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March 2015 The official journal of the Australian Institute of Professional Photography.
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Working ProThe
Issue 229 • March 2015
PROUDLY SUPPORTING THE AIPP
TOGETHER WE CAN BE STRONGER
LOOK FOR THE LOGO
Proud supporter of the AIPP
TRADE PARTNER
Working ProThe
C o n t e n t s# 2 2 9 - M a r c h 2 0 1 5
The Working Pro is the official newsletter of The Australian Institute of Professional Photography (AIPP).
Editor Peter Eastway
G.M Photog., FNZIPP, Hon. FAIPP, Hon. FNZIPP, FAIPP
Disclaimer The information provided in The Working Pro and 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]
Copyright © 2015
AIPP Membership Contacts
Suite G.02, 171 Union Road,
Surrey Hills, Victoria 3127
Phone: 03 9888 4111
E-mail: [email protected]
Cover
Kelly Brown M.Photog.
2014 AIPP PROFESSIONAL FAMILY
PHOTOGRAPHER OF THE YEAR
w w w. l i t t l e p i e c e s p h o t o g r a p h y. c o m . a u /
4 Ross’s RamblingsRoss Eason M.Photog., Hon.LM, National President
5 AIPP New Accredited MembersNew APPs for February 2015
6 Update: AIPP Reflections ProjectJohn de Rooy reports on great progress to date.
8 WWII Reflections – Clermont, CQPhotographer Robert Hiette reflects on his Reflections shoot in Central Queensland.
1 2 Far North QueenslandEnjoying the regions within the AIPP fraternity.
1 3 AIPP Regional AreasAll of these regions have FB groups so people can organise social get to-gethers and talk about what events they want in their region.
1 4 Helping Rwanda With HopeLisa Diamond’s journeys to Africa
1 8 Mastering Wedding CinematographyAbraham Joffe discusses wedding film production.
2 4 Stef King: AIPP Member ProfileAfter 10 years of hard work, Stef is now focusing on fashion.
3 2 Check Out The New AIPP WebsiteGreat tools and resources in the members’ section
3 4 Judges’ Training For EveryoneKylie Lyons explains why we need a little assistance.
3 6 Wedding Prints In A BoxThings to add to a shoot-n-burn package.
3 8 Orphan Works for PhotographersWhat is it and does it apply in Australia?
4 0 ACCC Certification for the AIPPWhat certification doesn’t mean is very important!
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Ross’s RamblingsR o s s E a s o n M . P h o t o g . , H o n . L M , N a t i o n a l P r e s i d e n t
Many of us have a vision of a philanthropist
being a rich US business tycoon, but in reality,
philanthropy or helping is within all of us. It’s
actually part of our culture.
As the voice and face of professional
photography in Australia, we need to take
a proactive approach to supporting the
community, as well as supporting our own
members.
To do this, it has been suggested that we
look at building a monetary fund that will
be able to help when required. The need for
help may come in different ways - it may be
hardship, it may involve a legal dispute that
if won could set a precedent for the industry,
or it may involve fighting for the rights of the
industry with our politicians and bureaucrats.
You will receive in the next few months
a proposal to establish such a fund that we
can build on each year, a fund that is invested
to ensure growth and that is available when
required.
Our peer organisations in America, ASMP
and PPA, already have foundation or charity
arms that do exactly this and, at this stage, we
have a dedicated group of members working
on our structure.
Who will be our Philanthropists?
You. We envisage funds will come from
donations or fundraising activities. An initial
proposal for fundraising is a silent auction of
Gold Award images at or after APPA each year,
and perhaps at state awards if the states agree.
You will see in your APPA awards entry protocol
this year an opportunity to submit your image
to auction, if it is successful.
Initially a proportion of these funds will
be directed to a student scholarship to assist
students in education.
Extraordinary Things
Each year we have members who do
extraordinary things in many different ways
to help others. For some it takes a lifetime,
while for others it takes just a day or a week.
We want to start recognising the efforts of our
members outside the traditional boundaries of
photographic honours and print awards.
How will it work?
We will seek nominations from members for
philanthropic endeavours outside the AIPP
that have helped the community with no
expectation of personal gain or promotion.
phil - an - throp -ist : A person who seeks to promote the welfare of others
5
Each year after the nominations are received,
we will select the most suitable candidate and
recognise their efforts in two ways.
1. They will be formally recognised by
the Institute for their work and awarded a
supporting trophy and press release in their
region;
2. For that particular year, they will have a
scholarship for student education named after
them and have the honour of presenting that
scholarship to the successful student.
The finer details of this proposal are being
developed now, but in a similar vein to the
Reflections Project, if we as an industry want
to be recognised as a body working for the
betterment of the community, then we need to
start doing things that project that image.
Social Media
One of the greatest benefits we have in this
country is freedom of speech. I’m a firm believer
that everyone has the right to present their
views and ultimately people will judge the
comment and character of the person by what
they read.
We don’t need to agree with another
person’s views, but we should always respect
their right to express them.
However, there is a fine line that we all
have to be mindful not to cross. There are
laws governing social media protocols that all
Admins need to be aware of and act on, and
that includes their personal liability for allowing
others to make false, misleading or libellous
comments on sites they are responsible for.
The AIPP is responsible for ensuring
comments on our social media sites comply
with the above and we will adhere to that
requirement. We encourage all industry Admins
to apply the same standards.
0412 108 362
AIPP New Accredited MembersN e w A P P s f o r F e b r u a r y 2 0 1 5Accredited Professional PhotographersSANatasha BotherasQLDKristy Lee Pommer Rachel CutlerVanessa EylesJohn Nguyen
Paul BamfordBadine KennedyDanielle D’ArcyAmanda WaschevskiMegan WillisVICLouisa JonesDouglas GimesyJon TinklerJanet Faye Hastings
Brett DorronScott MortonNSWLaura-Michelle HallSandra RamacherGorden CahillScott WilliamsBettina KingmaClaire VellaYvette van Rensburg
Emily FreemanGilbert RomaneACTCath CollinsWANigel MoyesMaria PorterVioleta Jahnel BrosigAquilino PaparoStephen Heath
Jasmine BanksNTLacey BarrattAccredited Professional Video ProducersKiet LuuMatthew InksterMichael Dalla Rosa
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Update: AIPP Reflections ProjectJ o h n d e R o o y r e p o r t s o n g r e a t p r o g r e s s t o d a t e .
