Working Pro 226

Working Pro The

Issue 226 • October 2014

T H E

C A N O N

A P PA I S S U E SPECIAL REPORT

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P R O U D LY S U P P O R T I N G THE AIPP TO G E T H E R W E C A N B E ST R O N G E R

LO O K F O R T H E LO G O

TRADE PARTNER Proud supporter of the AIPP

Working Pro The

Co n te n t s #226

Cover

James Simons M.Photog.

2014 canon aipp australian professional photographer of the year

w w w.jamessimmons.com.au

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

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O c tober

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Ross’s Ramblings - The President’s Message

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Around The States

Our National President Ross Eason writes his news, views and plans for the future of the Institute.

What’s been happening in your neck of the woods? Our state councils keep us in touch with what matters around the country.

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The Big One - James Simmons PPY

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Behind The Scenes At APPA

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The Canon AIPP APPA Gala Dinner

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The APPA Category Winners

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From 95 to 79

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Canon APPA Statistics

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How Is The PPY Judged?

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APPA Category Advocates

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Using A Single Overhead Light

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The Photo Watch Dog

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Transporter Sync

The 2014 Canon AIPP Australian Professional Photographer of the Year is James Simmons - and boy, was he happy!

Running the Canon APPAs is a huge job as Milton Gan’s photographs of APPA clearly show!

David Glazebrook provides us with a photo diary from Le Montage, Lilyfield, where the 2014 AIPP dinner was held.

The Category winners, finalists and highest scoring prints presented for your viewing pleasure! Did the judges get it right? Of course they did!

Peter Eastway explains how to deal with score changes at APPA – why a win at state level might not translate to the nationals.

There were nearly 3000 entries this year at APPA, so how many were Silver and Golds, and is this a reasonable outcome?

To win a Silver or Gold Award requires a score, but to win a category or the PPY requires a review judging panel to give your work the nod.

If you have an interest in a particular genre of photography and you think it should be represented at APPA, here’s how to have your say.

The 2014 AIPP Australian Fashion Photographer of the Year Peter Coulson explains one of his lighting techniques at the recent Nikon Event.

William Long’s advocacy for photography competitions has helped many of us win a fairer outcome - it’s a fascinating story.

With this little device, you can create your own personal cloud, for you and you clients.

Ross’s Ramblings Screams

Ross Eason M.Photog., Hon.LM, National President I love hearing our members scream…

up our Awards team. There are many people

to thank in that team and while I know they

We have this little annual event called the

“Canon Australian Institute of Professional

don’t seek recognition, we sincerely thank all of

Photography Australian Professional

them for their dedication and time. There is a

Photography Awards”, but for reasons that are

huge army of volunteers who banded together

perhaps less obvious, let’s just call it APPA.

to make it possible, all so generous with their

I won’t go into detail as it is covered later in

time, talent and support. I think this typifies the

this Working Pro, but for me the one thing that

success of the AIPP and it demonstrated to me

is absolutely electric when you attend APPA are

that our community culture is alive and well.

the screams of exhilaration when someone gets an Award.

All About The Money

We are a fortunate community of

It’s a bit different for everyone, but seeing

someone get their first Silver is just as magical

photographers and like any community, we

as watching a Master of Photography get a Gold

have opportunities to reach out to help those

with Distinction. And the tears that accompany

less fortunate. Many of our members do just

these outbursts of emotion are just as genuine

that with little recognition.

at both ends.

be announcing details of a new philanthropic

I’m not sure if those screams came across in

the live stream. I hope so. With a large viewing

project aimed at two things:

audience and an intention to help those

• Finding and recognising our members who

members who can’t make it to the Awards in

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Well, we’re going to change that. We’ll soon

are supporting their community;

person, live streaming is a great example of

• Establishing a fund to support students

how we are trying to reach out to all of our

who require financial assistance or offer

members.

opportunities for studies not normally within

their reach.

This year saw the final trial of our new

Awards judging system, custom designed and

built by the AIPP with the help of Josh Marshall,

that we expand the wonderful sense of

one of the dedicated members who makes

community we already have. At times we can

This is an exciting evolution and will ensure

POST APPA INFORMATION Canon AIPP/APPA Gala Dinner Photographs Thanks to David Glazebrook and our good friends at Kayell/Elinchrom, we have some amazing social photos from the Canon AIPP Awards dinner - check them out here: http://www.aippappa.com/appa-2014-info/2014-gala-dinner-galleries/2014-appa-gala-dinner-01 All The Canon APPA Awards On Line Don’t forget to check out all the Silver and Gold awards on the AIPP website http://www.aippappa.com Gold Celebration Hard Cover Book All Accredited AIPP members who entered APPA will receive a hard copy ‘coffee-table’ style book containing all the Gold Awards from APPA this year. Stay tuned for a delivery time.

Traditional APPA Book And the traditional hard copy book containing all the Awards will be made available in coming months as a print on demand option. Details will be provided when it’s ready!

all get caught up with sales and profit figures,

Get Out Your Shovel

and while there’s no problem with that because

Okay, let’s face it. The Kiwis are great at Rugby

we are in business after all, there can be greater

and they are also pretty good at working an

satisfaction gained from what we give than

idea. Last year they launched an initiative to

what we receive.

photograph the remaining diggers of WW2 and

they have had a huge success with it.

I saw a perfect example at the APPA Awards

dinner when Gavin Blue was honoured for his

work with Heartfelt. During that presentation, a

bigger task. We have more territory and higher

video reflecting the work of Heartfelt brought

numbers, but we also have more members and

a tear to every woman and man present with

resources. Next month we will bring you details

something I have not seen before, two standing

of what we have in mind.

ovations for Gavin and richly deserved.

exposure with their project and we are

We all feel such a sense of achievement

We want to do the same, but it is a much

The NZIPP has had huge national media

when we are involved with helping others and

confident we can achieve the same. This will be

we need to make that part of our culture.

a regional community service that can benefit

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every member in every state and town. All

the next two months.

we need to do is engage in the ANZAC Spirit.

Putting The ‘M’ Back Into AGM

Do I need to explain the link to shovel and

In late November we will be holding our

diggers?

Annual General Meeting. While this is a

Raising The Bar On Entry

mandated formality for the approval of our

Becoming an AIPP Accredited Professional

audited accounts, it is also an opportunity

Photographer should be something that

for our members to meet with the Board.

every professional aspires to. By default, when

This year, we would like to see a greater

we accredit someone, we essentially endorse

involvement from our members and will be

them to the consumer, so to ensure we

aiming to create an interactive experience by

protect the value of our Accreditation process

live streaming the AGM, including live Q&A

and the reputation of the Institute, it is vital

via text technologies. The anticipated date is

that the accreditation entry process meets a

the 26 November and as soon as we have the

minimum standard.

details, we will let our voting members know.

