Working Pro 220 by Pt 78 Pty Ltd

Working Pro The

Issue 220 â&#x20AC;˘ April 2014

IT’S HAPPENING AGAIN THIS YEARS EVENT THEME... ‘TURNING THE ORDINARY INTO THE EXTRAORDINARY’

THE EVENT GOLD COAST 2014 NIKON AIPP

ENT COAST

ON SAVE AIPPTHE DATE Sunday 8 – 10 June 2014 Royal Pines Resort Gold Coast Queensland th

STAY TUNED FOR MORE DETAILS

Working Pro The

Cover S i lv e r A wa r d

William Long M.Photog. 2013 Canon AIPP Australian Professional Photography Awards winner of ARCHITECTURAL category

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 G.02, 171 Union Road, Surrey Hills, Victoria 3127 Phone: 03 9888 4111 E-mail: enquiries99@aipp.com.au

Co n te n t s #220

Ap r i l

2 0 1 4

President’s Message

Promising Changes For APPA

Why The APPA Changes Are Good

Kylie Lyons keeps the membership up to date with news and information about the Institute. If APPA is to survive and grow, changes will need to be made. Peter Eastway introduces the big picture. Any changess that make APPA easier to enter and encourage greater participation are positive, explains Peter Eastway.

Word of Mouth - Melissa Neumann

Who Will See Your Facebook Posts? - David Watson

Showing Clients That You Love Them - Ross Eason

What Should Facebook Really Do? - Tom Putt

Editor’s Selection - APPA Winners

Your Award Entry: Dust Spots Plus

Tylor v Sevin = $23,850

Is Clothing Deductible?

Does Copyright Give Me Full Control?

World Press Photo 2014

It’s a long term business strategy, but one that pays dividends for photographers who are in for the long haul. Have you wondered why fewer people get to see your posts these days? David Watson has both answers and suggestions. Photographers more than ever need to provide personalised service for their clients - Ross Eason shares some great examples. When you post on Facebook, what outcome are you looking for and is it reasonable? Tom Putt explains his approach. A selection of entries that caught the editor’s eye from the 2013 Canon AIPP Australian Professional Photography Awards. Putting an award entry together takes time and effort, so don’t waste it by forgetting to spot your prints or removing distracting blemishes. A recent court case has confirmed a photographer’s right to copyright protection. It’s a great outcome for our profession! Most clothing is not tax deductible, unless it’s a uniform or protective in some way. So what can photographers claim? Just because you own the copyright in a photograph doesn’t mean you can do what you like with it. There are other issues that come into play. Canon is once again presenting the world’s best press photography as an exhibition, opening in Sydney this May.

The Balancing Act

Kylie Lyons M.Photog., Hon.LM, National President Our industry is in state of flux. We are definitely

cial interest group or SIG. We have SIG’s on

faced with the situation of adapt or die.

wide and varied topics such as AIPP benefits for

This doesn’t apply just to our own busi-

members, AIPP use of social media, mother and

nesses, but the AIPP also needs to adapt to the

baby photography, and a brand new SIG for fo-

changing needs of our members.

lio assessments, just to name a few.

The ‘typical’ photographer today is very dif-

More information about SIG’s can be found

ferent to the typical photographer of five or

on page 2 of the AIPP blog (www.aippblog.

even ten years ago.

com).

And it’s important for the AIPP to embrace

As a way of obtaining more member input

photography practitioners of all levels in all

into our photography awards system, we have

genres and that is what the Board has in the

introduced Category Advocate Groups. If you

back of its mind whenever it has to make gover-

have ideas that might benefit our current cat-

nance decisions.

egories or perhaps an idea for a new award cat-

egory, send an email to admin@aipp.com.au

The Board is acutely aware of its governance

responsibilities and would never deliberately

and get onto the SIG(s) that you have a passion

mislead or confuse members.

for so your thoughts can be heard.

However, balancing the diverse opinions

I encourage you to be active and help take

within the AIPP has always, and will always, be a

ownership of your membership organisation.

challenge.

Have your voice heard.

