Issue 269
AIPP's Future Strategy Pricing For Commercial Jobs Olympus's Amazing OM-D E-M1X
March 2019
JOURNAL
CONTENTS 6
John Swainston's President Message It's been a busy month for the National President and National Board alike. John Swainston reports in.
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Planning a Future Strategy for the AIPP Your AIPP Board met face to face in early March to plan for the future and to revitalise our Institute. And the result: a clear strategy to get us started on the New AIPP. John Swainston reports.
Cover
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AIPP National Board - Meeting Summary
Danny Kneebone APP AAIPP
The following summaries the outcomes of the January and February AIPP National Board meetings, as compiled by Steve Wise.
GOLD AWARD, PORTRAIT CATEGORY 2018 AIPP AUSTRALIAN PROFESSIONAL PHOTOGRAPHY AWARDS
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Why Enter The Epson State Awards? There are so many photographers who owe their success to entering the AIPP's Awards systems, one wonders why everyone isn't entering automatically. It's what sets us apart as a professional photographer.
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 26 years of publication.
AIPP Membership Contacts www.aipp.com.au admin@aipp.com.au PO Box 249, Mooroolbark Victoria 3138 Phone 1300 685 334
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Who Owns Copyright – Me Or My Client? There are different rules for different types of photography and video production, but it can all be simplified with an agreement.
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Can I Claim GST When I Buy Equipment? If you're registered for GST, one of the 'attractions' of buying new gear is being able to claim back the 10% GST. But are you entitled to?
ISSUE 269 / MARCH 2019 26
1. How Do I Price A Commercial Shoot? With most professional photographers shooting commercial work, at least from time to time, here's a series of 7 issues to help you understand the market and price your work profitably.
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2. What Is My Competition Charging? Knowing what other photographers are charging is essential information if we are to be successful. Our clients will know this information, so must we when it comes to negotiation.
3. What Are My Client’s Expectations?
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7. Which Clients Do I Educate? We know that good quality photography is incredibly valuable and can be the difference between success and failure for a client's marketing, but do they know this? How can we ensure they do?
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What Makes An Award Image?
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Belle Verdiglione's Winning Birth Photo
A client who values photography is more likely to pay a higher fee, so by asking questions, you can discover if a client is worth working for and how to plan the job to an expected price point.
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4. What Is Usage And Should I Charge It?
Perth photographer and AIPP member Belle Verdiglione has been picking up a number of awards for her birth photography. And you can see the joy and emotion in her subjects very clearly!
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'Usage' used to be a key component for advertising and stock photography, but it is less common these days. Nevertheless, understanding usage could one day make a huge financial difference.
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5. How Much Do I Need To Charge?
Dark, dark, dark tones have worked wonders for Rana Rankin's emotive portrait, but is it a dangerous game to play with the judges?
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No matter what your competition is charging or your clients are paying, there is a minimum you need to earn if you are to make a living as a professional photographer (even if it's part-time).
Olympus OM-D E-M1X The world’s highest image stabilisation performance with 7 shutter speed steps of compensation, highspeed burst shooting up to 60 fps and autofocus with intelligent subject detection, what's not to like!
Sony 135mm f1.8 G Master Lens Looking for a point of difference in your photography? Something that could be great for portraiture? Check out Sony's latest 135mm mid-telephoto with an incredibly wide maximum aperture of f1.8!
6. Should My Quality Be Better? With the majority of photographs being taken for the internet, is quality such a big issue? Don't confuse technical quality with the process of engaging your client in a discussion about creativity!
Platinum Sponsors 3
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CHALLENGE YOURSELF! ENTER THE 2019 AIPP EPSON STATE PROFESSIONAL PHOTOGRAPHY AWARDS April to June this year. Get ready now! Entry details and dates can be found at http://stateawards.aipp.com.au
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NEWS
John Swainston's President Message It's been a busy month for the National President and National Board alike. John Swainston reports in. Being a member of an association of any kind
magazines serving that hobby, join a camera
involves commitment.
club and, if really keen, become a member of
the Australian Photographic Society with its
It starts with an idea. It’s shared with others.
People agree that a coming-together makes
annual APSCON convention.
sense because of common purpose. An
association is formed and things develop.
our forebears could not have ever imagined,
In an era of rapid technological change that
with YouTube instructional videos, online
FIVE DECADES AGO
courses and smartphones with 4K video, slo-
The AIPP was formed nearly five decades
mo, stabilisation and so many apps, everyone is
ago. Its purpose was to enhance and grow
a photographer.
professional photography.
video makers, v-loggers and podcasters are not
In those days, people were pretty clear what
photography was, who enthusiasts were, who
full-time professionals, yet they are populating
and what professionals were.
Twitter and Instagram with content which is
If you wanted to 'be a photographer', you
followed by millions and so in turn, they are
would likely undertake a diploma course at one
in demand by corporations, businesses and
of the specialist TAFE centres or even attend a
wedding partners for the reflected glory an
select few courses at university.
association with such people brings.
Further on, you would apply to become
a member of the IAP and join a few hundred
ENTRY IS A JOURNEY
fellow professionals.
The desire to be better at one’s craft for an AIPP
member is given an avenue in the AIPP's annual
On the other hand, if you just enjoyed
photography as a hobby, you’d read one of the
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However, some of the best photographers,
Epson State Professional Photography Awards
Platinum Sponsors Gold Sponsors Trade Partners ATKINS PRO LAB
ATKINS PRO LAB
APVP Sponsors
Advancing Professional Photography.
For Everyone. 7
NEWS
8
and the national APPA event.
hide in a world of social media.
Entry is a journey.
For many, the aspiration to simply learn is
members were trolled yet again by a vocal few
That the AIPP itself, its judges and its
enough. The benefit that all entrants receive
is both unjustified and baseless.
from individual comments on every picture,
from a range of professional experience, both
the expertise in judging, in rules and in the
from within the Institute’s membership and
process will continue to be applied.
outside, provides vital insights in personal craft
development. But, for some, there is an even
pursue a journey of personal craft development
greater need for success.
which produces great value for you as a
member when you follow the guidelines.
Entering the AIPP awards should only ever
As a member, you should be assured that
There is still great value in choosing to
be about personal growth. The journey itself is
far the most important benefit. The value comes
scenes, but even so, the process as it is actually
from learning from expert judges.
works. And works well!
SEVERE CONSEQUENCES
STRATEGIC CHANGE
As we have seen in recent weeks, going
The Awards are just one part of this association.
beyond this has, in a highly reported case, led
The AIPP also helps members who want to
to a member breaking the rules, with severe
'associate', who want to embrace the changes
consequences when found out.
in photography and the many different genres
of expression, technology and delivery. We
No, we at the AIPP did not discover this. But
Some forensic changes will occur behind the
nor did five other worldwide organisations.
want to increase our collective relevance
and engagement in such a fast-paced,
The journey for those involved in the
investigation, for judges, for mentees of the
transformational world.
person involved, for people who didn’t win
when they should have done, the past weeks
on the next pages gives you a hint of the
have been traumatic.
