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Issue 243

Kerry Martin’s Fine Art of Pet Photography... Is The Fujifilm X-Pro2 A Serious Pro Camera? How To Search In Lightroom Should All Professional Photographers Make Prints?

July 2016


Vittorio Natoli, AIPP National President Western Australia’s Vittorio Natoli APP.L, M.Photog. has shouldered the role of AIPP National President with some clear directions for the future and acknowledgement of all the work done by the previous Board.


Mercury Megaloudis - Board Member A passionate photographer, a past AIPP Australian Professional Photographer of the Year, and well known for his zest for life, Mercury Megaloudis APP.L, G.M. Photog. has joined the AIPP Board with the goal of making a difference - and bringing back both education and fun.




David Glazebrook - Board Member

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

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



Let’s build on the aspirational nature of AIPP membership, suggests one of our latest additions to the AIPP Board, Master of Photography and Blue Mountains resident, David Glazebrook, APP, M.Photog.

Facebook’s New AIPP Community Okay, it’s not new, but it’s brand new! And it’s a member-only benefit where AIPP members can talk to other members in the privacy of their own Facebook Group. Peter Myers explains.

ISSUE 243 / JULY 2016 14

The ABC of Pet Photography Kerry Martin APP, AAIPP of Akemi Photography was the 2015 AIPP Australian Pet/Animal Photographer of the Year, so she has a few ideas about what it takes to get the most out of her subjects. Here she reveals some of her hard earned ‘secrets’ for capturing expressions that sell.


Knocking The Productivity Commission

28 36


Real Photographers Make Prints Here’s a challenge for the photography profession: To be a professional, you need to offer your clients prints. If you can’t have prints made from your files, then you need to update your skills so you can. Without the ability to make prints, our profession will never survive!


If ever there were an example of bureaucracy taking a wrong path, it is the recent Productivity Commission’s report on suggested changes to copyright. As Chris Shain APP points out, this report must be stopped!

Joshua Holko On APPA Did you hear about what happened at APPA? APPA is the most discussed event in the AIPP and everyone has an opinion. Joshua Holko APP M. Photog. chats to Peter Eastway about a range of issues, from judge training to reining in scores for multiple images.


Locating a photograph needn’t be like searching for a needle in a haystack – if you follow a few simple steps with Lightroom. However, Lightroom requires text, words or ratings for its search function to work its best, so start by providing this information when you import and edit your images – and then searching is easy! Here’s how it all works...

Broad & Short Lighting

Why Do Prints Score Less At Nationals? From time to time, a print with a great score at the Epson State Awards will get a lower score at the national APPAs. If we’re supposed to have a single Australian standard, why does this happen? Is it normal? And who is right?

How To Easily Search In Lightroom


Now that we understand the terms ‘broad’ and ‘short’ lighting, when do you put them into effect? The answer depends on what you want to create as a photographer, but these examples will give you a quick idea of what – and what doesn’t – work so well!

Fujifilm X-Pro2 – Is It Professional? The new breed of mirrorless cameras have most of the features of a fully blown DSLR, but less size and weight. Are they only designed for enthusiasts, or are they now truly contenders for a professional photographer’s camera bag?



Vittorio Natoli, AIPP National President Western Australia’s Vittorio Natoli APP.L, M.Photog. has shouldered the role of AIPP National President with some clear directions for the future and acknowledgement of all the work done by the previous Board. It is a great honour to take on the role of

office, state divisions and the many committees

National President of the Australian Institute of

and sub-committees who volunteer their time

Professional Photography.

and efforts to nurture our organisation.

I look forward to continuing the task

of promoting and building what is already


the peak professional body in Australia for

I would like to specially mention our past AIPP

photographers and video producers, and

National President, Ross Eason, and to thank

recognising the needs and interests of

him for his tireless efforts. He has navigated us

professional image makers in every genre.

through some challenging times and the AIPP is the stronger for his guidance and advice.

TAGS AIPP B o a rd


As custodian of our AIPP brand, I am passionate

was ably supported by our past Chair Felicity

and enthusiastic about supporting the

Biasi, board member Melissa Neumann, ACMP’s

membership, those entrepreneurial women

Richard Weinstein and co-opted Board Member

and men in their chosen fields of specialisation,

Bruce Williams. I’d like to thank these stalwart

delivering quality imaging to the greater public

members for their invaluable service.

and increasing the awareness of the value of

our services.

Lyons, along with Rocco Ancora and Melinda

Comerford, are now joined by Mercury

As image makers become more optimistic

Our veteran national board member Kylie

about our value to society, industry and the

Megaloudis and David Glazebrook to complete

arts, our combined strength will continue to

our Board of six, a Board that in turn is reliant on

be a shining light for our membership and the

the support of our hard working National Office

photography profession generally.

staff and our executive officer, Peter Myers.

I am very excited to be working with the

AIPP Board, the executive team, our national


Of course, Ross was not working alone. He

And I would be remiss not to make mention

of the Board’s special advisors, Rochelle Morris

for the professional video producers, and Chris

with many issues that are challenging us today,

Shain for his work in copyright and IP.

such as our position in the market, the services

and products we provide, and the high level of

Moving forward, the AIPP Board is

committed to increasing the benefits for

professionalism required.

our members through the highly successful

Accredited Professional Photographer program,

and the knowledge. All we need to do is use

ensuring the logo is promoted widely to the

it. Please familiarise yourself with the many

community so it becomes the recognised mark

educational resources my predecessors have

of a true professional, thus further increasing

established on the AIPP website, because it

our credibility and value.

is only with this knowledge that we can be

Collectively, we have the skills, the advice

successful in the future.

SUSTAINABLE MODEL In terms of delivering member benefits, I


would like to acknowledge the ongoing

In the meantime, I am looking forward to

support of sponsors and trade affiliates. Their

meeting more members and continuing to

assistance is greatly appreciated and I hope we

grow and improve our Institute.

can demonstrate this through our continued


or The Event which is being held at the end of

August in Melbourne. If you haven’t yet booked

Our National Office has achieved a great

My first opportunity is likely to be at APPA

deal over the past few years and while we

your tickets, may I suggest you do so now!

have progressed greatly with our internal

We have an amazing program of inspirational

organisational structure, it has not happened

speakers - and that follows the equally amazing

without challenges to our culture and our

Australian Professional Photography Awards.

profession. Technology changes have also been

See you there!

disruptive, requiring our attention, but we have more than survived. We have established an independent and sustainable model which will enable our future success.

0400 418 888

As your representative, I will work with all

our stakeholders to ensure the interests of the profession are maintained and promoted.

I realise that we, the AIPP, must take the lead



THE EVENT elbourne 2016 NIKON AIPP


27th August-31st August 2016



31 AUGUST 2016 ST




27th August-31st August 2016


27th August-31st August 2016







Mercury Megaloudis - Board Member A passionate photographer, a past AIPP Australian Professional Photographer of the Year, and well known for his zest for life, Mercury Megaloudis APP.L, G.M. Photog. has joined the AIPP Board with the goal of making a difference - and bringing back both education and fun.



