AIPP Journal - September 2017

Issue 255

Keren Dobia - 2017 AIPP Australian Professional Photographer of the Year

September 2017

JOURNAL

CONTENTS 4

So Many Positives From APPA

8

Keren Dobia – 2017 Photographer of the Year

AIPP National President Vittorio Natoli reports that APPA and the annual gala dinner in Melbourne this year were highly successful on several fronts.

A series of sophisticated and sometimes theatrical portraits by Keren Dobia APP M.Photog. II earned her the prestigious title of 2017 AIPP Australian Professional Photographer of the Year.

Keren D o bia

32

APPA Judging In Pictures

Cover A P P M . P h o to g. I I

Board member John Swainston could be seen roving the venue with his camera, recording the largest print awards in Australia.

2017 AIPP AUSTRALIAN PROFESSIONAL PHOTOGRAPHER OF THE YEAR

34 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

36

APPA Sponsors Hard At Work We had a wonderful bunch of sponsors at APPA this year!

APPA Gala Dinner In Pictures

38

John Swainston dressed up and took his camera to the AIPP dinner!

Is One Judge Comment Enough?

For the first time at APPA this year, every print received a brief comment, yet still we had one member complain and ask, is this all one receives for the entry fee? Surely there’s more to it. And there is!

ISSUE 255 / SEPTEMBER 2017 40

Easy Insurance For Photographers To celebrate Aon joining as a Platinum Sponsor for APPA this year, the AIPP Journal spoke to Anthony Mahon about what insurances are required – and special offer for AIPP members.

44 47

Reprieve For #FreeIsNotFair Our battle against the socialist and anti-creativity Productivity Commission continues as photographers and other creatives cling to their rights – and their incomes.

50

Should You Print Your Own?

56

Printing is no longer old school as the digital generations are discovering. So whether you’re printing fine art, famly portraits or award prints, Joshua Holko APP M.Photog. I encourages you to try printing your own. Here’s his story about a favourite Arctic print.

How Do We Own Our Copyright?

Owning copyright and your clients understanding the limitations they have when using your photography are two different things – but both are based on the same contract. Here’s how to ensure you own the copyright and to help your wedding/portrait clients understand why.

Scholarship Prize for Student Steve Wise reports that over in Western Australia, quietly spoken photographer John Woodhouse is helping young photographers get a good start in their chosen career.

48

62

Do I Sit Back Or Make it Happen?

Why is it some photographers thrive and others are barely heard of? It has nothing to do with our photography and everything to do with business acumen - and if we’re professional photographers, shouldn’t we be using our business skills? Take Don Chu for example...

Nikon D850 More pixels! Exceptional low light performance! Fast capture rates and 4K video... What doesn’t Nikon’s new D850 have that a photographer or video producer needs?

Platinum Sponsors 3

NEWS

It was great to see our new APPA Platinum Sponsors on stage - Scott Mellish from Panasonic, Kristie Galea from Olympus, AIPP’s Vittorio Natoli, and Anthony Mahon from Aon. Photo John Swainston.

So Many Positives From APPA AIPP National President Vittorio Natoli reports that APPA and the annual gala dinner in Melbourne this year were highly successful on several fronts.

TAGS APPA Awa rd s

Wow! What a great APPA! There are so many

saw an amazing variety of work across all the

positives to report from our weekend in

different genres, both in digital manipulation

Melbourne last month – if you weren’t there, I

to traditional image making. I find it fascinating

sincerely hope you’ll be at APPA next year.

to walk around and see where the profession is heading, both in terms of personal and

4

VARIETY OF WORK

commercial work.

On the walls outside the judging room, we

And the community engagement we have

TRADE PARTNER

Aon are proud to also be a Platinum Sponsor of APPA.

As a new recommended AIPP member insurance partner, Aon are offering:

15 MONTHS COVER

for the

PRICE OF 12

AFF0878 0717

Find out more:

aon.com.au/AIPP 1800 806 584

5

NEWS

is so wonderful. I sat back and watched the

Our aim is to lead the industry and the

judges, organisers and sponsor engage with the

profession, but we can only do that with the

volunteers, members and visitors on all different

partnership of strong sponsors.

levels. Some of our oldest members were even

seen dancing with some of our youngest at the

Lenscape! As a photography convention, it

wrap up party on the Sunday night!

promises to be a fantastic opportunity for

So what’s in the future for the AIPP?

members meet, learn and mingle. We have an

WELL-OILED MACHINE

amazing lineup of speakers planned, the World

Thanks must go to the AIPP Awards Team and

Photographic Cup will be present, and we

all the volunteers. Walking through the back

plan this to be setting the path for the future

rooms where all the work is done, the Awards

direction of CPD engagement.

process is a well-oiled machine that to my eyes

Exciting times ahead!

runs flawlessly, unpacking and packing the thousands of prints we judge every year. A huge thanks to all the judges and volunteers who make it all happen.

vittorio.natoli@aipp.com.au

0400 418 888

The AIPP really is a big family. Photographers

come together from all over Australia to celebrate the passion we have for our art and our craft. And we welcomed three new Platninum Sponsors to our family this year: Olympus, Aon and Panasonic.

It was great to walk through the trade show

outside the judging rooms, looking at the new equipment and how it could integrate into our professional lives.

SPONSOR FORUM Following APPA, the AIPP invited all our sponsors to a forum where we discussed the future of photography and the AIPP, and how we can work together with the sponsors.

6

APVPA AUSTRALIAN PROFESSIONAL VIDEO P R O D U C E R AWA R D S + CO N F E R E N C E

Speakers

PETER SZILVESZTER

Living Lens Cinematographer The Legend of Ben Hall

JARED KETTLE & JACOB WILLIAMS Humdrum Films

Mastering Wedding Films

KAREN HOLLENBACH

Think Bespoke

LinkedIn Specialist

STEVE HUBBARD QubeSOCIAL

Harnessing the Power of Social Media

LORNA-JEAN BRADLEY Untitled Film Works

Creating the ‘Perfect’ Wedding

SUE MASLIN

Film Art Media Pty Ltd

27TH

SEPT 2017

Platinum Sponsor

The Complexities of Big Screen Media

S W I N B U R N E U N I V E R S I T Y, H AW T H O R N C A M P U S V I C

h t t p : //v i de o awa rds. a i pp.com . a u 7

AWARDS

Platinum Sponsors Proud Supporters Keren Dobia – 2017 Photographer of the Year ATKINS PRO LAB

A series of sophisticated and sometimes theatrical portraits by Keren Dobia APP M.Photog. II earned her the prestigious title of 2017 AIPP Australian Professional Photographer of the Year.

ATKINS PRO LAB

Keren Dobia, 2017 AIPP Australian Professional Photographer of the Year. Photo: John Swainston.

At the end of each awards season, there can

However, she also became involved in APPA

only be one Professional Photographer of the

behind the scenes as a print handler, learning

Year, but there are multiple winners.

the ropes from our Awards Event Manager, Sue

Lewis, and soaking up the experience of being

For many entrants, it starts with the Epson

State Print awards which are held by the AIPP

up close and personal with the country’s best

around the country. From here, the best of the

photographic prints. Today, Keren is one of Sue’s

best congregate at APPA – the AIPP’s Australian

key managers in what is one of the largest and

Professional Photography Awards – where our

most sophisticated professional photography

most skilled and experienced judges over a

awards in the world.

period of three days deliberate and determine

Silver Awards, Gold Awards, Category Winners

photographer and also a lecturer at Melbourne

Professionally, Keren works as a portrait

and, ultimately, the Professional

8

TAGS

Photographer of the Year.

2017 APPA AWARD STATISTICS

APPA Awa rd s

Award Type

And this, the 41st year, the PPY

#

%

Last Year

was awarded to Keren Dobia.

Silver 736 38.8% 36.9 %

Silver With Distinction 287 15.1% 11.5 %

It could be said that Keren is a

career awards photographer, meaning

Gold 85 4.5% 3.8 %

that she first entered as a student

Gold With Distinction 10 0.5% 0.9 %

some seven or eight years ago.

