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Working Pro The

Issue 218 • January/February 2014

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IT’S HAPPENING AGAIN THIS YEARS EVENT THEME... ‘TURNING THE ORDINARY INTO THE EXTRAORDINARY’

THE EVENT GOLD COAST 2014 NIKON AIPP

ENT COAST

ON SAVE AIPPTHE DATE Sunday 8 – 10 June 2014 Royal Pines Resort Gold Coast Queensland th

th

STAY TUNED FOR MORE DETAILS


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 • 88

Peter Coulson M.Photog. 2013 Canon AIPP Australian Professional Photography Awards winner of fashion category

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 eastway@betterphotography.com

AIPP Membership Contacts Suite G.02, 171 Union Road, Surrey Hills, Victoria 3127 Phone: 03 9888 4111 E-mail: enquiries99@aipp.com.au

Co n te n t s #218

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J an/ Feb

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President’s Message - The World Photographic Cup

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Time To Renew Your Membership

Australia did very well in the inaugural World Photographic Cup – Kylie Lyons returns from the States with her report.

Peter Myers, AIPP Executive Officer explains the new and easier options for renewing your AIPP membership.

10

The Power of the SIG

12

Are You Too Expensive? - Peter Eastway

14

How To Get Beyond Price - Ross Eason

16

Home Studio Or Main Road - Tom Putt

18

Editor’s Selection - APPA Winners

22

Award Entries: Getting Your Colour Balance Right

24

Why Is APPA So Valuable?

26

Is Entertainment Tax Deductible?

28

Do I Have To Use The © Symbol?

30

Nikon Df

The new Special Interest Groups give all members of the AIPP the opportunity to get involved with what interests them. Read how. It is a competitive market out there and we are always under pressure to drop our prices, but should we? Peter Eastway mulls it over. The most natural question for a new client to ask is, “How Much”, but as photographers, we want to compete on anything but price. How? We ask Tom if having a high profile studio on a main road is better than working from a home studio. Is the more expensive rent worth it? A selection of entries that caught the editor’s eye from the 2013 Canon AIPP Australian Professional Photography Awards. Peter Eastway begins a new series on tips and tricks for creating winning prints and images for Canon APPA and the Epson State Awards. You’d be really surprised just how impressed the majority of your clients – and potential clients – are when you win an Award. Read why. Can you pay less tax by taking your clients out to lunch? Probably not, but there are some things that are still tax deductible. Read more. While it isn’t essential to use the copyright symbol, there are some things you should do for every digital file you send out of your studio. While it doesn’t have video, the new Nikon Df shares the same sensor as the flagship D4. Is this an inexpensive solution for top level results?


The World Photographic Cup

Kylie Lyons M.Photog I. Hon.LM, National President

4

Hello and a very happy new year to you all. I

overall image should receive. In many instanc-

hope that 2014 is a year of excitement, adven-

es, he went back and re-judged the images to

ture, learning and experience for you and your

make sure the cream really did rise to the top.

business.

phers in each category, our finalists were Eliza-

I have literally just returned to Australia af-

All in all, there were 10 finalist photogra-

ter a whirlwind trip to the USA for the Imaging

beth Bull in the landscape category, Quinn

USA conference in Phoenix, Arizona hosted by

Rooney in the reportage category, Kelly Brown

the PPA (Professional Photographers of America)

in the portrait category and Nick Ghionis in the

association. The reason for the trip was to be a

Wedding category.

part of the inaugural World Photographic Cup

(WPC) that was organised as a joint venture be-

second or third in their category received

tween PPA and the Federation of European Pho-

gold, silver or bronze medals and certificates,

tographers (FEP).

and points allocated to the team. Gold med-

As a quick recap, we entered a team of 18

als scored 5 points, silver medals received three

photographers whose images scored well at

points and bronze medals received 1 point. The

our recent APPA competition. Each photogra-

team with the highest score was deemed the

pher could only enter one image. There were six

winner.

categories with three entries in each.

on the AIPP Facebook page announcing the

The images entered by 23 world associa-

Those photographers who received first,

Hopefully you were able to follow the posts

tions/teams were judged by 15 judges and giv-

results. Team Australia did very well. Both Kelly

en scores out of 100, with 25 points each allo-

and Nick picked up gold awards in their respec-

cated to impact, creativity, technical excellence

tive categories, giving team Australia a total of

and composition.

