Working Pro The
Issue 231 â€˘ May 2015
PR OUDLY S UPPORT I NG THE AIPP TOGETHER WE CAN BE STRONGER
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TRADE PARTNER Proud supporter of the AIPP
Working Pro The
Co n te n t s #231
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N i c k R a i n s M.P h o t o g . 2014 aipp PROFESSIONAL travel photographer of the year
w w w. n i c k r a i n s . c o m
The Working Pro is the official newsletter of The Australian Institute of Professional Photography (AIPP). Editor Peter Eastway G.M Photog., FNZIPP, Hon. FAIPP, Hon. FNZIPP, FAIPP Disclaimer The information provided in The Working Pro and associated publications is made in good faith, but is general in nature. Neither the editor, the publisher or the AIPP accept responsibility for or will be under any liability for any recommendations, representations or information provided herein. The Working Pro presents information, opinions and suggestions for subscribers to evaluate in coming to their own decisions in the light of their own individual circumstances. The information should not be relied upon without readers first obtaining independent advice from their own financial and legal advisers. Unless otherwise noted, all articles are written by Peter Eastway. Publication The newsletter is published 10 times a year – monthly with November/ December and January/February being combined. The Working Pro newsletter is published by Pt 78 Pty Ltd, ABN 75 003 152 136, PO Box 351, Collaroy Beach, NSW 2097, Australia. Phone: (02) 9971 6857; Fax (02) 9971 6641. E-mail email@example.com Copyright © 2015
AIPP Membership Contacts Suite G.02, 171 Union Road, Surrey Hills, Victoria 3127 Phone: 03 9888 4111 E-mail: firstname.lastname@example.org
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Ross Eason M.Photog., Hon.LM, National President
Around The States
News and views about what’s happening in the AIPP regions
Update: AIPP Reflections Project How To Help Yourself From The Sidelines
Dr Brendan Nelson
Dr Brendan Nelson is the Director of the Australian War Memorial and Patron of the AIPP Reflections Project.
AIPP + ACMP Together
Nominate For Council
The Twins ‘Milk Bank’ Project
12 Great Tips For APPA Success
Hiring Another Photographer
Vale: Tony Whincup, NZIPP
Higher Profits From Value Adds
Ross Eason and Richard Weinstein discuss the merger of Australia’s two peak professional photography bodies. There’s a world of experience and opportunity just waiting for those prepared to get involved with the AIPP’s management. Bambi Gosbell explains how she and two friends pursued a personal photography project and raised money for charity at the same time. Following his bevy of recent successes, Matt Palmer shares a dozen suggestions for getting better results in the photo awards. If you need help to run your business, Peter Eastway suggests there are options other than employing staff. Australia and New Zealand reflect on one of our profession’s most influential thinkers and educators. Portable studio flash that can operate manually or fully automatically with TTL exposure control. Gary Jorgensen explains how wedding photograhers can increase their income simply by offering their clients a little something more.
Ross Eason M.Photog., Hon.LM, National President
Change is the law of life. Those who look only to the past or present are certain to miss the future. John Fitzgerald Kennedy
A lot has happened in our industry over the last
ten years. As a professional body, we need to
national office and our charter provides clear
ensure we look forward and plan for the future,
direction to our state, regional and territory
create a model that will generate a strong
councils. Our accreditation and certification
industry and, equally, a professional body that
initiatives also create a higher standard for a
will have the respect of consumers, government
“professional”, but they have to apply to the
industry as a whole, not just the AIPP.
Respectful Of The Past
As JFK implied, we can’t afford to miss the
Further on in this issue of The Working Pro,
future. Our responsibility is to ensure we have
you will find details of our new alliance with
a plan to create a strong industry for our
ACMP. This is something that we have been
members building their careers and those who
working on for 12 months and the benefits to
follow. We certainly need to be mindful and
the AIPP and the industry are huge. Importantly,
respectful of our past, but we can’t afford to
the ACMP agreed with the wisdom of true
dwell on it.
“professionals” working to one common
standard, under one accreditation system,
At the APPA dinner last year, I said that if we
We have a strong infrastructure in our
are truly going to reflect our name, Australian
and their support and cooperation with this
Institute of Professional Photography, then we
initiative should not be underestimated.
have to represent all genres of photography
around the country. We are now in a position to
Richard Weinstein and his Board for
do just that.
championing this initiative.
My personal thanks to ACMP president
AIPP New Accredited Members New accredited members are now listed on the AIPP’s website. Log in and view them under Membership Movements http://www.aipp.com.au/members/membership-movements
Commercial Photographer Bolts from New
photographers want: to mix, discuss and
share experiences or knowledge in a relaxed
I was approached by a well-known member at
environment and The Event has three fantastic
The Event in Adelaide. He was a commercial
social events to do just that.
advertising photographer and had just dashed
out of a new born session that Kristen Cook was
expense! To quote another famous American:
Not only that, it is a tax-deductible business
He was both excited and motivated and
“An investment in knowledge always pays
his words still resonate with me: “I’ve been a
the best dividends”
commercial photographer for 40 years and I’ve
just learnt so much from a young lady who has been photographing for only three years”.
the front foot with your career and ahead of
Change is the law of life and we all need
to ensure we don’t become complacent in
Make the trip to Perth to ensure you are on
our work practice. Sharing knowledge and experience is essential.
The greatest benefit in attending The Event
is the diversity of the speakers on offer, and real
benefits like the example above may come from
0412 108 362
the most unexpected sources.
Another major benefit is the social
interaction. This is the core of what most
© Milton Gan
© Milton Gan
© Ona Janzen
© Milton Gan
A r oun d t he StAt e S The end of March saw thirty-eight intrepid souls make their way to the Blue Mountains for our brand new event, The Sauce. Over three days the delegates learnt about the business and creative workflows of Dan O’Day, David Oliver and Natalie Howe and also watched them in action. They were also treated to talks by Nadine Saacks and local legend Graham McCarter. Thank you to all our speakers, delegates and sponsors, we’ve had amazing feedback from the event and so we’ll definitely bring The Sauce back in 2016! April brought more excitement as the Professional Video Producers’ arm of the AIPP hosted their first talk in NSW. Videographers and photographers came together to learn and be inspired by three speakers: Christine from Perfect Media, Santo from Paper Cranes, and Rob from SkyOne. The night was a huge success and we look forward to more events about the moving image. April closed on a high note as Inlighten Photography opened their doors and shared the secrets of more than thirteen years of success in the wedding industry. The highlight of May will clearly be the NSW State Awards and after a second pre-awards print critique 6
evening in April we are looking forward to a high calibre of entries in the state’s biggest event of the year! Please come along to watch the excitement unfold at The Muse in Ultimo and to see the winners crowned at the awards presentation dinner! For tickets and details on all of these exciting events please keep an eye on your inbox and the official AIPP NSW Facebook Page at www.facebook.com/aippnsw
NSW EvENtS May 18th-19th – 2015 AIPP NSW Epson Professional Photography Awards May 20th – 2015 AIPP NSW Awards Presentation Dinner May 25th – Sponsor Event – Momento Pro Production Tour Featuring Lara Hotz May 28th – Inspiration – An Evening With Society Photography
For more upcoming events
© Mel Murzecki of Furry Feet Photography
A rou n d t h e StAt eS Down south in Tasmania, apart from enjoying the glorious sunshine, the council have been working hard to prepare the upcoming state awards in July. An all new category of ‘Pet & Animal’ has been announced which we hope will receive some magnificent entries. The category will cater for images of domesticated pets, farm animals and captive/zoo animals, and may be commissioned or self-commissioned. Workshops will be available following the weekend and a formal dinner will help you celebrate in style. Katinka Smith (www.katinkasmith.com.au) has been elected the state co-ordinator for the AIPP Reflections Project, and can assist anyone interested in participating. Katinka will also be our host for the upcoming print critique nights, held at her new studio at 1A Victoria Street, Hobart.
print critiQue nigHts
s Av e t H e D At e - 1 2 t H J u LY 2 0 1 5 2015 Epson State Awards & Presentation Dinner.
