Working Pro 222

Working Pro The

Issue 222 • June 2014

1

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)

AIPP USE OF SOCIAL MEDIA

& COMMUNICATIONS

BIRTH PHOTOGRAPHY

AIPP MEMBERSHIP

BENEFITS

Working Pro The

Co n te n t s #222

Cover

Kaye Davis, NZ 2013 Canon AIPP Australian

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

J une

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President’s Message

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Queensland AIPP Epson PPA In Full Swing

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Judging Through The Cloud

Kylie Lyons keeps the membership up to date with news and information about the Institute.

The Working Pro has introduced its first social pages from the party capital of Australia - Brisvegas!

Professional Photography Awards winner of ILLUSTRATIVE category

-

Peter Myers explains how the new judging system has made award entries both better and cheaper.

10

What Categories Should We Have For APPA?

12

New Birth Category For APPA

14

Forever Young

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Capture The Emotion - Melissa Neumann

20

Why The Wedding Album Works - Anna Blackman

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Read The Small Print - Chris Shain

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Editor’s Selection - APPA Winners

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Your Awards Entry: Exposure

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Is A Speeding Fine Tax Deductible?

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Profoto B1

Photography is changing and it’s important that the Award systems reflect our profession. Here’s how APPA is selecting its categories.

David Paterson explains why there is a new category for APPA this year: birth photography.

Peter Rossi and Charmaine Heyer have published a limited edition book showcasing some of their best work. What makes it so special?

We might think we are photographing portraits or weddings, but there’s something much more powerful just below the surface.

Anna Blackman says photographers aren’t selling wedding albums simply because they’re not showing them to their clients.

How often do you just sign something and hope it’s alright? As Chris Shain experienced, it pays to read the small print.

A selection of entries that caught the editor’s eye from the 2013 Canon AIPP Australian Professional Photography Awards.

Before you print your award entry, check it over for exposure, not just overall, but in all the important areas. Peter Eastway explains.

Don’t incur speeding and parking fines just because you think they will reduce your tax. They won’t!

Looking for a way to separate your photography from the masses? Take a look at Profoto’s fully automatic B1 battery-powered studio flash.

The Lucky Country

Kylie Lyons M.Photog., Hon.LM, National President We certainly live in a lucky country. I’m sure I

your vote and elect your council members and

don’t need to tell you that, but after having two

Board wisely. Please do not to take the process

Chinese students live with my family for three

for granted – or complain later if you didn’t take

months, I realised how lucky we are.

the opportunity to cast your vote.

For example, our second student came out

of her room one day to announce, “My father

Big Thanks

has asked me to speak with you about five dif-

I’d like to thank those members who contacted

ferences between China and Australia”.

me and other Board members with their feed-

back recently. I’m happy to say we received

My husband subsequently started a conver-

sation about democracy, how we voted for our

some great responses.

government and if we didn’t like the govern-

ment, we were free to say so in public.

lio assessments to accreditation and member-

For a 15 year old Chinese girl, the notion of

ship benefits, have been very active and have

voting and free speech was, dare I say, incom-

come up with some great ideas.

prehensible. It was a lively conversation, but it

reinforced to me how lucky we are in Australia.

say on how they would like to see processes oc-

Even our SIG projects, which range from fo-

Many members have been able to have their

cur and the Board now has lots of information Board Nominations

to digest and consider when making future de-

The AIPP is currently calling for nominations for

cisions.

the Board. Voting will also take place for Council positions in most states.

State Awards

Our Epson State awards are just about over for

The new changes to the Constitution in No-

vember allow for more members to be nomi-

the year, with only South Australia to run next

nated for these positions and every Accredited

month. Every other state has been extremely

member also has the opportunity to cast his or

successful with entry numbers increased and a

her vote.

new judging system that is being custom built

to cope with our very unique judging require-

This new election process is very important

and I ask that when the time comes, you do cast

4

ments.

Thinking of entering APPA this year?

