Working Pro The
Issue 229 • March 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 #229 Cover
Kelly Brown M.Photog. 2014 aipp PROFESSIONAL FAMILY photographer of the year
w w w. l i t t l e p i e c e s p h o t o g r a p h y. c o m . a u /
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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Ross’s Ramblings
Ross Eason M.Photog., Hon.LM, National President
AIPP New Accredited Members New APPs for February 2015
Update: AIPP Reflections Project
John de Rooy reports on great progress to date.
WWII Reflections – Clermont, CQ
Photographer Robert Hiette reflects on his Reflections shoot in Central Queensland.
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Far North Queensland
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Helping Rwanda With Hope
Enjoying the regions within the AIPP fraternity.
AIPP Regional Areas
All of these regions have FB groups so people can organise social get togethers and talk about what events they want in their region. Lisa Diamond’s journeys to Africa
Mastering Wedding Cinematography Abraham Joffe discusses wedding film production.
Stef King: AIPP Member Profile
After 10 years of hard work, Stef is now focusing on fashion.
Check Out The New AIPP Website
Great tools and resources in the members’ section
Judges’ Training For Everyone
Kylie Lyons explains why we need a little assistance.
Wedding Prints In A Box
Things to add to a shoot-n-burn package.
Orphan Works for Photographers What is it and does it apply in Australia?
ACCC Certification for the AIPP
What certification doesn’t mean is very important!
Ross’s Ramblings
Ross Eason M.Photog., Hon.LM, National President
phil - an - throp -ist : A person who seeks to promote the welfare of others
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Many of us have a vision of a philanthropist
on our structure.
being a rich US business tycoon, but in reality,
Who will be our Philanthropists?
philanthropy or helping is within all of us. It’s
You. We envisage funds will come from
actually part of our culture.
donations or fundraising activities. An initial
proposal for fundraising is a silent auction of
As the voice and face of professional
photography in Australia, we need to take
Gold Award images at or after APPA each year,
a proactive approach to supporting the
and perhaps at state awards if the states agree.
community, as well as supporting our own
You will see in your APPA awards entry protocol
members.
this year an opportunity to submit your image
to auction, if it is successful.
To do this, it has been suggested that we
look at building a monetary fund that will
be able to help when required. The need for
be directed to a student scholarship to assist
help may come in different ways - it may be
students in education.
hardship, it may involve a legal dispute that
Extraordinary Things
if won could set a precedent for the industry,
Each year we have members who do
or it may involve fighting for the rights of the
extraordinary things in many different ways
industry with our politicians and bureaucrats.
to help others. For some it takes a lifetime,
while for others it takes just a day or a week.
You will receive in the next few months
Initially a proportion of these funds will
a proposal to establish such a fund that we
We want to start recognising the efforts of our
can build on each year, a fund that is invested
members outside the traditional boundaries of
to ensure growth and that is available when
photographic honours and print awards.
required.
How will it work?
We will seek nominations from members for
Our peer organisations in America, ASMP
and PPA, already have foundation or charity
philanthropic endeavours outside the AIPP
arms that do exactly this and, at this stage, we
that have helped the community with no
have a dedicated group of members working
expectation of personal gain or promotion.
AIPP New Accredited Members New APPs for Februar y 2015 Accredited Professional Photographers SA Natasha Botheras QLD Kristy Lee Pommer Rachel Cutler Vanessa Eyles John Nguyen
Paul Bamford Badine Kennedy Danielle D’Arcy Amanda Waschevski Megan Willis VIC Louisa Jones Douglas Gimesy Jon Tinkler Janet Faye Hastings
Brett Dorron Scott Morton NSW Laura-Michelle Hall Sandra Ramacher Gorden Cahill Scott Williams Bettina Kingma Claire Vella Yvette van Rensburg
Emily Freeman Gilbert Romane ACT Cath Collins WA Nigel Moyes Maria Porter Violeta Jahnel Brosig Aquilino Paparo Stephen Heath
Jasmine Banks NT Lacey Barratt Accredited Professional Video Producers Kiet Luu Matthew Inkster Michael Dalla Rosa
Each year after the nominations are received,
comment and character of the person by what
we will select the most suitable candidate and
they read.
recognise their efforts in two ways.
person’s views, but we should always respect
1. They will be formally recognised by
We don’t need to agree with another
the Institute for their work and awarded a
their right to express them.
supporting trophy and press release in their
region;
have to be mindful not to cross. There are
2. For that particular year, they will have a
laws governing social media protocols that all
scholarship for student education named after
Admins need to be aware of and act on, and
them and have the honour of presenting that
that includes their personal liability for allowing
scholarship to the successful student.
others to make false, misleading or libellous
comments on sites they are responsible for.
The finer details of this proposal are being
However, there is a fine line that we all
developed now, but in a similar vein to the
Reflections Project, if we as an industry want
comments on our social media sites comply
to be recognised as a body working for the
with the above and we will adhere to that
betterment of the community, then we need to
requirement. We encourage all industry Admins
start doing things that project that image.
to apply the same standards.
The AIPP is responsible for ensuring
Social Media One of the greatest benefits we have in this country is freedom of speech. I’m a firm believer that everyone has the right to present their
ross.eason@aipp.com.au
views and ultimately people will judge the
0412 108 362
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Update: AIPP Reflections Project
John de Rooy reports on great progress to date. Thanks to all the photographers who have
Kayell is offering an Xlite 1.5x1.8 metre grey/
registered for the project thus far.
black collapsible background and a Datacolor
Checkr24. This is a huge saving of $145 for
We have 150 volunteers and we are looking
for another 300 from all over Australia to
everyone involved in the Reflections Project.
photograph the expected 8,000 to 10,000 WWII
Details of this special offer will be emailed to our
veterans.
photographers during March.
