NZIPP PRO Report May 2015

PR

Report BE INSPIRED, BE SUCCESSFUL, BELONG

NZIPP MAGAZINE MAY 2016

file:///Users/harriethall/Downloads/James%20Simmons%202.jpg file:///Users/harriethall/Downloads/James%20Simmons%202.jpg file:///Users/harriethall/Downloads/ ames%20Simmons%202.jpg file:///Users/harriethall/Downloads/James%20Simmons%202.jpg

NOT A MEMBER OF THE NZIPP YET? As an accredited member of the NZIPP you have the support, networking opportunities and camaraderie of your peers within your industry. It also adds credibility for your clients that you are a professional photographer. Belonging to an institute that represents all areas of professional photography in New Zealand, and through our focus on education, advice, and a wide range of membership benefits we will help you improve the success and vitality of your business.

Your accredited 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 Scholarships

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

Contact info@nzipp.org.nz

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:

Cover Image:

info@nzipp.org.nz

Image © Darren Jew - Infocus 2016 Speaker

PRO REPORT is a publication of the NZIPP © NZIPP 2016. All rights reserved.

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© Ross Clayton

© Eva Bradley

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CONTENTS Executive Updates 05 Presidents Report 06

Honours Council Report

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Accreditation Programme

What’s In My Bag...?

32 Eva Bradley Events & useful links 36

Regional Updates 11 Auckland / Northland Region 12

Waikato / BOP Region

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Canterbury / Westland Region

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Otago / Southland Region

Get Clicking

Corporate Members 37

Thanks to our Corporate Members

NZIPP News 17 NZIPP on Facebook 18

Iris Awards

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Infocus

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Infocus - 2016 Programme

Member Profile 22

Ross Clayton

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CLICK HERE TO VIEW THE EXPOSURE PROGRAMME & TO BOOK ONLINE 4

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EXECUTIVE UPDATE

Presidents Report Katherine Williams FNZIPP || and AAIPP

Introducing EXPOSURE 2016!!!

We’re really excited to invite all aspiring and professional photographers of New Zealand alongside all lovers of anything that is photography to the new addition that threads our long standing events – the Iris Awards and Infocus conference together – Exposure :: NZ Photo Show.

As society and it’s relationship with imagery rapidly changes, at NZIPP national we recognize more and more the growing importance of creating more opportunities for members of the public to be exposed to professional photography and show them the benefits of using a professional photographer. Part of our role is to educate the public to recognize and value the skill that may be provided by a professional. The excessive number of images that we, and billions of other people worldwide are exposed too on a daily basis, means now it is more important than ever that we showcase the professional photographic community. It’s really quite integral to why NZIPP exists to inspire members of the public to enjoy the craftsmanship of skillfully captured and created imagery – so they may see this as something worthy of celebrating. Exposure 2016 is one of the ways we will showcase the skill level for those wishing to engage with commitment, passion and drive – in the art of creating photographs for a living.

With the easy accessibility of photographic devices today more and more people than ever have the opportunity to enjoy and celebrate the pleasure of the creation of an image – and why wouldn’t they, it’s an incredible thing to do. In many ways the lines between professional and aspiring photographers have become less distinct and many more people are engaging in the practice of creating images for the joy of it and some are entering into the profession in a more step-by-step manner. Exposure in part has been born as the piece which threads the aspiring and the professional together.

It is for the curious, those that love the gear, those that love photography and photographs, the aspiring

photographer and the high level of craft of the professional photographer.

In addition to the Iris Exhibition, Exposure 2016 incorporates some incredible events, and some of them are free! It includes the industry tradeshow, workshops, book signings, a photo walk and our headline Exposure event a live shoot by Vicky Papas Vergara that will be un-missable – and it’s free! Vicky is the 2015 AIPP Fashion Photographer of the Year and has just won the Grand Portrait prize along with a huge swoop of awards at WPPI in Las Vegas. During her live shoot on Saturday 18th June Vicky will create a wearable art piece on her model, teach us how to style and light and she will shoot live guiding us through her creative process. Exciting stuff!

And for those who will be registering in and joining us at Infocus you’ll be able to see Epson turn the results into a larger than life display on day 1 during the conference.

So to sum it up, why join us in Wellington this June?

There’s 3 major photographic events happening all together.

The Iris Professional Photography Awards – Print awards for professional photographers, both full time and part time. Online entries close June 6th.

Infocus conference – Is for those working in the profession of photography and those who are aspiring and up-skilling to do so, those who seek a sustainable career in photography. We’re pretty excited about the incredible line up we have for you this year for Infocus, and if you haven’t already we’d love you to head on over and check our the program and you’ll see a world class event at an incredibly low price.

Exposure :: NZ Photo Show – This is for everybody.

Exposing the sheer delight an power of the image, exposing the latest and greatest gear at the tradeshow and exposing the power of possibility – education and tools to up-skill and educate for photographers of different levels.

Can’t wait to see you there!

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EXECUTIVE UPDATE

Honours Council Report Kaye Davis GMNZIPP, MAIPP II, MCGD - Chair of the NZIPP Honours Council On behalf of the Honours Council Team; Blair Quax, FNZIPP, Accredited Wedding Photographer Esther Bunning, GMNZIPP, Accredited Wedding and Portrait Photographer Paul Daly, FNZIPP, Accredited Commercial Photographer.