Mercury knows that the AIPP has changed.

in a different direction, but from Mercury’s

When president of the Victorian division, his

perspective, the Institute is all about contacts

thing was to do a monthly newsletter, run a

and friendships. He wants to retain them.

monthly meeting and put on a great state

awards. “If you did that, everything just worked”,

are leaving is that the creativity and fun have

he said.

disappeared. It’s something the NZIPP has

rediscovered and I think that’s what we have to

However, today he believes the Institute

“I think one of the reasons these members

needs a change in direction and he’s taken

do, too.”

some leads from the NZIPP’s national president,

Katherine Williams - who coincidentally has just

Institute isn’t only about fun. In addition, there’s

won the 2016 NZIPP Professional Photographer

an invaluable exchange of advice that makes

of the Year Award.

the difference between success and failure.

“Recently I spent five hours with Katherine.

However, Mercury fully understands that the

“When I was a young photographer, I’d

We were driving to a wedding in the country

attend seminars by international photographers

and for most of the trip, she was organizing

like Monte Zucker and Anne Geddes. Not only

the NZIPP awards, liaising with sponsors and

did they show you how they created great

working out what meals everyone would have.

photographs, they gave you material on how to

She was completely hands on and she inspired

market yourself and how to bring work in.

me so much, that I put my hand up to join the

AIPP Board.”

type of education today. I’m told many new

photographers only last three to five years in

Mercury has already given a lot to the

“I don’t think there is enough of this

Institute, but he was concerned that many

the industry and that’s partly because we’re not

of his friends were leaving. Some of them are

teaching them enough about business.”

simply retiring, others saw the Institute moving

We welcome Mercury to the Board!

Mercury’s experience and expertise as a wedding and portrait photographer can be seen above in the perfect placement of his light in a day-to-day portrait sitting. The studio is not dead - in fact, it is making a strong comeback! 9


David Glazebrook - Board Member Let’s build on the aspirational nature of AIPP membership, suggests one of our latest additions to the AIPP Board, Master of Photography and Blue Mountains resident, David Glazebrook, APP, M.Photog.



One wonders what tempts David to ever leave

see this new reality as a problem as long as all

his home in the beautiful Blue Mountains,

members run their businesses professionally.

just outside Sydney. Yet you’ll often find him

“The AIPP needs to embrace the changes

travelling to photograph weddings, commercial

happening within our profession so we can

jobs and landscapes. And now you’ll also see

remain relevant.”

him travelling to AIPP Board Meetings!

David is one of our two new AIPP Board

standards in any way. “I want membership of

Members. He has a strong association with

the AIPP to be aspirational. If you’re in there,

his local NSW division and he is a passionate

it’s because membership has a value. It has

supporter of APPA. Himself a Master of

knowledge, education, financial benefits and

Photography, he has been picking up Silver

camaraderie. If you’re going to have a crack

and Gold awards since 2011 and was awarded

at becoming a professional photographer,

the AIPP NSW Science, Environment & Nature

whether parttime or fulltime, joining the AIPP

Photographer of the Year in 2013.

should be an essential step. And just because

you only shoot on the weekend doesn’t mean

However, David has a good balance

However, that doesn’t mean a lowering of

between his passion for photography and

you should only charge half price - we need the

seeing photography as a business and as his

public as well as our members to understand


the value of what we produce.”

“There’s no doubt the profession has

David sees great opportunities for

changed dramatically in the last five years or

helping members to be better with their

so. I think the AIPP may once have been seen

pricing, negotiating and creating a product

as a ‘boys’ club’, but now there are more female

that separates them from non-professional

members - and there are also more parttime

photographers. “With the Board’s help, I’d

members than fulltime.”

like to add to the aspirational nature of AIPP


Whether fulltime or parttime, David doesn’t


David Glazebrook APP M.Photog.



Facebook’s New AIPP Community Okay, it’s not new, but it’s brand new! And it’s a member-only benefit where AIPP members can talk to other members in the privacy of their own Facebook Group. Peter Myers explains. According to the AIPP’s Executive Officer,

having their own separate groups with limited

Peter Myers, “The Board has always grappled

reach, we have created a new AIPP national

with the AIPP’s presence on social media and

group – the AIPP Community – with a national

how we deal with different types of posts and

reach to every member of the AIPP.”


AIPP members, including educational and trade

“Around six years ago we began with the

AIPP National Facebook page and that now

partners, will have access – and that’s why Peter

has around 24k followers. It has a fairly active

is calling it ‘the AIPP community’.

following, too, and is a good platform for the

AIPP - but it is also completely public.”

have received an email inviting you to join (If

Seeing how successful the AIPP National

not, check your Trash folder or contact National

Facebook page was, most of the state councils

Office). Members will have access for as long as

and committees also set up their own

they are financial members of the AIPP – lapsed

Facebook page. “Even Eric Victor has his own

members will be removed from the group.

AIPP mentoring group page on Facebook”,

explained Peter, “which is great in one way,

communication to members only, something

but challenging in another because all the

we haven’t been able to do before. There will

information isn’t available in the one place.”

be guidelines, of course, but essentially the

TAGS AIPP Faceboo k Co mm u n i t y


The AIPP Community is a closed group. Only

If you are reading this, you should already

“It allows us to lock down the

new group can be used for anything a member


wants to discuss.”

“The world of community and group forums

has changed in recent years and by default,

member, simply search for and visit the AIPP

Facebook appears to have replaced the old

Community on Facebook. Join up! Then

fashioned forums and bulletin boards. However,

bookmark the page in your browser and add it

rather than every state council and committee

to your favourites in Facebook.

So, how do you get involved? If you’re a



The ABC of Pet Photography Kerry Martin APP, AAIPP of Akemi Photography was the 2015 AIPP Australian Pet/Animal Photographer of the Year, so she has a few ideas about what it takes to get the most out of her subjects. Here she reveals some of her hard earned ‘secrets’ for capturing expressions that sell. Kerry Martin specialises in capturing the

Kerry says she has photographed dogs and their

connection that animal companions, specifically

people in a variety of locations and finds that

dogs, and their humans share. And when you

by choosing exciting environments, such as the

hear how passionate she is about her subjects,

snow for her Aussie Snow Dogs Retreats, she’s

you begin to understand why her clients love

able to capture a variety of emotion, light and

her work and refer her too.


TAGS Pets Animal s Po r tfo li o


“I photograph in my Melbourne based

studio and offer on-location and destination


photo sessions. This approach gives me great

“Dogs seem to enjoy my company, as much as I

flexibility with the dogs that I photograph – to

do theirs, so we work well together. Throughout

capture their personality, the things they love to

my career, I’ve learnt that some dogs need a

do with their people and to customise what my

quiet and calm approach, while others thrive

clients would love to have at the end.

on enthusiasm to get the best out of their

photography session.”

