Working Pro 237

Working Pro The

Issue 237 • November/December 2015

The 2015 CANON AIPP AUSTRALIAN

PROFESSIONAL PHOTOGRAPHER OF THE YEAR

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PROUDLY SUPPORTING THE AIPP

Working Pro The

Co n te n t s #237

Cover

J o h n A n s e l l APP-L, M.P hotog .

2015 CANON AIPP AUSTRALIAN PROFESSIONAL

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10

PHOTOGRAPHER OF THE YEAR

w w w. j o h n a n s e l l . 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

Suite G.02, 171 Union Road, Phone: 03 9888 4111 E-mail: enquiries99@aipp.com.au

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

Winning the Big One!

To be selected as the Canon AIPP Australian Professional Photographer of the Year is the pinnacle of a photographer’s career, as no doubt John Ansell will agree. But the process of impressing your peers is really what it’s all about.

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How To Win At APPA?

17

The 2015 Canon AIPP Awards

40

No Silver Awards - What Does It Mean?

42

Social Media: How Do You React?

44

The Luminous Auction

46

A TAFE Ambassador

50

The Best Way To Learn Weddings

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AIPP Workplace Health & Safety

Surrey Hills, Victoria 3127

Ross’s Ramblings

Copyright © 2015

AIPP Membership Contacts

- N ovember / D ecem ber 2 0 1 5

We interview the 2015 Canon AIPP Australian Professional Photographer of the Year, John Ansell to find out about all his secrets - what does it really take to win the big prize at APPA? How good are these photographs? On these pages, we present the category winners of the 2015 Canon AIPP Australian Professional Photography Awards.

Earning silver and gold awards is what APPA is all about, but when it comes to our progress as a professional photographer, equally important are the scores in the 60s and 70s.

It’s one thing to be well-mannered yourself, but how do you react to other people being rude to you? Is there an excuse for being rude back?

In recent years, the AIPP, it’s members and sponsors have been incredibly generous towards several charitable causes. The Luminous Awards continues in this theme for the first time in 2015.

It’s very easy to pick up a camera, but quite another to call yourself a professional photographer. Penelope Beveridge’s enrolment with Sydney TAFE has become the cornerstone of her successful international career and she remains passionate about formal education today.

Paul Cincotta realises that times have changed, but if you can work as an assistant or a stringer for a good wedding photographer, it will set your career up for life.

As the AIPP grows, it engages with a broader cross section of people with varying expectations of what should be provided. The AIPP’s aim is to provide ‘best practice’ outcomes in all its endeavours.

Ross’s Ramblings

R o s s E a s o n A P P. L M . P h o t o g . , H o n . L M , N a t i o n a l P r e s i d e n t

A Collector’s Edition of The Working Pro This will be the last edition of The Working Pro.

an option that can be easily printed.

It has severed us well in different forms, but the

simply reality is in today’s world, each member

members are aware of what is happening and

looks for their news and information in different

after much consultation with members, the

formats and in different degrees of detail.

reality is there is no single delivery method that

ticks every box. For every member who wants

After extended consultation with

So, why the change? It is important that

communications advisors, including Peter

it printed and delivered by snail mail, there is a

Eastway, the edi-tor of The Working Pro, and

counter view for other alternatives, so we are

the team in national office, we have developed

now targeting the broadest range of possible

a new format that will allow all members

options.

to receive important information about the

Institute, the industry and advice on how to

absolutely incumbent on all members to keep

maintain their business.

them-selves informed. Please take the time to

keep up to date with what we are doing.

This new format will roll out early next year.

The important difference

Regardless of how it is delivered, it is

It is your Institute. You need to make an

effort to be aware of what is happening.

will be the delivery style Each month, news will still be delivered as

9 - 6500 - 855 - 252 - 87 - 11

before, but in a new look PDF, as well as in

Not my account balance, but the tally for the

smaller grabs and headlines via social media,

end of the 2015 awards season.

blogs and emails. For those who have a passion

• 9 state, territory and national awards, all run

to ponder the news while on the throne, or like

to one consistent standard. We welcomed

to leave it on their desk for later review, there

Northern Territory this year for its first awards.

will also be a highly summarised B&W version as

4

• 6500 total entries around the country

At the Canon AIPP APPA, there were • 855 Silver Awards

you to John de Rooy, the project co-ordinator.

• A new database and website, under budget

• 252 Silvers with Distinction Awards

and on time. Thank you to Peter Myers and the

• 87 Gold Awards

team in the National Office.

• 11 Gold with Distinction Awards

• Certification - a new standard for professional

This is a great demonstration of our national

awards strategy in practice. Later in this edition

photographers.

