Working Pro The
Issue 238 • January/February 2016
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PROUDLY SUPPORTING THE AIPP
Working Pro The
Co n te n t s #238
4 8 Cover
Lisa Saad APP M.Photog. III
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
Canon APPA: The End of an Era
A stalwart supporter of the Australian Professional Photography Awards for many years, the AIPP wishes to thank Canon for its great support.
10
Reflections Hard Work Continues
12
Pathways For Entering APPA In 2016
14
The AIPP Awards Team - A History!
18
Should I Register For GST Anyway?
20
Uses, Term & Territory = More Money
24
William Long: Longshots
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Keeping Birth Photography Professional
40
Using Music In Your Business
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Phase One XF 100MP
Surrey Hills, Victoria 3127 E-mail: enquiries99@aipp.com.au
2 0 1 6
Ross Eason M.Photog., Hon.LM, National President
Suite G.02, 171 Union Road, Phone: 03 9888 4111
J an/ Feb
Ross’s Ramblings
2015 AIPP AUSTRALIAN COMMERCIAL PHOTOGRAPHER OF THE YEAR
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AIPP Reflections project director John de Rooy reports that although we have closed registrations for photography sessions, there’s still a lot of work to be done by our selfless AIPP photographers. Do you want to enter APPA this year? The AIPP has two levels of professional photography awards, beginning with the Epson State Awards and then leading in at a national level to APPA. Which awards are you eligible to enter? Do you have to enter both? Read on! One of the most challenging roles any AIPP member can volunteer for is to be a member of the Awards Team. Peter Myers reveals the evolution of a very special species! A lot of professional photographers run small businesses with a turnover of less than $75,000 and so they don’t need to register for GST. However, even if your turnover is less than $75,000, you can elect to register for GST. Is it a good idea for professional photographers, or should you stay out of the GST system as long as possible? All photography jobs should use an agreement which sets out the arrangement between you (the photographer) and your client. The AIPP provides sample agreements that members can use, but what does it mean when talking about ‘uses’, ‘term’ and ‘territory’? You must be doing something right if you can survive as a professional photographer for over four decades! William Long reveals some of the secrets of his success in the world of commercial photography. There is a lot more to birth photography than just the photography itself, from high emotions to hospital restrictions. Explains Victoria Berekmeri, a special Code of Conduct has been introduced that will help not only our clients, but birth photographers as well. As photographers, we don’t like other people using our work without our permission. Musicians and composers feel the same way, so how do we do the right thing when it comes to using music in our businesses? As professional photographers, should we be buying or hiring a 100-megapixel camera to ensure we give our clients the best quality possible? For some high end photographers, this is undoubtedly the case, but whether or not it’s for you, we should all understand the technology and what it means to the profession.
Ross’s Ramblings
Ross Eason M.Photog., Hon.LM, National President The Change of Guards
many benefits and initiatives.
It is inevitable in any business that changes
in long term relationships will happen from
to its members and the greater fraternity in
time to time. Different directions, opinions
which we all work.
and attitudes will influence and change these
relationships. However, it is not the outcome,
together, combine, to act together’ and that is
but rather the integrity and professionalism in
what we are. We are an alliance of like-minded
accepting change that is important.
professionals, combined for the greater good of
our industry.
We sincerely thank Canon for their support
The AIPP exists to provide value and benefit
My dictionary describes join as, ‘to bring
of the last 13 years. Notably their support of
our professional photography awards has
initiatives are driven by our incredibly dedicated
been invaluable, greatly appreciated and will
volunteer members who each day contribute
hopefully continue in some way in the future.
their time to run a large number of our events.
Change is the law of life. We should not fear
As a not-for-profit-company, many of those
For obvious reasons, I asked three of the
it, but embrace it as an opportunity. And I can
most knowledgeable members involved
assure you that we have and that you will see
with APPA how much time it takes each year
some new and exciting changes with APPA this
to organize and run our awards system. The
year.
figure varied a tad (I think one may have been
counting bar time), but on average volunteers
There is a more detailed article by Peter
Eastway later in this issue.
contribute between 2500 and 3000 man hours each APPA. That does not include the time that
4
Buy, Conscript or Join?
Kim Harding and the event team contribute,
What is a member’s relationship with the AIPP?
at a guess another 1000. And that has been
I guess most of us think that we ‘join’ the AIPP
happening in varying forms for the past 36
and that we become members.
years.
We pay a subscription, but we are not really
It is a big, big legacy and as members, we
buying membership and certainly no one is
have a responsibility to protect that legacy and
conscripted or forced to join. We join because
to respect that contribution.
we want to and because we see value in the
APPA and the benefits it as bought to many
The new look for the AIPP
I t ’s H a p p e n i n g . The Working Pro is undergoing some major changes to make it easier and quicker to read and de vour, no matter how you like to get your information. I t won’t be long now!
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seconded to a Dutch Airforce unit in Indonesia during WW2.
Greg contact the local RSL, who in turn
contacted the Dutch Government with the story.
The end result, after an extensive search of
the archives the Dutch Military, confirmed Bev’s service. The necessary citations were created, along with a new medal, and both were flown (Left to right) Greg Larchin, Bev’s daughter Robyn McDonough, Colonel Harold Jacobs, Netherlands Ministry of Defence, and Tony Ferris, Queensland RSL.
of our members is part of our DNA. We’ve
to Australia - there was an urgency as the
inherited that DNA and responsibility when we
Veteran was not well.
‘joined’ the AIPP.
on the news to Bev that he had been officially
We are professional photographers and all of
Once they had confirmation, the RSL passed
us should always act for the better good of the
recognised and that he would be presented
institute: endorse and support it, and be proud
with the citation and a new medal. On the same
of it and what it has done for the industry and
day, Greg presented the official AIPP portrait
each of us as individuals.
showing Bev wearing his Dutch Medal! Greg had taken an extra shot back in October, just in
Bev Ponton
Medaling in History
case
Our Reflections Project continues to amaze me
with the different tangents in which it heads.
Roy died two days later and so the Medal was
presented posthumously to his Daughter.
I attended a medal presentation last week
Whether it was closure or coincidence,
brought about by one of our Reflections
photographers. Greg Larchin, an accredited
awareness of the importance of the professional
photographer in Queensland, photographed an
image and make a significant contribution to
Australian Veteran last October.
society and in this case, without a doubt, it did
just that.
In the process, the veteran mentioned
Reflections was designed to raise the public
he had another medal from the Dutch Government, but refused to wear it as he had never been officially presented with it and had
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no paper work.
ross.eason@aipp.com.au
0412 108 362
The veteran, Bev Ponton, had been
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 7
Canon APPA: The End of an Era A stalwart supporter of the Australian Professional Photography Awards for many years, the AIPP wishes to thank Canon for its great support.
