AIPP Journal - June 2019 by Pt 78 Pty Ltd

Issue 272

June 2019

Lesley Downie's Award Winning Approach to Travel

JOURNAL

CONTENTS 6

What's The AIPP Board Been Up To? AIPP National President Melissa Neumann reports on what’s happening inside the Institute – and some of the things that are about to happen in the very near future.

Mark Brierley, Epson WA PPY Winner Mark Brierley’s stunning commercial images have earned him top spot in the AIPP WA Epson Professional Photography Awards this year.

Kris Anderson, Epson QLD PPY Winner

Cover

Kris Anderson APP M.Photog. seems to win his awards in odd years – 2013, 2015, 2017 and now the AIPP Queensland Epson Professional Photographer of the Year 2019!

Lesley Downie APP.L M.Photog. VI AIPP AUSTRALIAN PROFESSIONAL TRAVEL PHOTOGRAPHER OF THE YEAR 2018 AIPP AUSTRALIAN PROFESSIONAL PHOTOGRAPHY AWARDS

Travelling The World With Lesley Downie The 2018 AIPP Australian Professional Travel Photographer of the Year, Lesley Downie APP.L M.Photog. VI, reflects on how photography and planning have created her dream life.

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 27 years of publication.

AIPP Membership Contacts www.aipp.com.au admin@aipp.com.au PO Box 244, Kerrimuir, Victoria 3129 Phone 1300 685 334

What Makes An Award Image? Steve Scalone APP M.Photog. I is no stranger to winning awards, so what is the secret to his consistency? Let's analyse this Gold Award from the Travel Cateogy to see what we can learn.

ISSUE 272 / JUNE 2019 30

Superannuation: Why You Need It In our photographer portfolio this issue, Lesley Downie stated she could retire to Noosa and travel the world because she had a good retirement plan. Here's a simplification of why it works.

Tax Scams: Don't Be Caught Out!

Peter Eastway dips his toes into an emotive debate between two schools of photographic thought and how they co-exist in one awards system. Will it ever work?

Starleaton Will Lend A Hand!

There have been a lot of telephone scams recently with callers claiming they're from the tax office and wanting tax file numbers and payment over the phone. Don't be fooled!

Should Photo Illustration Be Allowed?

Can I Use Contracts To Own Copyright? While on some photography jobs you own copyright automatically and on others you don't, the best way to make sure you always do is to use an agreement or contract that gives you the copyright.

Usage Fees: Are They Still Realistic? When reading professional photography advice for commercial photographers, usage rates are touted as being the norm, but are they really? Perhaps they are not as widely used as we think. Peter Eastway finds some support in his approach from William Long.

Professional wedding and portrait photographers need to be passionate about printing to optimise their business potential, but where do you go for advice, service and supplies? AIPP Trade Sponsor Starleaton is a great starting point!

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NEWS

look and feel website is coming later in the year

quickly, but it is happening. The current Board

and the system that will run it means we will be

and staff are a very different group of people to

able to talk with you much better.

a few years ago, yet there are many members

who are still none the wiser about the changes

have now is a pool of incredibly talented staff

that have occurred in the last 12 months or so.

who are operating from their home states

This provides a note of confidence for the Board

around the country as a virtual team. I think this

that we have steadied the ship and have kept

is still a concept that some members are trying

things moving so well that some members

to understand, but basically it means that when

didn’t even notice a difference!

you ring the 1300 number or email admin@

There is no AIPP National Office. What we

aipp.com.au, you will be looked after by any one

A VERY BUSY PLACE

of our staff, drawn from a group of sensational

But behind the scenes it’s a very busy place.

people.

You, our members, have been wonderfully

supportive and we thank you for hanging in

GIVING BACK

there with us. Change is happening and we ask

The Board is a small group of volunteers who

for just a little more time to get everything in

work their butts off. Why do we do it?

place to relaunch the renovated AIPP. A new

It’s a question I get asked often. For me, it is

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Advancing Professional Photography.

For Everyone. 7

NEWS

all about giving back to not only my profession,

common-sense approach and we will miss his

but also to the Institute. I have always loved

humour. He has done a sensational job as the

helping people to succeed. It’s what gives

Awards Board liaison and he has had to deal

me joy. And I know that I am not alone in this

with some of the most difficult dilemmas the

feeling of giving back because we have fantastic

Institute has ever seen. I’m sure he will enjoy

councils, committees and chapters that are all

going back to being ‘just a member’ and no

helping with the running of the Institute. We

doubt we will make him proud as we continue

could not do it without them.

the vision that he was involved in creating.

We are all volunteers who have an incredible

However, I am thrilled to announce that we

passion for our AIPP family and we are all giving

have a new co-opted board member joining

up time from our businesses and families to

us, Felisha Mendoza Mina. Felisha has a special

help make the AIPP shine again.

set of skills that is fresh and on point for today’s

world. The whole Board looks forward to her

We also have incredible sponsors who are

looking for ways to support us and so often

joining us and working with us.

they go over and above what we expect of them. I am amazed at just how much love there

AIPP BYLAWS

is for the AIPP and how so many people are

The biggest change to be implemented

happy to jump in and help out.

is coming soon and it is centred around

However, sometimes the amount of

membership of the Institute and the bylaws

time that it takes to be a volunteer means

that regulate membership. The new bylaws

that we can only have members step up for

have enabled us to simplify membership. Here

short periods of time. Being on the Board, for

are some examples.

instance, can be time consuming and because

of this, we have had a few board members who

card to join as a student.They won’t have to be

have had to step down for a variety of reasons

studying a specific photography course.

over the last 12 months.

Student members will only need a student

General membership will be introduced to

replace Emerging, International and Enthusiast

BOARD CHANGES

members.

This month, Steve Wise has unfortunately

stepped down. We are so sad to lose Steve,

all the printers, digital editors, staff of studios,

but we are fully supportive of his need to get

partners of photographers, etc, to become a

back to his normal life. We are grateful for his

member of the AIPP. The General membership

For a long time, there has been no place for

NEWS

category will open up the membership to those

a table (opposite page) so you can visualise

who have a vested interest in the industry and

where we are heading.

want to be involved.

Accredited Professional Photographers and

As we come racing towards the end of the

financial year, the entire Board is filled with

Video Producers will remain the same and is a

excitement about what is to come. We still have

category for working professionals. This will be

lots of work to do, but we are starting to see the

the ultimate goal of professional development

vision come to life.

for any up and coming photographer or video producer.

We are also introducing Reciprocal

MOVING FORWARD And we have been through some massive

Accredited Membership for those who

changes.

have approved accreditation with selected

international photographic institutions.

changing â&#x20AC;&#x153;Tidying Up with Marie Kondoâ&#x20AC;? and

now has a Netflix series, you will understand

Accredited and Reciprocal will be the only

If you follow Marie Kondo who wrote the life

members able to use the AIPP Accredited

what we have been doing.

