Working Pro 228

Working Pro The

Issue 228 • January/February 2015

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PR OUDLY S UPPORT I NG THE AIPP TOGETHER WE CAN BE STRONGER

LOOK FOR THE LOGO

TRADE PARTNER Proud supporter of the AIPP

Working Pro The

Co n te n t s #228 Cover

Peter Rossi G.M.Photog.

2014 aipp PROFESSIONAL PORTRAIT photographer of the year

w w w.highlights.com.au

The Working Pro is the official newsletter of The Australian Institute of Professional Photography (AIPP).

Editor Peter Eastway G.M Photog., FNZIPP, 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 Copyright © 2015

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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J an/ Feb

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Ross’s Ramblings

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

AIPP New Accredited Members New APPs up to January 2015

Reflections

Honouring Our WWII Veterans by John de Rooy

Around The States

Local information for AIPP members

2014 Moran Prize Winner

AIPP’s Suzanne McCorkell’s Stunning B&W Portrait

The New AIPP Website!

Visit it now and check it out - www.aipp.com.au

Legal Accreditation

What it means to be a professional photographer

Ballarat Fringe Program

Are you interested in being a part in 2015?

Peter Rossi

The AIPP’s most decorated photographer reveals his approach.

Pricing For A Commercial Shoot

The 3 basic approaches for working out your price.

What is my competition charging?

We need to know if they are charging more or less.

What are my client’s expectations?

Don’t assume your clients know what they want!

What is usage and should I charge it?

And do our clients know what usage is anyway?

How much do I need to charge?

There is a minimum you need to make a living

Is my photography quality better?

And are my clients really interested?

Do I educate my clients?

Good quality photography is incredibly valuable.

New Toys From Wacom

Wacom Cintiq 27QHD & Companion 2

Ross’s Ramblings

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

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Welcome to 2015! It’s going to be a big year for

the AIPP and our members.

every member, whether you are a Grand Master

Accreditation- Raising the Bar

or newly accredited, and its overall success

We mentioned last year a review of the

will depend on support from the largest cross

accreditation process.

section of members possible.

New Website

Stage one was a meeting or ‘think tank’

The Veteran’s project requires the support of

held in Melbourne with some experienced

You will have received an email regarding

members as well as the active members in

the new AIPP website. The upgrade is part of

the Accreditation SIG. The net result is a new

a larger initiative to resolve long term issues

accreditation standard for those applying for

with the technology that sits behind the AIPP

AIPP accreditation.

database. It has been directly responsible for

many of the frustrations we have all had with

It is a significant change and will be fully

integrated as technology and time allows. In

communications.

the short term, the bar is now higher and will

require applicants to demonstrate a required

the national office has been frustrated by the

professionalism. Details of this proposed policy

limitations of our old system. Over the past 5

change will be emailed to members soon.

months, including Christmas and the New Year,

Veterans Project

they have worked with an Australian company

The Veterans Project will be one of the

to custom design a system that would suit our

most significant ventures the AIPP has ever

specific needs.

undertaken. It follows the lead of NZIPP who

has had tremendous feedback, both from

of all their hard work and in coming months as

members and the community. The NZIPP’s

more of the technology is refined, you will see

experience demonstrates what a professional

more benefits unfold.

body can do when it acts in unison for a worthy

project.

and implementation is the National Office

You will find all the details further on in this

team did this as a cost neutral initiative. It’s

issue of The Working Pro and members will

absolutely amazing and a great outcome,

receive a detailed email early in February.

but to make it fully effective, every member

For the past 5 years, our fantastic team in

The new website is the first demonstration

The truly amazing aspect of the build

AIPP New Accredited Members

New APPs up to January 2015 Accredited

Gary Wilson

Virginia Hager

Michael Dooley

Professional

SA

Marie Hardman

Kira Taylor

Photographers

Amy Dahlenburg

Gary Matodes

NQ

VIC

Hannah Spackman

Gerald Steding

Robert Hiette

Pam McLure

NSW

ACT

NT

Qing Zhang

Lyn McCarthy

Frederic Courbet

Katrina Rope

Richard Wong

Michael Cooper

QLD

Accredited

Lyton Crabb

Lorna van Hilst

Andy Graves

Professional Video

WA

Katie Thurlby

Lauren Toth

Producers

Tim Campbel

Mark Bradley

Andre Brown

NSW

Mel Cieslik

Justine Curran

Lynette Rees

Richard Sossen

is strongly encouraged to follow the special

to ensure that consistent standards applies

website ‘Launcher’ instructions provided in the

from state awards to the national awards, and

email already sent. Look it out and set up your

most importantly that entrants get beneficial

account on the new website now.

feedback to advance their careers and refine

National Awards Judges Training

their images.

As we are now operating under a National

Awards structure, it is important to establish

to access recorded critiques during the judging

a judging standard that is as consistent as

and it is important to ensure that judges, even

possible, whether in the States or at National.

the experienced ones, can articulate their views

constructively and in terms the entrant can

To achieve this, we plan to introduce a

national judges training program. This will apply

It is hoped that awards entrants will be able

relate to.

to existing judges as well as those members who have achieved the required standard and are emerging as judges. The training sessions will be run in each state later this year.

ross.eason@aipp.com.au

So why are we doing this ?

0412 108 362

As our judging system matures, we need

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Reflections

Honouring Our WWII Veterans by John de Rooy We need your help with one of the most

than 10,000 portraits!

ambitious photographic projects ever undertaken in Australia.

Why are we suggesting this project?

We realise the ANZAC veterans from World War

- Honouring our WWII Veterans as a community

I are no longer with us, but many of their sons

service to commemorate the centenary of

and daughters, and those who served in World

the ANZAC legend in 2015. The project will

War II, are still in the community and immensely

photograph the remaining veterans of WWII

proud of their service.

and provide a unique pictorial record of these

returned servicemen and women for the

their elderly years, knowing that in future years

national archives.

our WWII veterans will no longer be with us,

we hope to create a sensitive portrayal of their

If you’ve been wondering what you can

By documenting our veteran population in

do to improve your standing in the market

lives that will provide a pictorial comparison

place as a professional photographer, this is

to wartime footage of young, active men and

the best opportunity in years. However, it will

women.

only be achievable with the support of as many

members as possible.

of work, produced pro-bono by suitable AIPP

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In a nutshell, the AIPP proposes Reflections

If you want to improve your standing in the

The result will be a comprehensive body

members in 2015, and gifted to the nation

community, give something back. We’re asking

via the RSL and hopefully the Australian War

members to donate their time and talent to

Memorial.

create this visual legacy. And we’re talking more

Importantly, this is a project we can all play

7 This photograph is from the NZIPP’s Veterans project which they undertook last year.

an active role in and be proud of.

which is why we are using the entire month of

April as the window of opportunity.

We believe that the professionally crafted

photograph has a permanent and relevant

place in our society and this project is a

photographers wishing to participate in a given

powerful way to demonstrate that in the face of

area, it is expected and will be conditional that

increasing amateurism.

they work as a team, in the spirit of the venture,

to deliver the best outcome for the veterans

Whether you’re a portrait photographer,

Where there are more than two AIPP

a wedding photographer or you work in

and the project.

advertising, industry or the landscape, this is an

opportunity to make a mark for our profession

a photographer to travel some distance for an

as a whole.

appointment with a veteran.

