NZIPP PRO Report - May 2018

PRO Report BE INSPIRED, BE SUCCESSFUL, BELONG

NZIPP MAGAZINE MAY 2018

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NOT A MEMBER OF THE NZIPP YET? As an NZIPP Accredited Professional Member you have the support, networking opportunities and camaraderie of your peers within the photographic profession. Becoming a recognised professional also adds to your credibility with clients.

Belonging to an institute that represents all areas of professional photography in New Zealand, with our focus on education, advice and a wide range of membership benefits, will help you improve the success and vitality of your business.

Your Accredited Professional Member benefits will include: · · · · · ·

Epson / NZIPP Iris Awards (member rates); Infocus Conference (member rates); Meeting and networking opportunities; Professional development; Membership discounts; PRO Report eMagazine.

Come along to the next regional meeting in your area and check out what becoming a member is all about!

Contact: info@nzipp.org.nz

NZIPP MISSION STATEMENT To champion, embrace and communicate excellence and professionalism in photography.

CONTACT NZ Institute of Professional Photography (NZIPP) P.O. Box 133158, Eastridge, Auckland 1146, New Zealand w: www.nzipp.org.nz e: info@nzipp.org.nz

We welcome your feedback and thoughts. If you have something to say, send it through to: info@nzipp.org.nz

Cover Image: Image © Belinda Lansley

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PRO Report is a publication of the NZIPP © NZIPP 2018. All rights reserved.

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CONTENTS 04

President’s Report Ollie Dale talks about why it is important to be a member of the NZIPP

Regional Updates Waikato Bay of Plenty Auckland Wellington Central Districts Nelson/Marlborough

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Director’s Report Michael Watson explains website changes and the new IT system for the Iris Awards

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Accreditation Programme A reminder about the NZIPP Accreditation programme and the contacts for those seeking Accreditation

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Events & Useful Links Get Clicking to follow us on social media and the NZIPP’s Pro Report

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Mature Cheese Bob Tulloch is a building block of our photographic industry. This month we learn about Bob’s photographic journey

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Regional and National Sponsors Special thanks to our Regional and National Sponsors who continue to support us in so many ways.

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Member Story This month the spotlight is on Belinda Lansley.

We ask her the tough questions about business, inspiration and goals

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EXECUTIVE UPDATE

President’s Report Ollie Dale, F.NZIPP Accredited Professional

Opportunity Cost Someone told me a story recently that shocked me - a business story involving big brands, a lack of ethics, and people so eager for work they’ll sign anything without considering the consequences.

But one thing this DIDN’T include was a contract something legally binding that could be stacked against me if I didn’t read it properly. It was more a foot in the door, a chance to build a relationship.

Good people have been hurt, and others will be hurt.

Livelihoods have evaporated, and business deals have been agreed behind closed doors and with little concern for those at the coal face, or for what a healthy photographic industry provides our country.

The opportunity cost was low. Either I did nothing and left a few hours a month available for another client, or I took on the job once a month and spent half a day and petrol money in return for a couple of hundred dollars.

If only details could be divulged, if only I could stand on the rooftops screaming warnings of: “Don’t do it! These people are monsters!” Sadly, the law doesn’t take too well to defamation, so instead of that let’s look at the idea of opportunity cost.

Opportunity cost refers to a benefit that a person could have received, but gave up, to take another course of action; or it could be the “cost” incurred by a choice made while hunting opportunity.

It could be a small, obvious cost that pays for itself quickly. Often this cost is hidden. Often it’s immeasurable because of the what-ifs, and often we come out the other side of a bad opportunity cost thinking “if only I’d listened to myself!”

To me that says we CAN know when we shouldn’t take a job on, but I guess we can also ignore ourselves and force ourselves into something in the hope that it’s a Golden Egg. Originally I was going to write this under the title “Knowing when to say no”, because sometimes we are so eager for the next job we’ll say yes to anything.

Such is the life of the self-employed, in a fickle and changing industry.

My Dad always said: “It’s always the free jobs that cause the most trouble.” He’s not wrong - how many times have you taken on a job with a terrible or non-existent budget only to have more things go wrong than usual?

I also think there’s an element of magnification of problems when there’s no money for you at the end of it.

My current biggest client started out seven years ago as a terribly underpaid job for the same client through a third party. I didn’t want yet another “charity” job to suck up my time, but the location and “opportunity” was interesting, and I was willing to risk a few hours every month in hope of growing something bigger.

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So, what of all this?

