Working Pro 216 by Pt 78 Pty Ltd

Working Pro The

Issue 216 â&#x20AC;˘ October 2013

C E L E B R AT I N G 50 YEARS

P © Joshua Halko

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In 2013 the AIPP celebrates 50 years 50 years as the membership organisation of choice for professional photographers. The world we live in has changed drastically during the last 50 years. Photography has changed radically in the last 50 years and the AIPP has adapted to keep up with these changes. Throughout the last 50 years, the AIPP has always represented the best interests of its members and the professional photography community.

Why not make 2013 the year you join the AIPP? Together we can be stronger...

As an added incentive, to help us celebrate 50 years, if you join the AIPP in 2013 either as an Accredited Professional Photographer, or an Emerging member, we will give you a $50 voucher which you can use to reduce the cost of attending any AIPP event, seminar, workshop or awards entry fee. © Robyn Hills

www.aipp.com.au © Caroline Bowen

Working Pro The

Cover S i lv e r w i t h D i s t i n c t i o n A wa r d • 86

Tony Hewitt G. M. Photog., FNZIPP, Hon. FAIPP 2013 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 #216

O c tober

2 0 1 3

President’s Message

2013 APPA Honour Recipients

Kylie Lyons reports back on APPA and the APPA dinner - what a great AIPP 50th Anniversary Celebration! Here is the definitive list of new Associates, Masters and even a handful of Grand Masters of Photography.

Seeing Is Believing

The Big One - Canon APPA 2013

APPA Category Winners

Handling Telephone Inquiries

The Million Dollar Dream

Editor’s Selection - APPA Winners

Photo Critique

Claiming Travel As A Tax Deduction

I Didn’t Get Any Silvers! Should I Give Up?

Should I Ever Sell My Copyright?

Cintiq Companion

Watching APPA online is one thing, but seeing the physical prints is quite another. Do you know how good those prints really are? Tony Hewitt is the 2013 Canon AIPP Australian Professional Photographer of the Year. There was some amazing work at APPA this year! Take a look at the category winners and finalists. Did the judges get it right? Blake Discher says there are some questions you should and should not ask when someone rings you up for a quote. What they are? How do you become a photographer with a million dollars? Matt Ebenezer manages the rash of photo seminars and their expectations. A selection of entries that caught the editor’s eye from the 2013 Canon AIPP Australian Professional Photography Awards. Why did these photos earn Silver Awards? What else could be done? Read Peter Eastway’s observations and suggestions. Family holidays are still private, but there may be ways you can get a tax deduction if properly planned. Disappointment at APPA should be expected - 60% of entries don’t earn Silver, but there is a silver lining! Peter Eastway explains. Is there a fair price in special circumstances? Of course there is – copyright is something you can use as a negotiation tool. Wacom has two new tablets to play with that are as much computer as a pointing device. In fact, perhaps they will replace your laptop and tablet?

APPA 2013 Huge Success!

Kylie Lyons M.Photog I. Hon.LM, National President In this APPA wrap-up edition of The Working

tory year of the AIPP’s 50th Anniversary. As you

Pro, I’d firstly like to congratulate everyone who

know, the AIPP is still largely run by volunteers

entered the Canon AIPP Australian Professional

and relies on the volunteer ethos. This ethos

Photography Awards, all the winners of the cat-

was established and grown by our former lead-

egories and highest scoring prints, as well as

ers. We were able to get all but two of the living

new Associates, Masters of Photography, Grand

past presidents onto the stage. For me person-

Masters of Photography and those who re-

ally, this was a very emotional moment, seeing

ceived a Gold Bar.

these presidents catch up before us all.

Special mention goes to the girls who organise

On behalf of the current National Board, I

the “backroom” with all the trophies and framed

would like to thank the past presidents for their

certificates in preparation for the presentations.

work that they and their boards have done for

In fact, I congratulate you the most because you

the Institute over the years, and thank them

were able to keep the actual Canon AIPP Profes-

again for making the special effort to join us for

sional Photographer of the Year winner a secret

the celebrations.

from the winner himself: Tony Hewitt.

versary, we introduced a few new awards:

As many of you know, Tony is a great MC for

As part of the celebrations for our 50th Anni-

our event because he is a perfectionist who runs a tight ship. As MC, he likes to be prepared and

President Cup:

know all the details so that the night can run

It was apparent that there was always a friendly

smoothly. How would we keep the big prize win-

state rivalry at APPA. Each state claimed they did

ner a secret? Well, the fact that it was a surprise

better than the other by the number of awards

to Tony when he was named the winner was a

received or the number of category winners.

great treat for all of us, too! Tony was very emo-

However, there was never any official records to

tional and made a wonderful thank you speech.

prove it.

