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Working Pro The

Issue 221 â&#x20AC;˘ May 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 G o l d A wa r d

Mandarine Montgomery M.Photog. 2013 Canon AIPP Australian Professional Photography Awards winner of PORTRAITURE 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 #221

M ay

2 0 1 4

President’s Message

Awards Are Good For AIPP Members

Who Should Enter APPA?

Kylie Lyons keeps the membership up to date with news and information about the Institute. Encouraging entry to the various AIPP photography awards is also good for our profession’s accreditation and marketing. With the Canon APP Awards getting bigger every year, there comes a breaking point, so here’s why we need to make APPA aspirational.

Whatever It Takes - Chris Shain

Point of Difference - Anna Blackman

The AIPP Awards People

Getting Portfolios Through The Door - Ross Eason

Editor’s Selection - APPA Winners

Your Award Entry: Ugly White Skies

AIPP Board Elections 2014/15

Is Overseas Income Taxable?

Do I Need A Model Release?

Nikon D4s

How far are you prepared to go to help your clients? If it’s not far enough, you could be missing out on lots of business. With so many wedding photographers on the web, how will you encourage brides to contact you and not your competition? We have a new approach to running the various AIPP awards and a new team to lead them. Meet them here! A generic portfolio isn’t going to work as well as something created specifically for your potential client. A selection of entries that caught the editor’s eye from the 2013 Canon AIPP Australian Professional Photography Awards. White may be pure as the driven snow, but it can drive judges to distraction. Here’s how to solve the issue for your next award print. Would you like to sit on the AIPP Board? Are you eligible under the new AIPP Constitution? Now’s the time to act if you are. If you get a job shooting overseas, will you have to pay tax on the net income back in Australia? Will a model release signed by your model or subject allow you to use the photograph for all purposes? The upgraded flagship DSLR from Nikon offers a blisteringly fast frame rate and an incredibly hot top ISO.

Give Us Your Feedback (Please!)

Kylie Lyons M.Photog., Hon.LM, National President Recently a group of members wrote to the

• We hope that all members see that we do

Board about their hopes and fears for the future

what’s best in our own judgement.

of the Institute and the industry.

• We hope there is strength in numbers.

They inspired the Board to do the same exer-

• We hope that all members and the communi-

cise, speaking about our hopes and fears at our

ty can come together to support the Institute

recent meeting.

and the industry.

We discussed concerns including:

Directly after our Board meeting, we met

with an enthusiastic group of photographers FEARS

in Townsville. We discussed how the AIPP sup-

• We fear the AIPP will continue to attract new

ports regional members and asked what more

members, but at the expense of older mem-

we could do. I have received a few messages of

bers.

thanks from attendees who enjoyed the oppor-

• We fear we react when we need to lead.

tunity to speak with both their local colleagues

• We fear the changing face of the photograph-

and their Board members.

ic industry has not been embraced by all

members.

get togethers like this over the coming year.

• We fear our membership does not see or understand the bigger picture. • We fear our lack of good communication has set a path of inward destruction.

We plan on running more regional group Are you in a regional area too? We’d love to

hear your thoughts.

Send feedback to the board anytime via aip-

pboard@aipp.com.au

• We fear the AIPP has forgotten why we exist. HOPES

• We hope that patience wins out. • We hope all members can see light at the end of the tunnel.

kylie.lyons@aipp.com.au 0411 552 488

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

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WEDDING

PRODUCERS

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PORTRAIT

AIPP MENTORING

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AIPP WORKSHOP

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WORKING WITH

the ATO

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AIPP USE OF SOCIAL MEDIA

& COMMUNICATIONS

BIRTH PHOTOGRAPHY

AIPP MEMBERSHIP

BENEFITS

Awards Are Good For AIPP Members The link with the Accreditation System.

Peter Eastway interviews Peter Myers

The photography awards (Canon APPA, the Ep-

their work against their peers, and to learn and

son State PPYs and the new online competition

improve their image making skills.

to be introduced in 2016) are the biggest things

the AIPP does to interface with its members.

the awards included being too expensive, too

But they need to be bigger!

complicated and too time consuming. Some

Explained AIPP Executive Officer Peter My-

members indicated they didn’t see a return on

ers, “The Board has given me a strategic goal of

their investment - in other words, they didn’t

ensuring at least 51 per cent of AIPP members

feel they got anything out of it.”

enter the awards each year.

