AIPP Journal - May 2016

Issue 241

Should I Grab A Drone?

Is It legal now?

Nikon’s D5 - The Perfect Professional Camera?

Business Psychology For Better Sales How To Calculate Your Costs By The Shot

May 2016

CONTENTS 4

Insights from the National President Can you be elected for National President? How do you get on a State Council? What are you expected to do when you run for office? As our National President Ross Eason nears the end of his term, he outlines the election processes for the AIPP.

10

APPA Judging Schedule Already!

12

Are you coming to APPA this year? Would you like to plan your weekend ahead of time? And is there a particular category you want to watch? If so, the judging schedule is already available, even before entries have opened! How good is that!

Should I Grab A Drone Now?

Cover

CASA has relaxed its red tape for commercial operators of ‘very small remotely piloted aircraft’, meaning professional photographers and video producers can now work for their clients with drones - as long as they are small enough. What does this mean for the profession - good news or does this just open up yet another area for undercutting by backyarders?

Lisa Saad APP.L, M.Photog.

2015 AIPP AUSTRALIAN COMMERCIAL PHOTOGRAPHER OF THE YEAR

AIPP JOURNAL is the official newsletter of The Australian Institute of Professional Photography (AIPP).

Editor Peter Eastway APP.L, G.M. Photog., FNZIPP, Hon. FAIPP, Hon. FNZIPP, FAIPP Disclaimer The information provided in The Working Pro and associated publications is made in good faith, but is general in nature. Neither the editor, the publisher or the AIPP accept responsibility for or will be under any liability for any recommendations, representations or information provided herein. The AIPP JOURNAL presents information, opinions and suggestions for subscribers to evaluate in coming to their own decisions in the light of their own individual circumstances. The information should not be relied upon without readers first obtaining independent advice from their own financial and legal advisers.

Unless otherwise noted, all articles are written by Peter Eastway.

Publication The newsletter is published 10 times a year – monthly with November/ December and January/February being combined.

The AIPP JOURNAL newsletter is published by Pt 78 Pty Ltd, ABN 75 003 152 136, PO Box 351, Collaroy Beach, NSW 2097, Australia.

Phone: (02) 9971 6857; Fax (02) 9971 6641.

E-mail eastway@betterphotography.com

AIPP Membership Contacts Suite G.02, 171 Union Road, Surrey Hills, Victoria 3127 Phone: 03 9888 4111 E-mail: enquiries99@aipp.com.au

2

14

Lisa Saad’s Insightful and Clean!

So often we relate to photographs that are more than mere records and Lisa Saad APP, M.Photog. III fully understands the importance of generating not only a style of work, but having a reason for each image as well. Read how she has achieved her recent successes.

ISSUE 241 / MAY 2016 22 26

How To Set Up Lightroom Catalogs If you want to use Lightroom effectively, you need to get your head around a Lightroom Catalog. What is a catalog, what does it do, and should you have just one catalog for all the photos you’ve ever taken, one catalog per shoot, or somewhere in between?

Control Light Quality With Light Shapers Last issue we saw how moving your light closer to or further away from your subject changed the quality of the light. In the same way, using different sized and shaped attachments over your light can also change the quality of the light output. There are many ‘light shapers’ to choose from – and they have a dramatic effect on your light.

28

Business Psychology For Photographers Vittorio Natoli APP.L, M.Photog. IV spends as much time focusing on ‘business’ as he does on photography.

He understands what people want to purchase from a photographer (or a video producer) and what they are willing to pay. And it is this understanding that will help every photographer and video producer’s studio to be more successful.

36

Should Big Companies Own Our Copyright?

If you think all big companies, organisations and government agencies are out to get your copyright, there may be a change in the air. Just kidding! The AIPP’s Chris Shain participated in the recent Copyright Law and Practice Symposium 2015, but so far, it’s all just talk. Or will something change in the near future?

42

How To Calculate Your Costs By The Shot How you present your quote and how you calculate it are two entirely separate matters. Here’s how to work out your quote based on the time it will take you, and then how to present the quote to your clients.

48

Nikon’s D5: The Ultimate Ergonomics?

One thing that more established camera manufacturers like Nikon have is a longevity of camera design experience, so much so that when you pick up the new D5, you just know it’s going to work flawlessly.

It feels solid. It handles beautifully. But is the new D5 an essential tool for you?

3

NEWS

Insights from the National President Can you be elected for National President? How do you get on a State Council? What are you expected to do when you run for office? As our National President Ross Eason nears the end of his term, he outlines the election processes for the AIPP.

PHOTO BY ROBYN HILLS

TAGS AIPP B o a rd

As we head into election time for all State

other members as required to help with specific

Councils, as well as the National Board, I was

tasks.

reminded by a Queensland member that not all

members understand the operational structure

and Vice President are voted on by the State

of the AIPP.

Council at their first meeting.

THE STATE COUNCILS

THE NATIONAL BOARD

The front line of the Institute is comprised of

Our National Board is also elected by the

our state councils. Each has 5 members elected

Accredited Members, but with a subtle

each year by the Accredited Members in their

difference.

respective states. The term is for 12 months,

but we prefer a longer term commitment if

three years, with a maximum of two terms.

possible.

board members to retire by rotation. They

State Councils operate under a Charter

The term for a National Board member is Each year, the constitution requires two

set by the National Board and are primarily

would usually be the two longest serving board

responsible for state events, membership

members. Why? It’s important for three reasons.

inductions, state awards and social events.

• The Board need to stay fresh with new input

It is an absolutely essential part of the AIPP

culture as our State Councils are our eyes and ears on the ground. Their interaction with, and feedback from, our members is vital.

4

The office bearer positions of State President

A State Council would meet once a month

and opinion; • It ensures we do not have board members who sit ‘too long’ on the Board; and • It provides for the transfer of knowledge and skill sets - the two new board members each

at a mutually convenient time to plan coming

year are coached and educated by the longer

events. The State Council of 5 can also co-opt

serving board members.

5

NEWS

The National Board has 6 members (all AIPP

members), as well as provision to co-opt 2

times per year, some meetings face to face and others by teleconference.

additional members as required. The co-opted members usually bring a skill set that is required

NATIONAL OFFICE

at any time, such as a business acumen or to

The operation of the National Office and

undertake a specific task.

the day to day running of the Institute is the

responsibility of the Executive Officer, Peter

The constitution also provides for members

from like bodies who come under our umbrella

Myers. Peter is an employed professional, as are

to have a seat on the board for a given period

all of the staff in the National Office.

of time. An example of this is our merger with

the ACMP. Richard Weinstein as ACMP president

is incumbent on all of us to help carry the work

also sits on the AIPP Board.

load. Each of us at some stage should consider

putting our hand up for a position, be it a

The office bearer positions of National

As members of a membership association, it

President, Chairman and Treasurer are all

worker at an event or a term on State Council or

appointed by the Board at their first meeting.

the National Board. Volunteering is a key aspect

A key part of Board operation and long term

of our culture and, from my experience, it is one

direction is the AIPP strategy and business plan.

of the most rewarding and beneficial aspects of

Both are reviewed regularly and our business

membership.

plan runs up to 5 years in advance.