Professional logo.

through every piece of the AIPP and have

Accredited membership is what we want

Basically, we are decluttering and going

most photographers to aspire to. We are also

asked if it can improve it. Simplification and

in the early stages of discussion to introduce

minimalism.

specialist accreditation in areas like newborn,

birth, drone and travel operators. These are

to describe what we are doing, but I love the

considered specialist genres that are affected by

positive vibes of sparking joy!

specific standards requiring more than just the

general accreditation.

and moving forward for improvement of your

membership experience.

As an unregulated industry, we want to

There are a few other analogies that work

We will continue to focus on the positives

set the standards that we feel should be met

With all that said, we thank you for your

to ensure that members are operating as a

patience and ask for a little bit more time to get

professional in their field.

all our new initiatives up and running.

AIPP STRATEGIC PLAN

Melissa Neumann APP.L M.Photog.

The Board has developed a strategic plan. To

National President

summarise it for you, I have set it up here in

melissa.neumann@aipp.com.au

NEWS

AIPP STRATEGIC PLAN - JUNE 2019 SUMMARY Our Purpose: Advancing Professional Photography. For Everyone. Why We Exist: To improve the lives of members professionally, emotionally, creatively. Why Should People Care? By being a member, you will be the best that you can be in imaging. Marketing Deliver value and resources to members appropriate to their need and wishes. Use best practice in outreach to grow and enhance community. 1 Year Goal To have a membership experience process mapped and actioned. Be on track for our 5 year vision. 5 Year Vision A re-branded membership organisation of leading photographers and video producers, united in craft and personal development, enhancing the value of photography and video production in the community. Challenges and Solutions Better communication with our members â&#x20AC;&#x201C; regular newsletter updates being developed through new IT system with choices for email delivery. 90 day priorities IT Project Website update. Trade show and APPA.

AWARDS

Mark Brierley, Epson WA PPY Winner Mark Brierley’s stunning commercial images have earned him top spot in the AIPP WA Epson Professional Photography Awards this year.

TAGS AIPP E ps o n S ta te Pr in t Awa rd s

Some winners seem to be a little more

AIPP stands as a profound example of how

deserving than others when you take into

people from all walks of life and backgrounds

account their personal trials and tribulations –

can come together and share their passion and

such as Western Australia’s Epson Professional

celebrate their love for photography.

Photographer of the Year Mark Brierley APP.

Explained Mark, “At the start of the year, I

If you’re not enjoying yourself, then what’s the

was thrown off my mountain bike, landing on

point? Second, I enter because it pushes you

my back. I was lucky to not be paralyzed and

to do your best, to look at your work critically

could barely walk for a week. Then, not long

and only accept the highest standard you can

before the state awards, I lacerated the extensor

achieve at that time.”

tendon on my right thumb which required

surgery and a splint for six weeks. This meant I

so far is to get the news to anyone that will

edited, printed and matted my images with my

listen. My website, email signature and social

non-dominant hand, determined that nothing

media have been updated and I have also

was going to stop me.

updated my “search for pro” profiles on the

"So, on a personal level there is a sense

AIPP website. And with the aid of Alex Cearns

of achievement and a belief that anything is

OAM (Houndstooth Studio) and Ben Walton

possible!”

of Team Digital here in W.A., I put together a

press release that has been sent out to all major

Mark joined the AIPP in 2016 and became

“I enter the Awards firstly because I enjoy it!

“After winning, the advice I have been given

accredited last year. “My original reason for

media outlets and photography magazines.

joining the AIPP was for the accreditation and to

show a responsibility to always conducting my

unfavorable comments, all it does is push me to

business in a professional manner. I continue to

work harder with my images. Everyone reacts to

be a member because of the diversity amongst

an image differently, so just because your image

the members and the support. My photography

didn’t speak to a particular judge doesn’t mean

has improved tenfold since I joined and the

it’s a bad image.”

“However, I don’t mind when I get

AWARDS

Kris Anderson, Epson QLD PPY Winner Kris Anderson APP M.Photog. seems to win his awards in odd years – 2013, 2015, 2017 and now the AIPP Queensland Epson Professional Photographer of the Year 2019!

TAGS AIPP E ps o n S ta te Pr in t Awa rd s

No stranger to the awards dais, Kris won the

entering travel [which are single capture entries]

Queensland Emerging Photographer of the

and certainly the work doesn’t look like the

Year award back in 2013 and has since won the

illustrative work I’ve done that people might

Illustrative Photographer of the Year at both

be more familiar with. I was looking forward to

national and state (twice) levels. Now with a

revealing my entries and surprising people; I

travel category win in the AIPP Queensland

wasn’t expecting them to be unveiled on the

Epson Professional Photography Awards, he is

big screen!

the overall PPY as well. So, how does Kris market

his wins? What's the benefit for him?

Photoshop-intensive work to be dismissed as

not 'real photography', so it is exciting to get

"Tomorrow morning, I’m getting it tattooed

"It is not uncommon for illustrative or

on my forehead", laughed Kris. "Yeah okay,

over the line with single capture work as well.

perhaps not, but I’ll definitely use it in my

marketing.

to stretch myself. I think it is good to submit

to the idea that trained judges are going to

"When you sell a service where you interpret

"Entering the awards has always been a way

a client’s needs to produce a unique image,

critically evaluate your work; it forces you to look

the client needs to have faith and trust in you

at your work with new eyes and really ensure it

to do a good job. Aside from a strong portfolio

is the strongest it can be.

and good communication skills, awards like

this are great for reassuring a potential client

work carry over into client work.

that they will get a meaningful return on their

investment."

my entries compared to my usual style; it was

a little out of my comfort zone. And it helps

In previous years, Kris has tended towards

"The lessons you learn when refining awards "This year I went in a different direction with

composite imaging for his awards, but not this

that judges are giving feedback from a place of

time!

respect and compassion and a genuine intent

to help entrants create stronger work."

"I didn’t tell very many people that I was

FEATURE

the world and photographing whatever she

about taking great images, but there are lots

pleases, it comes as a surprise for some that

of creatively brilliant photographers who never

Lesley Downie was a big fan of business plans.

make it in business.

Lesley clearly understands the importance of

being business-like and creative at the same

business as you are about photographs. For

time.

me, I got onto MYOB and was religious about

my data entry. Every few days, I’d be looking at

“I don’t do business plans anymore”,

“As photographers, we’re all passionate

"The trick is to become as passionate about

explained the 2018 AIPP Australian Professional

reports and comparing the result to my targets

Travel Photographer of the Year, “but back then,

and previous year’s performance.

when I was starting out as a photographer, the

whole business side of photography was very

photography becomes ingrained in everything

important for me.

you do, it’s hard not to succeed. Business is

"I think that once the business side of

just such an important part of professional

SEMINAR JUNKY

photography.

“I started off in photography part-time, like most

people do today. I was coming across from

GOOD BUSINESS

another profession and trying to work out how

“When I started as a photographer, I was

to do photography full-time. And fortunately,

shooting stage, entertainment and magazine

I was a seminar junky, especially business

work, but after attending a few AIPP seminars,

seminars.