With that vision in mind, we currently have

a working group reviewing the application process for AIPP membership. When we have the final model in place, we will bring it to the

ross.eason@aipp.com.au

membership for feedback, hopefully within

0412 108 362

AIPP New Accredited Members New APPs for September 2014

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Accredited

NSW

VIC

QLD

Professional

Tim Bradshaw

Simone Markham

Forough Yavari

Photographers

Zahrina Robertson

Vikki Shayen Wong

Laine Allen

Dmitriy Komarov

Peter Gianfrancesco

Renee Emily Towers

WA

Daniel Ferris

Don Chu

Victoria Reid

Rachell Montgomery

Rose Punch

Mel Spittall

TAS

Hayley Gough

Shannon Smith

Gabriel Veit

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NSW

The 2014 Canon AIPP Emerging Photographer Of The Year Adam Williams

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A R OUND THE STAT E S A P P A 2 014

SOUP KITCHENS

We were super excited that APPA returned to NSW for the first time since 2011 and we were proud to host what turned out to be an awesome and historic event including THAT perfect score of 100 by Kelly Gerdes and James Simmons becoming the first wedding photographer to win the overall PPY title!

August’s studio visit was hosted by none other than David and Clare Oliver who warmly invited us into their gorgeous studio and shared their passions for wedding and portrait photography and the power of the print. More recently, September’s Soup Kitchen was hosted by Damien and Nicole Ford from Evoke Photography who shared their inspiring story about growing a home-based wedding photography business into a successful studio with five staff.

Congratulations go to all our NSW members who won awards and honours, and to our amazing category winners: Nadine Saacks - Album Of The Year Matthew Evringham - Advertising Photographer Of The Year Aran Anderson - Commercial Photographer Of The Year Adam Williams - Emerging Photographer Of The Year And thank you to everyone who helped to make APPA 2014 a huge success including, of course, the fantastic army of red shirts!

©Clare & David Oliver

NSW EVENTS October 23rd - Off The Grid - Parramatta - Our next invitation to down tools and catch up with fellow photographers sees the venue head west to Parramatta and the Bavarian Bier Cafe. Join us in this converted church for drinks and good times!

Coming Up © Matthew Evringham

© Aran Anderson

A C U R AT I O N O F W I N N E R S F R O M A P PA 2 014 Following on from APPA, our friends at Pixel Perfect are exhibiting the highest scoring images at their X88 Gallery.

Images include the winning category portfolios as well as copies of the the gold and gold distinction winners.

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The exhibition runs from 2nd to 16th October and is open from Wednesday to Friday each week from 11am-5pm. X88 Gallery is at 88 Abercrombie Street, Chippendale, NSW 2008.

The NSW Council are hard at work creating a roadmap of events for the next year and beyond, addressing essential skills for professional photographers, inspiration, workshops and social gatherings. There is also a very special three day event in the works for early 2015! We can’t reveal too much at the moment but keep an eye on the state calendar and AIPP NSW on Facebook.

NSW Council - Milton Gan, Anni Payne, Karl Welsch, David Glazebrook, Charles Foulsham

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© Ben Liew, Ky Luu, David Sievers

SA A R O UND T HE STAT E S FROM THE AIPP SA PRESIDENT

UP COMING EVENTS

Adelaide is in full swing after our SALA (South Australian Living Artists) Festival has finished and our Shimmer Photographic Bienalle opening. We have been graced with visits from Jeff Moorfoot from the Ballarat Bienalle and Jacqui Dean with her show Translucence.

7 Oct - Monthly Breakfast at Alfonso's Cafe

Milton Wordley has lectured on his self published multi international award winning masterpiece “A year in the Life of Grange”. There are so many photographic exhibitions and events gracing the halls of South Australia that AIPP members are run off their feet either participating or visiting the shows!

BREAKFAST MEETINGS

Last month we ran a highly successful Ladies of Light Seminar featuring two of SA’s best photographers; Sam Oster spoke and demonstrated studio lighting and Simone Hanckel did the same for natural lighting.

8 Oct - New member and APPA Celebration evening 15 Oct - Ben Liew's debrief - Meet the Magnum 30 Nov - Xmas Picnic

The first Tuesday of every month is Breakfast Day at Alfonso’s Cafe. Our ever faithful AIPP community makes a great effort for the first Tuesday of each month to meet for a casual breakfast. This is a great time for a chat with the gang and for new and potential members to be completely scared away!! (Just kidding of course!!)

The event sold out with two weeks to go, and we still had a waiting list. It looks as though we need to follow that one up!

Just prior to the Ladies of Light, we had a Business Facilitation workshop run by Duncan Redman. The workshop looked at potential changes needed to your business model to remain healthy and profitable. Those that attended, thought it was excellent information, and left energised.

Personally, as a participant in some of these peoples’ businesses, I met with two of those who attended and discussed solid changes they were making based on that workshop… what more could you ask for.

With popular monthly breakfasts, some exciting events behind us and a few in the wings, the 2014-15 year has truly taken off!

POST SAPPA PRINT FEEDBACK Following a very successful award season for South Australia, our council, together with the awards planning committee, hosted a print feedback evening to provide entrants with an opportunity to receive invaluable comments on how to potentially achieve higher scores for their work.

- Paul Atkins

SA Council Paul Atkins, Peter Barnes, Louise Bagger, Ben Liew, Niki Charalambous

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TASMANIA The 2014 Canon AIPP Highest Scoring Print Winner - Kelly Gerdes

A R OUND THE STAT E S ON THE LOUNGE

©Andrew McConachy

©Conor Richardson

A big thanks goes to Peta Nikel who hosted our first ‘On The Lounge’ evening mid-year. A wonderful and intimate mini-workshop style event where Peta warmly invited members into her home based studio for an evening, providing an insight to her work and studio environment.

A P P A 2 014 Tasmania is glowing with pride following APPA 2014, the state was winner of the Presidents Cup as the highest average scoring state, Kelly Gerdes was awarded with the highest scoring print achieving a perfect 100, and Gold Awards went to Kelly Gerdes, Andrew McConachy and Conor Richardson, with Dan Cripps receiving 3 Gold Awards and again making it as a Portrait Category Finalist.

COFFEE C ATCHUPS In an effort to promote regional contact with state members, in a cost effective manner, the development of ‘Coffee Catchups’ has been a new introduction which has proved positive and will be maintained. Informal meetings are held monthly at local cafes in Burnie / Devonport, Launceston and Hobart.Check the facebook page for dates and locations

NEW COUNCIL A new Tasmanian council came together mid-year, consisting of President Jon Jarvela, Vice-President Danielle Burrows, Kelly Gerdes, Steven Smith and Ricki Eaves.

