Issue 274
August 2019
The 2019 Winners! AIPP Australian Professional Photography Awards
CONTENTS 4
What's The AIPP Been Up To?
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Matt Palmer APP M.Photog 2019 AIPP Australian Professional Photographer of the Year
AIPP National President Melissa Neumann reports to the membership on behalf of the National Board.
Landscapes of beauty and hidden meaning impressed the judges this year, earning Matt Palmer the cherished title of 2019 AIPP Australian Professional Photographer of the Year. Cover
Matt Palmer APP M.Photog. AIPP AUSTRALIAN PROFESSIONAL PHOTOGRAPHER OF THE YEAR
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2019 AIPP AUSTRALIAN PROFESSIONAL PHOTOGRAPHY AWARDS
Abraham Joffe and Dom West 2019 AIPP Australian Professional Video Producer of the Year Once again, there were just two production houses sharing all the video awards this year, but this time it was the commercial work from Untitled Films that got the nod for the top prize.
AIPP JOURNAL is the official newsletter of The Australian Institute of Professional Photography (AIPP). Editor Peter Eastway B.Ec CPA APP.L FNZIPP Hon. FNZIPP G.M. Photog. 1 P.B. 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 – monthly with November/ December and January/February being combined. The AIPP JOURNAL newsletter is published by Pt 78 Pty Ltd, ABN 75 003 152 136, PO Box 351, Collaroy Beach, NSW 2097, Australia. Phone: (02) 9971 6857; Fax (02) 9971 6641. E-mail eastway@betterphotography.com Quietly celebrating 27 years of publication. "This is the last issue of the AIPP Journal and it has been a pleasure writing for the profession all these years. I wish the profession good luck in the future." PE
AIPP Membership Contacts www.aipp.com.au admin@aipp.com.au PO Box 244, Kerrimuir, Victoria 3129 Phone 1300 685 334
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APPA Judging In Pictures
34
Once again, APPA Awards Committee member Bill Bachman turned his camera onto proceedings for the 2019 APP Awards.
APPA Trade Show The annual Awards wouldn't be the same without the 'trade' - the wonderful sponsors who provide our equipment, supplies and services.
ISSUE 274 / AUGUST 2019 38
AIPP Gala Dinner Every year, the AIPP hosts a gala dinner to recognise notable photographers – and in more recent years, to announce the Professional Photographer of the Year Awards as well.
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How Do I Deal With My Results? How did you go at APPA? The average number of entries earning Silver or Gold is around 40%, so there's a good chance one or more of your entries scored less than this – in the 'Professional Practice' range. What does this mean and how can you make the most of it.
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Craig Wetjen – Honorary Life Member Craig Wetjen started his career 33 years ago photographing sports for local newspapers in his home state of Connecticut, USA.
Louise Bagger - Claude McCarthy Award The Claude McCarthy Award is named after Claude McCarthy the founding father of the Institute.
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The Luminous Award Luminous is the philanthropic arm of the Institute. It has three essential roles aimed at supporting our profession – and the professionals within.
Matt Palmer, 2019 AIPP PPY The AIPP Journal asked Matt Palmer for his thoughts after winning the 2019 AIPP Australian Professional Photographer of the Year. As you'll read, it's all about the heart.
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60
Introducing Felisha Mendoza Mina
Heide Smith, Fellow
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Having exhibited her work in more than 20 shows dating as far back as 1959, Heide Smith has lived her life with photography flowing through her veins.
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The Psychology of Portrait Photography
Steve Parish OAM - Honorary Fellow
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Having sorted out our own psychology as photographers, Johl Dunn APP AAIPP now looks at the psychology of our clients and why they buy portraiture. Part 2.
Steve Parish is said to have done more for promoting Australia with his photography than anyone else – including Paul Hogen and Steve Irwin!
Michael Amendolia – Honorary Fellow One of Australia’s most recognisable images is a portrait photograph of ophthalmologist Professor Fred Hollows.
With much needed advertising and marketing skills, the AIPP would like to introduce to the membership Felisha Mendoza Mina as our newest national Board member.
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Capturing Wedding With RED How do wedding photographers work in different locations around the world? American Steve DiMaggio is interviewed for a RED case study and the AIPP's video production division asked for permission to reproduce it here in the AIPP Journal.
Platinum Sponsors 3
NEWS
What's The AIPP Been Up To? AIPP National President Melissa Neumann reports to the membership on behalf of the National Board. The AIPP gala dinner was one of many
around his work. His subtle statements on
highlights across a fantastic weekend up
damage to the environment spoke to many.
in Sydney. It was fantastic seeing our trade
partners, photographers, video producers,
that our industry has ever seen and the Institute
families and kids wandering the trade show,
must reflect that. We are proud of our awards
watching the judging and generally having a
and we have done them exceptionally well
great time celebrating what our industry is all
for many years, but it is time for the AIPP to be
about and the love of image making.
known for many other things as well.
• An emphasis on education and contemporary
We had some of our NZ family join us,
including Ollie Dale, NZIPP president. We have
business and imaging techniques is a high
a great working relationship with NZ and this is
priority.
making both Institutes more resilient.
• Regional members will have more access to
Australia held onto the Trans Tasman cup
events and education platforms than they
(a side competition between the best images of NZ and Australia), so the silverware will stay
4
We are in the middle of the fastest evolution
ever have before. • Just as importantly, mental health resources
here yet again.
and having tools available for those that need
them are high on the agenda.
Congratulations to Matt Palmer, overall
winner and AIPP Photographer of the Year.
The local councils and regional chapters
Such a great bloke and such moving speeches
now have more say in what happens in their
neck of the woods. We are going back to grass
roots and placing the emphasis on building
A notable change is that this will be the last
community.
issue of the AIPP Journal to be published.
The councils have now completed their
We want to talk with you, not at you.
From here on, we will be changing to regular
one year events calendar and we look forward
email updates which incorporate an AIPP blog,
to seeing what they have planed as it rolls out
to be launched very soon. This will keep you up
around the country.
to date and interested in what is happening,
both within the AIPP and with articles of interest
We have a sensational group of volunteers
who are passionate about providing members
from external sources.
with excellent educational and social
opportunities, so please go along and support
communication methods with potential for
your local council.
extensive reach.
And if you want to see something specific
This new blog introduces currency to our
We would like to extend our sincere
in your part of Australia, these are the people to
appreciation to Peter Eastway who has been the
talk to.
driving force and publisher of the AIPP Journal
(previously The Working Pro) for many years,
A membership structure change is on its
way with more affordable fees and members
providing invaluable content and news.
will get more bang for their buck.
and heaps more fun.
We are opening up our membership
We are working towards way more value
to include all areas of our industry. A richer
tapestry will give us an Institute that more
in the near future and I’m sure you will be as
creatives will want to be part of.
well.
I’m excited for the changes that are coming
Our main priority currently is focused on
communication and marketing so you will start
Melissa Neumann APP.L M.Photog.
to see changes in our language and the way we
National President
connect with you.
melissa.neumann@aipp.com.au
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AWARDS
Platinum Sponsors Proud Supporters Matt Palmer APP M.Photog
2019 AIPP Australian Professional Photographer of the Year ATKINS PRO LAB
ATKINS PRO LAB
Landscapes of beauty and hidden meaning impressed the judges this year, earning Matt Palmer the cherished title of 2019 AIPP Australian Professional Photographer of the Year.
Matt Palmer, 2019 AIPP Australian Professional Photographer of the Year.