10 points. We therefore came second overall,

I was able to speak to one of the Canadian

just behind the USA by 1 point (who received

judges over dinner after the presentation and

one gold and two silver awards) and Portugal

he explained how complex and in many ways

came third with one gold medal.

difficult the judging brief was. He said the initial

score given may not have reflected what the

lated by the chairman of the WPC, Martin Vrab-

On behalf of team Australia, I was congratu-


(Left) Forging bonds around the globe. Jillian Cheateauneuf, the Canadian President, PPOC and AIPP President Kylie Lyons, at the recent PPA Convention. (Right) Kylie picks up our second place in the inaugural world champs (WPC) at the PPA Convention. Congratulations to the American team which came first, but next year we aim to knock them off their perch!


ko, David Trust, the CEO of PPA and Guissepe

(PPOC). The Canadian entourage even invited

Scozzi, CEO of WPC who all made comments on

the Aussie and New Zealand delegates to din-

the high quality and calibre of all the Australian

ner after the presentation, which was a fabulous

images.

evening.

Jillian and I promised to keep in touch and

but they were all encouraged to have an Austra-

speak more closely in the coming months on

lian representative at the presentation ceremo-

how our two organisations can work together

ny.)

more closely. We discovered that we speak the

The World Photographic Cup has not hap-

same language (photography that is, not Eng-

pened overnight either. It has taken many years

lish) and we shared the same experiences, is-

to formulate and get off the ground. Our very

sues and difficulties within a large country. We

own Malcolm Mathieson M.Photog and past

even joked about having a Commonwealth

national president was a member of the World

Photographic Cup, that way we’d all win (Cana-

Photographic Council back in early 2000 when

da came fourth in the WPC)!

the idea of a world competition was first float-

ed.

be a part of the WPC competition, to attend

6

( I’m not sure if we surprised them or not,

It took 13 years to come to fruition and I for

All in all, I think it was very worthwhile to

the presentations and to learn that we are not

one sincerely hope it will continue to go from

islands, but all have the common goal to sup-

strength to strength in years to come. Not only

port our members and the photographic indus-

because it’s a great way to meet, interact and

try. Instead of reinventing wheels, we can gain

compete with like-minded photographers and

much knowledge by extending our ties across

associations around the world, but so we can

the ocean and thus improve the benefits for our

knock the USA from the top next year with our

members here at home.

APPA images!

Thessaloniki

In a couple of weeks I will leave Australia to

Whilst in Phoenix, the PPA held an inter-

national reception for the 150 delegates from

be a part of the Photo Wedding Stories (PWS)

32 countries who attended their conference,

awards judging in Thessaloniki, Greece. Only

which was very much like our own Event. I met

in their fourth year, the organisers are looking

delegates from around the world and was able

for ways to improve and they look highly upon

to strike up good conversations and friendships

what we do with APPA. Hopefully I can give

with Susan Michaels, the incoming president of

them some advice, but also learn from what

the PPA and Jillian Chateauneuf, the president

they are doing as I have heard they have a neat

of the Professional Photographers of Canada

little judging computer system.


Thessaloniki is at the gateway to Europe and

topic of interest you’d like to be part of.

I believe that there will be many international

representatives at these awards, including reps

done for me if you haven’t told us what you

from Italy, Turkey, Macedonia, Serbia, Croatia

want done! As a membership organisation, it

and of course Greece to name a few. Again, this

requires the input of members to help steer the

should be a wonderful opportunity to fly the

direction.

Australian flag overseas and promote our Insti-

Membership Benefits

tute and find ways to benefit our members.

You will soon start to see some of the many

Face To Face

changes we have put in place to make mem-

Come February, your National Board will be

bership better, easier and more suited to your

back at it, with our first face to face meeting.

needs. The ‘choose your own membership ben-

Not that we stopped over the holiday break, but

efits’ has meant an actual reduction in the cost

we have put plans in place to set out strategy

of annual fees and you can select the options to

for the year much early than we did last year. A

add onto your membership deal.

strategy gives us a path to follow and helps us

maintain the ideals and goals of the Institute. As

up front at a discounted rate, and as the state

members, you are welcomed and encouraged

awards are fast approaching for everyone, it

to give your ideas and feedback and this can be

means you can start thinking about award im-

done in a number of ways.

ages (maybe) sooner rather than later.