Sponsorship
We wish to recognise our wonderful sponsors,
partner with the RSL and the AIPP in this project.
beginning with Kodak Solaris for providing all
Tim Sullivan, the Assistant Director, Branch
the printing materials for the complimentary
Head National Collection of the Australian War
The Australian War Memorial is a strong
photographs being sent to the veterans and their Memorial, wrote, “The Australian War Memorial
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families. In addition, there are our presentation
will archive the images taken for the Reflections:
folder manufacturers, Jorgensens, Photo Mounts
Honouring our World War II Veterans project. The
and Albums, Designer Folders and Seldex, plus
images will be kept for posterity and accessible to
the laboratories printing the work are also very
the veterans and their families, and to researchers
generous supporters: Atkins, Fitzgerald Photo,
in the future. It is an appropriate addition to the
Pixel Perfect, Bond Imaging and Streets Imaging.
Memorial’s collections as we commemorate a
Our book sponsors are Graphis Studio and
Century of Service by Australians in our military
Momento Pro, creating superb books for the
forces, and honour all those Australians who
RSL and the Australian War Memorial which will
served in the Second World War.”
become enduring assets for the generations of
the future, recognising and featuring our WWII
Hiette for kicking off the photography of the
heroes in this 100th commemoration of the
Reflections Project on 28 February. We have
ANZAC tradition.
received some feedback already from relatives
of the veterans photographed in Clermont,
As part of the Reflections Project, Kayell
Thanks to Townsville photographer Robert
Australia is providing a very generous package
saying how everyone thoroughly enjoyed the
to all our volunteer photographers to ensure
experience and were looking forward to receiving
we have consistent results. For only $79.90,
their complimentary photographs. Robert’s
Timeline for 2015 Launch to photographers & veterans via RSL and AIPP
February
National media campaign
March
Photography begins for veterans
1 April
RSL National Photo Day – ANZAC DAY
25 April
Photography appointments
25 April to 30 July
Launch event in Canberra
June
Central processing images
May to July
Dispatch 5” x 7” prints to Veterans
June, July, August
Design and print first book
July & August
Present first book to RSL and AWM – Media Event
2 September
Present all books to RSL and AWM – Media Event
30 September
Present the digital collection to AWM
30 September
Book presentation at the APPA dinner
19 October
Travelling exhibition
September to December
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work and images are being used as a pilot
project, please go to https://aippveterans.com/.
program to test the systems as we prepare
Or to speak to a human, touch base with John
for the prospective 10,000 veterans to be
de Rooy, Project Manager, E: john.derooy@aipp.
photographed over the next four months.
com.au P: 0418 980 644.
You can see one of Robert’s portraits on the
next page. To get involved in the Reflections
And please spread the word about this
project to WWII Veterans and photographers.
WWII Reflections – Clermont, CQ
Photographer Robert Hiette reflects on his Reflections shoot in Central Queensland.
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Clermont is a small mining and agricultural
very much looking forward to the occasion.
town situated on the Central Highlands
of Queensland and has a population of
mobility, these mates don’t get the opportunity
approximately 2200.
to come together very often, so the shoot
was a wonderful event for them, albeit quite
This small community is home to seven of
Despite the size of the town and with limited
our living WWII Veterans – Walter (Dave) Murphy
exhausting for most.
(94), Roy Richardson (94), George Barker (91),
Charles Oats (91), Ivan Bettridge (91), Theodore
heroes. Each had their stories to tell – most
Williams (90) and Arthur Lawrence (89).
chose not to talk much about their active
Small Community, Big Deal
service, but more about their life before and
The ‘Reflections’ project was as big a deal for
after.
me as it was for the vets. Clermont is my birth
Ivan’s Comments
place and despite leaving 44 years ago at the
The subject of the photograph opposite, Ivan
age of eleven, I still have sentimental ties to the
Bettridge, recalls some of his experiences…
town. Being such a small community, the photo
session we had arranged on 28 February at the
Company. First they sent me to Thursday Island,
Clermont RSL turned out to be quite a social
then into the centre of Dutch New Guinea. At
event for the diggers.
that time it was controlled by the Dutch and
it was a political prison camp from Indonesia.
As related by their loved ones, they were all
I made time to chat to each of these gentle
“I served in the Army, 26th Battalion, ‘A’
(Above) Ivan Bettridge, 26th Battalion, ‘A’ Company. Photograph by Robert Hiette for the AIPP Reflections Project
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They had Javanese Police guarding them. We
that he’s a man very strong to his convictions
had no idea why we were there.
when he speaks of his beloved Clermont.
Daughter’s Comments
“We got along good with them. We were
camped in big barracks. It was pretty free – we
His daughter Suse, wrote to me after the shoot.
used to go over and mix with them and talk
“The camaraderie these gentlemen had and still
to them. There was no land fighting there. The
have is astounding and it really should make
Japanese couldn’t bomb us because of the
every Australian proud that we were lucky
low cloud. When the Japanese bombed, they
enough to have men of this calibre fight for our
bombed the village, not the barracks due to the
Country as we currently know it.
low cloud. If they had bombed the barracks,
God knows what would have happened as
emotional experience for both the veterans
we would not have had time to get out. But I
and the families that were there with them,
enjoyed it up there, apart from the bad malaria.
the encounter was truly heart-warming and
One of my mates died when he got the bad
I, like most other Australians, will make sure
one, but all I done was lost a kidney.
that their service will never be forgotten. The
professional photographs being made by
“Then we went back to Australia and went
“Although the photo shoot was an
to Bougainville. Bougainville was not a very nice
AIPP photographers is a wonderful gesture to
place - 40 diggers killed and 400 wounded in
remember them by.
five months”.
“Speaking on behalf of my family, we are
extremely proud of our Dad/Granddad and we
Post war, Ivan resumed working at Blair
Athol coal mine until his retirement In his later
are also just as proud to be Australian.
life, Ivan established himself as somewhat of a
“Lest we Forget.”
celebrity in Clermont, having a park named in
his honour.
