AIPP Journal - October 2017

Issue 256

October 2017

Clipping The Blacks Epson's SureColor P5070 Keren Dobia: Affirmation Selling The Romance of Paper

JOURNAL

Cover

Keren D o bia

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

CONTENTS 4

We Should Also Value The Print

8

2017 AIPP Honours

AIPP President Vittorio Natoli suggests that having a love affair with the print and paper is one way to help our clients share in the passion of high quality professional photography.

Each year the AIPP honours a select group of photographers for their efforts within the AIPP and in the profession generally, for both service and photographic acumen.

14

Abraham Joffe – 2017 Producer of the Year The 2017 AIPP Australian Video Producer of the Year, Abraham Joffe APVP, cleaned up with category wins in both the Corporate and Documentary categories as well!

2017 AIPP AUSTRALIAN PROFESSIONAL PHOTOGRAPHER OF THE YEAR

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

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

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

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

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

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

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

AIPP Membership Contacts Suite G.03, 171 Union Road, Surrey Hills, Victoria 3127 Phone: 03 9888 4111 E-mail: admin@aipp.com.au

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16

Changing The Perception of Women

18

The advertising industry has a lot to answer for in our perception of women's body shapes, so leading photography agency Getty Images is taking a stand on the images it will accept for stock.

Selling Photographs on Paper It seems so obvious, yet too few professional photographers are doing it: selling prints and albums.

And it's no longer old school. In fact, paper is like film, experiencing a revival and this is good for both photographers and clients.

ISSUE 256 / OCTOBER 2017 20

1. Why Our Clients Need Prints Not Files

28

5. Pricing Prints, Boxes, Albums & Books

The majority of people lose their digital files over time, strongly suggesting that as professional photographers, we should not be providing digital files alone when asked to photograph families and weddings.

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2. Why Prints Will Also Increase Our Profits If our clients associate digital files with 'cheap' and 'free', selling prints is one way we can increase the perceived value of what we provide – and at the same time provide our clients with a real benefit.

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3. Making Prints And Photo Albums

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If you don't wish to make your own prints and albums (and many professional photographers do not), learn how to produce good quality digital files and send them to a lab or bureau that will do the work for you.

4. Preparing Sample Products To Show As photographers, we have lots of imagination, but often our clients do not. They won't be able to imagine what a print or photo book looks like, so we must produce a set of sample products to show before they will feel comfortable buying their own.

Adding a margin to the price you pay for prints and albums is how you greatly increase the value and the profitability of your business. What that margin is, is up to you.

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6. Packaging To Make Buying Easier A carefully designed product range can make the process of buying wedding and portrait photography a lot easier for our clients. Give them a series of options, but not so many you make it confusing.

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Keren Dobia: Affirmation What does it take to become an AIPP Australian Professional Photographer of the Year? The AIPP Journal interviews Keren Dobia about her award winning approach to photography.

44 48

Clipping The Blacks On Purpose!

Conventional wisdom says we shouldn’t clip our tonal values, and while this is good advice when capturing our images, it doesn’t necessarily apply when we edit them in post-production.

Epson SureColor P5070 A series of minor refinements has now produced one of Epson's most consummate, reliable and robust printers for professional photographers – the table-top Epson SureColor P5070.

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NEWS

We Should Also Value The Print AIPP President Vittorio Natoli suggests that having a love affair with the print and paper is one way to help our clients share in the passion of high quality professional photography.

Paper could be brand new all over again, if

files to their clients who in turn produce an

professional photographers wanted to own it.

album for themselves. Surely this is a missed

opportunity for professionals?

Later in this issue, Peter Eastway presents

a six-point guide to selling our wedding and

It’s the same with prints and wall frames.

portrait clients prints, frames, albums and photo

How many of our clients are putting that USB

books. He is suggesting that unless we offer

drive in a desk drawer or having poor quality

these paper products, it may be difficult for us

prints produced at an office stationery store?

to maintain a viable business.

I remember early in my career walking into

a client’s house and being blown away by my

WHO'S BUYING?

own work hanging on their walls.

Recently, Michael Warshall from Nulab was

talking to me about the Nuova Albums his

seeing prints by John Whitfield-King up on the

company is producing for photographers.

wall.

TAGS

Pr in ting Busine s s

photographers would be his main market,

it always seemed to be after John had

but he’s finding more of his orders are from

photographed their portraits, but on this day,

consumer clients directly.

I walked into the home and there were six or

seven of my own portraits on the wall.

Originally Michael expected professional

In other words, there are lots of professional

photographers out there, handing over digital

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I was used to visiting client homes and

While I was happy to get the wedding,

This client really valued photography. It was

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NEWS

a display of her family’s love and romance, and

What are we missing out on?

no doubt all her friends responded in the same

We used to take photos of the rooms in

way.

our clients’ homes so we could drop in sample

prints, allowing the client to visualize what a

The prints had great personal value.

large print could look like on their wall. With

SHARE THE EXPERIENCE

Photoshop, this is incredibly easy to do.

The challenge for photographers today is to

And then much easier to sell.

share this type of experience with their clients.

Perhaps we should take more pride in our

How do we show our clients, clients who often

own personal photography.

think they only want digital files for social

media, what their photos will look like up on the

Award at APPA, perhaps we should make a

wall, or in an album?

bigger print and hang it proudly on our studio

wall in a frame.

I look at my own artistic work and I think

For instance, if we earn a Silver or Gold

it’s beautiful. I have all my files organized in

Lightroom, but no-one wants to open up my

days working on an image for APPA, so surely it’s

laptop to see them on a screen.

good enough to make a print just for us?

In comparison, if I have a physical, tangible

A photographer will spend hours or even

Share this genuine experience with your

print in my hands, suddenly there is a

clients and see what happens…

conversation and it’s this conversation we need

to have with our clients.

not real and I think there’s something to this.

Michael used to say that if it’s not printed, it’s Prints might have their roots in old

WALL FILLERS

technology, but they are still a part of our future.

Clients are used to seeing wall art. They go to

furniture stores and for a few hundred dollars,

to buy prints, but imagine how improved our

they can hang half a dozen cheap prints in their

profitability would be if we convinced even half

home. I remember someone calling these ‘wall

of them?

We can’t expect to convince all of our clients

fillers’.

Another client explained that a house

wasn’t complete until there were a few prints up on the wall – so why shouldn’t these

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prints be of the family, taken by a professional

vittorio.natoli@aipp.com.au

photographer?

0400 418 888

AIPP PROFESSIONAL PHOTOGRAPHY CONFERENCE

5-6 May 2018. Stay tuned. #lenscape18

Platinum sponsors

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AWARDS

2017 AIPP Honours Each year the AIPP honours a select group of photographers for their efforts within the AIPP and in the profession generally, for both service and photographic acumen. in its decision to take the unusual stance of presenting the award to not one but two candidates.

Sometimes a commitment or workload falls

upon more than one person and it would simply be unfair not to recognise all parties.

A few years back now, after a change in

direction from the Board, Melinda Comerford and Mark Zed found themselves in the unenviable position of co-chairs of the newly formed Awards Committee.