This month I’d like to draw people’s attention to the value of entering the Iris Professional Photography Awards and the challenge in bringing something original, not just to the judging arena but to your photographic work overall. This is an ongoing challenge for all of us, no matter how long we have been photographing.

After reading about just this thing, in a recent AIPP publication, I asked Peter Eastway (renowned Australian Grand Master) if I could use his article here, bringing someone else’s perspective to creativity and originality.

While Peter often references the Australian Awards, these words should resonate loudly with any photographer both here in NZ or anywhere else in the world.

The following article by Peter, is based around an interview with another well known Australian photographer Tony Hewitt. As an AIPP Ambassador, AIPP Grand Master, AIPP Licentiate, Honorary Fellow of the AIPP and NZIPP Fellow, you can appreciate just how much experience and knowledge Tony has, as both a photographer and as a judge, and how well regarded and respected in the industry he is.

I want to thank both Peter and Tony very much for allowing me to share their words of wisdom.

The Art of Creating Something Original SELF ASSESSMENT After winning the 2013 AIPP Australian Professional Photographer of the Year, you’d imagine Tony is pretty happy about our awards, but interestingly, it’s not the

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win that has changed his life, rather the annual ritual of preparing and submitting his four best images for the year.

“The Awards provides me a yearly self-assessment of where I’m at within the profession and while it’s encouraging to enter with the possibility of winning an award, the real reward is a deadline that forces you to produce something. It allows me to measure myself against what I was doing last year and it encourages me to look at my work on a regular basis.”

“With a busy life, we often don’t get around to as much self-education as we’d like to. By being a part of the Awards process and attending the judging, I can see what other photographers are doing. It exposes me to new trends and I believe attending an APPA judging is one of the best seminars or educational processes you can go through. When I first entered the Awards, I pushed myself to extend my skill sets and developed new ideas and directions with the intention of doing weill. It was something that I thought about all year.”

“Now, with a little more experience, I don’t think about it so much and I have been really pleased to discover that it’s my commercially successful work that is earning the Awards.”

In the past there has been some criticism of the Awards system that it’s a showcase for personal work, with little recognition of what professionals do day-to-day. On the other hand, the Awards hierarchy has always known

that if you push yourself through the Awards process, the outcome should be an improvement in your day-to-day work, not just once a year, but on every shoot you do.

Tony’s experience bears this out.

“Many people entering the Awards target images specifically for the judges and while that’s fine, I have enjoyed the transition to seeing my commercial work being rewarded as well.”

ORIGINALITY One of the challenges for the AIPP is encouraging photographers new and original work.

Too often, the photographs that win major one year are duplicated the following years by other photographers trying to do as well.

While copying the work of masters and successful photographers is an excellent way to learn and develop your skills, it is never appropriate to enter these into competitions, or indeed post them on social media without proper attribution.

In other words, if you closely copy another photograph, it is unethical to enter it into a photography competition as your own work, and if you display it publicly you should always attribute the photographer you have copied (assuming that what you are doing is not breaching copyright, in which case you have no right to exhibit or publish the photograph at all).

DERIVATIVE Original ideas are hard to come by and some people will argue that all photography is derivative!”

“However, like the alchemist, I believe we all have the opportunity of using the same resources in different ways and it is this philosophy that drives my creativity and imagination. Like a chef who uses the same ingredients as all the other chefs, but comes up with a new dish, I enjoy producing work that may not be necessarily completely original, but is a new way of viewing that content.”

Perhaps originality is as much about a new way of seeing old things as it is about finding something completely new.

“Having travelled nationally and internationally as a judge, I find the images that excite me the most are not necessarily brand new concepts, but new ways of using the techniques available to us and done to a high level of excellence.”

“Each of us sees the world in a different way and no two visions are exactly alike. I’m excited watching new photographers come through with new ways of seeing and new ways of expressing their vision.”

TAKE US SOMEWHERE NEW One of the most disappointing aspects of our Awards system is discovering after the event that a winning image is a direct copy or extremely close to vision to an PRO Report / Magazine of the NZIPP

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existing work of art.

Had the judges known of the existence of the earlier piece, they would be unlikely to have scored the entry so highly - simply because high scores invariably include a component for originality and concept. This underscores the need for judges to be well educated, but given how many images are easily available on the internet, it is a difficult position to be in.

It’s simply not possible for judges to be across every genre of photography and so they must rely on the integrity and honesty of the entrant.

I can’t speak for all judges, but I find that the images I like to reward the most take or stretch photography beyond its current boundaries. Sometimes the stretch is a little, sometimes it’s a lot.

Some images demonstrate a good grasp of what has been done before, but they don’t take us anywhere new. I personally believe that the highest awarded images should not only demonstrate a unique point of view, but take photography a little further than it has been before.

“The Awards should recognise excellence in professional practice, but also the capacity for an entrant to absorb and develop the skills that have been demonstrated by others before them. It’s about exploring your own personal boundaries in image making and taking us all somewhere we haven’t been before.”