WWII Veterans and photographers. To register a
veteran or a photographer for the project please
Since his retirement, he has nurtured a small
man-made nature reserve of native trees on
Please spread the word about this project to
go to https://aippveterans.com
the outskirts of town. He used to manage the
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upkeep of the park with his trusty push mower
Robert Hiette is an Accredited Professional Photog-
until the union at the mine bought him a ride
rapher and the proprietor of rth_images in Towns-
on mower and later upgraded him to a bigger
ville. He shoots weddings, portraits, events and also
vehicle.
gives photography workshops.
www.rthimages.com.au
When chatting to Ivan, you get the message
Charles Oats, Clermont, Queensland. Photograph by Robert Hiette for the AIPP Reflections Project
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Far North Queensland
Enjoying the regions within the AIPP fraternity. If you’re thinking of setting up a local group
it’s just for a coffee. “It’s good to get people
yourself, perhaps you could have a chat to
involved, so they know what the AIPP is doing
Kurt Stockham from the Far North Queensland
and what’s happening in the area.”
chapter. Kurt and his committee just helped
put together a popular workshop in downtown
planning. A workshop with Kelly Brown on baby
Townsville with AIPP Grand Master of
photography in April is already sold out, and
Photography, Peter Rossi.
the chapter is in discussions with lots of other
interesting speakers for more presentations later
“We had around 15 people in total”, Kurt
Kurt and his committee have a big year in
explained. “There were a couple of students
on.
who had just finished their degrees and one
has since signed up as a student member. There
answered, “To be honest, when I found out
were eight or so full members, two from as far
about the AIPP, I jumped on board straightaway
south as Mackay, and non-members as well.”
and I haven’t looked back. I love the way it sets
some standards in an industry where there
Most of the Golds and Golds with Distinction
Asked why he’s an AIPP member, Kurt
from the 2014 Canon APPAs were put on display
really aren’t any standards you have to follow
at the venue. Peter Rossi led the proceedings,
legally.
discussing the Gold Awards, his own approach
to creating award winning entries, and then
required to have Public Liability insurance
offering feedback and critiques for attendees’
which is something a lot of newcomers to the
own images.
industry don’t have. And to be accredited, AIPP
“Peter would say what he liked and didn’t
members are required to always improve their
like about a participant’s photograph, in a very
photographic skills! These are just some of the
constructive way, and then the crowd was
many ways we can set ourselves apart from the
invited to give their opinion as well. Everyone
competition.”
“For instance, I think it’s great we’re
showed up with a couple of images to discuss.”
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Kurt and his committee at the NQ Chapter
Kurt Stockham is the President of the AIPP NQ
are trying to ensure the Far North Queensland
Chapter and runs Tella Photography, a wedding and
group gets to meet once a month, even if
portrait studio in Townsville, Queensland.
Peter Rossi keeping the audience in Far North Queensland enthralled with the finer points of high end and award-winning photography!
Attendees had Peter critique their work personally - and gently!
AIPP Regional Areas All of these regions have FB groups so people can organise social get togethers and talk about what events they want in their region. South West WA Region
North Queensland Chapter
South East SA Region
NT Chapter
Surf Coast Vic Region
Mid North Coast NSW Region
Blue Mountains/Lithgow Region
South Gippsland Vic Region
Newcastle Region
North East Victoria/Riverina NSW
Checking out the 2014 Canon APPA Golds Awards - up close and personal.
A smiling Mr Rossi with one of his award-winning prints.
John de Rooy looking right at home with the sausage sizzle in full swing. The vegetarian sausages are on the right, John. 13
Helping Rwanda With Hope L i s a D i a m o n d ’s j o u r n e y s t o A f r i c a
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The breadth of experience and experiences
films were to be used as teaching aids in other
within the AIPP is no better exemplified than by
countries such as Kenya and Uganda, creating
Lisa Diamond and her work in the small, war-
an educational database for new teachers.
ravaged African country of Rwanda. She has
visited three times in the last five years, helping
called Rwanda: Speak, I’m Listening. It was to
the Rwandans in a small way to get back on
raise funds for an organisation by the same
their feet.
name in Kigali which assisted women. Originally
many of these women were widows, but now
“I had always known about the genocide in
“I also photographed for a picture book
Rwanda, but it wasn’t until I had my first child
the organisation also provides sanctuary for
and, some years later, saw a documentary on
the victims and children of rape, genocide and
television that it really affected me. It struck a
disfigurement. Of course, in Rwanda, everyone
deep chord within me.
has been affected by the genocide and even
today, they remain scarred in some way. Still,
“Then in 2010, I learned that the church to
which I belong was sending a team over to
this organisation helps keep women out of
Rwanda and I thought that I’d like to help. I was
prostitution and gives them skills with which to
told that applications were closed, but a friend
make a living.”
who was going said she’d mention me to the
organisers, just in case. As it turned out, they
in the role of teacher and her subject was
were still looking for a photographer and so the
photography.
next night I put up my hand.
in Rwanda and there has been a massive
“My husband was happy to support me,
However, on her third trip, Lisa found herself
“English is now the second language
looking after the kids and running the business
improvement over the past few years. It also
while I was gone, although essentially I just shut
makes it possible for outsiders to help in schools
the studio down for three weeks.”
and I travelled last year with other teachers and
doctors who were giving medical support, early
On her first trip, Lisa shot promotional and
educational images for Hope Rwanda. “I went
childhood and sewing instruction, in the Fruits
over with the education team and one of my
of Hope Academy. Fred Buyinza, the principal,
roles was to film the teachers at work. The
has built the school from nothing to what it is
(Above) Bronwyn teaching nursery children at Fruits of Hope Academy, Rwanda, 2014. Photo by Lisa Diamond. (Below) Lisa teaching a theory class with the photography students
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Photographs taken by Lisa’s students in Rwanda.