TAGS APPA Awa rd s
6
Perhaps subliminally the judges were
Video Producer Awards - see a separate article
responding to the critical message behind
later in this Journal) were held at the Royal
Matt Palmer's four exquisite landscape prints,
Randwick Racecourse in Sydney, accompanied
a message that reminded us that what may
by an intimate trade show with a dazzling array
appear beautiful to the eye can carry hidden
of equipment and services on display. Entry to
dangers in the form of pollution and the
both the judging rooms and the trade show
evidence of climate change.
was free and many local photographers took full
advantage of what is one of the world's most
Upon accepting the award and cash purse
of $10,000, an insightful Matt opened up at the AIPP Gala Dinner, suggesting
educational weekends.
that he was proof you could come
2019 APPA AWARD STATISTICS
from being a relative 'nobody' to a
Award Type
'somebody' within the structure of
Silver 668 40.6% 38.1 %
the AIPP.
Silver With Distinction 268 16.3% 16.0 %
Gold 107 6.5% 3.5 %
The 43rd AIPP Australian
#
%
Last Year
Professional Photography Awards
Gold With Distinction 14 0.9% 1.0 %
(along with the AIPP's Australian
Not awarded 590 35.7% 41.3 %
AWARDS Platinum Sponsors
For the second year, every entry was
And Panasonic’s range of G-series and
provided with a judge's comment, giving both
the new S-series Lumix cameras has become
the entrant and the audience an insight into
legendary in both still and video realms, finding
how our esteemed judges think.
flavour in a wide range of genres.
There were also up to 2000 online viewers
Together, these three sponsors are
watching the judging at any time – although
ideally positioned to help the AIPP promote
it has to be said, you really have no idea how
a professional product, both to our own
good a photograph is until you see the print
professional photographers and to the public at
in the flesh. The online images struggle to
large.
convey the true skill and craft of a professionally
produced print.
enjoy the category winners on the following
pages.
While entries were fewer than last year, the
overall positive spirit of the Awards continued,
Congratulations to all the entrants and please
ever – and we saw a number of past-members
2019 APPA ENTRANTS BY CATEGORY
returning to have a look and, hopefully, consider
Category
rejoining in the near future.
Commercial 186
shared with the highest number of new judges
Documentary
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No. Entered # 87
INDUSTRY SPONSORED
Family 79
The AIPP’s Australian Professional Photography
Illustrative 187
Awards has three key Platinum Sponsors:
Landscape 304
Olympus, Aon and Panasonic.
Nature 72
Olympus as a camera company has a
Newborn 63
long lineage in compact, high end cameras,
Pet/Animal 117
beginning way back in the film days.
Portrait 207
Travel 192
Today, its professional OM-D E-M1X features a
20-megapixel sensor, amazing image stabilisation
Wedding
and an impressive array of quality lenses.
Album 3
Book
11
their studios and equipment for over 20 years
Alternative Process
18
and offers a range of insurance products specially
Total 1647
adapted for the profession’s needs.
Previous year total:
Aon has been protecting photographers,
121
1814
AWARDS Platinum Sponsors
Platinum Sponsors Proud Supporters
Mat t Palme r APP M. Ph oto g.
2019 A I P P AU S T R A L I A N P R O F E S S I O N A L P H OTO G R A P H E R O F T H E Y E A R Sponsored By Olympus, Aon and Panasonic
KF I NESS S I O N A L L A N D S C A P E P H OTO G R A P H E R O F T H E Y E A R 2019 A I P P AU S T R A L I A N PPARRTO O LAB
Sponsored B y Fujifilm Fi nal i sts - Chr i s S aunder s, Tani a M alk i n, S cott M cCook , Jannick Clausen ATKINS PRO LAB
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NEWS AWARDS Platinum Sponsors
Platinum Sponsors Proud Supporters ATKINS PRO LAB
ATKINS PRO LAB
G av in J owit t APP AAIPP AR PS, ABIPP 2019 A I P P AU S T R A L I A N CO M M E R C I A L P H OTO G R A P H E R O F T H E Y E A R Sponsored By PPIB Fi nali sts - G eoff Com for t, K ase y Funnell
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AWARDS Platinum Sponsors
Platinum Sponsors Pe te r R ossi APP. L G M. Ph oto g. II P. B. 2019 A I P P AU S T R A L I A N P R O F E S S I O N A L C R E AT I V E P H OTO G R A P H E R O F T H E Y E A R
Proud Supporters
Sponsored By ChromaLuxe
Fi nal i s ts - A ngi e Connell, Ignaci o Palacios, S tef D unn, K i r sten Woo d for t h
ATKINS PRO LAB
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NEWS AWARDS Platinum Sponsors
M ic k Por te r APP AAIPP 2019 A I P P AU S T R A L I A N P R O F E S S I O N A L D O C U M E N TA R Y P H OTO G R A P H E R O F T H E Y E A R Sponsored By Sony Finalists - Belle Verdiglione, S ar ah Wi dny ana
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AWARDS Platinum Sponsors
N aomi R e ite r APP AAIPP 2019 A I P P AU S T R A L I A N P R O F E S S I O N A L FA M I LY P H OTO G R A P H E R O F T H E Y E A R Sponsored By CR Kennedy Finalists - L isa I v andi ch, Natali e Howe
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NEWS AWARDS Platinum Sponsors
Platinum Sponsors Cha rmain e Heye r APP. L G M. Ph oto g. I P.B.
Proud Supporters
2019 A I P P AU S T R A L I A N P R O F E S S I O N A L I L LU S T R AT I V E P H OTO G R A P H E R O F T H E Y E A R
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Sponsored By EIZO Finalists - Forough Yav ar i, R ebecca Crof t
AWARDS Platinum Sponsors
Platinum Sponsors Proud Supporters ATKINS PRO LAB
Peter East way APP.L G M. Ph oto g. II P. B. MN Z IPP Hon . FN ZI P P Ho n .FA I P P FA I P P 2019 A I P P AU S T R A L I A N P R O F E S S I O NAAT KLI NNSAT U R E P H OTO G R A P H E R O F T H E Y E A R PRO LAB
Sponsored By LaCie/Seagate Finalists - J oshua Holk o, M att Beetson
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NEWS AWARDS Platinum Sponsors
J o die An drews APP M. Ph oto g. 2019 A I P P AU S T R A L I A N P R O F E S S I O N A L N E W B O R N P H OTO G R A P H E R O F T H E Y E A R Sponsored By Camera House Fi nali sts - Natar sha M arch, H i lar y Adam son
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AWARDS Platinum Sponsors
B e lin da R ic h ards APP AAIPP 2019 A I P P AU S T R A L I A N P R O F E S S I O N A L P E T / A N I M A L P H OTO G R A P H E R O F T H E Y E A R Sponsored By Sony Finalists - Er in K i ng, S ar ah Brow n
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NEWS AWARDS Platinum Sponsors
Platinum Sponsors Damie n B owe rman APP M. Ph oto g. IV 2019 A I P P AU S T R A L I A N P R O F E S S I O N A L P O R T R A I T P H OTO G R A P H E R O F T H E Y E A R
Proud Supporters
Sponsored By Kayell / Canson
Fi nal i s t s - K eren D obi a, M atthe w G ianoulis, Nadi ne S aacks, Br uce M oyle
ATKINS PRO LAB
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AWARDS Platinum Sponsors
Platinum Sponsors An drew Mc Con ac hy APP M. Ph oto g.