“I approach my photography as a dog lover,

so the most important part of my photography

is meeting with the dog and their people,

she always had pets and animals around her as

learning as much as I can about them, their

photography subjects. Throughout her twenties,

connection, the time they spend together and

she travelled quite a bit, including hiking the

the ‘must have’ photos.

battlefields of Turkey and remote parts of Papua

New Guinea, and seeing the contrast between

“I also discuss the type of photography or

Kerry grew up on a five acre property, so

finished art that they are looking to enjoy when

imperial and communist Russia and so much

they display the results on their walls. All of this


information helps us plan their unique photo


am mostly self-taught and began taking photos

“A camera was a must-have for these travels. I

Bernese Mountain Dog, Alfie. Photography by Kerry Martin



for friends and family. After a few photography

“That’s when I founded Akemi Photography

sessions that included dogs and pets, and with

and chose to specialise in pet photography.

welcoming my own dog into the family, I soon

realised pet photography was my happiest

evolve my photography and I’m constantly


reading about other photographers’

“I am always looking for ways to grow and

Old English Sheepdog, Douglas. Photography by Kerry Martin. Gold with Distinction. Cropped slightly here to fit the layout.

experiences and tips to setup and create

photograph any dog, my favourite place for

beautiful photos.

photography is in the beauty of a snow covered

alpine environment. It’s wonderful fun and

“While I love the opportunity to meet and



my clients love the photos. Not only do they

shoulder bag for carrying her gear about. “It

have their dog captured in a great location, but

depends on where I am going and what I need

they also have the memories of the experience

for the photography as to which bag I use for a

of heading away together to somewhere so

particular session.


“The other essential gear is what I use to

work with the dogs – anything that is going to


help capture their attention – treats, squeakers,

Certainly Kerry has nailed her technique as

balls. I always have a long leash which is

evidenced by her recent competition successes,

essential if a dog has a tendency to not come

including the 2015 AIPP Australian Pet/Animal

back! Their safety is paramount and a leash can

Photographer of the Year.

be removed in post-production if necessary.”

Her photograph of an old English sheep

Back at the office, Kerry has a dual screen

dog named Douglas (photographed in the

Mac and a MacBook Pro for work on location.

snow - see previous page) was announced as

She uses Lightroom and Photoshop for her

the highest scoring print in its category and


one of only a handful of prints to be awarded a


Gold With Distinction at the Awards that year.


She more recently won the 2016 AIPP Epson

The photos accompanying this article are

Victorian Pet/Animal Photographer of the Year.

both Kerry’s day-to-day work as well as some

personal work.

“My camera gear is all Canon. I use the EOS

5D Mk III and a mix of lens. My favourite lens

in the studio is the 35mm because it’s a good

have four seasons. On location, I am looking

focal length for my set up and it’s super quick to

to combine the beauty of a seasonal location

focus which you need when working with dogs.

with my gorgeous subjects. It’s the snow in

winter, but there are flowers in spring, falling

“On location, I love to mix it up between the

“Being based in Melbourne, I love that we

16-35mm for capturing fun and quirky wide-

leaves in autumn and water and beaches in

angle photos, the 135mm for beautiful soft

summer. In the studio, I love to use colour

backgrounds and the 70-200mm for capturing

to catch attention, perhaps a contrasting

the action.”

colour to highlight the dog’s coat colour, or a

complimentary colour to draw attention to their

In the studio Kerry has Elinchrom flash

heads and modifiers, and she says she loves

eyes or another feature.

both her Lowepro backpack and Crumpler

“As a dog lover myself, I look for experiences

When the opportunity arises, I like to take profile photos of rescue dogs to help them attract the attention of potential adopters. It’s a valuable photography practice and an opportunity to build my understanding of dogs. Lucky, the puppy in this photo, has quite significant scars on his back. I don’t know how he got them, but it was heartbreaking to see such a young pup and to know that he had already experienced pain and cruelty in his life. He was incredibly timid and I had to approach working with him in such a way as to build his trust, in order to take photos that gave him the best opportunity to find a home. It has a happy ending though: beautiful photos and Lucky has found himself a forever home. Photography by Kerry Martin. 19

Above: Australian Shepherd, Barkley. Below: “Alfie and Pippa were looking to their human to throw the ball but lined up perfectly in doing so which gave me the opportunity for this photo. I love how perfectly their body shapes match and, of course, the beautiful sunset at the snow.� Photography by Kerry Martin.



Photography by Kerry Martin.

and photography opportunities that I would

“Following the wonderful results and

enjoy with my dogs and that I think other

feedback from the Snow Dogs, I was inspired to

dog lovers would want to have captured

launch destinations for all four seasons.

as memories, so sunrise and sunset create beautiful lighting and skylines for photography.


“I often take my dogs to places or on walks

“Scheduling sessions is important. The best

where they get the experience and the exercise,

times are first thing in the morning or just

but I can also see if there’s photo potential.

before and after sunset. If there’s no option

“I was the first photographer in Australia

but to work in the middle of the day, then I am

to offer Aussie Snow Dog Retreats specifically

hopeful for some cloud cover or nice areas of

for photographing dogs, their people and the

open shade.

experience of the visit.

is intentionally simple because when working

“The photography captures the connection

“My studio set up and lighting technique

these clients have with their dog and every

with dogs, there is a limited window in which

time they look at the photos, it reminds them of

they are interested and responsive to what I am

the fun and experience they had in visiting the

doing. If I were fussing with lighting equipment


during a session, I would be missing the



moments way too often. “I do minimal post-processing in Lightroom, while more major jobs such as removing objects such as leashes or background cleanups are done in Photoshop. I frequently use the Nik and Totally Rad Lab plugins to quickly enhance my photos in Photoshop.” Kerry says she also uses three or four Lightroom pre-sets that she has developed for different environments to speed up her postproduction. “I run these as I import the files and then tweak from there as required.” And at the end of the process, Kerry offers a personal preview and artwork consultation for her clients. “At this appointment I show my clients a gallery of photos that I have prepared for them (all are edited) and some wall art design ideas based on what they indicated they would like at their earlier design consultation appointment.” While Kerry is undoubtedly passionate about her subjects, she seems equally aware of the importance in setting up a structured business that is also designed to support her. Kerry Martin Akemi Photography Website: Email: “My Japanese Spitz, Keiko, taken in the Sugar Pine Forest near Batlow, NSW.” Photography by Kerry Martin.


Facebook: Instagram:

Photography by Kerry Martin.