Everything you need to know can be found at: www.appa.aippblog.com

5

The system will be fully functional by APPA

and awarded with various accolades.

come September.

My sincere thanks to the dedicated Awards

Queen’s Birthday list this June. I would like to

Event team lead by Kim Harding and Sue Lew-

share a brief history as to why Ian was nominat-

is who have worked tirelessly at each state

ed to receive this prestigious award.

Ian McKenzie was honoured as part of the

award, not only to help the State Councils run a smooth event, but to drive the development of

AIPP Beginnings

the judging system.

The AIPP began in 1963 and Ian became a

One big improvement that will come in

member on day one. In 1966, he began a four

2015 during Phase 2 of the development will

year program designing and overseeing the

be improvements to Live Streaming. It’s been

construction of educational facilities for a diplo-

wonderful to see the membership embrace Live

ma in photography course at Prahran College,

Streaming of the Awards and it’s a great benefit

in Melbourne. He was department head for two

for those in the regions or who cannot physi-

years and the diploma course he introduced

cally get to the judging.

was later reclassified as a degree.

In 1973, he returned to private practice and

The new improvements will do away with

the need to Live Stream images from the judg-

became the convener of the Institute’s national

ing, and only stream the audio. The web server

conference. Such was the success of the pro-

will serve the images being judged to the user/

gram, Ian was asked to perform this voluntary

audience and the audio will be streamed in

task for the next four conventions up until 1981.

sync. This means we have no upload bandwidth

restrictions and our server can send high res im-

Institute’s Awards, joining the National Awards

ages. This in turn will mean good quality hi-res

Committee in 1976 and then serving as a judge

images can be seen by the user and no more

and panel chairman until 2012.

Ian has also had a long association with the

pixilated images online!

Publishing Ian McKenzie OAM

Venturing into publishing with Attila Kiraly and

Finally, I would like to be one of the first to con-

Val Foreman, Ian republished Jack Cato’s The Sto-

gratulate one of our country’s newest Order of

ry of the Camera in Australia under the Institute’s

Australia (OAM) recipients.

imprint. He went on to publish the Contem-

porary Photographer Series. This consisted of

Again as a lucky country, Australians are rec-

ognised for their service to their community

6

monographs by photographers such as David

Moore, Athol Shmith, Lewis Morley, Wolfgang

toring scheme and he continues to assist the

Sievers, Graham McCarter, Ian Dodd and Mi-

National Office staff manage this scheme na-

chael Coyne.

tionally.

Ian was also actively involved in the first

It is hard to think of many who have made

moves to bring to Australia internationally re-

such a long and sustained contribution to the

spected photographers to give lectures to our

AIPP and the photography industry in general.

photographers and help lift the standards of the

profession.

been awarded an Honorary Fellow (Hon. FAIPP)

For his dedication to our Institute, Ian has

and a Fellow (FAIPP) of the Institute, the highest AIPP President

accolades that can be given.

In 1978‐79, Ian became the President of the

AIPP. This is a voluntary role that requires many

professional photography is second to none

hours of dedication to the profession of photog-

and most of his work has been done externally

raphy.

to running and operating his own photography

In 1980, a new body was formed called the

business in Melbourne.

Australian Photo Industry Association. The ob-

jective was to bring together the numerous in-

ment for roles undertaken within the AIPP, so all

dividual photographic associations to explore

of Ian’s work has been done voluntarily for the

common goals, and Ian was the representative

past 50 years.

for the AIPP. This joint collaboration brought to-

Ian McKenzie is a worthy recipient of the Or-

gether a new industry show called Photograph-

der of Australia for services to the visual arts as a

ics ’83, of which Ian was one of the convention

photographer and to the community. As mem-

convenors.

bers of the AIPP, we should all send our heartfelt

In 2006, Ian McKenzie established and

thanks and congratulations to him.

chaired the AIPP Commercial Group and be-

How lucky are we!

came a member of the Institute’s Policy and

Planning Committee, a role that he held until

the end of 2013.

