AIPP Journal - June 2018

Issue 262

June 2018

End Of Year Business Planning Breaking Away From the $200 Portrait Kris Anderson: The Theatre of Photography

JOURNAL

CONTENTS 4

John Swainston's President Message State council elections. Qualifying and seeding for APPA. There's a lot to read this month – and lots happening within the AIPP. We think we're on the right track – what do you think?

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Who Can Enter APPA/AVPA This Year?

Steve Wise and Rochelle Morris are excited about the print and video awards this year and there's an excellent chance you're qualified to enter.

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AIPP: Financial Snapshot

Cover

As the new AIPP Company Secretary, I'm helping out AIPP Treasurer Melissa Neumann prepare budgets and check on the finances. And based on premlinary work, we're in good shape too!

Kris Anderson APP M.Photog.

2017 AIPP AUSTRALIAN ILLUSTRATIVE PHOTOGRAPHER OF THE YEAR

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AIPP: Financial Q&A We've tried to answer a few questions that may be raised by members about the financial summary on the previous page.

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

Editor Peter Eastway B.Ec CPA APP.L FNZIPP Hon. FNZIPP G.M. Photog. 1 P.B. 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 www.aipp.com.au admin@aipp.com.au PO Box 249, Mooroolbark Victoria 3138

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AIPP National Board - Meeting Summary In the interests of keeping the membership informed, the Board wishes to share the minutes of its most recent face-to-face meeting.

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I Can't Charge Enough To Stay In Business!

Unfortunately, it's common to hear requests for help along these lines and there's no argument that the market is tough out there for some photographers.

But not for all! What are your options?

ISSUE 262 / JUNE 2018 22

Charging $200 For Portraiture Won't Work It can be tempting to drop our prices to match other photographers, but before following this path, do some simple arithmetic to see if those lower prices will allow you to even earn a living.

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How A $200 Portrait Shoot Can Work

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The problem with the $200 portrait shoot that includes all the files is that there's nothing more for clients to buy – and some clients do want to buy, if you have a quality product that excites them!

Why Do I Want To Sell Prints?

If your competition is selling all the digital files for $200, what else do you have to offer? Steak knives might work, but prints, albums and frames are more appropriate – and it's easy once you learn how!

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Did you enter the Epson State Print awards? Are you thinking about APPA this August? Here are a few more 'common' issues that judges regularly criticise – can you get them right in your next entries?

The Theatre of Kris Anderson The 2017 AIPP Illustrative Photographer of the Year, Kris Anderson APP M.Photog. has a technique for great headshots. Is this something you could try?

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National Family Portrait Month Quite a few AIPP members (and non-members) work with Bernie Griffiths as a mentor. Bernie is running the annual National Family Portrait Month to benefit a charity and to generate sales of portrait photography.

Is this something you should be involved with?

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How Do I Get Bookings & Sales?

Should I Charge Less Than $200 A Sitting?

If you have a system of shooting and selling that relies on people liking what they see before committing to a big purchase, you can test a price lower than $200 – as long as the averages work for you.

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APPA: More How To Impress The Judges

How To Make Big Plans Work Do you look at where you are today and wonder how you'll ever get to where you want to be? You're not alone and many of the most successful photographers have felt this way. So what did they do?

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Getting portrait shoots can be tough, but the real challenge is having something to sell. Tanya Addison has some suggestions to improve your portrait photography business’s profitability.

12 EoFY Tasks To Do Right Now… And you won’t believe Task No.7 (just kidding)! Sara McKenna APP AAIPP of Sassi Photography suggests spending five minutes to review what you can do for a better End of Financial Year!

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Panasonic’s Tiny Lumix GX9 If size and weight are an issue, but you don’t want to sacrifice features and versatility, take a look at the latest Lumix GX9 – a combination stills and video camera with a full set of bells and whistles!

Platinum Sponsors 3

NEWS

John Swainston's President Message State council elections. State funding for local events. A new constitution. There's a lot to read this month – and lots happening within the AIPP. We think we're on the right track – what do you think?

Membership of the 2018-2019 state councils is

and retired members.

up for election this month.

organisation some 56 years ago so that the

Members wishing to stand for state council

The founders of the Institute structured the

have been invited to advise Melinda Comerford,

lifeblood of the organisation was to be found

Chair of the AIPP (melinda.comerford@aipp.

first and foremost in local communities of

com.au), so that a formal acceptance of

photographers.

candidates can be made.

and even lonely occupation. Being a member

Melinda sent all members an email on 25

Working as a photographer can be a solitary

May. If you did not receive it, contact her for a

gives you the opportunity to share your

copy and we will also look into why you did not

opportunities and problems with others.

receive it!

may have acquired knowledge that could be of

If you find you have inadvertently declined

After even a short time as a member, you

AIPP emails, we will show you how to correct

value to others.

that, as we have recently shown many other

members on the AIPP Facebook Community

another profession or industry in which

Page.

suddenly you realise you have a skill that could

You may have come to the AIPP from

be really helpful to other AIPP members in your

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WHY ARE STATE COUNCILS SO IMPORTANT?

community – your state.

The AIPP is a membership organisation of some

financial pressures, yet many also see the

2,500 members. It includes fully accredited

value in sharing their experience with others

members, along with emerging, student and

or providing that particular skill in a leadership

enthusiast members. It also includes honorary

role.

members, honorary life members, licentiates

We realise most people have time and

Combining your belief in community with

Proudly supporting the AIPP ATKINS PRO LAB

ATKINS PRO LAB

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NEWS

your skill and leadership experience is where a

Epson State Print Awards (neither of which

state Council role may be right for you.

existed when the Institute was founded), with Accreditation, a CPD program

THE NEW AIPP DIRECTION: WHAT IS OLD IS NEW AGAIN

(requiring strengthening and updating),

Compared to five decades ago, time and

communications committees, the Institute is

financial pressures are generally much greater.

a much more complex place. And it needs to

Photography is almost unrecognisable

know where our most skilled members are.

compared to the profession or enthusiast

practice of that era.

chapters that provide that solid base. They are

the launching point. They build and help the

However, the human need for interaction

compliance, honours, finance, education, and

It is the state councils and the regional

at a personal level, or for giving back, or for

AIPP immeasurably.

learning, is just as great as ever.

more dependent on volunteers for many

You may feel that you are not yet ready

Without a national office, and now much

to take on a state council role, but this is

operational tasks, having a strong state council

probably not the case. If you ask the hundreds

is once again the lifeblood of the organisation,

of members who have served on a Council, it is

just as it should be.

likely that most will say this is where they first truly understood the value of the AIPP.

They talk about how much THEY learned in

WHERE CAN I FIND OUT WHAT’S INVOLVED IN STATE COUNCILS?

the process, how the connections they made

The AIPP Dashboard, once you have logged in,

enabled them to expand their experience

has almost all the answers.

and skill. They will talk about new friendships,

many of which have lasted a lifetime. They

section, so you should be pretty clear on what’s

will describe the value of working as a team

involved on a state council.

– something that as individuals they had little

opportunity to experience otherwise.

through the following sequence:

1. Log in as a Member ->

The old values of comradeship are just as

Melinda has updated the whole FAQ / Q&A

You can find this information by clicking

valid today as they were in the past, so please,

2. Go to My Dashboard ->

really do consider offering a lending hand.

3. From the menu list on the left, go to Your

Today, with a membership approaching

3,000, with both the APPA/AVPA and

[Your State] State Council 4. In my case, as a NSW member, it delivers

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everything you need to know, shown

information across your state council and with

opposite.

your local state president.

As Melinda said in the email: “State councils

Parallel-reporting is a very common practice

now have more responsibility than ever before.

in organisations today that have state or

As such, the structure of state councils is

international joint-reporting responsibilities.

changing a little bit this year. Here is a snapshot

of what’s new for councils:

them being formalised in the new constitution,

• A maximum of six elected members will form

now being drafted for member adoption in

a state council (previously five).

• A non-voting position is available for the

These changes are being made ahead of

November.

The Board discussed and agreed that the

Immediate Past President, if they choose to

overwhelming interests of all members are best

remain for a further year.

served by enlarging the pool of volunteers,

• Each council member will have a designated

beginning this July.

role: state president, secretary, treasurer,

membership liaison, event/awards

experience governance and organisation

coordinator, education liaison.

of AIPP matters at a state level first, we are

• Council members will report to either their

By giving people the opportunity to

therefore providing the AIPP with a better

state president, or to a Board member holding

understanding of the people who are

their portfolio. For instance, the state treasurer

potentially tomorrow’s leaders nationally.

will report to the national treasurer.

• The membership liaison in each state will work

Continuity and personal growth are both key

elements.

with regional members to start more chapters to hold social and CPD events in regional areas

JOIN THE COUNCIL THIS YEAR

around the country.

Please consider how you can be part of the

• Councils may co-opt an additional emerging

exciting and worthwhile rebuilding of a

member, student member or non-member to

modern AIPP that is member-driven, member-

a position on their council.”

supported and most of all, member-engaged.

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These Councils are being encouraged to

PARALLEL REPORTING

provide local activities and to work with sub-

Naturally, while the reporting from a state

groups or ‘chapters’ in the regions, to put on

role to their national counterpart is required,

events, gatherings and educational activities.

it does not mean that you don’t equally share

If you are a video producer, this may

NEWS

well be a way for you to team up with stills

the AIPP Journal, with formal audited accounts

photographers to expand your business.

early in November ahead of the AGM on

Monday 26 November.

