Do Judges Need To Be Experts? Lightroom Vs Capture One How To Handle Sales Objections Olympus OM-D E-M1 Mark II
Taking It To The Next Level
Portfolios & Board Advisors
Olympus New Platinum Sponsor for APPA
With a new AIPP Board in place for 2017-18, AIPP National President Vittorio Natoli says the prospects for the Institute are looking very positive indeed - and for the profession if we embrace the idea of personalizing what we offer.
The AIPP modernises with portfolios for board members and board advisors too!
Pe ter Bl a keman APP AAIPP
Olympus has had a long association with professional photography, ever since the days of film, so it is a pleasure to welcome Olympus as the Platinum Sponsor for the 2017 Australian Professional Photography Awards.
2016 AIPP AUSTRALIAN PROFESSIONAL TRAVEL PHOTOGRAPHER OF THE YEAR
AIPP JOURNAL is the official newsletter of The Australian Institute of Professional Photography (AIPP). Editor Peter Eastway APP.L, FNZIPP, Hon. FNZIPP, G.M. Photog., Hon. FAIPP, FAIPP Disclaimer The information provided in the AIPP JOURNAL 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 â€“ 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 email@example.com Quietly celebrating 25 years of publication.
AIPP Membership Contacts Suite G.03, 171 Union Road, Surrey Hills, Victoria 3127 Phone: 03 9888 4111 E-mail: firstname.lastname@example.org
Finding First Clients, Finding New Clients For some, the ideal of a professional photographer is having time for a leisurely coffee inbetween a busy schedule, but how do you get that busy schedule in the first place? And how busy are professional photographers really?
ISSUE 252 / JUNE 2017 14
Do APPA Judges Need to Be Experts? Is it essential to have expert photographers judging our entries, or are we better off having generalists or clients giving their opinions? There are arguments for and against and so in general, we go for a balance. Here’s why.
Aaron Dowling - 2017 WA Epson PPY
Two state PPY wins in a row must sit very comfortably with new AIPP member Aaron Dowling APP AAIPP.
Capture One Vs Lightroom Last issue I challenged readers to test Capture One and compare it with Lightroom. This should not be taken as condemnation of Lightroom which for some of our wedding and portrait photography readers, may still be the preferred raw processor.
Handling Sales Objections
Lisa Saad - 2017 Victorian Epson PPY No stranger to the limelight, the current AIPP Australian Professional Photographer of the Year Lisa Saad has now been awarded the 2017 AIPP Victorian Epson Professional Photographer of the Year.
What Happened in Victoria?
Back in March 2017, Michael Teo was awarded the PPY in Victoria, so what has happened to change the result? Peter Eastway explains.
Peter Blakeman - More Than Documentary Travelling the world and taking photographs isn’t a bad way to carve out an existence, as Peter Blakeman APP AAIPP describes it. Yet he likes nothing more than getting away from it all in the remote deserts of central and western Australia.
When photographers mention ‘handling objections’, our first thoughts might be about dealing with complaints, but in fact, it is much more fundamental than this - as Gap Studios’ portrait photographer Glenn Addison APP AAIPP explains.
Olympus OM-D E-M1 Mark II There is a definite trend towards smaller cameras and given the image quality they produce, why wouldn’t a professional photographer prefer a lighter camera outfit? Certainly helps the back! So, is the latest OM-D mirrorless camera from Olympus the next camera for you?
EIZO ColorEdge CS2730 Monitor How do you get the best type of monitor at the lowest price? The Eizo ColorEdge CS2730 has many of the features found on its more expensive siblings, but at a very attractive price!
Taking It To The Next Level With a new AIPP Board in place for 2017-18, AIPP National President Vittorio Natoli says the prospects for the Institute are looking very positive indeed - and for the profession if we embrace the idea of personalizing what we offer. The AIPP National Board of Directors remains
involved and are keen to make a difference to
substantially the same for the 2017/18 financial
the Institute and our profession in general.
Over the past 12 months, we’ve spent
quite a bit of time settling in and refining
NEW BOARD ELECTED
processes, but now we’re ready to make some
Louise Bagger from South Australia has agreed
long overdue changes. The more I look at our
to join the Board, with all the current board
profession, the more I realise the basics are out
- and this applies as much to the Institute as it
does to individual members and their studios.
However, there will be a litte reshuffling
within the Board, with David Glazebrook taking
TAGS Busine s s Pro fes s i o n a l i s m
on the Chairman role from Melinda Comerford,
and John Swainston becoming the National
I guess this has become my soapbox, but I’ll
say it again: photographers need to be more
personal with their clients so they can explain
Both John Swainston and Paul Atkins remain
confirmed as Co-opted Board members, along
the value of what we do.
with full Board members Kylie Lyons, Melinda
Comerford and Nick Ghionis.
communicate with our clients and prospective
I will remain as National President.
clients. So how do we do this? How do we talk
All the Board members are excited to be
to people more personally?
This means we need to change the way we
SAVE THE DATE
25 -27 AUGUST 2017 TH
APPA awards dinner | August 28th Entries open | July 10th Entries close | August 10th
MELBOURNE PARK FUNCTION CENTRE 5
C H A R M A I N E H E Y E R A P P. L G M . P H O T O G . I P. B .
One way is to pick up the phone, but I realise
a sign of the times.
this isn’t as easy as it used to be. If people don’t
recognize your phone number, chances are
lot. Sometimes we email or text them first to let
they won’t answer, so how do you get through?
them know we will call, but the main objective
is to talk to them one-on-one.
If you send them an email, chances are that
In our business, we still use the telephone a
it isn’t read because they are too busy or the
You can’t just send someone a price in a
contents of the email is pre-judged. And when
text message and expect to make a sale. We
it comes to social media, no one reads the fine
need to find out everything we can about our
detail that you need to get across.
customers so we can explain to them why our
But this doesn’t mean we give up.
services are invaluable.
We need to use the new media to our
Look at how Airbnb displays its properties
advantage and accept that we won’t be able to
and the information it provides. It’s much more
make contact all the time.
than availability and price. Availability and price are just the starting points. People also want
to know about location, parking, transport,
We may need to send an email first, asking for
appliances and so on.
permission to make a phone call.
want to know more than just our prices,
Remember, the objective of our first contact
It’s the same with photography. Our clients
isn’t to make a sale, it’s to have a conversation.
they need to understand the value of our
And by having a conversation, we can be more
photography for them and the importance of
personal. And by being more personal, we
a professionally captured image for their family,
have a chance to connect with our clients and
their business or their advertising.
can’t use it superficially when it comes to our
Professional photographers mustn’t be afraid
The new media is here to stay, but we
of talking to people face-to-face. If we want
businesses. We have to engage with it and take
our businesses to be successful, we need to
it to the next level.
connect with people and show them that we
We need to become more personal.
truly understand their needs.