We value the input of all members. The time

As I always say... You get out what you put in!

given by all volunteers (committees and Board alike) is valuable and we greatly respect that

contribution.

Still, it’s not always easy to keep everyone

happy. The balancing act is to look at the best

kylie.lyons@aipp.com.au

option that is best for majority of members.

0411 552 488

So how do you get involved?

The newest and easiest way is to join a spe-

•

Promising Changes For APPA

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

As the AIPP grows and the market changes, the

importantly, doesn’t disadvantage members

AIPP’s awards systems need to grow and adapt

who are currently entering the Awards.

as well.

Tier 1

The first level will be an online competition with

Currently we have a two tier system, com-

prising the national Canon AIPP Australian Pro-

a range of categories. Entry will be inexpensive

fessional Photography Awards and the state-

and there is no need to prepare physical prints.

based Epson Professional Photography Awards.

eligible to enter the State Awards, you need to

Participation from the membership is high,

Importantly, Tier 1 is a proving ground. To be

between 30 and 40 percent, but the AIPP Board

‘qualify’ in the online competition (unless you

wishes to see at least half the membership en-

have already proved yourself in other ways).

tering every year. This is the goal.

Tier 2

The second level comprises the various Epson

However, if half the membership were to

enter the national Canon APPA awards, the fa-

state awards, with print and digital entries.

cilities couldn’t handle the volume. Already we

have four judging rooms working for three con-

tional Awards.

secutive days and judging around 3000 prints.

Tier 3

There aren’t enough judges for more rooms and

At the top of the pyramid is the national APP

it’s not fair to ask judges to give up more than

Awards. Only the best work will reach here,

three days. The current system is essentially at

similar to how only the best athletes reach the

capacity.

Olympics.

To get more participation, the system needs

This is also a qualifying level to enter the na-

However, unlike the Olympics, entry to APPA

to be changed, but in a way that the existing

for many previous entrants will remain auto-

awards and distinctions are not affected or di-

matic. The new system is designed to accom-

minished.

modate the future, not restrict current members

from reaching their goals.

The proposal is for a three tier system, which

I will describe very simply here. However, there

are many levels of carefully thought through

2014 will not change. In fact, it could be a good

details to ensure the system runs smoothly and,

idea to enter this year with the changes in mind!

NB Entry to the Canon and Epson awards for

Why The APPA Changes Are Good 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

It will come as no surprise to read that I am a

invested. Surely there’s any easier way, a button

firm advocate for the APPA system, as currently

to press, a Photoshop trick? The only trick is per-

promoted by the Canon and Epson Awards.

sistence and practice.

New APPA System

If I had to point to just one aspect of my pro-

fessional career that has helped me the most, it

What I like most about the new APPA system in

is APPA.

this regard is how easy it will be for every AIPP

member to enter.

And no, it’s not about winning the PPY or a

category, it was about proving myself to myself,

about reaching goals and striving to capture

entering is the cost. It’s not just the entry fee,

and create better photographs.

but the cost of producing and mounting the

Selecting & Refining

prints, the print case and freight.

This will be the 30th year I have entered APPA

and every year, I go through the same process,

price for the value they get from the Awards

selecting and refining my four best entries. The

process, it is not always financially possible for

judges don’t always see them the same way I

newer members, especially if they are unsure of

do, but that’s not important.

how beneficial the process can be.

It’s the fact that I spend the time looking

One of the reasons members give for not

While many members see this as a small

The online entry tier immediately removes

through my work and refining it. This is how I

the cost barrier.

improve my craft and my skill. The process of

producing photographs to (hopefully) award

the judging process (getting a result), allowing

standard permeates every aspect of my profes-

them to prove themselves. If their results are

sion.

good, they can choose to move to the next lev-

el and enter the State awards.

The best photographers in the world are not

It will also allow the entrant to experience

just lucky.

feedback provided by their score and judges’

They get the best jobs and win the compe-

If their results are not so good, then the

titions because they study and practice. Many

comments is a positive step towards improving

new photographers to our profession are sur-

their craft and the skills they need as a profes-

prised when they hear how much time I have

sional photographer.