Mentoring Role

kylie.lyons@aipp.com.au

In 2010, he developed the structure and sylla-

0411 552 488

bus course materials for the AIPP National Men-

The service Ian McKenzie has provided to

And as I mentioned before, there is no pay-

Until next time

Qld AIPP Epson PPA In Full Swing Photo Diary From Brisbane

It’s been fun and games around the country with most states having now held their annual 2014 AIPP Epson State Professional Photography Awards. The photos on these pages share the festivities at the recent Queenland event. Photos courtesy of the Queenslanders themselves!

Behind the scenes at every print award judging is a lot of hard work by some selfless volunteers thanks once again!

Glen Knoblauch and Ian Poole take a closer look during judging.

8

Some print cases are easier to open than others.

(Left to Right) This is what your print sees in Queensland - some of the judges looking on: Andrew Porfyri, Nuran Zorlu, Paul Hoelen, Lesley Downie and Andrew Harrison.

(Left to Right) Epson’s Bruce Williams, AIPP’s Kim Harding, Queensland President Sara Pearcy, APPA’s Sue Lewis and AIPP EO Peter Myers.

Qld PPY Winner Kelly Brown being congratulated remotely by Sara Pearcy and Bruce Williams

Interstate revellers Andrew Harrison, Julie Ewing and Nuran Zorlu hamming it up!

The winners (L2R) Glen Knoblauch (for Chris Knoblauch - Landscape), Lesley Downie (for Peter Rossi - Portrait), Gary Cranitch (Book/Album), Ola Kwintowski (Travel), Alicia Adamopoulos (Science, Environment & Nature), Ryan Schembri (Wedding), Sara Pearcy (with Kelly Brown on iPad - Family), William Long (Commercial), Andrew Porfyri (Illustrative) and Matt Palmer (Documentary/Sport).

Robyn Hills hard at work and looking glamous as always!

Obviously way too much fun! Ola Kwintowski (centre) with two accomplices in wine.

Qld Wedding winner Ryan Schembri with wife Jessica Schembri.

9

Judging Through The Cloud

The New Electronic System for Award Judging

Peter Eastway interviews Peter Myers

10

Most of the Epson AIPP State Professional Pho-

laptop to drive the large monitors, all we need is

tography Awards have now been judged (South

an iPod or any other device with an HDMI con-

Australia will happen later this month) and this

nection.”

has given National Office a great opportunity to

trial the new judging software that will be used

scores, as is the panel chairman who is sent a

at the Canon APPA Event in September.

different package of information to allow him or

her to fulfil that role. The information is config-

“The biggest change is that we have

The judges are using iPads to enter their

taken the entire system and put it online”, ex-

urable, allowing panel chairs to see whatever is

plained Peter Myers. “All we need is access to an

helpful: details about the image being judged,

internet connection and a web browser. Previ-

the score, how long it has taken to judge, how

ously we needed access to a server via Ether-

long the judging session has been going, aver-

net cables, but now we can do things from our

age scores and so on.

homes or hotel rooms.

people to judge from anywhere in the world, all

“The awards sit on a cloud-based server and

“Part of our long term thinking is to allow

everything in terms of the judging interface

they will need is an internet connection.

happens from there. For instance, if you enter

your photographs into the landscape category,

cloud-based, the possibilities are endless. For

our system can allocate them to specific judg-

instance, as an educational exercise, we could

ing rooms on a certain day.”

invite a class of photography students re-judge

the portrait category from 2014 and compare

There are also advantages for live streaming

“Once you get your head around this being

the event. In the past, we required a video cam-

what they scored with the professionals.”

era pointing at the print being judged, whereas

now the image is taken directly from the data-

ready for APPA this year, Peter sees the system

base and dropped into the screen image. Add

as still being in the development stage in terms

in the judges’ scores and the live audio and the

of what it can do for the membership.

live streaming process is now of better quality

and cheaper to run.

to reduce award entry fees. That’s another great

benefit for members.”