I think the biggest mistake we can make
is to send someone a message via email or a
newsletter and assume it has been received.
The bounce rate for unopened emails is simply
0400 418 888
Portfolios & Board Advisors The AIPP modernises with portfolios for board members and board advisors too! The concept of Board Portfolios is new for the AIPP and
helps the AIPP grow and develop to meet the needs of the
came out of recent training which covered association
The idea is to ask an individual board member to
oversee one or more of the key ongoing areas within the
Added Peter, “As the AIPP board looks to the new term, and
structure of the Institute.
to the longer term in general, we would like to develop
an initiative we started modestly a few years ago, creating
Explained Peter Myers, Executive Officer of the AIPP, “In
our case, we have defined these key areas to be: finance;
compliance; honours; awards; education; and commercial
to formally become board advisors where your expertise
and commitment can help us develop and refine our
“The role of the board member who is responsible
“The AIPP Board is now looking for members in general
for a portfolio is simply one of oversight, a channel of
strategies and focus. We currently have two board advisors:
communication, a sounding board and a person to offer
Chris Shain advises on AIPP advocacy efforts, and
help and communication if needed.”
Rochelle Morris advises on the development of our video
Continued Peter, “There is no remit within these roles
for an individual board member to take responsibility for
operations and management.”
board advisors in the following areas:
• School Photography;
The initial allocation of board portfolios to board
Continued Peter, “We would welcome applications for
members will be as follows:
• Sport Photography;
• Finance Portfolio - John Swainston;
• Working with the tertiary education sector;
• Compliance Portfolio - Kylie Lyons;
• Documentary/Reportage Photography;
• Honours Portfolio - Vittorio Natoli;
• Communications and use of Social Media.
• Awards Portfolio - Melinda Comerford;
• Education Portfolio - Nick Ghionis; and
you can contribute and make a difference, we would love
• Commercial Photography Portfolio - Louise Bagger.
to hear from you.
Concluded Peter, “Hopefully members will see this as
a positive initiative, as we do, and as another step that
“If this is something that interests you and you believe
“Please contact us at email@example.com (N.B. Please
don’t respond with just a comment on Facebook).
Olympus New Platinum Sponsor for APPA Olympus has had a long association with professional photography, ever since the days of film, so it is a pleasure to welcome Olympus as the Platinum Sponsor for the 2017 Australian Professional Photography Awards.
TAGS Equ ip m e n t Sto r rag e L a Cie
Olympus Australia is was quick to announce
focusing on a new format and new technology.
its partnership with the Australian Institute
of Professional Photography as a Platinum
will continue to evolve and go from strength
Sponsor for this year’s Australian Professional
to strength with the ever growing involvement
Photography Awards (APPA) and the Australian
of our members, the continuing support of
Professional Video Awards (APVA).
Olympus and our other committed trade
partners,” concluded Peter.
As our readers already know, the Australian
Professional Photography Awards is an annual
event that has been running for more than 40
Australian Professional Video Producer Awards
years and is the largest “print only” professional
(APVPA), which will be held in September this
photography awards in the country.
Peter Myers, Executive Officer of the
Olympus Australia will also sponsor the
Kristie Galea, Marketing Manager, Olympus
AIPP, says this partnership is a co-operation
Australia added, “Olympus is thrilled to be
which will see both the AIPP and Olympus
involved in the Australian professional imaging
Australia combining “their shared ethos in a
community and excited to be able to engage
long term commitment to promoting the art
the community with our Micro Four Thirds
of photography and all of the experiences
Added Peter, “We’re excited to be working
Olympus Australia Pty Ltd is a subsidiary of Olym-
with Olympus who shares our philosophy of
pus Corporation, headquartered in Japan. Olympus
working for the benefit of the professional
Australia Consumer Division is responsible for the
image making community in Australia.
marketing and distribution of Olympus consumer
and professional products in Australia and New
“With its Micro Four Thirds camera system,
Olympus is a traditional photography brand
“We are more confident than ever that APPA
Zealand, and the South Pacific generally.
Finding First Clients, Finding New Clients For some, the ideal of a professional photographer is having time for a leisurely coffee inbetween a busy schedule, but how do you get that busy schedule in the first place? And how busy are professional photographers really? When we see a busy professional photographer,
we often imagine he or she is fully booked
spend even more time than this. However, what
every day, shooting.
is their marketing aimed at?
The reality is a little different. Most ‘busy’
Wedding and portrait photographers might
Successful photographers aren’t backward
professionals spend quite a bit of time in
about touching base with prospective clients
the studio doing post-production and, more
directly. it’s one thing to write an anonymous
importantly, marketing themselves for the next
email, quite another to get on the phone or
make an appointment in person.
Sure, the top few per cent of photographers
Successful photographers spend a lot of
can afford to pay a retoucher and hire
their time marketing effectively. What they do
someone for marketing and PR, but the
counts, meaning it’s not enough to post a few
majority of successful AIPP members are single
images on Facebook and hope the world will
photographers with one or two staff (and often
beat a path to your door. A Facebook post is
their staff is family).
followed up with a range of other strategies that all point not to someone booking a job
TAGS M a r k eti n g
50 PER CENT MARKETING
(although that would be nice), but to making
The point to take away from watching a
successful professional is how much time is spent in marketing and building a reputation.
Few photographers are hired without
It is not unusual for a successful advertising
or commercial photographer to spend two
interaction. You might be a successful portrait
or three days a week marketing themselves:
or wedding photographer with lots of referrals,
updating their website and social media, writing
but even if a propsective client thinks they are
proposals, sending out estimates and quotes.
going to hire you, they could change their mind
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.
Katherine Williams FNZIPP
Colin Baker APP AAIPP
after that all important first meeting.
two clients. In week 10 - well, maybe 10 clients
No matter how we look at professional
In week one, get one client. In week two, get
photography, no matter how successful
a week is a little too many and so the game
modern media is in getting our message out to
changes. Instead of getting five shoots at $250,
the market, our success relies on a positive one-
you aim to get two shoots at $500 and the
other three at $250.
How good are you at talking to people? Do
These goals are not rocket science. If
you need to practise?
you want to be a successful professional
photographer working full time, you should aim
There are very few successful professional
photographers who are not good with people.
for $200,000 a year income.
