Working Pro 216

1

Working ProThe

Issue 216 • October 2013

© George Fragopolous

© Ross Eason

© Mercury Megaloudis

© Michael Langford

© Mark Broadbent

© Caroline Bowen

© Julie Ewing

© Robyn Hills

© Joshua Halko

© Tim Griffith

50 years as the membership organisation of choice for professional photographers.

The world we live in has changed drastically during the last 50

years. Photography has changed radically in the last 50 years

and the AIPP has adapted to keep up with these changes.

Throughout the last 50 years, the AIPP has always

represented the best interests of its members and the

professional photography community.

Why not make 2013 the year you join the AIPP?

Together we can be stronger...

As an added incentive, to help us celebrate 50 years, if you

join the AIPP in 2013 either as an Accredited Professional

Photographer, or an Emerging member, we will give you a $50

voucher which you can use to reduce the cost of attending

any AIPP event, seminar, workshop or awards entry fee.

www.aipp.com.au

5C E L E B R A T I N G 5 0 Y E A R S

Aus

tra l

i an

I ns t i t u t e o f P r o f essio

nal Photography

In 2013 the AIPP celebrates 50 years

© George Fragopolous

© Ross Eason

© Mercury Megaloudis

© Michael Langford

© Mark Broadbent

© Caroline Bowen

© Julie Ewing

© Robyn Hills

© Joshua Halko

© Tim Griffith

50 years as the membership organisation of choice for professional photographers.

The world we live in has changed drastically during the last 50

years. Photography has changed radically in the last 50 years

and the AIPP has adapted to keep up with these changes.

Throughout the last 50 years, the AIPP has always

represented the best interests of its members and the

professional photography community.

Why not make 2013 the year you join the AIPP?

Together we can be stronger...

As an added incentive, to help us celebrate 50 years, if you

join the AIPP in 2013 either as an Accredited Professional

Photographer, or an Emerging member, we will give you a $50

voucher which you can use to reduce the cost of attending

any AIPP event, seminar, workshop or awards entry fee.

www.aipp.com.au

5C E L E B R A T I N G 5 0 Y E A R S

Aus

tra l

i an

I ns t i t u t e o f P r o f essio

nal Photography

In 2013 the AIPP celebrates 50 years

Working ProThe

C o n t e n t s# 2 1 6 - O c t o b e r 2 0 1 3

4 President’s Message Kylie Lyons reports back on APPA and the APPA dinner - what a great AIPP 50th Anniversary Celebration!

8 2013 APPA Honour RecipientsHere is the definitive list of new Associates, Masters and even a handful of Grand Masters of Photography.

1 0 Seeing Is BelievingWatching APPA online is one thing, but seeing the physical prints is quite another. Do you know how good those prints really are?

1 2 The Big One - Canon APPA 2013Tony Hewitt is the 2013 Canon AIPP Australian Professional Photogra-pher of the Year.

1 4 APPA Category WinnersThere was some amazing work at APPA this year! Take a look at the cat-egory winners and finalists. Did the judges get it right?

4 6 Handling Telephone InquiriesBlake Discher says there are some questions you should and should not ask when someone rings you up for a quote. What they are?

4 8 The Million Dollar DreamHow do you become a photographer with a million dollars? Matt Ebene-zer manages the rash of photo seminars and their expectations.

5 0 Editor’s Selection - APPA WinnersA selection of entries that caught the editor’s eye from the 2013 Canon AIPP Australian Professional Photography Awards.

5 4 Photo CritiqueWhy did these photos earn Silver Awards? What else could be done? Read Peter Eastway’s observations and suggestions.

5 6 Claiming Travel As A Tax DeductionFamily holidays are still private, but there may be ways you can get a tax deduction if properly planned.

5 8 I Didn’t Get Any Silvers! Should I Give Up?Disappointment at APPA should be expected - 60% of entries don’t earn Silver, but there is a silver lining! Peter Eastway explains.

6 0 Should I Ever Sell My Copyright?Is there a fair price in special circumstances? Of course there is – copy-right is something you can use as a negotiation tool.

3 0 Cintiq CompanionWacom has two new tablets to play with that are as much computer as a pointing device. In fact, perhaps they will replace your laptop and tablet?

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 associat-

ed 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 infor-

mation provided herein. The Working Pro presents information, opin-

ions 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 protected]

AIPP Membership Contacts

Suite 5, 205a Middleborough Road, Box Hill

South, Victoria 3128

Phone: 03 9856 0700; Fax: 03 9899 6577

E-mail: [email protected]

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 • 86

Tony Hewitt G. M. Photog., FNZIPP, Hon. FAIPP2013 CANON AIPP AUSTrALIAN

PrOFESSIONAL PHOTOGrAPHy AWArDS

4

APPA 2013 Huge Success!K y l i e L y o n s M . P h o t o g I . H o n . L M , N a t i o n a l P r e s i d e n t

In this APPA wrap-up edition of The Working

Pro, I’d firstly like to congratulate everyone who

entered the Canon AIPP Australian Professional

Photography Awards, all the winners of the cat-

egories and highest scoring prints, as well as

new Associates, Masters of Photography, Grand

Masters of Photography and those who re-

ceived a Gold Bar.

Special mention goes to the girls who organise

the “backroom” with all the trophies and framed

certificates in preparation for the presentations.

In fact, I congratulate you the most because you

were able to keep the actual Canon AIPP Profes-

sional Photographer of the year winner a secret

from the winner himself: Tony Hewitt.

As many of you know, Tony is a great MC for

our event because he is a perfectionist who runs

a tight ship. As MC, he likes to be prepared and

know all the details so that the night can run

smoothly. How would we keep the big prize win-

ner a secret? Well, the fact that it was a surprise

to Tony when he was named the winner was a

great treat for all of us, too! Tony was very emo-

tional and made a wonderful thank you speech.

