Working Pro The
Issue 217 â€˘ November/December 2013
C E L E B R AT I N G 50 YEARS
P © Joshua Halko
i fess onal
alia r t s u n
te o u t i f st
© Mercury Megaloudis
ap h y
In 2013 the AIPP celebrates 50 years 50 years as the membership organisation of choice for professional photographers. The world we live in has changed drastically during the last 50 years. Photography has changed radically in the last 50 years and the AIPP has adapted to keep up with these changes. Throughout the last 50 years, the AIPP has always represented the best interests of its members and the professional photography community.
© George Fragopolous
© Ross Eason
© Tim Griffith
© Michael Langford
© Mark Broadbent
Why not make 2013 the year you join the AIPP? Together we can be stronger...
© Julie Ewing
As an added incentive, to help us celebrate 50 years, if you join the AIPP in 2013 either as an Accredited Professional Photographer, or an Emerging member, we will give you a $50 voucher which you can use to reduce the cost of attending any AIPP event, seminar, workshop or awards entry fee. © Robyn Hills
www.aipp.com.au © Caroline Bowen
Working Pro The
Cover S i lv e r w i t h D i s t i n c t i o n A wa r d • 85
Ky Luu AAIPP 2013 Canon AIPP Australian Professional Photography Awards
The Working Pro is the official newsletter of The Australian Institute of Professional Photography (AIPP). Editor Peter Eastway G.M Photog., 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 firstname.lastname@example.org
AIPP Membership Contacts Suite G.02, 171 Union Road, Surrey Hills, Victoria 3127 Phone: 03 9888 4111 E-mail: email@example.com
Co n te n t s #217
N ov/ D ec
Knowing What To Sell
2 0 1 3
Kylie Lyons discusses the new AIPP Constitution and why it’s important for our members. Have a look here. Rather than complaining about photographers undercutting us by selling their digital files, let’s show them what else we can sell to our clients.
Sustainable Portrait Sales
Inspiration And Advice
Confessions of a Serial Bomber
Editor’s Selection - APPA Winners
Selling Cameras and Equipment
Changing The Constitution
Special AIPP Honours 2013
Copyright Mix Ups
Brian Chapman asks whether the affiliate marketing techniques favoured by portrait photographers are killing the profession? Don’t spend all your life behind a computer, read how Dan O’Day streamlines his post-production approach. Where do great photography and business ideas come from? Christian Fletcher reveals his sources and mentors. Master of Photography Alan Moyle bombed at this year’s Canon APPAs, but he’s not giving up - see his photos and read why here! Peter Eastway takes a look at two of Alan’s photos and offers his suggestions as to why the judges may not have seen them Alan’s way. A selection of entries that caught the editor’s eye from the 2013 Canon AIPP Australian Professional Photography Awards. Do you have to pay GST when you sell your secondhand equipment? Don’t get caught because chances are you do, but read this to make sure. Read why our National AIPP Chairman John de Rooy thinks it’s a good idea - he says the AIPP needs to move with the times. The AIPP honours some of its hard-working members with its annual round of special awards. Read about them here. Does copyright stop me from taking photographs? Maybe not, but there can be other laws to consider - read this important article. Ideal for wildlife and sport, this super telephoto zoom effectively replaces three lenses and puts them into a single, high-powered barrel.
New AIPP Constitution
Kylie Lyons M.Photog I. Hon.LM, National President The AIPP has been undergoing a process of self-
• Opening up eligibility requirements in order
examination. The AIPP exists to represent and
to nominate for a Board position;
serve you, but it was very clear that we needed
• Introducing elections by members for Board
to make it easier for you to be involved in the
Institute. The process began with a strategy
• Increasing the term of Board members to
weekend involving the Board, external experts,
three years; and
selected members and employees and has cul-
• Limiting Board members to two consecutive
minated with a full re-write of our Constitution,
terms of service.
the document that sets the rules and guidelines governing the Institute.
We have kept you informed of this project
All accredited members will be eligible to nomi-
through a communication document, a Presi-
nate for a Board position once they have accu-
dents video and blog posts.
mulated fifteen service points. This means that
you have greater flexibility in your pathway.
Now, after a rigorous research phase, the re-
write is complete and it’s over to you: the time
has come for you to cast your vote at the up-
resentative on the Stakeholders Committee
coming Annual General Meeting (AGM).
through a State Council or National Subcom-
Your Board believes that the new Constitu-
mittee, a process which in itself could take a
tion sets out a new way forward for the Institute
number of years.
by making it easier for your voice to be heard.
This change is really important as it opens
Below we have outlined why it is important that
up the pool of members who can become
the new Constitution is adopted.
Board members, enabling our best people from
Previously you needed to become a rep-
across our diverse membership to represent us What Are The Changes?
and make the important decisions on the future
There are a number of important changes
of the Institute.
aimed at improving your ability to be involved,
contribute and be heard, including the follow-
Changing the election process will give you a
IT’S HAPPENING AGAIN THIS YEARS EVENT THEME... ‘TURNING THE ORDINARY INTO THE EXTRAORDINARY’
THE EVENT GOLD COAST 2014 NIKON AIPP
ON SAVE AIPPTHE DATE Sunday 8 – 10 June 2014 Royal Pines Resort Gold Coast Queensland th
STAY TUNED FOR MORE DETAILS
much greater say in who represents
Portfolio Application For Accreditation Checklist for Photos Read More AIPP Member Only Content
you as Accredited Members will be able to vote for Board members. Previously this was the responsibility of a much smaller group of members, the Stakeholders Com-
To read AIPP member and specific business related advice, visit the AIPP website and sign in. Once youâ€™re signed in, follow the menu Member Services, My Publications, The Working Pro - Extended Material.
mittee. A minimum of two Board positions
less formal way.
will be elected each year.