This year we introduced the Presidents Cup,

APPA Dinner

an ongoing perpetual trophy awarded to the

The APPA Dinner was also a chance to hon-

state that has the highest average print score.

our many other members in this, the celebra-

We take the aggregate of all entrants scores

Top Left: Spanning the years - the oldest living president David McCarthy hamming it up for the camera (as usual!) with the current president, Kylie Lyons. Top RIght: The 50 Year Birthday Cake. Below: All the presidents on stage at the AIPP Dinner. Thanks to Craig Wetjen who took most of the publicity photos on the night - a big job!

and divide it by the number of entrants for each

state to find the result.

you gentlemen for your knowledge and input

into creating a book that will serve as a wonder-

The inaugural Presidentâ&#x20AC;&#x2122;s Cup was won by

On behalf of the AIPP Board, I too thank all

the ACT with an average print score of 81.75.

ful record of our history and that can now be

purchased online via the AIPP store.

The Presidents Cup will be up for grabs next

year again and I hope this competition brings about a healthy rivalry between all the entrants.

Distinguished Service Award: Also in making preparations for our 50th An-

History Book

niversary, it became apparent that certain in-

A little while ago, the realisation that a special

dividuals, despite having achieved the highest

anniversary was coming lead us to think not

honours possible, continue to contribute to the

just about where we are going in the future, but

success of the AIPP. Almost a lifetime of dedicat-

also where we had come from.

ed service, you might say.

Richard Bennett, Chairman of our Honours

Committee, took on the responsibility to docu-

sioned a new award to recognise long term

ment our Instituteâ&#x20AC;&#x2122;s history and his first decision

service to our Institute of certain members. This

was to contact our good friend Paul Curtis and

new award is called the Distinguished Service

task him to research and write a book.

Award. The AIPP took great pleasure in award-

ing the first Distinguished Service Award to Ian

Some may say, including Paul himself, that

With this in mind, the Institute has commis-

the project was bigger than Ben Hur. Docu-

McKenzie.

menting the 50 years of the Institute through

the changes and growth of the profession of

be worthy recipients of this award, there was

photography in our country was some chal-

always more than one name on the table and

lenge.

this is where it got a bit tricky and a bit of secret

squirrel work was required.

However, having spent countless hours on

When considering members who would

this project, Paul has produced a wonderful his-

torical tome: A History of Professional Photogra-

Award this year to Richard Bennett. Both gentle-

phy in Australia.

men continue to work for the Institute on com-

mittees and projects and we thanks them for

I know Paul will not want to take all the

We awarded a second Distinguished Service

credit for this book and I know he will want to

that ongoing commitment.

thank those who assisted him including Paul

Burrows, Peter Eastway, Richard Bennett and

that is worn on the honours ribbons and will

David McCarthy.

be an ongoing award that can be awarded any-

The Distinguished Service Award is a pin

The Presidents of the AIPP. Left to Right, back row: Eric Victor, David McCarthy, Greg Hocking, Ian McKenzie, Will Street, Rob Gray, Richard Bennett, Mark Fitz-Gerald, Kevin Oâ&#x20AC;&#x2122;Daly, Marc Fenning. Centre: Alice Bennett, Kylie Lyons, Jacqui Dean. Front row: Phil Kuruvita, Ian van der Wolde. Living presidents unable to attend: Malcolm Mathieson and Robert Edwards. And weâ&#x20AC;&#x2122;re also missing Peter Foeden who did make it that evening! Photo: Craig Wetjen.

time for those members who continue to pro-

vide their assistance to the running of the AIPP.

able to view on the blog, so as always, get on-

line and get involved!

I certainly hope you got to watch some or all

The live streaming recordings are still avail-

of the awards judging and dinner presentation via live stream and we must thank DigiDirect, our sponsor who made that available for free for

kylie.lyons@aipp.com.au

all our members.

0411 552 488

2013 APPA Honour Recipients

New AIPP Associates for

Dean Mansbridge

Ky Luu

2013

Doug Hall

Lars Paysen

The following recipients have

Elise Kapeller

Leanne Clements

been awarded the honour of

Elizabeth Bull

Lee Duguid

Associate.

