1

Working ProThe

Issue 217 • November/December 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 7 - N o v / D e c 2 0 1 3

4 President’s Message Kylie Lyons discusses the new AIPP Constitution and why it’s important for our members. Have a look here.

8 Knowing What To SellRather than complaining about photographers undercutting us by sell-ing their digital files, let’s show them what else we can sell to our clients.

1 0 Sustainable Portrait SalesBrian Chapman asks whether the affiliate marketing techniques favoured by portrait photographers are killing the profession?

1 2 Efficient Post-ProductionDon’t spend all your life behind a computer, read how Dan O’Day stream-lines his post-production approach.

1 4 Inspiration And AdviceWhere do great photography and business ideas come from? Christian Fletcher reveals his sources and mentors.

1 6 Confessions of a Serial BomberMaster of Photography Alan Moyle bombed at this year’s Canon APPAs, but he’s not giving up - see his photos and read why here!

1 8 Photo CritiquePeter Eastway takes a look at two of Alan’s photos and offers his sugges-tions as to why the judges may not have seen them Alan’s way.

2 0 Editor’s Selection - APPA WinnersA selection of entries that caught the editor’s eye from the 2013 Canon AIPP Australian Professional Photography Awards.

2 4 Selling Cameras and EquipmentDo you have to pay GST when you sell your secondhand equipment? Don’t get caught because chances are you do, but read this to make sure.

2 6 Changing The ConstitutionRead why our National AIPP Chairman John de Rooy thinks it’s a good idea - he says the AIPP needs to move with the times.

2 8 Special AIPP Honours 2013The AIPP honours some of its hard-working members with its annual round of special awards. Read about them here.

3 4 Copyright Mix UpsDoes copyright stop me from taking photographs? Maybe not, but there can be other laws to consider - read this important article.

3 6 Nikkor 200-400mmIdeal for wildlife and sport, this super telephoto zoom effectively replaces three lenses and puts them into a single, high-powered barrel.

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 eastway@betterphotography.com

AIPP Membership Contacts

Suite G.02, 171 Union Road,

Surrey Hills, Victoria 3127

Phone: 03 9888 4111

E-mail: enquiries99@aipp.com.au

Cover S i lv e r w i t h D i S t i n c t i o n A wA r D • 85

Ky Luu AAIPP2013 CANON AIPP AUSTrALIAN

PrOFESSIONAL PHOTOGrAPHy AWArDS

4

New AIPP ConstitutionK 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

The AIPP has been undergoing a process of self-

examination. The AIPP exists to represent and

serve you, but it was very clear that we needed

to make it easier for you to be involved in the

Institute. The process began with a strategy

weekend involving the Board, external experts,

selected members and employees and has cul-

minated with a full re-write of our Constitution,

the document that sets the rules and guidelines

governing the Institute.

We have kept you informed of this project

through a communication document, a Presi-

dents video and blog posts.

Now, after a rigorous research phase, the re-

write is complete and it’s over to you: the time

has come for you to cast your vote at the up-

coming Annual General Meeting (AGM).

your Board believes that the new Constitu-

tion sets out a new way forward for the Institute

by making it easier for your voice to be heard.

Below we have outlined why it is important that

the new Constitution is adopted.

What Are The Changes?

There are a number of important changes

aimed at improving your ability to be involved,

contribute and be heard, including the follow-

ing:

• Openingupeligibilityrequirementsinorder

to nominate for a Board position;

• IntroducingelectionsbymembersforBoard

positions;

• IncreasingthetermofBoardmembersto

three years; and

• LimitingBoardmemberstotwoconsecutive

terms of service.

Eligibility Requirements

All accredited members will be eligible to nomi-

nate for a Board position once they have accu-

mulated fifteen service points. This means that

you have greater flexibility in your pathway.

Previously you needed to become a rep-

resentative on the Stakeholders Committee

through a State Council or National Subcom-

mittee, a process which in itself could take a

number of years.

This change is really important as it opens

up the pool of members who can become

Board members, enabling our best people from

across our diverse membership to represent us

and make the important decisions on the future

of the Institute.

Election Process

Changing the election process will give you a

THEEVENT

2014 NIKON AIPP

GOLD COAST

THEEVENT

2014 NIKON AIPP

GOLD COAST

THEEVENT

2014 NIKON AIPP

Gold Coast

THEEVENT

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Sunday 8th – 10th June 2014Royal Pines Resort

Gold Coast Queensland

SAVE THE DATE

STAY TUNED FOR MORE DETAILS

I T ’ S H A P P E N I N G A G A I NTHIS YEARS EVENT THEME...

‘TURNING THE ORDINARY INTO THE EXTRAORDINARY’

6

much greater say in who represents

you as Accredited Members will be

able to vote for Board members.

Previously this was the responsi-

bility of a much smaller group of

members, the Stakeholders Com-

mittee.

A minimum of two Board positions

will be elected each year.

Changes To Terms Of Office

Currently there is no limit to the number of one

year terms that a Board member serves.

Increasing the term to three years will mean

that Board members will have enough time to

make a meaningful contribution while taking a

long-term view.