The recent and ongoing saga involving photographers signing contracts they obviously don’t understand is a prime example of opportunity cost - clauses hidden in contracts that can affect you long into the future do come at a cost - to BOTH you and the industry.

If photographers didn’t sign these contracts the business involved would fail, the industry would stay strong, and we’d all be happier. Sadly, by signing these contracts the photographers enable a bad business to operate in our industry, hurting those already working, handicapping themselves, and commoditising our very livelihoods.

If only there was a forum of trusted individuals who created a safe environment for sharing ideas, asking industry-related questions and providing all manner of support in every area of our business.

Oh, that’s us!

And that’s why it’s my goal to get the NZIPP to a position of respect in the photographic industry where professional photographers, and those wanting to become professional photographers, would put being a member of the NZIPP at the top of their business goals list.

That way, people could send a contract to the group and say: “What does everyone think of this? Should I sign it?” The group could help protect the industry from these bottom-dwelling, money-grabbing, industry-destroying lowlifes.

Join the NZIPP. Renew your membership. Encourage everyone in the industry to be an active member.

Together we are all stronger.

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EXECUTIVE UPDATE

Director’s Report Michael Watson, F.NZIPP Accredited Professional

The home stretch is in view, with entries open for the NZIPP Nikon Iris Professional Photography Awards 2018.

Many things are happening amongst our members and behind the scenes.

Now is the scramble to finish off those digital files for submission, test paper types, face the arduous task of printing and matting your submissions, or painstakingly watching over those professionals we task to do such for us. It is an exciting time to see our work come together, and alive in print. Remember to check out the Iris Awards call for entries document for all the criteria and specifications you need to get your entries sorted without a hitch.

The next four weeks is also bound to bring a lot of stress as the entries process is underway. We ask for your patience as we manage the large number of entries, and it is also a good time to remind all entrants not to leave entries to the last minute, to avoid stress and issues. We wish you all the best of luck.

In preparation for this year's awards, a lot has been going on specifically with our IT as we have undergone the process to upgrade the NZIPP website and the underlying systems. Recently launched was the fresh new face of NZIPP, with a more modern and user friendly outlay of important content on the website. So check it out, as a lot of hard work has gone into these processes and there’s a lot more still to do.

Recently members of the NZIPP Board and Honours met in Auckland to set up and trial the Iris Judging systems. It was an eventful day with some really positive results, which have us all excited for July.

We look forward to seeing you all there.

Join our New Zealand Iris Professional Photography Awards Facebook page for advice, support, news and information about the upcoming Awards!

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2018 IRIS AWARDS

JULY 5TH - 7TH. SHED 6, WELLINGTON, NEW ZEALAND

Call for Entries out NOW Click Here

© Marina Mathews

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NZIPP ACCREDITATION

Accreditation Programme Sarah Beaufoy M.NZIPP, Mel Waite F.NZIPP & Shar Devine F.NZIPP Accreditation Coordinators

ACCREDITATION

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We are very passionate about NZIPP and adhering to the professional standards of the organisation and industry as a whole. It is important for you to become accredited; it is a recognisable professional business standard and is valuable for your ongoing growth as a professional photographer and NZIPP member.

As a guide we would expect that members have a vast portfolio to select from when submitting. You would consider getting assessed for Accreditation after completing at least; 30 weddings OR 45 portrait shoots OR 45 commercial shoots as the lead photographer. For any questions please contact your Accreditation Advisor or the Accreditation Coordinators.

PRE-ACCREDITATION CHECK

Please remember before you can submit for Accreditation you must speak to an advisor. If you don’t have one already, simply email us or contact your Regional Chair, who will help find the right advisor for you. For those already on the path to Accreditation, remember your Accreditation Advisor is there to help you; they have been chosen because they have great knowledge and skill and have a good understanding of what the judges are wanting to see in a submission.

While they can’t guarantee a successful submission and we can’t make you use their advice, listening to their feedback, recommendations and suggestions will not only help your chances of a successful submission, it will also strengthen your photography practice overall.

2018 ACCREDITATION DATES August 3rd, November 3rd.

For any questions please email: nzipp.accreditation@gmail.com

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The strongest path to assured success, is together

ACCREDITATION HOT TIP

Make a mock folio submission for showing your Accreditation Advisor. This could be an A collection and a B collection.

Put in a variety of competent work within your genre which reflects your style and creativity.