Not awarded 778 41.0% 46.9 %

9

AWARDS Platinum Sponsors

At the end of the AIPP Awards dinner, all the category winners and the Platinum Sponsors are invited up onto the stage, to listen to the final announcement. This year, the honour of reading out the winner was given to Robyn Hills APP.L, FAIPP, GM. Photog., the 1997 AIPP Professional Photographer of the Year. In the photo above, the announcement has just been made and Keren Dobia is at the microphone. Photo: John Swainston.

Polytechnic (formerly NMIT) and RMIT.

an impressive array of quality lenses.

Keren wins a trophy, a certificate and

$10,000 in cash, but undoubtedly the real prize

their studios and equipment for over 20 years

is the intangible but incredibly valuable title

and offers a range of insurance products specially

which will last her lifetime.

adapted for the profession’s needs.

10

Aon has been protecting photographers,

And Panasonic’s range of Lumix cameras has

INDUSTRY SPONSORED

become legendary in both still and video realms,

This year, the AIPP’s Australian Professional

finding flavour in a wide range of genres with

Photography Awards had three key Platinum

a diverse range of camera bodies and lenses,

Sponsors: Olympus, Aon and Panasonic.

especially the latest DC-GH5.

Olympus as a camera company has a

Together, these three sponsors are

long lineage in compact, high end cameras,

ideally positioned to help the AIPP promote

beginning way back in the film days. Today,

a professional product, both to our own

its professional OM-D EM-1 Mark II features a

professional photographers and to the public at

20-megapixel sensor, high speed shooting and

large.

AWARDS Platinum Sponsors

The road to determine the winner has been

all playing. And over the years, most categories

developed over several decades. In earlier

seem to get a turn at winning.

competitions, it was discovered that the set of

four prints with the highest aggregate score was

should judge? We aim for diversity, from AIPP

not always the set of four prints the judges would

Grand Masters of Photography and previous

have selected, had they been given a second

Photographers of the Year, to category winners

chance to assess the entries.

and Masters of Photography. We aim to have a

The original judging process was not

cross-section of men and women, of different

designed to determine whether one print or

disciplines, from different states and different

one entrant is better than another, so we take a

countries.

number of steps to ensure a fair outcome.

So, we have our category winners: who

However, not every judge is available –

sometimes they may know one of the category

WINNING A CATEGORY To be a category winner requires you to have

winners and feel uncomfortable in the judging

amazing prints in all the categories, but unless

2017 APPA ENTRANTS BY CATEGORY

the photographer backs them up with three

Category

more amazing prints, they will struggle to win

Commercial 79

the category.

Documentary 100

The top three scoring sets of prints are re-

Family 143

assessed for each category, allowing the judges

Illustrative 279

for the first time to compare one entrant against

Landscape 309

another. A majority decision is required.

Newborn 90

a high score for all four entries. There are many

No. Entered #

Pet/Animal 120

PICKING THE PPY JUDGES

Portrait 264

The same philosophy follows through for the

Science, Wildlife and Wild Places 88

Australian Professional Photographer of the

Travel 188

Year Award, except we are now comparing one

Wedding

category winner against another.

Album 9

Book

In some ways, it is ridiculous to compare

190 17

commercial against newborns, weddings

Total 1896

against landscapes, but that’s the game we are

(Previous year total:

2194)

11

AWARDS Platinum Sponsors role, or indeed be a category winner themselves.

were just four sets.

We leave the final selection to the Chairmen of

Jurors and the APPA Awards Team.

the pros and cons for each set from their

Each judge is asked to comment, explaining

perspective. At the end, all the judges are asked

12

SELECTING THE PPY WINNER

if there is anything further they need to add, so

This year, the PPY judging was chaired by Tony

by this stage, all the judges have been presented

Hewitt as the APPA Chair. All the category print

with everyone’s points of view.

sets are hung on a wall and the judges were

invited to gather in the judging room.

decision with seven votes, a winner is declared

(but the judges are not told who it is).

Before viewing the portfolios in detail, Tony

A second vote is taken and if there is a clear

invited each judge to explain to the panel what

he or she is looking for in a winning portfolio.

votes, but if there wasn’t a clear winner, the

What should the Australian Professional

juding process would have moved into its final

Photographer of the Year represent? What should

stage.

the winning set of prints demonstrate? And,

given we are a professional awards, how will the

that didn’t receive a second vote and these are

public interact with the images?

removed, leaving two, three or four portfolios on

the wall.

Every year, this part of the process is

This year, Keren’s portfolio had seven or more

Normally there are a number of portfolios

invaluable and it’s interesting to note that,

from year to year, the panel is very similar in its

explain their points of view and, when the

direction.

conversation is finished, the judges submit their

final assessment. However, this time they were

From here, the judges are asked to view the

Again, the judges are asked to speak and

portfolios in silence and then nominate one

asked to nominate first, second and third and

catagory as the winner, with second and third

from this, the overall winner was determined.

places as well.

a majority decision. It is very rare to have all the

The scores are taken and if seven or more

Judging like this is consensus and, eventually,

judges are in agreement, the judging process

judges in agreement, but given the process

would finish. It didn’t happen this year!

and the calibre of judges involved, it is a very

equitable system.

For the next stage, the category sets that

received no votes for first are removed from the

Congratulations to Keren Dobia and all the

wall, leaving at most 11 categories on the walls,

category winners which you can see on the

but more usually five to seven. This year there

following pages.

AWARDS Platinum Sponsors

Platinum Sponsors Ke re n D obia APP M. Ph oto g. II 2017 A I P P AU S T R A L I A N P R O F E S S I O N A L P H OTO G R A P H E R O F T H E Y E A R Sponsored By Olympus, Aon and Panasonic

2017 A I P P AU S T R A L I A N P R O F E S S I O N A L P O R T R A I T P H OTO G R A P H E R O F T H E Y E A R

Proud Supporters

Sponsored By Canson

Fi nali sts - D am i en B ower m an, M ar i j a S ullav an ATKINS PRO LAB

13

AWARDS Platinum Sponsors

Platinum Sponsors Proud Supporters ATKINS PRO LAB

ATKINS PRO LAB

An g e la M ille r APP AAIPP 2017 A I P P AU S T R A L I A N CO M M E R C I A L P H OTO G R A P H E R O F T H E Y E A R Sponsored By PPIB Finalists - K e v in Cham ber lain, M atthe w G ianoulis

14

AWARDS Platinum Sponsors

Platinum Sponsors Proud Supporters ATKINS PRO LAB

Le ah Ke n n e dy APP AAIPP

2017 A I P P AU S T RA TAKLI INASN C R E AT I V E P H OTO G R A P H E R O F T H E Y E A R PRO LAB

Sponsored By Leica

Fi nali sts - S ar ah Adam s, Peter R ossi

15

AWARDS Platinum Sponsors

Platinum Sponsors Proud Supporters ATKINS PRO LAB

Ke lly Ch ampion APP AAIPP ATKINS PRO LAB

2017 A I P P AU S T R A L I A N D O C U M E N TA R Y P H OTO G R A P H E R O F T H E Y E A R Sponsored By Nikon Finalists - Chr istopher Ian, Br adle y K anar is

16

AWARDS Platinum Sponsors

Platinum Sponsors Proud Supporters

Kat ie Kole n b e rg APP M. Ph oto g. I

2017 A I P P AU S T R A L I A N FA M I LY P H OTO G R A P H E R O F T H E Y E A R ATKINS PRO LAB

Sponsored By Giclee Media Supplies Finalists - A ndrea Thom pson, K ar i Hauser

ATKINS PRO LAB

17

AWARDS Platinum Sponsors

Platinum Sponsors K ris An de r son APP M. Ph oto g.

Proud Supporters

2017 A I P P AU S T R A L I A N I L LU S T R AT I V E P H OTO G R A P H E R O F T H E Y E A R

18

Sponsored By EIZO Fi nali sts - Char m aine He yer, G ee G reenslade

AWARDS Platinum Sponsors

Platinum Sponsors Proud Supporters

Yan e S ot irosk i APP AAIPP

2017 A I P P AU S T R A L I A N L A N D S C A P E P H OTO G R A P H E R O F T H E Y E A R ATKINS PRO LAB

Sponsored B y Fujifilm

Fi nali sts - Tania M alk in, J anni ck Clausen ATKINS PRO LAB

19

AWARDS Platinum Sponsors

Platinum Sponsors Proud Supporters

S B

J o die An drews APP AAIPP

S B

2017 A I P P AU S T R A L I A N N E W B O R N P H OTO G R A P H E R O F T H E Y E A R Sponsored By Sigma Finalists - Elizabeth R ee ves, Channon Wi lliam son

20

AWARDS Platinum Sponsors

Platinum Sponsors An g ie Con n e ll APP AAIPP

Proud Supporters

2017 A I P P AU S T R A L I A N P E T / A N I M A L P H OTO G R A P H E R O F T H E Y E A R Sponsored By DigiDirect

Finalists - J o Howell, Bi anca Tur r i

S B

S B

21

AWARDS Platinum Sponsors

Platinum Sponsors Proud Supporters ATKINS PRO LAB

Steve n D u n c an APP M. Ph oto g.