You can email or call any one of your Board.

Our contact details are found on the AIPP web-

on the blog – www.aippblog.com. Take some

site. You can leave feedback on the survey(s)

time to read these articles and get up to date

you will be asked to fill out when you renew

with everything happening with your AIPP.

your membership. And you can pass on feed-

And The Nikon Event

back to your local council representatives at up-

Speakers for The Nikon Event have started to

coming events.

be announced..... There is so much happening I

SIGS

could keep writing, but I will leave you in peace

There are also many opportunities to be on our

for now to enjoy the rest of this edition of The

newly formed SIGs or Special Interest Groups to

Working Pro.

Don’t sit back and ask what has the AIPP

One option is to add the cost of the Awards

All this information and more can be found

give opinions and advice to the Executive Officer who brings them to the Board. There are call outs on the AIPP Facebook page and blog,

Kylie Lyons. M.Photog., Hon. LM

or contact the National Office Team if there is a

AIPP National President


Time To Renew Your Membership Peter Myers, AIPP Executive Officer

8

If your AIPP membership is due for renewal on 1

change is sometimes difficult to accept and un-

January this year, you will by now have received

derstand. We also know that giving you more

at least two email renewal reminders.

choice can also be seen as creating more confu-

Delivering On Our Promise

sion.

Hopefully, you will see that we are delivering on

If you are confused about how the process

our promise to make the

works, have a look at this

AIPP the “Membership Or-

graphic on the AIPP blog:

ganisation Of Choice”.

http://www.aippblog.com/in-

This year we have final-

dex.php/aipp-guide-to-how-

ly been able to deliver the

to-renew-your-membership/

ability, when you renew

One final point…This year

your membership, to ‘bun-

we have reduced member-

dle’ three or four other key

ship fees. If you are renewing

areas of your involvement

your accredited membership,

with the AIPP.

the annual fee is just $450.

We are very pleased to be

What’s more, we can

help spread the cost of

able to pass on some of the

your membership and

savings we are making in oth-

your bundle by enabling

er areas. In this era of rising

you to pay in monthly in-

costs, not only have we not

stalments.

increased membership fees

The Event Or APPA?

for the last three years, we are

So, for instance, if you are thinking of going to

now able to reduce them.

The Nikon AIPP Event in 2014, or you are think-

ing of entering the Canon AIPP APPA this year,

renewal, contact Randal Armstrong, our friendly

you can take advantage of the bundling and in-

membership manager at membership@aipp.

clude these in your own bundle.

com.au…or give him a call in the National Of-

fice.

This is a major change, but we all know that

If you need any help with your membership


Orpheus Island Photography Workshop 2014 11th to 17th August

Presented by Les Walkling & Tony Hewitt

© Jeremy de Rooy

This is a full seven day all-inclusive unique experience designed for professional photographers and enthusiast/non-professional photographers. The James Cook University Orpheus Island Research Station is a world class research and teaching facility, and the tropical islands provide for amazing photographic opportunities. This is the tenth year Les has presented this workshop and he rates it as his best. This year his co-presenter is Tony Hewitt, 2013 Canon AIPP Professional Photographer of the year.

www.leswalkling.com

© Tony Hewitt

“Orpheus will give you the time and support to complete your masterpieces.” Tony Hewitt www.tonyhewitt.com

Register for this workshop now at: http://www.leswalkling.com/orpheus/ The workshop comprises lectures and presentations each morning, backed up with hands-on work after lunch and into the evening with state-of-the-art printing and colour managed workflows. Fine art printing, print critiques, advanced image editing, camera craft, RAW processing, pictorial design, colour management, marketing/business planning, small group tutorials and one-on-one consultations are highlights of the workshop. This year Les and Tony are supported by several experienced tutors to ensure that the knowledge you are acquiring is immediately translated into real-world imaging skills and new ways of seeing. Our renowned chefs, Natalie and Melissa will create marvellous banquets for us and each evening we dine under the stars by the beach celebrating the days achievements. Our sponsors also attend the workshop and supply ‘state-of-the-art’ cameras, printers, knowledge and materials for all our creative photographic needs.