The AIPP At Work

Knocking The Productivity Commission If ever there were an example of bureaucracy taking a wrong path, it is the recent Productivity Commission’s report on suggested changes to copyright. As Chris Shain APP points out, this report must be stopped! The Productivity Commission’s Draft

Recommendations on intellectual property

Copyright Act works okay as it is right now.

arrangements appear to be ideologically

Consumers can make a copy of their DVDs and

driven, designed to protect consumers and not

school kids have very fair access to copyright

creators, and if implemented, would be very

material, so what problem is the Productivity

detrimental to the livelihood of AIPP members.

Commission trying to solve?”

On 27 June 2016, Chris Shain attended

Busine s s Advo c a c y


One of the suggestions from the

a public hearing hosted by the Productivity

Productivity Commission was the introduction

Commission where he and several other

of ‘fair use’ along the lines of the provisions in

representatives put forward their contrary

the USA today. However, if there’s one thing

views. It’s not just photographers who would be

that fires up photographers who understand

affected, but everyone from authors with books

copyright, it’s how damaging ‘fair use’ is to our

to big businesses with patents.



Explained Chris to the Commission, “The

Continued Chris in his presentation to the


Commission, “Photography is a very widely used

At the heart of the problem is the apparent

creative medium. There is an insatiable appetite

desire by the Commission to protect

for good quality visual material in the online

the consumer and drive down prices for

world, but not all photography is equal. There

photography, music and literature. Funny, $10

are many examples of significant moments

for a book or $2 for a song doesn’t seem too

in history that are marked very strongly

expensive in the first place? Compare what

and effectively by a professionally captured

creative people provide with the cost of a cup

photograph and our society would be a much

of coffee and it is ludicrous to suggest that small

poorer place without images like these.

time creatives like professional photographers

are gouging the public.

sourcing of news imagery is widely used,

“Today everyone has iPhones and crowd


R o b e r t P i c c o l i A P P. L M . P h o t o g I V F A I P P


The AIPP At Work but even so, if our society wants to record

against Prince. However, how many

something properly, from a new bridge to a

photographers have the time or the financial

stillbirth, then a professional photographer is

resources to contest a case like this? And the

called in.”

fact that an artist like Prince is trying to rely on

the ‘fair use’ provisions indicates how fraught

If the ‘fair use’ provisions were brought

into Australia, there is a genuine concern that

the legislation is.

copyright creators could lose up to $1 billion

a year in revenue - and some of that would be

photographer, freelancing for 40 years and my

lost by professional photographers.

income is based on my ability to control the

Said Chris Shain, “I’m a working professional

copyright in my work. There are many situations

Fur ther I nfo Yo u ca n re a d t he Pro d u c ti v i t y Co mmissi o n re po r t here: http:// w w w.p c. g ov.a u / in quir ies /c u r re n t/ in tellec t u a lp ro per t y /d r a f t Th e AIPP ’s resp o n se c a n b e fo und h e re : http://w w w. p / in quir ies /c u r re n t/ in tellec t u a lp ro per t y / su bmissi o n s #po s tdraf t



in which copyright is the ONLY way I can make

According to the U.S. Copyright Office, ‘fair use’

money from my work.”

promotes freedom of expression by permitting

the unlicensed use of copyright-protected

explained, would make it too easy for people

works in certain circumstances - such as

to use photographs without permission – and

criticism, comment, news reporting, teaching,

without any likelihood of being taken to court

scholarship and research.

by the photographer because the outcome

would be so uncertain.

However, this is such a vague definition that

Introduction of the ‘fair use’ provisions, Chris

it is difficult to prove that unlicensed use isn’t

‘fair use’, thus opening the doors for anyone to

to confuse large corporate companies who

use any copyright-protected material.

demand to own copyright and small, individual

creators, who also need to own copyright.

Take the experience of Australia’s own

Chris added that the Commission seemed

Peter Coulson. His photograph of model Alice

Kelson, posted by Kelson on Instagram, was

recommendations are trying to give consumers

appropriated by US based artist Richard Prince

free and uncomplicated access to content on

and exhibited as part of Prince’s exhibition. In

their phones and screens, but this is incredibly

fact, Prince had used 37 Instagram images for


the exhibition and one was reportedly sold for

over $100,000.

affected by these proposals because they will

limit my ability to earn an income.”

Suffice to say Peter Coulson was not happy

“It appears many of the Commission’s

“As a small time content creator, I’m equally

and nor was another photographer Donald

The Productivity Commission has yet to

Graham who is currently in legal proceedings

respond to the June round of presentations.


Jonas Peterson



Joshua Holko On APPA Did you hear about what happened at APPA? APPA is the most discussed event in the AIPP and everyone has an opinion. Joshua Holko APP M. Photog. chats to Peter Eastway about a range of issues, from judge training to reining in scores for multiple images. With APPA just around the corner, many

image entry in a sea of single images, but

questions and issues are raised on social media

should they be looking past the presentation to

and in general conversation alike. The AIPP

the quality of the photographs themselves?

Journal had a chat with Victorian nature and

wilderness photographer Joshua Holko, sharing

me, so I made a series of photographs of a polar

his thoughts on some of the challenges facing

bear I had photographed with a motor drive,

entrants and judges alike.

in slightly different positions, and printed them

“This aspect of the Awards really interested

up as though I were entering them to APPA. I

TAGS APPA s s Busine Advordc as c y Awa Co mpeti ti o n Ca tegor i e s


asked myself, ‘Does this series add to the story,

There has been a trend in recent years for

multiple images to be scored highly, perhaps

does adding one or two more images make the

more highly than the photography in the

presentation any better? What happens if we

individual photos deserves. Is this a reasonable

add in ten or twenty? Given APPA is all about


photography and not graphic design, I think in

most cases the single image should be strong

Suggested Joshua, “We’re all looking for

“If an image isn’t strong enough on its own,

new ways to present our work that is unique

enough on its own, or if multiple images are

and different, and that’s great, but it doesn’t

presented, then they should all be strong.”

automatically mean that it is good. If a group of photographs on a matte are mediocre


individually, should they score highly because

Joshua suggested that one of the best things

of their graphic design?”

an APPA entrant can think about is what they

want to achieve from entering.

It is only natural that judges will have their

interest piqued when presented with a multi-


or should one photograph be enough?’

“Very often at the preliminary critique nights,

Photography by Joshua Holko


I’ll hear a judge complimenting a would-be

a collage of 36 or so photographs, but a story

entrant’s photograph by suggesting that the

about the best one.

client would love it, but it won’t win an award.

“APPA is not rewarding what we do daily

is critically important, and this worked for me,

for a living”, explained Joshua. Given these are

but there were also instances where a group

‘professional photography awards’, one might

of average photos seemed to be rewarded for

expect that this is exactly what APPA should be

graphic design, not photography. I’m not sure

rewarding - and it does. A score between 70

the judges got this quite right.”

“How we present our work to the judges

and 79 gives entrants the feedback that they


have produced a professional quality image.