ATKINS

2 0 1 7 A I P P AU S T R A L I A N S C I E N C E W I L D L I FPER A DB W I L D P L A C E S P H OTO G R A P H E R O F T H E Y E A R ON LA Sponsored By LaCie Finalists - A ndre w Cam pbell, K ir sten Woodfor th

22

AWARDS Platinum Sponsors

Platinum Sponsors M ic k Por te r APP AAIPP

Proud Supporters

2017 A I P P AU S T R A L I A N T R AV E L P H OTO G R A P H E R O F T H E Y E A R Sponsored By Camera Electronics Fi nali sts - M elissa A nder son, R i ck y G estro ATKINS PRO LAB

ATKINS PRO LAB

23

AWARDS Platinum Sponsors

Platinum Sponsors Jame s Simmon s APP M. Ph oto g. II 2017 A I P P AU S T R A L I A N W E D D I N G P H OTO G R A P H E R O F T H E Y E A R Sponsored By Atkins Pro Lab Finalists - Nathan M addi gan, M auro Cantelm i

ATKINS PRO LAB

24

ATKINS

Proud Supporters

AWARDS Platinum Sponsors

Platinum Sponsors Proud Supporters ATKINS PRO LAB

Steve S c alon e APP M. Ph oto g.

ATKINS PRO LAB

2017 A I P P AU S T R A L I A N P H OTO G R A P H I C B O O K O F T H E Y E A R Sponsored By MomentoPro Finali sts - H ilar y Wardhaugh, A ngi e Connell, R i chard B ennett

Platinum Sponsors Proud Supporters ATKINS PRO LAB

E ric R on ald APP AAIPP 2017 A I P P AU S T R A L I A N A L B U M O F T H E Y E A R

ATKINS PRO LAB

Sponsored By MomentoPro Finalist - S i m on Bi lls

25

AWARDS Platinum Sponsors

Platinum Sponsors Proud Supporters

Barbara Brown

2017 A I P P AU S T R A L I A N E M E R G I N G P H OTO G R A P H E R O F T H E Y E A R

NS AB

Sponsored By IPS Fi nali sts - Chr i s S aunder s, Lor r aine M acG illi v r ay

NS AB

26

AWARDS Platinum Sponsors

Platinum Sponsors Proud Supporters

Ale c Morris

2017 A I P P AU S T R A L I A N S T U D E N T P H OTO G R A P H E R O F T H E Y E A R Sponsored By Kodak Alaris Finalists - Le w i s Conte, D i ana Fer nie

27

AWARDS Platinum Sponsors

An drew Campb e ll APP. L G M. Ph oto g.

2017 G R A N D M A S T E R AWA R D

28

AWARDS Platinum Sponsors

Platinum Sponsors Ke lv in G ilb e r t, N . Z .

Proud Supporters

2017 A I P P O V E R S E A S P H OTO G R A P H E R O F T H E Y E A R Sponsored By DigiDirect

S AB

S AB

29

AWARDS Platinum Sponsors

Platinum Sponsors Proud Supporters

Tania Malk in ( top) an d Marij a Su llavan APP A A I P P ATKINS PRO LAB

ATKINS PRO LAB

30

2017 AU S T R A L I A N H I G H E S T S CO R I N G P R I N T - D E A D H E AT Sponsored By Ilford

AWARDS Platinum Sponsors

Platinum Sponsors Proud Supporters ATKINS PRO LAB

ATKINS PRO LAB

Nor th Me t rop olit an TAFE - We ste rn Au st ra l i a 2017 A I P P AU S T R A L I A N T E R T I A R Y I N S T I T U T I O N O F T H E Y E A R Sponsored By Nikon Finalist - Photogr aphy S tudies College Vic tor ia

Platinum Sponsors

Ke re n D obia APP M. Ph oto g. II

Proud Supporters

2017 AU S T R A L I A N E P S O NA TSKIIGN N S AT U R E W O R T H Y AWA R D PRO LAB

Sponsored By Epson ATKINS PRO LAB

31

AWARDS Platinum Sponsors

APPA Judging In Pictures Board member John Swainston could be seen roving the venue with his camera, recording the largest print awards in Australia.

Plenty of activity outside the judging rooms with a range of informative and interesting trade displays. There were three breaks during the judging day in which visitors could walk the aisles.

Olympus, Aon and Panasonic joined as Platinum Sponsors this year.

32

Storage and back-up devices were on display at the LaCie stand.

The founder of the APPA system Peter Foeden (centre) dropped by and had lots of photographers like Lesley Downie (left) and Bruce Pottinger (right) sign a portrait of him taken at last year’s event.

Platinum Sponsors

Volunteer print handlers worked tirelessly out the back in rotating shifts over the three days of judging.

This is a glimpse of the work room out the back, with all the print cases behind and the sorting boxes on the tables.

Empassioned debate - Peter Rossi makes a point while Mike Langford looks on and the other judges take another look at the print in question. What a handsome panel chair on the left....

Out the back at APPA is for workers only!

David Dare Parker and Michael Coyne chatting before a judging session. Ollie Dale centre.

The five judging rooms always seemed to be well attended, with an equal number of entrants flitting from room to room so they don’t miss their prints being assessed.

33

AWARDS Platinum Sponsors

APPA Sponsors Hard At Work We had a wonderful bunch of sponsors at APPA this year!

Thanks to Lesley Bourne and John Swainston for taking these photographs!

Fujifilm had a constant stream of photographers interested in their new GFX 50S medium format camera, as well as their existing X-Series range.

Cameras, printing, photo books, insurance - it was all side-by-side!

34

Member Bill Bachman checks out the camera range at the Panasonic Lumix stand.

There were five judging rooms, each named after one of our wonderful sponsors. No prize if you can guess whose room this one is!

Platinum Sponsors

We know there are some very, very, very happy members who picked up some amazing door prizes. Board Member Nick Ghionis spreading the love.

Towards the end of the day, beers and wines made the Nikon stand very attractive. Of course, it was the new D850 that made all the difference!

We’re not sure about that pink backdrop, but the team from Olympus says it received a lot of attention - along with their cameras and lenses, of course!

Okay, okay! No doubt Aon took this photo as a sign of affection. Nicely matched!

LaCie had plenty to offer professional photographers in both onsite and location storage.

There were scores of members and volunteers milling around and after all the hard work of judging, an opportunity to kick back and (in some cases) enjoy a glass of wine!

35

AWARDS Platinum Sponsors

APPA Gala Dinner In Pictures John Swainston dressed up and took his camera to the AIPP dinner!

You can also see the official photos taken by David Simmonds on the AIPP website - thanks David!

The dazzling Plaza Ballroom before the guest arrived. It was an elegant and welcoming venue for the AIPP’s premier function.

Both Mark Zed and Melinda Comerford were acknowledged for their work within APPA.

36

Australia won the Trans Tasman cup - but lost the cricket, football, ice hockey...

With the guests seated, proceedings could begin. And proceedings lasted just over three hours, something the dancers and party goers approved of!

Platinum Sponsors

For a brief period of time, Jerry Ghionis was the youngest AIPP Grand Master of Photography...

... and then 30 seconds later, Ryan Schembri was awarded his Grand Master of Photography - and is now the youngest ever.

David Glazebrook used the camera in his pocket to photograph John Swainston hard at work before the gala dinner began!

Tony Hewitt has been MC-ing the APPA dinner for 16 years.

The Honours Committee - John Gollings receiving his award from Richard Bennett and Greg Hocking.

What happens at the gala dinner, stays at the gala dinner - and on Facebook, Twitter, Instagram, SnapChat and the AIPP Journal!