And not everyone lives in a capital city,

so regional chapters of even small member numbers are being encouraged to step up and

CONSTITUTION

organise their own events.

The Constitution Committee has already met twice. It is sharing draft documents and advice

STATE FUNDING

on modernising both practice, by-laws and

Councils will once again have funding. They

charters, as well as re-wording those sections

will be accountable for those funds, both to the

that currently require reference to national

state and the national treasurer.

office or the role of EO.

If a state council makes a surplus, those

The new constitution will allow a better

funds won’t be gathered back by national office.

structure for this and future boards. For instance,

They will remain in that state’s care to do even

it will move several procedural issues into

more in the future.

by-laws and charters that would not require

going back to members each time something

The national treasurer will keep a close eye

on events that exceed their budget, but this

operational changes.

doesn't mean every event has to run at a profit.

There will be times when it is appropriate for

the intent of keeping ultimate authority in

the AIPP to fully fund an event, perhaps with

members’ hands, we will be checking this

sponsorship funding.

with qualified lawyers so that we do not

inadvertently create opportunities for people in

In situations that consistently exceed

Of course, in the interests of protecting

budgets, the national treasurer will be able to

the future to misuse Board or other powers.

intervene and lend a helping hand.

Have a great month and go well.

However, the overall intent is to let states

once again drive their own programs.

John Swainston Hon. FAIPP National President

LOOKING AHEAD: FINANCIAL REPORTING

john.swainston@aipp.com.au

The new financial year starts on 1 July. The Board will provide updated interim quarterly management accounts in the August edition of

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Platinum Sponsors

Who Can Enter APPA/AVPA This Year?

Steve Wise and Rochelle Morris are excited about the print and video awards this year and there's an good chance you're qualified to enter.

In August we will be meeting in Melbourne for

accreditation, make 2018 the year you do enter.

the annual Australian Professional Photography

Awards and Australiian Video Producer Awards.

year and met the qualification criteria, you can

now enter the national awards.

The recent WA Epson State Print Awards held

at the end of May saw entries up around 25%

over last year. That is great news.

language of seeding vs qualifying:

To clear up any confusion around the

On a national basis in 2017, we saw only

35% of members entering our premier national

SEEDING FOR 2018

awards.

All Accredited Members who have achieved

Associate, Master of Photography or Grand

So, this year, make a difference and please

enter!

Master of Photography status are automatically

seeded and can enter APPA.

If you haven’t entered for a while, and you

are otherwise seeded from past entries or

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And if you entered your state awards this

New for 2018, all AIPP accredited members

who have achieved one silver award or more at

(AVPA) will be judged during APPA and

APPA in the last five years, will automatically be

celebrated at the Gala Dinner.

seeded as well.

qualifying.

This does not include half merit points from

Unlike entry to APPA, there is no seeding or

scores of 78 and 79.

to enter the awards.

Nor does this does apply to Emerging and

At this stage, any video producer is entitled

Student members, but see below for Qualifying

This opens the opportunity to many of our

conditions.

photography community who also offer video services and would like to test their skills by

QUALIFYING FOR 2018

entering.

You may not automatically be seeded for APPA

2018, but you may have successfully qualified to

and want a glimpse of last year’s judging, we

enter.

have a recap on this link:

https://vimeopro.com/user54812366/avpa-

For all remaining Accredited, emerging and

If you are curious about the video awards

student members, if you entered the 2018 AIPP

awards-judging-recap-2017/video/236880547

Epson State Print Awards and received at least

two scores of 80 or higher, you have successfully

management team is running educational

qualified to enter APPA this year.

webinars with a reflection on the awards.

All qualifying entrants will be formally

notified by email.

Leading up to our awards, the video

The first webinar will run on 7 July 2018 at

2.00 pm.

You can register to find out about the rules

AVPA 2018

and ask questions on that day. Check out the

Our video awards are growing in strength and

link and register your attendance – it’s a free

recognition and this year, the AIPP will run its

webinar.

third video awards.

https://events.genndi.com/

register/169105139238438328/e5952071e2

Last year, we separated the video awards

from APPA and whilst the event was a success

We want the very best from the best.

with an increase in entries from year one, being

And we want to celebrate the creative

part of the AIPP family means celebrating

success that comes from the awards process,

together…we are ONE community!

so we hope to see as many members in

Melbourne as possible – along with your

It’s with excitement that Rochelle announces

that the Australian Video Producer Awards

entries, of course!

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AIPP: Financial Snapshot As the new AIPP Company Secretary, I'm helping out AIPP Treasurer Melissa Neumann prepare budgets and check on the finances. And based on premlinary work, we're in good shape too!

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Yervant Zanazanian asked me how come after

running the Institute. Preliminary budgets also

all the changes in the past few months I ended

indicate subs revenue will allow the Board to

up as Company Secretary? The short answer

put money back into the states for local events

is that Melissa Neumann and John Swainston

and to gradually replenish the cash reserves.

asked me.

sors. The plan is to put all the money received

The longer answer is that I have skills in busi-

And then we have our wonderful spon-

ness and finance. I am a B.Ec CPA and I still run

from sponsorship into the events that are being

a small accounting practice in addition to my

sponsored, providing value for members and

photography and publishing. I am also a past

sponsors alike.

AIPP national treasurer, but this time, my role

will be advisory only and the decisions will re-

ship on a quarterly basis about the AIPP's fi-

main with the Board that the membership

nances. My recommendation is that reporting is

elected.

simplified.

And the road to recovery? There are two is-

Melissa promised to report to the member-

I have suggested the following snapshot

sues for the AIPP to deal with, one financial, the

on the opposite page is probably all that most

other cultural.

members will want to know. Members who

want to know more are probably also on a com-

Financially, I think the road to recovery is

easy. All we need to do is remain as members

mittee or council and should feel free to ask any

and pay our annual subs. And that will happen

questions they want to.

automatically if we get the cultural issues right –

and the Board is certainly working on that.

first three quarters and so the new budget and

structure won't really show up until the current

Under the new structure, which is still being

The income and expenses figures are for the

fine tuned as the Board works out what duties

quarter.

are essential and what are optional, subscription

revenue easily covers the administrative costs of

ture is very positive.

But financially, the AIPP is sound and the fu-

AIPP Financial Summary - March 2018 Income Membership Events Sponsorship/Other etc Total Expenses Administration Events Special Projects Total

Jul 17 - Mar 18

Previous Year

Budget ProForma 2019

9 months

9 months

12 months

$619,985 $256,382 $297,622 $1,173,989

$661,219 $443,381 $442,801 $1,547,401

$815,545 $286,642 $327,000 $1,429,187

$1,069,389 $345,338 $11,136 $1,425,863

$890,889 $657,242 $6,944 $1,555,075

$457,600 $581,358 $200,000 $1,238,958

-$251,874

-$7,674

$190,229

Surplus/Deficit Source: MYOB file

Unaudited

Unaudited

Board Yet To Finalise

31-Mar-18

$172,794

Bank Balance

1-Jun-18

2477

Membership Life Accredited Video Emerging Student Retired Enthusiast Other Life

29 AIPP Membership

by Category Video, 266, 11%

1507 266 165 400 40 65 5

Emerging, 165, 7%

Accredited

Student, 400, 16%

Video Emerging Student

Retired, 40, 1%

Retired Enthusiast Other

Enthusiast, 65, 3%

Accredited, 1507, 61%

Life, 29, 1%

Other, 5, 0%

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AIPP: Financial Q&A We've tried to answer a few questions that may be raised by members about the financial summary on the previous page.

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Q: Why are the administration expenses still

A: The finance committee is currently Melissa

so high. Isn't this one of the changes the Board

Neumann, John Swainston and Peter Eastway.

promised to make?

Melissa is looking to expand it with suitablly

A: The accounts show a picture up until 31

qualified members – please contact her and let

March 2018. All the expenses for staff termina-

her know if you are interested.

tions, rent and closing the national office have

Q: Why are the budget figures higher than the

been included, so it is correct that you won't

actual figures?

see much change in these figures. The promise

A: The budget is for a full 12 months, the ac-

of changes applies to the future and this will be

tual figures provided are for the 9 months from

reflected in future reports.

1 July 2017 to 31 March 2018, and the same 9

Q: Why aren't we told the details of the staff ter-

months the year before.

minations and closing the national office?

Q: What does the Board have planned for the

A: Put yourself in the staff's shoes. Would you

$200,000 in projects?

like everyone to know what you're being paid?

A: It is early days yet, but I suggested we put in

As an employer, the AIPP has responsibilities to

two placeholders - $100k for funds going back

respect employees' privacy. In any event, any

to states, and $100k to be put into the bank as

final payments to staff were based on pre-ex-

savings (or cash reserves).

isting agreements. We know there were differ-

Q: Why does the AIPP need money in the bank,

ent views about the way the national office was

like cash reserves?

structured, but the Board's approach is to draw

A: All businesses need cash reserves to cover

a line in the sand and look forward. The ques-

costs they incur up front before their customers

tions that matter relate to the future and I agree

pay them. For example, while a not-for-profit or-

that this is a good approach.

ganisation, the AIPP still has to put deposits on

Q: There was some mention of a finance com-

venues, ahead of running events. Money in the

mittee being put in place? What's happened

bank is a sensible business practice to manage

there?

cash flow. This is a simplified answer.