Enquiries Ph: 07 4725 4860

E: events@leswalkling.com

9


The Power of the SIG

An interview with Peter Myers, AIPP Executive Officer

10

One of the most important benefits of mem-

can be marketed to the public as a standard of

bership within the AIPP is being able to connect

quality and service.

with other photographers with similar interests.

dations from this SIG, the AIPP is creating a ge-

Enter the Special Interest Group or SIG. There

“As a result of suggestions and recommen-

are around a dozen at present, but there is no

neric contract that can be used. In a birth situa-

limit, explained Peter Myers.

tion, you might expect a contract to be signed

“If there’s an area of interest you believe

by the mother, but in practice, the mother may

would enhance the value of your membership

have other things on her mind at the time and

and there are other members who think along

so the contract also involves the spouse.

the same lines, we can pool these resources for

you and create a SIG.

when a photographer may be asked to leave

and what compensation is payable.

“We use BaseCamp software to commu-

“The paperwork outlines the circumstances

nicate. It’s a project management system that

breaks ideas and suggestions down into action

and come up with a number of best practice

points and threads. It’s what makes SIGs so ex-

points that protect the client, the photographer

citing and powerful, especially with the support

and also the hospital staff.

that National Office can provide.”

Peter explained that people can dip their

result of the photographers in this SIG, National

toes into a SIG to see what it’s like without any

Office was able to bring in legal help and create

commitment.

a useful template for what has become a new

area of photography for some.”

Elsewhere in this issue, Melissa Neumann

“The SIG has looked at all sorts of situations

“None of this would exist without a SIG. As a

talks about a SIG for birth photographers. Con-

tinued Peter: “There are quite a few photog-

all members to get involved, to contribute and

raphers who provide birth photography ser-

to build something better.

vices, but there was no formal recognition of

this genre within the AIPP. Now they are able

ber of the AIPP! There’s a list of the SIGs on the

to share their knowledge and have developed

AIPP website and blog , so if you want to join

their own special Code of Ethics, which in turn

one, just let National Office know!

And importantly for the AIPP, the SIGs allow

The only requirement is that you’re a mem-


SIG SPECIAL INTEREST GROUP

THE AIPP IS A MEMBERSHIP ORGANISATION THAT EXISTS FOR THE BENEFIT OF ITS MEMBERS

If you have a “Special Interest” or a keen area you want to see more and better AIPP involvement, the SIG’s are your opportunity to get involved and help us make this happen. Simply contact us on admin@aipp.com.au to suggest a new SIG or get involved in one of our existing SIG's

MOTHER & BABY

PHOTOGRAPHY

A C C R E D I TAT I O N

FOR VIDEO

WEDDING

PRODUCERS

PHOTOGRAPHY

PORTRAIT

AIPP MENTORING

PHOTOGRAPHY

AIPP WORKSHOP

PRESENTERS

& SPEAKERS

WORKING WITH

the ATO

(AUSTRALIAN TAX OFFICE)

BIRTH PHOTOGRAPHY

AIPP MEMBERSHIP

BENEFITS

AIPP USE OF SOCIAL MEDIA

& COMMUNICATIONS

11


Are You Too Expensive?

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 I think most photographers agonise over what

to get a professional result.

they charge. Are they charging too much? Will

the client see value in what they do? Is it a rea-

sional result is. This is bad news for wedding

sonable price in comparison to the rest of the

photographers because you’re unlikely to be

market?

hired if the first photographer was poor!

However, for repeating jobs and clients, provid-

The problem with asking these questions is

that there will always be a photographer who

ing a high standard is essential.

will do the job for less than you. Making your

pricing decisions only based on these questions

client to say they were going to use another

is not good business.

photographer. There was no explanation why

Are You Charging Enough?

and, try as I could, I was unable to find out if it

Another question to ask is, are you too cheap?

was because of the quality of my work or if I

If a client looks around for prices and sees two

charged too much.

photographers charging $500 and one charg-

ing $1000, don’t assume all clients will go for

up to scratch - that worried me more than any-

one of the cheaper photographers.

thing. Was I doing something wrong?

