AIPP Journal - July 2019

Issue 273

Eric Ronald on Album Design Ian van der Wolde Selling Medium Format Johl Dunn on Better Business Practices

July 2019

CONTENTS 6

What's The AIPP Been Up To? July is shaping up to be a busy month. AIPP National President Melissa Neumann reports again on what’s happening inside the Institute.

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AIPP Councils for 2019

Cover

Eric Ronald APP AAIPP

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Keren Dobia, Epson Victorian PPY Winner

WINNER AIPP AUSTRALIAN ALBUM OF THE YEAR

Keren Dobia presents a new portfolio of inspired portraits to take out Victoria's top award in the AIPP Victorian Epson Professional Photography Awards.

2018 AIPP AUSTRALIAN PROFESSIONAL PHOTOGRAPHY AWARDS

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

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Congratulations and thank you to the members who have volunteered to be the AIPP's State Council members. If you are interested in suggesting workshops or outings, or have an issue you need a hand with, these are your local AIPP representatives.

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Matt Palmer, Epson Tasmanian PPY Winner Matt Palmer chooses the landscape category to take out the big one in the Apple Isle: the 2019 AIPP Tasmanian Epson Professional Photographer of the Year!

ISSUE 273 / JULY 2019 18

Peter Eastway, Epson NSW PPY Winner Some cold weather locations earned Peter Eastway the hot title in the AIPP NSW Epson Professional Photography Awards this year.

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Kasey Funnell, Epson ACT PPY Winner

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Commercial photographer Kasey Funnell uses a deft sense of shape and design to win the 2019 AIPP ACT Epson Professional Photographer of the Year.

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Adding Value With Medium Format

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The Psychology of Portrait Photography Johl Dunn APP AAIPP explains that a better understanding of why your portrait clients buy photography, will in turn create a more profitable business for you. He suggests we educate, not sell .

Part 1.

Pre-Production For Album Designs Eric Ronald APP AAIPP explains that putting together an album isn’t something he does as an afterthought, rather it is an integral part of the way he covers a wedding shoot.

Past AIPP National President Ian van der Wolde explains how he simplified his prices to keep his clients happy and introduced medium format as well!

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Some Thoughts Behind Photo Books Eric Ronald is a firm believer in pre-production for a photo album, but when it comes to photo books, Peter Eastway suggests there are many different ways a book project can come together.

How Much Copying Is Allowed?

As students, we're encouraged to immitate the work of master photographers, but in our Awards system, copying is forbidden. Peter Eastway suggests some differences between inspiration and plagiarism.

Platinum Sponsors 3

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IT'S TIME! ENTER THE 2019 AIPP AUSTRALIAN PROFESSIONAL PHOTOGRAPHY AWARDS Entries close Thursday 25 July 2019 Entry details and dates can be found at http://www.aippappa.com/

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NEWS

What's The AIPP Been Up To? July is shaping up to be a busy month. AIPP National President Melissa Neumann reports again on what’s happening inside the Institute.

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The Epson State awards are now over and we

are heading toward the end of the awards

winners. Some sensational work. I am looking

season and the 'grand finale' that is APPA!

forward to see what APPA brings.

THANK YOU EPSON

NEW COUNCILS

Firstly, I want to put out a huge thank you to

As a member, you will know that there is much

Epson for its support and to all of the volunteers

more to the AIPP than just the awards.

that made the Epson State Awards so

successful. It takes a village of dedicated people

next 12 months and I am grateful to every

to make all this happen.

single one of them for stepping up to help

us out. And thank you to all those council

At the heart of that village is our hard-

Congratulations to all of those big award

Our new councils are now in place for the

working core, the Awards Committee. These

members who have stepped down. Your service

guys have the tough job of ensuring a fair go

to the Institute is very much appreciated.

for everyone. They are the umpires and as we

know, umpires are sometimes not the most

communications between the Board and the

popular because they have to make the hard

councils this year, with regular open meetings

decisions.

and a Board rep allocated to each council to

help keep them up to date with our directions

This year has included the introduction of

The Board is working on even better

the scrutineer role which might take some time

and provide support when needed.

to fine tune, but will enhance the credibility of

the overall process.

will be spending three days together in July to

solidify our direction. Sometimes it is easier to

I always say that the gold is in the getting

The Board has lots on at the moment and

there. It's what you learn from the journey that

block out some time and get stuck into the job,

counts and a few awards along the way are

so that’s exactly what we are doing.

great, but not always the most valuable part of

entering.

best strategies for moving the Institute into the

We are still decluttering and working out the

AIPP STRATEGIC PLAN - JULY 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 needs 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 – 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. Specialist Accreditation for drones, photo tour leaders, birth and newborn Regional events: set a date and planning.

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NEWS

future. This is a work in progress and we have a

ACCREDITATION MICROSCOPE

great opportunity to make change that will give

The accreditation process is under the

us a stronger and more cohesive institute.

microscope to ensure it is an achievement worthy of its name.