•

Jose Aguiar APP M.Photog.

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AIPP National Board - Meeting Summary In the interests of keeping the membership informed, the Board through it's chair, Melinda Comerford, wishes to share the minutes of its most recent face-to-face meeting.

Board Meeting of 28-29 April, 2018 – Sydney.

MISSION

The new AIPP Board has committed to

Advancing Professional Photography. For

summarise the key resolutions and actions

Everyone.

discussed and agreed at board meetings.

VISION

To foster and encourage:

The Board won’t report on absolutely

everything (that would make strained reading),

• Community for support

rather the major items that concern the

• Advocacy for rights

membership generally.

• Professional Development for growth • Awareness of and for the profession

KEY DECISIONS 1. Several Board members indicated the need

VALUES

for additional training on directors’ duties.

Trust, Integrity, Open Communication and

Professionalism in all we do, ethically, and with

After the president provided a summary of

directors duties as defined by the Corporations

deep care for our fellow members and their

Act and the Institute of Company Directors

clients.

(AICD), it was resolved to allocate a day at the next physical meeting in Brisbane to formal

STATE COUNCILS

training, as was provided to some members of

3. In order to restore greater local operational

the past Board.

participation, it was resolved to invite state

2. After extensive workshopping, it was

councils to expand their committees in

resolved to adopt and announce a new Mission,

upcoming elections, and that after budgets had

Vision and Values statement, consistent with the

been studied and adopted, to indicate to them

stated position of the AIPP.

that improved local funding resources would be made available, derived from the AIPP's lower operating costs.

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Suggested roles for the councils are:

be formed, comprising the treasurer, president

state president, secretary and treasurer; vice

and chair, plus up to two outside members.

president; state events & awards rep; education/

Additionally, an internal audit group would

mentoring rep; membership liaison with

report to the Board, drawn from respondents to

chapter regional managers and other members;

the member survey on skills, or external parties

ordinary member; and co-opted members.

should no-one be adequately qualified.

Regional chapters would then be set up in

strategic locations in each state as needed by

CONSITUTION

the members.

7. A Constitution Review Committee would be

Action: Determine the numbers/range to

formed to enable some of the changes resulting

be specified to be included in redraft of

from the closure of national office and a desire

Constitution, and ratified by Members in

to restore some local authorities for state

November’s AGM for adoption.

presidents and their committees. A timetable would be advised to members (AIPP Journal –

COMPLIANCE COMMITTEE

May 2018), the President to sound out potential

4. Currently there are three named individuals

members, to consist of both past presidents

and three silent members. Compliance Chair to

and ordinary members, from different periods

consider adding external pro-bono individuals

in office, with known skills or past involvement

to strengthen the independence of review

in the process or long-time membership

processes. The Board agreed to reappoint the

perspective.

existing incumbents for this year.

COPYRIGHT HONOURS COMMITTEE

8. The Board re-appointed Christopher

5. The President to work with Honours to

Shain to advocate on copyright matters

develop succession plans and document the

with government, and the Board heard a

process, as part of risk management. The Board

presentation by Chris at the Sunday lunch break

agreed to re-appoint the existing committee for

on upcoming meetings in Canberra (held Friday

the year. The President to advise the Honours

13th May).

Chair.

APPA FINANCE COMMITTEE

9. It was agreed to invite Tony Hewitt to

6. . A Finance Committee beyond the Board will

perform the role of Team Leader and APPA Chair

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for the August 2018 APPA in Melbourne, and

SECRETARY

the APPA team to remain unchanged.

13. It was agreed to appoint Peter Eastway as

Succession and a plan for succession for

company secretary for a temporary period, to

2019 to be determined in time for the AGM on

enable urgent ASIC, ACCC and tax reporting to

26 November 2018 in Melbourne.

be reviewed, checked and brought up to date.

Later in 2018, the Board will call for nominations

MENTORING

for this role, from qualified members. Peter

10. Mentoring/Regional/Education liaison/

Eastway succeeds Peter Myers who stepped

Member Education: A task force will be set up

down as company secretary on 7 May. The

drawing on both Board members and other

Board requested the President to record the

member education skills to address restoring

AIPP’s thanks to Peter for his 9 years of service in

mentoring programs, specific liaison on visual

a letter to members.

education with educational institutions, re-looking at CPD options for professional

COMMERCIAL

members and enhanced online portfolio review

14. The Board agreed that the commercial

options.

sector of the Institute would comprise two parallel groups:

MEETING THE STATES 11. Board members to meet with their local

(a) Working Committee - ACMP - to lobby

state councils to update them with Board

and advocate for photographers’ rights

activities and agreed positions.

at a government level on issues affecting commercial photographers. This committee

SPONSORSHIP

would report directly to the Board. Board

12. It was resolved that Bruce Pottinger and

member David Simmonds had mentioned that

David Simmonds, as the Board representatives

he was keen to lead this group and also that

focused on sponsorship/partnerships, complete

Ken Duncan (an active member) had expressed

contacts with all past sponsors to evaluate their

an interest to become involved. Suggested that

needs and to enable a clearer budget forecast

the ACMP could now become 'Advocacy for

for the remainder of the year’s events. Initial

Commercial & Media Photographers'.

indications have been heartening from several key long-time partners.

(b) Working Committee - AIPP Commercial Committee - to continue to work at the

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member level of commercial photography, the

Melbourne, and to ensure that Video Producers

business of commercial photography, defining

had access to similar educational and peer

a commercial photographer and working to

review processes available to still photographer

promote AIPP Commercial Photographers

members of the Institute.

to external agencies. Louise Bagger has

IT

maintained contact and discussions with Geoff

17. Following an initial review of our IT

Comfort, as a previous and ongoing member of

infrastructure, it was agreed to set up an IT

the Commercial Committee, regarding the plan

Committee to assess the overall membership

for this group. The structure of this committee

database, online booking, awards, merit point

is to be further investigated and discussed.

tracking, status, website content and navigation, educational resources and security.

ADMINISTRATION

15. The Board agreed to seek urgent contracted

more details from member respondents

admin support for the Institute in order to

to the skills survey and then invite people

maintain the high level of member operational

with identified capabilities to broaden our

tasks.

initial assessments, providing development

recommendations.

It was agreed that Kim Valenti and Sharifa

Board Member Craig Wetjen would obtain

Ghionis through service company contractor invoicing, both with the required working

FINANCES

knowledge for Institute administration, would

18. It was too early to provide a full monthly

be approached and asked to attend to these

financial report. This would be developed for

matters on a short-term basis, pending future

the next Board meeting with the assistance of

permanent requirements being defined.

the new company secretary.

Learning of the specific member needs in

coming weeks would help define the future

according to our Bank Statement were $220,000

permanent roles required and then advertised

as of the prior Friday, according to the bank

within the Institute and more generally.

statement, running above/better than the cash

The treasurer confirmed that funds

flow forecast made by the Caretaker Board

VIDEO

during March.

16. The Board resolved to better engage with our video producer members, to integrate the APVP Awards back into the APPA Awards in

19

EDUCATION

I Can't Charge Enough To Stay In Business!

Unfortunately, it's common to hear requests for help along these lines and there's no argument that the market is tough out there for some photographers. But not for all! What are your options?

How do you compete with photographers

cars on offer, do you automatically purchase the

offering a portrait shoot for $100 or even $200?

more expensive one? Most (but not all) people

Not on price.

would ask what each car 'offers' before making

To compete on price, you need volume (lots

a decision, but there are some people who will

of sales) and given there are so many people

buy the cheapest because that's all they can

offering photography services, it is very difficult

afford. They are not the initial market for the

to get the required volume.

more expensive car (but a good salesperson

could change that).

So for the majority of our readers and AIPP

members, competing on price is not an option.

something different or additional to the 'family

While we may not compete on price, there

will be customers who shop based on price,

portrait shoot with all the files'. That point of

but they are probably not our customers. And

difference could be:

there's no point chasing them unless you have

• more products – more photos, more files,

a conclusive way to change their opinion about what you are offering.

Busine s s Pr icing Pla n n i n g

• bigger products – bigger prints, bigger frames, bigger books • better products – harder to prove as most

other than price.

customers think one photographer is much

For example, the photographer down

the same as another, so it requires education

the road might be charging $200 for a family

• better experience - hard to prove up front, but

portrait shoot, including all the files.

20

more prints, more pages

Usually, the only way we can change their

opinion about us is to compete with something TAGS

So, the first thing we need to do is provide

If you also offer a 'family portrait shoot'

testimonials and referrals will build business

We need to move ourselves out of the same

with all the files for $300, the only difference a

market as the cheaper photographer by doing

customer can immediately see is the price.

or offering something different.

If you're in a showroom and there are two

Competing on price is not the answer.

•

Amanda Neilson APP AAIPP

21

EDUCATION

Charging $200 For Portraiture Won't Work It can be tempting to drop our prices to match other photographers, but before following this path, do some simple arithmetic to see if those lower prices will allow you to even earn a living.