Erin Hoskins

Leon O`Neil

Alan Hughes

Fiona King

Libby Jane

Alison Lyons

Fran Paysen

Linda Beks

Andrew Kwintowski

Gee Greenslade

Lisa Clark

Angela Truscott

Gemma Higgins

Louise Williams

Anna-Nicole Del-Re

George Fragopoulos

Lynda Coulson

Aran Anderson

Grace Costa

Marty Schoo

Bambi Wixon

Henry Coughlin

Matthew Ebenezer

Belinda Cook

Jennifer Stocks

Melanie Kellermann

Belinda Fettke

Jeremy Byrnes

Michael Smith

Benjamin Lynch

Jessica Truscott

Michael Zervos

Bianca Dopson

Johl Dunn

Naomi Bubner

Brendan Ray

Jonas Peterson

Naomi Sheerman

Brent Leideritz

Joshua Holko

Nathan Maddigan

Caroline Bowen

Karen Woo

Nicole Ramsay

Chantelle Bliss

Karl Monaghan

Nora Devai

Chris Elfes

Katie Kolenberg

Peter Blakeman

CM Leung

Katrina Ferguson

Peter Kalogris

Craig Moodie

Kelly Brown

Peter Smith

Dan Cripps

Kenny Foo

Rainee Lantry

Danielle Stahl

Kerry Martin

Robert Cianflone

Darren Bennett

Kirsten Graham

Robyn Geering

David Glazebrook

Kristen Cook

Sara Pearcy

David Henry

Kristian Piccoli

Sarah Black

David Stowe

Kristie Lee

Scott Carle

New AIPP Associates for

Keren Dobia

John Coxon

2013 (Continued)

Kevin Chamberlain

Pamela Verwey

Seth Buchanan

Lynette Hewitt

Warren Bellette

Shane Chalker

Mark Rossetto

Third Gold Bar

Stan Kisler

Mark Ruff

Mark Duffus

Susan Wall

Natalie Howe

Fourth Gold Bar

Tanya Love

Samantha Lishman

Vittorio Natoli

Terry Hann

Steve Wise

Fifth Gold Bar

Tim Burder

Tanya Love

Andrew Campbell

Tom Hall

Tom Putt

David Paterson

Tyler Alberti

Gregory Hocking New Gold Bars for 2013

Jackie Ranken

New AIPP Masters of

After achieving the their Masters

Robyn Hills

Photography for 2013

of Photography, the following

Seventh Gold Bar

The following recipients have

recipients received additional

Rocco Ancora

been awarded the honour of

Gold Bars which represents an

David Oliver

Master of Photography.

additional 10 points earned

Eighth Gold Bar

Adam Hourigan

within 5 consecutive years.

George Apostolidis

Alan McDonald

First Gold Bar

Tim Griffith

Alicia Adamopoulos

Andrew Gregory

Peter Rossi

Ben Kopilow

Damien Bowerman

Bianca Dopson

Frances Suter

New AIPP Grand Masters of

Bianca Woolhouse

Kelly Feil

Photography for 2013

Debbra Ross

Kira Likhterova

The following recipients have

Franca Turrin

Sarah Jackson

been awarded the honour of

Glen Knoblauch

Vicki Bell

Grand Master of Photography.

Greg Sullavan

Second Gold Bar

Robyn Hills

Haley Richardson

Cameron Attree

Gregory Hocking

Hilary Hann

Darren Jew

David Paterson

Kelly Brown

Graham Monro

Jackie Ranken

Seeing Is Believing

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 There are a lot of reasons for attending APPA

APPA looking at all the successful prints hang-

each year. I’ve only missed one event in the last

ing on the walls, the thrust of their observation

30 years, but not because I’m going for a record

was that they simply had no idea how high the

(Richard Bennett has that well and truly won as

standard of printing was.

I think he has been to every APPA!) What I love

about APPA is the excitement of the judging

on a computer screen, but does it translate into

process, the complete faith we all put in a panel

print? Many photographers tweak their images

of five judges to come up with a score that is

on their monitor and then press print. When

fair and reasonable.

they pick up the print, they don’t really look at

the print properly. They simply assume it is the

Of course, we don’t always agree, but at the

Sure, you can think your image looks good

end of the awards process, there’s no denying

same as what they saw on the monitor, but this

the judges have selected a magnificent portfo-

isn’t always the case. And it isn’t what the judg-

lio of work that represents professional photog-

es see either!

raphy in Australia today. There is no other event

that comes close.

flow and the best printer profiles, the art of pro-

Even with a correctly colour managed work-

ducing an award winning print requires more On The Wall

than a button press.

While many of the friends I see have been at-

tending APPA for years, others are new friends I

On My Wall

have met through workshops, trips and through

When I think an image is ready, I make a print

Facebook. It’s great watching them respond to

and pin it on my studio wall. Then I live with it

the same excitement, but being a self-centred

for a few days or weeks, using a pencil to mark

type of person, I’m normally too worried about

corrections and adjustments.

how my prints are going to pay much attend-

tion to ‘them’.

tweaks that make all the difference to the way

I feel about the print. Certainly they are gold

However, a couple of APPA-newcomers

The final print will have dozens of subtle

commented to me how good the print qual-

when I send them off to APPA, it’s just they usu-

ity was. As they walked around the outside of

ally come home a differet colour!

Iceland. Silver with Distinction at APPA. Photo by Peter Eastway.

The Big One!

C a n o n A I P P Pr o f e s s i o n a l P h o t o g ra p h e r o f t h e Ye a r The 2013 Canon AIPP Australian Professional

book the Melbourne venue during May as nor-

Photographer of the Year is Grand Master of

mal, so entrants had a few extra months to get

Photography, Tony Hewitt. Tony also won the

their prints and digital entries ready.