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Since 2002, the AIPP’s Australian Professional
of the world’s best.
Photography Awards have been sponsored by
Canon Australia and it’s a relationship that AIPP
organisations from around the globe have
members have greatly valued.
travelled to Australia to observe how the APPAs
have operated. APPA has been at the forefront
However, with changes in the market and
In fact, professional photography
different priorities, the AIPP and Canon have
of many of the processes and structures that are
agreed not to continue the naming sponsorship
now considered fundamental to a successful
for 2016 and are instead looking at category
professional awards system.
sponsorship as an option.
and its members have built strong relationships
Explained AIPP National President, Ross
It is only natural that over the years, the AIPP
Eason, “It is never easy bringing to an end a long
with Canon and many of its key staff members.
term relationship and we know from the length
We trust we will continue to see them at future
of time it took, it was a difficult decision for
AIPP events as they remain an integral part of
Canon to terminate their sponsorship of the AIPP
our professional family.
Australian Professional Photography Awards”.
Why the Change?
Since 2002
APPA is a complex mixture of accolades and
Canon became the AIPP’s first major sponsor when
professional achievement. For some entrants,
AIPP National President Eric Victor announced
the aim may be to first earn a Silver Award and
the agreement back in May 2002, just before the
then to amass sufficient ‘merit points’ to earn an
Awards event which was held in Perth, W.A.
Associateship or a Master of Photography. For
others, perhaps more experienced, it’s a challenge
Since then, every APPA has had the familiar
red logo as a key part of the Awards’ furniture.
to earn a major award or a category win – or
Canon and the AIPP worked closely together
maybe just to do better than they did last year.
with the AIPP providing feedback to Canon
about its market, and Canon supporting the
what it requires APPA to look like, what it needs
AIPP to help it grow the Awards system into one
to offer its membership and the outcomes
The AIPP Board has a very clear vision of
desired by all the stakeholders.
on sponsorship - and not just that from Canon.
Over the last three years, the AIPP has
“If a major sponsor had withdrawn its
invested heavily in software, hardware and
support back then, the AIPP would have had
training to ensure APPA remains one of the
some serious funding problems.
best globally. These investment decisions are
aimed at giving its members better outcomes
the state of the economy and changes in the
and feedback in the awards process. As a
industry, so as a consequence, the AIPP has
membership body, any investment decision is
been gradually changing the way it runs its
aimed at benefiting members.
awards and events so they are not dependent
on sponsorship.
The Board believes the Awards should
“It’s a risk that remained very serious with
be open to a wide cross-section of industry
sponsors, in keeping with the ideal of being a
welcomes sponsorships for all of its initiatives,
‘professional family’ and the promotion of APPA
but we are not dependent on it.”
for the industry as a whole.
Closely Involved
Continued Peter, “I think it’s important that
The AIPP Board also believes that by taking
“Of course, the AIPP still wants and
back responsibility for the promotion and
members understand why fees are what they
marketing of APPA, it can increase the public
are, so we can handle situations when sponsors
visibility of the national Awards and all its category
inevitably move on.
winners. In fact, by attracting a higher component
of cash sponsorship in the future, rather than the
have a large number of highly valued sponsors
‘in kind’ support previously received, the Board
and we will continue to work with them closely
is hoping to increase prize money and subsidize
for the benefit of our membership.”
entry fees, making APPA more desirable and more
accessible at the same time.
this month, it’s clear that Canon will continue
Future Funding
to be closely involved with professional
Some members have asked how the AIPP can
photography and we trust that at some stage in
afford to run APPA in the future without Canon
the future, the AIPP and Canon may once again
sponsorship – or that of another major sponsor.
join forces.
Explained Peter Myers, the AIPP’s Executive
Peter Myers, AIPP Executive Officer
“On the other hand, APPA and the AIPP still
As it releases a new professional DSLR body
But for now, the AIPP wishes to extend its
Officer, “Four years ago, I undertook a risk
thanks for the many years that Canon has been
analysis for the AIPP Board and one of the key
a key member of the APP Awards program –
observations was how dependent the AIPP was
and the wider professional family.
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Reflections Hard Work Continues
AIPP Reflections project director John de Rooy reports that although we have closed registrations f o r p h o t o g ra p h y s e s s i o n s , t h e r e ’s s t i l l a l o t o f w o r k to be done by our selfless AIPP photographers, and the mammoth task of collating the collection, ready for presentation to the Australian War Memorial. The AIPP Reflections: Honouring our WWII
Remembrance Day, 11 November 2015, to
Veterans project is one of the highest profile
officially bring the project to an end and was
exercises ever undertaken by the AIPP. And
the last date for Veterans to register to be
although at the heart of the project is an
photographed.
altruistic desire to put something back into
our community, the publicity for what a
gathering of veterans on Remembrance Day to
professional photographer can offer has been
capture many more portraits and promote the
extensive.
project on National ABC television.
Explained John de Rooy, the Reflections project
director, “Since March 2015, AIPP photographers
largest ever portrait project by the Accredited
have engaged with nearly 7,000 WWII veterans.
members of the Australian Institute of
“Photographers across Australia used the
“With pride, we highlighted Australia’s
Professional Photography.
“The photographers are not quite finished
as we collect the remaining registered WWII veterans into our studios across Australia, with some areas still having many veterans to photograph.
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With the help of 420 Accredited Professional
Photographers, we have done our profession
support of our members. Thank you to all the
proud, making a positive difference to the
participants for generously giving your time
veterans and their families who we have come
and showing patience as we complete the
into contact during the photography sessions.
photography and send out the printed images
to each veteran.”
“The Reflections Project marked
“But we couldn’t have done it without the
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Pathways For Entering APPA In 2016 D o y o u w a n t t o e n t e r A P PA t h i s y e a r ? T h e A I P P h a s t w o levels of professional photography awards, beginning with the Epson State Awards and then leading in at a n a t i o n a l l e v e l t o A P PA . W h i c h a w a r d s a r e y o u e l i g i b l e to enter? Do you have to enter both? Read on!
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Photography awards are an exciting part of
‘seeded’ to enter APPA, although of course
the AIPP’s calendar, beginning at a local level
many will also enter the Epson State Awards.
with the Epson State Awards and culminating
New Entrants
in APPA as the preeminent competition for
If you are not seeded, the pathway to enter
professional photographers at a national level.
APPA is through the Epson State Awards
qualifying process.
In the past, it has been possible to enter
APPA without entering the Epson State Awards,
but for some photographers this may no longer
more of your entries achieve scores of 80 or
be possible in 2016 and future years.
above, this will qualify you to enter APPA. It is
possible to enter up to 12 entries in the state
At each Awards event, there is only a limited
If you enter your state awards and two or
number of hours and a finite number of judges,
awards (across three or more categories), so
so we have to limit the number of entries to a
if you’re keen to enter APPA, you have every
manageable level, allowing sufficient time for
opportunity.
debate, critiquing and feedback.