22

Both wedding and portrait photographers have

the shoot itself (say 1 hour), processing the

low price competitors. Some are part-timers

photos automatically in Lightroom (no time

taking photos for friends. Many are people who

to edit), uploading the files for delivery. Some

would love to be professional photographers,

photographers might be able to squeeze this

but have little idea about running a business. In

into two hours, but on average let's agree on

neither case should we be copying their prices

three.

because they simply don't work.

You will never be a successful professional

some marketing, develop campaigns and deal

photographer charging these rates. You may be

with people making inquiries, but not booking.

a very good photographer, you may have a lot

Let's say 5 hours a week.

of happy clients, but financial success will elude

you!

allowances for advertising, car, phone,

computer, internet and equipment (new and

Let's analyse a photographer who might

Now, to get customers you'll need to do

Out of your sales, we need to make

work a couple of days a week, charging $200

repairs) - let's say $18,000 a year conservatively.

per portrait shoot.

equivalent of $66,560. Cut your costs and

Let's be really positive about this

This gives you $32 an hour or a salary

photographer's ability to market and advertise

you'll earn more, add in more time for post-

and say he or she can shoot five families each

production and you're earning significantly less.

weekend, 50 weeks a year. That's 250 portrait

shoots a year and, based on AIPP surveys, far

and look at reality: most photographers report

more than the average photographer shoots.

shooting less than two or three portraits per

week (on average). What does this do to your

How long does it take to do a shoot? Let's

Now let's move away from the classroom

allow time for dealing with email inquiries,

numbers?

making a telephone call or two, preparing

equipment for the shoot, driving to the location,

portrait sittings at $200 each?

So, why would you want to compete for

PORTRAITURE AT $200 A SITTING For illustrative purposes only. Assumes family portrait shoot providing all the files. No time allocated for retouching (so not a professional standard product). Costs are assumptions and can be argued up or down, but the point is made: as a business, you are not earning much at $200 a shoot.

NUMBER OF SHOOTS A WEEK

5

3

2

$200

$200

$200

$1000

$600

$400

NUMBER OF PORTRAIT SHOOTS

250

150

100

HOURS PER SHOOT (AVERAGE)

3

3

3

HOURS PER WEEK MARKETING

5

5

5

1000

700

550

$50000

$30000

$20000

PRICE PER SHOOT EARNINGS PER WEEK

HOURS SPENT PER YEAR IN BUSINESS

EARNINGS PER YEAR MARKETING BUDGET

$5000 $5000 $5000

TRANSPORT/CAR

$5000 $4500 $4000

PHONE/COMPUTER/INTERNET

$2000 $2000 $2000

EQUIPMENT/REPAIRS/SOFTWARE

$3000 $3000 $2000

ACCOUNTING, BANK, INSURANCE

$3000 $2500 $1000

PROFIT TO PAY WAGES

$32000

$13000

$6000

HOURLY RATE

$32.00

$18.57

$10.90

23

EDUCATION

How A $200 Portrait Shoot Can Work The problem with the $200 portrait shoot that includes all the files is that there's nothing more for clients to buy – and some clients do want to buy, if you have a quality product that excites them!

The key to competing with low price

photographers is getting the customers to book

photography service for $200 that includes all

you instead of them.

the files, ready for social media. So, rather than

handing over raw files which are of limited use

For most people, buying photography

Here's one suggestion: offer a portrait

isn't something they do regularly, so they

to a client, provide them with 1000 or 2000 pixel

are not experts when it comes to price or

JPEGs, all automatically processed with no effort

quality. They see a price of $200 versus $300

in Lightroom etc.

and they assume that all photographers and

photography packages are much the same.

bookings.

Hopefully this will lead to getting some

Many of our clients may not want prints,

albums or frames when they first start thinking

STEP 2: EDUCATE

about photography, but there are a lot of

Once you have the booking, send the client a

people who still buy physical products. And

confirmation letter explaining exactly what they

they still buy physical products even if they

are getting for $200, and include a price list of

have already bought all the digital files, if they

other products they might like to buy.

are sold to them properly.

job because you want to build up your

We have to make a few assumptions. First,

At the shoot, make sure you do a superlative

let's assume a large proportion of clients want

reputation as a great photographer. You also

digital files for social media. They haven't

want to build a rapport with the family, showing

thought about photography any further.

them what a nice person you are, gaining their trust that you know what you're doing

24

STEP 1: GET THEM IN THE DOOR

as a photographer. And you should explain to

Let's assume that your market simply won't sign

them about how important photography is to a

up for portrait photography for anything more

family, referring to your own family photographs

than $200. How do we make it work?

if appropriate.

•

David Dare Parker

25

EDUCATION

STEP 3: DEMONSTRATE

but here's one suggestion: make an 8x10"

And here's the important part. At the end of the

print of one of the children and slip it into a re-

shoot, before you put away your camera, spend

useable 11x14" frame. Optionally slip a couple

a couple of minutes showing them physical

of 8x10" prints into smart folders – which you

prints, albums and maybe a framed print or two.

can give to them as a gift.

If you work on location, you'll need to have

Then when you meet to hand over the files,

all this in a neat, easy to carry bag or case.

show them on your laptop, get them enthused

about their images, talk about longevity and

The idea behind your 'sample bag' is to

show clients what is possible. Remember, we

security of the family history you have created

have assumed most people just want digital

and why they should also purchase some prints.

files for social media, but they haven't thought

any further than this. It's not that they don't

from the digital files, but the files are not fully

want anything else, they just haven't thought

retouched and won't enlarge too far. That may

about anything else.

not matter to them and no sale will be made,

but other families will love what you have done

Your job is to encourage them to think

Yes, they can have small prints made

further.

and easily order another $200 worth of prints.

Price your work properly and you could make

You could even have some of your family

photographs to show them the importance of

sales of an additional $1000 or $2000.

buying family heirlooms.

you do the shoot. They already have the price

Don't put any pressure on them to purchase

The trick is to plant the seed on the day

at this stage (although some experienced

list, you've shown them the quality and some

photographers may suggest this is exactly the

people will buy.

right time)!

Suddenly every second or third client is

spending $1000 a shoot: two clients only spend

26

STEP 4: SECOND MEETING

the $200 each, but the third one spends $1000.

After you have processed the shoot and

That adds up to $1400, less $200 in prints and

prepared the social media files, don't let your

frames etc, which leaves you $1200 or $400 per

clients download them, organise to deliver the

shoot on average. That's more than $200.

files personally or ask them to pick them up on

a USB. This gives you a second chance to sell

variation of a low pressure sales tactic – and

them something else.

hopefully it's a solution to competing with low

priced photographers.

How you make the sales is hugely variable,

And now you are on your way. This is one

•

S i m o n C a s s o n A P P. L M . P h o t o g . I I I 27

EDUCATION

Why Do I Want To Sell Prints?

If your competition is selling all the digital files for $200, what else do you have to offer? Steak knives might work, but prints, albums and frames are more appropriate – and it's easy once you learn how!

One of the reasons there's a push from the

Fitzgerald Photo. Just visit their websites and

more experienced photographers to sell prints

you'll find what you want.

is because it makes higher sales easier.

Epson printer, maybe with Canson paper!

In the digital age, computer files and

Or you can make the prints yourself on an

downloads are equated with 'cheap' or 'free'.

Most importantly, purchase or make some

Many people don't place much value on files

prints to use as samples to show your clients.

and so it is challenging to charge what the job is worth because of this incorrect view.

2. FRAMED PRINTS

Large framed prints on the wall might be a little

While people might baulk at spending

$1000 on a portrait shoot alone, they might be

harder to sell these days, but multiple photos in

completely happy to spend $1000 on a portrait

a single frame seem to go quite well, or show

shoot plus a framed photo of the family and a

a number of individual small frames or even a

series of prints in presentation folders.

desk frame.

Portrait photography isn't just about the 'art

You won't want to carry large products

of portraiture', it's the art of retail business. We

around with you, but one or two small frames

are selling our products and services.

will be worth the effort.

So, what do we sell?

You can also look at non-traditional frames,

like prints on metal from Chromaluxe.

1. PRINTS Loose prints are unlikely to excite your clients,

3. ALBUMS

but you can purchase smart presentation

And don't forget albums. The print labs may

folders into which the prints are easily slipped.

have their own album products, or you can look

Packaging is very important.

at book printing companies like MomentoPro.

You can purchase prints from AIPP sponsors

like Art's Edge, Atkins Pro Lab, Nulab and

28

Again, order samples of everything you wish

to sell – it makes the process so much easier.

Proudly supporting the AIPP ATKINS PRO LAB

ATKINS PRO LAB

15

29

EDUCATION

Should I Charge Less Than $200 A Sitting?

If you have a system of shooting and selling that relies on people liking what they see before committing to a big purchase, you can test a price lower than $200 – as long as the averages work for you.

Some people say that taking portrait photos

with a low price and then selling expensive

can purchase files, prints or frames. If the

prints afterwards is a form of ambush

photographs are poor, there is no obligation

marketing, playing on the heartstrings of

for the client to purchase anything and the

vulnerable families.

sitting fee could be refunded – a money-back

guarantee.