IN THE REGIONS

We have some exciting stuff happening for our

developed to take that even further.

regional photographers with David Simmonds

taking the lead on this front.

accredited to be a professional photographer or

video producer, but we do want people to strive

Sara McKenna is also charging ahead with

Specialist accreditation is now being We don’t want to say that you must be

working out the technical aspects of delivering

for this as a personal goal.

online event content with a great group of

people.

at the top of their game, to strive to provide

A regional-specific event for next year is in

great images and service to their clients. Our

planning. If you have any suggestions, contact

accredited members should be held up high

David at david.simmonds@aipp.com.au.

and celebrated.

We want our accredited members to be

We all started somewhere and I remember

IN IT TOGETHER

when I became a photographer 30 years ago,

Caring for each other is a value that we want to

how privileged I felt to be able to talk with AIPP

nurture in the Institute.

members who had been in the business for

many more years than I had.

We are all in this together, regardless of what

genre or specialty area we are working in.

friends who would happily give me advice; this

If you are at an event, try talking to someone

It’s the contacts that I made and the new

you have never spoken to before. Look for that

is why I am still in the industry today.

person standing alone who might not know

anyone and strike up a conversation.

photographers who I could trust to give me

good advice without judgment was priceless.

We want to encourage our members to get

To know that I could contact other

to know each other and to foster a support

network welcomed by all.

where you sit in the journey and we want to

make the AIPP a place where this can happen.

Many of us are sole traders, so this is our way

There is always more to learn no matter

of connecting with others in our industry where

Melissa Neumann APP.L M.Photog.

we can share our pain and our triumphs.

National President melissa.neumann@aipp.com.au

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NEWS

AIPP Councils for 2019 Congratulations and thank you to the members who have volunteered to be the AIPP's State Council members. If you are interested in suggesting workshops or outings, or have an issue you need a hand with, these are your local AIPP representatives.

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We would like to introduce our new Licentiates for 2019. A Licentiate is a status given to Accredited members (APP) who have been members for 15 years or more. The APP.L (Licentiate) logo is a mark of respect and seniority that they will now be entitled to display proudly.

Definition: “A licentiate is a person who has a formal attestation of professional competence, borne from experience, to not only practice a profession, but also to teach, educate and mentor others in the profession.�

January to July 2019

Gary Cranitch APP.L M.Photog.

Vladimir Petrovic APP.L AAIPP

Vicki Bell APP.L M.Photog. II

Vanessa Davis APP.L

Angela Roe APP.L

Paul Burmon APP.L

Chris Elfes APP.L AAIPP

Craig Wetjen APP.L M.Photog. I

Jeremy Byrnes APP.L M.Photog.

Andrew Gricks APP.L

Stuart Winton APP.L

AWARDS

Keren Dobia, Epson Victorian PPY Winner Keren Dobia presents a new portfolio of inspired portraits to take out Victoria's top award in the AIPP Victorian Epson Professional Photography Awards.

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

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Keren Dobia APP M.Photog. II is the 2019 AIPP

of which was also exhibited in Sydney as part of

Victorian Epson Professional Photographer of

Head On 2019.

the Year and also the portrait category winner

with images from her 'I AM' series.

in commissioning this style of creative

portraiture for their campaigns and it is exciting

She was also the AIPP Australian Professional

"I am slowly getting clients more interested

Photographer of the Year in 2017, again with a

to see that people are connecting with this style

series of wonderful portraits.

and are wanting to take a chance on producing

something very unique for their brands.

"To say I am thrilled is an understatement,"

said Keren.

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

"I want to say a huge thank you to Epson for

"Some people believe there is a step-by-step

its on going support of our state awards and on

a more personal note, to Bruce Williams from

what you’re doing, then that will allow you to

Epson who works behind the scenes during

work with any image in the future.

the state awards, helping to ensure they run

smoothly.

the benefits are. The biggest benefit for me

"And a massive thank you to Kayell Australia

is to see where my photography sits in the

for sponsoring the portrait category and its on-

context of other Australian photographers.

going support of me and many professional

Being awarded by your peers gives you a true

and newcomers to the photography industry.

indication of the quality of the work you are

producing.

"Commercially, I primarily shoot portraiture.

"If you understand what is happening and

"Many people ask me why I enter and what

It has a more lifestyle feel than my entries

"Not only that, whether you win the ‘big

suggest this year. The images were not created

one’, a category, an award or just a score, the

for the awards specifically, but are part of a

feedback received is invaluable. And every print

larger body of work created and exhibited in

now receives judge's feedback, allowing you to

Melbourne in November 2018 and a selection

re-assess your work, grow and improve."

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AWARDS

Matt Palmer, Epson Tasmanian PPY Winner Matt Palmer chooses the landscape category to take out the big one in the Apple Isle: the 2019 AIPP Tasmanian Epson Professional Photographer of the Year!