Special Cases
Of course, from time to time there will be
The fairest way to control entry into APPA
is through our new system of seeding and
exceptions and so there is an opportunity to
qualifying.
apply for a wild card entry into APPA.
Existing Entrants
All members are eligible to enter the Epson
could include an illness that prevented you
State Awards, but the ‘seeding level’ determines
from entering your state awards, financial
if you are eligible to enter APPA.
hardship (you can discreetly let us know) and
prior business arrangements.
For 2016, if you are currently an Associate,
Valid reasons for applying for a wild card
a Master of Photography or a Grand Master
of Photography, then you are automatically
into your Dashboard.
For full details, visit the AIPP website and log
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The AIPP Awards Team - A History! One of the most challenging roles any AIPP member can volunteer for is to be a member of the Awards Te a m . Pe t e r M ye r s re ve a l s t h e e vo l u t i o n o f a ve r y special species! The Awards Team was created in 2014 as a
Comerford, along with input from Robyn Hills
replacement for the old style APPA Committee,
and Greg Hocking.
but with a different remit.
Category Manager with the prime responsibility
The Awards Team was asked to look at all
David Paterson took on the new role of
aspects of the AIPP’s various photography
of liaising with the newly formed category
awards from a holistic perspective, including
advisor groups (CAGs). David’s responsibility
the state awards and APPA. Equally, the Awards
was to take the input from the CAGs and
Team was asked to make plans and decisions
propose new categories or changes to existing
looking at the long term future of the awards,
categories based on that input.
rather than just the immediate short term.
This is still David’s current role and
as suspected, it is proving to be quite a
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Looking For Experience
challenging role, although the new categories
When the decision was taken to create the new
and changes introduced since 2014 are
Awards Team, the AIPP looked for experienced
testament to his success.
members who knew the intricacies (and
challenges) of running the awards, together
Seeding Manager, helping to define the
with younger members who could offer fresh
seeding process and seeding requirements,
insights into the views of new and younger
and establishing the process for setting state
members.
qualification levels, and managing applications
for wild card and direct entries into APPA.
We also introduced the concept of Category
William Long took on the initial role of
Advisors, Awards Seeds, and an APPA entry
qualifying requirement.
personal reasons to step down from the Awards
The initial awards team comprised David
Team and concentrate on his business activities.
Paterson, William Long, Kylie Lyons, Tony Hewitt,
We want to thank William for his tireless efforts,
Sue Lewis, Jackie Dean, Mark Zed and Melinda
not only in helping set the new Awards Team
At the end of 2015, William decided for
•
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on the right track, but also his many years of
making the state awards tick just as smoothly.
service, in particular with the Queensland State
Awards.
two APPAs behind her, we can all agree that Sue
has continued serenely to be the engine room
Melinda Comerford and Mark Zed were
With two highly successful state awards and
asked to divide the previously singular role of
of the awards (ably assisted of course by Kim
Chairman of Jurors between them, whilst at the
Harding).
same time defining and setting up a new judge
selection and development protocol. Mel and
with the new Awards Team. Many people see
Mark were ably assisted in the early transition by
Tony and know him as the face (and voice) of
Ryan Schembri, and later were able to rely on
APPA, particularly at the Gala Dinner. But Tony’s
the wisdom and guidance of Greg Hocking and
involvement and input is much more wide
Robyn Hills.
ranging. Tony provides invaluable input to all
Tony Hewitt was happy to stay involved
Awards Team debates and discussions, and in
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Greater Linkage
2015 and beyond has assumed responsibility
Kylie Lyons was instrumental in some of the
for successful delivery of the judge training
changes to the awards system and the creation
program.
of the new Awards Team.
the APPA committee and was also delighted to
When Kylie became National AIPP President,
Jackie Dean was a long-time member of
one of her pledges was to restructure the
provide her help and guidance during the early
awards system, in particular to facilitate a
days of the Awards Team. Time commitments
greater linkage between the state awards and
elsewhere have prevented Jackie from greater
APPA, to provide a commonality between state
involvement in 2015 and beyond, but like
awards and APPA, and to ultimately make the
William, we want to acknowledge her massive
awards recognised as “the best of the best”.
contribution in the past.
The creation of the Awards Team was the
And so things have continued to evolve.
culmination of Kylie’s efforts and she was able to
In mid-2015, Rocco Ancora as a current
step down from her direct involvement in early
National Board Member, was encouraged to
2015.
take on the role of Chairman of the Awards
Team. Rocco brings his considerable knowledge
Sue Lewis has, since the beginning of time,
just before the earth’s core started to cool, been
and passion to the Team and provides a direct
known as the woman who makes APPA tick!
conduit to the AIPP Board if he feels any
Sue was very eager to accept the challenge of
decisions need Board approval.
•
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Should I Register For GST Anyway?
A lot of professional photographers run small businesses w i t h a t u r n o v e r o f l e s s t h a n $ 7 5 , 0 0 0 a n d s o t h e y d o n’t n e e d t o r e g i s t e r f o r G S T. H o w e v e r , e v e n i f y o u r t u r n o v e r i s l e s s t h a n $ 7 5 , 0 0 0 , y o u c a n e l e c t t o r e g i s t e r f o r G S T. I s it a good idea for professional photographers, or should you stay out of the GST system as long as possible? Generally speaking, small businesses are
you’ve claimed back your GST on purchases.
advised to stay out of the GST (Goods & Services
Net Payments
Tax) system as long as possible.
Of course, once you are in the GST system,
you are adding GST onto everything you earn.
Most businesses need to have an ABN
(Australian Business Number), but unless your
Or are you? A small photography business
business turnover (gross sales) in Australia is
charging $995 to wedding clients cannot
over $75,000, there is no obligation to add GST
always put their price up to $1094.50 including
registration to your ABN.
GST and expect their potential clients to think
GST Refunds
that’s okay. Chances are the clients will look for
When you buy a new camera or computer
a photographer who is not charging GST!
system in Australia for, say, $11,000, it invariably
includes a GST input tax credit of $1000. If you
$55,000 to your clients, that would be $5000
were registered for GST, you could claim back
GST you pay to the government.
that $1000, making your purchase seem less
expensive. (If you are not registered for GST, you
look so attractive now.
cannot claim back GST input tax credits, even
though you’re in business.)
but it’s a good start.
Registering for GST is attractive when you
And over a year, if you were charging
The $1000 GST saving on the camera doesn’t This analysis doesn’t work in every situation, And the transition to GST pricing is an issue
look at this transaction in isolation, but let’s look
for all businesses that grow (how do you keep
at the consequences.
your clients when your prices go up by 10%),
but in the meantime, if you don’t have to pay
First, you need to do paperwork every
quarter - a BAS return. In most cases, you will be
GST, then stay out of the system.
paying some GST to the government, even after
There’s certainly less paperwork.