WWW.INFOCUS.ORG.NZ #infocus2018

y t i s er v i D f o s ee r g e D A Dozen

WWW.INFOCUS.ORG.NZ

INFOCUS 2018 SPEAKER LINE UP JULY 8TH & 9TH. SHED 6, WELLINGTON, NEW ZEALAND PRO Report / Magazine of the NZIPP

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MATURE CHEESE

Bob Tulloch NZIPP Life Member, F.NZIPP Accredited Professional

A series of ongoing interviews

by Mike Langford, NZIPP Honorary Member, GM.NZIPP, GM.F.AIPP This column is dedicated to those who are the building blocks of the NZIPP and who are a part of its history.

Through understanding what happened in the institute before many of us were born, we can have a greater understanding of the value it offers us today.

Bob Tulloch Bob grew up in the remote Tuhoe community of Ruatahuna in Te Urewera. When he was nine, following the death of his father, the family moved to a totally different environment - the Christchurch suburb of Burwood.

At the age of 12, Bob was given his first camera as a Christmas gift. He remembers it was a Brownie 127 and that this was the start of his love of seeing.

Bob's first job, after spending a successful four years at Shirley Boys' High School, was as an accounts clerk for a meat exporting company.

“The work was boring but the social life was great," he remembers.

He has strong memories of spending lunch hours looking at the showcases of Christchurch’s professional photographers - specifically those of Pat Dolan and Major Tonkin - not realising that in future they would become good friends and that he would also become a top professional photographer.

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Bob was also a keen surfer in his youth, and very early on he quit his job as a clerk and went off surfing in Australia.

On returning to Christchurch he had a lucky break and was appointed as a sales rep for Agfa.

“This was a most enjoyable year (1967), travelling south with my surfboard on the roof of the Holden station wagon and selling lots of Agfa products,” he recalls.

Denis Quane, of surfboard fame, then offered Bob a position expanding his national agencies. This was too good to refuse, Bob says, so after successfully growing the business, Bob suggested a surf shop was needed.

Surf Dive 'n' Ski was created.

During this time Bob was shooting surf and friends' weddings with a Pentax Spotmatic.

Still aged only 25, he and a mate set off to South Africa to watch the All Blacks play and to surf Jeffreys Bay (a famous South African surf break).

Like that of many young Kiwis, Bob's OE included England and Europe, and in Bob's case, Canada. It was in Canada that a fellow Kiwi offered him his first full-time job as a working photographer.

“It was a sink or swim situation," recalls Bob. With a bit of help from fellow Anzacs, he grew the photography business to include assignments shooting magnificent mansions and conferences. Weddings, portraits and school photography were mainstays, but the team photos of visiting international rugby teams were a highlight for him.

© Bob Tulloch

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By 1973 he was ready to come home, and chose to live in Tauranga, where he saw opportunity to set up a photography business. Naturally the seaside was an attraction.

Lena then came into his life and the roving bachelor was no more. They married in 1975 and have five children.

“Lena gave me purpose and direction,” Bob recalls.

Tulloch Photography started out doing mostly weddings and portraits, with commercial shoots filling the week. It grew from nothing to become the most popular studio in Tauranga, doing up to 65 weddings and hundreds of portraits a year. Commercial shoots included annual reports and aerials.

A school photography business called “Chalk n Cheese” was also very successful during the '80s. In 1982 Bob lost sight in one eye due to a detached retina, but even this didn't slow him down."Fortunately it was my left eye, and I only focused through the viewfinder with my right."

Some 45 years, four studio locations, a photography gallery, a camera shop and two professional labs later, a lot of chemicals have washed down the sink, darkrooms have given way to computers and Bob has been busy.

Many young photographers have come under his influence, either as studio assistants or lab printers. He even managed to fit in a term as a City Councillor.

Bob joined the NZPPA (which later became the NZIPP) in 1975, gaining his Associateship, Masters (with 10 bars) and Fellowship of the NZIPP. He has won three categories and five golds at the print awards. Bob has also been National President, Honours Chairman and established a scholarship for the NZIPP with Brooks Institute in Santa Barbara (something he is very proud of).

On a local level he has twice served as Chairman of the Waikato Bay of Plenty Region.

Bob credits lifelong friends Kerry Grant, Terry Winn, Andris Apse, Malcolm Somerville, Tony Hewitt and Fay Looney as photographers he admires who he met through his connection with the NZIPP. He also credits the NZIPP with giving him wonderful opportunities to mix with some world-famous people like the late Brian Brake, “who inspired and encouraged me to be totally professional”.

“The brilliance of Arnold Newman’s portraits, the dynamic nature of Kel Geddes, the enthusiasm for the craft of the late Trevor Winkworth, the feminine touch of Linda Lapp’s portraits - these are all indelible memories I have,” says Bob. Bob's advice to new photographers is to learn from the best and not to give your work away cheaply.

