AIPP Journal - August 2019

Issue 274

August 2019

The 2019 Winners!

AIPP Australian Professional Photography Awards

CONTENTS 4

What's The AIPP Been Up To?

6

Matt Palmer APP M.Photog 2019 AIPP Australian Professional Photographer of the Year

AIPP National President Melissa Neumann reports to the membership on behalf of the National Board.

Landscapes of beauty and hidden meaning impressed the judges this year, earning Matt Palmer the cherished title of 2019 AIPP Australian Professional Photographer of the Year.

Cover

Matt Palmer APP M.Photog.

AIPP AUSTRALIAN PROFESSIONAL PHOTOGRAPHER OF THE YEAR

28

2019 AIPP AUSTRALIAN PROFESSIONAL PHOTOGRAPHY AWARDS

Abraham Joffe and Dom West 2019 AIPP Australian Professional Video Producer of the Year Once again, there were just two production houses sharing all the video awards this year, but this time it was the commercial work from Untitled Films that got the nod for the top prize.

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.

"This is the last issue of the AIPP Journal and it has been a pleasure writing for the profession all these years. I wish the profession good luck in the future." PE

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

2

32

APPA Judging In Pictures

34

Once again, APPA Awards Committee member Bill Bachman turned his camera onto proceedings for the 2019 APP Awards.

APPA Trade Show The annual Awards wouldn't be the same without the 'trade' - the wonderful sponsors who provide our equipment, supplies and services.

ISSUE 274 / AUGUST 2019 38

AIPP Gala Dinner Every year, the AIPP hosts a gala dinner to recognise notable photographers – and in more recent years, to announce the Professional Photographer of the Year Awards as well.

40

56

How Do I Deal With My Results?

How did you go at APPA? The average number of entries earning Silver or Gold is around 40%, so there's a good chance one or more of your entries scored less than this – in the 'Professional Practice' range. What does this mean and how can you make the most of it.

42

54

Craig Wetjen – Honorary Life Member Craig Wetjen started his career 33 years ago photographing sports for local newspapers in his home state of Connecticut, USA.

Louise Bagger - Claude McCarthy Award The Claude McCarthy Award is named after Claude McCarthy the founding father of the Institute.

58

The Luminous Award Luminous is the philanthropic arm of the Institute.

It has three essential roles aimed at supporting our profession – and the professionals within.

Matt Palmer, 2019 AIPP PPY The AIPP Journal asked Matt Palmer for his thoughts after winning the 2019 AIPP Australian Professional Photographer of the Year. As you'll read, it's all about the heart.

48

60

Introducing Felisha Mendoza Mina

Heide Smith, Fellow

50

Having exhibited her work in more than 20 shows dating as far back as 1959, Heide Smith has lived her life with photography flowing through her veins.

62

The Psychology of Portrait Photography

Steve Parish OAM - Honorary Fellow

52

Having sorted out our own psychology as photographers, Johl Dunn APP AAIPP now looks at the psychology of our clients and why they buy portraiture.

Part 2.

Steve Parish is said to have done more for promoting Australia with his photography than anyone else – including Paul Hogen and Steve Irwin!

Michael Amendolia – Honorary Fellow One of Australia’s most recognisable images is a portrait photograph of ophthalmologist Professor Fred Hollows.

With much needed advertising and marketing skills, the AIPP would like to introduce to the membership Felisha Mendoza Mina as our newest national Board member.

68

Capturing Wedding With RED How do wedding photographers work in different locations around the world? American Steve DiMaggio is interviewed for a RED case study and the AIPP's video production division asked for permission to reproduce it here in the AIPP Journal.

Platinum Sponsors 3

NEWS

What's The AIPP Been Up To? AIPP National President Melissa Neumann reports to the membership on behalf of the National Board.

The AIPP gala dinner was one of many

around his work. His subtle statements on

highlights across a fantastic weekend up

damage to the environment spoke to many.

in Sydney. It was fantastic seeing our trade

partners, photographers, video producers,

that our industry has ever seen and the Institute

families and kids wandering the trade show,

must reflect that. We are proud of our awards

watching the judging and generally having a

and we have done them exceptionally well

great time celebrating what our industry is all

for many years, but it is time for the AIPP to be

about and the love of image making.

known for many other things as well.

• An emphasis on education and contemporary

We had some of our NZ family join us,

including Ollie Dale, NZIPP president. We have

business and imaging techniques is a high

a great working relationship with NZ and this is

priority.

making both Institutes more resilient.

• Regional members will have more access to

Australia held onto the Trans Tasman cup

events and education platforms than they

(a side competition between the best images of NZ and Australia), so the silverware will stay

4

We are in the middle of the fastest evolution

ever have before.

• Just as importantly, mental health resources

here yet again.

and having tools available for those that need

them are high on the agenda.

Congratulations to Matt Palmer, overall

winner and AIPP Photographer of the Year.

The local councils and regional chapters

Such a great bloke and such moving speeches

now have more say in what happens in their

neck of the woods. We are going back to grass

roots and placing the emphasis on building

A notable change is that this will be the last

community.

issue of the AIPP Journal to be published.

The councils have now completed their

We want to talk with you, not at you.

From here on, we will be changing to regular

one year events calendar and we look forward

email updates which incorporate an AIPP blog,

to seeing what they have planed as it rolls out

to be launched very soon. This will keep you up

around the country.

to date and interested in what is happening,

both within the AIPP and with articles of interest

We have a sensational group of volunteers

who are passionate about providing members

from external sources.

with excellent educational and social

opportunities, so please go along and support

communication methods with potential for

your local council.

extensive reach.

And if you want to see something specific

This new blog introduces currency to our

We would like to extend our sincere

in your part of Australia, these are the people to

appreciation to Peter Eastway who has been the

talk to.

driving force and publisher of the AIPP Journal

(previously The Working Pro) for many years,

A membership structure change is on its

way with more affordable fees and members

providing invaluable content and news.

will get more bang for their buck.

and heaps more fun.

We are opening up our membership

We are working towards way more value

to include all areas of our industry. A richer

tapestry will give us an Institute that more

in the near future and I’m sure you will be as

creatives will want to be part of.

well.

I’m excited for the changes that are coming

Our main priority currently is focused on

communication and marketing so you will start

Melissa Neumann APP.L M.Photog.

to see changes in our language and the way we

National President

connect with you.

melissa.neumann@aipp.com.au

5

AWARDS

Platinum Sponsors Proud Supporters Matt Palmer APP M.Photog

2019 AIPP Australian Professional Photographer of the Year ATKINS PRO LAB

ATKINS PRO LAB

Landscapes of beauty and hidden meaning impressed the judges this year, earning Matt Palmer the cherished title of 2019 AIPP Australian Professional Photographer of the Year.

Matt Palmer, 2019 AIPP Australian Professional Photographer of the Year.

TAGS APPA Awa rd s

6

Perhaps subliminally the judges were

Video Producer Awards - see a separate article

responding to the critical message behind

later in this Journal) were held at the Royal

Matt Palmer's four exquisite landscape prints,

Randwick Racecourse in Sydney, accompanied

a message that reminded us that what may

by an intimate trade show with a dazzling array

appear beautiful to the eye can carry hidden

of equipment and services on display. Entry to

dangers in the form of pollution and the

both the judging rooms and the trade show

evidence of climate change.

was free and many local photographers took full

advantage of what is one of the world's most

Upon accepting the award and cash purse

of $10,000, an insightful Matt opened up at the AIPP Gala Dinner, suggesting

educational weekends.

that he was proof you could come

2019 APPA AWARD STATISTICS

from being a relative 'nobody' to a

Award Type

'somebody' within the structure of

Silver 668 40.6% 38.1 %

the AIPP.

