Working Pro 214 by Pt 78 Pty Ltd

Working Pro The

Issue 214 â&#x20AC;˘ August 2013

©IMAgE by ADAM PRETTy 2012 AuSTRAlIAn PRoFESSIonAl PhoTogRAPhER oF ThE yEAR

CALL FOR ENTRIES THE 2013 cAnOn AiPP APPA

13 — 15 SEPTEmbEr 2013 mElbOurnE TH

SAVE THESE DATES OnlinE EnTriES will close 5pm Wednesday 21st August 2013 PHySicAl EnTriES must be received by Friday 30th August 2013 JuDging HElD at Melbourne Exhibition Centre on 13th - 15th September 2013 APPA AWArDS PrESEnTATiOn DinnEr 16th September 2013

For more details visit www.appa.aippblog.com

Working Pro The

Cover: G o l d A wa r d • 90

Jonelle Beveridge M. Photog. 2012 Canon AIPP Australian Professional Photography Awards

The Working Pro is the official newsletter of The Australian Institute of Professional Photography (AIPP). Editor Peter Eastway G.M Photog., 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 5, 205a Middleborough Road, Box Hill South, Victoria 3128 Phone: 03 9856 0700; Fax: 03 9899 6577 E-mail: enquiries99@aipp.com.au

Co n te n t s #214

Aug u st

President’s Message

74 Was Generous

2 0 1 3

Kylie Lyons is in ‘full awards mode’, reporting from the NZIPP Iris Awards with some suggestions for entering our own Canon APPAs. The feedback might not have been welcome at the time, but it was a great lesson in photography. What would you have scored this photo?

APPA: Is It Worth It?

APPA Category Decisions

APPA: How Important Is Print Quality?

APPA: The Review System

Photo Critique

Editors Selection - APPA Winners

The Top Ten?

Make The Shoot Fun

AIPP & ACMP Work Together

ISO TC42 Photography Standard

RØDE i16

A large percentage of AIPP members have entered APPA at some stage. What do they get out of it and why should you enter APPA this year? Should you enter all your prints into the one category, or across several categories? It depends on what you want to achieve. In professional photography, technical quality is assumed by our clients and the APPA judges. Here’s how to achive high print quality for APPA. There are many safeguards in the APPA judging system and the review system is a great example of giving entrants every chance. Why did these photos earn Silver Awards? What else could e done? Read Peter Eastway’s observations and suggestions. A selection of entries that caught the editor’s eye from the 2012 Canon AIPP Australian Professional Photography Awards. The AIPP launches a quest for the Top Ten Iconic Photos in Australian history. Do you agree with Alasdair Forster’s initial suggestion? Successful portrait photographers Brian and Kaylene Chapman explain why a positive experience is so important for our clients. The two organisations join together to help commercial photographers through difficult economic times. Robert Edwards reports from a ‘behind the scenes’ meeting – something many of us just take for granted! If you need to capture good quality sound, a good quality microphone is essential, but can you use it with your iPhone?

Full Awards Mode

Kylie Lyons M.Photog I. Hon.LM I write this month’s President’s Report from New

the judges go “Wow” is no easy task.

Zealand where I have been invited to judge at

their annual Iris Awards.

an award range, or keep it out. If you’re a regular

Posing of models can also put your image into

entrant to Awards, you’ll know what I’m saying. Full Awards Mode This comes off the back of being a part of our six

Basics First

Epson state awards with Canon APPA just around

Judges pick up on the very basic skills of photog-

the comer. So I am in full awards mode!

raphy ﬁrst, such as hand placement and body po-

sition. They look at the skills of lighting and techni-

Suffice to say, I have been very judgmental as

a judge. I have seen some beautiful photographs

cal quality, and then move onto the emotion or

and been able to network with some great pho-

humour in the image.

tographers, not only in Australia, but also over The

Ditch.

means that you have to have really thought about

all the elements in your image.

In all the hours of judging I have witnessed,

So, to actually receive an award in my mind

there have been some comments that are repeat-

ed over and over again, and many of the negative

one judge sees something in your image that

comments come back to the print quality and/or

makes them want to ﬁght for your photo.

Sometimes it takes just a pinch of luck when

posing. Critique Nights Skill Required

Your local state councils have been working hard

There are many, many reasons why we still have

to put on many critique nights in recent times to

print awards. As professional photographers, many

assist all members in preparing images for awards.

of us still need to make prints for our clients or

supply ﬁles that our clients will print from. The skill

which may help in ﬁnessing an image for judging.

required to get what you see on screen onto a

printed page takes a lot of work and can be tricky.

el of ﬁve specially chosen master judges whose

scores are averaged to come up with your ﬁnal

Choosing the right paper stock and ﬁnish, get-

ting proﬁles right and having a print that makes

Critiques are great to get opinions from others At the end of the day though, there is a pan-

score. No single judge can manipulate the scoring.

Orpheus Island Photography Workshop 2013 7th to 13th October

Presented by Les Walkling & Tony Hewitt This is a full six day all-inclusive unique experience designed for photographers of all levels. The venue is the James Cook University Orpheus Island Research Station, a world class teaching facility, and the tropical islands provide for amazing photographic opportunities.