Proud Supporters
2019 A I P P AU S T R A L I A N P R O F E S S I O N A L T R AV E L P H OTO G R A P H E R O F T H E Y E A R Sponsored By Camera Electronics Fi nali sts - G uy Havell, K r i s A nder son ATKINS PRO LAB
ATKINS PRO LAB
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NEWS AWARDS Platinum Sponsors
Platinum Sponsors Proud Supporters ATKINS PRO LAB
Pau l Mc Call APP AAIPP 2019 A I P P AU S T R A L I A N P R O F E S S I O N A L W E D D I N G P H OTO G R A P H E R O F T H E Y E A R
ATKINS PRO LAB
Sponsored By Nikon Fi nali sts - K elly Tunne y, Paul M cCall, M ur r ay R edpath
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AWARDS Platinum Sponsors
Janyn e Fle tc h e r AAIPP G MN Z IPP 2019 A I P P O V E R S E A S P H OTO G R A P H E R O F T H E Y E A R
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NEWS AWARDS Platinum Sponsors
Barbara Brown 2019 A I P P AU S T R A L I A N E M E R G I N G P H OTO G R A P H E R O F T H E Y E A R Sponsored By Pro Photo Magazine Fi nali sts - Pam ela M i lls, N i all Chang
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AWARDS Platinum Sponsors
Platinum Sponsors Proud Supporters ATKINS PRO LAB
S cot t D ixon ATKINS PRO LAB
2019 A I P P AU S T R A L I A N S T U D E N T P H OTO G R A P H E R O F T H E Y E A R Sponsored By Nikon Finalists - Fiona Bi r t, D ij ana J ov anov ic
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NEWS AWARDS Platinum Sponsors
Charmain e Heye r APP. L G M. Ph oto g. I P.B. & Peter East way APP.L G M. Ph oto g. II P. B. MN Z IPP Hon . FN ZI P P Ho n .FA I P P FA I P P 2019 G R A N D M A S T E R AWA R D
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AWARDS Platinum Sponsors
Platinum Sponsors Proud Supporters ATKINS PRO LAB
M ic k Por te r APP AAIPP ATKINS PRO LAB
2019 A I P P AU S T R A L I A N P H OTO G R A P H I C B O O K O F T H E Y E A R Sponsored By MomentoPro Finalists - M ar ina Ziv k ov i c, The L i ght Collec ti ve
Platinum Sponsors Proud Supporters ATKINS PRO LAB
E ric R on ald APP M. Ph oto g. 2019 A I P P AU S T R A L I A N A L B U M O F T H E Y E A R
ATKINS PRO LAB
Sponsored By MomentoPro Finalist – Hale y R i chardson, D ar ren Van D e Wi nt
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NEWS AWARDS Platinum Sponsors
Platinum Sponsors Proud Supporters
Man darin e Montg ome r y APP M. Ph oto g. I V ATKINS PRO LAB
2019 AU S T R A L I A N H I G H E S T S CO R I N G P R I N T ILFORD TROPHY Sponsored By Ilford
ATKINS PRO LAB
Platinum Sponsors Proud Supporters
Trevor Fo on APP. L M. Ph oto g. IV
2019 A I P P AU S T R A L I A N A LT E R N AT I V E P R O C E S S E S P H OTO G R A P H E R O F T H E Y E A R ATKINS PRO LAB
Sponsored B y Fujifilm
Finalists - J ohn A nsell, Tre vor Foon ATKINS PRO LAB
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AWARDS Platinum Sponsors
Platinum Sponsors Proud Supporters ATKINS PRO LAB
ATKINS PRO LAB
Nor th Me t rop olit an TAFE - We ste rn Au st ra l i a 2019 A I P P AU S T R A L I A N T E R T I A R Y I N S T I T U T I O N O F T H E Y E A R Sponsored By Starleaton Finalist - Photogr aphy S tudies College Vic tor ia
Platinum Sponsors
Pe te r R ossi APP. L G M. Ph oto g. II P. B.
Proud Supporters
2019 AU S T R A L I A N E P S O NA TSKIIGN N S AT U R E W O R T H Y AWA R D PRO LAB
Sponsored By Epson ATKINS PRO LAB
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AWARDS
Abraham Joffe and Dom West 2019 AIPP Australian Professional Video Producer of the Year Once again, there were just two production houses sharing all the video awards this year, but this time it was the commercial work from Untitled Films that got the nod for the top prize.
Abraham Joffe and Dom West (below).
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Sitting proudly alongside the AIPP's print awards,
to assist the judges in their deliberations. And
the Australian Video Producers Awards (AVPA)
judges are sent the films to watch in full, prior to
has grown exponentially this year, with over
the judging day.
90 entries into three categories: commercial,
documentary and weddings.
Jared Kettle won the wedding category again
this year, and similarly it was Abraham Joffe's
The three sponsors of the AVPA are Olympus
Last year's winners Jacob Williams and
(for the overall winner and the documentary
Untitled Films that won the commercial and
category), Panasonic (wedding category) and
documentary categories, but the big prize
Sony (commercial category).
switched around and our congratulations go to
Abraham Joffe and Dom West who were named
The judging was at the Royal Randwick
Racecourse, just above the print awards – but in
the overall winner and the 2019 AIPP Australian
a very comfortable members' lounge!
Professional Video Producer of the Year.
Like the print awards, there are many details
The winning video, from the commercial
that need to be considered to ensure an even
category, is titled Yarrow and is a spectacular film
playing field in what is a very diverse area of
that follows a photographer behind the scenes
creative expression. Productions or 'films' are
on South Georgia, one of the most beautiful
sometimes broken down into length and budget
locations on Earth.
AWARDS
Judging video productions and films follows a similar format to the print judging, except judges are asked to view all the entries in full, prior to the actual judging. A two minute clip is played and, using notes they have made before, the entry is scored. Challenges are also allowed.
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NEWS AWARDS Platinum Sponsors
Ab rah am J offe an d D om We st - U nt it le d Fi l m s 2019 A I P P AU S T R A L I A N P R O F E S S I O N A L V I D E O P R O D U C E R O F T H E Y E A R
Platinum Sponsors
S P O N S O R E D B Y O LY M P U S
Jacob Williams an d Jare d Ke t t le - H u mdr u m Fi l m s 2019 A I P P AU S T R A L I A N P R O F E S S I O N A L W E D D I N G V I D E O P R O D U C E R O F T H E Y E A R
Platinum SponsorsS P O N S O R E D B Y PA N A S O N I C 30
AWARDS Platinum Sponsors
Ab rah am J offe an d D om We st - U nt it le d Fi l m s 2019 A I P P AU S T R A L I A N P R O F E S S I O N A L CO M M E R C I A L V I D E O P R O D U C E R O F T H E Y E A R SPONSORED BY SONY
Abrah am J offe - U nt it le d Films 2 019 A I P P AU S T R A L I A N P R O F E S S I O N A L D O C U M E N TA R Y V I D E O P R O D U C E R O F T H E Y E A R
Platinum Sponsors
S P O N S O R E D B Y O LY M P U S
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AWARDS Platinum Sponsors
APPA Judging In Pictures Once again, APPA Awards Committee member Bill Bachman turned his camera onto proceedings for the 2019 APP Awards.
A quick group shot of most of the 2019 APPA judges taken on the Friday evening before the judging began. Not all photographers made it due to very windy weather at Sydney airport. But there was no hot air from us!
Robyn Campbell said that if you believed it, this was the hashtag for the weekend. And she was right!
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No matter how old, everyone is invited to lend a helping hand!
Sue Lewis once again steered the Event Team through a very busy weekend. Sue is planning to return next year for her 20th APPA!
Platinum Sponsors
Volunteer print handlers worked tirelessly out the back in rotating shifts over the three days of judging. This is the engine room!
Shhh! It's a secret! The print handlers reckon they have the best job because they get to see the prints up close and personal!
We're told Instagram has been replaced by plate painting. If you weren't there, don't ask. If you were there, then maybe this still doesn't mean much to you!