Silver With Distinction 268 16.3% 16.0 %

Gold 107 6.5% 3.5 %

The 43rd AIPP Australian

#

%

Last Year

Professional Photography Awards

Gold With Distinction 14 0.9% 1.0 %

(along with the AIPP's Australian

Not awarded 590 35.7% 41.3 %

AWARDS Platinum Sponsors

For the second year, every entry was

And Panasonic’s range of G-series and

provided with a judge's comment, giving both

the new S-series Lumix cameras has become

the entrant and the audience an insight into

legendary in both still and video realms, finding

how our esteemed judges think.

flavour in a wide range of genres.

There were also up to 2000 online viewers

Together, these three sponsors are

watching the judging at any time – although

ideally positioned to help the AIPP promote

it has to be said, you really have no idea how

a professional product, both to our own

good a photograph is until you see the print

professional photographers and to the public at

in the flesh. The online images struggle to

large.

convey the true skill and craft of a professionally

produced print.

enjoy the category winners on the following

pages.

While entries were fewer than last year, the

overall positive spirit of the Awards continued,

Congratulations to all the entrants and please

ever – and we saw a number of past-members

2019 APPA ENTRANTS BY CATEGORY

returning to have a look and, hopefully, consider

Category

rejoining in the near future.

Commercial 186

shared with the highest number of new judges

Documentary

8

No. Entered # 87

INDUSTRY SPONSORED

Family 79

The AIPP’s Australian Professional Photography

Illustrative 187

Awards has three key Platinum Sponsors:

Landscape 304

Olympus, Aon and Panasonic.

Nature 72

Olympus as a camera company has a

Newborn 63

long lineage in compact, high end cameras,

Pet/Animal 117

beginning way back in the film days.

Portrait 207

Travel 192

Today, its professional OM-D E-M1X features a

20-megapixel sensor, amazing image stabilisation

Wedding

and an impressive array of quality lenses.

Album 3

Book

11

their studios and equipment for over 20 years

Alternative Process

18

and offers a range of insurance products specially

Total 1647

adapted for the profession’s needs.

Previous year total:

Aon has been protecting photographers,

121

1814

AWARDS Platinum Sponsors

Platinum Sponsors Proud Supporters

Mat t Palme r APP M. Ph oto g.

2019 A I P P AU S T R A L I A N P R O F E S S I O N A L P H OTO G R A P H E R O F T H E Y E A R Sponsored By Olympus, Aon and Panasonic

KF I NESS S I O N A L L A N D S C A P E P H OTO G R A P H E R O F T H E Y E A R 2019 A I P P AU S T R A L I A N PPARRTO O LAB

Sponsored B y Fujifilm Fi nal i sts - Chr i s S aunder s, Tani a M alk i n, S cott M cCook , Jannick Clausen ATKINS PRO LAB

9

NEWS AWARDS Platinum Sponsors

Platinum Sponsors Proud Supporters ATKINS PRO LAB

ATKINS PRO LAB

G av in J owit t APP AAIPP AR PS, ABIPP 2019 A I P P AU S T R A L I A N CO M M E R C I A L P H OTO G R A P H E R O F T H E Y E A R Sponsored By PPIB Fi nali sts - G eoff Com for t, K ase y Funnell

10

AWARDS Platinum Sponsors

Platinum Sponsors Pe te r R ossi APP. L G M. Ph oto g. II P. B. 2019 A I P P AU S T R A L I A N P R O F E S S I O N A L C R E AT I V E P H OTO G R A P H E R O F T H E Y E A R

Proud Supporters

Sponsored By ChromaLuxe

Fi nal i s ts - A ngi e Connell, Ignaci o Palacios, S tef D unn, K i r sten Woo d for t h

ATKINS PRO LAB

11

NEWS AWARDS Platinum Sponsors

M ic k Por te r APP AAIPP 2019 A I P P AU S T R A L I A N P R O F E S S I O N A L D O C U M E N TA R Y P H OTO G R A P H E R O F T H E Y E A R Sponsored By Sony Finalists - Belle Verdiglione, S ar ah Wi dny ana

12

AWARDS Platinum Sponsors

N aomi R e ite r APP AAIPP 2019 A I P P AU S T R A L I A N P R O F E S S I O N A L FA M I LY P H OTO G R A P H E R O F T H E Y E A R Sponsored By CR Kennedy Finalists - L isa I v andi ch, Natali e Howe

13

NEWS AWARDS Platinum Sponsors

Platinum Sponsors Cha rmain e Heye r APP. L G M. Ph oto g. I P.B.

Proud Supporters

2019 A I P P AU S T R A L I A N P R O F E S S I O N A L I L LU S T R AT I V E P H OTO G R A P H E R O F T H E Y E A R

14

Sponsored By EIZO Finalists - Forough Yav ar i, R ebecca Crof t

AWARDS Platinum Sponsors

Platinum Sponsors Proud Supporters ATKINS PRO LAB

Peter East way APP.L G M. Ph oto g. II P. B. MN Z IPP Hon . FN ZI P P Ho n .FA I P P FA I P P 2019 A I P P AU S T R A L I A N P R O F E S S I O NAAT KLI NNSAT U R E P H OTO G R A P H E R O F T H E Y E A R PRO LAB

Sponsored By LaCie/Seagate Finalists - J oshua Holk o, M att Beetson

15

NEWS AWARDS Platinum Sponsors

J o die An drews APP M. Ph oto g.

2019 A I P P AU S T R A L I A N P R O F E S S I O N A L N E W B O R N P H OTO G R A P H E R O F T H E Y E A R Sponsored By Camera House Fi nali sts - Natar sha M arch, H i lar y Adam son

16

AWARDS Platinum Sponsors

B e lin da R ic h ards APP AAIPP 2019 A I P P AU S T R A L I A N P R O F E S S I O N A L P E T / A N I M A L P H OTO G R A P H E R O F T H E Y E A R Sponsored By Sony Finalists - Er in K i ng, S ar ah Brow n

17

NEWS AWARDS Platinum Sponsors

Platinum Sponsors Damie n B owe rman APP M. Ph oto g. IV 2019 A I P P AU S T R A L I A N P R O F E S S I O N A L P O R T R A I T P H OTO G R A P H E R O F T H E Y E A R

Proud Supporters

Sponsored By Kayell / Canson

Fi nal i s t s - K eren D obi a, M atthe w G ianoulis, Nadi ne S aacks, Br uce M oyle

ATKINS PRO LAB

18 ATKINS

AWARDS Platinum Sponsors

Platinum Sponsors An drew Mc Con ac hy APP M. Ph oto g.

Proud Supporters

2019 A I P P AU S T R A L I A N P R O F E S S I O N A L T R AV E L P H OTO G R A P H E R O F T H E Y E A R Sponsored By Camera Electronics Fi nali sts - G uy Havell, K r i s A nder son ATKINS PRO LAB

ATKINS PRO LAB

19

NEWS AWARDS Platinum Sponsors

Platinum Sponsors Proud Supporters ATKINS PRO LAB

Pau l Mc Call APP AAIPP 2019 A I P P AU S T R A L I A N P R O F E S S I O N A L W E D D I N G P H OTO G R A P H E R O F T H E Y E A R

ATKINS PRO LAB

Sponsored By Nikon Fi nali sts - K elly Tunne y, Paul M cCall, M ur r ay R edpath

20

AWARDS Platinum Sponsors

Janyn e Fle tc h e r AAIPP G MN Z IPP 2019 A I P P O V E R S E A S P H OTO G R A P H E R O F T H E Y E A R

21

NEWS AWARDS Platinum Sponsors

Barbara Brown 2019 A I P P AU S T R A L I A N E M E R G I N G P H OTO G R A P H E R O F T H E Y E A R Sponsored By Pro Photo Magazine Fi nali sts - Pam ela M i lls, N i all Chang