Limiting Board members to two consecutive

terms will ensure that there is on-going renewal

of the Board, so it remains fresh and contempo-

rary, that is, it remains relevant to our members.

Special Interest Groups

These changes will work together with a num-

ber of other changes and initiatives that are be-

ing implemented to increase your opportunities

to engage with and shape the AIPP.

One of these important initiatives is the for-

mation of Special Interest Groups (SIGs). Our

SIGs are forums for targeted groups that enable

many more members to contribute their views

on specific issues and policy. In some cases, SIGs

will take the place of subcommittees, albeit in a

less formal way.

The recent trial of three SIGs (Mothers and

Babies, Portrait and Wedding) has been very

successful. Around 25 members have partici-

pated in each of these SIGs which have been

very effective in communicating and exchang-

ing members thoughts on important issues to

the Board through the National Office team. Im-

portantly, this facilitates timelier decisions and

implementation of initiatives.

Of course you can continue to contact me

or any other Board member directly.

YourBoardencouragesyoutoaskquestions

about the proposed changes. Feel free to con-

tact myself or any one of your Board members

should you need further information.

When it arrives, or if it has already arrived,

please take the time to read the Notice of Meet-

ing for the AGM and the proposed Constitution

carefully so that you are in a position to make

an informed decision.

Our future is in your hands.

kylie.lyons@aipp.com.au

0411 552 488

Portfolio Application For Accreditation - Checklist for Photos

Read More AIPP Member Only ContentTo read AIPP member and specific business related advice, visit the AIPP

website and sign in. Once you’re signed in, follow the menu Member Services, My Publications, The Working Pro - Extended Material.

AIPP Board Position - Are you Interested?The AIPP Board is searching for the services of a Communications, Social Media

and Pr specialist to advise and assist in the direction of communications and pub-

lic relations, and to build on existing relationships with internal and external stake-

holders.

Theskillsrequiredincludeandarenotlimitedto:

• WorkcloselywithotherDirectorsprovidinganalysisandadviceoncommuni-

cations strategies, managing and leverage of social media; and

• Analysetheorganisationalcommunicationrequirementsforsignificant

change related projects; and

• Liaisewitharangeofbusinessareastounderstandandcommunicatetheuser

experience; develop and implement internal and external communication strate-

gies; and

• Provideadviceanddirectiononcommunicatingthecompanies’activitiesand

assist in change management.

The AIPP is a ‘not for profit’ company limited by guarantee. The directors are not

remunerated, apart from re-imbursement of expenses. The AIPP Board meets 10

times per annum, either by teleconference or face-to-face. This role on the Board

is a co-opted position and may have tenure of six to eighteen months.

If you are interested in this challenging and rewarding role please address your

application to john.derooy@aipp.com.au

8

Knowing What To SellP e t e r E a s t w a y , G M . P h o t o g , H o n . F A I P P, F A I P P

Some photographers tell me their clients only

want digital files. They don’t want prints, they

don’t want albums, they don’t want glass blocks.

Just the digital files. Why?

What has changed over the years that sud-

denly people no longer want or need physical

photographs (if this is really true)?

I’m going to suggest that there are three rea-

sons that contribute to this behaviour.

Retain Control

The first is our own fault because we have burnt

our customers. Not us, of course, but there are

high pressure salespeople working for pho-

tography studios and when you burn some-

one, everyone knows. Do a job well and a cli-

ent might tell their mother, do a job poorly and

they will tell 50 people.

So how does this affect a client’s behaviour?

Very simply, they want to own the files so

they can’t be put in a position where we can

hold them to ransom. They don’t want to abso-

lutely love the photographs and then fork out

thousands of dollars they don’t want to spend.

Asking for the digital files gives them control.

Do It Yourself

Don’t feel bad about everyone wanting to be a

photographer. Just look at how many people do

their own home renovations (no work for build-

ers) or cook their own meals (no work for res-

taurants). People love the idea of putting ‘their’

photos on Facebook, or they can make ‘their’

album or have ‘their’ print framed at a fraction of

what we want to charge them.

Whether they actually get around to doing it

is another matter.

No Idea

So, when people ask around about photogra-

phy, they don’t always talk to photographers.

They don’t necessarily know what is available.

Based on the photographers who are still

selling physical products and comparing them

to the photographers who say they can’t, I think

it’s simply because neither the photographer

nor the clients know what’s available!

This is a gross simplification, of course, but

it’s partly true.

A lot of new photographers to the profes-

sion simply don’t know what’s out there or even

how to order it. So they don’t.

And a lot of new clients only meet these

new photographers, so they don’t get told

what’s out there or what’s available.

I can see this as being a big opportunity!

9

Orpheus Island, Queensland. Photo by Peter Eastway.

10

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11

Sustainable Portrait SalesB r i a n C h a p m a n

Brian and Kaylene Chapman’s photography

workshops are not focused on camera tech-

niqueorpost-production,ratheronhowto

make money and enjoy it in an ethically and

sustainable way. It is not about making sales at

any expense.

“Therearealotofmarketingtechniquesin

our profession that I don’t agree with”, explained

Brian. “I don’t agree with most of the affiliate

marketingtechniqueswhereyouusethirdpar-

ties to introduce you to new clients, basically

because the system relies on us to upsell our

clients to make it profitable. I believe this ap-

proach has hurt our profession.