2015 epson stAte AwArDs
save the date tasmania 12 th July 2015 12 tH JuLY - presentAtion
© ImAge by dAn CrIppS
22nd May & 19th June 2015 – Print Critique Night 7
for more uPcoming events
© Lori Chichini
A r oun d t he StAt e S A word from the President For the past 15 or more years Geoff Comfort and I have been on the ACT Council in various roles. Ben Kopilow wouldn’t be far behind in years dedicated to our ACT Council. It is a job I know I don’t mind doing, but every now and again it would be great to have some new faces in the council willing to spend a couple of hours a month thinking about events that we can schedule, posts on Facebook to engage members, and help liaise with National Office about the future of the AIPP. The benefits include: Representing our state, helping with the direction of our industry, getting to know what’s happening firsthand, getting to know each other well, always being on hand for advice and support, and you get 8
your AIPP fees paid, too! For me, any organisation that you put energy and enthusiasm into, you get back in bucket loads. We would truly love to have five council members. At the moment we have four. We only need one more person to raise their hand! However if there’s a few of you who would like to dedicate some time every month we would be more than happy to co-opt a few extras! You do not need to be an accredited member to be co-opted. Both Geoff and I joined Council when we were students! So please, we would love your help in 2015-16! Keep an eye out for the nomination process, due to start in the next few weeks and join us!” - Hilary
For more upcoming events
© Mark Zed
A r oun d t he StAt e S u n d e r s ta n d i n g p r i c i n g F o r proFit Mel Neumann and Carol Lange, from These Girls Mean Business, presented their seminar Understanding Pricing for Profit to a small and varied group of photographers. The advice given wasn’t about photography but about know what it takes to do business. What does it cost you to do business, before you even open your doors? This was followed by a very robust Q&A session where the girls were joined by David Haddy, a long standing portrait photographer in Adelaide.
wanted to say how much I enjoyed and got out of the seminar yesterday. It was really refreshing to know there are valuable ways of marketing yourself without having to toot your own horn excessively or throw buckets of money around. In my opinion it was worth every cent and every second.” - Mark Zed
W e lc o m i n g o u r n e W e s t m e m B e r s Becoming a member of the AIPP can, for some, be a daunting experience. To make the transition a little smoother, the SA Council hosts two separate New Member evenings each year where we introduce our newest members to our well versed and experienced ‘old hands’. We had a great turn out for our most recent event to welcome Student, Emerging and Accredited members.
small Business – Big marketing AIPP SA hosted Tim Reid of ‘Small Business, Big Marketing’ for a one day seminar and workshop at the beautiful Botanic Gardens Restaurant. This highly successful event was funded by the AAPP. Merging with the AIPP in 2011, the AAPP was a popular association in SA for wedding and portrait photographers. The funds used to host this event had been held in the trust of Dale Smith, Simone Hanckel and André Crisci awaiting an opportunity where it could make a real difference for all photographers. Thank you! This post sums up how well the event was received... “Just
upcoming events 6th May – Print Feedback Session 17th May – A Fireside Chat with Hilary Hann 9
foR moRe Upcoming events
© All images by Michael Teo
A r oun d t he StAt e S U p co m i n g D at e s 12th May – Video Critique Night
2. If you could have dinner with anyone from history who would it be?
17th May – Starry Starry Night with Andrew Campbell
3. What single piece of technology makes your life easier?
We would like to encourage our Victorian members to get involved with the AIPP Reflections project. The Reflections Project is an Australia Wide photographic documentation of our remaining living World War II Veterans. It is supported by the RSL and Australian War Memorial. To find out more please visit http://www. aipp.com.au/about/the-aipp-reflections-project
m e m b e R s p ot l i g h t - m i c h a e l t e o 1. How did you fall in love with photography? Although my father was a keen amateur photographer, I didn’t begin to take photography seriously till later in life, after 40 years old, so I think that I am still falling in love with photography. It was my music student (and monster photographer) Mercury Megaloudis who rekindled my interest and my love for it is always growing. I would never have thought that I could find anything that I would be as passionate about as I am about music, so it has really gotten me by surprise. I mostly photograph people and I love how it can make people feel good about who they are by reflecting back to them the beauty that I see in them. 10
By far the smart phone. It has so many uses, organisation though calendars, contacts and apps like Evernote, which are all synced to my other devices, social networking, there are apps that are great for photography like Sun Seeker, Adobe Color and Adobe Ideas, it facilitates invoicing, banking, file access with services like Dropbox, it’s a small portable portfolio and of course it also has a camera built in, which I use for location scouting and taking test shots for composition and lighting. 4. Which photographer/s do you admire? I love a lot of the great fashion photographers like Richard Avedon, Herb Ritts, Patrick Demerchelier, Steven Meisel, Mert and Marcus, Sølve Sundsbø, Helmut Newton and Mario Testino. 5. What is your dream shoot? My dream shoot is being thoroughly organised with a great team, but which allows space for improvisation and spontaneity. The best shoots have a synergistic energy comprising the collective experience of all the team members that can create something greater than any individual may have been able to conceive of independently.
For more upcoming events
© Tina Urie
A r oun d t he StAt e S With the rules now available for our upcoming state awards, these next few months will have us all looking back over our best work, and hotly debating the finer points of what makes an award image really pop. To help you in that discussion, we have a couple of Critique sessions scheduled, where you can hear comments from master photographers about what can bring your images to that next level. These events are infinitely important to both your success in the industry awards, and to your own professional development, and we on the council highly recommend you be there! (And, we may be looking for a chance to win three national titles in a row too, just saying.) A week before the first critique session, we’ll be having a candid breakfast discussion about the pitfalls and safety nets that good insurance can provide for our businesses, so that too is an event not to be missed.