•

Word of Mouth

M e l i s s a N e u m a n n’s Lo n g Te r m B u s i n e s s S t ra t e g y “I think my marketing is a little different than

dors helping.

most because I use word of mouth. People find

me as much as I find them because I’m an old

have an ambassador client, someone who re-

fashioned family photographer with clients who

ally likes what you do, and if they see a new

come back to me over and over again.”

promotion from you, they pick it up and pass it

on to their friends. I just have to put it on Face-

Melissa Neumann talks mainly about her

“I find that within a group of people you will

family portraiture, although she also shoots

book and it goes through all these smaller client

weddings and commercial jobs.

channels.”

A lot of her family portrait clients have hus-

Melissa says she is looking for two to three

bands or wives who are corporates, and this

portraits a week. Of course, five or six would be

translates into corporate portraiture and event

even better, but in addition to portraiture she

photography.

has a flow of weddings, corporate shoots and

smaller portraiture sessions.

After 20 years, Mel is still going strong and

her secret, she says, is ensuring her clients are

well serviced and looked after. “When I began in

but if someone does, then I do something un-

the profession, I worked for studios where ser-

expected for them.” For instance, a client re-

vice was important. We made people feel spe-

ferred Mel to three of her friends, so she created

cial and that’s why they were coming back, to

a photo book using photos from the client’s

buy that experience.”

earlier shoots, just as a thank you. “She really ap-

preciated it and then she sent me another three

Mel takes the same approach and from here,

“I don’t directly ask my clients to refer me,

referrals bring in new work. “There’s nothing

clients!”

better than picking up work by word of mouth.

If you have clients who referred you to some-

it all comes back to providing great service.”

“I don’t have a referral program as such, but

one, you know the new client is already quali-

fied.”

Mel Neumann AAIPP is an AIPP National Vice Presi-

dent with over 20 years’ experience. She is also in-

This isn’t to say Mel doesn’t need to market

and advertise herself. Rather, when she does go

volved with a new venture to help photographers

out with a promotion, she has a lot of ambassa-

- take a look at www.cameralove.com.au

11 Photograph by Mel Neumann.

Who Will See Your Facebook Posts? D avid Watson explains the nitt y gritt y of a FB message. Who will see your Facebook posts? Here’s a little

tent that they are more interested in, based on

background information to help it all make sense.

their user profile, influence, network and past in-

teractions.

Facebook made some hefty changes to its

Newsfeed algorithm last year and what we see

now is based on around 100,000 variables. The al-

content from their friends.

gorithm is how Facebook works out what we see

when we login.

ber of opportunities to show a user content of any

sort, and we’re all competing for that limited space

Back in August 2013, Facebook said that an av-

This could be content from other Pages, or Again keep in mind that there is a finite num-

erage user has around 1500 potential newsfeed

and attention.

stories, but on average only sees about 300.

It’s not all bad news though.

By using some of the tools that Facebook pro-

Put simply, there is more content being cre-

ated than a user can consume, hence the need for

vides us, like its Insights analytics tool, we can eas-

the algorithm.

ily see what posts work best for the audience we

have. We can see more detail about the fans that

Facebook shows Pages content items in the

Newsfeed based on a few variables, and some of

are connected to us by age, location, and gender.

the more important ones are:

• How recently a user or Fan interacted with a

line so that we can optimise our posts for when

Page (clicks, likes, comments, shares);

they are online.

• How often the user has interacted with a

Page’s posts;

even when we’re not at work or in front of our

• The overall value of that particular Page and

computers.