Board’s three-day strategic planning session
outcomes held in early March.
And also for the individual involved who has
The outline of Strategic change that follows
to come to terms with the consequences.
We welcomed Dan O’Day as a new Board
The rules themselves were breached.
member and believe he represents much
Anyone who fails to follow the rules will
of what we perceive is a needed change –
ultimately be found out. There is no place to
a different perspective, superb execution
•
Leanne Curtis APP AAIPP
•
Shaun Furey 9
NEWS
for clients, a global ambassador for great
them, placing in the hands of the general public
photography.
a means of making them with little labour and
with even less knowledge, has, of necessity
We thank Dan for stepping up and
participating as a Board member in what is
been followed by the production of millions
a vital time for grasping the possibilities and
of photographs. It is due to this fatal ease of
running with them.
making pictures that photography, as a picture-
taking medium has fallen into somewhat
Your contribution has already been so
valuable, Dan, so thank you.
disrepute in so many quarters.
At the same time, I’d like to thank Craig
“And because there are few people who are
Wetjen, who stepped down from the Board in
not familiar with scores of inferior pictures, the
February.
popular verdict is that all photographers are
either professionals or enthusiasts.”
Craig has brought insight into the personal
challenges many members face as lone and
sole business operators in his year on the Board.
in Camera Work in 1906. One hundred and
He has staked out education and personal well-
thirteen years ago. He could have been writing
being improvements through draft policies that
today.
will benefit everyone going forward.
the same.
His work will continue in coming months
These words were written by Alfred Stieglitz
The more things change, the more they are
through others.
Professional Photography Awards which kick off
Craig: Thank you! We wish you well as
Good luck in the AIPP Epson State
you return to teaching and helping others in
in South Australia next month.
different capacities and continuing your journey
If you have never entered, do!
as a photographer.
If you are a veteran, grow some more. Be
proud of associating with other committed
EVERYTHING HAS CHANGED, BUT NOTHING HAS CHANGED
photographers in a common purpose of
Finally, I want to share this quote, which I shared
best photographer that you can be.
with our Board, to show that despite all the
personal development and promotion of the Have a great month.
changes in photography, the real issues actually don’t change.
“Owing to the universal interest in pictures
and the almost universal desire to produce
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John Swainston Hon. FAIPP National President john.swainston@aipp.com.au
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NEWS
Planning a Future Strategy for the AIPP Your AIPP Board met face to face in early March to plan for the future and to revitalise our Institute. And the result: a clear strategy to get us started on the New AIPP. John Swainston reports. Strategy is big picture thinking. It's not all the
2. THE WHAT
little details - that comes later. And the most
In a world where there's lots of free stuff that
important thing a Board can do is plan an
teaches all manner of skills on the net, what can
organisation's overall strategy.
the AIPP do? What can it uniquely provide to its
members?
The AIPP Board met in Sydney recently,
joined by Ollie Dale from the NZIPP as we share many of the same issues as our friends over the
3. THE HOW
Ditch.
We know how much the journey of a modern-
day image-maker radically differs from the past,
It is important that our Board members
(directors) are properly trained about what
so we need to work out how we can create
they're required to do on a Board, so Saturday
value, both perceived and actual, for our new
was spent in training, learning what it means
reality.
to be a Board director and to understand what
our duties and legal obligations are to our
being born via this new mindset. It’s a process
members.
that will require more work through widescale
discussion with all of our members, as well as
We will share many of these learnings with
We can see a very different industry body
state councils for clearer role understanding and
those who are not members.
decision-making in coming weeks.
to face, so it will take a few months, but the
Then Sunday was all spent on developing a
We see us doing this by phone and face
strategy.
2019 Board is convinced that some radical
new offerings and value propositions for the
We explored three core elements.
membership are needed.
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1. THE WHY?
We see this as the value we all feel in belonging,
Board if you have feedback that you would like
as well as why so many don’t.
to share with us.
Feel free to contact any one of us on the
•
Simone Addison APP M.Photog.
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NEWS
As the discussion proceeded, we were very
Legally we are a company, but let’s behave
aware that professional image-making is a
more like a family that cares for present
much broader spectrum than merely great still
members, yet-to-be members and past
photographs.
members.
Equally, the Board is very mindful of the
value brought by our trade partners and
STEP 2
sponsors, so the question we asked is, how
With the pace of change we are all facing,
we can deliver for them as well as established,
we need to align our activities with where
valued, long-term members?
the profession and our members need to be in three to five years. Our communication
SUMMARY
has to be more relevant, whether it’s about
A radical re-boot with fresh ideas for
photography or video. The two are indivisibly
development, membership and inclusiveness!
linked. We are all image makers.
ENGAGE – GROW – DEVELOP – EVOLVE
STEP 3 Working with colleagues around the world, we
The AIPP needs to be a much happier place. It
will develop new pathways for individuals to
needs to be more inspiring and more tolerant of
find their own success as they want it, rather
the diversity of all kinds of image making and all
than on a fixed and limited linear path.
kinds of price propositions.
We’ll examine new organisation structures
STEP 4
and direct communication to ensure every
We will reach out to the broader photo
member feels valued.
community, where AIPP excellence can be
both a focus and a magnet for like-minded
We've identified five steps we need to take
in developing this strategy.
individuals who, up to now, saw little with which they could identify.
STEP 1
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Over the next 15 months, every aspect of
STEP 5
membership will be examined and modified to
We will create an environment so any working
make membership easier – removing obstacles,
photographer will want to be a member;
red tape and simplifying access, while retaining
the new AIPP will be a must-join place that
the many strengths that differentiate us.
maximises each member’s potential.
•
Damien Bowerman APP M.Photog. III 15
NEWS
AIPP National Board - Meeting Summary The following summaries the outcomes of the January and February AIPP National Board meetings, as compiled by Steve Wise.
TAGS AIPP Management
MEMBERSHIP LEVELS FEEDBACK
MAC (Membership Accreditation Committee) for
John Swainston flagged the possibility of
introducing a ‘General’ level of membership for the AIPP, to cater for professional
BOARD MEMBER NOMINATIONS / ELECTIONS
photographers who wish to be involved in the
A draft letter had been prepared inviting
AIPP, but who are not necessarily interested
Members to elect for vacancies on the
in the awards or accreditation; and also
Board. This letter would be distributed to the
to target industry professionals who may
members. John flagged that, as the new bylaws
not be photographers (i.e. retouchers, lab
had not been completed yet, all members will
professionals, etc). He suggested it could also
still have the option to vote on the new Board
be a suitable membership type to interest past
of Directors.
members returning to the AIPP and would
suit professional photographers interested in
Roger Rosentreter as joint Company Secretary
advocacy.
along with Peter Eastway
The Board voted on the appointment of
Melissa Neumann concurred and said it
was vital that the AIPP re-build with a sense of
BYLAWS
community.