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

Matt Palmer is a Master of Photography who

individual members and the industry.

joined the AIPP in 2012.

and now many of my best friends have come

"It took me a long time to be convinced to

join and now I wish I had joined sooner. I didn't

from being a member of the AIPP.

realise that the Institute would give me so much

and challenge me as it has.

on the shoulders of giants, including Ian Poole

who was the first to really take a strong look at

"This year, I entered the landscape category

"My successes have also come from standing

because I wanted to communicate how I felt

my photography (and my judging!) and now

about the destruction of habitat in Tasmania.

it's my turn to help others the way I have been

I really agonised over my entries and even

helped.

threw in the towel for a couple of days, before

inspiration struck and I spent a whole evening

in terms of trying to make projects he is

with some photographs I personally enjoy,

passionate about really happen.

getting them to the appropriate level.

personal projects benefit from showing

"I want to be excited by what I enter

Matt says the award will be very useful

"And I think industry partnerships and

and although I had a significant shortlist of

consistency in the awards process. It gives

landscapes, I just wasn't excited until I felt I had

others confidence that you can deliver on your

a submission that communicated where I am as

ideas and also brings additional eyes to your

a photographer.

message, which is fantastic.

"Winning the Tasmanian PPY is a real honour

"Photography has helped me see the

for me and a recognition of work over many

world in a different way and motivated me to

years, not just this year (although, of course, it's

experience moments such as standing in 100

never judged like that)!

kph winds on the Tarkine Coast, watching 6

metre waves crashing onto the jagged rocks."

"I hope I can act a little like an ambassador

for the good things the AIPP can do for

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"When I first joined, I was a relative nobody

How could you not be a photographer!

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AWARDS

Peter Eastway, Epson NSW PPY Winner Some cold weather locations earned Peter Eastway the hot title in the AIPP NSW Epson Professional Photography Awards this year.

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

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Peter Eastway was awarded the 2019 AIPP NSW

production.

Epson Professional Photographer of the Year,

sponsored by Epson. He also won the 2019

a large format 44" Epson SureColor P10070.

AIPP NSW Professional Nature Photographer

I'm also a Canson ambassador and my entries

of the Year, sponsored by Olympus, and had

were printed on either Rag Photographique or

the overall Highest Scoring Print in the Awards,

Platine. I felt the thousands of penguins at St

sponsored by CR Kennedy.

Andrews looked better on the slightly glossy

Platine surface, while the walrus and pup

"I'm delighted", said the enthusiastic Peter

"I'm a proud Epson ambassador and I use

Eastway!

worked beautifully on the matte surface of Rag

Photographique.

"It's been quite a few years since I've won a

category, let alone the PPY. There are so many

great photographers coming through that I

and the process of working up my best images

no longer have any expectations about prizes,

every year has been crucial to my development

although I continue to strive for an elusive four

as a photographer. I know what it's like to get

gold awards."

crap scores from the judges - it hurts! And

when you get good scores, it's a great feeling,

This year, Peter earned a Gold with

"I've been entering the awards since 1984

Distinction (a score of 96), two Golds and a

but you need to keep it in context - judges are

Silver with Distinction (85). "Not quite there yet",

just expressing an opinion and there are lots

Peter smiled, "but I live in hope!

of other great photographers out there, vying

for the same awards. I've been very fortunate

"People ask what makes an award winning

print - what makes the judges sit up and take

over the years to win quite a few, and while

notice? I wish I knew! It's a combination of an

there's an element of luck for the big prizes,

interesting subject, something that excites the

it's the hard work we all put into our entries

judges and that has emotion. Then you need

that improves our craft and raises the overall

to add in the highest quality photographic

standard of professional photography in

technique, both in capture and post-

Australia."

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AWARDS

Kasey Funnell, Epson ACT PPY Winner Commercial photographer Kasey Funnell uses a deft sense of shape and design to win the 2019 AIPP ACT Epson Professional Photographer of the Year.

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

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Kasey Funnell creates bespoke imagery and

this, but of course I am ‘wanting’ it enough to

films for commercial clients in the ACT. She

enter every year in the hope I might win!

specialises in architectural, interiors and lifestyle

photography.

silver with distinction and two silvers. I also had

the highest scoring print and the commercial

"My business is known for balancing fresh,

"This year I was rewarded with a gold, a

clean lifestyle work with bold and contrasting

category win – the magnitude of these awards

commercial images, creating a recognisable

is not lost on me! I am so completely grateful.

brand in Canberra.

the AIPP put their creative talents out there to

"When It comes time for the AIPP's awards, I

"Each year, members and non-members of

shoot especially for them. The images I capture

be judged and critiqued by their industry peers.

are designed for the commercial category and

It can be exhilarating and completely nerve

are photographed in the hope of taking home

wracking at the same time.

an award!

empathy and an understanding that the

"I enjoy the change, growth and flow of

Judging is an important task that needs

this industry. I’m always reminding myself that

photographers have put their hearts into their

being different and bold is okay in business and

work, despite their vulnerability.

that I have to trust in the process and have fun

with it. Entering the awards absolutely aids in

people, who manage to live our lives alongside

both personal and professional growth.

our art.

"I also enjoy sharing experiences with like-

As creatives, we are an emotional bunch of

We run businesses that are solely based

minded people. The AIPP offers a community of

on our stamina and a desire to be unique. To

photographers, all willing to share and engage

continue learning and up-skilling, to embrace

with each other. I also like (and need) to be

the emotional variables that come with running

held accountable for my work, but I hope I am

a successful business, it's all based on your

humble enough to never expect an award like

heart, mind and skill set.

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FEATURE

Pre-Production For Album Designs Eric Ronald APP AAIPP explains that putting together an album isn’t something he does as an afterthought, rather it is an integral part of the way he covers a wedding shoot.

