Working Pro The
Issue 227 • November/December 2014
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YOU'RE INVITED TO OUR
ANNUAL GENERAL MEETING & MEMBERSHIP Q&A SESSION WEDNESDAY 26TH NOVEMBER 10AM PUNT HILL ESSENDON GRAND, 1142 MOUNT ALEXANDER ROAD ESSENDON Come along, join the discussion, and help shape our institute. All members welcome. If you can’t make it to Melbourne... Join us on the livestream, and use the chat facility to join in the Q&A https://new.livestream.com/liveaustralia/aippagm14
Working Pro The
Co n te n t s #227
Cover
Matt Palmer AAIPP 2014 aipp PROFESSIONAL sport photographer of the year
http://mattmakes.photos
The Working Pro is the official newsletter of The Australian Institute of Professional Photography (AIPP). Editor Peter Eastway G.M Photog., FNZIPP, Hon. FAIPP, Hon. FNZIPP, FAIPP Disclaimer The information provided in The Working Pro 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 Working Pro 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 Working Pro 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
AIPP Membership Contacts Suite G.02, 171 Union Road, Surrey Hills, Victoria 3127 Phone: 03 9888 4111 E-mail: enquiries99@aipp.com.au
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Ross’s Ramblings - The Getting of Wisdom
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Around The States
Ross Eason pays tribute to Ian McKenzie and reflects on the importance of friends made through the AIPP. What’s been happening in your neck of the woods? Our state councils keep us in touch with what matters around the country.
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A Life Of Grain and Pixels - Exhibition Opening
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100: The Perfect Print
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RPA, UAV or Drone: Are You Licensed?
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AIPP Honours 2014
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Vale: Ian McKenzie
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Commissioned or Non-Commissioned
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Matt Palmer: AIPP Member
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Fighting For Your Rights
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Moran Arts Foundation In Schools
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Making Money Out Of Weddings
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2014 Gold Awards
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Photographers & Copyright
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An AGM With A Difference
Milton Wordley sent through some social photographs from Rob Imhoff’s exhibition opening last month! How does Kelly Gerdes feel about her amazing score at APPA this year, and what do they put in the water in Tasmania? Andrew Gregory outlines the issues with RPA work and how it is becoming increasingly popular with our clients. Each year the AIPP recognises photographers and members for the work they have done and achievements made. Peter Eastway reflects on his friend and mentor Ian McKenzie, an AIPP stalwart to the end. When it comes to judging commercial genres of photography, what should we be looking at? What do you think about these arguments? A wedding photographer by day, Matt Palmer explores a range of different areas for his personal work. AIPP member Chris Shain continues to work tirelessly behind the scenes and now joins the AIPP as a Board Adviser. William Long reports on another successful mission - the introduction of photography to the youth of Australia. Profit is not just money, but time as well, so when you look at what you’re charging for your work, you need to look at what you offer as well. The Best of the Best from the 2014 Canon APPAs! Now you can seel all the Golds and Golds with Distinction together - for free! The Australian Copyright Council has released its latest book on copyright for photographers - essential reading for all of us. Ask the Board anything you like this Wednesday 26 November 2014 - and you can do it all online!
Ross’s Ramblings
Ross Eason M.Photog., Hon.LM, National President The Getting of Wisdom
fought for the rights of the industry. I was
I told a group of photographers recently that
privileged to be invited by Ian McKenzie’s wife
after 40 years in this industry, I was still an
Louise to a memorial in Ian’s honour and stood
emerging photographer, that learning never
there gob-smacked (I think everyone present
stops and we all evolve as we move through
was) as one by one, representatives from three
our life’s journey.
other groups stood in honour and shared
what he had contributed to those groups. He
Without doubt, if you speak to any member
of the Institute and ask them what is the
contributed to each of these organisations as
biggest benefit of the AIPP, it has to be the
much if not more than he had contributed to
friendships we form along the way and that we
our photographic industry: automotive and
should never take them for granted.
sailing associations as well as a philanthropic
foundation in support of refugees and victims
I lost one of my AIPP friends recently, a man
I thought I knew well. We shared many drinks,
of torture.
many laughs, offered each other numerous
amounts of advice, helped each other out
volunteer bush fire brigade!
and got equally pissed off with each other (as
friends are allowed to do), but never, not once,
from being a member of the Institute, in reality
did we lose respect for each other and never
the one that has really helped me develop in
did we lose sight of that friendship.
my career, are the friendships and relationships
So why did I think I knew him well?
that expand my life and live beyond any one
Surely you can’t know someone that long
event.
If I reflect back on any benefit I have derived
and not understand who they really are? Well,
perhaps you can if that friend, who never
never develop relationships as well as I can by
stopped giving, is a humble soul who was
being face to face with a colleague or afriend,
focused on others rather than their own ego or
getting to know them. I guess it comes down
self.
to participation, taking a step to attend an
event.
Our industry and the Institute lost a legend
recently, a man who shaped the Institute and
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And in his spare time, Ian captained a
I could spend a life time on social media but
So, yes, learning does continue. Wisdom is
AIPP New Accredited Members
New APPs for September 2014 Accredited
SA
Vibeke Gargan
Professional
Samantha Chi-Shan
Alyson Brimecombe
WA
Photographers
Larsson
Susan Grayina
Paul Winzar
Megan Macdonald
Mark Chapman
Laura McLean
NSW
Carolne Camilleri
Anne Suse Smith
Carly J Williams
Jason Allan
Jennifer Sando
Alison George
Kelly Bergsma
Jennifer Promenzio
Tanatha McLeod
Kevin Du
NT
Teerapong Sirisonthi
Louisa Sams
Kellie Rasta
TAS VIC
Jodie Coward
Amy Rushbrook
Deb Sulzberger
Hayden Brotchie
QLD
Rebecca Heaton
Mark Campbell
Venita Wilson
Tanja Rankin
Accredited
Carol Donaldson
Natalie Cockram
Ian Charles Rolfe
Professional Video
Colin Boyd
Marvin Fox
Christine Anne
Producers
David Silva
Hadden
Michael Jepson
hard fought. Take some advice, work on those
to really know those you share your time with.
friendships and make sure you take some time
They will have more importance in life than
to really get to know those you admire – and
awards and titles.
tell them that you do.
There’s a wonderful line from a song, Lemon
Tree, by Peter Paul and Mary:
“A sadder man, but wiser now, I say these
lines to you” ...
ross.eason@aipp.com.au
0412 108 362
Reach out. The AIPP is more than a certificate
on your wall. Work on those friendships, get
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PR OU DLY SU PPORTI N G T HE A IPP TOGETHER WE CAN BE STRONGER
LOOK FOR THE LOGO
TRADE PARTNER Proud supporter of the AIPP
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A Life of Grain And Pixels Opening Photo Diary From the Ar t Gallery of Ballarat
Milton Wordley sent through a selection of photographs taken in early October at the opening of Rob Imhoff’s retrospective exhibition, A Life of Grain and Pixels. Rob Imhoff was the AIPP’s first Master of Photography and you can see images from his exhibition in The Working Pro #225.
Rob Imhoff (standing) keeping an eye on Michael Shmith (second from left, seated) to make sure he sticks around to open the show.
Paul Burrows Hon. FAIPP, introduces everyone and talks about the book.
The large attentive crowd. Thanks to Eric Victor who showed me how to use my iPhone for Panos!
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The opening by Michael Shmith of Rob Imhoff’s exhibition, A life of grain and pixels at the Art Gallery of Ballarat, October 2014.
Rob on his way to thank Michael - and looking very pleased we are all here!
There were photographers everywhere! Some even took a few snaps.
Rob addresses the very full house.
Sunday afternoon came around and Rob had had enough. You can all go home and I can get some work done on the farm ! 15
Kelly Gerdes AAIPP’s perfect score of 100, Canon AIPP Australian Professional Photography Awards, 2014. Some of the elements (full frame) and the Photoshop Layers panel are shown below.