“One of the reasons for this goal is to help

tographers who aren’t entering or are no longer

the AIPP market its membership with the claim

entering. Regular entrants see the awards in an

that AIPP members go through a regular peer

incredibly positive light - and that’s the view the

review process for their photography.”

Board wants to create for all members.

It is not expected that every member will

Of course, those comments were from pho-

“Interestingly, the use of the award systems

enter the awards every year, but it’s important

as a marketing tool was not important for many

to state that the majority of the membership is

entrants, and nor were the prizes or prize mon-

involved.

ey.

At present, approximately 38% of the mem-

“We also looked at a formal folio review pro-

bership enters APPA or a local state award, so

cess, but rather than force members to submit

we’re on the right track, and by introducing a

images for review, we thought encouraging

new online photography competition that is in-

people into our various award systems was a

expensive and easy to enter, the Board hopes to

better option.”

more easily reach its target.

“We undertook a gap analysis to find out

its members to enter the awards on some level,

why some members enter the awards and oth-

then it will also be in a better position to market

ers don’t”, explained Peter.

professional photography to the community at

large - and that can mean more business for all

“The three most important reasons mem-

bers enter is to obtain feedback, to compare

“On the other side, reasons for not entering

If the AIPP can encourage more than half of

of us.

Who Should Enter APPA? A n a s p i r a t i o n a l p o s i t i o n f o r A P PA

Peter Eastway interviews Peter Myers

Before re-organising the AIPP’s photography

awards system. In other words, entry to APPA

award systems, the AIPP Board and Executive

itself should be aspirational.

Officer Peter Myers looked carefully at what

we have already and what the AIPP needs to

be a reward in itself.”

achieve.

proach to the AIPP’s photography awards sys-

“The consensus of opinion for having awards

“Just being qualified to enter APPA should From this analysis came the three tiered ap-

is to enable photographers’ work to be judged,

tem.

compared and reviewed, with the objective of

improving the quality of professional photogra-

in an online competition before being allowed

phy in Australia.

to enter the state awards, and then they will

need to succeed at a state level before being

“We also asked a second question and that

Newcomers will need to achieve a base level

was why we have national and state awards?

entitled to enter APPA. This in turn will enable

The answer was because that’s what we have al-

the AIPP to manage the ever increasing work-

ways done.”

load of APPA itself.

The state awards are important in their own

Importantly, there are a number of other

right, providing a local level of feedback and

ways you can enter APPA. Members who are al-

acclamation, and also acting as a precursor to

ready Associates or Masters of Photography will

the national APP Awards for many entrants, but

be “seeded” and have automatic access to APPA

how should they fit into the overall awards sys-

without having to succeed in the online or state

tem?

events.

Originally, they were just small events that

This will be overseen by William Long who is

enabled photographers to consider their work

the new awards seeding manager.

locally before preparing their entries for APPA,

but today this process is covered by print cri-

reputations and skills created outside the AIPP

tique nights held in most states.

awards system may be invited to enter through

a Direct Invitation process which will be man-

Continued Peter, “So, the question became,

And finally, experienced photographers with

what should APPA be? And the answer is that

aged by Jacqui Dean in her new role of “Direct

APPA should be the ultimate objective of our

Invitation Manager”

•

Whatever It Takes

Making yourself attractive to commercial clients. To attract and keep clients, you need to be ver-

general construction induction training in work

satile and adaptable, explains commercial pho-

health and safety. All states in Australia now re-

tographer Chris Shain.

quire one for workers on construction sites, in-

cluding photographers, even if an inducted per-

“You have to be a helper and a collaborator,

both with your client and other people your cli-

son supervises them on the site.“

ent hires, such as designers, external marketing

You apply for a white card through a Reg-

consultants and even other photographers.

istered Training Organisation which provides

the course for a fee. Search for White Card on

“Clients often don’t care who does the work,

they just want someone to front up and get the

Google for more information. The good news is

job done. I might be wrong, but I think the days

that a card in one state is valid in all other states.