• Luminous Fund - supporting student

there are details of the award winners and

education and building a fighting fund for the

without doubt, they represent some of the

future.

finest photographers in the country. On behalf

• The Event Charity auction raising a staggering

of the Board, I would like to congratulate all who entered, as well as those who stood on the

$54k for charity.

• Merger with ACMP - broadening our scope of

podium at the Awards Dinner.

Success can be measured in many ways and

industry representation.

So where to from here? In 2016, we can make

the journey can take time. The strength of our

sure Australians know what benefit an “ACCRED-

awards system is that it recognises endeavour at

ITED” photographer can bring.

every level. Having the confidence to enter and

the objectivity to accept a score demonstrates

enjoy a safe festive season with those whom we

the core ingredient of success - the desire to

love - and appreciate this wonderful country

improve.

and the good fortune we have to live here.

Let’s all get over the Christmas rush and

To all those who entered, well done. And to

all those who helped, be they judges or volunteers, you are all golds with distinction. Thank you. ross.eason@aipp.com.au It has been a big year…

0438 722 992

We have accomplished a lot as an Institute over the past 12 months: • Reflections - over 6000 veterans photographed. To our Reflections photographers and state co-ordinators, thank you for an incredible effort. A special thank

5

Ricki Gestro

Johannes Reinhart APP AAIPP

Social pics by Vittorio Natoli APP.L M.Photog IV

Click Here

A R O U N D T H E S TAT E S | W E S T E R N A U S T R A L I A Congratulations to all our WA members who entered APPA last month! Special mention to Johannes Reinhart for taking out the Documentary PPY, Rob van Koesveld with Book PPY and Ricky Gestro for the Student PPY. WA category finalists included Steve Wise, Stef King, Sheldon Pettit, Rob Petric, Nathan Maddigan and Daniel White, and highest scoring prints were achieved by Nick Melidonis, Nathan Maddigan and Melissa Richardson Congratulations to the members who received their Associate, Masters, and Gold Bars on the night too. Our APPA celebrations (and a few commiserations) culminated in our post APPA sundowner held at Shoot Photography Workshops. Thanks to all who came and made it a great 6

FOR MORE UPCOMING EVENTS night. Congratulations to Steve Wise for winning the Fremantle International Portrait Prize, and Johannes again for great results in this and the Moran Portrait Prize.

November will be a busy month, with a Breakfast Meeting, New Members Night and an open day with our new state sponsor Art’s Edge Photo & Frame.

Plus make sure you come to the Christmas Party on December 9!

UPCOMING EVENTS Wednesday 9th December President’s Christmas Party

Click Here

FOR MORE UPCOMING EVENTS

Andrew McConachy APP

A R O U N D T H E S TAT E S | TA S M A N I A S AV E T H E D AT E CHRISTMAS FUNCTION Date: 4th December 2015 | Exact venue in Salamanca, Hobart and costs will be provided as soon as they are confirmed.

7

Image by Ian Carlson APP M.Photog

Click Here

A R O U N D T H E S TAT E S | N S W It’s always good to balance work with leisure and back on 16 September we headed off for another Off The Grid social event, this time down in South Sydney at the historic Como Hotel. It was great to catch up with some familiar faces as well as meet some of our newest members.

October was pretty light on for events, but that probably wasn’t a bad thing considering that the looming deadlines for the APPA entries caused a lot of our members to go into lockdown, including the council!

We hope everyone was successful!

The NSW council has a very close relationship with TAFE NSW and we are often invited to assess and judge the portfolios of photo imaging students, as well as attend their graduations. This month, Milton spent a Council Structure: There was an equal vote for 5th position, so a sixth position was created by mutual consent.

8

FOR MORE UPCOMING EVENTS day at TAFE Ultimo assessing student work via oneto-one sessions and providing feedback and direction as they hurtle towards the deadline for final portfolio submissions. As usual it was fantastic to see how much incredible talent is emerging from the student ranks.

We are currently planning the Christmas party which is pencilled in for early December.

For tickets and details on future events, please keep an eye on your inbox and the official AIPP NSW Facebook Page at www.facebook.com/aippnsw

The Complete Photo Business Package for Professional Photographers Sitting down with an accountant to get this type of specific business advice could cost you thousands of dollars! Four eBooks packed with essential information and a special Business Planning Template designed exclusively for professional photographers.

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Winning the Big One!

To b e s e l e c t e d a s t h e Ca n o n A I P P A u s t ra l i a n Pr o f e s s i o n a l P h o t o g ra p h e r o f t h e Ye a r i s t h e p i n n a c l e o f a p h o t o g ra p h e r ’s c a r e e r, a s n o d o u b t J o h n A n s e l l will agree. But the process of impressing your peers i s r e a l l y w h a t i t ’s a l l a b o u t .