Landscape category and his four amazing imag-

es (shown above) were aerials taken over Shark

photographers with 3026 print entries in 12 cat-

Bay, Western Australia.

egories.

The high colour reproductions were consid-

This year, the Canon APPAs attracted 826

Of course, not all categories require print en-

ered brave entries for the professional awards,

tries these days. The advertising, fashion, com-

but it paid off! Tony wins a $20,000 Canon EOS

mercial and sport categories are entered as digi-

professional camera outfit and he will be able to

tal files, simply because this is what professional

pick and choose from some amazing cameras

photographers provide to their clients. How-

and lenses.

ever, the art of producing a print is still alive and well in all the other categories.

Melbourne Event

The APPAs were held in Melbourne this year,

four images and the three highest portfolios,

and later than usual. The normal Sydney ven-

based on the scores received in the judging

ue is under renovation, so it wasnâ&#x20AC;&#x2122;t possible to

process, are then further assessed by a senior

To win a category, photographers can enter

photographer of the year 2 0 1 3 C a n o n A IPP A u s t r a l i a n P r o f e s s i o n a l P h o t o g r a p h e r

of the

Year - Winner

Tony Hewitt G.M.Photog, FNZIPP, Hon. FAIPP Sponsored

Canon

judging panel. This process is designed to re-

which also accumulates points towards AIPP

move any inconsistencies in the judging or be-

photography honours such as Associate, Master

tween judging panels.

of Photography and Grand Master of Photogra-

phy.

There is also an extra category which picks

up photographers who enter in multiple cate-

gories – this is called the Creative category and

together for a final assessment in front of an ex-

it was won by AIPP Grand Master of Photogra-

perienced and distinguished panel of previous

phy, Peter Rossi.

PPY and category winners, Masters and Grand

Masters of Photography.

Of the three thousand entries in the 2013

All the category finalists are then brought

Awards, just 0.23% earned Gold with Distinction

(for 95 points or higher), 2.83% earned Gold (for

lowed to exit until the Professional Photogra-

90 to 94 points), 7.94% earned Silver with Dis-

pher of the Year winner is decided!

The judges are locked in a room and not al-

tinction (85 to 89 points) and 31.32% earned SilFor more information and to see the other

ver.

award winners, visit the AIPP’s website: www.

This means that roughly 40% of entries

reached the desired ‘Silver Award’ standard

aipp.com.au.

ADVERTISING 2013 AIPP Australian Adver tising Photographer

of the

Easton Chang Sponsored

H i g h V o lta g e M a r k e t i n g & F o t o M e r c h a n t

Year - Winner

FI NALI ST

Ian Tjhan AAIPP

FI NALI ST

Mitch Hemming

H IGHEST S COR I NG PR INT

Liam West AAIPP ADVERTISING 15

fashion 2013 AIPP Australian Fashion Photographer

of the

Peter Coulson M.Photog. Sponsored

Bowens

Year - Winner

FI NALI ST

Stefanie King AAIPP

H IGHEST S COR I NG PR INT

Peter Coulson M.Photog. FA S H I O N

Commercial / architectural 2013 AIPP Australian Architec tural Photographer

of the

Year - Winner

William Long M.Photog., MNZIPP, FBIPP, FRPS Sponsored

PPI B

FI NALI ST

Tim Griffith G.M.Photog., FAIPP

FI NALI ST

Kevin Chamberlain M.Photog.

H IGHEST S COR I NG PR INT

Kevin Chamberlain M.Photog. commercial 19

d O C U M E N TA R Y 2 0 1 3 A I P P A u s t r a l i a n D o c u m e n ta r y P h o t o g r a p h e r

Victoria Berekmeri Sponsored

Pixles

and

Rae & Bennett

of the

Year - Winner

H IGHEST S COR I NG PR INT

Victoria Berekmeri D O C U M E N TA R Y 21

I L LU S T R AT I V E 2 0 1 3 A I P P A u s t r a l i a n I l l u s t r at i v e P h o t o g r a p h e r

Kaye Davis FNZIPP Sponsored

IPS

of the

Year - Winner

FI NALI ST

Hilary Hann M.Photog.

FI NALI ST

Charmaine Heyer G.M.Photog

H IGHEST S COR I NG PR INT

Peter Rossi G.M.Photog. I L LU S T R AT I V E 23

L andscape 2013 AIPP Australian Landscape Photographer

of the

Year - Winner

Tony Hewitt G.M.Photog, FNZIPP, Hon. FAIPP Sponsored

Capture One

FI NALI ST

Jackie Ranken G.M.Photog.

FI NALI ST

Elizabeth Bull, AAIPP

H IGHEST S COR I NG PR INT

Ginette Snow landscape

PORTRAIT 2013 AIPP Australian Por trait Photographer

of the

Year - Winner

Mandarine Montgomery M.Photog. Sponsored

K ay e l l A u s t r a l i a

FI NALI ST

Damien Bowerman M.Photog.