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100: The Perfect Print
K e l l y G e r d e s ’ A m a z i n g S c o r e A t A P PA The judging room was packed.
expecting to go this far. So now I’m not sure
how to progress. Do I do more images using the
Photographers and interested observers
alike jostled for position, peering intently at a 26
same technique, or do I move onto something
centimetre wide print positioned under bright
else?”
lights on a grey wall. In front, five judges and a
panel chair sat around in a semi-circle, intently
will be a raft of composite images using smoke
discussing the merits of the image before them.
(and mirrors) at future events as photographers
search for their own measure of success.
The silence as the judges entered in their
If past APPA events are any indication, there
final score was instantly replaced by a raucous
applause as the audience realized the print had
flattery, what these other photographers don’t
earned the ultimate Canon AIPP APPA score:
realize is that finding your own voice, your own
100.
approach is the key to success, not following
And while imitation is the sincerest form of
someone else’s. It’s a case of the result not being Early Labour
nearly as important as the journey.
The photographer, Kelly Gerdes AAIPP was observing proceedings from home via live
New Associate
streaming.
This was Kelly Gerdes’ second year entering
She was many months pregnant and the
APPA. She won the Emerging Photographer
scuttle bug around the judging venue was she
of the Year in Tasmania last year and became
had just gone into labour early (but this was not
an Accredited Professional Photographer just
the case). However, Kelly admits the score has
prior to APPA 2013 so she could enter as a full
really challenged her.
member.
“It’s freaked me out a little. I mean, how do
“I even travelled to Melbourne to see what
I move on from here? Now I feel like I have all
it was like. I watched all three days of judging
these expectations, mainly of myself.”
including all the different categories.”
Some would suggest Kelly obviously
Smoke & Mirrors
cracked the ‘code’ because her scores this year
“I have always set myself goals, but I wasn’t
were outstanding. In addition to her Gold With
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Distinction, she took home two Silvers with
where she’d start with an idea and try to make it
Distinction (86, 86) and a Silver (83).
out of smoke, but the smoke rarely co-operated. It was much better to let the smoke do its
The Challenge
thing and make something out of what was
“I’m not trying to make it sound easy, but I just
presented.
wanted to enter something different. After
looking at the judging last year, I thought that
triggered the idea for Kelly’s 100.
there was a lot of the same thing being entered
and so I wanted to do something different,
was formed and when I saw him, I started to
something no one had seen before, so I set
build the rest of my picture around him. He was
myself a little challenge and it worked.”
the trigger.
All four of Kelly’s images use her ‘smoke’
The shape of the boat man was what “He’s not a composite, it’s how the smoke
“I can’t go in with a vision of what I want to
technique, images composed of swirls of smoke
create because it simply doesn’t work. If I force
against a dark background and post-produced
the image, then I end up with images like my
to create representations of her imagination: a
dancer which I don’t think is organic enough.
dancer, a pregnant woman, a bull’s head and a
She looks too manipulated and I felt this was
figure in a boat beneath a full moon.
the case when I entered it, but as each image takes 100 to 150 hours to create, I didn’t have
Kitchen Table
time to do another one.”
“The boat image isn’t entirely smoke because
the stars above are from a night photo of the
score, just 83!
The photo of the dancer was Kelly’s lowest
sky, but everything else is smoke.”
Why Enter?
background to photograph smoke from incense
“I see APPA as a challenge. It’s what drives
and other materials like rolled up Post It notes.
me and keeps me motivated - putting myself
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Kelly used her kitchen table and a dark
“Different materials burn differently
up against the best photographers and the
and produce different qualities of smoke”,
photographers I look up to.
Kelly explained. “I’d take 600 to 700 shots
in each session and then I’d trawl through
challenged.”
the exposures until I found something that
triggered an idea.”
representation.
Kelly says she’d tried working the other way,
“It’s not for self-gratification, but to keep me Kelly says she is currently looking for gallery “I don’t make a lot from what I do just yet,
Photographs by Kelly Gerdes. Silver (83) on left, Silver with Distinction (86) on right, Canon AIPP APPA 2014.
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but I sell my matted work at markets, mainly
opacity of the various layers to get the look. It
abstracts. The smoke images are something
almost feels like I am drawing.”
I started on this year and I hope to build a collection which I can exhibit early next year.
Redefining Photography
Asked how she responds to criticisms that her
“It’s about trying to find my way as a
photographer and figuring out the direction I
work is graphic design and not photography,
should take. It’s all new to me and a big learning
Kelly was forthright with her answer.
experience.
about how far I have gone and is the image too
“I always enjoyed art through school and I
“I’ve discussed this at length with my friends
used to do landscape photography, admiring
removed from being a photograph?
the work of Christian Fletcher and Tony Hewitt.
However, when the kids came along [Kelly
hundred percent derived from photographs, I
now has three], I couldn’t get out and about as
can see that it’s a drawing as well.
much, so I had to find another avenue.
Photoshop Awards, but I don’t let that bother
“I turned to the kitchen bench and macro
lenses.”
“However, although the images are one
“People have said APPA has become the
me because I know the images have come from my camera.
Warp And Reshape
Kelly’s smoke images begin with a thorough
comes to defining what photography can be?
search of hundreds of images, looking for
Everyone has their own idea of how they want
shapes and forms that represent what is
things to look and this is my vision.
needed.
some people will say. You can get into a debate
Kelly also uses the warp tool in Photoshop
“And it’s still photography, no matter what
to bend and re-shape elements if required,
about what photography is and you just can’t
but many of the components are as they are
convert some people, but I’m happy with what I
captured.
do.”
For instance, the moon in her winning image
is straight out of camera, and the cloud over the
Kelly Gerdes AAIPP is a professional photographer
top added from another exposure.
based in Hobart, Tasmania. You can see more of
Kelly’s work on her website at: kellygerdesphotogra-
“I find I have to take hundreds of shots to
get the shapes I want. In the dancer, the shapes were heavily warped and shaped, changing the
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“Why keep yourself in a box when it
phy.com.au
Photograph by Kelly Gerdes. Silver with Distinction, Canon AIPP APPA 2014.
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Examples of Andrew Gregory’s photography using RPAs.
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RPA, UAV or Drone: Are You Licensed? A n d r e w G r e g o r y o u t l i n e s t h e i s s u e s w i t h R PA w o r k . Sydney photographer and AIPP member
set about researching and even designing my
Andrew Gregory has spent the last few years
own.”
teaching himself all about RPAs - remotely
Aerial Systems
piloted vehicles - and the multitude of
According to Andrew, there are two main
government regulations surrounding their use.
players in Australia for RPAs. Aerobot in Byron
Bay was the first to offer Mikrokopter and
Perhaps one of the biggest changes in
photographic technique in the last decade has
Cinestar (a number of different systems), but
been the use of ‘drones’ or remote helicopters to
in recent years it has met with competition
carry cameras into the air.
from the less expensive DJI brand sourced from
China.
Although used more for video than stills
photography, the aerial perspective is in big
demand and it’s certainly a lot cheaper than
found the latest DJI A2 units to be reliable and
hiring a full-size chopper.
stable. It’s also easier and quicker to get parts
for DJI. All copters can be twitchy if they are not
After working editorially for publications
“After a couple of years experimentation, I’ve
such as Australian Geographic, Andrew knew
set up correctly and this is why photographers
how difficult and expensive it could be to
planning to use RPAs should also be familiar
get an aerial perspective, which lead him to
with their technical requirements.”
thinking seriously about RPAs.