Some remote areas in Australia may require

There will also be a strict protocol and a

How will it work?

strict photographic style that will be supplied to

In the lead up to April 2015 and with the

participating photographers. As the final images

support of the RSL, we will be asking qualifying

will be compiled into one publication, it is vital

veterans to register to have their portrait taken.

that the lighting, background and posing have a

We will also be asking AIPP members to register

common and professional style.

to work as part of the photographic teams,

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who during the month of April will run studio

What do the veterans receive?

sessions at their local RSL, their own studio or

Each veteran will receive one 5x7� colour print in

another suitable venue.

a presentation folder, delivered to an address of

their choosing.

We expect that it will require multiple

days in some locations because of the limited

availability of both photographers and veterans

photographs for a minimal cost and any

Veterans and their families can order more

9 This photograph is from the NZIPP’s Veterans project which they undertook last year.

ancillary income (from these re-orders) will be

project. It is restricted to photographing the

donated to Legacy and the RSL Foundation for

veterans within the style guide and there will be

the welfare of veterans and their families.

no opportunity for additional posing or sales.

A presentation book of images as an historical

If we want the broader community to

record will be presented to the RSL and, it is

understand the importance of a professional

hoped, also to the Australian War Memorial.

photographer and the difference in quality we

At this stage we have sponsorship from Kodak can bring, then we need to assert this role in the

Alaris and their key pro labs around the country

community. In the face of increasing amateurism

to produce the prints. The printing overhead

in photography, we have to do something

covered by this generous support will allow us to to demonstrate our professionalism to the make a sizable donation.

community.

This is that chance.

Who can participate?

And we need the support of all members,

At each location, AIPP Accredited Professional

from Grand Masters to new students. This is the

Photographers will undertake the photography

biggest project the AIPP has undertaken. It needs

and lead the teams. We need the support of AIPP you to participate.

Student and Emerging members to work in those teams and assist the Accredited photographers.

Last year over in New Zealand, the NZIPP

ran this project and they have had tremendous

The rewards for them from this experience extend feedback both from members and the beyond merely learning photographic skills

community. It is one of the most successful

because the interaction with the veterans alone

initiatives they have run.

could be a life experience not easily forgotten.

participate, visit the project web site at www.

This is a community service project. No

participating photographer can profit from the

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To find out how you can help or register to

aippveterans.com.

‘Last Man Standing’ by AIPP Grand Master of Photography was an award winner at APPA a couple of years ago. In many ways, his photograph exemplifies the need for us to act quickly to capture our WWII veterans before it is too late.

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VIC

© Kristen Cook

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

2015 IS G O I N G T O B E A B I G Y E A R !!

UP COMING E V E NT S

Wow what a jam packed year 2014 was!

Finishing the year with a bang we celebrated Christmas with our many members and sponsors at The Darkroom Restaurant.

20th Jan - These girls mean business 22nd Jan - Decathlon 2nd Feb - 1st VPPY Vppy Speed Crtitique 11th Feb - Plugged in with Preface Films 25th Feb - Mark Rossetto presentation 11th March - Bruce Postle presentation 17th March - ‘Panel Chat’ for Video 30th March - Monsalvat Shoot Out 9th April - 2nd VPPY Vppy speed critique 18th April - ‘Starry Starry Night’ with Andrew Campbell 5th-6th May - Vic Epson State Awards 7th May - Presentation dinner 12th May –Video Critique 29th June - 1st July - The Nikon AIPP Event June - APPA critique night 16th-18th Oct - CANON AIPP APPA Judging 19th Oct - Canon AIPP APPA Presentation Dinner

There were many laughs, a great vibe and general warm feeling of camaraderie between us all.

2015 is shaping up to be an even bigger year for The Victorian AIPP Aipp Division.

We have a great many exciting events coming your way shortly. The year kicked off with “These girls mean business” and our very popular “Decathlon.”

In the near future we are very excited to bring you some fabulous events such as the Vppy VPPY Speed Critique’s, Video presentations, Photographer presentations and the not to be missed Montsalvat Shootout!!

Dates may change slightly so keep your eyes peeled for updates on our newsletters and of course our Victorian Facebook page.

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© Dean Mansbridge

TASMANIA

A R OUND THE STAT E S S O C I A L E V E N T - FA M I LY D AY AT M O N TA G U B AY PA R K Date: Sunday, 25th January 2015.

Time: 12:00 midday onwards.

A free and fun social event. BYO food, drinks, games, and sports equipment.

ONE THE LOUNGE MINI - WORKSHOP Date: Friday, 20th March 2015.

Time: 7:00pm start in New Town, Hobart.

Hosted by Conor Richardson of http://www.justconorphotography.com

PRINT CRITIQUE NIGHTS Date: 24th April 2015, 22nd May 2015 & 19th June 2015.

Venues to be advised on Facebook page when confirmed.

S A V E T H E D A T E - 12 T H J U L Y 2 015 - E P S O N S T A T E A W A R D S & P R E S E N T A T I O N D I N N E R

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Click Here FOR MORE INFO

ACT

© Melissa Ellis

A R OUND THE STAT E S COUNCIL M E E TI N G AT H I L A RY S

P R INT AWA R D S CR IT I Q U E N I GH T

Date: 19th February - 11.00am all welcome

Date: 9th April Location: Hughes Community Centre

PRIN T AWA R D S C R I TI Q U E N I G HT

Cost: TBA Print critique night for entries for 2015 ACT print awards. Followed by an ‘ACT APPA Master Class’.

Date: 12th March Location: Hughes Community Centre Cost: TBA Print critique night for entries for 2015 ACT print awards. Followed by an ‘ACT APPA Master Class’.

The concept of the ACT APPA Master Class is to have photographers who have scored well in previous APPAs, talk about the making of their award winning print.

It could be a talk about the concept, the print, a demonstration of the process to create the print or a combination of these topics.

Each photographer would speak for about 5 – 10 minutes on their print.

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COUNCIL ME E T ING AT H I L ARY S Date: 23rd April - 11.00am all welcome

UP COMING E V E NT S IN M AY. . .

ACT Print Awards Sydney, date and venue TBA ACT Print Awards Dinner Canberra, date and venue TBA

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NSW

© Jessica Ross

A R OUND THE STAT E S

Happy new year to all our NSW members! We hope you had a wonderful holiday season and managed to take a well deserved break after a successful 2014!

We ended the year with an awesome Christmas party at the 3 Weeds in Rozelle and the final Soup Kitchen ever, hosted

by David and his wonderful team at Society Photography.

While the name Soup Kitchen has been retired, you’ll be happy to hear that the format hasn’t. For 2015 we are introducing a structured programme of events addressing the areas of core skills, inspiration and networking, and as part of this programme we have rebranded Soup Kitchens to “An Evening With”. We are very excited that the first speaker to host an evening at their studio in 2015 will be James Day and it was little surprise that all 20 tickets to hear from this hugely popular wedding photographer sold out within the first hour! We are building a roster of speakers across the year catering for photographers from different genres so if you would like to host an evening at your studio just drop us a line at aippnsw@aipp.com.au, we’d love to hear from you.

