Issue 270
Dan O'Day: Awards & Weddings Lumix S1/S1R: Full Frame Panasonic
April 2019
JOURNAL
CONTENTS 6
John Swainston's President Message What's the AIPP's strategy for the future? Where are we going? Where is the AIPP taking us? The President outlines what's happening now.
10
AIPP National Board - Meeting Summary The following summarises the outcomes of the March 2019 AIPP National Board meetings, as compiled by Steve Wise.
Cover
14
AIPP Honours Committee Meeting 2019
Dan O'Day APP M.Photog. III
Melinda Comerford APP M.Photog. reports on who the Honours Committee are, what the Honour Committee does – and what our various honours mean.
AIPP AUSTRALIAN PROFESSIONAL WEDDING PHOTOGRAPHER OF THE YERA 2018 AIPP AUSTRALIAN PROFESSIONAL PHOTOGRAPHY AWARDS
18 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
2
Are You Attending Refocus Retreat 2019? Refocus Retreat is on again this year, from 24 - 27 May in the gorgeous Macedon Ranges in Victoria. It's a 4-day 3-night all inclusive conference and it is unique in that it is the only female-focussed photography conference in Australia. Victoria Mckay reports.
ISSUE 270 / APRIL 2019 24
Dan O'Day - Loving Photography
38
The charismatic Dan O'Day APP M.Photog. III reflects on what it takes to be a successful wedding photographer today and the importance of both awards and business acumen.
Get Cyber Secure As avid computer users, professional photographers and video producers need to be aware of more than just their editing programs. Here Aon Insurance provides some helpful tips on staying safe and protecting your business data.
42
44 46
Capturing Nature Inspiration or background knowledge for judges? Author Vanessa Finney possibly hasn't realised how her new Museum sponsored book could be received by professional photographers.
Lumix S1/S1R Full-Frame Is it time for professionals to go mirrorless? If so, Panasonic has released two full-frame models sporting a Leica lens mount and a brilliant viewfinder. Which one is right for you? By Peter Eastway
What Makes An Award Image? While rainbows might be considered clichÊ, present them in a package that draws together design, colour and emotion – and like Roza Marciniak, you could be earning a Silver with Distinction!
Platinum Sponsors 3
4
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
5
NEWS
John Swainston's President Message What's the AIPP's strategy for the future? Where are we going? Where is the AIPP taking us? The President outlines what's happening now. G’day! How are you? Are you meeting your own
and contracts, and run your business better.
goals for your photography business, adding
to your skill set, readying images for the Epson
strategy: AIPP Vision 2022.
State Print Awards?
in three years, built on 55 years of history, but
Or perhaps you are finding the current
climate challenging, not getting the bookings
Right now, we are finalising our 3-year It’s where we want the AIPP to be for you
confidently contemporary.
you’d hoped for, even wondering if this is the right profession for you?
Good or bad, a bit of introspection from time
ENGAGE – GROW – DEVELOP – EVOLVE.
to time is a normal part of working life.
6
Happily, most of us also experience those
The strategy is about being emphatically
wonderful days when the phone rings, a job
relevant in a world of rapid technical and client
comes through that’s really going to make a
change.
difference, you interview a couple of new clients
who commit on the spot and you get a nice
from fellow members, combined with the
thank-you email from a client from last month.
development of a community for young and
Now that’s seriously uplifting, isn’t it?
less young (!) alike.
And that, Dear Member, is what the AIPP
That’s what your Board sees for your AIPP.
Board, councils and committees are all working
We hope you will too.
at on your behalf: Planning and hosting events
After further discussions and improvements
that build friendships and community, and help
from the councils and commitees, the May
you to grow your skills to keep you current, be
edition of the AIPP Journal is where you’ll
more efficient in workflow, explain copyright
see the detail. The AIPP Strategy will be the
Central is the social support and sharing
Platinum Sponsors Gold Sponsors Trade Partners ATKINS PRO LAB
ATKINS PRO LAB
APVP Sponsors
Advancing Professional Photography.
For Everyone. 7
NEWS
result of extensive discussions, individually
broader exchanges with each other.
and in groups. Last month in this Journal, I
summarised the Board’s initial concepts, now
steps in maintaining your edge. Enter your
distilled to three key areas of focus:
Epson State Print Awards, starting in South
1. Building a great Member experience and an
Australia this month, concluding in NSW in
inclusive sense of community. 2. Providing value for all types of Members, new and long-standing. 3. Advocating for photographers, constantly
But first! Please take one of those important
June. No matter how long you’ve been a professional image maker, testing yourself through the process is a vital part of continued progress.
aspiring to the best standards in every field of
image making.
refreshment (and usual panic!) that you’ll find in
The AIPP of today acknowledges things
All success to you in your business and the
the Epson State Print Awards.
could have been done differently over the years.
With apologies and in reverence to possibly
There are some no longer with us who are every
the greatest beer ad of all time, for Dutch brand
bit as valid as working photographers as most
Heineken.* It’s from 1973, created by Tony
of our members. We want them to feel included
Lovelock of London agency, Collett Dickenson
and we want to welcome them back to
Pearce:
membership because they have been missed.
By being more inclusive, we can deliver for
our sponsors and partners, too. Think of all the people who purchase online courses and book seminars or seek advice from AIPP members.
8
“ENTERING THE EPSON STATE PRINT AWARDS REFRESHES THE PARTS OTHER AWARDS CANNOT REACH.”
Think of the many skilled photographers,
who are never going to work in the profession,
Go well!
yet would value the opportunity to be judged
John Swainston Hon. FAIPP
by some of the world’s best judges, just for
National President
personal growth and satisfaction.
john.swainston@aipp.com.au
*The immortal original: “Heineken refreshes the
Think of an association that is the genuine
benchmark of excellence, an association to
parts other beers cannot reach.” The voice-over
which we all want to belong whatever form of
was read by Danish entertainer Victor Borge.
image maker, vlogger or teacher we are.
Check them out on YouTube. They are pure
creative genius.
Think how much we can all grow from
•
Matthew Gianoulis APP AAIPP
NEWS
AIPP National Board - Meeting Summary The following summarises the outcomes of the March 2019 AIPP National Board meetings, as compiled by Steve Wise. DIRECTOR CONFLICTS OF INTEREST DISCLOSURE
of recent investigations, highlighting that a
It was suggested and agreed that directors’
the matter had tested the Awards systems and
conflicts of interest will be declared monthly
proven that they work. John Swainston thanked
in the AIPP Journal via a standing statement,
Ollie and the NZIPP Board for working with the
to let the Members know that these conflicts
AIPP on this matter.
of interest are regularly under review. This will
commence in the next issue of the Journal.
which will be held in Wellington in June 2019.