The WA Council are here to help you succeed, so contact us for anything, and we’ll see you at the next event! - The WA Council
upcoming events 12th May – Breakfast Meeting: All things “Insurance” 17th May – WAEPPA Critique Session 2nd June – WAEPPA Critique Session 25th - 26th June – WA Epson State Awards 28th June – Presentation dinner 29th June - 1st July – The Nikon AIPP Event 11th August – Breakfast Meeting 16th - 18th October – Canon AIPP APPA Judging 19th October – Canon AIPP APPA Presentation Dinner 10th November – Breakfast Meeting 11
For more upcoming events
© Richard Muldoon
A r oun d t he StAt e S AIPP Queensland congratulates 2015 AIPP EPSON QLD Professional Photographer of the Year Richard Muldoon APP M.Photog I. Richard won the Landscape category, Book of the Year, and the Epson Signature Worthy Award.
the winners oF 2015 Aipp QLD cAtegories were: Ryan Schembri APP M.Photog IV Hon. LM - Wedding Photographer of the Year Kris Anderson APP - Illustrative Photographer of the Year Peter Rossi APP.L GM.Photog - Portrait Photographer of the Year Alex Huang APP - Travel Photographer of the Year Kelly Brown APP M.Photog - Family Photographer of the Year William Long APP.L M.Photog V Hon. LM FBIPP FRPS Commercial Photographer of the Year Matt Palmer APP AAIPP - Documentary Photographer of the Year Liz Harlin APP AAIPP - Science, Wildlife & Wild Places Photographer of the Year Ken Drake APP M.Photog - Pet/Animal Photographer of the Year Greg Hanlon - Emerging Photographer of the Year 12
Foto Frenzy QPPA exhibition Lisa Kurtz - Student Photographer of the Year Adam Hourigan APP M.Photog - Highest Scoring Print Michael Zervos - Print Handler Award All of the actual category winning prints have also been on display at Foto Frenzy, Coorparoo. Opening night was an exciting evening with a capacity crowd and an opportunity to view amazing prints up close and discuss them with the artists.
copyright inFormAtion night A Copyright information night for the AIPP was held recently. The night was strongly supported and informed attendees of recent court rulings and current issues they should be aware of.
upcoming events 27th May – Finding Focus: Image Making With Video
A FREE SERVICE - AND IT’S SO EASY TO USE! How much would you like to earn in the next 12 months? Use Peter Eastway’s free online Photo Income Estimator to find out. Visit www.betterphotography.com Click on the link to the Photo Income Estimator page
Enter your information and see the results immediately.
Don’t spend the next 12 months fluffing around. Have a look and set yourself some goals! www.betterphotography.com 13
Update: AIPP Reflections Project H o w To H e l p Yo u r s e l f Fr o m T h e S i d e l i n e s
The AIPP Reflections Project is well underway
thanks to the many members who have put up
one million people – which is 1/25 of Australia’s
their hand to be involved and donate their time
population! This is a fantastic result for both the
Reflections Project and the AIPP.
One Million Views
One of the side effects of the Reflections Project
Bamia Mast is one of only three surviving
is the publicity it will generate. The mere fact
members of his battalion.
The Facebook post has now reached over
the Reflections Project
is being sponsored
in 1942. When this happened, he saw it as a call
and promoted by the
of duty. He was honoured to be a part of it and
AIPP paints professional
do the service.
photographers in a very
dark by kerosene lamp. When he joined the
AIPP Grand Masters of
war, he saw the light electricity. War introduced
Photography Peter Rossi
them to modern society.
and Charmaine Heyer
are both involved in the
and has given me this world. He stood up and
Reflections Project and
believed what he did was right. I just want to
one of their portraits
was posted on the AIPP’s
Promoting The Profession
Facebook page last
Members have been asking the AIPP to
promote professional photography for years
The portrait is of Bamia
and, while not the purpose of the project, we’re
Bamia’s son Eddie said, “He joined the Army
“Before he joined the Army, they lived in the
“He’s my father. I’m honoured he’s my Dad
Mast who enlisted with the Torres Strait Light
getting lots of publicity right now.
Infantry Battalion in 1942.
professional photographer? Well, if you’re an
Said Peter, “We both felt honoured to
But how do people know you’re an AIPP
photograph him and to help commemorate our
APP (Accredited Professional Photographer),
you can show the world by using the logo.
Bamia Mast. Photograph by Peter Rossi and Charmaine Heyer.
have amazing stories to share. The images you make carry reverence and power and go to the families and the national archives to take pride of place for many generations to come. The wonderful feeling of giving back to the
It’s not rocket science! But it does require
community as a professional photographer
you to take an active interest in your business
cannot be understated and is very rewarding for
and your profession. Do you have the APP logo
you and our industry.
on your website? On your emails? On your
letterhead? In your advertising? If not, now
all over Australia, promoting the project, the
would be a good time to spend 10 minutes
value of using an Accredited Professional
Photographer and the enduring power of the
The profession of photography is going
We have received positive media attention
through some tough times, even though public
interest in photography has never been higher.
about professional photography generally.”
If we don’t promote the benefits of professional
Project Patron - Dr Brendan Nelson
photography, who will?
The AIPP is proud to announce our Patron for
Reflections – Honouring our WWII Veterans is
According to the project director, John de
The Honourable Dr Brendan Nelson, Director of
Rooy, the Reflections Project has 1300 veterans
The Australian War Memorial.
registered and 300 professional photographers
booked up. John is very happy with that result,
and champion our efforts beginning with an
although he says there is still room for a couple
official launch function in June and culminating
of hundred more if they wish to get involved.
in a printed volume and digital collection of the
photographed WWII veterans being presented
So, if you’ve been thinking about doing
“I think this is a really important message
Said John, “Dr Nelson has agreed to support
it, now is the time to act as photography has
to the AWM and the RSL in September/October.
started and the project will only run until the
“This is excellent news indeed!”
end of July (please visit https://aippveterans.
Please spread the word about this project to WWII
Veterans and photographers. To register a veteran
“It is a very positive experience meeting
our WWII Veterans, the oldest living heroes of
or a photographer for the project please go to:
our time. They are all proud yet humble and
Dr Brendan Nelson
Dr Brendan Nelson is the Director of the Australian War Memorial and Patron of the AIPP Reflections Project. Dr Brendan Nelson commenced as Director of the
the Sydney seat of Bradfield.
Australian War Memorial on 17 December 2012.
Nelson was elected to
Prior to this, he was the Australian Ambassador
On 2 March1996, Dr
to Belgium, Luxembourg, the European Union and
the Federal Parliament of
NATO (2009–12). Apart from overseeing a major
Australia. After the 2001
transformation in Australia’s relationships with the
election, he was promoted
European Union and NATO, Dr Nelson forged deep
from parliamentary secretary
links with the communities of Flanders, where almost
to the Minister for Defence
13,000 Australians lost their lives during the First
to Cabinet in the senior
World War. He regularly made the trip from Brussels to
portfolio of Minister for Education, Science and
the Ypres (Menin Gate) Memorial at Ieper, where the
Training, driving major reforms to universities and a
names of 6,190 Australians who died in the First World
focus on school standards and reporting.
War and have no known grave are listed.
troops were deployed to Iraq, Afghanistan, East Timor
Born at Coburg, Victoria, in 1958, Dr Nelson
In 2006 he became Minister for Defence when
studied at Flinders University, South Australia,
and the Solomon Islands.
where he graduated with a Bachelor of Medicine
and Surgery. He worked as a medical practitioner in
of the Liberal Party of Australia, serving as Leader of
Hobart from 1985 to 1995.
the Opposition until September 2008. The following
year he retired from federal politics before taking up
In 1993 he was elected unopposed as National
In November 2007, Dr Nelson was elected leader
President of the Australian Medical Association (AMA),
his ambassadorial appointment.
becoming the youngest person ever to hold this
position. He had previously served as National Vice
Memorial, Dr Nelson is a Distinguished Visiting Fellow
President and Tasmanian Branch President, of the AMA.
at ANU; a member of the Chief Scientist’s Advisory
Council; a member of the Board of Presidents for the
During his time as National President, he
In addition to being Director of the Australian War
campaigned on a wide range of social policy issues,
US National World War Two Museum; Patron of Lifeline
including Aboriginal health and immunisation,
ACT; Patron of Trish MS Research; Patron of the Weary
and led the campaign against tobacco advertising
Dunlop Foundation and a member of the Board of the
and sponsorship of sport. He was also a relentless
Australian Children’s Music Foundation.
advocate for private health insurance.
his interests include Australian military history, music,
In 1995 Dr Nelson retired as president of the AMA
following his preselection as the Liberal candidate for
Dr Nelson is married and has three adult children;
motorcycles, and tennis.
