgotten quickly).

PRINT BASED PRODUCTS Our marketing position as a print based product

Despite this, the files often sit dormant on

Hence we refer to the digital files as an

‘archive copy’ and the album as the tangible

TAGS

asset the couple will frequent often.

B usin ess Pr icin g Wed d in g s

studio attracts couples who want to have a finished product to showcase the story of their

WHY AN ALBUM?

wedding day, and for us this is the wedding

History tells us that the only product to stand

album.

the test of time is something printed! Digital

media won’t last. Therefore, the wedding album

Most couples these days have come into

contact with a book of some sort – through

is the perfect vehicle to display the wedding

social media, their friends’ wedding or just doing

and to stand the test of time.

research when searching for photographers. Of

A tactile viewing experience far outweighs

41

EDUCATION

seeing the images on a screen. There is an

(pages) as a starting point within the package

emotional response and science tells us that

the couple chooses, but more can be purchased

the part of the brain associated with memory

later; and

retains images 30% better when you touch an

image physically, as opposed to just seeing it

the wedding has taken place.

digitally.

the same outcome: a printed album product

As photographers, every worthy image

b) Sell the album as an “add on” extra after The two methods are different, but deliver

taken has the potential to be printed, so

that tells the story of their wedding day.

there are commercial gains for us by offering

products to clients, rather than just giving them

design method and include the album with

the files. We truly believe that offering an album

most packages we offer.

and printed products as the final outcome is the

best service to give our clients.

photographs the couple may want, or what

value they will place on the images, as they

There is no greater professional fulfilment

At The Beautiful Collective, we use the pre–

At the outset, we have no idea what

that seeing your images come to life in print

have not been taken yet.

and being enjoyed for years to come.

Therefore, we leave the process open ended

so they can choose the number of photographs

CLIENT OBJECTIONS

they desire once they have seen them.

If a client really does not wish to take an

album, then offer an entry level package which

FACILITATE the process for our clients.

includes minimal hours and files only. Make it

look the least attractive thing on your price list

best customer experience so it does not feel like

so that if they want extra hours etc., it makes

we are selling to them. Moreover, we are serving

sense for them to go up to the next package,

them and in turn everyone walks away as happy

which should include an album.

campers!

We make sure we provide them with the

We suggest you include an album within

the packages you offer, so there is a product

You can see Haley and Darren’s work at their web-

component to the service you are offering.

site: http://thebeautifulcollective.com.au/

Read about The Album Atelier at:

There are two main ways to offer albums to

your couples:

https://www.thealbumatelier.com/

Read about Momento Pro albums at:

a) the pre-design method – whereby the

album includes the “first” number of sides

42

Our motto is to EDUCATE – CURATE –

https://www.momentopro.com.au/

•

H a l e y R i c h a r d s o n A P P. L M . P h o t o g .

43

NEWS

©

How Do We Keep Our Copyright?

Without owning copyright, we may not be able to use our own photographs - or control how others use them. So, how do we retain control over copyright and do we need to keep it at all costs?

When hiring a photographer to take photos for

is legal and what is not. Just because something

them, most people would think that they own

is easy to do doesn’t mean it is legal.

the photographs and everything else that goes

with it.

financial interests to own the copyright in all

So, from our clients’ perspective, it is in their

the photographs we take for them. From our

COPYRIGHT MAKES SENSE

perspective, it is in our interests to own the

Thinking a little more deeply, this isn’t a realistic

copyright so we can continue to use the photos

outlook. For instance, when you buy a car, you

for our own self-promotion, and to share in

might have the right to drive it or sell it, but

any extra income that might flow from the

you don’t have the right to sell the plans or its

photographs.

design so someone else can make one. Those

TAGS Co pyr i g h t

‘intellectual rights’ or intellectual property

EXTRA INCOME

remain with the car’s manufacturer.

Why should photographers participate in future

income from a photograph if it was made for

So, you buy a car, but not all the rights

associated with the car.

and sold to someone else?