Members are to also be made aware that in
This includes three days of judging, a trade
discussions focused on the brands that present
show, public events and workshops, a two-day
a conflict of interest, the conflicted director will
conference and culminating in the gala dinner.
recuse themselves from the discussion and any
There is a charge for the conference with 180
relevant decision-making processes.
seats available, currently 90 have been sold. It
process had obviously been followed and that
Ollie updated the Board about the NZ Event
was decided to promote this further to AIPP
TAGS AIPP Management
10
NEW ZEALAND MATTERS FOR DISCUSSION
Members at a discounted early bird price.
Current NZIPP president Ollie Dale was invited as a guest to the directors' training and strategy
AWARDS SCRUTINEER ROLE & 4TB DRIVES
day and was able to join the board meeting to
Steve Wise updated the Board about the
talk through a number of matters relevant to
Awards Committee decision to update the
the NZIPP at present.
2019 Awards Entry Process, whereby all entrants
would now be required to submit their original
The Board was congratulated on the result
11
NEWS
capture files on a USB with their prints. The
videos and podcasts.
Board was also asked to ratify the decision to
bring in a scrutineer role to join the Awards
in the best position to organise their awards
Team on the ground at each Awards to assist in
marketing and that they could rely on back up
the assessment of prints during breakout and
from the Board for any further information and
judging.
branding requirements.
GRAPHIC DESIGN
MEMBERSHIP CLASSES
A graphic designer has been found for the short
Melissa Neumann advised that the MAC and the
to medium term to update current documents
Constitution Committee had given feedback on
and handle all member/public facing
membership classes, and it was agreed a deep
communications – including the State Awards
dive session into updating AIPP membership
and APPA – in line with the need for branding
classes would be scheduled.
It was discussed that the state councils were
consistency and the professional look that the AIPP should be marketing.
GENERAL BUSINESS In his role as joint company secretary, Roger
SPONSORSHIP & TRADE SHOW
Rosentreter held a short session covering
Bruce Pottinger explained to the Board that a
compliance on numerous legal and governance
sponsor-run seminar program would run on the
responsibilities. The council and committee
Saturday and Sunday during the APPA Judging
bylaws are ready to be adopted and it was
with no liability to the AIPP, designed to increase
asked that the Board discuss the management
numbers to the trade show and APPA – with an
bylaw and offer their recommendations.
aim of having 3000 people through the doors over the three days.
NATIONAL MARKETING FOR STATE AWARDS Sara McKenna suggested further marketing may be required for Awards this year, especially at state level, in order to increase excitement about entering. Suggestions included different media be employed for this task, including
12
•
Jina Zheng APP
NEWS
AIPP Honours Committee Meeting 2019 Melinda Comerford APP M.Photog. reports on who the Honours Committee are, what the Honour Committee does – and what our various honours mean. I admit it, I’m more entrenched in the AIPP than
met in person once per year, the process of
some people!
deciding the honourees is, by design, a bit of a
mystery.
I’ve spent the past 14 years volunteering in
some capacity or another. Most recently, I joined
So, here’s my take on how the Honours
the Honours Committee, which is designed
Committee works, from the perspective of a
to celebrate and highlight the achievements
brand newbie.
of members of the AIPP and the wider photography community.
WHAT WE DO Firstly, I didn’t really think we would need two
TAGS AIPP H o n u r s
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LOTS OF INITIALS!
full days of meeting to find five people to
I’ve recently returned from my first Honours
recognise. But it turns out that looking at the
meeting with fellow committee members
lifetime achievements of a candidate takes time.
Richard Bennett APP.L M. Photog. IV Hon. FAIPP
Two days was enough, but only just.
FAIPP, Ian van der Wolde APP.L M. Photog. III
Hon. FAIPP FAIPP and Greg Hocking APP.L G.M.
share on the people we consider, the process
Photog. Hon.FAIPP FAIPP (check out all those
is remarkably unprejudiced, with personal
initials following their names!!!), who have been
relationships completely irrelevant to the
faithfully honouring photographers and other
discussions or the names put forward.
industry experts on behalf of the AIPP for the
past 13 years.
Presidents of the AIPP and their combined
knowledge of the photography industry and its
Although I have known the guys for a long
Despite the knowledge and stories we
Richard, Greg and Ian are all past National
time now, I was clearly the new kid on the block
participants spans over 30 years!
in the context of this committee and a little
nervous about my first meeting.
thin air and tell you who received an honour
that year, and what they did to deserve it. I’m
While I knew that the Honours Committee
Richard, in particular, can pick a date out of
What do all the initials mean? APP is for Accredited Professional Photographer. APP.L is a Licentiate. This means they have been an APP for 15 years or longer. AAIPP is the earliest of the APP Award designations - Associate of the AIPP is signified by a yellow Awards ribbon. M. Photog. is Master of Photography. Any Roman numerals following this distinction indicate how many times they have received a further 10 points within 5 years, represented by gold bars on the red Awards ribbon. G.M. Photog. is the ultimate Award designation, reserved for our Grand Masters of Photography who wear a black ribbon. Platinum bars are also awarded for a further 25 points in 10 years, and written as Roman numerals. Hon. LM is an Honorary Life Member, typically reserved for people who have made a significant contribution through their volunteering. Signified by a blue ribbon. Hon. FAIPP is an Honorary Fellow of the Institute and recipients wear a grey ribbon. Both members and nonmembers alike are eligible to receive this distinction, but it takes an impeccable record and many years to achieve. FAIPP is the highest honour, Fellow of the Institute, with a purple ribbon. Reserved for a combination of stellar service to the industry and outstanding photography work over a sustained period.
15
NEWS
lucky remembering my phone number, so this
Katrina Ferguson APP AAIPP were honoured
astonishes me!
with the same award last year, the Honours Committee arranged to have their partners
16
CURRENT RADAR INKLINGS?
attend the dinner so the girls could party with
So, who is on our radar for this year? Well, that is
their nearest and dearest.
a well-kept secret and for good reason.
I was fortunate enough to receive the
it turns out to be someone I’ve never heard of.
Claude McCarthy Award with my Awards
And that’s the importance of the citation read
partner in crime, Mark Zed, a couple of years
by the Committee members on the stage - it
ago. It came as a complete surprise to me when
tells the dinner attendees why the person is so
the Honours Committee started to read out the
deserving of the honour.
story about our journey.
to recognise an individual, it’s possible that
I did the ugly cry, I don’t remember my
Sometimes a recipient is announced and
Because the process can take many years
acceptance speech (athough I do remember
they have missed the radar of those of us in the
that Mark was far more eloquent), and the
younger generations.
rest of the night was quite a blur from the
excitement.
to stand on their shoulders to get where we are
today, and those short citations tell us briefly
Did I feel a little like I had been presented
Mostly, they are the giants who enabled us
with the photography equivalent of an Oscar?
how the recipient accomplished their feats and
Just a smidge.
why they are worthy of celebrating.