“And at the live event, rather than requiring a

Although the system is up and running,

“And the new system has already allowed us

•

•

11

What Categories Should We Have?

A changing platform of categories for the future

Peter Eastway interviews Peter Myers

12

In the past, the categories at APPA and the state

awards have been designed as broad compart-

too widely framed, giving portraiture as an ex-

ments to facilitate the judging process (we have

ample. “A portrait could potentially be entered

wedding photographers judging weddings,

into portraiture, family, illustrative or documen-

landscape photographers judging landscapes

tary categories, but there was no consistency in

etcetera). It was also important to have suffi-

the way we guided entrants and so they weren’t

cient images in a category if there were to be

necessarily getting the peer review that was

a prize awarded (not much point handing out

best for them.”

prizes if there were only half a dozen entries).

different comments in documentary compared

Until now, the APPA Committee would meet

Peter added that the current categories are

For instance, entrants could receive quite

and decide upon the various categories for the

to family photography, based on the context in

national event, but not all these categories were

which the images were judged and the photog-

available at all the state events and nor were the

raphers selected to act as judges.

rules always the same.

who decides what they should be?

“It seems sensible to have consistency be-

So, if the entry categories are so important,

tween the state and national awards, both

with the categories and the rules that surround

want the categories to be”, said Peter. “We will

those categories”, explained AIPP Executive Of-

ask them what new categories are needed and

ficer Peter Myers.

when we have sufficient members requesting

a category, we’ll create a group known as cat-

If the purpose of the awards system is to en-

“The members should tell us what they

able working photographers to enter images

egory advocates. Their role will be to define the

for peer review, then it follows that we need to

rules and parameters, and what is acceptable

have suitable entry categories to enable high

for entry into that category.

quality feedback.

these groups and that will be a job for David

“For instance, if there were lots of photog-

“Of course, someone will need to manage

raphers shooting frogs underwater, then we

Paterson as the Category Manager. We still need

should consider a category for them”, continued

a person with experience to oversee the cat-

Peter Myers.

egory process.”

13

New Birth Category For APPA Birth Photography Begins Its New Life

Peter Eastway interviews David Paterson

14

Entry categories for APPA and the state awards

Whilst birth is closer to documentary photogra-

can be proposed by category advocates and, as

phy than any other category, it is not deemed

long as there are enough interested supporters

to be a ‘comfortable’ fit for the documentary cat-

and the proposal doesn’t neatly fit into an exist-

egory, nor are the images considered suitable

ing category, there’s a very good chance it will

for the highly posed family and portrait catego-

be introduced.

ries.

The first successful new category is Birth

“Given the very private nature of birth, a

Photography. It is designed to encourage and

deep understanding of the birth environment

award excellence in documentary style photo-

in terms of its technical challenges, sensitivity,

graphs captured during the labour, delivery and

medical practices and confined spaces is re-

post-natal hours immediately surrounding the

quired.””

birth of a human baby.

plained that the group did a really good job of

According to the proposal put forward by

AIPP Category Manager David Paterson ex-

the birth photographers, “The growth of this

presenting their arguments.

genre has been very much consumer driven.

AIPP photographers are now seeking avenues

ry photography than family photography, yet it

to have their work in this field validated and re-

is shot for a completely different market with its

warded, to promote their professional standards

own expectations and requirements.

and commitment alongside wedding, family

and portrait photographers.

the family photography category because it

“The sensitivity of viewing, awarding and

was a very specialised area of documentary

promoting outstanding birth photography re-

photography. Equally important, we need to

quires considered discretion to fairly match the

have sufficient entries to make the category

positive outcomes photographers benefit from

valid and initial indications have around 40 pho-

in other genres.

tographers expressing interest.”

“A new awards category will permit birth

“Birth photography is more like documenta-

“They argued that their work didn’t fit into

David also said the group is interested in

images to be judged fairly and on the merits

having expert judges with skills outside pho-

of the environment that they are captured in.

tography, such as midwives.

