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Working Pro The

Issue 227 • November/December 2014



ANNUAL GENERAL MEETING & MEMBERSHIP Q&A SESSION WEDNESDAY 26TH NOVEMBER 10AM PUNT HILL ESSENDON GRAND, 1142 MOUNT ALEXANDER ROAD ESSENDON Come along, join the discussion, and help shape our institute. All members welcome. If you can’t make it to Melbourne... Join us on the livestream, and use the chat facility to join in the Q&A

Working Pro The

Co n te n t s #227


Matt Palmer AAIPP 2014 aipp PROFESSIONAL sport photographer of the year

The Working Pro is the official newsletter of The Australian Institute of Professional Photography (AIPP). Editor Peter Eastway G.M Photog., FNZIPP, Hon. FAIPP, Hon. FNZIPP, FAIPP Disclaimer The information provided in The Working Pro and associated publications is made in good faith, but is general in nature. Neither the editor, the publisher or the AIPP accept responsibility for or will be under any liability for any recommendations, representations or information provided herein. The Working Pro 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 Working Pro newsletter is published by Pt 78 Pty Ltd, ABN 75 003 152 136, PO Box 351, Collaroy Beach, NSW 2097, Australia. Phone: (02) 9971 6857; Fax (02) 9971 6641. E-mail

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


N ov/ D ec

2 0 1 4


Ross’s Ramblings - The Getting of Wisdom


Around The States

Ross Eason pays tribute to Ian McKenzie and reflects on the importance of friends made through the AIPP. What’s been happening in your neck of the woods? Our state councils keep us in touch with what matters around the country.


A Life Of Grain and Pixels - Exhibition Opening


100: The Perfect Print


RPA, UAV or Drone: Are You Licensed?


AIPP Honours 2014


Vale: Ian McKenzie


Commissioned or Non-Commissioned


Matt Palmer: AIPP Member


Fighting For Your Rights


Moran Arts Foundation In Schools


Making Money Out Of Weddings


2014 Gold Awards


Photographers & Copyright


An AGM With A Difference

Milton Wordley sent through some social photographs from Rob Imhoff’s exhibition opening last month! How does Kelly Gerdes feel about her amazing score at APPA this year, and what do they put in the water in Tasmania? Andrew Gregory outlines the issues with RPA work and how it is becoming increasingly popular with our clients. Each year the AIPP recognises photographers and members for the work they have done and achievements made. Peter Eastway reflects on his friend and mentor Ian McKenzie, an AIPP stalwart to the end. When it comes to judging commercial genres of photography, what should we be looking at? What do you think about these arguments? A wedding photographer by day, Matt Palmer explores a range of different areas for his personal work. AIPP member Chris Shain continues to work tirelessly behind the scenes and now joins the AIPP as a Board Adviser. William Long reports on another successful mission - the introduction of photography to the youth of Australia. Profit is not just money, but time as well, so when you look at what you’re charging for your work, you need to look at what you offer as well. The Best of the Best from the 2014 Canon APPAs! Now you can seel all the Golds and Golds with Distinction together - for free! The Australian Copyright Council has released its latest book on copyright for photographers - essential reading for all of us. Ask the Board anything you like this Wednesday 26 November 2014 - and you can do it all online!

Ross’s Ramblings

Ross Eason M.Photog., Hon.LM, National President The Getting of Wisdom

fought for the rights of the industry. I was

I told a group of photographers recently that

privileged to be invited by Ian McKenzie’s wife

after 40 years in this industry, I was still an

Louise to a memorial in Ian’s honour and stood

emerging photographer, that learning never

there gob-smacked (I think everyone present

stops and we all evolve as we move through

was) as one by one, representatives from three

our life’s journey.

other groups stood in honour and shared

what he had contributed to those groups. He

Without doubt, if you speak to any member

of the Institute and ask them what is the

contributed to each of these organisations as

biggest benefit of the AIPP, it has to be the

much if not more than he had contributed to

friendships we form along the way and that we

our photographic industry: automotive and

should never take them for granted.

sailing associations as well as a philanthropic

foundation in support of refugees and victims

I lost one of my AIPP friends recently, a man

I thought I knew well. We shared many drinks,

of torture.

many laughs, offered each other numerous

amounts of advice, helped each other out

volunteer bush fire brigade!

and got equally pissed off with each other (as

friends are allowed to do), but never, not once,

from being a member of the Institute, in reality

did we lose respect for each other and never

the one that has really helped me develop in

did we lose sight of that friendship.

my career, are the friendships and relationships

So why did I think I knew him well?

that expand my life and live beyond any one

Surely you can’t know someone that long


If I reflect back on any benefit I have derived

and not understand who they really are? Well,

perhaps you can if that friend, who never

never develop relationships as well as I can by

stopped giving, is a humble soul who was

being face to face with a colleague or afriend,

focused on others rather than their own ego or

getting to know them. I guess it comes down


to participation, taking a step to attend an


Our industry and the Institute lost a legend

recently, a man who shaped the Institute and


And in his spare time, Ian captained a

I could spend a life time on social media but

So, yes, learning does continue. Wisdom is

AIPP New Accredited Members

New APPs for September 2014 Accredited


Vibeke Gargan


Samantha Chi-Shan

Alyson Brimecombe




Susan Grayina

Paul Winzar

Megan Macdonald

Mark Chapman

Laura McLean


Carolne Camilleri

Anne Suse Smith

Carly J Williams

Jason Allan

Jennifer Sando

Alison George

Kelly Bergsma

Jennifer Promenzio

Tanatha McLeod

Kevin Du


Teerapong Sirisonthi

Louisa Sams

Kellie Rasta


Jodie Coward

Amy Rushbrook

Deb Sulzberger

Hayden Brotchie


Rebecca Heaton

Mark Campbell

Venita Wilson

Tanja Rankin


Carol Donaldson

Natalie Cockram

Ian Charles Rolfe

Professional Video

Colin Boyd

Marvin Fox

Christine Anne


David Silva


Michael Jepson

hard fought. Take some advice, work on those

to really know those you share your time with.

friendships and make sure you take some time

They will have more importance in life than

to really get to know those you admire – and

awards and titles.

tell them that you do.

There’s a wonderful line from a song, Lemon

Tree, by Peter Paul and Mary:

“A sadder man, but wiser now, I say these

lines to you” ...

0412 108 362

Reach out. The AIPP is more than a certificate

on your wall. Work on those friendships, get











TRADE PARTNER Proud supporter of the AIPP


A Life of Grain And Pixels Opening Photo Diary From the Ar t Gallery of Ballarat

Milton Wordley sent through a selection of photographs taken in early October at the opening of Rob Imhoff’s retrospective exhibition, A Life of Grain and Pixels. Rob Imhoff was the AIPP’s first Master of Photography and you can see images from his exhibition in The Working Pro #225.

Rob Imhoff (standing) keeping an eye on Michael Shmith (second from left, seated) to make sure he sticks around to open the show.

Paul Burrows Hon. FAIPP, introduces everyone and talks about the book.

The large attentive crowd. Thanks to Eric Victor who showed me how to use my iPhone for Panos!


The opening by Michael Shmith of Rob Imhoff’s exhibition, A life of grain and pixels at the Art Gallery of Ballarat, October 2014.

Rob on his way to thank Michael - and looking very pleased we are all here!

There were photographers everywhere! Some even took a few snaps.

Rob addresses the very full house.