This is the ninth year Les has presented this workshop and he rates it as his best. Dr Les Walkling is one of the greatest educators the professional photographic industry has known. Les has a vast background in professional and university education and fine art photography with his work featured in major public galleries such as the National Gallery of Australia, the National Gallery of Victoria, and the Metropolitan Museum of Art in New York, USA. Les is the former Director of Media Arts in the School of Art at RMIT University. He is also a Fellow of the AIPP, and his clients include most of our National and State galleries, museums and libraries.

www.leswalkling.com

Tony is a ‘Grand Master of Photography’ of the prestigious Australian Institute of Professional Photography (AIPP). He is an Honorary Fellow of the AIPP and a Fellow of the New Zealand Institute of Professional Photography. Tony’s career highlights feature over 100 state, national and international photography awards. He was Western Australian Professional Photographer of the Year 2004 and also in 1994. He has judged at various state, national and international awards for the last 15 years, and is invited on a regular basis to speak both in Australia and overseas on subjects as diverse as creative photography and connecting with www.tonyhewitt.com people. Tony is also a Master Practitioner of NLP.

You will gain exceptional knowledge in Photoshop and Lightroom, colour management, fine art printing, and be inspired to create masterpieces for yourself and your clients. The workshop comprises lectures, demonstrations and presentations each morning, backed up with hands-on work after lunch and in the evening. Some people also choose to capture the first or last light of each day, while others edit and print late into the night, or continue their dinner time conversations down at the beach. This year Les and Tony are supported by four experienced tutors to ensure that the knowledge and skills are immediately translated into real-world practice. Specialist topics, as requested, are covered in additional seminars and tutorials.

Similarly, the judges are encouraged to work as a

to the Melbourne exhibition centre come 13-15

team in the best interests of the print before them.

September and be part of one of our Institutes‘ best membership beneﬁts? Not only do you

Panel Cohesion

learn and grow as a photographer by entering,

As an example here in NZ, I initially scored a print

but you leam so much more by being around

at 68 (which is classed as professional practice in

other photographers and seeing such great im-

the New Zealand system), but after the challenge

agery on the walls.

and listening to the debate, I raised my score 20

points into the Silver with Distinction range be-

your work out there for your peers to review.

cause that’s what the panel was working towards.

you might be able to pick up some accolades!

Later when looking at the award winning im-

It’s always great to push yourself and put Take the plunge, be daring and who knows,

ages on the walls outside, I could see what makes

a truly amazing Gold award: it’s when everything

ward to seeing you in Melbourne soon.

Best of luck to all APPA entrants. I look for-

works together and the image just ‘sings’ under the APPA lights! APPA In Melbourne If you have never watched an award judging

kylie.lyons@aipp.com.au

process before, can I recommend you get along

0411 552 488

The13 Essential Elements of a Successful APPA Competition Entry Read More AIPP Member Only Content To read AIPP member and specific business related advice, visit the AIPP website and sign in. Once you’re signed in, follow the menu Member Services, My Publications, The Working Pro - Extended Material.

Come and learn from successful studio owners Brian and Kaylene Chapman.

THE BUSINESS OF

PHOTOGRAPHY with

With more than 15 years experience, they have built two very unique studios – Family Image Photography and Boudoir Image in Sydney’s Northwest. This dynamic duo has a different approach to business which sees them achieving great sales averages, repeat customers and a very healthy turnover which continues to grow even in a down economy. Even more surprising, they don’t sell digital files, they don’t run competitions to get new clients, and they don’t have any minimum orders, yet their sales averages are heading towards $3000 for a 90-minute shoot!

If you find yourself putting in lots of hours but not getting the kind of financial reward you were hoping for from your photography, or are just feeling overwhelmed with trying to run your studio, you will love the fresh approach they take to life and business. Their workshops attract professional photographers of all different levels, from those in the first few years of business, to veterans who have been at it for more than 20 years but want to renew their business to be more profitable.

Comments from past participants give just a hint of insight into how this couple does things differently... “Brian is different...He shows you why, He shows you how and he proves it with real numbers...” “To find a Studio that is willing to share their experiences and teach us from their years of experience is rare.” “My average sale has more than doubled since attending their workshops” “I would recommend Brian & Kaylene's workshop to photographers at any stage of their business, it will be a game changer!”

Small Group Workshops Their workshops are in an intimate group setting, held Brian has a great passion for marketing - delivered at their Sydney studio rather than online to the masses. with sincerity, honesty, openness and a genuine This means they can be truly focussed on helping YOUR desire for each and every one of us to succeed. business at a personal level. Nothing is off limits as they share with you their story, the good and the bad to Karen Visser - Evocartiv bring them to the success they have today. They aren’t afraid to openly discuss their figures so you can see what really works in today’s market. “Those who can do: do and those who can’t: teach” does not apply here. At the same time as teaching these workshops they continue to run two busy studios and are very much hands on, so the information is up to date and relevant in today’s market.

“

”

You will learn how to: Bring in the Dollars - How to sell your work and be nice at the same time. Get your life back - Systemising your business so that it is organised and produces a consistent quality product without the endless hours. Shooting to Sell - Knowing exactly what you are going to shoot at each session/wedding to maximise your sales and client satisfaction. Old School Customer Service - Treating your clients to a wonderful experience and solving any problems that may arise without fuss.

I need bookings - The different types of marketing and who they will attract. Your Website is your shopfront - The 5 must haves for your website. Staying married - Working happily as a husband and wife team and enjoying the journey together. Plus plenty of time for you to ask your own questions in a small group setting. Make 2014 your best year yet, by learning how to make your business soar. Check out the workshop schedule at www.thebusinessofphotography.com.au Accredited with the AIPP CPD program.