UPCOMING EVENTS A post APPA celebration is being planned for the end of October 2014. Plans are underway to develop an exhibition to showcase member’s awards entries. With an incorporation of an opening night this gathering will provide an opportunity for members to exhibit their award winning prints following success of both the state and national awards, along with providing another social gathering opportunity for all members.

Click Here 10

FOR MORE UPCOMING EVENTS

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VIC

The 2014 Canon AIPP Science, Environment & Nature photographer of the year Joshua Holko

A R OUND THE STAT E S BRINGING VICTORIAN AIPP MEMBERS FANTASTIC EVENT S AND HAVING A GREAT TIME TOGETHER!

A PPA CEL E B R ATI O N CO M M I SE R AT ION G AT HE R ING Please join us in celebrating or commiserating our APPA results!

Come and see some of the gold award winning prints up close and personal. Talk to some of our APPA winners. Eat, drink, and be merry!

BL ACK & WHITE SHOOT TO PRINT

Date: Tuesday, 14th October

Presented by Ian van der Wolde

Venue: The Darkroom, 147 Station Street, Fairfield Time: 7pm - 10pm Cost: Students: $30 | Members: $40 | Non-Members: $80 Tickets available at www.appagathering.eventzilla.net

Our sellout seminar with Ian van der Wolde at the end of August went really well. Everyone said they were glad they came. We may have a similar seminar to this one in the future, so keep your eyes on the calendar if you are interested in attending.

Ian van der Wolde instructing the attendess of his seminar in all things black & white.

ŠHighest Scoring APPA Print by a Victorian Jose Aguiar

VIC Council Louise Francis, Joshua Holko, Shireen Hammond, Sarah Jackson, Tony Knight

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WA © James Simmons

© Kirsten Graham

A R OUND THE STAT E S NEWS FROM THE TRENCHES - WA What a fantastic year we’ve had here in WA, culminating in our own James Simmons taking out the top honour at this year’s AIPP Australian Professional Photographer of the Year Awards! Riding on back-to-back PPY wins now (Tony Hewitt of course winning last year’s trophy), as well as Kirsten Graham winning the Creative Photographer of the Year category, the ND5 team (including WA boys Christian Fletcher, Michael Fletcher, and Tony Hewitt) winning Book of the Year, and Stef King, Brook Desmond, Steve Wise, Sheldon Pettit, and CIT Perth all coming in as finalists for various categories, we just couldn’t be prouder of our state’s talented members. And boy, the excitement and expectation for the coming year’s awards is already at a new high. With any luck well get the entire WA membership to Melbourne for APPA 2015!

We’re also pretty darn proud of the rest of the WA members who hit a milestone this year, including Gary Sarre (Master with Three Gold Bars), Tina Urie (Master with Two Gold Bars), Diane DeRay, Christian Fletcher, Vic Miller, James Simmons and John Woodhouse (Masters with One Gold Bar), Rebecca Johansson, Stef King, and Amber Simcoe (Masters), and Simone Addison, Adam Browne, Suz Crosbie, Brook Desmond, Peta Horsten, Natasja Kremers, Geoffrey Liau, Sheldon Pettit, Johannes Reinhart, Jason Soon, Michelle Thomas, Nilofar Walters, and Channon Williamson (Associates).

of our Master photographers, who so willingly give their time and wisdom to the events. And of course, our sponsors are supporting every facet of these events, giving their time, finances, venues, and expertise, and it’s very much appreciated.

As a council, we’re so proud to serve our members, and we’re so appreciative of the amount they give back to the WA community, and to the industry nation-wide. We’re pretty excited about the coming months, and look forward to connecting with even more of our members.

UPCOMING EVENTS Mid-October - Perth Photowalk 27th October - Private Tour of The Richard Avedon Exhibit 11th November - Breakfast meeting 26th-27th November - Marcus Bell workshops 3rd December - President’s Cocktail Party

Aside from the lead-up to APPA, these last few months have seen the WA AIPP Community connect over breakfast meetings, print critiques, photo walks, and even a lunch 3 hours south of the city in Busselton. What’s most exciting is that many of these initiatives, although facilitated by the WA Council, are really being championed by the members themselves. Our Busselton meeting had many local photographers putting up their hands to create some amazing “down south” events. The Perth Photo Walks was started by James Simmons, with so much support from the likes of Steve Wise and Tim Pontin, Kirsty Aksentiew and Natasja Kremers, and many others. Breakfast meetings and print critiques rely on the wisdom

IMAGE ONE: WA State Council - (left to right) Steve Wise, Kirsten Graham, Rebecca Johansson, Tim Pontin, Nathan Maddigan, Shaireen VanTuil IMAGE TWO: WA State Awards, May 2014 IMAGE THREE: Perth Photo Walks (Image by Natasja Kremers)

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WA Council Nathan Maddigan, Kirsten Graham, Shaireen vantuil, Tim Pontin, Steve Wise

IMAGE FOUR: WA crew at APPA 2014

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PHOTO: DAVID GLAZEBROOK

The Big One - James Simmons!

C a n o n A I P P A u s t ra l i a n Pr o f e s s i o n a l P h o t o g ra p h e r o f t h e Ye a r Congratulations to James Simmons, the

Playground trade show and photography

2014 Canon AIPP Australian Professional

seminars. There were four judging rooms

Photographer of the Year!

working for three consecutive days, followed

by the gala Canon AIPP Awards Dinner on the

With 2789 entries across 15 categories, it is

a huge achievement for any photographer and

Monday night.

also the first wedding portfolio to win the big

one for as long as any of us can remember!

had been trialled in the states earlier in the year.

Using iPad minis to give their scores, the system

There have been many amazing wedding

portfolios over the years and some have come

worked exceedingly well and live streaming

incredibly close, but by the end of the judging

allowed photographers from around the

process, it’s another category that is in the

country to listen in and see how their entries

limelight.

scored.

This year it was once again a closely

While the four judging rooms were well

contested debate, but after the final

attended, it was outside on the walls that

deliberations concluded, it was James Simmons’

people mingled and interacted as the winning

exciting black and white wedding photographs

prints were hung on the wall.

that were awarded the PPY.

masterminding the APPA logistics and a big

Sponsored by Canon, James takes away a

Thanks to Sue Lewis once again for

cheque for $10,000, but more importantly he

thanks to Melinda Comerford and Mark Zed for

joins an honour roll of some of the country’s

handling the judging side.

leading professional photographers.

award winners, visit the AIPP’s website: www.

The APPAs were held at Luna Park in Sydney

in September, 2014, along with The Digital

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The AIPP used a new judging system that

For more information and to see the other

aipp.com.au.

photographer of the year 2014 C a n o n A IPP A u s t r a l i a n P r o f e s s i o n a l P h o t o g r a p h e r

of the

Year - Winner

James Simmons M.Photog.