22

AWARDS Platinum Sponsors

Platinum Sponsors Proud Supporters ATKINS PRO LAB

S cot t D ixon ATKINS PRO LAB

2019 A I P P AU S T R A L I A N S T U D E N T P H OTO G R A P H E R O F T H E Y E A R Sponsored By Nikon Finalists - Fiona Bi r t, D ij ana J ov anov ic

23

NEWS AWARDS Platinum Sponsors

Charmain e Heye r APP. L G M. Ph oto g. I P.B. & Peter East way APP.L G M. Ph oto g. II P. B. MN Z IPP Hon . FN ZI P P Ho n .FA I P P FA I P P 2019 G R A N D M A S T E R AWA R D

24

AWARDS Platinum Sponsors

Platinum Sponsors Proud Supporters ATKINS PRO LAB

M ic k Por te r APP AAIPP ATKINS PRO LAB

2019 A I P P AU S T R A L I A N P H OTO G R A P H I C B O O K O F T H E Y E A R Sponsored By MomentoPro Finalists - M ar ina Ziv k ov i c, The L i ght Collec ti ve

Platinum Sponsors Proud Supporters ATKINS PRO LAB

E ric R on ald APP M. Ph oto g.

2019 A I P P AU S T R A L I A N A L B U M O F T H E Y E A R

ATKINS PRO LAB

Sponsored By MomentoPro Finalist – Hale y R i chardson, D ar ren Van D e Wi nt

25

NEWS AWARDS Platinum Sponsors

Platinum Sponsors Proud Supporters

Man darin e Montg ome r y APP M. Ph oto g. I V ATKINS PRO LAB

2019 AU S T R A L I A N H I G H E S T S CO R I N G P R I N T ILFORD TROPHY Sponsored By Ilford

ATKINS PRO LAB

Platinum Sponsors Proud Supporters

Trevor Fo on APP. L M. Ph oto g. IV

2019 A I P P AU S T R A L I A N A LT E R N AT I V E P R O C E S S E S P H OTO G R A P H E R O F T H E Y E A R ATKINS PRO LAB

Sponsored B y Fujifilm

Finalists - J ohn A nsell, Tre vor Foon ATKINS PRO LAB

26

AWARDS Platinum Sponsors

Platinum Sponsors Proud Supporters ATKINS PRO LAB

ATKINS PRO LAB

Nor th Me t rop olit an TAFE - We ste rn Au st ra l i a 2019 A I P P AU S T R A L I A N T E R T I A R Y I N S T I T U T I O N O F T H E Y E A R Sponsored By Starleaton Finalist - Photogr aphy S tudies College Vic tor ia

Platinum Sponsors

Pe te r R ossi APP. L G M. Ph oto g. II P. B.

Proud Supporters

2019 AU S T R A L I A N E P S O NA TSKIIGN N S AT U R E W O R T H Y AWA R D PRO LAB

Sponsored By Epson ATKINS PRO LAB

27

AWARDS

Abraham Joffe and Dom West 2019 AIPP Australian Professional Video Producer of the Year Once again, there were just two production houses sharing all the video awards this year, but this time it was the commercial work from Untitled Films that got the nod for the top prize.

Abraham Joffe and Dom West (below).

28

Sitting proudly alongside the AIPP's print awards,

to assist the judges in their deliberations. And

the Australian Video Producers Awards (AVPA)

judges are sent the films to watch in full, prior to

has grown exponentially this year, with over

the judging day.

90 entries into three categories: commercial,

documentary and weddings.

Jared Kettle won the wedding category again

this year, and similarly it was Abraham Joffe's

The three sponsors of the AVPA are Olympus

Last year's winners Jacob Williams and

(for the overall winner and the documentary

Untitled Films that won the commercial and

category), Panasonic (wedding category) and

documentary categories, but the big prize

Sony (commercial category).

switched around and our congratulations go to

Abraham Joffe and Dom West who were named

The judging was at the Royal Randwick

Racecourse, just above the print awards – but in

the overall winner and the 2019 AIPP Australian

a very comfortable members' lounge!

Professional Video Producer of the Year.

Like the print awards, there are many details

The winning video, from the commercial

that need to be considered to ensure an even

category, is titled Yarrow and is a spectacular film

playing field in what is a very diverse area of

that follows a photographer behind the scenes

creative expression. Productions or 'films' are

on South Georgia, one of the most beautiful

sometimes broken down into length and budget

locations on Earth.

AWARDS

Judging video productions and films follows a similar format to the print judging, except judges are asked to view all the entries in full, prior to the actual judging. A two minute clip is played and, using notes they have made before, the entry is scored. Challenges are also allowed.

29

NEWS AWARDS Platinum Sponsors

Ab rah am J offe an d D om We st - U nt it le d Fi l m s 2019 A I P P AU S T R A L I A N P R O F E S S I O N A L V I D E O P R O D U C E R O F T H E Y E A R

Platinum Sponsors

S P O N S O R E D B Y O LY M P U S

Jacob Williams an d Jare d Ke t t le - H u mdr u m Fi l m s 2019 A I P P AU S T R A L I A N P R O F E S S I O N A L W E D D I N G V I D E O P R O D U C E R O F T H E Y E A R

Platinum SponsorsS P O N S O R E D B Y PA N A S O N I C 30

AWARDS Platinum Sponsors

Ab rah am J offe an d D om We st - U nt it le d Fi l m s 2019 A I P P AU S T R A L I A N P R O F E S S I O N A L CO M M E R C I A L V I D E O P R O D U C E R O F T H E Y E A R SPONSORED BY SONY

Abrah am J offe - U nt it le d Films 2 019 A I P P AU S T R A L I A N P R O F E S S I O N A L D O C U M E N TA R Y V I D E O P R O D U C E R O F T H E Y E A R

Platinum Sponsors

S P O N S O R E D B Y O LY M P U S

31

AWARDS Platinum Sponsors

APPA Judging In Pictures Once again, APPA Awards Committee member Bill Bachman turned his camera onto proceedings for the 2019 APP Awards.

A quick group shot of most of the 2019 APPA judges taken on the Friday evening before the judging began.

Not all photographers made it due to very windy weather at Sydney airport. But there was no hot air from us!

Robyn Campbell said that if you believed it, this was the hashtag for the weekend. And she was right!

32

No matter how old, everyone is invited to lend a helping hand!

Sue Lewis once again steered the Event Team through a very busy weekend. Sue is planning to return next year for her 20th APPA!

Platinum Sponsors

Volunteer print handlers worked tirelessly out the back in rotating shifts over the three days of judging. This is the engine room!

Shhh! It's a secret! The print handlers reckon they have the best job because they get to see the prints up close and personal!

We're told Instagram has been replaced by plate painting. If you weren't there, don't ask. If you were there, then maybe this still doesn't mean much to you!

There were five judging rooms working flat out for three solid days and every print received close scrutiny.

Jacqui Dean writing notes for the Alternative Processes category judging.

Oh oh! This looks a little serious! Tony Hewitt giving last minute instructions to the panel chairs and panel chair assistants!

33

AWARDS Platinum Sponsors

APPA Trade Show The annual Awards wouldn't be the same without the 'trade' - the wonderful sponsors who provide our equipment, supplies and services.

A very smart looking stand, Olympus is a camera company with some great professional cameras that are light in weight too!

Photo King didn't have far to come - they're shop and lab is also in Randwick, Sydney.

34

Fujifilm was on hand with its new 100-megapixel medium format camera lots of photographers got to play!

PPIB has all types of insurance - for your studio, your equipment and even for travel!

Platinum Sponsors

Platinum sponsor EON Insurance was on fire this weekend, with a special prize draw and a chance to win $20,000!

CameraHouse has stores all around Australia - it was great to see a sample of what they had available!