John Ansell was obviously very, very happy.

up to four prints in one or more of 15 different

Surprised, overwhelmed, but happy!

categories. The three top scoring portfolios in

And why wouldn’t you be when you’ve

each category are further assessed by a review

just been announced as the 2015 Canon AIPP

panel to determine the category winners, yet

Australian Professional Photographer of the Year.

another accolade and career highlight.

The announcement was at the Crown

The 16 winning category portfolios

Casino in Melbourne in late October following

(including the Creative category which is a

a busy weekend of judging at the Melbourne

cross-category prize) are then assembled before

Convention and Exhbition Centre. With floor

a panel of 11 past PPY and category winners,

space kindly donated by IDEA Australia and The

Grand Masters and Masters of Photography

Digital Show, the judging took a full three days

for a final review process. Each member of the

with four judging rooms and over one hundred

panel is invited to talk about the prints, putting

judges and back-room assistants.

forward their points of view, and taking on other

judges suggestions. A majority of 7 judges is

This was the 39th Australian Professional

Photography Awards, receiving 2434 entries

required to award the overall winner, the Canon

from 648 photographers. While the $10,000

AIPP Australian Professional Photographer of the

cash purse and the title Canon AIPP Australian

Year.

Professional Photographer of the Year has

obvious appeal, there are many winners at APPA

Ansell’s four portrait prints had to impress

because this is where professionals from around

two extra judging panels to earn ‘the big one’

the country are able to present their best work

following one of the most rigorous judging

for peer review. If you earn a Silver or a Gold

processes in professional photography.

So, in addition to scoring highly, John

Award, that in itself is cause for celebration.

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Professional photographers are able to enter

Photographs thanks to Craig Wetjen.

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How To Win At APPA?

We interview the 2015 Canon AIPP Australian Pr o f e s s i o n a l P h o t o g ra p h e r o f t h e Ye a r, J o h n A n s e l l to find out about all his secrets - what does it really t a k e t o w i n t h e b i g p r i z e a t A P PA ?

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John Ansell was at the Canon AIPP APPA dinner

to receive his Master of Photography, not to

AIPP Australian Portrait Photographer of the

pick up a category win or, beyond all hope, the

Year, John’s experience says it all. He had spent

Professional Photographer of the Year. For him,

some twenty years entering APPA. Not every

the red ribbon was a milestone in his career.

year, but once he had made a commitment

to himself to earn his Masters, a lot of other

“A few years back, I had some prints score

So, what about a category win? As the 2015

really badly at APPA. I can remember sitting on

opportunities opened up as well.

the steps outside the Sydney venue, with my

head in my hands, wondering why I bothered. I

planning on a category win and even when I

mean, I had a very good business and I’d been

was standing up on the stage before the big

a professional photographer for over twenty

announcement, I thought I was just there for

years, so getting good scores at APPA really

a group photograph. In fact, I told Andrew

wasn’t that important.

Campbell we should all really get into a better

The Red Ribbon

position for our photo!

“Yet, the more I thought about it, the more I

realised I really enjoy the process. At that stage,

talking, I worked out what was happening and

I basically had no points left in the bank, so I

I was pretty sure Andrew was going to win. I

resolved to start my Masters all over again and

even put my hand behind his back, ready to

this was my third year.”

give him a push, so when my name was read

out, it was the surprise of the decade!

It’s great to hear stories like this because,

“However, I didn’t expect this. I wasn’t

“Eventually when Chris Macleod started

from the outside, it seems all photographers

are successful. Social media is very good at

the car three times to hyperventilate!”

painting a perfect world, but the reality behind

Tintypes

photographers who earn their Master of

So, what was so special that inspired the

Photography is invariably a lot more difficult.

judges? Apart from four exceptional portraits,

“We drove home that night and I had to stop

13 Reproduction of original tintype by John Ansell, 2015 Canon AIPP Australian Professional Photographer of the Year

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the answer is in their presentation as tintypes!

under a deep red light, sensitised in a silver

All four of John’s photographs were created

nitrate bath. The plate is drained and placed into

with an old ‘alternative’ process that we don’t

the holder while still wet, and the photograph

see very often today.

made within the next 10 to 15 minutes. This

explains why all of John’s photographs needed

It might not surprise you to learn that John

is good friends with Trevor Foon, the winner of

to be planned - and why his models had to

the 2015 AIPP Alternative Process Photographer

patiently hang around until the tintype was

of the Year award. Explained John, “I had seen

processed.