Recently he sold his 44-year-old business to Sheree and Ben Kershaw, who have one of Bob’s old friends, Greg Wilson, running the studio for them. Bob is pleased to leave the business in good hands.

Retiring?

“Never!" says Bob. He has just obtained his real estate license and has started with LJ Hooker in Papamoa.

This Life Member of the NZIPP is not ignoring the creative side of his life in the future, and has two new photographic coffee table books already planned.

From my point of view, it’s people like Bob who are the true building blocks of our industry today.

© Bob Tulloch

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MEMBER STORY

Belinda Lansley A.NZIPP Accredited Professional www.belindalansleyphotography.co.nz

- How long have you been a photographer? What sparked your interest in becoming a photographer?

- How would you describe your photographic style and how it has developed over the years?

I have loved photography since I was about 13 when I bought my first camera (a Yashica point and shoot) and took it on the Heaphy Track, which I walked with my parents. I was amazed by the bright colours the camera produced, but I couldn’t take a photo of a robin in a dark forest – it was blurred and tiny. It took me a long time to get my first entry-level DSLR. It was about 15 years ago. I only really took landscapes with it and had it on the auto function a lot. It was useless in low light.

I take child portraits and nature photos. About a year ago I nailed the style I now have for fine art child portraits. I would call it soft and muted. Think old paintings, Pride and Prejudice, Oliver Twist and then throw in some model headshots. Lately, I’ve been trying to achieve Rembrandt lighting. I experiment a lot. I went from doing outdoor portraits where the lighting was hard to control, to indoor portraits which I found much easier to achieve.

Three and a half years ago my husband bought me a Fujifilm X-T1 and it was then I could finally take a clear photo of a bird in a dark forest. It was life-changing for me! I started taking photos of my children as well as everything else I saw – thousands and thousands of photos. The amazing format of the X-T1 meant that I learned manual mode quickly. Two and a half years ago a workmate suggested I should start my own business.

Her ex-husband had been one of the top photographers in Christchurch and she saw something in the composition of my photos that she had seen in his photos. I laughed at the idea, but she got me thinking and I started a blog with my child photos. I’m very new to the industry but I’m loving it and have made a lot of progress in a short time.

My nature photos are very natural - they are what I see when I take the photo, with minimal editing. I take photos of both perfect and imperfect plants and play with depth of field. I love doing composite photos. I also like taking photos of dead animals - they fascinate me although I don’t think I will sell many of them. I am having an exhibition of nature photos at the Christchurch Arts Centre the first week of October and wish to sell limited edition nature prints regularly in the future in addition to my portrait business.

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- What gear do you most enjoy using at the moment and why?

I’m a total Fujifilm addict. I take my X-T1 and X-T2 camping, tramping and to the beach at night. At one point I was so obsessed, my camera went down to the school with me nearly every day when picking up my children. My favourite lens is the 56mm F1.2 – the beautiful portraits I can take with it are astounding and pin sharp. Next, the 35mm F1.4 for nature as I can focus in closely. I also enjoy my Samyang 12mm astro lens which takes amazing landscape and astro photos. I really want the Fujifilm 16mm F1.4 – that will be my next lens. If I came into money I would buy a GFX. I just LOVE Fujifilm gear as it is lightweight and pro quality.

- Do you run your own business? Can you tell us a bit about how you do that?

I have run my own business for about two and a half years but have been growing it very slowly due to still having fairly young children and a busy life. The first year and a half I spent searching for a defined style. I started off trying to do outdoor family photography and indoor newborn shoots, but I found I didn’t love doing them.

Everyone was doing them and I wanted to do something different.

© Belinda Lansley

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I was about to give up on business just over a year ago but knew a commercial photographer who taught me about simple studio lighting. It has transformed my business and given my portrait portfolio a consistent feel. Suddenly I had dependable lighting, a defined style and heaps more confidence. I can sew, and have a selection of one-off gowns and accessories that add a boutique feel to my business. My target market, I’ve found, are people who are into art, drama, and music.

They are educated, cultured people who appreciate a classic photo.

I am currently in the process of trying to figure how to structure my business to work around my family. It is a juggling game so I am looking at scheduling a monthly shooting day where I can do four jobs in a day and then edit at night over the next week, and do my IPS (inperson sales) before the next monthly shooting day. If I go down this path I will do all I can to fill that one day with shoots and will market harder.