“We have lots of clients who have been to

other studios because they won a competi-

tion or were given a free voucher when they

purchased a product. The actual shoot might

have been an enjoyable experience, but it was

soured by a pushy sales process and they felt

burnt by the studio.

“I cringe when I hear of some of the sales

techniquesthatareused,suchastheclosing

techniquesthatdragaclientbackintothesales

room, while others start with a really high price

for the extra prints and after the client falls over

the first time, it’s a matter of dropping the price

down bit by bit until the client eventually capit-

ulates and spends much more than they origi-

nally planned.

“This is short term thinking. It might get you

the sale today, but there is little hope of a refer-

ral or repeat business. Even worse, it hurts my

business because a lot of these clients won’t

ever go to a professional photographer again.

“Naturally I want clients to spend well with

me. I tell them up front that they are likely to

spend a few thousand with me, but they don’t

have to if they don’t want to. My job is to create

such an amazing experience and product that

they want to buy it. And people book because

they appreciate our honesty.”

“If I sense someone can’t afford us or there is

a conflict, I just back off and move onto the next

client. It all averages out. We have had some

really high sales, but I’d rather each client just

spent the average and came back the following

year. We want repeat customers because they

will be happy to spend again.

Brian and Kaylene Chapman have run several pho-

tography businesses successfully for over a decade.

They hold business intensive workshops targeted at

studio owners, turning over between 30K-250K and

need help taking it to the next level. See www.the-

businessofphotography.com.au for more details.

12

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13

Efficient Post-ProductionD a n O ’ D a y

Dan O’Day uses Photo Mechanic to ingest his

wedding shoots. “It’s a database program for

previewingrawfilesveryquickly.Lightroom

takes too long to import the files and cull them.

In comparison, Photo Mechanic is really good

for ingesting thousands of images at a time. It

also runs a report and lets you know if any of

the files were corrupt, and it can backup to mul-

tiple drives as it ingests. However, what’s best is

thatIcancullaweddingshootquickly.”

Dan takes between 3000 and 5000 images

at a wedding (depending on coverage time), so

his first step is to trim them down to the best

500-700 images. After the image selections

have been made using Photo Mechanic, the

raw files are sent to Lightroom where he uses

presets to give the images the look he wants.

“I have built up my own ‘Dan’s special sauce’

presets over time and on occasion I also use

some commercial presets such as VSCO. Essen-

tially, this system allows me to edit one photo

and apply the same settings to a series of imag-

es shot in a similar setting, so I can edit a whole

wedding in around five hours. When finished,

I just use Photoshop to batch size the images

and that’s it.

“I am shooting 80% of my bookings away

from home, either interstate or abroad, so I

don’t get to knock on my clients’ doors and

drop off a package. More often than not, the

DVD or album is posted to them.

“The first time the couple sees any of the im-

ages is as a DVD presentation on their television

which comprises the finished, edited files.”

As a minimum, the client receives a thank

you letter from Dan, a DVD slideshow of the ed-

ited files (as well as copies for the parents), and

an incentive slip giving them a last chance to

purchase an album with a 20 per cent discount.

“They also receive a selection of ten of my

fine art postcards, which is something personal

from me, and then there’s my wedding present

to them – something they know nothing about

– an 8x12 inch print from the wedding. It’s a

print I have selected and printed, as opposed to

a ceremony ‘kiss’ shot they might have selected.

This way, at least it is an image I have selected

hanging on their wall when their friends (and

my potential future clients) pop over for a cof-

fee.”

DAN O’DAY is a wedding and fine art photographer.

Wedding photography is his mainstay, while fine art

photography is his passion. Dan is a Master of Pho-

tography and is based in Canberra, ACT.

danodayphotography.com.au/

14

One of Christian’s favourite photos that looks amazing up big as a billboard or as a 2 metre gallery print.

15

Inspiration and AdviceC h r i s t i a n F l e t c h e r

“I’m looking at artists as much as photographers

for inspiration, but in terms of photographers, I

love the work of Edward Burtynsky and Andreas

Gursky. I look at those guys because they are

creating the sort of images I am into at the mo-

ment, plus they are making big bucks and are

hugely successful. They are putting their images

outthereandtheirmessagesarequiteclear.I

love the way these guys have made an empire

out of their careers.

“I also get a lot of inspiration looking at the

work of amateur and enthusiast photographers

on websites like 500px, and also some of the

professionals like Sue Bryce. Even though she

isn’t shooting landscapes, her stuff is very inspir-

ing. So is Dan O’Day’s work – it’s cool and edgy.

So I’m always looking at photographs that take

my eye and thinking how I can incorporate

some of those ideas into my own stuff.

“In terms of business, look no further than

Apple computers! I love their business model.

They produce something that is almost too

good to resist. I know I am hooked.

If I could photograph things that have the

same effect on people, that would be the ulti-

mate. I admire Apple for that. It’s cool, not dag-

gy or cheap or nasty, and that’s important – to

give people something they can’t resist or an

experience that is a bit more interesting.