Thanks to all the photographers who have
registered for the project thus far.
We have 150 volunteers and we are looking
for another 300 from all over Australia to
photograph the expected 8,000 to 10,000 WWII
veterans.
Sponsorship
We wish to recognise our wonderful sponsors,
beginning with Kodak Solaris for providing all
the printing materials for the complimentary
photographs being sent to the veterans and their
families. In addition, there are our presentation
folder manufacturers, Jorgensens, Photo Mounts
and Albums, Designer Folders and Seldex, plus
the laboratories printing the work are also very
generous supporters: Atkins, Fitzgerald Photo,
Pixel Perfect, Bond Imaging and Streets Imaging.
Our book sponsors are Graphis Studio and
Momento Pro, creating superb books for the
RSL and the Australian War Memorial which will
become enduring assets for the generations of
the future, recognising and featuring our WWII
heroes in this 100th commemoration of the
ANZAC tradition.
As part of the Reflections Project, Kayell
Australia is providing a very generous package
to all our volunteer photographers to ensure
we have consistent results. For only $79.90,
Kayell is offering an Xlite 1.5x1.8 metre grey/
black collapsible background and a Datacolor
Checkr24. This is a huge saving of $145 for
everyone involved in the Reflections Project.
Details of this special offer will be emailed to our
photographers during March.
The Australian War Memorial is a strong
partner with the RSL and the AIPP in this project.
Tim Sullivan, the Assistant Director, Branch
Head National Collection of the Australian War
Memorial, wrote, “The Australian War Memorial
will archive the images taken for the Reflections:
Honouring our World War II Veterans project. The
images will be kept for posterity and accessible to
the veterans and their families, and to researchers
in the future. It is an appropriate addition to the
Memorial’s collections as we commemorate a
Century of Service by Australians in our military
forces, and honour all those Australians who
served in the Second World War.”
Thanks to Townsville photographer Robert
Hiette for kicking off the photography of the
Reflections Project on 28 February. We have
received some feedback already from relatives
of the veterans photographed in Clermont,
saying how everyone thoroughly enjoyed the
experience and were looking forward to receiving
their complimentary photographs. Robert’s
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T i m e l i n e f o r 2 0 1 5Launch to photographers & veterans
via RSL and AIPPFebruary
National media campaign March
Photography begins for veterans 1 April
RSL National Photo Day – ANZAC DAY 25 April
Photography appointments 25 April to 30 July
Launch event in Canberra June
Central processing images May to July
Dispatch 5” x 7” prints to Veterans June, July, August
Design and print first book July & August
Present first book to RSL and AWM – Media Event 2 September
Present all books to RSL and AWM – Media Event 30 September
Present the digital collection to AWM 30 September
Book presentation at the APPA dinner 19 October
Travelling exhibition September to December
8
work and images are being used as a pilot
program to test the systems as we prepare
for the prospective 10,000 veterans to be
photographed over the next four months.
You can see one of Robert’s portraits on the
next page. To get involved in the Reflections
project, please go to https://aippveterans.com/.
Or to speak to a human, touch base with John
de Rooy, Project Manager, E: john.derooy@aipp.
com.au P: 0418 980 644.
And please spread the word about this
project to WWII Veterans and photographers.
WWII Reflections – Clermont, CQP h o t o g r a p h e r R o b e r t H i e t t e r e f l e c t s o n h i s R e f l e c -t i o n s s h o o t i n C e n t r a l Q u e e n s l a n d .
Clermont is a small mining and agricultural
town situated on the Central Highlands
of Queensland and has a population of
approximately 2200.
This small community is home to seven of
our living WWII Veterans – Walter (Dave) Murphy
(94), Roy Richardson (94), George Barker (91),
Charles Oats (91), Ivan Bettridge (91), Theodore
Williams (90) and Arthur Lawrence (89).
Small Community, Big Deal
The ‘Reflections’ project was as big a deal for
me as it was for the vets. Clermont is my birth
place and despite leaving 44 years ago at the
age of eleven, I still have sentimental ties to the
town. Being such a small community, the photo
session we had arranged on 28 February at the
Clermont RSL turned out to be quite a social
event for the diggers.
As related by their loved ones, they were all
very much looking forward to the occasion.
Despite the size of the town and with limited
mobility, these mates don’t get the opportunity
to come together very often, so the shoot
was a wonderful event for them, albeit quite
exhausting for most.
I made time to chat to each of these gentle
heroes. Each had their stories to tell – most
chose not to talk much about their active
service, but more about their life before and
after.
Ivan’s Comments
The subject of the photograph opposite, Ivan
Bettridge, recalls some of his experiences…
“I served in the Army, 26th Battalion, ‘A’
Company. First they sent me to Thursday Island,
then into the centre of Dutch New Guinea. At
that time it was controlled by the Dutch and
it was a political prison camp from Indonesia.
9(Above) Ivan Bettridge, 26th Battalion, ‘A’ Company. Photograph by Robert Hiette for the AIPP Reflections Project
10
They had Javanese Police guarding them. We
had no idea why we were there.
“We got along good with them. We were
camped in big barracks. It was pretty free – we
used to go over and mix with them and talk
to them. There was no land fighting there. The
Japanese couldn’t bomb us because of the
low cloud. When the Japanese bombed, they
bombed the village, not the barracks due to the
low cloud. If they had bombed the barracks,
God knows what would have happened as
we would not have had time to get out. But I
enjoyed it up there, apart from the bad malaria.
One of my mates died when he got the bad
one, but all I done was lost a kidney.
“Then we went back to Australia and went
to Bougainville. Bougainville was not a very nice
place - 40 diggers killed and 400 wounded in
five months”.
Post war, Ivan resumed working at Blair
Athol coal mine until his retirement In his later
life, Ivan established himself as somewhat of a
celebrity in Clermont, having a park named in
his honour.
Since his retirement, he has nurtured a small
man-made nature reserve of native trees on
the outskirts of town. He used to manage the
upkeep of the park with his trusty push mower
until the union at the mine bought him a ride
on mower and later upgraded him to a bigger
vehicle.