We will be also be introducing a range of seminars, workshops and events to ensure that the core skills for working photographers such as lighting, workflow, printing and marketing are regularly addressed. This will include a series of talks and tours at Momento Pro aimed at wedding, portrait and fine art photographers.

Our focus on social and networking events will remain as high as ever so look out for new breakfast clubs launching and more opportunities to take a break and go Off The Grid, kicking off with a summer barefoot bowls edition in February!

We’re very excited for all the events coming up in 2015 and hope you are too, so keep an eye on your inbox, the events calendar on the new AIPP website and, of course, TWP!

NSW EVENTS January 29th: Inspiration - An Evening With James Day February 5th: Social - Sydney Central Breakfast Club February 11th: Social - Off The Grid Barefoot Bowls Edition February 12th: Social - Newcastle/Hunter Breakfast Club February 24th: Inspiration - An Evening With Milk & Honey Photography March 3rd: Inspiration - An Evening With Linnet Foto March 5th: Social - Sydney Central Breakfast Club March 17th (TBC): Core Skills - Print Critique Evening March 23rd-25th: Special Event - The Sauce March 26th: Inspiration - An Evening With Morris Images

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WA

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© Kingsley Burton

A R OUND THE STAT E S

HAPPY NEW YEAR! The WA Council are already hard at work planning out 2015, even while the festivities of Christmas are still ringing in our ears… And chief amongst those holiday festivities was our wrap-up event for 2014 - The President’s Cocktail Party, which pulled in record numbers that included some of our most distinguished industry peers, along with brand new members attending their very first AIPP event. New connections were made, ideas were sparked, names were put to faces, and faces were put in a photobooth. There were epic door prizes, and enough dancing for the venue staff to declare our little shindig to be the best event they’ve ever hosted. An excellent finish to the year!

Our first official 2015 event was a lunchtime catchup down in Bunbury. Clearly it’s not enough to be working from the most isolated capital city on Earth, we now have a group of incredible and passionate AIPP members three hours even further away, kickstarting events for the whole of WA’s South West region. So look forward to more community, speakers, and events down south in 2015!

We’re also really looking forward to our third WA Decathlon, happening this week at the Oxford Hotel.. Ten speakers with ten minutes each to share their secrets, with a Q&A session, dinner, and a plethora of beautiful imagery. It’s just about the best-value seminar series of the year. (That is, aside from the NIKON AIPP EVENT happening from June 29, but you’ll

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be hearing more about that over the next few months..)

All of us on Council are looking forward to serving our members for another year, and working together to lift the industry to new heights and strengths. And as always, we appreciate all the time and wisdom that the membership invests back into this community. Here’s to a spectacular 2015.

UPCOMING EVENTS 22nd Jan - Decathlon 2015.

10th Feb - Breakfast Meeting.

10th March - Portrait Seminar.

19th April - AIPP WA Family Day, Lawn bowls & sundowner.

12th May - Breakfast Meeting.

17th May - WAEPPA Critique Session.

2nd June - WAEPPA Critique Session.

25th-26 June - WA Epson State Awards.

28th June - Presentation dinner.

29th June - 1st July - The Nikon AIPP Event.

11th Aug - Breakfast Meeting.

16th-18th Oct - Canon AIPP APPA Judging.

19th Oct - Canon AIPP APPA Presentation Dinner.

10th Nov - Breakfast Meeting.

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QLD

© Mark Duffus

A R OUND THE STAT E S HAIR OF THE DOG IS ALMOST HERE 7th - 9th February 2015 Hair of the Dog is shining brightly on the horizon, only weeks away. Now is the time to secure your ticket and places in your preferred presentations and workshops.

Speakers include international Benjamin Von Wong with his incredible photographic productions, Australian Photographer of the Year James Simmons and 2013 winner Tony Hewitt, and a broad range of experts covering everything from social media, videography, fashion, portraiture, retouching, and even what it's like photographing people beating the heck out of each other (they hug afterwards).

There's also heaps of opportunity to mingle with your fav photographers and make new friends at the Saturday and Sunday night social events. Tickets for these and places in workshops are limited, so get on it and we'll see you there!

December was an exciting month with Queensland Members offered a rare audience with motion picture stills photographer Jasin Boland (Mad Max: Fury Road, The Matrix, The Bourne Supremacy), an awesome AIPP Christmas Party (Thanks to Deb and Alyda for all your work!), and the APPA Gold show which had a fantastic turnout. The show couldn't have happened without the support from Kayell, Maud Gallery and a huge amount of work from those working to produce the amazing gold award prints in time.

Next month we will be talking about how amazing Hair Of The Dog was, we'd love you to join us. If you don't know anyone just introduce yourself to a friendly volunteer and we'll start the friendship wagon rolling!

ALSO UPCOMING 28-30th March 2015 - 2015 Epson QPPA

HAIR OF THE DOG 7-9 FEBRUARY 2015

2015 EPSON STATE AWARDS

SAVE THE DATE QUEENSLAND

IONA PERFORMING ARTS CENTRE BRISBANE

28TH - 29TH MARCH

AIPP QUEENSLAND DIVISION CONFERENCE

30TH MARCH - PRESENTATION

© IMAGE BY KELLY BROWN

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A R OUND THE STAT E S M O N T H LY B R E A K FA S T

UPCOMING EVENTS

If there’s something we love here is SA, it’s breakfast and it was ‘most’ hands on deck for the very first brekky of 2015.

27th January - TAFE visit for orientation week at TTG 3rd February - Monthly Breakfast at Alfonso’s (First Tuesday of every month) 11th February - Image Feedback evening 17th February - Understanding Pricing for Profit 2nd March - Commercial Photography Group Conversation 30th March - New Member evening 15th April - SAPPA Image critique 29th April - Q&A Session - Birth & New Born Photography 17th May - A Fireside Chat with Hilary Hann 9th June - Stick With It - Business Seminar with Duncan Redman

A great turn-out and a great start to the year. Oh, and what do you get when you pass around the compact camera to a crazed bunch of hungry photographers? See for yourself.

NEW MEMBER EVENING Becoming a new member of the AIPP can, for some, be a daunting prospect and making the initial contact is sometimes all it takes to instill a little confidence with a welcoming smile and handshake.

SA Council hosts two New Member evenings each year and

they are becoming a popular event amongst our community.

Not only do we all get a chance to meet our newest members, but we also take the opportunity to celebrate the successes and achievements of our friends in SA.

THE IMPORTANCE OF BUSINESS GROW TH We all know that the act of taking photographs is such a small part of what we actually do. Staying up to date with the running of our business and maintaining our business strength is a huge part of what keeps us ticking.

SA Council was pleased to present two very significant yet completely different business seminars during the latter half of 2014. Duncan Redman of AltusQ Experiential Coaching talked us through the ‘Importance of Remaining Relevant’ while Mel Neumann gave us the facts on a subject close to all our hearts and yet most unfamiliar to many on ‘Pricing for Profit’.

We look forward to providing our members with more seminars through out 2015 to tickle their business funny-bone.

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FROM THE PRESIDENT

“ L O O K I N G F O R W A R D T O 2 015 ”

We think the SA photographic community is our stand out asset, and we will be putting more effort into encouraging members getting together and sharing knowledge to build on these relationships.