74 Was Generous

P e t e r E a s t w a y , G M . P h o t o g , H o n . F A I P P, F A I P P

The photo opposite was taken on Easter Island

through them, throwing them onto the rubbish

many years ago and, at the time, was one of my

heap. Yuck. Horrible. What was I thinking... Many

favourites. (The original is not nearly so contras-

of my old prints simply weren’t that good.

ty as this rendition.)

I entered it into the AIPP National Print

This print, unlike the others, stopped me in my

Awards, the forerunner of the current Can-

tracks, but not because I still liked it. Gone was

on AIPP Australian Professional Photography

the emotional baggage associated with the

Awards, and I clearly remember the score.

wonderful trip and the effort required to shoot

it. In front of me was a plain, rather boring print

Standing at the back of a darkened judging

And then I picked up my Easter Island tree.

room, with five esteemed judges and a panel

and all I could remember were Ian’s words: It’s

chairman sitting around an evenly illuminated

just another travel snap.

print stand, I held my breath as one by one they

He was right.

stood up to inspect my print. It seemed to take

So, why am I mentioning this? Well, entries

an age before they would carefully enter their

are open for the 2013 Canon AIPP Australian

scores, but I fully expected a Silver Award.

Professional Photography Awards. I have no

Well, no.

doubt that some entrants will have a similar ex-

The panel chairman read out the score: 74.

perience to mine later this year. (I might even

He then asked if a judge would like to make a

have it again!) And I hope that, in the fullness of

comment, to which Ian McKenzie (a past AIPP

time, it benefits them like it did me.

President and still an active member today) said,

“Well, it’s just another travel snap”.

prints that bombed in competitions that I still

like. Competitions are great because they put

A travel snap! Couldn’t the judges see the

Are the judges always right? I have some

print quality, the fact it was shot on a large for-

your work into context within the world, but it

mat 4x5” camera, the luminous nature of the

doesn’t have to be the only context.

light and the exotic location? Well, no.

Easter Island tree a 74. The print is crap, but I still

Flash forward five years or so and I am

I think the judges were generous giving my

cleaning out my studio. I find a bunch of old

have great memories of being at that location

prints and, being in a bit of a hurry, quickly flip

all those years ago.

Tree, Easter Island. Poor quality scan of 4x5â&#x20AC;? Kodak Ektachrome. Photo by Peter Eastway.

•

APPA: Is It Worth It?

What Do I Get From Entering The Awards? Some photographers love competitions, oth-

to produce increasingly stronger work. Most of

ers don’t enjoy them or see the point. Some are

the Masters and Grand Masters of Photography

concerned that if they enter and don’t do well,

have the APPAs in their mind throughout the

it may be a reflection on their skill as a photog-

year, thinking about what they will enter and

rapher, so why expose themselves?

how they can make a better photograph.

And this is the key. This is what makes APPA

Incognito

so worthwhile, the process of constantly im-

Judging at the Awards is anonymous, so most

proving what you do. It’s no happy chance that

people won’t know whose work is being as-

someone wins a category or the PPY, they have

sessed. The exception is if your photograph has

worked for it.

had national exposure already, but if that’s the case, chances are you’re pretty pleased with the

Aim Points

image and a score at APPA is neither here nor

Many people enter with the aim of achieving

there.

a Silver Award (80%), and some aim to achieve three or four Silvers.

Improvement

There really is no downside to entering APPA,

objective should be to earn four Golds with Dis-

short of the cost of the entry fee and the prints.

tinction. Aim high. Push yourself.

However, while an admirable strategy, the

On the other hand, the benefits are huge.

Many of Australia’s best photographers have

Feedback

used Canon APPA and the Epson state awards

So what happens if you don’t achieve your

to improve and promote their careers.

goals? Well, it’s character building. There’s no

Yes, if you win awards it gives you some-

getting around the fact that not impressing the

thing to tell your market. It gives you credibility.

judges sucks. Winning is much better, but after

It gives you confidence in the work you are pro-

the Awards, both wins and losses lose their in-

ducing.

tensity and you find yourself working towards

the next Awards. And maybe your Associate-

More importantly, entering APPA every year

pushes you. The competition challenges you

ship, Master or Grand Master of Photography.

•

APPA Category Decisions

Should I enter all my prints in the one category? Can you put your prints in the wrong category?

portraiture category, or if it’s a different portrait,

You sure can?

do you enter it into illustrative? Can you get a

higher score in one category than another?

And should you enter all your prints in just

one category, or several? This depends on what

you want to achieve.

higher scores than others, but this isn’t consis-

It’s true that some categories seem to give

tent from year to year. Which Category?

Sometimes it’s obvious which category your

across categories. Yes, there are aberrations

print should be entered into: a classic landscape

from time to time, but don’t count on them!

photograph should go into the landscape cat-

egory.

into which you believe the photograph fits best,

as long as it complies with the rules.

However, a detail of an urban landscape, like

Generally speaking, the judging is even

The short answer is, choose the category

a shopping trolley in the corner of a stark carpark, could fit into landscape, illustrative or even

Just One Category?

documentary, depending on the context.

So, should you enter all of your prints into a sin-

gle category?