If you’re new to the profession and you’re
wondering how you get your first clients, then
week. And $4000 a week is eight jobs at $500
the answer is simple: one at a time.
or four jobs at $1000. These are not imaginary
figures and they are also achievable – in time.
Very often we look at where we are and
An income of $200,000 is roughly $4000 a
wonder how we get to our goal. Goals are much easier if we break them down into achievable
So, if you’re looking for new or more clients, set yourself these goals:
Week 4: 1 job @ $500 or 2 jobs @ $250;
Your first step for this week might be to get a
Week 8: 2 jobs @ $500 or $1000 in sales;
single client. A portrait photographer might go
Week 16: 1 job @ $1000 + 2 jobs @ $500
on Facebook with a special offer; a commercial
or $2000 in sales. Now you are earning the
photographer might wander down the local
equivalent of $100,000 a year.
industrial centre and door knock.
Week 26: 2 jobs @ $1000 + 4 jobs @ $500 or
$4000 a week.
The majority of photographers don’t try
too hard. This is not meant unkindly, but if you
Now, the first three steps might happen
have other sources of income, there isn’t the
quite easily, while the fourth step might be
necessity to be successful as a photographer.
harder to achieve – but look at the positive side.
On the other hand, if you’re going to spend the
If you meet your Week 16 goal, you’re halfway to
next few years aiming to set up a successful
your ulimate objective and if it takes two years
studio, doesn’t it make sense to put some effort
to get to a $200,000 turnover, that is quite okay.
In fact, that’s very good!
Do APPA Judges Need to Be Experts? Is it essential to have expert photographers judging our entries, or are we better off having generalists or clients giving their opinions? There are arguments for and against and so in general, we go for a balance. Here’s why. When we enter the Awards, both the Epson
extra marks for photographs they think were
State Awards and the national APPAs, we expect
challenging to capture or create.
our prints to be assessed by five judges with
experience and standing within the profession.
rare flower, found on top of an active volcano
Let’s take the example of a photograph of a
at full moon. It takes several days trekking to
JUDGING BY OUR PEERS
get to the dangerous location, but the resulting
For instance, we probably wouldn’t be too
photo is unremarkable and had it been taken in
happy with a bunch of amateur photographers
someone’s backyard, it would receive a bare 70
judging our work. Why? Because amateurs
don’t understand how difficult it is to take
TAGS APPA Awa rd s Rules
photographs under professional conditions. Nor
RARITY & DIFFICULTY
do they necessarily have the same expectations
Should the print be scored higher simply
and standards as we do. Only other professional
because the subject is rare or difficult to take?
photographers can truly appreciate our work.
rarity and difficulty to shoot do factor into
However, many photographs entered into
In some wildlife photography competitions,
the awards are not taken for clients – they are
the final score, but these are professional
not taken under professional conditions. More
photography awards and we’re expected to
importantly, judges are only assessing the print
overcome challenges every day.
that is in front of them, not whether it took a
long time or was difficult to take.
ask yourself about a second photographer
who climbed the volcano along with the first
The degree of difficulty or ‘how hard it was
As you answer this question for APPA, also
to take’ is not something we should take into
photographer, but forgot to focus his lens
account when judging prints, although I’m
properly. Is his photo also worth extra points
sure judges subconsciously at least give a few
because of the effort he went to? Of course
Linda Beks APP M.Photog.
not, we think, because the photo wasn’t sharp.
And in the past, APPA has had picture editors,
But maybe his camera played up – surely it is
publishers, curators, art directors, librarians and
okay to give him the same score given both
other ‘experts’ added into the pool of judges
photographers experienced the same degree of
because of the extra experience they bring.
difficulty? Of course not! I know we like to think that the people
WEDDINGS & LANDSCAPES
judging our work have some appreciation of
One of the complaints we hear is that a
what’s involved, but I don’t think we should
particular judge is not experienced in a
expect them to care whether or not the
genre and shouldn’t be judging. For instance,
photograph was hard to take. That might be
why would you have a panel of wedding
important for our clients who want to know
photographers judging the landscape
why we have charged so much. It will be
incredibly important to the entrant, naturally.
But in professional photography awards, the
to have the majority of the judges on a panel
only thing that matters is the image.
expert in the genre, but equally, we try to add
As a matter of practice, the APPA Team aims
judges with wider or different experiences. So
GENRE SPECIFIC EXPERTS
on a landscape category panel, we might have
So, if we’re just judging images, if we’re just
three well-known landscape photographers and
giving a subjective assessment, do our judges
two other judges from the documentary and
need to be expert photographers themselves?
I think they probably do need to be experts,
If we limit our expertise to only the category
but not so they can assess the degree of
being judged, we risk creating an insular
difficulty, but because by the time you have
environment that continues to reward exactly
become an expert, you’ve seen a wide range
the same results, year after year. That would be
of different approaches to photography and
the death of professional photography and the
so your experience and expertise allow you
to assess an entry compared with a valid
THE APPA FILTER
Already the AIPP’s awards are accused of having
However, strictly speaking you don’ t need
to be an expert professional photographer to
a particular ‘look’ to them. There was a time
have a good understanding of what is required
when photographers talked about the ‘APPA
to make a good professional photograph.
Filter’, a ‘special technique’ you applied to your
Nathan Maddigan APP M.Photog.
images that guaranteed you a silver award.
photography. There can be differences in what
we can enter into the various categories, but
And there is some truth in this accusation.
Over the years, there have been periods when a
the overall standard of a silver or a gold award is
lot of the photographs bore a strong similarity.
We see fashions and trends which can last for several years, although eventually there is a
DEPTH OF EXPERIENCE
break-through and we’re onto the next new
We can’t have a system where it is easier to get
a silver award in one category than another, so
This is not a bad outcome. As professional
we use a pool of experienced judges who can
photographers, we are required to satisfy our
work on any panel because of their breadth of
clients’ needs, so by thinking of APPA as one of
our clients and producing work to make APPA
happy, we are teaching ourselved valuable skills
much greater depth than people realise. For
which can make a difference in our work lives.
instance, our APPA Chairman Tony Hewitt might
And many of these experienced judges have
be best known for his landscape photography
THE BIG BOLD WORLD
today, but he has photographed nearly 1,000
Nevertheless, when we compare the work
weddings and thousands of portraits as well.
we reward with the huge number of other
organisations and competitions around the
important when we judge and assess a
world, there’s no doubt our judges favour a
category of photography, but it is not the only
particular style or viewpoint.
knowledge required. More important is an
appreciation of the overall standards required
Imagine how insular we would become if
we insisted on having five judges who learnt
for a professional photograph – exposure,
everything they know about their genre
composition, lighting, posing, post-production,
through our system?
printing and so on.