Trevor working with wet plate collodion prints

and I fell in love with it. I thought it would be

exposures can be very long and you need to let

great to get back into the darkroom after nearly

your subjects understand this.”

15 years!”

immersed into the developer, a wash and finally

John had entered a couple of tintypes last

“Collodion is mainly sensitive to UV light, so

In the darkroom, the plate would be

year, so this year he resolved to do a series

a fixer solution. Although the image is vaguely

based on aspects of Australian history. “Every

visible after the developer, it really shows itself

photograph is planned and very deliberate.

during the fixer.

They had to be for the tintype process because

the images are made with wet plates and

Foony uses a clock, but I just count, ‘one Ansel

processed immediately after exposure.

Adams, two Ansel Adams…’ in my head.

However, as easy as it sounds when you

“I think this is what I love about tintypes, the

“The developer is fifteen seconds exactly.

physical process. I love watching the image as it

read the instructions, there are just so many

appears out of the fixer and the final tintype has

things that can challenge you, from chemical

a depth that you simply can’t see in a normal

contamination to finger prints. It’s a fairly

photographic print. For me, it’s a fabulous

intensive process!”

look and every time you take an image, the

History Lesson

result is always different. There’s nothing that is

John put out a call on Facebook when looking

repeatable.”

for models and friends pointed him in the

direction of Ronald Edwards for the aboriginal

To make a tintype (also called a ferrotype),

John uses a Sinar p 4x5” camera which

portrait, and a young Sudanese man for the

determines the size of the final image. An

portrait with chains.

engraver’s plate cut to size is coated with a

collodion solution and then, in the darkroom

African male who had come from a refugee

“I was cautious about chaining up a young

Reproduction of original tintype by John Ansell, 2015 Canon AIPP Australian Professional Photographer of the Year

camp only 11 years ago, but all my subjects

There’s still a thriving Italian community here.

were very responsive and enthusiastic.”

APPA pushes me to do something different

The four images represent the original

So, why does John enter APPA? “Entering

Australians, Baden Powell and the Scout

from my normal work - photographing schools

movement, the Italian migration for the power

and commercial photography. It pushes me

industry, and breaking chains to make a new

to try stuff that’s outside my comfort zone and

start.

apart from that, it’s good for the soul.”

“I was a cub and scout leader and I really

related to Baden Powell as a younger boy

John Ansell CPP-L M.Photog. is based in Traralgon

and what he stood for, while the Italian lady

and photographs families and commercial clients

represents the Italians who settled in the

throughout the Latrobe Valley and Gippsland. www.

Latrobe Valley region in the 1950s and ‘60s.

johnansell.com.au

15

of the

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2015 Canon AIPP Australian Professional Photography Awards Professional Photographer of the Year & Category Winners