Eric Ronald has won the AIPP Australian Album

production and presentation.

of the Year twice, in 2017 and 2018, proudly

sponsored by Momento Pro. However, it’s not

the stories I produce. Equally important are the

just a matter of cobbling together some of the

slide shows I produce for the bride and groom

best shots from a wedding, a lot more goes into

and even my blog posts are carefully positioned

it, including pre-production.

in terms of how one image flows into the next.

“Creating an album is just one way I present

“However, the most exciting form for me

BROAD APPOACH

is the album. An album turns my work into

“My approach is broader than just producing

something that is tangible, a physical record

an album. It’s all about presenting images as a

and a creative representation of the couple’s

series or a collection – and more precisely, as

wedding day. It also lets me go beyond the

a sequence of linked images sequenced in a

money shots and present a really considered,

considered way. It’s a frame of mind you adopt

cohesive narrative.”

even before you click the shutter. It starts in

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the conceptual stages, whether we’re talking

START WITH THE SHOOT

about lighting or a visual theme that might flow

Eric made it clear that designing a wedding

through a story, and follows through to post-

album for him doesn’t start with an edit of a

All photographs from Eric Ronald's 2018 AIPP Album of the Year.

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This is the complete album - 110 sides, 55 spreads. Notice how the images flow from one to another, continuing the story and producing a cohesive whole.

shoot. Rather it begins by getting to know his

so important – by thinking of the story and

clients and not just accepting the mundane

how it will flow before you even begin, you can

aspects of the wedding day, wherever it may be.

come up with ideas that solve the problems of

working in challenging locations. It sets you up

“I’ll research the locations I’m shooting

at, looking for different opportunities and

for success.”

then problem solving them. For instance, the winning album last year was shot in Kenya, but

AFRICAN FLAVOUR

it was quite tricky because the ceremony was

To inject a little Africa into an otherwise

happening inside a city restaurant with a small

nondescript location, Eric suggested a pre-

garden surrounded by razor wire and security

wedding portrait session out in the beautiful

guards! It was going to be a wonderful wedding

Kenyan landscape.

inside, but how could I show it was happening

in Kenya and not in Melbourne?”

bit and, as they had already booked me, I did it

“This is why pre-production and planning are

at no extra charge because it was important to

“My clients had to shuffle things around a

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FEATURE

me. I researched local national parks and settled

me to take some closeup shots of the animals. I

on Hells Gate because we could walk away from

managed to shoot them in light that could pass

the car and there weren’t any predators that

for being indoors and then, on the wedding

could maul us! It might have produced some

day, I shot the bride and groom in similar light

great viral wedding shots, but no!

as they were getting ready. In the album, this

allowed me to play with the idea of juxtaposing

“That’s a really simple example of how

research and planning can transform a job

shots of the animals with the bride and groom,

and the photos from the national park feature

weaving into the album pages the African

heavily in the album.

theme.”

LOCATION CHALLENGES

your shoot, the album almost designs itself.

“Another challenge was the portrait

photography on the wedding day. Neither the

clients (which is quite a lot for me) and the

hotel where they were staying or the reception

images flowed from one shot to the next. When

venue were going to work, but between the

it comes to producing an album, it’s a matter of

two there was a freeway under construction.

cherry picking the key building blocks for the

Knowing that I would already have some

story and presenting the strongest and most

beautiful landscape shots from the portrait

effective images. If you have done the shoot

shoot, I could confidently go for a true ‘Nairobi’

properly, this can be the most challenging job,

location. There was some great directional light

working out the best images and how they sit

and lots of concrete, dirt and dust.”

alongside each other.

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Emphasised Eric, if you research and plan “I delivered around 1500 images to my

The final hurdle was to problem solve the

location where they were getting dressed,

ESTABLISH A STORY

a relatively benign high rise hotel with little

“It’s easy to get too emotionally attached to

to offer. There was only so much Eric felt he

what we’ve produced, but once you remove

could achieve here, so he came up with an

yourself a little, eventually it becomes clear

idea for the album pages, juxtaposing closeups

which are the strongest images. And it’s

of African wildlife with photos of the clients

not just a matter of picking shots of the

getting ready.

bride and groom, but also those important

photojournalist moments and some

“The guests and wedding couple were

sightseeing around Nairobi, including an

establishing shots that tell the story.”

elephant and giraffe sanctuary, so this allowed

It’s here that Eric’s background as a

All photographs from Eric Ronald's 2018 AIPP Album of the Year.

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FEATURE

cinematographer comes out and the language

floor coverage which is important for the story,

he’s using. “I guess it’s a cinematic approach,

but doesn’t need too much space.

considering how each photo sits in the story

and communicates information from one page

I think it’s important to think of the images as

to the next.

having a ‘volume’ dial. Having two small photos

“When it comes to the actual graphic design,

on a spread, side by side, might be like two

BUILDING BLOCKS

quiet moments, encouraging the reader to lean

“It’s all about using photos as building blocks

in and explore them more closely. The next

and piecing together the bigger story. Investing

spread could be a large, full-bleed photo that

time in pre-production sets you up for later

shouts at the reader. In this way, you can take

success.”

the reader on a journey with more interest and

impact.”