Our thanks once again to David Simmonds for taking the official photographs at the AIPP Gala Dinner.

Above: Mark Zed and Melinda Comerford flanked by Honours Committee members Richard Bennett (left) and Greg Hocking (right).

MELINDA COMERFORD & MARK ZED

several people and a huge amount of hard work

Claude McCarthy Award 2017

Claude McCarthy was the founding father of

that the APPAs did not fall in a heap and worked

what we know today as the Australian Institute of

tirelessly with old and new APPA identities,

Professional Photography.

past and present board members and anyone

with advice to help forge a strong future for

The Claude McCarthy Award is named in his

ahead, it would be easy to walk away.

Not these two, they hung in there, ensuring

honour as a reminder of the hard work he put

our Awards system, both at a state and national

in to create what we all enjoy today. This award

award level.

recognises a significant contribution to our

Institute.

commitment you have shown to what we all

hold so dear.

When discussing nominations for this year’s

award, the Honours Committee was unanimous

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With little experience, a lot of negativity from

Thank you, Mark and Mel, for the

– Ian van der Wolde

a contributor to the AIPP drone SIG.

Geoff coordinated and photographed

the AIPP Reflections project in the ACT and southeastern NSW.

He has won ACT Commercial Photographer

of the Year a remarkable 10 times, the ACT Landscape Photographer of the Year seven times, and was ACT Professional Photographer of the Year in 2008 and 2015. Geoff Comfort was awarded his Grand Master of Photography in

GEOFF COMFORT Fellow Like many photographers before him, Geoff Comfort joined the AIPP as a student member in 1993, then volunteered to help at APPA in Canberra that year. This has been a familiar first

2016.

In his unassuming way, Geoff has quietly

and effectively helped to nurture this Institute, particularly in the ACT, and in so doing has earned the appreciation and respect of his peers. – Richard Bennett

step along a familiar pathway to success.

Geoff Comfort won three silver awards that

year and has entered APPA every year for the past 24 years.

After being accepted as a member, Geoff

joined the ACT AIPP council where he has contributed for the past 22 years. His outstanding work includes ACT president from 2007 until 2010; ACT print awards coordinator and chair of jurors from 2003 until 2011; and he has been

JOHN GOLLINGS

a panel chair and judge at ACT, ACT/NSW and

Honorary Fellow

APPA for many years.

It is said, that the vast majority of people in the

Geoff is a specialist aerial photographer and

world only experience the beauty and grandeur

has presented at numerous AIPP events, business

of the world’s most important buildings through

boot camps, print critique nights and judge

the medium of photography, as they never get

training programs. He is also a folio assessor and

the opportunity to view the building in the flesh.

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AWARDS

In Australia, John Gollings has been making

the pack.

photographs of architecture for over 40 years.

John works in the Asia-Pacific region and much

to man' of Australian architectural photography

of his work involves long-term cultural projects

and is recognised worldwide as a leader in his

in countries such as India, Cambodia, China and

field.

Indonesia.

John got hooked on photography as a boy,

books, his work is held in significant national and

but later went on to study architecture and holds

international collections, films have been made

a Master’s Degree in Architecture from RMIT

about him and he was the 2010 co-creative

University.

director of the Venice Architectural Biennale.

John’s journey into professional photography,

In the ensuring years, John has been the 'go

John has been published in numerous

John has been a two time recipient of the

started in 1966 when he took a year off from

Australian Institute of Architects Presidents

his architectural studies to work part-time in a

Prize, awarded the inaugural William J Mitchell

commercial photography studio.

International Committee Prize and in 2016 John

was made a Member of the Order of Australia

In the late 1960s, John branched out on his

own, photographing for fashion and advertising

(AM) for 'significant service to photography

clients.

through the documentation of iconic

architectural landmarks in Australia and the Asia

At the time, he also photographed the first

Rolling Stones and Bob Dylan tours of Australia.

Pacific region'.

- Greg Hocking

In the early 1970s, John became a member

of the Institute of Australian Photography (now AIPP).

KATE GERAGHTY

Honorary Fellow

As it turned out, John’s journey to becoming

an architectural photographer really kicked off

There are many larger than life characters in

when many of his architectural student class

professional photography, who by personality or

TAGS

mates graduated and were looking for someone

design stand out in a crowd. Then there are those

AIPP Ho no u r s

to document their buildings.

select few who just stand out!

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At the time, John had a somewhat quirky

Kate Geraghty is one of those select few.

style and often used creative techniques which

Kate is an all-round storyteller. She is the

were new to architectural photography. This

ultimate professional. There is an integrity to

appealed to many of the new breed of architects.

her work and her skill in editing her photos into

concise portfolios, where no shot is wasted. It

John was an innovator and stood out from

AWARDS

makes her one of Australia’s most outstanding photojournalists.

Kate is a five time Walkley winner and works

for The Sydney Morning Herald and The Age newspapers.

I first met Kate in the mid 1990s when she

was studying photography at Perth College of TAFE. I was one of her lecturers and one of my enduring memories of Kate was her quiet determination to follow her own star, which in hindsight, was probably a good thing having had me as a lecturer.

IAN POOLE

Honorary Fellow

Kate started her professional photographic

career at the Albury-Wodonga Border Mail in

In 1959, a teenage boy was brought by his

1997.

parents from a North Queensland sugar cane

She then freelanced in Cambodia and Australia

town down to Brisbane. Ian Poole continues to

before joining The Sydney Morning Herald. Her

live and work in this city today.

first assignment for the Herald was to cover the

2002 Bali bombings. Since then, Kate has covered

purchase of a Nikon F and Metz 504 flash gun, he

numerous stories of conflict and natural disaster

was working weekends at weddings and social

throughout the world.

parties. They were all razor sharp photos because

f11 plus full charge flash with no umbrellas,

Kate’s drive and determination to access

In 1964, following an overly optimistic hire

elusive sources is what makes her work stand

shapers or diffusers did that for you!

out. She gains the trust of those she photographs

and says. “It’s a privilege to meet people and

poorly executed photographs survive in photo

for them to trust us enough to tell their story”.

albums around Brisbane because they were

Kate’s job is not without danger as an incident in

printed on archival, double weight fibre-based

2010 demonstrated. On board the MV Samoud

black and white paper!

of Gaza, Kate was Tasered and later jailed by the

Israelis. Despite this, Kate still manage to transmit

young photographer whilst they attempted

her photos.

to blitz the Brisbane market. Or more a case

- Greg Hocking

of shooting weddings, parties, portraits,

The sadness, Ian says, is that many of these

By 1972, Ian was in partnership with another

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AWARDS

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commercial, used cars or anything to stay alive.

APPA at the HYPO Convention held on the Gold

Coast 1977.

In 1975 Ian Poole joined the Institute of

Australian Photographers (IAP), being nominated

by Institute luminary David McCarthy. In 1976

and participated in print critique events. He has

he was co-opted onto the Queensland Council

judged in most states of Australia and been an

of the IAP. He was a member of that council at

active and respected judge and chair at the New

various times for 22 years, holding the office of

Zealand Iris Awards for 10 years. He was made an

Queensland president, vice-president, secretary,

Honorary Member of NZIPP in 2014. He has been

treasurer, newsletter editor and education officer.

a judge or panel chair at the Queensland Awards

since their inception in 1990.