There were five judging rooms working flat out for three solid days and every print received close scrutiny.
Jacqui Dean writing notes for the Alternative Processes category judging.
Oh oh! This looks a little serious! Tony Hewitt giving last minute instructions to the panel chairs and panel chair assistants!
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AWARDS Platinum Sponsors
APPA Trade Show The annual Awards wouldn't be the same without the 'trade' - the wonderful sponsors who provide our equipment, supplies and services.
A very smart looking stand, Olympus is a camera company with some great professional cameras that are light in weight too!
Photo King didn't have far to come - they're shop and lab is also in Randwick, Sydney.
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Fujifilm was on hand with its new 100-megapixel medium format camera lots of photographers got to play!
PPIB has all types of insurance - for your studio, your equipment and even for travel!
Platinum Sponsors
Platinum sponsor EON Insurance was on fire this weekend, with a special prize draw and a chance to win $20,000!
CameraHouse has stores all around Australia - it was great to see a sample of what they had available!
We're told the editor really approved of the promotional photo being used to market the wonderful EIZO monitors!
Based in New Zealand, Queensberry services many of Australia's leading wedding and portrait photographers.
LaCie has solutions for all your storage needs. Just ask Mark, Annie or Grace for help!
If you're looking for a print with a difference, check out the high gloss Chromaluxe finish - although they also have a wonderful matte surface as well!
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AWARDS Platinum Sponsors
Olitian Albums gathers a crowd to learn about their range of albums and frames for the domestic market.
Kayell's Luke McCormack wanders nonchalently through the photographer's photo - well, it was his stand, after all!
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Momento Pro was on hand to display their high quality printing and binding - and support the book and album categories, of course!
Camera Electronic not only had a great stand, they sponsored a pub night of drinks on the Sunday. Thanks Howard and Saul!
Platinum Sponsors
We think Sony won the display for the most cameras and lenses - they really do have a lot to show, including their latest 600mm super tele!
Epson and Nikon had stands next to each other, sharing space. We're told they also share David Oliver who is an ambassador for both brands
There was a lot happening on the Panasonic Lumix stand, including photo walks, live shoots and plenty of great cameras to play with.
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AWARDS Platinum Sponsors
AIPP Gala Dinner Every year, the AIPP hosts a gala dinner to recognise notable photographers – and in more recent years, to announce the Professional Photographer of the Year Awards as well.
Before the throng arrives - preparations for the AIPP Gala Dinner. All photographs were taken by David Simmonds and his merry band of assistants, including Gabriel Vallido and Warren Kirby.
Sue Lewis (left) and Kylie Lyons celebrate Australia winning the Trans Tasman Trophy this year!
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Fellow of the AIPP Heide Smith flanked by her husband Brian and Louise Bagger.
Platinum Sponsors
The Honours Committee looking very honourable: (l to r) Ian van der Wolde, Melinda Comerford, Richard Bennett and Greg Hocking.
The AIPP Gala Dinner wouldn't know what to do without the Master of Ceremonies Tony Hewitt to lead us through proceedings.
Abraham Joffe and Dom West asked fellow Untitled Films colleage Lorna-Jean Bradley to pick up the big video award!
AIPP National President Melissa Neumann giving her first national address in her new role.
And Bruce Williams from Epson presented the very special Epson Signature Worthy award to Peter Rossi.
Matt Palmer's 2019 Australian Professional Photographer of the Year acceptance speech with all the category winners on stage.
39
AWARDS
How Do I Deal With My Results? How did you go at APPA? The average number of entries earning Silver or Gold is around 40%, so there's a good chance one or more of your entries scored less than this – in the 'Professional Practice' range. What does this mean and how can you make the most of it. When I send off my entries each year, I'm
raise the standard, so taken the correct way,
packing up four Gold Awards. I'm sure we all are,
those 'professional standard' scores are both an
yet for around 60 per cent of entries, they come
acknowledgement and a challenge.
back having scored less than Silver or Gold,
40
generally in the 'professional practice' range.
LESS EXPERIENCE
For professional photographers with less
Naturally there is some initial
disappointment. It's interesting that an
experience, getting a score between 70 and 79
organisation whose mission is to promote and
is a good thing.
support professional photography and video
production should come up with a system
determined that your entry is of professional
that provides feedback which can in turn
standard, suitable for sale to a client. This
create disappointment, or am I looking at this
knowledge is invaluable. Why?
wrongly?
Of course I am!
working in isolation. We simply don't know if
Feedback is essential. All professions have
the work we're supplying our clients is better
An independent panel of five judges has
As professional photographers, we're usually
systems in place to provide feedback and
or worse than the work other professionals are
professionals are regularly 'tested' to ensure
supplying.
they are up to the mark.
websites, but they're only showing their very
There's no point for the AIPP to have an
Sure, we can look on other photographers'
awards system that hands out 'likes' and 'hearts'
best work: what are they producing day-in, day-
to every entrant. That's not going to raise
out for their clients?
the standard of professional photography in
Australia.
to time worried that their work may not be up
to standard, so entering the Awards and getting
But our current awards system can and does
Most photographers I know have from time
a score between 70 and 79 is one form of
first step to improvement. And as your prints are
validating your work. It sets a standard.
judged anonymously, there's nothing to fear. No one but you knows your score.
A LITTLE HIGHER
Of course, a score of 70 to 72 is just inside the
generally taking images to make other people
professional practice range.
happy, not just ourselves.
As a suggestion, I'd look at scores of 70 to 75
As professional photographers, we're
If we can't make a panel of judges happy,
as still requiring improvement. This won't apply
then perhaps we should work out why, but lets
to every entry because sometimes the judges
put the scoring range into context.
simply 'don't get it', but if on average you're
scoring in the low 70s, then you should be
standard of photography, not an 'award' image.
aiming to move into the high 70s next year.
If you're consistently scoring 76 or higher with
all your entries, you can relax. You're doing fine
I think the key to success in our Awards
We're talking about producing a professional
system is to enter every year. Entering APPA and
and your work is of professional standard.
the Epson State Awards should become a habit
where you challenge yourself.
from the AIPP's perspective, their mission has
also been accomplished.
Some years, you'll do quite well. Other years,
For some photographers, this is enough and
you'll drop back a bit and while we don't like to miss out on Silver and Gold Awards, lower
THE NEXT STEP
scores will have us asking ourselves some
When entering APPA and the Epson State Print
questions.
Awards, you're not competing against other
Is it us or was it the judges?
photographers, only against yourself and a
And if the judges don't fully applaud our
'standard'. There is no limit to the number
work, then are our clients thinking the same
of entries that can reach this standard and,
way? What can we do to improve?
conceivably, we might one day have an Awards
where every entry earns a Silver.
It's this thought-process that has lifted the
standard of professional photography for over
40 years. It's this thought-process that every
category winners and the PPY, but this isn't
Master and Grand Master of Photography have
what it's all about.
been through. Everyone of them has had prints
score in the 70s and they are better for it now.
yourself and if you don't succeed, then there's
always next year!
So, that initial disappointment is actually a
Surrounding the Awards systems are
Entering the Awards is all about challenging
41
FEATURE
Matt Palmer, 2019 AIPP PPY The AIPP Journal asked Matt Palmer for his thoughts after winning the 2019 AIPP Australian Professional Photographer of the Year. As you'll read, it's all about the heart.
Matt Palmer, 2019 AIPP Australian Professional Photographer of the Year.