“When we set up our gallery in Dunsbor-

ough, we made it big and bad enough so that

no other photographers would have the guts to

set up next to us. Of course some did, but they

didn’t last long. If you’re going to do something,

make sure it is the best.

“Similarly, if you can’t afford it, then extend

yourself. Like the Phase One camera. I didn’t

think I could afford it, but it has changed my

business and my photography. It also helps my

branding, being an ambassador for the best

camera system in the world has got to be good

for you.

“I love putting my photos up on 500px

where everyone can see the metadata. If you

use that camera, you’re regarded as a player, not

a chump.

“It’s all about perception. If you can make the

public believe your photos are worth buying

over something else, you’re on the way.”

CHRISTIAN FLETCHER is one of the few photogra-

phers in Australia who earns the majority of his in-

come from landscape photography. With the help

of his family, he runs a number of galleries in South

West Australia, with the main gallery in Dunsbor-

ough. www.christianfletcher.com.au/

16

17

Confessions of a Serial BomberB y A l a n ‘ B a t ’ M o y l e , M . P h o t o g .

The final day of APPA and it was my day to be

nervous. Four of my images were going up in

front of the judges, and not just any four, my fa-

voutire four from a personal documentary proj-

ect that I had poured my heart into.

I’m feeling pretty confident because every-

one I’ve shown the images praised them.

This was my twelth year entering the

Awards. I’ve been lucky to be pretty consistent,

from my first entry the year after finishing uni

when I was so pleased to get some half points,

through to my first Gold Award a few years later,

right through to getting my Master of Photog-

raphy and a couple of Gold Bars. Add into the

mix the honour of being asked to judge at state

and then national level and you can tell I really

believe, love and live for APPA.

However, this year was destined to be a

stand out for me and one I’m not going to for-

get.

This was to be my first year of bombing and

bombing hard!

Later that day while I was judging the Sci-

ence, Nature and Environment category, my

four prints in the Documentary category next

door were tearing a hole in my consistency. No

Silvers. In fact, no awards at all. And for the first

time ever, a 68. Below professional practice. 68.

And I felt crap about it. I believed in these

images. I still believe in them. But sometimes

things just go against you. The panel of judges

didn’t see what I saw.

So what now? Do I give up? Get bitter?

Swear at the judges? Hate the system?

Well, for a millisecond I did. Then I got moti-

vated. really motivated.

My images may not have got up this year,

but I’m still proud of them. I was still showing

them to photographers with a smile on my face

later that night. It would have been nice to say

they got awards, but they have a life with or

without Awards. The people in the photos love

the images and that is to me more important.

So my message is, if you bombed, don’t get

too beat up about it. All of the top photogra-

phers have bombed at some stage, but they

don’t let it get them down for too long.

The Awards are about pushing yourself to

do better and to expand your knowledge, craft

and imagination. Awards are nice, but they are

not the end of the world.

Alan ‘The Bat’ Moyle and his studio Photobat shoots

mainly wedding and family portraiture. Originally

from Tasmania, Alan has moved to Melbourne. He is

a Master of Photography. www.photobat.net

18

Love the bra and the other

objects along the shelf, but

are these elements strong

enough to help?

Subject position and pose is in-teresting, but in a competition environment, maybe not star-tling enough to encourage the judges up a few marks.

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

76SCORE

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.

What is interesting about APPA is the range of scores handed down by the judges. While this print scored 76, the range was

from 71 to 82. One of the judges thought the print, entered into the Documentary category, was worthy of a Silver, but the

others did not. Points in favour of the image are its interesting composition, the pose of the subject, and the objects along

the shelf. However, this is a category judged by photojournalists and documentary photographers who have all taken im-

ages like this themselves, so while a very competent image, it has not got the spark of difference required for Silver.

19

Is the photo about the

sneakers, or the person?Wide-angle lens has created in-

teresting image distortion, but

does it help tell the story?The subject is a little dif-

ficult to reach in the

busy composition.

It can be challenging to second guess the judges. In some competitions, this print may have scored Silver because of its

strong albeit busy composition. Perhaps darkening down the surroundings and letting the subject stand out better tonally

would have improved matters, but this may not have been what the photographer wanted to do. That’s fine, but the judges

in turn may not wish to reward it with a higher mark. Some entries may just never work in the APPA environment.

Would You Like Your Photo Critiqued? Are you brave enough to have your award entry critiqued in front of the world? I’m looking for volunteeers! In return for having your entry (state or national) critiqued here (there is no money involved), I wish to be given your permission to use the photo and the critique on my 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 - eastway@betterphotography.com.

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

75SCORE

20

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

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21

E D I T O r ’ S S E L E C T I O N

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22

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E D I T O r ’ S S E L E C T I O N

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E D I T O r ’ S S E L E C T I O N

24

SellingCamerasandEquipmentD o I h a v e t o p a y G S T ?

The short answer is probably yes.

GST is payable on any transaction in Austra-

lia that has to do with your business. If you pur-

chasedtheequipmentfromaretailer,youprob-

ably claimed the GST input tax credit. Similarly,

whenyouselltheequipment,youarerequired

to pay 1/11 of the sale price in GST.