AIPP + ACMP Together
Ross Eason and Richard Weinstein discuss the merge r o f A u s t ra l i a ’s t w o p e a k p r o f e s s i o n a l p h o t o g ra p h y bodies. The AIPP and ACMP are to join forces, improving
the industry and services for professional
to act for the benefit of the industry and that an
photographers as a whole.
alliance under a central umbrella was the best
discussions about the two groups merging for
discussions, figuring out how it will work.”
Behind the scenes, there have been
“We could all see that our responsibility was
“Since then, we have been in close
Explained AIPP National President, Ross
Eason, “We recognised that if we were truly
going to be an institute of professional
Richard Weinstein, the ACMP’s National
photography, then we need representation
President, added, “We agreed that whatever was
across a broader demographic of photography.
in the best interests of our members and the
profession was what we needed to do.
“Rightly or wrongly, there is a perception
that the AIPP is focused on domestic wedding
and portrait photography, and to some extent
because both organisations are already
that is reflected in our membership numbers.”
travelling in the same direction, so by pooling
resources we can free up a lot of our time
It is also reflected in the industry itself,
“In many ways, it wasn’t a difficult decision
where the number of domestic photographers
in administration, which in turn will allow
in fact far outweighs commercial and media
us to create more worthwhile events and
opportunities for our members.”
Continued Ross, “Our aim is to do the best
Both Ross and Richard acknowledged the
for the industry, so we started talking with the
changing face of professional photography and
ACMP about closer ties.
the need for a single body.
“Even back at The Nikon AIPP Event in
Explained Richard, “There’s a whole new
Hobart, we had Grant Matthews as an ACMP
world of professional photographers out there,
presenter, but it wasn’t until last September at
from generalists who have just bought a DSLR
APPA that both Boards sat down face to face.
to social media photographers selling their
images online. I think we need to engage with these people and encourage them to sign up to our Code of Ethics and a professional way of doing business. Corporate View
AIPP + ACMP Merger Benefits
two major benefits.
The merger offers distinct advantages for all members:
• A broader range of commercial
Peter Myers, the AIPP’s Executive Office, sees “As Ross explained, with this merger the AIPP
will no longer be seen as a wedding portrait organisation. If, with the help of the ACMP, we can change that perception, then I believe we
events and content, nationally run through the AIPP Events Team;
can attract more photographers to become
• Larger pool of expertise to call upon;
members because we really are a representative
• Pooling of resources and
“The second benefit is that the ACMP
photographers will become certified, which adds greater weight to the accreditation process we already have in train.
“Professional photographers will be seen in
a much stronger light if they operate within a single organisation where everyone abides by the same regulations.”
Commented Richard from the ACMP’s
perspective, “It’s true that some photographers, particularly in advertising, say that having letters after their name won’t make any difference to being hired by an agency or an art director.
“However, others acknowledge that if it
wasn’t for the work done by the ACMP and AIPP in the past on copyright and licencing, they
publications; • Common industry standards with codes of conduct and practice • Unified accreditation system; • Increased commercial entries in state and national awards; • Greater support for student and emerging members with Trampoline, SPY Awards and Find an Assistant protocols; • Stronger advocacy voice to government, industry and education.
wouldn’t have earned hundreds of thousands of
dollars over the past ten to twenty years. On
balance, I think all our members will see the
ACMP is that members outside of Sydney and
benefits of accreditation for the industry as a
Melbourne will be better served. I know we’ve
received some criticism over the years for not
doing enough in Brisbane, Adelaide and Perth,
Different people have different reasons for
Added Richard, “Another big benefit for the
belonging to an organisation, but it appears all
but with this new structure, we should be able
are in agreement that a single, strong Institute
to reach more regions around Australia.
is more productive than lots of little splinter
enter APPA and we think we can help by
“We are very keen for our members to
offering more content in the commercial and Practicalities
The ACMP will become a division of the AIPP,
with a slight name change. As the word
available for purchase by AIPP members.
‘Australian’ is already in the AIPP’s name,
the ACMP division will become ‘Accredited
will bring in photographers who might already
Commercial and Media Photographers’.
know about one or both organisations and
The strategy will allow the ACMP to work
see that this is a great time to join”, concluded
in conjunction with the AIPP to deliver
what advertising, commercial and media
Any AIPP member can become an ACMP
member if they meet the criteria, and ACMP members will go through the accreditation process as they renew their membership.
Within the AIPP, the current ACMP board will
run the ACMP division, along with two or three AIPP members.
It is planned that key ACMP strategies like
the Student Photographer of the Year Awards and the Trampoline group for assistants and emerging photographers, will continue to operate.
“And the Better Business Bible will now be “Finally, I’m also hoping our collaboration
“We have more strength in numbers.”
Nominate For Council
T h e r e ’s a w o r l d o f e x p e r i e n c e a n d o p p o r t u n i t y j u s t waiting for those prepared to get involved with the A I P P ’s m a n a g e m e n t . If you’ve wondered why some AIPP members
are so passionate about the Institute, chances
are they have been involved in running it at
acclaim fit for a king by being on council, but
we can promise you that your efforts will make
Whether you just help out at a print judging
We can’t promise you great riches or the
or sign up for your local council, you’ll get even more out of your membership.
To nominate yourself, send an email to admin@
And this is the time of year when you have
the opportunity to get involved with your local
AIPP community and nominate yourself for a position on your local state council.
All council positions are for a one year term,
starting on July 1st and finishing on June 30th. We’re opening positions for the 2015-2016 year.
AIPP councils have always been the “engine
room” around which the AIPP exists. Without good proactive councils, the AIPP is a shadow of the organisation it needs to be. Council Charter If you have something to say, something to
contribute and something to add, becoming a
May 2015, so don’t think about this for too long!
council member is the ideal vehicle for you.
with Peter Myers, a board member or any
Before you nominate, please read the new
Nominations close at 5.00 p.m. EST on 18 If you would like to discuss your nomination
council charter to make sure what you are
current council member please, don’t hesitate
nominating for (visit http://www.aipp.com.au/
to get in touch.
The Twins ‘Milk Bank’ Project
Bambi Gosbell explains how she and two friends pursued a personal photography project and raised money for charity at the same time.
Photo: Vicki Bell
When Bambi Gosbell, Willow Smith and Susan
Gladstone in central Queensland all the way
Wall joined forces for a personal project, they
down to Sydney in New South Wales, aged from
had more than one objective in mind.
just six weeks all the way up to 83 years young.”