All photography is subjective, but in the context

But it’s not an ‘award image’. An award

of a professional awards system, there are some

image is not only professional in quality and

basic aspects of craft and technique that must

presentation, it has another level of creativity

be satisfied. You have to achieve a high standard

and impact that sometimes impresses other

of exposure, focus, lighting and presentation. It

photographers more than our clients. It is an

is expected. From here, it comes down to the

aspirational award.

experience of the judges in placing an entry

into the context of contemporary photography.

Continued Joshua, “Many entrants are

creating photographs specifically for the

Based on all the other photographs entered

Awards - and that’s not necessarily a bad thing.

into the Awards this year and in previous years,

However, it also means that good quality

where does this entry sit?

professional work is not always going to be

enough to earn a Silver”.

huge responsibility. It’s not only an honour, in

some way’s it’s a burden because you owe it to

However, Joshua is the first to acknowledge

Added Joshua, “Being an APPA judge is a

that there can be times when two or more

the entrants to do a proper job. As a judge, you

photographs are certainly better than one.

need to familiarize yourself with the work of

“There was an entry last year, presented like a

previous years, and also more widely around the

proof sheet with 36 images and the best one

world in the genres you will judge. At the very

circled in red. I thought this was clever because

least, an APPA judge should go through the

the photographer have given some thought

previous year’s Awards (either online or in the

on how to present his best work. It wasn’t just

book), so they can get a feeling for where the

Judge's Assessment Guide Gold with Distinction

100 99 98

Exceptional vision, creativity and innovation. Remarkable technique. Encompasses excellence in all assessment criteria.

97 96 95 Gold Award

94 93 92

Outstanding visual communication, interpretation and emotional impact. Remarkable technique.

Judge Assessment Criteria • Communication and narrative skills • Imagination • Innovation • Visual and emotional impact • Technique • Lighting • Composition & image design • Timing, anticipation • Processing, post-production and presentation

91 90 Silver with Distinction

89 88 87

Professional excellence. Superior visual communication, imagination, craft and skill.

86 85 Silver Award

84 83 82

Exceeds normal professional practice, with high levels of communication, imagination, craft and skill.

81 80 Professional Standard


Approaching award level

78 77-70 Average to very good professional practice, but does not meet AIPP Award criteria.

Approaching 69-60 Meets professional standards in some areas, but needs work in Professional others. Entrant is on the way to Standard achieving a professional standard. More Work Required

59-50 Does not yet exhibit the basic standards required of professional practice.


Professionalism A high standard in: • Exposure • Focus • Colour • Lighting • Posing and styling • Composition and image design • Attention to detail • Post-production • Printing • Presentation


Photography by Joshua Holko 32


standard lies, what has been done before, what

“However, I do get irked when I see images

is new and different.

that are a composite, but they are not disclosed as such. For instance, you see a beautiful


photograph of Patagonia with some amazing

“How can I as a judge give honest feedback

clouds, but it’s not disclosed as a composite. It’s

unless I am familiar with what’s happening in

important for us to be honest with our viewer.

photography? I owe it to the entrant to have as much knowledge as I can.


“In the landscape category, there used to be

“At the State Awards, we have a smaller pool

of judges and I think that accounts for some

a distinction between composite and non-

of the differences in scores between State and

composite images, but that has gone now.

National awards. However, just because you’re

However, as a judge, I want to know what I am

a Master of Photography doesn’t automatically

looking at, whether something is a composite

give you the right to be a judge. I believe that

or a single image because it makes a difference.”

first you need to demonstrate a strong core

knowledge of the genres you want to judge.

that this is why there are different rules for

“We have recently had judge training and

different categories. For instance, composite

that is great, but I think it was more focused on

landscape are not allowed into the Science,

mutual respect while the big issue of judges’

Wildlife and Wild Places.

knowledge remains underplayed.”

we agreed that judges can’t take into account

Judges are invited onto a panel because

And it certainly does, but Joshua concedes

“In conversation with Darren Jew recently,

they add to a collective pool of experience and

the degree of difficulty in capture. If I shot

opinion. Not all judges think the same way and

a polar bear after 10 minutes or five days,

that’s an important part of the system. That’s

how could a judge know by looking at the

why there are five judges, not just one.

photograph? I think all a judge can do is assess

“Personally, I think we are in danger of being

what is put in front of them - and that’s why

tagged the Australian Photoshop Awards. I think

it was helpful to know whether images were

it would be unfortunate for us to be seen in this

single captures or composites.”

light because surely we are photographers, not

re-touchers? This doesn’t mean I don’t have the

judges to remove their biases completely, but

greatest respect for what other people do, but I

judging a print isn’t a matter of ‘liking’ or ‘not

am very much an in-camera artist.

liking’ it.

Joshua noted that it can be difficult for



“At a critique night recently, I was presented

look back on photographers like Richard

with a birth category entry which, for me, was

Woldendorp as being the father of aerial

very confronting. It’s not something that I ‘like’,

photography, more recently it was Jackie

but the image was incredibly powerful and I

Ranken with her lith printed aerials taken while

scored it a Silver with Distinction. As a judge, it’s

upside down in her father’s biplane (Jackie won

really important to remove the ‘like’ and ‘don’t

the 2002 Australian Professional Photographer

like’. We’re there to see if the photographer has

of the Year with this series, followed up in 2005

demonstrated a level of skill above professional

with the AIPP Australian Photography Book of

standard. Have they taken that next step into

the Year).

Award territory - even if we don’t like the


Hewitt’s highly coloured, square aerials in 2013

and the ND5 group’s 2014 AIPP Australian

“When I sit on a judging panel, I like to look

Jackie was followed more recently by Tony

at the score descriptions because they remind

Photography Book of the Year of aerials

me what I am looking for in a photograph. It

photographed above Shark Bay, so while the

can help when you’re presented with images

rush of aerials in following years has produced

that are very ‘popular’ or ‘trendy’.

some beautiful work, how should it be scored at


“For instances, over the past few years there

have been many aerial photographs winning

“It’s tough because, as entrants, you’re

awards and many of them are breathtakingly

putting in work to be assessed by your peers,

beautiful. However, as a judge I have to ask

by other professional photographers who are

the question: does this entry demonstrate any

widely read and experienced. It can be really

real creativity, or is it just a snap out of a plane

hard to find something that’s new and different.

window? It’s an interesting question and you

can only answer it on an image by image basis. I

the Awards in the first place. Sit back for a

score it highly if it displays exceptional creativity

second and consider why you are entering - or

and is unique, but a lower score if it only

not entering. If you want kudos from winning

displays something that has been done many

awards, I’m not sure that’s a good enough

times before.”

reason. If you want to know how your work

“I think it all comes back to why you entered

stacks up against the profession generally, I



can certainly understand that. If it’s to assist

Joshua is referring to the photographer who

you in your development as a professional

is first to market. While in Australia we can

photographer, then that’s an excellent reason.”