Not Registered For GST?

There are some exceptions to this rule, the first

one being that you have to be registered to pay

GST.

If your business turnover (total sales) is un-

der $75,000 (excluding GST), you are not re-

quiredtoberegisteredforGST.Youcanoptout

of the system. Of course, being not registered

also means you can’t claim GST input tax credits

whenyoubuyequipmenteither.

If you have opted out of the GST system,

then you wouldn’t have to pay GST when you

sellyourcamerasorequipment.

Whether you paid GST when you bought

theequipment,orwhetheryouwereregistered

forGSTwhenyoupurchasedtheequipment

has nothing to do with your position when you

selltheequipment.YourobligationtopayGST

whenyouselltheequipmentisdetermined

by whether or not you are registered for GST at

that time.

If you think you might deregister yourself

beforeyousellyourequipmenttoavoidpaying

the GST, this may work in some situations, but

there are some special rules that can catch you,

especiallyforequipmentthathasbeenpur-

chased recently.

I Didn’t Charge GST...

Ifyouforgettoadd10%GSTontotheequip-

ment sale price, bad luck! The tax office doesn’t

care, it just wants 1/11 of whatever the sale

pricewas.Andwhethertheequipmentisnew

or secondhand is not an issue either.

I Am Sending The Equipment Overseas...

Ifyousellyourequipmenttoanoverseaspur-

chaser, then there is no GST payable as it is con-

sideredanexportsupply.Thereisarequirement

thatyouactuallysendtheequipmentoverseas

within 60 days.

Ifyouaresellingtheequipmenttosomeone

in Australia, and that person tells you they are

takingtheequipmentoverseas,thenthereis

usually a whole lot of paperwork you have to go

through that proves the person to whom you

soldyourequipmentactuallytooktheequip-

ment out of the county.

This is general information only. We do not know your specific financial or legal situation and we are not providing you with advice. As such, this article should not be relied upon as legal, financial or accounting advice. Please use this article as a conversation starter with your own adviser.

25

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

26

Changing The ConstitutionA n d W h y J o h n d e R o o y T h i n k s I t ’ s A G o o d I d e a !

Our AIPP Chairman John de rooy has spent the last

six months or so researching and re-writing our Con-

stitution.

Because the AIPP is a company, it has to operate

within Australian laws and also within its own rules

and regulations. These rules and regulations are writ-

ten up in our Constitution.

Time For An Update

“Our current Constitution was written in 1996 and a

lot has changed since then. I have made five amend-

ments myself, but it always felt like adding on new

parts to an old car. What we really need is a new Con-

stitution that reflects the modern world we live in.

“In June this year, the AIPP had a brainstorming

meeting with the Board, its stakeholders and a con-

stitution expert.

“We worked out our direction, our mission and

our goals, and now we have designed a Constitution

that will help us achieve these aims.”

Changing Terms

The new Constitution creates three year terms for

board members, and a rotation where two positions

are up for re-election every year.

“We’ve seen that it takes most board members

at least 12 months to work out what’s happening,

so when someone gets into an important position,

three years is probably a good minimum term. It will

give them time to get things done.

“Board members can do two terms, a total of six

years, but there’s also a degree of flexibility that rec-

ognises what happens in the real world. People can

get sick or there can be family pressures, so there is

room for flexibility within the rules.”

More Involvement

One of the things the Board wanted to allow was

more engagement with the membership. Under the

present system, to get a position on the Board is rela-

tively difficult and even if you’re a member, you have

little practical say in who sits in the top jobs.

“Under the old Policy and Planning system, un-

less you were a state president or the chairman of a

sub-committee, you really didn’t get a look in, but we

know there are lots of members out there with great

skills who would like to put their hands up to help, if

only there were a way.

“And we’d like to have them too!”

The new Constitution will make it easier for

someone to nominate for a Board position, and all of

the accredited members will get a vote.

Service Points

“Therearestillpre-requisitesthatensurefutureboard

members have some history and experience of vol-

27

unteering,butitwillequateto,say,acoupleofyears’

service on a state division council and some speaking

and organising roles, or being Chairman of Jurors and

other involvement in the awards system.

“There are lots of different ways you can earn ser-

vice points within the Institute.”

This seems a sensible approach as the Institute’s

history is dotted with colourful and outspoken peo-

ple who had a single idea to push, but were not pre-

paredtoputinthehardworkrequired.

“An organisation like ours needs committed

people and earning service points demonstrates that

well.”

Non-Operational

John also explained that the new Constitution sepa-

rates the ideals and the big picture from the details

and the day to day mechanics.

So, for example, the Constitution will allow the

AIPP to take on special interest groups, but it won’t

be specific by mentioning video producers or medi-

cal photographers, as a couple of examples.

The principle of taking on special interest groups

gives the AIPP more flexibility and swifter reaction

times to change, but the decision whether or not to

take on a particular group or issue will be decided by

the Board at the time.

This is a much more pragmatic approach, allow-

ing the Board flexibility without having to re-write the

Constitution every time a change is needed.

“We have really simplified the Constitution. It

defines who our members are, their membership

categories and the broad objectives that service the

membership.