Some certainly will because price is the main

criterion – on the basis that the quality of the

ing if I would do another job for them. Only

photography is of ‘professional standard’. Others

then did I discover that the issue was price-re-

place more value on photography and you may

lated, not quality. However, for the other pho-

find they look first at the more expensive quote.

tographer, it was quality-related because his

High Standard

work simply didn’t match what I had been pro-

In these pages, the photographers I interview

viding. They then understood why I was charg-

will often say that the quality of your photogra-

ing more – and were happy to pay it.

phy isn’t as important as your service, your man-

ners and even the logo on your website.

doesn’t happen all the time, but it does show

the need to always provide a professional level

What they are expressing is that people who

hire a professional photographer are expecting

12

Many people have no idea what a profes-

Many years ago, I received a call from a good

I was really concerned that my quality wasn’t

Then a month later, the client rang back ask-

Unfortunately, this happy ending story

of quality and service. You just never know!


13 Photo by Peter Eastway. Notice the Dutch tilt!


An example of Ross Eason’s day-to-day photography - a PR shot to support a charity wine auction.

Ross Eason’s Advanced Techniques For Getting Beyond Price Read More AIPP Member Only Content To read AIPP member and specific business related advice, visit the AIPP website and sign in. Once you’re signed in, follow the menu Member Services, My Publications, The Working Pro - Extended Material.

14


How To Get Beyond Price? Ross Eason M.Photog., Hon.LM Ross Eason says you need to adapt to the mar-

or be aware of.”

ket to stay in business and that the days of hav-

ing a loyal clientele based on your reputation

the first thing he does is find out who he is talk-

are gone.

ing to and who the client is.

In commercial photography, it is your con-

When someone contacts Ross for a quote,

“I research the contact person and find

tacts as much as your photography that gets

LinkedIn is great for this.

you work, but after the GFC hit five years ago,

Ross said many of his contacts found them-

as I need about the person, company and the

selves without a job and so his connections

product or services they are selling and I am

with his client companies were gone.

photographing.

“It means you have to market yourself a lot

“I also get as much background information

“You can find a lot of this on their websites

more. You can’t rely solely on your reputation.

and you can often see from their websites what

Photographers used to believe that their repu-

quality of imaging they have produced in the

tation alone would sell them, but today you

past, which in itself can allude to their budget

have to get out there, introduce yourself and

and experience.”

bring a USP to the relationship.”

You Can’t Compete On Price

price, but Ross continues to ask questions. He

Ross acknowledges that while all photography

needs to find out exactly what he is photo-

is price driven to a certain extent, you can’t af-

graphing before providing a quote and he has

ford to compete on price.

a great analogy to help his contacts understand

why.

“I have opted for delivering high quality and

PHOTO BY BAMBI WIXON

Sometimes the conversation can focus on

To read more, log into the AIPP website,

great service. When I put in a bid, I don’t pre-

sume my reputation will sell me. I have to give

members section ….

my clients reasons to look past cheaper quotes and hire me.

Ross Eason is a commercial photographer in South

East Queensland. He is an AIPP National Vice Presi-

“I have to show them the value that I bring

to the job, and in some instances, I also have to

dent and has been in business for over 30 years.

educate them as to what they should consider

www.easoncreative.com.au

15


(Top) One of Tom’s dog portraits, the specialty of Ella+Friends. 16

(Below) One way to ensure you are noticed is to set up shop on a busy street in a busy city. Tom Putt’s Ella+Friends, Melbourne.


Home Studio or Main Road? To m Pu t t a n d h i s M e l b o u r n e E x p e r i e n ce One of the things professional photographers

portunity to position ourselves as THE number 1

struggle with is where do they locate their stu-

dog photographers in Melbourne. We like deal-

dio? Sometimes a home studio is all that can be

ing with dogs and anyone who owns a dog is

afforded, but when the business is established,

passionate about their pet, so we also find the

do you spend more money on a high visibility

clients are lovely to deal with.

studio, or save it and stay at home?

around trying to attract clients. Then I met Tero

Of course, there isn’t a single answer, but pho-

“When I started in portraiture, we fumbled

tographer Tom Putt has one of the highest profile

Sade who taught me about charity books, an

studios in Melbourne, Ella+Friends, on the corner

idea we have now adapted to our dog photog-

of Park Street and Kings Way, South Melbourne.

raphy.”