(These are also referred to in CASA
Photographers wanting to use an RPA
commercially under the current law need a
documentation as UAVs - unmanned aerial
licence from CASA. This law is being reviewed,
vehicles - but the official terminology has now
but even if changed, Andrew believes that
been changed to RPAs.)
photographers really need to learn and
understand the issues required for the licence,
“Often you just need to get 20 or 50 metres
above the ground for a shot, so even a full size
simply to do a professional job.
helicopter mightn’t be permitted to do what an
RPA can.
they are not set up correctly or due to operator
error. To overcome this, you need experience
“However, keeping an RPA still enough to
create a sharp exposure is a challenge and so I
“A lot of RPAs crash and usually it’s because
and in some ways, this is what the licensing
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process provides.
people taking off just a couple of metres away
from little kids. This is really dangerous as an RPA
“I started with a simulator program and
spent 20 hours practising on that. But in the real
can do a lot of damage to a person. It’s not a
world, you need to understand how the aircraft
toy.
operates and how to set it up correctly.
purely because of incidents where people are
“For instance, although most RPAs are GPS
“The reason CASA is getting involved is
enabled, you need to calibrate the GPS so the
not doing the right thing. If we see someone
copter knows where it is and when it’s level. The
operating an RPA at the beach near people,
same with the gimbal holding the camera - it
we should talk to them and explain why they
can’t be levelled unless the copter is level first.
should stop. I won’t fly in any of these situations.
The 30 metre rule is important.”
“There’s a whole checklist to go through
each and every time you fly and the more
experience you have, the sooner you can tell
consideration, Andrew says most of the
something’s not right when you take off.”
proposals concerning licensing of RPAs deal
with privacy issues, but that’s a whole story
Andrew has used a number of cameras
While safety seems to be the major
with RPAs, including Panasonic’s GH3 and
on its own. There has also been talk about
GH4, Canon’s EOS 5D Mark III, Sony’s A7 and of
not requiring licensing for RPAs under two
course GoPros. However, depending on the lens
kilograms in discussion papers, but Andrew
attached to each camera, the gimbal needs to
believes this format is currently in doubt and
be re-balanced to ensure an error free flight.
that there may be a different approach to which
RPAs require licensing.
However, the technique of flying and
shooting is just one part of the equation. The
big issue for professional photographers is
there is an easy way to get a license, but in
licensing.
short, there isn’t. “You essentially need a pilot’s
Sensible Restrictions
licence and sit the theory exam for the Private
Whether you’re working commercially or
Pilot Licence. Currently there are a number of
privately (e.g. when learning to fly an RPA), there
schools set up to teach you all the required
are some commonsense restrictions you must
theory for an RPA licence and it takes an average
abide by.
of 6 weeks to achieve.
“For instance, you cannot fly within 30
Andrew says many photographers ask if
“Then you apply to CASA for an RPA
metres of people, buildings, boats or vehicles
controller certificate and that in turn requires
- whether or not you are licensed - but I see
you to do manufacturer training so you know
how the RPA works and how to set it up.
an operator in your own right.
“The manufacturer training is specific to the
“In my case, I worked with a company that
RPA you are using, and your controller certificate
had all the approvals for flying an RPA, but
is issued as a license to fly either an under 7 or
needed a photographer, so I helped them and
an under 20 kilo class. However, you need to log
in turn this gave me the experience I needed.
a certain number of hours flying time working
for an operator, and from there you can become
you need to write your own operations manual,
“And to get your own operator certificate,
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your own maintenance manual and checklists,
can you rotate the camera around the nodal
and pass a CASA flight test. These last stages
point and keep the gimbal correctly balanced?
took me a good six months.
“I think all up, photographers should allow
technically, but this is also part of the attraction
9 months to become fully licensed and allow
of using RPAs. I’m finding out what those limits
at least $3000 for training purposes. Plus it
are and improving on them.”
costs about $4000 to apply for an operators
certificate and your public liability insurance is
Aerial Photograph SIG. “What I found is that
about $3500 per annum.
if I keep all this knowledge secret, then I’m
Client Education
competing with photographers who are not
“There’s so much information about RPAs that it
doing the right thing. It’s got to the stage where
can be difficult to know what is right and what
we need to tell unlicensed people that it’s not
is fiction. This becomes a big problem when
okay and sometimes it’s just as important to
dealing with clients because often they have
educate our clients as other photographers.
unrealistic expectations of what is possible and
what is allowed.
Geographic in a national park, it’s important
that I have obtained the proper permits so my
“I find I need to educate my clients about
the rules and while it is usually possible to
“There is a limit to what can be done
Andrew is a vocal member on the AIPP
“For instance, if I’m doing a job for Australian
client is seen to be doing the right thing.”
shoot in most situations, you can’t always do it when the light is exactly right or from the ideal when and where they allow you to fly and other
RPAs For Photographers
places may be in restricted areas
Andrew Gregory’s suggestions for our
profession
location. For instance, some locations restrict
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“Clients also think I can shoot at any time
of the day, but there is a limit to what you can
1. To work commercially, you have to be
achieve technically. For instance, shooting stills
licensed (or hire someone who is)
25 minutes after sunset isn’t going to work
2. We must explain to our clients that there
unless you can ensure your shutter speeds
are rules we have to follow. If people break
are fast enough. You also need to consider
these rules, it will make things tougher for
issues like flare as in the air it’s just as likely to
everyone else. It will take only one serious
be coming from reflections below as the sun
accident for the whole industry to be
above. And if you’re stitching images together,
changed.
Examples of Andrew Gregory’s photography using RPAs.
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FROM THE HONOURS COMMIT TEE
2 0 1 4 A I P P
HONOURS
AIPP Honours 2014
F r o m t h e G a l a C a n o n A P PA D i n n e r Australia, dedicated to giving the gift of photographic memories to families who have experienced still births, premature births or have children with serious and terminal illnesses. Gavin has been president of Heartfelt since November 2010.
According to Gavin, “It’s a gift to give them
some memory because usually it’s the last thing people think of in a time like that. And when this sort of stuff happens, having a photo that you can share really helps the grieving for a family”. Gavin Blue
2014 Claude McCarthy Award
experience with Heartfelt: “Beautiful precious
His diverse work covers commercial
moments with our babies you capture forever, a
photography, portraits, annual reports and very
gift to a stranger in their darkest moments. That
big trucks.
is heartfelt!
Gavin Blue is an accomplished
“When our baby was stillborn, I feared I
photographer and a busy man. He considers
would in time forget her. I wanted to hang on
being part of the community a two way street,
to every moment and absorb every detail of
so he donates his photography, time, effort and
her soft skin, beautiful face, ten perfect fingers,
resources to many charities including SIDS and
ten perfect toes, her huge feet and hands - and
Kids, Ardoch Youth Foundation, World Vision,
how tall and gorgeous she was.
Clean Ocean Foundation, Australian Charity of
Child Photographers, Now I Lay Me Down to
night, Gavin Blue drove two hours in the rain
Sleep and Heartfelt.
to donate his time and talents in order to
Heartfelt is a volunteer organisation of
professional photographers from all over
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A grieving mum wrote this about her
“In October last year, late one Friday
photograph our precious stillborn baby girl, capturing memories that we will cherish forever.
“I just wanted to send you an email to let
photographer.
you know how grateful we are for what you did
for us. I would never have imagined exactly how
and had photographed over 400 weddings by
much comfort these photos would bring me.
the time he was 25. Even at the tender age of
“Thank you. Thank you.Thank you.”
20, Ryan had become the AIPP’s youngest ever
In recognition of his outstanding
Master of Photography and had also won the
Ryan shot his first wedding at the age of 17
contribution to Heartfelt and other charities,
NSW AIPP Wedding Photographer of the Year
the AIPP awarded Gavin Blue with the Claude
award on three occasions, the NSW Epson AIPP
McCarthy Award for 2014.
Professional Photographer of the Year in 2011,
- Richard Bennett M.Photog., Hon. FAIPP, FAIPP
the AIPP Australian Wedding photographer of
FROM THE HONOURS COMMIT TEE
2 0 1 4 A I P P
HONOURS
the Year in 2012. He is currently the Queensland (his newly adopted state) AIPP Wedding Photographer of the Year.