From 1984 to 1989 he was a member of the

He has judged, panel chaired, trained judges

Australian Federal Council, the equivalent of

today’s Board. In that time Ian was treasurer and

at various towns in Queensland, Sydney,

vice-president.

Melbourne, Launceston and Perth, as well as

three speaking tours of New Zealand and one in

From 1978 to 2005, he variously represented

Ian has delivered lectures or workshops

the Institute on many photographic college,

Japan. He has been an exhibiting photographic

university and TAFE advisory committees,

artist in nine solo exhibitions and 34 group

including writing the syllabus for three subjects

exhibitions, in Australia, New Caledonia, China

for Queensland TAFE.

and Japan, and has curated nine photographic

exhibitions.

In 1986 he was Australian Delegate to the

World Photographic Conference in Cologne,

West Germany. In 1996 he was the recipient

degree of G.Dip Visual Arts from Griffith

of an Australia Council of the Arts Residency –

University and CN404 - Instructional skills from

four months of photographic research in Tokyo,

Southbank Institute of TAFE, Brisbane. As a part-

Japan.

time photographic lecturer, he worked for 19

years at the College of Art, Griffith University and

From 1997 to 1999, Ian was a member of the

In 1993, he was awarded the post-graduate

APPA Committee. In 2004 he produced, on behalf

subsequently for five years at the Queensland

of the AIPP Board of Directors, a review of the

University of Technology.

Australian Professional Photographer of the Year

Award – Judging the Future. Since 1986 he has

(MNZIPP), New Zealand Institute of Professional

judged most years at APPA. He entered the very

Photography in 2016 and his currently one of the

first APPA and was awarded a silver. He was part

assessors of new members for the Institute.

of the organising committee that ran the first test

- Ian van der Wolde

Ian was awarded Master Photographer

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How To Win Photo Competitions An eBook by Peter Eastway G.M. Photog., Hon. FAIPP, Hon FNZIPP, FAIPP I have judged many photography competitions and there are lots of little things that entrants forget to do. If only I could let them know before entering the competition, they would do so much better!

Well, as a judge I’m not allowed to ring up and help entrants, but I can write a book that distills what I have learnt over the last twenty years that will give you a great head start.

Of course, no one can give you an iron-clad guarantee that you will read my book and then win the next photo competition you enter – and I explain why in the book. However, what I can guarantee you is that if you read my book, you will improve the quality of your photography.

You see, whether you’re aiming to win a photography competition or just take a better photograph, the advice is very similar. And I know that the tech-

niques and approaches I’ve developed over the years will help you capture and produce better photographs.

My book is called How To Win Photo Competitions.

It begins with a little about me.

After all, it’s easy enough to write a book about winning photography competitions, but it’s better if you have a little bit of experience. Fortunately for me, I’ve been lucky enough to win quite a few competitions, plus I have a lot of experience as a judge. I can talk to you about both sides of the competition.

Add in the fact I’ve been a magazine editor for 30 years and I hope I’m able to communicate my message pretty well. So, in just a couple of pages (I don’t want to bore you), I explain why I know what I’m talking about (even though my Dad told me not to boast).

We then look at competitions and how they work, how you should

approach them, and how to use the results to assess your own photography. It’s important to set the scene before we get into creating photos that win competitions.

The next two sections are the nitty gritty. We begin by talking about taking a great photograph in the first place. Competition winners begin with the camera and so we talk about camera technique, colour, composition, framing and so on - little tricks and hints that will make a world of difference to your photographs.

From here we step into postproduction – using the computer to improve the images our camera has captured. Most readers will have dabbled with Photoshop, Elements or Lightroom and this is all you need to enhance your images so they are in the running for a competition win.

These days, no matter how good your camera is, you simply must do a little post-production to finesse your entry.

I finish the book with some useful background information about how competitions work (generally speaking), and then I analyse some of the images that have won awards for me, pointing out the aspects that the judges responded to in a positive way.

The book has lots of photographs and illustrations to explain exactly what I’m talking about.

And it is an eBook. It is easy to read on a computer, laptop or iPad, and you need Adobe Reader (Acrobat) to view the book. There is no paper version of this book, although you can print out the Acrobat Reader file if you wish.

I have created a sample eBook for you to look at on the Better Photography website, so please visit and have a read. If you like what you see, I hope you’ll purchase a copy.

And for your next photo competition - good luck!

– Peter Eastway

For more information and a read of the free sample, please visit:

www.betterphotography.com

WinPhotoCompAdvert-2014.indd 94

14/03/2014 7:08:21 AM

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AWARDS

Abraham Joffe – 2017 Producer of the Year The 2017 AIPP Australian Video Producer of the Year, Abraham Joffe APVP, cleaned up with category wins in both the Corporate and Documentary categories as well!

Abraham Joffe on location, 2017 AIPP Australian Video Producer of the Year.

For the first year, the video arm of the AIPP held

the Year were presented to Abraham Joffe APVP.

its own awards and conference separately from

the stills photographers, marking a maturation

category wins must have helped elevate him

of video within the Institute.

to the overall winner, the 2017 AIPP Australian

Video Producer of the Year.

Proudly endorsed by Olympus as the sole

And while no guarantee, Abraham's two

Platinum Sponsor, both the judging and the

conference proceeded in fine style.

his acceptance, acknowleding all the work done

There were just two Gold with Distinction

by his production team at Untitled Film Works.

awards, both earned by Abraham Joffe who has

Whether weddings, documentary or corporate,

certainly made his mark on the video profession

video production tend to be collaborative

this year.

efforts.

In addition, there were 11 Golds, 17 Silvers

True to form, Abraham was very modest in

Judging was held on 26 September

TAGS

with Distinction and 25 Silvers, a total of 55

at Swinburne University, with a specialist

Awa rd s Video

awards.

convention the following day featuring Karen

Hollenbach, Sue Maslin, Steve Hubbard, Peter

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The 2017 AIPP Australian Wedding Video

Producer of the Year was awarded to Jared

Szilveszter, Jared Kettle, Jacob Williams and

Kettle APVP, while both the 2017 AIPP Australian

Lorna-Jean Bradley.

Corporate Video Producer of the Year and 2017

AIPP Australian Documentary Video Producer of

again for its valued support.

The AIPP wishes to thank Olympus once

THE 2017

2017 AIPP AUSTRALIAN VIDEO PRODUCER OF THE YEAR

AUSTRALIAN

ABRAHAM JOFFE APVP

VIDEO PRODUCER

AWARDS CORPORATE VIDEO PRODUCER ABRAHAM JOFFE HAS BEEN NAMED OVERALL WINNER AT THE 2017 AIPP AUSTRALIAN VIDEO PRODUCER AWARDS

2017 AIPP AUSTRALIAN CORPORATE VIDEO PRODUCER OF THE YEAR

ABRAHAM JOFFE APVP

2017 AIPP AUSTRALIAN DOCUMENTARY VIDEO PRODUCER OF THE YEAR

ABRAHAM JOFFE APVP

THE AIPP AND OUR P L AT I N U M SP O N SO R 2017 AIPP AUSTRALIAN WEDDING VIDEO PRODUCER OF THE YEAR

O LY M P U S W O U L D L I K E T O CO N G R AT U L AT E A L L O F T H E CAT E G O RY

JARED KETTLE APVP

W I N N E R S O F T H E 2017 AIPP AUSTRALIAN VIDEO P R O D U CE R AWA R D S!