FI NALI ST

Dan Cripps AAIPP

H IGHEST S COR I NG PR INT

Peter Rossi G.M.Photog. PORTRAIT 27

FA M I LY 2 0 1 3 A I P P A u s t r a l i a n F a mi ly P h o t o g r a p h e r

Robyn Geering AAIPP Sponsored

Atkins

of the

Year - Winner

FI NALI ST

Naomi Bubner

FI NALI ST

Shanna Jones AAIPP

H IGHEST S COR I NG PR INT

Tanya Love M.Photog. FA M I LY 29

W eddings 2013 AIPP Australian Wedding Photographer

of the

Ky Luu AAIPP Sponsored

C o mp l e t e W e d d i n g & S t o r y I n P r i n t

Year - Winner

FI NALI ST

Tom Hall AAIPP

FI NALI ST

Todd McGaw M.Photog.

H IGHEST S COR I NG PR INT

Nick Ghionis M.Photog. WEDDINGS

S C I E N C E , E N V I R O N M E N T & N AT U R E 2 0 1 3 A I P P A u s t r a l i a n S ci e n c e , E n v i r o n m e n t & N at u r e P h o t o g r a p h e r

Darren Jew M.Photog. Sponsored

Prism

of the

Year - Winner

FI NALI ST

David Stowe AAIPP

FI NALI ST

Pamela Martin

H IGHEST S COR I NG PR INT

Darren Jew M.Photog. S C I E N C E , E N V I R O N M E N T & N AT U R E 33

SPORT 2013 AIPP Australian Spor t Photographer

Quinn Rooney Sponsored

Lexar

of the

Year - Winner

FI NALI ST

Adam Pretty

FI NALI ST

Chris Hyde

H IGHEST S COR I NG PR INT

Quinn Rooney SPORT 35

T R AV E L 2 0 1 3 A I P P A u s t r a l i a n T r av e l P h o t o g r a p h e r

of the

Year - Winner

Mike Langford M. Photog., GMNZIPP, Hon. FNZIPP, FAIPP Sponsored

Lowepro

FI NALI ST

Nick Melidonis M. Photog.

FI NALI ST

Peta Horsten

H IGHEST S COR I NG PR INT

Mike Langford T R AV E L 37

C R E AT I V E 2 0 1 3 A I P P A u s t r a l i a n C r e at i v e P h o t o g r a p h e r

of the

Peter Rossi G.M. Photog. Sponsored

Eizo

Year - Winner

FI NALI ST

Tanya Love M. Photog.

FI NALI ST

Tina Urie M. Photog.

student 2013 AIPP Australian Student Photographer

Emma McEvoy Sponsored

Kodak Professional

of the

Year - Winner

FI NALI ST

Arrayah Loynd

FI NALI ST

Kyle Richardson T E R T I A R Y institution 2013 AIPP Australian Tertiary Institution

of the

Year - Winner

Photography Studies College (PSC) Sponsored

Kodak Professional

EMERGING 2013 AIPP Australian Emerging Photographer

Kimberley Munro Sponsored

Camera Pro

of the

Year - Winner

FI NALI ST

Ginette Snow

FI NALI ST

Carolyn Kimber

I N T E R N AT I O N A L 2 0 1 3 A I P P I n t e r n at i o n a l P h o t o g r a p h e r

Edwin Tan, Malaysia Sponsored

Adeal

of the

Year - Winner

photography book 2013 AIPP Photography Book

of the

Year - Winner

Tim Griffith G.M. Photog. Sponsored

Momento

Finalists: Gary Cranitch, Christian Fle tcher

album 2013 AIPP Photography Book

of the

Nadine Saacks Sponsored

Year - Winner

Asuka Books

F i n a l i s t s : D a n O â&#x20AC;&#x2122;D ay , B r o o k D e s m o n d

highest scoring print 2013 AIPP Photography Book

of the

Year - Winner

Peter Rossi G.M.Photog. Sponsored

Ilford

•

Handling Telephone Inqiries Blake Discher

At the Nikon AIPP Event in Hobart this year,

tions. Don’t ask yes or no questions because

Blake Discher provided some great suggestions

they won’t lead to a conversation. You want

for handling telephone calls for commercial

your prospects to talk about the job and their

photographers.

business. Your job is to be an active listener.

“Most people only want to book you based

“Don’t take people beating you up on price

on price – let those people go.” According to

badly because that’s their job, to get you as

Blake, they are not the right clients for the long

cheaply as possible. Your job is to show them

term.

the value of what you do and to get the price

back up.”

“You’ll also hear clients tell you they are a

non-profit business. However, I’m not and I tell

them so, but I do it nicely because you never

of your business. “They don’t care if your camera

know when you might get recommended in

is expensive or if you take extra time in post-pro-

the future.”

duction. All they care about are the pictures.