I am so thankful for the amazing advice and support from photographer friends who keep me moving forward in my business. Also, the network of local NZIPP photographers has been life-changing for me. It’s a great community of friendly and helpful photographers out there and I couldn’t have gotten where I am today without them.

© Belinda Lansley

- What has been your most successful marketing platform? Do you advertise in magazines/attend expos?

- What are the ingredients for success with photography?

What have you found that works for you?

I am still learning about marketing. Most of my work comes from word of mouth, friends and people I meet, but I haven’t managed to get known in the wider community. The time is now coming when I’m ready to branch out.

Success comes with practice, practice, practice and a thirst to experiment, create and improve. It also comes down to persistence – I’ve needed a lot of that.

Sometimes I’ve wanted to give up, then one day you realise you’ve just produced something amazing, from the photo itself down to the final product and it is very satisfying, so you keep going. To achieve a great final product, I had to find a consistency with every job from the lighting, shooting at F8, down to the repeatable style of editing I now do. Then I found a printer, Ken’s in Christchurch, who produced an amazing quality print to sell to clients. It’s a team effort.

I’m going to the Women’s Expo in September this year.

I feel I’m better talking to people in person rather than through the internet. In the future I will most likely do local markets selling my nature photos and then have portrait examples to try to sell portrait sessions to people as well.

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- How and where do you find the inspiration for your photography?

I have had a lot of inspiration from the lighting in the television series Game of Thrones – dark and moody and beautiful. I also have a Pinterest page of old-fashioned paintings, plus some photos, which I sometimes look at for lighting ideas, as well as my own collection of family photographs. I have spent hours looking at old carte de visite photos from around 1860 to 1900. They are just fascinating to me as I have a great love of history. No one smiles in those photos. Children are so incredibly beautiful and heart wrenching when they don’t smile.

This is what I want to do: produce something that will one day be historic but also exquisite to look at.

- What is your favourite image you have shot recently?

It is a photo of my three children around a fire with another little friend they had made at the Peketa Campground, Kaikoura. My Mum and I went down on the beach and made a fire and it was such a warm clear evening. I had my 12mm Samyang lens, my Fujifilm X-T2 and my tripod. I told the children to sit still like statues and counted down a 10-second exposure. The photo isn’t perfect - there is a halo and flare from the fire and the children are a bit blurry, but there are stars, a red glow and a magic about it. It reminds me of the fun things you can do as a child.

- What has been your most memorable shoot and why?

A family shoot a couple of years ago. I had the whole family sitting on a park bench. For some reason I asked them all to pull a funny face. They surprised me with the most hilarious faces, except for the straight-faced guy on the end who wasn’t related by blood. The Grandma in the middle did the most amazing tongue. She was so committed and made her tongue as long as she could.

While editing the shot I had tears of laughter running down my face. This shot won me a silver Iris award.

- What has been your biggest challenge as a photographer?

My self doubt has been the biggest challenge for me.

But I’ve overcome that over and over again and am happy with my product and the business practices I now have. In the early days I used to say “why am I doing this?” when shoots went wrong or my website wouldn’t update for me, but now I know why and it was worth the hard slog. I had a couple of years building up my equipment. Every small job I did paid for more equipment and I had to convince my husband a couple of times that I needed another lens, but now I have a good kit of gear instead of trying to run a business on a shoestring. As for marketing, that is probably my biggest challenge at the moment. I know that one day I will overcome this hurdle too.

© Belinda Lansley

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- If not a photographer, what would be your career of choice?

I would be a marine biologist up at Kaikoura. That was actually my goal in my 20s but there are very few jobs in New Zealand. Kaikoura I call my “spiritual home” and a lot of my photos are taken up there. I would probably need to go back to University and complete a PhD in order to do research there. I was kind of jealous of those people researching the marine life after the earthquake. The changes to the environment were so massive and I could see them myself - the landscape changed, plants and animals died and new ones are currently taking their place. But at least I had my camera, so could record some of the changes myself.

- What dreams and goals inspired you to succeed in the photographic industry?

My goals are to make the perfect portrait of each child I meet and make the parents say “wow,” and to show nature through my eyes. These are my two favourite things. My ultimate dream is to be a full-time photographer with a successful business that works around my family life.

- Do you have any advice you would share with aspiring photographers?

Don’t do what everyone else is doing or what you think you should be doing to make lots of money. I think your passion shows when you choose a topic or type of photography that makes your heart sing. If you are having artistic blocks just shoot anything and everything for a few days and take the camera with you everywhere you go, and you will hopefully get the spark back. Don’t overthink it, just shoot. Also, entering things like the Iris Awards makes you think creatively all year long and makes you strive to improve your photography and final product.