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P H OTO G R A P H E R

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MELANIE SINCLAIR

ASHLEY KARAKATSANIS

MILTON GAN

BEN HOSKING

NATASHA WARD

CAMERON BLAKE

PAMELA PAULINE

CHERYL POULSON

PAUL THESEIRA

CHRIS THOROGOOD

PETER CARROLL

CHRISTINE HALL

PETER DUNN

CLAYTON HAIRS

PETER GREIG

COLIN BAKER

PETER LETHEREN

DANIELLE BENSON

RANA RANKIN

DARREN SMITH

RICHARD WINDEYER

ELIZABETH REEVES

ROGER WANDLESS

ERIN PIMM

ROXANNE GORMAN

HEIDI LINEHAN

ROZA MARCINIAK

HILARY ADAMSON

SARA HANNAGAN

JADE SCHOFIELD

SARAH ADAMS

JAMES FIELD

SASCHA UNGER

JIMMY TEO

SELENA ROLLASON

JOHN WISEMAN

SIMON HARRINGTON

JUSTIN BLANK

SIMONE HANCKEL

KAREN TUCKWELL

STUART MARLIN

KARI HAUSER

SUE THOMSON

KATE BUECHNER

TRISTAM EVISON

KATHERINE WILLIAMS KATIE FIORILLO

ALEX PAN ALISON LYONS

ROBYN CAMPBELL SIMON CASSON

AMY MAGNISALIS

3rd Gold Bar

ANDREW KWINTOWSKI

DARREN JEW

CHRIS BUECHNER

DAVID BRITTIAN

DANIELLE MINETT

IAN VAN DER WOLDE

DAVID GLAZEBROOK

JULIE EWING

DAVID STOWE

LISA SAAD

DEAN MANSBRIDGE

TREVOR FOON

EMILY HANNA

4th Gold Bar

GEORGE FRAGOPOULOS HEATH WADE JAN RAMSAY JOHN ANSELL LISA IVANDICH MELISSA NEUMANN PETER BARNES

JANET CRAIG ROBERT PICCOLI

5th Gold Bar LESLEY DOWNIE MIKE LANGFORD NICK MELIDONIS

REBECCA CROFT

6th Gold Bar

SANDRA LEA

ANDREW CAMPBELL

SHANNON COTTERILL

JACKIE RANKEN

SUE DAVIS

JACQUI DEAN

VANESSA SIZE

7th Gold Bar TONY HEWITT

1st Gold Bar ALICIA ADAMOPOULOS

8th Gold Bar PETER EASTWAY

CRAIG WETJEN DAVID EVANS KEREN DOBIA SHANE MONOPOLI

Grand Master of

STEVE WISE

Photography

KEN SPENCE

2nd Gold Bar

ANDREW CAMPBELL

KRIS ANDERSON

CHARLES FOULSHAM

KYLIE GARNER

DAMIEN BOWERMAN

LEESA PERRY

DAVID SIEVERS

LES PULLEN

NICK GHIONIS

LIB FERREIRA

PETER LIK

KELLIE BLINCO

MIKE LANGFORD

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No Silver Awards - What Does It Mean?

E a r n i n g s i l v e r a n d g o l d a w a r d s i s w h a t A P PA i s all about, but when it comes to our progress as a professional photographer, equally impor tant are the scores in the 60s and 70s.

Grand Masters of Photography get scores in the

that the judges appreciated various degrees

70s from time to time. In fact, Rocco Ancora (our

of professionalism in your work. You should be

APPA chair) and I were having a laugh at the

confident that you are producing photos of a

Canon AIPP APPA this year, agreeing that once

professional standard.

you become a Grand Master, you put on a black

Scores Under 70

ribbon of doom and sign up to lots of ‘bronzes’

If your print scored under 70, this indicates you

at future APPAs!

have plenty of upside! Take advantage of your

membership and pick out a Grand Master to

we’re just as keen as ever to earn a Silver, or

talk to. Go to the AIPP website, find their email

hopefully, a Gold!

address and send them a note, asking if they

would provide some comments and advice

APPA is many different things for

photographers, depending where you are in

about your images. I don’t know any Grand

your career.

Master who wouldn’t be delighted to help - and

if you find one, let me know!

At the beginning of your career, a score in

the 70s isn’t a bad thing. A score between 70

and 79 (which used to earn a Bronze award in

are there to help because they know that not

earlier years) indicates a level of professional

earning Silver or Gold is disappointing.

proficiency.

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Of course, we don’t really believe this and

In other words, it’s a level that is completely

This is what the AIPP is all about. Members

What makes a successful photographer is

coming back the following year, year after year,

acceptable for a professional photographer to

and continuing to try until successful.

provide to his or her clients.

Professional Standard

a score in the 70s? We like to think it’s because

So, if you earned three or four scores in the 70s,

we were trying something new that the judges

yes, you have room to improve, but don’t look

aren’t yet ready to recognise.

upon this as a disgrace. Far from it. It means

So what about a Grand Master who earns

Maybe next year...

Sometimes the judges don’t appreciate the brilliance of Grand Masters and give them scores in the 70s. In fact, it happens to entrants at all levels! Don’t get angry, get even! Put in something next year that’s even better and knock their socks off. I don’t know a single Master of Photography who hasn’t had his or her share of disappointments. It comes with the territory. We have all had clients who didn’t like our work for one reason or another, and entering APPA is no different. The trick to being successful is not to give up, but to persevere. Photo: Peter Eastway. Score: 78. Bronze with distinction (2011 APPA).

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Social Media: How Do You React?

I t ’s o n e t h i n g t o b e w e l l - m a n n e r e d y o u r s e l f, b u t h o w do you react to other people being rude to you? Is there an excuse for being rude back?

No matter how well behaved we are when posting

else’s work. How do you deal with this, especially if

on social media, there will always be a few wayward

it’s your work that’s being copied?

personalities who feel the right to give us a hard

time, not just on our own pages, but elsewhere

photograph and you’re ripping me off”, you haven’t

in public. How do we deal with someone who is

left the offending photographer much room to

criticising our work, or who is posting photographs

move. On the other hand, posting something along

that look like direct copies of our own images?

the lines of, “It’s great to see my photograph has

inspired you”, you’re not being so confrontational

you, being rude back to them is never going to

and there is a chance the photographer may feel

paint you in a good light. Don’t take yourself down

forced to acknowledge your influence.

to their level because most people reading the

exchange of comments will think your responses

photographer, at least everyone reading the post

are just as rude and inappropriate. In essence, it all

will be alerted to the possibility of plagiarism.

comes down to good manners.