42
At the time of writing this, I've had 24 hours to
recent change in my life.
grasp the intense and unique experience of
winning the 2019 AIPP Australian Professional
so many talented photographers, people who
Photographer of the Year.
have achieved far more in their careers than me,
and who have produced photographs beyond
Recognition is not something that sits
At the same time, I am totally aware that
naturally with me, so it's been a surreal
my capability, have not had this moment
experience that still doesn't feel quite
themselves. I feel truly blessed that I have this
'right'.
chance.
The prints I submitted this year did come
LOGICAL SIDE
at a great cost, as 3.5% (approximately 500,000
A year ago, being chosen as one of the
acres) of Tasmania burned during the summer
11-person judging panel to decide the 2018
past.
Australian Professional Photographer of the Year
was one of my greatest honours.
natural communities of rare plants, trees and
animals were wiped off the Earth by firestorms
It was this experience, with the weight of
Habitats were destroyed. Pristine forest,
making that decision, alongside some of the
that were unfathomable in size and inescapable.
finest photographers in Australasia, that allows
at least my logical side to acknowledge this
photography, but in taking something from
The aftermath made for dramatic
Photo by Matt Palmer
43
Photo by Matt Palmer
44
FEATURE
the Earth in that way, I am also left owing
us the beauty of the natural world that we will
something.
lose if we continue on our current trajectory as a species.
CHANGING WORLD
As I mentioned in my acceptance speech, I
this issue and I know there are many more!
believe that landscape photographers, myself
included, have a responsibility to tell the stories
came before.
of our changing world.
over for his photography and his work that
We gain so much from the world we
I thank all of them for lending their voices to Of course, for all of us, there are those who While Ansel Adams is renowned the world
document, that it is only fair to try and protect
is directly linked to preserving areas of the
places of beauty and natural value.
USA, now known as National Parks, it is Peter
Dombrovskis who has the closer connection to
While my recent comments have been
highlighted, it's important to note that many
Tasmania and Australia.
others are taking on this challenge.
showed the Australian people what they had to
Photographers like Christian Fletcher
His photography of the Franklin River
are leading the way, creating groups where
lose in the early '80s, potentially changing the
environmental initiatives can be discussed in a
course of an election and saving the river from
photographic context, and petitioning his local
being dammed and lost.
council to declare a climate emergency.
Landscape category (and into the Nature
This year The Light Collective entered their
The photography I entered into the
book Black & Blue into our awards, a book which
category in Victoria/Tasmania), attempts to
documents coal mining and coral degradation,
repay a small amount of my debt to nature,
as well as the beauty of nature.
captured in places I had also visited before the fires and telling the story of their transformation.
SHINING A LIGHT Robyn Campbell produced a creative series of
REPAYING A DEBT
photographs that shine a light on how we treat
My 'cockatoo in a tree' (see front cover) was
animals that are forced into our cities due to the
taken in the Hartz Mountains area south of
destruction of their habitats.
Hobart.
And nature photographers such as your
On noticing the slightly different
editor of the AIPP Journal, Peter Eastway, and
pigmentation of this tree's leaves, I knew a
others like Darren Jew and Joshua Holko, show
photograph was there to be made.
45
FEATURE
The Cockatoo symbolises the dwindling life,
survive, the natural diversity of the area will
fighting for survival in these places.
be much less as only fire-resistant species will
remain.
The only reason I could photograph the
yellow tree so clearly is that the land I was
standing on had been completely cleared by
bird flying through the top right of the scene
forestry.
near the burst of green on the right-hand side.
I am particularly fond of Currawong since living
I was standing on a hill of nothing more than
mud and burnt tree trunks.
If you're lucky you might notice a Currawong
in Tasmania.
FLORENTINE
I describe the Black Currawongs as sounding
like bad (but endearing) violinists.
My second shot features a view of the Florentine that was devastated by fire.
CRADLE VALLEY
My final image is of a lake in the Cradle Valley.
While only a small portion of this fire
reached the Gordon River Road, the damage is
It shows what would be considered pristine
immense, the heat causing road markers to curl
Tasmanian wilderness, but the sad truth is
up and wither.
that most of these lakes are contaminated
by decades of mining, leaving them with
The distant hill gives a hint at the destruction
that has occurred, and this then provides
hazardous levels of lead, copper and arsenic.
context to further understand the orange trees
in the bottom right. The black cockatoos and
are actually snow that was falling, processed to
beautiful pastel light communicate a hope for
give it more presence in the scene.
the future that these places can recover and be
I think that this submission has succeeded
protected.
so well is a testament to the power of a strong
The markings in the sky in this photograph
message and entering work that you are
46
EUCALYPTS
passionate about.
The third shot of charred eucalypts shows
regeneration with small sprouts of green
so I also hope this inspires others to believe that
bursting from the ashen trunks.
if they produce work from their heart, they too
could surprise themselves.
This species is a true survivor and, having
I received no Gold Awards at APPA this year,
hiked through burnt forest, I can say the ash
covers everything!
lose with prints you love than win with prints
you don't.
While the eucalypts in this photograph will
But even if it doesn't happen, it's better to
Photo by Matt Palmer
47
AWARDS
Heide Smith, Fellow Having exhibited her work in more than 20 shows dating as far back as 1959, Heide Smith has lived her life with photography flowing through her veins. Born in Germany and emigrating to Canberra
the most detailed portrait of Australian
with husband Brian in 1971, Heide Smith’s
Indigenous people, these works have drawn
career has spanned the genres of industrial
both critical acclaim and critical attention to the
photography, photojournalism, fine art and
struggles of the Tiwi in honouring their ancient
portraiture.
traditions in a modern world.
Heide’s celebrated collection of portraits of
Heide has given workshops and seminars
Australian photographers includes the iconic
to professional and amateur photographers
Lewis Morley, Max Dupain, Bill Henson and
in most states in Australia and in China,
many others.
Hong Kong, The Philippines, Holland, UK and
Germany.
She has photographed prime ministers,
USA presidents and everyday Canberran life,
governors-general and footballers, reporters
two APSCON conventions, a Caxton Awards
and mechanics, horses and breast cancer
presentation to the Australian Advertising
survivors, using her well-honed skills and
Industry in Cairns, and giving workshops at
diverse professional background to raise
the Light of Australia convention in Sydney,
awareness of cultural and societal issues.
alongside such icons as Arnold Newman, Art
Kane and Jay Maisel.
With the assistance of husband Brian, Heide
In Australia the highlights have been
has published 11 photographic books of her
In recent years, Heide was a keynote speaker
work. Her photographs have been exhibited in
at the "Hair of the Dog" convention in Brisbane,
such prestigious venues as Parliament House,
and speaks and judges regularly at local
the High Court of Australia and the National
community and photography meetings.
Press Club.
Two of her books have been compiled from
her many visits with the Tiwi people of northern Australia, over more than 20 years. Representing
48
- Melinda Comerford APP M.Photog.
Photos by Heide Smith
49
AWARDS
Steve Parish OAM - Honorary Fellow Steve Parish is said to have done more for promoting Australia with his photography than anyone else – including Paul Hogen and Steve Irwin!
50
The first time I set eyes on Steve Parish was in
1995. I was in a post office and Steve was bare
later named Steve Parish Publishing. Over time,
chested, bearded and sported a rather large
Steve built his publishing company into a multi-
telephoto lens on a Nikon camera.
million dollar business. His magnificent photos
Steve didn’t notice me, how could he? I
of Australian landscapes, wildlife and natural
was only looking at a photograph of him, waist
wonders, were brought to the world through
deep in water, that Steve used as a promotional
his many books and related publications.
photo, atop a postcard rack. I thought he looked
It is said that Steve Parish, “did as much for
like the Bush Tucker Man, but with a camera.
Australian tourism as Paul Hogan, Steve Irwin
and crocodiles combined”.
