1

Working ProThe

Issue 220 • April 2014

THEEVENT

2014 NIKON AIPP

GOLD COAST

THEEVENT

2014 NIKON AIPP

GOLD COAST

THEEVENT

2014 NIKON AIPP

Gold Coast

THEEVENT

2014 NIKON AIPP

GOLD COAST

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’

THEEVENT

2014 NIKON AIPP

GOLD COAST

THEEVENT

2014 NIKON AIPP

GOLD COAST

THEEVENT

2014 NIKON AIPP

Gold Coast

THEEVENT

2014 NIKON AIPP

GOLD COAST

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’ Working ProThe

C o n t e n t s# 2 2 0 - A p r i l 2 0 1 4

4 President’s Message Kylie Lyons keeps the membership up to date with news and information about the Institute.

6 Promising Changes For APPAIf APPA is to survive and grow, changes will need to be made. Peter East-way introduces the big picture.

8 Why The APPA Changes Are GoodAny changess that make APPA easier to enter and encourage greater par-ticipation are positive, explains Peter Eastway.

1 0 Word of Mouth - Melissa NeumannIt’s a long term business strategy, but one that pays dividends for pho-tographers who are in for the long haul.

1 2 Who Will See Your Facebook Posts? - David WatsonHave you wondered why fewer people get to see your posts these days? David Watson has both answers and suggestions.

1 4 Showing Clients That You Love Them - Ross EasonPhotographers more than ever need to provide personalised service for their clients - Ross Eason shares some great examples.

1 6 What Should Facebook Really Do? - Tom PuttWhen you post on Facebook, what outcome are you looking for and is it reasonable? Tom Putt explains his approach.

1 8 Editor’s Selection - APPA WinnersA selection of entries that caught the editor’s eye from the 2013 Canon AIPP Australian Professional Photography Awards.

2 2 Your Award Entry: Dust Spots PlusPutting an award entry together takes time and effort, so don’t waste it by forgetting to spot your prints or removing distracting blemishes.

2 4 Tylor v Sevin = $23,850A recent court case has confirmed a photographer’s right to copyright protection. It’s a great outcome for our profession!

2 6 Is Clothing Deductible?Most clothing is not tax deductible, unless it’s a uniform or protective in some way. So what can photographers claim?

2 8 Does Copyright Give Me Full Control?Just because you own the copyright in a photograph doesn’t mean you can do what you like with it. There are other issues that come into play.

3 0 World Press Photo 2014Canon is once again presenting the world’s best press photography as an exhibition, opening in Sydney this May.

The Working Pro is the official newsletter of The Australian Institute of Professional Photography (AIPP).

Editor Peter Eastway G.M Photog., Hon. FAIPP, Hon. FNZIPP, FAIPP

Disclaimer The information provided in The Working Pro and associat-

ed publications is made in good faith, but is general in nature. Neither

the editor, the publisher or the AIPP accept responsibility for or will be

under any liability for any recommendations, representations or infor-

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

ions and suggestions for subscribers to evaluate in coming to their

own decisions in the light of their own individual circumstances. The

information should not be relied upon without readers first obtaining

independent advice from their own financial and legal advisers.

Unless otherwise noted, all articles are written by Peter Eastway.

Publication The newsletter is published 10 times a year – monthly

with November/ December and January/February being combined.

The Working Pro newsletter is published by Pt 78 Pty Ltd,

ABN 75 003 152 136, PO Box 351, Collaroy Beach, NSW 2097, Australia.

Phone: (02) 9971 6857; Fax (02) 9971 6641.

E-mail eastway@betterphotography.com

AIPP Membership Contacts

Suite G.02, 171 Union Road,

Surrey Hills, Victoria 3127

Phone: 03 9888 4111

E-mail: enquiries99@aipp.com.au

Cover S i lv e r A wA r d

William Long M.Photog.2013 CANON AIPP AUSTrALIAN

PrOFESSIONAL PHOTOGrAPHy AWArDS

WINNEr OF ArCHITECTUrAL CATEGOry

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The Balancing ActK y l i e L y o n s 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

Our industry is in state of flux. We are definitely

faced with the situation of adapt or die.