Active feedback on the new draft bylaws
was asked of the Board and the State Council
It was agreed by the Board that the numerous
documents on membership be delivered to the
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further deliberation with a timeline attached.
Presidents. Committees would be asked for
NEWS
direct feedback on relevant bylaws also.
of material being available to those who did not attend, and associated costs and pricing. This
NEWBORN ACCREDITATION
will be investigated further.
There was discussion around Newborn Accreditation for AIPP Members – considered
IT UPGRADE
an important game changer. Melissa would take
Louise Bagger and Robert Coppa continued
the reins on the new Newborn Accreditation
working on information relating to the IT
Project.
upgrade – providing a summary document
of two referral interviews for the company of
It was noted that the AIPP had been able
to advocate legally for its members in a recent
choice. Discussion around financial stability lead
hospital birth photography matter. John and
the Board to ask for a review of the situation
the Board were in support of Melissa’s idea
before proceeding.
that stringent accreditation for photographers in specific genres is a relevant and important
PHYSICAL MEMBERSHIP CARDS
matter.
Membership cards were discussed along with
design options and infrastructure costs – plus
It was felt the accreditation standards
would need peer review. He suggested various
the relevance of the current perspex plaques
relevant professionals (midwives, child health
with year badges being sent out. It was decided
care nurses, pediatricians etc) who could be
these plaques would be discontinued and
consulted for their expertise.
funds redirected to membership cards with mulitple functionality.
ONLINE EVENTS FOR REGIONAL MEMBERS
HR OUTSOURCING
A working group set up by Sara would be
With two current vacancies on the Board, there
convened to look into setting up more
was discussion around co-opting someone
consistent online events and streaming for
to the Board with HR experience, suggesting
regional AIPP Members.
there are many people who wish to gain Board
experience on a not-for-profit Board.
It was suggested that online workshops and
seminars could be recorded and stored in the for membership. There was further discussion
CRAIG WETJEN STEPPING OFF THE BOARD
around consent for recording, delaying release
Craig confirmed that he would be stepping
AIPP Member Library as an excellent resource
17
NEWS
off the Board. The Board thanked Craig for his
base model for the trade show floor was in
valued service and Craig agreed to stay on until
place and he has been working on how this
his replacement was elected .
space could be best used for sponsors.
He felt that the AIPP was not providing
BOARD ELECTIONS
enough value at the trade event.
At the time of this Board meeting, the Board
had received one nomination for election as a
hoping to open the trade event up with an
board director.
educational component designed to encourage
more non-members and the general public to
This nomination had been approved by
In order to combat this in 2019, Bruce is
the Nominations Committee, as per the official
attend.
requirements.
There were discussions around Epson as
major state sponsor and concentrating on
MENTORING COMMITTEE
their ROI. KPI’s were being finalised for Epson as
David Simmonds tabled an initial proposal from
well as adjustments and additions to the State
the Mentoring Committee to the Board for the
Awards website to promote their brand.
AIPP Mentoring Program – and how it would
look going forward.
and ask them to organise an event in the lead
up to their State Awards that could be Epson
Discussions around administration and
finance took place – as well as suggestions
It was suggested to approach the Councils
focused.
regarding further research outside the AIPP to find out what other associations are doing,
ADMIN STAFF UPDATE
their best practices and the need to appeal to
The Board was informed of the resignation of
younger members and students. This would be
Sharifa Ghionis as the Administration Team
fed back to the Committee.
Leader and the Board wished to thank Sharifa
for her hard work over the previous year in
Further structure and co-ordination was
requested by the Board for this program, with a
running the AIPP’s administration.
focus on the future rather than what has been
done in the past.
for an experienced graphic designer within
There was also discussion around the need
the AIPP, for the purposes of consistent and
TRADE PARTNER / SPONSORSHIP Bruce Pottinger informed the Board that the
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professional branding.
This will be looked into and actioned.
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R i c h a r d B e n n e t t A P P. L M . P h o t o g I V H o n . F A I P P F A I P P
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AWARDS
Why Enter The Epson State Awards? There are so many photographers who owe their success to entering the AIPP's Awards systems, one wonders why everyone isn't entering automatically. It's what sets us apart as a professional photographer.
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The objective of entering the Epson State
to deal with the lower scores at the time, but
Professional Photography Awards isn't to win
looking back now, it pushed me along, helping
the overall prize or even a category, it's to earn a
me become a better photographer. Falling short
Silver Award. Now, I know this statement might
of Silver can be the best thing that happens if
be a little controversial because I've also written
you look at your career in the long term.
that the aim of our various Awards systems is
to challenge yourself and to do better than you
Photography Awards and expect to gets 'likes'
did last year.
or 'hearts' like you do on social media. Enter
with an open mind and, if you fall short, spend
Maybe earning a score of 70 or 71
So, don't enter the Epson State Professional
(professional practice) is all that you're looking
some time analysing why, comparing your work
for this year, but eventually, as you settle into
with other entries, and asking the judges (after
the Awards process, it all comes down to Silver
the event) for feedback.
Awards. This is the mark of success. This is what
makes you smile and gives you a sense of
there's no limit. While there can be only one
satisfaction and accomplishment.
category winner, every entrant can conceivably
Especially when you realise it is five other
earn a Silver Award (or higher) if their work is
photographers on a panel who have made the
good enough. That means you can win up to
deliberation. It's not a public, popularity prize,
9 or 12 Silvers at the Epson State Professional
it's an award based on sound photographic
Photography Awards!
principles and professional practice.
is just $165 (less a 25% discount if you're AAIPP
A Silver Award will give you the confidence
The good thing about Silver Awards is that
Entry for up to four prints for APP members
that you're doing great work.
or higher), and only $105 for three prints for
Emerging members and $70 for Students.
And I hope you don't get your Silver Awards
too easily. There have been many years when
Now's the time! Start getting your entries
none of my entries reached Silver. It was tough
ready this week!