15

Sample spread from Forever Young - Art for the Heart, by Peter Rossi and Charmaine Heyer.

Forever Young

Peter Rossi & Charmaine Heyer on book publishing

16

Peter Rossi and Charmaine Heyer are Australian

raphy and inspiring us with their novel and ex-

photography royalty, both being AIPP Grand

citing ideas.

Masters of Photography, both winners of the

Canon AIPP Australian Professional Photogra-

about: inspiration.

pher of the Year, and both being as passionate

Titled Forever Young - Art for the Heart, the

as ever about the art and craft of photography.

104-page, limited edition book has been written

not only to showcase their recent fine art, but to

In terms of the Canon APP Awards, the two

And that’s what their new book project is all

continue to place highly in their chosen catego-

let you into their private world of photography,

ries, pushing the boundaries of creative photog-

design and creative ideas.

Some of the pages include all the elements used to create the final masterpiece.

Peter and Charmaine are speaking at the

Explained Peter, “We think a lot of photogra-

Nikon Event this month where the book will be

phers are like us, looking for ideas and inspira-

officially launched, but there are only 250 hand-

tion before heading out on a shoot, to spark off

signed copies available. And at $295 each, Char-

their own imagination. Hopefully people will be

maine and Peter realise they are appealing to a

able to flick through our book and get some in-

limited market.

spiration for their own photography.”

Or are they? When you look at how much

Peter says the book isn’t a how-to volume

photographers are prepared to spend on a

per se, although a few of the pages include the

workshop or a seminar, Forever Young appears

many photographic elements used in Photo-

to be a bargain given you get to keep the lec-

shop to create their masterpieces. Nor does it

ture notes in an exquisite, 12-inch, vintage fabric

explain the photography process in fine detail,

hard cover tome, featuring both satin and gloss

but maybe there’s another book to come!

pages.

“However, we think there’s more than

17

There are so many Gold Awards in this book, it leaves you breathless! How do they come up with so many great ideas?

enough information to show how our thought

phers who have a dozen or so Gold Awards

process works, how we start with basic ideas

tucked away and wish to link this to a portrait

and turn them into art pieces.

promotion, as Peter and Charmaine have (guar-

nateeing a certain number of pre-ordered book

“We want our book to take people on a little

journey, showing them how we shoot around

sales). “I think there are lots of us who have a

the hero shot. Sometimes showing the precise

book or two in us, explaining how we created

steps can kill a picture because you know how

our images and the ideas behind them.”

it was created, and while we do this for a couple

of examples, for most we simply show the fin-

follow our work and now they have a formalised

ished art and it is up to the reader to fill in the

unit of some of our creations.”

dots.” And trigger their own creative process.

maine’s website at www.highlights.com.au and

Peter also noted that this could be a chal-

lenge for many other established photogra-

18

“We’ve also sold a few books to people who

To purchase a copy, visit Peter and Char-

order online.

19

Capture The Emotion

Melissa Neumann Asks What Are We Really Shooting?

So often we attend seminars where we’re told

about the new baby smell’?”

that portraiture isn’t just about camera tech-

nique and lighting, it’s about emotion. What’s

their baby up to their noses, they hold the baby

often not quite so clear is where you find that

close, they look at each other, compare notes,

emotion.

smile, laugh and so on.

Sure, the emotion is in the expression of the

The parents undoubtedly smile, they bring

“This is when I capture the emotion. I get the

clients you are photographing, but it is also in

best expressions and some beautiful connec-

the memories the clients have of the shoot. If

tions, and as soon as they see the images, the

you can create a positive experience during the

connection stays in their mind.

shoot that they really enjoy, then selling the

photographs becomes much easier.

the baby up close with big smiles, sometimes

their eyes are closed, but it sells every time. I

Melissa Neumann takes it a step further with

“Some of the photos will have them holding

newborn babies and their parents, but in a gen-

swear it is only because of the connection and

uine way.

what has been said during the shoot.”