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- Have you won any awards? What are they?

I have won several Iris Awards – my highest award was a Silver Distinction last year for my mushroom composite photo. One day in May, I was out with my children in the forest after school muddling around with the camera and we found hundreds of fly agaric mushrooms due to high rainfall and warm weather. I took a lot of photos from the side lying on my stomach, and a couple of shots of the top of the mushrooms. I edited them that evening, and then during the night I woke up with a lightbulb moment. I dragged the children back the next day and took another 200 photos of the top of the mushrooms young, old and different colours - to create a colourful life-cycle composite picture.

I also got a Silver last year for a photo of my dancer friend being lifted above her husband’s head the day before her elective caesarean. I didn’t want them to do the dance move as I thought she might end up in hospital or lose her baby, but as dancing professionals they were confident and wouldn’t listen to me, and of course everything went well.

- Are you entering the 2018 Iris Awards? Have you set any goals for yourself?

I am entering 10 photos this year in a bid to achieve my Master of Photography. This is my third time entering these awards and this year I’ve got much better quality prints than last year, printing on different papers. This will be my first year of attending the event. I am looking forward to watching the judging live and meeting other photographers. I’m taking a notebook and will expect it to be full of good stuff by the time I get home.

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REGIONAL UPDATES

Waikato Bay of Plenty Region Words by Myra Bayley, A.NZIPP Accredited Professional

Lone Star Tauranga was the venue for a video workshop with Ollie Dale. There were 12 people in attendance with a range of experience – from not knowing where the setting was for video on a DSLR camera to the other end of the scale of teaching students at high school and tertiary level. After learning the basics we went around the waterfront in Tauranga filming each other, often having to do several takes because it is a bit of a shift for those of us so used to taking stills. What a hoot! After the biggest lunch ever, we spent the afte rnoon learning how to edit. Ollie was cool, calm and collected throughout the day and it was great to be able to pick his brains. We loved having him there and all left feeling as though we had gained some knowledge for our respective experience in shooting video. Ollie’s wealth of experience and hands-on approach made it easy for us to retain the information.

After dinner Ollie shared his history with the NZIPP, becoming a member and then chairperson of the Auckland region before joining the Honours Board from 2010 to 2015. Then came a patch where Ollie felt burned out from business and lacklustre about NZIPP meetings.

He stopped going to events and then made the huge decision to quit NZIPP. It didn't last long: last year he rejoined, and then went on to be elected NZIPP President. He said his funk has passed and he is on a cool track again.

© Marama Shearer

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Ollie has done some research on LinkedIn and found there were 4,500 people using the word photographer in their bios, so there is a lot of opportunity to get new members into NZIPP. He also says there seems to be miscommunication about what it is to be a member of NZIPP and he is really excited to make steps towards getting new members in. Creating more opportunity to talk to people about becoming members is a priority, wanting people to see the benefits and for them to ask themselves, "why am I not a member?" Ollie has a strong drive to promote NZIPP and change the language within the organisation, making it more approachable for people so they feel comfortable coming along to meetings and then becoming involved.

After sharing recent developments within NZIPP, Ollie shared how his Dad had worked as a photo journalist for many years. Ollie would go out on jobs with him and he feels that this possibly influenced his photographic style.

Another inspiration in his life was Vincent Laforet with his ground-breaking video Reverie. After Ollie watched the film, it ignited his passion for videography.

After winning the now-defunct Fusion Category at Iris, Ollie was asked to join Chris McLennan in Botswana and had to learn to use a Nikon camera, which he found challenging. He also produced some amazing stills that accompanied the video that was produced. He then went on to Namibia where he photographed people and landscapes in 50 degree heat! It was exciting to see some of the imagery and footage from this time. He also showed us some videos from the Meremere drags and Kaiwanawa Horse muster as well as a trip to the USA with Trey Ratcliffe on a photowalk across the country.

We were all riveted as Ollie talked about one of his latest projects in looking for the missing American Clipper plane that could have had a connection with ransom money for the missing pilot, Amelia Earhart.

Guy Noffsinger, who Ollie met in a bar whilst on his photowalk with Trey, contacted him to come on board and record the search in Micronesia. We are all looking forward to the outcome of this story! Here is a link to keep you interested. https://www.stuff.co.nz/ entertainment/100867485/new-zealand-filmmakerhopes-to-solve-aviation-mystery-linked-to-amelia-earhart

Š Marama Shearer

Š Marama Shearer

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REGIONAL UPDATES

Auckland Region Words by Chris Traill F.NZIPP Accredited Professional

The NZIPP Auckland May event was, for most of us, quite the photographic technological wake-up call on how quickly it’s changing and the direction it’s probably heading.