Eric uses SmartAlbums (http://pixellu.com)

to design his albums. “It really streamlines the process.

MOMENTO PRO

Eric used to have his albums printed overseas,

“For instance, by colour coding the images

in Bridge, they are recognised in SmartAlbums

but for the past couple of years he’s been using

and given more prominence. So, in some ways

Momento Pro in Sydney.

the album is already designed, but there are

still a few layers to consider. I like the idea of

supplier without compromising on quality and,

cinematic story-telling, so each shot needs

after researching what was on offer, I settled

to support the next one as well as the overall

on Momento Pro for all my albums. They are

design philosophy.

great people to work with and they’re always

up for trying anything new as well – even to

“Normally each spread should display

“I was keen to switch over to an Australian

photos that fit together in one way or another,

the extent of using some faux zebra material for

or if they don’t support each other, they should

the cover of my album. I’m not sure how often

be intentionally different. And sometimes you

they’d get a request like that!”

might just want a single image on a spread for impact, or you might put a whole bunch

You can see more of Eric's work at https://www.eri-

of smaller images on a spread – like the dance

cronald.net/

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FEATURE

Some Thoughts Behind Photo Books Eric Ronald is a firm believer in pre-production for a photo album, but when it comes to photo books, Peter Eastway suggests there are many different ways a book project can come together.

Peter Eastway won the 2018 AIPP Photography

Called Middlehurst, it’s a wonderful space which

Book of the Year Award, sponsored by Momento

we drive and fly around for a week at a time. It

Pro. However, unlike a wedding where you’re

really is like a little part of Middle Earth!

producing a product for a client, books can 'just

happen' or be in planning for years!

work, all captured on medium format. We’ve

had different weather, different light, different

“I entered two books last year and they

couldn’t have been more different.

"The winning book, Middlehurst : Middle

“We have both collected great portfolios of

locations.

"And there’s so much fine detail in the

Earth was a visual exercise based on four visits

landscape; the multitude of river rocks, the

to Middlehurst Station in New Zealand.

spindley branches on the winter trees, the

"My other entry, The New Tradition, was

patchwork of melting snow.

as much about the words as the photos, an

"This got me thinking about how I could

anthology of selected images taken over 20

best share the images: how could I get people

years. Yet while the philosophy and approach

to engage with the incredible detail and tonality

for a book can be quite different to a photo

of the landscape revealed in the medium

album, the idea of creating a continuity of

format files?

images and ideas is exactly the same.”

“Large prints on a wall look great, but you’re

standing back to view them and there’s a limit

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ALL ABOUT CONTINUITY

to how many prints you can show at a time.

With the Middlehurst book, Peter suggests it

What if the prints were smaller, but you had to

is similar to an album in that it comprises only

hold them much closer to you, so you’d still get

photographs.

the impact of the high resolution images?”

The answer was a book with large pages.

have been running a photography workshop in

“Once the concept was decided upon, the

the remote north of New Zealand’s South Island.

execution was quite straight forward: present

“Over the past four years, Tony Hewitt and I

Middlehurst | Middle-Earth in its printed box and below, open at a double page spread with full bleed.

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FEATURE

Middlehurst as a large format book with the

photos which span the gutter are placed on the

highest production values.

left or on the right. Sometimes this is done for

design purposes, but sometimes the guiding

"Rather than offset printing, every photo

would be printed on an Epson inkjet printer

force is how the gutter interacts with the

using custom profiles, then bound and boxed.�

subject matter.

Peter says Momento Pro produces

"The Middlehurst book used a lay-flat

wonderful photobooks in a number of different

binding design, so there is no 'gutter' per se,

flavours and Geoff Hunt, one of Momento's

but there is the stitching and the fold in the

owners, is nothing short of fanatical when it

paper, so it's something to be aware of. And if

comes to quality control.

you don't have a lay-flat design, then the threedimensional gutter can hide important parts of

EFFECTIVELY HANDMADE

your photograph.

"And this is incredibly important for a

publication like this. It is effectively a hand-

our images to any format, but when it comes

made book with each page separately printed

to producing a book, our images have to fit

on an Epson printer, with the extended colour

within the confines of the book's dimensions.

range and tonality that is only available in inkjet

Sometimes, in the interests of design, the best

printing. Offset is good, the Indigo is great, but

solution is to crop the image differently and

inkjet is best.

there are several images in Middlehurst that

have slight crops to suit the layout."

"And the staff Geoff and Libby have working

"As photographers, we can crop and frame

for them have the same passion. The way the

book is stitched and bound together, the care

Distinction and both are available for sale on his

with which the end-papers are applied, and the

www.betterphotography.com website.

book case is also a work of art."

"Middlehurst | Middle Earth is a limited

edition book of 45 copies, but at $2995 it's

When designing photo books, perhaps the

Both Peter's books earned Golds with

least considered element is the gutter – the join

a slow and steady seller, whereas The New

in the middle of the pages.

Tradition is going like hot cakes!"

"You can't change where the gutter sits,

so when you place your photographs into the

design, you need to ensure that important parts

al @printingind award for Art Books (4 colours or

of the image don't sit in the middle.

more) with Middlehurst | Middle Earth.