How To Master Photoshop Layers “The secret to photographic technique is layers, and that’s whether you use Photoshop or Lightroom.” How To Master Layers is a series of video/article presentations by Peter Eastway. To purchase and view on your computer, visit: $6.49 each or $19.95 for all four titles

If you download the files from the website, they will not play properly on the iPad.



Why Do Prints Score Less At Nationals? From time to time, a print with a great score at the Epson State Awards will get a lower score at the national APPAs. If we’re supposed to have a single Australian standard, why does this happen? Is it normal? And who is right?

TAGS APPA Awa rd s Co mpeti ti o n Ca tegor i e s


When discussing the AIPP’s photography

had, why aren’t the results more even from one

awards programs, I often begin with the

awards to the next?

comment that all photography award and

competition results are subjective.

easier to agree that it is a little harder at the

National Awards, just like the swimming or

We have five human beings giving an

There are many reasons, but it’s probably

opinion about the value of the print.

tennis becomes harder between state and

national events.

They are expert opinions, but as we know in

all walks of life, different experts can have quite

different opinions. It shouldn’t surprise us this is

similar scores. If you scored 83 or 84 at State,

the same in photography - and that’s why we

usually you’d get a Silver at Nationals too.

have five judges, not one.

Statistically, it is unusual for a print to get Gold

at State and nothing at Nationals, but it has

This is also why our Awards are represented

However, the vast majority of prints receive

by a range of scores. It’s hard to say one print is

happened. I don’t have an answer why.

worth 82 and another must be better at 83. It’s

much fairer to say both prints are Silver awards

more experienced judges and, overall, their

because, at the end of the day, the difference

standards are higher. Your work has to be good

between 82 and 83 is relatively meaningless.

to impress them.

Of course, the difference between 79 and

The National awards have a larger pool of

And there’s also the chance that a print

80 is professional standard versus Silver Award

judged at Nationals has already been seen at

standard. One point can be very important.

the State awards - and so there is less impact if a

judge is seeing it the second time.

So, granted there is variability in the scores

we receive, but why do the scores at the State

It shouldn’t make a difference, but perhaps

awards appear to be higher than those at

it does. As I said, the judges are human and all

Nationals? With all the judge training we have

competition results are somewhat subjective.


Andy Cheung APP



Real Photographers Make Prints Here’s a challenge for the photography profession: To be a professional, you need to offer your clients prints. If you can’t have prints made from your files, then you need to update your skills so you can. Without the ability to make prints, our profession will never survive! Everyone who picks up a camera thinks they

computers and digital storage, we have seen

are a photographer, so how do professional

constant change.

photographers stand apart? What makes them

different to someone with an expensive, fully

no longer be read and there are many formats

automatic camera set to program mode?

that are no longer available. Many computers

Answer: Prints.

today don’t have CD/DVD drives, so how long

Now before you stop reading and think this

will our recent clients have access to their files

is a load of rubbish, please spend a couple of

(assuming the media is still readable)?

minutes considering my thoughts and see if you

agree. I’m not saying your clients have to buy

it will only take one company to go out of

prints, but I am suggesting you have to offer

business to shake apart this brave new world as

prints as part of your work as a professional.


TAGS Busine s s Pr in ts


The floppy disks some of us remember can

And while we have cloud storage today,

Historically, nothing in the digital realm has


survived as long as a photographic print. Yes,

Let’s begin with domestic photographers - such

there are limitations with prints as well, but

as wedding and family portrait photographers.

kept in an album or drawer like many important

We know that the majority of our clients

family keepsakes, they will last a lot longer than

engage our services because, deep down,

digital files.

they expect the photographs to last a lifetime.

Most of us have family photos of our parents or

likely to behave. They are unlikely to make

grandparents we can relate to, but what will our

multiple backups of their digital files every few

shoot-and-burn clients have in 10 or 20 years’

years to refresh their data, so it is up to us to

time, let alone a couple of generations?

recommend a medium that is most likely to

last the two, three or more generations that our

Let’s look at the facts. In the history of

Note, I am talking about how clients are

fact or fiction?

To be a Professional Photographer you need to be able to make

PRINTS our profession’s challenge




Heath Wade 40


clients expect.

be turned into a print or just used on a website.

We should be recommending prints.

It’s a quality thing.

Some clients won’t want them. That’s

fine! We can’t force our clients to buy prints,


but we can offer them. It also gives us an

Many professionals correctly believe that

opportunity to explain that if they want their

their quality of work sets them apart as

grandchildren to look at the photographs they

photographers. I have no doubt it does, but our

are commissioning today, they need to have

problem is convincing our clients.

prints. They can still have digital files, the prints

are provided as an addition.

photos with their phones and they are loving

The world’s population is already taking

the results. Why would they need a professional


photograph when their phone does everything

Commercial, advertising, fashion and stock

photographers don’t make a lot of prints these

photographs won’t last. They will be lost forever

days, but their clients sometimes turn their files

when the owner loses the phone, changes

into printed matter (even if we acknowledge

phone carrier or stops paying their cloud

most uses are web based).

storage fees.

One of the reasons for suggesting all

that they need? Or they think they need. We know that the majority of those phone

So when someone does make the effort

professional photographers offer prints is to

to approach a professional photographer, it

impose a minimum image standard.

must be for an important reason. They expect

our image quality will be good because we’re

A lot of images I see that are provided to

clients as digital files are below professional

professionals. However, they possibly won’t care

standard - and naturally I’m excluding AIPP

whether our quality is much better than what

Accredited Professional Photographers from this

they take with their own phones!


To be printed, a file needs a basic level of

good we think we are, no matter how much

processing for density, contrast and colour that

better we are than the average snap shooter

makes it appropriate for printing - and many

with a camera phone, it isn’t going to earn us

other applications.

money. As far as these people are concerned,

their snapshots are usually ‘good enough’.

Let’s ensure all the files we send to clients

are of ‘print’ standard, whether or not they will

The point I am making is that no matter how

Our skill alone will not always define us



as professional photographers. We need

between the photos their secretary takes and

something more. We need marketing,

the files that will be presented by a professional

advertising and interesting products.


4. In the commercial world, it’s not always

That’s why I suggest we need prints.

the case that a client will want a print, but I’m


still selling prints from time to time for the

I have two recommendations.

boardroom or the office from jobs I have shot

1. All APP domestic photographers should

for a client. If clients don’t know you can make

include prints on their price list. They can

a print for the wall, or more likely, if they simply

still offer digital-only services as well, but

never think of it, they certainly won’t order one!

it’s important to show our clients that their

Let’s put the idea out there!

photography can be turned into prints.

5. I am not suggesting that to be a professional

2. All APP commercial photographers should

you need to make your own prints. There are

refer to their files as ‘print quality’. To say ‘print

many business models where the photographer

ready’ is a bit difficult depending on how a

hands over the raw files to other creative people

client might wish to use the files, but ‘print

who handle the post-production and printing.

quality’ says it all.