•
Nathalie Hicks APP
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EDUCATION
©
Who Owns Copyright – Me Or My Client? There are different rules for different types of photography and video production, but it can all be simplified with an agreement. If you have an agreement with your client,
in the photographs taken.
before you begin a job, that states you own the copyright, then essentially all the problems
VIDEO PRODUCERS
concerning initial copyright ownership
Ownership of a video production is more
disappear.
complicated than a still photograph and there
However, if there is no agreement in place,
can be elements within a production where
then the Copyright Act determines who owns
copyright is not owned, but is licensed (e.g.
the copyright.
music). However, generally speaking, the copyright in a film or video production is owned
DOMESTIC PHOTOGRAPHERS
by the person who commissioned the film or
Domestic photographers are generally wedding
production, unless there's an agreement to the
and family portrait photographers. It's where
contrary in place.
the photographer is dealing with the consumer – a B2C arrangement.
SPECIAL RULES
In the absence of an agreement to the
Overriding these general provisions can be
contrary, the client owns the copyright in the
special rules which apply to employees (the
photographs taken.
employer may own the copyright), or when you are working for government departments (the
COMMERCIAL PHOTOGRAPHERS
government will own the copyright).
Commercial photographers are essentially
not domestic photographers and their shoots
copyright can be changed with an agreement
can be characterised as business-to-business
between the parties involved and this is one of
(B2B). Examples include advertising and
the reasons the AIPP recommends members
corporate photography.
always use a contract or agreement for every
job that specifies that copyright is owned by the
In the absence of an agreement to the
contrary, the photographer owns the copyright
However, the 'default' position for owning
photographer or video producer.
This is general information only. We do not know your specific financial or legal situation and we are not providing you with advice. As such, this article should not be relied upon as legal, financial or accounting advice. Please use this article as a conversation starter with your own adviser.
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Milton Gan APP AAIPP
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EDUCATION
Can I Claim GST When I Buy Equipment? If you're registered for GST, one of the 'attractions' of buying new gear is being able to claim back the 10% GST. But are you entitled to? You can claim GST when you buy equipment if
invoice says ‘Tax Invoice’ on it indicates that the
you are registered for GST.
price includes GST, but chances are the GST will be separately listed on the document as well.
ARE YOU REGISTERED? This is the first question you have to ask. Many
WHAT ABOUT SECONDHAND?
photographers with smaller businesses may not
The same rule applies when you buy
be registered for GST, so when they purchase a
secondhand. If you get a Tax Invoice, GST is
piece of equipment for, say, $1000 + $100 GST
included.
= $1100, there is no GST claim. However, they
will be able to claim or depreciate the full $1100
privately, the seller may not be registered for
price (with the GST included) on their tax return.
GST – in which case they won’t be giving you a
Tax Invoice and you can’t claim GST!
If you’re not registered for GST, you simply
However, if you’re buying equipment
ignore GST.
SELLING YOUR OWN GEAR IF YOU ARE REGISTERED...
If you’re registered and you sell your equipment
On the other hand, if you are registered for GST
to someone else, you must include GST.
and there is GST included in the purchase price,
you can claim the GST.
equipment might initially ignore GST, but you
are unlikely to be able to add 10% GST after the
How do you know if there is GST in
Of course, in the real world, the price of your
the purchase price? The answer is pretty
deal is sealed.
straightforward: the GST will be noted
somewhere on the ‘Tax Invoice’ you receive
person who can’t claim GST, they will definitely
when you buy the equipment.
not be interested in slinging you an extra 10%
GST. So, when selling your gear, keep this in
When you purchase a new piece of
And if you’re selling your gear to a private
equipment from a shop, there’s no doubt they
mind: you will lose 1/11 of the sale price as
will give you a Tax Invoice. The fact that the
GST.
This is general information only. We do not know your specific financial or legal situation and we are not providing you with advice. As such, this article should not be relied upon as legal, financial or accounting advice. Please use this article as a conversation starter with your own adviser.
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Karen Alsop APP M.Photog.
25
EDUCATION
1. How Do I Price A Commercial Shoot? With most professional photographers shooting commercial work, at least from time to time, here's a series of 7 issues to help you understand the market and price your work profitably. The profession has gone through massive
extra for usage.
changes in the past decade which has had a
dramatic impact on pricing and profitability.
or by the day, and the client has unlimited
And all areas of professional photography
usage.
Photographers may also charge by the hour
have been affected. If you're working for other businesses as a photographer, how do you
USAGE ONLY
charge them and what are your options?
Photographers may licence their photographs for a specific use – they get a usage fee only.
SHOOT PLUS USAGE
They are not paid to take the photographs
Photographers may charge for the shoot, plus
because, usually, the photographs already exist.
a usage fee depending on how extensively the
This is how stock photographers work, but with
resulting photographs are used. In other words,
so much cheap stock photography available,
they are paid for their time and then they are
this side of the market has contracted.
paid additionally for the usage. You’ll find this
approach taken by high end photographers
variations. When working out your own prices,
in Sydney and Melbourne, especially those
the better your knowledge of the market, your
working with advertising agencies.
competition and what you need to charge to
Within these three basic models are many
survive, the better able you will be to determine
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SHOOT BUT NO USAGE
your price. One thing is for sure: Your clients
Photographers may charge per photograph,
won’t want to pay you any more than they
and include unlimited usage. Once the
have to, but some clients are prepared to pay
client owns the photograph, the client can
a higher price for what they perceive to be a
use it or sell it to other people as they wish.
better outcome. Our challenge is to change
This approach is taken by the majority of
their thinking from price-only to value for
photographers, most of whom do not charge
money.
•
Jorge Garcia
EDUCATION
2. What Is My Competition Charging? Knowing what other photographers are charging is essential information if we are to be successful. Our clients will know this information, so must we when it comes to negotiation. We live in a capitalist society, a free market
Before we give them an answer, it’s
where people are entitled to charge as much or
important for us to have an idea of what our
as little for their products and services as they
competition is charging.
like. Similarly, clients or customers can choose how much they want to pay for these services. If
CHARGING MORE
they think the price is too high, they don’t need
If our competition is charging $500 and we are
to buy at all.
quoting $3000, we are very unlikely to win the
job unless we also give our client good reasons
With commercial photography, our clients
are buying a product unseen. They don’t yet
for spending the extra. And unless we know our
know what we are going to produce for them,
competition is charging less than us, we won’t
so unlike a car or a loaf of bread, it can be very
know to explain the price difference in the first
difficult for them to compare one photographer
place.
with another.
In fact, often they don’t compare and just
CHARGING LESS
assume that we all produce the same standard
Similarly, if you’re charging $500 for a job and
of photography.
everyone else is charging around $3000, you’d
have to feel like a bit of a mug for doing it so
Or, they might not even be aware of quality
differences. As long as they can recognise their
cheaply!
product or employee, that’s all they want.