The recent trial of three SIGs (Mothers and Babies, Portrait and Wedding) has been very
Changes To Terms Of Office
successful. Around 25 members have partici-
Currently there is no limit to the number of one
pated in each of these SIGs which have been
year terms that a Board member serves.
very effective in communicating and exchang-
ing members thoughts on important issues to
Increasing the term to three years will mean
that Board members will have enough time to
the Board through the National Office team. Im-
make a meaningful contribution while taking a
portantly, this facilitates timelier decisions and
implementation of initiatives.
Limiting Board members to two consecutive
terms will ensure that there is on-going renewal
or any other Board member directly.
of the Board, so it remains fresh and contempo-
Your Board encourages you to ask questions
rary, that is, it remains relevant to our members.
about the proposed changes. Feel free to con-
Of course you can continue to contact me
tact myself or any one of your Board members Special Interest Groups
should you need further information.
These changes will work together with a num-
When it arrives, or if it has already arrived,
ber of other changes and initiatives that are be-
please take the time to read the Notice of Meet-
ing implemented to increase your opportunities
ing for the AGM and the proposed Constitution
to engage with and shape the AIPP.
carefully so that you are in a position to make
One of these important initiatives is the for-
an informed decision.
mation of Special Interest Groups (SIGs). Our
Our future is in your hands.
SIGs are forums for targeted groups that enable many more members to contribute their views
on specific issues and policy. In some cases, SIGs
will take the place of subcommittees, albeit in a
0411 552 488
AIPP Board Position - Are You Interested? The AIPP Board is searching for the services of a Communications, Social Media and PR specialist to advise and assist in the direction of communications and public relations, and to build on existing relationships with internal and external stakeholders. The skills required include and are not limited to: • Work closely with other Directors providing analysis and advice on communications strategies, managing and leverage of social media; and • Analyse the organisational communication requirements for significant change related projects; and • Liaise with a range of business areas to understand and communicate the user experience; develop and implement internal and external communication strategies; and • Provide advice and direction on communicating the companies’ activities and assist in change management. The AIPP is a ‘not for profit’ company limited by guarantee. The directors are not remunerated, apart from re-imbursement of expenses. The AIPP Board meets 10 times per annum, either by teleconference or face-to-face. This role on the Board is a co-opted position and may have tenure of six to eighteen months. If you are interested in this challenging and rewarding role please address your application to firstname.lastname@example.org
Knowing What To Sell
P e t e r E a s t w a y , G M . P h o t o g , H o n . F A I P P, F A I P P Some photographers tell me their clients only
photographer. Just look at how many people do
want digital files. They don’t want prints, they
their own home renovations (no work for build-
don’t want albums, they don’t want glass blocks.
ers) or cook their own meals (no work for res-
Just the digital files. Why?
taurants). People love the idea of putting ‘their’
photos on Facebook, or they can make ‘their’
What has changed over the years that sud-
denly people no longer want or need physical
album or have ‘their’ print framed at a fraction of
photographs (if this is really true)?
what we want to charge them.
I’m going to suggest that there are three rea-
Whether they actually get around to doing it
sons that contribute to this behaviour.
is another matter.
The first is our own fault because we have burnt
So, when people ask around about photogra-
our customers. Not us, of course, but there are
phy, they don’t always talk to photographers.
high pressure salespeople working for pho-
They don’t necessarily know what is available.
tography studios and when you burn some-
one, everyone knows. Do a job well and a cli-
selling physical products and comparing them
ent might tell their mother, do a job poorly and
to the photographers who say they can’t, I think
they will tell 50 people.
it’s simply because neither the photographer
So how does this affect a client’s behaviour?
nor the clients know what’s available!
Very simply, they want to own the files so
Based on the photographers who are still
This is a gross simplification, of course, but
they can’t be put in a position where we can
it’s partly true.
hold them to ransom. They don’t want to abso-
lutely love the photographs and then fork out
sion simply don’t know what’s out there or even
thousands of dollars they don’t want to spend.
how to order it. So they don’t.
Asking for the digital files gives them control.
A lot of new photographers to the profes-
And a lot of new clients only meet these
new photographers, so they don’t get told
Do It Yourself
what’s out there or what’s available.
Don’t feel bad about everyone wanting to be a
I can see this as being a big opportunity!
9 Orpheus Island, Queensland. Photo by Peter Eastway.
Sustainable Portrait Sales Brian Chapman
Brian and Kaylene Chapman’s photography
ulates and spends much more than they origi-
workshops are not focused on camera tech-
nique or post-production, rather on how to
make money and enjoy it in an ethically and
the sale today, but there is little hope of a refer-
sustainable way. It is not about making sales at
ral or repeat business. Even worse, it hurts my
business because a lot of these clients won’t
ever go to a professional photographer again.
“There are a lot of marketing techniques in
“This is short term thinking. It might get you
our profession that I don’t agree with”, explained
Brian. “I don’t agree with most of the affiliate
me. I tell them up front that they are likely to
marketing techniques where you use third par-
spend a few thousand with me, but they don’t
ties to introduce you to new clients, basically
have to if they don’t want to. My job is to create
because the system relies on us to upsell our
such an amazing experience and product that
clients to make it profitable. I believe this ap-
they want to buy it. And people book because
proach has hurt our profession.
they appreciate our honesty.”