37

AWARDS Platinum Sponsors

Is One Judge Comment Enough?

For the first time at APPA this year, every print received a brief comment, yet still we had one member complain and ask, is this all one receives for the entry fee? Surely there’s more to it. And there is!

TAGS APPA Awa rd s Rules

38

The AIPP Awards system offers several

opportunities for members to get feedback on

you can imagine how the Awards Team felt

their prints.

when it received an email complaining that the

comment received was too brief and what was

It begins in most states with critique nights,

So, after thinking we were on the right track,

where experienced judges give up their

the value of entering APPA?

evening - for free - to help other photographers.

would like extended critiques of their work. I

Next, you can enter the Epson state awards.

Now, I can understand that many entrants

Not all states comment on all prints, but that

also understand it costs a lot to enter APPA, but

is likely to change in the future as our judge

believe me, the cost of entering does not cover

training program proceeds and our judges

the cost of running the event and, once again,

become even better communicators. Again,

the judges are working for free. In fact, the small

these judges turn up and work for free.

‘allowance’ paid to the judges does not cover

their airfare and most interstate judges would

Finally, many members get to enter APPA

and this year, for the first time, every print

be easily $1000 out of pocket when you add in

received a comment from a judge. In past years,

the hotel over three days.

prints have generally received a score and no

comment, unless the print was challenged by

this together. If the member complaining got

a judge. The reason was simply one of time

nothing out of APPA this year, out of listening to

– there never seemed to be enough time to

the 1869 comments on the other prints, then I

talk about all the prints, and get through the

don’t think APPA is for them.

volume of prints as well.

the earlier critiques this year were a little short,

This year, APPA Chair Tony Hewitt insisted

The point I’d like to make is that we’re all in

On the other hand, I agree that some of

we test the system, which had already been

but let’s give the judges a chance! It was new

successfully trialled in some of the states – and

for many of them and I’m sure next year the

certainly works at WPPI in the USA.

comments will be even better!

Proudly supporting the AIPP ATKINS PRO LAB

ATKINS PRO LAB

Platinum Sponsors 39

EDUCATION

Easy Insurance For Photographers To celebrate Aon joining as a Platinum Sponsor for APPA this year, the AIPP Journal spoke to Anthony Mahon about what insurances are required – and special offer for AIPP members.

Insurance isn’t a sexy subject, but it’s simply

so important for photographers – for their

the experience and the flexibility with our

equipment, their income and their lives!

insurers to organize whatever a photographer

needs.”

And it’s something that many

“We’re in the fortunate position of having

photographers tend to put off, so maybe it’s

And to make the process of obtaining

time to make a note to yourself and get it

insurance easy. Let’s take equipment

happening – say by the end of today?

insurance, for example. Many insurers require photographers to provide a comprehensive list

INSURANCE TYPES

of their equipment, including serial numbers, in

So what types of insurance do you need and

order to be insured.

who should you talk to?

Aon has been looking after the insurance

EQUIPMENT INSURANCE

needs of photographers for over twenty years.

Explained Anthony, “We’ve found this process

Explained Aon’s Anthony Mahon, “We’ve

to be very frustrating for many photographers,

always had a policy that covers photographers

so we don’t require such meticulous lists as part

and over the years, we’ve worked out exactly

of our policies. This makes it much easier for

TAGS

what photographers need in terms of coverage

administration and also you’re not exposed to

I n sura n c e

and how to overcome the little insurance

problems of not being covered if you forget to

frustrations that are so easily fixed, once you

write an item on your list.”

have the experience we have.

individual items of equipment valued at more

40

“We realise the profession of photography is

Anthony explained that photographers with

constantly changing, so we’re out there actively

than $10,000 will need to itemize them, but

looking for feedback about our policies.

how many cameras or lenses cost more than

Insurance can protect us against a range of different risks. (Photo. Stocklib.com)

41

EDUCATION

$10,000?

include drones in their public liability policies,

or they offer specialized aviation policies which

“This has massively reduced the requirement

to detail absolutely everything you want to be

can be very costly.

insured.

offer a solution for drone operators and owners.”

“It’s a trust thing. All you need to do is state

“However, the insurers we work with can

the replacement cost of all the equipment you

want to be insured for, plus list any items that

stories of insurance policies not covering

are over $10,000. However, if you want to be

equipment stolen from cars or even the back of

covered for a drone, you need to talk to us.”

a church.

Within the profession, there are old horror

Explained Anthony, “Years ago, there were

UP IN THE AIR!

lots of little exclusions like theft from cars which

Aon has excellent coverage for drones, but

left a sour taste in the mouth of the person

Anthony acknowledges that insurers have been

making the claim.

wary of offering insurance for something that is

relatively new – no one quite knows what the

exclusions in any of our policies. We’ve worked

challenges might be!

really hard to ensure you are completely

covered.

“It’s very hard to find insurers who are

“However, you won’t find these types of

comfortable with drones, but we didn’t want

to compromise on the coverage we offer our

needs to take with their equipment, but even

photographers.

leaving your camera out in full view with the

“Some insurers cover drones for theft, but

window open is covered. For instance, you

not for damage while in use, but we didn’t think

might be on location and you just put your

that was good enough, so our drone coverage

camera down for a minute to do something else

includes damage as well, not only to drones, but

and suddenly your camera has gone. We cover

to property and other people as well.

you for this.

“Photographers mightn’t always think about

“Obviously, there’s a duty of care everyone

“We really have worked hard to remove

the public liability exposure they have when

these little subjectivities out of the policy, which

operating a drone. Many public liability policies

means the claim process is easy as well.”

specifically exclude claims which involve aircraft

42

– and this is how a drone is classified. However,

PUBLIC LIABILITY INSURANCE

our PL policies include coverage for drone.”

All professional photographers should have

public liability insurances because you never

Anthony noted that a lot of insurers don’t

know what might happen – and it’s not that

expensive for the peace of mind it gives.

monthly instalment is accepted, we can release

the ‘certificate of currency’ you need to show

Added Anthony, “If you’re working at venues

or in council areas, you’re often required to

“And once you’ve paid the premium or your

your clients in order to complete the shoot.”

show proof that you have PL insurance – it’s a contractual requirement to provide a certificate

ERRORS AND OMISSIONS

of currency.”

In broad brush terms, public liability covers

other people while errors and omissions covers

PL doesn’t cover you, rather it covers any

injury or property damage that may be caused

you.

as a result of you working in the area.

cover is designed to cover scenarios such as

“Things can happen out of the blue and

Explained Anthony, “Errors and omissions

that’s why you have insurance. The good

losing or damaging memory cards or film after

news for photographers is that photography

completing a job, resulting in a financial loss to

is a relatively low risk occupation and so the

the third party and scheduling errors resulting

premiums aren’t that high.

in the shoot not taking place, which then

causes reshooting expenses.

“If someone trips or falls on set or on

location, and injures themselves, then you can

find yourself being sued for compensation. This

designed to pick up all the main exposures

is where a public liability insurance policy kicks

faced by a working professional photographer.”

in because not only will it settle a claim if you

are found negligent, it will help to defend you in

photographer need and how much does it cost

court as well – even to appointing a solicitor on

per annum?

your behalf, so you can continue working and

not having to worry too much about attending

based on the level of cover required (the more

court.”

equipment you insure, the higher the premium.

Different authorities and organisations have

“Our errors and omission extension is

So, how much insurance does a professional

Premiums cost as little as $300 and are

However, it gets even less expensive with a

different levels of public liability insurance

special offer.

required, but generally it is between $10 and

$20 million. “Essentially we have negotiated

the AIPP and Aon, Aon is offering AIPP members

a flat $20 million cover at the $10 million

15 months cover for the price of 12 months!

To celebrate the new partnership between

premium rate to ensure all photographers get the cover they need.

You can find full details here: aon.com.au/AIPP

43

AWARDS

Reprieve For #FreeIsNotFair Our battle against the socialist and anti-creativity Productivity Commission continues as photographers and other creatives cling to their rights – and their incomes.

44

Last month, the Government responded to the

to future changes. The Government’s public

Productivity Commission’s report on Australia’s

consultation will occur from early 2018.

intellectual property arrangements and

• Extension of the ‘Safe Harbour’ scheme -

copyright.

the Government is undertaking additional

consultation on the safe harbour scheme before

The good news is that the PC’s report hasn’t

just been accepted or rubber-stamped and it

considering whether to introduce amendments

appears that the Government is open to further

to the Parliament.

discussion and input from the industry.