There’s no doubt he is paying high rent, simply

because of the location. Is it worth it?

location makes sense. He says around one third

of his business comes from his studio windows

It depends on who your market is, says Tom.

Given the size of his potential market, Tom’s

His studio photographs dogs, so anyone who

and location. “I know some clients are just as hap-

owns a dog is a potential client. And people

py to come to your home as a retail space, but it

who own dogs drive cars, so there’s a chance

also depends on the position you want to claim

they will be passing and see Tom’s window with

in the market place. The real estate agent said

his ‘Dogs Wanted’ posters!

we’d never have to advertise again and it seemed

to work like that for a while. However, more re-

Tom was originally a sport photographer

and around 10 years ago, he started a family

cently we’ve found that we can’t be solely reliant

portrait studio named after his daughter. “I had

on our window displays and we’re also concen-

been in between jobs, hanging out with the

trating a lot of our efforts on Facebook.”

mums’ group when I saw some photographs taken by another photographer and thought I

Tom Putt is a portrait and landscape photographer

could offer something different.”

in Melbourne. With a background in sport, he also

has interests in landscape photography, publishing

So he did, but around two or three years

ago, Tom turned the family portrait business

and leading photography workshops. www.ellaand-

into a dog portraiture studio. “We saw an op-

friends.com.au; www.inspiredlandscapes.com.

17


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.

18


E D I T O R ’ S

S E L E C T I O N

19


E D I T O R ’ S

20

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

21


22


Getting Your Colour Balance Right Ti p s f o r C re a t i n g Awa rd W i n n i n g I m a g e s With the State Awards and APPA not that far

you keep this balance is another matter, but at

away, it’s time to start working on your entries

least you have a good starting point.

and one aspect to pay particular attention to is

the colour balance.

these tools, such as during a busy wedding, and

so you will need to set the colour balance dur-

Judges mark down entries if the colour bal-

Of course, it’s not always possible to use

ance is incorrect.

ing post-production. Raw files are certainly rec-

Colour Out Of Balance

ommended to make this process easier.

There’s a difference between an acceptable co-

lour balance and a photo that has a poor colour

room, Aperture and Capture One that can help

balance.

you set a good colour balance. The ‘Auto’ but-

ton is a good starting point. If that doesn’t de-

The former is an intentional use of colour to

There are many tools in Photoshop, Light-

create a mood or a feeling, whereas the latter

liver the desired outcome, try using the white

appears to the viewer (or judge) to be an error.

balance picker and click on areas that you want

to be neutral (without colour). Examples are

Judges are particularly aware of prints and

files that have a poor colour balance. Three of

grey concrete and white shirts (without opti-

the images on the previous page have a poor

cal brighteners), but not every photograph is

colour balance, although some may argue that

equipped with a neutral object. Sometimes

one of them (the cool blue image) is an accept-

there is only one setting that will produce an

able ‘tint’.

acceptable result, but for other photographs

You will lose several marks and miss out on a

there may be a range of settings that look good.

Silver Award with poor colour balance as this is

A Quality Monitor

an aspect of professional practice that is expect-

Sometimes it comes down to making a judg-

ed, not just most of the time, but all the time.

ment call, but you can only do this if you’re

Setting The Correct Colour Balance

looking at a good quality colour monitor which

For some shoots, it’s worth including a grey card

has been recently calibrated and profiled.

or an accessory like the Datacolor SpyderCube

or Spyder ColorCheckr which will allow you to

in many cases, this is what has happened when

precisely set a neutral colour balance. Whether

we see entries with a poor colour balance

Without this, you’re just guessing and I think

23


24


Why APPA Is So Valuable

Yo u Wo u l d B e S u r p r i s e d B y W h a t Pe o p l e T h i n k ! A few photographers have told me that being

APPA awards you have won and whether you’re

an Associate or a Master of Photography isn’t

an Associate or Master of Photography, it all

important for them or their clients.

goes into the mix of who you are and how you

are perceived.