I soon learned that Steve was fast becoming
In 1985, Steve set up Wildlife Publishing,
one of Australia’s best-known and most-loved
photographers. At an early age, Steve was keen
for Steve. The 2011 Queensland floods had
on underwater photography and left school
a devastating effect because Steve lost
early to focus on gaining an understanding
his business and suffered a major bout of
of nature. He worked with scientists of all
depression. Events like these are no doubt life
disciplines, seeking out knowledge of the
changing, but Steve’s love for photography
ecology of natural systems and animal
did not wain. Instead, they saw him channel
behaviour.
his talents to use the medium to help others
overcome mental illness and stress.
Steve joined the Navy at the age of 18,
It has not always been smooth sailing
where his diving skills improved and he took
Steve is now an ambassador for the Mental
the opportunity to undertake research work for
Illness Fellowship of Australia and is active in
the Australian Museum. After leaving the Navy,
showing people how their mental, physical and
Steve traveled extensively and while doing
spiritual wellbeing can be enhanced by being
so, he noticed the absence of photographic
part of nature.
material for the tourist market featuring
- Greg Hocking APP.L GM Photog., Hon FAIPP
Australia.
FAIPP
Photos by Steve Parish
51
AWARDS
Michael Amendolia – Honorary Fellow One of Australia’s most recognisable images is a portrait photograph of ophthalmologist Professor Fred Hollows.
52
This now famous photograph was made in
Michael has received recognition for his
Hanoi, Vietnam in 1992 when Fred Hollows –
photographic stories from the World Press
while looking over his glasses - pointed at the
Photo Awards in 1999 and in 2001, winning first
eye of young blind Tran Van Guip.
prize for Science and Technology stories on two
occasions. And in 2003, he won third prize in
This image has been used by The Fred
Hollows Foundation in national metro
Nature and the Environment, singles.
advertising for over two decades.
photographer from 1981 until 1997 working on
The photographer is Michael Amendolia,
Michael worked at News Limited as a staff
a Sydney based photographer who has 34
the The Australian newspaper and the Sunday
years professional experience as an editorial
and Daily Telegraph newspapers.
photographer, working on assignment for
Australian and international organisations and
of the London based documentary photo
magazines.
agency Network Photographers. During that
time, he worked for international publications
During 1992 and 1993, Michael travelled
From 1999 to 2005, Michael was a member
to Vietnam, Eritrea and Nepal as the principal
including Time, Fortune, Forbes, Stern, Der
photographer for the book, 'Seeing is Believing',
Speigel, Save the Children Global Fund,
based on the work of Professor Hollows. Michael
Greenpeace and Action Aid. He has been a
has described this time as the greatest fun in
contributor to Australian Geographic Magazine
his career.
since 2011.
For the past 25 years, Michael has been
Michael's work has been purchased by the
photographing the work of Nepalese
State Library of NSW and he has represented
humanitarian visionary Dr Sanduk Ruit, 'the
photojournalism on the Walkley Foundation
barefoot surgeon' and his Tilganga Institute of
from 2016 to 2018, judging the 2017 and 2018
Ophthalmology team, photographing stories of
Walkley Awards.
their work in Nepal, India, Indonesia, Myanmar,
– Richard Bennett, APP.L M. Photog. IV Hon
Tibet, China, Bhutan and North Korea.
FAIPP FAIPP
Photos by Michael Amendolia
53
AWARDS
Craig Wetjen – Honorary Life Member Craig Wetjen started his career 33 years ago photographing sports for local newspapers in his home state of Connecticut, USA.
54
After graduating with a degree in
Photography Course Coordinator at Swinburne
photography, he went on to work as a
University.
photographer for NASA, something he still
holds as a career highlight.
employment saw Craig embark on a personal
Craig Wetjen came to Australia in 1996
project, Men in their Sheds, photographing
to introduce one of Australia’s first digital
101 men in their personal sanctuaries. He went
photography units to the photography course
on to produce the best-selling coffee table
at Melbourne’s RMIT. He also met his life partner
book, Men in their Sheds, selling 8000 copies
Jo, a match made in heaven that now includes
within the first four months of publication. The
two beautiful daughters, Alexandria and Eliza.
book highlighted depression and supported
men’s mental health, as well as raising valuable
Craig is a giver and a strong contributor.
This return to more regular hours of
He has volunteered as a mentor, state council
awareness and funds for the Australian Men’s
member and was Victorian AIPP President from
Shed Association.
2008-2010. Recent times have also seen him do
Gaining the support of patron and past
a stint on the AIPP National Board.
Victorian premier Jeff Kennett, Craig became a
Beyond Blue Ambassador.
In 2011, Craig was diagnosed with Chronic
Lymphatic Leukemia and fortunately with
In 2017, Craig with good friend and fellow
specialist help, this is now under control.
photographer Steve Scalone created the
However, this health scare prompted Craig to
7:30 Project, a concept that has involved 127
re-evaluate his life.
photographers donating their time and images
to raise money for local charities.
Closing the doors on Photography by
Design, a wedding portrait business he'd
Craig has a great passion not only for
run since 2000, his focus switched back to
photography, but for using his photography to
education, teaching photography at various
give back to the community.
institutions such as RMIT, PSC, Melbourne
- Ian van der Wolde APP.L M. Photog. IV Hon
Polytechnic and his current position of
FAIPP FAIPP
Photos by Craig Wetjen
55
AWARDS
Louise Bagger - Claude McCarthy Award The Claude McCarthy Award is named after Claude McCarthy the founding father of the Institute.
56
The Reflections Project - Honouring our WW2
to receive this award and with this I must
Veterans is something the AIPP can be very
recognise a few other people.
proud of. In addition to the human side - the
contact with thousands of families around
de Rooy, the four of us worked as a stellar team
Australia and the remembering of our veterins
through the entire length of this project and it
– the project culminated in a twin-volume book
could not have been completed without either
containing over 6500 portraits, presented to
of you. To this day, we are still receiving the
the Australian War Memorial and produced in
odd enquiry about family members searching
association with Momento Pro.
for a photo and you are always at the ready to
put this as a priority. Thank you just doesn't say
To organise such a monumental initiative
"To John de Rooy, Robert Hiette and Pam
takes countless hours, great organisational skills
enough.
and incredible patience. Yet despite the best
efforts of many great people, the project was
at that time for having the conviction to say...
struggling to maintain momentum nationally.
let's do this. The scale could never truly have
been foreseen.
It was noted that the project's state
"To Ross Eason and the AIPP Board members
coordinator in South Australia was doing
an amazing job, so it was then that Louise
I could tag here - the photographers and the
Bagger was 'conscripted' to take over the reins
supporters who gave tirelessly to this project. If
nationally. And thank God she accepted as the
not for you, many of these photos simply would
project quite likely would have failed without
not exist and many kept going back for more -
her. On top of her role coordinating the project,
but it doesn't stop there.
Louise also photographed hundreds of veterans,
even travelling to remote rural and interstate
or not you picked up a camera for this project,
regions when volunteers couldn’t be found in
every member of the AIPP can lay claim to
those areas.
being involved simply by being a member. This
relied on the support of everyone."
Said Louise, "I am humbled and grateful
"There are a few hundred other names that
I have always said that regardless of whether
Two of the outcomes of the Reflections Project were $10,000 donations to Legacy and the RSL Foundation. Below: Louise Bagger on working on the Reflections project.
57
AWARDS
The Luminous Award Luminous is the philanthropic arm of the Institute. It has three essential roles aimed at supporting our profession – and the professionals within. Firstly, to build a future fund for the Institute
community, being made a Paul Harris Fellow for
by raising funds and accepting donations or
his contributions.
bequests to be held in trust. The Luminous print auction is our main way of raising funds.