Sunday afternoon came around and Rob had had enough. You can all go home and I can get some work done on the farm ! 15

Kelly Gerdes AAIPP’s perfect score of 100, Canon AIPP Australian Professional Photography Awards, 2014. Some of the elements (full frame) and the Photoshop Layers panel are shown below.


100: The Perfect Print

K e l l y G e r d e s ’ A m a z i n g S c o r e A t A P PA The judging room was packed.

expecting to go this far. So now I’m not sure

how to progress. Do I do more images using the

Photographers and interested observers

alike jostled for position, peering intently at a 26

same technique, or do I move onto something

centimetre wide print positioned under bright


lights on a grey wall. In front, five judges and a

panel chair sat around in a semi-circle, intently

will be a raft of composite images using smoke

discussing the merits of the image before them.

(and mirrors) at future events as photographers

search for their own measure of success.

The silence as the judges entered in their

If past APPA events are any indication, there

final score was instantly replaced by a raucous

applause as the audience realized the print had

flattery, what these other photographers don’t

earned the ultimate Canon AIPP APPA score:

realize is that finding your own voice, your own


approach is the key to success, not following

And while imitation is the sincerest form of

someone else’s. It’s a case of the result not being Early Labour

nearly as important as the journey.

The photographer, Kelly Gerdes AAIPP was observing proceedings from home via live

New Associate


This was Kelly Gerdes’ second year entering

She was many months pregnant and the

APPA. She won the Emerging Photographer

scuttle bug around the judging venue was she

of the Year in Tasmania last year and became

had just gone into labour early (but this was not

an Accredited Professional Photographer just

the case). However, Kelly admits the score has

prior to APPA 2013 so she could enter as a full

really challenged her.


“It’s freaked me out a little. I mean, how do

“I even travelled to Melbourne to see what

I move on from here? Now I feel like I have all

it was like. I watched all three days of judging

these expectations, mainly of myself.”

including all the different categories.”

Some would suggest Kelly obviously

Smoke & Mirrors

cracked the ‘code’ because her scores this year

“I have always set myself goals, but I wasn’t

were outstanding. In addition to her Gold With


Distinction, she took home two Silvers with

where she’d start with an idea and try to make it

Distinction (86, 86) and a Silver (83).

out of smoke, but the smoke rarely co-operated. It was much better to let the smoke do its

The Challenge

thing and make something out of what was

“I’m not trying to make it sound easy, but I just


wanted to enter something different. After

looking at the judging last year, I thought that

triggered the idea for Kelly’s 100.

there was a lot of the same thing being entered

and so I wanted to do something different,

was formed and when I saw him, I started to

something no one had seen before, so I set

build the rest of my picture around him. He was

myself a little challenge and it worked.”

the trigger.

All four of Kelly’s images use her ‘smoke’

The shape of the boat man was what “He’s not a composite, it’s how the smoke

“I can’t go in with a vision of what I want to

technique, images composed of swirls of smoke

create because it simply doesn’t work. If I force

against a dark background and post-produced

the image, then I end up with images like my

to create representations of her imagination: a

dancer which I don’t think is organic enough.

dancer, a pregnant woman, a bull’s head and a

She looks too manipulated and I felt this was

figure in a boat beneath a full moon.

the case when I entered it, but as each image takes 100 to 150 hours to create, I didn’t have

Kitchen Table

time to do another one.”

“The boat image isn’t entirely smoke because

the stars above are from a night photo of the

score, just 83!

The photo of the dancer was Kelly’s lowest

sky, but everything else is smoke.”

Why Enter?

background to photograph smoke from incense

“I see APPA as a challenge. It’s what drives

and other materials like rolled up Post It notes.

me and keeps me motivated - putting myself


Kelly used her kitchen table and a dark

“Different materials burn differently

up against the best photographers and the

and produce different qualities of smoke”,

photographers I look up to.

Kelly explained. “I’d take 600 to 700 shots

in each session and then I’d trawl through


the exposures until I found something that

triggered an idea.”


Kelly says she’d tried working the other way,

“It’s not for self-gratification, but to keep me Kelly says she is currently looking for gallery “I don’t make a lot from what I do just yet,

Photographs by Kelly Gerdes. Silver (83) on left, Silver with Distinction (86) on right, Canon AIPP APPA 2014.


but I sell my matted work at markets, mainly

opacity of the various layers to get the look. It

abstracts. The smoke images are something

almost feels like I am drawing.”

I started on this year and I hope to build a collection which I can exhibit early next year.

Redefining Photography

Asked how she responds to criticisms that her

“It’s about trying to find my way as a

photographer and figuring out the direction I

work is graphic design and not photography,

should take. It’s all new to me and a big learning

Kelly was forthright with her answer.


about how far I have gone and is the image too

“I always enjoyed art through school and I

“I’ve discussed this at length with my friends

used to do landscape photography, admiring

removed from being a photograph?

the work of Christian Fletcher and Tony Hewitt.

However, when the kids came along [Kelly

hundred percent derived from photographs, I

now has three], I couldn’t get out and about as

can see that it’s a drawing as well.

much, so I had to find another avenue.

Photoshop Awards, but I don’t let that bother

“I turned to the kitchen bench and macro


“However, although the images are one

“People have said APPA has become the

me because I know the images have come from my camera.

Warp And Reshape

Kelly’s smoke images begin with a thorough

comes to defining what photography can be?

search of hundreds of images, looking for

Everyone has their own idea of how they want

shapes and forms that represent what is

things to look and this is my vision.


some people will say. You can get into a debate

Kelly also uses the warp tool in Photoshop

“And it’s still photography, no matter what

to bend and re-shape elements if required,

about what photography is and you just can’t

but many of the components are as they are

convert some people, but I’m happy with what I



For instance, the moon in her winning image

is straight out of camera, and the cloud over the

Kelly Gerdes AAIPP is a professional photographer

top added from another exposure.

based in Hobart, Tasmania. You can see more of

Kelly’s work on her website at: kellygerdesphotogra-

“I find I have to take hundreds of shots to

get the shapes I want. In the dancer, the shapes were heavily warped and shaped, changing the


“Why keep yourself in a box when it

Photograph by Kelly Gerdes. Silver with Distinction, Canon AIPP APPA 2014.


Examples of Andrew Gregory’s photography using RPAs.


RPA, UAV or Drone: Are You Licensed? A n d r e w G r e g o r y o u t l i n e s t h e i s s u e s w i t h R PA w o r k . Sydney photographer and AIPP member

set about researching and even designing my

Andrew Gregory has spent the last few years


teaching himself all about RPAs - remotely

Aerial Systems

piloted vehicles - and the multitude of

According to Andrew, there are two main

government regulations surrounding their use.

players in Australia for RPAs. Aerobot in Byron

Bay was the first to offer Mikrokopter and

Perhaps one of the biggest changes in

photographic technique in the last decade has

Cinestar (a number of different systems), but

been the use of ‘drones’ or remote helicopters to

in recent years it has met with competition

carry cameras into the air.

from the less expensive DJI brand sourced from


Although used more for video than stills

photography, the aerial perspective is in big

demand and it’s certainly a lot cheaper than

found the latest DJI A2 units to be reliable and

hiring a full-size chopper.

stable. It’s also easier and quicker to get parts

for DJI. All copters can be twitchy if they are not

After working editorially for publications

“After a couple of years experimentation, I’ve

such as Australian Geographic, Andrew knew

set up correctly and this is why photographers

how difficult and expensive it could be to

planning to use RPAs should also be familiar

get an aerial perspective, which lead him to

with their technical requirements.”

thinking seriously about RPAs.