We're told the editor really approved of the promotional photo being used to market the wonderful EIZO monitors!

Based in New Zealand, Queensberry services many of Australia's leading wedding and portrait photographers.

LaCie has solutions for all your storage needs. Just ask Mark, Annie or Grace for help!

If you're looking for a print with a difference, check out the high gloss Chromaluxe finish - although they also have a wonderful matte surface as well!

35

AWARDS Platinum Sponsors

Olitian Albums gathers a crowd to learn about their range of albums and frames for the domestic market.

Kayell's Luke McCormack wanders nonchalently through the photographer's photo - well, it was his stand, after all!

36

Momento Pro was on hand to display their high quality printing and binding - and support the book and album categories, of course!

Camera Electronic not only had a great stand, they sponsored a pub night of drinks on the Sunday. Thanks Howard and Saul!

Platinum Sponsors

We think Sony won the display for the most cameras and lenses - they really do have a lot to show, including their latest 600mm super tele!

Epson and Nikon had stands next to each other, sharing space. We're told they also share David Oliver who is an ambassador for both brands

There was a lot happening on the Panasonic Lumix stand, including photo walks, live shoots and plenty of great cameras to play with.

37

AWARDS Platinum Sponsors

AIPP Gala Dinner Every year, the AIPP hosts a gala dinner to recognise notable photographers – and in more recent years, to announce the Professional Photographer of the Year Awards as well.

Before the throng arrives - preparations for the AIPP Gala Dinner. All photographs were taken by David Simmonds and his merry band of assistants, including Gabriel Vallido and Warren Kirby.

Sue Lewis (left) and Kylie Lyons celebrate Australia winning the Trans Tasman Trophy this year!

38

Fellow of the AIPP Heide Smith flanked by her husband Brian and Louise Bagger.

Platinum Sponsors

The Honours Committee looking very honourable: (l to r) Ian van der Wolde, Melinda Comerford, Richard Bennett and Greg Hocking.

The AIPP Gala Dinner wouldn't know what to do without the Master of Ceremonies Tony Hewitt to lead us through proceedings.

Abraham Joffe and Dom West asked fellow Untitled Films colleage Lorna-Jean Bradley to pick up the big video award!

AIPP National President Melissa Neumann giving her first national address in her new role.

And Bruce Williams from Epson presented the very special Epson Signature Worthy award to Peter Rossi.

Matt Palmer's 2019 Australian Professional Photographer of the Year acceptance speech with all the category winners on stage.

39

AWARDS

How Do I Deal With My Results?

How did you go at APPA? The average number of entries earning Silver or Gold is around 40%, so there's a good chance one or more of your entries scored less than this – in the 'Professional Practice' range. What does this mean and how can you make the most of it.

When I send off my entries each year, I'm

raise the standard, so taken the correct way,

packing up four Gold Awards. I'm sure we all are,

those 'professional standard' scores are both an

yet for around 60 per cent of entries, they come

acknowledgement and a challenge.

back having scored less than Silver or Gold,

40

generally in the 'professional practice' range.

LESS EXPERIENCE

For professional photographers with less

Naturally there is some initial

disappointment. It's interesting that an

experience, getting a score between 70 and 79

organisation whose mission is to promote and

is a good thing.

support professional photography and video

production should come up with a system

determined that your entry is of professional

that provides feedback which can in turn

standard, suitable for sale to a client. This

create disappointment, or am I looking at this

knowledge is invaluable. Why?

wrongly?

Of course I am!

working in isolation. We simply don't know if

Feedback is essential. All professions have

the work we're supplying our clients is better

An independent panel of five judges has

As professional photographers, we're usually

systems in place to provide feedback and

or worse than the work other professionals are

professionals are regularly 'tested' to ensure

supplying.

they are up to the mark.

websites, but they're only showing their very

There's no point for the AIPP to have an

Sure, we can look on other photographers'

awards system that hands out 'likes' and 'hearts'

best work: what are they producing day-in, day-

to every entrant. That's not going to raise

out for their clients?

the standard of professional photography in

Australia.

to time worried that their work may not be up

to standard, so entering the Awards and getting

But our current awards system can and does

Most photographers I know have from time

a score between 70 and 79 is one form of

first step to improvement. And as your prints are

validating your work. It sets a standard.

judged anonymously, there's nothing to fear. No one but you knows your score.

A LITTLE HIGHER

Of course, a score of 70 to 72 is just inside the

generally taking images to make other people

professional practice range.

happy, not just ourselves.

As a suggestion, I'd look at scores of 70 to 75

As professional photographers, we're

If we can't make a panel of judges happy,

as still requiring improvement. This won't apply

then perhaps we should work out why, but lets

to every entry because sometimes the judges

put the scoring range into context.

simply 'don't get it', but if on average you're

scoring in the low 70s, then you should be

standard of photography, not an 'award' image.

aiming to move into the high 70s next year.

If you're consistently scoring 76 or higher with

all your entries, you can relax. You're doing fine

I think the key to success in our Awards

We're talking about producing a professional

system is to enter every year. Entering APPA and

and your work is of professional standard.

the Epson State Awards should become a habit

where you challenge yourself.

from the AIPP's perspective, their mission has

also been accomplished.

Some years, you'll do quite well. Other years,

For some photographers, this is enough and

you'll drop back a bit and while we don't like to miss out on Silver and Gold Awards, lower

THE NEXT STEP

scores will have us asking ourselves some

When entering APPA and the Epson State Print

questions.

Awards, you're not competing against other

Is it us or was it the judges?

photographers, only against yourself and a

And if the judges don't fully applaud our

'standard'. There is no limit to the number

work, then are our clients thinking the same

of entries that can reach this standard and,

way? What can we do to improve?

conceivably, we might one day have an Awards

where every entry earns a Silver.

It's this thought-process that has lifted the

standard of professional photography for over

40 years. It's this thought-process that every

category winners and the PPY, but this isn't

Master and Grand Master of Photography have

what it's all about.

been through. Everyone of them has had prints

score in the 70s and they are better for it now.

yourself and if you don't succeed, then there's

always next year!

So, that initial disappointment is actually a

Surrounding the Awards systems are

Entering the Awards is all about challenging

41

FEATURE

Matt Palmer, 2019 AIPP PPY The AIPP Journal asked Matt Palmer for his thoughts after winning the 2019 AIPP Australian Professional Photographer of the Year. As you'll read, it's all about the heart.

Matt Palmer, 2019 AIPP Australian Professional Photographer of the Year.

42

At the time of writing this, I've had 24 hours to

recent change in my life.

grasp the intense and unique experience of

winning the 2019 AIPP Australian Professional

so many talented photographers, people who

Photographer of the Year.

have achieved far more in their careers than me,

and who have produced photographs beyond

Recognition is not something that sits

At the same time, I am totally aware that

naturally with me, so it's been a surreal

my capability, have not had this moment

experience that still doesn't feel quite

themselves. I feel truly blessed that I have this

'right'.

chance.

The prints I submitted this year did come

LOGICAL SIDE

at a great cost, as 3.5% (approximately 500,000

A year ago, being chosen as one of the

acres) of Tasmania burned during the summer

11-person judging panel to decide the 2018

past.

Australian Professional Photographer of the Year

was one of my greatest honours.

natural communities of rare plants, trees and

animals were wiped off the Earth by firestorms

It was this experience, with the weight of

Habitats were destroyed. Pristine forest,

making that decision, alongside some of the

that were unfathomable in size and inescapable.

finest photographers in Australasia, that allows

at least my logical side to acknowledge this

photography, but in taking something from

The aftermath made for dramatic

Photo by Matt Palmer

43

Photo by Matt Palmer

44

FEATURE

the Earth in that way, I am also left owing

us the beauty of the natural world that we will

something.

lose if we continue on our current trajectory as a species.