I saw how I could make a better living as a

Lesley Downie says she's happiest when travelling the world with her camera, meeting and photographing people in Asia, Africa and the Middle East. Family of women and children at train station Nuwara Eliya, Sri Lanka.

Travel photography by Lesley Downie. Silver Award, 2018 AIPP Australian Professional Photography Awards. Funeral pyres in Varanasi. 24 hours per day families come, buy the burning wood, and send off their loved ones in the most holy river of all. Ashes are then spaded into the river as more funeral pyres are lit above them. The higher the caste the higher the pyre is lit up the embankment.

FEATURE 19

Famous barman Kirby from Kirby's Outback Bar, Katherine, Northern Territory. Photograph by Lesley Downie.

FEATURE

wedding and portrait photographer. I learnt

all about good business practices, marketing

It’s become more of an art form than a

and sales techniques – it was an exponential

commercially viable business.

trajectory!”

something that the punters can’t do, and to be

Lesley operated a busy wedding and

"Imagery has lost its value, so to speak.

"To succeed, we need to be offering

portraiture studio in Brisbane fo twenty years,

able to do that, you need to learn your craft and

working 80 hours a week and employing two

that takes time.

full-time staff, to produce the work she was

shooting and selling.

longer shooting weddings and portraits – but

“I set myself up nicely, but I remember

I really love shooting travel! I’d much rather be

listening to a workshop by Michael Warshall,

wandering around the back alleys of India with

when he talked about taking the profit out of

my camera anyway.”

“There’s a part of me that’s pleased I’m no

your business and investing it.

"I could see how important that was as a

TRAVELLING THE WORLD

concept – and so that’s what I did and I set

“The destinations I’m attracted to are culturally

myself up for a comfortable retirement.”

rich in a different environment.

"And I’m much more interested in urban

GOOD STRATEGIES

locations, rather than an animal destination

Today, Lesley lives in Noosa. “I came up here

like Antarctica. I particularly like the Asian,

two years earlier than planned, thanks to having

African and Middle Eastern countries because

really good strategies developed by my super

everything is different to what we have at home

adviser and accountant.

or in Western Europe – different sounds, smells,

religions, traditions and smiles! It’s exotic and

"It meant I could just photograph what

I wanted, so I no longer do weddings or

that excites me.”

portraiture, but just shoot travel, documentary

projects and some sport!

remote music festival in West Africa a number of

years ago.

“I look back on when I started and we had

Lesley recalls an expedition she made to a

very good seminars, but I’m not sure if there is

“We went with a group of 12 people to

enough of this sort of advice today – or even

attend The Festival in the Desert at Essakane in

if it’s valid anymore! Photography is a mature

the Sahara in Mali.

industry and everyone has access to a camera in

their phone.

up the Niger River to Timbuktu, camping on

"To get there, we took a two day boat trip

FEATURE

the river banks and meeting all the locals.

people, no doubt a skill she inherited from her

From Timbuktu to Essakane we travelled 4WD

work as a wedding and portrait photographer.

through the desert to the festival.

"The festival itself only had around 2000

MEETING PEOPLE

people and most of them were locals too.

“A lot of people are scared of photographing

They’d travelled across the Sahara with their

people when they’re travelling and ask me how

families and camels – they were coming as

I do it.

much to trade their silver as to hear the music.

a female might help a bit as well. But if I find

“The Tuareg people are incredible, dressed

“My approach is to find families – and being

in bright blue robes and turbans and exotic

a family, especially if they have a baby or a

women with dark kohl eyes and bejeweled

toddler, I just walk up and make a fuss over the

bodies.

little one!

"And so many camels!

The music was absolutely amazing and

baby and usually the mother trusts me, and

"Then I ask if I can take a photo of the

everyone sat in a natural amphitheatre of

then the father comes along and soon you’re

sand dunes at night with burning braziers for

photographing the whole family.

warmth. Mali singer Salif Keita is one of my idols

and we didn’t even know he was going to be

I’ll just walk up and sit in the middle of them to

there!”

have a chat, carrying on like an idiot.

The experience opened Lesley to a whole

“Or there might be a group of women and

"They’re laughing at me, of course, but it

world of exotic locations and she has spent

breaks the ice – it’s a conduit to developing

the past decade visiting many of them,

trust.

photographing both people and their culture.

down low to their level, playing little finger

And she is very comfortable photographing

“However, kids are the key for me, getting

(Opposite) Tuareg man doing eye kohl, Essakane, Sahara Desert, Mali, West Africa - see text. (Above) The Noosa Outrigger Canoe Club team of Platinum paddlers, i.e. 70+ years! Bobby Lennox in seat 1 - mid 70s, and Hugh Bingham in seat 2 - 83 years old. Eight kilometre ocean race, Laguna Bay, Noosa. (Below) Noosa Outrigger Canoe Club Golden Masters ( 60 years +) racing in Norfolk Island Challenge, 2018. Photography by Lesley Downie.

Outback Queensland. View from Middleton Pub. Photograph by Lesley Downie.

FEATURE

games. The photos all come from the

was great! I now have four lenses – a 10-24mm

interaction.”

wide-angle zoom, a 55-200mm tele, the 1855mm kit lens and at night, I put on a 23mm

TRAVEL RESEARCH

f1.4.

When travelling, Lesley says she likes nothing

more than wandering up alleyways and

a DSLR with all the bells and whistles, but it’s

investigating all the nooks and crannies she can

good enough and it’s much lighter.

find.

think my next little purchase will be the Fujifilm

“I generally do a little research about safety

“I don’t think the X Pro2 is as responsive as

"However, to get that extra performance, I

first. A friend told me a long time ago that if

X-T3. Mirrorless seems to be the way of the

there are lots of women and children around,

future.”

it’s probably safe. If there aren’t, then it’s best to find out a little more before you go there.

ENTERING AWARDS

“However, you can be overcautious too. I

Lesley is a Master of Photography with six Gold

was in Cuba twenty years ago with a girlfriend.

bars – so she has earned over 75 APPA awards.

We were walking through an area that was all

All she needs is a couple of golds to earn her

rubble and broken down which didn’t look

Grand Master of Photography (a minimum of

particularly safe, so we put our watches in our

five Golds is required).

pockets and my camera under my coat. But we

“If it happens, it happens”, laughed Lesley.

were so wrong and Cuba was one of the safest

“I entered documentary for many years

places we could be.

and that’s a tough category to score Golds in,

although I did earn one.

“On the other hand, be careful walking

around Nairobi or Barcelona – I had my Canon

EOS 1Dx ripped off my should in Barcelona.

going through a year or two’s work and isolating

"That was a challenge as I was shooting a

photographs that have a magic quality about

wedding in Malaga three days later! I managed

them – and then working on them to the best

to buy a replacement camera on my credit card

of my ability, so I’ve created something I can’t

the next day and PPIB Insurance was brilliant

make any better.

with the claim.”