Rather than putting their efforts solely into
Twins were asked to spend $250 for the
the photography, they wanted to support a
photography session, a 5x7-inch print and a
worthy charity as well.
copy of the Twins - More To Love limited edition
The Milk Bank
coffee table book. Additional books could be
The Twins Project 2013 - More To Love supported
purchased for $99 and all of the proceeds of this
the Royal Brisbane Women’s Hospital
side of the project (after deducting the costs of
Foundation with funds being directed
publishing the book) went to the Milk Bank.
specifically to purchase a large, commercial
grade freezer for the Hospital’s Milk Bank.
Every set of twins received a book as part of the
project and we sold 140 books in total.
Explained Bambi, “I’ve had a fascination with
“The main goal was to publish the book.
twins for many years, so when I talked about
it with Willow and Susan, we decided to look
could see our work without buying a book and
around for a charity that was also involved with
so we decided to put on a couple of exhibitions,
twins and that could use some help. That’s how
one at Foto Frenzy in Brisbane and a second in
we discovered the Milk Bank at the RBWH –
Gympie at the Regional Art Gallery.
although of course the Hospital is for everyone,
not just twins.
exhibition, we split them based on their
proximity to the twins. We sold all the prints bar
“The original aim was to shoot portraits of
“However, a few people asked how they
“As we couldn’t hang all 53 prints in each
100 twins and publish them in a book. However,
two and that also raised some much needed
we only gave ourselves a year to complete the
money for the Milk Bank.”
project and with the benefit of hindsight, we
More Than A Freezer
should have allowed ourselves a little longer.”
In fact, the girls collected more than what was
required for the freezer and used the balance
Nevertheless, the girls shot 53 portraits from
Kacie & Monique: “I don’t normally ask people to lie on the grass on their backs, but for this image it seemed the right thing to do, showing the symmetry of the twins. We asked all the twins to fill in a short questionnaire and used some of the answers in the book. Kacie and Monique’s parents commented, ‘We knew they shared a special connection when the hospital staff tried to separate them into different bassinets. They cried continuously until they were put back into the same cot.’ I used Epson’s Enhanced Matte Poster Board for the exhibition prints.” Below: Kacie and Monique at the exhibition with their portrait.
learning, the project pushed me outside of my comfort zone into a completely different world.
“It was a massive learning curve and in some
ways a costly one, but if I ever go down that path again, I’ll know what to do differently.”
Some of the portrait shoots were very
creative, others more formal, but Bambi said she approached the twins in much the same way she’d approach her family portraiture clients.
“We invited the twins to bring their families
along as this gave us an opportunity to sell The Twins Project exhibition opening.
to print a 40-inch canvas collage of all the twin
some extra portraits as well. That was the only
photographs and it now hangs in the NICU Unit
way we were able to make a little income
in the hospital.
for our own businesses.” The accompanying
portraits are by Bambi.
“It was purely a personal project and none
of us made much money out of it. If anything, it cost us to do it, but it was a great journey of
Bambi Gosbell is a wedding and portrait photogra-
growth and personal development.
pher based in Gympie, who loves to travel nation-
ally. You can see her website at: www.photography-
“I find I get a really deep satisfaction out of
doing something new. Although I had exhibited
before, I’d never produced a book, so in terms of
Opposite above: Bevan & Kevin “Bevan and Kevin are dairy farmers and typically, they could chew the leg off a chair. I seriously couldn’t get a word in sideways, so I just listened to them talk. They had just been away on an overseas trip together and every single sentence they spoke was finished off by the other twin. It was incredible how in tune they were to each other.” Opposite below: Hamish (& Oliver) This little boy’s brother passed away at six weeks of age from a heart condition. We normally sit down well before the portrait shoot and have a chat about what people want to get across in their portrait. Sunflowers had been used on the coffin at the brother’s funeral and were symbolic to his portrait.
HOLKO AIPP Master of Photography
Joshua Holko is a nature photographer with a studio and an office in Melbourne, but while based in Australia, he spends more than half the year travelling the globe. It’s a lifestyle many photographers can only dream of.
“I guess I have a niche in polar photography, travelling to locations in Antarctica, the Arctic,
Greenland, Svalbard, Iceland and even New Zealand and Tasmania. Living in Australia, this means I spend an awful lot of time in airports and on airplanes.
“I have an agent who represents my photography and my prints are sold through three different
galleries in Australia, Tasmania and Aspen in the USA. I also license my photography directly to corporations, but not through a stock agency.”
In addition, Joshua runs workshops and expeditions for keen amateur photographers, mainly to
Two photographs of Joshua Holko on the job - dressing warm seems to be an excellent idea!
HOLKO AIPP Master of Photography
Jo sh u a
HOLKO AIPP Master of Photography
However, it is the expedition work he has
Photographer of the Year and Victorian Epson
become best known for over the last few years
Professional Photographer of the year 2014.
and he now sets-up, co-ordinates and leads as
many as a dozen expeditions a year to places
honoured in Natures Best Photography and BBC
like Antarctica and the Arctic.
Wildlife Photographer of the Year for the last
He has also been a finalist and highly
four years and was a medalist for Australia in the Insight
2015 World Photographic Cup.
Joshua’s interest in photography began at a
young age because his father was pursuing an
interest in large format fine art photography in
“I have been a Canon shooter all my life. My
his spare time.
primary cameras are two EOS-1D X cameras, an
EOS 1DS Mk III and an EOS 5D Mk III. I prefer the
“Dad used to take me around the
countryside taking photographs. It was all film
1-Series cameras for their indestructible build
back then and while my only job was to carry
quality and their ability to keep working in the
the tripod, it was enough to get me hooked and
passionate about photography.
in cold weather.
“I learned the craft of photography shooting
“They also have ridiculously good battery life
chrome in the film days. Back then it was mostly
rock climbing and some landscape.
temperatures in difficult weather, the weather
sealing is really important, along with the
“Nowadays, I am seen as a specialist niche
“As I am frequently shooting in freezing
‘polar’ photographer and while it has been a
cameras’ ability to take a lot of abuse.
lot of hard work, it really doesn’t feel like work
because I am super passionate and dedicated to
able to take a few knocks and keep working, no
matter what the conditions.
Joshua also won the 2014 AIPP Australian
“I am tough on gear and I expect it to be
“I was photographing Polar bears last month
Professional Science, Nature and Environment
in the Arctic, only a few hundred miles south of
Photographer of the Year and readers may
the North Pole, in temperatures between -10C
already be familiar with his expansive polar
and -40C. I was out in the freezing weather for
ten hours a day for a week and those sort of
conditions will kill most cameras pretty quickly. I
Over the past 12 months or so, Joshua
has won a bevy of awards, including
got pretty bad frost nip on my nose and fingers,
Travel Photographer of the Year, Outdoor
but my cameras just kept working and that’s
Joshua Holko explains that the best nature photographs are the result of patience and perseverence, as evidenced by his many trips to the Polar regions.
Jo sh u a
HOLKO AIPP Master of Photography
why the 1-Series pro cameras are my preferred
really love my Sachtler FSB-6 Fluid head and
tripod. It’s just brilliant for working with big
telephoto lenses. No gimbal head can match
“Everyone seems so caught up with
megapixels and dynamic range these days, but
a good fluid head, in my experience. For
quite honestly, those two attributes just aren’t
landscape work, I like my Gitzo and Arca Swiss
that important to me.