• Repeal of Parallel Import Restrictions for

books - the Government supports in principle

An email from the Free Is Not Fair campaign

stated, “As you would be aware, the Productivity

this recommendation, but is consulting with the

Commission had recommended a number

book industry to develop a reform pathway.”

of extreme proposals including a relaxation

of Australia’s copyright system through the

concern photographers.

introduction of a US-style Fair Use approach and

the extension of the safe harbour scheme.

said, “The Productivity Commission had

recommended Australia import a fair use

“These changes would make it easier for

As you can see, this issue doesn’t just Copyright Agency CEO Adam Suckling

large organisations to use Australian content

copyright regime from the US. The introduction

without fair payment to creators.

of fair use would have seriously undermined

Below is a summary of the key

Australian writers, journalists, film and television-

recommendation responses:

makers and artists, as well as all the great

• US style ‘Fair Use’ - the Government notes

companies that invest in Australian creativity.

this recommendation and will consult further

The Government has said there are different

on its aim to create a modernised copyright

approaches available to address this complex

exceptions framework that keeps pace with

issue and it will publicly consult on more

technological advances and is flexible to adapt

flexible copyright exceptions.”

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

45

46

NEWS

Scholarship Prize for Student Steve Wise reports that over in Western Australia, quietly spoken photographer John Woodhouse is helping young photographers get a good start in their chosen career.

Steve Wise touched base with the AIPP

are lecturers there.

Journal to report on a wonderful initiative in the

Western Australian division.

John was so impressed with the attitude and

hard work that the TAFE photography students

“Just wanted to bring your attention to some

“Last year, leading up to and during WEPPA,

philanthropic work one of our much respected

put in behind the scenes for the AIPP, that he

and long term members – John Woodhouse

decided he wanted to reward an exemplary

APP M. Photog. II – initiated last year for the

student with the John Woodhouse Scholarship

students studying photography at North

Prize (I believe amounting to $1000).

Metropolitan TAFE over here in WA.

discussion with Sahireen van Tuil and Des Birt,

“Now, he’s not one for wanting recognition

The student was chosen after rigorous

or anything like that (possibly one of our most

both lecturers at TAFE, long term AIPP members

humblest of members) and it has nothing

and WA Council Members.

officially to do with the AIPP, but his thoughts

are that if we can get the word out about what’s

the student is “...dedication to studying the craft

happening over here in WA, then it might spark

of photography, quality of work, willingness to

into action some similarly minded souls in

support and nurture peers, contributions to the

other states who are also in a position to help

cohort and respect of others.”

students in a similar way.

his scholarship and this year’s awardee is Lewis

“North Metropolitan TAFE Photography and

“The main qualities John is looking for in

This is the second year John has presented

the AIPP have historically had very strong ties

Conte, Advanced Diploma of Photography

and their students are always highly motivated

student, NM TAFE.

and willing helpers when it comes to our

State Awards (just ask Kim and Sue!), as well as

the left and Lawry Hill, the Learning Portfolio

supporting other AIPP events and the like.

Manager of Media (NM TAFE) on the right. Lewis

is in the middle!”

Also, two of our AIPP WA Council members

“In the photograph opposite, that’s John on

47

NEWS

Do I Sit Back Or Make it Happen?

Why is it some photographers thrive and others are barely heard of?

It has nothing to do with our photography and everything to do with business acumen - and if we’re professional photographers, shouldn’t we be using our business skills? Take Don Chu for example...

Last month, Don Chu won the Hong Kong

Committee since 2014, and my role within

Australia Business Association’s (HKABA) Young

the HKABA is the Chairperson of the Young

Professional of the Year Award at their Business

Professional Alliance.

Awards Night at Crown Paladium.

young professionals and the HKABA has given

Wrote an excited Don, “The Governor

“I am very passionate about empowering

of Victoria was there amongst many other

me a platform to bring in speakers to share their

dignitaries. I was awarded the prize for my

knowledge and skills for our attendees.

achievements and contributions in both the

young professional scene in Melbourne and for

the jump from tax to photography full time.

the photography scene.

tax part time now, but the AIPP has been

“The Governor of Victoria also personally

Don joined the AIPP in 2014 after making “I’ve since been head-hunted and do

did a congratulatory tweet to me (absolutely

instrumental in my growth as a photographer. I

TAGS

chuffed).”

attended all the events I could and in time the

M embe r n e ws

AIPP members have become another family

48

Don explained that the Hong Kong Australia

Business Association YPA (Young Professional

to me. I am in the AIPP because many of the

Alliance) award is to recognise the achievements

photographers I respect and look up to are

of a young professional who has demonstrated

in the AIPP as well. I am able to contact these

a noteworthy commitment to excellence and

talented individuals, many of whom have

innovation in his/her profession and has worked

become mentors and colleagues.

to promote the profession as a whole.

despite feeling a bit like a ‘noobie’.

“It is the second year the YPA award has

Don is also on the Victorian AIPP council,

been run in Victoria and my wife suggested

So, if Don can do it, what can you do to

that I enter in light of recent achievements and

make your life and career happen? Don’t sit

events. I have been on the HKABA Victorian

back - get out there!

Don Chu with Linda Dessau, Governor of Victoria (centre). Don is second from the right!

49

EDUCATION

Should You Print Your Own? Printing is no longer old school as the digital generations are discovering. So whether you’re printing fine art, famly portraits or award prints, Joshua Holko APP M.Photog. I encourages you to try printing your own. Here’s his story about a favourite Arctic print.

I love to print. For me, the photographic print

photograph and contrast was extremely low.

is not only the final result of the photographic

Super dense cold air hung low in the valleys

process, but is importantly the ultimate

and a subtle gentle fog softened the distant

expression of my work.

mountains.

The online jpeg is nothing more than a poor

facsimile of the finished fine art print; where

rocky ridge-line, but even it was many shades

as the finished print is the medium in which I

above black.

prefer to have my photography viewed.

contained no harsh whites or blown out areas.

Last month, I was working on a particular

Pr in ting

As a result the scene was high-key, yet it

photograph that has proven to be the most

difficult of my career thus far to print and I want

location and the freezing temperature (around

to share how I finally achieved the perfect print.

-30º Celsius) it was not a difficult photograph to

make. It has, however, been a complete bear to

It’s not a photograph that translates well

in an online jpeg (unfortunately the jpeg TAGS

The darkest part of the scene was a distant

Honestly, outside of getting to this remote

process and print.

compression destroys the tonalities), but it is simply wonderful in its final finished printed

PAPER CHOICE

form.

There are literally hundreds of different shades of white in the photograph, with extremely

50

HIGH KEY CAPTURE

delicate tonalities that require just the right

The photograph was taken last winter in

amount of finesse to print. Anything less than

Svalbard during my snow mobile expedition

perfect printing results in flat areas that lack

and is a layered white-on-white arctic

depth.

landscape. The landscape was bathed in a

very soft, ethereal light when I made this

printers are not equipped with white ink. So,

The heart of the problem is that inkjet

51

EDUCATION

the whitest white one can achieve in an inkjet

period.

print is the natural white of the paper you have

chosen (and not all papers are created equal).

been well exposed with its histogram biased

towards the right hand side (without clipped

Hence, paper choice is a critical factor in the

By a great capture, I mean an image that has

fine art printing process. Whilst it is true that

highlights), sharp where it needs to be and free

lustre and gloss papers have a better d-max

from excessive noise.

(better, deeper blacks) than matte papers, I vastly prefer matte papers for their art feel,

RAW PROCESSING

surface texture and softer finish.

Once you have a great capture, you need to

I find lustre and gloss papers (even the

carefully process the raw file to bring out the

expensive Baryta papers) take away from the

best in the photograph (a totally seperate skill

evocative feelings I want to portray in my work.

to the capture process).