AVPA AUSTRALIAN VIDEO PRODUCER

Platinum Sponsor

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AWARDS

Changing The Perception of Women The advertising industry has a lot to answer for in our perception of women's body shapes, so leading photography agency Getty Images is taking a stand on the images it will accept for stock.

TAGS Pro fes s i o n Sto ck Adver ti s i n g

16

Does the average woman in the street look like

Submission Requirements globally to ensure

the average woman in a fashion magazine? And

that such retouched creative materials cannot

if not, should she?

be submitted.

From 1 October Getty Images will no longer

"For many years now, the Getty Images team

accept creative images depicting models

has been tracking the evolving representation

whose body shapes have been retouched to

of women in imagery and seen a positive shift

make them look thinner or larger.

in customer choices (fueled by consumer

demand) toward those images which show

This has been standard practice for a high

percentage of fashion and beauty photographs,

more realistic and authentic representations of

which in turn filters through to the photo stock

women.

library industry.

has gone up +219% over the past year,

According to the press release, the new

The associated search term “unfiltered”

restriction is "an industry first and an important

“authenticity” has increased 104% and “real life”

step for Getty Images and authentic visual

up 99%.

representation globally, because accurate,

healthy depiction in advertising imagery has

Getty Images announced a content partnership

a direct correlation on fighting stereotypes,

with MuslimGirl.com that aims to tackle

creating tolerance and empowering

misrepresentation of Muslim women in the

communities".

media and advertising.

According to Getty Images, the change

The press release noted that earlier this year,

"Together, they’ve created an offering of

has been spurred by a new law in France that

new, high quality images that authentically

requires clients who use commercial images in

represent Muslim women in a fresh and

the region to disclose whether the body shape

contemporary light. MuslimGirl.com is the

of the model has been retouched.

largest Muslim women’s online platform in the

United States."

Getty Images has amended its Creative Stills

Proudly supporting the AIPP ATKINS PRO LAB

ATKINS PRO LAB

17

EDUCATION

Selling Photographs on Paper It seems so obvious, yet too few professional photographers are doing it: selling prints and albums. And it's no longer old school. In fact, paper is like film, experiencing a revival and this is good for both photographers and clients.

TAGS Pro fes s i o n Pr in ts Album s Sales Busine s s

How do we excite our members about paper

ritual of checking social media and put our

- about prints, frames, mattes, print boxes,

photographs somewhere else. Of course, this

albums and photo books.

isn't possible for a practising professional who

needs to use social media as part of his or her

How do we excite our clients, or is this

already happening?

marketing strategy, but we can make it possible

for our clients.

Over the past decade or so, paper products

have declined from our vocabulary because we

We can show them prints.

have been impressed by shiny, high resolution

We can show them framed prints.

screens with bright, vibrant colours. This has

We can show them albums or photo books!

applied to both photographers and their clients

One thing is for certain, it is very difficult

– and it's been a lot of fun.

to make a reasonable living from wedding

and portrait photography selling only

However, as digital photography matures,

our clients are becoming immune to the

digital files. The vast majority of financially

marvels of smart phones, tablets and television

successful professional wedding and portrait

screens. They no longer stop to enjoy the

photographers are selling something more.

high quality output, they just consume it with

They are selling paper.

avaricious zeal! High quality is expected, after all.

And they are earning a good living.

So, how do you start selling paper? If you've

If you're lucky, you might get a Like, a Heart

or a quick comment - and then your viewer is

never thought about it before, on the following

gone, onto the next image and the one after.

pages is a step-by-step introduction to the art

of selling paper, whether prints, frame, albums

How do we get people to slow down and

enjoy what we produce?

or books.

To begin, we have to break the digital image

cycle. We have to step aside from the daily

18

And in future issues, we'll flesh this out with

more specific advice on sales and production.

Prints Albums Books Frames 19

EDUCATION

1. Why Our Clients Need Prints Not Files The majority of people lose their digital files over time, strongly suggesting that as professional photographers, we should not be providing digital files alone when asked to photograph families and weddings.

Throughout its short history, digital

generally have an expectation that their

photographs have been supplied to our clients

photographs will last at least their lifetime - and

on magnetic tape, floppy disks, CDs, DVDs, USB

hopefully that of their children and beyond.

sticks and now as downloadable files.

How should we respond to this knowledge?

With our current understanding of

How many of these files will be discoverable

by future generations?

technology, it is suggested that professional

photographers cannot in good faith provide

Unlike the small colour and black and white

prints found carefully preserved in albums and

digital files alone and expect those files to

shoeboxes by our grandparents, digital files are

survive for very long.

less likely to survive in our modern lives. Prints

and albums are physical, while digital files rely

files to our clients, suggest that they make

on the media they are stored upon, and as

copies every few years and update the media,

professionals, we should be well aware of the

but we know that in many if not most cases, this

limitations of these media.

won't happen.

While it is possible to transfer digital files

On the other hand, if we offered our clients

from one media source to another, or from

prints, there is a very good chance the prints

one cloud platform to another, the reality for

will survive as intended.

most consumers is that these files simply get

lost on an old computer, or the media is no

this modern digital age.

longer easily readable because computers no

longer have DVD drives or even a thumb drive

clients believe prints and albums are over-

connection.

priced or that they can produce their own prints

and albums. We can't force our clients to buy

Yet the families that entrust their

photography to professional photographers

20

Yes, we can explain the limitations of digital

It is much easier to find a shoebox, even in Many clients want to have digital files. Many

prints, but we can offer them.

Business's like Art's Edge Photo & Frame in Perth are a great source of ideas for printed products - and they can make them for you too. http://artsedge.com.au/

21

EDUCATION

2. Why Prints Will Also Increase Our Profits If our clients associate digital files with 'cheap' and 'free', selling prints is one way we can increase the perceived value of what we provide – and at the same time provide our clients with a real benefit.

22

Many people associate digital files and

downloads with the adjective 'free'.

20 edited portrait files as a download, but be

very happy to pay $1000 for a large wall print,

When a photographer spends several hours

A client may struggle to see $1000 value in

photographing a wedding or family portrait,

a collection of loose prints in folders, and the

and then many more hours in post-production,

same 20 edited portrait files.

it can be difficult to assign individual files (or

photos) their fair value, especially when our

download link, they are carrying out a beautiful

clients have a starting price of 'free'.

product, of their family, which they can hang

and store in their home forever.