“I find the whole megapixel race to be
“I process my images in Adobe Lightroom,
nothing more than marketing madness. I
but do my printing from Photoshop with two
regularly make and sell beautiful 40x60 inch
Canon large format printers - the IPF6350 24”
prints from my 18-megapixel Canon EOS-1D X
printer and the IPF9400 60” printer. I prefer matt
and have never had a client say, ‘I wish it had
papers for printing, specifically Moab Somerset
been shot with more pixels’.
Museum Rag which is a gorgeous, supple,
velvety paper that I just adore.
“I’ve used medium format cameras and I find
them generally unsuitable for the environments
I work in.
and Legion paper, but was printing on this
“And dynamic range is not that big a deal
paper long before that arrangement began. I
for me because I am typically working in the
find gloss and semi-gloss papers just lack the
polar regions where it’s quite easy to control
feeling I am looking for in my prints, so I rarely
the dynamic range of most photographs. If I do
reach for anything other than matt.
need to tame Nature’s dynamic range, I’ll shoot
with graduated ND filters.”
camera bags (www.guragear.com) and was
using them for years before becoming an
Joshua says he really likes the Canon TSE
lenses for his landscape work -
“I am fortunate to be sponsored by Moab
Joshua is also sponsored by Gura Gear
ambassador. “They make a range of camera
the 17mm F4L TSE, 24mm F3.5L Mk II TSE and
bags that really suit my needs for travel and
90mm TSE. For his wildlife images, he uses a
working in the field.”
Canon 600mm F4L Mk II, 200-400mm F4L with
built-in 1.4x tele-converter, and a 70-200mm
F2.8L IS Mk II.
“My technique is all about putting in the hours
in the field. I don’t believe in trying to create the
“I also carry a 16-35mm F4L and a 24-70mm
F2.8L Mk II, but I don’t shoot with flash and
image in post-production. I need to be there
prefer natural light.
when the light is fantastic and the wildlife is on
“I own half a dozen tripods. For wildlife, I
The two ends of the earth. Above is Goรฐafoss, Iceland, below is Antarctica. Joshua Holko spends six to seven months a year travelling the globe.
Jo sh u a
HOLKO AIPP Master of Photography
“The only way to do that is to spend a lot
“If I don’t consider them great images, I won’t
of time in the field. It doesn’t always pay off, of
share them, not even on social media. I just file
course, and just because you spend 20 days
them and make a note to revisit and try again.
sitting in a snow hole in freezing temperatures,
I don’t want to show the best I can do from
doesn’t guarantee that you will take a good
a given visit, I want to show the best I can do
and to do that, I need to put in the time. That’s
just part of being a Nature photographer in my
“But the more time I put in, the more likely
I am to get the shot I am looking for. It takes
patience and dedication when you are working
in such hostile places.
of mystery, emotion and vision, but there is a
world of difference between images that impart
“I feel there is a disingenuous side to quite a
“I want to tell a story and impart a sense
lot of landscape imagery these days.
these characteristics and images that were just
the best I could do on a given day.
“And I think this has come about because of
the sheer number of photographers out there,
“I am a staunch believer that we should only
all trying to out-do each other and be heard
ever show our best work and if I don’t feel I
over a chorus of screaming voices. I am seeing
managed to do my best work from a location, it
more and more extensive digital manipulation
doesn’t get shared.
of Nature scenes that are being presented as
“It’s fine to do extensive digital manipulation
if that is your thing, but when it’s presented as real ‘nature’ without disclosure, then I have a problem.
Joshua Holko M. Photog. can be contacted at the
“Nature is breathtakingly miraculous.
We don’t need to misrepresent it in our
“I feel there is a key difference between
what I do and what I see from many other
photographers. I might visit a location and come away with images I consider sub-optimal because the light wasn’t that great or maybe the wildlife didn’t co-operate.
See Joshua Holko at The Nikon Event in Perth this June! Book now - www.aipptheevent.com.au
35 Glaucous Gull. Polar photography by Joshua Holko.
12 Great Tips For APPA Success
Following his bevy of recent successes, Matt Palmer shares a dozen suggestions for getting better results in the photo awards.
Recently I was awarded the title of AIPP Epson
learned from others.
Queensland Documentary Photographer of
1. Get ego hurt at the print critique nights,
the Year for a second time. It’s a real honour,
not on the competition weekend.
especially seeing the category expand in entries
Putting your images out in front of some of the
this year and participating alongside some of
best photographic judges in Australia can be a
Australia’s great photographers, particularly
tough night. You’ll learn what you’ve overlooked
of note in the documentary category, Lesley
and the first time you might feel like you’ve had
your heart torn from your chest. That’s okay!
I won the title on the back of four Muay
We’ve all been there, we’ve all had our
Thai related images, but rather than discuss the
disappointing prints and there are plenty of
merits of the images, I wanted to share a few
AIPP Grand Masters who have scored under 70
of my thoughts on the AIPP State and National
(not professional standard). For a new entrant,
awards process for the new or uninitiated.
this situation can be avoided by giving your
images some trial under fire at a critique night
When I accepted the award, one of the
points I hopefully made in my brief speech, was
first. The opportunity to chat directly to judges
that none of us make it to the podium alone.
afterwards is priceless.
Every photographer, including Queensland
2. Wax on, wax off
greats such as Kelly Brown or Richard Muldoon,
When you’re starting off, talk to the judges.
will point to people that made a difference
When I started, I utilized the incredibly cultured
in their journey and changed their way of
photographic brains of Ian Poole and Darren
Jew at Foto Frenzy. If Living Image print your
entries (based out of Foto Frenzy), you’ll have
My award winning work is a culmination
of all the great advice I’ve received, both
the opportunity to talk to these guys too.
about photography and about the Awards
themselves. So here are a few things in no
people’s time is a great trait to develop, whether
particular order I’d like to share that I’ve mostly
it be through appreciative words or a bottle of
And remember, showing gratitude for other
(Above) The printing of this Silver winning photograph by Photo Mounts & Albums was immaculate, but now I keep staring off to the left hand side after a comment made by one of the judges! (Below) Even something as simple as shooting through foreground trees shows a photographerâ€™s deliberate compositional choices. This one scored Silver. [The article is based on Mattâ€™s blog which you can find here: http://mattmakes.photos/things-ive-learned-entering-aipp-photographic-awards/]
5. Printing is paramount
3. Understand the presentation tastes of a
I suck at printing, so I leave it to the experts.
Develop an ongoing relationship with a printer,
Every competition has rules about how things
discuss your prints and photographs with
should be presented. They are all listed in black
them, and seek their advice on potential paper
and white for all to see. What isn’t written is the
choices and approaches to the print.
taste of a competition.
own opinions. You are the artist, but AIPP award
A black mat might work well in camera
This is not to say you should disregard your
clubs, whereas a white mat of some kind might
printers have been in the business a long time
work better for the AIPP. Landscape images are
and can teach you a thing or two!
often placed on a portrait orientated mat at
6. Show the judges something new
If you are showing the judges something
You can do whatever you like within the
they’ve seen before, it will have to be one of the
rules, but unless you have a compelling reason
best examples of that subject they’ve ever seen
to do something unusual that compliments the
to get across the line, right?
photograph you are showing, simple and in line
with competition expectations is generally best.
something that makes them stop for a second,
4. Flip it upside down
your score will likely go up. Some of the best
In graphic design, we talk about a visual
photographers I know are the ones that take
hierarchy, the order in which an eye will travel
subjects we see every day and show them to us
around a design and acknowledge elements
in a completely new way.
and text. The same is true in photography. To
7. The key to your award winning photo-
conquer a photograph, we must dictate where
people look and in what order.