When chatting to Ivan, you get the message
that he’s a man very strong to his convictions
when he speaks of his beloved Clermont.
Daughter’s Comments
His daughter Suse, wrote to me after the shoot.
“The camaraderie these gentlemen had and still
have is astounding and it really should make
every Australian proud that we were lucky
enough to have men of this calibre fight for our
Country as we currently know it.
“Although the photo shoot was an
emotional experience for both the veterans
and the families that were there with them,
the encounter was truly heart-warming and
I, like most other Australians, will make sure
that their service will never be forgotten. The
professional photographs being made by
AIPP photographers is a wonderful gesture to
remember them by.
“Speaking on behalf of my family, we are
extremely proud of our Dad/Granddad and we
are also just as proud to be Australian.
“Lest we Forget.”
Please spread the word about this project to
WWII Veterans and photographers. To register a
veteran or a photographer for the project please
go to https://aippveterans.com
Robert Hiette is an Accredited Professional Photog-
rapher and the proprietor of rth_images in Towns-
ville. He shoots weddings, portraits, events and also
gives photography workshops.
www.rthimages.com.au
11Charles Oats, Clermont, Queensland. Photograph by Robert Hiette for the AIPP Reflections Project
12
Far North QueenslandE n j o y i n g t h e r e g i o n s w i t h i n t h e A I P P f r a t e r n i t y .
If you’re thinking of setting up a local group
yourself, perhaps you could have a chat to
Kurt Stockham from the Far North Queensland
chapter. Kurt and his committee just helped
put together a popular workshop in downtown
Townsville with AIPP Grand Master of
Photography, Peter Rossi.
“We had around 15 people in total”, Kurt
explained. “There were a couple of students
who had just finished their degrees and one
has since signed up as a student member. There
were eight or so full members, two from as far
south as Mackay, and non-members as well.”
Most of the Golds and Golds with Distinction
from the 2014 Canon APPAs were put on display
at the venue. Peter Rossi led the proceedings,
discussing the Gold Awards, his own approach
to creating award winning entries, and then
offering feedback and critiques for attendees’
own images.
“Peter would say what he liked and didn’t
like about a participant’s photograph, in a very
constructive way, and then the crowd was
invited to give their opinion as well. Everyone
showed up with a couple of images to discuss.”
Kurt and his committee at the NQ Chapter
are trying to ensure the Far North Queensland
group gets to meet once a month, even if
it’s just for a coffee. “It’s good to get people
involved, so they know what the AIPP is doing
and what’s happening in the area.”
Kurt and his committee have a big year in
planning. A workshop with Kelly Brown on baby
photography in April is already sold out, and
the chapter is in discussions with lots of other
interesting speakers for more presentations later
on.
Asked why he’s an AIPP member, Kurt
answered, “To be honest, when I found out
about the AIPP, I jumped on board straightaway
and I haven’t looked back. I love the way it sets
some standards in an industry where there
really aren’t any standards you have to follow
legally.
“For instance, I think it’s great we’re
required to have Public Liability insurance
which is something a lot of newcomers to the
industry don’t have. And to be accredited, AIPP
members are required to always improve their
photographic skills! These are just some of the
many ways we can set ourselves apart from the
competition.”
Kurt Stockham is the President of the AIPP NQ
Chapter and runs Tella Photography, a wedding and
portrait studio in Townsville, Queensland.
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A smiling Mr Rossi with one of his award-winning prints.
Peter Rossi keeping the audience in Far North Queensland enthralled with the finer points of high end and award-winning photography!
John de Rooy looking right at home with the sausage sizzle in full swing. The vegetarian sausages are on the right, John.
Checking out the 2014 Canon APPA Golds Awards - up close and personal.
Attendees had Peter critique their work person-ally - and gently!
AIPP Regional AreasA l l o f t h e s e r e g i o n s h a v e F B g r o u p s
s o p e o p l e c a n o r g a n i s e s o c i a l g e t
t o g e t h e r s a n d t a l k a b o u t w h a t
e v e n t s t h e y w a n t i n t h e i r r e g i o n .
South West WA Region
South East SA Region
Surf Coast Vic Region
Blue Mountains/Lithgow Region
Newcastle Region
North Queensland Chapter
NT Chapter
Mid North Coast NSW Region
South Gippsland Vic Region
North East Victoria/Riverina NSW
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Helping Rwanda With HopeL i s a D i a m o n d ’ s j o u r n e y s t o A f r i c a
The breadth of experience and experiences
within the AIPP is no better exemplified than by
Lisa Diamond and her work in the small, war-
ravaged African country of Rwanda. She has
visited three times in the last five years, helping
the Rwandans in a small way to get back on
their feet.
“I had always known about the genocide in
Rwanda, but it wasn’t until I had my first child
and, some years later, saw a documentary on
television that it really affected me. It struck a
deep chord within me.
“Then in 2010, I learned that the church to
which I belong was sending a team over to
Rwanda and I thought that I’d like to help. I was
told that applications were closed, but a friend
who was going said she’d mention me to the
organisers, just in case. As it turned out, they
were still looking for a photographer and so the
next night I put up my hand.
“My husband was happy to support me,
looking after the kids and running the business
while I was gone, although essentially I just shut
the studio down for three weeks.”
On her first trip, Lisa shot promotional and
educational images for Hope Rwanda. “I went
over with the education team and one of my
roles was to film the teachers at work. The
films were to be used as teaching aids in other
countries such as Kenya and Uganda, creating
an educational database for new teachers.
“I also photographed for a picture book
called Rwanda: Speak, I’m Listening. It was to
raise funds for an organisation by the same
name in Kigali which assisted women. Originally
many of these women were widows, but now
the organisation also provides sanctuary for
the victims and children of rape, genocide and
disfigurement. Of course, in Rwanda, everyone
has been affected by the genocide and even
today, they remain scarred in some way. Still,
this organisation helps keep women out of
prostitution and gives them skills with which to
make a living.”
However, on her third trip, Lisa found herself
in the role of teacher and her subject was
photography.