APPA Dinner

The APPA Dinner was also a chance to hon-

our many other members in this, the celebra-

tory year of the AIPP’s 50th Anniversary. As you

know, the AIPP is still largely run by volunteers

and relies on the volunteer ethos. This ethos

was established and grown by our former lead-

ers. We were able to get all but two of the living

past presidents onto the stage. For me person-

ally, this was a very emotional moment, seeing

these presidents catch up before us all.

On behalf of the current National Board, I

would like to thank the past presidents for their

work that they and their boards have done for

the Institute over the years, and thank them

again for making the special effort to join us for

the celebrations.

As part of the celebrations for our 50th Anni-

versary, we introduced a few new awards:

President Cup:

It was apparent that there was always a friendly

state rivalry at APPA. Each state claimed they did

better than the other by the number of awards

received or the number of category winners.

However, there was never any official records to

prove it.

This year we introduced the Presidents Cup,

an ongoing perpetual trophy awarded to the

state that has the highest average print score.

We take the aggregate of all entrants scores

Top Left: Spanning the years - the oldest living president David McCarthy hamming it up for the camera (as usual!) with

the current president, Kylie Lyons. Top RIght: The 50 Year Birthday Cake. Below: All the presidents on stage at the AIPP Dinner.

Thanks to Craig Wetjen who took most of the publicity photos on the night - a big job!

6

and divide it by the number of entrants for each

state to find the result.

The inaugural President’s Cup was won by

the ACT with an average print score of 81.75.

The Presidents Cup will be up for grabs next

year again and I hope this competition brings

about a healthy rivalry between all the entrants.

History Book

A little while ago, the realisation that a special

anniversary was coming lead us to think not

just about where we are going in the future, but

also where we had come from.

richard Bennett, Chairman of our Honours

Committee, took on the responsibility to docu-

ment our Institute’s history and his first decision

was to contact our good friend Paul Curtis and

task him to research and write a book.

Some may say, including Paul himself, that

the project was bigger than Ben Hur. Docu-

menting the 50 years of the Institute through

the changes and growth of the profession of

photography in our country was some chal-

lenge.

However, having spent countless hours on

this project, Paul has produced a wonderful his-

torical tome: A History of Professional Photogra-

phy in Australia.

I know Paul will not want to take all the

credit for this book and I know he will want to

thank those who assisted him including Paul

Burrows, Peter Eastway, richard Bennett and

David McCarthy.

On behalf of the AIPP Board, I too thank all

you gentlemen for your knowledge and input

into creating a book that will serve as a wonder-

ful record of our history and that can now be

purchased online via the AIPP store.

Distinguished Service Award:

Also in making preparations for our 50th An-

niversary, it became apparent that certain in-

dividuals, despite having achieved the highest

honours possible, continue to contribute to the

success of the AIPP. Almost a lifetime of dedicat-

ed service, you might say.

With this in mind, the Institute has commis-

sioned a new award to recognise long term

service to our Institute of certain members. This

new award is called the Distinguished Service

Award. The AIPP took great pleasure in award-

ing the first Distinguished Service Award to Ian

McKenzie.

When considering members who would

be worthy recipients of this award, there was

always more than one name on the table and

this is where it got a bit tricky and a bit of secret

squirrel work was required.

We awarded a second Distinguished Service

Award this year to richard Bennett. Both gentle-

men continue to work for the Institute on com-

mittees and projects and we thanks them for

that ongoing commitment.

The Distinguished Service Award is a pin

that is worn on the honours ribbons and will

be an ongoing award that can be awarded any-

time for those members who continue to pro-

vide their assistance to the running of the AIPP.

I certainly hope you got to watch some or all

of the awards judging and dinner presentation

via live stream and we must thank DigiDirect,

our sponsor who made that available for free for

all our members.

The live streaming recordings are still avail-

able to view on the blog, so as always, get on-

line and get involved!

[email protected]

0411 552 488

The Presidents of the AIPP.

Left to Right, back row: Eric Victor, David McCarthy, Greg Hocking, Ian McKenzie, Will Street, Rob Gray, Richard Bennett, Mark Fitz-Gerald, Kevin O’Daly,

Marc Fenning. Centre: Alice Bennett, Kylie Lyons, Jacqui Dean. Front row: Phil Kuruvita, Ian van der Wolde.

Living presidents unable to attend: Malcolm Mathieson and Robert Edwards. And we’re also missing Peter Foeden who did make it that evening!

Photo: Craig Wetjen.

mailto:kylie.lyons%40aipp.com.au?subject=Member%20email%20to%20Kylie%20about%20the%20AIPP

8

2013 APPA Honour recipientsNew AIPP Associates for

2013

The following recipients have

been awarded the honour of

Associate.