Sponsored

by

Canon

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Behind The Scenes At APPA

R u n n i n g t h e C a n o n A P PA s I s A H u g e J o b !

Over 100 volunteers are involved in running the Canon APPAs each year, plus our hard working National Office. Here’s a glimpse of what you see and don’t see behind the scenes. Thanks to our roving photographer, NSW President Milton Gan for the photos.

It’s not always the best angle for the audience, but the judges need to get up close and personal to give the entries the correct score. There can be a rush for the print when it first turns around!

Nuran Zorlu was one of the many panel chairs, supervising the judges and judging process.

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And once they’ve scored, often there’s a debate that follows: was the score correct?

What you don’t see when the judges stand up are the ‘red shirts’ behind the scenes, preparing the next print for viewing or writing the score on the print that has just been judged.

Visitors love that the original prints are displayed outside the judging rooms for closer inspection.

We have a great computer system, but manual records are always kept as well, just in case!

A lot of APPA helpers are return offenders! There’s something about working behind the scenes over the weekend that gets in your blood - or perhaps it’s just the partying afterwards!

Waiting patiently ‘behind the wall’ for the judges to finish their deliberations.

After judging, it’s a huge job to sort the prints and put them back in the correct print case.

Judges have assessment sheets to help them give an appropriate score.

APPA realises how much it costs to produce the prints for judging, so white gloves are worn by all print handlers. It’s not a bad thing for us to do when showing our clients their prints as well!

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The Canon AIPP APPA Gala Dinner Photo Diar y From Le Montage, Lilyfield

Once again, Kim Harding and the National Office did the Institute proud, organising a spectacular evening of dinner-suit and evening gown proportions. If you were there on the night, check out the AIPP APPA website to see photos of you and your compatriots. Thanks to David Glazebrook for the pics.

There were over 400 guests at Le Montage in Lilyfield, situated on the inner harbour in Sydney.

David Glazebrook took all the photos, except this one with Nadine Saacks and Clare Oliver.

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Sue Lewis divulged the statistics for yet another successful APPA judging

Yervant was as smooth as ever, seen here with Mandarine Montgomery (left) and Julie Ewing.

This looks like a bunch of hard working, behind the scenes APPA workers, letting down their hair and kicking up their heels after a fun but arduous weekend.

Melissa Anderson and Jacqui Dean looking resplendent at the dinner.

We didn’t see much of Peter Myers on the night, but he was there, working hard!

Grand Master of Photography Tony Hewitt found it hard to hand over his PPY status (just kidding), but once again did a fantastic job as the Master of Ceremonies.

Todd Hunter McGaw and Dan O’Day have some serious problems to work out.

Board member Felicity Biasi introduces the APPA heirachy to the dinner guests.

It’s okay Michelle Tuddenham from Canon, we’re not even going to ask what you’re doing!

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2014 Canon AIPP Australian Professional Photography Awards Category Winners and Major Prizes

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Can o n AIPP Austra li a n Professi ona l Photogra phy Awa rds 2 0 1 4

wedding 2014 AIPP Australian Wedding Photographer

of the

James Simmons M.Photog.

Sponsored

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by

GraphiStudio & Complete Wedding

Year - Winner

Weddi ng

FI NALI ST

Ryan Schembri M.Photog.

F INALI ST

Dan O’Day M.Photog.

HIGHEST SCORI NG PRINT

James Simmons M.Photog.

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Can o n AIPP Austra li a n Professi ona l Photogra phy Awa rds 2 0 1 4

PORTRAIT 2014 AIPP Australian Por trait Photographer

Peter Rossi G.M. Photog.

Sponsored

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by

K ay e l l A u s t r a l i a

of the

Year - Winner

Por tra i t

F INAL IST

Vicky Papas AAIPP

FINAL I ST

Dan Cripps M.Photog.

H IGHEST S COR ING P R INT

Adam Hourigan

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Can o n AIPP Austra li a n Professi ona l Photogra phy Awa rds 2 0 1 4

FA M I LY 2 0 1 4 A I P P A u s t r a l i a n F a m i ly P h o t o g r a p h e r

Kelly Brown M.Photog.

Sponsored

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by

A t ki n s

of the

Year - Winner

Fa m i ly

FI NALI ST

Colleen Harris AAIPP

F INALI ST

Luisa Dunn AAIPP

HI GHEST SCOR I NG P RINT

Colleen Harris AAIPP 27

Can o n AIPP Austra li a n Professi ona l Photogra phy Awa rds 2 0 1 4

One of Victoria’s winning entries has not been published by request.

birth 2014 AIPP Australian Bir th Photographer

Victoria Berekmeri AAIPP Sponsored

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by

Pixles

of the

Year - Winner

Bi r th

One of Selena’s winning entries has not been published by request.

F INAL IST

Selena Rollason

HI GHEST SCORING P RINT

Selena Rollason 29

Can o n AIPP Austra li a n Professi ona l Photogra phy Awa rds 2 0 1 4

commercial 2 0 1 4 A I P P A u s t r a l i a n C o m m e r ci a l P h o t o g r a p h e r

of the

Year - Winner

Aran Anderson AAIPP Sponsored

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by

PPI B P r o f e s s i o n a l P h o t o g r a p h e r ’ s I n s u r a n c e B r o k e r s

Com m erc i a l

FI NALI ST

Kevin Chamberlain M.Photog.

FI NALI ST

William Long M.Photog. HLM

HIGHEST SCORI NG PRINT

Mark Duffus M.Photog.

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Can o n AIPP Austra li a n Professi ona l Photogra phy Awa rds 2 0 1 4

Fashion 2014 AIPP Australian Fashion Photographer

Peter Coulson M.Photog.

Sponsored

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by

Bowens

of the

Year - Winner

Fa shi on

FI NALI ST

George Favios

FI NALI ST

Stef King M.Photog.

HI GHEST SCOR ING P RINT

Peter Coulson M.Photog.

33

Can o n AIPP Austra li a n Professi ona l Photogra phy Awa rds 2 0 1 4

advertising 2014 AIPP Australian Adver tising Photographer

Matthew Everingham Sponsored

34

by

AIPP

of the

Year - Winner

Adver ti si ng

H IGHEST SCOR ING PRINT

Matthew Everingham 35

Can o n AIPP Austra li a n Professi ona l Photogra phy Awa rds 2 0 1 4

doc u mentary 2 0 1 4 A I P P A u s t r a l i a n D o c u m e n ta r y P h o t o g r a p h e r

Anthony McKee AAIPP Sponsored

36

by

E l e v e n 40 G a l l e r y

of the

Year - Winner

D oc um enta r y

FI NALI ST

Brook Desmond AAIPP

HI GHEST S COR I NG P RINT

Anthony McKee AAIPP 37

Can o n AIPP Austra li a n Professi ona l Photogra phy Awa rds 2 0 1 4

S C I E N C E , E N V I R O N M E N T & N AT U R E 2 0 1 4 A I P P A u s t r a l i a n S ci e n c e , E n v i r o n m e n t & N at u r e P h o t o g r a p h e r

Joshua Holko M.Photog.