One of the growing successes in getting people together are the image critique evenings. We are finding that these are not only to help members prepare for there APPAs and SAPPAs, but the simple act of discussing images before an audience is incredibly educational.

We have even found, if time permits, hearing opinions from anyone in the audience, and editing the image in front of them produces great results, and lively discussions.

This is what we want more of, learning through shared experience.”

Images from left: Xmas BBQ 2014, New member evening Oct, Monthly breakfast.

Photograph by Mark Zed

M E M B E R S H I P R E N E WA L S N O W AVA I L A B L E If your AIPP membership is due for renewal, you will have received an email from the AIPP explaining how to renew your membership using the payment centre in the all new AIPP website.

Please help us all by renewing your membership promptly.

If you need any help with your membership renewal, call any of us in the National Office. www.aipp.com.au 19

2014 Moran Prize Winner

A I P P ’s S u z a n n e M c C o r k e l l ’s S t u n n i n g B & W Po r t ra i t AIPP member Suzanne McCorkell is the winner

noted, “many people have commented to me

of the 2014 Moran Contemporary Photographic

that they didn’t even notice the amputations -

Prize and a cash purse of $50,000. Her intimate

they just looked at the couple.”

portrait of Chris Bond and Bridie Kean came

about through her work with Jasmine Gailer,

APPA last year. “I think I got 78 and I wasn’t very

the founder of Scar Stories, an organisation that

happy”, Suzanne laughs, “but I took some advice

‘uses creative initiatives to help young adult

and darkened the rug they were lying on to

cancer survivors see their scars in a new light -

create more intensity in the photograph.

one that is empowering and beautiful’.

at the end of APPA, madly editing the image

“In fact, I was in the hotel down in Sydney

would photograph Bridie and Chris, so I spoke

so I could enter it into the Moran prize by the

to them and gave them an indication of what I

deadline.” And just as well she did!

had in mind.”

nearly eight years. “I have found the camaraderie

Suzanne loves natural light and

Suzanne has been an AIPP member for

photographed the couple in her garage. “My

very inspiring”, she explains. “I love going

son helped me rig the camera up on the top

to the AIPP events and think it is a brilliant

of the garage door and I shot using a remote

organisation for emerging photographers. There

shutter release. It wasn’t the easiest camera

are so many opportunities to network.

position, but I needed the height for the angle

directly above them.

Queensland. Everyone is really friendly and it’s

a great jump start for the year. People are so

“Chris and Bridie are a naturally affectionate

“I love the Hair of the Dog weekend in

couple, so it was just a case of tweaking their

sharing and open, especially considering there

posing. We tried a lot of different positions and

is so much competition, but I guess the reason

this is the one I choose for a book that Scar

we share is to encourage us all to do everything

Story was publishing as a money raiser.”

professionally.”

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“I was contacted by Jasmine and asked if I

Suzanne also entered the photograph into

The purpose was to show the subjects as

a normal couple, without focusing on their

Visit Suzanne’s website at www.soulphotographics.

amputations. “Interestingly enough”, Suzanne

com.au/

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The New AIPP Website!

Visit it now and check it out - www.aipp.com.au Have you seen the new AIPP website? It’s been

and focus very firmly on those three target

up since early January and it has some great

audiences.”

new functionality.

sections, the public view and the members’

“This website launch is more than just a

The website is effectively divided into two

simple website refresh”, said AIPP EO, Peter

view. The first two target audiences are

Myers. “We have migrated the entire AIPP

addressed in the public section of the website,

membership system from the costly and clunky

and the members are addressed in the new

IMIS system we have been using for the last four

Members Dashboard area of the website.

years to a new, less expensive and more flexible

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membership management system, AMS. It is

Update Your Profile

this system which drives and manages the new

“We have put a lot of emphasis on the new

website.”

Search For A Pro (SAP) tool and on the why and

how of being an Accredited member.”

The new website has three main target

audiences:

1. Members of the public looking to find a

to search for an accredited professional

professional photographer and wanting to

photographer or video producer, by name,

understand about Accredited Professional

by location or by category (genre). This initial

Photographers.

search can be further refined by a keyword

2. Practising professional photographers

search. The whole point of this is to allow the

who are not members of the AIPP, but may be

public to be very specific and very granular

interested in becoming members.

about their searches.

3. Existing members looking for information

about their ongoing involvement with the AIPP.

its full capacity unless our members do their bit

and create profiles, upload profile images and

“The thing about the AIPP website is that

Search For A Pro now enables the public

“Of course, Search For A Pro won’t work to

we often have too much information and it

include appropriate keywords, to give the SAP

can be confusing. With the flexibility the new

tool content to work on. The new system allows

system offers, we were able to take the advice

our members to not only create a generic

of external consultants to design the new site

profile, but also to create profiles for specific

photographic categories (Genres).

system. The renewals and joining process did

not go live on the new site until late January,

“We wanted to make sure that if a member

of the public is searching for a portrait

and the new AIPP Events module, part of the

photographer, for example, they are only given

new AMS system, will not go live until February.

information from SAP which is specific to

However, in general we have been very pleased

portrait photography, allowing the public to

and the feedback from our members to date

focus their search on their needs.

has also been very positive.”

“We still have a lot of work to do ‘under the

If you have any comments or suggestions

hood’”, continued Peter Myers, “integrating the

on the new AIPP website, send your feedback

new website and members dashboard area

to the usual feedback address: feedback@aipp.

with the awards system and the assessment

com.au.

23

Legal Accreditation

What it means to be a professional photographer AIPP Professional photographers will soon be

asking for: recognition by a third party that

able to be certified.

there is a standard required for professional

photographers.

Explained AIPP Executive Office Peter

Myers, this is a game changer for the

profession because the Accredited Professional

going to be with the AIPP as an Accredited

Photographer logos (including the new

Professional Photographer (APP).

Licentiate variant) will now have true legal

status and be recognised by the ACCC

professional photographers and we talk about

(Australian Competition and Consumer

being the photography profession, but in

Commission).

order to be consistent with the way the term is

“We started this process over five years ago.

generally used in the wider world, we need the

“We were told we couldn’t get a trademark

wider world to recognise our status.

“And in Australia, the only standard is

“This is the key point. We call ourselves

certified unless we could demonstrate to the

ACCC that we had the processes and systems

as a trade because there were no recognised

in place that established the qualifications of a

prerequisites for being a professional

professional photographer.

photographer.

“We were also told this process normally

“Now there will be!”

takes around four to seven years before the

It’s a similar process for doctors, accountants

ACCC is confident that a qualification process is

and lawyers.

stringent enough.”

to establish themselves with a professional

Although the AIPP’s accreditation process

“Up until now, we have really just been seen

Once their training is finished, they still need

has changed over the years, in recent times the

body. For photographers, that professional body

changes brought in by the AIPP Board were

is now the AIPP.

with full certification in mind.

“In fact, it will be illegal for anyone to

call themselves an Accredited Professional

24

Legal Recognition

Photographer unless they have met and passed

“What this means is that professional

our requirements. It will be a breach of the law.

photographers now have what they have been

“And It’s a huge marketing opportunity for

us and something the Board is keen to capitalise

that. Every APP must maintain their skills, just

on for all our members.”

as doctors and accountants need to keep up to date in their profession. For photographers,

Three Parts

this could be achieved by attending workshops

The accreditation process to become a APP has

and seminars, and entering the photography

three parts.

awards.