By adding in judges with different
At the state and national awards, there will
experiences, we broaden the range of ideas and
always be a few prints that, in our opinion, were
influcences and this is incredibly important. But
not treated correctly. Of course, that’s just our
there’s another even more important reason.
opinion, not the opinion of at least three of the
There is only one standard.
judges on the panel.
There isn’t one set of standards for wedding
photography and a different set for landscape
Some specialist knowledge is indeed
Expert judges are indeed essential, but so
are judges with a breadth of experience.
Mark Watson APP
Aaron Dowling - 2017 WA Epson PPY Two state PPY wins in a row must sit very comfortably with new AIPP member Aaron Dowling APP AAIPP.
TAGS AIPP E ps o n S ta te Pr in t Awa rd s
Having joined the AIPP only last year, Aaron
for being a member is for the professional
Dowling is already an Associate and a pretty
accreditation and the potential benefits it has in
happy entrant in the AIPP Western Australian
bringing credibility to my business.”
Epson Professional Photographer of the Year
awards: he won it both last year and this!
has yet heard any negative feedback about his
work from the judges!
“I am a landscape and travel photographer.
With so many wins, one wonders if Aaron
In 2015, I entered the WA awards as a non-
member to see how my work stood up against
comments that can be perceived as negative.
the other professional photographers in the
Personally, I don’t take any of this to heart. At
state. I did quite well, but later found out that
the end of the day, the judge isn’t emotionally
you’re not eligible as a non-member to win. So,
invested in my work and only gets a few
I initially joined the AIPP because I didn’t want
seconds to make a judgment. Not every image
that to happen again, but more so because of
will have the same impact on each person that
the fantastic community of photographers I
views it and that’s okay. I am proud of the work
met at the awards. I realised that there was so
I produce and if I get feedback I believe to be
much more to the AIPP and membership than
constructive, I will take it on board. Otherwise,
just the award system.
‘Next print, please’!
“I have connected and collaborated with
“During challenges you will get some
“For me, this year was all about
a few senior members of the AIPP in West
reinforcement. After winning the 2016 AIPP WA
Australia such as Tony Hewitt, Nick Melidonis,
Epson Professional Photographer of the Year
Steve Wise and Johannes Reinhart, and I have
in my first year as a member, it sat in the back
learnt greatly from their generosity of time and
of my mind that there was some luck involved.
knowledge. While these weren’t the reasons
This year reinforced for me that the work I am
I joined, they are the reasons I will remain a
producing is of a high standard as measured by
a professional body, and not a one off. “
“However, ultimately the biggest reason
And no doubt that is very reassuring.
Lisa Saad - 2017 Victorian Epson PPY No stranger to the limelight, the current AIPP Australian Professional Photographer of the Year Lisa Saad has now been awarded the 2017 AIPP Victorian Epson Professional Photographer of the Year. Lisa Saad AAP M.Photog. III has taken the use
Professional Photography Awards. Lisa was the
of a concept within our awards systems to new
most highly awarded entrant including:
• 9 Gold Awards;
• The Epson Signature Award;
Her Anonymous Man series was first seen
by many people after she won the 2015 AIPP
• Highest Scoring Print – 99/100;
Australian Commercial Photographer of the Year
• 2017 AIPP Victorian Illustrative Photographer
at APPA with a set of highly distinctive portraits featuring stylised architectural landscapes with
of the Year; • Finalist 2017 AIPP Victorian Commercial
a lone gentleman, carefully dressed in a smart black suit.
Photographer of the Year; • Finalist 2017 AIPP Victorian Portrait
She was back last year with another series
of intriguing gentleman and slightly more
Photographer of the Year; and • 2017 AIPP Victorian Epson Professional
imaginative landscapes, challenging the judges
TAGS AIPP E ps o n S ta te Pr in t Awa rd s
and the profession in general about what
photography is all about – or more precisely,
a popular presenter on the photography
what photography can be all about.
speaking circuit and has given many seminars
and workshops on how she creates her very
The result we all know: Lisa won the 2016
Following her successes, Lisa has become
AIPP Australian Professional Advertising
individual and stylised imagery, selflessly
Photographer of the Year as well as the overall
sharing her skills and ideas with others.
2016 AIPP Australian Professional Photographer
of the Year.
that she is no overnight success. A Master of
Photography with three Gold Bars, she has been
So, how far can this idea and concept take
However, Lisa will be the first to note
a regular entrant at APPA for many years – and
no doubt she will become a Grand Master of
Much further it would appear based on
the results of the 2017 AIPP Victorian Epson
Photographer of the Year - for the second year!
Photography in the near future.
What Happened in Victoria? Back in March 2017, Michael Teo was awarded the PPY in Victoria, so what has happened to change the result? Peter Eastway explains. Challenging situations are what define us as
And given the photos were so different, it
people, whether in business or in our personal
didn’t click with Michael that technically it was
lives. And credit must be given to Michael
the ‘same subject’ and in breach of our rules.
Teo who returned his award as the 2017 AIPP
Victorian Epson Professional Photographer of
and in the other, she was nude with some
the Year with humility and an apology.
rope and a snake. The concept, attire, makeup,
So what happened?
pose, expression, lighting, camera technique,
After all the announcements and fanfare had
composition and post-processing were
“In one, she was dressed to go to a party,
died down, a few weeks later Michael was asked
completely different in both images.”
if two of his photographs included the same
the intent of the rule which is to create four
In many ways, Michael had complied with
content diverse images – and maybe the rule
TAGS AIPP E ps o n S ta te Pr in t Awa rd s
needs to be modified in the future.
Under the rules of entry, “No two images
entered are to contain the same subject. The
are rules and if he had breached them, then he
intent of the awards is to produce four unique,
certainly didn’t wish to retain his awards - and
content diverse images.”
hence the comment at the beginning of the
article about challenging situations.
All entries to APPA and the Epson State Print
However, as Michael acknowledged, rules
Awards are reviewed before judging to check
the rules are complied with. The fact that two
understand how he must feel. But also put
of his photos contained the same model wasn’t
yourself in the Awards Team’s shoes who are
picked up during the pre-juding process as the
charged with administering the rules. No one is
similarity wasn’t at all obvious.
a winner in this situation.
The model had completely different attire
Put yourself in Michael’s shoes and
However, it is a lesson for all of us. Please
and make-up, so it would be challenging for
read the rules carefully! If you breach them, then
anyone to know it was the same person.
the result may be disqualification.