CHANGING WORLD

As I mentioned in my acceptance speech, I

this issue and I know there are many more!

believe that landscape photographers, myself

included, have a responsibility to tell the stories

came before.

of our changing world.

over for his photography and his work that

We gain so much from the world we

I thank all of them for lending their voices to Of course, for all of us, there are those who While Ansel Adams is renowned the world

document, that it is only fair to try and protect

is directly linked to preserving areas of the

places of beauty and natural value.

USA, now known as National Parks, it is Peter

Dombrovskis who has the closer connection to

While my recent comments have been

highlighted, it's important to note that many

Tasmania and Australia.

others are taking on this challenge.

showed the Australian people what they had to

Photographers like Christian Fletcher

His photography of the Franklin River

are leading the way, creating groups where

lose in the early '80s, potentially changing the

environmental initiatives can be discussed in a

course of an election and saving the river from

photographic context, and petitioning his local

being dammed and lost.

council to declare a climate emergency.

Landscape category (and into the Nature

This year The Light Collective entered their

The photography I entered into the

book Black & Blue into our awards, a book which

category in Victoria/Tasmania), attempts to

documents coal mining and coral degradation,

repay a small amount of my debt to nature,

as well as the beauty of nature.

captured in places I had also visited before the fires and telling the story of their transformation.

SHINING A LIGHT Robyn Campbell produced a creative series of

REPAYING A DEBT

photographs that shine a light on how we treat

My 'cockatoo in a tree' (see front cover) was

animals that are forced into our cities due to the

taken in the Hartz Mountains area south of

destruction of their habitats.

Hobart.

And nature photographers such as your

On noticing the slightly different

editor of the AIPP Journal, Peter Eastway, and

pigmentation of this tree's leaves, I knew a

others like Darren Jew and Joshua Holko, show

photograph was there to be made.

45

FEATURE

The Cockatoo symbolises the dwindling life,

survive, the natural diversity of the area will

fighting for survival in these places.

be much less as only fire-resistant species will

remain.

The only reason I could photograph the

yellow tree so clearly is that the land I was

standing on had been completely cleared by

bird flying through the top right of the scene

forestry.

near the burst of green on the right-hand side.

I am particularly fond of Currawong since living

I was standing on a hill of nothing more than

mud and burnt tree trunks.

If you're lucky you might notice a Currawong

in Tasmania.

FLORENTINE

I describe the Black Currawongs as sounding

like bad (but endearing) violinists.

My second shot features a view of the Florentine that was devastated by fire.

CRADLE VALLEY

My final image is of a lake in the Cradle Valley.

While only a small portion of this fire

reached the Gordon River Road, the damage is

It shows what would be considered pristine

immense, the heat causing road markers to curl

Tasmanian wilderness, but the sad truth is

up and wither.

that most of these lakes are contaminated

by decades of mining, leaving them with

The distant hill gives a hint at the destruction

that has occurred, and this then provides

hazardous levels of lead, copper and arsenic.

context to further understand the orange trees

in the bottom right. The black cockatoos and

are actually snow that was falling, processed to

beautiful pastel light communicate a hope for

give it more presence in the scene.

the future that these places can recover and be

I think that this submission has succeeded

protected.

so well is a testament to the power of a strong

The markings in the sky in this photograph

message and entering work that you are

46

EUCALYPTS

passionate about.

The third shot of charred eucalypts shows

regeneration with small sprouts of green

so I also hope this inspires others to believe that

bursting from the ashen trunks.

if they produce work from their heart, they too

could surprise themselves.

This species is a true survivor and, having

I received no Gold Awards at APPA this year,

hiked through burnt forest, I can say the ash

covers everything!

lose with prints you love than win with prints

you don't.

While the eucalypts in this photograph will

But even if it doesn't happen, it's better to

Photo by Matt Palmer

47

AWARDS

Heide Smith, Fellow Having exhibited her work in more than 20 shows dating as far back as 1959, Heide Smith has lived her life with photography flowing through her veins.

Born in Germany and emigrating to Canberra

the most detailed portrait of Australian

with husband Brian in 1971, Heide Smith’s

Indigenous people, these works have drawn

career has spanned the genres of industrial

both critical acclaim and critical attention to the

photography, photojournalism, fine art and

struggles of the Tiwi in honouring their ancient

portraiture.

traditions in a modern world.

Heide’s celebrated collection of portraits of

Heide has given workshops and seminars

Australian photographers includes the iconic

to professional and amateur photographers

Lewis Morley, Max Dupain, Bill Henson and

in most states in Australia and in China,

many others.

Hong Kong, The Philippines, Holland, UK and

Germany.

She has photographed prime ministers,

USA presidents and everyday Canberran life,

governors-general and footballers, reporters

two APSCON conventions, a Caxton Awards

and mechanics, horses and breast cancer

presentation to the Australian Advertising

survivors, using her well-honed skills and

Industry in Cairns, and giving workshops at

diverse professional background to raise

the Light of Australia convention in Sydney,

awareness of cultural and societal issues.

alongside such icons as Arnold Newman, Art

Kane and Jay Maisel.

With the assistance of husband Brian, Heide

In Australia the highlights have been

has published 11 photographic books of her

In recent years, Heide was a keynote speaker

work. Her photographs have been exhibited in

at the "Hair of the Dog" convention in Brisbane,

such prestigious venues as Parliament House,

and speaks and judges regularly at local

the High Court of Australia and the National

community and photography meetings.

Press Club.

Two of her books have been compiled from

her many visits with the Tiwi people of northern Australia, over more than 20 years. Representing

48

- Melinda Comerford APP M.Photog.

Photos by Heide Smith

49

AWARDS

Steve Parish OAM - Honorary Fellow Steve Parish is said to have done more for promoting Australia with his photography than anyone else – including Paul Hogen and Steve Irwin!

50

The first time I set eyes on Steve Parish was in

1995. I was in a post office and Steve was bare

later named Steve Parish Publishing. Over time,

chested, bearded and sported a rather large

Steve built his publishing company into a multi-

telephoto lens on a Nikon camera.

million dollar business. His magnificent photos

Steve didn’t notice me, how could he? I

of Australian landscapes, wildlife and natural

was only looking at a photograph of him, waist

wonders, were brought to the world through

deep in water, that Steve used as a promotional

his many books and related publications.

photo, atop a postcard rack. I thought he looked

It is said that Steve Parish, “did as much for

like the Bush Tucker Man, but with a camera.

Australian tourism as Paul Hogan, Steve Irwin

and crocodiles combined”.

I soon learned that Steve was fast becoming

In 1985, Steve set up Wildlife Publishing,

one of Australia’s best-known and most-loved

photographers. At an early age, Steve was keen

for Steve. The 2011 Queensland floods had

on underwater photography and left school

a devastating effect because Steve lost

early to focus on gaining an understanding

his business and suffered a major bout of

of nature. He worked with scientists of all

depression. Events like these are no doubt life

disciplines, seeking out knowledge of the

changing, but Steve’s love for photography

ecology of natural systems and animal

did not wain. Instead, they saw him channel

behaviour.

his talents to use the medium to help others

overcome mental illness and stress.

Steve joined the Navy at the age of 18,

It has not always been smooth sailing

where his diving skills improved and he took

Steve is now an ambassador for the Mental

the opportunity to undertake research work for

Illness Fellowship of Australia and is active in

the Australian Museum. After leaving the Navy,

showing people how their mental, physical and

Steve traveled extensively and while doing

spiritual wellbeing can be enhanced by being

so, he noticed the absence of photographic

part of nature.

material for the tourist market featuring

- Greg Hocking APP.L GM Photog., Hon FAIPP

Australia.