Alan Hughes

Alison Lyons

Andrew Kwintowski

Angela Truscott

Anna-Nicole Del-re

Aran Anderson

Bambi Wixon

Belinda Cook

Belinda Fettke

Benjamin Lynch

Bianca Dopson

Brendan ray

Brent Leideritz

Caroline Bowen

Chantelle Bliss

Chris Elfes

CM Leung

Craig Moodie

Dan Cripps

Danielle Stahl

Darren Bennett

David Glazebrook

David Henry

David Stowe

Dean Mansbridge

Doug Hall

Elise Kapeller

Elizabeth Bull

Erin Hoskins

Fiona King

Fran Paysen

Gee Greenslade

Gemma Higgins

George Fragopoulos

Grace Costa

Henry Coughlin

Jennifer Stocks

Jeremy Byrnes

Jessica Truscott

Johl Dunn

Jonas Peterson

Joshua Holko

Karen Woo

Karl Monaghan

Katie Kolenberg

Katrina Ferguson

Kelly Brown

Kenny Foo

Kerry Martin

Kirsten Graham

Kristen Cook

Kristian Piccoli

Kristie Lee

Ky Luu

Lars Paysen

Leanne Clements

Lee Duguid

Leon O`Neil

Libby Jane

Linda Beks

Lisa Clark

Louise Williams

Lynda Coulson

Marty Schoo

Matthew Ebenezer

Melanie Kellermann

Michael Smith

Michael Zervos

Naomi Bubner

Naomi Sheerman

Nathan Maddigan

Nicole ramsay

Nora Devai

Peter Blakeman

Peter Kalogris

Peter Smith

rainee Lantry

robert Cianflone

robyn Geering

Sara Pearcy

Sarah Black

Scott Carle

9

New AIPP Associates for

2013 (Continued)

Seth Buchanan

Shane Chalker

Stan Kisler

Susan Wall

Tanya Love

Terry Hann

Tim Burder

Tom Hall

Tyler Alberti

New AIPP Masters of

Photography for 2013



Master of Photography.

Adam Hourigan

Alan McDonald

Alicia Adamopoulos

Ben Kopilow

Bianca Dopson

Bianca Woolhouse

Debbra ross

Franca Turrin

Glen Knoblauch

Greg Sullavan

Haley richardson

Hilary Hann

Kelly Brown

Keren Dobia

Kevin Chamberlain

Lynette Hewitt

Mark rossetto

Mark ruff

Natalie Howe

Samantha Lishman

Steve Wise

Tanya Love

Tom Putt

New Gold Bars for 2013

After achieving the their Masters

of Photography, the following

recipients received additional

Gold Bars which represents an

additional 10 points earned

within 5 consecutive years.

First Gold Bar

Andrew Gregory

Damien Bowerman

Frances Suter

Kelly Feil

Kira Likhterova

Sarah Jackson

Vicki Bell

Second Gold Bar

Cameron Attree

Darren Jew

Graham Monro

John Coxon

Pamela Verwey

Warren Bellette

Third Gold Bar

Mark Duffus

Fourth Gold Bar

Vittorio Natoli

Fifth Gold Bar

Andrew Campbell

David Paterson

Gregory Hocking

Jackie ranken

robyn Hills

Seventh Gold Bar

rocco Ancora

David Oliver

Eighth Gold Bar

George Apostolidis

Tim Griffith

Peter rossi

New AIPP Grand Masters of

Photography for 2013



Grand Master of Photography.

robyn Hills

Gregory Hocking

David Paterson

Jackie ranken

10

Seeing Is BelievingP 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

There are a lot of reasons for attending APPA

each year. I’ve only missed one event in the last

30 years, but not because I’m going for a record

(richard Bennett has that well and truly won as

I think he has been to every APPA!) What I love

about APPA is the excitement of the judging

process, the complete faith we all put in a panel

of five judges to come up with a score that is

fair and reasonable.

Of course, we don’t always agree, but at the

end of the awards process, there’s no denying

the judges have selected a magnificent portfo-

lio of work that represents professional photog-

raphy in Australia today. There is no other event

that comes close.

On The Wall

While many of the friends I see have been at-

tending APPA for years, others are new friends I

have met through workshops, trips and through

Facebook. It’s great watching them respond to

the same excitement, but being a self-centred

type of person, I’m normally too worried about

how my prints are going to pay much attend-

tion to ‘them’.

However, a couple of APPA-newcomers

commented to me how good the print qual-

ity was. As they walked around the outside of

APPA looking at all the successful prints hang-

ing on the walls, the thrust of their observation

was that they simply had no idea how high the

standard of printing was.

Sure, you can think your image looks good

on a computer screen, but does it translate into

print? Many photographers tweak their images

on their monitor and then press print. When

they pick up the print, they don’t really look at

the print properly. They simply assume it is the

same as what they saw on the monitor, but this

isn’t always the case. And it isn’t what the judg-

es see either!

Even with a correctly colour managed work-

flow and the best printer profiles, the art of pro-

ducing an award winning print requires more

than a button press.

On My Wall

When I think an image is ready, I make a print

and pin it on my studio wall. Then I live with it

for a few days or weeks, using a pencil to mark

corrections and adjustments.

The final print will have dozens of subtle

tweaks that make all the difference to the way

I feel about the print. Certainly they are gold

when I send them off to APPA, it’s just they usu-

ally come home a differet colour!

11

Iceland. Silver with Distinction at APPA. Photo by Peter Eastway.

12

The Big One!C a n o n A I P P P r o f e s s i o n a l P h o t o g r a p h e r o f t h e Y e a r

The 2013 Canon AIPP Australian Professional

Photographer of the year is Grand Master of

Photography, Tony Hewitt. Tony also won the

Landscape category and his four amazing imag-

es (shown above) were aerials taken over Shark

Bay, Western Australia.

The high colour reproductions were consid-

ered brave entries for the professional awards,

but it paid off! Tony wins a $20,000 Canon EOS

professional camera outfit and he will be able to

pick and choose from some amazing cameras

and lenses.

Melbourne Event

The APPAs were held in Melbourne this year,

and later than usual. The normal Sydney ven-

ue is under renovation, so it wasn’t possible to

book the Melbourne venue during May as nor-

mal, so entrants had a few extra months to get

their prints and digital entries ready.

This year, the Canon APPAs attracted 826

photographers with 3026 print entries in 12 cat-

egories.

Of course, not all categories require print en-

tries these days. The advertising, fashion, com-

mercial and sport categories are entered as digi-

tal files, simply because this is what professional

photographers provide to their clients. How-

ever, the art of producing a print is still alive and

well in all the other categories.