HIGHER EXPECTATIONS Tony observed that just because a photograph did particularly well one year, doesn’t automatically mean

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it will do well the following year - or ever again, for that matter. The judges’ expectations rise every year and it’s interesting to look back on our old AIPP awards books and note that many of the Silver Awards would no longer earn Silver today.

“When photographers begin their progress through the Awards system, they are inspired to follow the lead of others, but at some point we owe it to ourselves to break away and to apply more of our own thinking and philosophy to our work. It’s only by this process that we can establish ourselves as artists and stand-alone professionals.”

As an AIPP Ambassador, Tony says he is proud to be a member of the AIPP. “The Institute has given me the opportunity to learn from some of the country’s best professionals and provided me with support in many areas of my business, but most importantly it has provided me with a network of like-minded people who are sharing the journey of photography.”

SQUAERIALS In recent years, Tony’s winning images have featured aerial photographs with a distinct abstract slant on them.

“I love finding the geometry and elements of design hidden in nature, and I also like the idea of looking down and seeing something that can’t be seen from a normal perspective. It provides a way of seeing that is different to what people are used to seeing and the simplicity of design lends itself to illustration and décor styles of work.

It feels very natural for me.”

“I guess I also find it easier to seem my compositions from above. It’s a plan view when looking down and I look for shapes and balance that makes sense to me. I can look at aerials in a more abstract way, whereas when I’m shooting from the ground, somehow I feel obliged to produce something that is a little more realistic.”

Many years ago, a young Tony Hewitt used to write poems and verses for greeting cards, so it is perhaps not surprising that today his photographs take inspiration from words.

“A lot of my photography is presented with prose or poetry which provides a background for the imagery.

It’s almost like an artist’s statement. In my image Blue Lagoon, when I first saw it from the air, I was reminded of the birth of life and I summed it up in words as follows.”

AS IF THE EARTH ITSELF WERE CHARGED TO PROTECT AND EMBRACE … THE PROMISE OF LIFE ENCASED IN A DESERT WOMB. “In the original shape, I saw echoes of a womb, a crucible of life being the blue and what is going on in the water. The life source is symbolised by the creek as an umbilical cord and all is surrounded by the warmth of a red desert.”

“Writing these words helps remind me why I took the photo and what I wanted to say, and those thoughts drive the post-production workflow and how I present my images the way I do.”

You can see more of Tony’s work at www.tony-hewitt. com

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UPDATE

Accreditation Programme Sarah Beaufoy MNZIPP - Accreditation Coordinator

The new digital assessment process will be more transparent, cost effective and efficient for both our members and the NZIPP. It is now possible for existing members to also gain further Accreditation across all divisions.

After the 2016 Iris Professional Photograhy Awards and Infocus we will publish an updated document for the Accreditation Programme, formally called Q’s.

SAMPLE LOGO

Next submission date: 3rd August, 2016 Check in with the Facebook group for updates. https://www.facebook.com/groups/107239679301077/ For more information please contact Sarah Beaufoy at sarah@beaufoyimagery.co.nz or Tracy Stamatakos at tracy@oneblacksheep.co.nz

All post submissions to be sent to:

Congratulations to the following NZIPP Accredited Professionals.

Single Accreditation

Tracy Stamatakos 92 15th Avenue

Anil Dumasia – P

Tauranga 3112

Sarah Alloway – P Julie Willetts – P Ruth Lawton – C

Accreditation Divisions C:

Commercial

Michael Watson – C Gerry Le Roux – C Susie Whelan – P

P: Portrait

Susanna Blatchford – W

W: Wedding

Keri-Anne Dilworth – P

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Craig Bullock – P

REGIONAL UPDATES

Auckland / Northland Region Words by Chris Traill FNZIPP

Our AGM and print critique evening was a hit. So much so we’re having another one this next month, but without the AGM and more of an emphasis on print quality.

This evening used to be more of a mock judging scenario where we would listen to only what the invited judges had to say. However this time round we made it more of an open forum discussing the 30 images and their potential for Iris Award success, with everyone in the room able to share their thoughts. The photographer was also able to talk about their own image if they wished, which bought a whole new light to their work. However this perfectly demonstrated the luxury that a judge doesn’t have of knowing a back story to an image, when judging at Iris and how we can often be too close to our own imagery.

and where to draw that line in relation to Iris entry rules and the importance of category choice.

There was certainly some very raw passion in that room and thank you to those very experienced heads for sharing not only their thoughts on the imagery, but our industry generally.

Thanks also to Lisa Harrington of Photographers Inc and Penny Aspin for hosting us.

Our current committee will remain the same. They are: myself, Sean Dick, Ilan Wittenberg and Tony Banks. But wait...we have a welcome addition to the team. KeriAnne Dilworth is joining the committee and we look forward to the energy this livewire will bring.

Image analysing is certainly something that we photographers love. Particularly with fashions changing and interesting new genres coming through, often challenging the difference between classic and creative PRO Report / Magazine of the NZIPP

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REGIONAL UPDATES

Waikato / BOP Region Words by Kim Howells, MNZIPP

Team Waikato / Bay of Plenty had an action packed month. It kicked off at Wintec in Hamilton with Anthony McKee’s half day seminar, Beyond Fiction. It was great to see some members travelling from other regions to be there.