today with around 600 students. He has such a
easily using the point-n-shoot cameras kindly
grand vision for his country.
donated by Nikon. They were extremely proud
of what they achieved in such a short time, and
“While the basic academic skills are taught,
a lot of children aren’t so academically inclined
I learnt a lot too!”
and more orientated towards the arts. Because
of the lack of skilled teachers for extra curricular
really impressed with the photos the students
subjects, very little education exists outside the
created, especially since most of them had
core subjects. After the genocide, a great many
never picked up a camera in their lives.
of the professionals were targeted and wiped
out, meaning there were very few educated
our industry needs to be accountable. “I
people left.
find it uncomfortable that anyone can call
themselves a photographer, so I’d prefer to see
“Fred has a vision of introducing many new
Lisa says she and the other teachers were
As an AIPP member, Lisa says she believes
skills to his students and also to his teachers,
us accountable to a professional body.
so he utilises any opportunity to bring in skills
from overseas that will improve the standard
are coming up the ranks. I have created my
of education in his country and offer new and
business pretty much from the ground up,
varied opportunities for employment.
teaching myself and building it without very
much exposure to other photographers.
“It was completely amazing. I wrote a
“I also want to support photographers who
program and then re-wrote it to what I thought
would suit my students, but when I got there,
suddenly had this great access to a community
we didn’t really use my notes because there was
of professionals whom I could network with,
simply too much information.
sharing stories and working together. That’s
what the AIPP means to me.”
“I stripped it back to basics and taught
“When I joined the AIPP, I found that I
from the heart rather than the book. I had 43
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students in total, all very enthusiastic. I took half
Lisa Diamond operates a portrait photography busi-
the group at a time out on practical workshops
ness in southern Sydney.
and the kids picked up photography really
www.lisadiamond.com.au/
(Above) The school cleaner gets an impromptu photo shoot from 20 photography students at Fruits of Hope Academy, Rwanda, 2014. (Below) The student’s photgraphy exhibition on the final day. Photos by Lisa Diamond.
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Mastering Wedding Cinematography Abraham Joffe discusses wedding film production. How do you create amazing wedding videos
to document the big day successfully, they
that clients line up to see and buy?
need to understand the couple’s story and what
aspects of the event they need to focus on.
Abraham Joffe is the owner of Untitled Films,
a small production house in North Sydney that
specialises in weddings and corporate videos.
interviews and scenes with the couple going
A Canon Master, Abraham is also responsible
about their everyday life before the wedding. It’s
for many of Canon’s promotional videos, but he
nice to weave this footage in with the wedding
has cut his teeth on the challenging world of
day because it gives a broader sense of who the
weddings.
couple are.
“We often shoot what we call ‘pre-scenes’,
“It also means that the film we create doesn’t
Ninety Plus Weddings
look like all the others. Almost every wedding
Currently Untitled Films has a staff of nine,
will feature the white dress, vows and speeches,
including cinematographers, editors,
but if you have other material from outside the
production and studio managers. Their
wedding day, you can create a film that means
workload includes some 90+ weddings each
more to the couple and their families. And from
year and while some people might think this is
a business point of view, it’s also an opportunity
a lot, Abraham says it’s a manageable number
to offer a larger package.
for the business.
While Abraham himself is shooting more
corporate work, he’s still shooting weddings
Untitled Films provides at least two
regularly and picking up some plumb
cinematographers to shoot the wedding. They
international jobs as well.
don’t want to dominate the proceedings with
too many people, but they also want to create
“We’re known for our cinematic, story-driven
films”, explained Abraham. “We believe our point
the type of coverage that requires multiple
of difference is that we will spend a lot of time
cameras
with our couples prior to the wedding.
day edit’. We generally weave pre-existing
“It’s crucial for our cinematographers to
meet the couple before the wedding because
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Special Services
“A special service we offer is the ‘same
footage into footage shot during the course
(Above and Below) Abraham Joffe at work as a cinematographer producing wedding films
19
of the wedding and the film is screened at the
our business is word of mouth. We also receive
reception, usually after the speeches. It has
referrals from wedding and event planners,
a massive impact and it’s also a fantastic PR
plus we’re well placed with Google rankings. I
exercise for us, given we often have a couple of
worked hard on our SEO over 10 years ago and
hundred guests watching.”
we’ve managed to maintain our position, but
you can never take it for granted.
An extra fee is required for this service.
“You need to continue marketing yourself
Wedding Packages
and we’ve noticed that if we don’t keep up
“Cinematography packages tend to be all
relationships that our business can drop off.
inclusive, so once your client has booked,
“For this reason, we remain active in the
there aren’t really many opportunities to sell
wedding industry events, we enter film
additional products like you do with stills
competitions and we’ve won numerous awards.
photography. We provide the film edited in a
couple of ways and in multiple formats, and
in order to keep our brand out there - and to
from this year we’re only delivering the files on
ensure the industry itself remembers us as
USB.”
much as anything else. The industry provides a
lot of referrals, so it’s important they know we’re
Of course, when the client is booking
Untitled Films, there are a number of different
“We also feature in a few print publications
around.”
options they can choose from, including having their wedding shot in ultra high quality 4k.
Production Levels
Asked whether photographers could easily
“We’ve already shot several weddings in 4k
with the early adopters paying a premium, but
transition into video, Abraham agreed it was
as 4k becomes more widespread, the price will
certainly possible, but there are several new
drop back down.
skills that need to be learnt.