Ian Poole’s first advice for me, after scoring
73 for a print that I loved, was that an award
But sometimes we are too close to the
If you bring them something different,
subject matter, so we can’t see things in the way
winning photograph often needs a key to
a stranger will. To break our connection with the
subject and better analyse where people will
look, turn your image upside down. Before you
It could be a little bent post in a beautiful
know it, you’ll be wondering why on earth your
landscape composition, as it is with one of
subject’s elbow was the brightest thing on the
Ian’s pieces. It could be a mop and bucket to
elaborate on the story of a humble pianist,
What is this key? Well, that is the mystery.
as Adam Hourigan’s top scoring print in
Clean up those little technical details. Retain
Queensland 2015 showed us.
detail in the shadows and don’t blow out your
highlights unless you have a reason for it.
There are so many things this key could be,
but it’s probably one of the hardest things to
plan for or identify. But you’ll know it when you
will pick up on it, even if that’s how the scene
see an amazing image and think to yourself,
“It wouldn’t be nearly as amazing without that
tiny detail”. However, you don’t want to smack
Give them something immaculate. If your
people in the face with this key or it might
photograph is good enough to win an award,
come off as too contrived.
don’t let them take it off you over anything silly
8. The photographer must bring some-
thing to the image
11. When it’s time to talk categories...
It’s not enough to find an amazing viewpoint,
One of Australia’s best young judges Adam
a natural wonder or and interesting person,
Finch told me to always go for a category. I have
and take a photo that documents it. You
seen quite a few photographers with amazing
have to bring some control to that image
portfolios miss out on being a finalist and
as a photographer by utilising deliberate
potentially winning a category because they
composition and lighting.
didn’t enter all their images in one category.
9. No one cares if the photograph was hard
to compete in the ‘Creative’ category which
If you hike up a figurative Mount Everest to take
takes into account those who enter multiple
a photograph and miss the mark, it’s a missed
categories, but if you want to try and win that,
opportunity, not an award print!
then take the same advice and plan for that too.
12. Be brave
No one cares how hard it was to take the
If something doesn’t seem right, the judges
Don’t give them anything to pick on.
At a national level, you have the opportunity
photograph. The print is judged, not the process
The more you put yourself out there, the better
of taking it.
you’ll get. And sometimes you have to make the
call to go with your gut feeling on something,
Sometimes a judge will recognise your
efforts and that is a wonderful thing. The reality
even if someone is telling you the image won’t
is most top award prints took a lot of effort to
do well. Every so often you might just prove
create, even if the photographers worked their
people wrong. The first time you hear someone
butts off to make it look effortless.
like Mike Langford passionately argue on behalf
10. Don’t give judges anything to pick on
of your print, you’ll be hooked.
Hiring Another Photographer
I f y o u n e e d h e l p t o r u n y o u r b u s i n e s s , Pe t e r E a s t w a y s u g g e s t s t h e r e a r e o p t i o n s o t h e r t h a n e m p l o y i n g s t a f f.
Employing staff is a big step for a small business.
thoroughly. They can work as second shooters
With it comes responsibilities such as income
or simply as equipment and service assistants.
tax, superannuation and the need to have
Once again, they are only hired when you have
sufficient income to cover the weekly wages
a job, so it’ s not an ongoing expense.
use the photographs they take on your jobs,
Of course, there are other options,
Generally, assistants have no rights to
depending on the help you need.
certainly not without your express permission.
If you have a lot of work on, you can hire
employees in some situations, in which case
another photographer to do the job for you - a
superannuation may be payable.
subcontractor. The advantage of this approach
is that you only have to hire the photographer
Casuals are like assistants in that you only hire
when you have enough work. If there’s less
them when needed, but you need to withhold
work, you do it yourself.
tax from their wages and pay super. This
requires you to register as an employer with the
Subcontractor photographers are sent out
The tax office may see assistants as
to do the shoot without you, so when hiring
them, you need to ensure they have the skills
Part-time or Fulltime Employees
and the manners to match your business’s
With part-time and fulltime employees, you
reputation. And you should be clear about who
have a regular expense, so whether you have
has what rights with the resulting photographs
a lot of income or not, you still have to pay the
- who owns the copyright, what usage the
wages. This can cause cash flow shortaqes and
client has and, importantly, if the subcontractor
add to the stress of running a business, so it’s
is able to use the images for his/her own
something most small businesses put off until
portfolio and marketing.
they are fairly well established.
Photography assistants can help you get
the images they take when working with you,
through the job more quickly or more
certainly not to market themselves.
Employees generally have no rights to use
Vale: Tony Whincup, NZIPP
A u s t ra l i a a n d N e w Z e a l a n d r e f l e c t o n o n e o f o u r p r o f e s s i o n’s most influential thinkers and educators. 1944 – 2015
The question that underpinned this book
Tony Whincup was Professor and Head of
was, ‘What is the value of traditional dance in
School, Visual and Material Culture at Massey
contemporary society?’ His questions were
University. He was a Fellow of the New Zealand
always the driving force behind his work.
Institute of Professional Photographers (the
Institute’s highest honour).
a wonderful orator, presenter and awards
His research interests were primarily
judge, both in New Zealand and in Australia.
concerned with issues of self-definition
As Toronto based photographer and Chair of
and inter-generational continuity. His work
the WPPI, David Williams said in his letter of
emerges at the interface of the disciplines
of photography and anthropology. He used
galleries, publications and conferences as sites
commenting on images in print competitions,
to explore and communicate his ethnographies.
with intelligence and relevant references that
To the photographic community he was
‘Tony Whincup taught me so much about
went far beyond much of what was on offer at Kiribati
the time. He took the trouble to guide you in
For the past 38 years, his photo-ethnographic
your photographic awareness and make you a
practice has been based primarily in Kiribati. His
better person for it’.
research examined the social role of traditional
dance, the mwaneaba (meeting house), canoes
and artefacts. A range of media including
Tony’s judging style changed the way we all
video, sound, drawing and still photography
look at photographic images, as well as how
as well as written text were used in both the
we comment on them. He lead by example, by
documentation and communication of this
going out and photographing weddings in his
own enquiring style, bringing with it his own
anthropological background and applying it
His fourth book ‘Akekeia’ Traditional Dance
in Kiribati, won the New Zealand Montana
to the ritual of traditional weddings and the
Book Award in the illustrative category in 2002.
subsequent photography. His images resulted
in Gold awards that broke new ground and
he referred to as the ‘babble’ in photography –
taught us to see differently.
the distracting things that get in the road of the
communication of the story. He loved images
This was the way Tony taught – by doing it
himself and then taking us by the hand, walking
that told stories and would often say to his
us through the process of understanding
fellow judges after speaking for a print, ‘I would
and then applying the thought to our own
encourage you all to look and consider this
print just one more time … closely’”. And we all
did and always found something worthy of his
He was a visually literate man who loved to
ask questions of his fellow judges.