(These are also referred to in CASA

Photographers wanting to use an RPA

commercially under the current law need a

documentation as UAVs - unmanned aerial

licence from CASA. This law is being reviewed,

vehicles - but the official terminology has now

but even if changed, Andrew believes that

been changed to RPAs.)

photographers really need to learn and

understand the issues required for the licence,

“Often you just need to get 20 or 50 metres

above the ground for a shot, so even a full size

simply to do a professional job.

helicopter mightn’t be permitted to do what an

RPA can.

they are not set up correctly or due to operator

error. To overcome this, you need experience

“However, keeping an RPA still enough to

create a sharp exposure is a challenge and so I

“A lot of RPAs crash and usually it’s because

and in some ways, this is what the licensing



process provides.

people taking off just a couple of metres away

from little kids. This is really dangerous as an RPA

“I started with a simulator program and

spent 20 hours practising on that. But in the real

can do a lot of damage to a person. It’s not a

world, you need to understand how the aircraft


operates and how to set it up correctly.

purely because of incidents where people are

“For instance, although most RPAs are GPS

“The reason CASA is getting involved is

enabled, you need to calibrate the GPS so the

not doing the right thing. If we see someone

copter knows where it is and when it’s level. The

operating an RPA at the beach near people,

same with the gimbal holding the camera - it

we should talk to them and explain why they

can’t be levelled unless the copter is level first.

should stop. I won’t fly in any of these situations.

The 30 metre rule is important.”

“There’s a whole checklist to go through

each and every time you fly and the more

experience you have, the sooner you can tell

consideration, Andrew says most of the

something’s not right when you take off.”

proposals concerning licensing of RPAs deal

with privacy issues, but that’s a whole story

Andrew has used a number of cameras

While safety seems to be the major

with RPAs, including Panasonic’s GH3 and

on its own. There has also been talk about

GH4, Canon’s EOS 5D Mark III, Sony’s A7 and of

not requiring licensing for RPAs under two

course GoPros. However, depending on the lens

kilograms in discussion papers, but Andrew

attached to each camera, the gimbal needs to

believes this format is currently in doubt and

be re-balanced to ensure an error free flight.

that there may be a different approach to which

RPAs require licensing.

However, the technique of flying and

shooting is just one part of the equation. The

big issue for professional photographers is

there is an easy way to get a license, but in


short, there isn’t. “You essentially need a pilot’s

Sensible Restrictions

licence and sit the theory exam for the Private

Whether you’re working commercially or

Pilot Licence. Currently there are a number of

privately (e.g. when learning to fly an RPA), there

schools set up to teach you all the required

are some commonsense restrictions you must

theory for an RPA licence and it takes an average

abide by.

of 6 weeks to achieve.

“For instance, you cannot fly within 30

Andrew says many photographers ask if

“Then you apply to CASA for an RPA

metres of people, buildings, boats or vehicles

controller certificate and that in turn requires

- whether or not you are licensed - but I see

you to do manufacturer training so you know

how the RPA works and how to set it up.

an operator in your own right.

“The manufacturer training is specific to the

“In my case, I worked with a company that

RPA you are using, and your controller certificate

had all the approvals for flying an RPA, but

is issued as a license to fly either an under 7 or

needed a photographer, so I helped them and

an under 20 kilo class. However, you need to log

in turn this gave me the experience I needed.

a certain number of hours flying time working

for an operator, and from there you can become

you need to write your own operations manual,

“And to get your own operator certificate,


your own maintenance manual and checklists,

can you rotate the camera around the nodal

and pass a CASA flight test. These last stages

point and keep the gimbal correctly balanced?

took me a good six months.

“I think all up, photographers should allow

technically, but this is also part of the attraction

9 months to become fully licensed and allow

of using RPAs. I’m finding out what those limits

at least $3000 for training purposes. Plus it

are and improving on them.”

costs about $4000 to apply for an operators

certificate and your public liability insurance is

Aerial Photograph SIG. “What I found is that

about $3500 per annum.

if I keep all this knowledge secret, then I’m

Client Education

competing with photographers who are not

“There’s so much information about RPAs that it

doing the right thing. It’s got to the stage where

can be difficult to know what is right and what

we need to tell unlicensed people that it’s not

is fiction. This becomes a big problem when

okay and sometimes it’s just as important to

dealing with clients because often they have

educate our clients as other photographers.

unrealistic expectations of what is possible and

what is allowed.

Geographic in a national park, it’s important

that I have obtained the proper permits so my

“I find I need to educate my clients about

the rules and while it is usually possible to

“There is a limit to what can be done

Andrew is a vocal member on the AIPP

“For instance, if I’m doing a job for Australian

client is seen to be doing the right thing.”

shoot in most situations, you can’t always do it when the light is exactly right or from the ideal when and where they allow you to fly and other

RPAs For Photographers

places may be in restricted areas

Andrew Gregory’s suggestions for our


location. For instance, some locations restrict


“Clients also think I can shoot at any time

of the day, but there is a limit to what you can

1. To work commercially, you have to be

achieve technically. For instance, shooting stills

licensed (or hire someone who is)

25 minutes after sunset isn’t going to work

2. We must explain to our clients that there

unless you can ensure your shutter speeds

are rules we have to follow. If people break

are fast enough. You also need to consider

these rules, it will make things tougher for

issues like flare as in the air it’s just as likely to

everyone else. It will take only one serious

be coming from reflections below as the sun

accident for the whole industry to be

above. And if you’re stitching images together,


Examples of Andrew Gregory’s photography using RPAs.



2 0 1 4 A I P P


AIPP Honours 2014

F r o m t h e G a l a C a n o n A P PA D i n n e r Australia, dedicated to giving the gift of photographic memories to families who have experienced still births, premature births or have children with serious and terminal illnesses. Gavin has been president of Heartfelt since November 2010.

According to Gavin, “It’s a gift to give them

some memory because usually it’s the last thing people think of in a time like that. And when this sort of stuff happens, having a photo that you can share really helps the grieving for a family”. Gavin Blue

2014 Claude McCarthy Award

experience with Heartfelt: “Beautiful precious

His diverse work covers commercial

moments with our babies you capture forever, a

photography, portraits, annual reports and very

gift to a stranger in their darkest moments. That

big trucks.

is heartfelt!

Gavin Blue is an accomplished

“When our baby was stillborn, I feared I

photographer and a busy man. He considers

would in time forget her. I wanted to hang on

being part of the community a two way street,

to every moment and absorb every detail of

so he donates his photography, time, effort and

her soft skin, beautiful face, ten perfect fingers,

resources to many charities including SIDS and

ten perfect toes, her huge feet and hands - and

Kids, Ardoch Youth Foundation, World Vision,

how tall and gorgeous she was.

Clean Ocean Foundation, Australian Charity of

Child Photographers, Now I Lay Me Down to

night, Gavin Blue drove two hours in the rain

Sleep and Heartfelt.

to donate his time and talents in order to

Heartfelt is a volunteer organisation of

professional photographers from all over


A grieving mum wrote this about her

“In October last year, late one Friday

photograph our precious stillborn baby girl, capturing memories that we will cherish forever.

“I just wanted to send you an email to let


you know how grateful we are for what you did

for us. I would never have imagined exactly how

and had photographed over 400 weddings by

much comfort these photos would bring me.

the time he was 25. Even at the tender age of

“Thank you. Thank you.Thank you.”

20, Ryan had become the AIPP’s youngest ever

In recognition of his outstanding

Master of Photography and had also won the

Ryan shot his first wedding at the age of 17

contribution to Heartfelt and other charities,

NSW AIPP Wedding Photographer of the Year

the AIPP awarded Gavin Blue with the Claude

award on three occasions, the NSW Epson AIPP

McCarthy Award for 2014.