Three very established photographers presented to around 30 of us and gave their perspective on the ins and outs and pros and cons of using mirrorless gear.

Chris Turner, Peter Rees and Craig Robertson have turned their backs on DSLRs and ventured into what appears to be the simpler, more efficient world of mirrorless cameras.

We were hosted by Nick and Rod Khoey and their team at the iconic Auckland Camera Centre in Morningside. Thank you so much to them for turning it on for us. It’s nice to be catered for and have such a relevant space to hold our event. Thank you kindly to our three speakers for giving so graciously and candidly of themselves. Thanks also to Anil Dumasia, from the committee, for organising this one. Oh and thanks to me for taking a few snaps.

© Chris Traill

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June is a big month in Auckland, with The Auckland Festival of Photography. This year, as part of the festival, we are staging our very own NZIPP Showcase on June 17th at the Auckland Art Gallery, 2.00-3.30pm. We’ve got four great speakers/reps to preach our gospel to the masses. Ollie Dale, Kaye Davis, Russell Hamlet and Esther Bunning will do a sterling job I’m sure. A big thank you in advance to them. It should be an entertaining day. Let’s all be there supporting them, representing NZIPP and at the same time ensuring there are bums on seats.

Our next event is June 6th. Due to popular demand we are throwing in another opportunity for anyone wanting their work critiqued for the Iris Awards. Top judges (past, present and/or future) will be there once again to give valuable feedback on your work.

This event will be at the photography hub, Studio 541 in Mt Eden, where they are opening their gallery for a special viewing (prior to critiquing) of their festival exhibition featuring six photographers. There’ll be solo shows by Rochelle Wong, Janet Hafoka and Sandra Chen Weinstein, and also a collective exhibition by Mareea Vegas, Ian McRae and Leon Rose. See you there.

© Chris Traill

© Chris Traill

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© Chris Traill

© Chris Traill

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© Chris Traill

© Chris Traill

© Chris Traill

© Chris Traill

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REGIONAL UPDATES

Wellington Region Words by Julie Willetts and Tracey Grant, Accredited Professionals

Starting out in business as a photographer, how do we price our services? Working it out can be a tough journey, and it’s only in time that we learn the true costs of being in business. For our last monthly gathering in Wellington, kindly hosted by Victoria Vincent at her central Wellington studio, we were lucky to have three experienced photographers available to answer all of our tricky pricing questions.

Over the years, wedding photographer Jason Naylor has included multiple income streams into his photography businesses, including a portrait studio and photobooths.

Jo Frances runs a successful portrait studio and makes a comfortable income on only two shoots a week. Terry Wreford-Hann is a New Zealand commercial photography legend, especially well known for his commercial fish species photography.

Jason quit his full-time job after shooting only three weddings.

He says his first idea was: “OK, I’m leaving my job paying me a salary of $75,000 a year. So all I need to do is shoot 30 weddings at $2,500 each - sweet, I can do that.”

But in time he learned the actual costs of running a photography business: GST, accountant, education, insurance, website etc etc… “But wait, then I have to pay myself a wage to cover my costs of day to day living, and what about KiwiSaver and my retirement years?”

Terry Hann, a commercial photographer of many years, quotes for jobs based on different components (such as number of images) rather than on time. He would rather take extra time to do the job right if need be, and if the job doesn’t take him long at all (and often it doesn’t because of his level of experience), he still gets a decent amount for doing it. If you’re charging on a time basis and you’re extra quick and efficient, you’ll quite probably have the client asking for a discount.

Terry has recently seen many of his friends leave the industry, and says you need to keep reinventing yourself as bygone ideas just don’t work any more. He spent years building up stock libraries of images with Photo New Zealand, planning to retire on a constant income stream of $2000+/month. Royalty free imaging has totally changed the world’s demand for stock, so much so that $20 every few months is now a reality for many.

Even his licencing of images in the commercial world has been squeezed into “any use in perpetuity” to bring in work.

As we constantly evolve to remain in business in an everchanging world, it’s these frank discussions that keep us grounded and help us to decide whether to diversify and develop multiple streams of income to support us no matter what tomorrow brings.