State Professional Photography Print Awards

These days, Lesley tries not to travel with a

"But I enter because I love the challenge of

“That’s the benefit of entering the Epson

large DSLR.

and APPA. I enter the Queensland Awards first

and after that, I might enter the same prints in

“I trialled a Fujifilm X Pro-2 in India and it

FEATURE

APPA or I might need to do a little more work

year, sitting in the judging room with everyone

on some new entries, depending on my results!

else – there’s such a buzz and you feel the

Sometimes it’s back to the drawing board.

energy.

“When I had my wedding and portrait

“And as a judge, I feel it’s important to enter

business, I don’t think my clients booked me

so you know what it’s like to be on the receiving

because I had won awards, but I think those

end and also be seen to be an entrant by those

awards justified for them their investment in my

whose images you are judging.

services.

except of course if it’s a ridiculously low score of

"Clients would never say anything, but they

"I’m not precious about the scores I receive,

knew I was an award winning photographer

60 or something!

because the awards were all over my studio

walls and on my written material.

going to make the effort to attend the judging,

why not enter a print or two as well? Then you

"That’s where I reaped the benefits of

"But even if you’re not a judge, if you’re

winning awards, but really it’s just a side benefit.

have a vested interest in being there and you

For me, it’s all about personal satisfaction and

have nothing to lose and everything to gain.

development.

the people. It’s great to catchup with old friends

“If you’re not entering the Awards, then

what are you ever going to do with your best

“However, the main reason I go is because of

and to meet new ones.”

photographs?

"Most of the time, we’ll do nothing, but the

Awards make doing something a priority in your life and that’s very important for me.

“Just being a part of Epson and APPA every

For more information, check out www.downiephotography.com.au

Pushkar Camel Fair India (above) and Dhobi Ghat, Varanasi - the daily washing ritual in the polluted waters of the holy Ganges River (below).

EDUCATION

information.

is all about Photoshop and post-production

these days, a review of the photographs actually

Steve has photographed and entertained us

winning Silver and Gold Awards reveals a

with is complexity of light and shadow.

completely different story. Yes, post-production

is important, just as correct exposure and

is real and what is a shadow. Even better, the

focusing are essential skills, but at the heart

colourful table tops cast the same grey shadows

of great photographs lies the photographer's

as the black chairs. And who said you can't find

vision.

great photographs in bright, strong sunshine -

it's the perfect light for this image.

Here, Steve Scalone has 'found' an image

However, while simple in concept, what

At first glance, it's hard to work out what

using his skills of observation. This is a skill we

can all develop to some extent, but it requires

to handle. Note how Steve has maintained a

practice and an understanding of what to

low contrast result with a generally contrasty

include and exclude from the frame.

light source. He has ensured there is detail

throughout the image, both in the highlights

Imagine this photograph with other

However, bright sunshine can be difficult

compositional elements that are currently

and the shadows.

outside the frame - say the walls of the

restaurant, a busy street scene or garden shrubs.

and impress the judges, this low contrast image

If these were included, the simplicity of Steve's

stood out partly because its tonality is so well

framing would be lost. The message would

controlled.

be confused, so just as important as what you

include in a photograph is what you leave out.

works well with the complex shadow design,

creating contrast of a different kind.

To create simplicity of concept, Steve has

While high contrast prints can have impact

The simplified colour palette (orange) also

isolated his subject, probably using a telephoto

Whoever said the art of 'finding' great

lens to he can exclude unnecessary objects and

photographs is lost, isn't looking hard enough!

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.

y t s a r t n o c e h t e d n a Despit e r u s o p x e , g n i t e v h a g h li n tio c u d o r y l e v post-p i t a l e r a d e o s e g produc a m i t s a r t low con can enjoy r e w e i t v h g i l the f o y t i x e l p the com . e d a h s and

g n i m a r f Careful d e d u l c x has e y r a s s e c unne d e t n a w and un onal i t i s o p e com h t m o r f s t n e elem frame.

s i e t t e l a p r u o l r e w e i The co v e h t o s t, s i l a e m i h t n min o e t a r t n e c can con ork, while the w w o e d d i a v o sh r p s e p a h s e g n a f r o o l e v e l r e h t o n yet a . n o i t i t e rep

â&#x20AC;˘

Steve Scalone APP M.Photog. I 29

EDUCATION

It's wonderful to live in a country where we're

we're putting away $8000 a year into super.

entitled to an old age pension. It's even better

Is this enough?

to be able to save for our retirement so we have

If you save $8000 a year, every year for 10

a little more to play with than just the pension

years, you'd save $80,000, Add in interest earned

alone, because most of us would like to have

on your savings and the total would be around

more than the pension provides.

$94,000, so an extra $14,000 (assuming 3%

earnings after tax).

So, we should all have a superannuation

plan that provides for our retirment,

contribute just $8000 a year, your savings and

The idea behind compulsory employer

After 20 years, assuming you continue to

superannuation during our working life is to

interest could grow to $221,000.

provide us with income when we no longer

work (and so the government doesn't have to

years, it's $621,000.

pay for us either - a win-win). But if we're self-

employed photographers, we don't have an

you'd need to save $14,000 a year, but no

employer paying 9.5% super for us and it isn't

one pays the same amount every year and,

compulsory for us to pay it. Many self-employed

as your income increases in later years, so do

people do not save enough for retirement.

your contributions to super and so saving for

$1million becomes more possible.

The majority of professional photographers

After 30 years, it's $392,000 and after 40 To get to $1 million under this scenario,

today are not full time and many have

However, don't get hung up on the figures.

employment elsewhere, so superannuation

The point is that saving a relatively small

is being accumulated on their behalf for their

amount for retirement every year can add up

retirement. This is probably a good thing!

to a significant nest egg over time, and this is

Let's make some simplistic assumptions.

something we should do with our photography

Let's say we need $1 million when we retire.

earnings. When pricing our work, don't forget to

Let's say we are earning $80-90k a year and so

include an amount for super.

â&#x20AC;¢

Natarsha March APP AAIPP

EDUCATION

Tax Scams: Don't Be Caught Out! There have been a lot of telephone scams recently with callers claiming they're from the tax office and wanting tax file numbers and payment over the phone. Don't be fooled! It might be old news for some, but it doesn't

except the caller pretends to be from your

hurt to repeat warnings about scammers

accounting firm.

claiming they're from the ATO and scaring

people into paying money that isnt owed.

a call is really from the ATO or your accounting

firm? Unless you recognise the voice, the best

There are many different scams, but

generally speaking, the person on the other end

option is to ask to call them back and, if they

of the phone sounds official and quickly guides

are a scammer, this will usually result in them

you along a predetermined path.

hanging up on you.

So, what's the solution? How do you know if

When you call the tax office, you go to

WRONG DOING

a central line and you're unlikely to get the

Underlying the phone call is the fear that you

same operator twice anyway! And if you call

have an unpaid tax debt, that you are about to

your accounting firm, then hopefully you'll

be audited, that there's a warrant out for your

recognised the person on the switch.

arrest or you're facing criminal charges. And the

caller is 'surprised' when you say you haven't

should you provide the caller with any

heard anything about it, intimating that your

information about yourself or your credit card.

ignorance has just made things worse.

tax office, you'll possibly be half expecting it.