And so it is with photographs - but it’s

also different. When we sell someone a print

but let’s look at how the various markets in the

to put on their wall, it’s their choice in which

world work together.

room to hang it and if they want to on-sell it to

someone else. However, they can’t legally have

speaking, a model’s face has a value. The more

hundreds of copies made of our photograph to

that face is seen, or the older the model gets,

sell at their local market - unless they own the

the less value that remains. It is a resource that

copyright.

can be ‘used up’, unless the model becomes

really famous, in which case you could argue

The same applies to digital files, it’s just that

the internet and social media have blurred what

44

Sometimes it might not be appropriate,

Take the modelling industry. Simply

the opposite. But the modelling agencies don’t.

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NEWS

©

They say, for example, if you want to use photos

assuming that because they have paid, they

of our model for a year, the fee is this. If you

can do what they like! They just keep using the

want to continue using the photo the following

photo for ever.

year, a further fee is payable. Essentially, we are

‘renting’ the model’s face or appearance.

retain copyright? Once you’ve been a

photographer for a few years, you’ll get used to

In the advertising industry, photographers

So, why should a commercial photographer

often work the same way, certainly up the top

the telephone calls asking you to do a cheap

end. If the client wants to use the photo for one

job. The photo is only going to be run small, will

year, the fee is this, if they want to use it for a

only be used for a week, or there is no budget.

second year, a further fee is payable. However, a

Then miraculously, the photo is seen up on

photographer only gets paid these further fees

a billboard or is used extensively around the

if he or she owns the copyright.

world. How would you feel if you did a cheap

job for a photo that then earned the clients lots

To make it clear, the photographer is paid

to take the photographs which he or she still

of money – most of us would feel ripped off.

owns, and then the photographer is paid again

so the client can use them. The photographs are

to use the photograph beyond what they asked

licensed to the client, but never owned outright

for in the beginning, we can in turn demand

by the client.

more money or prevent them from using the

photo. We retain some control when a client’s

These days, many advertising agencies will

If we own the copyright and the client wants

ask to own the copyright so additional fees

circumstances change.

don’t have to be paid, and many photographers,

not knowing how the advertising industry

our clients to ransom if one of our photos is

works, don’t even discuss the issue. They are just

incredibly successful. However, I am suggesting

happy to get the job.

that if we have been misled by a client or the

Note, I am not suggesting that we hold

circumstances surrounding the use of the photo

COMMERCIAL PHOTOGRAPHY

change, then yes, we should share in some extra

Some commercial photographers try to work

revenue. I am looking for a fair outcome.

the same way, but it is less common for a client

to buy extended rights later on. The usage is

way to enforce a fair outcome.

But without owning copyright, we have no

usually negotiated up front for an extended

46

period or in perpetuity, but when it comes

DOMESTIC PHOTOGRAPHY

to smaller clients, they might not even ask,

So, what about personal photographs taken

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

47

EDUCATION

©

for a famliy or at a wedding. What right do we

includes transferring the copyright to the client.

have to sell these photographs to other people?

And a wedding or portrait photographer can

We could conceivably sell photos taken at a

have an agreement form that a client signs

wedding to a magazine or newspaper, or we

before the shoot, which transfers the copyright

could sell family portraits into a stock library for

to the photographer.

use by publishers. But would this be fair?

important, to be sure you client understands

Owning copyright is important for

To be sure you have copyright, and equally

photographers so they can use these images

who owns copyright, you should have a

for self-promotion – and to some extent

photography agreement that is signed by both

prevent them being used for other purposes

parties before every shoot you do. This is basic

not disclosed or intended. However, while we

professional practice.

may legally be able to on-sell these photos in in business for very long if our customers are

SHOULD WE ALWAYS OWN COPYRIGHT?

unhappy. Even if we own copyright, we must

As a broad principle, photographers should

ask for our clients’ permission to use the photos

set up their businesses where it is standard

for any reason, even our own self-promotion.

practice to own the copyright in all the

photographs they take.

some circumstances, we probably won’t stay

Owning copyright doesn’t give us the right

to use the photos anyway we wish – other laws

However, this is not always possible. For

can restrict us, such as privacy and passing-off.

instance, editorial photographers working for photo agencies or publications might not be