Sponsored

38

by

AIPP

of the

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S c i enc e, Env i ronm ent & Na ture

F INALI ST

Darren Jew M.Photog.

FI NAL I ST

Liz Harlin AAIPP

H IGHEST SCOR ING PRINT

Joshua Holko M.Photog.

39

Can o n AIPP Austra li a n Professi ona l Photogra phy Awa rds 2 0 1 4

T R AV E L 2 0 1 4 A I P P A u s t r a l i a n T r av e l P h o t o g r a p h e r

Nick Rains M.Photog.

Sponsored

40

by

Lowepro

of the

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Travel

F INALI ST

Nadine Saacks AAIPP

F INALI ST

Steve Scalone

HI GHEST SCORI NG PRINT

Lib Ferreira 41

Can o n AIPP Austra li a n Professi ona l Photogra phy Awa rds 2 0 1 4

SPORT 2014 AIPP Australian Spor t Photographer

Matt Palmer AAIPP Sponsored

42

by

DigiDirect

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S por t

FI NALI ST

Cameron Spencer

FI NALI ST

Ryan Pierse

HIGHEST SCOR ING P RINT

Matt Palmer AAIPP 43

Can o n AIPP Austra li a n Professi ona l Photogra phy Awa rds 2 0 1 4

I L LU S T R AT I V E 2 0 1 4 A I P P A u s t r a l i a n I l l u s t r at i v e P h o t o g r a p h e r

Keren Dobia M.Photog.

Sponsored

44

by

IPS

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I ll ustra ti ve

F INAL IST

Kelly Gerdes AAIPP

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Alison Lyons AAIPP

HI GHEST SCOR ING P RINT

Kelly Gerdes AAIPP 45

Can o n AIPP Austra li a n Professi ona l Photogra phy Awa rds 2 0 1 4

LANDSCAPE 2014 AIPP Australian Landscape Photographer

Ricardo Da Cunha Sponsored

46

by

L&P D i g i ta l P h o t o g r a p h ic

of the

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L a ndsc a pe

F INAL IST

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F INAL IST

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HIGHEST SCORI NG PRINT

Adam Williams 47

Can o n AIPP Austra li a n Professi ona l Photogra phy Awa rds 2 0 1 4

creative 2 0 1 4 A I P P A u s t r a l i a n C r e at i v e P h o t o g r a p h e r

Kirsten Graham AAIPP Sponsored

48

by

EIZO

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C rea ti ve

F INAL IST

Ben Clark M.Photog.

FI NAL I ST

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49

Can o n AIPP Austra li a n Professi ona l Photogra phy Awa rds 2 0 1 4

st u dent 2014 AIPP Australian Student Photographer

Jacqui Hogan Sponsored

50

by

Kodak

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S tudent

F INALI ST

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Angie Connell T ertiary I nstit u tion 2 01 4 AI P P A u s t r a l i a n T e r t i a r y I n s t i t u t i o n

of the

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Photography Studies College, Melbourne Sponsored

by

Kodak

R u n n e r - U p : C e n t r a l I n s t i t u t e T e c h n o lo g y , P e r t h 51

Can o n AIPP Austra li a n Professi ona l Photogra phy Awa rds 2 0 1 4

emerging 2014 AIPP Australian Emerging Photographer

Adam Williams Sponsored

52

by

A IPP

of the

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Em ergi ng

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Debbie Fowler

F INALI ST

Nicole Humphrey

53

Can o n AIPP Austra li a n Professi ona l Photogra phy Awa rds 2 0 1 4

A lb u m 2014 AIPP A u s t r a l i a n A l b u m

of the

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Nadine Saacks AAIPP Sponsored

by

Asukabook & Wacom

R u n n e r s -U p : B r o o k D e s m o n d AAIPP; J e r r y G h i o n i s M. P h o t o g .

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for a

Grand Master

Peter Rossi G.M. Photog.

Sponsored

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by

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Photography - Winner

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I N T E R N AT I O N A L 2 0 1 4 A I P P I n t e r n at i o n a l P h o t o g r a p h e r

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Luke Edmonson Sponsored

by

Fotrel

H I G H E S T S CO R I N G I M AG E 2014 Highest Scoring Image

Kelly Gerdes Sponsored

by

Ilford

55

From 95 to 79

H o w To D e a l W i t h S c o r e C h a n g e s A t A P PA .

56

David Oliver beat me. It’s a hard fact to swallow,

happened to me many times. I have also had

but accept it I must. Each year, we enter our

prints score poorly at state awards and then

four prints and the person with the lowest

do very well at nationals, so the change can be

aggregate score buys the other lunch.

both ways.

Beaten by a Hunter Valley farmer... again!

There’s a lot of passion at APPA as we all bare

week, we speculated about why scores vary

Talking to Geoff Comfort from the ACT last

our souls, submitting four gold awards only to

so greatly. He suggested that as the overall

have them returned in their neat, squat cases as

standard at the state awards isn’t as high as at

something a little less valuable.

nationals, perhaps the judges slightly overreact

when they see a strong print, but when that

However, what many people miss is that

the benefit has happened before you enter. It’s

same strong print is up against so many other

the process that is so important to becoming a

strong prints at nationals, it doesn’t fare so well.

better photographer, the fact you have thought

about your four strongest photographs, or at

differently, there are many more that receive

least four photographs you feel strongly about.

very similar scores.

To have judges score your work less than

Of course, for all the prints that score

The APPA judging system has been around

perfect can be a problem, but not everyone

for over three decades, surely someone could

sees things this way. New entrants are usually

have sorted this issue out by now? Well, it’s

delighted to get a silver or even a score in the

not the system, it’s the judges. And no, this is

high 70s as this is recognition that their work

no criticism of the judges because all they are

has some merit. It’s professional standard and

asked to do is provide their opinion.

this is incredibly important.

However, if you’ve won gold at the Epson

intensely disappointing to receive a lower score

state photography awards, it can be confronting

at nationals, but you have to accept that this is

to receive a bare silver or even a 79 at the

just another opinion. And when you deal with

Canon national photography awards. How can

opinions, you’re dealing with the vagaries of

the scores be so different?

human nature. The system we have is great, we

just need to keep it in perspective.