For stability of the Institute, it is essential that

new members coming onto the Board work with that same long term approach and plan.

PHOTO BY ROBYN HILLS

6

The Board members are all volunteers

without remuneration and are only reimbursed

ross.eason@aipp.com.au

for the expenses they incur. The Board meets 10

0412 108 362

PROUDLY SUPPORTING THE AIPP

THE EVENT 2016 NIKON AIPP

THE EVENT elbourne 2016 NIKON AIPP

melbourne

27th August-31st August 2016

27

TH

31 AUGUST 2016 ST

PULLMAN MELBOURNE ALBERT PARK

melbourne

melbourne

27th August-31st August 2016

melbourne

27th August-31st August 2016

EARLY BIRD BOOKINGS OPEN

IMAGES LEFT TO RIGHT: DAVID EDMONSON, NICK RAINS, LUKE EDMONSON GRECCO, ROCCO ANCORA, DAVID DECHUMIN, NATALIE HOWE, GLENN GIBSON GEOFF COMFORT, JERRY GHIONIS, MARCUS BELL, ROCHELLE & DEAN MO CAMPBELL, VICTORIA BEREKMERI, SARA DELPOPOLO, RUSSELL BARTON, STEVE

N, ADREW CAMPBELL, KAREN ALSOP, MICHAEL N, TIM BAUER, CASSIE EMMETT, NICK GHIONIS, ORRIS, MARK DUFFUS, ALAN MOYLE, ROBYN SCALONE, KAREN ASLOP AND DAVID DCHUMIN.

SPEAKERS MICHAEL GRECCO COMMERCIAL DAVID & LUKE EDMONSON PORTRAITURE/INSPIRATION TIM BAUER EDITORIAL PORTIATURE DAVID DECHUMIN PHOTOJOURNALISTIC VICTORIA BEREKMERI & CASSIE EMMETT BIRTH GEOFF COMFORT AERIAL JERRY GHIONIS WEDDING NATALIE HOWE NEWBORN MARCUS BELL WEDDING STEVE SCALONE CREATIVE PROCESS NICK GHIONIS LIGHTING ROCCO ANCORA POST PRODUCTION MARK DUFFUS COMMERCIAL/BUSINESS GLENN GIBSON ADVERTISING KAREN ALSOP POST PRODUCTION ALAN MOYLE BUSINESS SARA DELPOPOLO LEGAL/COPYRIGHT ROBYN CAMPBELL BUSINESS ROCHELLE & DEAN MORRIS VIDEO RUSSELL BARTON BUSINESS NICK RAINS TRAVEL/DOCUMENTARY AND MORE...

WWW.AIPPTHEEVENT.AIPP.COM.AU

NEWS

APPA Judging Schedule Already!

Are you coming to APPA this year? Would you like to plan your weekend ahead of time? And is there a particular category you want to watch? If so, the judging schedule is already available, even before entries have opened! How good is that!

TAGS APPA Awa rd s

10

For most of the AIPP’s leading photographers,

of getting my entries ready, of putting them

APPA has been an integral part of their

in the print case and sending them off. I love

professional lives for a decade or more.

jumping on a plane and travelling to APPA, and

I especially love the first morning when I get to

What always surprises me is when someone

enters APPA just once. I’m not sure what they

see friends and colleages who I haven’t touched

expected or how they can stop, but perhaps

base with for probably a year or more.

the difference between them and me is that I

attended my first judging in person.

were other newbies like David Oliver and Tony

I can still remember sitting up the back of

Hewitt. Now we’re the oldies and we know lots

the darkened room, five austere judges looking

of photographers, but we tend to congregate

learnedly over a parade of absolutely beautiful

with our generation. I see the same thing

prints. And then my print came up.

happening with all those young guys with

funny beards and girls with tiny tattoos.

My heart was in my mouth, I was shaking

At first, the photographers I’d mix with

slightly and I hung on every word they said.

And one or two of my entries earned a Silver. I

event, a happening and it’s what you make

was hooked.

of it. So you choose. Stay at home and watch

it online. Come along and be a wallflower -

However, I’ve entered APPA some years and

APPA is more than a competition. It’s an

earned no Silver awards. Nothing. Zip! Boy, was I

or be brave and introduce yourself to other

bummed (note I am struggling to write politely

photographers while you’re there.

exactly how I felt at the time), but at no stage

did I feel like giving up. If the judges didn’t like

professional photographer, you have to learn

my work this year, then they were certainly

how to be good with people - and APPA is a

going to applaud it next year!

great place to start, for many reasons.

I find APPA addictive. I love the process

If you’re going to be a successful

See you there!

11

NEWS

Should I Grab A Drone Now? CASA has relaxed its red tape for commercial operators of ‘very small remotely piloted aircraft’, meaning professional photographers and video producers can now work for their clients with drones - as long as they are small enough. What does this mean for the profession - good news or does this just open up yet another area for undercutting by backyarders?

TAGS Dro n es RPAs Aer ials

12

From 29 September 2016, CASA (The Civil

below 120 metres and more than 30 metres

Aviation Safety Authority) will no longer require

away from other people, only flying more

commercial operators (meaning anyone who

than 5.5 kilometres away from controlled

flies a drone for business purposes) to have an

aerodromes and not operating near emergency

operator’s certificate or a remote pilot licence.

situations.

This will be of great interest to everyone from

wedding to commercial photographers and

notification system.

video producers.

photographers and video producers, such as

Currently, operating a drone as a

CASA is to provide an easy-to-use online A few questions arise for professional

professional photographer or video producer is

will the quality produced by the smaller, lighter

not allowed unless you also have the necessary

drones be sufficient for their clients, and is

and very expensive CASA paperwork. The new

this an area that we need to get involved with

legislation relaxes these requirements for RPAs

to maintain our relevance in a world that is

that weigh less than two kilograms. ‘RPA’ stands

increasingly in love with the aerial perspective.

for Remotely Piloted Aircraft and replaces the

previous term, UAV or Unmanned Aerial Vehicle.

Skidmore, said “People intending to utilise

the new very small category of commercial

However, if you are using a drone

CASA’s Director of Aviation Safety, Mark

professionally, you’ll still need to notify CASA

operations should understand this can only be

and abide by a set of standard operating

done if the standard operating conditions are

conditions, including flying only in daylight

strictly followed and CASA is notified. Penalties

hours, maintaining a visual line of sight, keeping

can apply if these conditions are not met.”

•

D a r r e n J e w A P P, M . P h o t o g . I I I

13

FEATURES

Lisa Saad’s Insightful and Clean!

So often we relate to photographs that are more than mere records and Lisa Saad APP, M.Photog. III fully understands the importance of generating not only a style of work, but having a reason for each image as well. Read how she has achieved her recent successes.