“We have lots of clients who have been to
“Naturally I want clients to spend well with
“If I sense someone can’t afford us or there is
other studios because they won a competi-
a conflict, I just back off and move onto the next
tion or were given a free voucher when they
client. It all averages out. We have had some
purchased a product. The actual shoot might
really high sales, but I’d rather each client just
have been an enjoyable experience, but it was
spent the average and came back the following
soured by a pushy sales process and they felt
year. We want repeat customers because they
burnt by the studio.
will be happy to spend again.
“I cringe when I hear of some of the sales
techniques that are used, such as the closing
Brian and Kaylene Chapman have run several pho-
techniques that drag a client back into the sales
tography businesses successfully for over a decade.
room, while others start with a really high price
They hold business intensive workshops targeted at
for the extra prints and after the client falls over
studio owners, turning over between 30K-250K and
the first time, it’s a matter of dropping the price
need help taking it to the next level. See www.the-
down bit by bit until the client eventually capit-
businessofphotography.com.au for more details.
Efficient Post-Production Dan O’Day
Dan O’Day uses Photo Mechanic to ingest his
don’t get to knock on my clients’ doors and
wedding shoots. “It’s a database program for
drop off a package. More often than not, the
previewing raw files very quickly. Lightroom
DVD or album is posted to them.
takes too long to import the files and cull them.
In comparison, Photo Mechanic is really good
ages is as a DVD presentation on their television
for ingesting thousands of images at a time. It
which comprises the finished, edited files.”
also runs a report and lets you know if any of
As a minimum, the client receives a thank
the files were corrupt, and it can backup to mul-
you letter from Dan, a DVD slideshow of the ed-
tiple drives as it ingests. However, what’s best is
ited files (as well as copies for the parents), and
that I can cull a wedding shoot quickly.”
an incentive slip giving them a last chance to
purchase an album with a 20 per cent discount.
Dan takes between 3000 and 5000 images
“The first time the couple sees any of the im-
at a wedding (depending on coverage time), so
his first step is to trim them down to the best
fine art postcards, which is something personal
500-700 images. After the image selections
from me, and then there’s my wedding present
have been made using Photo Mechanic, the
to them – something they know nothing about
raw files are sent to Lightroom where he uses
– an 8x12 inch print from the wedding. It’s a
presets to give the images the look he wants.
print I have selected and printed, as opposed to
a ceremony ‘kiss’ shot they might have selected.
“I have built up my own ‘Dan’s special sauce’
“They also receive a selection of ten of my
presets over time and on occasion I also use
This way, at least it is an image I have selected
some commercial presets such as VSCO. Essen-
hanging on their wall when their friends (and
tially, this system allows me to edit one photo
my potential future clients) pop over for a cof-
and apply the same settings to a series of imag-
es shot in a similar setting, so I can edit a whole wedding in around five hours. When finished,
DAN O’DAY is a wedding and fine art photographer.
I just use Photoshop to batch size the images
Wedding photography is his mainstay, while fine art
and that’s it.
photography is his passion. Dan is a Master of Pho-
tography and is based in Canberra, ACT.
“I am shooting 80% of my bookings away
from home, either interstate or abroad, so I
One of Christianâ€™s favourite photos that looks amazing up big as a billboard or as a 2 metre gallery print.
Inspiration and Advice Christian Fletcher
“I’m looking at artists as much as photographers
experience that is a bit more interesting.
for inspiration, but in terms of photographers, I
love the work of Edward Burtynsky and Andreas
ough, we made it big and bad enough so that
Gursky. I look at those guys because they are
no other photographers would have the guts to
creating the sort of images I am into at the mo-
set up next to us. Of course some did, but they
ment, plus they are making big bucks and are
didn’t last long. If you’re going to do something,
hugely successful. They are putting their images
make sure it is the best.
out there and their messages are quite clear. I
love the way these guys have made an empire
yourself. Like the Phase One camera. I didn’t
out of their careers.
think I could afford it, but it has changed my
business and my photography. It also helps my
“I also get a lot of inspiration looking at the
“When we set up our gallery in Dunsbor-
“Similarly, if you can’t afford it, then extend
work of amateur and enthusiast photographers
branding, being an ambassador for the best
on websites like 500px, and also some of the
camera system in the world has got to be good
professionals like Sue Bryce. Even though she
isn’t shooting landscapes, her stuff is very inspir-
ing. So is Dan O’Day’s work – it’s cool and edgy.
where everyone can see the metadata. If you
So I’m always looking at photographs that take
use that camera, you’re regarded as a player, not
my eye and thinking how I can incorporate
some of those ideas into my own stuff.
public believe your photos are worth buying
“In terms of business, look no further than
Apple computers! I love their business model.
“I love putting my photos up on 500px
“It’s all about perception. If you can make the
over something else, you’re on the way.”
They produce something that is almost too good to resist. I know I am hooked.
CHRISTIAN FLETCHER is one of the few photogra-
If I could photograph things that have the
phers in Australia who earns the majority of his in-
same effect on people, that would be the ulti-
come from landscape photography. With the help
mate. I admire Apple for that. It’s cool, not dag-
of his family, he runs a number of galleries in South
gy or cheap or nasty, and that’s important – to
West Australia, with the main gallery in Dunsbor-
give people something they can’t resist or an
Confessions of a Serial Bomber By Alan ‘Bat’ Moyle, M. Photog. The final day of APPA and it was my day to be
nervous. Four of my images were going up in
images. I still believe in them. But sometimes
front of the judges, and not just any four, my fa-
things just go against you. The panel of judges
voutire four from a personal documentary proj-
didn’t see what I saw.
ect that I had poured my heart into.
Swear at the judges? Hate the system?
I’m feeling pretty confident because every-
And I felt crap about it. I believed in these
So what now? Do I give up? Get bitter?
one I’ve shown the images praised them.
vated. Really motivated.