of hiring a passionate photographer because

a client thinks he or she is a fabulous image

science, but it shows your client that you will do

maker are becoming less common. Maybe it’s

whatever it takes to do the job. We’re currently

still important for agency work, but we’re work-

working for an industrial client whose previous

ing for clients direct. They just want service and

photographer said he couldn’t be bothered get-

good imagery, they don’t need prima donnas.”

ting a white card. So they rang us up – a cold call

from a Google search – and now we get all their

Not everyone can just slip into industrial pho-

“The course takes a day and it’s not rocket

tography and the areas Chris works in are often

work. Having a white card was as important for

quite specialised. He needs to have a White Card,

this client as the quality of pictures we take.””

a rail industry worker card, steel capped boots, ‘hi-

viz’ clothing, and be prepared to do a site specific

photography. It’s what you offer in addition to

induction course for half a day (for which he gen-

high quality photos that will get you the work.

Clients expect a professional standard of

erally invoices the client). He also has a NSW work-

cover licence to operate large cherry pickers.

Chris Shain is a commercial photographer working

in Sydney. He is very active in business and legal is-

“The pictures I take sometimes seem irrel-

evant in comparison to all the other aspects of

sues for photographers and holds a board position

the job. The ‘White Card’ is a construction induc-

with the Australian Copyright Council.

tion card which provides proof of completion of

www.imagesforbusiness.com.au

Photograph by Chris Shain.

Point of Difference

Anna Blackman on marketing wedding photography. “Whatever you do in photography, you need

a point of difference. Without a point of differ-

using a computer, so what I offer now is stop-

ence, everything you do will come down to

motion. I need to have something that is differ-

price.”

ent.”

Anna Blackman is talking about the secret

“Today, everyone can do infrared portraits

The important takeaway is that Anna is of-

to success. So many photographers begin busi-

fering something that no other photographer

ness and wonder how to achieve good sales,

in her area offers. It gives people a reason to at

but never look at their business from their cli-

least meet with her and see what her studio

ent’s perspective.

does. And they also know that if they want what

If the photography and service you offer is

Anna offers, then the only place they can buy is

the same as everyone else, then your clients will

from Anna herself, so to some extent, this takes

judge you on price. Why would they want to

price out of the equation.

spend more on something they can buy for less

elsewhere? Would you?

some people and there’s nothing she can do

about this. But for potential clients who can af-

“I don’t want to be the same as everyone

Of course, Anna might be too expensive for

else because I want to charge what I think I’m

ford her, Anna is separating what she does from

worth. I don’t exactly look at my costs and work

everyone else.

it out – that’s boring for me, but I do know the

answers. Rather, I want to decide on my price

vice might have been the reason the clients first

point and why I’m worth it, but the only way

visited Anna’s studio, it’s not necessarily the rea-

I can do this is if I am different from everyone

son they book. “I’m very personable”, laughed

else.”

Anna, and the editor can attest to her warm and

bubbly disposition. Once you meet Anna, you

Anna is offering something that no one

else does. “I used to do infrared portraits when

However, even though the stop motion ser-

never forget her.

we were shooting film. No one else in my area

was doing this, so it was completely different. It

Anna Blackman is an AIPP Master of Photography

got people in the door, even if in the end they

who runs a successful boutique wedding studio

didn’t want an infrared portrait.

near Wollongong, NSW. annablackman.com.au

An example of Anna Blackmanâ&#x20AC;&#x2122;s day-to-day wedding photography. Simple and emotive.

Exactly How Does Anna Blackman Encourage people to book her? 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.

The AIPP Awards People

The new Awards Management Group announced.

David Paterson

William Long

Mark Zed

Melinda Comerford

We have some exciting changes happening

cate groups to ensure that our awards retain the

as part of our commitment to continuous im-

workable structure which has been a hallmark

provement of the AIPP awards system.

over the years. He will also guide and advise the

category advocates to help ensure their propos-

The changes apply to all AIPP awards, in-

cluding the Canon AIPP APPA, our state based

als strengthen our new awards framework.

Epson Professional Photography awards, and in

William Long - Seeding Manager

future to our new National Online awards.