A continuation of this argument is that by

charging a flat fee up front, we are being more

honest.

work and you're confident that you can

Are we really?

produce beautiful images that clients want to

When wedding and portrait photography

buy, you can afford to take a few risks. You know

When you have a system for selling your

clients hire a photographer, they have no

that not every client is going to spend a lot of

guarantee about the quality of the photographs

money, but the ones that do will increase your

that will be taken for them after they have paid.

averages and allow you to earn a reasonable

living (or be paid fairly for the work you do).

In fact, if it's a flat price, there's no need for

the photographer to try very hard. Someone

charging a flat price could be seen as having

have offered portrait sittings for less than $200,

little incentive to do a better job, because the

but this selling system requires you to offer

payment is the same. There's no reason to wait

something different than 'all the files'. We need

for the young family members to settle, suggest

the 'add ons' that give clients great value.

a change of clothing or to move to a location where there's better light.

30

If the photographs are great, the client

Historically, many portrait photographers

Even better, you can now reverse engineer your marketing so you appear to be cheaper

On the other hand, a photographer who

than the $200 photographer down the road!

offers a portrait sitting for $200 and a money

You could offer your portrait sitting for $100,

back guarantee if the clients aren't delighted

knowing that your system and product

with the photographs, is taking the risk.

offerings will generate sales after the shoot.

•

Claire Pinder APP AAIPP

31

EDUCATION

How To Make Big Plans Work Do you look at where you are today and wonder how you'll ever get to where you want to be? You're not alone and many of the most successful photographers have felt this way. So what did they do?

32

As I write these articles, explaining with clinical

and he met his goals in Years 1 and 2, but in Year

detachment the steps involved to achieve

3 he slipped backwards. What happened?

business success, I am keenly aware that life is

rarely this easy. If it were, everyone would be an

separated and that his focus was on spending

immediate success.

as much time as he could with his teenage

daughters. Family comes first.

However, at the risk of further detachment,

It turned out that he and his wife had

the solution is to plan.

business and planning said he worked hard for

So, for photographers who are struggling

Another friend who was very good at

to charge more than $200 for a portrait shoot

many years so he could get his business to a

today, the solution rarely happens overnight.

point that he could take time off to spend with

Your plan may require you to work in a

the kids. His problem was that by the time he

coffee shop two or three days a week as you

got his business there, the kids didn't want to

build up the photography business. There's

spend time with him - they had grown up.

nothing wrong with this if it takes you closer to

your goal, whatever that might be.

you're not in a position to throw yourself 110%

into a photography business. You might not

But without a plan, you certainly won't move

So, it may be that at this stage of your life,

far from where you are today.

be able to spend the time on marketing and

advertising, production and customer service

One of the great benefits of AIPP

membership is getting to meet and talk to

that is required. So plan long term.

other photographers – and I've had some great

lessons over the years.

capable of running a successful business, you

can earn good income from photography.

I remember one photographer whose

However, one thing is for sure: if you are

business was quite small. He didn't pay income

tax, so that's a good indication.

we must never forget that the first one is all

about running a business.

We sat down and created a business plan

Professional photography is two words, but

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Emil Bilinski

#nuffsaid

Tickets are on sale now at

www.infocus.org.nz

Flights to e r a n o t g n Welli p a e h c s just a c i t s e m o as d fares!

33

AWARDS NEWS

APPA: More How To Impress The Judges Did you enter the Epson State Print awards? Are you thinking about APPA this August? Here are a few more 'common' issues that judges regularly criticise – can you get them right with your next entries?

TAGS Awa rd s

34

POINT OF FOCUS

STATIC

Choosing where the point of sharpest focus sits

Many entries are great in terms of exposure,

is important. Camera shake must be avoided

focus and framing, but the subject itself is

(except for special effects) as this can ruin focus

lacking activity or purpose.

too.

improved the score.

Sometimes the amount of focus is limited

A different subject, pose or timing may have

by depth-of-field, but if this leaves blurred areas

in the subject, where these blurred areas are

the images we as a society respond to best are

positioned and how they are handled can affect

those that communicate a sense of emotion

the success of the image.

or timing. And much if not most human (and

animal) interaction comes from body language,

For instance, with portraits (human and

If you look at the history of photography,

animals) it is almost always essential that the

hence the importance of posing, gesture,

eyes are sharp.

expression and timing.

And they should be tack sharp because

There are two schools of thought when it

that's what the judges will check first.

comes to photographing people and animals.

One school suggests taking just one or two

When looking at portraits shot at an angle,

which eye is the sharpest? Usually you should

photos of a subject and move on to something

have the closest eye sharp. If the furthest eye is

else. This may be good advice for standard

sharp and the closest slighly blurred, this could

wedding and family portraiture work.

detract from the score.

there's another school of thought that suggests

Focus is not something that can generally be

However, when it comes to award images,

fixed in post-production, so you may be better

you shoot 10, 20 or 50 shots of the subject,

off entering a different image, or re-shooting

looking for those subtle nuances of pose,

and paying careful attention to your point of

expression and gesture that make a great shot.

focus.

Again, referring to the legendary

h c i h w e e s o t y l e s o l y l c l a g e n i R k ? r o e o l h t u o o y e h e t Ar n y a l h e t s r o l e c p w ar o h s h s s i i t s i o h t sh , e e h r t a t a u s o y e i f r I t ? n y e l r e s u o y clo t c e p s n i s e g d u the j Awards.

e h t , s u c fo d e l i a n a s a n i h t e u g b a , t i d e s s i This im m h t t s i u j w s y a a h w e a g t a e g m i t h g i top k m o o u l o u y o t y n i f i r , p s i r e e l l d a s m sma u c g o n i f e e b h t t n s i i , o s p e i e r t h n e it. T t n i r p r u o ? y e t b a d y l l e u o h s clos t i e r whe

35

AWARDS NEWS

photographers of the past, rarely did they invite

but again, if you push the colours too far, judges

their subject into the studio and take just one

can react against too much saturation, or that

shot. Invariably they'd shoot a variety of poses,

the sky becomes overly dominant, taking focus

angles and gestures. They'd take lots of photos.

and attention away from the subject below.

In educational books about these

photographers, we've seen 'proof sheets' of 12

sunrises get lots of likes, but don't be surprised

or 36 images, all taken at the same time, all very

if they struggle to get traction in professional

similar.

photography awards.

Yet only one of them became famous.

When entering awards, we're looking past

TREES AND BRANCHES

the 'good' photographs that will be one of a

Watch the background for trees, poles and

hundred images in an album. What we want

odd shapes that interfere with your subject,

is a 'great' shot where the expression and the

confusing the composition.

gesture are 'just right'.

They shouldn't be 'static'.

pole that looks to be growing out of the top of

When editing your images for potential

your subject's head.

The classic example is a tree or telegraph

awards, good technique is expected, so keep

posting, gesture, expression and timing in mind.

subject which might be better removed.

There can also be elements in front of your Sometimes these issues have to be

SUNSETS

considered at the time you take the photo.

Sunsets and sunrises look great, but in

With practice, it's just one of many things we

photography competitions, they can really

do automatically before pressing the shutter

struggle.

button.

In fact, judges tend to display a degree of

However, sometimes by the time we notice,

discrimination against sunset and sunrise shots,

we're already considering the shot for entry

perhaps because they believe Mother Nature

in the awards, so you may be able to improve

has done all the hard work.

maters in post-production, by darkening,

lightening or blurring the offending intrusion.

An entry needs to be more than just a

sunset/sunrise. The colour in the sky should be

secondary to the overall composition.

and animals, it really relates to any subject and

the need to choose a suitable camera angle to

Of course, an amazing landscape can be

enhanced if photographed at sunrise or sunset,

36

On Facebook and Instagram, sunset and

This principle doesn't just apply to people

best present what's important.

These two portraits demonstrate how camera position and camera angle can have a big impact on how your subject stands out from the background. On the left, shallow depth-of-field helps the subject stand out and, if this were the only angle, it's a good technique to use. It's certainly better to have the tree to the side, rather than growing directly out of the boy's head. On the right, a completely different camera angle at the same location has been used, simplifying the background with a lower camera angle. Of course, it also changes the photograph completely.

It's not always necessary to completely reframe a photo; sometimes just a slight movement to one side is all that's needed.

37

FEATURE NEWS

The Theatre of Kris Anderson The 2017 AIPP Illustrative Photographer of the Year, Kris Anderson APP M.Photog. has a technique for great headshots. Is this something you could try?

“I’m a theatre and performance photographer,

sometimes other people’s, sometimes mine.

focusing on theatre advertising, live production,

and headshots for individuals and full

communicate a complex message or feeling

production casts.

with an image.”

"Generally, I’m working on location at a

"I really enjoy the challenge of trying to

Kris says photography started for him with

performance venue, but I will occasionally use

his family being the main subject.

our small home studio."

photograph that was better than the others and

Like many photographers, Kris Anderson

"Occasionally (accidentally), I'd make a

with his wife and business partner Wanda, run a

bit by bit, I learned about good composition

photography business based on reputation and

and design.

quality.

They have obviously spent some time

in music and theatre since forever, and as my

planning what they want from their business

comfort with the camera grew, I started to be

and their photography – and they appear to

that person who would get the camera out to

have a good balance between business and

photograph the cast, eventually progressing to

TAGS

home life.

promotional and cast shoots.