However, fear not! You're then told that if

Problem solved. Under no circumstances

If you do get a legitimate call from the

you can provide the caller with what he/she

Still, the safest option is not to answer their

asks for, right now, you can probably avoid

questions as they try to identify you, but get

going to jail or appearing in court. All you have

the number and verify the number on the ATO

to do is hand over your tax file number and

website, and call them back. You'll probably

credit card details to pay off the outstanding tax

speak to someone else, but that's okay because

or fine.

all your details are on the central database and

at least you know who you're talking to!

Another scam runs along the same lines,

â&#x20AC;¢

Mauro Cantelmi APP M.Photog.

EDUCATION

ÂŠ

could be owned by your client, restricting your

of the AIPP Journal), photographers working

use of them.

in the domestic market (e.g. weddings, family

portraiture) generally do not own the copyright,

can give your clients as much access to the

while photographers working for businesses

photos as you wish. For instance, unrestricted,

(e.g. head shots, real estate) do. However, in

unlimited use might allow your clients to re-

both cases it is recommended that you explain

sell the photos to other people, use them

to your clients that you wish to own the

for calendars, sell them for stock. This could

be quite appropriate for domestic jobs. On

or unrestricted use of the photographs,

the other hand, if you shoot a building for an

depending on what you agree to.

architect, you don't want the architect handing

your photos out to the tilers, glaziers and pool

While the Copyright Act sets out who owns

If you do own the copyright, then you

builder for free - that's potentially three more

overruled if both parties agree - and this is why

clients for you.

you need a contract or an agreement signed by

you and your client before you start a job.

agreement? One of the paragraphs or sections

should have the client say:

Many clients won't understand copyright

So, what do you write in the contract or

at all. They will believe that they can use the

photos as they see fit. In practice, this is exactly

(your name) owns the Copyright in all

what will happen, but there are legal issues to

photographs.

consider.

opposite, the AIPP in its sample contracts

If you don't own the copyright, then you

I/we agree that the studio/photographer

It's that easy. And as you'll see on the page

must ask permission from your clients if you can

(which should be modified before use) suggest

use the photos for your own marketing, to enter

you also outline potential uses of the photo,

awards, or to sell as stock. Even the 'outtakes'

both by you and the client. Have a read!

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.

AIPP Portrait Agreement

AIPP Wedding Agreement

THE CLIENT

THE STUDIO THE CLIENT

1/we authorise the Studio to arrange the photography in accordance with the details overleaf. I/we are satisfied that these details are correct and I/we understand there is a three working day cooling-off period from the date of the signing this contract before the photography is commenced and for any orders placed.

The Booking Fee is not refundable but may be transferable at the discretion of the Studio.

I/we have received, read and understand the Studio’s price list, which has been confirmed for our assignment on payment of the deposit/ Booking Fee provided I/we order within seven (7) days after the assignment.

The booking of and any additional costs incurred for booking venues, photography locations, additional props etc are our responsibility. If these are not paid for separately, the Studio will invoice me for these and such invoice must be paid in advance.

The details and times accompanying this agreement form part of this agreement and I/we agree to make every effort to cooperate in order for the Studio to fulfil its contracted photographic duty. I/we acknowledge the Studio will not accept responsibility for the extent of the photographic coverage and fulfilment of the photographic assignment in accordance with the details herein if these details are incorrect or if I/we chose not to follow the agreed schedule.

To avoid disruption to the photographic coverage and to allow the Studio to fulfil its contracted duty; other photography by family/ friends at the time of the photographic assignment is not permitted.

I/we agree the Studio owns the Copyright in all photographs. I/ we give permission to the Studio to use any image from the photographic assignment for industry competitions and as required for subsequent usage and for reasonable general promotional advertising for the Studio. The usage for any other purpose is to be renegotiated between the parties and requires specific permission by us.

As the Studio owns the Copyright, I/we agree not to copy, cause to be copied or allow anyone else to copy, photocopy, laser copy or computer scan these images. To do so is in breach of this agreement. I/we will use these photographs as agreed and understand they may not be copied or reproduced unless written approval is granted by the Studio.

10.

11.

12. 13.

The negatives/digital files remain the property of the Studio and will be kept on file a period of five years for re-orders. I/we may be able to negotiate with the Studio for release of the negatives/ digital files thereafter. Regarding re-ordering photographs, I/we also understand and agree to clauses 10 – 15 inclusive. Orders must be placed within 7 days of the photographic assignment, otherwise prices current at the time of ordering will apply and I/we will pay all reasonable freight and postage for the prints we request. All orders must be confirmed in writing and accompanied by full payment unless prior arrangement with the Studio had been made. Telephone orders require written confirmation with payment before the order can be processed. All orders shall remain the property of the Studio until full payment has been made. Orders cannot be separated for collection unless paid for in full. Should I/we fail to pay and collect any order within fourteen (14) days of notification of completion, the order shall be in default and the Studio will charge a default charge of 1.5% per month (18% annual rate) on the unpaid balance (minimum monthly charge of $5.00). In addition, I/ we acknowledge that no future orders will be processed until the Order is paid in full.

14.

Enlargements will carry the studio logo/signature.

15.

I acknowledge and agree that the Studio has no control over the environment in which the photographs are kept and that colour photographs, in common with all sensitised material and colour dyes, have limited life expectancy which is further reduced when exposed to strong and prolonged sunlight, heat or fluorescent light sources. Photographs will last longer if displayed under good lighting conditions.

Should 1. Wenominated authorise the photographer Studio to arrange not bethe available photography for any of reason, our Wedding, in the Studio will notify the change as soon as it is known accordance withthe theClient detailsofoverleaf. We understand there is a 3 working and provide another period photographer day cooling-off from thewith dateequivalent of signing skills. this contract and for any orders placed.

The price quoted will be guaranteed for seven days otherwise the2.current price will beread confirmed when the the list, order We have received, and understand thedeposit Studio’sonprice which has is paid. additional costs will be beenAny confirmed for our wedding, on advised payment and of theconfirmation deposit/booking fee. required proceeding. We before agree that payment of the initial deposit/booking fee confirms the

The photographs made by the Studio are manufactured with the finest materials available. colour photographs, 3. We agree tocurrently pay the full balance However, at least two weeks prior to the Wedding in common with all material and the colour dyes, have limited Day. Failure tosensitised do so gives the Studio right to refuse to carry out the life expectancy which is further reduced when exposed to strong photographic services. and prolonged sunlight, heat or fluorescent light sources If in your 4. Theany booking of and made any additional costs has incurred for original booking venues, opinion photograph by the Studio lost its photography are our responsibility. If these are for not paid for colour, the Studio locations may, at itsetc discretion, replace the photograph separately, will invoice us for these and such invoice must be fifty per cent of the theStudio current selling price. The original photograph in advance. the invoice is not paid for prior commencement must paid be returned andIf the reprinting charge paid intoadvance. This of the photographic services, photographic mayits bepossession reduced. warranty will be valid for as long as thecoverage Studio has the5.original files in a printable condition. If the photographer is required to remain after the meal, a meal will be

booking with the Studio as per the details shown in the front of this order.

