Working Pro 223 by Pt 78 Pty Ltd

Working Pro The

Issue 223 â&#x20AC;˘ July 2014

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

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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 #223

Cover

Mandarine Montgomery CREATED FOR THE ANNUAL CHARITY AUCTION Turn to the back cover to see the other side of dan o’day’s dual personality!

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 ul y

2 0 1 4

President’s Message

Social Pages - The Nikon AIPP Event

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

2014 THE NIKON AIPP EVENT PHOTOGRAPH OF DAN O’dAY

A pictorial report on the goings on up on the Gold Coast at the recent Nikon AIPP Event.

Member Profile: Scott Leggo

How Will The Online Awards System Run?

What Is An APPA Seed?

AIPP State Council Members

Simplifying The Price List - Anna Blackman

Is Good Photography Enough? - Chris Shain

Editor’s Selection - APPA Winners

Your Awards Entry: Sharpening

Will I Make Money @ $200 A Sitting?

The AIPP Blog

Our Co-Opted Board Member: Jade Wisley

Røde smartLav+

Can you combine a love of landscapes and planes in the profession of photography. Let’s ask Scott! The AIPP’s easy access competition and critique system will go online to make it more affordable too. There are three ways you can enter the APP awards which ensures everyone gets a fair go. Whose in charge of your patch? Check out all the new AIPP State Council Members here. Don’t scare your clients with numbers says Anna Blackman. Keep your price list simple. It’s a question we don’t really want to ask, but do clients hire us for our great photography, or is there something else? A selection of entries that caught the editor’s eye from the 2013 Canon AIPP Australian Professional Photography Awards. The one thing judges hate is an over-sharpened image, but do you need to sharpen it at all? The challenge for portrait photographers is giving their customers what they want at a price that keeps them in business. A recap of some of the important stories posted on the AIPP’s blog, just in case you missed them! A short bio to introduce our latest hard working Board member. Jade’s role is to improve our communications. If you have an iPhone or Android equivalent, this little lapel microphone might be just the trick!

Doesn’t Time Fly!

Kylie Lyons M.Photog., Hon.LM, National President My, doesn’t time fly! I can’t believe it’s been two

I hope that this contact can continue. You may

years since I was elected as National President

recall the new email address that enables you to

and now my tenure has come to an end!

give feedback directly to the Board:

feedback@aipp.com.au.

At our board election on 8 July 2014, Ross

Eason was elected as the 24th National Presi-

dent. I hope you will join with me in congratu-

thoughts and ideas.

lating Ross and wishing him the best for the

next 12 months.

years and would like to thank all the sponsors

and trade partners, the state council members,

I now take on the role of Chairperson and

Please continue to use this to send your I have learnt so much over the past two

look forward to the next set of challenges that

subcommittee members, Board members and

lie before me.

all the National Office staff who have assisted

me in my role. As a group of people working to-

When I became President, I set out to

achieve a number of things:

gether for the betterment of the photographic

• to give the AIPP a face;

industry, we are a pretty formidable force and

• to be a President who engaged personally

this was demonstrated best at the recent Nikon

with members and worked closely with the

Event on the Gold Coast.

Executive Officer;

So, now it’s time for me to say goodbye to

• make it easier for members to get involved;

this monthly report. Thanks again for reading

• make the Board more visible and accountable;

each time.

• embrace electronic communication;

• develop an integrated awards system.

continued support for your AIPP.

I am very proud that the Board has achieved

these goals and that we have left the AIPP in a

I look forward to the next chapter and your

better place and well positioned for the future.

I am extremely pleased to have met so

many AIPP members in person over the past two years and I have appreciated your views, support and friendship. As I’m still on the Board,

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

Thinking of entering APPA this year? Everything you need to know can be found at: www.appa.aippblog.com

Learn more about APPA by viewing Tony Hewittâ&#x20AC;&#x2122;s Keep Looking For Your Style, a feature on the current Canon AIPP Professional Photographer of the Year http://vimeo.com/98711578

Is $16,000 For Dan O’Day Enough? Charity Auction At The Nikon Cocktail Party It all started in 2012 with an impromptu print

auction of a photo featuring Tony Hewitt, na-

auctioned at the Nikon Cocktail Party that had

ked, taken by David Oliver during one of The

everyone enthralled. Mandy Montgomery had

Nikon AIPP Event workshops. The print was auc-

photographed Dan O’Day secretly during the

tioned at the Nikon Cocktail Party, and then the

convention and, after some very late nights, had

auction was expanded to the gala dinner two

produced an amazing print, proudly printed by

nights later when all the speakers were invited

Epson.

to donate a print.

bid at $8000, where it stalled, until Mandy sug-

We managed to raise over $28,000 which

The auction beat all records with the top

was donated to Breast Cancer research.

gested she would make two available at $8000

if both the top bidders agreed.

After such a successful year, we decided to

do it again in 2013 and raised over $35,000 for

Mens’ Prostate Cancer.

and Nick Segger from Nikon, the auction raised

$16,000 and it was a very good start for the fun-

And in 2014, the charity being supported

was Make A Wish.

Dan juggles for a higher price while Tony Hewitt keeps the buyers engaged.

Once again, it was the photograph being

So, thanks to Shant Kradijan from DigiDirect

draising efforts. But more was to come!

Mandarine Montgomery can’t believe the prices being paid for her work of art - a new record is being set, but it’s about to be doubled!

(Left to Right) Dan O’Day, Mandarine Montgomery, DigiDirect’s Shant Kradjian and Nikon’s Nick Segger, congratulating each other after a successful double bid.

Mandarine relieved, Dan completely pumped!

$59,000 For Make A Wish

The Nikon Event Gala Dinner Makes A Difference Photographers and trade at the 2014 AIPP

medical conditions, was chosen as this year’s

Nikon Event, held at the RACV Royal Pines Re-

charity, with previous years seeing donations

sort in the Gold Coast from the 8th – 10th June,

to breast cancer research and prostate cancer

raised almost $60,000 for the Make A Wish

foundations.

Foundation through its annual charity print auc-

tions, taking the total raised in the last three

“This year, the theme of our conference was

years to over $125,000.

‘Turning the ordinary into the extraordinary’,

something that professional photographers

Held to mark the end of the three day na-

tional conference, the auction is the brainwave

do every working day.

of a number of AIPP members who decided

they could combine their image making talents

and they enjoy seeing the pleasure their work

with their generosity of spirit to raise money for

brings to their clients.”

worthy charities.

to right, top to bottom on opposite page):

There are two auctions during the conven-

“Professional photographers love their work

The prints on auction were provided by (left

tion, beginning with a single print auction at

Julia Kuzmenko, Peter Rossi, Peter Coulson, Kelly

the Nikon cocktail party, and then followed by

Tunney, Heather Swan, William Long, Esther Bun-

the larger auction of a series of prints kindly do-

ning, Kelly Brown, Serena Hodson, Jerry Ghionis,

nated by the speakers at the closing gala dinner.

Tony Hewitt, Alexia Sinclair, Charmaine Heyer and

Yervant Zanazanian.

The Make A Wish Foundation, which grants

the wishes of children with life threatening Auctioneer Tony Hewitt at work for the Make A Wish Foundation.

Peter Myers, the AIPP Executive Officer said

ENT D COAST

IKON AIPP

THE EVENT GOLD COAST 2014 NIKON AIPP

THE 2014 AIPP NIKON EVENT RAISES $60,000 FOR MAKE A WISH FOUNDATION Turning Ordinary Into The Extraordinary

On Tuesday 10th June, the Australian Institute of Professional Photography (AIPP) through its annual charity print auction raised almost $60,000 for the “Make A Wish Foundation” taking the total raised in the last three years to over $125,000, benefiting breast cancer research and the prostrate cancer foundation as previous charity recipients. This annual auction takes place at end of the AIPP national conference, The Nikon AIPP Event, and was the brainwave of a number of members who 3 years ago simply decided they could combine their image making talent with their generosity of spirit to raise money for worthy charities... This year, the 2014 AIPP Nikon Event was held at the RACV Royal Pines Resort in the Gold Coast. This 3-day professional photography conference from the 8th – 10th June included amongst its delegates, AIPP members, photography students, and members of the public interested in improving their photography knowledge. Peter Myers, the AIPP Executive Officer said “This year, the theme of our conference was “Turning the ordinary into the extraordinary”,

understand, even in difficult financial times, the support the community at large. Each year we beneficiary of this fund raising effort, and each more money”.

The prints for the auction were donated by the at the event, including this year, Jerry and Meli Julia Kuzmenko, Alexia Sinclair, William Long, a Professional Photographer of the Year, Tony He

The AIPP together with its major partner Nikon looking forward to The Nikon AIPP Event 2015, money. The 2015 event will be in Perth from 29

FOR MORE INFO GO TO 9 www.aipp.com.au and http://www.aipptheevent.com.a Address: G.03 171 Union Road, Surrey Hills, Melbourne, VIC 3127

The Nikon AIPP Event A Blast! Photo Diary From The Gold Coast

There were a lot of people at the Night On Nikon cocktail party, and a lot of sore heads the following morning. Photos thanks to Bambi Gosbell and Karl Welsch.

Derek Clapham, Kelly Vanyai, Steve Saporito, Rebecca Drake and Ken Drake.

Nikonâ&#x20AC;&#x2122;s Kylie Dredge with Steve Saporito. Thanks Kylie, a great Event! 10

Cherie Abdy and Rachael Bentick

Nadine Saacks, Bruce Pottinger, Bambi Gosbell and Epsonâ&#x20AC;&#x2122;s Romano Bacci.

Natalie Bailey, Natalie Howe, Paula Brennan, Kaz Tuckwell and Lisa Hoffler

Speakers Glenn Singleman and Heather Swan.

Nikon’s effervescent Jeremy Brown

AIPP Board Members Ross Eason, Jade Wisely, Felicity Bacci and Nikon Event organiser and AIPP staffer, Kim Harding.

Todd Hunter McGaw and James Simmons. Don’t ask.

What’s in Anni Payne’s brightly coloured bag?

There was no shortage of food!

The Nikon AIPP Event A Blast! Photo Diary From The Gold Coast

After the very successful charity auction, the delegates let their hair down on the dance floor and partied late into the night. Is this the real reason photographers come to The Nikon AIPP Event? Photos thanks to Bambi Gosbell and Karl Welsch.

Tania Niwa, Bambi Gosbell, Kylie Lyons and Esther Bunning.

Nikonâ&#x20AC;&#x2122;s Kylie Dredge - Kylie loves public speaking!

Tony and Lynette Hewitt

Tracy Lee enjoying the dance floor.

Andrew Harrison makes a bid.

Leoluca Prestia, Jodie Shanks, Selena Rollason and Julie Foon - Julie, whereâ&#x20AC;&#x2122;s Trevor?

Trevor Foon was found near by, but not with Julie. His dance partner is Hayley Genele.

Too much fun on the dance floor!

Towards the end of the night at The Nikon AIPP Event gala dinner.

Mel Coco Pitt and Julian Walker

Katie Kolenberg and Jeremy Byrnes

The Nikon AIPP Event Speakers Photo Diary From The Gold Coast

There were so many great presentations, it wasnâ&#x20AC;&#x2122;t possible to see them all. However, many of the presentations will be available for viewing on the AIPP website. Check it out - www.aipp.com.au. Photos thanks to Bambi Gosbell and Karl Welsch.

Heather Swan at her keynote address on Fearless Photography. And wow, was she fearless!

Stephen Dupont discusses his passion for artist books.

Esther Bunning enthralled her audience with her creativity.

... and Melissa Ghionis did her best to keep him under control. They gave separate presentations.

Jerry Ghionis was on fire...

Peter Coulson, Aaron Tait, Mark Duffus and William Long on a commercial panel.

Glenn Singleman - is there a doctor in the house. When you see what he does, you will know why.

All the audiences were well behaved!

William Long making a point.

Peter Coulson explains his top light technique.

Ross Eason squeezed himself into his interior lighting demonstration.

Kosciuszko Dawn

Scott LEGGO Master of Photography

Scott Leggo is a wilderness, landscape and aviation

management consultant with one of the worldâ&#x20AC;&#x2122;s lead-

photographer and a passionate outdoorsman. He says

ing global management consulting firms. He brings

he is driven by a love of travel and the adventure of

an unparalleled depth of business understanding to

exploring great locations to photograph. His work is

his work. As a result of his travels and life experiences,

sold to individuals, businesses and collectors in Austra-

Scott is a strong promoter of more sustainable living

lia and overseas, and his images have been published

and believes in the contribution individuals and busi-

widely in leading magazines, newspapers, calendars

nesses can all make towards a better world. Where

and books.

possible, he uses his business to bring attention to is-

sues he cares about and to help education and con-

A former Air Force Officer and Australian diplo-

mat, with service overseas, Scott is also a respected

servation efforts.

Scott LEGGO Master of Photography

“My work is a mix between the ‘retail’ side of the

or my prints. That gives them confidence to en-

business where I sell prints and calendars etc.,

gage me as they already understand the style of

and then assignments for commercial clients.

my work and how this could support their pro-

motion, advertising or marketing efforts.

“The commercial side is the largest aspect of

the business. For me, it’s necessary to have both

Symbiotic

aspects of the business as they are mutually

“This commercial work in turn provides oppor-

beneficial.

tunities to capture images for my print collec-

tion.

“I win commercial assignments and corpo-

rate clients because they have seen my calendar

“Thus from a business perspective, it’s a sym-

Rhino pair

biotic relationship as one supports the other

cial or assignment work. I sometimes get ap-

and so on.”

proached for more general commercial photog-

raphy needs, but I certainly don’t do headshots.

“Eventually I plan on getting to the point

where ‘retail’ sales are more than sufficient to

I stick to what I’m good at and what I like (in

entirely fund the travel I want to do, but the

terms of why I got into photography in the first

commercial assignments are enjoyable and I get

place).

to work on some great jobs and with some ter-

rific clients.

stand I don’t try to be all things to everyone.”

“For me it is important that people under-

“However, I’m selective about my commer-

Scott LEGGO Master of Photography

Tasmanian Escape

Scott LEGGO Master of Photography

In terms of the breakdown between landscape

of photography. The operators need someone

and aviation, Scott says it’s weighted towards

with a strong aviation focus for the air-to-air and

landscape. However often he finds himself

ground-to-air shooting, but also the ability to

shooting both.

capture the wilderness locations they’ll be oper-

Perfect Job

ating in.

“For instance, I’ve done commercial assign-

ments for air charter operations where they’ll

combining my interest in aviation and passion

use an aircraft to fly hotel guests and tourists

for the environment.

into remote wilderness areas. I’ll spend a week

Diverse Clients

or two capturing their aircraft flying around

“On the commercial side of the business, my

these locations, as well as some of the truly pic-

clients are predominantly bigger businesses or

turesque and scenic wilderness areas that they

government departments who have larger bud-

take people to.

gets and know exactly what they are seeking in

terms of imagery for their marketing, advertis-

“It’s a real coming together of the two types

“Work like this really is the perfect job for me,

Mountain bomb burst

ing or promotional needs.

“That said, I’m often impressed by some

smaller scale businesses and the clarity with which they come to me with one ‘wow’ photograph they want me to capture.

“It’s great working with these businesses be-

cause they understand that it might take a few sunrises or sunsets to get the right light and they’re willing to accept this.

“Often some of the work with smaller busi-

nesses leads to work with respective tourism sectors and industries and this is how much of my earlier commercial work evolved and continues to do so.”

Scott LEGGO Master of Photography

In terms of equipment, Scott says that much of

it is survival and safety gear.

for my landscape work, while the longer focal

lengths are great for much of my aviation work.

“Given the weather conditions I often find

“I predominantly use the wider angle lenses

“Medium format is possibly next for me, giv-

en what I want to be able to offer my clients going forward, but I think there’s some big changes coming from the likes of Canon and Nikon competing with the Phase One and Hasselblads of the world, so we’ll see how this plays out. myself in, personal equipment and clothing is

the priority. There’s not much point having great

GH2780QR ball head, which is great for my back

camera equipment if you freeze to death.

given the light weight and I love the flexibility

that the extra length from the tripod gives me

“On the clothing front I love everything from

Icebreaker and spend far too much money at all

with no real compromise on rigidity.

the top outdoor/adventure stores on clothing

Getting Around

and other outdoor adventure essentials.

“To carry my gear, I use Lowepro backpacks or

Macpac backpacks for the longer overnight

“Having been in the military, I appreciate

how important decent footwear is. My Raichle

camping trips.

mountaineering boots, which I’ve had for a

while now, are without doubt the best boots

started and these cards have never failed, even

I’ve ever owned. They’ve taken me through all

when shooting in temperatures as low as minus

sorts of extremes globally and are still together

40 degrees Celsius.

and waterproof.

Cameras & Lenses

products for all my computing needs. On the

“On the camera front, I currently shoot with

processing front, I use Phase One’s Capture One

Canon’s EOS 5D MKII, with a good range of L se-

for my raw processing and then Adobe Photo-

ries lenses, as well as Nikon’s D800E fitted with

shop as required.”

Carl Zeiss lenses.

“I use a Gitzo GT2542L tripod and Gitzo

“I’ve used Sandisk Extreme Cards since I

“And last, but of course not least, I use Apple

Red row of trees Orange rows of trees Alpine sunrise

Scott LEGGO Master of Photography

“Like most photographers, many of my images

areas during winter when you’re away from any

are the result of much planning and prepara-

tracks and facilities, and the inclement weather

tion, and often involve braving the elements

comes in, you really need to know your stuff

too.

and have good local knowledge of the area.

“Shooting my winter images is a good ex-

ample. I researched many of these shots well

and prior planning, but equally some shots are

beforehand. In the alpine regions, I visit the area

the result of me being in a location and the

in summer when there is no snow around. I look

weather conditions and light being just right.

for scenes and subjects that I know will look

great in winter. It’s much easier to hike around

out there when it happens.”

and find subjects to shoot when there’s not two

Sustainability

metres of snow around!

“As a landscape photographer, I capture both

mother nature as well as man’s built environ-

“Then, come winter I know where I want to

go and how to get there. In those back country

“In this sense, there’s a lot of pre-visulisation

“Either way, you have to be prepared and

ment. I’m always in awe of both, in terms of

Snow solitude

what exists naturally and what mankind has

photography is certainly something I want to

achieved. I respect both.

develop further in the coming years.

â&#x20AC;&#x153;It is, however, my hope that my wilderness

landscape images convey in part what I feel very strongly about: that we need to preserve the few wild, untouched places remaining in the world and protect our precious wildlife and natural resources.

â&#x20AC;&#x153;Sustainability and protecting what we have

left are ever growing challenges in an increasingly industrialised and urbanised world.

â&#x20AC;&#x153;I hope my images can help people recog-

nise what we still have left and that it is worth protecting and preserving. This aspect of my

Scott LEGGO Master of Photography

The Wall

Scott LEGGO Master of Photography

When asked if he had any advice for other pho-

go right. Sit back, assess, de-brief, ask

tographers, Scott was pensive.

advice, learn from others and then re attack.

“This is a tough question as I think there are

“A strong commitment to what you want to

so many critical elements.

achieve in the long run will help in this regard.

Commitment

“I think one key piece of advice is to be commit-

I know, similar to me, are into landscape pho-

ted. I don’t think you can achieve the success

tography because of their love of travel and the

many landscape photographers desire without

outdoors first, and with photography second. I

a high degree of commitment. This covers many

think sometimes it can be easy to let the pho-

aspects, but ultimately comes down to personal

tography and business aspects take over and

drive and motivation.

fail to enjoy the outdoor experience.

“Just like many businesses, it’s a constant

“And finally, most landscape photographers

“When I catch that happening with me, I try

learning process, so don’t give up. I’ve had lots

to pause and just take in the scenery wherever I

of things not work and learnt some very hard

am and enjoy the moment.

lessons along the way, especially with some marketing efforts that were financial disasters.

To see more of Scott’s work visit his website at:

www.scottleggo.com

“I could have easily given in a few times, so

I’d say to others, stick with it when things don’t

Like a Bird

How Will The Online Awards System Run? T h e A I P P ’s e a s y a c c e s s c o m p e t i t i o n a n d c r i t i q u e s y s t e m .

Peter Eastway interviews Peter Myers

We’re not into the new awards system yet, but

when it is fully operational (probably in 2016),

bers will enter to win prizes or use the system as

how will it work?

a tool for gauging their more experimental imag-

es, especially if the cost is reasonable. And while

After APPA each year, the categories for the

Peter believes that more experienced mem-

following year will be agreed upon through

the details have yet to be ironed out, Peter also

the category advocates, effectively allowing

sees the online entry system allowing feedback

all members to have a say and ensuring the

to be tailored differently for members and non-

awards system meets the needs of the mem-

members, professionals and non-professionals.

bership generally.

real purpose is to be a critique session. Judges

The categories will be published in Novem-

“So while this is an online competition, its

ber or December, in time for the online photog-

will know whether the entrant is a professional

raphy competition which will be held in Febru-

or an enthusiast, a Master of Photography or a

ary. The online competition is open to everyone

newbie, and they will be asked to tailor their ad-

– members, non-members, professionals and

vice appropriately.”

enthusiasts. Explained Peter Myers, “The key

value proposition is that every image entered to

the results will be tallied and a qualifying level

the online competition will receive criticism and

set, a bit like the university entry system. Pho-

feedback from the judges.”

tographers whose entries scored above the line

will be eligible to enter their state print awards;

For most new entrants, the feedback will be

At the end of the online judging process,

the starting point for their journey through the

those who are below the line will now have

APPA system. If their images were below stand-

time to work on their entries for the following

ard, the feedback will give them direction and

year’s online competition.”

advice so that, hopefully, the following year

their images will reach the required standard to

opportunity for feedback, but entrants will need

allow them to enter the state awards.

to score above the line in order to enter APPA,

unless they qualify in some other way (such as

“The rules and parameters will be exactly the

At the state level, there won’t be the same

same as they are for APPA, but it will be cheap

the seeding process or the grandfather clause

and easy to enter.”

for members who already have qualifications).

What Is An APPA Seed?

T h e r e a r e t h r e e w a y s y o u c a n e n t e r t h e A P PA a w a r d s .

In the new look AIPP awards system, most pho-

want to enter for the first time? If the AIPP is to

tographers will have to earn the right to enter

encourage photographers at all levels to join

APPA, the national awards competition.

up, we don’t want to discourage them by mak-

ing it difficult to enter APPA.

To do so, entrants will first need to partici-

pate in an online competition before being al-

lowed to enter the state awards, and then they

into play.

will need to succeed at their state level before

Seeding

being entitled to enter APPA.

William Long is the AIPP’s seeding manager and

Already In The System

he will oversee the process, but it can start at

But will photographers who have been entering

a local level. State councils will be encouraged

APPA for 10 years really want to enter both an

to invite experienced new members and non-

online and a state awards system, just so they

members alike to enter either their state awards

can have four prints judged at APPA? Surely

or APPA, without needing to enter the online

they have established their credentials already?

competition.

The answer is that these photographers will

This is where the seeding process comes

In many cases, it will be enough for the local

continue to receive automatic entry into APPA.

council to make the recommendation, but as

The details of what will be required have yet to

with all systems, there will be a maximum num-

be finalised, but I imagine automatic entry will

ber of seeded photographers invited to enter

be available initially for all Associates and high-

and so William’s job will be to ensure the results

er, as well as photographers who are part way

are equitable around the country.

towards achieving their next level.

there is a limit to the number of entries that

So, for instance, if you have three Award

As the APPA competition grows each year,

points and you’re hoping to earn another two

can be assessed within a three day event while

for your Associateship, entry to APPA would be

maintaining a high level of judging expertise.

automatic.

The three tier approach to the awards system

allows the AIPP to manage the numbers, while

So, what happens to new members who are

already very experienced photographers? Or ex-

the seeding process gives it the flexibility re-

perienced and established non-members who

quired to ensure a fair outcome for everyone.

These are your current state council members and they are keen to help you and listen to your suggestions. To get in touch with them, use the Find A Photographer service on the AIPP website - www.aipp.com.au.

Simplifying The Price List

D o n’ t s c a r e y o u r c l i e n t s w i t h n u m b e r s s a y s A n n a B l a c k m a n . When people contact Anna Blackman about

their 50s getting married for the second time

shooting a wedding, she replies with an email

doesn’t have the same needs as a younger cou-

and a simplified, one page PDF price list which

ple getting married the first time.”

sets out her various price points.

“It basically says if you spend $3000, you get

to spend $500 won’t be able to hire Anna, al-

this, if you spend $4000, you get this, and if you

though they will still receive her sterling cus-

spend $5000 you can expect this. It is designed

tomer service. “I’ll explain that a lot of the peo-

to give them a rough idea of what they may

ple charging $500 are shooting weddings as a

spend, but I also have a full price list with differ-

second job, or they don’t have a lot of experi-

ent albums and other options.

ence and just like taking a few snaps. The prob-

lem with people lacking in experience is that

“My price list is a two-step process. People

want a basic idea of what it is going to cost

often they have no back-up camera, no extra

them. They don’t want to waste their time or be

memory cards, and don’t even use a camera

embarrassed if what I am offering is out of their

with two memory card slots.

price range.”

However, while Anna has a two-step price

people starting off can be really good and cli-

list, it’s what she does in between the two lists

ents could be lucky. But it’s a risk and do they

that makes all the difference. She is very pre-

really want to take it?”

pared to spend time with prospective clients,

talking them through the options, explaining

these clients reasons to spend more than $500.

the processes and her various packages.

but after spending half an hour with them, they

“And these days you have to be prepared to

“I try not to be mean about it because some

What Anna is doing, of course, is giving “A lot of people ring with a $1500 budget,

talk to people who don’t want to spend more

are comfortable spending $4000.”

than $2000. Rather than saying I can’t do it, I ask

if they could get married on a Thursday, for in-

and burn photographer, she’ll just end up with

stance. I can do Thursdays for $2000, no trouble.

her photos on a DVD in a box, whereas with

Anna she’ll have an amazing album that her

“Not everyone puts the same value on pho-

tography or has the same needs. A couple in

However, there is a limit. Couples who want

The bride realizes that if she hires a shoot

children and grand-children can see.

An example of Anna Blackman’s day to day photography.

So, what does Anna’s price list look like?

structured to be the most attractive.”

“The first page includes some introductory

After the packages, Anna has an a la carte

information about why it’s so important to use

section with different prices for different prod-

a professional. It’s said nicely and in a fun way,

ucts and services, from just the basic coverage

explaining what happens when Uncle Bob gets

to amazing albums. “However, I explain that

drunk and drops his camera… I like writing and

when you add up the various components, they

making people smile!

will probably find one of the packages suits

them better.”

“Then I have a series of four packages. As

everyone knows, most people will pick the second or the third one on the list, not the first or

Anna Blackman is an AIPP Master of Photography

the last. The first package is the basic package,

who runs a successful boutique wedding studio

while the last one is the Rolls Royce with every-

near Wollongong, NSW. annablackman.com.au

thing included, but it’s the middle two that are

40 Silver Award, Commercial Category, 2013 Canon AIPP Australian Professional Photography Awards. Photograph by Chris Shain.

Is Good Photography Enough? Chris Shain asks why clients hire us? Clients expect a professional standard of pho-

out them having to worry about things, espe-

tography and whether you’re a little better than

cially in the industrial area.”

another photographer often isn’t an issue. The

trick to winning and keeping clients is providing

show potential clients that you are capable and

a full service solution and being reliable, every

passionate about what you do, but more im-

time.

portantly for commercial and industrial clients

is understanding their business and what’s im-

Chris Shain noted that in the past, photogra-

“It’s true that you need good pictures to

phers would base their business on their name

portant to them. Often good photography is as-

and their portfolio. Today he finds using a busi-

sumed and it’s all the other structural aspects of

ness name separate from his own is better. Chris

how you do the shoot and how quickly you de-

uses the name Images For Business. The name is

liver the job that are more important.”

short, simple and describes exactly the service

Chris provides. It also frees him from having to

I know a lot of other photographers are charg-

take the photographs himself, allowing him to

ing half or even a third our fees. However, a lot

send an associate or even another photogra-

of clients eventually end up with us because

pher if he finds himself very busy.

the other photographers don’t provide a good

standard of work, don’t provide good service or

Chris also follows a no-nonsense approach

“We don’t get all the work we tender for and

to his business, providing quotes and estimates,

provide files without any post-production, leav-

and reading through terms and conditions thor-

ing the client with extra expense.

oughly. And he’s not afraid to negotiate with his

clients.

tom line. If you stick to it and do everything cor-

rectly, it will work.”

“I think clients respect you for it. You’re being busi-

“Write a business plan and set yourself a bot-

nesslike and so they can see you are serious about your work. You’re not just an arty photographer who

Chris Shain is a commercial photographer working

doesn’t care about related issues or someone who

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

will need lots of hands-on managing.

sues for photographers and holds a board position

with the Australian Copyright Council.

“Clients want photographers who are orga-

nized and who can be sent out to do a job with-

www.imagesforbusiness.com.au

E D I T O R â&#x20AC;&#x2122; 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.

Silver Award â&#x20AC;˘ Illustrative Category

Adam Browne w w w. f a ce b o o k . co m / Ad a m Le v i B row n e P h o to gr a p hy 2013 Canon AIPP Australian Professional Photography Awards

E D I T O R â&#x20AC;&#x2122; S

S E L E C T I O N

Silver Award â&#x20AC;˘ Illustrative Category

Greg Stoodley h t t p : / / w w w. g s to o d. co m / 2013 Canon AIPP Australian Professional Photography Awards

Silver Award â&#x20AC;˘ Family Categor y

Connie Lawson w w w.conniesmagicmoments.com 2013 Canon AIPP Australian Professional Photography Awards

E D I T O R â&#x20AC;&#x2122; S

S E L E C T I O N

Silver Award â&#x20AC;˘ Wedding Categor y

Adam Hourigan AAIPP w w w.ajh.net.au 2013 Canon AIPP Australian Professional Photography Awards

The image above has had no output sharpening added. Itâ&#x20AC;&#x2122;s probably quite acceptable as it is. Sharpening isnâ&#x20AC;&#x2122;t essential for every image, but how much sharpening is as much about taste as it is about being technically correct.

The image above has a moderate amount of sharpening and is probably considered about right. The image below has too much sharpening - it looks obviously overdone in the grass and shed. The results will also differ depending on how large you are viewing this page.

Your Awards Entry: Sharpening

To o m u c h u n s h a r p m a s k i n g w i l l k i l l yo u r p r i n t . We’re all taught that sharpening our files is stan-

dard practice, but is it?

because it has been over-sharpened.

Should You Sharpen At All?

Personally, I rarely sharpen my files. it’s not that

white lines or haloes around the edges of the

I don’t sharpen them ever, rather I am selective

subjects in the image. Sometimes the haloes

about which files to sharpen.

are thick and obvious; on other occasions fine

haloes don’t work because they are applied to

Of course, I am using medium format a lot

And it’s equally common for a print to bomb Over-sharpened images display lots of fine

of the time and often the files are already quite

areas of very fine detail.

sharp enough, but even AIPP Grand Master

of Photography David Oliver who shoots with

termined by the subject you are sharpening. It

Nikon DSLRs doesn’t sharpen his files all the

is common to apply different amounts of sharp-

time. In fact, he is often heard lamenting the

ening to different areas in a photograph.

fact that a print or a file looks too sharp.

Lightroom Sharpening

Do you use Lightroom? Lightroom has some

Sharpness might be important for an ar-

The amount of sharpening you apply is de-

chitectural or industrial image, but too much

very sophisticated sharpening algorithms built

sharpness in a portrait or a wedding may sim-

into it. Whether you’re printing from Lightroom

ply kill the emotion and the mood. It looks

or exporting a file from Lightroom, you can take

mechanical or metallic, unlike a human. The

advantage of these algorithms by simply ticking

amount of sharpening applied should be ap-

the sharpening check boxes, choosing the ou-

propriate to the subject and the emotion or

put (e.g. screen, gloss paper, matte paper) and

mood you want to convey.

how much sharpening (strength) you want (just

What Is Over-Sharpening?

a bit, normal, lots).

It is rare for a judge to say a print was scored

poorly because it didn’t have sufficient un-

three strength settings and then compare the

sharp masking applied. It is quite common, on

results. I know this doesn’t sound very scientific,

the other hand, for a print to bomb because it

but at the end of the day, there is no better way

wasn’t focused properly in the first place. Sharp-

to determine how much sharpening is enough

ening techniques rarely fix this satisfactorily.

- and how much is too much!

The trick is to output or print the file with all

Will I Make Money @ $200 A Sitting? The challenge for family portrait photographers There are portrait photographers offering a CD/

means you will never be able to go full time just

DVD/USB of 100 or 200 photographs for $200 or

shooting portraits.

less. Can you make a living at this rate?

Full Timers

Part Timers

So, then we come to photographers who want

If you have a full time job, then shooting a cou-

to be full timers, yet they also charge $200 a sit-

ple of portraits on a Saturday morning for $200

ting. Let’s assume you are successful and you

is a great way to supplement your income.

can generate 400 sittings a year - 8 sittings a

50 weeks x $400 = $20,000

week.

It’s not bad as a second income, but this rep-

50 weeks x $1600 = $80,000

resents 100 portrait sittings a year. Most pho-

tographers would need to spend quite a bit of

the median salary.

energy finding those 100 clients, especially after

they have photographed all their friends.

from? If you can work this out using social me-

dia and it costs you nothing, you have the be-

And most part-timers probably photograph

Congratulations, you’re now earning roughly Where are those 400 people going to come

10 to 30 portrait sittings a year and so their in-

ginnings of a sound business.

come is more likely to be around $5000 a year.

Yet if they offered their clients more than

phers don’t achieve this. They struggle to get

just the digital files, there could be much high-

100 portraits a year, so unless they offer more

er sales with not too much extra work. For in-

than digital files for $200, they won’t be full time

stance, instead of handing over the digital files,

for much longer! What’s the solution?

why not offer them framed prints, canvasses,

acrylic blocks, desk prints, albums or an audio

your clients. Have a minimum fee of $200 by all

visual?

means, but if you take good photos and your

And if Part Timers knew they could earn

clients love them, give your clients the oppor-

$500 or $2000 more by offering a range of ser-

tunity to purchase more products and place a

vices, I guess most would be happy to do so!

higher value on the photos you do sell.

Given it’s tough to get 100 clients each year,

the problem with charging $200 per client

The reality is more than 90% of photogra-

Offer a greater variety of products to all

When working out your prices, look at the

long term picture and ask, will it work?

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 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 53

FROM THE AIPP

BLOG

Can Non-AIPP Members Enter the Awards?

Jacqui Dean heads up the new Direct Invitation Role From 2015, with the advent of the new awards

system, the only routes for AIPP members to en-

bers into our awards, albeit their entry fee struc-

ter the Canon AIPP APPA is as a seed, as a mem-

ture is different.

ber who â&#x20AC;&#x2DC;qualifiesâ&#x20AC;&#x2122; via the state awards system, or

as a member who is already in the APPA system.

members entering our awards for the first time,

will have to earn their place as an APPA entrant

As we have mentioned in previous articles,

The AIPP has always welcomed non-mem-

From 2015, non-members, just like AIPP

the purpose of these changes is to establish a

by first entering the state awards of the state

pathway for new members and new entrants

in which they live, and qualifying in exactly the

into the awards system.

same manner as AIPP members.

The Canon AIPP APPA is the pinnacle for any-

In essence, non-members will be treated ex-

one entering our awards systems, with our state

actly like AIPP members, but with a substantially

awards, and in time, our new online competi-

higher entry fee.

tion being used as the precursor to entry into APPA.

Direct Invitation With this restructure, it was always our inten-

Timetable

tion to enrich the AIPP awards by encouraging

For 2014, nothing will change.

appropriate non-AIPP members, ranging from

photography students through to photography

For 2015, if you are an existing AIPP mem-

ber and you regularly enter APPA, you should

specialists, to enter our awards system.

be largely unaffected by these changes. You will

be eligible to enter APPA in 2015 as one of our

has been created to facilitate exactly this.

Seeds or you will be asked to qualify to enter

APPA by entering your local state awards and

cepted the challenge of this role.

achieving a qualifying score.

We will also have to put in place a similar

look to extend invitations to appropriate organ-

process for non-AIPP members who are practis-

isations and photography genre specialists and

ing professional photographers and want to en-

provide an additional pathway for non-mem-

ter our awards system.

bers to enter the Canon AIPP APP Awards.

The new role of Direct Invitation Manager We are very pleased that Jacqui Dean has acJacqui, with her wealth of experience, will

FROM THE AIPP

BLOG

2013 APPA Book Is Now Available

D onâ&#x20AC;&#x2122;t let your librar y miss the nex t great volume!

The 2013 APPA book is now available to order

at 2.7kgs and containing 365 pages.

direct from Album Works at $191 including

postage to anywhere in Australia.

support of the AIPP.

Once again, the book has been printed on

Thanks to AlbumWorks for their continuing To order, visit this landing page:

the Canon DreamLabo system, but this year,

http://aipporder.photo-products.com.au/

thanks to new gluing and binding techniques,

the book is back to a single volume, weighing in

now proud owners!)

(Both William Long and Peter Eastway are

FROM THE AIPP

BLOG

What Are The Canon AIPP APPAs? S i x G re a t M ov i e s To E x p l a i n A l l ! If youâ&#x20AC;&#x2122;re new to the APPAs - the Canon AIPP

does the awards system work? What are all the

Australian Professional Photography Awards â&#x20AC;&#x201C;

honours and how do you earn them? And what

then this series of videos is for you. D. J. Paine

about making that print for judging?

has intereviewed AIPP luminaries Mandarine

Montgomery, Kylie Lyons and Paul Atkins about

movies on the AIPP Blog or at this link: http://

everything to do with APPA.

www.aippblog.com/index.php/what-are-the-

canon-aipp-appas/

How do you create great award prints? How

There are lots of tips and you can find the

Co-Opted Board Member: Jade Wisely The AIPP National Board 2014/15 AIPP board members are photographers first

and, while they run successful businesses, they

sist the AIPP and its leaders to engage more ef-

understand that leading a membership organ-

fectively with members and stakeholders. Given

isation requires additional skills.

the volume of change that the industry and the

Communications Experience

AIPP have experienced in recent years, it is more

To bring in specific skills, the Board can ask a

important than ever for members to be con-

specialist to join them as a co-opted director.

nected, informed and responsive.

And this is how Jade Wisely was appointed to

the AIPP Board.

improvement of communications to support

members.

Jade is a communications expert. She has a

“I am thrilled about this opportunity to as-

“The Board is committed to the ongoing

Bachelor of Arts in Public Relations and a Mas-

ters in Virtual Communications.

culture within the AIPP and the role communi-

cations can play in enhancing and evolving this.

She also has twenty years’ experience lead-

“I am particularly interested in the unique

ing corporate communications for organisa-

tions including National Australia Bank, City of

bers prefer to receive AIPP information in differ-

Melbourne, ANZ and America Online.

ent ways, so we aim to tailor the delivery of im-

portant messages accordingly.

Jade has served on industry boards in Aus-

“The Board recognises that different mem-

tralia and the United Kingdom. And she has

Here To Help

won numerous awards and accolades. So, she

“The AIPP has added new channels of com-

is certainly qualified to be advising the AIPP re-

munication, such as Facebook and blogs, and

garding communications. But there’s something

the Board wants someone to critically review

else you need to know.

what is being done to make sure it is best

Photography Student Too!

practice.”

Jade is also a second year student at Photogra-

That’s on Jade’s to do list.

phy Studies College in Melbourne, which she

So, if you get a call or an email from Jade,

says she is loving! She quit her day job last year

please help her out. If you see her at an event,

and she’s beginning work as a professional pho-

do say hello. Or drop her a line anytime via jade.

tographer.

wisely@aipp.com.au

Røde smartLav+

Easy solution for high quality recording When photographers gather around to talk

plicated wireless systems.

about film and video production, attention

tends to concentrate on the latest camera, the

has increasee the audio quality even further

latest lens or perhaps the most recent editing

with the new smartLav+, achieved by updating

application.

the microphone capsule to improve sensitivity

and lower self-noise (27dBA).

However, when we look at videos and films,

Given the success of the microphone, Røde

the first thing that makes a production look

amateurish is the sound. Or should I say, the first

cable to ensure that the user cannot stretch or

thing that makes the production ‘sound’ ama-

snap the microphone under normal usage con-

teurish is the sound. Good quality audio is a

ditions.

challenge, but it’s an essential part of the video

producer’s craft.

cable management is also supplied, along with

a storage pouch that is small enough to slide

Now, not every production we create is top

The smartLav+ also adds a Kevlar® reinforced

A foam windshield and clip with integrated

shelf and a lot of social media presentations are

into any camera bag or audio kit.

made with very low-tech equipment, so the

new Røde smartLav+ microphone which plugs

field recording app, which allows the user to

into your iPhone and Android devices is of great

perform a complete range of professional re-

interest.

cording functions, including one-touch export

For iOS platforms Røde offers the Røde Rec

to Dropbox and SoundCloud. Attach To Your Phone

The first smartLav was announced in early 2013

available for download.

and quickly became one of Røde’s most popular

products, combining great value with the con-

tor allows the TRRS jack of the smartLav+ to

venience of being able to connect to any avail-

be adapted to suit standard TRS devices, such

able mobile device, including phones and tab-

as a DSLR camera or personal recorder like the

lets based on iOS or Android.

Zoom H1.

The omnidirectional capsule made it easy to

A free version of the app, Røde Rec LE, is also Finally, Røde’s recently released SC3 adap-

The smartlav+ is around $89 (US $79).

place, without the need for expensive and com-