He referred to photography as ‘visual
Tony was a gentle man with a soft voice and
communication’ and that to document
a subtle sense of humour. The twinkle in his eye
something visually is to ‘testify to it’. He believed
always alerted you to his love of life and the love
in the decisive moment as being a very
he had for sharing his knowledge, which he did
important part of the photographic process
and regularly emphasised how important it is as
a photographer to be in the right place at the
knowledge will stay with us all forever.
right time and with the right framing.
Left: Tony Whincup. Right: An example of Tony’s wedding photography which at the time broke new ground in the way we work.
His presence will be long missed, but his Farewell, my friend the aesthete!
More importantly, he taught us about the
importance of the ‘Intent’ of the photograph
Mike Langford is a past president of the NZIPP, a
and to understand the purpose of what we do
Grand Master of Photography and Fellow of the
and how we do it.
NZIPP, and a Master of Photography and Fellow of
He warned us not to get distracted by what
Po r t a b l e s t u d i o f l a s h t h a t c a n o p e r a t e m a n u a l l y o r f u l l y a u tomatically with T TL exposure control.
With photography becoming so easy for
to provide fully automatic exposure control.
people with smartphones, how do you create
If you want it. Full manual is also available, of
photographs that are distinctly different from
the available light snaps that flood social
normal flash sync shutter speeds, the B2 has
an HSS (High Speed Shutter Sync) mode, so
It’s true that great photographers can find
If there’s too much ambient light around for
magic light almost anywhere, but it’s also true
you can shoot at speeds up to 1/8000 second,
that these same photographers will use flash
although there is a drop in flash output.
when they have to – or for special effect.
The B2 in its simplest configuration consists
cameras and five times as powerful as the
of a battery pack and a head.
average speedlight. Importantly, it can be used
The battery pack can be put on the shoulder
with the entire range of Profoto Light Shaping
or hip, while the head is small and light enough
Tools. All this in a head with the same size and
to be mounted onto a monopod or a bracket
weight as a speedlight.
on the camera.
want to compromise its portability by using
This will allow the photographer to keep
The B2 is fast enough to keep up with most
Of course, with such a small head, you don’t
moving, but if that is not necessary, both the
large light shapers. The Profoto Off-Camera
pack and head can be put on a light stand and
Flash Light Shaping Tools are smaller and more
the B2 can be wirelessly controlled from the
lightweight than studio light shapers. Available
are four small softboxes, a grid kit, a snoot and a
Of course, there are other portable flash
units around with similar features, but none that
You can purchase a single B2 and head,
give you full TTL flash control with Canon and
or you can purchase the B2 in kit form with
multiple heads and an assortment of light
The flash is fired remotely using a special
transmitter/receiver (available separately) which
For more information about the Profoto
links directly into the camera’s exposure system
B2, visit www.lapfoto.com.au
(Left) The new Profoto B2 flash system - it can be purchased with just one head, or as a kit with two heads and an extra battery. (Above left) Tim Bauer had his model whacking balloons full of water for this effect, each droplet frozen by the B2 flash unit. (Above right) David Oliver talked his daughter Clare back into wearing her wedding dress for an outdoor shoot in harsh sunlight - you wouldn't know it from the quality of the light provided by an umbrella and the Profoto B2. (Below) The B2 sitting comfortably on a DSLR using a bracket.
Higher Profits From Value Adds
Gary Jorgensen explains how wedding photograhers can increase their income simply by offering their clients a little something more. As an album manufacturer, Gary Jorgensen
products in addition to or instead of the
has a lot of experience in the wedding game.
digital files. By offering other products, you’re
His association with many of the country’s
providing a valuable service to your clients and,
best wedding photographers means he gets
despite their initial protestations that they don’t
to see and understand what’s happening and,
want to spend much money on photography,
importantly, what’s selling.
many people spend up big if the products
being offered are attractive enough.
“Over the past five years or so, there has
been a noticeable drop in sales of what might
now be called “full blown” albums, i.e. the large
work is how you package the digital files. Think
magazine style albums or the more traditional
of chocolate: you can buy Cadbury or you can
buy Lindt. Cadbury is in a plastic wrapper, Lindt
is in a beautifully printed cardboard case. You
“Today, more photographers are selling
images on DVD or USB.
know you’re going to spend more on the Lindt.
“You could argue all day about why this has
happened, but it has and we have to deal with
Photo Prints With Digital Files
So, when you present your files to your
wedding clients, rather than handing them a
Experts explain that technology has made it
very easy to become a wedding photographer,
small, unadorned DVD or USB drive, present
which is why there are so many new
them in a smart case with some prints as well.
photographers in the industry today. However,
many of these new wedding photographers
double DVD, and then USBs, but this was more
have never learnt about albums, prints or other
about packaging than selling a value added
add-ons, thinking that the only thing they have
“product”, such as an album.
to sell are their digital files.
sold DVD and USB mini albums where a
To create a more profitable business,
wedding photographers can offer their clients
One way to provide perceived value in your
“We used to offer cases that held a single or
“For a number of years now, we have
photographer can present their digital device
DVD and USB mini albums include 10 or 20 prints which are easily stuck into place. The USB or DVD slips neatly in to the back of the album.
along with a showcase of 10 or 20 of their
start at less than $125 with 15 spreads (double
favourite images (or the clients’ favourites).
pages), but you can price them for your clients
at three, four or five times this when you add in
“I try to encourage photographers to do this
as a matter of course, to at least show what a
well-printed and edited image can look like in an album. We also offer print boxes in various
sizes and coverings.”
Whenever you deal with your clients, branding
is an important way to make an impression.
There are two approaches to selling these
mini albums. You can simply include them
There are a lot of photographers in a crowded
with every package and hope they work as a
market, so strong branding can make a big
marketing device - the bride and groom will
difference in obtaining repeat and referral
show your work around to their friends who
will be impressed enough to hire you for their
wedding. You could increase your price to
a professional look and touch of class to the end
accommodate the small cost of producing the
sword, especially if you hand out your digital
Optionally, you can include a mini album
Explained Gary, “A branded product presents
Of course, branding can be a double-edged
on your price list as an addition, so for an extra
files to clients and they are not presented very
$100 or $500 your clients can have a product
well. However, the counter argument is that
they can show, with or without a power supply.
most people are looking at the content of the photograph, not the subtle colour casts or
Don’t Forget Albums
contrast curves we worry about, so including a
“However, I haven’t given up on selling albums”,
watermark on your digital files and a logo on all
your printed products makes good sense.
“Our latest album addition is the Press Book.
Running a successful wedding and portrait
The smaller 6x6” or 5x7” sizes are ideal as an add
photography studio is a lot of small decisions
on to a portrait session or as parent albums for
that add up to a profitable business.
a wedding, and we go right up to 12x12” and
10x14” sizes. It’s a great looking product that
Gary Jorgensen is the director of Jorgensen Albums,
is printed on beautiful paper and bound into a
situated in Balcatta, Perth, W.A. You can see the prod-
hard cover, complete with a gift box.”
ucts described and visit Jorgensen’s online shop at
Importantly, these products from Jorgensens
There is still a strong market for albums, if you know how to sell them. Successful photographers talk about the longevity of a printed product, compared to digital products that may not work in 20 years time when there are no DVD players or USB slots. In comparison, an album is very likely to be around for children and grandchildren to see. Gary Jorgensen also recommends photographers brand their work. Examples of Jorgensen Album products above. 49
May 2015. The official journal of the Australian Institute of Professional Photography.