To win a category, photographers can enter

four images and the three highest portfolios,

based on the scores received in the judging

process, are then further assessed by a senior

13

P H OTO G R A P H E R O F T H E Y E A R2013 C a n o n aIPP a u s t r a l I a n P r o f e s s I o n a l P h o t o g r a P h e r o f t h e Y e a r - W I n n e r

Tony Hewitt G.M.Photog, FNZIPP, Hon. FAIPPs P o n s o r e d b Y C a n o n

judging panel. This process is designed to re-

move any inconsistencies in the judging or be-

tween judging panels.

There is also an extra category which picks

up photographers who enter in multiple cate-

gories – this is called the Creative category and

it was won by AIPP Grand Master of Photogra-

phy, Peter rossi.

Of the three thousand entries in the 2013

Awards, just 0.23% earned Gold with Distinction

(for 95 points or higher), 2.83% earned Gold (for

90 to 94 points), 7.94% earned Silver with Dis-

tinction (85 to 89 points) and 31.32% earned Sil-

ver.

This means that roughly 40% of entries

reached the desired ‘Silver Award’ standard

which also accumulates points towards AIPP

photography honours such as Associate, Master

of Photography and Grand Master of Photogra-

phy.

All the category finalists are then brought

together for a final assessment in front of an ex-

perienced and distinguished panel of previous

PPy and category winners, Masters and Grand

Masters of Photography.

The judges are locked in a room and not al-

lowed to exit until the Professional Photogra-

pher of the year winner is decided!

For more information and to see the other

award winners, visit the AIPP’s website: www.

aipp.com.au.

14

A D V E R T I S I N G2013 aIPP a u s t r a l I a n a d v e r t I s I n g P h o t o g r a P h e r o f t h e Y e a r - W I n n e r

Easton Changs P o n s o r e d b Y h I g h v o lta g e M a r k e t I n g & f o t o M e r C h a n t

15

fInalIst

Ian Tjhan AAIPP

hIghest sCorIng PrInt

Liam West AAIPPA D V E R T I S I N G

fInalIst

Mitch Hemming

16

FA S H I O N2013 aIPP a u s t r a l I a n f a s h I o n P h o t o g r a P h e r o f t h e Y e a r - W I n n e r

Peter Coulson M.Photog.s P o n s o r e d b Y b o W e n s

17

fInalIst

Stefanie King AAIPP


Peter CoulsonM.Photog.FA S H I O N

18

CO M M E R C I A L / A R C H I T E C T U R A L2013 aIPP a u s t r a l I a n a r C h I t e C t u r a l P h o t o g r a P h e r o f t h e Y e a r - W I n n e r

William Long M.Photog., MNZIPP, FBIPP, FRPSs P o n s o r e d b Y PPIb

19

fInalIst

Tim Griffith G.M.Photog., FAIPP

fInalIst

Kevin Chamberlain M.Photog.


Kevin Chamberlain M.Photog.CO M M E R C I A L

20

D O C U M E N TA R Y2013 aIPP a u s t r a l I a n d o C u M e n ta r Y P h o t o g r a P h e r o f t h e Y e a r - W I n n e r

Victoria Berekmeris P o n s o r e d b Y P I x l e s a n d r a e & b e n n e t t

21


Victoria BerekmeriD O C U M E N TA R Y

22

I L LU S T R AT I V E2013 aIPP a u s t r a l I a n I l l u s t r at I v e P h o t o g r a P h e r o f t h e Y e a r - W I n n e r

Kaye Davis FNZIPPs P o n s o r e d b Y IPs

23

fInalIst

Hilary Hann M.Photog.

fInalIst

Charmaine Heyer G.M.Photog


Peter Rossi G.M.Photog.I L LU S T R AT I V E

24

L A N D S C A P E2013 aIPP a u s t r a l I a n l a n d s C a P e P h o t o g r a P h e r o f t h e Y e a r - W I n n e r

Tony Hewitt G.M.Photog, FNZIPP, Hon. FAIPPs P o n s o r e d b Y C a P t u r e o n e

25

fInalIst

Jackie Ranken G.M.Photog.

fInalIst

Elizabeth Bull, AAIPP


Ginette SnowL A N D S C A P E

26

P O R T R A I T2013 aIPP a u s t r a l I a n P o r t r a I t P h o t o g r a P h e r o f t h e Y e a r - W I n n e r

Mandarine Montgomery M.Photog.s P o n s o r e d b Y k aY e l l a u s t r a l I a

27

fInalIst

Damien Bowerman M.Photog.

fInalIst

Dan Cripps AAIPP


Peter Rossi G.M.Photog.P O R T R A I T

28

FA M I LY2013 aIPP a u s t r a l I a n f a M I lY P h o t o g r a P h e r o f t h e Y e a r - W I n n e r

Robyn Geering AAIPPs P o n s o r e d b Y a t k I n s

29

fInalIst

Naomi Bubner

fInalIst

Shanna Jones AAIPP


Tanya Love M.Photog.FA M I LY

30

W E D D I N G S2013 aIPP a u s t r a l I a n W e d d I n g P h o t o g r a P h e r o f t h e Y e a r - W I n n e r

Ky Luu AAIPPs P o n s o r e d b Y C o M P l e t e W e d d I n g & s t o r Y I n P r I n t

31

fInalIst

Tom Hall AAIPP


Nick GhionisM.Photog.W E D D I N G S

fInalIst

Todd McGaw M.Photog.