Over the past decade, 'shoot and burn'

Instead of walking out with a USB or a

services have devalued photography and so

What's the difference?

there is a further association of 'cheap' with

It's very hard to sell the digital files alone

'digital files'.

for $1000, but if we spent $150 on framing and

printing, it is much much easier to package up

All this conspires to make it very difficult

for professional photographers to earn a

the files with physical paper products.

reasonable income by selling digital files alone.

but we make many more sales because our

So, if your objective is to be fairly paid for

We earn a little less ($1000 - $150 = $850),

the photography you shoot, consider selling

clients see value and so we have a much more

something in addition to digital files.

viable business.

And we are acting professionally.

income from photography, adding prints, print

The sale of paper products is a win for our

boxes, photo albums and photo books to your

clients (because they have something that will

price list makes excellent sense!

last) and it's a win for us because we are able to

earn an improved living from photography.

Certainly if you wish to earn a full time

Suddenly you're not just selling 'free' files,

you're selling something tangible.

products?

And this is incredibly important.

Why wouldn't you want to sell paper

In addition to loose prints, framing and a host of other services, Atkins Pro Lab offers a range of packages which you can onsell to your clients. http://atkins.com.au/

23

EDUCATION

3. Making Prints And Photo Albums If you don't wish to make your own prints and albums (and many professional photographers do not), learn how to produce good quality digital files and send them to a lab or bureau that will do the work for you.

One way to separate yourself from the majority

2. JPEG files are excellent for making prints.

of photographers is to learn some very simple

Set up Lightroom, Photoshop or Capture One

skills around printing and albums. It is not at all

to output JPEG files, quality setting 9 or around

difficult!

80%, in the AdobeRGB colour space.

If your photo files look good on your

computer monitor, then they can look good as

inches or centimetres), this will vary depending

a print or in a photo book. Here are a few tips to

on who is printing them, but most printers and

help make this process very straightforward.

bureaus will automatically re-size your files to

the size of print or page you have ordered.

1. Use a good quality monitor that is

calibrated. If you have been to a television store,

you may have noticed that the screens are all

instructed to make them smaller. Set up a pre-

slightly different - some are too green, too blue,

set in Lightroom or Capture One to automate

too light or just right.

the process.

Which one is your monitor?

3. Photos straight out of the camera are rarely

Obviously you want your monitor just right,

perfect, but don't edit (retouch) all your files as

Start with a full-size file unless you are

so use a colorimeter like Datacolor's Spyder to

this is time-consuming.

'calibrate' your monitor. It is a simple process.

files, others edit a small selection from which

If you're using an Apple computer, the

Some photographers show clients unedited

screen is very capable of showing you accurate

clients can choose (on the basis you never get a

(enough) colours. Eizo also makes an excellent

second chance to make a first impression).

range of monitors designed for professionals

which suit both Mac and PC computers.

are retouched.

However, very cheap monitors may never be

capable of showing a satisfactory image.

24

In terms of size (number of pixels, size in

Ensure all sensor spots and facial blemishes From here, visit some of the suppliers shown

on these pages for sample products.

You can go further than paper - create prints for your clients on metal, wood and other novel ways! Stand out and be different! http://www.chromaluxe.com/products/photographers/ http://www.hcpro.com.au/ –– http://www.print2metal.com/ –– http://www.rgbdigital.com.au/

25

EDUCATION

4. Preparing Sample Products To Show As photographers, we have lots of imagination, but often our clients do not. They won't be able to imagine what a print or photo book looks like, so we must produce a set of sample products to show before they will feel comfortable buying their own.

26

What products can you sell to your clients?

and have them return finished products for sale.

There are many for portrait and wedding

photographers to consider:

budget for promotional products. Many

• Framed wall prints

suppliers will give you a discount price if they

• Framed desk prints

know they are promotional (because if you sell

• Loose prints in paper folders

the idea to your clients, you will order more

• Loose prints in storage boxes

products). Order in samples of the products you

• Matted prints in storage boxes

want to sell.

• A traditional wedding album

• A wedding album as a photo book

what a framed print or photo album will look

• Smaller albums for parents

like. If you want to make regular sales, you MUST

• Family portraiture album

show them samples.

• Family portraiture photo book

If you already own an inkjet printer, you may

samples must be exciting and of high quality.

wish to do a lot of the printing and presentation

If you're using photos of existing clients, make

yourself. However, even if you do, take a look

sure you have their permission to use their

at the products already available in the market

photos.

by professional suppliers (see the list of AIPP

sponsors for suggestions, some of whom are

room where their samples can be displayed,

shown on these pages).

so if you're working out of your car and visiting

your clients, consider how you will transport

When you set up your business to offer

And here's the fun part. Set yourself a

It is very hard for our clients to 'imagine'

Naturally, the photos you use in your

Not all photographers have a studio or sales

paper products to your clients, create a system

and present your samples. You may choose not

that makes the process quick and easy for you. It

to include large wall prints that don't quite fit

is much easier to send digital files to a supplier

into your car!

Many labs and bureaus have easy-to-use online ordering systems with delivery to your front door. It's easy to do! http://fitzgeraldphoto.com.au/

27

EDUCATION

5. Pricing Prints, Boxes, Albums & Books Adding a margin to the price you pay for prints and albums is how you greatly increase the value and the profitability of your business. What that margin is, is up to you.

Many photographers enter the profession with

charge your client?

little knowledge of retail selling, yet this is what

wedding and portrait photographers do.

properly – and we will do so in more detail in a

future issue – but the simple answer is that we

It may surprise you to know that while the

mark-up on a computer or a camera could be

must charge enough to cover our costs of being

as little as 10% or less, smaller items can have

in business and to pay ourselves a reasonable

100% or 500%, depending on the product and

wage, just like any other employee.

where it fits into the market.

For instance, a high-end fashion label

business for several years and understand their

might sell a dress for $2000, but the cost of

costs are charging between $500 and $1000 for

manufacture maybe as little as $100. At the

a 20x24 inch / 50x60 cm wall print, yet the cost

other end, a budget clothing label might sell a

of the wall print to the photographer may be

skirt for $20, yet its cost of manufacture could

the same, somewhere between $50 and $100.

be as little as $2.

in the perceived quality of the photography

Retailers make their money on the margin

Top end photographers who have been in

Like the fashion industry, there is a difference

between the cost of the product to them, and

and the product. You'll be challenged to charge

the sale price to their customers, and out of that

$1000 for a framed print unless all the other

margin they have to pay all their overheads –

aspects of your business point towards a high-

such as rent, staff, superannuation, telephone,

end product.

equipment and so on.

is that it is okay to mark-up the price for the

Making a profit on products we sell

The point to take away from this article

isn't a matter of ripping off our clients, it's

products you sell.

fundamental to being in business.

you don't mark-up the price for your products,

So, if you're buying a framed wall print from

your supplier for $100, how much should you

28

This is a highly complex question to answer

No, that's not correct. It is more than okay! If

you won't stay in business.

If books or albums are your thing, Momento also has some brilliant software to help you easily design magnificient looking publications! https://www.momentopro.com.au/

29

EDUCATION

6. Packaging To Make Buying Easier A carefully designed product range can make the process of buying wedding and portrait photography a lot easier for our clients. Give them a series of options, but not so many you make it confusing.