We can see what times of day our fans are on-

By using the scheduled post tool, we can post

their content posts;

• The kind of post it is – link, image, video, news,

David Watson is a 20+ year sales and marketing

blog etc.

veteran who has worked across different industries

with a range of businesses. Prior to launching his

So, if your fans aren’t seeing your posts, it’s of-

ten a result of poor engagement.

consultancy business Strategy Point in 2012, David

If your fans aren’t interested in what you’ve

worked with Momento and was a member of the

been posting, then Facebook will show them con-

AIPP National Board. www.strategypoint.com.au

SIG SPECIAL INTEREST GROUP

THE AIPP IS A MEMBERSHIP ORGANISATION THAT EXISTS FOR THE BENEFIT OF ITS MEMBERS

If you have a “Special Interest” or a keen area you want to see more and better AIPP involvement, the SIG’s are your opportunity to get involved and help us make this happen. Simply contact us on admin@aipp.com.au to suggest a new SIG or get involved in one of our existing SIG's

MOTHER & BABY

PHOTOGRAPHY

A C C R E D I TAT I O N

FOR VIDEO

WEDDING

PRODUCERS

PHOTOGRAPHY

PORTRAIT

AIPP MENTORING

PHOTOGRAPHY

AIPP WORKSHOP

PRESENTERS

& SPEAKERS

WORKING WITH

the ATO

(AUSTRALIAN TAX OFFICE)

BIRTH PHOTOGRAPHY

AIPP MEMBERSHIP

BENEFITS

AIPP USE OF SOCIAL MEDIA

& COMMUNICATIONS

Examples of Ross Easonâ&#x20AC;&#x2122;s day-to-day work for resort clients.

Showing Clients That You Love Them Ross Eason Explains His One on One Approach With so many photographers quoting for a job,

have. I explain I want to put myself in the shoes

how do you stand out? First, reminds Ross Ea-

of their customers, to understand the decision

son, you need to have a style or technique that

making process their customers go through,

your clients can’t do themselves. That needs to

and then find a way to photograph their re-

be part of your USP.

sort so their customers come simply because it

looks better and stands out from the crowd.”

The second difference has to be you - your

personality and your interest in helping the cli-

ent with their project. Often what they are do-

ter photographs, it demonstrates a genuine in-

ing is far more than just having a photograph

terest in his client’s project and demonstrates

taken.

expertise and professionalism.

Ross gave an example of presenting a quote

Ross also talks about the ‘flip-back’ compari-

to a holiday resort, explaining that it is best to

son, referring to the process of flipping through

get in front of someone for a face to face meet-

a magazine or a website, but then returning

ing. “I ask them what day and what time we can

or turning back one or two pages because a

meet. I assure them there is no obligation, ex-

photograph really caught your attention. “I ex-

plaining that I need to understand the job be-

plain that this is what I want to do for them. I

fore I can give them a good value proposition.

want their clients to turn back to their page and

I’ve never had a no and I’ve travelled as far as

when they hear that, they see that I am trying

Sydney at my own expense to have a meeting.”

to bring value to the relationship.

When there, Ross asks his prospective cli-

PHOTO BY BAMBI WIXON

This process not only helps Ross create bet-

“Obviously I lose some clients because I am

ent to tell him about their customer base. “In

more expensive, but I live with the reality that

the case of a resort, I want to know who will

you can’t win every job - or if you are, then there

be staying there, or perhaps more importantly,

is something wrong with your costings!”

who would they like to be staying there, who makes the decisions about staying there and,

Ross Eason M.Photog., HLM is a commercial pho-

once there, what do they like to do.

tographer in South East Queensland. He is an AIPP

National Vice President and has been in business for

“Next I quiz them about their opposition and

what collateral (marketing materials) do they

over 30 years. www.easoncreative.com.au

An example of Tom Puttâ&#x20AC;&#x2122;s day-to-day studio portraiture of his canine subjects.

How Tom Putt Uses Facebook To Engage With His Customers Read More AIPP Member Only Content To read AIPP member and specific business related advice, visit the AIPP website and sign in. Once youâ&#x20AC;&#x2122;re signed in, follow the menu Member Services, My Publications, The Working Pro - Extended Material.

What Should Facebook Really Do? To m Pu t t e x p l a i n s h ow h i s s t u d i o u s e s F B To be successful, Tom Putt’s Ella+Friends Pho-

tigating the power of social media, beginning

tography dog portrait studio needs to market

with Facebook. He engaged an expert to help

itself, even though it has one of the most promi-

him through the marketing strategies needed

nent studio positions in Melbourne.

to reach his clients.