This doesn’t apply just to our own busi-

nesses, but the AIPP also needs to adapt to the

changing needs of our members.

The ‘typical’ photographer today is very dif-

ferent to the typical photographer of five or

even ten years ago.

And it’s important for the AIPP to embrace

photography practitioners of all levels in all

genres and that is what the Board has in the

back of its mind whenever it has to make gover-

nance decisions.

The Board is acutely aware of its governance

responsibilities and would never deliberately

mislead or confuse members.

However, balancing the diverse opinions

within the AIPP has always, and will always, be a

challenge.

We value the input of all members. The time

given by all volunteers (committees and Board

alike) is valuable and we greatly respect that

contribution.

Still, it’s not always easy to keep everyone

happy. The balancing act is to look at the best

option that is best for majority of members.

So how do you get involved?

The newest and easiest way is to join a spe-

cial interest group or SIG. We have SIG’s on

wide and varied topics such as AIPP benefits for

members, AIPP use of social media, mother and

baby photography, and a brand new SIG for fo-

lio assessments, just to name a few.

More information about SIG’s can be found

on page 2 of the AIPP blog (www.aippblog.

com).

As a way of obtaining more member input

into our photography awards system, we have

introduced Category Advocate Groups. If you

have ideas that might benefit our current cat-

egories or perhaps an idea for a new award cat-

egory, send an email to admin@aipp.com.au

and get onto the SIG(s) that you have a passion

for so your thoughts can be heard.

I encourage you to be active and help take

ownership of your membership organisation.

Have your voice heard.

As I always say... you get out what you put in!

 

 

kylie.lyons@aipp.com.au

0411 552 488

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Promising Changes For APPAP 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

As the AIPP grows and the market changes, the

AIPP’s awards systems need to grow and adapt

as well.

Currently we have a two tier system, com-

prising the national Canon AIPP Australian Pro-

fessional Photography Awards and the state-

based Epson Professional Photography Awards.

Participation from the membership is high,

between 30 and 40 percent, but the AIPP Board

wishes to see at least half the membership en-

tering every year. This is the goal.

However, if half the membership were to

enter the national Canon APPA awards, the fa-

cilities couldn’t handle the volume. Already we

have four judging rooms working for three con-

secutive days and judging around 3000 prints.

There aren’t enough judges for more rooms and

it’s not fair to ask judges to give up more than

three days. The current system is essentially at

capacity.

To get more participation, the system needs

to be changed, but in a way that the existing

awards and distinctions are not affected or di-

minished.

The proposal is for a three tier system, which

I will describe very simply here. However, there

are many levels of carefully thought through

details to ensure the system runs smoothly and,

importantly, doesn’t disadvantage members

who are currently entering the Awards.

Tier 1

The first level will be an online competition with

a range of categories. Entry will be inexpensive

and there is no need to prepare physical prints.

Importantly, Tier 1 is a proving ground. To be

eligible to enter the State Awards, you need to

‘qualify’ in the online competition (unless you

have already proved yourself in other ways).

Tier 2

The second level comprises the various Epson

state awards, with print and digital entries.

This is also a qualifying level to enter the na-

tional Awards.

Tier 3

At the top of the pyramid is the national APP

Awards. Only the best work will reach here,

similar to how only the best athletes reach the

Olympics.

However, unlike the Olympics, entry to APPA

for many previous entrants will remain auto-

matic. The new system is designed to accom-

modate the future, not restrict current members

from reaching their goals.

NB Entry to the Canon and Epson awards for

2014 will not change. In fact, it could be a good

idea to enter this year with the changes in mind!

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Why The APPA Changes Are GoodP 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

It will come as no surprise to read that I am a

firm advocate for the APPA system, as currently

promoted by the Canon and Epson Awards.