“It’s very flattering when clients choose to
“There was a fundamental shift back in
invest a sizeable amount of money for what
2009 when the DSLR video revolution began.
we offer and we’re very conscious of our
We were at the forefront of the changes and
responsibility when we take on an assignment.”
we had a honeymoon period for many years. People loved the shallow depth-of-field and
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Marketing
that look differentiated us from the rest of the
“Having been in the industry for over 15 years,
market.
we’ve built up a solid reputation and so most of
“However, as more and more producers
(Above and Below) Abraham Joffe at work as a cinematographer producing wedding films
21
began experimenting with DSLRs, it was our
consumers’ demands are high.
cinematic story-telling skills that became the
differentiating factor.
additionally when stills photographers think of
migrating to motion, they forget how important
“Now in 2015, there are lots of producers
“In film, there are a lot of moving parts and
creating story-driven productions with DSLRs
sound quality is.
and it’s what the market expects of everyone.
This makes it tougher for us to stand out
modern wedding filmmaker is also using a
because there’s so much quality work being
plethora of tools to move the camera and
produced. It’s great for the consumer, but it
create a cinematic experience, plus they have to
means we have to work harder to find an edge.
record good sound.
“Sound is an entire skill-set in itself. A
“However, the big advantage photographers
High Demand
have is their eye and having a good eye is a big
“We used to book weddings at $6500 hands
part of it.”
over fists five years ago, but in the market today, it’s much harder to book a package at this rate,
Abraham Joffe’s production house is called Untitled
even though the quality of what we offer has
Films and is located in North Sydney, NSW. His web-
improved.”
site is www.untitledfilms.com.au. He can be con-
tacted via email on abraham@untitledfilms.com.au.
So, for photographers looking at video as
an alternative, the first thing to realise is that
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Abraham is also a Canon Master.
9 Essential Skills For A Wedding Video Producer Abraham Joffe suggests the following skills and attributes are essential for a professional wedding video producer. 1. Shooting Motion Learn how to shoot video with a DSLR. (Most producers are using DSLRs these days, but this may change in the future with technology.) This means shooting in full manual - setting exposure, white balance and focus in a completely manual environment.
2. Recording Sound Most producers record sound separately, so in addition to recording the sound, you need to master sound editing software (such as Soundbooth) as well as Plural Eyes to synchronise the sound and vision.
3. Time-Lapse Time-lapse is becoming a very popular inclusion in wedding films and they are generally put together using Lightroom and LR TimeLapse software.
4. Stabilisation Tools To give the look of your film a greater dimension, you need to be able to move the camera around smoothly. To do this, you’ll need to learn how to use multiple stabilisation tools such as tripods, monopods, glide cams, steady cams, and brushless gimbal sys-
tems like the MOVI or Ronin.
5. Drones Drones have also become a very popular film making technique because the aerial perspective creates fantastic establishing shots. Some producers are even including drone services at no additional cost as a booking incentive. We hire an external operator who is licensed. It’s much safer to use the skills of a dedicated operator.
6. Lighting You’re usually limited with the lighting you can use for a wedding because your presence can’t overshadow proceedings. Often it’s a matter of closing a blind or turning off a light to improve the light quality. At the reception there may be an opportunity to improve the mood with additional lighting.
7. Editing Probably the most important skill after capturing the vision and sound of the day is knowing how to put it all together into a coherent and engaging story. Abraham suggests it is often the editing that separates the good work
from the great. “A good edit also requires a good storyline. I would choose a beautiful story simply told in preference to a cleverly produced film with lots of fancy shots, but no engaging story.
8. Direction “Our style is to keep our subjects looking as natural as possible. We’re also almost always working with top photographers who place our subjects into pleasing scenarios and so we don’t need to interject or direct too much. If direction is needed, it may be just to position the couples in nice settings and then let the action naturally unfold in front of you, capturing their natural interactions. As soon as you start directing too much, the spontaneity and naturalness is lost. No one likes scenes that look contrived the magic is gone.”
9. Have Fun Abraham says it’s super important to be having fun yourself and to exude a happy demeanour because it rubs off on the entire bridal party. If they see you feeling stressed or unhappy, they worry too, so it’s important to stay positive and have fun.
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Scoop Magazine cover image of model Rosie Tupper wearing a couture beaded piece by Aurelio Costarella. Shot with a Phase One IQ140, natural light backlit from outside large studio doors with the soft blue material hanging in front of doorway. Large white boards in front of model. “Placing the model as close as we could to the blue material allowed the colour/light from the material to wrap around the model, giving an overall cooler cast to the image.
Stef
KING AIPP Master of Photography
Most of Stef King’s photography is for fashion
need to connect with other woman and shoot
clients. Explained Stef, “This can include
meaningful images for them.”
magazine editorials, jewelry campaigns, beauty
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images, fashion look books and campaigns, and
Focused On Fashion
model portfolios.
Like many professionals, photography for Stef
began in school. “I just always knew I wanted to
“Recently I’ve taken studio space in
Fremantle where I also run a portrait studio
be a photographer.
which focuses on women’s portraits and fine art
images. Juggling both is keeping me very busy,
and when I found out I could turn ideas in my
but I do find that they feed different needs.
mind into something tangible with a camera, I
One feeds my creativity and the other the
was hooked!”
“I can’t draw at all, but I have a creative soul
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Stef
KING AIPP Master of Photography
26
Scoop Magazine cover image of model Simone Kerr, shot with a Phase One IQ140 in the studio using a large soft box in front of the model. Black boards on either side.
This portrait of actress Courtney Eaton was shot in the Swan Valley for an online fashion magazine. Daylight coming through an open barn door in late afternoon. Nikon D3 with 105mm lens.
27
Stef
KING AIPP Master of Photography
Stef has been shooting professionally
“Another shoot I’ll never forget was on
for over 10 years and her assignments have
assignment for Grazia magazine. I was asked
included all types of work, from interiors and
to photograph four woman on the one day. All
advertising jobs, to lifestyle magazine work,
had recovered from breast cancer and this was
corporate shoots and fashion.
the first time they had all met after their surgery.
“You name it and I’ve probably given it a go”,
“It was such a humbling experience to be a
Stef laughed. “I used to be a ‘Yeah, I can shoot
part of that day and something I would never
that’ type of person and then just go for it.
have witnessed had I not been a photographer.”