Proudly supporting the AIPP
Peter Blakeman - More Than Documentary Travelling the world and taking photographs isn’t a bad way to carve out an existence, as Peter Blakeman APP AAIPP describes it. Yet he likes nothing more than getting away from it all in the remote deserts of central and western Australia. The Documentary category at APPA is
Peter says it’s really important to stay
sometimes controversial when the gatekeepers
hydrated because you’re in the middle of a very
of ‘true documentary’ photography can appear
dry desert. “And you must take all your own
overly defensive about photographs that don’t
supplies into the festival, including water, food
quite fit the mould. However, there could be
and alcohol. It is dry, very dusty, hot during the
no disputing the documentary character of
day and cold during the night. A face mask
Peter Blakeman’s four entries and his category
and goggles are mandatory and, as the festival
win as the 2016 AIPP Australian Documentary
is spread out over a very big area, a pushbike
Photographer of the Year.
comes in handy for getting from one side to the other.
Two of Peter’s images look quite surreal, but all
perhaps the biggest challenge is dealing with
is explained once you understand they were
the elements. The dust is relentless and just
taken at the Burning Man gathering at Black
when you think it is about to clear, it packs an
Rock City, Nevada.
even more powerful punch to the point that
visibility can be reduced to only a few metres in
“This is one of the most incredible
“Everything is constantly changing, but
experiences one could ever have. It’s like
front of you.
walking into a real life painting and you can be
as outrageous as you want to be.”
handle these situations, as long as you don’t
“Nikon’s pro gear is weather-sealed and can
Opposite: The Aurora at Whitehorse, Canada. Photo by Peter Blakeman.”
change lenses in the middle of a storm! Many
photographers tend to leave their cameras
in their bags during these times, but I was
pictures, so I walked in and asked if I could work
shooting a wedding and so I didn’t have a
for them. A few days later, I was taking pictures
choice. I simply had to trust the capabilities of
of people getting onto boats. However, as I am
a divemaster, I purchased a Nikonos V and that
“I saw a shop that took happy tourist
eventually turned into shooting underwater
TAGS Awa rd s Po r tfo l i o Bla k em a n Sp o r t D o cu m e n ta r y Travel
portraits of divers and snorkelers out on the
Peter is a trained mechanic and his family is in
Great Barrier Reef.
the excavation business, but his dream was to
travel full time.
Jumping employed photographers, so I
introduced myself to them and started work the
“And get paid to do it”, Peter added! He came
close working at Charlotte Pass Village in the
next day. Those six years were some of the best
Snowy Mountains, working on snow transport
days of my life.”
machines, but one summer he found himself
gold prospecting with a cousin.
after a season at Perisher photographing skiers
and snowboarders, he went to the Second ESPN
“He lent me a metal detector and on the
Peter was still interested in snow sports and
morning of my second day, I found my first
Winter X games at Crested Butte, Colorado and
piece of gold. It was a rather large piece and
then to Whistler, Canada. “The pictures I took
with it I bought my first DSLR camera: a Minolta
over there were well received and many were
X700 with a 50mm f1.4 lens.
published in outdoor, sport and adventure
magazines around the world. I also showed
“I was very excited about having my first
pro-looking camera, but I was unable to put
them to a London sports agency and they
the film in! I had to go back to the shop, very
started accepting my images for their library.
embarrassed, and ask them to show me how to
In those days, it was all done with transparency
load the film.”
film, so it would take almost two weeks to get
your images out into the world.
Six months after purchasing that camera,
Peter had a cover on a magazine and he figured
that was a great way to go travelling and get
capturing a picture that is unique. I find working
paid at the same time. Not long after, he was in
in harsh conditions generally provides unique
Opposite: Sport photography by Peter Blakeman.
“From there I heard that A.J. Hackett Bungy
“However, I am most passionate about
Cycling photo by Peter Blakeman. Peter says that what gets him excitied is taking photographs that are different and unique in someway. Sometimes this means shooting in the great outdoors during inclement weather, but on other occasions itâ€™s a matter of using his imagination.
Peter Blakeman covers a wide range of subjects. You can guess who this band is!
backgrounds. Unfortunately, it is very difficult
cameras and lenses at the ready for whenever
to capture a sense of harshness unless the
an image presents itself.
weather, nature and the elements are all against
you, so it is only then that you can capture the
for the D810. I loved the D810, but the D810A
true emotion of being there.
is also perfect for night photography. I can
“I also think it’s important to take a step
shoot a festival at night at 12,800 ISO and not
back from the viewfinder to appreciate where
have to worry about missing the shot. Plus the
you are and what you are doing because it
results of the Milky Way during long exposures
really allows you to appreciate the now. And
are sensational and it is also very capable as an
when you look back on your pictures, you can
everyday camera too.”
relive those emotions. That to me is the most
important part of taking pictures.”
D810A are really incredible, much better than
“The new Nikon D810A is my replacement
Peter says the star photos on the Nikon
his D4 and he’s heard just as good as the D5.
For a photographer who is always travelling,
and produces images with a warm colour
Peter doesn’t skimp on gear. His standard kit is
balance, but you can fix this easily enough
something like this:
in Photoshop and the colour tinge can work
• Nikon D4
wonders for some subjects - such as the photos
• Nikon D810A
at Burning Man. It creates a unique, funky look
• AF Fisheye-Nikkor 16mm f/2.8D
to the colour which I like.”
• AF-S Nikkor 14-24mm f/2.8G ED
• AF-S NIKKOR 24-70mm f/2.8E ED VR
to set up the camera and go to bed! Naturally
• AF-S VR Zoom-Nikkor 70-200mm f/2.8G IF-ED
he’s using the intervalometer built into his
• AF-S VR Zoom-Nikkor 200-400mm f/4G IF-ED
camera. “Exposures longer than 20 seconds
• 2 x SB 910 Speedlights (rarely used)
produce movement in the stars, so I keep that
• 15-inch MacBook pro.
in mind when I’m setting my ISO and selecting
• All carried in a Think Tank Airport
“I find this kit gives me sufficient scope for
“It’s true the camera struggles with sunsets
Peter says his technique for shooting stars is
“However, there are places along the Gary
any of the situations I find myself in.
Junction Road in Western Australia where we’re
more than a day’s drive from the nearest main
“If I am travelling by car in Australia, I also
have a D700. I put all three cameras on the
town. There might be a few smaller settlements
passenger seat and that way I can have three
around, but there’s absolutely no light pollution
unless the moon is out.”
and I am appreciative of the service NPS gives.