Po r trai tu re Thea tre Pho to gr a phy Anders o n

“In parallel with that, I’ve been involved

Yet Kris's personal work can be quite

different to his paid commissions.

CONCENTRATING EFFORTS

“My personal work tends to be illustrative,

“In time, this work blossomed into generalist

exploring stories, feelings and insecurities –

photography as a business with my wife

Opposite: Tales from the Old Country. Theatre advertising photography by Kris Anderson.

38

39

40

FEATURE

Print Handlers.

Photograph by Kris Anderson.

41

FEATURE

Wanda, photographing portraits, weddings and

times in the APPA awards system.

commercial work, but keeping the theatre stuff

in the background."

Photographer of the Year in 2013, which was a

tremendous boost to my drive and confidence.

“Then a few years ago, we realised we were

"I was the Queensland Emerging

splitting our energies between a whole bunch

of different areas and not really doing any of

me was receiving the 2017 AIPP Australian

them justice.

Illustrative Photographer of the Year. I’ve

"Instead, we decided to concentrate our

admired category winners and finalists for years,

efforts on the thing we really love – theatre and

and thought someday I might work my way up

performance.

to being a finalist in a category.

"Since then, our client list of Brisbane theatre

"However, the most special award for

"Then last year, to have the wind blow

companies has grown steadily.

my way and be a finalist next to two people I

idolise, Gee Greenslade and Charmaine Heyer,

“I really enjoy the advertising side of

theatre photography. Every job is different

was pretty mindblowing.

and it’s rewarding being able to help clients

"And getting the glass was something else!"

communicate the nature and style of their production.

AWARDS EXPERIENCES

“Hands down my best awards experience was

“Sometimes clients have very specific ideas

about what they want, but most of the time it is

when Senseless was judged in Queensland

very collaborative. And theatre clients are pretty

(shown opposite).

adventurous and trusting when you have a

concept you want to bring to life.

to slip into the reality of your smartphone,

ignoring your family and loved ones in favour of

"As a bonus, actors are brilliant subjects to

"It’s an image about how easy it can be

photograph. They understand light, movement

a seductive digital world.

and emotion, and they are usually very aware

of how to use their faces, arms and hands to

challenging judge (Mark Rossetto) that he lost

convey the right message.

his composure and couldn’t speak for a little

"The story resonated so much with the

while. Then when he got going again, he was

ENTERING APPA

crying, the assistant panel chair was crying, I

“I’ve been fortunate to be recognised a few

was crying, friends with me were crying.

Opposite: Senseless. Photograph by Kris Anderson.

42

43

Top: Relentless. Photograph by Kris Anderson.

Above: Three protypes made by Kris as he explored his idea and worked out how to solve the various visual problems.

44

FEATURE

"Witnessing someone connecting with

themselves or aren’t familiar with being

the work really deeply like that was super

photographed with strobes, showing them a

memorable. I don’t think I’ll ever forget it.

well-lit, flattering portrait when you’re a few

shots into a session does wonders for their

“I have a few photography-related goals for

the next few years.

confidence.

"For the business I want to hit our targets

for bringing on new, regular clients and making

"And as a plus, subjects find the whole iPad

wireless tethering thing a bit magical.

sure I’m their photographer of choice.

“In the AIPP, I’ve really enjoyed judging at the

QUALITY MONITOR

Epson state awards for the last few years and I’m

“I’ve recently added an EIZO CG2730 to my

keen to take that further.

workflow and I think it has made a massive

impact to the quality of the work that I’m

"And I’ve had lots of opportunities to stand

up in front of groups and give presentations

producing.

about images and the processes that I use.

"I’m completely surprised to discover that I

over shadow detail, for example, which has

love it (presenting), so I’d really like to explore

shortened my edit-print-adjust cycle. Sadly,

doing more speaking and teaching to see

now I’m spoiled because it’s harder to use other

where that goes.

monitors!

"I feel as though I have much better control

“There are a few other pedestrian tools that

CAMERA BAG

are important to me, including my stepladder

Kris says he’s grown up shooting with Canon

and a tape measure. I do a lot of composite

cameras and that 95 per cent of the time, he’s

work, so ensuring I’m matching distance and

using either a 16-35mm L-series or 70-200mm

perspective is critical for a believable image.”

f2.8 IS L-series.

“The 70-200mm is brilliant for headshots and

SKETCHING FIRST

indispensable for theatre production work.

“One of the most important techniques I use

is the designing and prototyping of images,

“I also use a CamRanger to tether the camera

to an iPad when I’m shooting headshots or

particularly illustrative or composite images.

studio work.

Paper on the iPad) really helps me visualise

"Tethering can massively boost confidence

"I find sketching designs (using tools like

levels for my subjects.

the final product, surfacing problems with

composition or highlighting aspects that need

"When someone is a little unsure of

45

Supermodel-crazy cast of Carrie: The Musical – headshots by Kris Anderson. Read article for details.

46

47

Above: Sleepless. Photograph by Kris Anderson.

Left: A sketch made by Kris as part of his pre-production.

48

FEATURE

more thought before going anywhere near the

and being goofy with people, and hopefully

camera.

that takes a bit of their focus off of themselves.

Sometimes I’ll talk less if I’m trying to slow things

“I’m a terrible sketch artist, but I get the job

done!

down and create calmness, but generally I’m

having a conversation peppered with direction.

"Sometimes I’ll shoot a low-fi prototype

image, utilising very patient family members as

stand-ins, so I can work out the bugs and get it

get people to pull a crazy face. We might shoot

right, so when I have the real talent in front of

a few proper frames, then I’ll say, “Okay, give me

the lens the shoot progresses smoothly.

a ROLLER COASTER FACE!” or some other silly

instruction, and they’ll half-do it.

"I’d say I generally spend as much time

“My go-to great-headshot technique is to

planning as I do in post-production, with the

actual camera-in-hand bit taking hardly any

bigger, they’ll go over the top... and an instant

time at all.”

later when they come back down, they fall into

the most natural smile. This really helps build

“Nearly all of my work is done with Speedlites

"I’ll poke fun at them to do it again and

and a variety of light modifiers. I very rarely work

rapport, which then unlocks a flow so they

with just available light. I appreciate being able to

adapt more quickly when given further posing

control the light on the subject and influence the

direction.

background so I get what I want.

recent production, the first subject pulled the

"For composite work, I’m shooting with the

“Sometimes this becomes a game. For a

intent of dropping an element into a scene, so

most amazing supermodel pose, only to be

it’s critical to match the lighting so everything

bettered by the second subject and then all the

looks like it belongs there.

cast got in on it! It turns a potentially awkward

experience into a fun one they’ll happily repeat."

"I’m starting to get to the point where I want

something with more power than a Speedlite,

“When I deliver cast headshots, I generally

so that’s probably the next evolution in my kit.

deliver two solid headshots and, as a bit of fun, one goofy one for each performer.

AND BEING GOOFY

“Building rapport with subjects is essential if

The theatre company proudly showed off their

I am going to get them to relax – particularly

glossy A3 program with headshots from our

if I'm shooting a production cast where I only

session – and they’d used the goofy ones! If

have 3-4 minutes with each performer.

you’re ever going to do it, Spamalot is probably

the right production for it!”

"I'm a bit of an idiot, so I'm always talking

“I recently shot a production of Spamalot.

49

NEWS

National Family Portrait Month Quite a few AIPP members (and non-members) work with Bernie Griffiths as a mentor. Bernie is running the annual National Family Portrait Month to benefit a charity and to generate sales of portrait photography. Is this something you should be involved with?

There is still time to participate in National

own financial donation.

Family Portrait Month (July) and the $350

"My hope for photographers who participate

photographer participation fee will be donated

is twofold – that together we raise money for

in full to the Make A Wish charity.

charity and that the photographers make strong sales from the customers who engage them via

HOW IT WORKS

this incentive.

The concept revolves around the publication

of a book of photographs. To be part of the

"The charity wins as they get funds, the

book, clients sign up with a participating

photographer wins because, from past

photographer and pay a $51 fee, all of which is

experiences, people buy photographs, and the

donated to charity. The target is to raise $20,000

customer wins, as they have a photograph in a

for chartity.

book as well as lasting professional photographs

that they will treasure forever."

Said Bernie, "The charity that will benefit

"Each year this project is a WIN WIN WIN.

from the fundraising efforts will be the Make

50

A Wish Foundation and if you watch a couple

National Family Portrait Month Links

of the videos on their website, you will see the

Sign up: https://www.eventbrite.com.au/e/pho-

amazing work they do to put smiles on kids

tographers-national-family-portrait-month-july-

who have very serious medical issues."

2018-tickets-45792349149

Website: www.familyportraitmonth.com.au

The book this year, as last year, will be titled

"A Mother And Her Children .... An Unbreakable

NFPM Facebook page: https://www.facebook.com/

Bond."

nationalfamilyportraitmonth/

Added Bernie, "Each year, I donate many

NFPM Participating Photographers Closed Face-

hours of time on this project without any

book Page....... https://www.facebook.com/

financial reward and I also give the charity my

groups/1762686310610892/

51

EDUCATION

How Do I Get Bookings & Sales?

Getting portrait shoots can be tough, but the real challenge is having something to sell. Tanya Addison has some suggestions to improve your portrait photography business’s profitability.