“I think it’s different in a smaller market
However, Stef doesn’t have her head in the
because you need to be able to put on a few
clouds, being well grounded and still wanting
hats to keep yourself busy. However, now with a
to achieve more in the future.
little more experience behind me, I’m trying to
keep focused on shooting just what I love and
maybe half the way to where I want to be. I still
what I’m really good at.”
have some major goals I want to kick!
“In my career, I would say I’m a quarter or
“One goal I’m aiming for this year is a solo
Memorable Shoots
exhibition. I’ve just shot the content for it, now I
One of Stef’s professional highlights was
have a few months to edit, so fingers crossed it
shooting on Crown Casino’s super yacht. “It
all comes together. I will keep you posted!”
was hard to beat that shoot”, she mused. “It
28
was a windless day off Rottnest Island and I
Workflow
was photographing from a small tender boat,
Stef started with a Nikon when studying at TAFE
shooting back towards this massive super yacht
and has never changed. “I love my Nikon AF-S
with a model in position.
Micro 105mm f2.8 -- it’s a fantastic beauty lens!
“My digital assistant was having a heart
“And the Phase One medium format system
attack, worrying that I was going to drop the
with Capture One is pretty hard to go past, so
Phase One into the water, but I was on such
I’m hooked on that too. It’s perfect for my style
a high I didn’t even notice I was leaning right
of shooting, when you want to shoot slow
over the edge of the tender, skimming just
and controlled. And the detail is just amazing!
centimetres above the water’s surface.
One makeup artist I work with calls it the scary
camera because it captures so much. ‘Are you
“It’s moments like these when I think, ‘Yes,
this is amazing!’ and I love being a professional
using the scary camera today’, she’ll ask!
photographer.
“In the studio we are running the Elinchrom
Shot in Crown at Guillaume, the new bistro restaurant situated above the pool for a magazine editorial. Nikon D3x with 24-70mm lens. Natural light with some large reflectors on the right hand side of the model, just out of frame.
29
Stef
KING AIPP Master of Photography
ELC lights with some big soft boxes. Black boards are also a must for me in studio -- never underestimate what two large black boards can do on either side of your subject to create killer cheekbones!
“I also use large Sunbounce Sun Swatters,
Profoto refectors and Profoto B1 location lights. In the office, my Wacom Intuos Pro is well loved and inside my Mac, I’m running Photoshop CC. Nik Software and Tiffen dfx are also a lot of fun to work with.
“Most of my workflow for fashion goes
through Capture One. I find it very reliable with colour tones, which is very important for what I do! Sometimes you have only days to output entire look books for clients on tight timelines because they need the images in print ASAP to show their buyers. In these circumstances it’s essential to make sure you get colour management spot on! The photographs accompanying this article are from Stef’s day-to-day fashion work. You can see more of Stef’s work at www.stefking.com.au. Email – info@stefking.com.au; Instagram - @stefkingphotog; Facebook - Stef King photographer - https:// www.facebook.com/pages/Stef-King-photographer/193599740667820
See Stef King at The Nikon Event in Perth this June! Book now www.aipptheevent.com.au
30
The City Brights editorial was shot on the Nikon D4 with a 24-70mm and some small, hand held mirrors from Ikea positioned in front of the lens to create the shattered glass/mirror effects. “It’s lots of fun shooting this way as you never know what each shot will bring!”
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Check Out The New AIPP Website Great tools and resources in the members’ section
32
There’s a host of great material on the AIPP
important it is to have a contract with all your
website designed to help members get the
clients, whether you’re shooting a family portrait
most out of their membership.
or selling a stock photograph. A ‘contract’
sounds legalistic, and it is, but an ‘agreement’ or
If you haven’t visited recently, then that
means you haven’t updated your personal
a letter outlining what’s happened can be just
profile and, given the new search engine
as good.
features built into the AIPP website, it’s certainly
worth doing. It will take you five minutes and
contract or agreement and this is where the
while you’re there, you can check out how easy
AIPP website shines. It has specimen contracts
it is to find stuff.
for different genres of photography, and some
Member Dashboard
more general agreements like model releases.
Once you’ve logged in, you’re presented with
Legal Assistance
a Member Dashboard and down the left side
And while we hope we never have to employ
is a comprehensive menu. Under the Member
the services of a solicitor, if you do, visit the
Dashboard menu item itself, you’ll find sections
Member Dashboard and check out the Legal
on saving you money, staying informed, all
Help for Members tab. There you will meet
about the AIPP Awards, copyright and your local
John Sinisgalli of Mason Black Lawyers and an
state chapter.
offer to provide a first consultation at no cost,
and further consultations at discounted AIPP
There’s also a section titled Assisting Your
The question is, what do we put in our
Business. It includes specimen contracts we can
member rates. John has been working with the
use and adapt for our businesses, guidelines
AIPP and photographers for many years and has
for preparing and presenting digital files to
specialist knowledge of our business. This is an
our clients, legal help for members, details
invaluable offer and resource.
and requirements for members working with
children and the AIPP’s Brand Awareness
when they sign up with the AIPP. A quick look
Campaign.
at the Member Dashboard should soon answer
Specimen Contracts
that. And there are some great discounts from
Experienced members will tell you how
all types of suppliers - take a look!
Some members wonder what they get
33
Judges’ Training For Everyone
Kylie Lyons explains why we need a little assistance. No one is doubting our judges’ abilities to assess
nominated members to be trainers as well. It’s
and review images. However, it’s is the way their
important that the program also brings along
opinion is expressed that the AIPP Board wishes
the next generation of judges. Martin will travel
to address and this is what a new judge training
around the country to ensure all judges go
program will focus on.
through this training at some stage.”