Do I wish I had known to expect the award
before the announcement? Not one iota. If I had
WHY THE DINNER?
known I wouldn’t have enjoyed the night nearly
Finally, why are the Honours announced at the
as much, because I would have been fretting
APPA Dinner? Well, they actually aren’t. They
about my speech and where in the ceremony it
are announced at the Institute Dinner, which
would appear.
happens to be where we also announce the
APPA winners.
Instead, I was able to enjoy a marvellous
night with my friends and colleagues,
completely unaware of what was ahead,
to commemorate and commiserate APPA
and could share my joy with them once the
results, the honours presented on that night are
formalities wrapped up.
to mark a long period of sustained achievement
– sometimes the work of an entire lifetime.
When Keren Dobia APP M. Photog. II and
And while some dinner attendees are there
And I think this kind of work deserves to be
paved the way for us newer photographers.
celebrated on the biggest possible stage for our
organisation.
recipients to observe their accomplishments
can be used by other dinner attendees to salute
I’m really looking forward to presenting my
I hope the few minutes we devote to the
first honour at the Institute dinner later this year
these people who are the foundation of our
in Sydney and honouring someone who has
incredible industry.
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NEWS
Are You Attending Refocus Retreat 2019? Refocus Retreat is on again this year, from 24 - 27 May in the gorgeous Macedon Ranges in Victoria. It's a 4-day 3-night all inclusive conference and it is unique in that it is the only female-focussed photography conference in Australia. Victoria Mckay reports. I have enjoyed my experiences at Refocus
"Why? Why is it assumed that women
Retreat, having been a regular since 2017. Yet
photograph weddings? Is it because they are
the question that is always asked each year
pretty and women shouldn’t be shooting war
is, “Why is there still a need for an all female
zones, bush fires, street protests or abattoirs?
retreat?”
"As far as we believe we have come, in trying
to even out the scales on gender equality, we TAGS Fo cus R e tre a t
18
A LONG WAY TO GO
have such a long way to go. Age and gender
I asked Carla Gottgens about her experiences.
combined have a stereotype attached to them
that people can’t seem to see beyond.”
“Countless times when I’m asked, 'What do
you do?' and I answer, 'I’m a photographer,' the
I also put this to the founders of Loud and
follow up question is always a second guess like,
Luminous, a celebration of women in photog-
'Oh right, so you shoot weddings and stuff like
raphy, Mel Anderson & Hilary Wardhaugh.
that?'
Mel said, “It’s a challenging time culturally
Last year's Refocus Retreat. Photographs by Kym Griffiths.
19
NEWS
in navigating and redefining gender. I believe
organisation – and so to allow for changes
that conversation needs engagement from all
within the whole community"
genders, however we equally need our own space, through projects, networks etc.”
FEEL NOT THINK
Annie Murray is a mentor who helps both
Hilary is involved in a Special Interest Group
within the AIPP to improve gender issues and
women and men find their way in business.
equality within the Institute.
She says, “Women feel, men think...
photography is technical, but also a feeling is
STATISTICS REVERSED
captured. Through the lens, I can see someone’s
She said, "There are many more women in the
soul and I capture that. That’s what sells photos.
industry these days. In 2002, 70% of the AIPP
membership was male. The statistics these days
technical aspects, women just operate at a dif-
are reversed. The balance of power is changing
ferent frequency; not better, not worse, just
within the organisation and there have been
different. We gather to connect and we make
changes in policy. These include a commitment
decisions based on how we feel.
to diversity, an understanding to be inclusive
and changes also to discrimination and work
pour every inch of our soul into becoming
place health and safety, to ensure everyone’s
our own version of success. I think the Refocus
rights are equitable.
Retreat is incredible for women to let down
their guard and connect, laugh, cry, take photos
"Systems are in place to ensure that when
"While many men often focus on the
"We wear our hearts on our sleeve and we
judging awards, speaking at conferences or
and share experiences. This is where you find
being honoured, women feel comfortable that
your tribe, your support network”
they will be represented.
women-only retreats too and they aren’t afraid to
"For example, the percentage of women
There are men who support the concept of
currently being honoured within our
have their say. Glynn Lavender is one photographer
organisation is minimal, less than 40% between
with an opinion on women’s retreats.
2003 and today. Male speakers far outweighed
20
female speakers at the cancelled Lenscape in
VALUING YOURSELF
2018. To give women the confidence to speak
“Having trained nearly 10,000 photographers,
up and to speak out, it is important to come
a large percentage of whom were women, I
together to raise awareness and to have the
have noticed many common denominators
collective confidence to be a part of a larger
with women photographers. What is missing is
confidence and the valuing of themselves.”
hurdles to overcome. Carla Gottgens nailed it
when she talked about her struggles as a female
I asked Glynn how women and men differ in
a photographic sense?
in this industry
“Generally speaking, I find women
photographers far more creative, have a greater
STILL HURDLES TO OVERCOME
feel for emotive imagery and often produce
“When tendering or putting quotes forward for
work that really speaks. The underlying male-
work, especially in the photojournalist, news
dominated industry can make it tough for some
and media/event categories, I have found as a
to speak out, take charge and champion the
woman that I am expected to work longer and
work of themselves and their peers.
harder than a male might do in order to prove
myself.
Women-only retreats can cut through a
lot of this and allow photographers to get
"I also find as I’m approaching my late 40’s
to the heart of what is important; crafting
that people ask if I’m still taking photos! And
quality images without the tensions that can
yet many guys I see in my industry are well and
sometimes be in the way during traditional
truly older than myself. I find this so offensive
events.”
and have to be very careful when asked this of a past client who contacts me after a long period
SPEAKING DIFFERENTLY
of silence to see if I’m available to shoot a gig.
Julie Kimpton from Nikon had some insights
into the benefits of the women’s retreat too.
name, this can very much appear to work
against you.”
“Many women speak differently when in
"As a freelancer without a studio or studio
an entirely female group. The Refocus Retreat
encourages women to get together, to be
our society and when women were finally al-
creative, discuss their challenges, whether per-
lowed in, they were given a hard time. While
sonal or business, and overcome them in a
there are few clubs left for men-only, women
safe, inspiring and supportive environment. It
still need a safe space because the balance of
is welcoming and inclusive, and we see a lot
power hasn’t been addressed across all parts of
of women attending for the first time on their
life.
own, which I think is really brave.”
only classes – simply so women will turn up
We have come a long way from the days
There have always been men-only clubs in
"In the same way some gyms have women
when some men would simply tolerate women
and feel comfortable participating – there are
in the industry. However there are still a few
enclaves like the Refocus Retreat that gives this
21
NEWS
safe space to women to succeed.
attendees a glimpse that there are still issues
that need to be addressed and that the women
So what are some of the ways women
benefit from attending?
who are at the retreat, whether as attendees or presenters, all have their own very special
GREAT FUN
stories on how they have dealt with the not so
Julie says, “There is lots of hands on
pleasant aspects of our profession.
collaboration, learning, networking,
photography, socialising and great fun. Most
show inner strength that perhaps wouldn’t be
attendees love it so much they come back the
revealed outside of the retreat.”