This new and important role will be managed

by William Long. Most of you who know Wil-

We have been reviewing our awards system

for over three years now, and a key consider-

liam will know of his great passion for the AIPP

ation has been how best to utilise the knowl-

awards and his considerable knowledge of pho-

edge, experience and commitment of our exist-

tographic competitions and the AIPP awards

ing members, committee members and keen

process.

new volunteers.

ment of who is seeded, will ensure that experi-

We have created a new Awards Manage-

The concept of â&#x20AC;&#x153;Seedsâ&#x20AC;? and the manage-

ment Group. We will no longer have an APPA

enced and proven AIPP members will be able to

Committee focussing solely on APPA. Instead

enter their state awards and the national Can-

we have a new expanded group focusing on

on AIPP APPA directly without the need to pre

our awards program as a whole.

qualify, just as they are now.

The new responsibilities and the team mem-

We are very pleased that William has accept-

bers taking them on are:

ed this role and we welcome his input as a key

David Paterson - Category Manager

member of the new awards team.

We are very pleased that David Paterson, the

Mark Zed & Melinda Comerford -

immediate past chairman of the APPA Commit-

Chairpersons of Jurors

tee, has agreed to take up this vital role. Having

The new awards structure allows for multiple

appropriate categories throughout our awards,

Chairpersons of Jurors (COJ) with each respon-

with workable, agreed and common rules is a

sible for judging in a group of categories. For

key objective.

2014 we have two - Commercial and Domestic.

David will work with our new category advo-

We are very pleased to announce that the

new COJ for commercial categories will be Mark

awards events.

Zed. And the new COJ for domestic categories

will be Melinda Comerford.

state councils and state awards teams to con-

tinue their excellent work, whilst refining their

The COJ role is a big one, and so we are very

Sue and Kim will continue to work with the

pleased to announce that Greg Hocking and

back end process to fit with the new national

Robyn Hills have agreed to work with Mark and

award system.

Melinda to support and advise them in their

Tony Hewitt - Awards Publicity & PR

new COJ roles.

Manager

One area where we can certainly improve is to

This great new four person team combines

enthusiasm, experience, willingness to help and

make better use of the skill, knowledge and pas-

a commitment to the new awards structure.

sion of our own members to help promote the

AIPP far and wide. We are really pleased that

Over the last few years Ryan Schembri has

manfully shouldered the responsibility of the

Tony Hewitt has agreed to lend his experience

COJ role for APPA. He has decided to concen-

and knowledge to help us do a better job than

trate on his business for the next few years and

in the past.

has therefore stepped down. Immense thanks

go to Ryan for his effort and commitment over

linda, Greg, Robyn, Tony, Sue and Kim form the

the years. He has also kindly offered to support

core of the new awards management team at

the changes by sharing his experience with the

this time.

new team.

Sue Lewis & Kim Harding - The Awards

ing their time and expertise in support of our

Events Team

AIPP awards. And we wish them every success

The awards events could not happen without

in these important roles.

the massive effort of lots of volunteers. This level

of commitment and involvement has been ex-

experience of Jacqui Dean and other experi-

emplified over the years by the irreplaceable

enced members on a regular basis.

Sue Lewis.

More to Comeâ&#x20AC;Ś

Our awards system is evolving. Over the next

We are very pleased that Sue is happy to

Greg Hocking

Robyn Hills

These nine people, David, William, Mark, Me-

Kim Harding

We thank them wholeheartedly for dedicat-

As ever, they will call upon the wisdom and

continue her great working relationship with

few years our awards management team will

our national events manager, Kim Harding. To-

evolve alongside this.

gether they form the new team responsible

for the infrastructure and management of the

more involved, please contact Peter Myers.

If you have suggestions, or youâ&#x20AC;&#x2122;d like to get

Sue Lewis

Tony Hewitt

Ross Eason creates individual portfolios for prospective clients, showing them the type of work needed for their business.

Getting Portfolios Through The Door Show your clients what they want to see. Do you need a special portfolio to show your

portfolio, but a little while ago I produced an A4

clients or is a general website enough? Portfo-

colour brochure. It was very generic, showing a

lios are required by all professional photogra-

cross-section of the work I do, plus some of my

phers, but you can often get a better result by

personal work. There’s a short blurb about me

targeting the photographs you show to poten-

and my website details, and I use it as a give-

tial clients.

away or an introduction.