“I would love to have a retail space with peo-

“We found that 85 percent of people who

ple flooding through the doors without any fur-

see our posts are women, so we’re no longer

ther effort from me, but it’s simply not realistic.

advertising to men! With Facebook, we’re able

As a portrait photographer, if you don’t market,

to target our market to the point where we can

you don’t have clients. You need to continu-

set up ads which will take people to a special

ally develop strategies to get people to walk

landing page on our website that is specifically

through your door.”

designed for them.

Tom says the market is changing and it is be-

Facebook has changed and Tom says his

coming increasingly difficult to attract portrait cli-

advice is to pay for exposure. “In the past, you

ents into the studio. “It’s incredibly challenging to

could build a Facebook page and if you had

get people to engage with you because portrait

done it properly, the exposure would grow or-

photography - whether of themselves or their pets

ganically. Now that Facebook is listed on the

- is not something they have to do. It’s not like

NYSE and needs to provide for its shareholders,

they have run out of milk and bread, you have to

the talk around town is that you won’t see as

give them an excuse to have their portraits taken.”

much organic growth unless you pay for it. It’s a

fact of life.

This, explains Tom, is why the portrait pho-

tography industry is full of specials and free

photo shoots, anything to give clients an excuse

with his market, log into the the AIPP website.

To read how Tom uses Facebook to engage

to have it done. “Otherwise we find people are too lazy or just have other priorities.”

Tom Putt M. Photog. is a portrait and landscape pho-

tographer in Melbourne. He also has interests in land-

One of Tom’s approaches is to have a high

profile studio with large window displays, but

scape photography, publishing and leading photog-

even this isn’t enough to get people to stop

raphy workshops. www.ellaandfriends.com.au; www.

and engage. More recently, Tom has been inves-

inspiredlandscapes.com.

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

•

Okay, okay, so we never see prints with spots this bad at APPA! However, at least we got you to read the caption! Photo by Peter Eastway.

Your Awards Entry: Dust Spots Plus T h e L i t t l e T h i n g s T h a t K i l l Yo u r E n t r i e s When your print or digital entry is displayed in

Photoshop Technique

front of the judging panel, it needs to be per-

The technique is very simple. In Photoshop, you

fect from a technical perspective.

use the Healing Brush tool, or sometimes the

Clone tool.

The judges may see hundreds of images in a

day and they are looking for reasons to knock a

print down just as much as they are for elevat-

can see dust spots easily. Navigate the image to

ing it to an Award.

the top left corner and then, section by section,

Excellent Execution

inspect the image from left to right, top to bot-

Professional awards aren’t just about good

tom.

ideas, they are about excellent execution. If

we’re going to hold ourselves up as professional

using the Healing Brush tool.

photographers, then we must produce a quality

of work that says ‘professional’.

ment layer to the top of the layer stack, and

darken down the image with extra contrast so

This isn’t to say some awards are given for

Enlarge the print to 100% on screen so you

As you inspect the image, remove dust spots Some photographers add a Curves adjust-

images with lots of imagination or emotion,

the spots are easier to remove. If you use this

even though technically they might not be pre-

technique, remember to be working on the im-

fect. Technique alone doesn’t make a great pho-

age layer that has the spots, not the adjustment

tograph, but award prints with poor technique

layer!

are very rare.

Other Blemishes

So, the trick before you enter your photo-

It’s not just spots that judges baulk at. Hairs on

graphs is to carefully inspect your print for what

the sensor are equally problematic, but so are

is the worst crime a professional photographer

areas in the image that simply look like spots,

can commit: dust spots!

either white or black.

Okay, so not getting the photograph or us-

If these little areas look unsightly or detract

ing poor lighting are worse, but if you have a

attention from the main subject, use the same

great shot and you leave it covered with dust

technique to remove them.

spots, you’re missing the point. Judges will not

give you an award if you can’t spot your prints.

wanted distractions.