As a result, virtually all of my printing is

In the case of this photograph, I took

on matte paper - specifically Moab Somerset

extreme care with contrast and highlights to

Museum Rag. Somerset Museum Rag is a 300

gently pull out all of the subtle tonalities in the

gsm fine art paper with a subtle surface texture

file.

and a wonderfully high white point (with a

good solid black point for an art paper).

amongst many to bring down (darken) the

I have been printing with Museum

blacks in this file until the rocky ridge-line had

Rag for many years and I have a very good

a hard, deep solid black; but thats not how the

understanding of the capabilities and

scene was in reality and such artificial contrast

limitations of this paper. It is absolutely ideal for

would look extremely unnatural.

printing snow and ice images in my experience.

There would be a strong temptation

As subjects get further away from our eyes,

they naturally lose contrast and bleed off into

52

IMPORTANCE OF CAPTURE

the distance. Artificially adding too much

Before I describe the process by which I achieved

contrast will add impact, but it does so at the

what I feel is the perfect print of this photograph,

expense of image depth so you have to tread

I want to take a few steps backward and start at

very carefully.

the beginning of the process.

in my case I wanted to print the scene as I

The real key to making a fine art print is to

This is of course an artistic decision, but

start with a great capture. Anything less than

remembered it and not create something that

a great capture will never be a great print –

did not exist in Nature. All up, I probably spent

an hour or so processing and re-processing this

you have little chance of actually rendering all

file until I was happy with the end result. Only

those subtle white tonalities and shades in the

then can you consider making a fine art print of

print.

the photograph.

In my case, I started by actually measuring

the white point (and black point) of Somerset

PRINTER PROFILES

Museum Rag which turned out to be 90.3 with

At this point the first thing you need (other

a dMax of 3.2. I then used this information to

than an actual printer) is the best profile for

modify my custom profile to ensure my whites

your printer, paper and ink that you can lay your

would not be blown out during printing.

hands on.

I then created a test chart (shown with this

On no account should you compromise on

the quality of the profile and on no account should you even consider using a canned generic profile.

You absolutely must have a custom

made high quality profile that you either made yourself, or had someone (who knows intimately what they are doing) make for you.

I make my own profiles with an X-Rite

ISIS2 and with a friend using his Barbieri Spectrophotometer. There are key differences between these units, so I use both depending on what paper I am profiling.

Assuming you have ticked all the above

boxes, how do you then print a photograph that is basically a thousand shades of white on a piece of white paper with a printer that doesn’t use white ink?

The answer is you have to understand what

the white point of your chosen paper is and what is the brightest white you can print on

article) that has shades of white and black from

that particular paper. Without this information

0 (black) to 255 (pure white). I then printed this

53

EDUCATION

test chart with my custom modified profile for

compensate for the fact that the front lit paper

Somerset Museum Rag, allowed it to dry and

has a lot less contrast than the back-lit LCD

then critically examined it in my Graphiclite

computer screen. Great care had to be taken

print booth to see how much highlight and

with these curves to ensure I kept my highlights

shadow gradation I was actually achieving.

under the paper white level.

I then made a number of test prints of the

REVIEW AND ADJUST

photograph, making small, subtle adjustments

In my case (and with my eyes) I can see

to the curve layers to better render the tonalities

highlight detail in my test print all the way up

in the extreme highlights. This was an iterative

to 253 and shadow detail all the way down to

process that took quite a few prints to get just

5. Anything below 5 is the same shade of black

right.

to my eyes as the 5 shade. In the highlights

anything above 253 (254 and 255) appears as

perfect in terms of its rendition of tone in

paper white to me.

the highlights. The soft ethereal mountains

are perfectly rendered with all of the

Armed with this information I now knew

The end result is to my eyes absolutely

that anything in my file that was above 253

mystical feeling I remember when I took the

would render purely as paper white and

photograph. The rocky ridge-line and gentle

anything below 5 would render as a solid black.

snow slopes blend their shades of white

perfectly; with the foreground having just the

In this photograph, the blacks are actually

all but irrelevant since the darkest shades in

right amount of texture and tone.

the photograph are well above this (but it is

an interesting exercise to understand for prints

a competition (most judges would fail to grasp

with dark tonalities).

the difficulty of the print), it was one of the most

rewarding I have made in recent times.

I then soft-proofed the image in Photoshop

Although I would never enter this print into

with my custom profile and the Relative

If you are not printing your work, I urge you

Colorimetric rendering intent, and used a

to make a start and get those 1’s and 0’s off

levels adjustment to tweak the highlights. In

your hard drive and onto paper where they can

essence, I manipulated the brightest tones in

fully be appreciated. It is absolutely one of the

the photograph to bring them down to a point

greatest joys of photography.

where I could see tonal gradation on the paper.

I then used several curve adjustment layers

to increase highlight contrast in certain tones to

54

You can find more of Joshua’s work at http://blog. jholko.com/

•

J o s h u a H o l k o A P P, M . P h o t o g . I

55

NEWS

©

TAGS Co pyr i g h t Agreem e n ts

How Do We Own Our Copyright?

Owning copyright and your clients understanding the limitations they have when using your photography are two different things – but both are based on the same contract. Here’s how to ensure you own the copyright and to help your wedding/portrait clients understand why.

Simply speaking, the starting point is that the

members have access to a number of sample

professional photographer owns the copyright

contracts as PDF files on the AIPP website, in

if he or she is working for another business, but

the members’ only section. You’ll find them

a consumer client owns the copyright if it is a

under the Assisting Your Business tab, Specimen

personal commission, such as a family portrait

Contracts. The idea is to adapt the specimen

or a wedding.

agreements to your particular circumstances.

As professionals, we should ignore this

An agreement is typically a double-sided

legal issue and set up our own business

sheet of paper, but it can as easily be two sheets

system where the client agrees that we own

each printed on one side, or a digital document

the copyright. From here, we may licence our

or email which is signed electronically. The

clients to do whatever they wish with the

agreement needs to be signed before you take

photos, or we may prevent them from having

the photos or it may not be valid.

extra prints or books made elsewhere - that’s up

to us. But our starting point is that we own the

provided by the AIPP, but they include

copyright.

references to the AIPP and the AIPP logo which

most photographers will replace with their own

We need an agreement (or a contract, but

You could just print out the PDFs as

the term ‘agreement’ is less legal and not as

logo and details.

confronting as ‘contract’) that explains exactly

who owns the copyright and what the client

AIPP details there because they can say to their

can and can’t do with the photos.

clients that this is a standard agreement and

However, some photographers have left the

so sometimes there is less resistance from the

56

HOW DO I CREATE AN AGREEMENT?

client to signing up.

How do we create this agreement? AIPP

page) is a summary of the job. Not all the items

On the front of the agreement (or the first

?

o g lo d n a e m a n r u yo h it w P IP A ce la Rep

AIPP Photographer Services Agreement Summary ry a m m u S t n e m e re g A y h p ra g to o h P Change to: Portrait ry a m m u S t n e m e re g A y h p ra g to or Wedding Pho

DATE:

PARTIES

CLIENT:

Insert client details, name ABN, address

PHOTOGRAPHER: Insert

your address, abn etc

The Photographer will provide the Client the following services:

(Alternatively, a detailed brief can be attached to the Agreement) SERVICES

Photography Date:

Location:

Location

Description of Photographs:

Description of photographs (if not in seperate brief attached) The Client will pay the Photographer the following Fee: Total Fee: FEE

Non-refundable Deposit:

The Client will pay the Fee as follows:

(specify date or number of days to pay)

Deposit: Deposit total Cancellation Date:

EXPENSES

Delete or adapt these boxes for domestic clients.

LICENCE

Deposit total

Balance and Expenses:

Balance

Cancellation Fee:

The Client will be responsible for payment of the following expenses incurred by the Photographer:

(Insert itemised list of expenses that the Client must pay) The Photographer grants the Client a non-exclusive/exclusive license to use the Photographs as described in Item 6 for the Term described in Item 7 and in the Territory described in Item 8.

USES

The Client is permitted to use the Photographs for the specific use in the following manner(s): [Specify purpose and use of Photographs]

TERM

(Specify period of time for which the client is permitted to use the Photographs, i.e. 3 years) from the date of this agreement.

TERRITORY CREDIT

[Specify Territory for which the Photographs can be used, i.e. Victoria, NSW, Australia, the World.]