Anthony had us all captivated reminding us to see the stories around us, rather than trying to contrive them, explaining creative vs reactive photography.

Anthony’s experience and skills meant he was able to share different methods of capturing documentary photographs. And we even got LCM’s! Which of course had a message of their own.

From there, it was on to Onyx at Cambridge, where we had a meal before our meeting and AGM. In this month’s round of our Creative Photography Competition, Claire Birks took out the highest scoring image, followed

by Myra Bayly, then Jodi Bennett, all with scores above 75. Competition has been pretty stiff so far, so come on Team W/BOP, get your best images ready for next month!

Thanks to Jono from Canon for coming to our meeting, it’s always good to see you there.

In our AGM, the temporary committee was replaced with our new committee! It’s all looking exciting going forward, with a lot planned in the capable hands of Chair Craig Robertson, Treasurer Tracey Scott (Robinson), and new-and-improved committee positions now held

by Alana Dresner, Colleen Kiddie, Kim Howells and Sarah Beaufoy. Going forward, ALL Waikato / Bay of Plenty members will be a lot more involved with the running of our region. It is no longer feasible with everyone having their own business to run and families to enjoy that only a few members take on a large workload. This is a great way to involve those who don’t have a lot of time to give, but who have skills that they want to use to help our region be amazing. Thanks very much Ross Clayton for running the AGM for us.

We were lucky to have Anthony stay on after the AGM and assist alongside other judges at Print Critique Night, which members got valuable feedback on possible Iris entries.

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REGIONAL UPDATES

Canterbury / Westland Region Words by Juliette Capaldi ANZIPP

The April meeting for Canterbury/Westland started with our AGM, which though did not quite meet our record for shortness in length, it was only on 90 seconds longer than our previous record....so there were no complaints.

Everyone present seemed happy with the direction of the region, and we were all very happy to keep our current regional chairperson Kate Christie, and the rest of the committee team.

The balance of our meeting (after enjoying the usual pizza’s) was a print critique, and it was a great way to get some valuable feedback for hopeful entries. Our panel did a wonderful job with some really in-depth discussions on aspects of the work presented, and when the panel couldn’t agree there was some great “hands up in favour of...” various options. It got us thinking and hoping, and with the print delivery date of the 13th June looming close we all need to get a move on. Our region has high hopes after our successes of last year. Bring on Iris and Infocus!

Here are some images from the recent Anthony McKee Seminar.

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Colour Images © Richard Linton Black and white images © Stephen Goodenough

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REGIONAL UPDATES

Otago / Southland Region Words and images by Nicola Wilhelmsen FNZIPP

Like the other regions we have held a few ‘print critique nights’ with Queenstown, Dunedin and Southland each holding their own. Instead of scoring each print we (in Dunedin) decided to have more of a discussion on whether our work was ready to enter if it needed some refining. We also discussed what categories we were considering entering.

We had some students attend too and those that entered last year showed us how they went. There was some really lovely imagery shared and it’s given us all the motivation we needed to get it all ready to enter in the Iris Awards. Can’t wait!!

We also had the pleasure of hosting Anthony McKee’s seminar on documentary photography ‘Beyond Fiction’ at the Otago Polytechnic. It was such a fantastic seminar and I could definitely say that everyone who attended walked away with some valuable information that they could put to use in their photography work every day!

Including LCM’s! I’ll be honest when Anthony mentioned LCM’s I had no idea what he was talking about! I thought, is this some photography technique that I had somehow missed out on in my 14 years in Photography?

The answer: Line, Content, Moment! The line from the camera - what do you have lined up in your frame?, What content are you going to include and the moment - do you need to wait for it to happen or create it? You can really apply this to any style of photography and I’ll admit even while taking some photos around home that night I found my self thinking, Line, Content, Moment!

“Find the line to define the content” So good!

Anthony touched on the fact that it’s hard to come up

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with original ideas these days, but “moments are difficult to copy.” At the end of the seminar Anthony discussed the impact that documentary photography can have on communities and can create community change.

“Use documentary photography to inspire change.”

I absolutely loved learning more about documentary photography and I’m so keen to just head out with my camera and create some documentary images of my own!

Super inspiring! Thank you Anthony!

Coffee Catch ups: Dunedin: fortnightly catch ups are at The Vogel Street Kitchen, contact nicola@kelkphoto.co.nz for details.

NZIPP ON FACEBOOK

click here to like the NZIPP public facebook page

If you’re an NZIPP member or interested in professional photography in New Zealand feel free to “like us”.

click here to check out infocus & the iris awards

The new Wellington harbourside venue Shed 6 is the amazing venue for this year’s Infocus and Iris events!

click here to get NZIPP membership information

Along with the opportunities and benefits that membership provides, you also benefit greatly from the professional development available throughout the year and also enjoy the many networking opportunities plus lifelong friendships.

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IRIS AWARDS TRACEY ROBINSON

ILAN WITTENBERG

DOCUMENTARY

PORTRAIT CLASSIC

2 0 1 6

EPSON/NZIPP ENTRIES ARE NOW iris professional OPEN FOR THE 2016 photography awards EPSON/NZIPP IRIS PROFESSIONAL PHOTOGRAPHY AWARDS.

Open to all NZ and overseas professional photographers.