Shooting the stars in Australia is a relatively
If it is very dirty, I can leave it there and pick up
pleasant experience, but quite different to some
a replacement camera so I can keep shooting if
of the cold weather areas.
need be. The NPS people are very helpful.”
“In Whitehorse, Canada, it was so cold when
Peter agreed with Delly Carr that sport
I was shooting the aurora that I set up the
photography has become extremely tough and
camera and then got back into my vehicle and
so he’s looking at taking one-on-one and small
watched it through the window. Much better to
group tours out into remote Australia.
sit inside with a bottle of bourbon than freezing
outside with the camera!
no tracks, no roads, just amazing landscapes.
“I leave the camera outside most of the day
“There are places out there where there are “I took a guy out recently and he was
so it acclimatizes, then set it up at night and
amazed that I travel out into these areas alone,
go to bed. It will keep taking pictures until the
but this is what I’m used to. And shooting the
battery runs out and I can check on the results
stars out there is unbelievable.
in the morning!”
(Left) Peter Blakeman on the road and selfsufficient! (Right) NPS must love Peter when he comes back with his cameras looking like this!
And advice for aspiring professional
Peter was very complimentary about Nikon and
experiment and learn from your mistakes. Even
its service for professional photographers.
today I am still making silly mistakes, turning
“If I need any gear, I can generally send
what could have been a great image into an
NPS (Nikon Professional Service) an email and
unusable one. But that’s the fun of the job.”
“Most important is to keep taking pics,
depending on availability, I can pick it up the
You can see more of Peter Blakeman’s photography
on his website at http://www.extremefilm.com.au
“There are also times I need my gear cleaned
Photographs by Peter Blakeman
Capture One Vs Lightroom Last issue I challenged readers to test Capture One and compare it with Lightroom. This should not be taken as condemnation of Lightroom which for some of our wedding and portrait photography readers, may still be the preferred raw processor.
TAGS L igh tro o m Ca pture On e R aw p ro c e s s i n g
So, why the challenge? As professionals, we’re
very similar results. They don’t necessarily
always looking for an edge. A better camera,
do this naturally, but I have tweaked both
a better lens, a better idea. Sometimes ‘better’
programs to end up with a very similar result.
doesn’t have to be measurably better, just
different from what our clients use. It can be
with skin tones, maybe there isn’t such a need
part of the theatre of professional photography
for Capture One instead of Lightroom?
that I talk about.
the environment or with colourful clothing,
So, when it comes to our raw processing
Then again, if you’re shooting portraits in
software, simply using Capture One makes
perhaps Capture One will give a subjectively
us different and that may be useful in our
more pleasing result.
marketing and storylines.
can see that the two applications produce a
But Capture One may also be an additional
In the second example of a travel shot, you
expense and, as all good accountants will
different mix of colours. Set the greens in the
tell you, minimise your business expenses to
car to be identical and you’ll find the blue in
maximise your profits. The only reason we
the sky is different. Set the blues to be identical
should purchase Capture One is if we think it
and now the greens are different. And there are
produces a superior result.
differences in the warm hues as well.
Last issue (AIPP Journal #251 - April
Add in a little more contrast and Capture
2017) showed how similar Capture One is to
One suits the way I like to process and edit my
Lightroom in terms of processing our raw files.
raw files, whether shot on Phase One, Canon,
In this issue, I want to show you how similar and
Nikon, Leica or Fujifilm.
different the two applications can be.
the free Capture One trial and compare for
For instance, in the portrait over the page,
both applications have been able to produce
For photographers dealing predominantly
However, you’ll only know if you download
yourself. Try it this week!
When the same file is opened in both applications and any adjustments that may have been automatically made removed, the files look pretty similar on screen. Lightroom shows the vignetting a little more strongly than Capture One, but is easily adjusted.
The Pick White Balance or White Balance Selector tool is activated and clicked on the background near the subjectâ€™s head. There are slight differences, but too slight to be of any consequence.
en h w e c n s a l e a n b o t r u n i o l k s Co h . r t i a l i w g m i n s i l e a t i u de q s i alone
Skin ion t c a r f a r s e t e f n o s to d n a r e warm ightroom in L . s p a perh
For typical portraiture like this, both programs are very similar in terms of output and response when it comes to exposure, contrast and highlight/shadow control. On the basis of this example, both programs are pretty similar, with just subtle differences in skin tones.
At 100% enlargement, Lightroom has a softer output than Capture One with the default settings. Naturally, these can be adjusted in both programs, but for weddings and family portraiture, maybe Lightroom is better suited to softer, more pleasing skin rendition?
With no adjustments made, Lightroom chooses to put more detail in the highlights, while Capture One shows more in the shadows. This is neither right nor wrong, just two different interpretations.
The Pick White Balance or White Balance Selector tool is activated and clicked on satellite dish. Interesting how the green car and blue sky are more saturated in Lightroom, while the orange paintwork is more saturated in Capture One. Again, not better or worse, just different.
h t i w rs u o l e o c c n r a e l a g b n o e r t i . St e h n w O d r e r a u d t n p a sta C n i g n i t t se
d n a e n O n o e r e u e r g a Capt s i . d r a c m o n o e r e t r h g e Lig h t g n i d n re
When exposure, contrast and highlight/shadows are adjusted, further differences in the way the two programs operated are quickly seen. Tonally, these two images have been adjusted to look like each other, but in matching tonality quite closely, colour differences still remain.
At 100% enlargement, Capture One appears to be slightly sharper with more contrast, while Lightroom a touch softer. Perhaps this is why the portrait on the previous page looked slightly better in Lightroom (softer), whereas with this travel photo, the extra sharpness in Capture One is helpful.
Handling Sales Objections When photographers mention ‘handling objections’, our first thoughts might be about dealing with complaints, but in fact, it is much more fundamental than this - as Gap Studios’ portrait photographer Glenn Addison APP AAIPP explains. Not knowing how to handle an objection is
know when and how to handle objections
one of the major reasons photographers don’t
before they arise by creating value.
And objections start way before the
OBJECTION = BUY
photographer has even picked up a camera,
Objections are buying signals: people are telling
so this topic has nothing to do with making a
you they don’t yet have enough information to
mistake and fixing it up for your client.
make a decision.
We all make mistakes and, naturally, we do
We should welcome objections because
whatever it takes to fix it up for the client.
they’re often the first step to a sale.
Photographers are good at influencing
However, more fundamentally, objections
arise because we want to charge more than
beliefs through imagery, but need to learn how
the client wants to pay. In fact, often objections
to influence people during the sales process by
arise if we want to charge at all and certainly
creating emotional value.
there are many professional photographers who
struggle to charge their clients what they think
they are worth.