Interestingly, it’s not a new problem. It’s

After doing well in the state awards, it’s

A Silver Award for David Oliver in the Portrait category this year. It’s a photograph of his daughter Clare who earned her Master of Photography this year as well. I think Clare just cost me lunch! Read article for the reason!

57

Canon APPA Statistics

W h a t Wa s E a r n t A n d W h a t S h o u l d Yo u A i m Fo r ?

58

Where do you stand as a professional? Are you

professionals who spend a large part of their life

as good as the competition, or do you need to

living and breathing photography, surely we’d

work a little harder? And how do you find out?

expect a competent professional to get four

Silver awards or higher?

This is where the AIPP is in the box seat. It

is the only organisation in Australia offering a

judging system that has five expert professional

were to drill down further, we’d find that out

judges sitting on a panel. If they give you a

of the 54.3% that don’t earn an award, most of

Silver award or higher, you should be tickled

them are in the 70-79 range, indicating they

pink!

have reached a level of professional practice. I

don’t have the figures for this year, but I believe

As the AIPP expands the awards system into

The statistics don’t agree with this, but if we

a combination of online and live systems, we

less than 10% score under 70.

are offered a number of opportunities to test

Scoring Range

ourselves within the profession.

So in reality, the scoring range starts at around

Fifty Fifty

70 and goes up to 100. To start, it is good to

When you look at the statistics for APPA this

aim for the high 70s. A score of 78 or 79 is

year, over 45% of entries received a Silver Award

considered a Half Award point and you can use

or higher. It seems pretty easy to get an award,

four Half points towards your Associateship.

statistically. However, talk to anyone who enters

the AIPP awards systems regularly and you’ll

next year is to get at least one Silver. The

learn two things.

following year, two Silvers and the year after

that, go for broke and aim for four Silvers.

First, it is a very rare photographer who

If you earned only 70s this year, your aim

consistently gets Silver and higher for every

entry. Even Grand Masters of Photography

four Silvers more quickly than this, but for the

come away with images that are below award

majority, it’s a matter of persistence.

standard from time to time..

photographs all the time, then the Grand

Second, each entrant has submitted his or

Of course, many photographers reach

If it were easy to take award winning

her very best four photographs taken over the

Masters would be scoring Golds every year.

last year. Remembering this is a competition for

But for most of us, that’s not happening!

2014 C anon Au stralian P rofessional P hotography Awards

Categories

No. of Entries

Advertising

27

Birth

40

Commercial

86

Documentary

Family

103

Pregnancy/Babies

Single

76

Groups

146

Fashion

18

Illustrative

427

Landscape

401

Portrait

461

Science, Environment & Nature

85

Sport

76

Travel

228

Wedding

411

178

Album Award

Wedding Single

5

Wedding Multi

4

Portrait

4

Event

2

Photographic Book Award

Total Entries

Awards

11 2789 No. of Entries

Silver

907 32.50%

256

Silver Distinction

9.20%

Gold

90 3.20%

21

0.80%

1515

54.30%

Gold Distinction Not awarded

59

How Is The PPY Judged?

I t To o k S e v e ra l H o u r s T h i s Ye a r To D e c i d e !

60

The process of judging the Canon AIPP

the panel is drawn from different sexes, states

Australian Professional Photographer of the Year

and disciplines so everyone is fairly represented.

(PPY) award has evolved over many years, each

The panel also includes past PPY and category

iteration addressing and refining the process so

winners. It’s a distinguished panel.

we end up with a ‘fair’ result.

What Didn’t Work

and the portfolios displayed around the room.

Originally, the PPY was the photographer with

Digital entries are displayed on Eizo monitors.

the highest aggregate. While the photographer

with the highest aggregate was very happy

held where judges are invited to explain what

with this result, sometimes there was criticism

the PPY award means to them. With this insight,

that a particular category was judged more

the judges are invited to inspect the portfolios

leniently than another. For instance, people

and submit their vote.

would say it was easier to win awards in

weddings than in advertising, but the following

entries in each category as a portfolio, rather as

year it could be the reverse.

four individual entries.

The point being made was that over the

The panel is convened at the end of APPA

Before judging, a round table conference is

Judges are asked not to assess the four

There are 11 judges and if the result is 7 in

course of three days, there could be variations

favour of one portfolio, that’s the winner.

in the level of scoring, so to ensure these

variations weren’t affecting the final result,

are removed and the judges asked to score

a new system collected the best porfolios

their top three places. From here, the scores

together and judged them a second time.

are assessed to see if there is a clear winner.

Current System

Normally by this time there is.

To be in the running, you have to win one of the

categories (with the exception of the student,

three portfolios, then down to two portfolios.

book and album categories).

The judges gave reasons for and against each

entry in further discussion, before casting their

The judges are selected with a broad

If not, the portfolios that received no scores

This year, the process continued down to

cross section of interests and demographics.

final vote.

Depending on the judges who are available,

It only took a couple of hours...

The 2014 Canon AIPP Australian Professional Photographer of the Year Judging Panel.

(From centre left at the bottom) Kylie Lyons, Richard Bennett, Greg Hocking, Rick Slowgrove (Canon Observer), Chris Macleod (Canon Observer), Phil Kuruvita, David Paterson (non-voting Chairman), David Oliver, Jeff Moorfoot, Tony Hewitt, Anni Payne, Hilary Wardhaugh, Melissa Anderson and Ian van der Wolde. In the red shirts on the right, Mark Zed and Katrina Fegurson from the APPA team look on.

61

Category Advocates For APPA

H a v e Yo u r S a y I n H o w T h e A P PA C a t e g o r i e s W o r k

62

Do we have the right categories at APPA? Are

have suitable entry categories to enable high

there some new categories we should be

quality feedback.

introducing? Are some existing categories out

How Do I Become An Advocate

of date?

Its simple, send an email to admin@aipp.com.

Become An Advocate

au and tell us which category from our existing

As this is your Institute, the AIPP would love

awards categories you want to become a

you to get involved and you can do this as a

category advocate for.

Category Advocate.

group (CAG) does not become purely the voice

Explained Peter Myers, “In simple terms,

In order to ensure that a category advocate

category advocates are a group of members

and opinion of just one or two members, we

who want to “own” a category to be used in the

have set a minimum requirement that in order

AIPP Awards.

to formulate a CAG we need a minimum of 5

members involved.

“If you believe the AIPP should have a

specific category in its awards to cater for a

specific genre or section of photography, you as

5 members involved, we will add you to a

a member can propose this.

waiting list, and try to enlist your help to try

and publicise the tentative CAG and get more

“But more than this… If you propose a new

If you contact us, and we don’t yet have

category, you now have the opportunity to

members involved.

become one of the Category Advocates and

help define the category parameters, the rules,

of 5 members we will formally implement the

and the entry requirements. We will also ask

CAG.

you to work with us to ensure suitably qualified

What’s Involved?

and appropriate judges are used to judge your

How do we communicate and interact with

category.”

each other in a Category Advocate group?