This is general information only. We do not know your specific financial or legal situation and we are not providing you with advice. As such, this article should not be relied upon as legal, financial or accounting advice. Please use this article as a conversation starter with your own adviser.
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Uses, Term & Territory = More Money All photography jobs should use an agreement which sets out the arrangement between you (the photographer) and your client. The AIPP provides sample agreements that members can use, but what d o e s i t m e a n w h e n t a l k i n g a b o u t ‘ u s e s ’, ‘ t e r m ’ a n d ‘territory’? A photography agreement might seem a hassle
well.
to do for each job, but if it becomes a normal
Is This Fair For The Client?
part of your business workflow, it will save you a
If someone hires a photographer to take
lot of aggravation in the future.
photographs, shouldn’t the photographs be the
client’s to use as they wish?
There are always little disagreements with
clients, but if there is something written down
on paper, my experience is the problem simply
reasonable. For instance, a couple hiring a
goes away.
wedding photographer would expect that the
photos they receive can be used forever. That is
The more organised you are, the fewer
In some situations, this is certainly very
complaints you’ll need to deal with.
reasonable.
The Concept of Usage
When you hire a model from an agency,
some of the photos to a business for advertising
certainly for most advertising shoots, there are
purposes, is it fair that the photographer misses
two components.
out on part of that revenue?
There’s the time the model spends with you
However, if that same couple then sells
Usage is a two-way street. It helps protect
for the shoot, and then there’s the use of the
the arrangement. Let’s look at another situation
resulting photographs.
to explain why usage is so important.
The use or ‘usage’ is based on where, for how
A builder asks you to take a few photos
long and in what media the model’s face will be
for his website. He says he doesn’t have much
seen. The more exposure, the higher the price.
money and he only wants to use the photos
down small on his website. You do the job for a
Photographers can charge the same
way. Rather than just being paid a fee for the
commensurately small fee.
photography, you can be paid a usage fee as
The photos on the website are very
This is general information only. We do not know your specific financial or legal situation and we are not providing you with advice. As such, this article should not be relied upon as legal, financial or accounting advice. Please use this article as a conversation starter with your own adviser.
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successful, so the builder decides to use them
being kept honest.
in television and magazine advertising. He also
What Is Usage?
distributes the photos to several of his suppliers
The AIPP Photographer Services Agreement
- the roofing company, the pool company, the
talks about Uses, Term and Territory.
lighting company. They all get to use the photos
for free, or they pay the builder.
in which the photograph will be used - e.g.
How is this fair for the photographer who
magazines, website, television – but it can also
was told the photos were just going to be used
include other uses such as point-of-sale, labels,
for a small job on a website?
merchandising etc. So, if the builder wanted
to use the photos on a website, the usage fee
The usage details in a photography
Uses can be thought of as the media
agreement keep everyone honest.
might be $100. If the builder wanted to use the
photos on a website and in trade magazines,
If the photographer has an agreement that
says the photos can only be used by the builder
the usage fee might be $200.
on the website, then two things happen.
What Is Term
The Term is for how long the client can use the
First, the builder can ask the photographer
to change the usage terms before the job
photographs. In some cases, in perpetuity or
begins, explaining the other uses he may
‘forever’ is quite appropriate, but in other cases,
want the photos for. This in turn will let the
the photos may really only be needed for a
photographer adjust her fee (and the way she
short period - one, two or three years.
approaches the shoot to ensure she provides
What Is Territory
a professional job in line with the builder’s
The Territory describes where the photo can
requirements) if she wishes.
be used. For the local builder, Australia might
be all the territory required, whereas a large
Second, if the builder later changes his
mind and wants to use the photographs more
international construction company may ask for
extensively, he can approach the photographer
worldwide rights.
for an additional licence. The photographer
Consider Your Options
can choose whether or not an extra fee is
There is nothing wrong in specifying a client
appropriate.
can use the photos for any purpose, for as
long as they like and world wide. What’s more
Note, the photographer can agree to give all
usage to the builder (or client) up front if he or
important is that you and your client consider
she wishes to. The point we’re making is that by
what it is they are buying, before you take the
considering the usage of the image, everyone is
photographs.
•
23
William Long: Longshots Yo u m u s t b e d o i n g s o m e t h i n g r i g h t i f y o u ca n survive as a professional photographer for over four decades! William Long reveals some of the secrets of his success in the world of commercial photography.
24
William Long is having his 15th birthday this
do anything by half, it would appear that I
year. Born on 29 February 1956 in Rochford, UK,
experience both.”
before coming to Australia in 1992, he had a
very successful career first as a principal dancer
project, completing a cognitive behavioural
with Scottish Ballet and then as a photographer
therapy course and looking at his life more
of the performing arts. Dance and performance
holistically.
are still two of his major loves, but he has taken
his photography much further.
do, but possibly it’s because I fall into the ‘over-
In 2013, he was the AIPP Australian
achiever bracket’ which in turn contributes to
Commercial Photographer of the Year and
massive anxiety. That possibly explains why I
he has been the Epson AIPP Queensland
became a principal dancer with Scottish Ballet
Commercial Photographer of the Year in
because I wanted to be good at it. It was the
2013, 2014 and 2015. And he’s run a successful
same when I started horse riding and then
commercial photography practice for over 40
photography.
years.
So what makes William tick? And why after
people might think I am so passionate about
so many years being closely involved with the
things. For instance, I worry about the work I
AIPP has he decided to step down from his roles
send to my clients so much that if they ring
with APPA and the Queensland State Council?
me up, my heart races and I have a little panic
attack because I’m sure they are going to tell
The short answer is that it’s time to look after
So William has taken on himself as his next
“People call me passionate about what I
“I used to catastrophise - which explains why
William. “Three million Australians are living
me off. Even when I see my work published, I
with depression and/or anxiety. On average,
think they must have hired someone else to do
one in eight men will have depression and one
the job because the photos look too good for
in five men will experience anxiety at some
me!
stage of their lives. On the basis that I never
“I don’t expect this level of performance
25
William Long
26
27
William Long from others, just from myself. I guess it means
flats. The other tenants were upset with me
I’m the type of person who believes in doing
because I kept taking over the bathroom in
things as well as I can.”
order to develop my films. I’d bought myself the classic Paterson development tank, but
From Dance To Photography
obviously I needed to work somewhere that
Before joining Scottish Ballet, William used
didn’t have the only toilet in the building.
his holiday pay from his previous employer
to purchase a camera. “I’d never owned one
landing of the stairs and wondered if it would
before, so I went down to my local Dickson’s
be big enough to work as a small darkroom, so
camera store and bought a Nikkormat FTN with
I contacted the building manager who in turn
a 50mm standard lens and four rolls of film for
talked to the landlord. The landlord asked to
118 pounds. I’m good at remembering figures.
meet me and when he opened the cupboard
“The sales assistant thought I was insane
door and switched on the light, I discovered
because I had no idea how to load a film, but I
a set of stairs leading up into a purpose built
soon learnt. In fact, shortly after joining Scottish
darkroom that hadn’t been used for 30 years. It
Ballet we toured Paris with Rudolf Nureyev. On
even had an ancient enlarger!
my sixth roll of film and the tenth frame, I took
a shot of Nureyev which I sold a couple of years
landlord how much, he said nothing and that
later in a small exhibition. It was a 16x20-inch
he’d be delighted for me to use it. So I had my
print and it sold for 25 pounds.”
own darkroom - and that’s what I mean by
having someone looking after me.”