32

S C I E N C E, E N V I R O N M E N T & N AT U R E2013 aIPP a u s t r a l I a n s C I e n C e , e n v I r o n M e n t & n at u r e P h o t o g r a P h e r o f t h e Y e a r - W I n n e r

Darren Jew M.Photog.s P o n s o r e d b Y P r I s M

33

fInalIst

David Stowe AAIPP

fInalIst

Pamela Martin


Darren Jew M.Photog.S C I E N C E, E N V I R O N M E N T & N AT U R E

34

S P O R T2013 aIPP a u s t r a l I a n s P o r t P h o t o g r a P h e r o f t h e Y e a r - W I n n e r

Quinn Rooneys P o n s o r e d b Y l e x a r

35

fInalIst

Adam Pretty

fInalIst

Chris Hyde


Quinn RooneyS P O R T

36

T R AV E L2013 aIPP a u s t r a l I a n t r av e l P h o t o g r a P h e r o f t h e Y e a r - W I n n e r

Mike Langford M. Photog., GMNZIPP, Hon. FNZIPP, FAIPP s P o n s o r e d b Y l o W e P r o

37

fInalIst

Nick Melidonis M. Photog.

fInalIst

Peta Horsten


Mike LangfordT R AV E L

38

C R E AT I V E2013 aIPP a u s t r a l I a n C r e at I v e P h o t o g r a P h e r o f t h e Y e a r - W I n n e r

Peter Rossi G.M. Photog. s P o n s o r e d b Y e I z o

39

fInalIst

Tanya Love M. Photog.

fInalIst

Tina Urie M. Photog.

40

S T U D E N T2013 aIPP a u s t r a l I a n s t u d e n t P h o t o g r a P h e r o f t h e Y e a r - W I n n e r

Emma McEvoys P o n s o r e d b Y k o d a k P r o f e s s I o n a l

41

T E R T I A R Y I N S T I T U T I O N2013 aIPP a u s t r a l I a n t e r t I a r Y I n s t I t u t I o n o f t h e Y e a r - W I n n e r

Photography Studies College (PSC)s P o n s o r e d b Y k o d a k P r o f e s s I o n a l

fInalIst

Arrayah Loynd

fInalIst

Kyle Richardson

42

E M E R G I N G2013 aIPP a u s t r a l I a n e M e r g I n g P h o t o g r a P h e r o f t h e Y e a r - W I n n e r

Kimberley Munros P o n s o r e d b Y C a M e r a P r o

43

fInalIst

Ginette Snow

fInalIst

Carolyn Kimber

44

I N T E R N AT I O N A L2013 aIPP I n t e r n at I o n a l P h o t o g r a P h e r o f t h e Y e a r - W I n n e r

Edwin Tan, Malaysia s P o n s o r e d b Y a d e a l

45

P H OTO G R A P H Y B O O K2013 aIPP P h o t o g r a P h Y b o o k o f t h e Y e a r - W I n n e r

Tim Griffith G.M. Photog. s P o n s o r e d b Y M o M e n t o

f I n a l I s t s : g a r Y C r a n I t C h , C h r I s t I a n f l e t C h e r

A L B U M2013 aIPP P h o t o g r a P h Y b o o k o f t h e Y e a r - W I n n e r

Nadine Saacks s P o n s o r e d b Y a s u k a b o o k s

f I n a l I s t s : d a n o ’d aY , b r o o k d e s M o n d

H I G H E S T S CO R I N G P R I N T2013 aIPP P h o t o g r a P h Y b o o k o f t h e Y e a r - W I n n e r

Peter Rossi G.M.Photog. s P o n s o r e d b Y I l f o r d

46

• •

47

Handling Telephone InqiriesB l a k e D i s c h e r

At the Nikon AIPP Event in Hobart this year,

Blake Discher provided some great suggestions

for handling telephone calls for commercial

photographers.

“Most people only want to book you based

on price – let those people go.” According to

Blake, they are not the right clients for the long

term.

“you’ll also hear clients tell you they are a

non-profit business. However, I’m not and I tell

them so, but I do it nicely because you never

know when you might get recommended in

the future.”

So how do you deal with a client when they

ask straight out, ‘How much’? “What you need to

know is your value. What do you do better than

everyone else? This is what you have to figure

out before you answer the phone because you

can’t compete on price forever.”

So what are you good at? “Maybe it’s your

photography style, the speed at which you

work, or your people skills. you need to figure

it out. And then you may still need to increase

your value by providing something additional,

especially if you’re not delivering enough for the

price you want to charge.”

Blake explained that your job on the tele-

phone is to listen and to ask open ended ques-

tions. Don’t ask yes or no questions because

they won’t lead to a conversation. you want

your prospects to talk about the job and their

business. your job is to be an active listener.

“Don’t take people beating you up on price

badly because that’s their job, to get you as

cheaply as possible. your job is to show them

the value of what you do and to get the price

back up.”

And never educate the client about the costs

of your business. “They don’t care if your camera

is expensive or if you take extra time in post-pro-

duction. All they care about are the pictures.

At the end of a conversation, Blake will say

it has been great talking to them and that he’ll

send them an estimate for the job. “I also ex-

plain that if I’m not the most expensive, I’ll be in

the top two and then I explain why. I explain my

values and why they should hire me. And then

when I have finished, I ask them if they have any

questions they’d like to ask me.

Blake Discher specialises in photographing people

for editorial, advertising and corporate. He is also an

international presenter and works closely with the

ASMP in the USA. He writes a regular blog on nego-

tiating, sales and web marketing which you can reg-

ister for at www.groozi.com.

48More examples of how Matt and Katie think when photographing weddings: the bride and groom shouldn’t be the only focus.