provided by us. files remain the property of the Studio and The negatives/digital We on arefile satisfied thatofthe details are correct andStudio will confirm the will be(a) kept a period five years,overleaf after which time the details prior the Wedding. agree to advise the hairdressers and makemay negotiate thetorelease of theWe negatives/digital files. up artists, the hire cars and the caterers of all the relevant times, details The Studio shall carry this assignment with due and professional and locations as out detailed here and to coordinate their services.

diligence. Elements beyond the Studio’s control include faulty (b) The details and times accompanying this agreement material, equipment failure, damaged and exposed film, lossform of part of this agreement and we agree every effort tothe cooperate film/photos/ negatives/digital filestoinmake transit between Studio in order for the Studio to fulfil its contracted We acknowledge and professional laboratories employed photographic by the Studio,duty. unforeseen thedamage Studio will responsibility for the extent of the photographic loss or to not film,accept negatives/ digital files and proofs during coverage fulfilment of the photographic services in accordance with processing andand developing either by the Studio or professional the details herein if these details are incorrect if we choose laboratories employed by the Studio (that is ornot the fault not of to follow the agreed scheduledisputes, civil disturbances, or weather the Studio), industrial conditions which may to inhibit or prevent coverage the Studio 6. To avoid disruption the photographic and completing to allow the Studio to in whole part this duty, assignment. In this case the Studio shall will be at fulfilor itsin contracted other photography by family and friends not bethe liable for itsofcomplete performance of the assignment. It is discretion the Studio’s photographer. agreed that the liability of the Studio shall be limited to be a refund 7. Wemoney acceptpaid the responsibility to contact the Studio, at least weeks of any under this agreement which shall be two in full & prior to Wedding, to confirm areor correct and there are no alterations. final satisfaction of any details damage loss suffered. 8. We agree to immediately advise the Studio in writing of any alterations in the details listed here including postponement or cancellation of the wedding.

AGREEMENT 9. In the event of cancellation of the wedding we agree that the deposit/

booking fee will be forfeited, but that the Studio may allow a claim towards by the Studio (12)AGREEMENT. months of the date of I/WE HAVEother READphotography AND UNDERSTOOD THE within TERMStwelve OF THIS this order at the sole discretion of the Studio. 10. We agree the Copyright in all photographs is owned by the Studio. We give permission to the Studio to use any image of our Wedding for industry competitions and as required for subsequent usage and for reasonable general promotional advertising for the Studio. The usage for any other purpose is to be X_____________________________________________________________ renegotiated between the parties and requires specific permission. SIGNED FOR THE CLIENT:

11./We understand _____ / _____ that these photographs are only to be used as agreed and may not be copied or reproduced unless written approval had been granted by the Studio.

DATE: _____

SIGNED FOR 12.THE TheSTUDIO: negatives/digital files remain the property of the Studio and will be

kept on file a period of five years. We recognise that materials & technology change constantly so we need to place our required order as soon as X_____________________________________________________________ possible to obtain the optimum quality. We note that we may then negotiate with the Studio for release of the Negatives/digital files. Regarding reordering photographs, we also understand and agree to clause 13.: DATE: _____

/ _____ / _____

13. (a) All orders including family and friends’ orders are to be placed within eight weeks of viewing of the proofs, otherwise prices current at the of ordering will apply.Your circumstances may require This is a basictime Portrait Agreement.

something different accordingly AIPP recommends you follow your (b) The and wedding will be the considered one Order, regardless of how many solicitor’s adviceindividual for your specific partiesrequirements. request photographs. We are responsible for payment and collection of the entire order and no partial orders will be given out until full payment for the Order is received.

EDUCATION

two times the BUR.

advertising jobs, they may charge by the hour

or by the photo.

in total, being $1500 for the work and a BUR

charge for Australia of $1000.

Most photographers find it's better to

So, the photographer may charge $2500

charge by the photo, but that's a separate

To cover the extra use in the USA and

discussion.

Europe (as in our example), the further charge might be 2x BUR, or 2x $1000 = $2000.

HOW USAGE WORKS

In addition to the fee for taking the photograph,

and no single or agreed system. It varies

there can be an additional fee for how the client

from country to country, photographer to

uses the photo (sometimes based on a 'base

photographer. It does not apply to domestic

usage rate' or BUR).

photography. It sometimes applies to stock

photography (rights managed).

For instance, the photography fee may

There are many variations on the theme

include the photography itself, plus using the

A similar system exists in the modelling

photo in Australia for one year on web pages,

industry â&#x20AC;&#x201C; the more a model's face is used,

but if the client also wanted to use the photo in

the more the client pays to have the model

the USA and Europe, and/or for two years, and/

associated with the product or service.

or for billboards, there could be an additional fee payable by the client to compensate the

WILL CLIENTS PAY USAGE?

photographer for the additional use. This is

Today, it can be confusing for photographers

called a usage fee. It can be calculated based on

joining the profession to understand not only

the BUR - which is completely variable!

how usage works, but what rates they should

charge and what is accepted practice.

Photographers used to charge usage based

on a multiple of the BUR - say half the BUR or

More importantly, it can be incredibly

â&#x20AC;¢

Angela Miller APP M.Photog. 37

â&#x20AC;¢

Ta n i a M a l k i n A P P A A I P P

EDUCATION

confusing for small and medium sized clients

have the quality other clients would expect

who don't regularly deal with advertising

from the photographer. And of course, maybe

agencies and photographers. The question they

the client's boss simply saw the photo, fell in

naturally ask is, why are they paying to have the

love with it and wanted to use it more than

photograph taken, and then a further fee to use

originally planned.

the photograph afterwards?

introducing usage payments, but as more

One way around this confusion is to package

There were lots of good reasons for

the photography fee and initial usage into a

and more small and medium size businesses

single amount (e.g. the photography fee is

began to commission their own photography,

$2500 which includes initial usage in Australia

the market changed and the market didn't

etc), but there's still the issue of the client

understand why they had to pay twice for

paying more if they want to extend the use of

photography they believed they had already

the photographs at a later date.

paid for.

So why did this system arise?

Today, the majority of commercial and

advertising photography does not include

USAGE PROVIDES PROTECTION

usage. Where it is included, it's more of a high

In addition to rewarding the photographer for

end issue when advertising agencies and larger

his or her creativity (a good photo might be

clients are involved.

used more widely), usage could be used to

protect the photographer.

replied on the AIPP Community Facebook to

a query from a member wondering about

For example, in the past, a client would

William Long APP.L, Hon. LM, FBIPP, FRPS

ask the photographer to take a couple of

what he should charge for usage. In short, he

shots for a small brochure with a limited print

suggested that charging usage may not be the

run. Knowing the purpose, a couple of quick

way to go. Here is a summary of his reply. This is

shots were taken on a smaller format film â&#x20AC;&#x201C;

something I fully agree with. Said William:

and then a few weeks later the same photo

would be used for large billboards around the

this, but it's time to stop pushing usage. I gave

country. It meant the client hadn't instructed

up with the old base usage rate (BUR) system

the photographer correctly. It also meant the

of charging a long time ago. Quite simply, it is

photographer's reputation could be affected

unworkable in the digital era because 'direct

because the photo was shot for a small

clients' have no idea where and how they're

reproduction and maybe the billboard didn't

going to use the imagery that we provide."