If I had to point to just one aspect of my pro-

fessional career that has helped me the most, it

is APPA.

And no, it’s not about winning the PPy or a

category, it was about proving myself to myself,

about reaching goals and striving to capture

and create better photographs.

Selecting & Refining

This will be the 30th year I have entered APPA

and every year, I go through the same process,

selecting and refining my four best entries. The

judges don’t always see them the same way I

do, but that’s not important.

It’s the fact that I spend the time looking

through my work and refining it. This is how I

improve my craft and my skill. The process of

producing photographs to (hopefully) award

standard permeates every aspect of my profes-

sion.

The best photographers in the world are not

just lucky.

They get the best jobs and win the compe-

titions because they study and practice. Many

new photographers to our profession are sur-

prised when they hear how much time I have

invested. Surely there’s any easier way, a button

to press, a Photoshop trick? The only trick is per-

sistence and practice.

New APPA System

What I like most about the new APPA system in

this regard is how easy it will be for every AIPP

member to enter.

One of the reasons members give for not

entering is the cost. It’s not just the entry fee,

but the cost of producing and mounting the

prints, the print case and freight.

While many members see this as a small

price for the value they get from the Awards

process, it is not always financially possible for

newer members, especially if they are unsure of

how beneficial the process can be.

The online entry tier immediately removes

the cost barrier.

It will also allow the entrant to experience

the judging process (getting a result), allowing

them to prove themselves. If their results are

good, they can choose to move to the next lev-

el and enter the State awards.

If their results are not so good, then the

feedback provided by their score and judges’

comments is a positive step towards improving

their craft and the skills they need as a profes-

sional photographer.

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Word of MouthM e l i s s a N e u m a n n ’ s L o n g T e r m B u s i n e s s S t r a t e g y

“I think my marketing is a little different than

most because I use word of mouth. People find

me as much as I find them because I’m an old

fashioned family photographer with clients who

come back to me over and over again.”

Melissa Neumann talks mainly about her

family portraiture, although she also shoots

weddings and commercial jobs.

A lot of her family portrait clients have hus-

bands or wives who are corporates, and this

translates into corporate portraiture and event

photography.

After 20 years, Mel is still going strong and

her secret, she says, is ensuring her clients are

well serviced and looked after. “When I began in

the profession, I worked for studios where ser-

vice was important. We made people feel spe-

cial and that’s why they were coming back, to

buy that experience.”

Mel takes the same approach and from here,

referrals bring in new work. “There’s nothing

better than picking up work by word of mouth.

If you have clients who referred you to some-

one, you know the new client is already quali-

fied.”

This isn’t to say Mel doesn’t need to market

and advertise herself. rather, when she does go

out with a promotion, she has a lot of ambassa-

dors helping.

“I find that within a group of people you will

have an ambassador client, someone who re-

ally likes what you do, and if they see a new

promotion from you, they pick it up and pass it

on to their friends. I just have to put it on Face-

book and it goes through all these smaller client

channels.”

Melissa says she is looking for two to three

portraits a week. Of course, five or six would be

even better, but in addition to portraiture she

has a flow of weddings, corporate shoots and

smaller portraiture sessions.

“I don’t directly ask my clients to refer me,

but if someone does, then I do something un-

expected for them.” For instance, a client re-

ferred Mel to three of her friends, so she created

a photo book using photos from the client’s

earlier shoots, just as a thank you. “She really ap-

preciated it and then she sent me another three

clients!”

“I don’t have a referral program as such, but

it all comes back to providing great service.”

Mel Neumann AAIPP is an AIPP National Vice Presi-

dent with over 20 years’ experience. She is also in-

volved with a new venture to help photographers

- take a look at www.cameralove.com.au

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Photograph by Mel Neumann.

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Who Will See your Facebook Posts?D a v i d W a t s o n e x p l a i n s t h e n i t t y g r i t t y o f a F B m e s s a g e .