What I am suggesting is that the end product,

whoever does it, is capable of being printed to a

So, instead of producing a quote or estimate

for 20 photographs, it would be ‘20 print quality

high, professional standard.

photographs’. What do these changes do?

1. It lifts the standard of our craft. To make a

to the profession. From where I sit, I see

photograph ‘print quality’ requires a higher

some very successful studios, but many more

standard of work than a file merely destined for

photographers who are struggling to make a

social media and that’s important for the whole

living. In many cases, photographers struggle


because they aren’t yet as good at business as

2. For domestic photographers it puts our

they are at photography.

clients on notice that they can buy prints. This

in turn gives us something extra to sell to our

stand apart?

So, do you agree? This article is a challenge

Is this one way that can help our profession

clients - it can only be a good thing for both



If you’d like to make comments or suggestions,

3. For commercial photographers it puts our

please send them to eastway@betterphotograpy.

clients on notice that there is a difference



Simon Bills APP AAIPP 43


How To Easily Search In Lightroom Locating a photograph needn’t be like searching for a needle in a haystack – if you follow a few simple steps with Lightroom. However, Lightroom requires text, words or ratings for its search function to work its best, so start by providing this information when you import and edit your images – and then searching is easy! Here’s how it all works... Whether you’re using a local search on your

Lightroom uses the terms Text, Attributes and

computer or Google to trawl the internet,


finding and filtering all information and

photographs works on the same basic

can think of Text as the keywords and tags

principles. You need to have something that is

that you add to your photographs; Attributes


are the flags, stars and colours you give your

For the purposes of this discussion, we

photographs during editing, and Metadata


comprises all the camera settings.

While there are some search functions that

will look for a copy of a photograph (Google

you to add in keywords and tags so it can in

will do this and there’s a lot of new technology

turn help you find the right photographs later

coming that may make this more available in


So, for Lightroom to work its best, it needs

the future), you can’t ask Lightroom to look for words. “Search for a young girl with dark blond


hair and a blue blouse...” Lightroom can’t yet

Lightroom’s Library Filter feature will look in the

recognise photographs in this way.

catalog that is open. So, if you have one catalog

for every photograph you have ever taken, and

photographs of Mary Smith by describing her in

TAGS L igh tro o m Tech n i q u e


However, if you have added to the

photographs of Mary Smith metadata (such

you have added keywords and tags to your

as keywords or tags) that includes the words

photo files, Lightroom will be able to find your

‘Mary Smith’, ‘blond’ or ‘blue blouse’ , then the


Lightroom search function will work because

it can recognise text, words and ratings.

say a catalog for each job, then chances are you

However, if you use lots of smaller catalogs,





Searching in Lightroom is primarily done in the Library module. Up the top right of the screen, in the Library Filter bar, you will find the words ‘Filters Off’. Click on these words and a drop-down menu will appear, allowing you to ‘filter’ the images shown in the develop module based on a range of different options. The keyboard shortcut is the backslash: \.

The most obvious search or ‘filter’ is for a specific word, so the Text attribute comes in handy. Leave the default ‘Any Searchable Field’ in the first drop down box; you may wish to change ‘Contains All’ to ‘Contains’ in the second drop down box, then type in your search (e.g. Mary Smith). Lightroom will now show you all the files which include Mary Smith in the metadata.

Also in the middle of the Library Filter bar you’ll see the four options to filter or search by: Text, Attribute, Metadata or None (which is turned off ). The Library Filters bar is where you will do most of your searching and it can be very powerful, especially when you have added keywords and tags to your photographs upon ingesting or during editing.

Of course, sometimes you may need to be more specific in your search, especially if every photo in the catalog has a particular tag or keyword in it. You have to think a little laterally from time to time to get the search function working for you. Take a look at the options in the two drop down menus and you’ll soon see how powerful Lightroom’s search feature is.



don’t need Lightroom to do much searching.

photographs with one or more stars, so they

Your task may be to find the job catalog or

filter on two or maybe three stars, thus reducing

folder first - and so it’s important that your

the number of shots they will work with. The

catalog naming system allows you to find jobs

idea is to use the filtering function in this way to

quickly and easily in the first place. This was

speed up your post-production.

covered in detail in the previous issue of AIPP Journal.


For current shoots, we generally know where to

Unless you have added a keyword or a tag to

your files, Lightroom won’t find them for you!

find them, but if a client wants you to pull out a

photo from a family portrait or a wedding, and

Lightroom will also filter on folders within

your catalog, so if you don’t want to filter every

you don’t have keywords or name tags, what

photograph you have ever taken, you can

can you do? Often your diary will have the date

restrict your search to specific folders.

you did the shoot - and assuming your camera is set to record the correct date, it will be a


straightforward matter to go into the Metadata

Most photographers rate their files after a shoot,

usually by giving a rating of one or more stars,

variety of different specifications. For intsance,

but you can also add flags or colours instead.

once you have found all the photos taken on 1

Usually, only files that are going to be

May 2012, you could then filter for only those

shown to the client or edited are given a star.

photos with 4 or more stars, or taken with an

Some photographers give different star ratings

85mm lens.

depending on how good the photograph is,

others just start with one star for the initial run

in the Library Filter bar, hold down the shift key


and click the next option.

Once the whole shoot has been assessed, the

You can also sort and filter based on a

To keep more than one search option open

If you are doing the same complicated or

folder or catalog can be ‘filtered’, selecting the

compound search regularly, you can go to

Attribute section and ticking the one star. All the

the Custom Filter drop down box and add the

photos without a star rating are hidden, making

current settings as a custom filter.

it easier to see what you’re working with.

star rating - and the custom filters as well. Very

Photographers who give a range of star

ratings might think they have too many


search area and filter or choose by date.

Finally, the Film Strip also allows to filter by



The Attribute search bar lets you select images based on the flag, star or colour rating you’ve provided. If you haven’t rated your images, this feature won’t work! When using the Rating selection, you can choose when you select a number of stars if it is greater than, equal to or less than. The default is greater than, so selecting 1 star will select 2, 3, 4 and 5 stars as well.


The Metadata search option lets you choose from a range of different specifications for your files, from date, camera, lens to creator, job and copyright status. For the average working professional, it’s useful, but not as good as adding keywords and tags and doing a text search. The metadata search fields available are shown opposite.



Broad & Short Lighting Now that we understand the terms ‘broad’ and ‘short’ lighting, when do you put them into effect? The answer depends on what you want to create as a photographer, but these examples will give you a quick idea of what – and what doesn’t – work so well! Every studio photo on a web page or in a

these terms anymore, since so much portraiture

magazine is a lesson in lighting. Note the types

is shot without studio lighting, but an

of lighting you like and then work out how they

understanding of these principles can be very

were created. One trick is to look at the eyes


because you can usually see the lights reflected

in them (unless they have been retouched out,


of course!)