Lisa Saad is an advertising and commercial

photography should be accessible to everyone

photographer who says she loves to shoot food

and that no one should miss out on the

and people. She’s also a shooting DOP (director

opportunity to work with a professional

of photography) with over 29 years experience in

photographer.

image development, creation and delivery.

analogue media has made me well versed in

“And I’m always on the hunt for unique

photographic briefs.”

“My experience in all platforms of digital and

producing imagery, digital manipulation, branding and campaign requirements, including old school

TWO STUDIOS

techniques.”

“I own and operate two photographic businesses

TAGS APPA Pro f ile

14

from my Melbourne studio.

200+ AWARDS

And Lisa has an in-depth knowledge that allows

“The first, Lisa Saad Photographer - lisasaad.

com, is aimed at high end advertising and

her to serve all levels of cliental including pre- and

commercial clients wanting new and diverse

post-production, casting, lighting and camera

imagery, whist the second, Gotham Studios

requirements, crews, locations, retouching,

- gothamstudios.net, is an online, prepaid

composites, layered effects, cinematography,

photography service that supplies functional high-

video editing and delivery.

end photography to B2B clients across Australia, as

well as a learning and mentoring portal for those

awards for her commissioned and conceptual

wanting to increase their skill set in photography

personal work, both locally and overseas.

and maintain and run a photographic business.

Professional Photographer of the Year, the 2015

“I have always believed that good quality

Over the years, she has won some 200+

“Recently I won the 2016 Epson AIPP Victorian

15

FEATURES

1. The Original File

2. Cleaning Up

LISA SAAD - ANATOMY OF AN AWARD WINNING PRINT We asked Lisa if she would share the steps involved in creating one of her recent award winning prints. As you can see, the image begins with a strong in-camera capture, but from here it is all down to Lisa’s imagination and post-production skills. The final rendition can be seen on our cover this issue.

16

3. Adding Main Elements

4. Adding Mood

5. Final Balance (as seen on cover)

17

FEATURES

Canon AIPP Australian Professional Commercial

35mm film. The original darkroom was very small

Photographer of the Year. I’m also the Australian

and had no running water, so I couldn’t do much

Professional Ambassador for Manfrotto and an

but process film. Nevertheless, I spent a lot of time

Ilford Master.”

in there, dreaming of being a photographer.”

So how did Lisa get into photography?

“I didn’t come from a photographic family,

competitive area and Lisa explains you really have

but from an artistic one. My mother expressed

to know your strengths and be able to sell yourself

herself artistically through painting, handcrafts,

to your clients.

sewing and cooking, whilst my father was more

into drawing, woodworking and building. They

with lots of depth. I do believe that every image

both encouraged my sisters and me to pursue

has to exist for a reason, so each image I take is

and build on our artistic skills, so I spent a lot of my

always composed in the viewfinder and always

childhood painting, drawing and making things

exposed correctly.

out of wood and found objects.

Advertising and commercial photography is a

“My style is insightful, clean and multilayered

“My images are technically correct for the

subject that I am taking and even though they are

ALWAYS A PHOTOGRAPHER

structured with every element placed perfectly

“However, I always knew I was going to be a

according to my mind’s eye, they have an ease

photographer. I remember not knowing the

and breath that makes you want to look deeper

name of what I wanted to do, but when I tripped

because they are familiar, but not familiar, at the

over a camera at a local tip where we had our

same time.”

beach house, I learnt the word ‘photography’ and

18

‘photographer’. I was six years old.

MANFROTTO AMBASSADOR

However, despite her success, Lisa is far from

“I geared my life to pursue this career and I

also knew quite early on that I was not going to

complacent and continues to push her career

be anything but an advertising and commercial

forwards. “I want to embody my moving images

photographer.

into the same realm as my still images. I have so

many ideas and I am really looking forward to

“My father built me a darkroom behind his

garage when I was about ten and that’s also about

making them come to life.”

the time when I discovered that the camera I

found at the tip was still working and that it took

to point out the importance of good support,

As a Manfrotto ambassador, Lisa was quick

19

FEATURES

especially for studio work. She uses Manfrotto

viewer to acknowledge the structures that

190XPROB and 190XB tripods with 504HD and

support this existence.

804RC2 heads. For lighting, she uses Manfrotto’s

1005BAC and 1051BAC light stands and a host of

experience to become personal, as we imagine

umbrellas and soft boxes.

our own journeys through urban space, and the

mysterious journeys of those who pass us by.”

In the camera department she finds herself

“The addition of the figure enables the viewing

using Nikon D3 and D800 bodies with a wide range of Nikkor optics: 80-200mm AF f2.8ED, 1735mm AF–S f2.8 D, 24-70mm f2.8 D-AFS, 105mm

LISA’S TOP FIVE SHOOTING TIPS

AF Micro f2.8D, 14-24mm AF-S f2.8ED, 50mm

1. Always be prepared before you turn up to a

AF f1.8ED and 85mm AF f2.8ED. She also uses

shoot. Read the briefs, make sure your equipment

Nikon’s SB-900 Speedlight flashes and Gary Fong’s

is working and you know how to use it.

Speedlight attachments.

2. Do not overcomplicate things. Keep your ideas manageable and assure you can execute them.

POST-PRODUCTION

3. Always be pleasant and on time, and listen to

“I use Adobe Photoshop to create the images. The

the client carefully

photos accompanying the article are generally

4. Keep to your word and deliver on your promises.

carefully constructed composites surrounding a

Do not say yes to something when you know you

central image which is captured in the camera

cannot fulfil it.

and cleaned up and added to. Hopefully people

5. Enjoy each and every shoot and always make a

see that the images are considered and thoughtful

connection with the person that is in front of the

because what’s interesting to me is that they each

lens.

have a message.

“The Anonymous Man Series is an intriguing

delve into the constructions of our urban

www.lisasaad.com (advertising & Commercial)

existence. Combining an interest in minimalist

lisa@lisasaad.com

lines and dichotomies, the fleeting figure in each

www.gothamstudios.net

image is placed to create a narrative full of intrigue.

(pre paid photographic services)

https://www.facebook.com/lisasaadphotography/

“Without the figure, each image reconstructs

the space of our urban framework, asking the

20

https://www.instagram.com/lisasaad

21

EDUCATION

How To Set Up Lightroom Catalogs If you want to use Lightroom effectively, you need to get your head around a Lightroom Catalog. What is a catalog, what does it do, and should you have just one catalog for all the photos you’ve ever taken, one catalog per shoot, or somewhere in between?

TAGS Pho to s h o p L igh tro o m Tech n i q u e

22

If you’re already using Lightroom, you have

photographer.

already set up a catalog, but is it being used the

most effective way?

photographers, once a job is finished, they

rarely need to look at it again, so creating a

There are two schools of thought about

However, for commercial and domestic

catalogs. One school says every photograph

large catalog with everything ever shot inside

you have ever taken should go into a single

doesn’t make as much sense.

catalog. I would imagine this could be

quite important for a stock or landscape

certainly my approach.

STEP 01

Determine how you work. Are you better off creating a separate Lightroom catalog for each shoot you do? Or do you want to keep a record of every shot ever taken in the one central catalog? The advantage of a single catalog is that you’re not constantly opening new ones, but the disadvantage is you may be creating a giant catalog unnecessarily.