Well, I think that has more to do with those

photographers.

being an AIPP member makes no difference

Very few photographers who have earned

So the comment that not being in APPA or

their Associateship or Master of Photography

isn’t really something you can compare. You are

would say something like that because the

assuming it doesn’t make any difference, just

process is so fundamental to who they are as a

like I am assuming it does!

photographer and their confidence in dealing with clients. It’s invaluable!

A Way Of Connecting Having acknowledgement of your skills from

No Difference? Really?

an independent body like the AIPP is incredibly

Some photographers when they leave the In-

valuable as a marketing tool if you use it proper-

stitute (and can therefore no longer call them-

ly. Yes, there are other ways to build your repu-

selves an Associate or Master etcetera) say that

tation, but APPA is one of the best.

it hasn’t made any difference to their business.

Well, I’d suggest any ‘noticeable’ difference, but

time impressed that I’m a Grand Master of Pho-

perhaps they weren’t really looking.

tography. Even art directors have said so, and

You see, there’s this new thing out there

sometimes it’s hard to get an AD to acknowl-

called the internet and what I’m finding is that

edge anything like that!

my clients are looking at everyone’s websites

before they call. This applies whether it’s a fam-

tography George Apostolidis, one of the world’s

ily portrait session or a commercial job: clients

leading advertising and commercial photogra-

are doing their research and making notes.

phers, has used APPA and its awards for years as

In conversations with my clients, they are big

I also know that AIPP Grand Master of Pho-

a way of connecting with his clients. When he Website Research

wins an award, he lets them know - it’s just a an-

So, when they visit your website and see the

other great excuse to touch base.

25


Is Entertainment Deductible?

C a n I P a y L e s s Ta x B y Ta k i n g M y C l i e n t s To D i n n e r ? Entertainment is not deductible. And many

This is definitely something to consider and is

people will stop reading here, but there are

worth a question to your accountant.

times when entertainment is not entertain-

ment, so read on!

your clients with tea, coffee and the very nic-

No Dinners

est chocolate biscuits as a tax deduction. This

Many years ago, the government wanted to

would apply to sole traders as well as compa-

stop the fat cats from getting a tax deduction

nies and trusts, being office or general studio

for what they considered private expenditure,

expenses.

so the long expensive lunches became a thing

of the past.

take-away and eaten on the job may be okay.

What about a drink or two?

However, this doesn’t always mean that

Similarly, your business can provide you and

So, no lavish lunches at a restaurant, but

sharing a meal with a client is entertainment.

Alcohol As A Gift

Meals At Your Desk

Taking a client out for a beer after work is clearly

For instance, if you are working in the studio

entertainment and you have no hope of a tax

and you send out for lunch, then as long as you

deduction. Even purchasing beers or wines and

eat it in the studio and it doesn’t include alcohol

drinking them in the studio is considered enter-

(it’s just a simple lunch), it may be tax deduct-

tainment.

ible to your business.

clients a drink is to present them with a bottle

Now for the fine print: this works much more

The only way that I can think of giving your

easily if you are a company or a trust, but if you

of Scotch or wine, or a case of beer. It can be

are a sole trader, then the food for yourself may

provided to them as a gift.

not be deductible, just the meal for your client.

It depends. Why? Just because it does! Have a

ent could then open and drink the scotch with

chat to your accountant and see how it could

them in the studio, but I think you’ll find it then

work in your specific situation.

becomes entertainment, so make sure you

march your clients off the studio premises be-

If you are a company or a trust and you’re an

Now, some people are going to say the cli-

‘employee’, the company can buy you lunch ev-

fore they open that bottle!

ery day as long as you are eating it at your desk.

Small gifts to clients can be tax deductible.

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.

26


Issue 74... The Amazing Arctic J o s h u a H o l k o’s L a n d s c a p e s Le n M e t c a l f ’s N u d e s Long Exposure Post-Production And lots more...

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 27


28


© Do I Have To Use The © Symbol?