When a client asks you for the price of your

selling techniques and so they are naturally

photography or products, it's important you are

wary.

confident with your answer.

us about what to buy.

Many photographers feel a little awkward

when they're starting out about charging

anything at all for something they enjoy doing.

range and price list. We need to have an

However, after a few shoots and a lot of hard

opinion and an answer for them.

work, they soon decide that there's no point

being a professional photographer and working

bridal couples have a wedding album or a

for nothing.

photo book because we believe in having a

printed product for longevity.

A price list makes this process a lot easier.

This is where we come in with our product

For instance, we may recommend that all

Instead of answering off the top of your head

or making something up, you can refer to

wedding photography and an album for a fixed

a printed price list (or it could be on your

price.

website).

a small desk print and a set of 10 loose prints is

The printed price list is a position of

Our price list could 'package' up the

Or we may think a large framed wall print,

authority and your clients are less likely to query

an ideal package for a family portrait shoot, so

you if it is written down (although many clients

we might create one or two different packages

these days will still try to negotiate a lower price

around this concept, at different price points.

or extra products).

part of this equation and so we'll cover these

Most of our clients don't employ

Sales techniques become an important

professional photographers very often, so the

techniques in future editions of the AIPP

process is new to them.

Journal.

Many clients will also have heard how some

professional photographers can employ hard

30

Even so, they are looking for guidance from

In the meantime, now you know how to

turn your business onto paper!

If you're interested in a modern album with a traditional feel, take a look at Nulab's Nuovo lay-flat albums. https://nulab.com.au/photo-albums/nuovo-albums

31

FEATURES

Keren Dobia: Affirmation What does it take to become an AIPP Australian Professional Photographer of the Year? The AIPP Journal interviews Keren Dobia about her award winning approach to photography.

Like most passionate professional

a key member of Sue Lewis’s mighty team. So

photographers, Keren Dobia says her bread

perhaps this is how Keren found the inspiration

and butter work is drastically different to the

she needed, being so close to so many award

personal work she entered into the AIPP Awards

winning images over the years?

system.

prints.

Shooting portraiture for commercial

“I kept showing up every day, just to see the

outcomes, clients presently include a number

"The quality was amazing and, being out

of not-for-profit organisations and she also

the back, we knew who the photographer was

lectures at Melbourne Polytechnic (formerly

as the judges talked about the print. When Sue

NMIT) and RMIT.

asked me to come onto the APPA Awards Team, I jumped at the opportunity.

UP CLOSE WITH THE PRINTS

But it’s her personal work and APPA that keeps

and the connection. None of the girls in the

her motivated. In fact, APPA has been a large

team really have anything in common other

part of her photographic life since she started

than photography, but we get on really well and

out the back as an APPA volunteer in 2008.

have a strong friendship outside APPA itself. You

can’t trade that.

“Some of the students such as Katrina

Ferguson and Kenny Foo were a year ahead of

me in college and they were raving about how

my students through and getting them excited

good it was, so the next year I put my hand up

about professional photography and the art of

to see what it was all about.”

the print.”

And APPA hasn’t let go. Keren is still closely

involved with the organization of the event and

“And now that I’m a lecturer, I’m bringing

Keren says she loves entering APPA, partly

because of her competitive nature, but more

Opposite: The Filmmaker. Photograph by Keren Dobia

32

“It’s an unpaid job, but I love the camaraderie

33

FEATURES

importantly so she can push herself to do

of the old filmmaker wasn’t planned, but just

better and improve. “I enjoy seeing the quality

happened because a friend of Keren’s car broke

of work from year to year and what others are

down outside her home. And then she took

producing. It’s a great benchmark to see where

advantage of the opportunity.

my work fits in.”

so he asked me to give him a lift there before he

This year it was pretty obvious where Keren’s

work fitted in!

“Tom had left his wallet at his parent’s house,

could get his car fixed. I was going to wait in my car while he grabbed his wallet, but he invited

TAGS Awa rds Po r tfo l i o D o bia Po r trai tu re

THE FILMMAKER

me in to meet his parents, John and Valerie,

Most winners at APPA spend a lot of creative

because he wanted to show me his dad’s

time and energy producing their four prints.

garage.

Sometimes the amount of effort required is lost

on newer entrants who think that pulling out

pretty much like it does in the photograph,

four good files at the end of the year is all that’s

hundreds of old, dusty film canisters stacked

required.

one on top of another.

“I’ve done that in the past. I’ve let myself get

“John was a filmmaker and his garage looked

"It was amazing! I knew nothing about what

lazy and pulled together four prints just before

Tom’s dad did until that day and then I spent

the deadline, but this year I took a different

a few hours talking with him. Three days later I

approach.

was shooting his portrait in that same garage.

"I wanted to be producing good quality

“I enjoy telling stories and I also like

prints all year round so that when it came time

organized chaos, so the garage was the ideal

to enter, APPA wouldn’t take over my life.

location for my filmmaker. It would be a bit like,

‘Where’s Wally’! “

"All four of my entries were shot before

February this year and completed months

ago, and while none of them were specifically

discovered a great location, but somewhere

created with the intention of entering APPA, I

there must be a reason? An idea? A driving

always had in mind that I could if they turned

force?

out okay.”

portrait commission for Joshua Holko two years

With that background plan, Keren’s photo

So, Keren has turned up at a friend’s house,

“This series of portraits was triggered by a

Opposite: Behind the scenes photo of John, the filmmaker being helped into position in his garage. There are a lot of film canisters in there!

34

35

More behind the scenes photos showing how the garage was slightly rearranged to accommodate the filmmaker.Â

36

FEATURES

ago. That image was really well-received at APPA

few days before he leaves again.

and I loved that it was mostly shot in camera. I

wanted to go back to the roots of photography,

again which gave me four weeks to prepare for

rather than using tons of post-production.

the shoot. It was up to me and my dad (he’s a

builder) to put together the set.

“I think post-production was making me a

“After choosing the concept, Joshua left

bit lazy. I used to shoot and think I would put

it all together in post-production, but you can

Melbourne Polytechic in the back of a ute.

always get a better result when you get as

much as possible in camera.

so Joshua could just walk in, have ice put in his

beard and take a few frames. I tested everything

"And you can still put the things you can’t

“We transported the set to the studio at "I set it all up the day before and propped it

shoot into the photo during post if required.

with a model who was a similar size.

This year’s set of four portraits were mostly shot

in camera.”

and I quickly realized that with the fake snow, I

"We had smoke machines and fake snow,

only had time for four or five frames before I’d

THE HOLKO PORTRAIT

have to clear the set and start again.

Joshua Holko approached Keren for a cinematic

style portrait that told a story about what he

few pieces of snow were spotted out and the

does: a polar photographer.

colour cast was added during post-production.