Are multiple catalogs the answer? This is

STEP 02

Where do you locate your Lightroom [Lr] catalog? If you have a single catalog, then placing it on your main hard drive in the Pictures folder is as good a place as any.

If you’re creating a catalog for each job, then you’re better off positioning it inside the folder that will hold all of the images (and possibly edits) taken for that job. It makes it easier to transfer the job later.

STEP 03

STEP 04

STEP 05

STEP 06

When you choose to open a new catalog, Lr asks you to Create a Folder into which it will place the catalog. If you are using a single catalog, you can place the Lr folder in the Pictures folder. If you are using multiple catalogs, give it a name that relates to your job. I use the date and name: e.g.

160430-Canberra. There are variations on how to do it, but this process will work.

If you were to look inside the folder, you will see that Lr has added three files (which comprise your catalog), plus a folder for holding all the preview files. When you import photos into Lightroom, you do two things: Lr copies the photos from your memory card to the computer, and it creates a thumbnail or ‘preview’ file so it can show you the photos you have.

When you view your Pictures folder on your computer, you will see the folder there - highlighted in blue in this example.

Of course, this folder could be called ‘MasterLRCatalog’ or similar if you are going to hold all your photos in a single catalog.

Optionally, if you are going to have one catalog per job, then you would create a new folder for every catalog.

Now, to use your catalog, you need to import your photos and tell Lr where they are going to be stored. Lr makes this process easy. Click on the Import button at the bottom left of the screen (assuming you are in the LIbrary module) and a new Import screen will open up.

Essentially, the Import process will copy your photos onto your computer.

23

EDUCATION

STEP 07

STEP 08

STEP 09

STEP 10

Begin by telling Lr where the photos are. You can use the list of locations in the Source panel or click on the right arrow up the top to open recent locations.

Essentially, this step is all about telling Lr where the photos are currently - and usually this is on your memory card which is attached to the computer by a card reader or inserted into the SD slot.

TAGS Pho to s h o p Tech n i q u e

24

Now we need to tell Lr where to put the photographs and what we want to do to them.

Tick the ‘Don’t Import Suspected Duplicates’ button as this is useful.

We can also tell Lr to make a back-up copy at the same time - use the little arrow to the right to select the location of your back-up files.

In the middle of the Import screen, you tell Lr what you want to do. Normally you want to Copy the files from your memory card to your computer - and Lr is smart enough to know this.

There are other options, such as Copy as DNG, Move and Add. Keep the last two in mind because if you ever want to move the location of your files, you do it in Lr.

There is no need to rename files, but if you want to, you can do it at the time you import them into Lr. Some photographers don’t rename until after they have done an edit, so clients don’t ask where ‘missing’ files are when they see gaps in the file numbering. Have a look at the custom options - there is a lot of flexibility.

STEP 11

STEP 12

STEP 13

STEP 14

If you’re into automation, Lr allows you to automatically correct your raw files with the Apply During Import feature. No, it’s not a perfect solution, but on the other hand, it’s incredibly useful and will save you a lot of work. For wedding and portrait photographers, I’d use this feature for sure, although it can disguise any exposure errors you’ve made during the shoot.

Note that when you type the name of your new sub-folder, Lr adds it into place as a greyed out folder with a ‘+’ sign next to it. This is assuming you are creating a new sub-folder. You may be importing into an existing folder, in which case it will already be there.

It is good practice to check your new folder is in the right place before importing.

Finally, you need to tell Lr where you want to store the photographs. As suggested, choose a sub-folder inside the Lightroom catalog folder.

Tick the Into Subfolder checkbox and type the name of the subfolder (‘Millie’ in this case). Next to Organize, select Into one folder. Make sure the folder with your Lr catalog is highlighted below.

Check your settings again and then click on the Import button. Lr goes to work.

There are variations on this process, so if you’re unsure of what you’re doing, grab a new memory card, take half a dozen shots, and then practice importing. Check after the importing process where the folders are on your computer. If it all makes sense, then chances are you’re doing it right!

25

EDUCATION

Control Light Quality With Light Shapers Last issue we saw how moving your light closer to or further away from your subject changed the quality of the light. In the same way, using different sized and shaped attachments over your light can also change the quality of the light output. There are many ‘light shapers’ to choose from – and they have a dramatic effect on your light.

In the studio, we have full control over the

flattering. Light rays do not reach the subject

quality of our light, if we use the right light

from a single position – they do not travel

shapers.

in parallel. In fact, soft lighting arrives at the subject from a variety of angles and hence to

HARD LIGHTING

produce soft lighting, you need a large light

Light quality basically varies from harsh, hard

source (relative to the size of your subject).

or contrasty to soft and even. Harsh lighting is

very familiar to Australian photographers: the

directions, hard shadows can’t form. The effect

midday sunshine in summer is about as harsh

is very pleasing and, while not necessarily

as you’ll find, followed closely by an on-camera

as dramatic, produces a more appropriate

flash gun. Both light sources are small relative to

rendition in many situations.

TAGS

the subject.

Tech n i q u e L igh ting

Small light sources emit very directional

If light arrives at a subject from a variety of

INBETWEEN

light. The light rays that reach us from the sun

A small dish reflector produces harsh light,

are all travelling parallel to one another. This

while softboxes and umbrellas produce

directional lighting throws hard, directional

softer light. However, in between is a range

shadows. It is contrasty and it can make your

of different light shapers and accessories that

subject look dramatic – like spotlights in a

make harsh light softer (like a large beauty

theatre – or pretty horrible if the shadows are

dish reflector) and soft light harsher (like a

left uncontrolled or are badly placed.

honeycomb grid on a softbox).

However, at the heart of all these light

26

SOFT LIGHTING

shapers is the quality of the light reaching the

In comparison, soft lighting is far more

subject. Is it what you want?

e t a e r c s e c r u o s t h g i l t c e r i e d r , o r e m l l a d n m a S s e n i l w o d s a e h s m r i t e e d r m a o h S . n i k s e h t ff h o t i y w t i t v i c t e c ff e e d refl o o g o t d e s s u a t e o b n n s a i c t u b , this e r u t i a r t r o p . e e r t u a t r i o a r p t r or co p y l i m a f r o f e l b a r i des

B A C K G R O U N D

Note sourc how the to sh e creates s larger ligh adow ofter t highl trans is less itions ight reflec , and t famil t i v i t y y por h o ff t he sk ere traitu in. Fo re, so bette ft is usua r r. lly

B A C K G R O U N D

Subject

H A R D L I GH T N a rrow d i s h re f l e c to r s

Sub jec t

S OFT L I G H T S of t b ox an d u m b re llas

27

FEATURES

Business Psychology For Photographers Vittorio Natoli APP.L, M.Photog. IV spends as much time focusing on ‘business’ as he does on photography. He understands what people want to purchase from a photographer (or a video producer) and what they are willing to pay. And it is this understanding that will help every photographer and video producer’s studio to be more successful.