[Specify credit (attribution) required, if applicable]

JURISDICTION

[Specify the state or territory where you are based]

ADDITIONAL INFORMATION

[Specify any additional information]

The Parties agree that the terms set forth above in the Photographer Services Agreement Summary and the attached Standard Terms and Conditions form a binding agreement between the Photographer and the Client. Signed as an Agreement by the parties: Signed for and on behalf of: (Your Name)

Signed for and on behalf of:

Signature

Signature ________________________________________

________________________________________

Print Name ______________________________________

(Client Name)

Print Name ______________________________________

AUSTRALIAN INSTITUTE OF PROFESSIONAL PHOTOGRAPHY LTD A.B.N. 77 050 167 498 | AIPP NATIONAL OFFICE: G.03 171 UNION RD, SURREY HILLS VIC 3127 | TEL: (03) 9888 4111

Replace with your contact details 57

NEWS

©

are really designed for a wedding or familiy

portrait job, so these can just be crossed out.

want to use some of these photos for your own

For instance, Licences, Uses, Term and Territory

marketing and advertising. If you don’t own

are mainly used in commercial and advertising

the copyright, you must ask your clients for

work, so it might be simpler to remove them

permission. What happens if you can’t find your

from an agreement for wedding photography

clients - they have moved overseas or you have

or family portraiture. It’s not that these issues

lost contact? Then without their permission, you

aren’t important, rather they are covered on the

would be breaking the law if you used them.

back of the agreement (or on the second page).

best portraiture in years to come? If you don’t

The AIPP Photographers Services Agreement

As a simple example, what happens if you

What if you want to produce a book of your

Summary is a catch-all document which

own the copyright, you can’t use your own

wedding and portrait photographers should

photos. What if one of your clients dies and you

adapt to the type of work they do. I have made

have the only photos? You can’t even give them

some suggestions on the opening page of this

to a newspaper or website to use because you

article.

don’t own the copyright.

So many situations can arise years later that

THE FINE PRINT FOR WEDDINGS AND PORTRAITS

you can benefit from financially and personally

Consumers hate fine print and rarely read it, yet

do with this agreement.

IF YOU OWN THE COPYRIGHT. And it’s so easy to

as photographers we should at least point out

58

the restrictions we are imposing.

REMEMBER YOUR CLIENT

Even if you own the copyright, to be fair, you

Now, the restrictions we impose might

be limited depending on the nature of the

usually have to ask your clients for permission to

photography. Originally, these agreements were

use or resell the photos anyway. There are laws

designed for photographers who held the files

in addition to copyright that require this.

and did all the printing for the clients. This is not

always the case today.

to use their photos for their own marketing and

promotion.

For instance, if you are doing a shoot and

Most photographers would want permission

burn wedding, where you hand over all the files

In the Portrait Agreement (opposite page),

and walk away from the job, you might think

Point 7 states that the photographer can use

you don’t need to own the copyright. You could

the photos taken for general promotional

be wrong.

advertising of their own studio and entering

AIPP Portrait Agreement

THE CLIENT

THE STUDIO

1.

1.

Should nominated photographer not be available for any reason, the Studio will notify the Client of the change as soon as it is known and provide another photographer with equivalent skills.

2.

The price quoted will be guaranteed for seven days otherwise the current price will be confirmed when the deposit on the order is paid. Any additional costs will be advised and confirmation required before proceeding.

3.

The photographs made by the Studio are manufactured with the finest materials currently available. However, colour photographs, in common with all sensitised material and colour dyes, have limited life expectancy which is further reduced when exposed to strong and prolonged sunlight, heat or fluorescent light sources If in your opinion any photograph made by the Studio has lost its original colour, the Studio may, at its discretion, replace the photograph for fifty per cent of the current selling price. The original photograph must be returned and the reprinting charge paid in advance. This warranty will be valid for as long as the Studio has its possession the original files in a printable condition.

4.

The negatives/digital files remain the property of the Studio and will be kept on file a period of five years, after which time the Studio may negotiate the release of the negatives/digital files.

5.

The Studio shall carry out this assignment with due and professional diligence. Elements beyond the Studio’s control include faulty material, equipment failure, damaged and exposed film, loss of film/photos/ negatives/digital files in transit between the Studio and professional laboratories employed by the Studio, unforeseen loss or damage to film, negatives/ digital files and proofs during processing and developing either by the Studio or professional laboratories employed by the Studio (that is not the fault of the Studio), industrial disputes, civil disturbances, or weather conditions which may inhibit or prevent the Studio completing in whole or in part this assignment. In this case the Studio shall not be liable for its complete performance of the assignment. It is agreed that the liability of the Studio shall be limited to be a refund of any money paid under this agreement which shall be in full & final satisfaction of any damage or loss suffered.

1/we authorise the Studio to arrange the photography in accordance with the details overleaf. I/we are satisfied that these details are correct and I/we understand there is a three working day cooling-off period from the date of the signing this contract before the photography is commenced and for any orders placed.

2.

The Booking Fee is not refundable but may be transferable at the discretion of the Studio.

3.

I/we have received, read and understand the Studio’s price list, which has been confirmed for our assignment on payment of the deposit/ Booking Fee provided I/we order within seven (7) days after the assignment.

4.

The booking of and any additional costs incurred for booking venues, photography locations, additional props etc are our responsibility. If these are not paid for separately, the Studio will invoice me for these and such invoice must be paid in advance.

5.

The details and times accompanying this agreement form part of this agreement and I/we agree to make every effort to cooperate in order for the Studio to fulfil its contracted photographic duty. I/we acknowledge the Studio will not accept responsibility for the extent of the photographic coverage and fulfilment of the photographic assignment in accordance with the details herein if these details are incorrect or if I/we chose not to follow the agreed schedule.

6.

To avoid disruption to the photographic coverage and to allow the Studio to fulfil its contracted duty; other photography by family/ friends at the time of the photographic assignment is not permitted.

7.

I/we agree the Studio owns the Copyright in all photographs. I/ we give permission to the Studio to use any image from the photographic assignment for industry competitions and as required for subsequent usage and for reasonable general promotional advertising for the Studio. The usage for any other purpose is to be renegotiated between the parties and requires specific permission by us.

8.

As the Studio owns the Copyright, I/we agree not to copy, cause to be copied or allow anyone else to copy, photocopy, laser copy or computer scan these images. To do so is in breach of this agreement. I/we will use these photographs as agreed and understand they may not be copied or reproduced unless written approval is granted by the Studio.

9.

The negatives/digital files remain the property of the Studio and will be kept on file a period of five years for re-orders. I/we may be able to negotiate with the Studio for release of the negatives/ digital files thereafter. Regarding re-ordering photographs, I/we also understand and agree to clauses 10 – 15 inclusive.

10.

11.

Orders must be placed within 7 days of the photographic assignment, otherwise prices current at the time of ordering will apply and I/we will pay all reasonable freight and postage for the prints we request.

All orders must be confirmed in writing and accompanied by full payment unless prior arrangement with the Studio had been made.

Telephone orders require written confirmation with payment before the order can be processed.

12.

All orders shall remain the property of the Studio until full payment has been made. Orders cannot be separated for collection unless paid for in full.

13.

Should I/we fail to pay and collect any order within fourteen (14) days of notification of completion, the order shall be in default and the Studio will charge a default charge of 1.5% per month (18% annual rate) on the unpaid balance (minimum monthly charge of $5.00). In addition, I/ we acknowledge that no future orders will be processed until the Order is paid in full.

14.

Enlargements will carry the studio logo/signature.

15.

I acknowledge and agree that the Studio has no control over the environment in which the photographs are kept and that colour photographs, in common with all sensitised material and colour dyes, have limited life expectancy which is further reduced when exposed to strong and prolonged sunlight, heat or fluorescent light sources.

Photographs will last longer if displayed under good lighting conditions.

AGREEMENT I/WE HAVE READ AND UNDERSTOOD THE TERMS OF THIS AGREEMENT. SIGNED FOR THE CLIENT:

X_____________________________________________________________ DATE: _____

/ _____ / _____

SIGNED FOR THE STUDIO:

X_____________________________________________________________ DATE: _____

/ _____ / _____

This is a basic Portrait Agreement. Your circumstances may require something different and accordingly the AIPP recommends you follow your solicitor’s advice for your specific requirements.