ALWAYS OPEN
David's door was alway open to help whether
Second, to use a portion of those funds to
give study grants to worthy students and, when
you were a student or a budding photographer.
required, support advocacy by the Institute for
His generosity and advice was endless and I
the better good of the profession.
speak from experience: in the mid '80s when my
career was at a crossroads, he opened that door
Third and finally, to award grants that recognise
members past and present who have contributed
and offered me a home to work from. I learnt
to their personal communities an altruistic
more in the three years sharing that space with
manner, by naming the grant in their honour.
David than I did in the entirety of my career prior. I saw first hand the support and wisdom
58
DAVID CUMMING
he offered to so many and the AIPP as a body -
I doubt there’s one member who hasn’t
and it was David's example that inspired me to
benefited from the support or advice offered by
do the same.
a fellow member. This is the core of who we are
Through that door I also saw the leading
as a body. It's part of our ethos or DNA.
names in photography at that time walk in,
simply because David was their friend. Industry
This year's grant is made in honour of David
Cumming, a fellow of the Institute, a NSW
stalwarts like Hawthorne, McKenzie, McCarter,
divisional president and a driving force in the
McCarthy, the great David Moore and many
running of these awards when many readers
others, some of whom are in this room tonight.
were either starting their careers or in some
And there were many non-photographers,
cases, starting kindergarten.
including politicians and celebrities who all had
David was also a proud member of Rotary
grown to admire and respect the man because
and worked tirelessly at fundraising within his
of his generosity and humility.
After David passed, his family made a
president of the Camberwell Camera Club and
generous bequest to Luminous and because
stay actively involved with the photography
of that, in the next few years we will be able to
community. I have been an intern and then
offer two grants per year. However, we can only
a contributing photographer to local and
do that if others match the generosity of David
regional newspapers and I would love to be a
and his family with your bids at the Luminous
photojournalist, despite declining jobs in that
auction.
profession.
"As an AIPP Student member, I have been
LUMINOUS GRANT
very impressed with the AIPP. The print critique
This year, Genevieve Mills, David's daughter,
nights were excellent for a first time entrants
made the Luminous Grant presentation
and the judges are very helpful."
to Donna Killeen, a student at Melbourne
Polytechnic.
deserving, upcoming student photographers
with $1500 towards their photographic studies.
Wrote Donna, "I am a mature age student
The AIPP Luminous Grant provides
completing the Diploma of Photography
– Ross Eason APP.L M.Photog. I, Hon. LM, Hon.
and Photo Imaging. I am the currently the
FAIPP
59
NEWS
Introducing Felisha Mendoza Mina With much needed advertising and marketing skills, the AIPP would like to introduce to the membership Felisha Mendoza Mina as our newest national Board member.
60
Felisha Mendoza Mina has spent the last 7+
person, Felisha’s approach to every project
years as a consultant and creative all-rounder,
brief is both visual and strategic. Whether it’s
specialising in branding and digital content
an online beauty store, a luxury fashion label
marketing.
or a local restaurant, Felisha uses a breadth of
With an eye for aesthetics and the tools
technical and analytical skills to help industry
that come with it, Felisha is a versatile growth-
leaders look better, work smarter, and create
marketer who stays bold by rewriting the
with efficiency.
creative process.
accreditations also extend to Melbourne Spring
Skills in design, user experience,
Her industry involvement and media
photography and video production have placed
Fashion Week, Mercedes Benz Fashion Week
her in collaboration with brands across Australia,
and the Miss World pageants, where she is a
the USA and UK.
regular media contributor.
From Shark Tank business ventures to global
When there’s a project that demands an
tech startups and FTSE-listed companies, Felisha
audience, Felisha’s the first to embrace the
blends visual and analytical thinking to help
details head on, with the big picture in mind.
businesses create value and gain confidence
through the public eye.
in the photography and video production
industries, Felisha's skills and experience will
With a Bachelor’s degree in Advertising and
As the AIPP grapples with huge changes
a Master’s Degree in Business, her university
help us immeasurably.
years were spent across Australia, England and
France.
dancing, travelling or indulging in questionable
amounts of food and wine.
Educated on paper and self-taught in
When she's not on the tools, you'll spot her
Trade Partners ATKINS PRO LAB
ATKINS PRO LAB
APVP Sponsors SP ONSOR S OF AUSTR AL I AN PR OF E SSI ONAL VI DEO PR O D UC ERS (A PVP)
Advancing Professional Photography.
For Everyone.
61
EDUCATION
The Psychology of Portrait Photography Having sorted out our own psychology as photographers, Johl Dunn APP AAIPP now looks at the psychology of our clients and why they buy portraiture. Part 2. Do you know why clients buy portraits of their
and book in that shoot they have been talking
family?
about for years.
Probably.
taken, but don’t get around to it!
But do you know why they bought it when
“Nine out of ten families want their portrait
they did? Why they finally made the decision to
go ahead?
busy lives to make them do it.
Explained Johl, “With the exception of
"This is because they need an excuse in their "We provide them with that excuse through
newborn photography, the majority of people
our marketing – making a special offer or giving
need an excuse to buy a portrait photography
a prize. When they receive this offer or prize,
session because they aren’t time bound.
they have their excuse to get it done.
Ands that’s why they buy.
wedding and no time pressure like there is for a
“I used to think my photography was really
newborn.
good and surely people would just come along
"There’s no deadline like there is for a
and beg me to take their family portrait.
62
CREATE A TIME PRESSURE
“So in a lot of respects, we have to create the
only five of them came to us on their own. The
time pressure to entice them to take action
rest booked because of our promotions and
"Last year, we took 180 family portraits, but
•
Damien Bowerman APP M.Photog. III
63
EDUCATION
marketing.”
$2000 - $3000 budget, so you have to warm
them up to it.
Johl knows there are some exceptions.
Newborn shoots have their own time pressure
and some photographers do very well working
clients might think of spending $1000 when
in this market.
they first meet, might increase this to $2000
“However, I don’t know any other genres of
after the shoot and by the time the selling
portrait photography that can do this because
session comes around, they’re prepared to
there’s no deadline.”
spend $3000 or more.
"I call this my rule of thirds”, meaning that
“A lot of photographers put posts up on
SWEET SPOT
Facebook, but they’re not enticing people with
vouchers or giveaways to visit them.
We need to create a time limit for our clients.
Photographers who provide free vouchers
without an expiry date or an expiry date that is
touch with them! If you’re going to advertise
too far in the future, struggle to get business.
like this, you need a ‘device’ to encourage
Why? There’s no immediate time pressure.
people to act.”
“We have found there’s a sweet spot of
"They’re just expecting people to get in
Johl’s talking about a special promotion or
around six weeks – clients have to call within
an offer, but he doesn’t put them up with every
six weeks of receiving the voucher to get the
Facebook post.
special offer.
"When they see it’s not too far away, they are
DIRECT MESSAGING
forced to act, but if they think they have several
“We put up lots of photos on Facebook, but
months or a year, they think they don’t have to
it’s only the 10th or 15th post that we add in a
do anything just yet.
promotion. So we’re not selling all the time, but
when we do, we’re very specific.
"It’s all about creating an urgency by giving
them an excuse with a time limit.
for photographing children with blue eyes
“This is the key. You’re almost creating your
“For instance, we might have a promotion
own market with the time limit. Then, when
which explains how they can win a $350 gift
they call you or make contact, you start the
voucher.
nurturing process.