Ryan has been a popular speaker at state,
national and international conferences, including being a judge and speaker at WPPI in Las Vegas for the last 12 years.
Outside of Ryan’s excellence in photographic
practice, he has made another outstanding contribution to the AIPP and especially APPA. Ryan joined the APPA committee in 2001 in the capacity of ‘digital specialist’ and spent 12 years Ryan Schembri M.Photog., HLM
on the committee, rising to Chairman of Jurors
Honorary Life Member
in 2011.
Starting work in his father’s Kodak Express store
at the tender age of 12, followed closely by
that if it wasn’t for APPA, he wouldn’t have met
shooting Christmas Santa photos at the local
his wife, the beautiful Jessica (obviously that’s
shopping centre, Ryan Schembri was an early
one of the best scores Ryan ever got at APPA).
starter in the profession of photography. This
Ryan also found his involvement in APPA to
should be of no surprise, having been brought
be one of the greatest learning experiences of
up the son of Martin Schembri, a long standing
his life and gives thanks to his APPA mentors
AIPP member and leading Sydney wedding
Richard Bennett, Peter Eastway and David
On a more romantic note, Ryan often says
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FROM THE HONOURS COMMIT TEE
2 0 1 4 A I P P
HONOURS
Paterson for their invaluable direction and
Institute. His defence of the AIPP in those circles
insight.
is unwavering and William regularly contacts
members and non-members alike to help them
The Australian Institute of Professional
Photography recognises Ryan Schembri for
through a difficult time or to clarify an issue.
his outstanding contribution to the AIPP, the
Australian photographic profession and APPA
Queensland awards for two years and was
with the honour of Honorary Life Member of
committed to ensuring the Awards were run
the AIPP.
correctly and for the benefit of all involved.
- Greg Hocking G.M.Photog., Hon FAIPP, FAIPP
William undertook the task of running the
With the Photo Watchdog Facebook site,
William has taken it upon himself to help ensure that photographic competitions are administered in the interests of the entrants and he works with competition organisers to achieve this aim.
William has also worked with others on the
establishment of the Australian Photographic Digital Guidelines which are now in common use. He is an AIPP Master of Photography with four gold bars whose many awards include the 2013 Australian AIPP Commercial Photographer of the Year, the 2000 British Institute of William Long M.Photog., HLM
Professional Photography Portrait Photographer
Honorary Life Member
of the Year, and the 1998 Australian AIPP
Since his arrival in Australia in 1993, he has been
Illustrative Photographer of the Year. He
involved with and contributed towards the
has won the Queensland AIPP Commercial
progressive development of the professional
Photographer of the year five times.
photographic community.
30
William Long is a Fellow of the Royal
The AIPP Board holds William in high
regard because he works hard and he cares.
Photographic Society and a Fellow of the British
He scrutinises policy to help keep all on the
Institute of Professional Photography. William
right track and to ensure that what the Board
is one of the best ambassadors we have in
does is best for the Institute. He has exceptional
social media, which extends well beyond the
commitment to the photographic industry and
to the AIPP.
of Australian history. Both have won a bevy of
awards, including Walkleys, Press Photographers
The Australian Institute of Professional
Photography recognises William’s valued
of the Year and more. Bruce and John are the
contribution to this Institute and to the
same age as each other and both commenced
photographic community with the distinction
work in the mid ‘50s.
of Honorary Life Member.
- Richard Bennett M.Photog., Hon. FAIPP, FAIPP
with no intention of becoming a photographer.
FROM THE HONOURS COMMIT TEE
2 0 1 4 A I P P
HONOURS
Lamb began as a messenger boy at The Age
He worked in the mail room, then photo John Lamb and Bruce Postle
sales, then as a gopher in the darkroom. Athol
Honorary Fellows
Shmith’s Collins Street window display was
Helen Keller once wrote, “Alone we can do so
of both intrigue and inspiration to him, but it
little, together we can do so much”. It’s not that
wasn’t until one day the picture editor tossed
our next Honours recipients have achieved
him a camera and told him to go to the airport
little on their own, quite the contrary, but more
and take a shot that he found his true calling.
the latter, that together they have achieved so
Lamb told his editor he wasn’t interested.
much.
However, he changed his mind quickly when
the photo editor threatened to sack him if he
It is near impossible to compare
photographers of different eras and different
didn’t get to the airport.
genres, but if there were ever a debate about
who were the greatest Australian press
with a camera in his hand. His father was a
photographers of all time, I am sure that Bruce
photographer at the Courier Mail in Brisbane
Postle and John Lamb would be at the top of
and Bruce took his first picture at age seven
the list.
with his father’s Graflex. Ten years later he
Same-day press photography is only
Postle, on the other hand , was born
followed his father to the Courier.
a little over 100 years old in Australia. In
fact The Melbourne Age didn’t have a staff
in 1968 when Postle moved to Melbourne
photographer until after the First World War and
from Brisbane. It was at that time The Age was
the Sun News-Pictorial was still a few years away
being reinvigorated, after being half asleep
from its first edition.
for the best part of half a century. Part of that
reinvigoration was better use of pictures. One of
Postle and Lamb were on the job for a good
Postle and Lamb were joined at The Age
portion of that period and their portfolios
the few editorial advantages of the larger page
reflect some of the great moments and images
size of the old broadsheet was the ability to run
31
FROM THE HONOURS COMMIT TEE
2 0 1 4 A I P P
HONOURS
much larger pictures than the smaller tabloid.
were still out on assignment, he knew he had
This created an environment where good
it covered. Such was the respect for these two
photographers flourished.
master craftsmen that they were basically given
a free reign.
peers at the rival Herald Sun, redefined press
photography at a time when it was feared the
as any reporter of the day, winning the trust
introduction of television would kill the still
of prime ministers and archbishops alike, who
image. Fortunately this wasn’t to be the case
sometimes did ridiculous things for them all in
and not only did they thrive, but they took
the name of getting that great shot. Regardless
pictorial creativity to new levels.
of how mundane an assignment seemed, they
refused to believe that there wasn’t a front page
For a period of over 30 years they were the
Postle and Lamb worked contacts as hard
definitive leaders in their field and a wealth of
picture in it.
inspiration for more than one generation of up
and coming photographers.
quite often they weren’t returning with the
32
John and Bruce, along with some of their
Graham Perkin, who is considered by many
Of course, when they went out on a job,
picture they expected, but if by chance there
as possibly the greatest Age editor of all time,
was no picture, there was always the likelihood
once made the comment that if he was ever
they would find something on the way back to
short of a front page story and Bruce or John
the office.
Lamb was a gunslinger – fast, cunning,
Both John and Bruce were extremely
cool, determined and persistent, but he was a
dedicated in their work, staying back at
big-hearted gunslinger, capable of conveying
the office when the journos and other
great warmth in images of people, especially
photographers would knock off to get to the
children. He had an amazing eye and instinct
pub before the then 6 o’clock close. This often
for a picture. For years in the 80s and 90s, he
resulted in them being around to get the good
worked in partnership with John Lahey to
jobs.
produce hundreds of extraordinary picture
stories of ordinary Australians under the dinkus
for one another and although they fiercely
Lahey At Large. John Lahey says that many
competed for that front page, they were also
of those stories were found by John, some of
friends who would share ideas and help each
them simply by pulling up on the highway and
other out when required. On a recent meeting
chatting to someone.
with John, he told me that he was once
shooting at the tennis in Kooyong when he
Postle on the other hand was an artist.
suggested that the paper should put another
and it showed in his photographs. Like many
photographer at the other end of the court. The
geniuses, he had a touch of insanity and absent-
paper did and the resulting picture of Pat Cash
mindedness. He once got a dressing down at
that Bruce took won him the Press Photograph
the Courier Mail for pretending to be a trained
of the Year that year.
parachutist and persuading people at an air
show to let him jump to take an air-to-air shot.
get the shot and without hesitation he said,
He had never jumped in his life.