STOP PRESS: Momento Pro won an internation-

"You'll notice in Middlehurst that some

41

EDUCATION

Adding Value With Medium Format Past AIPP National President Ian van der Wolde explains how he simplified his prices to keep his clients happy and introduced medium format as well!

Ian van der Wolde runs a successful commercial

that – and a part of that process was being

studio in Melbourne. He shoots a variety of

involved with the AIPP.

work, from large construction equipment and

food to public relations and head shots.

(The Working Pro) that showed over 80 per cent

of commercial photographers were charging

“It’s really a mixed bag and while my

“There was a survey in the old AIPP Journal

business model hasn’t changed that much in

less than $175 an hour, but only 18 per cent

the past 20 years, the calibre of my clients has.”

were charging from $175 to $300.

"Remembering this was 20 years ago, I

KEEP YOUR CLIENTS HAPPY

believed my work was better than the average,

Many photographers entering the profession

so I slotted my hourly rate in the middle of the

struggle to get repeat work, but in the

higher rates at $225.

commercial and advertising worlds, keeping

regular clients happy is key.

none of my clients complained because I put

my prices up!

“It takes a while to build up a reputation”, Ian

"Despite my concern, I was surprised that

reflected.

42

“I think I’ve become a better photographer

SIMPLIFY BUSINESS

and I have more confidence too. That comes

“At that time, I also went to a Gary Glenn

from believing in yourself.

seminar that was targeted at wedding and

portrait photographers.

"There was a time when I worked out in the

suburbs and, in my mind only, I didn’t think I

"What I took away was his idea that I had to

was worth what the other photographers were

make it easy for my clients to deal with me – my

charging, but eventually I got my head around

price list had to be simple.

An example of Ian van der Wolde's day-to-day commercial work, this image shot on medium format.

43

Personal work by Ian van der Wolde, also shot on medium format.

44

EDUCATION

“I was charging my clients an hourly rate for

The result? Ian says his larger clients just

photography, another rate for post-production

want the best and are happy to pay for it.

and something else for file processing.

They can see the difference. He also shoots

art reproductions and these clients really

"If a client wanted a quote for 30 product

shots, my quote could be quite confusing, so I

appreciate the extra quality.

changed it.

and clarity. For instance, with strawberries

"Instead of providing a list of everything

“And food clients notice the extra colour

I would do, I’d roll it all into a single price

and raspberries, I used to add in some colour

plus GST, so it was really easy for them to

saturation during post-production, but with

understand.

medium format, the files are great straight out

of the camera. The colours just pop!

"There was no benefit in giving them a huge

breakdown they had to work out – I made it easy.”

UNDERSTANDING THE MARKET “One of my clients told me my medium format

MEDIUM FORMAT

rate was expensive and I asked him, compared

Like many AIPP members, Ian remains

to what?

passionate about photography and in around

2007, he invested in a Phase One medium

photographers who charged less, but they

format outfit. He sent out a newsletter to all his

weren’t shooting medium format.

clients announcing the purchase, explaining

why it was state-of-the-art and that shooting

could hire the gear for his job, but when we

with the camera would be more expensive.

looked at the cost of hiring medium format

gear, my day rate including the medium format

“However, I offered to use the new camera

"He said he worked with other professional

"I suggested these other photographers

on their jobs at no extra charge for the first

camera was much the same.

three months, so my clients could see the

differences.

and that in fact, he was getting the hire of the

gear for market rates, plus me with 30 years of

"Then they could choose whether they had

“I told him that actually I wasn’t expensive

their jobs shot on a Canon EOS or medium

experience for free!

format.

other. I’m happy using the Canon gear, but if

“Because the equipment is more expensive

“I don’t push one camera system or the

and it takes longer to process the larger files, I

clients can see the value in going to medium

charge an extra $60 an hour.”"

format, it’s there on offer.”

45

EDUCATION

The Psychology of Portrait Photography Johl Dunn APP AAIPP explains that a better understanding of why your portrait clients buy photography, will in turn create a more profitable business for you. He suggests we educate, not sell . Part 1.

Johl Dunn says he used to love reading The

photography sales process.

Working Pro (now the AIPP Journal).

sales staff who read scripts to potential clients.

He’d reached a point with his photography

We all know that the larger studios have

that shooting for clients was no longer enough,

he wanted to be fairly paid as well.

compelling argument for why clients need their

portraiture taken – and need it taken now.

And what he discovered is that successful

These scripts are designed to present a

portraiture is as much about psychology as it is

about photography.

they need to have the right mindset first. This is

the key.

“Everyone is fighting for the under $1000

“I can give photographers these scripts, but

portrait shoots, so there’s less competition for

“Many of the best photographers in Australia

the big jobs – and isn’t this the market you want

are no longer in business – and many of the

to work in?

best professional photography studios aren’t necessarily producing the best photography,

MINDSET COMES FIRST

but they are thriving because they can market

” It’s such a powerful observation, yet so true

and sell photography.”

and so helpful for photographers ready to make

46

the step into serious professional photography.

PRICE SHOPPING

Johl explains that many photographers

So how do we do it. The AIPP Journal and

Johl will present a series of articles to help you

successfully get clients to pick up vouchers for

understand the psychology of the portrait

a free photography session, which is the hard

•

Jodie Andrews APP M.Photog.