What Categories Do We Need?

If the purpose of the awards system is to enable

communication, collaboration and

working photographers to enter images for

communication. We expect that almost all the

peer review, then it follows that we need to

business of a CAG will be conducted online

As soon as we reach the magical number

We use Basecamp for online

via BaseCamp. It’s a great, cost effective tool, if

constraints of our awards system.

used well, for managing projects via a disparate

When Can You Join?

group from all across the country.

If you want to have your say, now is the time.

When you join a CAG, you will be sent an

We have nine CAGs working at present.

invitation to create a BaseCamp account (it’s

Some have room for more members, others are

free) and join the project for the particular

full, but email the National Office and ask.

category for which you are an advocate. Simple

instructions on how to use BaseCamp are

agreed to early each calendar year so that they

included.

can be implemented for the state awards in

How Are Changes Proposed?

each state. Remember, our first state awards

As a group you have to agree on what you want

usually take place in early March, which means

the changes to be. You need to explain why

entrants need to know the categories and rules

these changes are being proposed and then

by January each year.

you need to propose how the changes will be

This means if you want to make changes for

implemented and managed.

2015, your proposals need to be accepted and

agreed before Christmas 2014!

For instance, you need to explain how the

We need to have all categories and rules

newly proposed rules and parameters will be

monitored and policed and how entries will be

do it now!

So, don’t delay… If you want to get involved

validated against the new rules.

All of this should take the form of a

structured proposal that should be sent to the

current category advocate groups

AIPP awards team. The national Office team will

CAGs for Existing Categories

help you put together your proposal if you need

Birth

help.

Commercial

Category Manager

Family

David Paterson, probably the AIPP member with

Illustrative

the most experience and knowledge of our

Landscape

awards process, is the Category Manager.

Once you have submitted a proposal to

David, he will liaise with you to help make sure your proposal is workable, and whether it can be implemented within the many other

Portrait Science, Environment and Nature CAGs Proposing New Categories Boudoir New Born

63

64 Peter Coulson presenting at The Nikon AIPP Event on the Gold Coast, 2014. Photos by Bambi Wixon.

Using A Single Overhead Light Peter Coulson at the Nikon Event.

Professional photographers struggling to find

a niche in a crowded market place should look

more because it gives me the freedom to move

at studio lighting. If you’re just using available

both the model and me into lots of different

light, what’s the difference between you and a

positions. It’s especially useful when you’re

client using their smartphone?

working in a studio with white walls and floors

as these provide fill light.”

Okay, so we know we can handle available

“I’m using this lighting pattern more and

light better, but why not give your clients

something completely different – and

ideal as it had dark carpets and distant walls.

The hotel room for the presentation wasn’t

something they can’t do themselves?

Work In Monochrome Studio Difference

Peter used a large octabox softlight, but he

Fashion photographers like Peter Coulson

noted you can use different light shapers for

are using studio flash to produce high end

different effects.

photography and it’s something that all

professionals should understand and be able to

work was shooting tethered and checking the

do.

image and the histogram (exposure) on your

Of course, there are many different ways

He also commented that the best way to

monitor.

you can approach studio lighting and Peter

presented just one at the Nikon AIPP Event on

Even on location, he will set his camera onto

the Gold Coast earlier this year.

monochrome mode because he feels he can

see the dynamic range so much better (the raw

The premise for Peter’s demonstration was a

Peter likes working in monochrome.

single light directly above the subject: a down

files are still capturing colour).

light. He explained that we’re taught not to use

light like this outside – overhead sunlight is the

equation, it mixes you up. Clashing colours can

bane of many photographers.

make it hard to make good decisions.”

“As soon as you put colour into the

However, if you understand how the light

falls off towards the edge of the light pool, then

Light Pool

it can be used very creatively in the studio.

Once he has established the correct exposure,

65

he begins working with the model and the

the light once and move me and the model

light. Peter explained that the light isn’t just

relative to the light.”

a beam down, but there is light pooling out

sideways as well. It is this part of the light – the

light. He may add in a beauty dish or a white

edge of the light – that Peter works with.

card underneath the chin, always trying to

achieve the best result in camera to limit the

The model is positioned to the side of the

light pool so she is being illuminated mainly

Of course, Peter doesn’t only work with one

amount of post-production required.

by the far side of the softbox, producing a light quality similar to that produced by a beauty

White Cards

dish.

“I generally don’t like using reflectors because

The further away from the light, the less

they are too strong. I prefer white cards which

there are shadows under the eyes because

I can slowly move in and out with much more

the angle of the light has flattened out. And

control.”

yes, there is also less light, but it is the quality

of the light that determines the result and the

beyond the scope of this article, but you can

exposure can always be adjusted accordingly.

see the result Peter achieved and the location

Explaining exactly how the light works is

shots will give you an idea of the set-up.

Moving Around

Peter then demonstrated how the lighting

presentation is that a single light can produce

on the model changes as she moved around,

remarkable results, and that studio lighting is

and also how it changes as he moved around.

one way we can differentiate ourselves from

The angle of the face to the light is incredibly

other photographers - and our clients.

important and that’s another reason for working

tethered (or wirelessly) to a laptop so you can

Wixon during Peter’s presentation, you can

see the results immediately.

see the lighting setup he used and where the

model is standing relative to the light. Take an

In the accompanying photos shot by Bambi

shadows become harsher, but if she steps

hour out of your schedule and set up a light

backwards out of the light, the shadows soften

with a boom arm and try it yourself. Look at

off.

how the light falls on your model and how your

66

“If the model moves into the light, the

The point to take away from Peter’s

“I like working this way because it can be

model’s positioning changes the effect.

time consuming to set up your camera and

move the lights for each shot. This way I set up

understated.

The value of this exercise cannot be

67

Commercial photograph by William Long.William was a finalist in the Commercial category in the 2014 APPAs

68

The Photo Watch Dog

W i l l i a m Lo n g ’s A d v o c a c y O n B e h a l f O f T h e A I P P William Long’s interest in competition rules

today asking for copyright. Some organisers are

began in 1999 with the M.I.L.K. ‘Moments of

getting smart and stating that you get to keep

Intimacy, Laughter and Kinship’ competition. It

your copyright, but in the next paragraph you

was a worldwide competition with some very

find yourself giving them an unlimited licence

attractive prizes, but William says they simply

in perpetuity for both the organiser and anyone

milked the industry.

else they sell the rights to. This is practically as

Losing Copyright

bad as taking your copyright.

“You can still see images entered into that

competition being used today, even though the

they intend to do, I ask what will happen if they

competition organiser eventually went broke

go broke? What will their company liquidator

and the photographs were sold to another

do when he finds these photos and reads the

company.

competition rules? It’s an asset he can sell.