So how do you deal with a client when they

And never educate the client about the costs

At the end of a conversation, Blake will say

ask straight out, ‘How much’? “What you need to

it has been great talking to them and that he’ll

know is your value. What do you do better than

send them an estimate for the job. “I also ex-

everyone else? This is what you have to figure

plain that if I’m not the most expensive, I’ll be in

out before you answer the phone because you

the top two and then I explain why. I explain my

can’t compete on price forever.”

values and why they should hire me. And then

when I have finished, I ask them if they have any

So what are you good at? “Maybe it’s your

photography style, the speed at which you

questions they’d like to ask me.

work, or your people skills. You need to figure it out. And then you may still need to increase

Blake Discher specialises in photographing people

your value by providing something additional,

for editorial, advertising and corporate. He is also an

especially if you’re not delivering enough for the

international presenter and works closely with the

price you want to charge.”

ASMP in the USA. He writes a regular blog on nego-

tiating, sales and web marketing which you can reg-

Blake explained that your job on the tele-

phone is to listen and to ask open ended ques-

ister for at www.groozi.com.

More examples of how Matt and Katie think when photographing weddings: the bride and groom shouldnâ&#x20AC;&#x2122;t be the only focus.

The Million Dollar Dream?

Matt Ebenezer Manages Seminar Expectations There are two aspects to being a professional

ent have been checked out beforehand. The

photographer and you need both to be suc-

other is to look at the track record of the people

cessful: the photography and the ability to run

who are providing the information.

a business. Matt Ebenezer is skilled at both, but

he argues our profession needs more practical

seminars are great, but you shouldn’t sign up for

teachers and fewer ‘rock stars’ to lead the way.

someone who claims to have made $1 million

in their first year. Sure, a claim like this will get

“Being a great photographer doesn’t neces-

“If you want to learn, then workshops and

sarily mean you’re a great teacher. And similarly,

bums on seats for the presenter, but what you

attending a seminar doesn’t mean you’re go-

really want to know is how someone managed

ing to discover the secret to success. Everyone

to stay in business for 20 years.

wants a short cut or a magic bullet, but busi-

ness doesn’t usually work this way.”

that everyone has the potential to be a success-

Matt explains that it’s not hard to have a

ful photographer. They say I’m selling a dream

business that grows strongly in the first couple

that not everyone can achieve, but I think the

of years, essentially because you’re starting from

point is that everyone has the potential.

a zero base. However, after two or three years,

growing the business or just maintaining it so

but everyone has the potential. I’m certainly

you can earn a living is much more challenging.

very grateful to the people in my life who en-

The photographers who have been around for

couraged me to dream. Katie and I started our

five or more years are the ones the profession

business with a dream, then we set out to gain

should be looking to for guidance.

the skills and knowledge needed to make it a

reality. But it didn’t happen overnight.”

“The internet is full of advice. Every second

“Some people criticise me for suggesting

“Not everyone will achieve financial success,

photographer has a blog, offers a newsletter and is running workshops. There’s probably too

Matt and Katie Ebenezer have operated multiple

much information and so it’s overwhelming for

successful wedding, portrait and video businesses

a new photographer to know who to trust.”

over the past seven years. They offer popular busi-

ness workshops so visit their blog for more details –

One solution is to join an organisation like

the AIPP as generally the people invited to pres-

www.mattandkatieblog.com.au.

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

•

P H O T O

C R I T I Q U E

e u l b d e s u n u f o t o l a i l s c i e e r h e t f Th i e n i f is s i h t t u – b , y t k i s d e t s e u q e r s s a i h n o i ent t i s o p m o c e s i w r othe . g n i k c la

e l g n a a r e m a c st e b a i e l h r t a s P t a h t Is thi g n i m u s s ? e a s , a e l b b e h t e b availa o t s i e s u o ment H

The foregrou nd is very b usy. It is not exactl y clear what the viewer is su pposed to lo ok at down here.

65 SCORE This is possibly a classic case of seeing your subject through the viewfinder, but not thinking about its size or position within the frame. The balloons are too small and unimportant above what is a busy foreground. For balloons this size to work, the foreground needs to be much simpler. As it stands, the foreground is very busy and it is hard to find Parliament House in amongst the trees. Assuming the brief was to show balloons over Canberra, a better angle should have been sought out.

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.

o t e g a m i e h t p o r C . : n o n i o t i i t s s o p m o Sugge c r e g n o r t s a e c u d pro

, r e g n o r t s e r a s n o o l l n a i l l a The b m s e l t t i l a l l i t s t bu . e m a r f the

e r o s l a o t o h p e h t g e n r i o f p p y o s u Cr b e h t f o t o l a . s t n moves e m e l e d n grou

With the bright light and blue sky, there is not much mood or atmosphere. It is a standard travel shot. By cropping the image, Parliament House has been given more importance, but still it’s not a clean or simple angle. This photo shows the need for pre-planning. Agreed, you never know exactly where the balloons are going to fly, but a few hours spent the day before could find a choice of different angles depending on the weather conditions.