47

EDUCATION

part, but they are still scared of charging what

‘You can’t do that in my area’, ‘The economy is

their photography is worth – they’re worried

bad’, ‘My photography isn’t good enough’.

they are too expensive and that the client might go somewhere else.

UNLIMITING BELIEFS

“These are all limiting beliefs that are ultimately

“However, if someone has your voucher, they

are a captive audience. They’re no longer price

not true and are holding you back in your

shopping, so if they are nurtured and offered

business. And if you have these beliefs going on

appropriate products, they will buy.”

in your brain all the time, then your mind looks

for supporting evidence – and you say, ‘I told

Both quoting and selling produce mental

blocks for many photographers because they

you so’!

are too attached to their work. They are looking

at the portraiture as a photographer, not as a

training sessions, it is often an ah-ha moment

business owner. The first step is to become as

for them and suddenly they’re receptive to

passionate about business as you are about the

changing to some new beliefs – such as ‘Clients

photography.

are abundant’, ‘Clients have money’ and ‘My

products are amazing and worth every penny’.

“Today, I actually love the selling and

“When I explain this to photographers in

marketing more than taking photographs, but it

“Then, every time photographers hear

wasn’t always that way.

themselves saying something negative, they

"I got into photography because I loved

can consciously switch over to a new belief and

photography, but now I love the figures – the

over time this changes their wiring. It creates a

average sale value and how many sales. A lot

new thinking structure for them to work in.”

of photographers struggle with this because

48

photography is still a hobby and a passion. They

IS $500 ENOUGH

haven’t transitioned into thinking of themselves

Some photographers think charging $500 for

as business owners.

a portrait shoot is enough. Maybe this is okay

“On the other hand, many photographers

if you are working from home and it's not your

are sick of doing jobs for cheap – so it’s time for

main source of income, but think ahead a little.

them to hash out their limiting beliefs.”

What if you want to become full time in the

future? Why not run your business now as you

Johl says there are lots of seemingly

innocent false beliefs which prevent

would have to in the future?

photographers from being successful, such as:

‘I can’t charge that’, ’My clients won’t pay that’,

time. For a $500 job, the cost of prints and

Let’s pretend that they were working full

•

S h a n e M o n o p o l i A P P. L M . P h o t o g . I I 49

EDUCATION

frames might be $100.

photography is good enough now, so your

Take out GST, let’s guess they have $200 in

Furthermore, Johl suggests that your

overheads (car, phone, computer, cameras etc)

next step is to work on your client experience,

and suddenly the five hours they have spent

business structures and procedures, marketing

in total on this client isn’t making them much

and selling.

money at all.

Continued Johl, “I remember going to the

Nikon Event down in Adelaide. There were

BEING SUSTAINABLE

around 400 people there, but when I turned up

Pricing your work too cheaply isn’t sustainable

to the marketing seminar and looked in, there

and photographers need to understand this

were just ten other photographers.

if they want to turn their photography into a business.

HUGE OPPORTUNITY

“Eventually, everyone gets sick of working for

"Ten out of 400 people! Everyone else was at

too little.

the lighting and posing seminars, but this is so

back-to-front.”

"Our passion dies and we begin to feel used

and abused. We deserve to be paid better – as

long as what we’re offering is worth it.

only you’ll take the time to understand the

psychology of portraiture.

“That’s why we need to give our clients an

There’s a huge opportunity out there if

amazing experience before, during and after the

portrait sitting.

need to change your thought processes, let’s

look at why your clients will be happy to buy

“We also have an obligation to provide

people with great family photos because

So, now that you understand why you

portraiture from you - NEXT ISSUE!

most of the younger generations have no

50

photographs except what they captured on

Johl Dunn APP AAIPP is a professional portrait pho-

their phone, and this will be the forgotten

tographer and 'The Mindset Coach'. His courses are

generation because so many digital

about breaking bad habits and creating new ones

photographs will be wiped or lost.

to increase your profits, happiness & quality of life.

For more information visit Facebook:

"What we are giving them as portrait

photographers is an amazing memory for all of

https://www.facebook.com/JD.Portrait.Art/

their family and that is worth something. But it’s

or for a free, five part training sample:

up to us to explain this to them and to get them

https://www.jdmindsetcoaching.com.au/aipp-con-

to value what we are doing for them.”

tactfaHsDnWB

•

Channon Williamson APP AAIPP 51

•

Pamela Pauline APP M.Photog.

52

AWARDS

How Much Copying Is Allowed?

As students, we're encouraged to immitate the work of master photographers, but in our Awards system, copying is forbidden. Peter Eastway suggests some differences between inspiration and plagiarism.

An old joke suggests that plagiarism is when

you copy the work of one photographer,

to be inspired by the work of other creatives.

inspiration is when you copy the work of

As an example, an art director might see a

hundreds.

photo for a product that was created overseas.

However, as their budget won't stretch to flying

Yet, when you think about this, the

sentiment is precisely correct.

As Susan Sontag wrote in her book On

It's not uncommon for a creative person

in the original photographer (or the original art director for that matter), a local photographer

Photography, all photography is derivative.

would be contacted to do the job.