This was my twelth year entering the
Well, for a millisecond I did. Then I got moti-
Awards. I’ve been lucky to be pretty consistent,
from my first entry the year after finishing uni
but I’m still proud of them. I was still showing
when I was so pleased to get some half points,
them to photographers with a smile on my face
through to my first Gold Award a few years later,
later that night. It would have been nice to say
right through to getting my Master of Photog-
they got awards, but they have a life with or
raphy and a couple of Gold Bars. Add into the
without Awards. The people in the photos love
mix the honour of being asked to judge at state
the images and that is to me more important.
and then national level and you can tell I really
believe, love and live for APPA.
too beat up about it. All of the top photogra-
phers have bombed at some stage, but they
However, this year was destined to be a
My images may not have got up this year,
So my message is, if you bombed, don’t get
stand out for me and one I’m not going to for-
don’t let it get them down for too long.
This was to be my first year of bombing and
do better and to expand your knowledge, craft
and imagination. Awards are nice, but they are
not the end of the world.
Later that day while I was judging the Sci-
The Awards are about pushing yourself to
ence, Nature and Environment category, my four prints in the Documentary category next
Alan ‘The Bat’ Moyle and his studio Photobat shoots
door were tearing a hole in my consistency. No
mainly wedding and family portraiture. Originally
Silvers. In fact, no awards at all. And for the first
from Tasmania, Alan has moved to Melbourne. He is
time ever, a 68. Below professional practice. 68.
a Master of Photography. www.photobat.net
P H O T O
C R I T I Q U E
r e h t o e h t d n a a r b t e u h t b , f l e Love h s e h t g n o l a g s n t c o e r j t b s o s t n e m e l e e s e h ? are t p l e h o t h g u o en
Subject posit ion and pos e is interesting, bu t in a compe tition environmen t, maybe no t startling enoug h to encoura ge the judges up a few marks.
What is interesting about APPA is the range of scores handed down by the judges. While this print scored 76, the range was from 71 to 82. One of the judges thought the print, entered into the Documentary category, was worthy of a Silver, but the others did not. Points in favour of the image are its interesting composition, the pose of the subject, and the objects along the shelf. However, this is a category judged by photojournalists and documentary photographers who have all taken images like this themselves, so while a very competent image, it has not got the spark of difference required for Silver.
Why don’t some prints make it to Silver or Gold? While you can never predict the judges’ reaction with certainty, sometimes there are aspects or features in a photograph that let it down. Past APPA Chairman and Grand Master of Photography Peter Eastway has, with the photographer’s permission, reproduced this image because it didn’t receive a Silver or Gold Award. His observations are designed to help others assess images from a judging perspective, with the view to improving not only their Award entries, but their professional photography in general.
n i d e t a e r c s a h s n e t l u e l b , g n n o i t r o t s Wide-a i d e g a m i ? g y r n o i t t s s e e h t ter l l e t p l e h t i does
f i d e l t t i l a s i t c e j b u s e h t The n i h c a e r o t . ficult n o i t i s o p m o c busy
e h t t u o b a o t o h p e ? h t n o Is s r e p e h t r o , s r e k a e sn
75 SCORE It can be challenging to second guess the judges. In some competitions, this print may have scored Silver because of its strong albeit busy composition. Perhaps darkening down the surroundings and letting the subject stand out better tonally would have improved matters, but this may not have been what the photographer wanted to do. That’s fine, but the judges in turn may not wish to reward it with a higher mark. Some entries may just never work in the APPA environment.
Would You Like Your Photo Critiqued?
Are you brave enough to have your award entry critiqued in front of the world? I’m looking for volunteeers! In return for having your entry (state or national) critiqued here (there is no money involved), I wish to be given your permission to use the photo and the critique on my websites, on Flickr, YouTube and Facebook etc), and possibly in ebooks on photo competitions. You will remain the copyright owner, but you give me permission to use your image, anonymously, and hopefully you’ll receive some useful advice in return. If you’re willing to participate, here’s what I’d like you to do. 1. Create a JPEG of the award entry you would like critiqued, sized to 2000 pixels on the longest edge, setting 8 compression. 1a. Optionally, create a second JPEG of the entry before you have done any editing. Don’t send me the raw file, but a JPEG that hasn’t had much processing. 2. Put ‘TWP PHOTO CRITIQUE’ in the header of the email, and attach the JPEG(s).
3. Write this in the email (cut and paste or type the equivalent): “Hi Peter. Enclosed please find my photo (along with an unedited version) for your critiquing and feedback. It scored ?? (enter score). I understand that my photo may not be selected for use. However, if it is selected for use, I agree that in return for you providing the critique and feedback on my photo, I give you permission to use the photo, anonymously, on your website and associated websites such as Flickr, Youtube and Facebook, and in future ebooks. My intention is that this licence will last indefinitely, but I retain the right to ask you to remove the photograph in special circumstances in the future, within a reasonable time (say one month). This just covers me for unforseen situations.” 4. Add your name to the bottom of the email and send it to me at email@example.com. Please, just one image at a time and there’s no rush to do this straight away - I only need a few photos to begin with, so I will repeat this offer in the future! And don’t send me your best images because they will probably be too good to critique!
E D I T O R ’ S
S E L E C T I O N
There are so many great images at Canon APPA and the Epson State Awards that not every Award gets the attention it deserves. To redress this in a very small way, the editor will present a small selection each issue for your enjoyment.
E D I T O R ’ S
S E L E C T I O N
E D I T O R ’ S
S E L E C T I O N
E D I T O R ’ S
S E L E C T I O N
Selling Cameras and Equipment Do I have to pay GST? The short answer is probably yes.