49

The Million Dollar Dream?M a t t E b e n e z e r M a n a g e s S e m i n a r E x p e c t a t i o n s

There are two aspects to being a professional

photographer and you need both to be suc-

cessful: the photography and the ability to run

a business. Matt Ebenezer is skilled at both, but

he argues our profession needs more practical

teachers and fewer ‘rock stars’ to lead the way.

“Being a great photographer doesn’t neces-

sarily mean you’re a great teacher. And similarly,

attending a seminar doesn’t mean you’re go-

ing to discover the secret to success. Everyone

wants a short cut or a magic bullet, but busi-

ness doesn’t usually work this way.”

Matt explains that it’s not hard to have a

business that grows strongly in the first couple

of years, essentially because you’re starting from

a zero base. However, after two or three years,

growing the business or just maintaining it so

you can earn a living is much more challenging.

The photographers who have been around for

five or more years are the ones the profession

should be looking to for guidance.

“The internet is full of advice. Every second

photographer has a blog, offers a newsletter

and is running workshops. There’s probably too

much information and so it’s overwhelming for

a new photographer to know who to trust.”

One solution is to join an organisation like

the AIPP as generally the people invited to pres-

ent have been checked out beforehand. The

other is to look at the track record of the people

who are providing the information.

“If you want to learn, then workshops and

seminars are great, but you shouldn’t sign up for

someone who claims to have made $1 million

in their first year. Sure, a claim like this will get

bums on seats for the presenter, but what you

really want to know is how someone managed

to stay in business for 20 years.

“Some people criticise me for suggesting

that everyone has the potential to be a success-

ful photographer. They say I’m selling a dream

that not everyone can achieve, but I think the

point is that everyone has the potential.

“Not everyone will achieve financial success,

but everyone has the potential. I’m certainly

very grateful to the people in my life who en-

couraged me to dream. Katie and I started our

business with a dream, then we set out to gain

the skills and knowledge needed to make it a

reality. But it didn’t happen overnight.”

Matt and Katie Ebenezer have operated multiple

successful wedding, portrait and video businesses

over the past seven years. They offer popular busi-

ness workshops so visit their blog for more details –

www.mattandkatieblog.com.au.

http://www.mattandkatieblog.com.au

50

There are so many great images at Canon APPA and the Epson State Awards that not every Award gets the attention it deserves. To redress this in a very small way, the editor will present a small selection each issue for your enjoyment.

E D I T O r ’ S S E L E C T I O N

• •

51


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52

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53

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http://www.cloudninephotography.net.au

54

There is a lot of unused blue

sky – this is fine if the cli-

ent has requested it, but

otherwise composition is

lacking.

The foreground is very busy. It is not exactly clear what the viewer is supposed to look at down here.

Is this the best camera angle

available, assuming that Parlia-

ment House is to be the base?

P H O T O C r I T I Q U E

65SCORE

Why don’t some prints make it to Silver or Gold? While you can never predict the judges’ reaction with certainty, sometimes there are aspects or features in a photograph that let it down. Past APPA Chairman and Grand Master of Photography Peter Eastway has, with the photographer’s permission, reproduced this image because it didn’t receive a Silver or Gold Award. His observations are designed to help others assess images from a judging perspective, with the view to improving not only their Award entries, but their professional photography in general.

This is possibly a classic case of seeing your subject through the viewfinder, but not thinking about its size or position within

the frame. The balloons are too small and unimportant above what is a busy foreground. For balloons this size to work, the

foreground needs to be much simpler. As it stands, the foreground is very busy and it is hard to find Parliament House in

amongst the trees. Assuming the brief was to show balloons over Canberra, a better angle should have been sought out.

55

Cropping the photo also re-

moves a lot of the busy fore-

ground elements.Suggestion: Crop the image to

produce a stronger composition.

The balloons are stronger,

but still a little small in

the frame.

With the bright light and blue sky, there is not much mood or atmosphere. It is a standard travel shot. By cropping the im-

age, Parliament House has been given more importance, but still it’s not a clean or simple angle. This photo shows the need

for pre-planning. Agreed, you never know exactly where the balloons are going to fly, but a few hours spent the day before

could find a choice of different angles depending on the weather conditions.

Would You Like Your Photo Critiqued? Are you brave enough to have your award entry critiqued in front of the world? I’m looking for volunteeers! In return for having your entry (state or national) critiqued here (there is no money involved), I wish to be given your permission to use the photo and the critique on my web-sites, on Flickr, YouTube and Facebook etc), and possibly in ebooks on photo competitions. You will remain the copyright owner, but you give me permission to use your image, anonymously, and hopefully you’ll receive some useful advice in return. If you’re willing to partici-pate, here’s what I’d like you to do.1. Create a JPEG of the award entry you would like critiqued, sized to 2000 pixels on the longest edge, setting 8 compression. 1a. Optionally, create a second JPEG of the entry before you have done any editing. Don’t send me the raw file, but a JPEG that hasn’t had much processing.2. Put ‘TWP PHOTO CRITIQUE’ in the header of the email, and attach the JPEG(s).

3. Write this in the email (cut and paste or type the equivalent):“Hi Peter. Enclosed please find my photo (along with an unedited version) for your critiquing and feedback. It scored ?? (enter score). I understand that my photo may not be selected for use. However, if it is selected for use, I agree that in return for you providing the critique and feedback on my photo, I give you permission to use the photo, anonymously, on your website and associated websites such as Flickr, Youtube and Facebook, and in future ebooks. My intention is that this licence will last indefinitely, but I retain the right to ask you to remove the photograph in special circumstances in the future, within a reasonable time (say one month). This just covers me for un-forseen situations.”4. Add your name to the bottom of the email and send it to me at - [email protected].

Please, just one image at a time and there’s no rush to do this straight away - I only need a few photos to begin with, so I will repeat this offer in the future! And don’t send me your best images because they will probably be too good to critique!