"The stories are unique and they also
next year, having made a whole new set of friends.”
TICKETS AVAILABLE
The last word goes to Julie from Nikon. “Refocus
There are men directly involved and Michael
Marlborough has attended all the Refocus
Retreat is one of my favourite events of the year.
Retreats to date. He not only brings amazing
At Refocus, I don’t just feel like a supplier, I feel
equipment from Kayell for the attendees to try
like a friend and part of the community. Nikon is
out, but also runs some workshops on the use
very proud to support Refocus Retreat.”
of lights and other equipment.
Michael says, “My opinion is that Refocus
with some wonderful speakers, including
Retreat is an amazing event and I want to help
AIPP Members Natalie Howe, Kelly Tunney,
out as much as I can.”
Keren Dobia, Karen Alsop, Lacey Barratt, Kelly
Champion and many more.
Again Carla Gottgens speaks on the value in
Tickets are still on sale for this year's event,
an all female retreat. also opens windows here and there. It gives
Want to come along? AIPP Member's get a 10% discount - use the coupon code below - AIPP19
24th - 27th may 2019 www.refocusretreat.com.au
22
91PPIA
REFOCUS RETREAT For Women in the Business of Photography
FOR 10% OFF
“The Refocus Retreat is a safe haven, but it
SPECIAL CODE FOR AIPP MEMBERS ENTER COUPON CODE
Last year's Refocus Retreat. Photographs by Kym Griffiths.
23
FEATURE
Dan O'Day - Loving Photography The charismatic Dan O'Day APP M.Photog. III reflects on what it takes to be a successful wedding photographer today and the importance of both awards and business acumen. It’s been a good 12 months for wedding
just about winning, but about earning Silvers or
photographer Dan O’Day APP M.Photog. III.
Golds and accumulating points for a Master’s
After winning the AIPP Australian Professional
bar.
Wedding Photographer of the Year in 2018, he’s
recently followed it up as the overall winner in
regularly search for and update my portfolio
the 2018 International Wedding Photographer
and highlight reel, and then I can always use
of the Year Awards, announced in February
the updated work for a blog post or content for
2019.
social media.
"Competitions also give me the impetus to
"And while winning is good for the prizes, so
BECAUSE IT FEELS GOOD
is the PR you can receive.
Over the years, Dan has done very well in
competitions, making a name for himself as one
interviewed on a few radio stations, had
of the world’s leading wedding photographers.
articles and images in several newspapers
He speaks around the globe at various
and appeared on a number of American and
conventions and festivals and is also a respected
European blogs. The SEO that brought to my
judge.
website was awesome. Any press I can get helps
my business and I only have to book one extra
“I guess deep down I enter photo
competitions because it feels good to be
"When I won the IWPOTY recently, I was
wedding to make it worth entering.”
acknowledged. I want to do well, of course, but I also believe that if I want to stay relevant, then
WHY BOTHER?
I need to remain active within the community
However, there can only be one overall winner
and entering photo comps is one way (of many)
and a handful of category prizes, so how does
to achieve this.
the average photographer stand a chance? Why
should they bother entering competitions?
“I always enter most comps hoping to win,
of course. Except for APPA, because that’s not
24
“It all depends on the competition. I
From a selection of Dan O'Day's wedding photography.
25
From 26a selection of Dan O'Day's wedding photography.
FEATURE 27
From a selection of Dan O'Day's wedding photography.
28
FEATURE
particularly like peer review comps where you
I applied a different approach to wedding
get feedback on your work. The truth is that
photography which has paid dividends over
none of us really enjoy critical feedback, but
time. I was probably a little lucky because,
my view is that if you can expect the worst and
when I started, there was a common style of
learn to handle it, it can be incredibly helpful.
wedding photography that everyone seemed
to follow. If you wanted something else, then
"Still, I know it’s hard not to be defensive, but
if I’m going to enter a competition where there
there was only a handful of photographers who
is potential for both exposure and financial
were doing anything different – so clients who
gain, then I have to be prepared to take on
wanted something unique didn’t have many
the criticism as well. That’s the world of photo
options!
competitions – you get some exposure and the feedback that comes with it.
BEING DIFFERENT
“I’d hate to be starting out today as a wedding
“Even if you don’t come first, entering
competitions keeps you active. In many
photographer because it is so difficult to stand
competitions, if your work is in the top 20 or
out from the crowd. There are a lot of really
30 photos in a category, chances are you’ll
good photographers who produce really solid
be published somewhere and that’s great
work and this makes it incredibly competitive.
exposure. There can be many side-benefits from
entering competitions because you get your
doing something a little different, so if a client
work in front of a new audience.”
didn’t like the standard style being offered by
“When I started, there were only a few of us
the majority of photographers, they more or
ARTY OR WEDDING?
less had to choose one of us. We ended up
Dan is known for shooting weddings in a less
with more work than we could handle and this
conventional style, although given the number
helped establish our careers.
of awards he’s won and all the workshops he’s
given, there are more photographers following
forever and I’m very aware of the fact that I
his lead today than when he began.
can’t drop my guard creatively. Things move
so quickly and newcomers are so good, so I
“I shoot weddings the way I do because
“But I know being different doesn’t last
of my background. I started as an art
have never been complacent. I’ve always had
photographer who accidentally got into
the attitude that I might not be here next year,
weddings, only to discover I loved doing them.
so how do I ensure that I am? I don’t take my
position in the market for granted.
“Due to my background in the art world,
29
FEATURE
“My prices are higher than the average
including the 70-200mm quite a bit, whereas
wedding photographer and I know this from
the way I like to shoot is with just two prime
the inquiries I receive.
lenses, a 24mm ultra wide-angle and a 50mm
standard.
"Couples often tell me I am a lot more than
what they had budgeted for, but then again,
many couples base their budget on what the
me apart a little, along with a more free-flowing
first two or three photographers tell them they
approach to how I shoot with a couple. There’s a
charge.
lot of composition and available light play.
"At first this worried me, but I have never
"This is another thing that I think helps set
“The standard wide-angle lens for wedding
dropped my prices and I have managed to stick
photography when I started was a 35mm f1.4,
around. Sure, it’s been tempting to drop my
so I used a 24mm. "I know these are all subtle
prices at times, but I’ve stuck it out because my
separations, but when you add them up, it
clients have continued to confirm for me that
creates a significant difference.
there is something about what I do that keeps
them coming back and that's enough to push
or f8, instead of a 35mm at f1.4, was different.
on."