Before you make a decision, read the special

category conditions on the entry form.

entrants who are looking to win a category –

For instance, entries into the wedding cat-

This is a sensible tactic for more experienced

egory must have been photographed at a real

unless you enter all four prints into a single cat-

wedding.

egory, you cannot win it.

If you hired models and dressed them up as

On the other hand, for members wishing to

a bride and groom, the photograph could not

earn their Associateship or Master of Photogra-

be entered into weddings and you would have

phy, what you really want to achive are four Sil-

to choose another category, such as portrait, il-

ver (or higher) awards, so choose the strongest

lustrative or maybe advertising (but check the

four photographs you’ve taken in the last two

special rules for the advertising category too).

years and enter them.

Portraiture is another tough decision: do you

enter a photograph of a family into the family or

If they all happen to be in the same catego-

ry, then that’s a bonus.

•

APPA: How Important Is Print Quality? And image quality in general for digital entries? At both Canon APPA and the Epson state print

marked down, while too much sold black can

awards, prints are assessed by experienced pan-

be seen as a lack of technique as well. Introduce

els of judges. The senior judges have assessed

some tone to these areas if necessary.

literally thousands of prints during their lifetime

5. Review the image for small distractions, such

and they have expectations as to what makes a

as unwanted hairs, pimples, errant branches

good print.

and intrusive rubbish. Should these be re-

touched out?

Many entries miss out simply because they

didnâ&#x20AC;&#x2122;t exhibit sufficient professionalism. We are

6. Size the image for printing. Make a copy

professional photographers and we are expect-

of your working file and flatten the copy. If in

ed to produce a professioanal product.

doubt, for inkjet printing size to 360 dpi at the selected dimension. Remember that the print

Essential Steps For Perfect Print Quality

must be at least 26 cm on the longest side.

1. A good print requires a good capture, so the

7. Sharpen the print. Donâ&#x20AC;&#x2122;t over sharpen it. If in

camera file needs to be correctly focused and

doubt, you are better off undersharpening rath-

exposed, with excellent lighting, composition

er than oversharpening.

and framing. Obviously the file should also offer

8. Make a print. If youâ&#x20AC;&#x2122;re serious, you will have a

sufficient pixels to create a good quality print.

few days to pin it on a wall and review it. Write

2. After editing, sit back and review the file. Be-

notes on the margin about what needs to be

gin by enlarging it to 100% on screen and me-

done. Live with the print. Be critical.

thodically check it for dust and sensor spots. If

9. Return to the working file, make the adjust-

there are any, remove them carefully.

ments required, then make another copy file for

3. Return the image to 100% and assess the im-

printing and sharpen.

age for colour balance. Is the colour balance

10. Print your masterpiece and have it mounted

natural or appropriate to the subject? Are there

professionally. Just as important as the print is

clean whites and blacks? Are skin tones natural

its presentation.

or believable?

4. Review the image for highlights and shad-

although the printing side is obviously not nec-

ows. Areas of detailless white will generally be

essary.

These steps apply to digital entries as well,

•

APPA: The Review System

H o w d o e s t h e A P PA r e v i e w s y s t e m w o r k a n d w h y ? Assuming there are two or more judging rooms,

point required. So, what would happen if a sec-

the idea behind the review system is to give

ond panel assessed the print?

every entry every opportunity to reach a Silver Award - or the next highest scoring bracket

Review System

(Silver with Distinction, Gold, Gold with Distinc-

This is where the review system comes into

tion).

play.

While APPA is a robust and refined system,

Under the review system, entries with scores

judging prints is not always an exact science

of 79 could go up to 80 and receive a Silver

and, when prints are on the border between

Award; scores of 84 could go up to a Silver

one bracket and the next, the system should

with Distinction, 89 to Gold and 94 to Gold with

give the entrant the benefit of the doubt.

Distinction.

For this reason, APPA has the majority rule,

The review system also uses a second panel

which means that if the majority of judges

of judges, so by the end of the process, the print

think a print is a Silver (or not a Silver), despite

has been assessed by at least 10 judges in total.

the overall score being different, a Silver will be

awarded.

judges are told what the print scored and asked,

The review system is short and sweet. The

should the print go up to the next score range, Just Short

or stay the same. No discussion is entered into.

Of course, sometimes the majority of judges

feel the print is below Award standard and so

print has scored 79 – they are being asked

an entry might score 79, yet one or two of the

whether it is good enough to earn 80. If three

judges thought the print was good enough for

or more judges think it should go up to 80, the

Silver.

print is elevated to a Silver Award. If three or

more believe it should stay at 79, that’s what

In addition, when a print is scored, the judg-

The judges assess the print. Let’s say the

es may not have an opportunity to challenge

happens. A simple majority vote.

the score, and sometimes this seems unfair giv-

en the print score was so close. Perhaps some

judges and the entrants, ensuring each entry is

discussion or another look might get the extra

given every opportunity to be judged fairly.

The review system works well for both the

P H O T O

C R I T I Q U E

t u b , t c a p m i s a h t s r d e u g b r d a u t j S e m o S ! k s i r . a e s h a c i w l c t i t i b a t i d n i f t migh

k c a b t en l l e c x e n a s i e e g m a o s m e i r e w The e r e h t y f i a m d t i n , d n grou u o r g e r o f e h t r. e n i h g g i n h i n th e v e d e r o c s e v ha

Line of mist is strong an d emotive - works very well.