FAIPP

Photos by Steve Parish

51

AWARDS

Michael Amendolia – Honorary Fellow One of Australia’s most recognisable images is a portrait photograph of ophthalmologist Professor Fred Hollows.

52

This now famous photograph was made in

Michael has received recognition for his

Hanoi, Vietnam in 1992 when Fred Hollows –

photographic stories from the World Press

while looking over his glasses - pointed at the

Photo Awards in 1999 and in 2001, winning first

eye of young blind Tran Van Guip.

prize for Science and Technology stories on two

occasions. And in 2003, he won third prize in

This image has been used by The Fred

Hollows Foundation in national metro

Nature and the Environment, singles.

advertising for over two decades.

photographer from 1981 until 1997 working on

The photographer is Michael Amendolia,

Michael worked at News Limited as a staff

a Sydney based photographer who has 34

the The Australian newspaper and the Sunday

years professional experience as an editorial

and Daily Telegraph newspapers.

photographer, working on assignment for

Australian and international organisations and

of the London based documentary photo

magazines.

agency Network Photographers. During that

time, he worked for international publications

During 1992 and 1993, Michael travelled

From 1999 to 2005, Michael was a member

to Vietnam, Eritrea and Nepal as the principal

including Time, Fortune, Forbes, Stern, Der

photographer for the book, 'Seeing is Believing',

Speigel, Save the Children Global Fund,

based on the work of Professor Hollows. Michael

Greenpeace and Action Aid. He has been a

has described this time as the greatest fun in

contributor to Australian Geographic Magazine

his career.

since 2011.

For the past 25 years, Michael has been

Michael's work has been purchased by the

photographing the work of Nepalese

State Library of NSW and he has represented

humanitarian visionary Dr Sanduk Ruit, 'the

photojournalism on the Walkley Foundation

barefoot surgeon' and his Tilganga Institute of

from 2016 to 2018, judging the 2017 and 2018

Ophthalmology team, photographing stories of

Walkley Awards.

their work in Nepal, India, Indonesia, Myanmar,

– Richard Bennett, APP.L M. Photog. IV Hon

Tibet, China, Bhutan and North Korea.

FAIPP FAIPP

Photos by Michael Amendolia

53

AWARDS

Craig Wetjen – Honorary Life Member Craig Wetjen started his career 33 years ago photographing sports for local newspapers in his home state of Connecticut, USA.

54

After graduating with a degree in

Photography Course Coordinator at Swinburne

photography, he went on to work as a

University.

photographer for NASA, something he still

holds as a career highlight.

employment saw Craig embark on a personal

Craig Wetjen came to Australia in 1996

project, Men in their Sheds, photographing

to introduce one of Australia’s first digital

101 men in their personal sanctuaries. He went

photography units to the photography course

on to produce the best-selling coffee table

at Melbourne’s RMIT. He also met his life partner

book, Men in their Sheds, selling 8000 copies

Jo, a match made in heaven that now includes

within the first four months of publication. The

two beautiful daughters, Alexandria and Eliza.

book highlighted depression and supported

men’s mental health, as well as raising valuable

Craig is a giver and a strong contributor.

This return to more regular hours of

He has volunteered as a mentor, state council

awareness and funds for the Australian Men’s

member and was Victorian AIPP President from

Shed Association.

2008-2010. Recent times have also seen him do

Gaining the support of patron and past

a stint on the AIPP National Board.

Victorian premier Jeff Kennett, Craig became a

Beyond Blue Ambassador.

In 2011, Craig was diagnosed with Chronic

Lymphatic Leukemia and fortunately with

In 2017, Craig with good friend and fellow

specialist help, this is now under control.

photographer Steve Scalone created the

However, this health scare prompted Craig to

7:30 Project, a concept that has involved 127

re-evaluate his life.

photographers donating their time and images

to raise money for local charities.

Closing the doors on Photography by

Design, a wedding portrait business he'd

Craig has a great passion not only for

run since 2000, his focus switched back to

photography, but for using his photography to

education, teaching photography at various

give back to the community.

institutions such as RMIT, PSC, Melbourne

- Ian van der Wolde APP.L M. Photog. IV Hon

Polytechnic and his current position of

FAIPP FAIPP

Photos by Craig Wetjen

55

AWARDS

Louise Bagger - Claude McCarthy Award The Claude McCarthy Award is named after Claude McCarthy the founding father of the Institute.

56

The Reflections Project - Honouring our WW2

to receive this award and with this I must

Veterans is something the AIPP can be very

recognise a few other people.

proud of. In addition to the human side - the

contact with thousands of families around

de Rooy, the four of us worked as a stellar team

Australia and the remembering of our veterins

through the entire length of this project and it

– the project culminated in a twin-volume book

could not have been completed without either

containing over 6500 portraits, presented to

of you. To this day, we are still receiving the

the Australian War Memorial and produced in

odd enquiry about family members searching

association with Momento Pro.

for a photo and you are always at the ready to

put this as a priority. Thank you just doesn't say

To organise such a monumental initiative

"To John de Rooy, Robert Hiette and Pam

takes countless hours, great organisational skills

enough.

and incredible patience. Yet despite the best

efforts of many great people, the project was

at that time for having the conviction to say...

struggling to maintain momentum nationally.

let's do this. The scale could never truly have

been foreseen.

It was noted that the project's state

"To Ross Eason and the AIPP Board members

coordinator in South Australia was doing

an amazing job, so it was then that Louise

I could tag here - the photographers and the

Bagger was 'conscripted' to take over the reins

supporters who gave tirelessly to this project. If

nationally. And thank God she accepted as the

not for you, many of these photos simply would

project quite likely would have failed without

not exist and many kept going back for more -

her. On top of her role coordinating the project,

but it doesn't stop there.

Louise also photographed hundreds of veterans,

even travelling to remote rural and interstate

or not you picked up a camera for this project,

regions when volunteers couldn’t be found in

every member of the AIPP can lay claim to

those areas.

being involved simply by being a member. This

relied on the support of everyone."

Said Louise, "I am humbled and grateful

"There are a few hundred other names that

I have always said that regardless of whether

Two of the outcomes of the Reflections Project were $10,000 donations to Legacy and the RSL Foundation.

Below: Louise Bagger on working on the Reflections project.

57

AWARDS

The Luminous Award Luminous is the philanthropic arm of the Institute. It has three essential roles aimed at supporting our profession – and the professionals within.

Firstly, to build a future fund for the Institute

community, being made a Paul Harris Fellow for

by raising funds and accepting donations or

his contributions.

bequests to be held in trust. The Luminous print auction is our main way of raising funds.

ALWAYS OPEN

David's door was alway open to help whether

Second, to use a portion of those funds to

give study grants to worthy students and, when

you were a student or a budding photographer.

required, support advocacy by the Institute for

His generosity and advice was endless and I

the better good of the profession.

speak from experience: in the mid '80s when my

career was at a crossroads, he opened that door

Third and finally, to award grants that recognise

members past and present who have contributed

and offered me a home to work from. I learnt

to their personal communities an altruistic

more in the three years sharing that space with

manner, by naming the grant in their honour.

David than I did in the entirety of my career prior. I saw first hand the support and wisdom

58

DAVID CUMMING

he offered to so many and the AIPP as a body -

I doubt there’s one member who hasn’t

and it was David's example that inspired me to

benefited from the support or advice offered by

do the same.

a fellow member. This is the core of who we are

Through that door I also saw the leading

as a body. It's part of our ethos or DNA.

names in photography at that time walk in,

simply because David was their friend. Industry

This year's grant is made in honour of David

Cumming, a fellow of the Institute, a NSW

stalwarts like Hawthorne, McKenzie, McCarter,

divisional president and a driving force in the

McCarthy, the great David Moore and many

running of these awards when many readers

others, some of whom are in this room tonight.

were either starting their careers or in some

And there were many non-photographers,

cases, starting kindergarten.

including politicians and celebrities who all had

David was also a proud member of Rotary

grown to admire and respect the man because

and worked tirelessly at fundraising within his

of his generosity and humility.