I guess I call colouring this a ‘cinematic’

“That was the brief - and the best type you

“Most of the image is created in camera. A

can get because it gave me a lot of freedom to

treatment.

create something from the ground up.

the past 20 years, you’ll see the different colour

"We had a meeting and I interviewed him

"If you watch many of the movies made over

to understand how he got to these locations,

treatments they use and how effective they are.

whether by ship or plane, because I knew

I use this as my inspiration for colour.”

nothing about what he does. I wanted to know if it was really cold, what ice does to hair and

NO CARPENTRY

skin and then figure out ways to replicate that

So, back to the filmmaker and the location. No

in the studio.

carpentry was needed as the garage was real,

but Keren, her partner Linton and Tom spent

“I pitched him three concepts, but I had to

wait quite a while for an answer because when

half the morning moving film canisters around

he’s away in these areas, he’s completely offline.

the garage floor.

And then when he’s back, it’s often only for a

“They were piled up all over the place, but I

37

FEATURES

38

Joshua Holko: The Polar Explorer. Opposite: Behind the scenes views of building the set. You can see Keren and her dad getting right into it up the top, then some fine tuning when the set is at the studio, creating the ice and snow and Joshua in makeup, and set without Joshua.

Above: The final portrait by Keren Dobia.

39

FEATURES

needed to create a space in which John could

"It only took 10 minutes to get the exposures

sit. And there are no boxes propping up the

I needed and I certainly didn’t want to keep him

canisters – if it’s a tall pile, it’s because there

there too long. I’d already tested the angle with

were lots of canisters all the way down to the

Tom earlier, so I knew exactly what I wanted.”

floor. And I was told this is only one third of John’s output during his filmmaking career.

LOTS OF CURVES

In post-production, Keren says she went

“The editing table was there and we were

lucky that Valerie knew where everything was.

through her exposures, ensuring the one she

The bulk of the props are from the garage

selected had no clipping in the highlights or

- which is a bit of luck as far as this type of

shadows.

photograph goes!

the raw file a couple of times to extract more

“I borrowed the Hollywood style lights from

school, but they are more props than adding

information, but the Nikon D800 has a pretty

much to the overall ambience - they might rim

wide dynamic range already.”

light the filmmaker a little bit.

Then Keren left the images for a few days.

“I try not to work or even look at the shots

"Outside of the frame are two main lights,

a Deep 70cm Elinchrom Octa on the left and a

the day I shoot them because I’m too close to

big, square soft box on camera right.”

them. I like to let a few days or weeks pass so I

can see the images with fresh eyes.

The photo was shot on a Nikon D800 with a

24-70mm lens.

cinematography and the movies in how I

“On the day, the biggest challenge was my

“I think you can see my love of

subject because John had had a fall earlier that

processed this file.

morning.

cold blue, green or cyan, while the highlights

"However, he and Valerie were insistent the

"In the movies, the shadows are often kept

shoot go ahead. I think they were concerned

are the opposite – red, yellow and magenta. I

that, at age 87, there might not be another

still try to keep the blacks black and the whites

opportunity!

white, but everything in between has a slight

colour cast which is achieved through complex

“John was a little wobbly on his feet, so Tom

and Linton lifted him into the set and onto the

masking and lots of adjustment layers in

chair.

Photoshop.”

The Permaculturist. Photo by Keren Dobia.

40

“If there are, of course, you can process

41

42

FEATURES

Keren is decidedly ‘old school’ in her use

manually (it’s not that hard), rather than using

of the curves dialog in Photoshop, using the

one of the many plug-ins.

colour channels to give her the subtle control

she demands over colour.

ins, but because I’m a teacher, it’s good to be

able to show students how to do it manually,

“This is probably the most common tool

“Maybe I could save time with these plug-

I use - and it’s really simple too, once you

even if they end up using the plug-ins later on.

understand how it all works.”

“I think the biggest misconception about

Photoshop is that everything can just be ‘fixed

MAKING THE PRINT

up’ later.

Keren has an Epson Stylus Pro 3880 which she

uses for making her prints.

for creating a great image, but there isn’t. If you

“I’ll often do an initial test on two different

understand what is happening and what you’re

paper surfaces, lustre and matte, to see how the

doing, then that will allow you to work with any

photo responds.

image in the future.

"Then, once I’ve decided on the surface, I’ll

"People believe there is a step-by-step recipe

“The AIPP Australian Professional

continue to work the image, making specific

Photographer of the Year is the biggest

adjustments to suit the paper.

achievement I have ever received - and may

ever receive! I guess to be recognized amongst

“Matte papers generally absorb more ink,

making blacks appear heavier or darker, while

my peers for the work I have created is amazing.

lustre papers give a sharper finish.

It’s also a little strange and exciting, but most

importantly, it’s affirming that I am on the right

"For the print of the filmmaker, I wanted

matte paper, but I found the shadows were

track and that I can stick to my passions.

blocking up. Knowing this, I used a series of

luminosity masks over the shadow areas to

profession of photography and give exposure to

lighten them up, but in a realistic way that

my portraiture series - because I’m still looking

would not be noticeable.

for new models!”

“And I hope my photographs promote the

"Because luminosity masks are self-

feathering, they are very accurate."

Again, Keren is decidedly old-school,

preferring to make her luminosity masks

You can see more of Keren’s work at www.kerendobia.com.au

The Leather Tanner. Photo by Keren Dobia.

43

EDUCATION

Clipping The Blacks On Purpose!

Conventional wisdom says we shouldn’t clip our tonal values, and while this is good advice when capturing our images, it doesn’t necessarily apply when we edit them in post-production.

Depending on the screen with which you’re

good blacks and too many blacks which ‘block

viewing this article, you should be able to see

up’ the shadows. ‘Blocking up the shadows’

a line down the middle of the photo on the

simply means the dark tones all look the same –

opposite page. The right hand side of the image

they all look black.

has been ‘clipped’.

WHAT IS CLIPPING? Clipping is when you set your exposure or tonal adjustments so that some values in the file become pure white or pure black.

TAGS Tech n i q u e Po st-Pro d u c ti o n

44

In theory, a photo has a range of tones from

CLIPPING ON PURPOSE

black to white. You can’t have tones that are

So, when clipping the blacks, we do it gently.

darker than black, nor lighter than white.

In Photoshop, using the levels dialog, the trick

is to purposefully move the black point to the

Also in theory, you want as many tones

in your photo as possible, as this provides

right of the left hand edge of your histogram

a smoother tonal range and more detail.

(the graph), so there is just a little bit of the

However, theory doesn’t always translate into

histogram on the left of the black point (see

practice.

above).

Another theory says that your photo should

You can also do this with a curves dialog,

always have some good, solid blacks. Blacks

or in Lightroom or ACR, you can use the Black

provide the basis of and the grounding for the

slider to achieve a similar result.

tonal range. Too few blacks (or none at all) and

your photo can look washed out or lacking in

every photograph you take, but it is surprising

contrast.

how useful it can be, especially when you’re

preparing award quality prints.

However, there is a fine line between some

Naturally this technique isn’t required for

o n t u B . d e p p i l c Not e h t n i s k c a l b l rea . r e h t i e e g a m i

Blacks clip ped, just fractio nally to give the im age a base.