And even if you get no joy from the offending

It’s important to be 100 per cent sure of the

If you think someone is doing the wrong thing

facts because there’s nothing truly original in

and you accuse them in public, it makes it difficult

photography and so you may not have been

for them to change their position without losing

copied. For this reason, I probably wouldn’t post

face. If your real objective is to change their view,

anything myself. It would be much better if a

you’d be better off sending them a private message.

friend politely posted a comment, noting that the

photograph was incredibly similar to an image by

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No matter how unfairly someone is criticizing

If you publicly post, “This is a direct copy of my

If they subsequently agree with you, this

approach would allow them to change their point

another photographer and asking if the offending

of view on their own terms. They wouldn’t be

photographer had been inspired by this work?

shamed into it.

One of the more difficult issues is seeing

criticism or plagiarism, it’s important to deal with it

photographers being applauded and praised for

politely and leave the offender an exit that is more

photographs that are direct copies of someone

palatable than not doing the right thing.

However you choose to deal with unfair

Photograph by Adam Hourigan, Gold With Distinction Award, Portrait Category, 2014 Canon AIPP Australian Professional Photographer of the Year Awards

Your Responsibilities As An AIPP Member All AIPP members are now obligated under the new Membership Terms and Conditions to follow the ‘Appropriate & Respectful Behaviour Towards other Members & AIPP Staff’ guidelines.

Concerning social media, it states:

4. I acknowledge that I will not use social media or any other form of public and electronic communication to: • Bring the AIPP into disrepute • Denigrate or abuse a fellow member of the AIPP, a past or current client or a member of the general public • Attempt to influence the outcome of an AIPP compliance process by soliciting support for a position.

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Jennifere Thompson

Tony Hewitt

Easton Chang

The Luminous Auction

I n r e c e n t y e a r s , t h e A I P P, i t ’ s m e m b e r s a n d s p o n s o r s have been incredibly generous towards several charitable causes. The Luminous Awards continues in this theme for the first time in 2015.

Fifteen photographers (shown on these pages)

Victoria and will entitle her to attend an AIPP

were invited to auction one of their Canon AIPP

education event of her choice.

APPA entries this year as the Luminous Project

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• Funding for this award is the third tier and

kicked off. And while there were many famous

it comes from the auction of the prints. The

names in the auction, they were joined by the

prints will be supplied by the members and

swelling ranks of newcomers to the profession, as

while this year it was an invitational, in future

exemplified by Jennifere Thompson.

years prints may be taken from the highest

Four Tier Approach

scoring prints. To purchase a print, members

There are four tiers to the Luminous Project:

and non-members alike were invited to log

• The Luminous Award - Recognising members

onto galabid.com/auction/aipp and bid for

for their good services. In the inaugural year,

their favourite prints. A total of $6300 was

past AIPP National President Ian McKenzie

raised.

OAM, APP-L, M.Photog., Hon. FAIPP, FAIPP was

• Which leads to the fourth and final tier. It is

chosen for his voluminous good works for the

expected in time that the print auction will

AIPP and other organisations. The award was

generate more income than is required for

presented at the Canon AIPP Awards Dinner

the Luminous Grant. At this stage, the Board

by Louise McKenzie, Ian’s widow.

plans to extend the concept to larger issues,

• The Luminous Grant - Providing educational

both within and outside the profession. It is

support for members early in their careers. It

designed to be a philanthropic exercise and

was won this year by Silvia Tomarchio from

something that all members can be proud of.

Greg Sullavan

Darren Jew

Vicky Papas

Mike Langford Geoff Comfort

Christian Fletcher

Greg Hocking Peter Eastway

Joshua Holko

Victoria Berekmeri Trevor Foon

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Hilary Hann

A TAFE Ambassador

I t ’s v e r y e a s y t o p i c k u p a c a m e ra , b u t q u i t e a n o t h e r to call yourself a professional photographer.

Pe n e l o p e B e v e r i d g e ’s e n r o l m e n t w i t h S y d n e y TA F E has become the cornerstone of her successful international career - and she remains passionate about formal education today.

As a child, Penelope Beveridge was an

attracting major Hollywood stars.

accomplished, award-winning artist. This was

not surprising, really, as her Mum was also an

photography, she turned her hand to fashion.

artist and her Dad was a musician, so creativity

But something was missing. Penelope knew

flowed through her blood from a very young

how to take great images, but she didn’t know

age.

how to recreate them from the heart.