Undercharging the rest of the market may
mean you’re undervaluing the work you do, that
28
A LOAF OF BREAD
you’re not providing the same level of quality or
This is one reason why the first question many
service, or that you won’t be in business for too
clients ask is, ‘How much?’. For them, it’s very
much longer because there’s no profit. Or you
much like buying a car or a loaf of bread and
could be a brilliant marketer and $500 is all you
there’s no point spending more than necessary.
need because you’re so busy!
•
R o b y n C a m p b e l l A P P. L M . P h o t o g . I I I
29
EDUCATION
3. What Are My Client’s Expectations? A client who values photography is more likely to pay a higher fee, so by asking questions, you can discover if a client is worth working for and how to plan the job to an expected price point. A successful photographer will always ask as
bigger picture. If the photographs are part of a
many questions as possible before providing a
large advertising program, it indicates that the
quote for a commercial job.
quality of the photography is very important
and that they may be more open to a more
The reason is very simple: we may have the
wrong idea of what the client wants.
involved and expensive treatment.
By asking lots of questions, you’re not
an interest and very often this can help secure
WHERE ARE THE PHOTOS BEING USED?
the job.
If the photographs are required for a website,
then the technical expectations may be lower
imposing on your client, rather you’re showing
Of course, you need to consider every
inquiry on its merits – there can also be
than an image required for a billboard or
some clients who just want a price and
magazine reproduction.
sometimes they are not the right clients to
have anyway.
the photographs may be used and some would
Of course, often a client doesn’t know where
argue it doesn’t matter since, as professionals,
WHAT ARE THE PHOTOS FOR?
we should always provide top quality work.
Gathering information about how the clients
want to use the photographs can give you a
information can still help you work out your
good idea of the type of images you need to
client's expectations. It also gives you important
create and their expectations.
intelligence that can be useful for negotiating
usage if this applies.
A couple of small head shots of junior
employees may be handled very differently to a
lifestyle photograph of the managing director.
others it is something they don’t really relate to.
This information can also help you
understand where photography fits into their
30
This is very true, but knowing this
Some clients value good photography, for Normally we want clients who have high
expectations and value quality above price.
•
Aran Anderson APP M.Photog.
31
EDUCATION
4. What Is Usage And Should I Charge It? 'Usage' used to be a key component for advertising and stock photography, but it is less common these days. Nevertheless, understanding usage could one day make a huge financial difference. To hire a model for a job, you pay modelling
photographs from a library, you would need
fees plus usage fees. The ‘usage’ fees can
to answer all these questions before the library
increase depending on how and where the
could give you a price for ‘usage’.
photographs are used. The usage fee would
be lower for a small, limited run brochure, but
negotiated the same deal.
much higher for broad internet use which went
worldwide.
can be problematic.
Advertising and commercial photographers However, explaining usage to many clients
Some advertising and commerical
photographers also charge this way. When you
USAGE IN OTHER MARKETS
take a photograph for a commercial client, you
Explaining usage to a local builder who just
own the copyright (unless you agree otherwise).
wants a few photographs for his website is not
As the copyright owner, you then licence the
going to work easily!
client to use the photograph.
Many people have an expectation that if
they hire a photographer to take some images,
32
USAGE IN SOME MARKETS
then they own those images and can do what
For high end advertising jobs, this was quite
they like with them. Charging them usage may
accepted practice. The more the photographs
cause them to think you are ripping them off.
were used, the greater the value to the client
and the more they should pay for ‘usage’.
photographey are completely unaware that
usage exists in some markets, and fewer
Usage was charged using a formula that
Many newcomers to professional
took in how it was used (media and size of
photographers today charge it.
the reproduction), where it was used (what
geographical area), and for how long it was
or not charge usage, but it is an aspect that we
used (time).
should consider for every job, whether we end
up charging it or not..
If you purchased rights-managed stock
There is no rule that says you must charge
•
Sarah Long APP AAIPP
33
EDUCATION
5. How Much Do I Need To Charge? No matter what your competition is charging or your clients are paying, there is a minimum you need to earn if you are to make a living as a professional photographer (even if it's part-time). You can only earn a decent living by charging
STEP 3
enough in the first place.
Assuming 50 weeks a year, multiply your
average charge by the number of jobs, times 50
Unfortunately, it may not be possible to
compete with prices your clients are prepared
weeks.
to pay, meaning you may need to change
where you work or who you work for. This is an
This is your gross income. From this you will
uncomfortable fact, but better to face it than
have to take away your costs. if you’re not sure
slowly going broke and out of business.
what these might be, let’s assume 40%.
For example: $1000 x 3 x 50 = $150,000
So, how do you quickly work out what you
need to earn? Here’s one simplified way.
STEP 4
Calculate your costs at 40%.
Start with what you’re currently earning or
planning to earn.
For example: $150,000 x 40% = $60,000.
Then, when you see the result, you can re-
do the calculations with different numbers until
STEP 5
you get the result you want.
Calculate your net income or wages by deducting your costs from your gross income
STEP 1
For example: $150,000 - $60,000 = $90,000.
How much do you charge on average for each job or shoot? Remember, this is just an average,
ASSUMPTIONS
not for every job.
If this calculation gives you a result under
$50,000 for a full time job, then you either
For example: $1000.
increase your prices, or increase the number of
34
STEP 2
jobs you do each week. In reality, it will probably
How many jobs will you do each week?
be a bit of both. (We will re-visit this topic in
For example: 3 jobs.
more detail in another issue.)
•
Peter Barnes APP M.Photog. I 35
EDUCATION
6. Should My Quality Be Better? With the majority of photographs being taken for the internet, is quality such a big issue? Don't confuse technical quality with the process of engaging your client in a discussion about creativity!
36
Most readers are in love with the idea of
professional photographers and our job is to
photography – and working as a professional
produce photographs our clients love.
photographer.
work? Well, that depends on how you approach
Most of us enjoy spending time to refine
Can it be dissatisfying producing average
our lighting, our camera angle or our post-
the job. I always aim to create the best I can,
production in the interests of achieving a better
but I will shoot strictly to my client’s brief as
quality outcome.
well. Then they can choose what they like – and
hopefully it is my best work!
Our clients can also be interested in a high
quality result, just as they’re interested in a high
But if it’s not, that’s not the end of the world.
quality car or a high quality meal. However,
If we are particular about the quality of what
what’s good for one person may be below
we produce, we may choose not to work for
average for another.
some clients who are on a different wavelength.
WHOSE TASTE IS RIGHT?
AM I BETTER?
And then there is a matter of taste. All through
Whether you produce a better quality of
my career, clients have picked images from my
photography than another photographer can
shoots that were not in my top ten. Oh, the
be really hard to qualify.
shots they chose were good enough – correctly
exposed, nice composition, appropriate lighting
will be sophisticated enough to see or even
– but they didn’t have the photographic sizzle
notice the difference.
that set my heart racing.
more for your work, you possibly need to
However, who is to say that my taste or
Technically you may, but not all our clients
So, when you’re convincing them to pay
preferences are more valid than those of my
concentrate on better service, bigger file sizes
clients? They paid me, so should I be happy?
or more images etc., as this can be easier for
them to understand and quantify.