William said he was very chuffed when
“I’d noticed a large cupboard on the first
“It was fantastic and when I asked the
a couple of years ago, Canon Video Master
William today (top) and (below) as a principal dancer with Scottish Ballet.
28
Abraham Joffe purchased the same print at the
Leaps of Faith
AIPP Nikon Event auction for $1200.
“Working as a performance photographer
taught me some great lessons - such as
“When I took that image, I knew very little
about photography, but I believe someone,
speed and processing. In the UK, it was quite
somewhere was guiding me. I’m not a
common to photograph the dress rehearsal
practising Buddhist, but I follow that approach
in the afternoon, then rush home to process,
to life.
dry and contact print the images in time for
the opening, when I’d get the press people to
“Back in Scotland, I was sharing an
apartment in an old Edwardian Victorian house
order their prints. Then I’d return home to print
which had been converted into a number of
them and get them back by the time of the
29
William Long second interval. I’d shoot around 10 rolls of film
a shoot for Queensland Ballet. And a few weeks
and make perhaps a dozen prints of six of the
after that, I secured a year long contract with
best negatives. I became very effective at bulk
the Queensland Theatre Company.”
printing.
“I felt I needed to shoot something other than
“I once had an American woman turn up
This is how William met Andrew Campbell.
at my door saying she needed a wedding
performance photography, so I started ringing
photographer. I explained that I wasn’t really
up other professionals and asking for some
a wedding photographer, but showed her my
assisting work. Andrew Campbell said to come
portfolio anyway, which was full of performance
and have a chat and when he looked through
work. She asked if I had any wedding shots
my portfolio, he said he could understand
at all, so I showed her some standard shots
why he had just lost the contract to shoot the
of a wedding I had done recently. Then she
Queensland Theatre Company!
explained she’d hired this castle at Fort William
and wanted a range of shots from documentary
really have much assisting work and thought
to posed studio portraits.
I was too advanced to be an assistant anyway.
“I asked if she had a picture of her fiancé
However, he was wondering how to get some
and she showed me one of him standing under
of the money back from the Theatre Company
the United Artists signage. I just thought he
contract and why didn’t I rent some space from
was the manager of one of the many theatres
him in his studio?
that screened UA films, but in fact he was the
managing director of UA itself! It turned out
over his shoulder. It was a large domed studio
to be a huge production and I scared myself
with upstairs offices that looked out over the
shitless when, on the way home after the
floor, so I could see him working, watching
wedding, I realized I was carrying 120 rolls of
how he would light his subjects. Sometimes I
unprocessed film and I had no insurance should
would lend a hand and he was very generous - I
something go wrong. I thought I am never
think that’s why Andrew and I have such a great
going to do something like that again and
friendship to this day.”
“He was very good about it. He said he didn’t
“So I did and I learnt so much just by looking
that’s why to this day I am so passionate about
30
good business practices - and insurance!
The Man In A Suit
William says it’s important to be remembered
“When I came out to Australia, the first
thing I did was target all the performing arts
by potential clients. Although he believed
organisations and within a week, I had booked
he didn’t have the right portfolio to get him
31
William Long commercial work in Brisbane, he still went
each Getabout Guide, I offered a two year licence
around the agencies to introduce himself.
for 80 images for $10,000.” So while William was
However, he also wore a suit and tie! There
a little more expensive than the stock library,
weren’t any photographers dressing like that,
the Getabout staff didn’t have to worry about
certainly not with a briefcase in their hand!
dealing with a stock library and they received
many more photos.
“However, it worked”, laughed William. “I
got a call from Queensland Tourism asking if I
had done any aerial work. Well, remember the
job was in Adelaide. My approach was much
wedding at the castle I shot back in Scotland?
the same in each location. I’d visit the local
While I was there, I had asked one of the
newsagents to see what postcards they had
chopper pilots if he could take me up to shoot
and then I’d shoot with one of three cameras,
a few aerials, so he took me up for a short circuit
35mm, 645 or 6x7.”
of the castle and straight back down. So when
Queensland Tourism asked, I could answer
size because they had a number of what they
honestly that I had done aerial work!” And
called ‘long shots’ which ran vertically down the
William secured an eight hour helicopter shoot!
edge of the page. “In fact, they kept on asking
for these ‘long shots’ so much that eventually
Earlier in his career, before Google, William
“They accepted my proposal and my first
The publication needed the larger 6x7
used the Yellow Pages to research his prospects.
it hit me: what a great name for my business!
One day, when he wasn’t getting anywhere,
Longshots!
he looked at the front of the Yellow Pages and
32
noticed the Getabout Guide for Brisbane. Each
Cold Calling
edition of the Yellow Pages had a separate
Cold calling is the art of ringing up or visiting
Getabout Guide for the local area and William
someone, unannounced, and offering them
noticed they used stock photographs to
your services or products. Think of a travelling
illustrate them.
salesperson or, today, a call centre operator.
William rightly points out that the art of cold
“When working back in Scotland, I’d dealt
with stock libraries and I knew they could be
calling has been given a bad name with
challenging to deal with - you’d ask for six
people receiving so many unwanted calls from
photos and they’d send you fifty. I also figured
overseas operators who struggle to speak
that the Yellow Pages was spending around
English. However, when it comes to a series of
$4500 on each edition of the Getabout Guide, so
targeted phone calls, it’s something too few
I approached them with a proposal: hire me! For
photographers do today.
33
William Long
“You have to do your research first”,
explained William. “I research what the company
However, if they still don’t ring me back, I don’t
does and its main people. There’s no point
chase them further, unless there are exceptional
chasing a company that’s in receivership and
circumstances. You have to accept you’re
you want to work with businesses that you’re
making a cold call and not everyone will be
interested in. So, if you like photographing
interested.”
mines, you’d target a series of mining
companies.
existing arrangements - and think of the long
term.