1. The applicant must fulfil prequalification

The AIPP has around 3200 members, of

standards, such as completing tertiary

which some 1700 are APPs. Of these, just 213

qualifications or having a number of years

are APP Licentiates with 15 years or more

practical experience.

experience.

2. The applicant must pass an ‘entrance

“The AIPP’s investment, with the support

exam’, for want of a better description. Currently

of its major sponsors and especially Nikon, has

we have a portfolio submission, for instance,

been massive.

but the submission process is to be beefed up

shortly.

received in the first half of the year, but in the

meantime, all APPs should definitely be using

3. And there is an ongoing CPD (Continuing

Professional Development) component. In other

“Formal accreditation is expected to be

their logo!”

words, you don’t become an APP and that’s

25

Ballarat Fringe Program

Are you interested in being a par t in 2015?

26

The Ballarat International Foto Biennale Inc

program and photographic competitions and

(BIFB) is a not for profit organisation presenting

prizes.

a month­‐long biennial festival of contemporary

photography in the historical city of Ballarat, in

August to 20 September. It’s now in it’s 12th

regional Victoria.

year and the organisers are interested in

hearing from photographers who would like to

It comprises two major exhibition

The 2015 Festival will be staged from 22

programs, including the Core Program, a

participate in the Fringe Program.

curated exhibition of 20 leading Australian and

international photographic artists presented in

org/2015-fringe-program-information/

If you are interested, visit www.ballaratfoto.

eight heritage

Then read

buildings in

through the

central Ballarat.

Fringe Artist

Manual to

The Core

Program is

familiarise

complimented

yourself with the

by an open entry

requirements,

Fringe Program,

useful tips and

a city‐wide

information.

presentation of

If you wish to

over 200 artists

proceed, you will

staged in more than 80 venues including cafes

need to first find a venue - there’s a link listing

and galleries, throughout project spaces, and

all the different venues.

across public sites.

you will need to complete the artist / BIFB

The two exhibitions are complemented by

Once you have confirmed a venue, then

an extensive events program for photographers

agreement and pay your registration fee.

at all levels through workshops, seminars,

audio­‐visual projections, master classes, artist

Verwey, the Fringe Program Coordinator on

floor‐talks, portfolio reviews, an education

0414 745 473 or pam@ballaratfoto.org.

If you have any queries, please contact Pam

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 a 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

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

P E T E R

ROSSI Grand Master of Photography

I am pretty sure Peter Rossi is the most decorated Canon APPA entrant (although Tim Griffith must be a close second). Peter is an AIPP Grand Master of Photography, has won the Canon AIPP Australian Professional Photographer of the Year and has also won many APPA category prizes. Yet despite his success and obvious talent, he is modest and quietly spoken, an achiever who is consumed by his photography. I asked Peter to provide a dozen images that defined his style and he responded with an amazing mini-retrospective, beginning in 2001.

28

2001

feeling right, so I worked on

selected pieces of fabric from

(Opposite) Our client was after

creating a heavier mood by

the chair to create a border

‘an artistic painting look’ of her

darkening the background and

for this image. I think now the

daughter with her violin. At

toning her clothing, by using

border was more decorative

that stage we were scanning

Levels and Hue/Saturation

than really an integral part of

our own 35mm negatives and

adjustments. At APPA 2000, I

the composition. I overlaid an

working them with Photoshop

was impressed with a border

image of some concrete mould

5. I had originally visualised a

I saw around one of Giorgio

from under our clothesline to

high key version, but it wasn’t

Karayianis’s images. So I

give the image some tooth.

29

P E T E R

ROSSI Grand Master of Photography

30

2002 - Way Out West

photographing Herbie for

We worked on strong intense

I’m always searching for

another purpose, I asked him

body language that would

interesting backgrounds,

would he be interested in

help tell the story of the early

patterns and textures to

posing for me as an outback

pioneer preachers dealing

use in my multi-layered

preacher. He was very

with the harsh conditions. I

compositions. On one such

obliging as he had an interest

applied a sepia colour Curve

road trip, I stumbled across

in old buildings and I would

to a black and white version

this abandoned church in

give him a free print of the

of the image and adjusted

south east Queensland. To

shot. Armed with bible and

anything that competed with

tell its story, I felt it needed

necktie, we timed the shoot

Herbie for initial attention.

a human element. After

for soft, late afternoon light.

pre-portrait meeting). We talked about his life piloting ships in the Suez Canal in war time. His account of his colourful past was so interesting, I felt I had to make a strong image. I positioned Ron near a large doorway, with family photos 2003 – Past Present Future

and memories behind him – Ron was ‘stuck’ in

We were photographing for our ‘Sweet Child

the present, looking into the future. I selected

of Mine’ exhibition to take to NZ and we

some highlights that were too bright and

had placed an advertisement in the local

darkened them to direct all the focus onto

newspaper searching for interesting parent/

Ron’s glare first. These shots were taken with

child stories. While photographing this Mother/

our brand new 6-megapixel Nikon D100 (which

Son story at their home, I met Ron (a father/

cost $4235 for the body, one spare battery and

son story that hadn’t been mentioned at the

a 512 MB CompactFlash card).

31

material possessions. I photographed him lying on his clothes, looking over his life through his photographs, knowing he can only take the emotions and ‘lessons’ learnt with him.

The photo was shot from a ladder onto an old piece of truck canvas to give an overview of his situation. I used Clarence’s photos, magnifying glass and cane, my old childhood teddy bear and old shoes from an op shop. The shot was lit

P E T E R

ROSSI Grand Master of Photography

32

2004 – Life’s Precious Gifts

from a low angle into his face with the biggest

I had known Clarence since my amateur photo

soft light I had at the time, just out of the shot,

club days. Clarence was a nudist and at 84

skimming over his body to two large reflectors

years old, he was the perfect subject to help

on the right. To me the light represents where

me illustrate a concept I had: that at the end

the energy for the moment is coming from – his

of our life, as with the beginning, we lie naked

pictures, his memories. Taken with studio flash,

and in the foetal position, leaving with no

1/125 second @ f8, 28mm lens.

light (a gap in an underpass) would show her 2005 – Hope

hopeful attitude with light coming from above,

Liane was such a great advocate for life

as I wanted to focus on her inner beauty and

after Luekaemia. She was lucky to have

conviction, rather than her condition and

survived treatment at age four and when

crutches. To help the mood and message of

we photographed her two weeks before her

the image, I made a selection around Liane in

21st birthday, she was finishing her university

Photoshop and warmed the tones with a little

degree. One of her major objectives was to walk

red and yellow in Levels, and with the inverse

unaided. At our pre-portrait interview, I simply

selection (the background), I cooled the tones

wrote ‘Hope’. I wanted to portray this strong

with blue and cyan in Levels. Nikon D2X, I/30

attribute in imagery. I found a spot where the

second @ f4.5, 35mm lens.