The approach also works best over a num-

Melissa shoots from her home studio, but

ber of meetings, so it begins with the maternity

she has no qualms about packing up her gear

shoot before the baby is born.

and visiting a client’s home or location.

Explained Mel, “When I’m talking to the pro-

“I’m very flexible in how I work, but of course

spective parents before the shoot, or it may be

I’m only doing two or three shoots a week and

during the maternity shoot before the birth, I

maybe a couple of 500 Club shoots, so it’s no

tell them the thing I most love about newborns

big deal to pack everything up and drive to a

is their smell.”

location. If I were doing 15 shoots a week, then

I’d need to be based in my studio.

Admittedly this approach may work better

for women photographers than for men!

20

Continued Mel, “When they return a few

Mel Neumann AAIPP is an AIPP National Vice Presi-

weeks or months later for a newborn shoot, I

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

will set them up and take a few photographs.

volved with a new venture to help photographers

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

“Then I ask, ‘Do you remember what I said

21 Capturing that newborn baby smell. Photograph by Mel Neumann. Explanation in the article!

Why The Wedding Album Works

Anna Blackman explains why we can sell albums.

Anna Blackman makes the wedding album work

centre. She said she despised wedding photog-

for her on several different levels, beginning with

raphers because they always arrived late with the

a tactile experience that is impossible to refuse.

bride and groom, the food would spoil because

of the delay, and not once had a photographer

“It’s all about the tactile experience. Once

they have the album in their hands and I seem

sent her a photo of her reception centre.

them stroking the cover and feeling the weight

of the pages, I know I have them! They smell the

rived on time and I gave her some photos. I also

leather, touch the art paper and they want to

gave her an album which included photos of her

own an album.”

function centre, and now she sells me for free.

In fact, I get around 25 per cent of my weddings

Anna has a number of different album de-

“So, I made sure the bride and groom ar-

signs, some with pressed cotton pages, others

through her and all it has cost me is a new album

with interesting cover designs.

every two to three years.

“They are different to the print-on-demand

“Why can’t every wedding photographer just

photo books you can get online for $50. They

choose one venue to be nice to and give it a

have to be, otherwise the clients will think they

go? Show them how great their venue looks, do

can do it themselves.

some free shoots for them and build a relation-

ship. I help my friend by doing her advertising

“A lot of photographers don’t make sample

albums to show their clients because they think

and promotional photographs for free, and why

the albums will cost a lot of money and they are

wouldn’t I when those photographs are also go-

a pain to put together, but my view is that every

ing to help sell me?

album I send out brings me in more clients.

nice to customers, but to other suppliers in the

“A DVD won’t bring you in lots of referrals, it

Customer service isn’t just about being

just sits in a drawer after being shown on televi-

game as well. And an album, well, it is the cen-

sion a couple of times. In comparison, an album

terpiece of all these relationships.

is handed around and, being a tactile experience,

22

people love to look at them.”

Anna Blackman is an AIPP Master of Photography

Function Centre

who runs a successful boutique wedding studio

“I met a lady 18 years ago who ran a function

near Wollongong, NSW. annablackman.com.au

Two examples of Anna Blackman’s wedding photography.

23

Photograph by Chris Shain.

24

Read The Small Print

The Importance of understanding contracts.

Recently Chris Shain was asked to sign a docu-

response. He suggested I simply ask for some

ment that allowed him to attach remote cam-

of the sections of the form to be removed or

eras to a telegraph pole in order to photograph

changed. He put a few lines through the form

a commercial job.

and sent it back. The lawyers acting for the au-

thority made a few counter changes and even-

“I asked the authority involved for permis-

sion and didn’t expect there to be any trouble

tually we ended up with an indemnity that was

as my client and the authority were working on

reasonable.

the project together. Plus I did all the hard work,

identifying the exact pole, its GPS co-ordinate

authority said that he had given out 50 of the

and describing the equipment we wished to at-

same indemnity forms to other contractors

tach.