Imaging Not Photography

The new Constitution will talk about imaging

rather than just photography.

Photography is still included, of course,

but the Constitution acknowledges that many

members are already shooting video and that

there may be new media in years to come that

we haven’t even considered.

“Maybe imaging in the future will be as easy

as blinking our eyes”, laughed John, “in which

case our new Constitution will handle it.”

“The existing Constitution has serviced the AIPP

very well since 1996 and I hope this new document

lasts at least the same distance.”

So, the idea behind the new Constitution is to en-

able the AIPP to be more responsive to its members,

but it needs yOU to make it happen!

How To Vote

recently AIPP members will have received an email

from National Office with information about the new

Constitution. The AIPP needs at least 50 members to

vote and, of the members who actually vote, at least

75% must be in agreement with the changes.

Please don’t leave it to someone else! Have your

say and attend the meeting in person, or if you can’t

get to the meeting, at least give your proxy to one of

the Board members to vote for you. That email has

clear instructions on how and what to do.

28

Special AIPP Honours 2013W r i t t e n b y t h e A I P P H o n o u r s C o m m i t t e e .

Judy Eason and Bambi Wixon

Claude McCarthy Award

Claude McCarthy was one of the founding fa-

thers of the AIPP and the award named in his

honour recognises outstanding commitment,

work and dedication to the AIPP, its members

and the greater Australian photographic indus-

try.

The AIPP has great pleasure in awarding two

Claude McCarthy awards. Our two recipients

have worked tirelessly over several years to en-

sure that a certain “Event” was a great success.

For their outstanding contributions to the

AIPP Nikon Event, the Institute takes great

pleasure in awarding the 2013 Claude McCarthy

award to Judy Eason and Bambi Wixon.

Written by Ian van der Wolde

Rob Gatto Hon. FAIPP

This honour goes to a person born in Italy. On

leaving school, like many others in the AIPP, he

joined a wedding/portrait studio which did its

own film and print processing. At this point our

recipient was still too young to drive and relied

on his mother to take him around Sydney to

churches and receptions to photograph wed-

dings.

Like many young men he wanted to trav-

el, so he went to sea as a ship’s photographer,

spending six years working on everything from

russian to Italian cruise ships.

On settling back down in Australia, he joined

an Australian photo distribution house that spe-

cialised in supplying the needs of professional

photographers. All this lead rob Gatto to be-

coming the owner of one of Australia’s premier

professional supply companies (Kayell).

rob has taken an active interest in the pho-

tographic industry and is a great supporter of

the AIPP. rob also became a director of PICA

and eventually took over from Bruce Pottinger

Bambi Wixon (left) and Judy Eason

Rob Gatto (left) and Greg Hocking

29

2013 Honours Recipients (from left) Bob van der Toorren, Richard Bennett, Jacqui Dean, Ian van der Wolde, Judy Eason, Ross Eason, Bambi Wixon, Rob

Gatto and Greg Hocking. Thanks to Craig Wetjen who took most of the publicity photos for us on the night.

30

as the vice president of PICA.

In this role, rob played a vital part in ensur-

ing the success of the AIPP and the AIPP Canon

Professional Photography Awards at the Digital

Show. rob’s enthusiasm and support in helping

facilitate APPA and other AIPP events is greatly

appreciated.

rob only spent his first year of life in Italy and

so we honour a real Australian! For outstanding

service to the AIPP and the greater Australian

photographic industry, the Australian Institute

of Professional Photography takes great plea-

sure in Honouring rob Gatto with Honorary Fel-

low of the AIPP.

Written by Greg Hocking and Paul Curtis

Bob van der Toorren, Hon. LM

In 1953 a young 9 year old and his family emi-

grated to Australia from the Netherlands. At

Geelong High School, his art teacher soon rec-

ognised his potential.

After presenting a slide show of images from

a recent family holiday back to Holland, he was

one of only two students permitted to take a

camera to school to record school events. Un-

able to draw or paint, they made an exception

and allowed him to complete his art assign-

ments photographically.

In 1960, Bob van der Toorren was one of ap-

proximately 30 students who enrolled into the

rMIT photography course. Four years later, he

was the only student in his intake to graduate

with an Associate Diploma of Illustrative Pho-

tography. He was also the first such graduate

at rMIT and in fact the whole Southern Hemi-

sphere.

Bob was the first ever photography student

to be elected to the rMIT Student represen-

tative Council and also the first ever student

representative to the IAP, Victorian Division, the

forerunner of the AIPP as we know today.

Bob did work experience with both Helmut

Newton and Athol Shmith, the latter offering

him full-time employment whilst Bob was fin-

ishing his second year at rMIT. Bob regretfully

declined the offer as the rMIT Principal of Pho-

tography convinced his father his prospects

would be far better after graduation. In Bob’s

words, “They were not”.

After graduating, he worked in sales for Ko-

dak, did lectures, problem solved and presented

new products such as the Kodak Instamatic.

Working for many years in a number of wed-

ding portrait studios, he eventually and in col-

laboration with Val Forman bought the Collins

Street Studio of Kenneth ross in 1969. Nine

years later he took over the more prestigious

Ian van der Wolde with Bob van der Toorren (right).