• Create an inspiring story;
• Educate people about how you enhance their
Most photographers don’t know how to
Busines s Pr icing
influence a client’s beliefs. What a client believes
life; • Create more value in your product than clients
when meeting you may be quite different to
thought was possible.
what they need to believe if they are going to
encounter and address them before they
become an objection, while influencing people
Often their beliefs are incorrect or
exaggerated or baseless, so it’s important to
There are three approaches for handling an
You need to anticipate the objections you’ll
emotionally and logically.
Examples of the day-to-day portrait photography offered by Gap Studios and Glenn Addison.
Examples of the day-to-day portrait photography offered by Gap Studios and Glenn Addison. 44
How is it some companies defy the odds and
Everytime we talk to a client, it’s an
grow sales massively, regardless of economic
opportunity to educate them, create value in
times? And why is it most photographers
what we do and what it will mean for their life,
complain that customers won’t pay what their
as opposed to the results they can get with
work is worth?
their own camera.
It’s the experience that creates the story. The
story and the education build the value for a
The answer is they keep getting objections that
client to pay a premium price.
they can’t answer satisfactorily.
this for all four major customer connections.
That’s why photographers compare their
You need to think about how you can do
prices to competitors, then keep their prices
1. The first is the booking call. This needs to be
similar or lower so customers will still buy from
all about the client, asking leading questions
and getting them fully engaged.
This is not a long term strategy.
2. The excitement/confirmation call to re-
Handling price objections starts from
engage the customers’ emotions and get them
the initial contact a customer has with you.
excited. Reinforce previously communicated
It doesn’t just happen at the end of the sale.
value and build even more value.
It’s done by engaging potential customers in
3. In the photography session, you use
the story of why you do what you do, while
previous conversations to further connect with
educating them about what you do, and
the client and create their story.
building value in the experience and what the
4. The sales session. We use an 11 step system
end result will mean to people over the long
that guides clients to the outcome we want.
influence used in conjunction with your sales
This happens over multiple contacts with
Being a great sales person is all about
system to get predictable results.
You need to understand why are you in
business for your customers. What impact do you want to have? What do you stand for as a
Glenn Addison runs the successful Gap Studios in
company? What do you believe? This is how you
Sydney and Brisbane. He has developed a series of
in-depth training videos for professional portrait
photographers - for more information, email Glenn
Most companies tell people what their
product is and what it does.
directly at Glenna@gapstudios.com.au
Olympus OM-D E-M1 Mark II There is a definite trend towards smaller cameras and given the image quality they produce, why wouldn’t a professional photographer prefer a lighter camera outfit? Certainly helps the back! So, is the latest OM-D mirrorless camera from Olympus the next camera for you? Given the flagship professional DSLRs from
105 JPEGs. With the mechanical shutter, the
Nikon and Canon have sensors around
frame rate drops to 10 frames per second, but
20-megapixels (even though both companies
this still compares well with the 12 or 14 fps of a
have larger sensor models as well), is this all a
large, pro DSLR and its mechanical shutter.
professional photographer really needs?
to do the talking. It’s how it is intelligently using
For a lot of photography today,
And Olympus hasn’t just left the frame rate
20-megapixels is ample. And now that Olympus
that frame rate which is of interest.
and the Micro Four Thirds system are offering
a 20-megapixel sensor, it seems likely that
capturing 20-megapixel files the moment you
professionals will be seriously considering
half press the shutter button. Then when you
models like the new OM-D E-M1 Mark II.
fully depress the shutter button to take the
For instance, its Pro Capture mode starts
photo, it retains up to 14 of the most recent
TAGS Equ ip m e n t Sto r rag e L a Cie
MORE THAN A DSLR
exposures as well. So, if you were waiting for
However, the OM-D E-M1 Mark II is a little more
that perfect expression or gesture, you’ll have it!
than just a smaller version of a DSLR.
great feature; for portraiture and weddings,
Making the most of its mirrorless design,
Olympus has introduced some technical
it could be a great feature, although it may
features that can’t be matched by the DSLR
require a little more storage than you want and
more time editing the shoot as well.
For instance, it offers up to 18 frames per
second capture rates with AF/AE tracking, and
60 fps with AE/AF lock.
And while early electronic viewfinders had their
limitations, the new EVF on the OM-D E-M1
The super fast 18 fps can be achieved with
an electronic shutter for up to 77 raw files or
For wildlife and sport photography it is a
Mark II provides smooth and fast display at a
The diminutive Olympus OM-D E-M1 Mark II
The Olympus OM-D E-M1 Mark II has a Pro Capture Mode that starts recording images before you fully depress the shutter, so you’re guaranteed to capture the ‘precise moment’.
120-fps frame rate and a 0.005-second display
body construction is splashproof, dustproof,
and freezeproof to -10°C. Sealing throughout
the entire body keeps out sand, dust, rain, and
In fact, everything on the OM-D E-M1 Mark
II seems to be faster. The 121-point autofocus
other droplets, which is necessary for life with a
system uses the more sensitive cross-type
sensors with a new moving subject tracking
algorithm. The camera features Face/Eye priority
four options: Standard records to a specified
autofocus and five levels of continuous AF
card; Auto Switching continues recording on
tracking sensitivity. It all leads to a camera that
the other card when the specified card is full;
gets the timing and focus right more often.
Dual Independent records to both cards at
Dual SD card slots have been included with
specified image quality settings; while Dual
Same records to both cards with the same
With more and more of our work designed
image quality mode.
for online use, we’re similarly being asked to produce more and more video as well. And
even though our clients only want it for the
And it’s important for a professional camera
web, chances are they’re asking for 4K.
to have a good range of accessories and
The OM-D E-M1 Mark II supports digital
cinema standards like 4K (4096 x 2160), a 24P
The OM-D E-M1 Mark II offers several
frame rate and a 237 Mbps bit rate. Hand-
accessory flash guns (and will work with studio
held 4K video recording is achievable with the
flash too), a remote cable release, viewfinder
help of a 5-axis image stabilisation system and
eyecups and even underwater housings -
electronic stabilisation, without the need for a
everything is there.
tripod or gyro.
The HDMI Monitor now supports a 4:2:2
camera offers focal lengths from 7mm (on a
output for expanded colour correction range,
7-14mm zoom) up to 300mm (which is like a
and there are two HDMI output modes, one for
600mm for a full-frame DSLR). And like the DSLR
an external monitor, the other for an external
systems, there are standard and professional
quality optics to choose from - the M.Zuiko Pro
In terms of lenses, the Micro Four Thirds
is the range readers will probably look at first.