81 SCORE This print polarised the judges at a recent state event. The original scores ranged from the low 70s to 85, but it eventually scored 81 after one of the judges challenged! Why was there such a difference in the scores? Starbursts, like sunsets, can be marked down as being cliché. However, as starbursts go, this is a great example, but what else is there? Is there more to the story? For instance, had the photographer inserted something more interesting in the foreground, the image may have scored much higher - a horse, a tree, the silhouette of a farmer etc.

Why don’t some prints make it to Silver or Gold? While you can never predict the judges’ reaction with certainty, sometimes there are aspects or features in a photograph that let it down. Past APPA Chairman and Grand Master of Photography Peter Eastway has, with the photographer’s permission, reproduced this image because it didn’t receive a Silver or Gold Award. His observations are designed to help others assess images from a judging perspective, with the view to improving not only their Award entries, but their professional photography in general.

, e c n a l a b r u o l o c g n i s g a c n e c l a l a M e h A ch t e e s u o y n e . d e t p but wh e c c a s i t i sign,

k c i r t , y k s t a e r G o t n i r e w e i v e h t ing t s u j s i s i h t g n i think . e p a c s a land

e h t t a y l e s o l c k o o l u e o r y s i n e n h g i w s s y l a c n c a M It is o l y l e n i t t s e i h t t n t i a r h p t e h t y l print n e d d u s . d y r n o a t s t n e r vealed e f f i d a g n i

SCORE

Photographing something with a difference can produce high scores. What at first glance seems like a rural landscape suddenly takes on a different meaning with the McDonalds sign in the corner. The ‘story’ now works and so other aspects, such as the unusual colour balance, are accepted. Now that it is no longer a normal rural scene now, a ‘normal’ colour balance is not required either. This was a brave entry and the gamble paid off, but another panel may have scored differently.

Would You Like Your Photo Critiqued?

Are you brave enough to have your award entry critiqued in front of the world? I’m looking for volunteeers! In return for having your entry (state or national) critiqued here (there is no money involved), I wish to be given your permission to use the photo and the critique on my websites, on Flickr, YouTube and Facebook etc), and possibly in ebooks on photo competitions. You will remain the copyright owner, but you give me permission to use your image, anonymously, and hopefully you’ll receive some useful advice in return. If you’re willing to participate, here’s what I’d like you to do. 1. Create a JPEG of the award entry you would like critiqued, sized to 2000 pixels on the longest edge, setting 8 compression. 1a. Optionally, create a second JPEG of the entry before you have done any editing. Don’t send me the raw file, but a JPEG that hasn’t had much processing. 2. Put ‘TWP PHOTO CRITIQUE’ in the header of the email, and attach the JPEG(s).

3. Write this in the email (cut and paste or type the equivalent): “Hi Peter. Enclosed please find my photo (along with an unedited version) for your critiquing and feedback. It scored ?? (enter score). I understand that my photo may not be selected for use. However, if it is selected for use, I agree that in return for you providing the critique and feedback on my photo, I give you permission to use the photo, anonymously, on your website and associated websites such as Flickr, Youtube and Facebook, and in future ebooks. My intention is that this licence will last indefinitely, but I retain the right to ask you to remove the photograph in special circumstances in the future, within a reasonable time (say one month). This just covers me for unforseen situations.” 4. Add your name to the bottom of the email and send it to me at eastway@betterphotography.com. Please, just one image at a time and there’s no rush to do this straight away - I only need a few photos to begin with, so I will repeat this offer in the future! And don’t send me your best images because they will probably be too good to critique!

E D I T O R ’ S

S E L E C T I O N

There are so many great images at Canon APPA and the Epson State Awards that not every Award gets the attention it deserves. To redress this in a very small way, the editor will present a small selection each issue for your enjoyment.

•

E D I T O R ’ S

•

S E L E C T I O N

•

E D I T O R ’ S

•

S E L E C T I O N

E D I T O R ’ S

S E L E C T I O N

•

Max Dupain Sunbaker (1937)

David Moore Migrants arriving in Sydney (1966))

Anne Zahalka The Bathers (1989)

Trent Parke Self Portrait: Menindee, outback NSW [from ‘Minutes to Midnight’] (2003)

Glenn Sloggett Cheaper and Deeper (1996))

Carol Jerrems Vale Street (1975)

Michael Riley Untitled [feather from the series ‘Cloud’] (2000)

Peter Dombrovskis Morning Mist, Rock Island Bend (1979)

Tracey Moffatt Something More [central panel] (1989)

Merv Bishop Prime Minister Gough Whitlam pours soil into the hands of traditional land owner Vincent Lingiari, Northern Territory (1975)

Alasdair Forster’s choice of Australia’s Top Ten Iconic Photos. Is he right?

The Top Ten?

A I P P L a u n c h e s Q u e s t f o r To p Te n I co n i c Ph o t o s The AIPP has launched a quest to list Australia’s

Consulting and former executive director of

top ten iconic photos taken in the last 100 years.

the Australian Centre for Photography, was

asked for some thought starters for a top ten. In

Said AIPP President, Kylie Lyons, ‘We are can-

vassing our members and the wider community

chronological order, not ranking, he was think-

to see which Australian photos gather the most

ing of:

support.