I was influenced by the work of documentary
"Using a 24mm lens at a mid-aperture of f5.6
photographers like Stephen Dupont and
SO, WHAT IS DIFFERENT?
Sebastiao Salgado.
So, what exactly is the difference that Dan is
talking about? What makes his photography
photographing weddings, but those are the
different to the work of other, more mainstream
photographers whose work I love and I have
photographers?
their books and photos all around our house.
“The new style is more relaxed with its
"I know they shot wars and conflicts and I’m
“I didn’t find the work of many other
posing and framing. I think that many of the
wedding photographers particularly interesting.
past generation of wedding photographers
I loved the photos by Marcus Bell and David
(not all) pushed back against this change, rather
Oliver, but otherwise I was more influenced by
than seeing how they might adapt. Or, maybe
non-wedding work – and then when I applied
they and their clients loved what they shot and,
this approach to weddings myself, people
since they had a good client base, saw no need
thought it had an original vibe.”
to change. I don’t know!
“With the older way of shooting,
photographers also tended to use zoom lenses,
30
NO RISK APPROACH While many of Dan’s award-winning
From a selection of Dan O'Day's wedding photography.
31
From a selection of Dan O'Day's wedding photography.
32
FEATURE
photos might be considered risky by more
websites and pin them on a wall in your house.
conventional shooters, Dan takes no risks in
Postcards, brochures, photos – even colours
getting the right photos for a client – and he
and typefaces can be used to generate a mood
does this by employing a second shooter for
board of what you like.
every wedding.
“Having a trusted second shooter means
FINDING GOOD TASTE
someone is always taking the safe shots, leaving
“But don’t second guess this. You actually have
me free to create more imaginative images that
to go through the process. Once you’ve filled
may or may not work.
up a fair bit of your wall, you should be able to
stand back and look at what you’ve collected
“I’m comfortable with the non-linear way
I shoot and how I curate my galleries for
and ask yourself if there’s a colour, a tone, a style
the client. Unlike a lot of photographers, I
or a thread that joins most of the elements
don’t follow the wedding day story from the
together – that’s probably your taste coming
beginning to the end when sharing the story
through.
publicly.”
work out what you like and who you are as
And, explains Dan, there’s the matter of
“When you take the time and trouble to
good taste. Many Instagram influencers have
a creative, you will also have a clearer idea of
lots of people following them because of what
who your clients should be and what they are
they choose to post – they have good taste and
targeting.
it makes their feed interesting. Similarly, there
are a number of wedding photographers who
a great idea and do nothing. Only ten percent
have good taste and this carries into their work.
of readers will actually take the time to create
a mood board. But I think they will surprise
“I like to think I have good taste (maybe?) or
"Sadly, a lot of people will read this, think it’s
at least the same taste as the people I attract to
themselves with what they learn and they may
my work, the same people who will eventually
watch it trickle into their branding.
become my clients.”
taste, rather having the ‘right’ taste.
So what exactly is good taste and how do
“So, maybe it’s got nothing to do with good
you acquire it?
branding. I think having a strong identification
“I’d say the first step is understanding what
“And your taste should flow into your
you like. A good exercise is to create a visual
is important in business. Whether it’s a colour
mood board of everything that you like. Grab
or a font doesn’t matter, but when you identify
magazines and books, print out images from
it, it can set you apart. There’s not much
33
FEATURE
point looking exactly the same as another 10
selecting in photos you want and throwing
photographers because then the only thing
out photos you don’t want – and it’s generally
that separates you is price.
quicker too.
“Many photographers use the same website
“On the first selection, I use Photo Mechanic
templates, the same editing presets and the
in full screen mode so I can see if the photos
same poses – and what they create looks good,
are sharp. I know I’m probably selecting more
but it’s not too different from one another. So
photos than I’ll need, but that’s okay. Once
the only way our clients can compare these
I’ve made the selection, I copy all the files and
photographers who all look the same is cost.
transfer them into a folder called Cull 1.
“On the other hand, if you can create a
“Next, I open up the photos in Cull 1, but
brand, a style or a taste that is different to the
I change Photo Mechanic so I am looking at
rest of the market, and people like it, then price
a grid of nine photos. I already know all these
isn’t such an issue. If clients want what you have,
photos are sharp, so I’m selecting the images for
then they’ll be more likely to engage with you,
context. For instance, if I have eight shots of the
even if you are expensive.
bride putting on her lipstick, I’ll just select the
one or two stand-outs. Again, I’m selecting the
"I think that’s when business gets easier
because people want something that you do
photos in, rather than selecting out.
that they haven’t seen in other brands. Even if they can’t directly pinpoint what it is that they
INTO LIGHTROOM
like, there needs to be a certain something that
“At the end of this process, I transfer the
lets you differentiate yourself in the market.”
selected images into another folder called Cull 2 and these are the images that are transferred
34
POST-PRODUCTION
into Lightroom for adjustment.
Dan uses Photo Mechanic to ingest his photos
because it is very fast and it also runs a report to
photos that I’ll turn into B&W first and give them
let him know if any of his images were corrupt.
a 3 star rating. B&W photos are often ones that
It’s a method to ensure nothing is missed.
are taken of the speeches in poor light, or shot
at too high an ISO, or if I have a series of very
“I backup all the files of the whole wedding
“In Lightroom, I begin by selecting the
three times and then I go to work editing.
similar shots. It’s around one third of all the
images in the selection.
“I do two culls, adding photos to the
selection, rather than weeding out the ones
“Once all the B&Ws are rated at 3 stars, I
I don’t want. There’s a difference between
select everything that isn’t rated – and these are
From a selection of Dan O'Day's wedding photography.
35
From a selection of Dan O'Day's wedding photography.
36
FEATURE
the colour images. Then I find an image taken
create the slide show.
in a ‘normal’ part of the wedding day, a middle
ground, and apply the right preset. When I’m
use the photos on their social media platforms
happy with the edit, I’ll copy this setting to all
– and they remember and appreciate that. And
the colour images and this gives me a starting
PicTime is great for me to sell the couple and
point for all of them.
their guests other products – prints, frames,
albums, greeting cards, canvas prints. Plus it has
“Then I start at the beginning and go
“I give other wedding vendors permission to
through each group of photos, adjusting the
a really good visual gallery which helps clients
settings and applying the changes to all the
imagine what the final products will look like.
other images that are taken under similar
conditions. This speeds up the editing process
for printing and although clients might only be
a lot and it also means that all the photos have
expecting a USB from me, I give them a set of
a similar feeling to them because they are
10 prints as well as a surprise. Because it’s a gift
processed with similar settings.
from me, I get to choose the 10 photos, which
is good if they end up being framed and put on
“When all the edits are finished in Lightroom,
“I send my prints off to Atkins in Adelaide
I use Alien Skin to process the edited files with
a wall in their home because their friends and
another preset that gives it a final look.”
family will be seeing the photos I want them to see!”