AIPP national board member Vittorio Natoli is

as he does on his photography.

one of Australia’s most successful professional

photographers, both aesthetically and for his

purchase from a photographer and what they

keen acumen as a business operator.

are willing to pay. And it is this understanding

that will help every photographer’s studio be

Vittorio has taken his single-person studio

and turned it into Viva Photography with ten

He understands what people want to

more successful.

studios in Western Australia and Victoria and over 30 staff.

SYSTEMS IN PLACE

“At some point, I realized that the business

The question I had for Vittorio is, how and

why are his studios successful in comparison

model I was following as a professional

to the average professional photographer who

photographer was replicable. It wasn’t just

struggles to earn the equivalent of the average

about me because other talented people

wage?

could also do what I did. Once I understood that customers would buy from other

TAGS Busine s s Po r trai tu re

FOCUS ON THE BUSINESS

photographers, I saw that I could leverage what

Why are Viva Studios able to command higher

I did by bringing more photographers into the

prices for weddings and portraiture, thus

business. However, I needed a structure and

providing a better income for him, his family

systems to help them - the business model

and his staff?

needed a ‘way’ of doing things.”

I think the answer is very simple: Vittorio

spends as much time focusing on ‘the business’

photographer (and perhaps that is you) doesn’t

Photography by Vittorio Natoli and Viva Photography

28

Vittorio explained that the average

29

Photography by Vittorio Natoli and Viva Photography

30

FEATURES

think too much about streamlining all the

When we talk about systems, Vittorio suggests

things they do as a professional photographer,

that most photographers think of filling in forms

from answering inquiries to importing raw files.

and having a checklist for a wedding shoot.

“Everyone has their own way of doing things

“However, I think it is more fundamental than

and often photographers working on their own

this. What is your purpose as a photographer?

do the same thing in different ways on different

What are you offering and what is your value to

occasions for different customers.

your clients?

“However, you can’t produce a consistent

“For Viva, our purpose is to honour people’s

product unless you have a system that first

lives, values and self-esteem through creative,

works for you and, second, will work for other

beautiful imagery. It’s about giving back to our

people as well.”

customers, to find something that is unique

about the client and telling them through our

Viva Photography takes many commissions

every week, so Vittorio needed systems

images that their life is important and valuable.

for everything that his studio does, from

taking telephone and email inquiries to the

sell. If we were just selling photographs, we’d go

photography and sales sessions.

broke because everyone can take a photograph.

What we’re producing has a much higher value.”

Does a small, single-operator photographer

“Without this purpose, we have nothing to

need systems as well? I think so. Some of these systems will come from experience and habit,

DON’T UNDERVALUE

but the process of actually writing down the

Vittorio acknowledges that many

systems can transform the way your business

photographers are missing this crucial point

operates on a day to day basis.

because they’re ‘just taking photos’ and

undervaluing what they are providing.

However, the bigger picture is also

important. Around Australia there are thousands

of photographers all doing things completely

chains that took thousands of portraits

differently and this is what is challenging us

every year. Their proposition was ‘affordable

most as a profession.

photography’, but with smart phones and

compact cameras, photography today is

If we were more like doctors or lawyers who

“There used to be several large photography

work to similar standards, it would allow us

essentially free and so they went out of

all to increase the value of what we produce

business. There’s no point offering ‘affordable’ if

and for the public to appreciate what a true

it can be obtained for nothing.

professional photographer really is.

“This is why our proposition is so important.

31

FEATURES

Yes, we are professional photographers and

the other brands don’t. As photographers, it’s

we’re providing photographs in exchange for

important for us to understand this psychology

money, but really what our customers are doing

and to tap into our customers’ values.

is buying a part of their life which is incredibly

valuable to them. It’s usually their children or

extra $380? Because we’re selling our clients a

a family event, but we’re not taking snapshots

piece of themselves in a way they haven’t seen

with a phone, we’re creating portraits of

before. As professional photographers, we know

people’s lives.

how to light and pose our subjects, to make

them feel good about who they are, and when

“Let’s say I’m selling a portrait for $400 and

“So, why are our photographs worth the

another photographer is selling his portraits for

you’re in touch with their essence and adding

$20. Where is the other $380 coming from? My

in this extra value, some of your clients will be

portrait has to have $380 more value if I am to

willing to spend $3000, $4000 or even $5000 on

stay in business and that value comes from the

a portrait session.”

purpose I have as a professional photographer.

I’m not just taking a record shot, I am going out

just about photographing a baby, it’s about

of my way to find out all about my customer

the circumstances or the story behind the

so that when I create their portrait, they see

newborn’s family. It’s a subtle but incredibly

something in it that is incredibly valuable to

important difference.

For instance, newborn photography isn’t

them.

“This value could also be in the $20 portrait

HELPING OUR CLIENTS

as well, it’s just that the photographer hasn’t

“The baby might be the love of their life, there

identified it yet.” Or perhaps the confidence to

may have been difficulties getting pregnant, or

charge for it.

perhaps there was some misfortune that makes this birth extremely important. Something that

32

WANTING AN EXPERIENCE

is rare or special for one family might not be so

Vittorio explains it’s all about human

important for another, so we need to identify

psychology. People want an experience. Why

what is valuable to each of our clients. This is

do they purchase a luxury car? It is just a means

why we meet and talk to our clients before the

of transportation with four wheels, so why

photography session. Who are these people

spend five or even ten times more? The answer

and what do they really want?”

is because it makes the customer feel better or

special. It certainly gives them something that

our clients don’t know what’s important to

Interestingly, Vittorio suggested that often

Photography by Vittorio Natoli and Viva Photography

33

FEATURES

them before they have their photography

people and get them interested in it.

session. “It’s our job to find out what they are

looking for by asking questions and being

portrait photography to some extent, but you

interested, otherwise we might be delivering

have to find out where their interest comes

something that’s not required”. Or valued.

from and why it is important to them. Only then

“It’s true that most families are interested in

can you build their desire around what you are

MARKETING NEED

offering.”

“You cannot create a successful portrait

photography business just by putting your

out of business, it was reportedly doing $30

studio name out there. It does not happen.

million a year in sales, but those sales didn’t get

Portraiture is a flat demand curve. Unlike

distributed back into the market, they simply

weddings where there is a deadline date, in

disappeared. This is because PixiFoto created

portraiture the photographer has to create the

the market for its portrait photography services

need. You’re not stealing these clients from

- meaning that unless we are out there creating

other photographers, you’re creating them. Very

a demand for portraiture, it is not going to

few people want a portrait until you create a

happen automatically.

Vittorio also noted that when PixiFoto went

demand.”

34

Customers who spend $5000 on portraiture

PUTTING A VALUE ON IT

don’t just pass your studio and make a booking,

“It’s only when we promote what we are

Vittorio explained. “You need to create a market

doing on social media, put up a banner or

and then build the desire in your customers

tell someone that we find customers who are

to want it. Generally you create a niche

interested.

product, such as baby, teenage, glamour or pet

photography, and within that niche will be a

pay a lot of money, but another at a different

connection with some clients who want what

time may think it is worthless. This is nothing to

you’re offering.

be surprised about because the person buying

our work is the one putting the value on it.