The example photos use three lights. Two of

the lights are just ‘padding’ or ‘fill in’ lighting.

Opposite are three portraits with different

lighting patterns. You will probably only like

The background light creates the graduated

one or two of them – and this is a good start.

effect. The fill light is behind and above the

Learning to be discerning about what you like

camera and its job is to illuminate the subject

and don’t like is the key to lighting effectively.

broadly. The stronger the fill light, the lighter the


shadows. If there was no fill light, the shadows

Tech n i q u e L igh ting

the angle of the light in terms of left or right.

would be very harsh, especially when the key

However, if our subject changes her pose to

light is 90° to one side.

the other side, then these lighting patterns all

change as well. The lights might not move, but

to demonstrate the effect of the key light on

their effect on the subject changes completely.

our subject, the light that creates the light

and shade and dominates how our subject is


You’ll notice the problems if we talk about

This is why portrait photographers talk in

The main purpose of these examples is

terms of broad and short lighting, so it doesn’t

illluminated. It’s a pretty straightforward lesson,

matter whether it’s the left side or the right side.

but if you’re setting these patterns up yourself,

(See the previous issue for an explanation of

also experiment with how high or low the lights

broad and short lighting.)

are positioned. We’ll cover this in more detail in

future articles.

Not many portrait photographers talk in

Key Light 45° Left


Key Light Front On Key Light 90° Right

BACKGROUND Background Light

BACKGROUND Background Light

BACKGROUND Background Light



Subject Key Light

Key Light

Fill Light

Key Light

Fill Light

Fill Light

This is called a 'broad light'. The

When the key light and the fill light

As you move the key light around to

'broad' side of the face is the side

are essentially lighting the subject

the other side of your subject, the

facing the camera, or the side of the

from the same angle, there is very

shadows become more noticeable

face where the distance between

little modelling in the face. Note that

and the result more dramatic. This

the ear and the nose is greatest. It is

because the lights are higher than the

example probably isn't what you

camera left, the model's right side,

subject that there is still some shadow

want for a family portrait, but could

in this photo. When the key light is

under the chin, but this could be

be good for a theatrical effect. (See

on the 'broad' side of the face, it is

eliminated by lowering the light a little.

previous issue for a good example of

called broad lighting. However, for

Flat lighting is often used in beauty and

short lighting for portraiture.) How

traditional portraiture, photographers

fashion, but is not so popular for family

deep the shadows are is determined

tend to prefer short lighting, as seen

or corporate portraiture.

by how much fill light you use.

in the previous issue of the AIPP Journal (AJ242). 49


Fujifilm X-Pro2 – Is It Professional? The new breed of mirrorless cameras have most of the features of a fully blown DSLR, but less size and weight. Are they only designed for enthusiasts, or are they now truly contenders for a professional photographer’s camera bag? If Hasselblad was happy to have Fujifilm’s

mirrorless cameras today look and behave like

involvement with its camera and lens design

the conventional SLR design, they are quite

over the years, there’s no doubting Fuji’s

different beasts.

acceptance as a manufacturer of professionally

specified cameras.

(because they can be).

Indeed, Fujifilm developed a range of

Importantly, they are smaller and lighter While this might not be so important for

different format professional film cameras,

a studio photographer, it is of great interest

from 6x17 cm panorama cameras to the studio

to professional photographers who work on

based GX680. It is no stranger to the world of

location. It makes their job easier.

professional photography.

In the past, our clients would often judge

their photographer based on the camera being


used – and not the photographic results! These

Today, Fujifilm doesn’t produce medium format

days people are much more sophisticated and

cameras or even full-frame DSLRs, but it has

knowing. And camera’s like the X-Series models

taken a niche role in the new mirrorless camera

from Fujifilm certainly look the part.

design. TAGS Equ ip m e n t Ca mer a s M ir ro r l e s s Fujif ilm

SLR and later DSLR cameras needed a reflex

mirror design so you could see your subject

The largest challenge until recently for Fujifilm

through the lens that would actually take the

(and the other mirrorless cameras) was

photograph, rather than having a separate

convincing people that 16-megapixels was

viewfinder lens and the inevitable problems


with parallax error.

because both Canon and Nikon’s flagship

However, with digital technology, that

requirement no longer exists and while many



In many ways, it was an odd argument

DSLR cameras, designed specifically for




professional photographers, only sported 16- to

viewfinder if you want one (like the rangefinder

18-megapixel sensors anyway!

design of old), or at the flick of a switch, an

electronic viewfinder as well. Plus there’s a

Even today, the latest Canon and Nikon

professional SLRs use roughly 20-megapixel

combination optical and electronic viewfinder

sensors, although both have 36- or

with a digital enlargement of the focus area.

50-megapixel models as well.

It is very cool!

Where DSLR designs can struggle to give

But being mirrorless doesn’t mean you can’t

have bigger sensors (in terms of the number of

you focus points around the edges of the frame,

pixels). Sony has a 42-megapixel body and now

the X-Pro2 provides very fullsome coverage.

Fujifilm has launched a 24-megapixel X-Series

model: the X-Pro2.

1/8000 second, the body has weather resistant

construction, and the camera is more dials and

There will be few professional applications

where a 24-megapixel sensor isn’t enough, so

Shutter speeds range from 60 minutes to

knobs than LCD menus.

now the question becomes whether or not a mirrorless camera can do the job.

LENS RANGE However, what really makes the new X-Pro2


a serious professional camera is the range of

The simple fact is that the new X-Pro2 has

lenses it now offers.

all the features a professional photographer

needs - and a host of extras that are loved by

90mm (and given the sensor is APS-C size, this


equates to a 21mm to 145mm range) with wide

To date, the majority of photographers

maximum apertures (f1.2 on the XF56mm R

taking up the X-Series cameras have been

lens), while the zoom range starts with a 10-

photojournalists, travel, portrait and wedding

24mm (15-36mm) f4 R OIS wide-angle and


extends to the 100-400mm F4.5-5.6 R LM OIS

WR telephoto!


the light of the rangefinder design, being small

w w w.fu ji jfi lm .com .au

and quiet. And the X-Pro2 takes it a step further

yet match the professionally specced DSLRs in

with a strong retro look.

terms of continuous shooting.

In fact, the X-Series has been considered in

However, the X-Pro2 is far from retro in

There are prime lenses from 14mm to

Autofocus is fast and accurate, but it doesn’t

However, with such a small size and weight,

operation. It has an amazing hybrid multi

it’s definitely a camera to consider. It will

viewfinder, which gives you an optical

certainly lighten your load.



AIPP Journal - July 2016  

The official journal of the Australian Institute of Professional Photography.

AIPP Journal - July 2016  

The official journal of the Australian Institute of Professional Photography.