Her plan was to become a high school art

As Penelope became more fascinated by

She knew that if she wanted to make

teacher, but as a young woman she discovered

photography a career, she needed to have a full

her true passion. Art’s loss would become

understanding of it.

photography’s gain.

Sydney TAFE Tropfest

So, in 1996, she turned to Sydney TAFE

Penelope was drawn into the world of short film

and enrolled in an Advanced Diploma of

making and soon became an art director.

Photography.

Her group of young filmmaker friends would

So popular was the course, 1200 people

often meet at a coffee shop in Kings Cross called

enrolled that year, but just 120 made the cut

The Tropicana to solve the world‘s problems. It

and Penelope was one of them.

was here that they hatched a plan to start an

annual short film festival to encourage budding

international pro photographer, artist, industry

Australian cinematographers to break into the

representative and philanthropist, who enjoys a

business.

variety of roles and successes in her field.

Today, that festival is known as Tropfest and

it has become a world-wide phenomenon

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Today, Penelope Beveridge is an

She boasts an extensive list of high profile

clients, from companies such as Qantas,

Photographs by Sydney TAFE Ambassador, Penelope Beveridge.

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Virgin Airlines, Coca Cola, Yahoo 7, Mercedes,

and awarded restaurants, hotels and resorts.

Medmojo Paris, Tourism Australia, Tourism

NSW, T2 Terminal, Museum of Sydney and the

stir the viewer’s emotions and always add the

National Art Gallery, and individuals from Prime

“wow” factor with each image.

Ministers, celebrities and TV personalities.

Her specialty is to visually capture the story,

Penelope says, “My aim is to draw the viewer

into my world.

Advertising and Commercial

With over 17 years’ experience in the

story, but it must lure the gaze, inspire, provoke,

advertising and commercial industry, her

fascinate and stir the emotions”.

images have appeared globally in magazines

like Vogue Living and Entertainment, Gourmet

and invited her to become an Ambassador

Traveller, Belle, Pacific Pastry (Singapore and New

to help celebrate 120 years of vocational

York), Weekend for Two, Spa Life, Quintessentially,

education and training.

Inside, Women’s Weekly and Delicious, plus she

is known for her food photography and styling

at many Sydney TAFE events and mentored a

for a number of cookbooks and other high end

number of photography students to help them

publications.

get through their courses.

In addition, Penelope’s food and fine art

“For me, a successful image not only tells a

In 2010, Sydney TAFE approached Penelope

Since then, she has been a keynote speaker

For Penelope, being a Sydney TAFE

work has been extensively featured in Nikon My

Ambassador means giving back in thanks for a

Life, Australian Photography, Photoshop Australia

remarkable career as a photographer.

and Digital SLR Magazine.

Exhibition Work

career in photography at Sydney TAFE, visit http://

Penelope’s repertoire of combining traditional

sydneytafe.edu.au/careers/photography to see how

and digital art photography has earned her

you can enrol.

countless commissions in food, lifestyle, advertisements and editorials worldwide, as well as exhibitions in Australia, New York and China displaying her conceptual fine art portraits.

In the food industry she has worked with

top international chefs plus a variety of Michelin

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If Penelope’s story has inspired you to pursue a

Photographs by Sydney TAFE Ambassador, Penelope Beveridge.

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The Best Way To Learn Weddings

Paul Cincotta realises that times have changed, but if you can work as an assistant or a stringer for a good wedding photographer, it will set your career up for life.

When I started photography, I was a backyarder,

shooting weddings.

working on weekends. However, I also worked

at Teds and Camera House stores where

important because it means you can learn from

students from RMIT would come in to buy their

experienced professionals.

materials.

business. It’s not just about taking pictures,

They’d ask me technical stuff about things

I think the AIPP mentor program is really

To be a professional, you need to learn the

I thought they should know, but while I knew

there’s a lot more to it, such as making the bride

lots about the technology, they were learning

feel good on the day.

about composition and lighting.

the bride wants on her day, she gets.

I also knew all about weddings because I

This is how I approach weddings. Anything

have an Italian heritage. I can recall as a toddler

dancing on the floor with a bride. Weddings

special on the wedding day, and take some

often had 300 guests, seven-tier cakes and were

good images along the way, then that’s a win.

If you can make her feel important and

the highlight of my upbringing.

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So it made sense that I wanted to be a

Boiled Lollies

professional wedding photographer. I took a job

As a wedding photographer, you know you will

as an assistant with Lynne Smith and worked for

get hot and sweaty. You know you won’t drink

three years, learning the profession. And Lynne

enough water. But you also know that if your

had learnt her profession the same way.

clients are happy and relaxed, you’ll get some

great shots.