"I may get burned at the stake for saying

EDUCATION

The usage fee system worked best when

their fees on the old principal of BUR (base

an agency commissioned a photograph for a

usage rate) or usage based on territories (state,

specific advertising campaign. If the campaign

national or international).

was extended, the photographer was paid an

additional fee. These days, photographs from

photographer's favour and at the client's

a commission can have so many different

considerable cost. About the only place this

uses that a simple usage fee becomes almost

system did work is if the photography was

impossible to calculate.

commissioned through an advertising agency

"The usage system would work in the

because the agency would be in charge of

BASICALLY UNREALISTIC

the media planning and purchasing, and

Continued William: "I charge a fee based on my

they would be adding a percentage to the

cost of doing business, my creative value and

photographer's cost when they billed their

my experience. I cannot and have never been

client. That's how most agencies would make

able to manage or check on how a business,

their income, so it was in the agencies' interest

small or large, uses the work I produce in today's

to support the system. However, as agencies

digital market.

became smaller and more competitive, it was

they who initiated an alternative flat fee 'buy

"Charging usage is a totally unrealistic

approach. That's the reality. Thirty years ago, the

out' for many elements to produce advertising

market was dominated by agencies who would

campaigns, including photography."

book advertising space, so it was possible to keep some sort of check on where and to what

BURNING AT THE STAKE

extent the photo was used.

"The reality is that photographers today have

very little bargaining power because the client

"In comparison, a direct client today could

not possibly guess, plan or estimate the future

has a great deal of choice when it comes to

usage (other than maybe the time of use) of our

creative image providers.

photography.

photographers of my age will consider the next

"To charge a client for work I produce based

on usage in Queensland, and then to charge

sentence sacrilege, but I think we need to stop

another fee because they want to use it in NSW

the promotion of a system which few are using

(a road distance of 104.9 km) is, IMHO, absurd.

in today's market.

"It's also worth noting that in my part of

Australia, very few of my competitors base

"Now I know many commercial

"The BUR system of charging clients usage

based on territory, time and media has no place

â&#x20AC;¢

Lori Cicchini APP M.Photog.

EDUCATION

in today's market.

who still uses the BUR plus usage based on

territory, time and media, good luck to you. But

"Twenty five years ago, I spent four to five

years as a marketing manager in the UK where

my experience in creating images for small to

I commissioned photography, graphic design

large direct companies over the last 20 years in

and print material. I had an impressive budget,

Australia is that few, if any, of my competitors

but the only times we had to deal with usage

are using the usage system.

were when we dealt with the largest stock

libraries. Even then, it was based on an honour

the fire now!", laughed William. Maybe both he

system, nothing else, because there is no way of

and I will be burned at the stake!

"I can hear the chopping of the kindling for

checking. "More commercial photographers would

WHERE DOES THAT LEAVE US?

benefit from the experience of commissioning

So if we don't use usage anymore, is there any

photography themselves and opening their

point in understanding it?

eyes to the reality of the free market economy

Most photographers agree with William

we actually work and live in.

that small and medium sized businesses are

"Move onto 2019 and systems that were

not going to accept the usage system, so

barely in use 20 years ago certainly don't work

if these clients are your market, don't give

today. Plenty of people said that they used the

them an opportunity to go somewhere else

usage system, but the honest truth was that, in

because your fee structure appears unfair or too

my experience, very few did all the time.

complicated.

"The market today is highly competitive and

Rather, work out what a fair fee is, probably

the reality is that those in charge of reduced

based on a per photo basis, and charge that.

marketing budgets are not open to the concept

that they need to ask the photographer's

stock', then understanding usage is incredibly

permission every time they pull an image

important because it remains an integral part

out of their company's image library. Instead

of the stock photogrpahy market - at least for

they want to know what the overall fee is for

photographers who are making money!

you to provide and produce the imagery for

their project. Make this too complicated and

the copyright to your clients. For example, if

regardless of your value or worth, they will

associates of your clients want to use your

choose a different photographer.

photos, then you should be able to make an

additional sale â&#x20AC;&#x201C; but that's another article.

"If you're one of those rare photographers

Separately, if you are selling photographs 'as

Note, this doesn't mean you hand over

â&#x20AC;¢

J o h n A n s e l l A P P. L M . P h o t o g . I

â&#x20AC;¢

V i t t o r i o N a t o l i A P P. L G . M . P h o t o g .

AWARDS

Should Photo Illustration Be Allowed? Peter Eastway dips his toes into an emotive debate between two schools of photographic thought and how they co-exist in one awards system. Will it ever work? In recent months, there has been a lot of debate

level manipulation as inevitable.

over photo-illustration versus photography.

Should photo-illustration be allowed in a

before photography becomes illustration?

photography competition? Should they be

judged side-by-side? And what exactly is photo-

to exposure, contrast and white balance

illustration anyway?

are considered acceptable – although we

can completely change the ‘authenticity’

We can broadly define photo-illustration

But how much manipulation can we apply Minor adjustments applied globally

as art work that results from a combination

of an image with a creative white balance

of photographic and non-photographic

adjustment.

techniques – but what is photographic

technique these days?

what’s a straight or 'single' capture.

STRAIGHT PHOTOGRAPHY

PHOTO-ILLUSTRATION

It’s easier to define a straight photograph – an

At the other extreme, we have composited

image captured with a camera without any

images that have no basis in reality, except that

adjustments in post-production. Of course, the

they may look like reality.

camera itself is capturing a file with a linear

response, which is flat and uninteresting, so

image is ‘created’ and not found. Sometimes

the camera or our raw processing software

the image has ‘illustrative’ qualities that disguise

automatically applies a ‘curve’ to the data to

the fact it was created using photographic

create an image that is more ‘realistic’. However,

techniques. However, HDR images can also

even this curve is an ‘interpretation’ by someone

look like illustrations, even though they are only

who probably wears a white coat while at work!

photographic.

But no one expects us to use a file directly

out of the camera, so we accept some base

However, let’s assume we can agree on

Sometimes it is really obvious that the

The argument usually states that

composited images are more like illustrations

AWARDS

than photographs, or that they are created with

face selectively is quite illustrative in nature.

illustrative techniques rather than photographic

How do we quantify how much post-

ones.

production is allowable before we go beyond

‘straight’ photography and into illustration?