Who will see your Facebook posts? Here’s a little

background information to help it all make sense.

Facebook made some hefty changes to its

Newsfeed algorithm last year and what we see

now is based on around 100,000 variables. The al-

gorithm is how Facebook works out what we see

when we login.

Back in August 2013, Facebook said that an av-

erage user has around 1500 potential newsfeed

stories, but on average only sees about 300.

Put simply, there is more content being cre-

ated than a user can consume, hence the need for

the algorithm.

Facebook shows Pages content items in the

Newsfeed based on a few variables, and some of

the more important ones are:

• HowrecentlyauserorFaninteractedwitha

Page (clicks, likes, comments, shares);

• Howoftentheuserhasinteractedwitha

Page’s posts;

• TheoverallvalueofthatparticularPageand

their content posts;

• Thekindofpostitis–link,image,video,news,

blog etc.

So, if your fans aren’t seeing your posts, it’s of-

ten a result of poor engagement.

If your fans aren’t interested in what you’ve

been posting, then Facebook will show them con-

tent that they are more interested in, based on

their user profile, influence, network and past in-

teractions.

This could be content from other Pages, or

content from their friends.

Again keep in mind that there is a finite num-

ber of opportunities to show a user content of any

sort, and we’re all competing for that limited space

and attention.

It’s not all bad news though.

By using some of the tools that Facebook pro-

vides us, like its Insights analytics tool, we can eas-

ily see what posts work best for the audience we

have. We can see more detail about the fans that

are connected to us by age, location, and gender.

We can see what times of day our fans are on-

line so that we can optimise our posts for when

they are online.

By using the scheduled post tool, we can post

even when we’re not at work or in front of our

computers.

David Watson is a 20+ year sales and marketing

veteran who has worked across different industries

with a range of businesses. Prior to launching his

consultancy business Strategy Point in 2012, David

worked with Momento and was a member of the

AIPP National Board. www.strategypoint.com.au

13

WEDDINGPHOTOGRAPHY

THE AIPP IS A MEMBERSHIP ORGANISATION THAT EXISTS FOR THE BENEFIT OF ITS MEMBERS

If you have a “Special Interest” or a keen area you want to see more and better AIPP involvement, the SIG’s are your opportunity to get involved and help us make this happen.

Simply contact us on admin@aipp.com.au to suggest a new SIG or get involved in one of our existing SIG's

SIGSPECIAL INTEREST GROUP

AIPP MENTORING

A C C R E D I T A T I O N

FOR VIDEO P R O D U C E R S

MOTHER & BABY PHOTOGRAPHY

AIPP USE OF SOCIAL MEDIA & COMMUNICATIONS

BIRTHPHOTOGRAPHY

PORTRAITPHOTOGRAPHY

AIPP WORKSHOP P R E S E N T E R S & SPEAKERS

AIPP MEMBERSHIP

BENEFITSWORKING WITH

the ATO (AUSTRALIAN TAX OFFICE)

14

Examples of Ross Eason’s day-to-day work for resort clients.

15

Showing Clients That you Love ThemR o s s E a s o n E x p l a i n s H i s O n e o n O n e A p p r o a c h

With so many photographers quoting for a job,

how do you stand out? First, reminds ross Ea-

son, you need to have a style or technique that

your clients can’t do themselves. That needs to

be part of your USP.

The second difference has to be you - your

personality and your interest in helping the cli-

ent with their project. Often what they are do-

ing is far more than just having a photograph

taken.

ross gave an example of presenting a quote

to a holiday resort, explaining that it is best to

get in front of someone for a face to face meet-

ing. “I ask them what day and what time we can

meet. I assure them there is no obligation, ex-

plaining that I need to understand the job be-

fore I can give them a good value proposition.

I’ve never had a no and I’ve travelled as far as

Sydney at my own expense to have a meeting.”