“From my experience, you have about
William says you also need to be sensitive to
an hour in the morning between 10.30 and
11.30, and then another hour in the afternoon
photographer they are currently using, I say
between 2.30 and 3.45. These are the best times
thank you and smile. If they say go away, I say
to cold call using the telephone.
thank you and smile, but very few people are
really grumpy. Most are very friendly.
“The first thing I say when I call is who I
“If they say they are happy with the
am, what I am and why I am calling. I also say
it while I am smiling because this changes the
a little bit of a script and I practice it a few times,
tone of my voice and it has a big impact on
but it’s important to keep it sounding normal.
how people respond to me. If I talk while I’m
You need to get through who you are, what you
frowning, it produces a completely different
do and why you are calling in the first five to
tone in my voice and I don’t get as positive a
seven seconds, but without rushing. You have
response.”
to sound professional.
In the cold calling process, William suggests
“To me, the call is really very simple. I prepare
“And the aim of the call isn’t to get a
the most important person is the gatekeeper
photography assignment straight away, rather
- the receptionist and the secretaries who sit
to open up communication and to send
between you and the people you need to talk
someone your details.
to. “The receptionist is the person you really
have to be nice to - and you should remember
photography, you’d like to set up a meeting and
their name. When they answer the phone, I
show them your work. Things have changed
write their name down straight away and then I
a lot in terms of communication, but meeting
use it in conversation.
in person remains one of the most powerful
things you can do when looking for work.
“I also keep a list of people who offer to ring
me back. If I haven’t heard from them after a
34
couple of days, I ring them back and try again.
“Ideally, if the business has a need for
“And I never say no to an opportunity. The
other day I was asked if I knew anyone who
After posting about his depression on Facebook,
could photograph some certificates in a frame
William received a lot of comments and queries and
- the sort of small job that can be more trouble
requested that the following links be provided:
than it’s worth.
Beyond Blue 1300 22 4636
https://www.beyondblue.org.au/the-facts/depres-
“However, I said I can look at that and when
the woman arrived, it turns out there are over
sion/signs-and-symptoms
150 certificates to be photographed and it’s a
Mindspot is a free online assessment and treatment
solid two day job! You simply never know where
for anxiety and depression with phone support
a call can lead to.”
https://mindspot.org.au/wellbeing-course
35
AWA R D S
Keeping Birth Photography Professional There is a lot more to birth photography than just the photography itself. There are many special issues to deal with, from high emotions to hospital restrictions. Explains Victoria Berekmeri, a special Code of Conduct has been introduced that will help not only our clients, but birth photographers as well. Congratulations to everyone who entered
with providing a potential marketing tool for
the Birth Category in the 2015 Canon AIPP
members.
Australian Professional Photography Awards,
and in particular the overall winner Selena
birth photographers to familiarise themselves
Rollanson, APP AAIPP.
with the additional code points.
I would like to personally encourage all AIPP
They have been created to help protect
Appropriate Behaviour
us, our clients, other birth workers and also
Back in 2014, the AIPP’s Birth Photography
hospitals.
SIG discussed the norms and behaviours
appropriate to conducting professional
of items to discuss in client meetings, in
photography, specific to the genre’s unique
addition to the terms of your contract.
The points will serve you well as an overview
setting.
Be Pro-active
“Code of Conduct” was written to compliment
Since the birth environment often involves
the AIPP “Code of Professional Practice”.
clinical staff and facilities, it’s particularly
36
From these discussions, a genre specific
Please refer to the Birth Photography
important to be aware of policies and
additions to the codes of practice
restrictions that affect you as a photographer.
accompanying this article.
be proactive in seeking the necessary approvals
The Code sets an expectation for clients
Just as importantly, photographers should
about how a professional photographer
well before their client’s labour begins.
should behave in the birth environment. It is
a resource to help members overcome some
to provide a copy of these additions to the
of the barriers photographers may face, along
Code of Professional Practice, along with a letter
A fabulous professional acumen would be
Birth Photography
Suggested Additions to the AIPP Code of Professional Practice In addition to the AIPP Code of Professional Practice, AIPP APP Birth Photographers agree to abide by the following additional codes of practice. General Matters 1.
I will reserve judgement, accepting women, the diverse decisions they make and the
path they’ve chosen to bring their baby into the world. 2.
Due to the special nature of birth photography, confidentiality will be discussed with
consideration to marketing, social media, discussing past clients and birth announcements. 3.
If required, I will arrange a replacement photographer who abides by this code of
practice. 4.
I will educate clients on the role of the birth photographer, including the manner
in which photography is conducted, equipment used and any circumstances where the photographer will be absent from the birth suite. Hospital Matters 1.
I shall not impede the activities, consultations or medical procedures conducted by
hospital staff in any way. I will respect the role of midwives, obstetricians, doulas and other birth workers. 2.
I will cooperate with and be under advisement of all attending medical professionals in
regards to safety, privacy and procedure at all times. 3.
I shall not offer any medical advice if acting in the role of photographer only. I will
advise parents and appropriate medical professionals of any relevant qualifications (i.e. if you are an experienced doula or trained midwife). 4.
I will seek permission before photographing any hospital staff. I will also seek
appropriate introductions, permissions and exclusions from all others present at the client’s birth, prior to the photography and as required throughout the session. 5.
I will leave the birthing room to allow privacy during medical procedures if requested
by parent/s or medical personnel.
37
AWA R D S
of introduction and intent from you and your
whole.
client, addressed to your client’s care provider
and facility.
photographers is that it will simply take one
A fear held by many experienced birth
false move from another photographer to bring
38
Working Together
the bars down in hospitals, shutting us all out
Many of my clients directly hand over my letter
and leaving women with another gaping hole
of intent to their care providers at an antenatal
in their birth choices.
appointment, affirming their desire to have me
document their child’s birth as a part of the
let’s all share these points with all birth
birth plan.
photographers, clients, care providers and
hospitals to get everyone on the same page.
Where care providers are unfamiliar with
So, instead of letting the worst happen,
this service, the letter provides reassuring
Birth photographers are a part of the team!
information about my conduct and my client’s
Now for the shameless plug!
motivation to have me there.
If you’re interested in learning more about
birth photography, please head to www.
The letter will be added to the patient’s file
and when the exciting day arrives when my
birthphotographyworkshops.com.
client delivers her baby, any staff on duty for her
have access to my details and intent.
Photography Workshop in Brisbane will receive
the early bird discounted rate ($1250 – saving
With the popularity of birth photography
AIPP members who enrol into the 2015 Birth
ever growing, the risks photographers and our
you $350).
clients face broaden.
birthphotographyworkshops.com and
The potential for unprepared photographers
To take advantage of this offer, email hello@
and uninformed care providers to cross paths
include your AIPP membership number to get
is threatening to undermine our services as a
the special promo code.