“Not at all. I was happy for Bruce and it could
But the picture did make page one!
just as easily have gone the other way”.
He once drove an office car through a
HONOURS
I asked John if he was annoyed that he didn’t
Bruce Postle and John Lamb, we are
paddock, steering with his feet while he hung
all forever indebted to you for your great
out the window to take a picture of horses on
photographic vision and the huge archives of
the move. He did so because his reporter didn’t
amazing images that have resulted from it. In
drive. Again, the picture made page one.
recognition of your work, we award you both
Postle has lost more camera gear than any
2 0 1 4 A I P P
Bruce and John have an incredible respect
He saw the world differently to anyone else
FROM THE HONOURS COMMIT TEE
with Honorary Fellows of the Australian Institute
photographer in history. One picture editor sent
of Professional Photography.
him swimming in the Maribyrnong River after
- Ian van der Wolde, M.Photog., Hon. FAIPP.
he dropping yet another camera into the drink.
- Photos thanks to David Glazebrook.
33
Vale: Ian McKenzie
A n A I P P S t a l wa r t To T h e E n d
34
I will miss gruff old Ian McKenzie.
wooden camera and a Grafmatic film holder
with six sheets of film. Although I had used the
When I joined the AIPP, I was encouraged
to stand for the state council where my
camera for many years, Ian watched me fluffing
accounting background was needed to sort out
around, getting things ready, and offered to
an issue. From here I was nominated onto the
take the photograph for me.
AIPP National Board as Treasurer where I met
AIPP heavyweights like Val Foreman, Will Street,
in and I can remember to this day how quickly,
Rob Gray and Ian McKenzie.
accurately and expertly he handled my camera.
Cocking the shutter, inserting the Grafmatic
Ian was a former national president by then,
I thought this was a good idea. Ian stepped
but he was still very active and very passionate.
and then taking the photograph - he had
I was intimidated by him, not physically or
the skills of someone who knew his craft and
anything, but because of his experience and
profession intimately. That to me was what a
knowledge. When he spoke, he spoke with
true professional was all about, knowing your
authority. He could see the direction the
job so well, it was completely automatic.
Institute needed to take, what was required for
professional photographers around Australia,
30 years. It is hard to believe he is no longer
and how to get there.
going to attend APPA each year and complain
about the type of photographs that are winning
But beneath that gruff exterior was a very
Ian and I have been great friends for nearly
sensitive and caring individual. There was also
awards - the type of photographs I love! We
someone who was prepared to admit he was
may have disagreed on some things, but that’s
wrong or that there was a better way, all you
what made our relationship so engaging - and
had to do was show him. So while I know of a
the fact he (and I hope I) could respect other
few of us who felt the McKenzie flames, we all
opinions.
understood they came from a heart of hot gold.
and a profession who will mourn his passing.
Ian was a consummate professional. I can
Ian is survived by his wife Louise McKenzie
remember being asked to take a photograph
of all the delegates at an AIPP convention in
FAIPP, OAM.
Hobart, probably 20 years ago. I used my 4x5�
You will be missed.
Vale Ian McKenzie M.Photog., Hon. FAIPP,
(Above) Ian McKenzie doing what he loved. Photo by Barat Ali Batoor. (Below left to right) A small memorial service was held. Two speakers from Ian’s photographic life were Kevin O’Daly and Bruce Pottinger. Photos Ian van der Wolde.
35
Ian McKenzie Bio Written by Paul Curtis
The following short biography is taken from A
Photography course at Prahran College in
History of Professional Photography in Australia,
Melbourne.
by Paul Curtis (2013):
the diploma course Ian introduced was later
In 1978 the presidential baton was passed to
Ian McKenzie.
He was department head for two years and
reclassified as a degree.
Tall, slim, athletic, articulate and highly
intelligent, the perpetually all-in-black and
Convention Organiser
casually dressed McKenzie cut a dynamic figure
In 1973, he returned to private practice and
across the Australian photography stage for
became the convener of the Institute’s national
four decades. Indeed, his influence is still felt
conference.
strongly to this day.
Such was the success of the program, Ian
was asked to perform this voluntary task for the Industrial Photographer
next four conventions up until 1981.
Born in Melbourne in 1939, Ian spent two years
in chartered accountancy before becoming a
Australian Professional Photography Awards,
professional photographer in 1958.
joining the National Awards Committee in 1976
and then serving as a judge and panel chairman
Basing his business in Melbourne, he
specialised in architectural and industrial
Ian has also had a long association with the
until 2012.
photography and also shot aerial and illustrative pictures for company reports.
Publisher
Venturing into publishing with Attila Kiraly
He joined the Institute of Victorian
Photographers in 1959 and became a member
and Val Foreman, Ian republished Jack Cato’s
of the Institute at its inception.
The Story of the Camera in Australia under the Institute’s imprint.
36
Educationalist
In 1966, Ian began a four-year program
Photographer Series. This consisted of
designing and overseeing the construction
monographs by photographers such as David
of educational facilities and the Diploma of
Moore, Athol Shmith, Lewis Morley, Wolfgang
He went on to publish the Contemporary
Sievers, Graham McCarter, Ian Dodd and
mounting displays, they needed to expand the
Michael Coyne.
show and attract larger audiences.
Up until the end of Ian’s term as president,
This led to a new body, called the Australian
the national conventions were held every
Photo Industry Council, which was made up
second year and were known as ‘Hypos’,
of delegates from all the various associations
followed by the last two digits of the year they
representing photo dealers, consumer and
fell in: thus ‘Hypo ‘77, ‘Hypo 79, etc.
professional distributors, photo laboratories and,
of course, professional photographers.
The state divisions were encouraged to hold
a division convention in the off year.
Ian McKenzie was elected to represent the
Institute and at his instigation it was agreed that International Connections
the distributors rather than the Institute would
At the Hypos, a trade display, which would only
fund the costs of overseas photographers to
operate during conference lunch and coffee
lecture at the Institute’s conventions.
breaks, would be held in conjunction with the convention.
Commercial Group
Still continuing his service, in 2006 Ian McKenzie
The trade participation was important to
the success of the convention as the revenue
established and chaired the AIPP Commercial
was mostly responsible for keeping convention
Group and became a member of the Institute’s
finances in the black.
Policy and Planning Committee.
Ian was also actively involved in the first
In 2010 he developed the structure and
moves to bring internationally-respected
syllabus course materials for the AIPP National
photographers to Australia to give lectures to
Mentoring scheme and managed the scheme
photographers and help lift the standards of the
nationally.
profession.
such a long and sustained contribution to the
Among the first of these celebrated
It is hard to think of many who have made
international visitors were Sam Haskins and
Institute and to professional photography in
Monte Zucker.
Australia.
PICA The national convention model which Ian devised worked well until the trade suppliers felt that because of the escalating costs of
37
Commissioned or Non-Commissioned? W h a t S h o u l d W e B e J u d g i n g A t A P PA ? If photography competitions like the Canon
appeared to put the photographers working at
AIPP APPAs and the Epson AIPP State Awards
real weddings at a disadvantage, so the rules
are only for professionals, what should they be
were changed so that only photographs taken
judging?
at a real wedding could be entered.
The same applies to commercial categories
that they should be judging the work produced
such as advertising, fashion and architecture,
by professional photographers. For some
but should it?
people, this means work that photographers
You can only earn a living as a wedding
have been commissioned to take - in other
photographer shooting real weddings, but
words, real jobs. This is because shooting a real
it is possible to earn a living as a commercial
job under real pressure is different to shooting
photographer shooting stock images for
something on spec or personally. There is a
yourself on speculation. You don’t have
perception that the former is more difficult than
to have the same pressures as shooting a
the latter.
commissioned job, yet it is a valid way to earn a
38
There are two possible answers. The first is
The second answer is that professional
living.
awards should judge photography based on
professional standards.
images be accepted for entry into commercial
categories, or should they be entered in
Few people disagree with the second
So, should these non-commissioned
answer, but not all photographs submitted are
another category like Illustrative? Currently they
produced for clients. There are categories in the
are not accepted.
awards that allow non-commissioned work to
be entered and for some photographers, this
portfolio, should this be accepted? Currently it is
is seen as an advantage over entrants who are
not, yet 2014 AIPP Fashion Photographer of the
submitting commissioned work.