Interpretted one way, she's saying there's no

such thing as an original photograph anymore

saying it was unethical to directly copy the work

because somewhere, sometime, someone else

of others. Some photographers would take

will have already taken it!

the job, but only on the basis they could re-

interpret the brief. In other words, the overseas

That's an incredibly depressing thought

Some photographers refused outright,

and I had to pour myself an extra half glass of

campaign was the inspiration, but what they

red wine that night to get over it. So, how does

created would be completely new. And, of

it apply to professional photographers – and

course, there were other photographers who'd

how does it apply to professional photography

just copy the work and be paid. Who was right?

awards.

THE LEGAL SIDE COPYING PROFESSIONALLY

Copyright prevents us from copying the work of

One of the common conversations advertising

others. As photographers, we should appreciate

and commercial photographers had in years

this protection because it stops other people

gone past, was what to do when a client

taking our photographs and using them

asked them to copy the work of another

without our permission – or if they can't get our

photographer?

photographs, of replicating them without our

53

AWARDS

permission.

with a green tie, piggy-backing each other

Where it becomes cloudy is the difference

through the church door. If you then convince

between copying and 'being inspired'. It's not

your couple to wear a yellow dress and a green

always an easy distinction to make from the

tie while piggy-backing through a different

outside, but of course, each of us knows full

church's front door, that would be considered

well whether or not we have directly copied the

plagiarism. You've copied someone else's

work of someone else.

idea. It might be a different church, but the

fundamentals of the photo are the same.

If you've searched for the tripod holes of

another photographer and taken the same shot,

that's plagiarism. By all means, take the shot

the tie to blue? Are you now inspired, rather

for your personal education, but never release

than plagiarising? I suggest you're still copying

it publicly or claim it as your own creative IP

the other photographer.

(intellectual property).

it to family portraiture – you have the dad

We know when we're copying the work of

What if you changed the dress to green and

What if you took this idea and applied

other photographers, so if you have, do not

piggybacking the mum through their front

enter these copy photos into the awards. It's a

door with the kids running in front. That's not

very simple rule.

plagiarism, that's inspiration. You've taken an idea and created something new and different.

IS COPYING REALLY COPYING?

So, what about photographing a bride and

but you can protect a specific expression of that

groom standing at the door of a church?

idea.

This is a photograph that every professional

is expected to take and we'd be naive to think

SHOOTING THE OPERA HOUSE

other photographers haven't photographed

Perhaps the most photographed building

other brides and grooms at much the same

in Australia is Sydney's Opera House. There

time of day at previous weddings?

probably isn't an angle that hasn't been

photographed before, so if you go to Mrs

Are you breaching copyright? Can you enter

this photo into a competition?

Macquarie's Chair to photograph the Opera

House with the Harbour Bridge behind it, are

It depends on your intention, but it also

depends on what you've seen.

you plagiarising or being inspired?

Again, it comes down to intent.

If you've seen a photograph at a particular

For instance, let's say you've seen a photo or

a video of a bride in a yellow dress, the groom

54

Under copyright, you can't protect an idea,

•

Emily Black APP AAIPP

55

AWARDS

time of day and year and you set out to

copied, then you have your answer. Don't

duplicate that photograph, well, you don't need

enter them. On the other hand, if you've been

to ask the question. Of course you are copying

inspired by other photos, paintings, films or

that photographer.

music, then that's a part of the creative process.

That's the work we want to see.

On the other hand, if you go to that location

to look around for something new and better,

then that's inspiration.

you're feeling a bit guilty that it's too close to

your inspiration, don't enter it! It's a really easy

So, what happens if you take a photograph

that you believe is new and different, only to

decision to make – go and create an image that

find out later that someone has already taken it?

takes that inspiration to somewhere new.

In this situation, you're not a plagiarist,

but you could be breaching someone else's

PRACTICAL ISSUES

copyright if they have published the photo

So, how does the Awards Committee deal with

first. And if they have, then you can't enter the

plagiarism and copyright? How do the judges

photo into the Awards - or anything else for that

deal with it?

matter.

an impossible chore. The Committee is often

This situation is very rare, so if I believe I have

With so many images in the world today, it's

something new and original, I'd enter it into

notified after an entry has won and it's been

the Awards. We all do this everytime we enter

published, in which case the only option is

already!

disqualification.

56

If you're producing inspired work, but

There are times when copyright

ENTERING THE AWARDS

infringement is unintentional. Plagiarism can

The main purpose behind the Awards

never be unintentional by definition. Perhaps

is to improve the quality of professional

some photographers copy the work of others

photography in Australia. Attached to this are

because it seems to be done so much on the

prizes, awards and honours.

internet, but this isn't the law and it's certainly

not professional practice.

For me, the Awards is all about improving

myself. I'm not going to become a more

creative photographer by copying the work of

honesty and integrity of its entrants and

others. I can look to others for inspiration, but I

members. If an entrant breaks the rules, it's

need to come up with my own ideas.

down to the entrant to take responsibility, not

the AIPP.

If you're entering photos that you have

The Awards and the Institute rely on the

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

SPEC

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AIPP

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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

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