• 39
Using Music In Your Business A s photographers, we don’t like other people using our work without our permission. Musicians and composers feel the same way, so how do we do the right thing when it comes to using music in our b u s i n e s s e s ? We b u y a l i c e n c e . H e r e ’s h o w. As photographers, we take the issue of
downloaded it only gives you the right to play it
copyright pretty seriously. We like to think the
‘privately’.
bride and groom won’t make illegal copies
of our images, or that people won’t steal our
business (and you’re working with staff or
photos from a website and use them without
customers), it is a ‘public’ performance and is
our permission.
in breach of the ‘licence’ you have purchased
As soon as you are using the music in your
when you bought the music. Copyright Is Important
Musicians feel the same way - and they are a
yours in a book or a magazine - it doesn’t give
little more established than photographers
them the right to use your photo anyway they
when it comes to being paid for the use of their
like.
work by others.
and all it costs is money and more paperwork!
For instance, there are some uses of music
It’s a bit like when someone buys a photo of
Fortunately, there is a way around the issue -
that you mightn’t have considered ‘commercial’
and therefore subject to payment:
and video production houses, can often buy
licences which give them permission to use
1. Playing music in your studio while your
Businesses, such as photography studios
staff or your clients are working;
the music, without having to contact individual
musicians directly.
2. Playing music on hold for your telephone
system;
for licences, APRA AMCOS and PPCA.
3. Playing or adding music to AVs used to sell
There are two bodies they need to approach
your images to clients; or
music for clients, annual fees will be from $100
4. Adding music to an AV or video sold to a
For a small business with staff or playing
client.
to $500, roughly (depending on what you need
and how large a business you are).
The fact you have purchased a music CD or
This is general information only. We do not know your specific financial or legal situation and we are not providing you with advice. As such, this article should not be relied upon as legal, financial or accounting advice. Please use this article as a conversation starter with your own adviser.
40
•
41
APRA AMCOS
composition and/or lyrics (i.e. the “musical work”
APRA AMCOS represents over 87,000 music
in copyright language). APRA grants licences for
writers and publishers in Australia and, as part of
the broadcast and public performance rights in the
a worldwide network, links in with over a million
musical work and distributes licence fee income to
other copyright owners and similar
songwriters and their publishers.
organisations.
the musical work. PPCA grants licences for the
APRA AMCOS collects licence fees from
(ii) The copyright in the recorded version of
many different sources, the major ones
broadcast and public performance of recordings
being radio and television stations, but also
and distributes licence fee income to record labels
includes businesses which play music for their
and directly to registered Australian recording
customers.
artists.
The licence fees are then distributed to
The practical effect of this distinction is that the
the copyright owners according to surveys
broadcast or public performance of a protected
and analysis. For instance, television and radio
recording usually requires two licences - one from
stations must provide play lists to APRA and
APRA and one from either PPCA or the individual
these provide the basis for the distribution of
sound recording copyright owners.
much of the revenue collected.
contact the two organisations separately. Start
Not all music copyright owners are part of
To deal with these two licences, you should
APRA AMCOS or its associated organisations
by visiting their websites which are very helpful
and some music is no longer copyright
(naturally):
protected. However, it’s fair to say this music is in
the minority and chances are any popular music
http://www.ppca.com.au/
http://apraamcos.com.au/
you are playing or using in your business can be covered by a licence from APRA AMCOS.
Music In Business The APRA licences that most photography
42
PPCA
studios need are Music in the Workplace,
In addition to paying the copyright owners for
Background Music and Music on Hold (for the
the music, there are the owners of the recording
telephone). These can be applied for on a single
itself and this is covered by PPCA.
licence form called Corporate Music Use.
As PPCA explains on its website: There are at
PPCA has a Commercial or Professional
least two copyrights in any recording:
Premises Licence and a separate Music On Hold
licence.
(i) The copyright in the song, being the
•
43
As there are many variations to how the
one from APRA AMCOS (in association with
various licences work and integrate with each
ARIA).
other, you are advised to contact APRA and
PPCA for advice.
and it allows you to include music on videos
of weddings, birthday parties, personal
If you have just one device and a small
It’s called a Domestic Use Video Licence
studio, the APRA licence may be just $77.06 per
holidays, etcetera, or when home footage or
annum (in 2016), but it increases depending
photographs are transferred to video.
on the size of the business premises and the
number of devices through which you’re
individuals for private home viewing, and does
playing the music.
not including corporate, training or educational
The PPCA licence appears to be determined
videos or any video made for sale to the general
primarily on the size of your premises where the
public (there may be other licences for this type
music is played.
of use). Nor does the licence allow you or your
customer to upload the video to social media
Although the licences are not going to break
Essentially, the licence covers private
the bank for most studios, it is an extra expense
sites like YouTube or Vimeo.
for a small business - and extra paperwork.
is usually an infringement of copyright, but
However, not paying these licences is
Reproduction of music without this approval
the same as stealing photos from other
as long as the videos or AVs are made for the
photographers, so the option is not to have
personal use of your clients only, this licence is
music playing for your clients. (Or you hire your
the cheapest and easiest solution.
own musicians and composers - perhaps you can compose and play yourself!)
Domestic Use Video Licence
There are two types of Domestic Use Video
If it’s not worth $4 - $10 a week for the extra
sales you could achieve or the entertainment of
Licence. The Single Event licence starts at
your clients, you can choose not to play and not
$61.93 (depending on the number of copies
to pay!
produced).
44
However, most video producers in business
Music On Wedding Videos
with 10 or more clients a year would purchase
Video producers are often asked to add music
an annual licence because there is no limit to
of their clients’ choice to their wedding videos.
the number of events you can do per year.
To do this legally, you need a licence and the
easiest way to obtain a licence is to purchase
of each video you can produce. The standard
There is also a limit on the number of copies
•
45
licence allows up to 20 copies of each event,
expensive and the answer could be ‘no’!
or 30 copies for the Plus licence. The annual
licence fee starts at $546.74.
(or your clients’) promotional videos and look
at the second option, what’s called ‘production
It has been suggested that as no advertising
is permitted with this licence, make sure when
music’.
you run the credits for your photography that
the music is not playing at the same time! I’m
recorded for use in film, video and audio visual
not sure how valid this advice is.
productions.
46
So, scratch using popular music for your own
Production music is specifically written and
There are a number of suppliers of
AVs As Sales Tools
production music and a quick Google search
Problems may arise when we create a
will reveal lots of vendors.
presentation or video with popular music and
want to use this to market ourselves to our
deliver, film and television producers would
clients. As this is a sales tool we are using, not
register with AMCOS and were issued with a
something our clients are using personally, we
Production Music Client Number (PMCN). Then
appear unlikely to fall into the Domestic Use
you visited a production music library to find
Video Licence mentioned previously.
the music you wanted to use, before submitting
a Licence Application and paying the invoice.