HOW DO WE GET COPYRIGHT?

employed unless they assign the copyright in all

In Australia, a photographer taking photos

the photos taken to the client.

for another business automatically owns the

Then it becomes a simple economic choice.

copyright. In comparison, a photographer

There can also be situations where a client

TAGS

taking photos under a domestic arrangement

really needs the copyright and is prepared to

M a r k eti n g

(e.g. family portraits and weddings) does not

pay extra - this is another economic choice.

own the copyright, the client does.

opportunities for the use of our photographs

This is the starting point for ownership of

Owning copyright gives us many more

copyright, but the ownership can be transferred

– and that use might not become apparent for

by agreement. In other words, a client can ask a

another 50 years!

commercial photographer to do a shoot which

Consider it carefully.

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.

48

AIPP PROFESSIONAL PHOTOGRAPHY CONFERENCE

We've set the scene at Sea World Resort & Water Park, Gold Coast, Queensland within the new multi-million dollar stateof-the-art conference centre that's recently opened. Nestled in tropical gardens with sparkling water and mountain views.

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 49

AWARDS Platinum Sponsors

...isms: Understanding Photography One of the biggest challenges as a photography judge (and entrant) is having a broad understanding of an increasingly layered and complex artform. Emma Lewis has just the book!

TAGS APPA Awa rd s R eferen c e

50

While there’s no doubt we like our photography

entry. Judges who have been to art school

judges to be capable and experienced in

or have a degree in fine arts are likely to have

their technique and genre, being a good

been exposed to most of the main art and

photographer is no guarantee someone will

photograpy movements, but what if you

also be a good judge.

haven’t been to art school?

And these days, judging in the AIPP Epson

Emma Lewis, assistant curator at Tate

State Awards and the Australian Professional

Modern, London, has authored a book ...isms:

Photography Awards requires you to judge and

Understanding Photography. While an over-

speak in public. Not only do you have to be

simplification of any individual photography

confident in what you know, you also need to

movement, it is a wonderful summary of where

be knowledgable outside your immediate circle

photography has been and the photographers

of expertise. And if you don’t, then no doubt

who made their genre famous.

social media will set you right later on!

beginnings in 1826, right through to the current

At its core, judging is a subjective opinion

The contents covers photography from its

based on experience. Subjective opinions based

era and the post-internet age. It mentions

on limited experience are inevitable because no

futurism, constructivism and dadaism; it looks at

judge can know everything. However, judges

The Family of Man exhibition, street and society

should have a broad understanding of both art

and photojournalism. It covers postwar fashion,

and photography and the different ways that

colour and conceptualism and finishes with

photography has already been interpretted.

Dusseldorf’s deadpan and fictional narrativism.

This is especially important when judges

wish to give entries a gold award for being

Isms: Understanding Photography is published by

new and innovative, not knowing that there

Bloomsbury Visual Arts and costs $19.99. It is highly

could be a whole school or art movement

recommended for all APPA judges and entrants

that produced images very similar to the

alike. www.bloomsbury.com/au

51

NEWS

Acknowledging Our Board Members The AIPP is a membership organization and our office bearers have always been volunteers, but is it time we acknowledged the sacrifice of some volunteers with an honorarium?

Should AIPP board members be paid a small

properly. However, the AIPP may be in

amount as a token of appreciation?

a position to make a token payment or

Towards the end of his term, past AIPP

honorarium that could in some way cover the

National President Ross Eason undertook to

out-of-pocket expenses and acknowledge the

explore the concept of remuneration for future

work that board members do.

board members and sought the views of past

board members in the process.

something like $1000 for board members and

$5000 for the president, but no figures have

None of the current board members, with

the exception of Vittorio who was asked to

I imagine the honorarium might be

been discussed by either Ross or Vittorio.

comment while this article was written, are aware of this proposal, so it is something the

COUNTER ARGUMENT

AIPP and its members are being asked to

The counter argument is that previous board

consider for future boards.

members have not received any payment (apart from a reimbursement of direct expenses), so