Jo Frances talked about running a successful business model for many years that worked for her, but then being challenged by the reality of seeing her long-term clients opting for cheap digital-file only options. But trusting her instinct and believing in her mantra of taking photos they cannot resist, she found that in time her clients have returned for her fine art portraits. Jo says we as photographers make assumptions all the time about what it’s reasonable for people to spend, and by doing that we often limit our own sales. In fact you’re doing your clients a disservice if you don’t offer special services and let them decide when they’ve ordered enough.

To work out her prices, Jo first takes what she want to earn per annum, then looks at how many weeks she is going to work. You need to factor your expenses/cost of goods sold (COGS) to your yearly wage. Then, she says, you need to decide how many clients you want to photograph a week, and what your average sale needs to be in order to achieve your earning goals. Your packages need to reflect this target figure, and Jo talked about ways to incentivise people to spend the amount you want, without being at all pushy.

© Catherine Cattanach

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Š Catherine Cattanach

Š Catherine Cattanach

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Š Catherine Cattanach

Š Catherine Cattanach

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Š Catherine Cattanach

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REGIONAL UPDATES

Central Districts Region Words by Rachael Smith Accredited Professional

The first of the Central Districts' May events was our Astro evening with Chris Pegman on May 15th.

As Chris will tell you, a location ‘reccy’ is vital. A full-day tour of the Manawatu turned up some great shooting options, but top of the list was definitely the old Opiki Bridge. Scouting locations during the day and obtaining permission from landowners/property managers was essential: thankfully we had both sorted.

Built for the flax industry on private land, the Opiki suspension bridge was completed in 1918. Until its closure in 1969 it was the longest suspension bridge in New Zealand, and one of only two toll bridges in the country, the other being the Auckland Harbour Bridge.

Not only is it an aesthetically pleasing subject to shoot, it also has great local significance – how could we choose anywhere else?

Our evening began with an energetic and inspirational slideshow presentation. Chris explained just how lucky we are to live in a country with so little light pollution. The graphics he used to highlight this were quite fascinating.

He then wowed us with a selection of his work, and explained just what is involved in producing a 70+ image stitched panorama. Wowed again - it’s a lot!

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We then headed out in convoy to the Opiki Bridge, about a 15 minute drive away The bridge is on a working farm, which meant lots of interesting sidestepping around, accidentally walking through, or for the unlucky ones, kneeling in, some aromatic booby traps - watch where you put your tripod and camera bag! Chris helped everyone set up and we were very lucky to get some fun shots with stars and the Milky Way between the gaps in the cloud.

We are incredibly grateful to Chris for taking the time to come down and inspire us. His enthusiasm, patience and willingness to share his knowledge and experience was a real treat for everyone. You’ve opened our eyes to an entirely new skill, thank you Chris.

Upcoming coffee meet-ups are: Wednesday June 6th, 10.00am, The Source, Taradale.

Friday June 8th, 9.30am, Café Cuba, Palmerston North.

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REGIONAL UPDATES

Otago Southland Region Words by Heidi Horton Accredited Professional

Our region had an awesome social and inspirational event in Lumsden in May. Our venue was the quirky Route 6 Cafe & Bar, where we met for dinner and drinks.

It was cool to have some new faces join us and the whole evening was filled with great conversation. We used this social event as an opportunity to also discuss the upcoming Iris Awards. We looked at the matting and printing requirements for award entries, as we have a number of first-time entrants in our region, which is exciting. We also had quite a few people bring along photos for critique. It was very inspiring and invigorating to see pieces others were working on and how they see the world. It was a great evening out, and as always, I could have stayed for hours and hours chatting with like-minded peers.

One idea that came from our May event was to start up a regional monthly photo challenge, where each month we have a brief (it could be as simple and open as “a photograph made using your widest lens”) and anyone who wants to participate gets out with their camera that month to create a photograph to the brief.

The objective is to get us creating more photographs just for ourselves, as so often we get caught up creating for commission and forget to create simply for creativity’s sake. And it’s always inspiring to see what others do within the same brief. We’re going to run this wee challenge on our regional Facebook group and I look forward to seeing what photographs are created as a result.

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Coming up for our region in June is a Lighting Workshop with Jackie Ranken and Mike Langford. Jackie and Mike have offered to share their lighting expertise with us over a one and a half day workshop in Queenstown. We'll be spending time both in the studio and outdoors, learning how to best manipulate, manage and modify the light we are working with. The workshop will cover a combination of artificial lighting and natural lighting.

Tickets for this are limited and you can find the details on the NZIPP Facebook page if you would like to join us for this valuable workshop.

© Olivia Turner

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