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!

Claiming Travel As A Tax Deduction No, family holidays are still private, but... When it comes to preparing your tax return, ev-

vention overseas could see the airfare and ac-

eryone is scrambling for deductions, but often

commodation for the time of the convention

at this stage it is too late. A little planning can

fully tax deductible

ensure a much better result.

The following week you may extend your

stay to travel and look around. If you’re like most Paperwork

photographers, you’re also shooting stock or

If you want to claim a tax deduction for travel,

creating new work for your portfolio. This could

essentially you need receipts and a travel diary.

be considered business related, especially if

there is an outcome (new photos for the web-

There are specific rules surrounding this

which you can confirm with your accountant,

site, blog, portfolio, exhibition, etc).

but essentially you need to keep receipts to

substantiate the expenses (travel, accommoda-

percentage is to keep a diary that shows the

tion, food, incidentals), and a diary that ‘proves’

date, where you were, what you were doing,

that you were actually on business, not just hav-

the time you started work and how long you

ing a junket!

worked.

Although you don’t need a travel diary if

The way to establish the business to private

If you spent all day travelling to take stock

travelling less than 6 nights away, having one is

photos or produce work for your portfolio, this

useful to establish the deductible percentage.

might establish that this day was tax deductible.

Business Or Pleasure?

Travel Allowances

Photographers often travel with dual purposes,

The travel claim becomes a little more compli-

part pleasure, part business.

cated depending on whether you are in busi-

ness as a sole trader or a partnership, or if you

The tax office will allow you to claim the

travel expenses to the extent they were busi-

are an employee (even if it is your family com-

ness-related (and assuming you have the neces-

pany or trust) receiving a travel allowance. This

sary paperwork). A few changes to your itiner-

article assumes you’re a sole trader or partner-

ary could see a much better claim.

ship. Employees may not need to substantiate a

travel allowance!

For instance, a trip to a photography con-

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.

Issue 73... Grand Master of Photography George Apostolidis• Landscape Legend Richard Woldendorp • More Composition Essentials 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...

Would you like to receive a paper version of Better Photography m a g a z i n e , fo u r t i m e s a y e a r ? Yo u c a n s t i l l s u b s c r i b e a n d r e c e i v e a 20% discount. For details, email k i m @ b e t te r p h o to g ra p hy. co m 57

Canon AIPP Australian Professional Photography Awards

J u d g e ’s A s s e s s m e n t G u i d e Exceptional Execution

Distinctive visual communication with exceptional levels of creativity, interpretation or emotion.

Excellence In Execution

Superb visual communication, interpretation or emotion

Superior Execution

Very high standard of Professional Practice with superior visual communication, interpretation or emotion

AIPP Award Level

Exceeds standard of Professional Practice with high levels of imagination, craft or skill

Professional Practice – Approaching Award Level Professional Practice – Below Award Level

Expected standard of a professional, showing proficiency in execution and technique, but does not meet AIPP Award criteria

Approaching Professional Practice Transitional Practice

May exhibit proficiency in some areas, but does not reach Professional Practice (as defined above).

Below Professional Practice Does not exhibit the standards required of professional photography.

100 99 98 97 96 95 94 93 92 91 90 89 88 87 86 85 84 83 82 81 80 79 78 77 76 75 74 73 72 71 70 69 68 67 66 65 64 63 62 61 60 59 58 57 56 50 - 55

GOLD WITH DISTINCTION

GOLD

SILVER WITH DISTINCTION

SILVER HALF AWARD POINT

The judging system is based on two standards, Professional Practice and, above this, Award Level.

I Didn’t Get Any Silvers? Should I Give Up? O f c o u r s e n o t ! A n d h e r e ’s w h y ! I don’t know any of the AIPP Grand Masters of

tion and technique...” So, if you were entering

Photography who haven’t scored less than 80

the Awards to see how you stand as a profes-

for some of their work. Even today, Grand Mas-

sional photographer, congratulations, you have

ters put in prints that don’t score very well, so

made the grade. The judges believe your work

this is nothing to be ashamed of!

is up to scratch!

The difference is in your attitude. What are

you going to do with those scores?

Long Term Goals

Will you ignore them and convince yourself

Although overshadowed in many ways by the

the judges were wrong? Were you trying a new

Professional Photographer of the Year Awards,

style and perhaps it isn’t as widely appreciated

the original purpose of the Awards was to raise

as you first thought? Or is this an opportunity to

the standard of professional photography.

try a little harder next year?

It does this by providing a series of mile-

stones to achieve. Big Picture

The first step is to enter the Awards.