56

Claiming Travel As A Tax DeductionN o , f a m i l y h o l i d a y s a r e s t i l l p r i v a t e , b u t . . .

When it comes to preparing your tax return, ev-

eryone is scrambling for deductions, but often

at this stage it is too late. A little planning can

ensure a much better result.

Paperwork

If you want to claim a tax deduction for travel,

essentially you need receipts and a travel diary.

There are specific rules surrounding this

which you can confirm with your accountant,

but essentially you need to keep receipts to

substantiate the expenses (travel, accommoda-

tion, food, incidentals), and a diary that ‘proves’

that you were actually on business, not just hav-

ing a junket!

Although you don’t need a travel diary if

travelling less than 6 nights away, having one is

useful to establish the deductible percentage.

Business Or Pleasure?

Photographers often travel with dual purposes,

part pleasure, part business.

The tax office will allow you to claim the

travel expenses to the extent they were busi-

ness-related (and assuming you have the neces-

sary paperwork). A few changes to your itiner-

ary could see a much better claim.

For instance, a trip to a photography con-

vention overseas could see the airfare and ac-

commodation for the time of the convention

fully tax deductible

The following week you may extend your

stay to travel and look around. If you’re like most

photographers, you’re also shooting stock or

creating new work for your portfolio. This could

be considered business related, especially if

there is an outcome (new photos for the web-

site, blog, portfolio, exhibition, etc).

The way to establish the business to private

percentage is to keep a diary that shows the

date, where you were, what you were doing,

the time you started work and how long you

worked.

If you spent all day travelling to take stock

photos or produce work for your portfolio, this

might establish that this day was tax deductible.

Travel Allowances

The travel claim becomes a little more compli-

cated depending on whether you are in busi-

ness as a sole trader or a partnership, or if you

are an employee (even if it is your family com-

pany or trust) receiving a travel allowance. This

article assumes you’re a sole trader or partner-

ship. Employees may not need to substantiate a

travel allowance!

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.

57

W h e r e a r e m y f r e e c o p i e s o f

B e t t e r P h o t o g r a p h y M a g a z i n e ?

T h e y a r e h e r e . . .

w w w . a i p p . c o m . a u

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 . . .

G o t o m e m b e r s e r v i c e s . . .

G o t o m y p u b l i c a t i o n s . . .

G o t o B e t t e r P h o t o g r a p h y . . .

W o u l d y o u l i k e t o r e c e i v e a p a p e r v e r s i o n o f B e t t e r P h o t o g r a p h y

m a g a z i n e , f o u r t i m e s a y e a r ? y o 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 2 0 % d i s c o u n t . F o r d e t a i l s , e m a i l

k i m @ b e t t e r p h o t o g r a p h y . c o m

I s s u e 7 3 . . .G r a n d M a s t e r o f P h o t o g r a p h y

G e o r g e A p o s t o l i d i s • L a n d s c a p e L e g e n d

r i c h a r d W o l d e n d o r p• M o r e C o m p o s i t i o n E s s e n t i a l s

58

1009998979695949392919089888786858483828180797877767574737271706968676665646362616059585756

50 - 55

Exceptional ExecutionDistinctive visual communicationwith exceptional levels of creativity, in-terpretation or emotion.

Excellence In ExecutionSuperb visual communication,interpretation or emotion

Superior ExecutionVery high standard of Professional Practice with superior visual communication, interpretation or emotionAIPP Award LevelExceeds standard of ProfessionalPractice with high levelsof imagination, craft or skill

Professional Practice –Approaching Award Level

Professional Practice –Below Award LevelExpected standard of a professional, showing proficiency in execution and technique, but does not meet AIPP Award criteria

Approaching Professional Practice

Transitional PracticeMay exhibit proficiencyin some areas, but doesnot reach ProfessionalPractice (as defined above).

Below Professional PracticeDoes not exhibit thestandards requiredof professional photography.

GOLD WITH DISTINCTION

GOLD

SILVER WITH DISTINCTION

SILVER

HALF AWARD POINT

The judging system is based on two standards, Profession-al Practice and, above this, Award Level.

C a n o n A I P P A u s t r a l i a n P r o f e s s i o n a l P h o t o g r a p h y A w a r d s

J u d g e ’s A s s e s s m e n t G u i d e

59

I Didn’t Get Any Silvers? Should I Give Up?O f c o u r s e n o t ! A n d h e r e ’ s w h y !

I don’t know any of the AIPP Grand Masters of

Photography who haven’t scored less than 80

for some of their work. Even today, Grand Mas-

ters put in prints that don’t score very well, so

this is nothing to be ashamed of!

The difference is in your attitude. What are

you going to do with those scores?

Will you ignore them and convince yourself

the judges were wrong? Were you trying a new

style and perhaps it isn’t as widely appreciated

as you first thought? Or is this an opportunity to

try a little harder next year?

Big Picture

your prints were judged anonymously, so very

few people in the world know that you missed

out on earning Silver.

But did you score between 70 and 79? This

is a vote of confidence in your skills as a profes-

sional photographer.

To get a Silver, the judges are looking for im-

ages which are exemplary and exciting, images

with a spark that separates them from what

professional photographers do every day.

Below this ‘Award’ level is a ‘professional stan-

dard’ level. The Judge’s Assessment Guide de-

scribes scores of 70 to 77 an ‘expected standard

of a professional, showing proficiency in execu-

tion and technique...” So, if you were entering

the Awards to see how you stand as a profes-

sional photographer, congratulations, you have

made the grade. The judges believe your work

is up to scratch!

Long Term Goals

Although overshadowed in many ways by the

Professional Photographer of the year Awards,

the original purpose of the Awards was to raise

the standard of professional photography.