“English is now the second language
in Rwanda and there has been a massive
improvement over the past few years. It also
makes it possible for outsiders to help in schools
and I travelled last year with other teachers and
doctors who were giving medical support, early
childhood and sewing instruction, in the Fruits
of Hope Academy. Fred Buyinza, the principal,
has built the school from nothing to what it is
15
(Above) Bronwyn teaching nursery children at Fruits of Hope Academy, Rwanda, 2014. Photo by Lisa Diamond.(Below) Lisa teaching a theory class with the photography students
16
today with around 600 students. He has such a
grand vision for his country.
“While the basic academic skills are taught,
a lot of children aren’t so academically inclined
and more orientated towards the arts. Because
of the lack of skilled teachers for extra curricular
subjects, very little education exists outside the
core subjects. After the genocide, a great many
of the professionals were targeted and wiped
out, meaning there were very few educated
people left.
“Fred has a vision of introducing many new
skills to his students and also to his teachers,
so he utilises any opportunity to bring in skills
from overseas that will improve the standard
of education in his country and offer new and
varied opportunities for employment.
“It was completely amazing. I wrote a
program and then re-wrote it to what I thought
would suit my students, but when I got there,
we didn’t really use my notes because there was
simply too much information.
“I stripped it back to basics and taught
from the heart rather than the book. I had 43
students in total, all very enthusiastic. I took half
the group at a time out on practical workshops
and the kids picked up photography really
easily using the point-n-shoot cameras kindly
donated by Nikon. They were extremely proud
of what they achieved in such a short time, and
I learnt a lot too!”
Lisa says she and the other teachers were
really impressed with the photos the students
created, especially since most of them had
never picked up a camera in their lives.
As an AIPP member, Lisa says she believes
our industry needs to be accountable. “I
find it uncomfortable that anyone can call
themselves a photographer, so I’d prefer to see
us accountable to a professional body.
“I also want to support photographers who
are coming up the ranks. I have created my
business pretty much from the ground up,
teaching myself and building it without very
much exposure to other photographers.
“When I joined the AIPP, I found that I
suddenly had this great access to a community
of professionals whom I could network with,
sharing stories and working together. That’s
what the AIPP means to me.”
Lisa Diamond operates a portrait photography busi-
ness in southern Sydney.
www.lisadiamond.com.au/
Photographs taken
by Lisa’s students in
Rwanda.
17
(Above) The school cleaner gets an impromptu photo shoot from 20 photography students at Fruits of Hope Academy, Rwanda, 2014.(Below) The student’s photgraphy exhibition on the final day. Photos by Lisa Diamond.
18
Mastering Wedding CinematographyA b r a h a m J o f f e d i s c u s s e s w e d d i n g f i l m p r o d u c t i o n .
How do you create amazing wedding videos
that clients line up to see and buy?
Abraham Joffe is the owner of Untitled Films,
a small production house in North Sydney that
specialises in weddings and corporate videos.
A Canon Master, Abraham is also responsible
for many of Canon’s promotional videos, but he
has cut his teeth on the challenging world of
weddings.
Ninety Plus Weddings
Currently Untitled Films has a staff of nine,
including cinematographers, editors,
production and studio managers. Their
workload includes some 90+ weddings each
year and while some people might think this is
a lot, Abraham says it’s a manageable number
for the business.
While Abraham himself is shooting more
corporate work, he’s still shooting weddings
regularly and picking up some plumb
international jobs as well.
“We’re known for our cinematic, story-driven
films”, explained Abraham. “We believe our point
of difference is that we will spend a lot of time
with our couples prior to the wedding.
“It’s crucial for our cinematographers to
meet the couple before the wedding because
to document the big day successfully, they
need to understand the couple’s story and what
aspects of the event they need to focus on.
“We often shoot what we call ‘pre-scenes’,
interviews and scenes with the couple going
about their everyday life before the wedding. It’s
nice to weave this footage in with the wedding
day because it gives a broader sense of who the
couple are.
“It also means that the film we create doesn’t
look like all the others. Almost every wedding
will feature the white dress, vows and speeches,
but if you have other material from outside the
wedding day, you can create a film that means
more to the couple and their families. And from
a business point of view, it’s also an opportunity
to offer a larger package.
Special Services
Untitled Films provides at least two
cinematographers to shoot the wedding. They
don’t want to dominate the proceedings with
too many people, but they also want to create
the type of coverage that requires multiple
cameras
“A special service we offer is the ‘same
day edit’. We generally weave pre-existing
footage into footage shot during the course
19
(Above and Below) Abraham Joffe at work as a cinematographer producing wedding films
20
of the wedding and the film is screened at the
reception, usually after the speeches. It has
a massive impact and it’s also a fantastic PR
exercise for us, given we often have a couple of
hundred guests watching.”
An extra fee is required for this service.
Wedding Packages
“Cinematography packages tend to be all
inclusive, so once your client has booked,
there aren’t really many opportunities to sell
additional products like you do with stills
photography. We provide the film edited in a
couple of ways and in multiple formats, and
from this year we’re only delivering the files on
USB.”
Of course, when the client is booking
Untitled Films, there are a number of different
options they can choose from, including having
their wedding shot in ultra high quality 4k.
“We’ve already shot several weddings in 4k
with the early adopters paying a premium, but
as 4k becomes more widespread, the price will
drop back down.
“It’s very flattering when clients choose to
invest a sizeable amount of money for what
we offer and we’re very conscious of our
responsibility when we take on an assignment.”
Marketing
“Having been in the industry for over 15 years,
we’ve built up a solid reputation and so most of
our business is word of mouth. We also receive
referrals from wedding and event planners,
plus we’re well placed with Google rankings. I
worked hard on our SEO over 10 years ago and
we’ve managed to maintain our position, but
you can never take it for granted.
“You need to continue marketing yourself
and we’ve noticed that if we don’t keep up
relationships that our business can drop off.
“For this reason, we remain active in the
wedding industry events, we enter film
competitions and we’ve won numerous awards.
“We also feature in a few print publications
in order to keep our brand out there - and to
ensure the industry itself remembers us as
much as anything else. The industry provides a
lot of referrals, so it’s important they know we’re
around.”
Production Levels
Asked whether photographers could easily
transition into video, Abraham agreed it was
certainly possible, but there are several new
skills that need to be learnt.
“There was a fundamental shift back in
2009 when the DSLR video revolution began.
We were at the forefront of the changes and
we had a honeymoon period for many years.
People loved the shallow depth-of-field and
that look differentiated us from the rest of the
market.