(from lawn mowers to builders) and they had all

just signed them and sent them back without

“I get the okay and then a couple of days lat-

Interestingly, Chris noted, his contact at the

er I receive a form asking me to sign an indem-

query.

nity and waiver.”

anything happening are pretty small, and even

In other words, if the camera falls off the

“Our lawyer admitted that the chances of

pole and hits someone in the head, Chris would

if the terms weren’t enforceable, you can find

be liable.

yourself dragged into the court system for six

months trying to sort it out.”

“The nuts and bolts were that we would be

responsible if someone else damaged the pole,

The better approach is to read the small

even though we or our camera had nothing to

type and if it doesn’t seem fair and reasonable,

do with it. The insurance company’s view was

change the terms so they are. Be prepared to

that this was beyond what I was being insured

negotiate.

for, so if I signed the form, not only would I be indemnifying the authority, I possibly wouldn’t

Chris Shain is a commercial photographer working

have any PL insurance either! ( always show

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

your insurance broker any of these forms you

sues for photographers and holds a board position

sign)

with the Australian Copyright Council.

www.imagesforbusiness.com.au

“What I found interesting was my lawyer’s

25

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.

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26

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27

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•

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.

•

28

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29

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30

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31

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.

•

32

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33

Exposure isn’t just the overall exposure (top), but the subtle changes to tonality that you make to the file in post-production (bottom).

Before entering the Awards, critically evaluate your entries to ensure the exposure is right, not just overall, but in detail areas as well.

34

Your Awards Entry: Exposure Is the exposure correct - everywhere?

When your print swings around at the Awards, it

and foreground are evenly exposed, you can

is centre stage. All five judges are looking at the

see detail in the yak’s head (just). And given the

image critically. They want to like the print, but

bright overhead sunshine, it’s what you would

equally, they want to be impressed by the craft

expect from a camera.

and control exhibited by the creator.

All the judges have entered photography

sure. It can only provide one exposure for all of

awards, so they know what it is like to win – and

the image, even though different parts of the

to lose. No doubt they have sat in the audience

image may require different exposures.

and watched their prints receive low scores, re-

Post-Production

turning to their studios later in the day, asking

When you look more critically at the top photo-

lots of questions about themselves and their

graph, the way a judge will look at the print, you

entries. Why didn’t the judges like my image?

notice two main problems. First, the highlights

Chances are they did like the image, but

on the yak’s back are very bright. Some would

there were aspects that could clearly have been

say distracting. Second, the yak’s face is quite

done better.

dark. It is hidden away in the shadows.

Often these aspects are just subtle, but it

And this is the limitation of a camera expo-

Now compare the bottom photograph.

is this subtlety that distinguishes professional

Note how the highlights on the yak’s coat are

photography from the amateurs. Anyone can

controlled and the head of the yak has been

press a button on a fully automatic camera, but

lightened up. Importantly, if you cover up the

producing a professional quality print requires

top photograph and return to look at the bot-

more thought and craft.

tom one, you can’t see where the image has

Self Analysis

been lightened and darkened, where the expo-

Take a look at the two photographs opposite. At

sure has been changed. It looks natural.

first glance, there’s not much difference. Howev-

er, the difference can turn a below award print

this isn’t the point, it’s the process of critically

into a Silver Award.

evaluating your photographs and adjusting the

exposure in areas that need change, before you

In the top photograph, the overall exposure

would be considered correct. The background

Whether you would edit the yak exactly like

enter!

35

Is A Speeding Fine Tax Deductible?

And what about parking tickets?

There is no good news for parking and driving

ter. During the job, the client asks you to take a

offenders. The rules state that fines and penal-

few extra portraits and you arrive back at your

ties are not tax deductible.

car five minutes late.