“I show examples in the style of work that I

“If I’m reading the local newspaper and I see

want to shoot”, explained Ross. “I also refer to

XYZ is moving to the Sunshine Coast or doing

my website when talking with clients. In fact, if

a project nearby, then I will research the person

I’m visiting a client, I’m not surprised if they have

who is responsible for the photography and

already been to my website before I get there.”

send them a standard letter with the A4 bro-

chure. It is presented in a large envelope, pad-

But if visiting a client, Ross will show a small-

er, more specific set of images.

ded with cardboard, so it arrives in good condi-

tion.

“For instance, I have a specialty for working

in confined spaces. “I have a very good client

who manufactures boats, so while I wouldn’t of-

follow up in a few days to discuss it with them.

fer my services to their competition, I could ap-

This is a great introduction because in a few

proach other people who needed photography

days, when I ring up the company and the re-

in confined spaces, such as a caravan or motor

ceptionist asks what I want to talk about, I can

home manufacturer.

honestly say it’s about the documentation I

sent last week! This will usually get me through,

“There wouldn’t be much point showing the

PHOTO BY BAMBI WIXON

“The letter says I hope they don’t mind if I

caravan manufacturer photographs of glass-

compared to a cold call when inevitably they

ware or white t-shirts, so I would custom de-

are out!”

sign a folio of images that was relevant to their needs. I would show the photos on an iPad or

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

give them a printed PDF, depending on the

tographer in South East Queensland. He is an AIPP

structure of the meeting.

National Vice President and has been in business for

over 30 years. www.easoncreative.com.au

“Personally I don’t have a single, definitive

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

•

If you canâ&#x20AC;&#x2122;t change the angle , in post-production at least darken down the sky a touch so it is not paper white. Optionally, add a black border to the image to contain it.

Your Awards Entry: Ugly White Skies Keep the judges happy by showing control One of the problems frequently seen by judges

so it’s not dragging the eye out of the frame?

are ugly white skies. Now, this isn’t to say that

all white skies are ugly or that you should never

enough in landscape photography to capture

include a white sky. There are many examples

two exposures, one for the sky and a second for

of award winning images with huge, bland

the land, then combine the two in Photoshop.

white skies, but they have been used deftly with

This approach is rarely suitable for portrait and

strong composition.

wedding photographers who capture the mo-

ment in a single exposure. It may not be pos-

And often if you look a little more closely,

Second, how is your exposure? It’s easy

you’ll find that they are not really white, but a

sible to control the exposure in the sky without

very pale grey or colour. This shows control.

ruining the exposure on the subject.

The Problem

In Post-Production

White skies tend to dominate a composition.

The white sky on its own can be a problem, but

In a landscape, the white sky is brighter than

a white sky that also leads to the edge of the

the land below, so the eye is lead to the wrong

frame is even worse.

part of the picture. In a portrait, a bright sky can

be stronger than the face being depicted, and

composition - and sometimes, that simply

this doesn’t make sense. We want the viewer to

means you haven’t got an award winning pho-

look at our subject, not the sky.

to. Perhaps you should choose a different entry.

It’s not so much that the sky is white, rather

Sometimes, there is no way around this

If you do proceed, try to darken down the

that you have a large area within your composi-

sky so that it is not paper white – include at

tion that is white and detailless, serving no posi-

least a touch of tone in the sky.

tive purpose.

In Camera

around the print so that the image is contained.

Controlling white skies is best begun in camera.

This works well with black and white images.

First, consider your camera angle and choice of

lens. Can you crop the white sky out? Can you

within the photograph that will allow the judg-

choose an angle without the sky? Can you find

es to forgive the bald sky, but why take the risk

a tree or overhang that you can place in the sky,

if you can fix it?

A second option is to add a black border

Of course, there could be other aspects

•

AIPP Board Elections 2014/15 Using The New Election System If you have been an AIPP accredited member

Board Charter (http://www.aipp.com.au/AIPP_

for three years (as at 30 June 2014) and you

live/Member_Services/State_and_Sub-Com-

have at least 15 service points, you can nomi-

mittee_Charters.aspx) and re-read the AIPP con-

nate for an AIPP Board position.

stitution (http://www.aipp.com.au/AIPP_live/

Member_Services/AIPP_Constitution.aspx), in

(If you are not sure how many service points

you have, please contact the National Office.)

particular Chapter 6, “National Board”.