33

their home. The two light sources served the

P E T E R

ROSSI Grand Master of Photography

34

2006 – Eternal Love

picture well. One was in my old bedroom which

Sometimes you get an idea or a concept

I controlled with the curtains and the other in

you would like to illustrate. It may not be

the hallway where I opened up all the doors to

documenting something you’ve actually seen,

give an overexposed area for Dad to walk into.

but something you have felt or thought up –

With a little furniture shifting and some dodging

so therefore you have to create the characters,

and burning in Photoshop CS, the shot was

location and lighting yourself. I needed two

done. I enjoy an image that can be interpreted

actors, so who better than Mum and Dad in

on many levels.

a couple of months earlier we had spent a weekend in their area shooting landscapes which became handy backgrounds, including their main street bathed in fog. Wouldn’t it be great to merge the two shots and show her in 2007

her home town? I layered the fog with one of

We had been hired to photograph Selena

the studio shots. I then selected her outline and,

and her family, both in the studio and on

using Select > Modify, contracted the selection

their property outside Dimbulah. When

by 1 pixel and then feathered the selection at

photographing a family, the more info you

0.5 pixels. In a mask of the fog image, I filled

have about them, the more you can develop

the selection with 100% black to hide the

a storyline about them by including props,

background to complete the illusion of her as

backgrounds and clothing. Coincidentally,

the champion rider of her little town.

35

36

P E T E R

ROSSI Grand Master of Photography

2008 – Hurt

Some may say leave the picture as you captured

(Opposite) Kevin had a major event early in his

it, but I like to tell stories. With this style of

life that left him with a form of dementia. With

storytelling, it’s surprising how big a library of

his carers present, we photographed him in his

secondary images you accumulate.

kitchen beside the available light of an open

2009 – Hedgings

door and a large reflector just out of frame. He

(Above) Too cold and windy on a late NZ winter

had an affinity with the sea and had worked on

afternoon to put up a tripod, I quickly handheld

a barge as a young man, doing the Cairns to

this shot to get back into the warm car. I shot

Thursday Island run and still wore his sea hat all

at ISO 200, I/320 second @ f5.6. Working on the

the time. We wanted to give the audience more

raw file in Adobe Bridge and then Photoshop,

information about his past as well as his present

I recovered detail in the dark hedge and the

state of mind. Very important aspects to me are:

bright sky. With a warming Curve in Photoshop,

his captain’s hat, the disconnecting barbed wire

the shot was complete. Some trees were

and the hospital background. In Photoshop,

removed to emphasise the message in the

I added the last two layers at a lower opacity.

poem.

37

38

P E T E R

ROSSI Grand Master of Photography

2011 – Bless This House T’was a rainy afternoon and we had just been driven around a cattle property. As we parked near the front door of the farmhouse, I noticed Veris gazing out the front door at the rain. Luckily I had a camera with a 70-200mm lens on my lap. I took three shots, all at different focal lengths, before she spotted the camera and raced back into the house. With contract in hand, I explained about our collection of interesting characters and her image possibly appearing in our book if she gave her permission.

2010 – The Shooter

taken in a farm shed where the roof

She was happy to and we arranged

(Opposite) The concept was to

blocked out the down light,

to send her an Art Print of the image.

depict the struggle of the ‘man

which just left lovely low portrait

With selective colouring, I wanted

on the land’ in a timeless style. It

light to turn his body into. I added

to emphasise the warmth inside

needed strong body language,

in the rural background for more

her safe home, contrasted against

an intense expression and a low

information and clouds for drama

the cold wet atmosphere outside. I

camera angle to give the subject his

and anticipation. He had the gun,

added the picture of Jesus with the

authority. As illustrated in the small

we found an old coat and told him

children and the cross to show the

pic (opposite, below), the photo was

not to shave.

viewer how she lives her religion.

39

P E T E R

ROSSI Grand Master of Photography

40

2012 - Judging Mini Me

up the 19 layers in Photoshop. Each background

With the camera locked firmly on a tripod and

actor and his shadow were roughly selected

the focus fixed on the front guy, I dimmed the

and brought to the top of the layer stack. For

lighting in the theatre, so that the audience

me, this is a statement about self-judgment.

lighting was two stops darker than the stage

Some triggers to ponder include Mini Me, the

lighting. I used a video light to the side to help

bottle of whisky and the panel of self-judges.

light the main subject. The actor posed 19 times

Nikon D3X, 28mm lens, ISO 250, I/30 second @

with different body languages. I then stacked

f5.6 for all 19 exposures.

a good briefing about the purpose of the images, and a rough idea of the budget we were working with, we planned a studio facet in the morning and an afternoon session at the beach. As a ‘commercial’ client, she paid half of the estimated price for the shoot and 12 hi res files. We brainstormed and researched 2013 – Finding Calm Amongst the Chaos

a beach setting that had some privacy and a

Leah came to us after seeing our ongoing

few background options. With the concepts

display in a local coffee shop which we change

of vitality, health, peace, flexibility and heart-

every six weeks. She had been having coffee

mind-spirit in our sights, we ‘played’ with lots

there over the last year and had come to know

of clothing, lighting, and background options

our style quite well. When she needed images

(knowing there was a budget for some post

for her yoga school opening, she came to

production artwork). Half of the hard work is

us saying we were the people for her. With

isolating the messages you want to illustrate.

41

Explained Peter Rossi, “I have tried to give a little background to each image, that collectively will give you an idea of my “how, when, where and why” I photograph.

“With some pictures, it’s fine not to have an exact plan or treatment to follow. We shoot for the

strongest emotional capture, leaving some room to add the story or dress-up later. Knowing exactly what you are going to do, can act as a block to creative flow, which may come easier when you are in your own comfort zone away from the shoot.

“On some pages, I included a ‘before art worked’ shot or another shot taken on the same shoot to

show you how I work. My partner Charmaine Heyer and I work together on most shoots.”

Peter has also included a few poems which will be part of a new book he and Charmaine are

working on.

“We have 167 poems written by a dear friend, Peter Erbe, and we are currently matching our

images to these poems, shooting for the gaps and searching for a publishing company.”

To see more of Peter and Charmaine’s work, visit their Highlights Photography website at www.

highlights.com.au.

And if you’d like to touch base with Peter or Charmaine, or ask some questions, they’d be

delighted to chat via email: info@highlights.com.au.

2014 - Birds Will Fly The seed for some pictures can originate with a feeling you would like to share with the world. This healthy family who did the ‘Leukaemia Shave for a Cure’ were supporting their mother/grandmother.

They helped me draw attention to the effect on a family when someone is very ill. Hopefully this type

P E T E R

ROSSI Grand Master of Photography

42

of image, which goes beyond decoration, will make us more understanding about others. I chose this tone to emphasise the quiet mood. The family were shot against a canvas backdrop that we set up at the event, in a location that had soft ambient light with a hint of direction.

43

Pricing For A Commercial Shoot

The 3 basic approaches for working out your price.

44

Everyone is a photographer and many new

them or sell them to other people as they

people are entering the profession without

wish. This approach is taken by the majority of

understanding how to profitably price the work

photographers, most of whom do not charge

they do.

extra for usage.