Is it right to enter photo-illustrations into a

photography competition?

examples of composite photographs. It is

There is a segment of the membership that

The history of photography is full of

believes photo-illustrative photography should

too late to say composites should not be a

be separated from straight photography. Let’s

part of photography because there are many

put aside whether this is a correct view or not

photography books containing composite

and ask a second question: If we agreed that

images. Advertising photographers would

photo-illustrative or composite photography

laugh at such a suggestion as it has been their

should not be judged alongside ‘straight’

bread and butter.

photographs, where do we draw the line? How

much post-production is allowed before a

is a point where photography is no longer

photograph turns into an illustration?

photography and becomes illustration.

I ask this question because I don’t think

However, I think everyone agrees that there

It’s fair enough to let judges know what they

we will ever agree on an answer, but no

are judging. Equally, we need a range of judges

doubt someone will have to provide one.

who appreciate both the art of capture as well

My experience is that two photographers

as the art of creating an image using post-

can both use the same language to describe

production techniques – judges shouldn’t have

their technique – my photographs are not

a bias.

illustrations – and yet use very different

amounts of post-production to produce their

but maybe you do.

results.

our Awards system and what the Awards

So, if we drop a new sky into a landscape, is

So, there you have it! I don’t have an answer, Either way, the next time you’re considering

this too much? It’s a technique that’s been used

Team has to deal with, think about this issue.

for over 100 years. And what’s the difference

Sometimes a simple solution doesn’t exist and

really between dropping in a sky and doing a

what you think is best from your point of view,

series of selective adjustments to a file?

might not be what others think is best from

theirs.

Isn't desaturating a file to make a black

and white illustrative? What about choosing a

And I guess that's what makes professional

different white balance? And lightening up a

photography so interesting!

â&#x20AC;¢

Lisa Ivandich APP M.Photog. I 47

NEWS

Starleaton Will Lend A Hand! Professional wedding and portrait photographers need to be passionate about printing to optimise their business potential, but where do you go for advice, service and supplies? AIPP Trade Sponsor Starleaton is a great starting point! Producing high quality prints is actually very

see ourselves as a ‘supermarket’ for everything.

straightforward, assuming you’re using the right

We are more like your friendly local grocer

tools.

who always has the freshest, most high-quality

produce backed by a passion for service and a

A simplified shopping list includes a good

quality monitor (so you can see what your

personal touch.

photos really look like as you edit them), a good

quality printer, great paper (or media as they like

eight branches and same day delivery is not a

to call it) and a quality printer profile that let’s

problem – it’s a pleasure.

your printing software get the most out of your

system.

but we know that, when it comes to

recommending the right choice of printer,

Reading this, it might sound a little daunting

"We carry deep stockholdings at all of our

“Advice comes in many levels of usefulness

and that’s why you might choose to work with

RIP, ink, media and finishing combination; we

one of the AIPP’s many trade partners and

promise that the advice will be technically and

sponsors, such as Starleaton.

commercially sound for your business and

applications.”

Starleaton is one of Australia’s leading

suppliers of equipment and materials to

the graphic imaging markets, including

professional photographers require today –

photography with its 2016 acquisition of DES.

an avenue for them to explore the world of

printing and the increased profits offering paper

The company has eight locations across the

ANZ region, from Perth to Auckland, and a staff

And that’s the type of advice many

products can provide.

of over 70. There’s always someone around to help you!

For further information, please visit

https://www.starleaton.com.au/

Write’s Ben Eaton, Group CEO, “Starleaton

is not just a supplier of goods and we do not

NEWS

SpyderX Makes Your Monitor Better! Computer monitors and screens change over time, but by using a calibration device like Datacolor’s new SpyderX, you can be sure that the image you’re looking at is the best it can be! When you walk into a department store looking

which of your computers or displays you are

for a new television, have you noticed how all

working on.

the display units are slightly different in terms of

colour, contrast and brightness? It’s impossible

compare your monitor colours before and

to know which screen is closest to the original

after calibration, so you’ll see how good it is,

– and photographers have the same problem

and there’s an integrated ambient light sensor

when editing their images. The only way they

that can measure your room light throughout

will know that what they are seeing is accurate

the day allowing, you to adjust your display

is by calibrating their monitor.

brightness and contrast to ideal levels. The

software can either warn you to recalibrate or

And to calibrate your monitor, you need a

The SpyderProof feature allows you to

tool like Datacolor’s SpyderXElite.

do it automatically using custom profiles based

on light level.

SpyderXElite offers a completely new,

more accurate way of measuring colour. Its

ground breaking lens-based colour engine

of calibration options, including photo, video,

technology features higher light sensitivity and

prepress and scientific calibration standards.

more advanced sensors, so you can experience

Importantly, your on-screen images may look

significantly more precise screen colour, white

different when you print them, or view them

balance and shadow detail.

on other devices such as tablets. The Softproof

feature, only available with SpyderX Elite, lets

The SpyderXElite software offers One-click

SpyderX.Elite features an extensive selection

Calibration and Step-by-step Assistant modes,

you simulate and view these changes on your

along with interactive help every step of the

calibrated screen.

way. It lets you calibrate multiple laptops and

desktop monitors and supports the latest

Kayell for $465, or the Pro model for $295.

You can purchase SpyderXElite through

display technologies, so you can be confident that your colours are always accurate no matter

www.kayellaustralia.com.au

NEWS

what your flash light is actually doing, so a

so the first thing we do is modify the light

modelling light can be useful. The A1X has

with a shaper of some type. Then we take the

one built into the head, providing flicker-free

flash off the camera for a better angle â&#x20AC;&#x201C; and

illumination so you can see exactly what you're

then generally we wish we had studio lighting

going to capture before you press the shutter.

instead! Well, perhaps a new light from Profoto

It's especially useful when operating the flash

is the answer.

off-camera, allowing you to see where the

shadows are going to fall.

The Profoto A1X is a little more of everything

than its predecessor, providing a more powerful

battery, faster recycling and Sony compatibility.

Remote with HSS and AirTTL. The increased

number of channels mean you needn't be

The Profoto A1X has up to 450 full power

Other features include a 20-channel Air

pops per charge with a one-second recharge

interrupted at busy events.

time, but unlike standard on-camera flash units,

Profoto suggests the light produced by the A1X

and-shoot simplicity, the A1X calculating the

will always be natural and beautiful, thanks to

correct exposure for you. However, switch the

the innovative round head (as opposed to the

flash to manual and you can fine-tune the

rectangular head found on most camera flash

exposure to create exactly the look and feel you

guns), providing a softer, more gentle fall-off.

want.

Certainly Profoto has refined the way its flash

The TTL mode essentially provides point-

On the back, a large high-resolution display

system works, demonstrated by cool features

makes the unit easy to navigate with big, super-

such as a magnetic click-on mount for light

legible numbers. And whether you're a Sony,

shaping tools. There are six tools available that

Canon or Nikon shooter, the A1X will work

can be used individually or in combination with

happily in tandem.

one another.

Sometimes it can be challenging to see

https://profoto.com/au

“The best book on photography you will ever buy!” Peter’s Mother-in-Law

SPEC

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SAV

USE

THE

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CO U

FOR

AIPP

E $2

PON

CO D

MEM

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E ‘AIP

PTNT

’

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