You might also notice that YouTube removes
Before online music became so easy to
posted videos if they breach copyright. This is
often because it’s popular music being used
For a short five minute production, the music
(usually out of ignorance) and so they have no
could easily add up to $500 or more. Of course,
option but to prevent it being streamed.
this is a lot cheaper than commissioning
Unfortunately, there isn’t a general APRA
someone to compose a music track for you, but
style licence to cover commercial or advertising
if you want to upload a new video every month
use of whatever music we want to use. We can’t
or so, it makes production expensive.
just automatically add in our favourite musicians
because we want to - that would be breaching
this gap. For example Triple Scoop Music (www.
their copyright. We have two choices.
triplescoopmusic.com) aims itself squarely at
photographers and offers basic licences for
If we want to use this popular music, we
However, it could be (and still is) expensive.
A number of businesses have now filled in
can approach the music copyright owners
music tracks for self-promotion for US $60 - and
directly - but the time and expense of making
this includes the right to upload to YouTube and
this contact may be difficult. It could also be
your website.
•
47
Phase One XF 100MP As professional photographers, should we be buying or hiring a 100-megapixel camera to ensure we give our clients the best quality possible? For some high end photographers, this is undoubtedly the case, but w h e t h e r o r n o t i t ’s f o r y o u , w e s h o u l d a l l u n d e r s t a n d the technology and what it means to the profession.
48
The chances of a wedding portrait client asking
dynamic range, 16-bit capture, no anti-aliasing
you to shoot with a 100-megapixel camera are
filter over the sensor and shallower depth-of-
slim, but according to the recent AIPP survey,
field due to the physically larger image format.
many of us shoot a variety of work, so if we
have an advertising or business client, do we
use, autofocus and frame rate are not as fast as
need to shoot with maximum resolution?
a DSLR, and it doesn’t have as extensive a focal
length range as some DSLR and CSC cameras
For many photographers, it’s not
It is also a larger, heavier camera system to
always a matter of whether a client needs
(although arguably it offers other choices not
100-megapixels. Some clients simply want the
available on a DSLR).
best quality possible and a few are prepared to
pay for it. And some photographers want to be
single camera for every job. If you only shoot
seen with the highest quality possible - a part of
for a narrow range of portraiture and wedding
their positioning and marketing regime.
clients, your business probably doesn’t want
100-megapixels, but then again, I’m sure around
However, even though the reality is that
As has always been the case, there is no
100-megapixels is a very small part of the
the world somewhere a wedding photographer
market, Phase One has stamped a new standard
will shoot with this camera system and obtain
against which all other cameras will be judged:
clients because of it. Marketing is a wonderful
100-megapixels.
thing.
Of course, medium format is more than just
I was able to review a new XF 100MP on a
lots of pixels and indeed, there are DSLR and
trip to Antarctica late last year and it is a delight
CSC cameras which match the pixel count of
to use. The files do not disappoint you in any
some smaller medium format models.
way, as long as you get your focus right and
there’s no camera shake.
Rather, medium format offers extensive
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This can be challenging when you’re
Noise suppression will no doubt be refined
working on location. In the studio, you just
by the software engineers, but you also have
increase the flash power to solve your problems,
to be careful about what the noise on a
but out in the field, you need to rely on ISO.
100-megapixel sensor really means. Will it be visible in the final reproduction?
Higher ISOs
One of the biggest challenges with medium
print, a lot of the noise you see at 100 percent
format CCD sensors (as opposed to the new
magnification on the computer screen simply
CMOS sensors) is the ISO rating. To get the best
isn’t noticeable in the final reproduction,
out of a CCD, you’re usually on ISO 35 or 50. You
especially if you’re not making exhibition size
might be able to push it to ISO 100, but much
prints. And if you’re not making big prints, then
past that and noise becomes visible.
noise isn’t going to be a problem once you
downsize the file for screen viewing!
With a CMOS sensor, the XF 100MP has a
My experience is that when you’re making a
base ISO of 50, but it will happily shoot at ISO
200 and 400 without any noticeable noise (and
aware of how well the Nikon D800 worked
you can push it up to ISO 12,800). This is a big
in terms of noise and, given Sony makes the
improvement.
sensor chips for both companies, it feels the
noise performance of the XF 100MP matches
My first impressions are that there is little to
During development, Phase One was very
no difference between ISO 50 and 400, but this
the D800, but is perhaps a whisker behind the
does depend on there being sufficient light.
newer D810.
As expected, if there isn’t much light around
(or you underexpose your shots), noise is more
you were to re-size your 100-megapixel file
easily seen, no matter what your ISO setting.
down to 33-megapixels (similar in size to the
36-megapixel Nikon), then based on the files
From ISO 800 and up, noise is really well
This is a difficult thing to compare, but if
controlled although I think this is at the expense
I have taken to date, I think the claim is very
of some image sharpness. The default settings
reasonable, even at ISO 3200!
in Capture One 9 raw processing software
did seem to soften the image a little. Image
back, Phase One has established itself in a
sharpness and detail could be recovered in the
leading position. Medium format isn’t for every
software, but at the expense of more visible
professional, but for those who can benefit
noise - but I’m simply stating the obvious as this
from the sensor quality, it’s an impressive step
is how noise reduction works.
forward.
However you look at the 100MP digital
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The Daintree Photography Workshop 2016 11th to 17th May
Presented by Les Walkling with Peter Eastway This contemporary photography workshop is for anyone who has ever wondered ‘what lies beyond’ the mastery of software and hardware, and what lies beyond the production skills, workflows, clients, competitions, and associations. In other words, this workshop is for anyone who has ever wondered ‘how do I get to the next level’ and beyond? This is so much more than perfecting your workflow or making lasting impressions with your pictures, it is also about your confidence and sophistication as an artist.
www.leswalkling.com
www.petereastway.com
Register for this workshop now at: http://www.leswalkling.com/bookings/ My co-presenter is the remarkable Peter Eastway (APP.L, GM. Photog., FNZIPP, Hon. FAIPP, Hon. FNZIPP, FAIPP). Peter is an incredibly gifted educator, mentor and communicator, and one of my closest friends. We encourage, inspire and support one another, and aim to do even more for you. The venue is the James Cook University Daintree Rainforest Observatory education and research centre in far North Queensland. It is one of the few areas in the world where the ‘reef meets the rainforest’ and the only place where two World Heritage Areas, the Daintree and the Great Barrier Reef, sit side by side providing an unforgettable experience in a unique and inspirational learning environment. With our chefs and support staff taking care of everything else, you will be free to explore, refine, and extend your photography, and thereby change not only your relationship with your ‘hardware and software’, but most importantly take your pictures and yourself to the ‘next level and beyond’.
Enquiries Ph: 07 4725 4860
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E: events@leswalkling.com