Using the symbol is not essential to own copyright The copyright symbol, the ‘c’ inside the circle -

not doesn’t change your position, but having

© – is used internationally to show that a pho-

the copyright symbol in the metadata is helpful.

tograph (or other intellectual property such as a

Stripped Out

book, video and so on) is subject to the laws of

Of course, if the photograph is found on the in-

copyright.

ternet, chances are all your metadata has been

However, it is just a reminder. The fact that

stripped out, so the person accessing your pho-

you don’t include the copyright symbol on the

tograph may not (choose to) realise it is subject

front of the photograph or in the metadata

to copyright.

doesn’t mean it is not subject to the copyright

protection. It most definitely is, but is this the

putting a watermark with their name and web-

point?

site on all their photographs, so it’s very clear

Struggling To Be Heard

that copyright is an issue.

There are a lot of people in the world who ei-

Do You Own It?

ther don’t know about copyright or choose to

It’s true that a lot of photographers wonder why

ignore it. In fact, our whole culture is heading

they should worry about copyright at all. New-

this way with social media sites posting photo-

comers to the profession often approach their

graphs that belong to others with impunity.

work on a time basis and are happy for the cli-

ent to own the copyright.

Can you stop this? Legally, you possibly have

To solve this issue, some photographers are

a case (depending where the photo originated),

But flash forward a year or thirty years when

but practically there is no point. You can’t fight

you get a call from a publisher who wants to

the teenagers on Pinterest who are using your

use some of your photographs for a project.

photographs.

If you don’t own the copyright, you can’t!

However, if a business uses your photo with-

Can you sell the publisher the photographs?

out your permission, then suddenly it’s game

on. Often a letter is all that’s required to either

Given it’s such an easy thing to implement in

have the photo removed, or if you’re so inclined,

your practice, why wouldn’t you do it? Although

receive a reasonable payment for its use.

stock photography is a tough game, owning

the copyright just in case is easy enough to do.

Whether the copyright symbol is present or

Do you need to own copyright just in case?

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.

29


30


Nikon Df

N o, T h e r e I s n’ t V i d e o, B u t Yo u A r e M i s s i n g T h e Po i n t ! Do you want a camera that looks like a camera

The body is available in black or silver with a

and not an electronic toy?

synthetic leather finish found on earlier film-

based cameras.

Of course, these days many people don’t

know what a ‘real’ camera looks like because

they have never loaded a roll of film, but if you

the use of mechanical dial operations, featuring

do remember those days and wish you had a

independent dials for setting shutter speed, ISO

camera once again with knobs and dials, and

sensitivity, exposure compensation, exposure

one that even took your old Nikkor lenses, well,

mode and release mode.

Camera control is predominantly through

the Nikon Df might be just for you!

Or if you’re into retro, then the Nikon Df defi-

nitely is for you!

Fast Operation The Df is quick with a power-up time of just 0.14 seconds and a release time lag of 0.052 seconds.

Full Frame

Although harking back to the film days, inside

inch LCD monitor offering a wide-viewing angle

the Nikon Df is very similar to Nikon’s flagship

and a resolution of approximately 921,000 pix-

D4, offering a full frame 16-megapixel CMOS

els.

sensor with an extensive ISO range from 100 –

12,800 (expandable from 50 to 204,800).

on both the LCD monitor and in the viewfinder,

and the Df is equipped with a quiet shutter-re-

It can shoot continuously at up to 5.5 frames

However, it’s still a digital camera with a 3.2-

A Virtual Horizon feature can be displayed

per second, but it doesn’t offer a video mode.

lease mode, providing users the ability to pho-

tograph subjects with minimal disruption.

And the 39-point autofocus is similar to that

found on the D610, so the Df isn’t quite a re-

placement for the D4.

classic Nikon lenses including non-AI lenses, yet

The Df is compatible with the full range of

the camera also supports the Nikon Creative Timeless Design

Lighting System, wireless accessories, GPS unit

Certainly the main focus of this camera is its

and HDMI output.

timeless design and when you attach the old

manual focus lenses, they seem quite at home.

www.nikon.com.au

For more product information, please visit

31


NEW P

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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:

www.betterphotography.com

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

Working Pro 218  

The official journal of the AIPP (Australian Institute of Professional Photography).