“However, as more and more producers
21
(Above and Below) Abraham Joffe at work as a cinematographer producing wedding films
22
began experimenting with DSLRs, it was our
cinematic story-telling skills that became the
differentiating factor.
“Now in 2015, there are lots of producers
creating story-driven productions with DSLRs
and it’s what the market expects of everyone.
This makes it tougher for us to stand out
because there’s so much quality work being
produced. It’s great for the consumer, but it
means we have to work harder to find an edge.
High Demand
“We used to book weddings at $6500 hands
over fists five years ago, but in the market today,
it’s much harder to book a package at this rate,
even though the quality of what we offer has
improved.”
So, for photographers looking at video as
an alternative, the first thing to realise is that
consumers’ demands are high.
“In film, there are a lot of moving parts and
additionally when stills photographers think of
migrating to motion, they forget how important
sound quality is.
“Sound is an entire skill-set in itself. A
modern wedding filmmaker is also using a
plethora of tools to move the camera and
create a cinematic experience, plus they have to
record good sound.
“However, the big advantage photographers
have is their eye and having a good eye is a big
part of it.”
Abraham Joffe’s production house is called Untitled
Films and is located in North Sydney, NSW. His web-
site is www.untitledfilms.com.au. He can be con-
tacted via email on [email protected].
Abraham is also a Canon Master.
23
1. Shooting Motion
Learn how to shoot video with a
DSLR. (Most producers are using
DSLRs these days, but this may
change in the future with tech-
nology.) This means shooting in
full manual - setting exposure,
white balance and focus in a com-
pletely manual environment.
2. Recording Sound
Most producers record sound
separately, so in addition to re-
cording the sound, you need to
master sound editing software
(such as Soundbooth) as well as
Plural Eyes to synchronise the
sound and vision.
3. Time-Lapse
Time-lapse is becoming a very
popular inclusion in wedding
films and they are generally put
together using Lightroom and LR
TimeLapse software.
4. Stabilisation Tools
To give the look of your film a
greater dimension, you need
to be able to move the camera
around smoothly. To do this, you’ll
need to learn how to use multiple
stabilisation tools such as tripods,
monopods, glide cams, steady
cams, and brushless gimbal sys-
tems like the MOVI or Ronin.
5. Drones
Drones have also become a very
popular film making technique
because the aerial perspective
creates fantastic establishing
shots. Some producers are even
including drone services at no ad-
ditional cost as a booking incen-
tive. We hire an external operator
who is licensed. It’s much safer to
use the skills of a dedicated op-
erator.
6. Lighting
You’re usually limited with the
lighting you can use for a wed-
ding because your presence can’t
overshadow proceedings. Often
it’s a matter of closing a blind
or turning off a light to improve
the light quality. At the reception
there may be an opportunity to
improve the mood with addition-
al lighting.
7. Editing
Probably the most important skill
after capturing the vision and
sound of the day is knowing how
to put it all together into a coher-
ent and engaging story. Abraham
suggests it is often the editing
that separates the good work
from the great. “A good edit also
requires a good storyline. I would
choose a beautiful story simply
told in preference to a cleverly
produced film with lots of fancy
shots, but no engaging story.
8. Direction
“Our style is to keep our subjects
looking as natural as possible.
We’re also almost always work-
ing with top photographers who
place our subjects into pleasing
scenarios and so we don’t need
to interject or direct too much. If
direction is needed, it may be just
to position the couples in nice
settings and then let the action
naturally unfold in front of you,
capturing their natural interac-
tions. As soon as you start direct-
ing too much, the spontaneity
and naturalness is lost. No one
likes scenes that look contrived -
the magic is gone.”
9. Have Fun
Abraham says it’s super impor-
tant to be having fun yourself and
to exude a happy demeanour
because it rubs off on the entire
bridal party. If they see you feeling
stressed or unhappy, they worry
too, so it’s important to stay posi-
tive and have fun.
9 Essential Skills For A Wedding Video Producer
Abraham Joffe suggests the following skills and attributes are essential for
a professional wedding video producer.
24
S t e f K I N G
A I P P M a s t e r o f P h o t o g r a p h y
Most of Stef King’s photography is for fashion
clients. Explained Stef, “This can include
magazine editorials, jewelry campaigns, beauty
images, fashion look books and campaigns, and
model portfolios.
“Recently I’ve taken studio space in
Fremantle where I also run a portrait studio
which focuses on women’s portraits and fine art
images. Juggling both is keeping me very busy,
but I do find that they feed different needs.
One feeds my creativity and the other the
need to connect with other woman and shoot
meaningful images for them.”
Focused On Fashion
Like many professionals, photography for Stef
began in school. “I just always knew I wanted to
be a photographer.
“I can’t draw at all, but I have a creative soul
and when I found out I could turn ideas in my
mind into something tangible with a camera, I
was hooked!”
Scoop Magazine cover image of model Rosie Tupper wearing a couture beaded piece by Aurelio Costarella. Shot with a Phase One IQ140, natural light backlit from outside large studio doors with the soft blue material hanging in front of doorway. Large white boards
in front of model. “Placing the model as close as we could to the blue material allowed the colour/light from the material to wrap around the model, giving an overall cooler cast to the image.
25
26Scoop Magazine cover image of model Simone Kerr, shot with a Phase One IQ140 in the studio using a large soft box in front of the
model. Black boards on either side.
S t e f K I N G
A I P P M a s t e r o f P h o t o g r a p h y
27This portrait of actress Courtney Eaton was shot in the Swan Valley for an online fashion magazine. Daylight coming through an open
barn door in late afternoon. Nikon D3 with 105mm lens.
28
Stef has been shooting professionally
for over 10 years and her assignments have
included all types of work, from interiors and
advertising jobs, to lifestyle magazine work,
corporate shoots and fashion.
“You name it and I’ve probably given it a go”,
Stef laughed. “I used to be a ‘Yeah, I can shoot
that’ type of person and then just go for it.
“I think it’s different in a smaller market
because you need to be able to put on a few
hats to keep yourself busy. However, now with a
little more experience behind me, I’m trying to
keep focused on shooting just what I love and
what I’m really good at.”