USB & PRINTS
Dan provides the images to his client on a USB
front, and around half of the other half order
as a slide show which runs for around half an
one after the wedding. Dan includes a $400
hour.
credit towards an album, so it’s a little incentive
to get them moving.
“I know that not everyone wants to look
Around half Dan’s clients order an album up
at a long slide show, but I also know from
experience that if you’re the bride and groom,
to throw the $400 credit away as it can’t be used
there’s nothing better than grabbing a bottle of
towards any other products. The reason for this
wine and settling down to watch a great slide
is to give them as much incentive as possible to
show of your wedding photos - at that stage it
order a book. We love our books and we want
doesn’t worry you how long it goes for!”
everyone to have one :>)”
“If they don’t want an album, they will have
The photos are also uploaded to a Pic-Time
gallery (www.pic-time.com) and Smart Slides
http://www.danodayphotography.com.au/for-pho-
(https://pixellu.com/smartslides ) is used to
tographers/
37
EDUCATION
Get Cyber Secure As avid computer users, professional photographers and video producers need to be aware of more than just their editing programs. Here Aon Insurance provides some helpful tips on staying safe and protecting your business data. Did you know that 43% of all cyber crimes are
targeted at small business? And that 60% of
their turnover is under $3m) have no obligation
small businesses who experience a significant
to report a data breach to the government,
cyber breach go out of business within the
but even so, the inconvenience can be very
following six months?
challenging.
Most photography businesses (because
Many photography studios hold confidential
data and information about both their own
CYBER SECURITY CHECKLIST
operations and their customers. This may
With cyber-attacks on the rise it is important to
include customer’s bank or credit card details,
take preventative measures.
personal contact details or even confidential
information about their families and businesses.
businesses as their data security tends to be less
advanced than in larger businesses.
However, even more important maybe the
Hackers are increasingly targeting small
irreplaceable photographs and videos we hold
And the costs of a cyber-attack often
for our clients, especially for current jobs that
outweigh the costs of preventative measures,
might not yet be delivered. Imagine the trauma
so this checklist is designed to help you better
if these files were not backed up – or if they
protect your business:
were hacked and corrupted?
SUGGESTION 1. WHAT IS A DATA BREACH?
Ensure employees and contractors only have
A data breach is any unauthorised access to,
access to the information that they require
unauthorised release of, or loss of personal
to perform their work. Reducing access can
information that a business holds that is likely
prevent the risk of an ‘insider’ accidently or
to result in serious harm to the individual/s
intentionally releasing information.
affected.
For instance, a retoucher or editor doesn't
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.
38
•
Marija Sullavan APP M.Photog.
EDUCATION
need access to your accounting system or
them from the backup. If you can't, then
emails.
you need to revise your backup procedures immediately because at present, what you're
SUGGESTION 2.
doing isn't working!
Provide regular training and awareness information on the management of confidential
SUGGESTION 5.
data and cyber scams for new employees and
Create complex computer passwords with a
current staff. And keep yourself up to date as
combination of words, numbers and symbols.
well!
Ensure each employee has unique passwords and that passwords are changed bi-monthly.
SUGGESTION 3. Employees should be reminded to be on the
SUGGESTION 6.
lookout for suspicious emails or websites and
Make sure all devices, including phones, tablets
not to provide personal or financial data. Avoid
and computers, have an auto lock when not in
interacting with suspicious emails or websites
use and advise all staff to lock their computer
as these can expose your computer to viruses.
when leaving their desk.
And if in doubt about an email or link, don't!
SUGGESTION 7. SUGGESTION 4.
The purchase of cyber insurance can help
This is probably the most obvious, but it's
manage the financial loss of a cyber-attack.
surprising how many people don't have
Learn more: aon.com.au/cybercover
antivirus software, or if they do, it is out of date. Ensure you have current antivirus software
SUGGESTION 8.
installed and if you need a hand, consult your IT
View common online cyber threats and more
provider.
preventative measures at Stay Smart Online
Small Business Guide. (https://ssogreen.govcms.
And even if you do have antivirus software,
ensure that all your data is always backed
gov.au/sites/g/files/net1886/f/Stay-Smart-
up and test that the backups work. There's
Online-Small-Business-Guide_1.pdf )
not much point making a backup if what it's
backing up can't be recovered!
take a look at Aon's cyber insurance checklist,
visit au.entertainment@aon.com or call
To test if your backup works, pretend that
you've lost a few files and see if you can recover
40
For more information on cyber security or to
1800 806 584.
•
Nathan Madigan APP M.Photog. I
41
EDUCATION
What Makes An Award Image? While rainbows might be considered cliché, present them in a package that draws together design, colour and emotion – and like Roza Marciniak, you could be earning a Silver with Distinction! On the one hand, judges are looking for
Roza has carefully controlled the contrast,
something new and different. On the other
presenting a soft, romanticised rendition. I
hand, they will applaud a popular subject if it is
perceive it as being very femine, very soft, yet it
done extremely well or differently.
has a power of impact. How does she do this?
Rainbows are a good example.
Let's analyse the tonality more carefully.
Photographers love shooting rainbows, but
Note how the detail throughout the sky and
more often than not, rainbows happen in a
ocean – no awkward areas of white paper to
place or at an angle that isn't perfect for the
challenge our enjoyment. Note how the image
landscape below. It's rare to be setting up
is darkened around the edges, to contain our
a strong composition and have a rainbow
interest within its frames. And note how the
magically appear above.
island has the darkest tones, attracting our eye
in a sea and sky of lighter tones.
I don't know if Roza Marciniak's entry is
a composite or not. Personally, I don't care
because, as a judge, all that interests me is
dominate and even the sea is a yellowy-green.
the final product. However, as an entrant,
Rather than lots of different colours, the image
we need to be aware that some judges are
has a simple colour palette and the hint of blue
less enthusiastic about composite images
in the sky contrasts against both the subtle
– although anecdotally, I'd suggest that
greys in the cloud and the strength of the
composites done extremely well will impress all
rainbow.
judges, no matter their persuasion!
your subject in the middle isn't fatal to a
So, whether a composite or not, Roza's
Now the colours. Soft pastel yellows
And the composition? It proves that putting
entry ticks lots of boxes. If a landscape can have
winning score, as long as it is appropriate to
emotion, surely Roza has captured it with this
the subject. And it's hard to imagine a perfect
rainbow and her choice of colours and tonality.
rainbow like this being put off to the side.
There's lots happening within the image, but
Great image!
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.