TAGS AIPP B o a rd Direc to r s

52

MANY HOURS

why should we start now? Isn’t the opportunity

In summary, board members spend many hours

to volunteer and give back to the profession

that is unpaid and while the bulk of their out-

sufficient reward in itself?

of-pocket expense are repaid, there are some

expenses that are not.

the industry changes, the required time,

commitment and responsibility for board

The largest impact is seen on their

However, as the institute grows and

business revenue and their commitment to

members grows.

the Institute is usually reflected in a reduced

turnover, particularly for the main office bearers

members may be in a position where their

(President, Chair and Treasurer).

own businesses can supplement the time

spent working on the AIPP’s behalf, if a small

The AIPP isn’t in a position to pay them

Looked at another way, while some board

honorarium were made available, would this

the nomination process. If we are a “profession”,

allow less financially secure members (such as

if we are all committed to the ethics and

photographers at the beginning of their careers)

standards of a “professional”, then perhaps we

the financial freedom to offer their services as

need to respect those who volunteer in such

well?

significant ways as other professional bodies do.

“We should expect them to give, but we

BIG PICTURE

should not expect them to bear the financial

Commented Ross, “I’ve served on State Councils,

consequences beyond their expenses”

sub-committees and the National Board, and

each has its own degree of commitment and

the AIPP Board for its consideration.

time.

it would be best to be voted upon by the

“To nominate for the Board requires that

Ross has asked Vittorio to take this idea to If the Board feels it is a good idea, then

past time and commitment is demonstrated

members – and hence the publication of this

and this is why you must have 15 service points

article.

to nominate. Board members have already

given generously to the Institute, just to get to

raise to Vittorio - vittorio.natoli@aipp.com.au.

Please forward any views you would like to

53

NEWS

Panasonic Lumix DC-GH5 Is this the only camera you need? With 4K video and a 20-megapixel sensor for stills, the Lumix DC-GH5 is a consummate performer, especially when you add in high quality lenses and a raft of professional features.

Purchasing a new camera can be a big decision,

probably already well aware of what a mirrorless

but as technology advances and clients require

camera can do that a DSLR cannot - or struggles

different services, there comes a time for many

to do.

photographers when investment in a new

system is a sensible solution.

other, more a matter of what suits your style of

photography and the jobs that you do.

Sometimes the decision is pushed by a

It’s not that one is necessarily better than the

change in direction, say from stills to time lapse

or video.

was limited by a 16-megapixel sensor, but now

that new models have 20-megapixels on board,

Sometimes the decision is predicated on

In earlier years, the Micro Four Thirds system

size and weight - we no longer want to carry a

much the same as the flagship professional

heavy system around.

cameras from Canon and Nikon (1D-X MkII

and D5), Lumix is in a position to be taken very

And of course there’s the love of embracing

cutting edge technology and new ways of

seriously as an all-round professional camera.

shooting.

So with this in mind, let’s look at Panasonic’s

latest DC-GH5.

PROFESSIONAL PEDIGREE TAGS Equ ip m e n t Ca mer a Lumix

54

Panasonic Lumix has established itself in many

6K STILLS

professional circles, and particularly well in

Many stills photographers are beginning to

video, through its lightweight Micro Four Thirds

embrace video as a part of their lexicon.

camera system and exceptional lenses. With its

association with Leica, you can safely say the

the option to shoot a little movie footage is

Lumix Micro Four Thirds system has lenses that

often requested by clients.

match or exceed the best in the world.

have the best of both worlds, shooting video

So, if your income is from video, you’re

While the still image remains paramount,

And with cameras like the GH5, you can

55

56

NEWS

segments and then selecting a single frame as a

sensor. Interestingly, Panasonic has followed the

still. All with excellent quality.

DSLR lead and removed the anti-aliasing filter

Panasonic has taken this concept a little

for sharper images. No moire was seen during

further, using the camera’s video features and

extensive testing (the main challenge without

the larger sensor to offer a new way of shooting

an AA filter for smaller sensor cameras).

stills at high speed: a 6K Photo mode.