“We need to train our judges about the
Asked why the AIPP Board felt it needed to
language that is used and the words they
bring in an outsider to train our judges, Kylie
choose to give praise or constructive feedback
explained that there are few people in the
so that it is not taken the wrong way.
world with Martin’s experience and that it’s
important the AIPP not operate in isolation.
“It’s also important that our judges are
trained consistently across the country so we
“We live in a global society with
create a common framework and experience
competitions all around the world. Martin
wherever we are holding a competition.
has wide ranging experience with many
“A lot of the criticism and complaints we
competitions and, importantly, the
receive about judging isn’t about the feedback
organisations that run them. There’s a lot to
itself, rather how that feedback is provided. And
learn from the training, even for experienced
often when confronted, a judge will explain that
judges. In a constantly changing world, it
his or her words were taken the wrong way and
doesn’t hurt to brush up on your judging skills
that’s not what was meant!
and there’s a big benefit for the AIPP as well if it
“So this is the main aim behind the training,
can say that all its judges have been upskilled.
to help our judges better articulate exactly
“APPA judging is already very good, it’s just a
what they want to say and eliminate any
matter of how we deliver it. We want to ensure
misunderstandings in the audience.”
we’re giving our judges every opportunity to do
Heading up the judge training is Martin C.
it better, and that in turn gives a better outcome
Grahame-Dunn, FMPA, FRSA, Hon.FMPA, QEP, Hon.
for all our entrants.”
Master Photo-dk, MPP (MPOCanada) etc. As Kylie
34
commented, his credentials speak loudly.
Judging training is planned for August 2015. You
“Martin has a program that not only
can read more about Martin Grahame-Dunn on his
trains judges, but will also train some of our
website www.images2inspire.com
This is the proposed program - subject to change.
International Juror Training in Professional Photography
Mind & Heart by Martin Grahame-Dunn
This is a one day intensive education program for both experienced and aspiring jurors. Conceived to be delivered in front of an audience of potential entrants into image competitions and evaluative qualification assessment systems worldwide. The result will be an increased knowledge and awareness of the craft of judging, together with the thorny problems of ethics and egos.
short lectures combined with a practical judging session in front of an audience. After each ‘lecture’ there will be a short Q&A session for clarification purposes.
• How do you judge Art? Critic or Critique Session 4. Practical Evaluation “The Warm up”
Session 1. The Psychology of Image Judging (45 minutes)
• I will take a series of images and relate them to the ‘Ten’ points of ’Technical’ Image Evaluation
•
Sense & Sensibility
Session 5. Judging in Action
•
Geometry, Symmetry & Optics
•
Good Judge, Bad Judge
“In my vast experience in judging and chairing national and international image awards, I have been forced to acknowledge that it is vitally important to have a ‘worldwide’ perspective that transcends national and domestic borders and takes into account the vast differences in cultural and social demographics. This is what makes this program different. Having been privileged with over 36 years in professional photography coming from a formal ‘fine art’ background, this has formed the foundation of my knowledge base, combined with the sciences, psychology and esoteric thought processes drawing upon the power and science of geometry and optics.
•
Common Sense
• This session will be in Jury Panel form with constant feedback to Jurors in Training and the audience
The program will comprise a series of
•
• Linguistics - “To like is insipid, to love is Passion!”
Session 6. Command & Control Supplementary Session
•
•
The responsibilities of a Juror
Session 2. Technical Evaluation (45 minutes)
•
Ethics - Part One
•
The role of an effective Chairman
•
• A final session will be in Jury Panel form with constant feedback to Chairmen in Training in a ‘closed’ environment
Projection
Benchmarking
• “Ten”, the ten crucial points of evaluation with real meanings •
Words to Numbers
Session 3. Aesthetics “Putting things into Perspective” (45 minutes) • Referencing outside of Photography Creative or Aesthetic Evaluation
Session 7. Paying it Forward (For Jury Chairmen and future trainers) •
Juror Training and CPD
•
Ethics - Part Two
• The right judge for the right category •
Resources and Research Materials
35
Wedding Prints In A Box
Things to add to a shoot-n-burn package. Many wedding photographers provide a shoot-
with pre-cut windows into which you slip the
and-burn service, claiming this is all their clients
photographic prints.
want. No doubt this is true in some cases, but
when you talk to wedding photographers who
wedding’s best 20 images in Lightroom (or your
are selling albums, prints and frames, they claim
editing software of choice) and ensure they are
clients don’t ask for additional products and
cropped to fit the windows (either a 5x7” print
services simply because they don’t know about
for the 8x10” mounts, or an 8x10” print for the
them!
11x14” mounts). Tweak the files so they look
great and export them as JPGs into a folder.
This doesn’t mean you stop offering a shoot-
The process would be to select the
and-burn service, rather you add in some extra
items on your price list. These extra items may
delighted to print these for you (make sure you
take a little more time to organise, but they can
size the prints at 200 dpi), or you can DIY.
also significantly increase your profitability.
Image Folio Boxes
$1.50, or $30 for 20. Add in $175 for the image
So, what can you offer that’s special? How
folio box and mounts and your total cost is
about a box of beautifully mounted prints from
$205.
the 20 best shots of the wedding?
you make an extra $790, but there are many
You could sell this package for an extra $495
Obviously labs like The Edge will be
At the Edge, the cost for each 5x7” print is
So, if you sell this package for, say, $995,
to $2495 (depending on your starting point).
photographers out there who will tell you that
you can sell a package like this for a lot more.
The Edge Photo Imaging in Melbourne
offers handmade, clam-shell style presentation boxes in 8x10” and 11x14” sizes, finished in
We plan to bring more suggestions from other labs
either black buckram or natural linen.
around the country in future issues. Or, if you have a
great add-on sale idea, please let the editor know -
Each folio box can hold up to 20 matted
prints and you can order the folio boxes with
eastway@betterphotography.com.
or without the empty matted mounts. You
36
can also include a smart DVD or USB insert
You can see this product at http://www.theedge-
with the digital files. The matted mounts come
photo.com.au/?page_id=22
37
Orphan Works for Photographers What is it and does it apply in Australia?