PROFESSIONAL SPECS Although a mirrorless design, the camera’s
EIZO ColorEdge CS2730 Monitor How do you get the best type of monitor at the lowest price? The Eizo ColorEdge CS2730 has many of the features found on its more expensive siblings, but at a very attractive price! Every photography knows that you can’t
edit your photographs accurately unless
AdobeRGB colour space so images shot in
your monitor is also accurately rendering the
AdobeRGB will be displayed correctly. Photos
tones and colours. And most experienced
of vibrant blue skies and lush green forests are
photographers invest in an Eizo monitor
reproduced faithfully in a way that monitors
because Eizo is considered the best.
limited to an sRGB colour space cannot display.
The CG2730 reproduces almost the entire
Using the DisplayPort or HDMI inputs, the
CG2730 offers 10-bit simultaneous display
But they are not inexpensive, so as a starting
from a 16-bit look-up-table (LUT) which means
point, check out the Eizo ColorEdge CS2730
it can show more than one billion colours
which costs around $2220.
simultaneously. This is 64 times more colours
than you get with a standard 8-bit display,
The entry model to Eizo’s range, the CS2730
is still a large 27-inch monitor with a built-in
resulting in smoother colour gradations and
colorimeter and ColorNavigator 6 software for
automatic calibration. All computer monitors
tend to ‘drift’ in terms of colour and tonal
monitor is adjusted at the factory to ensure the
reproduction, so it’s part of a professional’s
smoothest colour gradations in your images.
workflow to calibrate regularly (at least once a
technology, but you only have to look at your
images on an Eizo monitor to see the difference.
The 27-inch screen has a native resolution
The gamma level for each ColorEdge
Of course, there’s a lot more to the
of 2560x1440 pixels, which offers a pixel count
Check out where you can see Eizo monitors on
double that of 1280x1024 and 60% more than
display at Eizo’s website.
1920x1200 resolutions. This gives you plenty of
space to work with images, tool palettes and
See more at: https://eizo-apac.com/graphics/col-
Eizoâ€™s entry level ColorEdge CS2730 color monitor retails for around $2220
L FOR B
Use Co u
de: BPM AG 31/12/ 2016
Online Landscape Photography MasterClass Learn the art, craft and business of landscape photography with a member-only subscription to Peter Eastway’s Landscape Photography Masterclass. The online delivery includes 18 classes (each comprising 3 movies and 3 articles), featuring equipment, techniques, inspiration and Photoshop post-production. Start at any time. Learn at your own pace. There are no exams! Replay and re-read as often as you like. And share your comments and ideas with other MasterClass members. To view, read and experience a free sample Landscape Photography MasterClass, please visit our website and follow the links ...
www.betterphotography.com Landscape Photography MasterClass - Contents FINE ART MOVIES
1. Monte Fitz Roy, Patagonia 2. Mount Nemrut, Central Turkey 3. Cape Palliser, New Zealand 4. Cappella di Vitaleta, Tuscany, Italy 5. Elephant Island (Iceberg At Sea) 6. Pilbara Storm, Western Australia 7. Steeple Jason, Falkland Islands 8. Nevis Tree, South Island, New Zealand 9. Zabriskie Point, Death Valley, USA 10. Oxer Lookout, Karijini, Western Australia 11. Segovia Castle, Central Spain 12. Great Barrier Reef, Australia 13. Western Macdonnells, Central Australia 14. St Gregory’s, Ani, Eastern Turkey 15. Weano Gorge, Karijini National Park 16. Clinging Tree, Dales Gorge, Karijini 17. Ishak Pasha – The Mosque Behind 18. Stirling Ranges, South Western Australia
1. Which Cameras Are Best for Landscapes? 2. The Best Lenses For Landscapes 3. What Is The Best Aperture To Use? 4. Camera Support For Maximum Clarity 5. Camera Bags - Sensible Approaches 6. Landscape Photography Accessories 7. Colour Temperature & How It Works 8. Correct Exposure And The Histogram 9. Using The Light For Landscapes 10. How To Stitch Panoramas 11. Archival Landscape Prints 12. How To Shoot Aerial Landscapes 13. Composition Part 1: Subject Matter 14. Composition Part 2: Framing & Cropping 15. Composition Park 3: Viewpoint 16. Composition Part 4: Placing The Horizon 17. Composition Part 5: Centre of Interest 18. Composition Part 6: Rule of Thirds
1. Patagonia, South America 2. Favourite Places In Turkey 3. Favourite Places in South West USA 4. Favourite Places In Italy 5. Central Spain for Castles 6. The Pilbara, Western Australia 7. Easter Island, Pacific Ocean 8. Niseko, Hokkaido, Japan 9. Shooting The Pyramids, Egypt 10. Hamilton Island, Australia. 11. Queenstown, New Zealand 12. Ancient Ani, Eastern Turkey 13. Amazing Papua New Guinea 14. Karijini National Park, Western Australia 15. Cruising For Landscape Photographs 16. Reaching Your Destination 17. Scotland & The Isle Of Skye 18. Antarctica & The Southern Islands
1. Potential Markets for Landscape Photos 2. How To Price Your Landscape Prints 3. Creating Landscape Prints For Sale 4. Publishing A Book of Landscapes 5. Publishing A Book How Finances Work 6. Presentation: Why It’s So Important 7. Setting Up Your Own Website 8. Setting Up An Exhibition 9. Shooting For Books & Magazines 10. Limited Edition Print Sales 11. Computer Power - Do You Need More? 12. Landscape Print Sales Paperwork 13. Print Sizes And Paper Surfaces 14. Shooting Landscapes That Sell 15. Getting Photos Published With Words 16. Do You Need A Business Plan? 17. Which Photo Editing Software? 18. Where To Now That You’ve Finished?
1. RAW Conversion Technique 2. Darkening & Lightening With Soft Light 3. Multiple RAW Conversion Technique 4. Luminosity Masking Technique 5. Colour Balance – Getting It Right 6. Local Contrast – Two options in Photoshop 7. Vignetting – How It Can Improve Images 8. Lab Color - Full Control in Photoshop 9. Nik Software - Using Viveza Plug-in 10. Photomerge For Stitching 11. Channels for Hue/Saturation Adjustments 12. Making Selections In Photoshop 13. Sharpening In Photoshop 14. Black & White Conversions 15. Focus Stacking (Helicon Focus) 16. Lightroom Catalogs for Landscapes 17. Big Black & White Punchy Landscapes 18. High Pass Filter For Landscapes With Pop!
The official publication of the Australian Institute of Professional Photography.