• Max Dupain Sunbaker (1937)

• David Moore Migrants arriving in Sydney

‘The basis of the quest is that the photos

(1966)

themselves are iconic, rather than the scenes or landscapes and they must be taken by a pho-

• Carol Jerrems Vale Street (1975)

tographer associated with Australia. We believe

• Merv Bishop Prime Minister Gough Whit-

photographers who came to make Australia their

lam pours soil into the hands of tradition-

home should be included, whether or not the

al land owner Vincent Lingiari, Northern

photographs under consideration were made at

Territory (1975)

the time of their being Australian residents.’

• Peter Dombrovskis Morning Mist, Rock Island Bend (1979)

If this view is popularly accepted, this would

allow the inclusion of such photographers as

• Tracey Moffatt Something More (1989)

Sam Haskins and Lewis Morley.

• Anne Zahalka The Bathers (1989)

• Glenn Sloggett Cheaper and Deeper (1996)

Everyone is welcome to nominate their fa-

vourite photographs and it is planned to in-

• Michael Riley Untitled [feather from the series ‘Cloud’] (2000)

clude the ten most nominated photographs in the book One Hundred Years of Professional Pho-

• Trent Parke Self Portrait: Menindee, outback NSW [‘Minutes to Midnight’] (2003)

tography in Australia.

The book contains the history of the AIPP

The AIPP is seeking other suggestions for

and is being released in September to com-

inclusion in the final list. Kylie Lyons has re-

memorate the Institute’s 50 years as a national

quested all comments should be emailed for

body and the 100 years since the founders took

collation by 10 August to the book’s author, Paul

the first steps to national affiliation.

Curtis.

Alasdair Forster, of Cultural Development

Paul’s email is paul@paulcurtis.com.au.

Make The Shoot Fun! Brian and Kaylene Chapman According to Brian Chapman, perhaps the single

most important thing a portrait or wedding pho-

selves looking beautiful – and they can end up

tographer can do is make the experience their

being very picky too! In comparison, someone

clients have memorable for all the right reasons!

who has never had a decent photograph of

themselves is often the most appreciative.”

“Make it fun! We make sure that on the day,

“Beautiful people are used to seeing them-

we joke around and enjoy ourselves. We do

whatever is needed to take great shots, from

selling (which he teaches in his workshops), but

wiping snotty noses to making fools of our-

one that is based on showing clients your fa-

selves.

vourites and putting forward good ideas, rather

than pushing them to buy.

“When people look at these photographs,

Brian advocates a systemised approach to

it’s important they feel good about the experi-

ence they had making them. If they had a good

out allows us to present our work in a creative

time, it’s a lot easier to sell the photography.

and engaging way. It can be overwhelming

to show clients too many options, so part of a

“Clients have told me about their wedding

“Placing photographs in a pre-designed lay-

photographs being hidden in a cupboard be-

good sale is to show them your favourites with

cause every time they look at them, they are re-

just a few options they may prefer. We shouldn’t

minded of the annoying photographer!

be afraid to say we’re passionate about our work

and why we think it would look great on a wall.

“Even if the photography is just average, if

the experience was wonderful, you will prob-

We’re the experts and our opinion helps them

ably still make a sale because the photos make

make a decision.”

your clients feel good.

“We have to keep reminding ourselves to

Brian and Kaylene Chapman have run several pho-

make it fun, particularly if the subjects are less

tography businesses successfully for over a decade

than exciting! For instance, if a family is over-

and have a passion for teaching. They hold business

weight or aesthetically challenged, don’t worry

intensive workshops that are targeted at studio

about this being your best work ever. Rather,

owners, turning over between 30K-250K and need

the shoot should be about producing the best

help taking it to the next level. See www.thebusi-

photos the client has ever had.

nessofphotography.com.au for more details.

This is Brianâ&#x20AC;&#x2122;s Number 1 best selling family portrait grouping. Notice how the colour tones are tied together to make this arrangement work.

•

AIPP and ACMP Work Together Fa c i n g C h a l l e n g i n g Ti m e s by Pe t e r M ye r s The board of directors of both the AIPP and

Marketing

ACMP strongly believe that by working to-

The AIPP and ACMP agree to use their respec-

gether, using our combined energy, skill and

tive databases and marketing channels to

resources, we can better help professional pho-

promote and market these events and to do

tographers who work in the business-to-busi-

everything in their joint power to encourage at-

ness and commercial sectors in Australia.

tendance at these events.

There is no doubt that the market for, and

the deliverables provided by, commercial pho-

Budget

tographers have changed significantly in the

Each “joint event” will have an event budget

last few years.

prepared in advance, and the “surplus”, if there is

one, will be split equally between the AIPP and

In recognition of these changes, the AIPP

and ACMP understand that the old divisions

ACMP.

which existed between these two organisations, if continued, will not serve the needs of the

Communication

commercial photography community well.

Both the AIPP and ACMP will communicate

to their respective memberships the benefits

Therefore, the two organisations have

agreed to work together in the following ways:

of this alliance and make every effort to instill within those members mutual respect and trust.

Workshops

A number of workshops, seminars and functions

the AIPP Executive Officer, currently Peter Myers,

for the commercial photography community

will be the main points of contact to ensure this

will be jointly planned, co-ordinated and man-

memorandum of understanding is implement-

aged by a team from the ACMP and AIPP.

ed in the spirit intended.