Professional Photographer of the Year in 2011,

- Richard Bennett M.Photog., Hon. FAIPP, FAIPP

the AIPP Australian Wedding photographer of


2 0 1 4 A I P P


the Year in 2012. He is currently the Queensland (his newly adopted state) AIPP Wedding Photographer of the Year.

Ryan has been a popular speaker at state,

national and international conferences, including being a judge and speaker at WPPI in Las Vegas for the last 12 years.

Outside of Ryan’s excellence in photographic

practice, he has made another outstanding contribution to the AIPP and especially APPA. Ryan joined the APPA committee in 2001 in the capacity of ‘digital specialist’ and spent 12 years Ryan Schembri M.Photog., HLM

on the committee, rising to Chairman of Jurors

Honorary Life Member

in 2011.

Starting work in his father’s Kodak Express store

at the tender age of 12, followed closely by

that if it wasn’t for APPA, he wouldn’t have met

shooting Christmas Santa photos at the local

his wife, the beautiful Jessica (obviously that’s

shopping centre, Ryan Schembri was an early

one of the best scores Ryan ever got at APPA).

starter in the profession of photography. This

Ryan also found his involvement in APPA to

should be of no surprise, having been brought

be one of the greatest learning experiences of

up the son of Martin Schembri, a long standing

his life and gives thanks to his APPA mentors

AIPP member and leading Sydney wedding

Richard Bennett, Peter Eastway and David

On a more romantic note, Ryan often says



2 0 1 4 A I P P


Paterson for their invaluable direction and

Institute. His defence of the AIPP in those circles


is unwavering and William regularly contacts

members and non-members alike to help them

The Australian Institute of Professional

Photography recognises Ryan Schembri for

through a difficult time or to clarify an issue.

his outstanding contribution to the AIPP, the

Australian photographic profession and APPA

Queensland awards for two years and was

with the honour of Honorary Life Member of

committed to ensuring the Awards were run

the AIPP.

correctly and for the benefit of all involved.

- Greg Hocking G.M.Photog., Hon FAIPP, FAIPP

William undertook the task of running the

With the Photo Watchdog Facebook site,

William has taken it upon himself to help ensure that photographic competitions are administered in the interests of the entrants and he works with competition organisers to achieve this aim.

William has also worked with others on the

establishment of the Australian Photographic Digital Guidelines which are now in common use. He is an AIPP Master of Photography with four gold bars whose many awards include the 2013 Australian AIPP Commercial Photographer of the Year, the 2000 British Institute of William Long M.Photog., HLM

Professional Photography Portrait Photographer

Honorary Life Member

of the Year, and the 1998 Australian AIPP

Since his arrival in Australia in 1993, he has been

Illustrative Photographer of the Year. He

involved with and contributed towards the

has won the Queensland AIPP Commercial

progressive development of the professional

Photographer of the year five times.

photographic community.


William Long is a Fellow of the Royal

The AIPP Board holds William in high

regard because he works hard and he cares.

Photographic Society and a Fellow of the British

He scrutinises policy to help keep all on the

Institute of Professional Photography. William

right track and to ensure that what the Board

is one of the best ambassadors we have in

does is best for the Institute. He has exceptional

social media, which extends well beyond the

commitment to the photographic industry and

to the AIPP.

of Australian history. Both have won a bevy of

awards, including Walkleys, Press Photographers

The Australian Institute of Professional

Photography recognises William’s valued

of the Year and more. Bruce and John are the

contribution to this Institute and to the

same age as each other and both commenced

photographic community with the distinction

work in the mid ‘50s.

of Honorary Life Member.

- Richard Bennett M.Photog., Hon. FAIPP, FAIPP

with no intention of becoming a photographer.


2 0 1 4 A I P P


Lamb began as a messenger boy at The Age

He worked in the mail room, then photo John Lamb and Bruce Postle

sales, then as a gopher in the darkroom. Athol

Honorary Fellows

Shmith’s Collins Street window display was

Helen Keller once wrote, “Alone we can do so

of both intrigue and inspiration to him, but it

little, together we can do so much”. It’s not that

wasn’t until one day the picture editor tossed

our next Honours recipients have achieved

him a camera and told him to go to the airport

little on their own, quite the contrary, but more

and take a shot that he found his true calling.

the latter, that together they have achieved so

Lamb told his editor he wasn’t interested.


However, he changed his mind quickly when

the photo editor threatened to sack him if he

It is near impossible to compare

photographers of different eras and different

didn’t get to the airport.

genres, but if there were ever a debate about

who were the greatest Australian press

with a camera in his hand. His father was a

photographers of all time, I am sure that Bruce

photographer at the Courier Mail in Brisbane

Postle and John Lamb would be at the top of

and Bruce took his first picture at age seven

the list.

with his father’s Graflex. Ten years later he

Same-day press photography is only

Postle, on the other hand , was born

followed his father to the Courier.

a little over 100 years old in Australia. In

fact The Melbourne Age didn’t have a staff

in 1968 when Postle moved to Melbourne

photographer until after the First World War and

from Brisbane. It was at that time The Age was

the Sun News-Pictorial was still a few years away

being reinvigorated, after being half asleep

from its first edition.

for the best part of half a century. Part of that

reinvigoration was better use of pictures. One of

Postle and Lamb were on the job for a good

Postle and Lamb were joined at The Age

portion of that period and their portfolios

the few editorial advantages of the larger page

reflect some of the great moments and images

size of the old broadsheet was the ability to run



2 0 1 4 A I P P


much larger pictures than the smaller tabloid.

were still out on assignment, he knew he had

This created an environment where good

it covered. Such was the respect for these two

photographers flourished.

master craftsmen that they were basically given

a free reign.

peers at the rival Herald Sun, redefined press

photography at a time when it was feared the

as any reporter of the day, winning the trust

introduction of television would kill the still

of prime ministers and archbishops alike, who

image. Fortunately this wasn’t to be the case

sometimes did ridiculous things for them all in

and not only did they thrive, but they took

the name of getting that great shot. Regardless

pictorial creativity to new levels.

of how mundane an assignment seemed, they

refused to believe that there wasn’t a front page

For a period of over 30 years they were the

Postle and Lamb worked contacts as hard

definitive leaders in their field and a wealth of

picture in it.

inspiration for more than one generation of up

and coming photographers.

quite often they weren’t returning with the


John and Bruce, along with some of their

Graham Perkin, who is considered by many

Of course, when they went out on a job,

picture they expected, but if by chance there

as possibly the greatest Age editor of all time,

was no picture, there was always the likelihood

once made the comment that if he was ever

they would find something on the way back to

short of a front page story and Bruce or John

the office.

Lamb was a gunslinger – fast, cunning,

Both John and Bruce were extremely

cool, determined and persistent, but he was a

dedicated in their work, staying back at

big-hearted gunslinger, capable of conveying

the office when the journos and other

great warmth in images of people, especially

photographers would knock off to get to the

children. He had an amazing eye and instinct

pub before the then 6 o’clock close. This often

for a picture. For years in the 80s and 90s, he

resulted in them being around to get the good

worked in partnership with John Lahey to


produce hundreds of extraordinary picture

stories of ordinary Australians under the dinkus

for one another and although they fiercely

Lahey At Large. John Lahey says that many

competed for that front page, they were also

of those stories were found by John, some of

friends who would share ideas and help each

them simply by pulling up on the highway and

other out when required. On a recent meeting

chatting to someone.

with John, he told me that he was once

shooting at the tennis in Kooyong when he

Postle on the other hand was an artist.

suggested that the paper should put another

and it showed in his photographs. Like many

photographer at the other end of the court. The

geniuses, he had a touch of insanity and absent-

paper did and the resulting picture of Pat Cash

mindedness. He once got a dressing down at

that Bruce took won him the Press Photograph

the Courier Mail for pretending to be a trained

of the Year that year.

parachutist and persuading people at an air

show to let him jump to take an air-to-air shot.

get the shot and without hesitation he said,

He had never jumped in his life.