"Once people comment or respond with a
post, we then direct message them with more
64
RULE OF THIRDS
details
“A lot of the time, clients aren’t thinking of a
“Of course, you can’t continue to do this
•
Tr a c y Co n d i d o r i o A P P
65
EDUCATION
on your own Facebook page, so then we look
general public doesn’t look at your work from
around for other businesses looking for similar
the eye of a photographer.
clients.
the phone! And we’ll discuss in more detail
"We might find a clothing store and offer
RULE – never quote on email, get them on
them a $1000 voucher to give away and give
what you need to say to them later.
them $400 to boost their posts. We then set up
a link on their Facebook page so their followers
the quoting sequence we use in our studio and
can put in their email address for a chance to
that I teach to my coaching clients.
win the voucher. We do five or six of these a
year.”
a sale, then divide it by three and that is what
you want to be quoting on the initial phone call.
While Johl has part-time staff members to
Finally, don’t forget the rule of thirds. This is
Start with what you would like to average as
do the follow-up, a smaller business starting off
that might only need one or two shoots a week
$3,000, start with a $1000 quote on the phone
can certainly start off doing all the marketing
consultation, step up to $2,000 at the planning
and followup themselves.
appointment and finish with a sale around
$3,000. We’ll discuss this process in the next
“Facebook is still working. The algorithms
might change, but Facebook remains the best
For example, if you want to average
article.
tool for marketing to people who are 30+, especially women. Instagram is good, but it
Johl Dunn APP AAIPP is a professional portrait pho-
tends to be a younger market.
tographer and 'The Mindset Coach'. His courses are
about breaking bad habits and creating new ones
"Most of our market are 30-40 year old
mums and so FB is best.”
to increase your profits, happiness & quality of life. For more information visit Facebook:
FACEBOOK BETTER?
https://www.facebook.com/jdmindsetcoaching
Perhaps the most critical rule is to get on the
or for a free, five part training sample:
phone and don’t rely on email.
https://www.jdmindsetcoaching.com.au/aipp-con-
tactfaHsDnWB
“This is the point most photographers miss.
When you send out your prices via email, the clients are making their decisions purely on logic - or put simply who is cheapest.
There is little emotion involved and as good
as you think you are as a photographer, the
66
•
Michelle Mckoy APP AAIPP
67
EDUCATION
Capturing Wedding With RED How do wedding photographers work in different locations around the world? American Steve DiMaggio is interviewed for a RED case study and the AIPP's video production division asked for permission to reproduce it here in the AIPP Journal. On a film set, you can immediately do a retake
films. They shoot predominantly with RED
or even go back and reshoot something you
cameras. It’s a combination that has earned
may have missed the next day, but you don’t
them awards and a reputation for being among
get second chances when you're capturing a
the best around.
wedding.
we would barely be able to achieve half that
The big day is hugely special to the leading
couple who want everything to look and feel
“We make 100 films a year and without RED
amount,” DiMaggio says.
like a Hollywood romance, as well as being able to relive the memory happily ever after.
HOLLYWOOD GRADE “Our deepest value is to deliver a wedding
WEDDING FILMS
film that is honest and far above any previous
No pressure then for Steve DiMaggio and
expectation by the couple.
his team at Color Room Films, a production
company based in New Jersey, USA.
our rates reasonable, using Hollywood-grade
equipment, and never allowing ourselves to be
Steve and his wife Jane set up the business
five years ago to exclusively produce wedding
68
"We are able to accomplish this by keeping
completely satisfied.”
69
EDUCATION
DiMaggio’s current RED is a GEMINI 5K S35
DiMaggio will support the camera with a
sensor housed in an EPIC-W body, typically
Steadicam Air 25 Monopod for pre-wedding
paired with Leica R lenses adapted for Nikon
candid shots, switching to a Glidecam stabiliser
mounts.
for the ceremony, and then go handheld for reception footage supported by Holdfast straps.
REMAIN DISCRETE
There are numerous reasons for DiMaggio’s
additional lighting fixtures,” DiMaggio relates.
camera choice, but the main one is that he feels
the shooter can remain discrete and therefore
keep our footprint low. RED allows us to do
capture the most natural wedding experience
this, shooting in all sorts of light conditions. In
possible.
a ballroom alone, you can have three types of
lightbulbs, but the RED handles it all.
“I can’t stress how important this is,” he says.
“In over 400 shoots we’ve never used any “We want to be as nimble as possible and
“Any other camera of this type is going to be
intrusive. The larger the camera, the more it is
deal,” DiMaggio continues.
noticed and distracts people.
"The RED is sleek, so for the most part
all the boxes for us. When we’re shooting in
people forget that we are there. It adds to the
daytime, I typically operate at 800 ISO with a
intimacy of the experience on the day and to
Firecrest ND to take out the harshest light. In
the moments we capture.
darker conditions, I switch to a higher ISO, often
at lower compression. I’ve even pushed it to
“There is no need for external wiring besides
“Not having to use any kind of light is a big “The flexibility of REDCODE RAW checks
audio and the camera itself is not a huge eye
3200 ISO in ultra-low light with no noticeable
sore,” he adds.
colour shift.”
“Having batteries that last over two hours is
great too, so I am not changing batteries during
ALMOST PITCH DARK
speeches, bridal prep, etc. I can leave it on all
The wedding reception is usually the most
day and choose the best times to switch so I
challenging in this regard. They can range from
don’t miss any moments.”
simple DJ sets with flashing lights to live bands and, at the luxury end of the scale, huge candle-
70
LIGHTWEIGHT
lit venues.
And having a lightweight unit is also vital for a
job that requires filming for eight to 10 hours at
pitch dark. The couple wants the film to reflect
a time.
the intimacy of the occasion, but not be so
“A 300-person candlelit room can be almost
dark that you can’t see anything. You can throw
post on each one,” he notes.
this challenge at the GEMINI and it will always
deliver beautiful images.”
that volume, and still give the absolute best
production quality, is because of what the RED
Color Room Films has been so successful
that DiMaggio is able to employ a team to cover
“That we are able to more than triple
enables us to capture in camera.”
the demand.
“Many people think it’s more complicated
WORKING WITH STILLS
to shoot RED, but it’s the easiest and simplest
The team works alongside 30-40 different
camera to shoot with,” he says.
wedding stills photographers a year, each with their own style.
CAMERA PRESETS
“All our shooters are extremely comfortable
DiMaggio says. “Instead, RED allows us to
shooting RED. I’m able to create my own pre-
try to match the wedding video with the
sets in the camera so they have the frame rates
photographer’s style that the couple has
or ISO they need at the touch of a button.”
chosen.
DiMaggio avoids gimmicky photography,
“We actually don’t have a particular style,”
"We couldn’t do that extreme swing in
but does film certain moments at different
contrast and colour with any other camera.”
speeds.
accompanied by a four- or five-minute trailer.
“I think it feels natural to film a 75-year-
Each film is about two hours and is
old grandmother at 72 fps as they sit and take
everything in and a slower frame rate to capture
skipping all over the place which keeps the
all the energy for the bride’s 22-year-old sister or
story very natural.
bridesmaids.
bookings and on those jobs, we have to use an
"Because of the pre-sets, I can film these
“We shoot a linear timeline rather than
"We are double booked for about 10% of
frame rates in real-time and I don’t need to
alternate camera and because it’s not RED, it will
tinker with it in post.”
take us considerably longer in post.”
Dramatically cutting down post production
DiMaggio says he is thinking of expanding,
time is one key way in which DiMaggio is able
“but, at the same time, I’d rather ensure we have
to beat the competition and grow his business.
quality, not quantity, to make each one special.
“The average wedding videographer will
be shooting 30 weddings a year in large part
"If we do expand our business to the next
level, we would only do it with RED.”
because they will spend three to six months in
71
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