When there, ross asks his prospective cli-

ent to tell him about their customer base. “In

the case of a resort, I want to know who will

be staying there, or perhaps more importantly,

who would they like to be staying there, who

makes the decisions about staying there and,

once there, what do they like to do.

“Next I quiz them about their opposition and

what collateral (marketing materials) do they

have. I explain I want to put myself in the shoes

of their customers, to understand the decision

making process their customers go through,

and then find a way to photograph their re-

sort so their customers come simply because it

looks better and stands out from the crowd.”

This process not only helps ross create bet-

ter photographs, it demonstrates a genuine in-

terest in his client’s project and demonstrates

expertise and professionalism.

ross also talks about the ‘flip-back’ compari-

son, referring to the process of flipping through

a magazine or a website, but then returning

or turning back one or two pages because a

photograph really caught your attention. “I ex-

plain that this is what I want to do for them. I

want their clients to turn back to their page and

when they hear that, they see that I am trying

to bring value to the relationship.

“Obviously I lose some clients because I am

more expensive, but I live with the reality that

you can’t win every job - or if you are, then there

is something wrong with your costings!”

Ross Eason M.Photog., HLM is a commercial pho-

tographer in South East Queensland. He is an AIPP

National Vice President and has been in business for

over 30 years. www.easoncreative.com.au

P H O T O B Y B A M B I W I X O N

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An example of Tom Putt’s day-to-day studio portraiture of his canine subjects.

How Tom Putt Uses Facebook To Engage With His Customers

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.

17

What Should Facebook really Do?T o m P u t t e x p l a i n s h o w h i s s t u d i o u s e s F B

To be successful, Tom Putt’s Ella+Friends Pho-

tography dog portrait studio needs to market

itself, even though it has one of the most promi-

nent studio positions in Melbourne.

“I would love to have a retail space with peo-

ple flooding through the doors without any fur-

ther effort from me, but it’s simply not realistic.

As a portrait photographer, if you don’t market,

you don’t have clients. you need to continu-

ally develop strategies to get people to walk

through your door.”

Tom says the market is changing and it is be-

coming increasingly difficult to attract portrait cli-

ents into the studio. “It’s incredibly challenging to

get people to engage with you because portrait

photography - whether of themselves or their pets

- is not something they have to do. It’s not like

they have run out of milk and bread, you have to

give them an excuse to have their portraits taken.”

This, explains Tom, is why the portrait pho-

tography industry is full of specials and free

photo shoots, anything to give clients an excuse

to have it done. “Otherwise we find people are

too lazy or just have other priorities.”

One of Tom’s approaches is to have a high

profile studio with large window displays, but

even this isn’t enough to get people to stop

and engage. More recently, Tom has been inves-

tigating the power of social media, beginning

with Facebook. He engaged an expert to help

him through the marketing strategies needed

to reach his clients.

“We found that 85 percent of people who

see our posts are women, so we’re no longer

advertising to men! With Facebook, we’re able

to target our market to the point where we can

set up ads which will take people to a special

landing page on our website that is specifically

designed for them.

Facebook has changed and Tom says his

advice is to pay for exposure. “In the past, you

could build a Facebook page and if you had

done it properly, the exposure would grow or-

ganically. Now that Facebook is listed on the

NySE and needs to provide for its shareholders,

the talk around town is that you won’t see as

much organic growth unless you pay for it. It’s a

fact of life.

To read how Tom uses Facebook to engage

with his market, log into the the AIPP website.

Tom Putt M. Photog. is a portrait and landscape pho-

tographer in Melbourne. He also has interests in land-

scape photography, publishing and leading photog-

raphy workshops. www.ellaandfriends.com.au; www.

inspiredlandscapes.com.

18

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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20

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E D I T O r ’ S S E L E C T I O N

21

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E D I T O r ’ S S E L E C T I O N

22

Okay, okay, so we never see prints with spots this bad at APPA! However, at least we got you to read the caption! Photo by Peter Eastway.