A large number of members are stay-at-home

parents, with time on their hands, but too few

the results they want, so by offering to take

portraits to shoot. What can they do to get the

their photos for free with no obligation to buy

phone ringing or the emails arriving?

anything, you’re removing this obstacle.

Tanya Addison, who has worked with

A lot of clients will be unsure they’ll get

“Another option would be to look at, say, your

her partner Glenn in professional portrait

kid’s ballet school and offer to raise money for its

photography for over a decade, suggests these

end of year concert by giving your booking or

parents probably have a ready-made stream of

session fee to the school.

potential clients through parent groups or the activities their kids do – such as swim, dance and

FEEL GOOD TOO!

sport.

"This allows other parents to participate, with no risk, and feel good about the time they have

52

READY MADE CLIENT LIST

invested in having their portraits taken. It’s also a

“I would begin by offering to photograph other

great motivation to have the photography done

parents’ children at no cost, explaining that there

sooner rather than later.”

is no risk involved.”

Both these suggestions require you to take

•

Lib Ferreira APP AAIPP

53

•

Vicki Bell APP M.Photog. II 54

EDUCATION

the photographs for free. You’ll also be editing

sitting on the ground with a pet, and holding

the shoot and producing files and prints for

their musical instrument.

free, so to turn it into a business, you’ll need

something to sell.

mother with the children, and another with the

father.

And you need to know how to sell,

“Then if there’s time, capture a shot of the

something that comes with practice as much as

“The reason we have a standardised shoot list

anything.

is to make sure we capture the photos our clients want – and all clients want choice. They want you

USE A SHOOT LIST TO MAXIMISE SALES

to give them options.”

Successful photographers aren’t just shooting

yes or no, but if you offer a choice between one

what makes them feel good on the day, they are

photo and another, you don’t mind which they

taking a predetermined series of photographs to

choose because either option is a sale."

If you offer clients a single photo, they can say

help maximise the back end sale. the ingredients together in the right order, I have

OPTIONS TO BUY MORE THAN ONE PRINT

a predicable outcome.

“Ideally, you want your clients to buy one or two

family prints, and then a print of each of the kids.

“It’s like baking a cake with a recipe. If I put all

"However, if I put the ingredients together in

the wrong order, it probably won’t work. And it’s

If you can add in a couple of additional prints

the same with running a portrait photography

of mum and dad with the kids, then you have a

business – you need to do things in the right

good result.

order, beginning with the photos you take.

I will have enough variety to offer my clients,

“For instance, you want to take two different

“So the shoot list is my silent guarantee that

family group poses, perhaps one sitting and

and this in turn will ensure I hit my sales revenue

one standing. Now your clients have a reason to

targets.”

buy one family group print for the home and a second one for the office.

Tanya Addison runs the successful Gap Studios with

her partner Glenn in Australia and USA. She offers

“For the children, take two versions of them

all together, perhaps one standing and the other

a 10-week mentoring program for portrait studios

walking or sitting.

needing to move to the next level. For more infor-

mation, contact Tanya via email:

"Then I suggest three different looks for each

child individually, such as standing next to a rock,

tanya@lovepetsphotography.com

55

NEWS EDUCATION

12 EoFY Tasks To Do Right Now… And you won’t believe Task No.7 (just kidding)! Sara McKenna APP AAIPP of Sassi Photography suggests spending five minutes to review what you can do for a better End of Financial Year!

The End of the Financial Year used to take me

off we’ve been enjoying in Australia since 2015,

by surprise. Each year I’d promise myself I’d be

it is possible you’ve not needed an

more prepared next year, then it was suddenly

Equipment Schedule for your accounts yet (if

June again and I wasn’t ready.

you are new to business), but that time will

come! (We’ll get to that write-off further down

You see, I really loath paying tax, but being

prepared and knowing your financial position

the list.)

can help you reduce the amount of tax payable,

if you know how and work well with your

detailed Equipment Schedule when you need

accountant.

one for your tax return (currently for assets

over $20,000 each which require depreciation).

Here are twelve things you can do right now

to be prepared for the End of the Financial Year:

Your accountant can help you with a

In the meantime, you can create your own basic Equipment Schedule with ordinary

TAGS Busine s s R egist r a ti o n s

#1: GET YOUR BOOKS UP TO DATE

spreadsheeting software (Google Sheets is free

Now. I mean right now! With everything up

to date, you can get a gauge of your profit for

• What the equipment is (ie. Canon 5D Mark IV);

the year, from which you can estimate your tax

• What date it was purchased;

(roughly 30% – varying depending on whether

• How much it was purchased for;

you are a sole trader, partnership, trust or

• It's serial number.

company).

We will add more details to this later.

Every business asset needs to be individually

on Google Drive).

The Equipment Schedule records:

#2: UPDATE YOUR EQUIPMENT SCHEDULE

itemised on this schedule, including phone

If you don’t have an Equipment Schedule, write

phones etc.

one… you need it! With the $20,000 asset write-

systems, computers, photographic gear, mobile The Equipment Schedule’s column titles

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.

56

•

Greg Sullavan APP M.Photog.

thus far are:

favourite Australian supplier’s online store for

the current replacement cost of each asset,

Date, Equipment, Serial #, Cost.

remembering to look for the upgraded version

#3. FIND YOUR INSURANCE PAPERWORK

if your model has been superseded.

You know… that paperwork you get emailed

column.

Fill in this information in the appropriate

annually, pay when it’s due, then file in another folder of your Inbox?

Do you read your insurance renewal each

#5. REASSESS YOUR INSURANCE

year?

Having fun yet? We’re creatives… I get it. We are

also running businesses, so we need to jump

Do you think about what is written on it or

do you skim the list of equipment, shrug your

out of our creative safe space for a bit each year

shoulders and think, “That’ll do”?

and make sure we are okay moving forward.

#4. REASSESS YOUR EQUIPMENT SCHEDULE

Equipment Schedule to your insurer. Ask them

Now we are going to add a couple of columns

current replacement value.

to that Equipment Schedule (if you haven’t

already):

and will send you an amended invoice for the

• Insured For

difference.

• Current Replacement Cost

it as a current year expense.

Hmmm… see where we are going here?

to update the “Insured For” amounts to the They are usually pretty quick to do this

Pay this before 30 June and you can deduct

Ideally, these two columns should be almost

identical, but I can almost guarantee you they

Schedule to show the amount each item is now

are not.

currently insured for.

Don't forget to change your Equipment

Cameras, lenses, phones, computers

superseded by new models every other year –

#6. ASSESS EQUIPMENT TO BE REPLACED

and sometimes more frequently!

The estimated life of equipment such as

cameras, lenses and studio lighting is three to

and most general equipment we use get

58

The easiest thing to do now is to send your

For the moment, fill in the amount each

asset is currently insured for, then take some

five years.

time with a cup of coffee to search your

Whilst well looked after equipment can last

EDUCATION

longer, professional photographers need to be

mindful of replacing equipment before it causes

in Step #1? Is there a healthy profit and do you

problems.

have healthy cash flow at the moment?

Check through your Equipment Schedule

How did those figures look that we finished

Now have a look at the equipment identified

to assess whether you need to consider

in Step #6. Take these details to your accountant

replacing any equipment. To be honest, I push

and get advice as to whether replacing some of

my equipment way past the 'expected life', but

your equipment prior to 30 June makes good

when I’ve had a profitable year and if I have

business sense to reduce your taxable income.

a healthy cashflow, I certainly look to replace equipment before 30 June to reduce my profit, therefore reducing my tax payable.

#8. INVESTIGATE PRE-PAYMENT OF ONGOING EXPENSES There are some expenses that businesses pay

#7. BE AWARE OF GOVERNMENT KICK-BACKS

reliably each month or year. If your cash flow

I mentioned the $20,000 Asset Write-Off

taxable income, pre-paying expenses can be

scheme earlier. It started on 12 May 2015 and

helpful.

was extended to 30 June 2018. The new Budget

makes provision for the scheme to be extended

to May, but it may not be too late to look into it

to 30 June 2019, but at the time of writing this

now.

article, it was not yet guaranteed nor published

by the ATO.

will need to contact the provider, request an

invoice for upcoming expenses and pay prior to

So, for this year and maybe next, this is by

is very healthy and you are looking to reduce

This technique is generally investigated prior

In order to pre-pay ongoing expenses, you

far my favourite idea from the Government!

30 June.

And other than being able to claim most asset

purchases under $20,000 in the immediate

past have been ongoing advertising in the

financial year of purchase, it’s meant that the

local paper, premises lease/rent and interest

average photographer doesn’t need to keep

on loans/chattel mortgages. Of course this

abreast of depreciation schedules for their

means they won’t be expenses for the following

equipment! Huzzah!

financial year, but having pre-paid them may

help your cash flow to be able to do other

Claiming depreciation and/or asset

Some of the expenses I’ve pre-paid in the

purchases are a great way of reducing your

things in the coming year. Make sure you are

taxable income.

advised by your accountant.