After David passed, his family made a

president of the Camberwell Camera Club and

generous bequest to Luminous and because

stay actively involved with the photography

of that, in the next few years we will be able to

community. I have been an intern and then

offer two grants per year. However, we can only

a contributing photographer to local and

do that if others match the generosity of David

regional newspapers and I would love to be a

and his family with your bids at the Luminous

photojournalist, despite declining jobs in that

auction.

profession.

"As an AIPP Student member, I have been

LUMINOUS GRANT

very impressed with the AIPP. The print critique

This year, Genevieve Mills, David's daughter,

nights were excellent for a first time entrants

made the Luminous Grant presentation

and the judges are very helpful."

to Donna Killeen, a student at Melbourne

Polytechnic.

deserving, upcoming student photographers

with $1500 towards their photographic studies.

Wrote Donna, "I am a mature age student

The AIPP Luminous Grant provides

completing the Diploma of Photography

– Ross Eason APP.L M.Photog. I, Hon. LM, Hon.

and Photo Imaging. I am the currently the

FAIPP

59

NEWS

Introducing Felisha Mendoza Mina With much needed advertising and marketing skills, the AIPP would like to introduce to the membership Felisha Mendoza Mina as our newest national Board member.

60

Felisha Mendoza Mina has spent the last 7+

person, Felisha’s approach to every project

years as a consultant and creative all-rounder,

brief is both visual and strategic. Whether it’s

specialising in branding and digital content

an online beauty store, a luxury fashion label

marketing.

or a local restaurant, Felisha uses a breadth of

With an eye for aesthetics and the tools

technical and analytical skills to help industry

that come with it, Felisha is a versatile growth-

leaders look better, work smarter, and create

marketer who stays bold by rewriting the

with efficiency.

creative process.

accreditations also extend to Melbourne Spring

Skills in design, user experience,

Her industry involvement and media

photography and video production have placed

Fashion Week, Mercedes Benz Fashion Week

her in collaboration with brands across Australia,

and the Miss World pageants, where she is a

the USA and UK.

regular media contributor.

From Shark Tank business ventures to global

When there’s a project that demands an

tech startups and FTSE-listed companies, Felisha

audience, Felisha’s the first to embrace the

blends visual and analytical thinking to help

details head on, with the big picture in mind.

businesses create value and gain confidence

through the public eye.

in the photography and video production

industries, Felisha's skills and experience will

With a Bachelor’s degree in Advertising and

As the AIPP grapples with huge changes

a Master’s Degree in Business, her university

help us immeasurably.

years were spent across Australia, England and

France.

dancing, travelling or indulging in questionable

amounts of food and wine.

Educated on paper and self-taught in

When she's not on the tools, you'll spot her

Trade Partners ATKINS PRO LAB

ATKINS PRO LAB

APVP Sponsors SP ONSOR S OF AUSTR AL I AN PR OF E SSI ONAL VI DEO PR O D UC ERS (A PVP)

Advancing Professional Photography.

For Everyone.

61

EDUCATION

The Psychology of Portrait Photography Having sorted out our own psychology as photographers, Johl Dunn APP AAIPP now looks at the psychology of our clients and why they buy portraiture. Part 2.

Do you know why clients buy portraits of their

and book in that shoot they have been talking

family?

about for years.

Probably.

taken, but don’t get around to it!

But do you know why they bought it when

“Nine out of ten families want their portrait

they did? Why they finally made the decision to

go ahead?

busy lives to make them do it.

Explained Johl, “With the exception of

"This is because they need an excuse in their "We provide them with that excuse through

newborn photography, the majority of people

our marketing – making a special offer or giving

need an excuse to buy a portrait photography

a prize. When they receive this offer or prize,

session because they aren’t time bound.

they have their excuse to get it done.

Ands that’s why they buy.

wedding and no time pressure like there is for a

“I used to think my photography was really

newborn.

good and surely people would just come along

"There’s no deadline like there is for a

and beg me to take their family portrait.

62

CREATE A TIME PRESSURE

“So in a lot of respects, we have to create the

only five of them came to us on their own. The

time pressure to entice them to take action

rest booked because of our promotions and

"Last year, we took 180 family portraits, but

•

Damien Bowerman APP M.Photog. III

63

EDUCATION

marketing.”

$2000 - $3000 budget, so you have to warm

them up to it.

Johl knows there are some exceptions.

Newborn shoots have their own time pressure

and some photographers do very well working

clients might think of spending $1000 when

in this market.

they first meet, might increase this to $2000

“However, I don’t know any other genres of

after the shoot and by the time the selling

portrait photography that can do this because

session comes around, they’re prepared to

there’s no deadline.”

spend $3000 or more.

"I call this my rule of thirds”, meaning that

“A lot of photographers put posts up on

SWEET SPOT

Facebook, but they’re not enticing people with

vouchers or giveaways to visit them.

We need to create a time limit for our clients.

Photographers who provide free vouchers

without an expiry date or an expiry date that is

touch with them! If you’re going to advertise

too far in the future, struggle to get business.

like this, you need a ‘device’ to encourage

Why? There’s no immediate time pressure.

people to act.”

“We have found there’s a sweet spot of

"They’re just expecting people to get in

Johl’s talking about a special promotion or

around six weeks – clients have to call within

an offer, but he doesn’t put them up with every

six weeks of receiving the voucher to get the

Facebook post.

special offer.

"When they see it’s not too far away, they are

DIRECT MESSAGING

forced to act, but if they think they have several

“We put up lots of photos on Facebook, but

months or a year, they think they don’t have to

it’s only the 10th or 15th post that we add in a

do anything just yet.

promotion. So we’re not selling all the time, but

when we do, we’re very specific.

"It’s all about creating an urgency by giving

them an excuse with a time limit.

for photographing children with blue eyes

“This is the key. You’re almost creating your

“For instance, we might have a promotion

own market with the time limit. Then, when

which explains how they can win a $350 gift

they call you or make contact, you start the

voucher.

nurturing process.

"Once people comment or respond with a

post, we then direct message them with more

64

RULE OF THIRDS

details

“A lot of the time, clients aren’t thinking of a

“Of course, you can’t continue to do this

•

Tr a c y Co n d i d o r i o A P P

65

EDUCATION

on your own Facebook page, so then we look

general public doesn’t look at your work from

around for other businesses looking for similar

the eye of a photographer.

clients.

the phone! And we’ll discuss in more detail

"We might find a clothing store and offer

RULE – never quote on email, get them on

them a $1000 voucher to give away and give

what you need to say to them later.

them $400 to boost their posts. We then set up

a link on their Facebook page so their followers

the quoting sequence we use in our studio and

can put in their email address for a chance to

that I teach to my coaching clients.

win the voucher. We do five or six of these a

year.”

a sale, then divide it by three and that is what

you want to be quoting on the initial phone call.

While Johl has part-time staff members to

Finally, don’t forget the rule of thirds. This is

Start with what you would like to average as

do the follow-up, a smaller business starting off

that might only need one or two shoots a week

$3,000, start with a $1000 quote on the phone

can certainly start off doing all the marketing

consultation, step up to $2,000 at the planning

and followup themselves.

appointment and finish with a sale around

$3,000. We’ll discuss this process in the next

“Facebook is still working. The algorithms

might change, but Facebook remains the best

For example, if you want to average

article.

tool for marketing to people who are 30+, especially women. Instagram is good, but it

Johl Dunn APP AAIPP is a professional portrait pho-

tends to be a younger market.

tographer and 'The Mindset Coach'. His courses are

about breaking bad habits and creating new ones

"Most of our market are 30-40 year old

mums and so FB is best.”

to increase your profits, happiness & quality of life.