“Not at all. I was happy for Bruce and it could

But the picture did make page one!

just as easily have gone the other way”.

He once drove an office car through a


I asked John if he was annoyed that he didn’t

Bruce Postle and John Lamb, we are

paddock, steering with his feet while he hung

all forever indebted to you for your great

out the window to take a picture of horses on

photographic vision and the huge archives of

the move. He did so because his reporter didn’t

amazing images that have resulted from it. In

drive. Again, the picture made page one.

recognition of your work, we award you both

Postle has lost more camera gear than any

2 0 1 4 A I P P

Bruce and John have an incredible respect

He saw the world differently to anyone else


with Honorary Fellows of the Australian Institute

photographer in history. One picture editor sent

of Professional Photography.

him swimming in the Maribyrnong River after

- Ian van der Wolde, M.Photog., Hon. FAIPP.

he dropping yet another camera into the drink.

- Photos thanks to David Glazebrook.


Vale: Ian McKenzie

A n A I P P S t a l wa r t To T h e E n d


I will miss gruff old Ian McKenzie.

wooden camera and a Grafmatic film holder

with six sheets of film. Although I had used the

When I joined the AIPP, I was encouraged

to stand for the state council where my

camera for many years, Ian watched me fluffing

accounting background was needed to sort out

around, getting things ready, and offered to

an issue. From here I was nominated onto the

take the photograph for me.

AIPP National Board as Treasurer where I met

AIPP heavyweights like Val Foreman, Will Street,

in and I can remember to this day how quickly,

Rob Gray and Ian McKenzie.

accurately and expertly he handled my camera.

Cocking the shutter, inserting the Grafmatic

Ian was a former national president by then,

I thought this was a good idea. Ian stepped

but he was still very active and very passionate.

and then taking the photograph - he had

I was intimidated by him, not physically or

the skills of someone who knew his craft and

anything, but because of his experience and

profession intimately. That to me was what a

knowledge. When he spoke, he spoke with

true professional was all about, knowing your

authority. He could see the direction the

job so well, it was completely automatic.

Institute needed to take, what was required for

professional photographers around Australia,

30 years. It is hard to believe he is no longer

and how to get there.

going to attend APPA each year and complain

about the type of photographs that are winning

But beneath that gruff exterior was a very

Ian and I have been great friends for nearly

sensitive and caring individual. There was also

awards - the type of photographs I love! We

someone who was prepared to admit he was

may have disagreed on some things, but that’s

wrong or that there was a better way, all you

what made our relationship so engaging - and

had to do was show him. So while I know of a

the fact he (and I hope I) could respect other

few of us who felt the McKenzie flames, we all


understood they came from a heart of hot gold.

and a profession who will mourn his passing.

Ian was a consummate professional. I can

Ian is survived by his wife Louise McKenzie

remember being asked to take a photograph

of all the delegates at an AIPP convention in


Hobart, probably 20 years ago. I used my 4x5�

You will be missed.

Vale Ian McKenzie M.Photog., Hon. FAIPP,

(Above) Ian McKenzie doing what he loved. Photo by Barat Ali Batoor. (Below left to right) A small memorial service was held. Two speakers from Ian’s photographic life were Kevin O’Daly and Bruce Pottinger. Photos Ian van der Wolde.


Ian McKenzie Bio Written by Paul Curtis

The following short biography is taken from A

Photography course at Prahran College in

History of Professional Photography in Australia,


by Paul Curtis (2013):

the diploma course Ian introduced was later

In 1978 the presidential baton was passed to

Ian McKenzie.

He was department head for two years and

reclassified as a degree.

Tall, slim, athletic, articulate and highly

intelligent, the perpetually all-in-black and

Convention Organiser

casually dressed McKenzie cut a dynamic figure

In 1973, he returned to private practice and

across the Australian photography stage for

became the convener of the Institute’s national

four decades. Indeed, his influence is still felt


strongly to this day.

Such was the success of the program, Ian

was asked to perform this voluntary task for the Industrial Photographer

next four conventions up until 1981.

Born in Melbourne in 1939, Ian spent two years

in chartered accountancy before becoming a

Australian Professional Photography Awards,

professional photographer in 1958.

joining the National Awards Committee in 1976

and then serving as a judge and panel chairman

Basing his business in Melbourne, he

specialised in architectural and industrial

Ian has also had a long association with the

until 2012.

photography and also shot aerial and illustrative pictures for company reports.


Venturing into publishing with Attila Kiraly

He joined the Institute of Victorian

Photographers in 1959 and became a member

and Val Foreman, Ian republished Jack Cato’s

of the Institute at its inception.

The Story of the Camera in Australia under the Institute’s imprint.



In 1966, Ian began a four-year program

Photographer Series. This consisted of

designing and overseeing the construction

monographs by photographers such as David

of educational facilities and the Diploma of

Moore, Athol Shmith, Lewis Morley, Wolfgang

He went on to publish the Contemporary

Sievers, Graham McCarter, Ian Dodd and

mounting displays, they needed to expand the

Michael Coyne.

show and attract larger audiences.

Up until the end of Ian’s term as president,

This led to a new body, called the Australian

the national conventions were held every

Photo Industry Council, which was made up

second year and were known as ‘Hypos’,

of delegates from all the various associations

followed by the last two digits of the year they

representing photo dealers, consumer and

fell in: thus ‘Hypo ‘77, ‘Hypo 79, etc.

professional distributors, photo laboratories and,

of course, professional photographers.

The state divisions were encouraged to hold

a division convention in the off year.

Ian McKenzie was elected to represent the

Institute and at his instigation it was agreed that International Connections

the distributors rather than the Institute would

At the Hypos, a trade display, which would only

fund the costs of overseas photographers to

operate during conference lunch and coffee

lecture at the Institute’s conventions.

breaks, would be held in conjunction with the convention.

Commercial Group

Still continuing his service, in 2006 Ian McKenzie

The trade participation was important to

the success of the convention as the revenue

established and chaired the AIPP Commercial

was mostly responsible for keeping convention

Group and became a member of the Institute’s

finances in the black.

Policy and Planning Committee.

Ian was also actively involved in the first

In 2010 he developed the structure and

moves to bring internationally-respected

syllabus course materials for the AIPP National

photographers to Australia to give lectures to

Mentoring scheme and managed the scheme

photographers and help lift the standards of the



such a long and sustained contribution to the

Among the first of these celebrated

It is hard to think of many who have made

international visitors were Sam Haskins and

Institute and to professional photography in

Monte Zucker.


PICA The national convention model which Ian devised worked well until the trade suppliers felt that because of the escalating costs of


Commissioned or Non-Commissioned? W h a t S h o u l d W e B e J u d g i n g A t A P PA ? If photography competitions like the Canon

appeared to put the photographers working at

AIPP APPAs and the Epson AIPP State Awards

real weddings at a disadvantage, so the rules

are only for professionals, what should they be

were changed so that only photographs taken


at a real wedding could be entered.