I think the answer is generally yes. We are
•
Angela Miller APP M.Photog.
EDUCATION
7. Which Clients Do I Educate? We know that good quality photography is incredibly valuable and can be the difference between success and failure for a client's marketing, but do they know this? How can we ensure they do? A lot of clients are only interested in price,
where they are coming from.
not because they can’t afford to pay more,
but because they don’t know enough about
photography, what do you tell them?
Assuming they appear interested in
photography or the processes involved.
INVOLVE THEM BIGGER FEE?
Whether you’re dealing with an individual or
In some cases, spending time with your clients
a large corporation, professional photography
and working through the options they have
is all about relationships and negotiations. By
can result in a much bigger fee. Once they
asking questions of your potential client, you’re
understand what is involved, or you can show
showing an interest in them and what they
them the differences in approaches, they may
want. This is a good starting point.
be prepared to increase their budget.
This information will also give you ideas
about what you can offer them.
38
OR TIME WASTER?
However, educating potential clients can also
room interiors, you could show them examples
be a huge waste of time. Some clients are not
taken with and without additional lighting,
focused on photography, just as some people
pointing out the differences and explaining
don’t follow cricket or football. It probably won’t
how good quality photographs will help them
matter what you say or what arguments you
sell their product or service.
present, they are not going to become avid
lovers of photography and for them, a cheap
clients like advertising agencies can be very
price is a good price.
sophisticated, but there is a trend towards
working with clients directly and this can be
The trick is to pick the clients you wish
For instance, if they want you to photograph
In commerical photography, some
to educate. Usually after asking them a few
an opportunity for education – and hopefully
questions about the job, you’ll understand
sales.
•
Ryan Ammon APP
EDUCATION
What Makes An Award Image? Dark, dark, dark tones have worked wonders for Rana Rankin's emotive portrait, but is it a dangerous game to play with the judges? Last issue we featured Peter Hasson's dark and
technique. This technique is less likely to have
moody landscape, with the caveat that dark
been so successful with a lighter-skinned
black and white prints could sometimes be
subject (a high key technique would probably
seen as a 'formula' to get a good score at APPA.
have had more chance of success, whereas a
Does the same apply to portraiture?
high key technique on Rana's subject would
Over the years, a number of Masters and
have been difficult to execute effectively).
Grand Masters of Photography have used
dark and intruiging exposures to good effect
technique to subject.
within the Awards system, but then the judges
seemed to grow weary of the effect and the
correctly as well. The pose is simple and direct,
scores lessened, to the extent that some prints
the angle of the head and the stare of the eyes
employing this style didn't even make Silver.
captivating. The propping grabs the viewer,
leading us to the gentle highlights on the arms
This is one of the challenges of following
So, full marks to Rana for matching However, Rana has done everything else
styles and trends because, by the time you
and hands.
notice them at APPA or in the AIPP Epson
State Professional Photography Awards, the
the printing. Using low key values throughout
technique loses its effectiveness.
the image, it is very easy for these to block up.
If you're looking at this page on a smart phone
However, this should in no way belittle the
The challenge for Rana is most definitely in
beautifully emotive portrait submitted by Rana
or a high contrast monitor, the image might
Rankin, which earned a deserved Silver with
already look blocked up, but the original file
Distinction. Her choice of subject matter suits
is beautifully controlled and no doubt under
the technique, or should I say the technique
competition lighting, the print would have
suits the subject matter and sometimes this is
sung.
where photographers get it wrong. It's not just
a matter of using or applying a technique to a
a classic technique. Simple, powerful and well
photograph, it's about applying an appropriate
deserving of a Silver with Distinction.
So, a brave image, beautifully executed with
Peter Eastway is a past chairman of the AIPP Australian Professional Photography Awards and an experienced judge. However, his views are those of a single judge and our awards system intentionally uses five judges to obtain a range of opinions. This article reflects Peter's opinion only.
40
y n a y l d r a h s i There n o i t a r a p e s l a y t u ton a e b e h t s i but this nique. h c e t e h of t
s k c a l b ch i r p e e D d e t n i r p e b o t d e r nee u s n e o t , y l l u f care 't n s e o d il a t e d e th . t s o l t e g
l u f r e d on w e h t , g n o r t Behind s a s e i l e u q i n h c t. te i a r t r o p g n i g a eng ng i s o p g n i t s e r e ld o Int h n o i ss e r p x e . r e and h t e g o t g n i h everyt
•
R a n a R a n k i n A P P. L A A I P P 41
NEWS
Belle Verdiglione's Winning Birth Photo Perth photographer and AIPP member Belle Verdiglione has been picking up a number of awards for her birth photography. And you can see the joy and emotion in her subjects very clearly! It's been a good beginning to 2019 for Belle
Verdiglione APP. First she walked away with
specialised field and the judges of these awards
both the 2nd Place Overall Winner in the Birth
take into account the level of expertise and the
Becomes Her Image Contest as well as the
art of storytelling required to create timeless
Overall People’s Choice Winner for her entry
images."
titled “Our rainbow baby is finally here”.
A week later, Belle was elated to be
photo, was equally pleased. Said Claire, “This
announced as the 1st Place Winner in the
photo is so powerful to our family, it signifies
International Association of Professional Birth
the beginning and the end. The end of our
Photographers Competition as well as 1st Place
heartache that is infertility and miscarriage; and
Winner of the Members’ Choice Award.
the beginning of our dreams being answered,
holding our baby in our arms and birthing him
Belle says these two birth photography
Added Belle, "Birth photography is a highly
Claire, the mother featured in Belle's
competitions are a big deal in her genre,
into the world in such a beautiful and calming
describing them as the “Academy Awards for
environment. We feel truly blessed that Belle
birth photographers”.
was with us on our journey and was able to
capture such a meaningful picture.”
According to Belle, the Birth Becomes Her
competition was founded by Jenn and Monet,
Belle was also blown away with her awards,
internationally respected photographers
saying: “To have won first place is a dream
who have been pivotal in growing the birth
come true because not only did this image
photography industry and increasing its
capture the attention of the judges, but all the
visibility in mainstream culture. The International
amazing birth photographers selected it for the
Association of Birth Photographers Competition
Members' Choice too!”
also celebrates the beauty of birth as captured
42
by skilled photographers from more than 51
Belle Verdiglione’s website: http://www.belleverdi-
countries around the globe.
glionephotography.com.au
43
NEWS
Olympus OM-D E-M1X The world’s highest image stabilisation performance with 7 shutter speed steps of compensation, high-speed burst shooting up to 60 fps and autofocus with intelligent subject detection, what's not to like! Olympus has beefed up and refined its
configuration with aspherical lenses and lenses
professional OM-D E-MI model, releasing the
with a high reflective index provide a clear,
new E-M1X which, importantly for a pro camera,
distortion-free display, right up to the edge of
has been carefully designed for comfortable
the viewfinder.
handling.