GST is payable on any transaction in Austra-
If you think you might deregister yourself
lia that has to do with your business. If you pur-
before you sell your equipment to avoid paying
chased the equipment from a retailer, you prob-
the GST, this may work in some situations, but
ably claimed the GST input tax credit. Similarly,
there are some special rules that can catch you,
when you sell the equipment, you are required
especially for equipment that has been pur-
to pay 1/11 of the sale price in GST.
Not Registered For GST?
I Didn’t Charge GST...
There are some exceptions to this rule, the first
If you forget to add 10% GST onto the equip-
one being that you have to be registered to pay
ment sale price, bad luck! The tax office doesn’t
care, it just wants 1/11 of whatever the sale
price was. And whether the equipment is new
If your business turnover (total sales) is un-
der $75,000 (excluding GST), you are not re-
or secondhand is not an issue either.
quired to be registered for GST. You can opt out of the system. Of course, being not registered
I Am Sending The Equipment Overseas...
also means you can’t claim GST input tax credits
If you sell your equipment to an overseas pur-
when you buy equipment either.
chaser, then there is no GST payable as it is con-
sidered an export supply. There is a requirement
If you have opted out of the GST system,
then you wouldn’t have to pay GST when you
that you actually send the equipment overseas
sell your cameras or equipment.
within 60 days.
Whether you paid GST when you bought
If you are selling the equipment to someone
the equipment, or whether you were registered
in Australia, and that person tells you they are
for GST when you purchased the equipment
taking the equipment overseas, then there is
has nothing to do with your position when you
usually a whole lot of paperwork you have to go
sell the equipment. Your obligation to pay GST
through that proves the person to whom you
when you sell the equipment is determined
sold your equipment actually took the equip-
by whether or not you are registered for GST at
ment out of the county.
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.
Issue 73... Grand Master of Photography George Apostolidis• Landscape Legend Richard Woldendorp • More Composition Essentials Where are my free copies of Better Photography Magazine? They are here... w w w.aipp.com.au S i g n i n t o t h e m e m b e r ’s s e c t i o n . . . Go to member services... Go to my publications... Go to Better Photography...
Would you like to receive a paper version of Better Photography m a g a z i n e , fo u r t i m e s a y e a r ? Yo u c a n s t i l l s u b s c r i b e a n d r e c e i v e a 20% discount. For details, email k i m @ b e t te r p h o to g ra p hy. co m 25
Changing The Constitution
A n d W h y J o h n d e R o o y T h i n k s I t ’s A G o o d I d e a ! Our AIPP Chairman John de Rooy has spent the last
three years is probably a good minimum term. It will
six months or so researching and re-writing our Con-
give them time to get things done.
years, but there’s also a degree of flexibility that rec-
Because the AIPP is a company, it has to operate
“Board members can do two terms, a total of six
within Australian laws and also within its own rules
ognises what happens in the real world. People can
and regulations. These rules and regulations are writ-
get sick or there can be family pressures, so there is
ten up in our Constitution.
room for flexibility within the rules.”
Time For An Update
“Our current Constitution was written in 1996 and a
One of the things the Board wanted to allow was
lot has changed since then. I have made five amend-
more engagement with the membership. Under the
ments myself, but it always felt like adding on new
present system, to get a position on the Board is rela-
parts to an old car. What we really need is a new Con-
tively difficult and even if you’re a member, you have
stitution that reflects the modern world we live in.
little practical say in who sits in the top jobs.
“In June this year, the AIPP had a brainstorming
“Under the old Policy and Planning system, un-
meeting with the Board, its stakeholders and a con-
less you were a state president or the chairman of a
sub-committee, you really didn’t get a look in, but we
“We worked out our direction, our mission and
know there are lots of members out there with great
our goals, and now we have designed a Constitution
skills who would like to put their hands up to help, if
that will help us achieve these aims.”
only there were a way.
“And we’d like to have them too!”
The new Constitution will make it easier for
The new Constitution creates three year terms for
someone to nominate for a Board position, and all of
board members, and a rotation where two positions
the accredited members will get a vote.
are up for re-election every year.
“We’ve seen that it takes most board members
at least 12 months to work out what’s happening,
“There are still pre-requisites that ensure future board
so when someone gets into an important position,
members have some history and experience of vol-
unteering, but it will equate to, say, a couple of years’
categories and the broad objectives that service the
service on a state division council and some speaking
and organising roles, or being Chairman of Jurors and other involvement in the awards system.
Imaging Not Photography
The new Constitution will talk about imaging
“There are lots of different ways you can earn ser-
vice points within the Institute.”
rather than just photography.
This seems a sensible approach as the Institute’s
Photography is still included, of course,
history is dotted with colourful and outspoken peo-
but the Constitution acknowledges that many
ple who had a single idea to push, but were not pre-
members are already shooting video and that
pared to put in the hard work required.
there may be new media in years to come that
we haven’t even considered.
“An organisation like ours needs committed
people and earning service points demonstrates that
as blinking our eyes”, laughed John, “in which
“Maybe imaging in the future will be as easy
case our new Constitution will handle it.” Non-Operational
John also explained that the new Constitution sepa-
very well since 1996 and I hope this new document
rates the ideals and the big picture from the details
lasts at least the same distance.”
and the day to day mechanics.
able the AIPP to be more responsive to its members,
So, for example, the Constitution will allow the
AIPP to take on special interest groups, but it won’t
“The existing Constitution has serviced the AIPP
So, the idea behind the new Constitution is to en-
but it needs YOU to make it happen!
be specific by mentioning video producers or medical photographers, as a couple of examples.