31

Gainsborough Studios in the iconic Block Ar-

cade.

Despite several relocations within the Ar-

cade, he still trades there today, 34 years later.

Bob initially shot weddings with six double dark

slides of film, a Crown Graphic Camera and two

500 Watt lamps. With this he was expected to

produce at least eight 8x6” photographs in an

album. The norm for those days.

At this stage, colour printing was in its in-

fancy,requiring43minutestoprocessthrough

22 trays of chemistry. Bob used his initiative

and took three colour exposures at each wed-

ding with his 6x6 yashica twin lens reflex. This

proved to be very successful with his brides and

grooms and pleased his employer no end.

The early eighties saw Bob start to experi-

ment with digital photography, mainly through

the scanning of negatives. Soon he was offer-

ing his wedding clients images and combina-

tions that at the time had only been seen in

overseas magazines.

Today Bob concentrates both on commer-

cial and domestic portraiture as well as his new-

ly found passion of photographic restoration.

His studio has an enviable reputation for image

restoration that sees him service clients locally,

interstate and even abroad.

Bob has served on the AIPP Victorian Coun-

cil as Treasurer and from 1999-2000 as Victorian

State President. We celebrate the 50th Anniver-

sary of our Institute this year, and for all of those

50 years, Bob has been a paid up proud mem-

ber of our association.

In recognition of his long term commitment

to photography and in particular to the AIPP

we award Bob van der Toorren, the prestigious

honour of Honorary Life Membership.

Written by Ian van der Wolde

Jacqui Dean Hon. FAIPP

In 1982, she emigrated to Australia from Eng-

land, settling in Sydney with her young family.

Already involved in the photographic indus-

try through their family business, she decided

to take the next step and enrolled into the pho-

tography course at Sydney TAFE.

I am led to believe that she was the studious

type, generally choosing to stay back and study,

rather than join her classmates when they took

off to the pub.

Well, all this study paid off and in 1990 Jac-

quiDeangraduatedwithHonourswithanAs-

sociate Diploma of Arts in Photography .

ThatyearalsosawJacquijointheAIPPand

win her first Silver Award.

Ian van der Wolde (left), Jacqui Dean and Greg Hocking.

32

Today she is a highly awarded photographer.

and1996wasagreatyearforJacqui,notonly

seeing her achieve her Associateship, but also

taking out the Val Foreman Award and the AIPP

Commercial/Industrial Photographer of the year.

This was just a taste of things to come as

JacquicontinuedontoherMasterofPhotogra-

phy in 2000, and in 2002 she won the AIPP Edi-

torial Photographer of the year.

She has been represented in two Fuji ACMP

collections and last year won the International

Loupe Awards’ lucrative peoples choice award.

Theyear2012culminatedinJacquijoin-

ing the AIPP’s esteemed ranks of Grand Master

ofPhotography.AndthisyearwesawJacqui

exhibit her beautiful collection “Translucence”

to appreciative crowds in Sydney and in Mel-

bourne.

Jacquiisofexceptionallystrongcharacter

and life has dealt her with more than her fair

share of cruel blows. However she is not the one

to dwell on her misfortunes, but to turn her situ-

ation around and make something positive of

it. Those of you who know her will back me up I

am sure

Jacquiiswelltravelledandhasawonder-

ful collection of images to prove it. A lot of her

travel was for work and never one to miss an

opportunity, she always made the most of it, ap-

parently even taking dance lessons whilst com-

missioned to photograph an exclusive cruise

ship.

Jacquiisanaccomplishedcommercialand

editorial photographer who is also dedicated

to the up and coming photographer, sharing

her knowledge and wisdom at the TAFE college

where she teaches part time.

Jacquiisextremelygenerouswithhertime

and has spent thousands of volunteer hours

working for the institute.

As far as I am aware, she is the only person

ever to have simultaneously held both the role

of National Treasurer and APPA Treasurer.

In2006JacquibecamethefirstfemaleAIPP

NationalPresident.Afterashortbreak,Jacqui

has again rolled up her sleeves and currently

serves on the APPA committee, a role very close

to her heart.

JacquiDean,youareaninspirationtous

all and we thank you for you professionalism,

your attention to detail and your dedication by

awarding you the prestigious title of Honorary

Fellow of the AIPP.

Written by Ian van der Wolde

Ross Eason, Honorary Life Member

AIPP Master of Photography ross Eason has

been an AIPP member since the eighties, a NSW

president and now a National Vice President

ross has played a pivotal role in the recent

AIPP restructure. He can always give an opinion

on both sides of a discussion, is always mea-

sured in his words, he is endlessly patient and

supportive, and he is pretty much always right.

33

ross never aspires to get credit for his

achievements, but is always willing to help and

listen. He has contributed to the Commercial

Subcommittee since its inception in 2007 and in

this role he documented and passionately pur-

sued the AIPP Mentoring program.

ross speaks at many AIPP events around

Australia. He is a most prolific contributor to the

AIPP forum giving advice to young and estab-

lished members.