Experienced photographers complain that

Photographers may also charge by the hour

a job they used to charge $3000 to shoot is

or by the day, and the client has unlimited

now being done for $500. Newcomers to the

usage.

profession say that if you work efficiently you

Usage Only

can make great money at $500 a job, you just

Photographers may licence their photographs

have to do more of them.

for a specific use - they get a usage fee only.

They are not paid to take the photographs

However, the profession has gone through

massive changes and perhaps the best

because usually the photographs already exist.

approach for all of us is to wipe the slate clean

This is how stock photographers work, but with

and start again. What are our options for pricing

so much cheap stock photography available,

a commercial shoot?

this side of the market is contracting.

Shoot Plus Usage

Photographers may charge for the shoot, plus

thousands of variations.

a usage fee depending on how extensively the

resulting photographs are used. In other words,

better your knowledge of the market, your

they are paid for their time and then they are

competition and what you need to charge to

paid for the usage. You’ll find this approach

survive, the better able you will be to determine

taken by high end photographers in Sydney

your price.

and Melbourne, especially those working with

advertising agencies.

to pay you any more than they have to, but

Shoot But No Usage

some clients are prepared to pay a higher price

Photographers may charge per photograph,

for what they perceive to be a better outcome.

and include unlimited usage. Once the client

Our challenge is to change their thinking from

owns the photograph, the client can use

price-only to value for money.

Within these three basic models are When working out your own prices, the

One thing is for sure: Your clients won’t want

What is my competition charging?

What are the client’s expectations?

How does usage affect my income and how my clients perceive me?

How much do I need to charge to earn a living?

Is my photography better than the rest and can my client see it?

Do I bother to educate my clients about usage and quality?

45

What Is My Competition Charging?

We need to know if they are charging more or less.

We live in a capitalist society,

there’s no point spending

a free market where people

more than necessary.

are entitled to charge as

What is my competition charging?

What are the client’s expectations?

much or as little for their

answer, it’s important for us

products and services as they

to have an idea what our

like.

Similarly, clients or

customers can choose how

How does usage affect my income and how my clients perceive me?

How much do I need to charge to earn a living?

these services. If they think the price is too high, they

competition is charging.

Charging More If our competition is charging

much they want to pay for

$500 and we are quoting Is my photography better than the rest and can my client see it?

Do I bother to

educate my clients about usage and quality?

$3000, we are very unlikely to win the job unless we also

don’t need to buy at all.

give our client good reasons

for spending the extra. And

With commercial

photography, our clients are buying a product

unless we know our competition is charging

unseen. They don’t yet know what we are going

less than us, we won’t know to explain the price

to produce for them, so unlike a car or a loaf

difference in the first place.

of bread, it can be very difficult for them to

Charging Less

compare one photographer with another.

Similarly, if you’re charging $500 for a job and

46

When we give them an

In fact, often they don’t compare and just

everyone else is charging around $3000, you’d

assume that we all produce the same standard

have to feel like a bit of a mug for doing it so

of photography.

cheaply!

Or, they might not even be aware of quality

Undercharging the rest of the market

differences. As long as they can recognise their

may mean you’re undervaluing the work you

product or employee, that’s all they want.

do, that you’re not providing the same level

A Loaf of Bread

of quality or service, or that you won’t be in

This is one reason why the first question many

business for too much longer because there’s

clients ask is, ‘How much?’. For them, it’s very

no profit. Or you could be a brilliant marketer

much like buying a car or a loaf of bread and

and $500 is all you need because you’re so busy.

What Are My Client’s Expectations?

D on’t assume your clients k now what the y want!

A successful photographer

a large advertising program,

will always ask as many

it indicates that the quality

questions as possible before

What is my competition charging?

What are the client’s expectations?

of the photography is very

providing a quote for a

important and that they may

commercial job.

be more open to a more

The reason is very simple:

we may have the wrong idea of what the client wants.

How does usage affect my income and how my clients perceive me?

How much do I need to charge to earn a living?

client, rather you’re showing

treatment.

Where Are The Photos Being Used?

By asking lots of questions,

you’re not imposing on your

involved and expensive

Is my photography better than the rest and can my client see it?

Do I bother to

educate my clients about usage and quality?

If the photographs are required for a website, then

an interest and very often this

the technical expectations

can help secure the job. Of

may be lower than an

course, you need to consider every inquiry on

image required for a billboard or magazine

its merits - there can also be some clients who

reproduction.

just want a price and sometimes they are not

the right clients to have anyway.

the photographs may be used, and some would

What Are The Photos For?

argue it doesn’t matter since as professionals we

Gathering information about how the clients

should always provide top quality work.

want to use the photographs can give you a

good idea of the type of images you need to

information can help you work out your clients

create and their expectations.

expectations. It also gives you important

intelligence that can be useful for negotiating

A couple of small head shots of junior

Of course, often a client doesn’t know where

This is quite true, but knowing this

employees may be handled very differently to a

usage if this applies.

lifestyle photograph of the managing director.

This information can also help you

Some clients value good photography, for

others it is something they don’t really relate

understand where photography fits into their

to. Normally we want clients who have high

bigger picture. If the photographs are part of

expectations and value quality above price.

47

What Is Usage And Should I Charge It? And do our clients know what usage is anyway?

To hire a model for a job,

stock photographs from a

you pay modelling fees plus

library, you would need to

usage fees. The ‘usage’ fees

What is my competition charging?

What are the client’s expectations?

increase depending on how

before the library could give

and where the photographs

you a price for ‘usage’.

are used. The usage fee would be lower for a small, limited run brochure, but would

How does usage affect my income and how my clients perceive me?

How much do I need to charge to earn a living?

internet use which went worldwide.

Advertising and commercial photographers negotiated the same deal.

be much higher for broad

However, explaining usage Is my photography better than the rest and can my client see it?

Do I bother to

educate my clients about usage and quality?

to many clients can be problematic.

Some advertising and

Usage In Other Markets

commerical photographers

Explaining usage to a local

48

answer all these questions

also charge this way. When you take a

builder who just wants a few photographs for

photograph for a commercial client, you own

his website is not going to work easily! Many

the copyright (unless you agree otherwise). As

people have an expectation that if they hire a

the copyright owner, you then licence the client

photographer to take some images, then they

to use the photograph.

own those images and can do what they like

Usage In Some Markets

with them. Charging them usage may cause

For high end advertising jobs, this was quite

them to think you are ripping them off.

accepted practice. The more the photographs

were used, the greater the value to the client

photographey are completely unaware that

and the more they should pay for ‘usage’.

usage exists in some markets, and fewer

photographers today charge it.

Usage was charged using a formula that

Many newcomers to professional

took in how it was used (media and size of

the reproduction), where it was used (what

or not charge usage, but it is an aspect that we

geographical area), and for how long it was

should consider for every job, whether we end

used (time). If you purchased rights-managed

up charging it or not.

There is no rule that says you must charge

How Much Do I Need To Charge?

There is a minimum you need to make a living What our competition

Step 2

charges and what our clients

How many jobs will you do

are prepared to pay are

What is my competition charging?

What are the client’s expectations?

fundamental issues. But so

each week?

For example: 3 jobs.

is earning enough to make

Step 3

a decent living and you can only do this by charging enough in the first place.

How does usage affect my income and how my clients perceive me?