New Constitution

Nomination Procedure

As a result of the new constitution passed in

In order to nominate, you will need to complete

November 2013, nomination to the AIPP Board

the nomination form which will be included in

is now open to all accredited members with

the email on 16 May. You will need two other

more than three years as an accredited member

members to act as a “proposer’ and a “seconder”

and who have 15 or more service points. This

to your nomination.

opens up many more opportunities for you to

nominate for the Board, which is now elected

plete the simple form and return it to the Na-

by the whole membership.

tional Office by 6 June.

We are looking for nominations for two

Remember, there are two vacant Board posi-

Board positions to serve on the board from 1

tions. If we receive more than two nominations,

July 2014.

we will carry out an election where the entire

Other than that, all you have to do is com-

AIPP Accredited membership is able to vote. Call For Nominations

On 16 May, we will be sending out a Call For

those nominees will be automatically appoint-

Nominations for the AIPP Board.

ed to the new Board.

If you have ever wanted to help shape the

If we receive two or fewer nominations,

If you need any help or advice on whether

strategy and direction of the AIPP as a Board

to nominate for the board and how the proce-

member, this is a great opportunity to get in-

dure works feel free to contact any current AIPP

volved and do just that.

board member or the Executive Officer, Peter

Myers.

But before you do, please read the AIPP

Is Overseas Income Taxable? A question about income tax (not GST ). The short answers are yes and no, but there is a

tion of the law can be different.

lot of detail.

Australia has double tax agreements with

a lot of countries and these agreements can Do You Live In Australia?

mean that any income tax you pay in a foreign

If you live in Australia, then you are taxed on in-

country may provide you with a tax credit when

come you earn, no matter where it is earned.

lodging your Australian income tax return. This

This is a somewhat simplified statement, but it

means you’re not taxed twice. However, it is un-

will apply to the majority of readers.

likely you will be lodging an income tax return

in an overseas country, unless you set up resi-

So, if you go overseas for a week to do a

shoot, you will be taxable in Australia on the net

dence there.

income you earn. Doing a job in a low-tax country like, say, Hong Kong, doesn’t mean you don’t

Leaving Australia

declare that income on your Australian tax re-

If you are thinking of leaving Australia and

turn. Sorry!

working overseas for a few years, your overseas income (after expenses) could still be subject to

Do You Pay Tax Twice?

Australian tax. However, in most of the common

Depending on the nature of the job and how

countries Australians work in, double tax trea-

often you are working overseas, you may be

ties may mean you will get a credit for the tax

subject to income tax in both countries!

paid in the overseas country.

As a matter of practice, Australian photogra-

If you leave Australia permanently, then

phers don’t tend to pay income tax when they

you no longer have to pay tax in Australia on

are working overseas, and probably few foreign

income earned overseas. However, income

photographers pay tax in Australia when work-

earned in Australia may still be subject to Aus-

ing here.

tralian tax.

However, the Australian Tax Office does tax

This is a very complicated area and the main

international tennis players on their Australian

point of the article is to confirm that, generally,

earnings (because it is earned in Australia), so

Australian photographers are taxed on income,

the matter of practice and the strict interpreta-

no matter which country they are working in.

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...

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 â&#x20AC;&#x2122;s s e c t i o n . . . Go to member services... Go to my publications... Go to Better Photography...

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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 27

28 You donâ&#x20AC;&#x2122;t need a model release for editorial purposes, as long as the photo is not defamatory. Photo by Peter Eastway.

ing) photograph anyone you wish and own

leases. Owning the copyright in a photograph

and being able to use it as you wish are two

doesn’t mean you can use that photograph for

separate issues.

any purpose.

What Does A Model Release Do?

A model release is an agreement that states the

model release or similar agreement) include ad-

subject (or model) has given the photographer

vertising and marketing, where the use of the

permission to use the photographs taken of the

subject’s image may imply his or her endorse-

subject. It protects you from being sued.

ment of a product or service.

Some legal advisers recommend that some-

Purposes that are not allowed (without a

Purposes that are allowed are editorial and

thing of value (called ‘consideration’) is given to

exhibitions, so long as the photographs are not

the subject for the model release to be valid.

defamatory.