Your prints were judged anonymously, so very

The second step is to earn your Associate-

few people in the world know that you missed

ship which requires five Award points in a four

out on earning Silver.

year period. A Silver gets you one Award point,

a Gold two Award points, but less known is the

But did you score between 70 and 79? This

is a vote of confidence in your skills as a profes-

fact that a 78 or 79 gets you a half point and

sional photographer.

you can use a total of four half points towards

your Associateship.

To get a Silver, the judges are looking for im-

ages which are exemplary and exciting, images

with a spark that separates them from what

bombed out, double check your scores as you

professional photographers do every day.

might have some half points. Or if not, are you

going to let this system beat you?

Below this ‘Award’ level is a ‘professional stan-

So, if this was your first APPA and you

dard’ level. The Judge’s Assessment Guide de-

scribes scores of 70 to 77 an ‘expected standard

common is persistence, dedication and not

of a professional, showing proficiency in execu-

worrying too much about a few low scores.

One thing all the Grand Masters have in

•

Is there a fair price in special circumstances? The AIPP fought hard to secure copyright for

photographers as their creative right, but as

agreement or contract.

the law stands, copyright is only automatically

owned by professional photographers when

clients insist on owning copyright? For instance,

shooting for another business. If you’re shooting

some large publishers will only accept work

for the domestic market (family portraiture and

from commercial photographers if it includes

weddings), then the client owns the copyright

So, what happens if in these discussions our

– unless they sign an agreement with you that you own the copyright.

Negotiating Tool It was never the intention that photographers

should always retain copyright. If clients are pre-

Owning the copyright is important if we are go-

pared to pay a higher fee, then there is no trou-

ing to control how our photos are used. It is also

ble selling copyright. It is a commercial decision.

important if we want to stop people from using

our photos without our permission.

Those photographers working for large publish-

ing houses either work and lose their copyright,

For this reason, it is generally recommended

Of course, a higher fee isn’t always available.

that photographers always own the copyright

or they don’t work. Simple!

in their work. This is our starting point.

they become more experienced or photograph

For commercial photographers, we don’t

However, those same photographers as

have to say anything because we own the

something important may find they can change

the terms of their contract. It all comes down to

remind our clients about copyright, as they will

your skills as a negotiator.

often believe they can do what they like with

You want to retain copyright so you can use

our photos. It makes much better sense to com-

your photos for self-promotion or additional

municate this up front so both parties know

sales.

what they can and can’t do.

For domestic photographers, we need to

less your client then gives you permission (a li-

discuss copyright and have our clients sign the

cence) to do so. And this may be all you need!

If you sell the copyright, you can’t do this un-

Cintiq Companion

W a c o m H a s T w o N e w Ta b l e t s To P l a y W i t h One new toy, two different models! The Wacom

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Cintiq Companion for Windows 8 and Cintiq

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Companion Hybrid for Android will give the Ap-

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ple iPad a run for its money as the new cool toy

The Cintiq Companion is a fully-fledged

to own.

Windows 8 tablet, powered by a 3rd generation

Intel Core processor and Intel HD Graphics 4000

The Companions are pen-on-screen tablets

with a computer underneath. The Cintiq Com-

that pack a punch whether designing a char-

panion runs Windows 8 and full versions of cre-

acter or retouching a photo. Wacom offers two

ative software (such as Photoshop and Capture

models, one with 8 GB memory and a 256 GB

One, for example), so it does everything your

SSD with Windows 8; the other with 8 GB mem-

laptop can. In addition, it also offers everything

ory, 512 GB SSD with Windows 8 Pro.

you would expect from Wacom’s Cintiq prod-

ucts (on-screen touch and pen control), plus

controls, ExpressKeys, Rocker Ring and Radial

you can use an optional Bluetooth keyboard.

Menu.

In comparison, the Cintiq Companion Hy-

Features include customisable on-screen

To enable a truly mobile working style, the

brid, is similar in size and shape, but has a more

Cintiq Companion family packs some impres-

modest computer arrangement. It acts like a tra-

sive mobile communications features such as

ditional Cintiq when plugged into a Mac or PC,

WiFi connectivity, Bluetooth (version 4.0 for Cin-

but it can also be used as a mobile, stand-alone

tiq Companion and version 3.0 for Cintiq Com-

Android tablet with enough power to do light

panion Hybrid), front and rear HD cameras (2M

sketching and start creative processes with suit-

pixels/8M pixels), a stereo headset jack and a

able apps.

microphone for hosting calls or streaming mov-

ies.

We’re thinking most readers will opt for the

Companion with Windows 8 as it means that

instead of travelling with a laptop and an iPad,

included with both products, offering four

you can just take the Companion.

working angles – from flat to upright.

Both Companions leverage key elements of

the Cintiq 13HD and Cintiq 22HD touch, such as

An adjustable and detachable stand is also

For more product information, please visit

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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