For a copy of this years rules and categories visit: ESTHER BUNNING

ROGER WANDLESS

NICOLA WILHELMSEN

ILLUSTRATIVE

CREATIVE

PORTRAIT CREATIVE

www.irisawards.org.nz

NEW CATEGORY WILDLIFE & WILD PLACES

KATHERINE WILLIAMS

CLINTON LLOYD

WEDDING CREATIVE

WEDDING CLASSIC

DARREN JEW

INTERNATIONAL MULTI-AWARD WINNING GUEST JUDGE

TERRY WREFORD HANN

MIKE LANGFORD

TRAVEL

LANDSCAPE

The judging event is open to the public, so please join us and see what NZ’s top photographic talent are creating:

16 - 18 JUNE 2016 Shed 6, Queens Wharf Wellington Waterfront

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SARAH CHAMPION

STUDENT PRO Report / Magazine of the NZIPP

MIKE HOLLMAN

COMMERCIAL

Image © Grant Sheehan

INFOCUS 2 016

book for infocus 2016 before may 31st and be in with the chance to win an epson expression premium xp-800 valued at $399!

WELLINGTON 19 - 20 June

Shed 6, Queens Wharf, Wellington Waterfront

www.infocus.org.nz FULL CONFERENCE REGISTRATION

1 DAY

2 DAY DEAL

NZIPP / AIPA / AIPP / WPPI MEMBER

$295

$495

PSNZ MEMBER

$345

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GENERAL ADMISSION

$395

$745

STUDENT

$295

$345

GALA DINNER

$150

PRINCIPAL

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check out the promo video!

SILVER

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INFOCUS 2016

DAY 1

Programme

SUNDAY 19TH JUNE 10.00am

Welcome to Infocus 2016 - Meet the speakers

10:10am

The Art of Authenticity James Simmons Wedding and Fine Art Landscape Photographer When you keep it real you enable people to just be themselves. Journey through moment design, conceptualised images, practical business and booking hints, and the stories behind the shots.

11:40am

Sponsor Interview

11:45am

Where Does Inspiration Fit? Darren Jew Marine Photographer A step-­by-­step guide to taking your work further – harnessing inspiration to evolve and solidify your photographic style.

12:45pm

Capture the moment Infocus Group photo 2016

1:00pm

Lunch in the Tradeshow

2:00pm

Childhood in the Raw Niki Boon Documentary Photographer and Portraitist Niki takes us on her journey documenting family life with raw honesty and her inspiration of the beauty in the ordinary. Within the mundane lies the connections, the relationships and the essence of family.

3:00pm

Know your target Market Christina Force Marketing and Folio Consultant Attracting amazing clients doesn’t start with a folio - in fact this is the very last step of the process. Indeed, you will be unlikely to get a folio in front of a great client without implementing some of the steps I walk you through in this talk. It doesn’t matter what type of photographer you are (or think you are); get these seven things right and clients will be seeking you out rather than the other way around.

4:00pm

Afternoon tea in the Tradeshow

4:30pm

Tales by Light Darren Jew Marine Photographer Travel to Papua New Guinea and surrounding islands with marine photographer Darren Jew as he gets to know the locals and realises a long awaited dream. A screening of Darrens episode from the acclaimed National Geographic Tales by Light series followed

by Q&A session.

5:10pm

Sponsor Interview

5:15pm

Suckling on Social Jonathan Suckling Wedding Photographer Everything you need to know on harnessing social media in all it’s forms. We’re talking Facebook algorithms & tricks, hashtags & geotags, snapchatting like a celeb and so much more. Get excited to be inspired and equipped to take your social media game to a whole new level. #getit

6:15pm

Pizza + happy hour in the Tradeshow

7:15pm

Live Creative Hair Shoot and Post Production Adam Finch Hair, Fashion and Creative Portraitist Mastering the ability to shoot to a brief, think creatively, pose and structure dynamic compositions, through to enhancing their post productions skills to fulfil the overall vision for the clients images.

8:30pm

Free time

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My Mum Knows Your Business Kelly Vanyai Photographic Business Consultant Make more money in your business by focusing on what your clients love, and how they love to be treated. The rewards for your business rely on their experience.

JS x2 Night Shoot Shenanigans James Simmons + Jonathan Suckling Wedding Photographers Discovering and exploring two top wedding photographers shooting styles in a live night shoot -­an engagment shoot around the Wellington waterfront.

INFOCUS 2016

DAY 2

Programme

MONDAY 20TH JUNE

8:00am

The Secrets Behind Styling Fine Art Portraiture Vicky Papas Vergara Fine Art Portraitist and Fashion Photographer Constructing and capturing what’s happening in your head through creative styling.

Sourcing the right model, achieving expression and movement in feminine forms and creating wearable art on a budget.

9:20am

Sponsor Interview

9:25am

It’s Not Like I Planned It Troy Goodall Advertising Photographer The importance of having a great production team in commercial photography and the creative flexibility to improvise.

10:25am

Sponsor Interview

10:30am

Morning tea in the Tradeshow

11:00am

Close the Deal Christina Force Marketing and Folio Consultant If you’ve implemented ways to promote your best work, and reached out to your ideal clients in the right way, it’s likely they will want to work with you. How well are you prepared to receive a phone call about an assignment? As a photographer you’re in the service industry and the estimating process is an opportunity to convey your professionalism and competence -­it’s also a great way to make or break your chances.