The GH5 captures a burst of 18-megapixel

PROFESSIONAL SPECS

still images continuously at 30 fps with no

As Panasonic’s flagship camera with professional

buffer limit (although it is only capturing the

applications in mind, the GH5 includes dual SD

equivalent of JPEGs, not raw files).

card slots, a weather sealed camera body and large capacity batteries (which are also needed

THREE SHOOTING MODES

for the higher resolution video, of course).

There are three ways you can use the 6K Photo

mode feature: for as long as you hold the

bright and clear, the 3.2-inch rear LCD screen

shutter button, the camera records; press to

can be articulated into a variety of positions,

start and press again to stop; and a pre-burst

and both the camera and lenses are fitted with

function where you press to start and when

stabilization components to create a 5-axes

you press a second time, the camera saves the

Dual IS solution.

images for one second before and one second

after (which is ideal for those situations when

equivalent of 5 stops, even with telephoto

you know something good is about to happen,

lenses. This is of great interest to stills

but you don’t know exactly when).

photographers– and videographers who will

use the IS to create super stable footage.

If pure video is your thing, the GH5

The 3.6-million dot OLED viewfinder is

Panasonic claims it provides up to the

offers 4K resolution in 10 bit 4:2:2 files at 50/60 fps. Panasonic claims this represents

BETTER AUTOFOCUS

cinematic quality with far more colour

Panasonic has beefed up its autofocus system

and tonal information than earlier models,

by offering Contrast AF with DFD (Depth From

which translates into more flexibility in post-

Defocus), providing greater accuracy when

production.

tracking moving subjects.

The extra resolution isn’t limited to video

The speed of the sensor drive during

and as mentioned, the GH5 can capture a

autofocusing is 480 fps, twice as fast as the

20-megapixel file on its Micro Four Thirds

GH4, allowing the GH5 to focus in around 0.05

57

NEWS

seconds, which in turn offers a burst rate of up

resolves detail and presents colour. We figure

to 12 frames per second in full resolution with

Panasonic understands this too because it has a

the mechanical shutter.

strong partnership with Leica.

There are now 225 autofocus areas covering

Panasonic has released a new ultra wide-

pretty much the entire viewfinder area,

angle Leica zoom lens for its Micro Four Thirds

plus there are the now obligatory Face/Eye

mount cameras.

Recognition modes.

f2.8-f.0 Asph. lens has a similar focal length

To take control over the AF system, a joystick

The Lumix G Leica DG Vario-Elmarit 8-18mm

on the rear of the camera makes it very easy to

range to a 16-35mm lens on a full frame DSLR.

position the focusing area.

The lens has splash, dust and freeze-

proof construction and Panasonic has kept

EXTENSIVE ACCESSORIES

videographers in mind, ensuring smooth

For enhanced video operation there is an

aperture changes so there are no sudden jumps

optional XLR microphone adapter, a vertical

in exposure, and silent operation so it won’t

battery grip, and V-log compatibility, enabling

interrupt your audio recording.

videographers to capture footage with the same flat colour profile found in Panasonic’s

STUNNING IMAGE QUALITY

Varicam broadcast camera, and then tweak it to

taste in post.

stunning image quality, whether you’re

shooting 4K video or 20-megapixel stills.

The GH5 body has a RRP of $2999, or for

However, the big selling point is the

$3999 you can purchase it with either a 12-

The Leica lens features Panasonic’s Nano

60mm f2.8-4.0 Leica lens, or a 12-35mm f2.8

Surface Coating to reduce flare and reflections,

lens.

and the MTF charts (which show how sharp a lens is) demonstrate a stellar performance.

NEW LEICA LENS FOR LUMIX

In terms of the Lumix system, the GH5 links into

Extra-Low Dispersion (ED) glass which helps

Panasonic’s extensive range of lenses, many

reduce size and weight, as well as producing

with Leica pedigree.

high-resolution, high-contrast images from

corner to corner.

One thing that Leica does remarkably well

The 8-18mm lens includes Aspherical (ASPH)

(in fact, one of many), is design lenses.

Since the days of film, there has always been

something special about the way a Leica lens

58

For more information, visit shop.panasonic.com.

59

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!