“We have done surveys that show we’re

“One customer will love what you do and

only ever skimming the market. Out of 6 million

They will know if they can’t afford $2000 for a

families, there might only be 200 ready to buy

collection of portrait prints, but if they realise

our product or services at any one time! The

they are buying a tailor-made product that is

percentages are very, very small, so you have to

unique to them, then they are more likely to see

work out a way to show your products to lots of

the value in what you are producing.

Photography by Vittorio Natoli and Viva Photography

“This is a whole process in itself: preparation

give you money for something they can get

of the product or offer, qualification of the

cheaper elsewhere and that’s why we need to

customer, producing the right images that

produce something that is different. They are

meet the customer’s needs so that when you

not taking home a print, they are taking home

deliver the final product, they love it. None of

their life story and the things they value and

this is ever by chance. It is quite deliberate - a

appreciate.”

structured delivery.”

So, what are you selling to your clients?

Just like a luxury car is structured and

deliberate. The product has been carefully

Vittorio Natoli is an AIPP Master of Photography

designed to appeal to its market. “You are selling

with four gold bars. His business Viva Photography

a value and the people buying from you agree

offers wedding and portrait photography in West-

with that value.”

ern Australia and Victoria and is also a franchise

business. www.vivaphotography.com.au

Concluded Vittorio, “People aren’t going to

35

NEWS

Should Big Companies Own Our Copyright?

If you think all big companies, organisations and government agencies are out to get your copyright, there may be a change in the air. Just kidding! The AIPP’s Chris Shain participated in the recent Copyright Law and Practice Symposium 2015, but so far, it’s all just talk. Or will something change in the near future?

What needs to change is that photographers

advance about who’s going to get what and

don’t just give everything away to anyone

under what conditions. Then we will make

who asks! Too often all we’re interested in is

our best efforts to translate that into a legal

getting the job, not the paperwork or the

form, which protects everybody.’ Has that ever

consequences of losing our copyright - and

happened?”

control over our photography.

TAGS Busine s s Advo c a c y

36

The AIPP does what it can to let members

FAIRY TALE

learn and understand the importance of

Most photographers would be laughing at

business matters. The AIPP also advocates on

this questions and while Chris conceded it had

members’ behalf in many ways.

happened, it was a very rare occasion indeed.

For example, Chris Shain is often out

Normally, Chris noted, large businesses,

working on behalf of the AIPP. On this occasion,

organisations and government departments

the chair of the session in which Chris Shain

dictate the terms and conditions of a

AAP AAIPP participated at the 2015 Copyright

photography contract.

Law and Practice Symposium was Dr Simon

Longstaff AO, Executive Director of the Ethics

ask for the contract to be changed before

Centre.

signing, the usual response is to accept the

conditions in case the client looks for another

He asked Chris, “Have you ever had an

And while the photographer can legally

experience where perhaps, in advance of a

photographer.

contract being produced, the lawyers have

sat down, or at least the clients, and said,

“When I get up in the morning, I just want to

‘Let’s agree on the core principles about what

shoot pictures.

we’re trying to give legal effect to. Let’s talk in

Why does this happen? Continued Chris,

“That’s the problem. I’m a creative. I’m not a

•

Simone Hanckel APP AAIPP

NEWS

business person or a lawyer.

reasonable for the client to own these rights

“That’s why I do what I do and that’s why

Now, in some situations it might be quite

most creatives, musicians, writers, film makers,

and if the photographer is being reasonably

painters, you name it, we just want to make our

paid, then that is a fair outcome.

work. Let’s create some stuff that is useful for

society and give us fair credit.”

organisations hire lawyers to write contracts

The problem is that most larger

that simply grab all rights as an opening gambit.

BALANCE LOPSIDED

They may agree to licensing if you ask them, but

“But the corporations want to own the content.

the point Chris and Simon were making is that,

Maybe that’s a worthy thing to go after from

ethically, large organisations shouldn’t be asking

their perspective, but the balance is completely

for more than they reasonably need.

lopsided.”

photographer continues to own the copyright

Commented Simon, “It does seem there

A licencing arrangement where the

is an ethical issue if you’ve got a person who

is more often a fairer outcome.

just wants to take pictures and they are trying

to deal with a highly sophisticated legal

its members are aware of what copyright and

framework which has been developed with lots

licencing mean because too few photographers

of precedents.

are even aware of the rights (and restrictions)

under copyright.

“Even if the agreement is fair, I suspect

And one of the AIPP’s challenges is to ensure

there’s bound to be a bad taste in your mouth.”

GOVERNMENT TURN AROUND?

38

LOSING CONTROL

Interestingly, a representative at the symposium

And yet, Chris added, large businesses

from a government department commented

demanding copyright is a daily occurrence.

that it is no longer their approach to insist

on owning copyright. He also believed that

When photographers hand over copyright

of their images to a client, that means the

licensing rather than grabbing copyright was a

photographer can no longer use those

more ethical approach.

photographs without the client’s permission.

So, no using the photographs on your website

government agencies can be the worst when

or social media to market yourself, no using the

it comes to insisting on owning all copyright,

photos to enter awards. Nothing - unless your

especially when so much of the work is simply

client lets you use your own work.

locked up and never used.

Unfortunately, in Chris’s experience,

•

K r i s t e n C o o k A P P, M . P h o t o g .

39

NEWS

Observed Simon, “That’s a very interesting

don’t want other people using it.

issue. If [the photography] is not actually to be

A third audience member from the

used, then in what sense should you ethically

publishing world added, “Publishers who insist

assert ownership over something in order to

on owning copyright even for works that are

just lock it away, and for it to never be seen

going to go out of print in a year of two, still

again?

hang onto them because it is part of the asset build of the corporation.

COUNTER ARGUMENT

Replied Chris, “That’s often one of our counter

which add value when they try to sell the

arguments in dealing with these things.

company to somebody else.”

We say to our clients, ‘What do you want to

It is hundreds and thousands of licences

Simon concluded that the symposium had

use this for? Let’s set up something that allows

not discovered any particularly good reasons

you to use it’. But generally they come back

for large corporations grabbing copyright from

with, ‘We need to own everything. We need to

photographers and that it was good to see the

own the copyright, we want you to waive your

Commonwealth [government] was moving in

moral rights’ and so on.

the right direction.

Said Simon, “I would argue that’s actually

However, warned Chris Shain, the

poor planning on their part, because they think

symposium has changed nothing for the day

the safe position is take everything”.

to day operations of photographers around Australia. It’s still up to us to look at the

TOO MUCH EFFORT

contracts we receive and decide whether or not

A member in the audience suggested that large

it is in our interests to sign them.

companies and organisations can’t be bothered

with the administration of managing licences.

contract and send it back to your client. You’ll

It’s easier to just own copyright. If you’ve got

be surprised how often they agree to your

everything, you never have to look at it again

reasonable changes.

If it is not, change the terms of the

and you don’t have to manage it.