The idea is to have an image without un-

•

Tylor v Sevin = $23,850

Australian Court Case Upholds Copyright Claim The Federal Circuit Court of Australia has award-

resolve the issue, but being unsuccessful, took

ed $23,850 in damages and costs to a photog-

Sevin to court.

rapher whose stock photograph was used on a

website without his permission.

lieve that there is a need to deter a similar in-

Travel Photo

fringement of copyright, either by this respon-

The case, Tylor v Sevin [2014] FCCA 445 (26 Feb-

dent, or by any other potential respondents.

ruary 2014), was based on a travel agent (Sevin)

Breaches of copyright in this manner are com-

using a photograph taken by American photog-

mon, as evidenced by Mr Tylor and Mr Shain,

rapher Vincent Tylor.

and the courts must do what they can to assist

Interestingly, the court accepted that the

Continued the judge, “The court does be-

travel agent, or the web designer employed by

and prevent the unlawful use of it.”

the travel agent, may not have realised that the

photograph was subject to copyright. In the

sonable fee for the use of the image, and then

reason for the judgment, the judge acknowl-

added damages of $12,500, in part because

edged the evidence of expert witness Chris

Sevin didn’t even turn up to defend herself. The

Shain (AIPP member).

court didn’t seem to like that! The balance was

to cover the legals costs of $9500.

“[The photos] have become picked up from

The judgment allowed $1850 being a rea-

a site where they appear and where an appro-

What Can You Do?

priate licence fee has been paid, and transferred

This court case is great for photographers be-

to sites where no licence fee is paid in breach of

cause it is crystal clear. It is also crystal clear

the copyright of the photographer. This is what

what a defendent can expect if they use your

has occurred in the instant case. It is the first

photographs without your permission, even if

case brought in this court of this type, which is

they didn’t know the images were subject to

why the court has noted that it is important.””

your copyright.

Put more simply, the travel agent couldn’t

If you find someone has infringed your

simply say she didn’t know the photographs

were subject to copyright and get away with it.

the court case. They are much more likely to pay

your fee than risk a higher damages award.

Vincent Tylor had approached Sevin to try to

Is Clothing Deductible?

Can Photographers Claim Suits or Raincoats? A barrister who goes to court must wear a suit,

barrister or a police uniform, although these are

but that suit is not tax deductible to him or her.

often supplied by the employer.

If a barrister canâ&#x20AC;&#x2122;t get a tax deduction for work

clothing, how hard will it be for photographers?

and memory cards would be deductible on this

General Clothing

basis for photographers because it is specific to

The general rule is that clothing you could wear

our profession (and possibly fly fishermen).

out socially is not deductible at work. So, a wed-

ding photographer who wears a smart suit or

ets would not.

dress to a job cannot claim a tax deduction.

Protective Clothing

Nor can a commercial photographer who

Editorial, landscape and wildlife photographers

dresses up in a suit to shoot a client function.

may find themselves working outdoors and re-

Branded Clothing

quiring protective clothing.

To get a tax deduction for clothing, the most

common way suggested by accountants is

raphers, protective rainwear for landscape and

to have your business name embroidered or

sport photographers, and protective steel-

stamped on your clothing in some way.

capped boots for commercial photographers

needing access to construction and mining

However, before you think of hand writ-

Photography vests with pockets for lenses

However, an ordinary jacket with large pock-

Camoflagued clothing for wildlife photog-

ing your business name under the armpit or in

sites will generally be deductible if only used for

very small type with a fabric pen, you should

work purposes.

be aware that the tax office has thought about

this as well and has put in place extensive rules

be entitled to claim sunglasses, hats and sun-

about the size and placement of your company

screen as well.

branding.

apportion the use of these clothes between

Have a chat to your accountant to deter-

And if you work outdoors, you will probably

However, the tax office may require you to

mine the rules that may apply to you.

private and business use. A second pair of sun-

Occupation Specific Clothing

glasses for private use may solve this problem,

Clothing that you would only wear while work-

as would a separate tube of sunscreen for work

ing may be deductible, such as the wig for a

use.

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 75... Lens Selection - Which Ones? Stitching Panoramas Mastering Luminance Multiple Exposures In Camera And lots more...

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Owning copyright doesnâ&#x20AC;&#x2122;t mean you have unfettered use of the photos. Other laws can come into play. Photo by Peter Eastway.