Memorable Shoots
One of Stef’s professional highlights was
shooting on Crown Casino’s super yacht. “It
was hard to beat that shoot”, she mused. “It
was a windless day off Rottnest Island and I
was photographing from a small tender boat,
shooting back towards this massive super yacht
with a model in position.
“My digital assistant was having a heart
attack, worrying that I was going to drop the
Phase One into the water, but I was on such
a high I didn’t even notice I was leaning right
over the edge of the tender, skimming just
centimetres above the water’s surface.
“It’s moments like these when I think, ‘Yes,
this is amazing!’ and I love being a professional
photographer.
“Another shoot I’ll never forget was on
assignment for Grazia magazine. I was asked
to photograph four woman on the one day. All
had recovered from breast cancer and this was
the first time they had all met after their surgery.
“It was such a humbling experience to be a
part of that day and something I would never
have witnessed had I not been a photographer.”
However, Stef doesn’t have her head in the
clouds, being well grounded and still wanting
to achieve more in the future.
“In my career, I would say I’m a quarter or
maybe half the way to where I want to be. I still
have some major goals I want to kick!
“One goal I’m aiming for this year is a solo
exhibition. I’ve just shot the content for it, now I
have a few months to edit, so fingers crossed it
all comes together. I will keep you posted!”
Workflow
Stef started with a Nikon when studying at TAFE
and has never changed. “I love my Nikon AF-S
Micro 105mm f2.8 -- it’s a fantastic beauty lens!
“And the Phase One medium format system
with Capture One is pretty hard to go past, so
I’m hooked on that too. It’s perfect for my style
of shooting, when you want to shoot slow
and controlled. And the detail is just amazing!
One makeup artist I work with calls it the scary
camera because it captures so much. ‘Are you
using the scary camera today’, she’ll ask!
“In the studio we are running the Elinchrom
S t e f K I N G
A I P P M a s t e r o f P h o t o g r a p h y
29Shot in Crown at Guillaume, the new bistro restaurant situated above the pool for a magazine editorial. Nikon D3x with 24-70mm lens.
Natural light with some large reflectors on the right hand side of the model, just out of frame.
30
ELC lights with some big soft boxes. Black
boards are also a must for me in studio -- never
underestimate what two large black boards can
do on either side of your subject to create killer
cheekbones!
“I also use large Sunbounce Sun Swatters,
Profoto refectors and Profoto B1 location lights.
In the office, my Wacom Intuos Pro is well loved
and inside my Mac, I’m running Photoshop CC.
Nik Software and Tiffen dfx are also a lot of fun
to work with.
“Most of my workflow for fashion goes
through Capture One. I find it very reliable with
colour tones, which is very important for what
I do! Sometimes you have only days to output
entire look books for clients on tight timelines
because they need the images in print ASAP
to show their buyers. In these circumstances
it’s essential to make sure you get colour
management spot on!
The photographs accompanying this article are
from Stef’s day-to-day fashion work. You can see
more of Stef’s work at www.stefking.com.au.
Email – [email protected];
Instagram - @stefkingphotog;
Facebook - Stef King photographer - https://
www.facebook.com/pages/Stef-King-photogra-
pher/193599740667820
See Stef King at The Nikon Event in Perth this June! Book now -
www.aipptheevent.com.au
S t e f K I N G
A I P P M a s t e r o f P h o t o g r a p h y
31
The City Brights editorial was shot on the Nikon D4 with a 24-70mm and some small, hand held mirrors from Ikea positioned in front of the lens to create the shattered glass/mirror effects. “It’s lots of fun shooting this way as you never know what each shot will bring!”
32
Check Out The New AIPP WebsiteG r e a t t o o l s a n d r e s o u r c e s i n t h e m e m b e r s ’ s e c t i o n
There’s a host of great material on the AIPP
website designed to help members get the
most out of their membership.
If you haven’t visited recently, then that
means you haven’t updated your personal
profile and, given the new search engine
features built into the AIPP website, it’s certainly
worth doing. It will take you five minutes and
while you’re there, you can check out how easy
it is to find stuff.
Member Dashboard
Once you’ve logged in, you’re presented with
a Member Dashboard and down the left side
is a comprehensive menu. Under the Member
Dashboard menu item itself, you’ll find sections
on saving you money, staying informed, all
about the AIPP Awards, copyright and your local
state chapter.
There’s also a section titled Assisting Your
Business. It includes specimen contracts we can
use and adapt for our businesses, guidelines
for preparing and presenting digital files to
our clients, legal help for members, details
and requirements for members working with
children and the AIPP’s Brand Awareness
Campaign.
Specimen Contracts
Experienced members will tell you how
important it is to have a contract with all your
clients, whether you’re shooting a family portrait
or selling a stock photograph. A ‘contract’
sounds legalistic, and it is, but an ‘agreement’ or
a letter outlining what’s happened can be just
as good.
The question is, what do we put in our
contract or agreement and this is where the
AIPP website shines. It has specimen contracts
for different genres of photography, and some
more general agreements like model releases.
Legal Assistance
And while we hope we never have to employ
the services of a solicitor, if you do, visit the
Member Dashboard and check out the Legal
Help for Members tab. There you will meet
John Sinisgalli of Mason Black Lawyers and an
offer to provide a first consultation at no cost,
and further consultations at discounted AIPP
member rates. John has been working with the
AIPP and photographers for many years and has
specialist knowledge of our business. This is an
invaluable offer and resource.
Some members wonder what they get
when they sign up with the AIPP. A quick look
at the Member Dashboard should soon answer
that. And there are some great discounts from
all types of suppliers - take a look!
33
34
Judges’ Training For EveryoneK y l i e L y o n s e x p l a i n s w h y w e n e e d a l i t t l e a s s i s t a n c e .
No one is doubting our judges’ abilities to assess
and review images. However, it’s is the way their
opinion is expressed that the AIPP Board wishes
to address and this is what a new judge training
program will focus on.
“We need to train our judges about the
language that is used and the words they
choose to give praise or constructive feedback
so that it is not taken the wrong way.
“It’s also important that our judges are
trained consistently across the country so we
create a common framework and experience
wherever we are holding a competition.
“A lot of the criticism and complaints we
receive about judging isn’t about the feedback
itself, rather how that feedback is provided. And
often when confronted, a judge will explain that
his or her words were taken the wrong way and
that’s not what was meant!