38
Copyright prevents our photographs from
being used without our permission, but
in Australia. However, while it has been rejected
what happens if someone wants to use
in the USA, it has now been accepted in the UK.
a photograph, but can’t find out who the
copyright owner is?
use a photograph (or any other artwork) under
The short answer is if you don’t own
the Orphan Works exemption, they have to
the copyright, then you shouldn’t use the
demonstrate how they have tried to find the
photograph. However, in the case of museums
copyright owner. In many cases, the experts
and public institutions, they may know who
say, it would be easier and cheaper to buy a
the author is, but not be able to make contact.
stock photograph from an image library than
Museums and libraries would like an exemption
to go through all the hoops required under the
for situations where they simply can’t locate the
Oprhan Works legislation.
copyright owner.
The problem for photographers is that if
the Orphan Works exemption for commercial
this exemption is introduced, other people
purposes, you still have to pay a licence fee to
and businesses may claim that because they
a government authority. Should the copyright
can’t find the copyright owner, they can use
owner come forward, this fee will be paid across
the photograph under the Orphan Works
to him or her.
exemption. For instance, if your photograph
is out on the internet with no watermark and
licence fee payable, only an agreement to pay
all the metadata stripped out, it could be
a commercially ‘reasonable’ fee should the
impossible for someone to find you.
copyright owner come forward. However, it
appears the legislation failed because it was
Under Orphan Rights, this person may
Orphan Works have not yet been considered
Under the UK system, if someone wants to
Furthermore, if you do use the image under
Under the USA proposal, there was no
be able to use your photograph without fear
too complicated and potentially too unfair for
of having to pay a penalty, although if you
creators.
did discover the photograph had been used
without permission, you would be entitled to
the Australian Government will consider orphan
some form of payment.
rights at some stage in the near future.
The Australian Copyright Council believes
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 39
ACCC Certification for the AIPP
W hat cer tification doesn’t mean is ver y impor tant!
40
Peter Myers has written a document outlining
AIPP members?
what will and won’t happen as the AIPP
By being clear and transparent. We are not
travels down the path to professionalism and
forcing anyone to become AIPP members. We
certification.
are however continually “raising the bar” and
making AIPP membership a more attractive
Certification does mean we will all have to
abide by standards, but this is the mark of a
proposition on all levels. Certification
profession. However, most importantly, it is the
will be further incentive for becoming an AIPP
AIPP who will be setting those standards, not a
accredited member.
faceless bureaucrat in government.
Q. Does this mean the AIPP will need to
Q. Does this mean that the AIPP will
revise its folio assessment standards to
become the overall governing body for
meet an ACCC “standard”?
photography in Australia?
No. For ACCC certification, the most important
No. The AIPP will become the only photography
criterion is that we have a transparent,
membership body whose accreditation
published and consistently applied
standard is certified by the ACCC, but we will
accreditation standard. It is up to the AIPP to
not become a government approved regulatory
define an “appropriate” standard.
body.
Q. Does this mean that all older AIPP mem-
Q. Does this mean that all practicing pro-
bers, who have not been through the cur-
fessional photographers will have to
rent accreditation process, will have to re-
become AIPP members?
submit their work to the new standard?
No. Membership of the AIPP remains a choice.
No. The ACCC recognises that in a membership
We hope that as a result of this initiative,
organisation, there will be memberships that
more photographers choose to become
pre-date any formal accreditation process. As
AIPP members and view this initiative as
above, the most important thing is that we
membership incentive.
have a clearly defined, transparent and
Q. How will you deal with the probable
published standard that is applied consistently
allegations that you are trying to force all
in the future.
professional photographers to become
Q. Does this mean we have to revise our
mentoring program in line with ACCC
Q. How will the AIPP ensure that members
requirements?
are using the logo correctly?
No. There are no ACCC requirements which
Each year we will conduct a random survey of
affect our mentoring program, which itself is
our members to ensure compliance with the
outside the scope of this project. Whether we
logo usage requirements.
choose to further refine our mentoring program
Q. What will happen if a member of the
is a business decision with different parameters.
public wants to complain about the quality
Q. Does this mean we have to ensure that
of an AIPP member’s work?
all educators delivering approved AIPP
The contract for service will always be between
CPD content have to be “certified”?
the client and the photographer. Any complaint
No. It is up to us how we manage this aspect of
about the quality of work will be a dispute
our CPD program. “Certification” of educators is
to be resolved between the client and the
outside the scope of this project.
photographer. The AIPP compliance process
Q. How will we deal with and what will
will only come into effect if there is a registered
be the penalties for a member found to
complaint advising that a member has
be in breach of the “Code of Professional
breached the AIPP code of professional practice.
Practice”?
The sanctions to be applied will be defined
organisation, we will continue to ensure that
within our new membership terms and
our accreditation process is actively working
conditions. However the ultimate sanction will
to improve the standard of professional
be the withdrawal of membership and with
photography, and thereby reduce the number
it removal of the ability to practice as an AIPP
of such complaints.
Accredited Professional Photographer.
Q. What will happen if a member of the
Q. Can you tell me which “business docu-
public wants to register a complaint
ments” I will need to ensure I use the logo
against a member of the AIPP who they
on?
believe is in breach of their membership
On the following business documents: invoices,
terms and conditions, or code of profes-
orders quotes, proposals and letterheads. The
sional practice?
brand usage guidelines, which will be published
Our new compliance process will have
later, will also suggest you use the logo on your
clearly published guidelines how to register
website, business cards and other business
such complaints and how we manage these
stationery.
complaints.
However, as a responsible membership
41
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
If you download the files from the website, they will not play properly on the iPad.
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