59

EDUCATION

©

the Awards, but anything other than this is up

over how your photographs are used.

to negotiation. So you can’t sell a photo of one

of your brides to a washing machine company

living, most successful wedding and portrait

without her permission - and this is fair enough.

photographers also offer albums and prints. If

this is you, then the existing Point 8 protects

However, it’s also fair enough that you can

Of course, if you want to earn a reasonable

use your own photographs, after allowing for

you. Point 8 basically says that if a client gets a

the sensitivities of your clients. High profile

print from you, or a digital file, they can’t make

clients or members of the secret service

extra prints or copies for friends and family -

may prefer to retain their privacy - and as

the implication being that these extra prints

professionals we should respect this.

etc must be purchased from you. (The AIPP

contract does not take into account use of

So, where does this leave us?

images for social media and this should also be

EXPLAINING COPYRIGHT

considered.)

If you are providing digital files to your clients,

and you are not offering prints, albums or other

If a client spends a fortune with you, and then

services, then Point 8 could be changed to

asks for permission to make a few extra prints

something like this:

on their own, you may give them permission.

The point is that you retain control.

The client has permission to use the files to

This is a starting point for you to consider.

produce prints, albums and similar products for the use of family and friends. However, they may

POINTING IT OUT

not sell or provide the photos to any third party

Most people don’t understand copyright. Many

for commercial use, without prior agreement

people will challenge you when you discuss

from the photographer, in which case a further

Points 7 and 8 with them, explaining the

fee may be required.

limitations you’re putting on them.

So, even if you don’t want to make any

I think the answer is to be completely honest:

TAGS

more money from your clients, here’s an

“I want this control because this is how I earn my

Co pyr i g h t Agreme n ts

opportunity to charge a third party for the use

living”. Yes, you will lose a few clients, but chances

of your brilliant work. It also stops your clients

are those clients didn’t have the budget for you

from selling the photographs without cutting

in the first place. And if you look at the profession

you in on the action. If you don’t want any

in general, whether working full time or on just

of the action, you can simply give them your

a couple of jobs a year, it’s all about valuing

persmission, but at least you remain in control

yourself and the work that you do.

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.

60

61

NEWS

Nikon D850 More pixels! Exceptional low light performance! Fast capture rates and 4K video... What doesn’t Nikon’s new D850 have that a photographer or video producer needs?

Why does a professional photographer need

applications, from large-format landscape prints

a 45-megapixel sensor? With the majority of

to sport, fashion, weddings and, with its video

professional photography only requiring small

functionality, multi-media and web output.

files for online presentation, where is the need?

mean you need the resolution for every job you

The answer to this question lies in

Having a large sensor on board doesn’t

the statement ‘majority’ of professional

shoot, but having a camera in your bag that is

photography. These days, the majority of

capable of absolutely anything your client may

professional photography is done by newer

need is a great reassurance.

photographers, often with minimal skills

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

62

and relying on the camera rather than

RESOLUTION WITHOUT NOISE

their knowledge to create great photos.

One of Nikon’s strengths is its file quality at high

In comparison, an Accredited Professional

ISO settings. Nikon cameras revel in low light

Photographer is capable of producing higher

conditions, producing images with very little

quality files that will suit a variety of purposes,

noise, extended dynamic range and crisp, sharp

depending on a client’s needs.

details.

For instance, you might not need

The D850 is Nikon’s first DSLR camera to

45-megapixels for a family portrait of mum, dad

be equipped with a backside illumination

and two kids. But what happes when you’re

CMOS sensor. Together with the camera’s low-

employed to photograph an extended family

noise performance, this enables it to achieve

of 20 or 50 people in a group shot? The extra

a maximum standard sensitivity of ISO 25,600

resolution will set your images apart.

(with expansion up to ISO 102,400).

However, I don’t think the Nikon D850 is

The same minimum standard sensitivity of

aimed solely at portrait photographers and

ISO 64 (with expansion to ISO 32) supported by

group shots. There is a raft of new features

the D810 is also offered by the D850, providing

that make it ideally suited to a range of

an incredibly broad range of sensitivities.

63

64

NEWS

And all with a 45.7-megapixel sensor. In the

impressive how many captures the D850 can

past, the combination of a high pixel count with

make in a single burst, up to 51 14-bit or 170

good low noise performance was the Holy Grail,

12-bit (image size L) raw files with lossless

but it appears that Nikon has nailed it with the

compression.

D850.

In addition, no optical low-pass filter (which

FOCUSING & SHARPNESS

slightly blurs the image to better control colour,

The larger the sensor, the more the image is

but isn’t always necessary) means that the D850

magnified and the more challenging it is to

is able to make the most of its high-resolution

achieve precise focus and avoid camera shake.

Nikkor lenses.

Nikon has thought all this through.

Nikon states the new sensor is capable of

The D850 features the same high-

producing prints up to A2 size at 300 dpi, which

performance 153-point AF system used by

mathematically is true, but seriously understates

the D5, so even when you’re in the thick of the

how large and impressive the files will look

action, the camera is focusing on your intended

when printed much bigger than this. Many

subjects, including those that are moving within

photographers will be very happy with 180 dpi

the frame.

for larger print sizes.

The D850 is also equipped with a silent

photography feature with which the image

CONTINUOUS SHOOTING

sensor performs operations normally performed

However, there’s much more to Nikon’s new

by the mechanical shutter’s front and rear

sensor than higher resolution. It also supports a

curtains with live view photography, enabling

very fast frame rate for continuous shooting.

silent capture of full-frame images.

To begin with, the backside illumination

Now, silent capture is good for two

CMOS sensor is capable of high-speed readout

reasons. First, the sound of shutter release

of high-volume data. Add in the EXPEED 5

and mechanical vibrations are completely

image-processing engine that also processes an

eliminated, making this an effective choice in

incredibly large amount of information at high

situations when the sound of shutter release is

speed, and a newly designed shutter and mirror

distracting or impolite, such as shooting from

mechanisms, and you can shoot at up to 7 fps

an animal hide or at a wedding.

with just the camera, and up to 9 fps when the

MB-D18 Multi-Power Battery Pack is used.

mechanical vibrations, there is no chance of

camera shake. This is incredibly useful when

Now, given these are all big files, it’s seriously

And just as important, without any

65

NEWS

shooting with telephoto lenses, because

enjoy this feature too!

not only is the sensor magnifying image

faults, so is the lens. It’s not such an issue for

much was made of its interval timer shooting.

sport photographers shooting at fast shutter

This function has been significantly enhanced

speeds, rather commercial and landscape

and it is not only capable of recording still

photographers shooting at 1 second to 1/125

images (8256 x 5504) that can be used to

second where even the slightest vibration from

create time-lapse movies with a frame size that

a shutter mechanism can produce blur.

exceeds that of the 8K format, but it also offers a

In the leadup to the release of the D850,

silent photography option that can be enabled

VIDEO TOO!

to capture a large volume of images without

The D850 supports full-frame, 4K UHD (3840 x

concern for the mechanical shutter wear.

2160)/30p recording, allowing photographers

and video producers to record movies that

exposure smoothing options are enabled, not

make the most of wide-angle lenses’ broad

only are the variations in exposure between

angles of view.

individual shots effectively suppressed, but

the camera is also able to meter exposure

In addition, 4x and 5x slow-motion movies

When silent interval timer photography and

can be recorded in Full-HD format (100- or 120-

with significantly less light than the -3 EV that

fps readout is recorded at 24p, 25p, or 30p). This

is minimally required. This makes it possible

enables dramatic expression of a moment’s

for photographers to use A (aperture-priority

movement in slow motion.

auto) exposure mode in situations where it is

Further, the addition of a dedicated movie

impossible to use manual exposure to capture

shooting menu, the ability to choose the format

a series of images, all of which exhibit optimal

in which movies are recorded from MOV and

exposure, of the sky’s transition from sunset

MP4, and the ability to apply detailed settings

to starry night sky or from starry night sky to

for highlight display make the D850 a much

sunrise, for example.

more convenient way to record movies for

multimedia users.

professional time-lapse movie creation, offering

fast, in-camera batch processing of a huge

And importantly for video producers, there’s

a convenient 8-cm/3.2-inch, 2359k-dot, tilting

The D850 also meets the requirements of

number of RAW images.

TFT touch-sensitive LCD monitor, so you can more easily hold the camera in a variety of positions. No doubt stills photographers will

66

For more information, visit www.nikon.com.au.

67

68