And as with the previous OM-D E-M1 Mark II,
a 120 fps (progressive system) high-speed frame
GREAT HANDLING
rate and a mere 0.005 second display time lag
Let's face it. When we use a camera, we're
provide the immediate feedback necessary for
often using it for hours on end, so it makes
action photography.
sense to expect comfortable ergonomics. The
44
new camera provides an integrated vertical
EXCELLENT RELIABILITY
grip, delivering an improved hand hold with a
As professional photographers, we're required
deep finger rest, whether holding the camera
to work in all types of weather and conditions.
horizontally or vertically.
exceeds the industry standard IPX1 testing,
The layout, shape, and height of all buttons
The weather sealing on the OM-D E-M1X
and levers have been redesigned to deliver
producing a camera body that is dust, splash,
controls that enable efficient operation while
and freezeproof (-10°C). The SSWF (Super Sonic
the photographer concentrates on the image
Wave Filter), which vibrates at 30,000 times per
in the viewfinder. A multi selector control is
second to remove dust and dirt from the sensor,
included for both the horizontal and vertical
features a new coating to further reduce the
positions, so that users can quickly shift focus
possibility of dust or dirt by an additional 10%,
areas while looking through the viewfinder.
compared to previous models.
The viewfinder features a new optical design
The robust construction includes a shutter
with class-leading viewfinder magnification
rated for a minimum of 400,000 actuations and
of 0.83x (35mm equivalent). The four-element
the OM-D E-M1X is equipped with a cartridge
45
NEWS
battery insertion system with the capacity for
sequential shooting at a maximum of 60 fps
two BLH-1 lithium-ion batteries (used also on
for capturing scenes in high definition that the
the OM-D E-M1 Mark II). This powers up to
human eye cannot see.
approximately 870 shots and it is easy to replace
the batteries, even when the camera is attached
and 18 fps AF/AE tracking high-speed
to a monopod or tripod.
sequential shooting can both be used in silent
Olympus also claims that this is the first
mode for shooting at concerts and sporting
camera in the world to support USB PD (power
events where users do not want to disturb
delivery), providing power to the camera from
others with the sound of the shutter.
The 60 fps high-speed sequential shooting
a maximum 100 W USB PD standard power source. This makes it possible to charge the
NEVER MISS A SHOT
two BLH-1 batteries in the camera body in
In Pro Capture Mode, you can record up to 35
approximately two hours.
frames retroactively from when the shutter
button is released, with no blackouts (image
In terms of actually holding and using the
camera, Olympus has made some really useful
loss) during shooting and recording in raw
improvements. So, what's inside the camera
if required. This feature has received high
itself?
praise from many pro photographers since its introduction on the OM-D E-M1 Mark II.
46
RESPONSIVE AUTOFOCUS
New double True Pic VIII image processors
The popular 121-point All-cross-type On-chip
provide quicker start-up times and recovery
Phase Detection AF sensor from the OM-D
from sleep mode, and there are two high-speed
E-M1 Mark II has also been adopted in the
UHS-II SD card slots.
new model, delivering not only Live View
images, but also utilising AF information from
80MP images in Tripod High Res Shot mode, a
recorded images to enable quick tracking of
new Handheld High Res Shot mode is available
unpredictable subject movement and changes
and Olympus suggests this feature is particularly
in subject speed.
useful for capturing high-definition shots in
situations where it is inconvenient to use a
The AF low light limit when an f1.2 lens is
In addition to capturing ultra high-resolution
attached is -6 EV, permitting accurate focusing
tripod, such as when trekking from place to
in both dark conditions and with low-contrast
place.
subjects.
which delivers slow shutter speed effects as
The new OM-D E-M1X features high-speed
Also of interest is the Live ND feature
47
48
NEWS
though using an ND filter. This new technology
of compensation performance when using
combines multiple exposed images to attain
the body alone, and the world’s best image
slow shutter effects. It is also possible to check
stabilisation of approximately 7.5 shutter
the slow shutter effects in the viewfinder before
speed steps of compensation when combined
shooting for improved efficiency.
with the 12-100mm lens. This feature makes
The slow shutter effects can be set in five
handheld shooting possible at lower shutter
levels: ND2 (equivalent to one shutter speed
speeds than ever before, which is perfect for
step), ND4 (2 steps), ND8 (3 steps), ND16 (4
night-time and indoor shooting (as long as your
steps), and ND32 (5 steps).
subject stays still, of course)!
INTELLIGENT SUBJECT DETECTION AF
FULLY FEATURED Other features include a built-in GPS sensor,
A new Intelligent Subject Detection AF mode
temperature sensor, manometer and compass.
detects three different types of subjects,
With anti-flicker shooting, the camera detects
including motorsports, airplanes, and trains,
the flicker frequency of artificial light sources
focusing on and tracking the optimal area.
and activates the shutter at peak brightness to
do away with uneven exposures and uneven
For example, this mode sets a pinpoint focus
on the driver’s helmet during motorsports
colouring.
and then automatically detects this part of the
subject as the photographer follows the action
learn that the powerful 5-axis IS and electronic
with the camera, enabling improved autofocus
stabilisation enable refined handheld 4K and
precision.
cinema 4K video recording. Image stabilisation
And video producers will be interested to
effects can be selected from three levels
WORLD'S BEST IMAGE STABILISATION
depending on the video producer's posture and
Olympus is now claiming the highest image
Log400 shooting which, Olympus claims, allows
stabilisation compensation performance of any
for shooting without loss of details in shadows
camera when combined with an M.Zuiko Digital
and highlights.
ED 12-100mm f4.0 IS PRO lens.
movement and the camera also supports OM-
RRP body only is $4499.
The OM-D E-M1X’s new gyro sensor enables
5-axis sync IS, which delivers a maximum
For more information, visit www.olympus.com.au.
of approximately 7.0 shutter speed steps
49
NEWS
Sony 135mm f1.8 G Master Lens Looking for a point of difference in your photography? Something that could be great for portraiture? Check out Sony's latest 135mm midtelephoto with an incredibly wide maximum aperture of f1.8! It's true that Apple and other phone makers
to compensate for axial chromatic aberration,
have new cameras that feature a shallow depth-
minimise colour fringing and maximise overall
of-field effect. They obviously know something
resolution, ensuring outstanding image quality.
and perhaps it's as simple as creating photos
with a difference to get people to notice your
is applied to reduce flare and ghosting that can
work.
occur when shooting backlit portraits.