This law has nothing to do with copyright, rath-

what it allows you to do with your photographs.

er the advertiser doesn’t have permission to use

the photograph of the tennis player in its adver-

As a professional photographer working for

a client, you may or may not own the copyright

tising. If the advertiser obtains permission from

in the photographs you take. Hopefully you do

the tennis player, then you can sell or licence

because of the contract you have with your

the photograph to the advertiser.

client. (WIthout a contract, generally a busi-

Editorial Use

ness-to-business photographer will own the

It’s a slightly different situation if you sell the

photograph to a magazine or a website. In Aus-

photographer will not.)

tralia, there is nothing stopping you from sell-

However, owning the copyright and then

ing a photograph of the tennis player taken in a

using the photograph in any way you please are

public space for editorial (not advertising) pur-

two completely different issues.

poses.

There are limits to how a photograph can be

This assumes that the photograph is not de-

used by you, even if you own the copyright.

rogatory or defamatory, of course.

Advertising Use

Other Agreements

Photographing a couple at a wedding and then

If the photograph was taken at a tennis tourna-

using those photographs to promote your own

ment, then the terms and conditions printed

business is not an automatic right.The couple

in small type on the back of the ticket may pre-

may not like the photographs you have taken

vent you from selling photographs you take at

or may prefer to keep them private. You need to

the tournament. This doesn’t have anything to

have their permission to use the photographs

do with copyright either, rather it’s an agree-

of them to promote your business.

ment you make when you buy the ticket - ei-

ther you accept the terms and conditions on

Another example is a photograph you take

of a famous tennis player in public. You may

the ticket, or you don’t go to the tournament!

own the copyright in the photograph, but it

doesn’t give you the right to sell it to another

law that affects how your photographs can be

company who uses it for advertising purposes.

used.

World Press Photo winner 2014: Goran Tomasevic

World Press Photo 2014

Once again proudly sponsored by Canon Three Australians have featured in the prestig-

from the past year,” said Jason McLean, Director

ious 57th annual World Press Photo contest:

– Canon Consumer Imaging, Canon Australia.

Getty Images photographers Chris McGrath (1st

prize, General News, Stories); Ezra Shaw (2nd

stand out among the nearly 100,000 images

prize, Sports Action, Stories); and Quinn Rooney

submitted in the world’s premiere photo jour-

(3rd prize, Sports Action, Stories).

nalism contest and this achievement reflects

the importance of powerful photography in our

The overall winner was Goran Tomasevic for

“It is a proud moment to see Australians

his photograph 30 January 2013, Damascus, Syr-

society.”

ia.

The photo shows Syrian rebel fighters taking

The jury gave prizes in nine themed catego-

ries to 53 photographers of 25 nationalities. The

cover amid flying debris and shrapnel after be-

judging was conducted at the World Press Pho-

ing hit by a tank shell fired towards them by the

to office in Amsterdam.

Syrian Army in the Ain Tarma neighborhood of

Damascus.

the jury, who discussed their merits over a two-

week period.

Also, receiving a Special Mention was a six-

All entries were presented anonymously to

image series taken by amateur photographer

Tim Holmes from the town of Dunalley, Tasma-

retary without voting rights safeguards the fair-

nia, where 90 homes were destroyed by wild-

ness of the procedure.

fires during a period of record high tempera-

tures.

press photographers, photojournalists and doc-

umentary photographers across the world.

Canon Australia will be displaying the com-

The jury operates independently and a sec-

The contest drew entries from professional

plete World Press Photo exhibition at the State

Library of New South Wales from 24 May to 22

had been submitted by 5,754 photographers

June 2014.

from 132 countries.

Entry is free of charge.