The same applies to commercial categories

that they should be judging the work produced

such as advertising, fashion and architecture,

by professional photographers. For some

but should it?

people, this means work that photographers

You can only earn a living as a wedding

have been commissioned to take - in other

photographer shooting real weddings, but

words, real jobs. This is because shooting a real

it is possible to earn a living as a commercial

job under real pressure is different to shooting

photographer shooting stock images for

something on spec or personally. There is a

yourself on speculation. You don’t have

perception that the former is more difficult than

to have the same pressures as shooting a

the latter.

commissioned job, yet it is a valid way to earn a


There are two possible answers. The first is

The second answer is that professional


awards should judge photography based on

professional standards.

images be accepted for entry into commercial

categories, or should they be entered in

Few people disagree with the second

So, should these non-commissioned

answer, but not all photographs submitted are

another category like Illustrative? Currently they

produced for clients. There are categories in the

are not accepted.

awards that allow non-commissioned work to

be entered and for some photographers, this

portfolio, should this be accepted? Currently it is

is seen as an advantage over entrants who are

not, yet 2014 AIPP Fashion Photographer of the

submitting commissioned work.

Year Peter Coulson suggested being allowed

to enter personal work would be good for the

Let’s take wedding photography as an

Or if you shoot personal work for your

example. Many years ago, some photographers


were hiring models and shooting mock

weddings in order to enter the awards. This

CAG to have your say, or post on the AIPP blog.

What do you think? Join the Commercial

Silver Award • Commercial Category

Michael Evans w w w. m i c h a e l e v a n s p h o t o g r a p h e r. c o m 2014 Canon AIPP Australian Professional Photography Awards



Palmer AI P P




Matt Palmer AAIPP is a

photo shoots and then carry

job hoping to capture the

wedding and portrait

those photographic elements

best images of my career thus

photographer with a

through to a finished design.


background in graphic design,

Right now, I’m concentrating

commercial photography

solely on photography, but

the Epson AIPP state awards

and live music photography.

using my design skills to boost

and Canon AIPP APPA awards

Explained Matt, “I started

my business where I can.”

for just two years and says

as a graphic designer 20

he is grateful for the success

years ago and worked

following his photography

he’s had so far. This year

extensively in design before

dream for around a year now.

he won the Epson AIPP

my photographic passion

“It’s been a tough 12 months,

Queensland Documentary

took over. I was fortunate

but I am always excited by

/ Sports Photographer of

during a transitional phase

the future and I am certain

the Year, was a finalist in the

to work in jobs that allowed

that image making will be my

Epson AIPP Queensland

me to pursue both graphic

lifelong passion and source of

Landscape Photographer of

design and photography at a


the Year, and won the AIPP

high level. For instance, I was

Australian Professional Sports

the Creative Director of the

of images I might be making

Photographer of the Year at

Brisbane Roar Football Club

or how I might be creating


for two years which allowed

them in 10 years from now

me unparalleled control

keeps me interested and I

planning how I will push

over the look of the brand. I

am always in pursuit of the

myself next year.”

was able to conduct all the

perfect image. I go into every

Matt says he has been

“Not knowing what kind

Matt has been entering

“I’m already thinking and



Palmer A I PP



“When my core

photography was capturing musicians, I would always say there were four main components to the outcome of an image: photographer ability, access, lighting and subject.

“Often we could only

control our ability and the subjects we chose to photograph. On occasion though, I would get stage access to create something different, such as images of performers interacting with their fans. The same is probably true of most action photography because getting a good position gives you an edge.”




Palmer A I PP




When it comes to equipment,

Matt is a strong believer in

I had an army of small flashes

legs fold back up the centre

knowing how to use external

including Canon Speedlights,

column, allowing it to pack

light on location and in a

a few Vivitars and whatever

very easily.


else I got my hands on.

“Whilst a photographer

“Before using the Einsteins,

“Today, I love my Einsteins

small flashes because the

“I always want a scene

where there is visual drama

may not always need it, in an

and for most subjects in the

or where visual drama can be

industry where professional

studio, I use large flattering

created. In terms of adding

gear is being sold more to

light sources such as big

your own lighting, an overcast

lawyers and doctors than it is

umbrellas with layers of

or stormy sky is beautiful as it

to photographers, knowing

diffusion. On location, I’ll

provides an almost blank slate

how to use and see light is

use umbrellas, Octoboxes

of light with which you can

such an advantage that we

and even a beauty

add your own drama through

must grasp it. I love my Paul

dish, depending on the

artificial lighting. Otherwise,

C Buff Einstein lights for their

requirements and logistics of a

a good action photographer

flexibility in light output

given shoot.

survives on what they are

(but unfortunately they no

longer take on new Australian

collapsible light stand is


amazing for traveling with

“The Manfrotto 001B

given and the best ones make bad light look good.”




Palmer A IP P



The images selected for

missed it.”

into account, it’s too late to

this portfolio are primarily

be taking the image when

from Matt’s personal projects.

Canon AIPP APPA this year

the strike lands. When I hear

were taken at Muay Thai

my shutter noise at the same

are so important for rounding

kickboxing bouts. “I try to

time as a cracking noise from

out your skills and polishing

anticipate the fighters’ moves

the ring, I am happy that my

them. My landscape

as if I were in the ring with

timing and anticipation have

photography and work in

them. I need to understand

come together.”

the live music industry have

when the fighter is throwing

hugely influenced the way

a fake (tricking the opponent

anticipation when

I approach weddings, for

into expecting a certain strike,

photographing the actions

instance, especially in terms

but setting up another strike

of a musician (often helped

of the technicalities of taking

instead), and when the fighter

by knowing the music), or

challenging images.

is about to throw something

photographing Brisbane Roar

that they intend to do some

matches. “The best images

over seven years also helped

real damage with.

come from an understanding

me become a good sports

photographer. Anticipation

taken when I see them first

what is about to happen

is key and if you’re pressing

throwing the strike because

before it does.”

the shutter when you see

by the time shutter lag and

the action happening, you’ve

human reflexes are taken

“I think personal projects

“Photographing music for

Matt’s winning images at

“The image needs to be

Matt uses the same

of the subject and knowing




Palmer AI P P






Palmer A IP P



“When it comes to action

“When I work with athletes

what they looked like, most

photography, I look at the

for a posed portrait, I try to

of them wanted to be more

existing lighting set up and

involve them in the process

involved as well.

break it down into what it

somehow, so they buy into

would be like in a studio.

the end product. For the last

demonstrate what I want

Where are the main lights

marketing photo shoot I did

from a pose because when

coming from? What fill light

with Brisbane Roar, we had a

they can see me doing it,

is there? Is that white wall

list of poses we needed from

the idea is a lot clearer. I find

going to be bouncing fill light

everyone, and then some

posing everyday people is a

back into the ring to fill out a

optional ones for the players

lot different to posing athletes

fighter’s face? Generally the

if they wanted to. We got a

and celebrities and often

light is terrible, so you have

few key players on board for

requires a different approach.”

to take every advantage in

the ‘cool’ shots and once we

positioning that you can.

showed the other players

“I also like to physically



Palmer A I PP



“I love Adobe Lightroom and I can’t imagine

things ready for press the next morning.

having to work without it. With Lightroom and

being able to move images from my catalogues

cool under pressure is an important trait in a

in and out of Adobe Photoshop, I can do pretty

photographer, especially when working within

much everything I need. I also do all my layout

tight time frames and on location.”