Year Peter Coulson suggested being allowed
to enter personal work would be good for the
Let’s take wedding photography as an
Or if you shoot personal work for your
example. Many years ago, some photographers
category.
were hiring models and shooting mock
weddings in order to enter the awards. This
CAG to have your say, or post on the AIPP blog.
What do you think? Join the Commercial
Silver Award • Commercial Category
Michael Evans w w w. m i c h a e l e v a n s p h o t o g r a p h e r. c o m 2014 Canon AIPP Australian Professional Photography Awards
39
M AT T
Palmer AI P P
40
ME M B E R
P R OF IL E
Matt Palmer AAIPP is a
photo shoots and then carry
job hoping to capture the
wedding and portrait
those photographic elements
best images of my career thus
photographer with a
through to a finished design.
far.”
background in graphic design,
Right now, I’m concentrating
commercial photography
solely on photography, but
the Epson AIPP state awards
and live music photography.
using my design skills to boost
and Canon AIPP APPA awards
Explained Matt, “I started
my business where I can.”
for just two years and says
as a graphic designer 20
he is grateful for the success
years ago and worked
following his photography
he’s had so far. This year
extensively in design before
dream for around a year now.
he won the Epson AIPP
my photographic passion
“It’s been a tough 12 months,
Queensland Documentary
took over. I was fortunate
but I am always excited by
/ Sports Photographer of
during a transitional phase
the future and I am certain
the Year, was a finalist in the
to work in jobs that allowed
that image making will be my
Epson AIPP Queensland
me to pursue both graphic
lifelong passion and source of
Landscape Photographer of
design and photography at a
employment.
the Year, and won the AIPP
high level. For instance, I was
Australian Professional Sports
the Creative Director of the
of images I might be making
Photographer of the Year at
Brisbane Roar Football Club
or how I might be creating
APPA.
for two years which allowed
them in 10 years from now
me unparalleled control
keeps me interested and I
planning how I will push
over the look of the brand. I
am always in pursuit of the
myself next year.”
was able to conduct all the
perfect image. I go into every
Matt says he has been
“Not knowing what kind
Matt has been entering
“I’m already thinking and
41
M AT T
Palmer A I PP
M E M B E R
P R O F I L E
“When my core
photography was capturing musicians, I would always say there were four main components to the outcome of an image: photographer ability, access, lighting and subject.
“Often we could only
control our ability and the subjects we chose to photograph. On occasion though, I would get stage access to create something different, such as images of performers interacting with their fans. The same is probably true of most action photography because getting a good position gives you an edge.”
42
43
M AT T
Palmer A I PP
44
M E M B E R
P R O F I L E
When it comes to equipment,
Matt is a strong believer in
I had an army of small flashes
legs fold back up the centre
knowing how to use external
including Canon Speedlights,
column, allowing it to pack
light on location and in a
a few Vivitars and whatever
very easily.
studio.
else I got my hands on.
“Whilst a photographer
“Before using the Einsteins,
“Today, I love my Einsteins
small flashes because the
“I always want a scene
where there is visual drama
may not always need it, in an
and for most subjects in the
or where visual drama can be
industry where professional
studio, I use large flattering
created. In terms of adding
gear is being sold more to
light sources such as big
your own lighting, an overcast
lawyers and doctors than it is
umbrellas with layers of
or stormy sky is beautiful as it
to photographers, knowing
diffusion. On location, I’ll
provides an almost blank slate
how to use and see light is
use umbrellas, Octoboxes
of light with which you can
such an advantage that we
and even a beauty
add your own drama through
must grasp it. I love my Paul
dish, depending on the
artificial lighting. Otherwise,
C Buff Einstein lights for their
requirements and logistics of a
a good action photographer
flexibility in light output
given shoot.
survives on what they are
(but unfortunately they no
longer take on new Australian
collapsible light stand is
customers).
amazing for traveling with
“The Manfrotto 001B
given and the best ones make bad light look good.”
45
46
M AT T
Palmer A IP P
ME M B E R
PR OF I L E
The images selected for
missed it.”
into account, it’s too late to
this portfolio are primarily
be taking the image when
from Matt’s personal projects.
Canon AIPP APPA this year
the strike lands. When I hear
were taken at Muay Thai
my shutter noise at the same
are so important for rounding
kickboxing bouts. “I try to
time as a cracking noise from
out your skills and polishing
anticipate the fighters’ moves
the ring, I am happy that my
them. My landscape
as if I were in the ring with
timing and anticipation have
photography and work in
them. I need to understand
come together.”
the live music industry have
when the fighter is throwing
hugely influenced the way
a fake (tricking the opponent
anticipation when
I approach weddings, for
into expecting a certain strike,
photographing the actions
instance, especially in terms
but setting up another strike
of a musician (often helped
of the technicalities of taking
instead), and when the fighter
by knowing the music), or
challenging images.
is about to throw something
photographing Brisbane Roar
that they intend to do some
matches. “The best images
over seven years also helped
real damage with.
come from an understanding
me become a good sports
photographer. Anticipation
taken when I see them first
what is about to happen
is key and if you’re pressing
throwing the strike because
before it does.”
the shutter when you see
by the time shutter lag and
the action happening, you’ve
human reflexes are taken
“I think personal projects
“Photographing music for
Matt’s winning images at
“The image needs to be
Matt uses the same
of the subject and knowing
47
48
M AT T
Palmer AI P P
M E M B E R
P R O F I L E
49
50
M AT T
Palmer A IP P
ME M B E R
PR OF I L E
“When it comes to action
“When I work with athletes
what they looked like, most
photography, I look at the
for a posed portrait, I try to
of them wanted to be more
existing lighting set up and
involve them in the process
involved as well.
break it down into what it
somehow, so they buy into
would be like in a studio.
the end product. For the last
demonstrate what I want
Where are the main lights
marketing photo shoot I did
from a pose because when
coming from? What fill light
with Brisbane Roar, we had a
they can see me doing it,
is there? Is that white wall
list of poses we needed from
the idea is a lot clearer. I find
going to be bouncing fill light
everyone, and then some
posing everyday people is a
back into the ring to fill out a
optional ones for the players
lot different to posing athletes
fighter’s face? Generally the
if they wanted to. We got a
and celebrities and often
light is terrible, so you have
few key players on board for
requires a different approach.”
to take every advantage in
the ‘cool’ shots and once we
positioning that you can.
showed the other players
“I also like to physically
51
M AT T
Palmer A I PP
M E M B E R
P R O F I L E
“I love Adobe Lightroom and I can’t imagine
things ready for press the next morning.
having to work without it. With Lightroom and
being able to move images from my catalogues
cool under pressure is an important trait in a
in and out of Adobe Photoshop, I can do pretty
photographer, especially when working within
much everything I need. I also do all my layout
tight time frames and on location.”
“Problem solving and being able to keep
in Adobe InDesign which was my primary tool as a designer.
http://mattmakes.photos - personal site with
awards for reference
“I don’t take on any job where I need to
deliver while still on location (such as shooting
http://recordmakers.photography - my every
for Getty, for instance). I’m not the kind of
day work
photographer who can let go of what I produce
52
enough to deliver that quickly, although I’ve
“Photographers are always welcome to contact
often worked all night after a shoot to have
me for a chat on matt@mattmakes.photos”
53
Photograph of Chris Shain by Matthew Duchesene.