It does this by providing a series of mile-

stones to achieve.

The first step is to enter the Awards.

The second step is to earn your Associate-

ship which requires five Award points in a four

year period. A Silver gets you one Award point,

a Gold two Award points, but less known is the

fact that a 78 or 79 gets you a half point and

you can use a total of four half points towards

your Associateship.

So, if this was your first APPA and you

bombed out, double check your scores as you

might have some half points. Or if not, are you

going to let this system beat you?

One thing all the Grand Masters have in

common is persistence, dedication and not

worrying too much about a few low scores.

60

• •

61

Should I Ever Sell My Copyright?I s t h e r e a f a i r p r i c e i n s p e c i a l c i r c u m s t a n c e s ?

The AIPP fought hard to secure copyright for

photographers as their creative right, but as

the law stands, copyright is only automatically

owned by professional photographers when

shooting for another business. If you’re shooting

for the domestic market (family portraiture and

weddings), then the client owns the copyright

– unless they sign an agreement with you that

you own the copyright.

Copyright Gives You Control

Owning the copyright is important if we are go-

ing to control how our photos are used. It is also

important if we want to stop people from using

our photos without our permission.

For this reason, it is generally recommended

that photographers always own the copyright

in their work. This is our starting point.

For commercial photographers, we don’t

have to say anything because we own the

copyright automatically, but it can be helpful to

remind our clients about copyright, as they will

often believe they can do what they like with

our photos. It makes much better sense to com-

municate this up front so both parties know

what they can and can’t do.

For domestic photographers, we need to

discuss copyright and have our clients sign the

copyright over to us as part of our photography

agreement or contract.

So, what happens if in these discussions our

clients insist on owning copyright? For instance,

some large publishers will only accept work

from commercial photographers if it includes

copyright.

Negotiating Tool

It was never the intention that photographers

should always retain copyright. If clients are pre-

pared to pay a higher fee, then there is no trou-

ble selling copyright. It is a commercial decision.

Of course, a higher fee isn’t always available.

Those photographers working for large publish-

ing houses either work and lose their copyright,

or they don’t work. Simple!

However, those same photographers as

they become more experienced or photograph

something important may find they can change

the terms of their contract. It all comes down to

your skills as a negotiator.

you want to retain copyright so you can use

your photos for self-promotion or additional

sales.

If you sell the copyright, you can’t do this un-

less your client then gives you permission (a li-

cence) to do so. And this may be all you need!

©

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.

62

63

Cintiq CompanionW a c o m H a s T w o N e w T a b l e t s T o P l a y W i t h

One new toy, two different models! The Wacom

Cintiq Companion for Windows 8 and Cintiq

Companion Hybrid for Android will give the Ap-

ple iPad a run for its money as the new cool toy

to own.

The Companions are pen-on-screen tablets

with a computer underneath. The Cintiq Com-

panion runs Windows 8 and full versions of cre-

ative software (such as Photoshop and Capture

One, for example), so it does everything your

laptop can. In addition, it also offers everything

you would expect from Wacom’s Cintiq prod-

ucts (on-screen touch and pen control), plus

you can use an optional Bluetooth keyboard.

In comparison, the Cintiq Companion Hy-

brid, is similar in size and shape, but has a more

modest computer arrangement. It acts like a tra-

ditional Cintiq when plugged into a Mac or PC,

but it can also be used as a mobile, stand-alone

Android tablet with enough power to do light

sketching and start creative processes with suit-

able apps.

We’re thinking most readers will opt for the

Companion with Windows 8 as it means that

instead of travelling with a laptop and an iPad,

you can just take the Companion.

Both Companions leverage key elements of

the Cintiq 13HD and Cintiq 22HD touch, such as

full HD display with touch control and the Wa-

com Pro Pen with 2048 levels of pressure and

tilt sensitivity.

The Cintiq Companion is a fully-fledged

Windows 8 tablet, powered by a 3rd generation

Intel Core processor and Intel HD Graphics 4000

that pack a punch whether designing a char-

acter or retouching a photo. Wacom offers two

models, one with 8 GB memory and a 256 GB

SSD with Windows 8; the other with 8 GB mem-

ory, 512 GB SSD with Windows 8 Pro.

Features include customisable on-screen

controls, ExpressKeys, rocker ring and radial

Menu.

To enable a truly mobile working style, the

Cintiq Companion family packs some impres-

sive mobile communications features such as

WiFi connectivity, Bluetooth (version 4.0 for Cin-

tiq Companion and version 3.0 for Cintiq Com-

panion Hybrid), front and rear HD cameras (2M

pixels/8M pixels), a stereo headset jack and a

microphone for hosting calls or streaming mov-

ies.

An adjustable and detachable stand is also

included with both products, offering four

working angles – from flat to upright.

For more product information, please visit

http://cintiqcompanion.wacom.com.

An eBook by Peter Eastway

G.M. Photog., Hon. FAIPP, Hon FNZIPP, FAIPP

For more information and a read of the free sample, please visit:

www.betterphotography.com

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 competi-

tion, 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 maga-

zine 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 photog-

raphy. 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 fi rst

place. Competition winners begin

with the camera and so we talk about

camera technique, colour, composi-

tion, framing and so on - little tricks

and hints that will make a world of

diff erence to your photographs.

From here we step into post-

production – 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 fi nesse your entry.

I fi nish the book with some use-

ful 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 fi le if you

wish.

I have created a sample eBook for

you to look at on the Better Photogra-

phy 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 competi-

tion - good luck!

– Peter Eastway

How To Win Photo Competitions

How To Win

NEW PRICE FOR 2013only $29.95www.betterphotography.com

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