The ACMP President, currently Lisa Saad, and

These targeted workshops, seminars and

functions will be co-branded with AIPP and ACMP logos to visibly recognise the joint commitment to making these events a success.

Photography Members of the Australian ISO TC42 Photography Standard Kick-off Forum, 27 March 2013: (Left to right) Jennifer Harwood (Standards Australia) Penelope Beveridge (ACMP) Robert Edwards (AIPP) Geoff Woolfe (Canon Information Systems Research Australia) Dr. Scott Foshee (Adobe, TC 42 Chairman) Peter WyattÂ (Canon Information Systems Research Australia) Dr. David Taubman (University of New South Wales) Christopher Ruggles (Choice) Wendy Davis (CIE Australia) Prof. Anthony Maeder (University of Western Sydney) Dr. Antonio Robles-Kelly (National ICT Australia) Nicolas Bonnier (Canon Information Systems Research Australia, TC42 WG18 Chairman)

ISO TC42 Photography Standard by Robert Edwards

In March, the AIPP asked me to attend an ISO

film, sensors and meters.

meeting on photographic standards.

Groups focusing on specialist areas, such as

Convened by Standards Australia who is this

Within TC42 there are several Working

country’s representative for ISO, attendees in-

WG18 who is responsible for electronic still pic-

cluded key stakeholders from the photographic

ture imaging.

industry: manufacturers, distributors, government, consumers, technicians, scientists and the

Raw Format Standard

end users – we photographers.

The project I want to report on here is about

halfway through the ISO standard development

The outcome is that Australia now has a Mir-

ror Committee for ISO TC42.

process, that is, an international standard camera raw format.

Who Is ISO

TC42 is the ISO Technical Committee for still

mented using TIFF/EP, which your camera man-

imaging for the International Organization for

ufacturer already uses to create their proprietary

Standardization.

raw file formats.

(The astute reader will see that ISO is not

TC42/WG18 has a raw file structure docu-

As you may guess TIFF/EP is based on TIFF, a

an acronym for the organisation, it’s in fact the

file format owned by Adobe who permit ISO to

Greek word for ‘equal’ and pronounced “eye-

use it.

sew”.)

fication, parts of which may be used in the new

There are more than 2,000 technical com-

mittees within ISO, with TC42 being one of the

Adobe recently offered ISO their DNG speci-

ISO raw standard.

first formed along with the ISO itself in 1947.

There are dozens of areas covered by TC42

Special Interests

Mirror Committee relevant to professional pho-

The ISO was established to reduce trade barri-

tographers.

ers through recognised international standards.

An obvious one is the ISO speed on our

Like any organisation, including the AIPP, the

cameras. Manufacturers agree on a set of inter-

ISO is comprised of many stakeholders, each

national standards for imaging sensitivity with

with its own interest group.

Camera manufacturers have solid business

What’s the likelihood of there being an ISO

reasons to create undocumented, proprietary

Raw File Format?

raw formats along with their own raw file pro-

cessor.

dard development process required by ISO is

That’s pretty much a given and the stan-

on schedule for the next meeting. If accepted, Watching Competitors

it will be at least another two years before ISO

They don’t want competitors to access confi-

members vote on a raw camera format stan-

dential and highly valuable information on how

dard.

their sensors work or their image-rendering pipeline. Some cite image quality as a reason to

One Certainty

have proprietary raw file formats.

But there will be an ISO Standard for Camera

Raw files, of that I’m certain.

Not everyone will see eye-to-eye on a pro-

posed raw image standard.

camera manufacturers adopt the ISO standard

ISO/TC42 is made up of several members

The more pertinent question is whether

from the photographic industry. This includes

and we, the end users, will have to drive that.

camera and accessory manufacturers, and soft-

ware companies, spread across several coun-

on the ISO TC42 Australian Mirror Committee, the

tries.

views expressed here are my own and not that of

Disclosure: While I am the AIPP representative

Standards Australia or ISO. Making A Difference To pass an ISO standard requires a majority vote

Robert Edwards is a past AIPP National President

from member countries. That is where countries

and is very active in the areas of digital asset man-

like Australia can assist as our vote will make a

agement, along with running his own photography

difference.

business, . www.photographer.com.au

The Standards Australia National Mirror

Committee will primarily focus on issues relating to our country’s needs. However, the final outcome if we vote on an ISO standard will have international ramifications.

Michael Kenna • Johsel Namkung • Stephen Dupont • S t a g e Yo u r O w n E x h i b i t i o n • Composition Essentials • Making Amazing Photobooks Where are my free copies of Better Photography Magazine? They are here... w w w.aipp.com.au S i g n i n t o t h e m e m b e r ’s s e c t i o n . . . Go to member services... Go to my publications... Go to Better Photography... Download and enjoy!

RØDE i16

Capturing great sound for video Whether capturing

recording app, Røde

sound clips for an

Rec, to record the six-

audio visual or back-

teen tracks simultane-

ground recordings for

ously at quality up to

a video, the new Røde

24-bit/96kHz. At the

i16 will capture re-

heart of the i16 are six-

markably high-quality

teen individual gold-

sound with a small but

sputtered cardioid con-

elaborate recording

denser capsules, which

system.

allow the user a high

amount of freedom to record in either surround,

touch, the i16 combines sixteen separate micro-

stereo, mono, or anywhere in between.

phone capsules to capture the user’s surround-

ing audio environment in broadcast quality.

vironment, software processing inside Røde

A similar product, the Røde iXY stereo micro-

Rec will allow them to cancel background noise

phone for iOS devices has already gained praise

through phase manipulation of the other chan-

from both musical and mainstream media, in-

nels, working much the same way as noise can-

cluding a recent Red Dot product award. The

celling headphones.” explained Peter Freedman.

i16 takes the iXY several steps further.