42
n o i t i s o p m o c e g Simpl n i t c a r t s i d o n with d e r r u l B . s t n e m ele le t t i l a s d d a r e t . e wa c n e r ffe i d f o t poin
s e n o t k r a d e h t T c a r t t a d n a l s i e e h in th t e s u a c e b e y s our e e n o t g n i d n u o r r. e sur t h g i l h c u m l l are a ts c a r t t a t s a r t n o C . n o i t n atte
e h t f o s r u o l o c e n All th e e b e v a h w o e l p m rainb i s a o t n i d subdue ette with a l a p r u e l p colo m i S . h s a w . l yellow l e w k r o w s r u colo
•
Roza Marciniak APP M. Photog 43
NEWS
Capturing Nature Inspiration or background knowledge for judges? Author Vanessa Finney possibly hasn't realised how her new Museum sponsored book could be received by professional photographers.
44
Capturing Nature - Early Scientific Photography
At The Australian Museum 1857-1893 might
enough, but the giant flipper of a whale (let
sound a bit historical to a modern photography
alone the whale itself ) was quite another
world, but flipping through this book's pages, I
matter.
was surprised by just how many APPA Awards
over the past 10 years appear to have been
book, you can see how their practical solutions
inspired by this type of work.
have pioneered and possibly inspired the
work of many other photographers over
Originally utilitarian in purpose, like many
A photograph of a flower would be simple
So, as you flip through the pages of this
other genres of photography, time has a
the decades, from advertising to fashion,
tendency of turning record photography into
documentary to art.
something more; sometimes art, sometimes
simply inspiration for other work. So even
photographers tackled new projects and
though I was only mildly interested in the
assignments, especially when you reflect on the
history of photography at the Australian
limited technology available to them. Certainly
Museum, I was very impressed by not only the
makes our lives as digital photographers seem
photographs, but their style and technique. And
incredibly easy!
yes, it's given me ideas!
of photographs by the same name and is on
As author Vanessa Finney explains, the
And it's fascinating to read how the
The book accompanies a free exhibition
photographs of Gerard Krefft and Henry Barnes
display until 21 July 2019. Head to 1 William
back in the late 19th Century, which feature in
Street in Sydney, opposite Hyde Park.
the book, were ground-breaking, purely from
a technical perspective as new techniques and
purchased directly from the Museum. You can
processes needed to be developed to record
see more about the exhibition on its website,
in minute detail the Australian Museums many
but to purchase the book, you'll have to use
specimens.
email: shop@austmus.gov.au.
The book has a RRP of $49.99 and can be
45
NEWS
Lumix S1/S1R Full-Frame Is it time for professionals to go mirrorless? If so, Panasonic has released two full-frame models sporting a Leica lens mount and a brilliant viewfinder. Which one is right for you? By Peter Eastway The first question many readers will ask is, would
but pressure will be gently applied to upgrade
I sell my current camera system and purchase a
to new optics specifically designed for the new
new Lumix S1 or S1R system?
full-frame mirrorless cameras.
It’s not a bad time to ask because if you’re
So if you find yourself in this position, why
shooting Canon or Nikon, which probably
not switch to Lumix instead of a new Canon or
accounts for three quarters of the market, it’s
Nikon? The cost differential might not be such
something you’re already asking as the new
an issue, so what does Lumix offer that Canon
mirrorless models are ushered in.
and Nikon do not? It’s not a question we will
answer for you because we all use our cameras
When Canon introduces a new camera
model, it’s a big decision for a Nikon shooter
somewhat differently, but we can certainly
to sell up his or her existing gear and invest in
report on what the new Lumix full-frame
a Canon because it isn’t just a camera you’re
mirrorless cameras offer.
changing, but lenses and flash guns as well.
46
What might be a $1000 to $2000 investment for
FIRST GENERATION?
the camera body can quickly balloon to many
Some commentators note that the new
thousands for a system. So, generally speaking,
mirrorless cameras from Canon, Nikon and
photographers don’t change brands just for a
Panasonic Lumix are first generation, which
new camera.
is and isn’t true. All three manufacturers have
produced mirrorless cameras before but,
However, both Canon and Nikon’s new
mirrorless cameras also sport new lens mounts
importantly in Panasonic’s case, its previous
for a new system of lenses, so if you’re intending
mirrorless cameras have been incredibly
to turn mirrorless with Canon or Nikon, then
successful and have evolved over more than a
you may end up buying a completely new set
decade. So yes, the Lumix S1 and S1R are first
of lenses as well, at least over the next few years.
generation ‘full-frame’ cameras for Lumix, but
Yes, you can use existing lenses with an adapter,
they are far from first generation mirrorless
47
NEWS
cameras.
a mirrorless design, the Lumix S1 and S1R
cameras have a lot going for them.
Two more issues. First, the Lumix S1 and S1R
are Panasonic’s flagship full-frame mirrorless
On a recently product launch, we had the
cameras aimed at professional photographers
opportunity to use the cameras extensively
– and enthusiast photographers aspiring for
and came away very impressed. Panasonic has
professional results. As such, they are not
certainly produced two camera that will serve
inexpensive cameras. The S1 body has a RRP of
professional and enthusiast photographers very
$3599 or $5199 with the Lumix S 24-105mm F4
well.
Macro O.I.S lens. The higher resolution S1R body
48
has a RRP of $5299 and $6899 with the same
ELECTRONIC VIEWFINDER
lens. In comparison to some of the equivalent
Perhaps the biggest difference between a
Canon and Nikon models, these are not much
DSLR and a mirrorless camera is found in the
different, but they are more expensive than
viewfinder. This might sound like an obvious
the Lumix G series cameras and many well-
distinction, but the viewfinder really dictates
equipped DSLR cameras.
how we interact with both our camera and
our subject in such a fundamental way that it’s
Second, the Lumix S1 and S1R are not
lightweight cameras. Neither are the Canon EOS
importance cannot be overlooked.
R or the Nikon Z6/Z7, yet up until recently, we
were told by most of the manufacturers that
through the picture taking lens and what you
the benefits of mirrorless cameras included
see is (almost) what you get. The viewfinder’s
smaller size and lighter weight. Of course, most
image quality is sensational – every bit as good
mirrorless cameras also had smaller sensors, so
as the lens on the camera!
perhaps the size issues were more to do with
sensor format (size) rather than the mirrorless
requires an electronic viewfinder. Over the past
design, although surely the absence of a reflex
10 years, the manufacturers have improved
mirror could contribute to a smaller size camera
the image of the ‘tiny television screen’ tucked
body?
away inside the viewfinder. In the beginning, it
displayed coarse resolution and garish colours.
If you’re looking for a super lightweight
A DSLR is simple in that you look directly
In comparison, a versatile mirrorless camera
mirrorless camera, then this is not it. Grab a
Today, the high resolution EVFs are much, much
Lumix G series camera instead! On the other
better and for many people every bit as usable
hand, if you’re looking for a professionally
as an optical viewfinder.
specified camera with all the advantages of
Add in the other benefits of an electronic
At the launch of the Lumix S1/S1R in Tasmania, dancers perform a welcoming ceremony, closing their eyes and chanting. With a 47-megapixel sensor, there was no shortage of detail to be found - and this is only processed from the JPG. As we go to press, we're still awaiting raw plug-ins to be released, but they won't be far away as the camera is on sale this month.