Fighting For Your Rights Chris Shain Representing The AIPP
54
As Australia’s peak body representing
professional photographers, the AIPP fights for
realistic depreciation values for our equipment.
the diminishing rights of all image makers in
this country.
terms and conditions to respect photographer
copyright, which they did.
We are active and vocal in defending the
Recently, we worked with the ATO to get We lobbied Instagram to re-word their
viability of our industry. Your AIPP membership
dues help fund this incredibly important long
journalist Peter Greste and his colleages in
term work.
Egypt.
The AIPP pushes for law makers and
We lobbied for the release of photo
And we made submissions to government
influencers to consider the potential impacts
on copyright, privacy, orphan works and fair
of their decisions on the day to day working
use.
professional photographer.
Chris Shain has been a driving force behind
much of AIPP’s advocacy work.
court case involving an American photographer
“Chris is the most highly respected
Chris was an expert witness in a federal
photographer among those who fight to
regarding copyright infringement in
protect artists’ rights”, explains Ross Eason, AIPP
Australia. The judgement was in favour of
President. “He has being fighting for the rights
the photographer, and the judge stated that
of photographers for decades and now he is
“breaches of copyright are common… and
officially doing so on behalf of the AIPP”.
the courts must do what they can to assist
copyright owners to maintain their property,
The AIPP this month appointed Chris as
a Board Advisor regarding copyright, moral
and prevent the unlawful use of it.”
rights and issues requiring the Institute to lobby
government to protect the interests of our
www.austlii.edu.au/cgi-bin/sinodisp/au/cases/
industry.
cth/FCCA/2014/445.html?stem=0&synonyms=0
&query=title(Tylor%20v%20Sevin%20).]
“Thanks to Chris, the AIPP was one of the
[View the published judgement at http://
few organisations granted an interview with the
Australian Law Reform Commission to discuss
important service AIPP provides for you.
copyright law revisions.
AIPP continued commitment to fighting for
“Chris has the ear of the big wigs and is
well respected around the globe”, said Ross.
Advocacy is an intangible but vitally Chris Shain’s recent appointment is part of
your rights.
“Australian image makers are bloody lucky to have him on the case.”
Chris Shain is also one of Australia’s best commer-
cial photographers.
On behalf of the industry, Chris meets
regularly with the Copyright Council, Copyright
Agency, Viscopy, and senior academics in the
been a director of the Australian Copyright Coun-
copyright world.
cil. He has wide respect within the industry and has
He also has regular communication on
addressed small and large groups of people world-
copyright issues with American Society of
wide, and the media, on issues relating to photog-
Media Photographers.
raphy and the photo industry.
Chris was an integral part of an industry
He is an Associate member of the AIPP and has
He has personal work in the Australian Pho-
team that successfully made amendments to
tographers Collection and has been a finalist three
the Copyright Act in 1998, and he was a director
times in the Head On portrait prize.
of the Australian Copyright Council for eight
www.imagesforbusiness.com.au
years until recently.
www.shain.com.au
55
Moran Arts Foundation In Schools W i l l i a m Lo n g r e p o r t s o n a n o t h e r s u c c e s s f u l m i s s i o n
56
This year, the AIPP’s William Long joined
development skills within the familiar school
Edmund Capon (former director of the Art
environment.
Gallery of NSW), Rick Amor and Aidan Sullivan
on the judging panel of the prestigious Moran
conducted by a professional photographer.
Arts Foundation’s photographic prize which has
Each student receives their own digital camera
been recently announced.
to use for the day and is able to print off their
five favourite photos.”
The Moran Arts Foundation sponsors a
“The workshops are run all day and are
$150,000 portrait prize, and alongside an
$80,000 contemporary photographic prize with
Cooenruull Public School, wrote, “Thanks to
the winner taking away $50,000. This is the
the Moran Arts Foundation, we were fortunate
competition that William was involved in.
to have Sally Mayman visit our school and
work with the students. As a result the class
There are also sections in the contemporary
Sherryn McConnell, a teacher from
photographic prize for secondary and primary
continued their photography and held an
school children, with prizes ranging from $5000
exhibition of their work on the School Open
cash to digital cameras.
Day during Education Week. The feedback from
School Program
this event was excellent. The exhibition was so
In addition to supporting two awards with
successful that we have been invited to exhibit
very substantial prize money, the Moran
the students’ work at the local cultural centre.
Arts Foundation provides free photography
Thank you for providing my students with such
workshops for school children around Australia.
a wonderful opportunity.”
According to the Foundation’s recent press
The Foundation states it receives
release, “The school photographic workshop
hundreds of requests from schoools for the
program is a great way to foster creativity
free workshops every year and in 2014, over
amongst school students in years 3 to 12.
160 workshops were conducted involving
approximately 400 students.
“By encouraging students to be imaginative
For more information, visit the Moran Arts
and creative, they build valuable skills and
confidence. The workshops are run in a fun
Foundation website: www.moranprizes.com.
and creative way, providing important social
au.
This photo has nothing to do with Australian schools, but there are formal and informal programs the world over, using photography as a way to 57 connect with youth. This was taken in Bhutan recently where a photography workshop interracted with a local school. Photo: Peter Eastway.
Making Money Out Of Weddings Pro f i t I s N o t J u s t M o n e y, B u t Ti m e A s We l l Should you charge $5000, $1500 or $500 for
$1500 or $2000 for photography may well be
a wedding? There is no single answer, but
within the budget.
the following analysis might help answer the
The Time Factor
question for you.
So, in the market today, we have photographers
at the top level wanting to charge $5000,
To make the analysis, we need to make
some assumptions, so while you may disagree
photographers at the bottom end who are
with some of the details on the opposite page,
probably undercharging clients at $500, and the
the principal is what we’re looking at.
new ‘norm’ of photographers offering a service
Expectations
of around $1500 to $2000.
If you charge $5000 for a wedding, our clients
Who is making the most money?
will have expectations. In the past, these
Well, the financial answer is obvious, but
expectations have been amazing service,
when you look at the time involved, who is
possibly a second shooter or assistant, and an
better off?
amazing photo album or photo book as part
of the price. There is also quite a deal of client
else, then you have plenty of time on your
contact which, it is argued, produces a more
hands and you should go for the $5000
tailored and personalised service.
wedding package.
For a $500 wedding, the expectations
If you only shoot weddings and nothing
However, most photographers if not shooting
are much lower. Generally the level of client
weddings can spend the time shooting portraits
handling and service is not very high at all. Some
or commercial work, or spend time marketing for
clients might only meet the photographer on the
more weddings. When you look at time as part
day of the wedding and, to be fair, these clients
of the equation, a simpler service for a moderate
probably don’t value photography as highly as
return may in fact be much more profitable on
the dress or the venue.
an hourly basis.
However, most clients don’t really know how
There’s no one correct answer, of course, but
to value photography. They are probably paying
it’s worth carefully looking at what you provide
much more than $500 for the wedding dress,
your clients - and at what your clients are really
the venue, the meals and the car, so a charge of
paying you on an hourly basis.
This is general information only. We do not know your specific financial or legal situation and we are not providing you with advice. As such, this article should not be relied upon as legal, financial or accounting advice. Please use this article as a conversation starter with your own adviser.