45

EDUCATION

46

The histogram shows that there are no real blacks –

The common approach to editing is to bring the black

and hence the photo looks quite flat. Even the black

point – the black marker on the left of the histogram

top looks grey. Next, notice how the contrast builds

– across to touch the edge of the histogram. Now the

subtley as the black point is moved to the right...

darkest tones should be black – but only just.

If you move the black point further to the right, you

However, if you clip the file too much, the blacks start

are ‘clipping’ the tonal range. All the values to the left

to block up noticeably – look at the hair on the left and

of the black point will be solid black – and this is what

the black top. A little clipping can be beneficial, but too

can give your image more contrast and ‘oomph’.

much is not.

47

NEWS

Epson SureColor P5070 A series of minor refinements has now produced one of Epson's most consummate, reliable and robust printers for professional photographers – the table-top Epson SureColor P5070.

Whether you're printing your entries for the

performance ratio of products in each award

AIPP Epson State Print Awards once a year or

category, and this year's awards were selected

for your clients on a daily basis, a printer like

by representatives from 27 professional,

Epson's SureColor P5070 is the answer.

amateur, and business magazines from Asia, Australia, Europe and North and South America,

WHAT DOES A PROFESSIONAL NEED?

with a delegate from the Camera Journal Press

While there's no such thing as a typical

professional photographer these days, there is

P5070 and see what makes it tick.

Club in Japan.

So, let's take a look at Epson's SureColor

a typical output requirement when it comes

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

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to photographs: excellent tonality, rich blacks,

TABLETOP DESIGN

wide gamut of colours and colour accuracy.

Remembering that the P5070 is labelled a large

Add in consistent, repeatable results with a

format printer, it will however fit on a desk or

robust, reliable and durable printer, and you

bench in your studio or home. It measures

have the ideal machine. All you need to confirm

863x1134x405 mm when in the open position,

is that the 17-inch maximum print width is

plus it will need a little space surrounding it to

what you need and the Epson SureColor P5070

load and retrieve paper from printing. It also

fits the bill.

weighs 62.5 kg, indicating that this is a serious

piece of technology designed to produce high

And you don't have to take our word for this.

The Epson SureColor P5070 was named "Best

quality prints.

Photo Printer" by TIPA this year.

is just $2995, or perhaps $3895 if you take the

TIPA – the Technical Image Press Association

Interestingly, the recommended retail price

– bases its judgment on the innovation,

optional 5-year on-site cover (which covers

use of leading-edge technology, design

everything should the printer need attention,

and ergonomics, ease-of-use and price-to-

including the print head). At this price, the

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NEWS

P5070 is a very affordable entry into the world

MicroPiezo (TFP) PrecisionCore print head,

of professional printing, yet if anything, the

delivering a 2880x1440 dpi maximum print

new P5070 is demonstrably superior to the

resolution. Unlike other printers that use heat

Epson Stylus Pro 4900 it replaces, with greatly

to control ink delivery, TFP uses an electro-

improved dust and static resistance. In other

mechanical movement that not only provides

words, it has been designed as a workhorse, just

more stable output, but consumes less power,

like the larger, free-standing models from Epson.

is more flexible and more durable. Micro-fine drop-on-demand nozzles have less overspray

PRINTING OPTIONS

and allow more precise placement and volume/

The P5070 features a 17" (432 mm) wide

density control, thanks to VSDT (Variable-size

carriage, which means you can print panorama

Droplet Technology).

images 432 mm high by as wide (long) as you

like. It also happily prints up to A2 and this

an 11 cartridge ink supply system. Different

might be all you require for 90 per cent of your

black inks (Matte / Photo Black) are used

output.

depending on the media, but the printer

switches automatically based on the printer

There are four paper paths, allowing the

The P5070's head features 10 channels and

P5070 to support a wide range of media

driver settings.

from basic bond to photo and fine-art paper,

transparent film to translucent back-lit, canvas

on the print head works in conjunction with

to specialist synthetics. Roll media can be

self-monitoring, cleaning and alignment

attached with fast, spindle-less mounting,

systems to ensure predictable, consistent

automatic skew adjustment is on board and

and reliable output with minimal user

a high-speed auto-cutter will cut most stocks,

maintenance.

including canvas.

media with flawless precision, what about the

Sheet media can use a straight through

paper path for solid board up to 1.5mm thick

Epson further explains that a special coating

So, the P5070 can get the ink onto the

ink itself?

and you have edge-to-edge printing on both sheet and roll media, including full borderless

EPSON ULTRACHROME HDX INK

on roll stocks.

UltraChrome HDX ink uses an aqueous (water based) all-pigment formulation, producing

PRINT QUALITY

prints with a very wide colour gamut that dry

Inside the P5070 sits Epson’s Thin Film

quickly to become water and scratch resistant.

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NEWS

The new HDX set features improved Matte

less than DeltaE 1.0 so that prints remain visually

and Photo Black formulations that provide

consistent when viewed under different lights

a larger Dmax for brighter prints with an

and lighting conditions.

enhanced tonal range in both B/W and colour.

and interested in producing custom printer

According to Epson, the ink set includes

For photographers using a range of media

light black ink for improved balance, Vivid

profiles, an optional spectrophotometer is

Magenta for brighter blues and pinks, Orange

available for the P5070. Co-developed with

for fine facial tones and lighting effects, as

X-Rite, the SpectroProofer provides high

well as Green for superior landscape and

measurement accuracy and when driven

environmental imaging. It also includes a new

with an appropriate RIP, it enables precision

Yellow ink that provides improved UV resistance

proofing as well as the automation of colour

for better image stability.

management. The ILS 30 SpectroProofer

mounts directly to the printer.

When you purchase your P5070, you

need to make a decision about whether you want to use Violet or Light Light Black as

THE PRINTER FOR YOU?

your eleventh ink. For photographers, we'd

So, will the Epson SureColor P5070 fit into your

recommend going with the Light Light Black

home or studio?

ink as this is advantageous for black and white

and photography generally, and provides

facilities (1000Base-T), includes a large colour

98% PANTONE coverage. The Violet ink will

LCD screens with an easy to follow menu

get you 99% PANTONE coverage, but unless

system and in-built help.

you're doing proofing and packaging work,

the extra 1% of violet hues is of less interest for

with consistent results and reliable operation

photographers.

with minimal maintenance. Ink cartridges (up

It features fast and flexible networking

Importantly, it enables volume production

to 200 ml) are pressurised to ensure maximum

SPECTRO ONBOARD

output precision with a reduced cost per print.

At the factory, all the SureColor P range printers

are colorimetrically calibrated during assembly

On-Site Warranty that can be extended up to

to ensure that photographic and fine–art prints

five years as mentioned.

from different printers of the same model

The P5070 is covered by a standard 1 Year

It's looking pretty good, isn't it!

remain totally consistent.

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The ink features a colour constancy level of

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

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Peter Eastway’s

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

www.betterphotography.com Landscape Photography MasterClass - Contents

54

FINE ART MOVIES

KNOWLEDGE

JOURNEY

ACUMEN

POST-PRODUCTION

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

1. Which Cameras Are Best for Landscapes?

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

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

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

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

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

17. Which Photo Editing Software?

18. Where To Now That You’ve Finished?

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