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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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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SAV
USE
THE
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FOR
AIPP
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PON
CO D
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0!
E ‘AIP
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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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