49
50
NEWS
viewfinder, such as being able to precisely
what are the differences? Mainly resolution.
display exposure and depth-of-field results
in real-time, plus the plethora of readouts
CMOS sensor (36x24 mm), the highest
and displays (such as horizon lines and
resolution in its class and supports low-light
histograms), and not working with a mirrorless
shooting at up to ISO 25,600 (extendable to
camera suddenly becomes a chore. Some
ISO 51,200). In comparison, the S1 comes with
photographers suggest the DSLR no longer
a 24.2-megapixel full-frame CMOS sensor
seems sophisticated enough to use!
(35.6x23.8 mm) that provides a wider dynamic
range and supports low-light shooting at up to
The Lumix S series’ LVF (Live View Finder,
The S1R has a 47.3-megapixel full-frame
which is Panasonic-speak for EVF) boasts the
ISO 51,200 (extendable to ISO 204,800).
world’s highest 5,760k-dot resolution. High-
speed OLED technology delivers a smooth 120
the S1R is aimed at landscape and commercial
fps display, a minimum time lag of less than
photographers who want the highest resolution
0.005 second and an exceptional 10,000:1 high
files possible, while the S1 works for portrait and
contrast ratio.
wedding photographers – and video producers
- where low light performance is of more value
Looking through the viewfinder, the
At the risk of over simplifying the equation,
image quality is great and the standard 0.78x
than lots of pixels.
magnification ratio can be switched to 0.7x or
0.74x, an excellent feature for glasses-wearers
both models offer a high resolution mode
who can adjust the magnification in order to
where the camera captures and combines eight
see the full frame.
consecutive images, in-camera (similar to the
Lumix G9). The S1R produces a 187-megapixel
On the back of the camera, a 2,100K-dot
And if you want super high resolution files,
triaxial tilt touch monitor can be used in
equivalent (16,736x11,168 pixel) raw and/or
conjunction with the viewfinder as a Touch Pad
JPEG image while the S1 creates a 96-megapixel
AF, allowing you to set focus on any point in the
equivalent (12,000x8,000 pixel) image. A tripod
field of view at a touch. If you have a long nose,
is needed for capture and obviously there are
you may find this feature initially sets the focus
limitations with moving subjects, but it’s a really
point where your nose touches the screen, but
useful feature to have when high resolution files
this feature can be easily isolated if required.
are required.
TWO RESOLUTIONS
IMAGE STABILISATION
So why two cameras? Well, they’re different! So,
Panasonic’s Dual I.S. 2 technology combines
51
NEWS
5-axis internal stabilisation in the camera
In 6K/4K Photo, three modes can be selected
body (compatible with any lens) and even
depending on the situation: 6K/4K Burst, 6K/4K
more stabilisation for lenses with their
Burst (Start/Stop) and 6K/4K Pre-burst.
own stabilisation – up to 6 stops of image stabilisation.
VIDEO PRODUCTION
So, is the Lumix S1 going to set the video
One of the benefits of the mirrorless design
is that the camera can be designed to focus
production world on fire, or is there still life for
anywhere on the image, not just in a central
the G series? Perhaps the answer is yes to both
area as found on DSLRs (when you’re focusing
questions!
through the viewfinder – Live View usually
allows focusing anywhere on the image, of
in 4K 30p/25p /24p, which means you can
course). The lens and sensor communicate at
record video without cropping. HDR video
a maximum 480 fps, while Contrast AF with
recording is available using the HLG Photo Style
DFD technology allows the cameras to focus
and the camera records video with a designated
in as little as 0.08 seconds. You can shoot at a
gamma curve compatible with ITU-R BT.2100.
maximum of 9 frames per second (AF single
shot mode)) or 6 fps (AF continuous mode), and
upgrade key available later in 2019 (to be sold
low light autofocus is possible down to -6EV
separately) - will support 4:2:2 10-bit 4K 30p/25p
luminance detection.
internal video recording and 4K 60p/50p via
HDMI output, as well as the V-Log picture profile
Face/eye detection technology makes it
The S1 and S1R capture full sensor readout
Furthermore, the S1 – via a software
possible to capture people in crisp focus, with
featured on Panasonic’s Varicam products.
the Eye AF detecting the pupil of the eye for
precise focusing in portraiture. The cameras
40 are expected by the end of 2020, all using
also incorporate Advanced AI Technology that
Leica’s L-Mount. This makes it possible to use
detects specific subjects - humans and fast-
Lumix, Leica and Sigma lenses, but there were
moving animals. The camera keeps tracking
just three S series lenses available at the launch:
these subjects, even when they are not facing
24-105mm macro, 70-200mm and a 50mm f1.4
the camera.
which is claimed to be a ‘reference’ lens, against
which all other lenses will be measured.
And like the G series cameras, 6K Photo lets
There will be no shortage of lenses – over
you record a burst of 18-megapixel still images
52
continuously at 30 fps, or 4K Photo lets you
For further information, please visit
capture at 60 fps in 8-megapixel resolution.
www.panasonic.com.au or call 132 600.
53
“The best book on photography you will ever buy!” Peter’s Mother-in-Law
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Peter Eastway
The Nεw Trαdition “This is seriously one of the most definitive photographic books I have seen in the last 25 years. It belongs on every photographer’s bookshelf and will change the way you view your own photographic journey!” Tony Hewitt, AIPP Grand Master of Photography In The New Tradition, photographer Peter Eastway presents a series of
The New Tradition has been lavishly produced, sparing no expense in its
100 photographs that traces the progression of photography from film
preparation, printing and binding. Measuring 300x300 mm with 272 pages,
to digital. For some images, he explains how the photograph was taken
the hard cover tome is destined to be a classic in photographic literature – or
and the steps involved in post-production. For others, he simply presents
at least that’s what Peter’s mother-in-law says! If you like what you see, take a
a story, an experience or an opinion on an aspect of photography. So,
chance and purchase a copy of The New Tradition.
methods and fables. This is a book written for photographers who are
RRP $120
interested in the art and craft of photography – and who are enjoying the
Special Offer! Order your copy before 30 June and we will include
ride as technology continues to open up new opportunities for creative
postage and packaging within Australia - a saving of up to $20.
expression.
Purchase the book at www.betterphotography.com in the online shop. The true beauty of photography is found in the photographic print
found in his book. You can purchase a signed, limited edition print
and to celebrate the publication of The New Tradition, Peter Eastway
and a book for as little as $345. Visit the website to see the 10 different
is making available ‘photographer size’ copies of some of the photos
prints available and to order online - www.betterphotography.com