Another audience member suggested that

for corporations, owning copyright is all about

Chris continues to follow the development of this legisla-

locking other people out of using things.

tion which will no doubt eventually have an impact, one

way or another, on all of Australia and potentially New

If a corporation wanted to create something

to be associated with their brand, then they

40

Zealand as well.

•

Zaharoula Harris APP AAIPP

41

EDUCATION

How To Calculate Your Costs By The Shot How you present your quote and how you calculate it are two entirely separate matters. Here’s how to work out your quote based on the time it will take you, and then how to present the quote to your clients.

If your contact is an employee who is earning

of which we have to deduct all our costs and

$40 an hour (say $80k a year), and you tell him

business expenses. For example:

or her that your photography rate is $200 an

photographers shoot for fewer than 10 - 20

ANNUAL INCOME $144,000 LESS ACCOUNTING $1000 ADVERTISING $5000 CAR $10000 COMPUTERS $3000 ELECTRICITY $1000 EQUIPMENT HIRE $5000 OVERHEADS $5000 PROPS & TOOLS $5000 STUDIO RENT $15000 SUPER $5000 TELEPHONE/INTERNET $4000 TRAVEL $5000 YOUR SALARY $80000

hours a week, excluding holidays, which

Suddenly that $200 an hour doesn’t look

changes the equation somewhat:

so good, does it? But try explaining to your

$200 PER HOUR X 15 HOURS PER WEEK X 48 WEEKS PER YEAR = $144,000 ANNUAL INCOME

potential client that you’re both earning much

your fees before presenting them to your client.

hour, there is often an immediate disconnection between you.

While more experienced people might

understand that your hourly rate is just a means to calculate a fair price, these days it seems more likely that people will simply multiply our hourly rate by a full time job:

$200 PER HOUR X 40 HOURS PER WEEK X 52 WEEKS PER YEAR = $416,000 ANNUAL SALARY

TAGS Busine s s I nvo ici n g

Wow, if only that were true!

The reality is that most commercial

Now, before we get too excited, this is our

total ‘billable’ or gross income for the year, out

the same! It’s much easier not to talk about an hourly rate in the first place – even though you may need to use an hourly rate to work out

The simple fact is that no self-employed

This is general information only. We do not know your specific financial or legal situation and we are not providing you with advice. As such, this article should not be relied upon as legal, financial or accounting advice. Please use this article as a conversation starter with your own adviser.

42

CALCULATE ON TIME BASIS 20 EMPLOYEE PORTRAITS 2.5 EMPLOYEES PER HOUR 8 HOURS @ $187.50 PER HOUR TOTAL: $1500 QUOTE ON PER SHOT BASIS 20 EMPLOYEE PORTRAITS $75 PER PHOTOGRAPH TOTAL: $1500

43

EDUCATION

commercial photographer is behind the camera

have seen photographers who bill out $90,000 a

40 hours a week, 52 weeks a year. On average

year and keep $80,000 as a salary, but this is the

a commercial photographer is shooting one or

exception. It is more usual to bill out $120,000

two days a week, maybe three if they are lucky.

to $180,000 to end up with an $80,000 salary.

However, no matter how many hours a week

The amount you need to bill your clients

you are shooting, you will need to estimate or

each year will equal your salary plus all your

calculate this information to work out your fees.

business costs.

So, our objective is to use our hourly rate to

If you have been in business for a few years,

work out how much to charge our clients, but

you can look at your previous tax returns to get

we keep this information to ourselves. We then

an idea of what you spend and then add your

turn our hourly rate into a cost per photograph

desired salary on top.

to present to the client (and the reasons for

doing this were spelt out in the previous issue

worked full time, I would suggest doubling your

of the AIPP Journal).

salary.

If you’re just starting out or haven’t yet

However, I have intentionally suggested the

STEP 1.

WHAT DO YOU WANT TO EARN AS A PERSONAL SALARY?

figures on the previous page as an aim point, so

Our first step is to simply state what do we want

STEP 3.

HOW MANY HOURS CAN YOU CHARGE OUT?

to earn a year. Let’s make it easy and follow the current example: $80,000.

let’s assume we need to bill $144,000 each year.

If you are a sole-trader or working through

44

STEP 2.

WHAT DO YOU NEED TO BILL EACH YEAR?

a family company where you’re the only

If we want to pay ourselves $80,000 a year, we

washer. However, clients won’t pay you to do

will have to charge our clients more than this

the bookkeeping or your marketing, they only

so there is enough to cover our business costs

pay you for the time you are working for them.

and overheads. How much more can change

depending on whether you work from home,

between one and three days a week. For the

whether you contribute to superannuation and

purposes of our example, let’s call it two days a

how frugal you are with business expenses. I

week.

photographer, without staff, you’re doing everything from managing director to bottle

Most commercial photographers work

•

Antony Watson APP AAIPP

45

•

Benjamin Liew APP M.Photog.

46

EDUCATION

STEP 4.

CALCULATE YOUR HOURLY RATE

The shot rate is calculated as follows:

Grab a calculator and work out your hourly rate

Now you have a rate that is harder for the

by dividing the number of hours you will work

client’s contact to argue with on a personal

in the year into the total you will bill.

level. Whether $75 is within their budget is

HOURS PER DAY X 2 DAYS PER WEEK X 48 WEEKS PER YEAR

= 8 = 16 = 768

Now take the total you need to bill annually and divide it by the number of hours you will be charging your clients.

ANNUAL BILLINGS HOURS PER YEAR HOURLY RATE

$144,000 768 $187.50

$1500 / 20 SHOTS

= $75

one thing, but at least your client isn’t thinking you’re earning $400k a year!

STEP 6.

PRESENTING THE QUOTE OR ESTIMATE When you present your quote or estimate, don’t just send it through with a two line email.

Show your client how professional you are by

Now, that was easy, but what does this mean?

including it in a booking form or a letter.

It means that if you work on average two days a

week for $187.50 per hour, you’ll be able to pay

contracts and agreements that you can use.

yourself $80,000 a year as a salary.

The AIPP website has a number of sample Note that a quote for a job is generally

considered to be a fixed price, so that whether

STEP 5.

WORKING OUT YOUR SHOT RATE

it takes you one day or two, you have commited

So when a client asks you to quote for a shoot,

your first step is to estimate how long it will

so that if the job were far more involved, you

take. Let’s say a job will take one full day, or 8

may be able to charge more than the original

hours. How much will you charge?

estimate. Of course, you may not get another

8 HOURS X $187.50

= $1500

to shooting the job for that price.

An estimate gives you some wriggle room

job from that client if they are not expecting

However, we have decided we don’t want to tell

it, so be clear and transparent in all your

our client the hourly rate, or even a daily rate, so

negotiations.

we convert this amount into a per shot rate.

For example, let’s say the client required

is that if your client now turns around and asks

you to take 20 bottles of wine or 20 corporate

you to take a few extras ‘while you’re here’, you

portraits.

can happily do so and charge them extra!