“Yes, there were some very good prizes, but

“When organisers tell me this isn’t what

“Owning copyright and understanding

there were also a lot of photographs that won

your rights is just so important and this is why

nothing and were paid nothing, yet were used

I joined the AIPP. The situation wasn’t fair and I

for years afterwards generating income for the

simply have to stand up for the under dog!”

organiser.

PhotoWatchDog

William is currently only on Facebook at https://

“I had entered the MILK competition myself

and it was only afterwards that I realised I had

www.facebook.com/PhotoWatchDog, but his

given them the use of my image for nothing,

dedicated website is close to completion –

even though I wasn’t a winner. I discovered that

www.photowatchdog.com.

just by entering my image, it could be used

and sold to other people, and even though my

a fair, honest, and ethical approach to

photo didn’t win, I couldn’t enter it anywhere

photographic competitions. It nurtures good

else.

competitions and highlights bad ones. I give

I thought it was insane.

competition organisers and entrants the

knowledge of what is the right way to produce

“With MILK, you gave the organisers your

copyright and I still come across competitions

“PhotoWatchDog’s purpose is to encourage

a fair competition for the benefit of all.”

69

70

Normally there are two areas that concern

I dare say Uncle Joe might be miffed to be

William the most. One concerns the rights

portrayed this way.

the organiser has to use the photograph in

the future, the other concerns the liability

arranged for me to talk to all the Government

the photographer has no matter how the

departments using photography competitions

photograph is used.

like this. I explained clearly that they were

getting images for advertising and marketing

William spent six years lobbying the

“To his credit, the Director General

Queensland Government who, he says,

for free, but they weren’t telling people what

definitely had a plan to gain free imagery by

they were doing - and how did they feel about

running photo competitions. The Queensland

misleading the public like this?

Government was also one of William’s key

clients, so to condemn the Government for the

at least 20 different departments have stopped

way it ran photography competitions was not

running photography competitions this way - in

necessarily in his best interests, but that didn’t

fact, many don’t run photography competitions

stop him!

as all.”

“When talking to the Director General one

“There was a moment of silence! Since then,

William admits to having a ‘fairness

day about why his Government’s competitions

syndrome’ where he feels compelled to stand

were so wrong, I put forward a hypothetical

up and shout about it. “But I do appreciate

situation. Young Louise enters a photo of

it when I can change minds and I’ve been

her Uncle Joe walking down the beach with

successful now on many occasions.”

her little sister into one of the Queensland

Social Media

Government’s photo competitions. Under

“I’ve learnt that it’s best not to assume

the terms of the competition, the entrant is

the worst when dealing with companies

responsible for obtaining all model releases and

and organisations that have inappropriate

is liable for all uses of the photograph.

competition rules. Instead, I point out to them

Unfair Use

the reasons their rules look bad and then ask

“The photograph doesn’t win a prize, but

them if this was their intent? Invariably they

under the same terms, the photograph can be

answer they didn’t intend it to look this way and

used by the Government department in any

the conversation is opened for suggestions.”

manner. First it appears in a calendar, then it

goes to another department and it is used on

rules hold the entrant liable for any use of their

a brochure warning people about paedophilia.

photograph, even if the competition organiser

As William explained, some competition

Commercial photograph by William Long.William was a finalist in the Commercial category in the 2014 APPAs

gives it away! “Not only are you liable, your

their rules and many end up being incredibly

children are liable as well - well, perhaps that’s

grateful when I point things out.”

a bit of an exaggeration, but it amazes me how

absurd some rules are.

prize winner’s photos are used because the

photographer has received something in return,

“Some organisers tell me that their

William adds that he has no trouble if a

competition isn’t aimed at professionals, but

but for non-prize winning entrants, then it

most of the complaints I see are from semi-

would be more reasonable for the organiser

professionals and amateurs, and this is creating

to pay something for the use of a photograph

far more adverse publicity in a much broader

if it wasn’t being used in relation to the

context. In fact, exposure to negative social

competition.

media is a great leverage for having bad rules

You can keep up to date with William’s

changed.

advocacy work on his Facebook page at https://

www.facebook.com/PhotoWatchDog.

“So while I’m direct, I take the approach that

the organiser doesn’t actually mean to enforce

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The Transporter Sync comes as above, so you need to add in a portable drive of your own.

The bigger the drive, the more ‘cloud’ storage you have!

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Transporter Sync

Yo u r O w n Pe r s o n a l C l o u d s , Fo r Yo u A n d C l i e n t s Look out Dropbox! There’s no need for third-

that are only stored on your Transporter(s)

party cloud storage when you have your own

drives. While the default Sync Folders are great

Transporter Sync.

for active files that require frequent access, the

The Transporter Sync is a small device that

Transporter Library is best for collections of files

will sit on your desk (or anywhere you choose)

that are either less active or require more space

and, along with a hard drive you attach to it

than available on your computer.

(not supplied as part of the package), will act as

a storage device. So, the bigger the hard drive

require you to move all your files to a specific

you attach, the more storage you have.

folder to sync across devices, this can be a real

After connecting your hard drive to the

hassle with applications that save files to default

Transporter Sync, connect the Transporter

locations. The Transporter Special Folder feature

Sync to your router or switch using a standard

allows you to sync files directly from popular

Ethernet cable. The first time you turn the

desktop, documents, movies, music, and picture

power on, the system will format the hard drive

locations.

and prepare the Transporter Sync system, ready

for action.

flexibility to select only the folders you want

to be synced to your computer. This feature

Finally, you need to create a free Transporter

And while most cloud storage solutions

The Selective Sync feature gives you the

account, and from here you can ‘claim’ your

is especially handy for saving space on

transporter (using the serial number and mac

computers with small hard drives and is ideal for

address printed on the base of the transporter).

photographers with multiple computers.

All this should take around 10 minutes.

share with your clients, you can upload them

So, now you have your own personal

If you’re currently uploading your photos to

cloud set up. All that’s left to do is download

directly to your Transporter Sync and give them

the software for your PC, laptop, tablet or

access, in much the same way you’d give them

smartphone and you’re ready for action.

access to Dropbox.

Once you’re up and running, you’ll find

everything is well thought out. For instance,

For more product information, please visit

the Transporter Library is a collection of folders

www.kayellaustralia.com.au.

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How To Master Photoshop Layers “The secret to photographic technique is layers, and that’s whether you use Photoshop or Lightroom.”

How To Master Layers is series of video/article presentations by Peter Eastway.

To purchase and view on your computer, visit: www.betterphotography.com $6.49 each or $19.95 for all four titles

If you download the files from the website, they will not play properly on the iPad.

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