You may only get one. In this talk I’ll run through some of the important steps you should be aware of and have in place to deal with top assignments from top clients -­and that could be anything from a wedding to a global advertising campaign.

12:00pm

The Business of Babies Kim Hamblin Babies, Family, Maternity portraits Swap the creative hat for the business hat and to realise that your dreams really are within reach. Set your business map for success and learn to understand what you’re worth and get paid for it.

1:00pm

Lunch in the Tradeshow

2:00pm

Boshido, the Way of the Samuri Susana Barbera Documentary Weddings and Street Photographer The code of the samuri are seven virtues for a way of living with honour. The soul of the samurai is the sword and the soul of the photographer is the camera. Susana explores how to apply the honour code of the Samuri to photography.

4:00pm

Close of day two

6.30pm onwards

Epson / NZIPP Iris Professional Photography Gala Awards Dinner

INFOCUS 2 016 WELLINGTON

16-20 JUNE. SHED 6, QUEENS WHARF, WELLINGTON NZ

WWW.INFOCUS.ORG.NZ

SUNDAY 19 MONDAY 20 JUNE

Eye in the Sky Grant Sheehan Drone and Landscape Photography, Publisher Grant sheds light on his work that explores our country from the air, in a way that is both unique and compelling; from wide elevated vistas of landscapes and land forms, to close intimate portraits of buildings and textures.

IRIS AWARDS

Print Judging 2 0

EPSON/NZIPP iris professional

photography awards

1 6

THURSDAY 16 SATURDAY 18 JUNE

THURSDAY 16 SUNDAY 19 JUNE PRO Report / Magazine of the NZIPP

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Image Š Ross Clayton

MEMBER PROFILE

Ross Clayton www.ross-clayton.co.nz

About myself and how I got started: I have always had a keen interest in photography.

At school, I enjoyed graphics, art and art history. It was the print era then and so, I quickly attained an understanding of composition and colour. This meant, I could visualise the final product before I got to see it two to three days later.

I also had an interest in medicine. I remember enjoying reading about the “cutting edge” work of some of the pioneers in the medical field, Drs Christian Barnard in South Africa and Dr de Bakey, at the Mayo Clinic in the States were stand out examples for me.

These interests led me to apply for a student medical photography trainee position, when it became available at Waikato Hospital in Hamilton. I was successful with my application and as a result, I worked my way up, to Staff Photographer, Senior Medical Photographer and, after that, Head the Department. In the end, I ran this Department, which consisted of a staff of seven, including two graphic designers, for eight years. The work was exciting. It included public relations work, annual reports, and clinical work across most fields of medicine, particularly in Plastics and Orthopaedics. The department also offered several specialised services, including macro work, Photomicrography, Ophthalmic, AV, video production and projection at conferences.

A lot of the clinical work was done to scale and repeat views were taken at various stages to measure progress.

Clinical research trials undertaken included using 16mm film to study the effects of L-Dopa methene for patients with Parkinsons Disease. Recorded gaits and also, time lapse microscopy work for amoebic menginitis. This work Image © Tina McGregor

www.skinimaging.co.nz

required attention to detail, a good understanding of the best way to take shots and consistency in terms of ensuring shot continuity. I also learnt how to deal with the general public at all levels and the empathy to deal with patients, particularly when they were very vulnerable.

While I learnt a lot on the job, also during that time, I studied for three years, to gain my Associateship qualification with the NZIMSI. The then NZIMSI, had a very well organised programme, covering the whole of the country...At that time, I also formed a Working Party with the Australian Medical Photographers (AIMBI), to look at both country’s qualifications.

After eight years, I left Waikato Hospital to set-up the Teaching Resources Unit at the then Waikato Polytechnic (now Wintec). In this role I was responsible for AV work on the campus, taught photography in photojournalism courses and helped the staff with teaching and AV programmes.

Following this, I was approached to run the Medical Photography Unit at the Princess Alexandra (PA) Hospital in Brisbane Queensland. The work there was very similar to the work I had undertaken at Waikato Hospital. PA Hospital had a specialised Spinal Injuries Unit, a large Trauma Unit, a very busy Eye Department, for Fluorscein Angiography and slit lamp work, and a Psychology Unit, that recorded patient interviews. All video recordings were time coded and no editing was allowed in case the records were needed in Court. This Hospital gained a world-wide reputation as a centre for liver transplantation, with some patients being referred from New Zealand.

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Image © Michelle Phillips

Image © Ross Clayton For family reasons, I returned to New Zealand, spending time as the Director of the AVLU at Wellington Hospital, and, following this, as the Senior Photographer in Campus Photography at the University of Waikato.

I now reside in Mount Maunganui, close to the beach and run two businesses. The first, RCP (Ross Clayton Photography) provides freelance photography services, predominately undertaking events, commercial, admissions to the bar at Court and editorial photography work. This business is well established. My client base has mainly come from my wide range of contacts. I have an extensive database and the majority of my work now is from my existing clients. My images have been published in Trends magazine and for Koru, the Air NZ in flight magazine, and UNO among other publications.