“So this is the main aim behind the training,
to help our judges better articulate exactly
what they want to say and eliminate any
misunderstandings in the audience.”
Heading up the judge training is Martin C.
Grahame-Dunn, FMPA, FRSA, Hon.FMPA, QEP, Hon.
Master Photo-dk, MPP (MPOCanada) etc. As Kylie
commented, his credentials speak loudly.
“Martin has a program that not only
trains judges, but will also train some of our
nominated members to be trainers as well. It’s
important that the program also brings along
the next generation of judges. Martin will travel
around the country to ensure all judges go
through this training at some stage.”
Asked why the AIPP Board felt it needed to
bring in an outsider to train our judges, Kylie
explained that there are few people in the
world with Martin’s experience and that it’s
important the AIPP not operate in isolation.
“We live in a global society with
competitions all around the world. Martin
has wide ranging experience with many
competitions and, importantly, the
organisations that run them. There’s a lot to
learn from the training, even for experienced
judges. In a constantly changing world, it
doesn’t hurt to brush up on your judging skills
and there’s a big benefit for the AIPP as well if it
can say that all its judges have been upskilled.
“APPA judging is already very good, it’s just a
matter of how we deliver it. We want to ensure
we’re giving our judges every opportunity to do
it better, and that in turn gives a better outcome
for all our entrants.”
Judging training is planned for August 2015. You
can read more about Martin Grahame-Dunn on his
website www.images2inspire.com
35
This is a one day intensive education
program for both experienced and as-
piring jurors.
Conceived to be delivered in front
of an audience of potential entrants
into image competitions and evalua-
tive qualification assessment systems
worldwide. The result will be an in-
creased knowledge and awareness of
the craft of judging, together with the
thorny problems of ethics and egos.
“In my vast experience in judging and
chairing national and international im-
age awards, I have been forced to ac-
knowledge that it is vitally important
to have a ‘worldwide’ perspective that
transcends national and domestic bor-
ders and takes into account the vast
differences in cultural and social de-
mographics. This is what makes this
program different. Having been privi-
leged with over 36 years in professional
photography coming from a formal
‘fine art’ background, this has formed
the foundation of my knowledge base,
combined with the sciences, psychol-
ogy and esoteric thought processes
drawing upon the power and science
of geometry and optics.
The program will comprise a series of
short lectures combined with a practi-
cal judging session in front of an audi-
ence. After each ‘lecture’ there will be a
short Q&A session for clarification pur-
poses.
Session 1. The Psychology of Image Judging (45 minutes)
• Sense&Sensibility
• Geometry,Symmetry&Optics
• GoodJudge,BadJudge
• CommonSense
• Linguistics-“Tolikeisinsipid,to
love is Passion!”
• Projection
Session 2. Technical Evaluation (45 minutes)
• Benchmarking
• “Ten”,thetencrucialpointsofeval-
uation with real meanings
• WordstoNumbers
Session 3. Aesthetics “Putting things into Perspective” (45 min-utes)
• ReferencingoutsideofPhotogra-
phy
• CreativeorAestheticEvaluation
• HowdoyoujudgeArt?CriticorCri-
tique
Session 4. Practical Evaluation - “The Warm up”
• Iwilltakeaseriesofimagesandre-
late them to the ‘Ten’ points of ’Techni-
cal’ Image Evaluation
Session 5. Judging in Action
• ThissessionwillbeinJuryPanel
form with constant feedback to Jurors
in Training and the audience
Session 6. Command & Control - Supplementary Session
• TheresponsibilitiesofaJuror
• Ethics-PartOne
• TheroleofaneffectiveChairman
• AfinalsessionwillbeinJuryPanel
form with constant feedback to Chair-
men in Training in a ‘closed’ environ-
ment
Session 7. Paying it Forward (For Jury Chairmen and future trainers)
• JurorTrainingandCPD
• Ethics-PartTwo
• Therightjudgefortherightcat-
egory
• ResourcesandResearchMaterials
This is the proposed program - subject to change.
International Juror Training in Professional Photography
Mind & Heartby Martin Grahame-Dunn
36
Wedding Prints In A BoxT h i n g s t o a d d t o a s h o o t - n - b u r n p a c k a g e .
Many wedding photographers provide a shoot-
and-burn service, claiming this is all their clients
want. No doubt this is true in some cases, but
when you talk to wedding photographers who
are selling albums, prints and frames, they claim
clients don’t ask for additional products and
services simply because they don’t know about
them!
This doesn’t mean you stop offering a shoot-
and-burn service, rather you add in some extra
items on your price list. These extra items may
take a little more time to organise, but they can
also significantly increase your profitability.
Image Folio Boxes
So, what can you offer that’s special? How
about a box of beautifully mounted prints from
the 20 best shots of the wedding?
You could sell this package for an extra $495
to $2495 (depending on your starting point).
The Edge Photo Imaging in Melbourne
offers handmade, clam-shell style presentation
boxes in 8x10” and 11x14” sizes, finished in
either black buckram or natural linen.
Each folio box can hold up to 20 matted
prints and you can order the folio boxes with
or without the empty matted mounts. You
can also include a smart DVD or USB insert
with the digital files. The matted mounts come
with pre-cut windows into which you slip the
photographic prints.
The process would be to select the
wedding’s best 20 images in Lightroom (or your
editing software of choice) and ensure they are
cropped to fit the windows (either a 5x7” print
for the 8x10” mounts, or an 8x10” print for the
11x14” mounts). Tweak the files so they look
great and export them as JPGs into a folder.
Obviously labs like The Edge will be
delighted to print these for you (make sure you
size the prints at 200 dpi), or you can DIY.
At the Edge, the cost for each 5x7” print is
$1.50, or $30 for 20. Add in $175 for the image
folio box and mounts and your total cost is
$205.
So, if you sell this package for, say, $995,
you make an extra $790, but there are many
photographers out there who will tell you that
you can sell a package like this for a lot more.
We plan to bring more suggestions from other labs
around the country in future issues. Or, if you have a
great add-on sale idea, please let the editor know -
You can see this product at http://www.theedge-
photo.com.au/?page_id=22
37
38
Orphan Works for PhotographersW h a t i s i t a n d d o e s i t a p p l y i n A u s t r a l i a ?