“Problem solving and being able to keep

in Adobe InDesign which was my primary tool as a designer. - personal site with

awards for reference

“I don’t take on any job where I need to

deliver while still on location (such as shooting - my every

for Getty, for instance). I’m not the kind of

day work

photographer who can let go of what I produce


enough to deliver that quickly, although I’ve

“Photographers are always welcome to contact

often worked all night after a shoot to have

me for a chat on”


Photograph of Chris Shain by Matthew Duchesene.

Fighting For Your Rights Chris Shain Representing The AIPP


As Australia’s peak body representing

professional photographers, the AIPP fights for

realistic depreciation values for our equipment.

the diminishing rights of all image makers in

this country.

terms and conditions to respect photographer

copyright, which they did.

We are active and vocal in defending the

Recently, we worked with the ATO to get We lobbied Instagram to re-word their

viability of our industry. Your AIPP membership

dues help fund this incredibly important long

journalist Peter Greste and his colleages in

term work.


The AIPP pushes for law makers and

We lobbied for the release of photo

And we made submissions to government

influencers to consider the potential impacts

on copyright, privacy, orphan works and fair

of their decisions on the day to day working


professional photographer.

Chris Shain has been a driving force behind

much of AIPP’s advocacy work.

court case involving an American photographer

“Chris is the most highly respected

Chris was an expert witness in a federal

photographer among those who fight to

regarding copyright infringement in

protect artists’ rights”, explains Ross Eason, AIPP

Australia. The judgement was in favour of

President. “He has being fighting for the rights

the photographer, and the judge stated that

of photographers for decades and now he is

“breaches of copyright are common… and

officially doing so on behalf of the AIPP”.

the courts must do what they can to assist

copyright owners to maintain their property,

The AIPP this month appointed Chris as

a Board Advisor regarding copyright, moral

and prevent the unlawful use of it.”

rights and issues requiring the Institute to lobby

government to protect the interests of our




“Thanks to Chris, the AIPP was one of the

[View the published judgement at http://

few organisations granted an interview with the

Australian Law Reform Commission to discuss

important service AIPP provides for you.

copyright law revisions.

AIPP continued commitment to fighting for

“Chris has the ear of the big wigs and is

well respected around the globe”, said Ross.

Advocacy is an intangible but vitally Chris Shain’s recent appointment is part of

your rights.

“Australian image makers are bloody lucky to have him on the case.”

Chris Shain is also one of Australia’s best commer-

cial photographers.

On behalf of the industry, Chris meets

regularly with the Copyright Council, Copyright

Agency, Viscopy, and senior academics in the

been a director of the Australian Copyright Coun-

copyright world.

cil. He has wide respect within the industry and has

He also has regular communication on

addressed small and large groups of people world-

copyright issues with American Society of

wide, and the media, on issues relating to photog-

Media Photographers.

raphy and the photo industry.

Chris was an integral part of an industry

He is an Associate member of the AIPP and has

He has personal work in the Australian Pho-

team that successfully made amendments to

tographers Collection and has been a finalist three

the Copyright Act in 1998, and he was a director

times in the Head On portrait prize.

of the Australian Copyright Council for eight

years until recently.


Moran Arts Foundation In Schools W i l l i a m Lo n g r e p o r t s o n a n o t h e r s u c c e s s f u l m i s s i o n


This year, the AIPP’s William Long joined

development skills within the familiar school

Edmund Capon (former director of the Art


Gallery of NSW), Rick Amor and Aidan Sullivan

on the judging panel of the prestigious Moran

conducted by a professional photographer.

Arts Foundation’s photographic prize which has

Each student receives their own digital camera

been recently announced.

to use for the day and is able to print off their

five favourite photos.”

The Moran Arts Foundation sponsors a

“The workshops are run all day and are

$150,000 portrait prize, and alongside an

$80,000 contemporary photographic prize with

Cooenruull Public School, wrote, “Thanks to

the winner taking away $50,000. This is the

the Moran Arts Foundation, we were fortunate

competition that William was involved in.

to have Sally Mayman visit our school and

work with the students. As a result the class

There are also sections in the contemporary

Sherryn McConnell, a teacher from

photographic prize for secondary and primary

continued their photography and held an

school children, with prizes ranging from $5000

exhibition of their work on the School Open

cash to digital cameras.

Day during Education Week. The feedback from

School Program

this event was excellent. The exhibition was so

In addition to supporting two awards with

successful that we have been invited to exhibit

very substantial prize money, the Moran

the students’ work at the local cultural centre.

Arts Foundation provides free photography

Thank you for providing my students with such

workshops for school children around Australia.

a wonderful opportunity.”

According to the Foundation’s recent press

The Foundation states it receives

release, “The school photographic workshop

hundreds of requests from schoools for the

program is a great way to foster creativity

free workshops every year and in 2014, over

amongst school students in years 3 to 12.

160 workshops were conducted involving

approximately 400 students.

“By encouraging students to be imaginative

For more information, visit the Moran Arts

and creative, they build valuable skills and

confidence. The workshops are run in a fun

Foundation website:

and creative way, providing important social


This photo has nothing to do with Australian schools, but there are formal and informal programs the world over, using photography as a way to 57 connect with youth. This was taken in Bhutan recently where a photography workshop interracted with a local school. Photo: Peter Eastway.

Making Money Out Of Weddings Pro f i t I s N o t J u s t M o n e y, B u t Ti m e A s We l l Should you charge $5000, $1500 or $500 for

$1500 or $2000 for photography may well be

a wedding? There is no single answer, but

within the budget.

the following analysis might help answer the

The Time Factor

question for you.

So, in the market today, we have photographers

at the top level wanting to charge $5000,

To make the analysis, we need to make

some assumptions, so while you may disagree

photographers at the bottom end who are

with some of the details on the opposite page,

probably undercharging clients at $500, and the

the principal is what we’re looking at.

new ‘norm’ of photographers offering a service


of around $1500 to $2000.

If you charge $5000 for a wedding, our clients

Who is making the most money?

will have expectations. In the past, these

Well, the financial answer is obvious, but

expectations have been amazing service,

when you look at the time involved, who is

possibly a second shooter or assistant, and an

better off?

amazing photo album or photo book as part

of the price. There is also quite a deal of client

else, then you have plenty of time on your

contact which, it is argued, produces a more

hands and you should go for the $5000

tailored and personalised service.

wedding package.

For a $500 wedding, the expectations

If you only shoot weddings and nothing

However, most photographers if not shooting

are much lower. Generally the level of client

weddings can spend the time shooting portraits

handling and service is not very high at all. Some

or commercial work, or spend time marketing for

clients might only meet the photographer on the

more weddings. When you look at time as part

day of the wedding and, to be fair, these clients

of the equation, a simpler service for a moderate

probably don’t value photography as highly as

return may in fact be much more profitable on

the dress or the venue.

an hourly basis.

However, most clients don’t really know how

There’s no one correct answer, of course, but

to value photography. They are probably paying

it’s worth carefully looking at what you provide

much more than $500 for the wedding dress,

your clients - and at what your clients are really

the venue, the meals and the car, so a charge of

paying you on an hourly basis.

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.