The good thing about charging by the shot

47

NEWS

Nikon’s D5: The Ultimate Ergonomics?

One thing that more established camera manufacturers like Nikon have is a longevity of camera design experience, so much so that when you pick up the new D5, you just know it’s going to work flawlessly. It feels solid. It handles beautifully. But is the new D5 an essential tool for you?

TAGS Equ ip m e n t Ca mer a s DSLR

48

There are three cameras I place at the top of

its relatively high purchase price?

the ergonomics pot and one of them is the

Nikon D5 (and the Nikon D4/D4s which it

While autofocus has become incredibly

supersedes).

sophisticated, there are few cameras that match

the Nikon in terms of absolute speed and

True, it is a large, professional DSLR and

One improvement is its autofocus system.

some commentators query whether there is a

precision. Yes, some of the newer cameras offer

market for larger, heavier cameras given that

blisteringly fast focusing on paper, but when it

mirrorless designs could shed lots of weight.

comes to tracking a real subject in real life, they

Why break your back unnecessarily?

don’t match the performance of the D5.

Yet other photographers complain about

Nikon has introduced an overhauled AF

the tiny mirrorless cameras being too small to

system based on a Multi-CAM 20K autofocus

hold and feeling like a lightweight toy. Is no one

sensor module, offering 153 focus points, 99 of

happy?

which are the more accurate cross-type sensors,

for dense coverage of the focusing area.

There are so many photographers with

so many differing requirements that there is

However, as with all DSLR designs, the

definitely room for the new Nikon D5, as large

autofocus sensors don’t (and can’t) cover the full

and durable as it is.

area of the viewfinder like a mirrorless camera can.

IMPROVED AUTOFOCUS

However, the D4 and D3 before it were also

who want to use super-telephotos with

highly durable cameras, built to take the rough

teleconverters, the entire AF system now

and tumble of life in a photojournalist’s camera

operates at -3 EV (meaning you get full

bag or on the shoulder of a sport photographer.

autofocus on all autofocus points, even with

What improvements does the D5 offer to justify

a 2X teleconverter on an f2.8 telephoto) and

For sport and wildlife photographers

49

50

NEWS

much improved low light operability. Even

while both Nikon and Canon are crowing about

better, the central 15 focus points operate at

their new super fast frame rates, I’m not sure

-4 EV and will support lenses with a maximum

that in practice it will be a game changer. Don’t

aperture of f8 (any nine points are available for

get me wrong: having 12 frames per second will

selection).

be wonderful, but 10 fps on the D4 was pretty

cool too!

There’s no doubting the speed of the D5’s

autofocus system and with the high number of

individual focus points, you can very precisely

of a new autofocus system with a faster frame

apply focus - assuming you have the time to do

rate. It will certainly help sport and wildlife

so. If not, then the automatic ranging options

photographers capture critically sharp images

for choosing groups of sensors for focusing

at exactly the right point in the action.

come into play.

20-megapixel sensor? Why not 36-megapixels

So, the autofocus is fast, what about the

frame rate?

What is a game-changer is the combination

So why does the D5 only have a

like the D810? Is this a flaw in what is supposed to be a flagship professional camera?

IS 12 FPS ENOUGH? The D5 offers 12 frames per second continuous

LOW NOISE

shooting and can buffer up to 200 14-bit

I have yet to test the D5 for low noise, but

uncompressed raw files (assuming your card

the new 20-megapixel, full-frame sensor is

can write the information quickly enough). This

rated up to ISO 102,400 as a regular setting.

is incredible performance by any standards,

Given how good the D810 is at ISO 6400 with

whether you’re shooting surfing, football or

a 36-megapixel sensor, the D5 seems to be

wildlife.

continuing Nikon’s love affair with low-light

photography.

But some of the mirrorless cameras are

offering up to 30 frames per second by allowing

And you get better low light performance

you to choose a single frame from what is

with a smaller number of pixels simply because

effectively a 4K video feed. Is this what the

each individual pixel well can accommodate

Nikon engineers need to aim for?

more photons of light (non-scientifically

speaking). It’s a matter of physics that has yet to

Personally, I think the difference between 12,

14 or 30 frames is not going to bother too many

be engineered away.

photographers. We’ve been very successful with

less than 10 frames per second in the past, so

20-megapixels? Maybe not, but perhaps I am

FUR THER DE TAILS http://w w w.n i kon . com .au /en _AU/abou t/ produ c t_n ews/n i kon - d5

So is this an excuse for only having

51

NEWS

not the typical users. If we accept that the

The D5 also offers 4K UHD time-lapse movies

D5 is aimed predominantly at news, sport,

in-camera.

wildlife and photojournalist photographers, then 20-megapixels is more than enough and,

CREATURE COMFORTS

since they’re not chasing pixels, Nikon can

On the back of the D5 sits a high-resolution 3.2-

chase low light performance as it did with its

inch, 2,359k-dot touch screen LCD monitor.

revolutionary D3. The D3 re-wrote low-light

camera performance and the D5 appears to be

display monitor enables ‘nimble’ confirmation

continuing in this vein.

and high-speed navigation of a large number

According to Nikon, the touch screen

of images using a frame advance bar, and

52

WHAT ABOUT 4K VIDEO?

supports an efficient workflow with text input

Many news and sport photographers tell

and the like. The high-resolution monitor

me they are being pressured increasingly

provides an extremely clear display with live

to produce small video segments for their

view photography, even when the display is

publishers, so equipping the D5 with 4K video

enlarged.

seems very sensible.

while both are equipped with double memory

Some might wonder why you have 4K video

The camera comes in two versions and

if you only need 20-megapixel stills, so the

card slots, they only support a single media

argument doesn’t fly perfectly.

type, one being for XQD cards and the other for

CompactFlash cards.

However, in addition to 4K UHD

(3840×2160)/30p, 25p or 24p, the D5 also

records HD and Full-HD movies. Alternatively

incorporated and are twice as fast as with the

with a simultaneous HDMI output, movies can

D4S. The Wireless Transmitter WT-6, available

also be displayed on an external monitor or

separately, offers high-speed transfer of image

recorded as uncompressed video to an external

data to a computer or an FTP server over a

recorder.

wireless network, with a maximum range of

approximately 200 metres. Communications are

Now combine this with the camera’s

Both wired and wireless networks have been

maximum standard sensitivity of ISO 102,400,

significantly faster with support for the new IEEE

as well as even higher sensitivity settings up to

802.11ac (2×2 VHT80) standard.

Hi 5 (equivalent to ISO 3,280,000), and perhaps

Nikon is onto something here for recording

along to the The AIPP Nikon Event and see for

movies at these high sensitivities.

yourself!

So, is this the camera for you? Why not come

53

How much do you want to earn in the next 12 months? And how will you do it?

Use Peter Eastway’s free online Photo Income Estimator to find out.

It’s easy to use, no log-in required.

Visit www.betterphotography.com Click on the Menu - Free - Photo Income Estimator Enter your information and see the results immediately.

Don’t spend the next 12 months fluffing around.

Have a look and set yourself some goals! www.betterphotography.com