“In this way the i16 is even more effective at re-

Røde’s founder and president, Peter Freed-

cording dialogue than a traditional shotgun mi-

man, explains: “When developing the iXY we

crophone.”

were focused on providing the ultimate in ste-

reo audio capture for iOS devices. But during

ning (iPhone 5, iPad mini) and 30-pin connec-

the project it became evident that there was a

tions. Approximate price is $399.

large proportion of the market who wanted to

For more information, visit www.rodemic.

record in complete surround. We’ve taken that

com. The RØDE Rec App is available for pur-

seriously and produced the i16.”

chase from the App Store.

Designed for the iPhone, iPad and iPod

The new microphone uses Røde’s own field

“Once the user records the surrounding en-

The i16 is available with both Apple Light-

PATAGONIA 2014

WITH IGNACIO PALACIOS, PEP ROIG & PETER EASTWAY Torres del Paine, Perito Moreno Glacier, Cerro Torre & Fitz Roy 8 – 21 March 2014 / 14 days Internationally awarded travel photographers Ignacio Palacios and Pep Roig are leading an amazing photographic journey to Patagonia in South America next year and AIPP Grand Master of Photography Peter Eastway will join the tour as a guest presenter and instructor. Patagonia Itinerary Santiago de Chile, Pta. Arenas, Torres del Paine National Park (Pehoe Lake, Nordenskjöld lake, Salto Grande waterfall, Laguna Larga, Grey lake and Grey Glacier), Pto. Natales, El Calafate (Perito Moreno Glacier), Viedma Lake, El Chaltén (Cerro Torre and Fitz Roy, Maestri camp, Poincenot camp), El Calafate. The trip includes accommodation, all meals, English and Spanish speaking guides, local travel (minibus), transfers and visas. On the Patagonia tour, Peter, Ignacio and Pep will provide instruction and assistance with your photography as required. There are only 15 seats available on the tour. Price: AU$7995* (*) Twin share price. The tour price does not include flights. Note: Some level of fitness is required to reach some campsites in Torres del Paine and Cerro Torre. Porters will be available at an additional fee. The tour finishes in El Calafate (Argentina) from where there are flights to Buenos Aires connecting back to Santiago de Chile or directly to Australia. Dates and itinerary are subject to change.

For further information, contact Ignacio by email: info@iptravelphotography.com.au or visit www.iptravelphotography.com.au.

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How To Win Photo Competitions An eBook by Peter Eastway G.M. Photog., Hon. FAIPP, Hon FNZIPP, FAIPP I have judged many photography competitions and there are lots of little things that entrants forget to do. If only I could let them know before entering the competition, they would do so much better! Well, as a judge I’m not allowed to ring up and help entrants, but I can write a book that distills what I have learnt over the last twenty years that will give you a great head start. Of course, no one can give you an iron-clad guarantee that you will read my book and then win the next photo competition you enter – and I explain why in the book. However, what I can guarantee you is that if you read my book, you will improve the quality of your photography. You see, whether you’re aiming to win a photography competition or just take a better photograph, the advice is very similar. And I know that the tech-

niques and approaches I’ve developed over the years will help you capture and produce better photographs. My book is called How To Win Photo Competitions. It begins with a little about me. After all, it’s easy enough to write a book about winning photography competitions, but it’s better if you have a little bit of experience. Fortunately for me, I’ve been lucky enough to win quite a few competitions, plus I have a lot of experience as a judge. I can talk to you about both sides of the competition. Add in the fact I’ve been a magazine editor for 30 years and I hope I’m able to communicate my message pretty well. So, in just a couple of pages (I don’t want to bore you), I explain why I know what I’m talking about (even though my Dad told me not to boast). We then look at competitions and how they work, how you should

approach them, and how to use the results to assess your own photography. It’s important to set the scene before we get into creating photos that win competitions. The next two sections are the nitty gritty. We begin by talking about taking a great photograph in the first place. Competition winners begin with the camera and so we talk about camera technique, colour, composition, framing and so on - little tricks and hints that will make a world of difference to your photographs. From here we step into postproduction – using the computer to improve the images our camera has captured. Most readers will have dabbled with Photoshop, Elements or Lightroom and this is all you need to enhance your images so they are in the running for a competition win. These days, no matter how good your camera is, you simply must do a little post-production to finesse your entry.

For more information and a read of the free sample, please visit:

www.betterphotography.com

I finish the book with some useful background information about how competitions work (generally speaking), and then I analyse some of the images that have won awards for me, pointing out the aspects that the judges responded to in a positive way. The book has lots of photographs and illustrations to explain exactly what I’m talking about. And it is an eBook. It is easy to read on a computer, laptop or iPad, and you need Adobe Reader (Acrobat) to view the book. There is no paper version of this book, although you can print out the Acrobat Reader file if you wish. I have created a sample eBook for you to look at on the Better Photography website, so please visit and have a read. If you like what you see, I hope you’ll purchase a copy. And for your next photo competition - good luck! – Peter Eastway