59

EDUCATION

#9. CHECK ON YOUR MOTOR VEHICLE EXPENSES

for Fringe Benefits Tax (FBT). Being set up for FBT

Do you run the expenses of your vehicle

talk to your accountant!

is a whole other world of annoyance – so please

through your business? There are two main fee back to your business for business-related

#10. CHECK ON YOUR HOME STUDIO EXPENSES.

travel expenses (up to a maximum of 5000

Let’s be honest… most professional

kilometres), or you can claim the business

photographers these days work from home

percentage of vehicle use through the business.

rather than a lavish, professional, dedicated

Either way you need to keep a log-book.

studio. I, myself, have just moved out of my

dedicated studio and back to a home-based

ways to do this. You can charge a per-kilometre

How does your log-book look? If you are

anything like me, the first three weeks are spot-

studio for ease of operation.

on, then… I lose interest and forget to log trips.

business takes up in your home?

If you charge a per-kilometre fee back

to your business, a contemporaneous diary

is needed and there's a limit on how many

sure you can substantiate your claim and your

kilometres you can claim.

accountant will want this information.

This is why I opt for the option of claiming a

End of Financial Year is a good time to make

You can claim working from home if you

business percentage. For this, all you need to

carry out “income-producing work at home

do is keep a log-book for 12 consecutive weeks

and incur expenses in using your home for that

and use that percentage for five years.

purpose”.

You can’t claim driving from home to the

You may be able to claim a deduction for a

studio or dropping the kids off at the pool

percentage of expenses such as gas, electricity,

on your way to a client’s house. The only

telephone calls, decline in value of furniture

trips claimable are from the studio (home or

as well as curtains, carpets and light fittings,

otherwise) out on work-related trips

rent/mortgage interest (not principle, just the

(jobs, suppliers, etc) and back.

interest portion), insurance and rates.

Get your log-books out and start logging!

The easiest way to work out the percentage

Your accountant will want this information to

of use is by actual floorspace (ie. studio/office

calculate your expense claim.

space might be 25% of the floor area of

the house).

If you claim personal motor vehicle expenses

through a company or trust, you may be liable

60

How do you claim for the space your

This is not an endorsement, but H&R Block

claiming working from home here: https://

#12. SUBSCRIBE TO THE ATO SMALL BUSINESS NEWSROOM

www.hrblock.com.au/tax-tips/claiming-home-

I can almost hear how excited you are about

office

this one! A regular newsletter from the ATO

in your inbox? Woot!! What could be more

has written an easy-to-understand article about

[Editor's Note: Claiming a percentage of

your home may negate the principal residence

thrilling??

capital gains tax exemption by the same

To be honest, it isn’t that bad.

percentage. Is what you're claiming this year

It’s a brief email linking back to simple

better than the tax you may pay in the future?

articles (such as those you may have seen

There's no single answer, but check with your

me link to on the AIPP Community Facebook

accountant before making this claim!]

Group), highlighting changes or things you may need to know to stay compliant within your

#11. REASSESS YOUR BUSINESS PLAN.

business.

I feel like I’m having a bit of a laugh with this

right of the website at https://www.ato.gov.au/

one, but I am deadly serious.

newsroom/smallbusiness/

The “Subscribe now!” button is on the top

If you are in business and do not have some

sort of business plan, you are setting yourself up for failure!

Your business plan should, at a minimum,

BONUS #13. BACKUP YOUR FILES AND CHECK YOUR SECURITY

be able to tell you all your estimates of

Whilst not exactly EoFY-based, every business

expenses and income for the coming year, your

should have two to three dates on their annual

pricing structure, any expected equipment

calendar to double-check all their backup

replacements, a marketing guide and your

procedures and security measures are up-to-

demographic of client.

date.

It’s quite probable you have this in your head

EoFY, April Fool’s Day (with your smoke

already, so write it down!! It’s great to refer to

detectors) and Halloween are great dates to

it during the year and reassess it at the end of

pick!

each financial year, so you can set yourself up

for more success in the coming year.

yourself to get through all these tasks and

schedule them in your calendar for next May/

There are guides online or your accountant

may be able to help you create a business plan.

So Happy EoFY! Set a romantic date with

June (recurring, of course).

61

NEWS

Panasonic’s Tiny Lumix GX9 If size and weight are an issue, but you don’t want to sacrifice features and versatility, take a look at the latest Lumix GX9 – a combination stills and video camera with a full set of bells and whistles!

Many moons ago, I took an early Lumix GX

off. Yes, a small point and it won’t make any

camera to Antarctica and was incredibly

difference to the quality of the images, but it

impressed with how it stood up to the

does show how Panasonic has been carefully

challenging weather conditions. It worked

refining the designs of its various Lumix

flawlessly and what I loved most was its small

cameras.

size and ease of use.

TAGS Equ ip m e n t Ca mer a s Fujif ilm

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Flash forward nearly 10 years and the latest

20-MEGAPIXEL CAPTURE

incarnation of the GX has arrived, the GX9

The Lumix GX9 features a 20-megapixel Digital

(called the GX9K on the box), a 4K combination

Live MOS sensor and there’s no low-pass filter

stills and video camera body that shows all the

over the sensor as found on earlier models.

features of a highly refined design.

issues, but at the expense of sharpness and this

For instance, the twin dial on the top deck

Low-pass filters were used to solve colour

for setting the exposure mode and exposure

is one of the reasons we used to pre-sharpen

compensation is sufficiently resistant, meaning

our files – the pre-sharpening was really just

you won’t accidentally change the settings as

fixing up what the low-pass filter had undone in

you grab the camera out of your camera case or

terms of image sharpness.

put it over your shoulder.

advantage of all the resolution afforded by the

It might seem a small feature to make such

So, with no low-pass filter, the images take

a fuss over, yet when you review cameras

Micro Four Thirds system lenses.

regularly, it’s interesting how often this

technicality is overlooked.

so roughly the same width and height of a

mobile phone (standard size) and three times

Another little feature is the HDMI/power

The Lumix GX9 is compact camera size,

connections cover – open it and it slides back

the depth. However, unlike many compacts

inside the camera body, out of the way with

and mobile phones, in addition to the large

no chance of being lost or accidentally broken

LCD viewing screen there’s a tilt able LVF (Live

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64

NEWS

View Finder) with 2760k-dot resolution. This

levels, achieving super fast autofocusing.

is essential for a professional and for most

Australians working outdoors in our bright

low level focusing, as well as keeping track of

sunshine, and the tiltable design allows you to

moving subjects.

use the camera surreptitiously, like we would

a waist-level finder, so our subjects don’t know

0.07 seconds, even when shooting at six frames

they are being photographed.

per second (or up to nine frames per second

with single shot focusing).

Of course, in lower light conditions you

This is accompanied by improvements in

The GX9 can focus on a subject in as little as

can flip out the 1240k-dot tiltable 3.0-inch LCD display and use the camera down low or up

VIDEO FINESSING

high, useful for crowd and PJ work.

As everyone knows, 4K is the buzz feature on cameras this year, meaning you can capture

ALWAYS SHARP

video images that are four times the resolution

The diminutive GX9 features a 5-axis, Dual I.S.

of standard Full HD. You can also use the video

(image stabiliser) system, which means that

functionality for still frames. The 4K Photo mode

in addition to using image stabilisation in

lets you select a frame from a video sequence

some of its lenses, the camera includes its own

(shot at 30 frames a second), saving it as an

stabilisation regardless of what lens you’re using.

8-megapixel resolution still. It’s not the same

resolution as the 20-megapixel sensor, but for

And if your lens is I.S. controlled, then you

get even better stabilisation, the equivalent of

many professional applications it is more than

shooting at a shutter speed up to four stops

detailed enough.

(E.V.) slower.

Bluetooth, Wi-Fi and a smart phone, including

Of course, you need to ensure your subject

The camera can also be controlled via

matter won’t move, but this technology is

operation of the shutter release and video stop

really useful, not just for sport and wildlife

and start.

photography, but for portrait and wedding

photography out on location.

interchangeable lenses and camera accessories,

making the new Lumix GX9 a seriously versatile

There’s also an improvement in the

Panasonic has a comprehensive range of

autofocus system. Panasonic claims its DFD

tool for photographers and video producers

(Depth From Defocus) technology instantly

alike.

calculates the distance to the subject by evaluating two images with different sharpness

For more information, visit www.panasonic.com/au

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SPECIA

L FOR B

Save 20

Use Co u

pon Co

P READ

ERS

%

de: BPM AG

Peter Eastway’s

Lightroom Atelier – Easy Online Learning The Lightroom Atelier will quickly turbo-charge your creativity! Don’t waste

need if you’re happy with the average results that come out of your camera.

your time using Lightroom the wrong way, subscribe to the LIghtroom

However, as all creative photographers discover, using Lightroom isn’t just a

Atelier now to learn how you can transform your photographs into incredible

matter of sliding controls left or right, it’s also an amazing tool with unlimited

works of fine art! We know there are lots of free tutorials around that show

creativity – if you know how to use it properly. The reason you’ll be interested

you how to use Lightroom, so why would you be interested in the Lightroom

in Peter Eastway’s Lightroom Atelier is because you like what you see on the

Atelier by Peter Eastway? Well, if you’re really new to Lightroom, you should

these pages and you’d like to achieve something similar with your own work.

take advantage of all those free tutorials first - even if they are produced by

If that’s you, check out the free lesson on our website and follow the links ...

people with limited photography experience. And maybe that’s all you’ll

www.betterphotographyeducation.com Lightroom Atelier – some of the techniques you will learn

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