For more information visit Facebook:

FACEBOOK BETTER?

https://www.facebook.com/jdmindsetcoaching

Perhaps the most critical rule is to get on the

or for a free, five part training sample:

phone and don’t rely on email.

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

tactfaHsDnWB

“This is the point most photographers miss.

When you send out your prices via email, the clients are making their decisions purely on logic - or put simply who is cheapest.

There is little emotion involved and as good

as you think you are as a photographer, the

66

•

Michelle Mckoy APP AAIPP

67

EDUCATION

Capturing Wedding With RED How do wedding photographers work in different locations around the world? American Steve DiMaggio is interviewed for a RED case study and the AIPP's video production division asked for permission to reproduce it here in the AIPP Journal.

On a film set, you can immediately do a retake

films. They shoot predominantly with RED

or even go back and reshoot something you

cameras. It’s a combination that has earned

may have missed the next day, but you don’t

them awards and a reputation for being among

get second chances when you're capturing a

the best around.

wedding.

we would barely be able to achieve half that

The big day is hugely special to the leading

couple who want everything to look and feel

“We make 100 films a year and without RED

amount,” DiMaggio says.

like a Hollywood romance, as well as being able to relive the memory happily ever after.

HOLLYWOOD GRADE “Our deepest value is to deliver a wedding

WEDDING FILMS

film that is honest and far above any previous

No pressure then for Steve DiMaggio and

expectation by the couple.

his team at Color Room Films, a production

company based in New Jersey, USA.

our rates reasonable, using Hollywood-grade

equipment, and never allowing ourselves to be

Steve and his wife Jane set up the business

five years ago to exclusively produce wedding

68

"We are able to accomplish this by keeping

completely satisfied.”

69

EDUCATION

DiMaggio’s current RED is a GEMINI 5K S35

DiMaggio will support the camera with a

sensor housed in an EPIC-W body, typically

Steadicam Air 25 Monopod for pre-wedding

paired with Leica R lenses adapted for Nikon

candid shots, switching to a Glidecam stabiliser

mounts.

for the ceremony, and then go handheld for reception footage supported by Holdfast straps.

REMAIN DISCRETE

There are numerous reasons for DiMaggio’s

additional lighting fixtures,” DiMaggio relates.

camera choice, but the main one is that he feels

the shooter can remain discrete and therefore

keep our footprint low. RED allows us to do

capture the most natural wedding experience

this, shooting in all sorts of light conditions. In

possible.

a ballroom alone, you can have three types of

lightbulbs, but the RED handles it all.

“I can’t stress how important this is,” he says.

“In over 400 shoots we’ve never used any “We want to be as nimble as possible and

“Any other camera of this type is going to be

intrusive. The larger the camera, the more it is

deal,” DiMaggio continues.

noticed and distracts people.

"The RED is sleek, so for the most part

all the boxes for us. When we’re shooting in

people forget that we are there. It adds to the

daytime, I typically operate at 800 ISO with a

intimacy of the experience on the day and to

Firecrest ND to take out the harshest light. In

the moments we capture.

darker conditions, I switch to a higher ISO, often

at lower compression. I’ve even pushed it to

“There is no need for external wiring besides

“Not having to use any kind of light is a big “The flexibility of REDCODE RAW checks

audio and the camera itself is not a huge eye

3200 ISO in ultra-low light with no noticeable

sore,” he adds.

colour shift.”

“Having batteries that last over two hours is

great too, so I am not changing batteries during

ALMOST PITCH DARK

speeches, bridal prep, etc. I can leave it on all

The wedding reception is usually the most

day and choose the best times to switch so I

challenging in this regard. They can range from

don’t miss any moments.”

simple DJ sets with flashing lights to live bands and, at the luxury end of the scale, huge candle-

70

LIGHTWEIGHT

lit venues.

And having a lightweight unit is also vital for a

job that requires filming for eight to 10 hours at

pitch dark. The couple wants the film to reflect

a time.

the intimacy of the occasion, but not be so

“A 300-person candlelit room can be almost

dark that you can’t see anything. You can throw

post on each one,” he notes.

this challenge at the GEMINI and it will always

deliver beautiful images.”

that volume, and still give the absolute best

production quality, is because of what the RED

Color Room Films has been so successful

that DiMaggio is able to employ a team to cover

“That we are able to more than triple

enables us to capture in camera.”

the demand.

“Many people think it’s more complicated

WORKING WITH STILLS

to shoot RED, but it’s the easiest and simplest

The team works alongside 30-40 different

camera to shoot with,” he says.

wedding stills photographers a year, each with their own style.

CAMERA PRESETS

“All our shooters are extremely comfortable

DiMaggio says. “Instead, RED allows us to

shooting RED. I’m able to create my own pre-

try to match the wedding video with the

sets in the camera so they have the frame rates

photographer’s style that the couple has

or ISO they need at the touch of a button.”

chosen.

DiMaggio avoids gimmicky photography,

“We actually don’t have a particular style,”

"We couldn’t do that extreme swing in

but does film certain moments at different

contrast and colour with any other camera.”

speeds.

accompanied by a four- or five-minute trailer.

“I think it feels natural to film a 75-year-

Each film is about two hours and is

old grandmother at 72 fps as they sit and take

everything in and a slower frame rate to capture

skipping all over the place which keeps the

all the energy for the bride’s 22-year-old sister or

story very natural.

bridesmaids.

bookings and on those jobs, we have to use an

"Because of the pre-sets, I can film these

“We shoot a linear timeline rather than

"We are double booked for about 10% of

frame rates in real-time and I don’t need to

alternate camera and because it’s not RED, it will

tinker with it in post.”

take us considerably longer in post.”

Dramatically cutting down post production

DiMaggio says he is thinking of expanding,

time is one key way in which DiMaggio is able

“but, at the same time, I’d rather ensure we have

to beat the competition and grow his business.

quality, not quantity, to make each one special.

“The average wedding videographer will

be shooting 30 weddings a year in large part

"If we do expand our business to the next

level, we would only do it with RED.”

because they will spend three to six months in

71

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

SPEC

IAL O

SAV

USE

THE

FFER

CO U

FOR

AIPP

E $2

PON

CO D

MEM

BERS

0!

E ‘AIP

PTNT

’

Peter Eastway

The Nεw Trαdition “This is seriously one of the most definitive photographic books I have seen in the last 25 years.

It belongs on every photographer’s bookshelf and will change the way you view your own photographic journey!” Tony Hewitt, AIPP Grand Master of Photography In The New Tradition, photographer Peter Eastway presents a series of

The New Tradition has been lavishly produced, sparing no expense in its

100 photographs that traces the progression of photography from film

preparation, printing and binding. Measuring 300x300 mm with 272 pages,

to digital. For some images, he explains how the photograph was taken

the hard cover tome is destined to be a classic in photographic literature – or

and the steps involved in post-production. For others, he simply presents

at least that’s what Peter’s mother-in-law says! If you like what you see, take a

a story, an experience or an opinion on an aspect of photography. So,

chance and purchase a copy of The New Tradition.

methods and fables. This is a book written for photographers who are

RRP $120

interested in the art and craft of photography – and who are enjoying the

Special Offer! Order your copy before 30 June and we will include

ride as technology continues to open up new opportunities for creative

postage and packaging within Australia - a saving of up to $20.

expression.

Purchase the book at www.betterphotography.com in the online shop.

The true beauty of photography is found in the photographic print

found in his book. You can purchase a signed, limited edition print

and to celebrate the publication of The New Tradition, Peter Eastway

and a book for as little as $345. Visit the website to see the 10 different

is making available ‘photographer size’ copies of some of the photos

prints available and to order online - www.betterphotography.com