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
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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
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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.
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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
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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.
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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
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STEVE HUBBARD QubeSOCIAL
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LORNA-JEAN BRADLEY Untitled Film Works
Creating the ‘Perfect’ Wedding
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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
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AWARDS Platinum Sponsors
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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
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AWARDS Platinum Sponsors
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Sponsored By EIZO Fi nali sts - Char m aine He yer, G ee G reenslade
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AWARDS Platinum Sponsors
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ATKINS
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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.
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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.
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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.
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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
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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.
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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
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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
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For more information, visit www.nikon.com.au.
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