He has selflessly mentored many

Queensland photographers, all the while pro-

moting the benefits of Institute membership

ross Eason is a humble man, never wanting

the limelight. He contributes with his heart and

mind in the right place.

ross has coordinated and built from the

ground up our national conference, The Nikon

Event, into the largest and most successful

speaker program in Australia.

And he has crafted this seminar series four

times – in Maroochydore, Adelaide, the Hunter

Valley and Hobart – and each time he has clev-

erly customised the engaging workshops to re-

flect the flavour of the region.

In recognition and appreciation of his out-

standing contribution, the AIPP honours ross

Eason with the distinction of Honorary Life

Member.

Written by Richard Bennett.

The kernell of The Nikon Event com-mittee - Judy Eason (left), Ross Eason and Bambi Wixon.

34

• •

35

Copyright Mix UpsD o e s C o p y r i g h t S t o p M e F r o m T a k i n g A P h o t o g r a p h ?

Sometimes you are told you cannot take pho-

tographs of a public performance because it

breaches copyright. Chances are this is not

strictly true when it comes to stills photography,

but in many ways it is academic because there

are many other ways we can be stopped from

taking photographs. Copyright is often used as

the reason, whether or not it is.

When Does Copyright Stop You?

Copyright stops you from taking a photograph

that is the same as someone else’s photograph.

you can’t copy someone else’s work - that’s the

whole idea behind copyright.

However, speaking of ideas, you can’t copy-

right an idea. So, the idea of photographing a

bride in front of a church cannot be subject to

copyright.

Compare this to copying an existing photo-

graph of a bride in a special pose in front of a

specific church with specific lighting -- this isn’t

copying an idea, this is copying an existing pho-

tograph and copyright may prohibit it.

Similarly, if you have taken a photograph

yourself, but you have sold your copyright to

someone else, you are not permitted to copy

your own work without their permission!

When Does Copyright Not Stop You?

Although an architect may own copyright on

a building, chances are you are not prevented

from photographing that building in a public

place. The same applies to sculptures and other

landmarks.

Nevertheless, often there will be restrictions

applied to photography. Often these restrictions

will only apply to commercial photography.

These restrictions are imposed by the owners or

occupiers of the land.

For instance, if you wanted to photograph

the Sydney Opera House from the grounds of

the Opera House, you would need permission

from the Sydney Opera House Trust. On the oth-

er hand, photograph the Opera House from Mrs

Macquarie’sChairandyoudon’tneedpermis-

sion from the Opera House (but you will need

permission from the royal Botanic Gardens be-

cause they control the land upon which you

need to stand to take your photograph).

The point to understand is that copyright

protects the photograph once it is created. Pro-

hibitions and restrictions applied to the act of

photography often have nothing to do with

copyright, but sometimes people will say they

do because it sounds legal and official.

©

This is general information only. We do not know your specific financial or legal situation and we are not providing you with advice. As such, this article should not be relied upon as legal, financial or accounting advice. Please use this article as a conversation starter with your own adviser.

36

Scoresby Sund, Greenland. Photo by Peter Eastway using the Nikon 200-400mm on a D800E.

37

Nikkor 200-400mmT h r e e l e n s e s i n o n e - i d e a l f o r s p o r t a n d w i l d l i f e

At 3.36 kilograms, Nikon’s superlative AF-S Vr

Zoom-Nikkor 200-400mm f/4G IF-ED super tel-

ephoto is a challenge to hand-hold for long pe-

riods of time, but you’ll want to use it a lot be-

causetheimagequality

is simply superb.

On a recent trip

to the Arctic, the edi-

tor found the test lens

worked really well in

combination with a

monopod (or, if you

don’t have a monopod with you, try a single leg

of your tripod instead). younger photographers

with weight training will have fewer issues!

However, while there are other zoom lens-

es in the NIkon range that are similar in focal

length (such as the 80-400mm), they don’t nec-

essarily match the performance. Or the price.

The 200-400mm ranges in price from around

$7000 to $8000 from Australia stores and web-

sites. So there are reasons this lens out-performs

lesser optics!

A large lens hood is attached to the lens at

all times (it’s not shown in the photo here) to re-

duce lens flare, along with Nikon’s Nano Crystal

Coat which is applied to optical surfaces in the

lens to significantly reduce ghosting and flare.

And there are four ED lens elements de-

signed to provide chromatic aberration com-

pensation. Long lenses tend to separate light

into its component colours, causing colour

fringes around your

subjects (chromatic

aberration), but by

using special materi-

als in the glass, this

can be corrected and

controlled. There

was no evidence of

chromatic aberration in our test shots.

If you are hand-holding the lens, the built-in

vibration reduction (Vr II) system offers cam-

erashakecompensationequivalenttoashutter

speed increase of approximately four stops. The

Vr system can be switched off.

So, who is the Nikkor 200-400mm designed

for? Naturally Nikon has the professional sport

photographers in mind, although we guess that

anyone visiting Africa or the Polar regions in

search of wildlife will also love it.

yes, it’s a bit bigger and heavier, but when it

comes to super telephotos, this is the price you

pay for the fantastic results.

For more information, visit www.nikon.

com.au.

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

WinPhotoCompAdvert-2013.indd 1 21/01/2013 9:24:27 PM