Copyright prevents our photographs from
being used without our permission, but
what happens if someone wants to use
a photograph, but can’t find out who the
copyright owner is?
The short answer is if you don’t own
the copyright, then you shouldn’t use the
photograph. However, in the case of museums
and public institutions, they may know who
the author is, but not be able to make contact.
Museums and libraries would like an exemption
for situations where they simply can’t locate the
copyright owner.
The problem for photographers is that if
this exemption is introduced, other people
and businesses may claim that because they
can’t find the copyright owner, they can use
the photograph under the Orphan Works
exemption. For instance, if your photograph
is out on the internet with no watermark and
all the metadata stripped out, it could be
impossible for someone to find you.
Under Orphan Rights, this person may
be able to use your photograph without fear
of having to pay a penalty, although if you
did discover the photograph had been used
without permission, you would be entitled to
some form of payment.
Orphan Works have not yet been considered
in Australia. However, while it has been rejected
in the USA, it has now been accepted in the UK.
Under the UK system, if someone wants to
use a photograph (or any other artwork) under
the Orphan Works exemption, they have to
demonstrate how they have tried to find the
copyright owner. In many cases, the experts
say, it would be easier and cheaper to buy a
stock photograph from an image library than
to go through all the hoops required under the
Oprhan Works legislation.
Furthermore, if you do use the image under
the Orphan Works exemption for commercial
purposes, you still have to pay a licence fee to
a government authority. Should the copyright
owner come forward, this fee will be paid across
to him or her.
Under the USA proposal, there was no
licence fee payable, only an agreement to pay
a commercially ‘reasonable’ fee should the
copyright owner come forward. However, it
appears the legislation failed because it was
too complicated and potentially too unfair for
creators.
The Australian Copyright Council believes
the Australian Government will consider orphan
rights at some stage in the near future.
39
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Use Peter Eastway’s free online Photo Income Estimator to find out.
It’s easy to use.
Visit www.betterphotography.com
Click on the link to the Photo Income Estimator page
Enter your information and see the results immediately.
Don’t spend the next 12 months fluffing around.
Have a look and set yourself some goals!
www.betterphotography.com
40
ACCC Certification for the AIPPW h a t c e r t i f i c a t i o n d o e s n ’ t m e a n i s v e r y i m p o r t a n t !
Peter Myers has written a document outlining
what will and won’t happen as the AIPP
travels down the path to professionalism and
certification.
Certification does mean we will all have to
abide by standards, but this is the mark of a
profession. However, most importantly, it is the
AIPP who will be setting those standards, not a
faceless bureaucrat in government.
Q. Does this mean that the AIPP will
become the overall governing body for
photography in Australia?
No. The AIPP will become the only photography
membership body whose accreditation
standard is certified by the ACCC, but we will
not become a government approved regulatory
body.
Q. Does this mean that all practicing pro-
fessional photographers will have to
become AIPP members?
No. Membership of the AIPP remains a choice.
We hope that as a result of this initiative,
more photographers choose to become
AIPP members and view this initiative as
membership incentive.
Q. How will you deal with the probable
allegations that you are trying to force all
professional photographers to become
AIPP members?
By being clear and transparent. We are not
forcing anyone to become AIPP members. We
are however continually “raising the bar” and
making AIPP membership a more attractive
proposition on all levels. Certification
will be further incentive for becoming an AIPP
accredited member.
Q. Does this mean the AIPP will need to
revise its folio assessment standards to
meet an ACCC “standard”?
No. For ACCC certification, the most important
criterion is that we have a transparent,
published and consistently applied
accreditation standard. It is up to the AIPP to
define an “appropriate” standard.
Q. Does this mean that all older AIPP mem-
bers, who have not been through the cur-
rent accreditation process, will have to re-
submit their work to the new standard?
No. The ACCC recognises that in a membership
organisation, there will be memberships that
pre-date any formal accreditation process. As
above, the most important thing is that we
have a clearly defined, transparent and
published standard that is applied consistently
in the future.
Q. Does this mean we have to revise our
41
mentoring program in line with ACCC
requirements?
No. There are no ACCC requirements which
affect our mentoring program, which itself is
outside the scope of this project. Whether we
choose to further refine our mentoring program
is a business decision with different parameters.
Q. Does this mean we have to ensure that
all educators delivering approved AIPP
CPD content have to be “certified”?
No. It is up to us how we manage this aspect of
our CPD program. “Certification” of educators is
outside the scope of this project.
Q. How will we deal with and what will
be the penalties for a member found to
be in breach of the “Code of Professional
Practice”?
The sanctions to be applied will be defined
within our new membership terms and
conditions. However the ultimate sanction will
be the withdrawal of membership and with
it removal of the ability to practice as an AIPP
Accredited Professional Photographer.
Q. Can you tell me which “business docu-
ments” I will need to ensure I use the logo
on?
On the following business documents: invoices,
orders quotes, proposals and letterheads. The
brand usage guidelines, which will be published
later, will also suggest you use the logo on your
website, business cards and other business
stationery.
Q. How will the AIPP ensure that members
are using the logo correctly?
Each year we will conduct a random survey of
our members to ensure compliance with the
logo usage requirements.
Q. What will happen if a member of the
public wants to complain about the quality
of an AIPP member’s work?
The contract for service will always be between
the client and the photographer. Any complaint
about the quality of work will be a dispute
to be resolved between the client and the
photographer. The AIPP compliance process
will only come into effect if there is a registered
complaint advising that a member has
breached the AIPP code of professional practice.
However, as a responsible membership
organisation, we will continue to ensure that
our accreditation process is actively working
to improve the standard of professional
photography, and thereby reduce the number
of such complaints.
Q. What will happen if a member of the
public wants to register a complaint
against a member of the AIPP who they
believe is in breach of their membership
terms and conditions, or code of profes-
sional practice?
Our new compliance process will have
clearly published guidelines how to register
such complaints and how we manage these
complaints.
42
“The secret to photographic technique is layers, and that’s whether you use Photoshop or Lightroom.”
How To Master Layers is a series of video/article presentations by Peter Eastway.
To purchase and view on your computer, visit:
www.betterphotography.com
$6.49 each or $19.95 for all four titles
If you download the files from the website, they will not play properly on the iPad.
How To Master Photoshop Layers