Package Fee

Package Fee

Package Fee


Raw Costs 2nd Shooter


Raw Costs $200

2nd Shooter


Raw Costs -

2nd Shooter


Album $800

Album -

Album -

Prints $400

Prints -

Prints -

Other costs


Other costs


Other costs


Total Costs


Total Costs


Total Costs


Gross Profit


Gross Profit


Gross Profit





Intro Interview

1 hr

Intro Interview


Intro Interview


Second Interview

1 hr

Second Interview


Second Interview


Wedding Shoot

8 hr

Wedding Shoot

6 hr

Wedding Shoot

6 hr


8 hr


2 hr


2 hr

Sales Interview

3 hr

Sales Interview


Sales Interview


Album Compilation

8 hr

Album Compilation


Album Compilation


Final Interview

1 hr

Final Interview


Final Interview


Total Time

30 hr

Total Time

Income per hour


Income per hour

8 hr $175

Total Time

8 hr

Income per hour



2014 Gold Awards

T h e B e s t o f t h e B e s t f r o m t h e 2 0 1 4 C a n o n A P PA s


From November the AIPP will be sending out

imaging in Australia.

free of charge a new publication to all AIPP

Accredited Members who entered the Canon

photographs, divided into categories with the

Australian Professional Photography Awards this

Golds with Distinction leading the section.

year: The Australian Professional Photography

Awards 2014 Gold Awards book.

of Canon Oceania, “Winning at these awards

takes years of dedication to the art of visual

Explained AIPP Executive Officer Peter Myers,

The book contains over 100 amazing

Wrote Taz Nakamasu, Managing Director

“This is a fabulous 12-inch square book which

storytelling, followed by the act of bravery to

features every Gold and Gold with Distinction

put yourself ‘out there’ for the three-day judging

image from APPA this year.


“We have created this book because we

“Not to be taken lightly, this final step is

wanted to feature the fabulous images in all

described by some as a time when you ‘bare

their splendour on a single page, as opposed

your soul to be judged by your peers and your

to the traditional book design (which we will


continue with) which features several images

per page.”

winners have done just that and, in doing so,

push us all to reach new levels of achievement!”

Added AIPP President Ross Eason in the

“Fortunately for the rest of us, this year’s

introduction, “With many aspects of our careers,

the strive for perfection is ongoing, and the

we as an Institute in partnership with Canon

day we stop trying to improve, to create better

continue to look at improving the quality of

images or better outcomes, is the day we need

the Awards book we deliver to our members.

to reassess where we stand as professionals.

Canon’s ongoing support in the production of

this book plus their sponsorship of the Institute

“This book is an example, it is the

Continued Ross, “It is a great example of how

culmination of efforts by those photographers

clearly demonstrates their commitment both to

who through pushing their personal

the Institute and the industry.

boundaries have achieved a level of success

and recognition from their peers that is second

sponsor a global company of such esteem and

to none - it is the pinnacle of professional

we value the relationship highly.”

“We are very fortunate to have as our



Photographers & Copyright

A Book About Copyright From People Who Know Photographers entering the profession

of creators to Australia’s culture and economy,

often have little idea about copyright and

and for the importance of copyright for the

the importance it plays. Without copyright

common good.

protection, professional photographers have

much less to sell.

a number of publications dealing with many

aspects of copyright.

For many photographers, a photography

As part of its mandate, the ACC produces

assignment is about being paid for the time

they work and the photographs they produce.

photographers, of course, but to many other

creative fields. However, many of the queries the

However, with copyright, those photographs

Copyright doesn’t just apply to

can have an extended life, allowing you to

ACC fields are answered in these publications

use the photographs for other purposes such

and the latest update is Photographers and

as self-marketing and re-sale to other buyers.


Without owning copyright, you may not be

legally able to use your own photographs on

Copyright explains what copyright protects,

your blog!

the ownership of copyright, orphan works,

photographers’ moral rights in their work,

Copyright is governed by legislation and

A practical guide, Photographers and

its interpretation by the courts. If you have

taking photos of people and copyright

a copyright problem, you can approach

protected materials, licensing photos, use of

the Australian Copyright Council (ACC) for

images on websites and social media, and what


you can do if your copyright is infringed.

AIPP member Chris Shain sits on the

It also provides practical tips about how to

ACC board. It is an independent, non-profit

protect your images in the digital environment.

organisation. Founded in 1968, it represents the

You can purchase the book directly from the

peak bodies for professional artists and content

ACC’s online store and it costs just $45 including

creators working in Australia’s creative industries

delivery. It’s a must read for professional

and Australia’s major copyright collecting



The ACC is an advocate for the contribution

For more information, please visit http://


An AGM With A Difference

A s k t h e B o a r d A n y t h i n g Yo u L i k e t h i s We d 2 6 N o v e m b e r 2 0 1 4 Make your own cup of tea and join the AIPP

to raise issues, put forward suggestions or ask

Board at it’s Annual General Meeting.

questions is being promoted by the Board as an

opportunity for all members to get involved.

Association on the news, turning up for annual

Now We’re Asking You!

general meetings and grabbing a free cup of

How often do you listen to people wishing

tea and two free biscuits. Some shareholders

this would happen or that had been done, but

just go for the socialising, others are there to ask

nothing comes of it? Generally it’s because the

the company’s board members some serious

line of communication is either difficult or time

questions. And if their questions are interesting


enough, they even get reported!

Our AGM With Tea

key objectives it to make the process of

However, none of that is likely to happen at the

management completely transparent. It’s

AIPP’s Annual General Meeting. To start with,

doing this in many ways with improved

we have members, not shareholders and that

communication, the introduction of SIGs and

means no tea or biscuits either! But you can

CAGs, and now a Q&A session with the Board at

make your own! And you’ll have a comfortable

the AGM.

seat. Sit down in your favourite chair with your

computer, laptop or tablet and watch the AGM

We’ll see you there - online or in person!

online. It will be live streamed and members

will be encouraged to get involved and ask

10.00 a.m., Wednesday 26 November 2014 at

questions directly of the Board.

the Punt Hill Essendon Grand, 1142 Mount

Alexander Road, Essendon, Victoria.

The formalities will probably take about

However, one of the current Board’s

So, the AGM is your chance to get involved. To be there in person, present yourself at

The URL for the AGM is: https://new.

ten minutes, after which it is hoped members

will ask questions (via text) about the AIPP, its

direction and the Board’s plans.

The password is in your email, or if you think


We all see the Australian Shareholders

One of the advantages of live streaming is

you’ve missed the email, get in touch with

that everyone can attend. And while an AGM

National Office now via the website - www.

mightn’t be everyone’s cup of tea, the ability




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Peter Eastway’s

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Landscape Photography MasterClass Learn the art, craft and business of landscape photography with a member-only subscription to Peter Eastway’s Landscape Masterclass. The online delivery includes movies and articles, featuring equipment, techniques, inspiration and Photoshop postproduction. Start at any time. Learn at your own pace. Replay and re-read the articles as often as you like. To view, read and experience a free sample Landscape MasterClass, visit Purchase online delivery for iPad, or DVD to play on your computer.

Content Sampler

FINE ART MOVIES Mt Nemrut Cape Palliser Cappella di Vitaleta Elephant Island Pilbara Storm Steeple Jason

KNOWLEDGE Lenses Apertures Camera Support Camera Bags Accessories C o l o u r Te m p e r a t u r e

JOURNEY Tu r k e y SW America Italy Spain Pilbara Easter Island

ACUMEN Pricing Prints Prints for Sale Publishing a book Book Finances Local Contrast Websites

P O S T- P R O D U C T I O N Soft Light Layers Raw Conversions Luminosity Mask ing Colour Balance Local Contrast Vignetting


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

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


Profile for Pt 78 Pty Ltd

Working Pro 227  

The official journal of the Australian Institute of Professional Photography.

Working Pro 227  

The official journal of the Australian Institute of Professional Photography.


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