On The Way To Work

So, you’re a wedding photographer. The bride

and you have a $100 fine - who pays for it?

has left her home and you need to get to the

church before she does. You take a short cut

have put more money in the meter. And the tax

and plant your foot on the accelerator, only to

office won’t give you a deduction that’s for sure

see a road side speed trap flash as you pass by.

– it doesn’t want to encourage you to break the

law either!

Bugger! That will reduce the profitability on

However, the parking inspector wasn’t late Well, your client won’t want to – you should

the job, especially if you’ve only charged a low

Not Only Road Offenses

fee for a shoot and burn!

Of course, the $3 you put in the parking meter

is deductible, and the cost of running your car

The speeding fine arrives and it is duly paid,

but when you show it to your accountant at the

for business purposes is also deductible.

end of the year, you’re told it is not a tax deduc-

tion.

this principle flows through into most areas of

life.

Although expenses incurred while working

It’s just that fines and penalites are not and

are generally allowable as tax deductions, there

are special rules which deny tax deductibility for

payment isn’t a problem is your banking. If a

fines and penalties. The argument seems to be

credit card or cheque account charges you pen-

that the government doesn’t want to encour-

alties for late payment or a bounced cheque, or

age misdemeanours by making them tax de-

charges you interest for being overdrawn, these

ductible!

are not treated in the same way. Rather, they are

Providing Good Service

simply a cost of financing your business and, as-

Now you’re a commercial photographer. You’re

suming the underlying transactions were busi-

shooting a series of corporate portraits, includ-

ness in nature, the interest and penalties would

ing the board of directors. You’ve allowed an

be tax deductible.

hour and paid for two hours on the parking me-

One area where a penalty or interest for late

As always, check with your accountant.

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.

36

Issue 76...

Capture Amazing B&W In-Camera • Create Beautiful Vignettes • T h e B e s t S h a r p e n i n g Te c h n i q u e • Studio Lighting For Por traits 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 ’s s e c t i o n . . .

Go to member services...

Go to my publications...

Go to Better Photography...

Download and enjoy!

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 37

38

Profoto B1

Automatic Studio Flash For Canon and Nikon.

Studio flash used to seem a

higher.

bit hard.

easy. Attach the special Pro-

Well, actually, once you

Using the flash unit is

understand apertures, flash

foto remote control unit

sync, ISO and can get your

to your camera’s hot shoe

head around it, studio flash

(I was using a Canon EOS

is actually pretty easy.

60D) and turn it on. Make

sure you have the channels

But it’s even easier now

with the Profoto B1 because it calculates the

set correctly (chances are the default settings

flash for you, plus it’s a battery operated unit

will be right) and press the buttons until you see

which means you can take it on location. No

TTL.

mains power required.

is correct. It’s that easy and the results are excel-

The unit is not small like a speedlight flash,

Point camera, press shutter, flash exposure

so you’ll need a light stand to hold it and you

lent.

might as well take advantage of some of the

great light shapers too, like a brolly, a softbox

shine coming through from behind left, but the

or a beauty dish (which was used for the photo

Profoto B1 provided just the right amount of fill-

above).

flash from front left.

The quality of light you can produce with

The photo opposite has some strong sun-

And in other shots without strong sunshine,

the right attachment is second to none.

the exposure was equally correct. It just seemed

too easy.

The rechargeable batteries attach to the side

of the unit and multiple batteries mean you can

shoot for as long as you need to.

one that doesn’t offer TTL exposure control and

works with all cameras, and one each specifi-

I took around 150 shots and the battery

There are three remote controls - a general

showed 2/3 power left. Profoto says a battery

cally for Canon or Nikon DSLRs which offer fully

will give you 220 full power flashes, but you may

automatic control.

find you’re rarely using full power and so the

number of flashes in practice could be much

Photographic or click here.

For more information, contact L&P Digital

39

SPECIA

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Save 20

Use Co u Offer E

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de: BP7

30/9/2

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6

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:

www.betterphotography.com