How To Vote
Recently AIPP members will have received an email
The principle of taking on special interest groups
gives the AIPP more flexibility and swifter reaction
from National Office with information about the new
times to change, but the decision whether or not to
Constitution. The AIPP needs at least 50 members to
take on a particular group or issue will be decided by
vote and, of the members who actually vote, at least
the Board at the time.
75% must be in agreement with the changes.
This is a much more pragmatic approach, allow-
Please don’t leave it to someone else! Have your
ing the Board flexibility without having to re-write the
say and attend the meeting in person, or if you can’t
Constitution every time a change is needed.
get to the meeting, at least give your proxy to one of
the Board members to vote for you. That email has
“We have really simplified the Constitution. It
defines who our members are, their membership
clear instructions on how and what to do.
Special AIPP Honours 2013
Written by the AIPP Honours Committee. leaving school, like many others in the AIPP, he joined a wedding/portrait studio which did its own film and print processing. At this point our recipient was still too young to drive and relied on his mother to take him around Sydney to churches and receptions to photograph weddings.
Bambi Wixon (left) and Judy Eason
Like many young men he wanted to trav-
Judy Eason and Bambi Wixon
el, so he went to sea as a ship’s photographer,
Claude McCarthy Award
spending six years working on everything from
Claude McCarthy was one of the founding fa-
Russian to Italian cruise ships.
thers of the AIPP and the award named in his
On settling back down in Australia, he joined
honour recognises outstanding commitment, work and dedication to the AIPP, its members and the greater Australian photographic industry. Rob Gatto (left) and Greg Hocking
The AIPP has great pleasure in awarding two
Claude McCarthy awards. Our two recipients have worked tirelessly over several years to ensure that a certain “Event” was a great success.
an Australian photo distribution house that spe-
cialised in supplying the needs of professional
For their outstanding contributions to the
AIPP Nikon Event, the Institute takes great
photographers. All this lead Rob Gatto to be-
pleasure in awarding the 2013 Claude McCarthy
coming the owner of one of Australia’s premier
award to Judy Eason and Bambi Wixon.
professional supply companies (Kayell).
Written by Ian van der Wolde
Rob has taken an active interest in the photographic industry and is a great supporter of
Rob Gatto Hon. FAIPP
the AIPP. Rob also became a director of PICA
This honour goes to a person born in Italy. On
and eventually took over from Bruce Pottinger
2013 Honours Recipients (from left) Bob van der Toorren, Richard Bennett, Jacqui Dean, Ian van der Wolde, Judy Eason, Ross Eason, Bambi Wixon, Rob Gatto and Greg Hocking. Thanks to Craig Wetjen who took most of the publicity photos for us on the night.
as the vice president of PICA.
able to draw or paint, they made an exception
and allowed him to complete his art assign-
In this role, Rob played a vital part in ensur-
ing the success of the AIPP and the AIPP Canon
Professional Photography Awards at the Digital
Show. Rob’s enthusiasm and support in helping
proximately 30 students who enrolled into the
facilitate APPA and other AIPP events is greatly
RMIT photography course. Four years later, he
was the only student in his intake to graduate
Rob only spent his first year of life in Italy and
with an Associate Diploma of Illustrative Pho-
so we honour a real Australian! For outstanding
tography. He was also the first such graduate
service to the AIPP and the greater Australian
at RMIT and in fact the whole Southern Hemi-
photographic industry, the Australian Institute
of Professional Photography takes great plea-
sure in Honouring Rob Gatto with Honorary Fel-
to be elected to the RMIT Student Represen-
low of the AIPP.
tative Council and also the first ever student
Written by Greg Hocking and Paul Curtis
representative to the IAP, Victorian Division, the
In 1960, Bob van der Toorren was one of ap-
Bob was the first ever photography student
forerunner of the AIPP as we know today.
Bob did work experience with both Helmut
Newton and Athol Shmith, the latter offering him full-time employment whilst Bob was finishing his second year at RMIT. Bob regretfully declined the offer as the RMIT Principal of Photography convinced his father his prospects would be far better after graduation. In Bob’s Ian van der Wolde with Bob van der Toorren (right).
Bob van der Toorren, Hon. LM
words, “They were not”.
In 1953 a young 9 year old and his family emi-
grated to Australia from the Netherlands. At
dak, did lectures, problem solved and presented
Geelong High School, his art teacher soon rec-
new products such as the Kodak Instamatic.
ognised his potential.
Working for many years in a number of wed-
ding portrait studios, he eventually and in col-
After presenting a slide show of images from
After graduating, he worked in sales for Ko-
a recent family holiday back to Holland, he was
laboration with Val Forman bought the Collins
one of only two students permitted to take a
Street Studio of Kenneth Ross in 1969. Nine
camera to school to record school events. Un-
years later he took over the more prestigious
Gainsborough Studios in the iconic Block Ar-
50 years, Bob has been a paid up proud mem-
ber of our association.
Despite several relocations within the Ar-
In recognition of his long term commitment
cade, he still trades there today, 34 years later.
to photography and in particular to the AIPP
Bob initially shot weddings with six double dark
we award Bob van der Toorren, the prestigious
slides of film, a Crown Graphic Camera and two
honour of Honorary Life Membership.
500 Watt lamps. With this he was expected to
Written by Ian van der Wolde
produce at least eight 8x6â€? photographs in an Ian van der Wolde (left), Jacqui Dean and Greg Hocking.
album. The norm for those days.
At this stage, colour printing was in its in-
fancy, requiring 43 minutes to process through 22 trays of chemistry. Bob used his initiative and took three colour exposures at each wedding with his 6x6 Yashica twin lens reflex. This proved to be very successful with his brides and grooms and pleased his employer no end.
