working pro 217
DESCRIPTION
The official journal of the AIPP (Australian Institute of Professional Photography)TRANSCRIPT
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 [email protected]
AIPP Membership Contacts
Suite G.02, 171 Union Road,
Surrey Hills, Victoria 3127
Phone: 03 9888 4111
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 • 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
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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.
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 [email protected]
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 - [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!
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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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