How much do I need to charge to earn a living?

with prices your clients are

multiply your average charge by the number of jobs, times

It may not always be

possible for you to compete

Assuming 50 weeks a year,

Is my photography better than the rest and can my client see it?

Do I bother to

educate my clients about usage and quality?

50 weeks.

For example: $1000 x 3 x 50 = $150,000

prepared to pay. You may not

This is your gross income.

survive within the current

From this you will have to

market, meaning you may need to change

take away your costs. if you’re

where you work or who you work for. This is

not sure what these might be, let’s assume 40%.

an uncomfortable fact, but better than slowly

Step 4

going broke and out of business.

Calculate your costs at 40%.

For example: $150,000 x 40% = $60,000.

How do you work out what you need to

earn? Here’s one way. Start with what you’re

Step 5

currently earning or planning to earn. Then,

Calculate your net income or wages by

when you see the result, you can re-do the

deducting your costs from your gross income For example: $150,000 - $60,000 = $90,000.

calculations with different numbers until you get the result you want.

Step 1 How much do you charge on average for each job or shoot? Remember, this is just an average, not for every job.

For example: $1000.

Assumptions

If this calculation gives you a result under

$50,000 for a full time job, then you either increase your prices, or increase the number of jobs you do each week. In reality, it will probably be a bit of both.

49

Is My Photography Quality Better?

And are my clients really interested?

Most readers are in love with

professional photographers

the idea of photography - and

and our job is to produce

working as a photographer.

What is my competition charging?

What are the client’s expectations?

Most of us enjoy spending

Can it be dissatisfying

time to refine our lighting,

producing average work?

our camera angle or our postproduction in the interests of achieving a better quality

How does usage affect my income and how my clients perceive me?

How much do I need to charge to earn a living?

Our clients are also

interested in a high quality

Well, that depends on how you approach the job. I always aim to create the best

outcome.

50

photographs our clients love.

I can, but I will shoot strictly Is my photography better than the rest and can my client see it?

Do I bother to

educate my clients about usage and quality?

to my client’s brief as well.

Then they can choose what

result, just as they’re

they like - and hopefully it is

interested in a high quality

my best work!

car or a high quality meal. However, what’s

But if it’s not, that’s not the end of the world.

good for one person may be below average for

If we are particular about the quality of what

another.

we produce, we may choose not to work for

Whose Taste Is Right?

some clients who are on a different wavelength.

And then there is a matter of taste. All through

Am I Better?

my career, clients have picked images from my

Whether you produce a better quality of

shoots that were not in my top ten. Oh, the

photography than another photographer can

shots they chose were good enough - correctly

be really hard to qualify. Technically, you may,

exposed, nice composition, appropriate lighting

but not all our clients will be sophisticated

- but they didn’t have the photographic sizzle

enough to see or even notice the difference.

that set my heart racing.

more for your work, you possibly need to

However, who is to say that my taste or

So, when you’re convincing them to pay

preferences are more valid than those of my

concentrate on better service, bigger file sizes

clients? They paid me, so should I be happy?

or more images etc., as this can be easier for

I think the answer is generally yes. We are

them to understand and quantify.

Do I Educate My Clients?

Good quality photography is incredibly valuable.

A lot of clients are only

where they are coming

interested in price, not

from.

because they can’t afford to

What is my competition charging?

What are the client’s expectations?

Assuming they appear

pay more, but because they

interested in photography,

don’t know enough about

what do you tell them?

photography or the processes involved.

Bigger Fee?

How does usage affect my income and how my clients perceive me?

How much do I need to charge to earn a living?

working through the options

Whether you’re dealing with an individual or

In some cases, spending time with your clients and

Involve Them

a large corporation, Is my photography better than the rest and can my client see it?

Do I bother to

educate my clients about usage and quality?

professional photography is all about relationships

they have can result in a

and negotiations. By asking

much bigger fee. Once they

questions of your potential

understand what is involved, or you can show

client, you’re showing an interest in them and

them the differences in approaches, they may

what they want. This is a good starting point.

be prepared to increase their budget.

Or Time Waster?

about what you can offer them. For instance, if

However, educating potential clients can also

they want you to photograph room interiors,

be a huge waste of time. Some clients are not

you could show them examples taken with and

focused on photography, just as some people

without additional lighting, pointing out the

don’t follow cricket or football. It probably won’t

differences and explaining how good quality

matter what you say or what arguments you

photographs will help them sell their product or

present, they are not going to become avid

service.

lovers of photography and for them, a cheap

price is a good price.

clients like advertising agencies can be very

The trick is to pick the clients you wish

This information will also give you ideas

In commerical photography, some

sophisticated, but there is a trend towards

to educate. Usually after asking them a few

working with clients directly and this can be an

questions about the job you’ll understand

opportunity for education - and hopefully sales.

51

New Toys From Wacom

Wacom Cintiq 27QHD & Companion 2 Cintiq 27QHD (Above)

the screen itself or on the desk as you choose.

Wacom has announced two new Cintiq

It offers similar functionality to other Cintiq and

models, the Cintiq 27QHD and the 27QHD

Wacom products, with a few improvements of

Touch. Featuring a large 27 inch screen (the

course.

previous model was 24 inches), the 27QHD

Cintiq Companion 2 (Below)

offers 2560x1440 pixel resolution and displays

Wacom has also announced an upgraded

up to 97% of the Adobe RGB colour space. This,

Cintiq Companion 2. The most sensible design

according to Wacom, equates to 1.07 billion

change is that instead of two types or models

displayable colours, on the assumption you’re

of Companion, now the one unit serves both

using the DisplayPort connection and a video

purposes. So, Apple users can attach the

card that supports 10-bit colour. (HDMI output

Companion 2 as a pen and screen pointing

is also available.)

system, or turn off their Mac and use the

Companion 2 as a Windows computer if they

which is good for displaying (or not displaying!)

want to.

deep shadows and black. Viewing angle is 178°

which is possibly more important in a work

only software, there’s really no reason to have

environment where several people are viewing

a separate computer. The Companion 2 does

the screen at the one time.

it all as long as you can handle the Windows

52

The screen has a contrast ratio of 970:1,

This is not a small unit. Sold without a stand,

Of course, unless you’re wedded to Apple-

8 interface. The new unit is thinner and more

it weighs around 9 kg. With a stand, add another

powerful and is expected to be available in five

$400 and 16 kg.

different configurations. Good news for power

users is that one of the configurations includes

Cintiq displays have a number of

customisable ‘Express Keys’ or buttons which

16 GB DDR memory and the 512 GB solid state

you can program to do whatever you wish. They

drive will keep most mobile workers more than

are a useful alternative to a keyboard (although

happy.

most users still keep a keyboard nearby). On the

new Cintiq 27QHD, the express keys come as

1.7 kg and is expected to be available around

a separate remote panel which you can sit on

March or April.

The unit measures 374x248x15 mm, weighs www.wacom.com/en-au

53

How much will you earn in the next 12 months?

Use Peter Eastway’s free online Photo Income Estimator to find out.

It’s easy to use.

Visit www.betterphotography.com Click on the link to the Photo Income Estimator page

Enter your information and see the results immediately.

Don’t spend the next 12 months fluffing around.

Have a look and set yourself some goals! www.betterphotography.com 54