The early eighties saw Bob start to experi-
Jacqui Dean Hon. FAIPP
ment with digital photography, mainly through
In 1982, she emigrated to Australia from Eng-
the scanning of negatives. Soon he was offer-
land, settling in Sydney with her young family.
ing his wedding clients images and combina-
tions that at the time had only been seen in
try through their family business, she decided
to take the next step and enrolled into the pho-
tography course at Sydney TAFE.
Today Bob concentrates both on commer-
Already involved in the photographic indus-
cial and domestic portraiture as well as his new-
ly found passion of photographic restoration.
type, generally choosing to stay back and study,
His studio has an enviable reputation for image
rather than join her classmates when they took
restoration that sees him service clients locally,
off to the pub.
interstate and even abroad.
qui Dean graduated with Honours with an As-
Bob has served on the AIPP Victorian Coun-
I am led to believe that she was the studious
Well, all this study paid off and in 1990 Jac-
cil as Treasurer and from 1999-2000 as Victorian
sociate Diploma of Arts in Photography .
State President. We celebrate the 50th Anniver-
sary of our Institute this year, and for all of those
win her first Silver Award.
That year also saw Jacqui join the AIPP and
Today she is a highly awarded photographer.
Jacqui is an accomplished commercial and
and 1996 was a great year for Jacqui, not only
editorial photographer who is also dedicated
seeing her achieve her Associateship, but also
to the up and coming photographer, sharing
taking out the Val Foreman Award and the AIPP
her knowledge and wisdom at the TAFE college
Commercial/Industrial Photographer of the Year.
where she teaches part time.
This was just a taste of things to come as
Jacqui is extremely generous with her time
Jacqui continued on to her Master of Photogra-
and has spent thousands of volunteer hours
phy in 2000, and in 2002 she won the AIPP Edi-
working for the institute.
torial Photographer of the Year.
ever to have simultaneously held both the role
She has been represented in two Fuji ACMP
As far as I am aware, she is the only person
collections and last year won the International
of National Treasurer and APPA Treasurer.
Loupe Awards’ lucrative peoples choice award.
National President. After a short break, Jacqui
The year 2012 culminated in Jacqui join-
In 2006 Jacqui became the first female AIPP
ing the AIPP’s esteemed ranks of Grand Master
has again rolled up her sleeves and currently
of Photography. And this year we saw Jacqui
serves on the APPA committee, a role very close
exhibit her beautiful collection “Translucence”
to her heart.
to appreciative crowds in Sydney and in Mel-
all and we thank you for you professionalism,
your attention to detail and your dedication by
Jacqui is of exceptionally strong character
Jacqui Dean, you are an inspiration to us
and life has dealt her with more than her fair
awarding you the prestigious title of Honorary
share of cruel blows. However she is not the one
Fellow of the AIPP.
to dwell on her misfortunes, but to turn her situ-
Written by Ian van der Wolde
ation around and make something positive of
it. Those of you who know her will back me up I
Ross Eason, Honorary Life Member
AIPP Master of Photography Ross Eason has
been an AIPP member since the eighties, a NSW
Jacqui is well travelled and has a wonder-
ful collection of images to prove it. A lot of her
president and now a National Vice President
travel was for work and never one to miss an
Ross has played a pivotal role in the recent
opportunity, she always made the most of it, ap-
AIPP restructure. He can always give an opinion
parently even taking dance lessons whilst com-
on both sides of a discussion, is always mea-
missioned to photograph an exclusive cruise
sured in his words, he is endlessly patient and
supportive, and he is pretty much always right.
The kernell of The Nikon Event committee - Judy Eason (left), Ross Eason and Bambi Wixon.
Ross never aspires to get credit for his
mind in the right place.
achievements, but is always willing to help and
Ross has coordinated and built from the
listen. He has contributed to the Commercial
ground up our national conference, The Nikon
Subcommittee since its inception in 2007 and in
Event, into the largest and most successful
this role he documented and passionately pur-
speaker program in Australia.
sued the AIPP Mentoring program.
Ross speaks at many AIPP events around
times â€“ in Maroochydore, Adelaide, the Hunter
Australia. He is a most prolific contributor to the
Valley and Hobart â€“ and each time he has clev-
AIPP forum giving advice to young and estab-
erly customised the engaging workshops to re-
flect the flavour of the region.
He has selflessly mentored many
And he has crafted this seminar series four
In recognition and appreciation of his out-
Queensland photographers, all the while pro-
standing contribution, the AIPP honours Ross
moting the benefits of Institute membership
Eason with the distinction of Honorary Life
Ross Eason is a humble man, never wanting
the limelight. He contributes with his heart and
Written by Richard Bennett.
© Copyright Mix Ups
D o e s C o p y r i g h t S t o p M e F r o m Ta k i n g A P h o t o g r a p h ? Sometimes you are told you cannot take pho-
When Does Copyright Not Stop You?
tographs of a public performance because it
Although an architect may own copyright on
breaches copyright. Chances are this is not
a building, chances are you are not prevented
strictly true when it comes to stills photography,
from photographing that building in a public
but in many ways it is academic because there
place. The same applies to sculptures and other
are many other ways we can be stopped from
taking photographs. Copyright is often used as
the reason, whether or not it is.
applied to photography. Often these restrictions
Nevertheless, often there will be restrictions
will only apply to commercial photography. When Does Copyright Stop You?
These restrictions are imposed by the owners or
Copyright stops you from taking a photograph
occupiers of the land.
that is the same as someone else’s photograph.