I shot over 120 weddings before I went

out on my own and that has been a great

background for me.

wedding, I started taking along a $3 bag of

lollies and sharing it with the bridal party. I

But these days, it doesn’t seem to work like

Knowing how I feel half way through a

that. It’s hard to get a job assisting and many

know how full-on the day has been and how

photographers just pick up a camera and start

close everyone is to hitting the wall, so a little

Wedding photography by Paul Cincotta, APP M.Photog. I

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sugar is greatly appreciated.

That’s a good thing.

And while I’m thinking of the bride, often

it’s the groomsmen who are first in line for the

Important Shots

lollies.

The most important photographs for me are the

shots that make the bride look amazing.

Asked about the cheaper wedding

photographers, Paul doesn’t give them a second

thought.

landscape. It’s perhaps the simplest and easiest

way to get a great shot, but you still need to

At $500 or $1000, they are not making

I get excited by placing a bride within a

money. And if they are shooting a lot of

ensure the bride trusts you and is having a good

weddings, then they’re not charging enough to

time. If she feels comfortable with you, she’ll

even replace their cameras and will soon be out

take direction and give you the looks and poses

of business.

that make her look great.

Recently I looked at my Canon EOS-1D X

Sue Bryce said that a bride has every right

which is only 18 months old and it already

to be the most beautiful person in the world

has 250,000 cycles (shutter releases) on it,

on her wedding day. I want the bride to look

but it’s a professional body. Many wedding

drop-dead gorgeous, but I also know that there

photographers use cameras that are built for

are many other photographs that are incredibly

fewer than 100,000 cycles and that’s not many

important.

weddings.

are of the family. Some photographers say they

However, there are all types of clients and

Probably the most important photographs

with around 100,000 weddings each year in

can be a headache to take, but I really enjoy the

Australia, there will be a lot of clients who don’t

challenge.

really value photography that highly. They are

not my clients.

at her own wedding gave me a list of 72 family

In fact, I’m rather pleased with the way the

Mind you, I remember a wedding planner

photographs she wanted me to take! “Paul,

wedding photography profession is heading

you’re going to hate me for this”, she laughed. It

right now.

took us a couple of hours, but we did it because

those were the important photographs for her.

Brides are beginning to understand what

to look for in a photographer and the bridal

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magazines are doing a good job educating

Paul Cincotta is a Master of Photography and lives

them about choosing a photographer based on

on Hamilton Island, Queensland.

style, not price.

http://www.imagism.com/

Wedding photography by Paul Cincotta, APP M.Photog. I

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AIPP Workplace Health & Safety

As the AIPP grows, it engages with a broader cross section of people with varying expectations of what s h o u l d b e p r o v i d e d . T h e A I P P ’s a i m i s t o p r o v i d e ‘ b e s t practice’ outcomes in all its endeavours.

Recently AIPP members received a WH&S

processes that need to be followed by

Procedures email, all about workplace health and

management, workers, contractors and visitors, so

safety. It’s a document that you might not have read

far as is reasonably practicable.

as yet, but it’s recommended to at least have a look.

What is OH&S Consultation?

Why Do We Have It?

In accordance with occupational health and safety

The AIPP has paid employees (at National Office),

legislation, AIPP has an obligation to consult with

but importantly, it has many, many unpaid

workers, contractors, visitors and others in relation

volunteers as well. As far as Australian legislation is

to occupational health and safety matters, such

concerned, when we all get together for a meeting

as a safer workplace, greater awareness of WH&S

or an event, we’ve created a workplace -– and that

matters in the workplace, improved workplace

means the AIPP has obligations to look after its staff

commitment to WH&S, and greater cooperation

and volunteers.

and trust through two-way communication.

Of course, the reality is that these obligations

need to be fulfilled by us, the members. Paid staff

documented and, importantly, if someone raises an

and volunteers will be more formally introduced to

issue, the general recommendation is to bring it to

the WH&S program, but even when you turn up to

the attention of the AIPP executive office.

an event in the future, you may notice some small

changes that are aimed at ensuring we really are

and you will find these on the AIPP website:

looking after the health and safety of everyone in

• Harassment, Discrimination and Occupational

attendance.

The AIPP has five documents to read and review

Violence Policy

What Is The Documenation

• AIPP Manual Handling Procedure.

In many respects, OH&S is commonsense. However,

• Incident Reporting Procedure.

the process of harnessing and communicating

• AIPP Office Ergonomics Policy.

that commonsense is important. And that’s what

• Hazard Identification and Risk Management

the documentation sets out – the consultation

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The consultation process should be

Procedure

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