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My second business, Skinimaging photography (www. skinimaging.co.nz), is a private medical photography service. Skinimaging photography was set up as a result of an invitation from two Specialists to work with them to record total body photography of patients presenting with atypical Naevi to provide a baseline record. Plus it assists in the early detection of melanoma.

Last year, at short notice due to staff illness, I undertook a four month contract in Brisbane, where I set up a medical photography service at the new children’s hospital, LCCH www.childrens.health.qld.gov.au in the grounds of Mater Hospital South Brisbane. This is Australia’s largest specialist paediatric hospital, from birth to 16 years of age. To undertake this work, I was required to obtain a police clearance, State and Federal

Image Š Stewart Nimmo

clearance to be able to work with children, and each child had to have parental consent to take confidential images that form a baseline record of the medical condition often repeated at future visits. Like we all have issues with storage of files, they have a digital asset management system PACS with different levels of access and it’s password protected.

How would I describe my work to someone who had never seen it?

Ross Clayton Photography covers a cross section of photography work; including magazine work, events, portraits, commercial work and business profiles.

Skinimaging is more specialised. This work is often to scale, more technical and needs an understanding

of studio lighting and how to measure studio light. It requires the use of different equipment to provide a consistent method of documentation, to enable any visual changes to be monitored. An understanding of medicine, common conditions and basic anatomy, also does not go amiss.The patient receives a folder of A4 sized photographs and has ownership of their images to use for self examination between visits.

Inspiration?

My inspiration comes from constant research and learning. I read technical books, utilise the internet and study the work of other photographers, Karsh, Edward Weston, and the late Robin Morrison are examples. I attend seminars, workshops and conferences. I enjoy PRO Report / Magazine of the NZIPP

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Image Š Ross Clayton

Image © Ross Clayton

the regional monthly meetings run by NZIPP, the Annual Conferences, print judging, and the AIPA Imagenation.

Recent notable seminars attended include Peter Coulson’s and David Oliver’s. In addition, for my medical photography business, I ensure I attend relevant medical seminars, present papers, e.g. World Congress in Cairns, interface with medical staff and patients, and visit other medical photography departments, particularly in Australia. This ensures I keep up to date with current advances.

Choosing one Lens?

I love using the 105ml f2.8 micro nikkor lens. This lens is very versatile; it is perfect for macro work and is also a good portrait lens. I particularly enjoy using the scale setting to get different reproduction ratios e.g. 1:1. For portrait work you have a nice working distance between yourself and the client.

In addition, I enjoyed using the 100ml L series Canon lens, when working at Mater Hospital, Brisbane.

What will be your next Photography related purchase?

My next purchase will be to add to my portable Bowens lighting kit. I use Bowens extensively, as it is excellent to pack when travelling. It is lightweight, with a good range of power settings,with an excellent range of accessories and the New Zealand agents are great.

How important is Photoshop in your final images?

Photoshop is very important for my Ross Clayton Photography work. We particularly use it for our portrait work, especially law portraits and groups We don’t use Photoshop for any medical photography work, as this could mislead both the Specialist and the

patient. This means we must set up each field in camera, so there is no cropping and post production. Views are taken to set scales and reproduction ratios. This is important, as use of post production techniques could prove very difficult to defend, if there were any legal issues arising from the medical work.

Of all the images I have made in my career so far what are the favourites?

Two assignments come to mind. Firstly, the taking of PR style photographs in the operating theatre of the first liver transplant in Australia. These images were used by every national newspaper in Australia, with copies archived in the National Museum in Canberra. I smile when I think about the irony of a New Zealand photographer getting the photos of the first Australian liver transplant.

The second would be an official portrait of the late Tainui Maori Queen, Te Arikinui Dame Te Atairangikaahu, at her official place of residence. The University or Waikato asked that I shoot an official portrait, as part of the Queen being conferred an Honorary Degree. After that session, the Queen asked if I could take portraits shots when she was wearing some traditional and modern korowhai. This shoot was so much fun and it was the first portraits taken of her for 25 years! During her reign, many Government Departments hung my Official portrait in her honour. (www.nzhistory.net.nz/meda/photo/te-arikinuidame-te-atairangikaahu) What’s the most important thing you want potential clients to know about you?

I want my clients to be aware of my experience, and for this to give them the confidence that I understand the importance of delivering what they require within their time-frame. I want to be known for listening to clients PRO Report / Magazine of the NZIPP

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“

I once saw this saying...“Clients need our carriage skills to make them look good.”- Ross Clayton

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Image © Ross Clayton

needs, suggesting some options, understanding lighting and the passion I have to create photographs.

•

Listen and learn, when attending social events;

•

Build up a portfolio of your work, and use social media;

“Clients need our carriage skills to make them look good”

•

Undertake some non-commissioned work, e.g. your own family and friends portraits;

I can not emphasie enough the importance of good interpersonal skills, with the ability to work in difficult and diverse situations e.g. from workers on a factory floor through to the CEO.

•

Make sure you attend Regional Meetings of a professional body;

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Gain an understanding of light, both natural and artificial.

I once saw this saying...