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$5000 WEDDING
$1500 WEDDING
$500 WEDDING
Package Fee
Package Fee
Package Fee
$5000
Raw Costs 2nd Shooter
$1500
Raw Costs $200
2nd Shooter
$500
Raw Costs -
2nd Shooter
-
Album $800
Album -
Album -
Prints $400
Prints -
Prints -
Other costs
$100
Other costs
$100
Other costs
$50
Total Costs
$1500
Total Costs
$100
Total Costs
$50
Gross Profit
$3500
Gross Profit
$1400
Gross Profit
$450
Labour
Labour
Labour
Intro Interview
1 hr
Intro Interview
-
Intro Interview
-
Second Interview
1 hr
Second Interview
-
Second Interview
-
Wedding Shoot
8 hr
Wedding Shoot
6 hr
Wedding Shoot
6 hr
Post-Production
8 hr
Post-Production
2 hr
Post-Production
2 hr
Sales Interview
3 hr
Sales Interview
-
Sales Interview
-
Album Compilation
8 hr
Album Compilation
-
Album Compilation
-
Final Interview
1 hr
Final Interview
-
Final Interview
-
Total Time
30 hr
Total Time
Income per hour
$117
Income per hour
8 hr $175
Total Time
8 hr
Income per hour
$56
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2014 Gold Awards
T h e B e s t o f t h e B e s t f r o m t h e 2 0 1 4 C a n o n A P PA s
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From November the AIPP will be sending out
imaging in Australia.
free of charge a new publication to all AIPP
Accredited Members who entered the Canon
photographs, divided into categories with the
Australian Professional Photography Awards this
Golds with Distinction leading the section.
year: The Australian Professional Photography
Awards 2014 Gold Awards book.
of Canon Oceania, “Winning at these awards
takes years of dedication to the art of visual
Explained AIPP Executive Officer Peter Myers,
The book contains over 100 amazing
Wrote Taz Nakamasu, Managing Director
“This is a fabulous 12-inch square book which
storytelling, followed by the act of bravery to
features every Gold and Gold with Distinction
put yourself ‘out there’ for the three-day judging
image from APPA this year.
process.
“We have created this book because we
“Not to be taken lightly, this final step is
wanted to feature the fabulous images in all
described by some as a time when you ‘bare
their splendour on a single page, as opposed
your soul to be judged by your peers and your
to the traditional book design (which we will
idols’.
continue with) which features several images
per page.”
winners have done just that and, in doing so,
push us all to reach new levels of achievement!”
Added AIPP President Ross Eason in the
“Fortunately for the rest of us, this year’s
introduction, “With many aspects of our careers,
the strive for perfection is ongoing, and the
we as an Institute in partnership with Canon
day we stop trying to improve, to create better
continue to look at improving the quality of
images or better outcomes, is the day we need
the Awards book we deliver to our members.
to reassess where we stand as professionals.
Canon’s ongoing support in the production of
this book plus their sponsorship of the Institute
“This book is an example, it is the
Continued Ross, “It is a great example of how
culmination of efforts by those photographers
clearly demonstrates their commitment both to
who through pushing their personal
the Institute and the industry.
boundaries have achieved a level of success
and recognition from their peers that is second
sponsor a global company of such esteem and
to none - it is the pinnacle of professional
we value the relationship highly.”
“We are very fortunate to have as our
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62
Photographers & Copyright
A Book About Copyright From People Who Know Photographers entering the profession
of creators to Australia’s culture and economy,
often have little idea about copyright and
and for the importance of copyright for the
the importance it plays. Without copyright
common good.
protection, professional photographers have
much less to sell.
a number of publications dealing with many
aspects of copyright.
For many photographers, a photography
As part of its mandate, the ACC produces
assignment is about being paid for the time
they work and the photographs they produce.
photographers, of course, but to many other
creative fields. However, many of the queries the
However, with copyright, those photographs
Copyright doesn’t just apply to
can have an extended life, allowing you to
ACC fields are answered in these publications
use the photographs for other purposes such
and the latest update is Photographers and
as self-marketing and re-sale to other buyers.
Copyright.
Without owning copyright, you may not be
legally able to use your own photographs on
Copyright explains what copyright protects,
your blog!
the ownership of copyright, orphan works,
photographers’ moral rights in their work,
Copyright is governed by legislation and
A practical guide, Photographers and
its interpretation by the courts. If you have
taking photos of people and copyright
a copyright problem, you can approach
protected materials, licensing photos, use of
the Australian Copyright Council (ACC) for
images on websites and social media, and what
assistance.
you can do if your copyright is infringed.
AIPP member Chris Shain sits on the
It also provides practical tips about how to
ACC board. It is an independent, non-profit
protect your images in the digital environment.
organisation. Founded in 1968, it represents the
You can purchase the book directly from the
peak bodies for professional artists and content
ACC’s online store and it costs just $45 including
creators working in Australia’s creative industries
delivery. It’s a must read for professional
and Australia’s major copyright collecting
photographers.
societies.
copyright.org.au/
The ACC is an advocate for the contribution
For more information, please visit http://
63
An AGM With A Difference
A s k t h e B o a r d A n y t h i n g Yo u L i k e t h i s We d 2 6 N o v e m b e r 2 0 1 4 Make your own cup of tea and join the AIPP
to raise issues, put forward suggestions or ask
Board at it’s Annual General Meeting.
questions is being promoted by the Board as an
opportunity for all members to get involved.
Association on the news, turning up for annual
Now We’re Asking You!
general meetings and grabbing a free cup of
How often do you listen to people wishing
tea and two free biscuits. Some shareholders
this would happen or that had been done, but
just go for the socialising, others are there to ask
nothing comes of it? Generally it’s because the
the company’s board members some serious
line of communication is either difficult or time
questions. And if their questions are interesting
consuming.
enough, they even get reported!
Our AGM With Tea
key objectives it to make the process of
However, none of that is likely to happen at the
management completely transparent. It’s
AIPP’s Annual General Meeting. To start with,
doing this in many ways with improved
we have members, not shareholders and that
communication, the introduction of SIGs and
means no tea or biscuits either! But you can
CAGs, and now a Q&A session with the Board at
make your own! And you’ll have a comfortable
the AGM.
seat. Sit down in your favourite chair with your
computer, laptop or tablet and watch the AGM
We’ll see you there - online or in person!
online. It will be live streamed and members
will be encouraged to get involved and ask
10.00 a.m., Wednesday 26 November 2014 at
questions directly of the Board.
the Punt Hill Essendon Grand, 1142 Mount
Alexander Road, Essendon, Victoria.
The formalities will probably take about
However, one of the current Board’s
So, the AGM is your chance to get involved. To be there in person, present yourself at
The URL for the AGM is: https://new.
ten minutes, after which it is hoped members
will ask questions (via text) about the AIPP, its
livestream.com/liveaustralia/aippagm14.
direction and the Board’s plans.
The password is in your email, or if you think
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We all see the Australian Shareholders
One of the advantages of live streaming is
you’ve missed the email, get in touch with
that everyone can attend. And while an AGM
National Office now via the website - www.
mightn’t be everyone’s cup of tea, the ability
aipp.com.au.
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Landscape Photography MasterClass Learn the art, craft and business of landscape photography with a member-only subscription to Peter Eastway’s Landscape Masterclass. The online delivery includes movies and articles, featuring equipment, techniques, inspiration and Photoshop postproduction. Start at any time. Learn at your own pace. Replay and re-read the articles as often as you like. To view, read and experience a free sample Landscape MasterClass, visit
www.betterphotography.com Purchase online delivery for iPad, or DVD to play on your computer.
Content Sampler
FINE ART MOVIES Mt Nemrut Cape Palliser Cappella di Vitaleta Elephant Island Pilbara Storm Steeple Jason
KNOWLEDGE Lenses Apertures Camera Support Camera Bags Accessories C o l o u r Te m p e r a t u r e
JOURNEY Tu r k e y SW America Italy Spain Pilbara Easter Island
ACUMEN Pricing Prints Prints for Sale Publishing a book Book Finances Local Contrast Websites
P O S T- P R O D U C T I O N Soft Light Layers Raw Conversions Luminosity Mask ing Colour Balance Local Contrast Vignetting
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How To Master Photoshop Layers “The secret to photographic technique is layers, and that’s whether you use Photoshop or Lightroom.” How To Master Layers is a series of video/article presentations by Peter Eastway. To purchase and view on your computer, visit: www.betterphotography.com $6.49 each or $19.95 for all four titles
If you download the files from the website, they will not play properly on the iPad.
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