Model Release Limitations

For instance, the Getty Images website states

that the model release form doesn’t have to state

Some lawyers advise that a general model re-

exactly what the consideration is, but the subject

lease form is not much use, but of course, if

or model should acknowledge that they received

someone signs one, they are less likely to con-

valuable consideration (such as a print of the

test it later on if they think it is binding.

photo or payment in cash) in exchange for giving

you the right to use the photograph of them.

release is very specific, it may not be valid. For

instance, a young woman signing your model

Normally this is one of the terms in the mod-

Other lawyers suggest that unless the model

el release form. (NB The sample model release

release may still be unhappy being portrayed in

form on the AIPP members’ website doesn’t re-

an advertisement for Alcoholics Anonymous. If

fer to consideration.)

this is your intention, you should be specific in

the model release.

If you are doing commercial photography

for clients, it is a good idea to have all the mod-

els who work for you sign a model release.

how you would feel and maybe your best ap-

Do I Need A Model Release?

proach is to contact the model before use and

Although in Australia you can (generally speak-

confirm his or her agreement.

This isn’t rocket science – just ask yourself

Nikon D4s

Faster and e ven better low light per formance. The new Nikon D4s improves upon the original

that is a full 30% faster, in addition to a 200-shot

D4 with better image and video quality, better

buffer (JPEG) at full resolution at the maximum

autofocus, and an astonishing ISO range.

continuous mode.

The newly developed 16.2-megapixel FX-

format sensor works in conjunction with a new

ISO 409,600 - Really?

EXPEED 4 image processing engine.

Thanks in part to the new EXPEED 4 process-

ing engine, the Nikon D4s improves available Recalibrated Algorithms

light photography even further, giving users a

The Multi-CAM 3500 FX autofocus sensor

native ISO range from 100-25,600 expandable

module has also had its algorithms recalibrated

from 50 ISO (Lo-1) to a staggering 409,600 ISO

and thereâ&#x20AC;&#x2122;s a new Group AF mode. When se-

(Hi-4).

lected, this mode uses five AF points to provide

increased stability while tracking subjects, and

rulebook for available-light shooting and will be

enhanced accuracy by reducing instances of

especially useful for sports photographers and

background focus.

photojournalists.

In situations where the background is bright

As Nikon states, this ISO range rewrites the

Nikon also states the EXPEED 4 image-pro-

with strong contrasting colors, photographers

cessing engine incorporates an entirely new al-

can now feel more confident, knowing that

gorithm for higher ISO noise reduction and co-

small, distant and fast-moving objects can be

lour fidelity, resulting in better overall sharpness

rendered sharper, faster and more frequently.

and clarity without sacrificing subtle textures

Nikonâ&#x20AC;&#x2122;s AF Lock-on technology has also been

and luminous details.

upgraded, shortening the time taken in revert-

ing from focus interruptions, such as a referee

for other professionals including wedding and

running into the frame.

portrait photographers, who can now confi-

dently capture the darkest reception, a candlelit

The Nikon D4s improves AF tracking for

The enhanced ISO is also a major advantage

high-speed shooting at an incredibly fast 11 fps,

ceremony, or create crisp studio portraits with

with continuous AF/AE.

flawless fidelity.

The camera also features a processing time

For more information, visit www.nikon.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

niques and approaches I’ve developed over the years will help you capture

approach them, and how to use the results to assess your own photog-

I finish the book with some useful background information about

competitions and there are lots of little

and produce better photographs. My book is called How To Win

raphy. It’s important to set the scene before we get into creating photos

how competitions work (generally speaking), and then I analyse some of

things that entrants forget to do. If only I could let them

Photo Competitions. It begins with a little about me.

that win competitions. The next two sections are the

the images that have won awards for me, pointing out the aspects that the

know before entering the competition, they would do so much better!

After all, it’s easy enough to write a book about winning photography

nitty gritty. We begin by talking about taking a great photograph in the first

judges responded to in a positive way. The book has lots of photographs

Well, as a judge I’m not allowed to ring up and help entrants, but I can

competitions, but it’s better if you have a little bit of experience. Fortunately

place. Competition winners begin with the camera and so we talk about

and illustrations to explain exactly what I’m talking about.

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-

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

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.

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

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