Tips for aspiring photographers: My tips are as follows: •

Take a course of study, obtain a degree;

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Study work done by other Photographers;

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Join a professional body, like the NZIPP;

•

Attend the NZIPP National Conference and social events;

What are the favourite parts of your work and, the least favourite?

My favourite part of my work is meeting people and finding out about them. From this, I establish how best to portray them and show their personality. An example was a commissioned assignment to take some photographs of the CEO of Paper Plus. In my planning, I expected a formal portrait however, in the end, the picture was funky and far more casual, in keeping with PRO Report / Magazine of the NZIPP

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“

I smile when I think about the irony of a New Zealand photographer getting the photos of the first Australian liver transplant. -Ross Clayton

this CEO and the new direction of this Company. This picture was used in the re-branding of Paper Plus.

My least favourite part of my work is the paper work, GST, tax related matters and having to understand Health and Safety issues especially working on a site.

Any new projects and exciting plans: I am constantly planning and working on a range of projects.

In my Skinimaging business, I plan to expand my service, with the challenge of working with a whole new group of Specialists.

In my Ross Clayton Photography business, one project I am considering is an exhibition of the changing face of the inner City of Auckland. The city dwellers, the apartment style living and the diverse range of ethnic groups, depicting their influence on our major city.

For this work, I have been particularly inspired by the work and reviews of Robin Morrison, a photojournalist (1944-1993.) Particularly of note, is his style, the way he produced his stirring photographs and the approach he made to people to be in his photographs. Of note, is his series on Ponsonby. In addition, the early work in a book called the Unseen City, by Gary Baigent, and his recent exhibition at the City Gallery in Wellington, also inspired me.

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Image © Ross Clayton

Image Š Ross Clayton

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WHAT’S IN MY BAG

Eva Bradley - Accredited Member www.evabradley.co.nz

Images © Eva Bradley

To me it has always been surprising that so many people are interested in what gear I use when trying to understand who I am as a photographer.

I spend most of a wedding day moving between the ubiquitous Canon 70-200mm mkII (2.8 IS version) and the Canon 24-70mm f2.8 mkII.

Asking what’s in my head and my heart rather than in my bag will always reveal more about how I see the world creatively, and to a large extent the equipment I choose is simply a portal to express those first two key things for me.

Interestingly, the upgrade to the mkII on the 24-70 this season has led to me leaving behind my Canon 50mm f1.4 because it’s just so beautifully sharp when wide open. This means more time making great pictures and less time swapping lenses.

Gear choice is also hugely pragmatic for me because weddings are fast and I love shooting wide open landscapes, on the move. A mountain goat approach means less is usually more for me.

For macro images, my long-standing love affair with the Canon 50mm 2.5 remains stead fast. Versions of this lens have been in my kit since I first shifted from film to digital.

With those provisos laid down, here’s what’s going down in my bag right now; A Canon 5D MKIII is my everyday workhorse. I’m a lens-swapper rather than a multi-body user, partly because every time I try to use two bodies I end up forgetting the one on my hip when I drop to the ground. Expensive mistake.

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When I go wide, I do it with the Canon 16-35mm f2.8.

There’s not much I can’t fit into a frame shot by this guy, and with really minimal distortion even at 16mm.

Throw a Canon Speedlite on top (I have the 580EX II) and a receiver/transmitter set for off-camera flash and that’s me for a wedding day, a family session and even

Image © Eva Bradley

a trip to court for Fairfax.

But while all that fits into a chunky 8-million-dollar size Crumpler, my ‘other’ bag is a big black 4WD that carries all the other bits and pieces – not least my brave couples who are usually always up for a bit of off-roading and fence-climbing if it means some added drama in the light and landscape.

After once slipping on a tablecloth at a wedding, being knocked out and totally destroying all of my kit as I fell, I have learned always to carry a full set of spares – and that means a spare photographer as well.

At weddings I shoot with Andrew Caldwell, an amazing landscape photographer and definitely one of the finer pieces of kit I’ve had the use of!

accessories to suit the mood of the day, light and location; a trusty gold reflector, a Lowell ID video light to maximize the warm ambience often found in Hawke’s Bay’s many wine cellars, and a set of LED lights for situations when I want a bit more control from offcamera lighting than you can get with a flash.

This season I’ve added one small but key addition to my bag – the Fuji X100T. At a fixed 35mm it’s absolutely glorious to shoot doco-style images at f2. It gets me a second body without the weight and hassle factor and price tag, plus with its hipster styling it allegedly makes me look super cool.

Which is what it’s all about, right?

He’s the yin to my yang and brings a chilled out serenity to my crazy, excitable pace.

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Images © Eva Bradley

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Asking what’s in my head and my heart rather than in my bag will always reveal more about how I see the world creatively, and to a large extent the equipment I choose is simply a portal to express those first two key things for me.

-Eva Bradley

Images © Eva Bradley

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PHOTOGRAPHY COMPETITIONS AND EVENTS 2 - 24 June 2016.

http://www.photographyfestival.org.nz

A city-wide contemporary art and cultural event which takes place within Auckland’s major galleries, project spaces, non-gallery venues and public sites during June each year. The programme includes a mix of emerging and established artists and comprises existing works and creation of new work. The annual Festival is produced by the Auckland Festival of Photography Trust.

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