You can’t copy someone else’s work - that’s the
the Sydney Opera House from the grounds of
whole idea behind copyright.
the Opera House, you would need permission
from the Sydney Opera House Trust. On the oth-
However, speaking of ideas, you can’t copy-
For instance, if you wanted to photograph
right an idea. So, the idea of photographing a
er hand, photograph the Opera House from Mrs
bride in front of a church cannot be subject to
Macquarie’s Chair and you don’t need permis-
sion from the Opera House (but you will need
permission from the Royal Botanic Gardens be-
Compare this to copying an existing photo-
graph of a bride in a special pose in front of a
cause they control the land upon which you
specific church with specific lighting -- this isn’t
need to stand to take your photograph).
copying an idea, this is copying an existing pho-
tograph and copyright may prohibit it.
protects the photograph once it is created. Pro-
hibitions and restrictions applied to the act of
Similarly, if you have taken a photograph
The point to understand is that copyright
yourself, but you have sold your copyright to
photography often have nothing to do with
someone else, you are not permitted to copy
copyright, but sometimes people will say they
your own work without their permission!
do because it sounds legal and official.
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.
36 Scoresby Sund, Greenland. Photo by Peter Eastway using the Nikon 200-400mm on a D800E.
Three lenses in one - ideal for sport and wildlife At 3.36 kilograms, Nikon’s superlative AF-S VR
Zoom-Nikkor 200-400mm f/4G IF-ED super tel-
signed to provide chromatic aberration com-
ephoto is a challenge to hand-hold for long pe-
pensation. Long lenses tend to separate light
riods of time, but you’ll want to use it a lot be-
into its component colours, causing colour
And there are four ED lens elements de-
cause the image quality
fringes around your
is simply superb.
aberration), but by
On a recent trip
to the Arctic, the edi-
using special materi-
tor found the test lens
als in the glass, this
worked really well in
can be corrected and
combination with a
monopod (or, if you
was no evidence of
don’t have a monopod with you, try a single leg
chromatic aberration in our test shots.
of your tripod instead). Younger photographers
with weight training will have fewer issues!
vibration reduction (VR II) system offers cam-
era shake compensation equivalent to a shutter
However, while there are other zoom lens-
If you are hand-holding the lens, the built-in
es in the NIkon range that are similar in focal
speed increase of approximately four stops. The
length (such as the 80-400mm), they don’t nec-
VR system can be switched off.
essarily match the performance. Or the price.
for? Naturally Nikon has the professional sport
The 200-400mm ranges in price from around
So, who is the Nikkor 200-400mm designed
$7000 to $8000 from Australia stores and web-
photographers in mind, although we guess that
sites. So there are reasons this lens out-performs
anyone visiting Africa or the Polar regions in
search of wildlife will also love it.
A large lens hood is attached to the lens at
Yes, it’s a bit bigger and heavier, but when it
all times (it’s not shown in the photo here) to re-
comes to super telephotos, this is the price you
duce lens flare, along with Nikon’s Nano Crystal
pay for the fantastic results.
Coat which is applied to optical surfaces in the
lens to significantly reduce ghosting and flare.
For more information, visit www.nikon.
How To Win Photo Competitions An eBook by Peter Eastway G.M. Photog., Hon. FAIPP, Hon FNZIPP, FAIPP I have judged many photography competitions and there are lots of little things that entrants forget to do. If only I could let them know before entering the competition, they would do so much better! Well, as a judge I’m not allowed to ring up and help entrants, but I can write a book that distills what I have learnt over the last twenty years that will give you a great head start. Of course, no one can give you an iron-clad guarantee that you will read my book and then win the next photo competition you enter – and I explain why in the book. However, what I can guarantee you is that if you read my book, you will improve the quality of your photography. You see, whether you’re aiming to win a photography competition or just take a better photograph, the advice is very similar. And I know that the tech-
niques and approaches I’ve developed over the years will help you capture and produce better photographs. My book is called How To Win Photo Competitions. It begins with a little about me. After all, it’s easy enough to write a book about winning photography competitions, but it’s better if you have a little bit of experience. Fortunately for me, I’ve been lucky enough to win quite a few competitions, plus I have a lot of experience as a judge. I can talk to you about both sides of the competition. Add in the fact I’ve been a magazine editor for 30 years and I hope I’m able to communicate my message pretty well. So, in just a couple of pages (I don’t want to bore you), I explain why I know what I’m talking about (even though my Dad told me not to boast). We then look at competitions and how they work, how you should
approach them, and how to use the results to assess your own photography. It’s important to set the scene before we get into creating photos that win competitions. The next two sections are the nitty gritty. We begin by talking about taking a great photograph in the first place. Competition winners begin with the camera and so we talk about camera technique, colour, composition, framing and so on - little tricks and hints that will make a world of difference to your photographs. From here we step into postproduction – using the computer to improve the images our camera has captured. Most readers will have dabbled with Photoshop, Elements or Lightroom and this is all you need to enhance your images so they are in the running for a competition win. These days, no matter how good your camera is, you simply must do a little post-production to finesse your entry.
For more information and a read of the free sample, please visit:
I finish the book with some useful background information about how competitions work (generally speaking), and then I analyse some of the images that have won awards for me, pointing out the aspects that the judges responded to in a positive way. The book has lots of photographs and illustrations to explain exactly what I’m talking about. And it is an eBook. It is easy to read on a computer, laptop or iPad, and you need Adobe Reader (Acrobat) to view the book. There is no paper version of this book, although you can print out the Acrobat Reader file if you wish. I have created a sample eBook for you to look at on the Better Photography website, so please visit and have a read. If you like what you see, I hope you’ll purchase a copy. And for your next photo competition - good luck! – Peter Eastway
Published on Nov 14, 2013