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
1
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
-
O c tober
2 0 1 4
4
Ross’s Ramblings - The President’s Message
8
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.
14
The Big One - James Simmons PPY
16
Behind The Scenes At APPA
18
The Canon AIPP APPA Gala Dinner
21
The APPA Category Winners
56
From 95 to 79
58
Canon APPA Statistics
60
How Is The PPY Judged?
62
APPA Category Advocates
64
Using A Single Overhead Light
68
The Photo Watch Dog
72
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
4
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
5
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
6
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
Capture, Print & Profit from the fun photos they’re taking... Turn your next photo assignment into a profitgenerating, Wi-Fi enabled, photo kiosk location with the new Kodak Kiosk Tablet 100. • The ‘photo booth’ alternative! • Weddings, parties, formals, ANYTHING. • The Perfect Event Photography Print Solution. • Wireless photo printing from iOS and Android via the Kodak Create app. • Includes Kodak 305 Printer producing quality 6x4 and 6x8 inch prints. To find out more, visit: https://www.iphoto.net.au/tablet100.aspx
The Kodak Kiosk Tablet 100: mobile prints, at your event, in minutes. Distributed in Australia and New Zealand by Independent Photographic Supplies www.iphoto.net.au
NSW
The 2014 Canon AIPP Emerging Photographer Of The Year Adam Williams
Click Here
FOR MORE UPCOMING EVENTS
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.
8
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
Click Here
FOR MORE UPCOMING EVENTS
© 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
9
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
Click Here
FOR MORE UPCOMING EVENTS
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
11
Click Here
FOR MORE UPCOMING EVENTS
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)
12
WA Council Nathan Maddigan, Kirsten Graham, Shaireen vantuil, Tim Pontin, Steve Wise
IMAGE FOUR: WA crew at APPA 2014
13
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
14
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
15
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. 16
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! 17
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. 18
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! 19
20
2014 Canon AIPP Australian Professional Photography Awards Category Winners and Major Prizes
21
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
22
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. 23
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
24
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
25
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
26
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
28
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
30
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. 31
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
32
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
Year - Winner
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
Year - Winner
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
of the
Year - Winner
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
of the
Year - Winner
I ll ustra ti ve
F INAL IST
Kelly Gerdes AAIPP
F INALI ST
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
Year - Winner
L a ndsc a pe
F INAL IST
Sheldon Pettit AAIPP
F INAL IST
Jackie Ranken G.M.Photog.
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
of the
Year - Winner
C rea ti ve
F INAL IST
Ben Clark M.Photog.
FI NAL I ST
Steve Wise M.Photog.
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
of the
Year - Winner
S tudent
F INALI ST
Fiona Davidson
F INALI ST
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
Year - Winner
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
Year - Winner
Em ergi ng
FI NALI ST
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
Year - Winner
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 .
P H OTO G R A P H Y B O O K 2014 AIPP A u s t r a l i a n P h o t o g r a p h y B o o k
of the
Year - Winner
Ninety Degrees Five (ND5) Peter Eastway, Christian Fletcher, Michael Fletcher, Tony Hewitt, Les Walkling Sponsored
by
Momento
R u n n e r s -U p : E u g e n e T a n AA IPP; N a d i n e S a a ck s AAI P P
G R A N D M A S T E R Award 2014 H i g h e s t A g g r e g at e
for a
Grand Master
Peter Rossi G.M. Photog. Sponsored
54
by
AIPP
of
Photography - Winner
Can o n AIPP Austra li a n Professi ona l Photogra phy Awa rds 2 0 1 4
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
of the
Year - Winner
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
71
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!
72
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.
73
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.
74