“We are thrilled to bring the World Press Pho-

it: http://www.worldpressphoto.org/

to exhibition to Sydney again this year to show-

By the mid-January deadline, 98,671 images

For an overview of all the winners vis-

awards/2014

case the very best in reportage photography

Orpheus Island Photography Workshop 2014 11th to 17th August

Presented by Les Walkling & Tony Hewitt

NEW P

RICE FO

only $2

www.b

etterph

R 2013

9.95

otogra

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How To Win Photo Competitions

This is a full seven day all-inclusive unique experience designed for professional photographers and enthusiast/non-professional photographers. The James Cook University Orpheus Island Research Station is a world class research and teaching facility, and the tropical islands provide for amazing photographic opportunities. This is the tenth year Les has presented this workshop and he rates it as his best. This year his co-presenter is Tony Hewitt, 2013 Canon AIPP Professional Photographer of the year.

“Orpheus will giveby you the time An eBook Peter Eastway support to FAIPP G.M. Photog.,and Hon. FAIPP, Hon FNZIPP, complete your masterpieces.” niques and approaches I’ve developed approach them, and how to use the Tony Hewitt over the years will help you capture results to assess your own photog-

I have judged I finish the book with some usemany photography ful background information about competitions and andTony produceHewitt better photographs. raphy. It’s important to set the scene how competitions work (generally © there are lots of little My book is called How To Win before we get into creating photos speaking), and then I analyse some of www.leswalkling.com www.tonyhewitt.com things that entrants Photo Competitions. that win competitions. the images that have won awards for forget to do. If only I could let them It begins with a little about me. The next two sections are the me, pointing out the aspects that the know before entering the competiAfter all, it’s easy enough to write a nitty gritty. We begin by talking about judges responded to in a positive way. tion, they would do so much better! book about winning photography taking a great photograph in the first The book has lots of photographs Well, as a judge I’m not allowed competitions, but it’s better if you have place. Competition winners begin and illustrations to explain exactly to ring up and help entrants, but I can little bit of experience. Fortunately the camera and so we talk about what I’m talking about. The workshop comprisesa lectures and presentationswitheach morning, backed up with hands-on work after write a book that distills what I have for me, I’ve been lucky enough to win camera technique, colour, composiAnd it is an eBook. It is easy to lunch and into the evening with state-of-the-art printing and colour managed workflows. learnt over the last twenty years that quite a few competitions, plus I have tion, framing and so on - little tricks read on a computer, laptop or iPad, will give you a great head start. a lot of experience as a judge. I can and hints that will make a world of and you need Adobe Reader (Acrobat) Fine art printing, print critiques, advanced image editing, camera craft, RAW processing, pictorial design, Of course, no one can give you an talk to you about both sides of the difference to your photographs. to view the book. There is no paper colour management, marketing/business planning, small group tutorials andversion one-on-one consultations iron-clad guarantee that you will read competition. From here we step into postof this book, although you can the workshop. myare bookhighlights and then win theof next photo Add in the fact I’ve been a magaproduction – using the computer print out the Acrobat Reader file if you competition you enter – and I explain zine editor for 30 years and I hope I’m to improve the images our camera wish. This year Les and Tony able areto communicate supported by severalhasexperienced tutors to ensure that the knowledge why in the book. However, what I can my message captured. Most readers will have I have created a sample eBook for you are is immediately imaging skills and new seeing. guarantee you is acquiring that if you read my pretty well. So, in translated just a couple of into real-world dabbled with Photoshop, Elements you to look at onways the Betterof Photograbook, you will improve the quality of pages (I don’t want to bore you), I or Lightroom and this is all you need phy website, so please visit and have Our renowned chefs, Natalie and Melissa will create marvellous banquets fora read. us Ifand each evening we your photography. explain why I know what I’m talking to enhance your images so they are you like what you see, I hope dine under by the beach celebrating the days achievements. You see, whetherthe you’restars aiming to about (even though my Dad told me in the running for a competition win. you’ll purchase a copy. win a photography competition or just not to boast). These days, no matter how good your And for your next photo competiOur sponsors also attend the workshop and supplycamera ‘state-of-the-art’ cameras, printers, knowledge and take a better photograph, the advice is We then look at competitions is, you simply must do a little tion - good luck! materials for all creative photographic very similar. And I know that our the techand how they work, how youneeds. should post-production to finesse your entry. – Peter Eastway

Enquiriesand Ph: 07of4725 4860 E: events@leswalkling.com For more information a read the free sample, please visit: