Working Pro 225 by Pt 78 Pty Ltd

Working Pro The

Issue 225 â&#x20AC;˘ September 2014

AT TE N D TH E J U DGING

BE THERE!

Working Pro The

Co n te n t s #225

Cover

Mike Langford M.Photog., GMNZIPP, HFNZIPP 2013 aipp australian travel photographer of the year

w w w.mikelangford.co.nz

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

S ep tem ber

2 0 1 4

Ross’s Ramblings - The President’s Message

Is Plagiarism Okay?

Our new president Ross Eason keeps the membership up to date with news and information about the Institute. When you enter a photography competition, it’s important that the entry is your original work - as much as possible! Peter Eastway explains.

Membership Survey Results

All About Passion - Hilary Hann’s Africa

Ian McKenzie OAM

A Commercial Head Start - Jen Dainer

AIPP Member: Jen Dainer

First Master of Photography: Rob Imhoff

Better Tax Depreciation Rates

Awards Entry: Upside Down

The AIPP Blog

New Eizo ColorEdge Monitors

Peter Myers has released the results of the Great Membership Survey – what did you think? Her photographs come from the heart, which might explain why they are so hauntingly beautiful!. An AIPP member since it began, Ian McKenzie has been awarded an OAM and continues to be a strong advocate for our mentoring program. Jen Dainer has been through the AIPP Mentoring Program and explains why it is such a great benefit of AIPP membership. Jen Dainer has moved from forensic science to industrial photography and for many reasons it’s a natural progression. Next month Rob Imhoff will open a retrospective exhibition of his work at the Art Gallery of Ballarat, A Life of Grain and Pixels. Does this sound exciting or what! Well, it’s not quite there yet, but the AIPP has put forward a better set of depreciation rates to the ATO. To test if your composition is working as planned, Peter Eastway suggests looking at your photograph upside down. Why? A recap of some of the important stories posted on the AIPP’s blog, just in case you missed them! We rely on our monitors daily, so it pays to use models that display the best colour and tone possible. Check out these new Eizo additions.

Ross’s Ramblings

Ross Eason M.Photog., Hon.LM, National President

Inspiration comes in different ways. I’m sure the

whose fault it was, how it would impact the

bulk of us saw the story of the West Australian

budget, was there any discrimination that pre-

man who unfortunately got his leg stuck be-

vented others from getting stuck, and would

tween a train and the platform.

Clive agree to anyone helping?

https://www.youtube.com/watch?v=nZx4MichXXE

people simply decided to help and look at what

What inspired me about this story were the

But here, on an average day in suburbia, 50

actions of his fellow passengers. In 11 minutes,

they achieved! It made world wide news.

a group of strangers came together to solve a

problem and help someone in distress. Rough-

have used social media to share their experi-

ly 50 passengers, men and women of all ages,

ence. You can actually see some people texting

pushed a 90 tone train five centimetres to free

in the YouTube video and so I wondered what

the man. Incredible.

they wrote.

If something similar had happened at Par-

Without doubt, some passengers would

I’ve made some suggestions on the next

liament House, they would have formed five

page, but of course I have no idea what they re-

committees to discuss why it happened, resolve

ally posted.

I can imagine many would have been

get a chance, why don’t you go up to any one

shocked and concerned. In reality everyone in

of them and simply say thank you – or maybe

this great country would have helped if there

thank you for pushing the train.

were room. That is the Australian spirit and perhaps if we had all chipped in, we could have pushed the train six centimetres instead of five.

We have close to 3500 members in the AIPP,

so imagine what we could achieve if we all helped push?

We are all members of Australia’s peak body

for professional photography. There is no organisation bigger or doing more for the professional industry. We are a community of peers and just like the passengers on the train, we can and do achieve a lot.

I have been watching a team of very dedi-

cated members and employees work towards

Support us help us push the train that is our

industry because if we don’t, no one else will. It

delivering the Canon AIPP Australian Professional Photography Awards (APPA).

It has been 10 months in planning. It takes

four days just to build the space, collate the entries, prepare the judging areas and set up the technology. Then there are three days of solid

is your Institute, help it. Be proud of it and if you

judging involving more than 100 people and,

see a post from Ima Winja, defend our institute.

To quote US politician Shirley Chisholm:

You don’t make progress by standing on the sidelines, whimpering and complaining. You make progress by implementing ideas - taking action. A train load of strangers did that in WA. on the Sunday evening, they have to pack it all up in six hours.

These are people who all help push the

train and we are very fortunate to have them

ross.eason@aipp.com.au

as part of the AIPP community. So maybe if you

0412 108 362

Meeting of the minds... and stirring the porridge! I love this expression an architect once shared with me: “You simply have to keep stirring the porridge until you get all the lumps out”. It’s a great analogy for life and applies to just about anything that has a complex make-up (or design, in the architect’s case).

The AIPP is many things for many people. No two will want or expect the same and no two

groups will do things the same way.

Earlier this month, all State Presidents and the Board met in Melbourne to stir the porridge, or

more accurately, exchange concepts, explain how they do things in their respective states and establish an open dialogue for future improvements, better delivery of benefits to members and hopefully get a lot of the lumps out. You will see some of this roll out in coming months, but I have to tell you we have a great group of dedicated presidents who inspire me with their insight and enthusiasm to work for their respective memberships.

AIPP New Accredited Members

New APPs for August 2014 Accredited

NSW

Alistair Fletcher

Amy Grace Barker

Professional

Tony Rabbitte

Leticia Cosgriff

Emily Sanders

Photographers

Steve Rehberger

Tao Kuang

Michelle Byrne

Michelle Tengdahl

Bec Stewart

Sharyn Thompson

Rachel Hewson

Hayley Bradley

Belinda Turner

Janet Maree Stewart

Jade Wisely

Belinda Gilbert

Peter Greig

Graham Leggate

Amy Lee Curran

QLD

Lauri Willmot

Victoria Verity

Tina Bingham

Matthew Rowe

Tara Lee Dunstan

Shauna Oakley

Wayne Gibson

Tanya Maree

Channon Williamson

Guy Sherlock

Giles Hilder

International

Amber Scobie

Fiona Chapman

Vikki Siliato

Johnson Wee

Tami Xiang Yane Sotiroski

TAS Andrew McConachy

Bradley Baker VIC

Colin Baker

Danielle Symons

Kerry Booshand

Is Plagiarism Okay?

Peter Eastway discusses our sources of inspiration.

They say plagiarism is when you copy the work

of one person, while inspiration is when you

Santa Maria dei Miracoli. After writing an article

copy the work of one hundred!

for an American magazine on how I created

it, a very similar photograph taken by another

And if you read Susan Sontag’s book On Pho-

A good example is my own photograph of

tography, you will learn that all photography

photographer was entered into a competition

is derivative, meaning all photographic ideas

where I was also a judge. I scored the photo-

come from somewhere else and that there is

graph as low as I could because it was so close

nothing truly original.

to the original. The only significant difference

was that the copy had two little girls in capes

Now, I don’t quite agree with Sontag, or per-

haps I don’t want to agree with Sontag even if

running around.

she is right! The great thing about photography

is that an image can be completely new and

understand what plagiarism meant and, after I

original to us and our clients, and that’s all that

stepped off the panel, the print scored a Silver

matters.

with Distinction. I guess that was fortunate for

the photographer!

Except, perhaps, in photo competitions. If

Unfortunately for me, the other judges didn’t

you’ve really come up with an original idea and

find out later that it is very similar to another

ing illegal about looking at the work of another

photographer’s work, then that is probably just

photographer and reproducing it so you learn

unfortunate, especially if you’re marked down.

how to do it, but exhibiting or selling your ‘copy’

is unethical. Whether or not it is illegal depends

However, what we also see in photography

But it was also very wrong. There is noth-

competitions are images that are so close to an-

on how close the image is to the original, but

other photographer’s work, the question has to

that’s another discussion.

be asked: why should we reward this photo?

or sell your work to clients, you can only sell what

To be clear, I’m not talking about styles of photo-

When you enter photography competitions

graphs (such as mirror images or photos in circles) or

you have created. You wouldn’t want another

shooting the same location or subject (such as the

photographer copying what you did, so why

Sydney Opera House or a bride outside a church), I’m

would you copy someone else’s work? Surely our

talking about something far more specific.

challenge is to be original - or original as possible.

Santa Maria dei Miracoli. Photograph by Peter Eastway.

Membership Survey Results What Did The Members Say And Think? Around 500 members have replied to the Great

able to provide more than one answer and 63%

Membership Survey from a varied demographic

said that the status of being an Accredited Pro-

cross-section, which is a good start.

fessional Photographer was important to them

and 59% said they use their APP status in their

Of the respondents, 63% classified them-

selves as domestic photographers, 13% as

marketing.

commercial, 12% as generalists and 7% as land-

scape photographers. If you’re adding these

seen as positive by 59%, 52% enjoy the net-

numbers up, there were other options as well,

working and camaraderie, and 49% believe

totalling 5%.

in supporting the AIPP’s advocacy work. And

Attending AIPP events and seminars was

entering APPA was a major benefit for 46% of Getting Involved

members.

A 62% majority stated that image making is their sole source of income, while 38% had oth-

Marketing

er sources of income (although image making

There were 77% currently using the Look for the

was the larger proportion for most of them).

Logo campaign on their websites, while 12%

said they don’t use the AIPP logo at all, of which

The SIGs were approved of by 64% of re-

spondents and only 8% thought that the com-

half simply haven’t got around to doing it.

mittees the SIGs (Special Interest Groups) re-

placed were necessarily better.

ture where APP members can list their details,

and 60% of respondents have written a profile.

Similarly, 43% thought CAGs (Category Ad-

The AIPP website has a Search for a Pro fea-

vocate Groups) were a great initiative and only

9% thought the committee they replace was

fessional photography, only 23% were dissatis-

better.

fied with the AIPP’s efforts, with 11% suggesting

When it came to national marketing of pro-

the AIPP shouldn’t bother with marketing as it

Why Are You A Member?

wasn’t the AIPP’s role, but 31% would support

When asked why they were an AIPP member,

the introduction of a specific marketing levy to

74% said because they believed in support-

enable the AIPP to do more for national market-

ing our industry association. Respondents were

ing.

Issue 77... The Ideas Issue Where Do They Come From? • Peter & Charmaine Heyer Share Theirs • Mandarine Montgomery Reveals Hers 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 u b s c r i b e o n l i n e a t w w w. b e t te r p h o to g ra p hy. co m 11

A I P P

M E M B E R

H i l a r y

HANN Master of Photography

When I was a child still living in Kenya, I knew

three of these career choices were finished be-

exactly how my future looked. I would own

fore they began, mainly due to a lack of courage

a small property where my horses would live

on my part and a distinct lack of enthusiasm

along with my two children. I would be my own

from teachers at school who thought nursing

boss, perhaps with some sort of small business

and teaching were better options.

which would follow on from some amazing ca-

reer whereby I earned all the money to pay for

the 1970s and there was an oil crisis. An eco-

said horses.

nomics degree was deemed the best pathway

into the diplomatic fields (no thanks) so I head-

Somewhere in amongst all that was the be-

lief that I would stay connected to Kenya and its

ed off to university to attempt the science de-

people and wildlife for the rest of my life.

gree, but it seemed like Adelaide had no lectur-

Photography enabled me to succeed in all

those dreams, although I still have no idea how it happened. The only dream not to eventuate was the ‘amazing career’, but I’m working on it now.

I never intended to be a photographer. In

fact, I had dreams of becoming a research scientist, a diplomat or a commercial airline pilot. All

There were no female commercial pilots in

RIGHT: ‘Consigned to rock art’ was the working title for a body of work I was creating which explored the effects of poaching on a variety of threatened species. The textured background was made from a number of different textures to create the impression of a cave wall onto which I added the image of a charging black rhino that was blended into the textures. The type overlay was created in Photoshop using normal characters which I then distorted to suit. One day I hope to return to this project.

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HANN

ers or tutors with any knowledge or interest in

photographer I was dying inside. Coinciding

the fauna and flora of Sub-Saharan Africa.

with this was the fact that I was recovering from a serious illness which still leaves me somewhat

Master of Photography

Horse Racing On Wednesday

debilitated to this day.

Ultimately, I realised that the scientific path

wasn’t going anywhere good and I looked for

ic life, Terry and I decided to attend the AIPP

an alternative. I headed off and studied photog-

conference in Cradle Mountain and immerse

raphy, obtaining my Certificate in Photography

ourselves in photography for photography’s

18 months later.

sake. And that was when everything changed.

Fate then took a hand in how my photo-

To inject some interest into our photograph-

As part of my recovery from illness, I flew

graphic career would continue when I was of-

to Kenya in early 2010 to spend a week by my-

fered a job by John Atkins, who owned Atkins

self photographing in the Maasai Mara and I’ve

Colour Laboratories (now Atkins Technicolor)

been back every year since.

and Atkins Photography (specialising in horse

racing and aerial photography).

after challenge” and every day since that time

has been about overcoming difficulties, devel-

Initially I worked in the lab as well as shoot-

My motto became “clarity in thought comes

ing the horse racing on Wednesdays and Sat-

oping the courage that I never had and about

urdays and doing any aerial jobs that came our

making a difference in the lives of others.

way.

of my childhood meant that photography be-

John encouraged me to join the AIPP as he

The passion and love I have for the country

was an active member of the Institute and be-

came all about that passion and my reward was

lieved that it should be an important part of ev-

an extraordinary sense of fulfilment.

ery professional photographer’s life. I remained

a member of the AIPP, including a stint as State

the world of conservation, albeit in a different

President as well as a year on National Council,

guise. My photography feels like it has a pur-

It has meant that I’ve been able to re-enter

until I resigned in the late 1990s when my children were young, as my husband was also a member and money was tight. Dying Inside Around ten years later, in 2009, I woke up to the fact that despite the business going well, as a

RIGHT: Won a Silver Distinction at SAPPAs in 2012. One of my favourite places in Kenya, Meru National Park. I was particularly drawn to this composition because I loved the tall doum palm with the shadowy impression of the hills in the background which totally dwarfed the giraffe. I added a texture overlay to the sky which was a complete washout on this day. Canon EOS 7D; 100400mm @ 220; 1/500 second @ f/8, ISO 200.

A I P P

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HANN Master of Photography

pose in my life beyond earning a living and I feel

confident that I had both the product and the

extraordinarily lucky.

knowledge to make it work.

I re-entered the Canon APPAs later that year

The rollercoaster ride that my fine art pho-

for the first time since the 1980s and managed

tography has given me has been amazing. It has

one Silver Award. I was beyond excited. Later

forced me to embrace techniques and philoso-

the same year I entered my first South Austra-

phies that were quite foreign.

lian Awards and was astonished when I was

awarded the Landscape Photographer of the

hibition proposals, whilst trying not to feel self-

Year.

conscious when selling my work to prospective

purchasers.

Ultimately, I’ve ended up winning Landscape

I’ve learned to write artist statements and ex-

POY at state level five years running which

amazes me as I don’t see myself as a landscape

where I feel it belongs, so it’s expensive by Aus-

photographer.

tralian standards, but my American clients find it

quite cheap.

I’ve retired from SAPPA landscapes as it can’t

I’ve set my work squarely in the middle of

possibly continue and I need to quit whilst I’m

in front!

new material and it gave me the opportunity

to see several of my prints hanging on the walls

The APPAs have been a key to my success

A few weeks ago, I was in Tanzania collecting

as I’ve used them to gauge my growth as both

of the upmarket safari camp whose owner had

a photographer and an artist. In 2012, I won

bought them in 2012. There is nothing like see-

the Australian Fine Art Category which pro-

ing your work in print on a wall in far off places.

vided enough points to achieve my Associate-

ship with some points left over. The following

and several new exhibitions. It is daunting, hard

year I was a finalist in the Illustrative Category

work and although the rewards may never be

and I had enough points to gain my Master of

financially exciting compared to our everyday

Photography. I wear that badge of honour with

photographic work, I know that spiritually I will

great pride.

be a far better person and sometimes that is

Now I’m working on a new body of work

enough.

Fine Art Prints

The intention has been to sell my work as fine

I produced a while ago which began with these

art prints and for that to work, I knew I’d need

words:

at least five years to study the rather difficult

world of the fine art photographer before I felt

fascinated by the concept of belonging; in a

I wrote an artist statement for a body of work

“For as long as I can remember I have been

Above: Gold Award at SAPPAs 2012; not entered at APPA. The body of work to which this image belonged was entitled SPACE: Living in Place - In the Shadows of Warriors which explored the way the Maasai have had to leave old cultural practices behind and find a place in the modern world. This beautiful area of Kenya on the Laikipia Plateau is semi arid, but harbours some of the largest remaining populations of wild animals in Kenya. It is significant in Maasai history as it was from here that the British colonial authorities removed the Maasai and repatriated them to the area we now know as the Maasai Mara. Not part of the usual mass tourism circuit. This remains one of my favourite, most evocative images. Canon EOS 30D; 24-85mm @ 24mm; 1/500 second @ f/13, ISO 640. Previous Spread: Silver Distinction at the SAPPAs in 2012. Photographed on the Laikipia Plateau, Kenya. A multi layered composite image with various textures. It has been exhibited and hangs in a number of private collections. Canon EOS 5D Mk2; 24105mm @ 40mm; 1/100 second @ f/16, ISO 800. Following Spread: Gold Award SAPPAs and APPAs, 2013. I spent 4 hours with this cheetah and her cubs, from early golden light to late morning. Unfortunately, when she decided to pose for the camera, the light had become harsh and with the bright blue sky, the background was rather unpleasant. In this image, I didnâ&#x20AC;&#x2122;t have to alter the basic composition at all, the small family had set themselves up beautifully for me. In post production I added a number of low opacity textures to add interest to the sky and to soften the light. Most of the texture overlays were removed from the cheetahs themselves as I didnâ&#x20AC;&#x2122;t want them overwhelmed. Canon EOS 7D; EF300mm f/4L IS; 1/500 second @ f/13, ISO 400. A I P P

M E M B E R

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A I P P

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HANN Master of Photography

physical, social and spiritual sense.”

For many people, myself in particular, living

disconnected with their past and the country they belong to is a reality which haunts their lives.

The severing of ecological and social ties is a

form of spiritual death from which many never fully recover. Our everyday photographic work has financed my venture into the world of fine art and has allowed me to reconnect to a place about which I am beyond passionate. I realise how fortunate I am to finally feel like I belong somewhere once again. Technicalities When I head off to East Africa, I drag a stupid amount of gear, half of which comes back never having felt the dust of any wilderness, let alone providing any useful addition to my photographic endeavours.

Currently, I stuff the following into my Gura

Gear Bataflae 32L bag: Canon EOS 1DX; Canon EOS 5D2; Canon 200-400mm; Canon 70200mm; Canon 24-105mm; Canon 17-40mm; Polarising filter; Neutral Grey ND2 filter; Graduated ND filters x2; Manfrotto ball & socket head;

the destination.

Cullmann carbon fibre tripod; SanDisk 32GB &

16GB Extreme CF cards (lots and lots); empty

Workflow

bean bag; Colorspace UDMA2 downloader plus

I download all my CF cards into Lightroom and

lots of chargers and plugs and other bits and

keyword and rate them once I get home. I’ve

pieces.

taken laptops with me in the past and done

this when I’m away, but I ended up exhausted

It does change for each trip depending on

and irritated, so now I just download to back up when on safari and do the work when Iâ&#x20AC;&#x2122;m home and refreshed.

All my post production is done in Adobe

Photoshop. A lot of my work is used in bro-

Gold With Distinction at SAPPAs in 2011; a Gold Award at APPA in 2012. Part of my SPACE: Living in Place - In the Shadows of Warriors body of work and was photographed in the greater Mara eco-system, Kenya. Canon EOS 5D Mk2; 24-105mm @ 28mm; 1/500 second @ f/8, ISO 800.

A I P P

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HANN Master of Photography

chures and articles for illustration purposes, but it doesnâ&#x20AC;&#x2122;t receive the same treatment that my

fine art work requires.

shot by mistake, but which work brilliantly. They

have no form, only a feeling. It works for me.

Post production for my fine art work involves

a long series of steps which starts with an idea

which may have germinated in the field, or

In The Field

sometimes comes out of an image I took for a

I am very careful to abide by a strict code of eth-

quite different reason.

ics and conduct when photographing wildlife,

knowing that many professional wildlife pho-

Once I have an idea in mind, I set about

bringing it to life. In some cases it will involve

tographers push the boundaries in their pursuit

multiple captures blended, sometimes it will be

of the ‘perfect’ shot.

a single capture.

and camp staff and are not highly regarded,

I am always trying to bring some emotion to

They are talked about amongst the guides

the work and so things such as textures and co-

even if the general public has little idea about

lours are quite important.

some of their behaviour. I don’t want to be that

person. The animals come first, always.

Textures are often blended at such low

opacities so as to be almost invisible, however,

they provide a method of introducing a differ-

behaviour is important. I’m very good with the

ent quality to the light that changes the feel of

second, but patience is something I work at

the image. I have a number of textures that I’ve

constantly.

Patience and a good knowledge of animal

Light and composition is as important with

value to me.

this sort of photography as it is with any other,

however, neither is very well controlled.

lates to nature and wilderness and when I plan

to enter images into nature competitions with

If I’ve had to shoot a great subject in harsh

I maintain a truth around the image as it re-

light, I’ve found my work with texture overlays

strict processing rules, I abide by them all.

can make all the difference to controlling the fi-

nal effect.

eas of East Africa, the feeling of freedom I get

when I’m away and a desire to make art are the

Ultimately, I’m a story teller and that’s what I

Photography, the wildlife and wilderness ar-

expect of any finished image … that it can tell

things that continually drive me to create and

a story. Like everything, it doesn’t always work,

push my own boundaries.

but that is the aim.

I am very fortunate.

I no longer enter into the argument swirl-

ing around ‘pure’ photography or the even sillier ‘SOOC’ which has no meaning at all as far as I’m concerned.

I use all the tools at my disposal to end up

with an image that expresses how I feel and if

A I P P

M E M B E R

H i l a r y

HANN Master of Photography

it doesn’t make my heart sing, then it is of little

Ian McKenzie OAM

Larger Than Life - An Ideal Mentor Ian McKenzie is the perfect mentor.

ment, or how clients have them undercut the

market with promises of better work in the fu-

Larger than life in so many ways, he has

been actively involved in photography, yacht-

ture.

ing and motor sports all his life, proving that the

more you put into something, the more you get

is so useful because experienced photographers

out.

can share what they have learnt.

And still today, Ian is a passionate advocate

“This is where the AIPP mentoring program

“We’re trying to show new photographers

for new professionals entering photography,

that they do have a worth and that if their pho-

having steered the AIPP Mentoring Program for

tograph is good enough to be used, it’s good

several years.

enough for a client to pay them.

Ian was awarded the Order of Australia Med-

al in the recent Queen’s Birthday Honours List, a

Lighting & Posing

national recognition that will sit proudly next to

“The digital revolution means everyone is a

his Fellowship and Honorary Fellowship of the

photographer, but the general public doesn’t

AIPP.

understand lighting or posing. Most people think taking a photograph is just a matter of

Mentoring Role

asking your subject to stand or sit and ‘look like

As professional photography becomes more

this’.

challenging, Ian says it’s increasingly important

for photographers to understand that what they

of directing and working the subjects like you

do is a business.

would with a script in a feature film.

“One of the most successful techniques I

“While there are one or two photography

“What they should be learning are the skills

schools that include business as part of their

learnt when shooting a board of directors was

curriculum, most photography students enter

to get into a real meeting. I’d light the whole

the workforce with no understanding or interest

room and then skulk around the edges with a

in business.

200mm or 300mm lens.

“They don’t understand how clients use

them as a bank by making them wait for pay-

“After fifteen minutes, the board members

would forget that I was there and I’d get real ex-

pressions of real people debating and making

signing and overseeing the construction of edu-

real points.

cational facilities for a diploma in photography

course at Prahran College, in Melbourne.

“That’s why wedding photographers like

Paul Griggs were so successful because he

would photograph people being themselves,

the diploma course he introduced was later re-

not standing in a line at the front of the church.

classified as a degree.

He was department head for two years and

In 1973, he returned to private practice and All Disciplines

became the convener of the Institute’s national

“I’m not saying you shouldn’t shoot the line ups

conference.

at a wedding, but that isn’t the event. If you look at the best wedding photographs at APPA, they

Photography Publishing

are observations of what is going on around the

Such was the success of the program, Ian was

event, not just the bride in front of the church.

asked to perform this voluntary task for the next

four conventions up until 1981.

“The same applies whether it is architecture,

food or portraiture. While the client might have

certain expectations, our job as a professional is

Institute’s photography awards programs, join-

to exceed them.”

ing the National Awards Committee in 1976 and

then serving as a judge and panel chairman at

Ian’s philosophy made him one of Australia’s

Ian has also had a long association with the

most successful commercial photographers and

the Canon APPAs until 2012.

while digital technology means some of our

Venturing into publishing with Attila Kiraly

processes are different, what hasn’t changed is

and Val Foreman, Ian republished Jack Cato’s

human nature and the need to do business the

The Story of the Camera in Australia under the

right way.

Institute’s imprint.

And having a successful business has al-

He went on to publish the Contemporary

lowed Ian to pursue many other pursuits -

Photographer Series.

yachting, motor sports and publishing.

This consisted of monographs on photogra-

phers such as David Moore, Athol Shmith, Lewis From The Beginning

Morley, Wolfgang Sievers, Graham McCarter, Ian

A professional photographer for over 50 years,

Dodd and Michael Coyne.

Ian has been an AIPP member from day one in

1963 when the original ‘IAP’ was begun.

AIPP President

In 1978‐79, Ian became the President of the

In 1966, he began a four year program de-

AIPP and has been a voice of advice ever since.

In 2006, he established and chaired the

AIPP Commercial Group and became a member of the Instituteâ&#x20AC;&#x2122;s Policy and Planning Committee, a role that he held until the end of 2013.

In 2010, he developed the structure

and syllabus course materials for the AIPP National Mentoring scheme and he continues to assist the National Office staff manage this scheme nationally. It is hard to think of many who have made such a long and sustained contribution to the AIPP and the photography industry in general.

But perhaps the important thing to

note is what Ian received in return. His love for the profession is easy to see, proving that the more you put into something, the more you take out.

And thatâ&#x20AC;&#x2122;s something everyone can do.

IAN McKENZIE M. Photog., Hon. FAIPP, FAIPP, OAM is a past national president of the AIPP and is trying to retire on a farm just outside of Melbourne. For 45 years he ran a very successful commercial and industrial photography business and remains committed to the AIPP Mentoring program today.

“This is an example of why Nikon needs to release a 17mm PC lens. Then I wouldn’t have to Frankenshop really amazing architecture to look mostly correct. I love this image because I knew I wasn’t going to have the right equipment to capture it properly, so I had to do some serious next door 30 neighbour bribery to get the hero shot.

A Commercial Head Start

J e n D a i n e r ’s t h o u g h t s o n t h e A I P P M e n t o r i n g P r o g r a m Jen Dainer once worked as a forensic scientist,

back of a helicopter, but it’s incredibly impor-

so her current industrial/commercial photogra-

tant from the client’s perspective.

phy business is quite different in many ways.

can be very high, but I also wonder how it hap-

She attributes part of her success to the AIPP

“I hear the failure rate for new businesses

Mentoring Program and the time she spent

pens because there are some basic rules and

with other students under the eye of AIPP men-

principles for running a business that are readily

tor Eric Victor.

available.

A Good Fit

“Setting up my business was very difficult,

but I’m proof it can be done.

“I felt commercial photography was a good fit for my background. In addition to forensic sci-

Cold Calling

ence, I’d also worked for the Institute of Char-

“I started off by cold calling 300 to 400 business-

tered Accountants and a number of commercial

es around Brisbane and Northern NSW. I met

companies, so I felt like I understood business

with as many people as I could and some of the

better than weddings and family portraiture.

people I met in the early days are now my big-

gest clients.

I mean, I didn’t really want to organise my

own wedding, let alone be involved in some-

one elses! Commercial photography is a much

jobs at first, I was gradually able to grow my

better fit for me.

business.

“Marketers and small business experts talk

“By building relationships and doing small

“These days it’s possible to build connec-

about your USP (Unique Selling Proposition)

tions by creating a blog and focusing your at-

and it’s true, you need a point of difference.

tention online, but it’s not the same as meeting

Mine is that I have spent a lot of time around

people.

aircraft, large industrial sites and in emergency

environments, so people can hire me knowing I

stronger.”

will stay safe and behave properly when I’m on

site.

few AIPP sponsored workshops, so when the

mentoring program began in 2011-2012, she

“It’s simple stuff, like not walking around the

“I found personal communication much Jen joined the AIPP in 2009 after seeing a

signed up to Eric Victor’s program.

before was an invaluable resource.”

“I just figured I didn’t know everything about

While there is a formal structure to the men-

running a business, particularly a photography

toring program, Jen said often the most useful

business.

parts were listening to other people’s situations and challenges.

Technical Mentor

“The idea of meeting with other photographers

months I also encountered most of the prob-

at the same stage of their career and learning

lems other mentorees had discussed, so being

from someone who had done it all before was

able to share their experiences was really help-

very appealing.

ful.

“I found that within the next 12 to 18

“I had a technical mentor at the time and

felt I was getting good advice on how to light

The Same Situation

things and complete jobs, but the business side

“Another student might ask about a client want-

of things was something I didn’t feel so com-

ing a particular shoot, we’d listen to Eric’s an-

fortable with.

swer and two months later when the same situ-

ation arises for us, we’d know exactly what to

“You can do lots of small business courses

with experts, but I really feel running a photog-

do.”

raphy business is different.

tive about her business and the future. She has

“And starting from a position with no clients

Today Jen says she is feeling really posi-

whatsoever meant all the techniques of using

a number of big clients with big projects and

your existing clients to create more work didn’t

some really challenging work.

apply to me.”

“I’m probably doing more video work than

stills and that’s really exciting because I’m able Starting Out

to offer a complete product range to my clients.

“When you’re starting out, it can be really easy

It’s a growing business and it’s a really exciting

to feel demoralized when other photographers

time to be involved in photography.”

are showing you all their amazing images.

“You think, how come I can’t get clients like

that? How would I deal with a job like this? Or

in Brisbane and has been a member of the AIPP for

what happens when a client does that?

six years. You can see more of her work at www.in-

dustrialarc.com.au

“Having a photography business mentor on

tap who has dealt with every possible situation

Jen Dainer is a commercial photographer working

“I arrived at Airbus to take some event photos of the hand over of the final ARH Tiger. The brief from the client was , ‘Can you take a really sexy shot of this while you’re here”? So, armed with one Speedlight, an 8X ND filter, 12 p.m. daylight pouring in through the skylight panels, three story retractable doors and 15 minutes, I managed to pull this off. It’s a blend of about eight images. My only regret is not having a smoke machine handy. Or at least a mirror ball.

Jen Dainer

So What Does Jen Do As An Industrial Photographer? I’m an industrial photographer who works with

don’t cry myself to sleep anymore. These days

clients who have very high level safety and/

I’m offering a combination of video and stills to

or security requirements as part of their opera-

my clients, which means I get more work from

tions. Industries like aviation, energy, construc-

clients who I’ve already built solid relationships

tion, manufacturing and architecture. ASIO

with.

could probably predict my next sneeze, but I

get access to some crazy places I never even

fessional at the expense of being personal. But

knew existed.

I’ve learned the two are not mutually exclu-

sive. Being engaging as well as being a good

I also work with dance and circus companies

I made the mistake early on of being pro-

because I enjoy that, ‘holy crap, I have no idea

photographer puts me ahead of my competi-

how to pull this off, I’m a complete imposter

tion because clients remember how they felt

and I will never work again’ feeling we photog-

when they talked to me, or when they read my

raphers all crave.

website, job proposals or even my out of office

email reply.

I’m based in Brisbane and I work 100% on

site at my clients’ locations.

Nobody goes to work wanting to deal with

people they don’t like or can’t trust. Getting Started

I started my professional life as a forensic sci-

Equipment

entist and accident investigator working for an

I shoot with the Nikon D4 and when I need a

emergency service. Since cadavers make terri-

second body or just feel like dropping more

ble conversationalists, I decided to pursue pho-

cash on backup drives, I bring out the D800.

tography.

output of the D4, so I’m teaming up with other

I figured my industrial and safety back-

A little part of me dies when I see the video

ground lent itself well to commercial industrial

video producers who’ve already made those

photography.

huge capital investments in gear, which allows

me to deliver a better quality product and grow

In terms of where I am in my career - I’m

past the sheer panic and terror phase of setting

in line with my clients’ needs.

up my business, which is great because now I

Lenses are the usual array. The purist in me

“One of my first ever commercial images that didn’t make a little part of my insides die when I looked at it. Still one of my favourites today. I shoot regularly for not-for-profit performance companies for two reasons: 1. I get to buy back the parts of my soul that I sell to large corporations; and 2. I get to look at incredible physical specimens who remind me that having the flexibility of a house brick is not a life achievement. ‘Jen, do you think 35this picture would look better if I took my shirt off?’ ‘Yes, Jack. Yes I do’, replied Jen, the ethically questionable photographer.

Keeping the client happy is one thing. Understanding that the graphic designer can still destroy your reputation down the track is another. If the graphic designer can’t use your images, they will definitely tell the client that. Easy fix: deliver two images that are very similar. One with just a bit of dirt/sky the client will love, and one like this with more room so the designer has space to layout text. You keep the client happy now (more work) and the designer happy later (potential source of new leads)

prefers prime lenses, but the realist in me pre-

‘Buy yourself a Canon 6D, 17mm TS-E and shut

fers zooms for their on-site functionality. I shoot

the hell up.’ Fair call.

industrial so everything is constantly dirty and

lens changes on site are sub optimal.

I have a power supply and when on location

I use Speedlights. Where the Speedlight/D4

looks pained when he sees my cameras for their

combo doesn’t work, I prostrate myself before

three monthly service and sensor clean, like I’ve

the Fujifilm X100s leaf shutter gods and pray like

mistreated his dearest aunts.

hell.

Mark at Anderson Camera Repairs always

For lighting, I use cheap monoblocs when

The 24–70mm f2.8 is my workhorse, fol-

lowed closely by the 24mm PC. I would just

Looking For Support

about give my left arm for Nikon to release a

My tripod is the 055xProB Manfrotto, which has

17mm PC lens. As a fellow photographer put it,

been with me since day one and survived more

beatings than should be legally permitted. I use

ble difference between the two is that the own-

a Manfrotto 410 junior geared head for stills

er of the Apple looks malnourished from having

and a pair of MVH502AH heads for video; one

to spend 10 times the amount I did.

on the tripod and one on a 561-BHDV-1 mono-

pod. If you’re thinking about buying a different

Lightroom for most things. For portraits I use

monopod, keep thinking. Then stop thinking

Guy Gowan techniques in Photoshop and for

and buy the 561 instead. Then thank me for sav-

architecture I use the, ‘Why didn’t I just move

ing you from foolish thoughts.

the extension cord during the shoot’ technique

I’m a PC girl, Adobe CC subscription using

in Photoshop. In The Studio

My monitor is a Korean IPS panel made by the

more than all my other gear combined, but can

same company that manufactures the Apple

withstand a nuclear attack. I use it to support a

panels. When placed side by side the only visi-

5 ft (1.5 metre) Kessler CineSlider. Together they

I use a Kessler KPod Tripod, which weighs

Sometimes it pays to turn around and look at what’s happening behind you. Surprise!

add that level of video production quality and

you on site and talk you through what’s impor-

potential for back injury you just can’t get from

tant, what they need and what will work for

being a run and gun DSLR shooter.

them are my favourite jobs.

My technique is to simply find something I

It also gives you time to develop a stronger

think is interesting and create an image the cli-

relationship with them, which means they’re

ent will love. Clients who are willing to be with

more likely to use you again.

J e n D a i n e r ’s 3 C o o l S h o o t i n g Te c h n i q u e s 1.

pointing to something out of frame’ image.

Whenever the colours on site are most saturated. Usually this is just as the sharpness of the

early afternoon sun fades and before the over

When I’m on site and unsure how to pose

saturated tones of the golden hour turn every-

someone, I find the best question to ask is, ‘If I

thing into an Instagram filter.

weren’t here, what would you normally be do-

ing?’

This, however, is never the preferred shoot-

ing time of the client. They seem to prefer any-

thing between 11.30 a.m. and 2.30 p.m., when

pert and allows them to take control. Without

the light gives that really natural ‘serial killer’ look

fail, people suggest stuff either I would never

to all your portrait subjects. Sweet.

have thought of myself, or never have gotten

This question acknowledges them as the ex-

permission for if I’d asked straight up. By en-

couraging their suggestions, showing them the

I prefer to shoot on site where real employees

images I’m creating as I go, and getting them

are doing real work. I’m good at creating im-

involved in the problem solving process, means

ages in context and have spent enough time

they’ll go out of their way to help me create

around firefighters to know some seriously ter-

great images.

rible jokes that usually get a laugh.

your arm is getting in the way.’

I hate setup shots and so I keep shooting un-

‘I’m having trouble seeing your face because

til I get something I feel is natural.

the aircraft and hang upside down like a bat un-

‘Hi, my name’s Jen and it’s been five

‘You want me to tether myself to the body of

weeks since my last two dudes in hard hats

der the wing?’

looking at a rolled up architectural plan on site

‘You read my mind…’

Anytime a client says , ‘We want portraits on a background’ , I always try and talk them into something like this. Giving someone a prop to interact with means you avoid that awkward, ‘What do I do with my hands?’ question. Besides, I don’t want a series of portraits of people with their arms fold39 to ed awkwardly, smiling like they’re having trouble ignoring their five day constipation pain. I want an image of someone looking like they’re about beat the crap out of someone off camera. The latter tells me more about the subject and is way more fun to shoot.

This photograph defines Rob Imhoff for me. Technical perfection. Deft understanding of light. Sensitive direction. And an underlying irrelevance for the heirarchy.

Of which he has become a part!

Rob Imhoff was the AIPP’s first Master of Photography and is a pa-

tron and mentor to many of our more established members. If you’re younger and feeling inspired by some of the current crop of award winners, chances are they in turn were inspired by Rob.

ROBIMHOFF First Master of Photography

Hay Plains. 1989 6x6cm Fujichrome Velvia One Tree Hill. Hay, NSW. Throughout the 1980s I had commented on how bad I thought most Christmas cards were and that Christmas itself was over commercialised. In 1989 a good friend, the creative director Geoffrey Fry, asked me to put a team of 12 Australian photographers together to produce 12 images, with an open brief, for the British sports car manufacturer, Lotus. The images were to be used for a calendar. I obliged on the condition that I secured the month of December for my image and that we retained the rights to our images and could use them for our own promotional use.

The December image, Hay Plains, 1989, became the first of an

ongoing series featuring pissing Santas. Over the next 15 years, until my illness in 2004, I produced my own personal Christmas cards with Santa pissing on location, somewhere in the world. It was usually at a significant location that had featured in my schedule during the previous year. Santa’s pose was always kept relatively subtle and, at times, Santa would hold a map so I could convince enquiring authorities that Santa was not pissing, but looking at a map.

ROBIMHOFF First Master of Photography

Robert Imhoff, Wittner Shoes publicity shot, 1970

A life of grain and pixels

11 October – 7 December, 2014, 10:00 AM - 5:00 PM Daily Art Gallery of Ballarat - Admission free. “Hang on mate, I’ll be two seconds. There’s a herd of cows walking across the lawn.”

Rob Imhoff lives part of his life on a farm – or perhaps it is bet-

ter described as a rural retreat, away from the hustle and bustle of Melbourne and the world’s major cities from where he has derived an income as a professional photographer and film director for the past 40 odd years.

One of the AIPP’s earliest members, Rob attended the art orien-

tated Eltham High School on the outskirts of Melbourne and studied photography at RMIT.

However, his real education began in the late ’60s when he

joined Brian Brandt & Associates, at the time one of the leading studios in Melbourne. In the early ’70s, he commenced work for a network of international clients throughout Australasia, allowing him to create a strong European and American client base. In 1976, he started his own business, Rob Imhoff Productions (rip) and in 1982 opened The Lighthouse Photographic Centre which housed four studios and the respected Lighthouse Gallery.

This October, a retrospective exhibiton of Rob’s work titled A life

of grain and pixels will be launched at the Art Gallery of Ballarat, Victoria, along with a book of his work.

To get to Ballarat from Melbourne, it’s is an easy train ride

from Southern Cross Station (Melbourne CBD) and the gallery is a short five minute walk from Ballarat’s station. Visit the VLine page for details: http://www.vline.com.au/discover/home/detail.html?id=583

ROBIMHOFF First Master of Photography

The following notes by Rob about his early years

were written for a biography that is being pub-

a merit system, a standard that rated photog-

lished by WriteLight and which will be released

raphers according to their ability, as judged

with his exhibition at the Art Gallery of Ballarat.

by their peers. Each year photographers were

The book is titled Contemporary Photographers

asked to submit a maximum of four prints for

Australia: Robert Imhoff, or for the art gallery edi-

judging. When a photographer achieved six

tion, Imhoff: a life of grain & pixels.

Gold Awards they would gain the recognition

In the mid 1970s, the Institute introduced

Master of Photography. At the suggestion of Brian Brandt in 1971, I

joined the national industry association, the In-

of Professional Photography in Australia, noted

stitute of Australian Photographers (IAP). The

the following:

benefits of joining such an organisation were

apparent to me. I saw a need for a professional

ing of the Institute’s awards in 1977 by scoring

organisation to represent an eclectic group

four Gold Award prints to handsomely win the

of individuals who derived their income from

Ilford Trophy for the highest scoring entry. Rob

photography. In the 1970s many prominent

went on to win the Ilford Trophy again in the

photographers shied away from belonging to

following year with four more Gold Awards and

a professional body, but they would all come

became the Institute’s first Master of Photogra-

knocking on the door when business was bad

phy.”

or they had client agreement issues, such as

of the Australian Institute of Professional Pho-

scenario has not changed. The issues are still the

tography.

Author Paul Curtis in his 2013 book, A History

“Rob made a dramatic input at the first judg-

In 2012, I became an Honorary Life Member

same and probably will never change.

Sydney model. 1978 8x10-inch Kodak Ektachrome. 14 William Street, South Yarra. During the 1970s and 80s, I was often asked how I achieved such good quality reproduction. I put it down mainly to the fact that I used large format cameras – mainly 8x10-inch or, if at a remote location, 4x5-inch – while many of my competitors used either 35mm or 6x6cm film. Using large format is relatively simple and, with discipline, you soon learn to only release the shutter when all the elements are in place. The image opposite is an example.

ROBIMHOFF First Master of Photography

Prince Philip, Duke of Edinburgh. 1956

of Prince Phillip, Duke of Edinburgh, taken as he

Kodak Six-20 Brownie E Box camera.

made his way through the crowd.

Olympic Village West Heidelberg.

In 1956, prior to the Melbourne Olympic Games,

of the crowd and make my way under the bar-

my parents presented me with my first camera,

ricade to capture the image of the prince as he

a Kodak Six-20 Brownie E box camera.

walked towards me.

As the image shows, my action caused con-

having my own camera and was thrilled to be

cern for the man seen behind the Prince. The

able to document my visit to the Olympic Vil-

clapping hands on the left indicate the pleasure

lage at West Heidelberg.

of the admiring crowd.

At the age of seven I relished the freedom of

I had been able to crawl through the legs

Among my extensive archive is the image

Sydney Charles Bromley, English actor. 1969

Kodak 35mm Tri-X.

eagerly accepted the challenge.

10 Warburton Lane, Melbourne.

In 1969, while working as personal assistant to

tween myself and the noted actor was electric.

Brian Brandt, at his Warburton Lane studio in

It soon became apparent to me that the length

Melbourne, I had the pleasure of photograph-

of Bromleyâ&#x20AC;&#x2122;s hair was of great importance and,

ing Bromley.

with the quick addition of a small fan positioned

directly behind Bromleyâ&#x20AC;&#x2122;s head, this iconic im-

Brandt was unable to accept the commis-

sion, which was part of a promotion for the

As the assistant, I was asked to step up and I As evident in the image, the chemistry be-

age was captured.

1969 Royal Shakespeare Company tour of Australia.

ROBIMHOFF First Master of Photography

George Harris, Chimney sweep. 1976

in his well-weathered face, I responded that I

8x10-inch Kodak Tri-X

would pay double just to take his portrait. It was

14 William Street, South Yarra.

a deal.

While busy working on a food shoot in the stu-

dio, there was a knock on the front door.

right away as he might not return. The only

problem was that my home studio was small

short elderly man who asked if he could clean

and I had to ask an obliging client permission to

the chimney. George Harris was his name and

strike the set and reschedule their shoot.

armed with a bucket and brooms, he said that

for five quid, he would clean the chimney.

white portraits of the chimney sweep.

Opening the door, I was confronted by a

I decided that the portrait had to be done

Impressed by this character and the detail

I shot both 8x10-inch colour and black and

Creswick resident, John (Jack) Fraser

Jack Sewell. In my submission I stated, “The Cres-

Sewell AM. 2011. Digital Capture.

wick Museum houses a prized collection depict-

29 Gipps Street, Richmond.

ing the early history of the area. For some time

To commemorate 150 years of local government

I have contemplated a portrait of Jack Sewell, a

in the Hepburn Shire, local artists were invited to

contemporary piece that would complement the

submit a proposal to create an artistic/creative re-

existing collection of early portraits, particularly

sponse relating to a significant event or a notable

those that adorn the recently restored former

member of the community.

Council chamber”.”

My successful response to the brief was

a photographic portrait based on the distin-

My portrait of John (Jack) Fraser Sewell, AM,

now has pride of place in the Creswick Museum.

guished life of my good friend, Creswick resident

ROBIMHOFF First Master of Photography

Craftsmanâ&#x20AC;&#x2122;s Bench. 1976

take at least three years for anyone to become a

8x10-inch Kodak Ektachrome.

Master.

14 William Street, South Yarra.

In 1977 the Institute of Australian Photography

scores in the first year, followed by a further four

(IAP, now AIPP) introduced a merit system for

the next year so, in 1978, I had the honour of

their annual awards. Modelled on an American

becoming the first Master of Photography of

system, it was designed to provide a ranking for

the Institute.

each photographer. The system was designed

in such a way that the recipient of six gold merit

formed part of my successful 1977 folio submis-

prints would be awarded the Master of Photog-

sion.

raphy status. It was anticipated that it would

I was fortunate to receive four gold print

The above image, Craftsmanâ&#x20AC;&#x2122;s Bench, 1976

Kodak Clown. 1985

tent model-maker.

8x10-inch Kodak Ektachrome.

Model maker and animatronics director,

the team I had around me and, in 1985, when

Ron Mueck.

asked by the agency handling the Kodak Aus-

5 Little Chapel Street, Prahran.

tralasia account, if I had a puppeteer, I said, “Yes,

One of the most important things I learnt from

I have the best in the world”.

the American photographer, Rudy Muller, dur-

ing the time I spent at his New York studio in

ductions in London and arranged for the then

1975, was the importance of having a special-

head-of-production, Ron Mueck, to be part of

ist model-maker as part of the team. One of

my Kodak production team.

I always believed that I was only as good as

That evening I telephoned Jim Henson Pro-

Muller’s personal assistants was a very compe-

ROBIMHOFF First Master of Photography

Ken Cato AO, chairman and executive cre-

creative component of the Melbourne bid for

ative director, Cato Partners. 1989

the 1996 Olympic Games. Cato had designed

Melbourne 1996 Olympic bid.

a series of street sculptures that were placed in

6x6cm Kodak Ektachrome.

strategic locations in the Melbourne CBD. Cato

Spring Street, Melbourne.

and I first met in the early 1970s and we com-

Internationally acclaimed, Australian designer

bined our skills on various projects over the fol-

Ken Cato commissioned me to document his

lowing 30 years.

Mercedes Benz. 1975

and me in the local for a few pints. Duffy ex-

35mm Kodak Kodachrome.

plained that David Hemmings’ role in the 1966

Westminster Bridge, London.

British-Italian film Blow Up was based on himself.

In 1975, while on assignment in London for

In the following weeks, it became obvious that

Mercedes Benz, Australian expat art director

the London-based trio of Brian Duffy, David Bai-

Bob Marchant suggested that he take me to

ley and Terence Donovan all played inspirational

meet Brian Duffy at his Swiss Cottage studio. Af-

roles in the script development of the film. Blow

ter being introduced to Duffy’s wife, June, I was

Up had a profound impact on my generation of

directed along a hallway where, to my surprise,

photographers.

I was greeted by an old friend, the Australian-

born model Jill Goodall. Goodall had just com-

Duffy and Bailey as we completed various as-

pleted hair, make-up and wardrobe in readiness

signments for Singapore Airlines, all for the

for a Duffy shoot. On completion of our em-

Singapore-based agency, Batey Ads. When in

brace, she had to have it all done again! Conse-

Singapore, Duffy would inquire with the agen-

quently, Duffy was not a happy man and, when

cy creative if they still used “…that Australian-

Bob introduced me as Rob Imhoff, Duffy sharply

based Russian photographer”. When asked for

responded, “No! Fuck off, Imhoff”.

more details, Duffy would tease, “You know the

one, Fuck off... Fuck off Imhoff!’

Later that evening, Duffy joined Marchant

I crossed paths in later years with both

ROBIMHOFF First Master of Photography

Portrait of Rob Imhoff by Peter Adams. Words by Peter Adams, Verona, Italy, 2014. In 1983 I started working on a major personal project entitled A Few of the Legends, a series of interviews and portraits with around 500 leading international photographers. While I never envisioned that it would grow to the size it has, I was privileged to enter their private lives, and attend and record 500 of the most extraordinary and exclusive lectures.

The project was born after a lunch with a group of respected

photography friends. A reasonable quantity of amber liquid had been enjoyed and, along with coffees and the after dinner mints, we started playing photographic Trivial Pursuits.The conversation became a thrust and parry of who took this picture? And when was that image made? And what did the photographer look like?

While the first and second questions were for the most part

answered, resolving the answer to the third has taken me all over the world. I think I have travelled 45,000 miles and eaten about the same number of hamburgers.

In 1991, I travelled to central Victoria where I stayed with Rob

Imhoff and his wife Virginia, on their historic farm. Over the next two days I interviewed and photographed Imhoff for inclusion in the project.

Imhoffâ&#x20AC;&#x2122;s 1969 portrait of English Actor Sydney Charles Bromley

was selected for inclusion in the project. My snapshot of Imhoff with Georgie, his sulphur-crested cockatoo, given to him as a birthday present some 30 years previously, was selected to accompany the Bromley portrait (see next spread). Close inspection of the image reveals a huge hole in Imhoffâ&#x20AC;&#x2122;s Akubra (hat). When asked about this, Imhoff said that it was his favourite farm hat and that Georgie had recently torn a hole in it. As pet cockatoos will do!

T F A R D

T F A R D 56

Better Tax Depreciation Rates?

The AIPP Representing Photographers’ Best Interests Buying a new camera or computer doesn’t get

tation about the tax treatment caused by the

you an immediate income tax deduction if it

rules relating to depreciation of photographic

costs more than $1000.

assets.

If you buy a computer, for instance, you have

The ATO tax treatment and definition of

to claim the cost over 4 years. Simply speak-

photographic assets was out dated and not ap-

ing, you might get to claim $500 a year for four

propriate for 2014 and beyond.

years for a $2000 computer. Practically speaking,

you probably get to claim $1000 in the first year,

from the ATO, Susan Li, and she actually took

$500 in the second year and then progressively

our case on and liaised directly with an AIPP SIG

smaller amounts until the computer is sold or

(Special Interest Group) we formed specifically

written off.

to deal with this matter.

There is a third option. Instead of depreciat-

We made contact with a helpful person

Special thanks goes to Eric Victor and others

ing each asset individually, you might put all

on this SIG who met with the ATO, managed to

your assets into a ‘depreciation pool’ in which

speak the same language and got them to lis-

case you get to claim 15% of the asset’s cost in

ten and understand!

the first year and 30% in following years until

the asset is fully claimed.

DRAFT schedule of revised lives of photograph-

ic assets.

Most small businesses opt for the deprecia-

As a result, the ATO have published this

tion pool method because it’s easier to calcu-

late and it provides a fairly generous rate com-

at the list and see if it makes sense to you.

pared to individual asset depreciation rates.

to the ATO to change this draft, please send an

However, if the Australian Tax Office accepts

If you are still reading this, have a quick look If you would like to make a representation

a submission made by the AIPP about its depre-

email to admin@aipp.com.au and we will col-

ciation rates, then there may be a slight advan-

late the no doubt hundreds of responses and

tage in claiming the depreciation on an asset by

send them to the ATO on behalf of the AIPP and

asset basis.

its members.

Your accountant may thank the AIPP on your

Several months ago, the AIPP was contacted

by the ATO in response to our earlier represen-

behalf at some time in the future…

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.

Turning the photograph upside down can help you see where viewerâ&#x20AC;&#x2122;s eyes are directed on a subconscious level. If you can get a photograph to work on both levels, you have a better chance of impressing the judges.

Awards Entry: Upside Down!

Tu r n y o u r p h o t o s u p s i d e d o w n t o c r i t i q u e There are a lot of old wives tales around pho-

subtle, but the old wives will tell you that they

tography and this is probably one of them, but

are incredibly strong. If you want your photo-

it’s amazing how well it works.

graph to be appealing then you need both lev-

els working in your favour.

The idea is that people look at photographs

on two levels, consciously and subconsciously. Working It Out Consciously or Subconsciously

One way to see if your photograph is work-

On the conscious level, people are look-

ing on a subconscious level is to turn it upside

ing to interpret what the subject actually is.

down so your conscious mind can’t relate to the

They look at the mountains and the lake, the

subject in an objective or logical way (although

clouds and the rubble and work out in a logi-

obviously you still know what it is all about!).

cal and methodical way what the photograph

is all about. (Of course, there are abstract pho-

terms of tone, colour and contrast.

tographs that may be so ambiguous we will

never be able to work them out, but that’s

graph? Are they near or over the most impor-

another subject.)

tant part of the photograph (such as the subject

or a centre of interest)? If they are, then tonally

On the subconscious level, people respond

This leaves you to assess the photograph in Where are the lightest areas of the photo-

to the tones, the colours and the contrast. Gen-

your photograph is working correctly.

erally speaking, light areas will attract attention

before dark areas, although sometimes dark

contrast - usually you will want your subject or

areas in a sea of light areas will be more domi-

points of interest to have stronger colour and

nant.

contrast than the rest of the image.

Similarly, areas of strong colour will attract

Ask the same question about colour and

If there are strong tones, colours or contrast

viewers more quickly than subtle or muted co-

over unimportant areas of the photograph,

lours. And stong or high contrast stands out in

then you are dragging your viewer’s eye in the

comparison to soft or low contrast areas of a

wrong direction, but now that you know the

photograph.

problems, you can fix them up! And pay partic-

ular attention to the edges of the frame.

These subconscious tendencies can be quite

FROM THE AIPP

BLOG

Canson Infinity Photo Lustre

Canson Infinity Photo Lustre Premium RC 300gsm

Canson Infinity has quickly built a reputation as

velop a photo lustre paper and it is great to fi-

one of the world’s leading fine art photographic

nally be able to meet their wishes”.

papers and the introduction of Photo Lustre

Premium RC gives photographers even more

Australia and other leading photographic retail-

choices.

ers. Robert Gatto, Managing Director at Kayell,

says, “We have been wanting a lustre paper that

Photo Lustre Premium RC 310 gsm is an ex-

Photo Lustre RC will be available from Kayell

tra white, highly opaque paper developed for

has a high scratch resistance for some time and

inkjet technology and optimised for pigment

our testing with the Canson Lustre has us very

inks. It has been designed to comply with the

excited about this new paper and its potential”.

highest lifespan requirements demanded of the

Canson Infinity range.

A4, 25 sheet box ·

A4, 200 sheet box

A3, 25 sheet box ·

A3+, 25 sheet box

is perfect for colour reproductions while also

A2, 25 sheet box ·

17” x 25m roll

giving great depth to black-and-white prints.

24” x 25m roll

44” x 25m roll

60” x 25m roll

The finish gives a stunning lustre effect that

Glen teWierik, Sales and Marketing Manager

It is available in the following formats:

at Canson Australia commented, “We have been

For more information, visit www.kayellaustra-

asked by photographers for many years to de-

lia.com.au

FROM THE AIPP

BLOG

$250 Cashback For Epson 3880

Canson Infinity Photo Lustre Premium RC 300gsm If you’re looking for a compact printer that can

three different black or grey inks for high quality

still produce an A2 size print (so it’s compact,

monochromes. A MicroPiezo print head produc-

but not super compact!), Epson has a special

es variable sized droplets with high resolution

deal happening, as long as you purchase before

output and the 3800 will accept media up to 1.5

the end of September 2014.

mm thick (but there is no roll paper adapter).

The Epson Stylus Pro 3880 Photo Printer uses

Epson’s UltraChrome K3 pigment inks and uses

For more information, visit www.epson.

com.au

Eizo ColorEdge CG247 Eizo ColorEdge CX241

New Eizo ColorEdge Monitors The CG247 and CX241

As professional photographers, the quality of

our images is paramount. And the only way we

izer (DUE) technology for brightness and colour

can guarantee this quality is by understanding

uniformity, so it doesn’t matter where your pho-

colour management and using quality monitors

to is on the screen, it has the same brightness,

that accurately display the colours in our files.

colour and contrast. In other words, it doesn’t

change depending what side of the screen it’s

Think how much time is wasted by fixing up

The screens feature Digital Uniformity Equal-

errors simply because your screen is showing

sitting on.

the wrong colours!

You can connect to computers with Display-

Port, HDMI, and DVI input terminals, and the

Eizo has released two new ColorEdge moni-

tors, the ColorEdge CG247 and the ColorEdge

images you see will be breathtaking with Eizo’s

CX241.

10-bit display (more than one billion colours si-

multaneously) from a 16-bit look-up table via

Both models feature a new wide-gamut IPS

panel that reproduces 99% of the Adobe RGB

the DisplayPort input.

colour space.

stream USB ports, and the monitors achieve sta-

The ColorEdge CG247 (right) comes with a

There are two upstream and two down-

built-in calibration sensor (colorimeter) for self-

ble brightness, chromaticity and tone character-

calibration and is targeted at professionals in

istics within seven minutes after power on. So,

photography, prepress, and post production.

turn the monitor on, grab a cup of coffee and

you’re ready to go!

The ColorEdge CX241 houses an internal

correction sensor that maintains the calibration

results after the monitor has been calibrated

stand offering 30° tilt, 344° swivel, portrait (verti-

with an external calibration sensor and is ideal

cal orientation) mode, and 128 mm height ad-

for professionals and enthusiasts.

justment.

Shared features on the ColorEdge CG247

Both monitors come with an ergonomic

These Eizo monitors come with a five-year

and CX241 include a gamma curve for each

manufacturer’s limited warranty, including the

monitor adjusted on the Eizo factory line, so you

LCD panel, and a 12-month pixel defect warran-

know your monitor is optimised the minute you

ty.

pull it out of the box.

For more information, visit www.eizo.com.au.

P R O U D LY S U P P O R T I N G THE AIPP TO GE TH E R W E C A N B E STRON G ER

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