As professional photographers, we can take
An 11-bladed circular aperture mechanism
this a step further by using a mid-telephoto
contributes towards achieving extremely
lens instead of the phone-camera's wide-angle,
natural and beautiful background defocus
resulting in even shallower depth-of-field and
(bokeh), and the effect is maximised wide-open
an effect that smart phones can't replicate (yet)!
at f1.8.
Sony's G Master FE 135mm f1.8 full-frame
The new lens features dual-autofocus groups
lens (SEL135F18GM) is a great example of
in a floating focus arrangement for improved
pushing the creative envelope with high quality
close-up capability, allowing a minimum focus
optics.
distance of just 0.7 metres.
And the trick to a high quality, wide-aperture
To ensure that this lens can keep up with
zoom is keeping the image sharp from corner to
fast-moving portrait and sports subjects, the FE
corner, not just in the middle of the frame. The
135mm F1.8 GM has been equipped with four
FE 135mm f1.8 GM boasts an innovative optical
XD linear motors to achieve rapid, reliable and
design that places XA (extreme aspherical) and
speedy AF tracking and performance. There is
Super ED (Extra-low Dispersion) glass elements
also a control algorithm that helps to maximise
in the front group to effectively suppress all
control response and ensure quiet, low-
common telephoto lens aberrations.
vibration AF.
Additionally, the Super ED element plus one
ED glass element are strategically positioned
50
For further clarity, Sony’s Nano AR Coating
For further information, contact you camera
retailer or visit www.sony.com.au.
51
$50 off
Special fo r AI Coupon C PP Members ode: AIPP 2018
The Complete Photo Business Package by Peter Eastway Don’t waste your time going in the wrong direction – turn your photography into a well paying career! There are a lot of people offering great advice on how to run a professional photography business, so what makes this package different? Perhaps the main difference is that it’s written from a background of extensive practical experience. Peter Eastway is not only a highly regarded professional photographer, he has a background in business and accountancy (he is a qualified CPA), and he has years of experience working as a writer and publisher. He knows how to earn a living from photography, many of his accounting clients are successful professional photographers, and he can write and communicate business issues in an easy to understand style. So when you read the Complete Photo Business Package, you can feel assured the advice is real, qualified and practical. And it comes with a moneyback guarantee, so there is no risk. The Complete Photo Business Package comprises six publications. Have a read of the contents to understand why this is the essential information you need to break into professional photography.
What You Need To Know To Be A Successful Professional Photographer • So, Do You Really Want To Be A FullTime Professional Photographer? • Professional Photography Has Two Words • Business = Manners • What Photography Skills Do You Need? • What Photography Equipment Do You Need? • What Business Skills Do You Need? • What Type of Photography Will You Shoot? • Who Are Your Clients Going To Be? • How Will You Find Your First Clients? • How Will Your Clients Find You? • Have You Done A Practice Shoot Yet? • Why Should Someone Hire You? • What Products & Services Will You Offer?
• What End Of The Market Do You Want To Work In? • Do You Need A Flash Car And Studio? • Creating A Portfolio With A Difference • What Does Your Portfolio Look Like? • What Will Your Clients See On Your Website? • What Design Will You Use? • What Stationery Do You Need? • Some Sample USPs • Getting You First Portrait • First Wedding • First Commercial Shoot • Charging $200 An Hour Is Different From Earning It • How Much Do You Want To Earn A Year? • How Much Can You Charge? • How Many Jobs Do You Need A Year? • Does It Matter If You Don’t Charge Enough? • Who Owns The Copyright? • How Does Licensing Work? • Insurances For Photographers • Working With Children
Professional Portrait Photography In Detail • Setting Up A Portraiture Business • Portraiture: Equipment Suggestions • Portraiture: Suggested Lighting Techniques • Portraiture: Shoot List • Portraiture: Can You Just Sell Digital Files? • Portraiture: Why Selling Physical Products Is Better • Portraiture: Files For Social Media • Portraiture: Price List • Portraiture: Client Information Pack • Portraiture: Money Back Guarantee? • Portraiture: The Sales Process • Portraiture: Benchmark Prices
Professional Wedding Photography In Detail • Setting Up A Wedding Photography Business • Weddings: Equipment Needs • Weddings: Post-Production
• Weddings: The Shoot List • Weddings: What Are You Selling? • Weddings: Can You Make Money Selling Digital Files? • Weddings: Making Shoot-And-Burn Work • Weddings: Offering More Than Shoot-And-Burn • Weddings: The Price List • Weddings: Booking Your Clients • Weddings: The Paperwork
Commercial & Landscape Photography In Detail • Setting Up As A Commercial Photographer • Commercial: Equipment • Commercial: Lighting • Commercial: Quotes and Estimates • Commercial: Terms and Conditions • Commercial: Bits and Pieces • Landscapes: The Big Picture • Landscapes: Marketing Landscape Photographs • Landscapes: Equipment • Landscapes: What Will You Photograph? • Landscapes: Limited Edition Prints • Stock Photography
Business Planning For Professional Photographers This is a step-by-step guide that will take you through the process of creating a business plan. You don’t need a business plan? Well, a business plan is the difference between successful professional photographers and those who struggle to make a living. Business planning needn’t be scary and this publication is an interactive PDF, meaning you can read the instructions and then fill in the 12 worksheets on your computer. The worksheet templates will also help you calculate important figures such as how much you need to earn, how many jobs you need a week and how much you need to charge. It’s an essential part of being in business and this publication makes it really easy.
Business Planned: What A Plan Might Look Like And just in case you’re not sure, we’ve filled in a business plan to show you what it looks like. No, this isn’t a plan that you can just put into practice, but it shows you exactly how to complete the templates in your own business plan.
Is This Package For You? The Photo Business Handbook package covers all the basics for running a successful photography business. It will give you a strong foundation so when you do other courses or workshops, the photography, marketing and selling skills you learn will work properly. It doesn’t matter how good a photographer you are, being a professional photographer is all about running a business. You’d easily pay thousands of dollars at workshops or with accountants to obtain this quality of advice, so why is this package so inexpensive? “The profession of photography has changed dramatically and there are many people entering it for the first time. Unfortunately, most of these new photographers are unaware of what is required to run a successful business, or indeed of the value of the photographs they create. “With my accounting background, I know what they need to do. I have been giving the same advice to photographers for over 30 years and while the nature of photography has changed completely, the underlying basics of running a business remain the same. “The more people who understand these basic principles, the better it is for all of us.”
Full package: $99 ($149 less $50) - online/download. To purchase visit: www.betterphotographyeducation.com