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your Awards Entry: Dust Spots PlusT h e L i t t l e T h i n g s T h a t K i l l Y o u r E n t r i e s

When your print or digital entry is displayed in

front of the judging panel, it needs to be per-

fect from a technical perspective.

The judges may see hundreds of images in a

day and they are looking for reasons to knock a

print down just as much as they are for elevat-

ing it to an Award.

Excellent Execution

Professional awards aren’t just about good

ideas, they are about excellent execution. If

we’re going to hold ourselves up as professional

photographers, then we must produce a quality

of work that says ‘professional’.

This isn’t to say some awards are given for

images with lots of imagination or emotion,

even though technically they might not be pre-

fect. Technique alone doesn’t make a great pho-

tograph, but award prints with poor technique

are very rare.

So, the trick before you enter your photo-

graphs is to carefully inspect your print for what

is the worst crime a professional photographer

can commit: dust spots!

Okay, so not getting the photograph or us-

ing poor lighting are worse, but if you have a

great shot and you leave it covered with dust

spots, you’re missing the point. Judges will not

give you an award if you can’t spot your prints.

Photoshop Technique

The technique is very simple. In Photoshop, you

use the Healing Brush tool, or sometimes the

Clone tool.

Enlarge the print to 100% on screen so you

can see dust spots easily. Navigate the image to

the top left corner and then, section by section,

inspect the image from left to right, top to bot-

tom.

As you inspect the image, remove dust spots

using the Healing Brush tool.

Some photographers add a Curves adjust-

ment layer to the top of the layer stack, and

darken down the image with extra contrast so

the spots are easier to remove. If you use this

technique, remember to be working on the im-

age layer that has the spots, not the adjustment

layer!

Other Blemishes

It’s not just spots that judges baulk at. Hairs on

the sensor are equally problematic, but so are

areas in the image that simply look like spots,

either white or black.

If these little areas look unsightly or detract

attention from the main subject, use the same

technique to remove them.

The idea is to have an image without un-

wanted distractions.

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25

Tylor v Sevin = $23,850A u s t r a l i a n C o u r t C a s e U p h o l d s C o p y r i g h t C l a i m

The Federal Circuit Court of Australia has award-

ed $23,850 in damages and costs to a photog-

rapher whose stock photograph was used on a

website without his permission.

Travel Photo

The case, Tylor v Sevin [2014] FCCA 445 (26 Feb-

ruary 2014), was based on a travel agent (Sevin)

using a photograph taken by American photog-

rapher Vincent Tylor.

Interestingly, the court accepted that the

travel agent, or the web designer employed by

the travel agent, may not have realised that the

photograph was subject to copyright. In the

reason for the judgment, the judge acknowl-

edged the evidence of expert witness Chris

Shain (AIPP member).

“[The photos] have become picked up from

a site where they appear and where an appro-

priate licence fee has been paid, and transferred

to sites where no licence fee is paid in breach of

the copyright of the photographer. This is what

has occurred in the instant case. It is the first

case brought in this court of this type, which is

why the court has noted that it is important.””

Put more simply, the travel agent couldn’t

simply say she didn’t know the photographs

were subject to copyright and get away with it.

Vincent Tylor had approached Sevin to try to

resolve the issue, but being unsuccessful, took

Sevin to court.

Continued the judge, “The court does be-

lieve that there is a need to deter a similar in-

fringement of copyright, either by this respon-

dent, or by any other potential respondents.

Breaches of copyright in this manner are com-

mon, as evidenced by Mr Tylor and Mr Shain,

and the courts must do what they can to assist

copyright owners to maintain their property,

and prevent the unlawful use of it.”

The judgment allowed $1850 being a rea-

sonable fee for the use of the image, and then

added damages of $12,500, in part because

Sevin didn’t even turn up to defend herself. The

court didn’t seem to like that! The balance was

to cover the legals costs of $9500.

What Can You Do?

This court case is great for photographers be-

cause it is crystal clear. It is also crystal clear

what a defendent can expect if they use your

photographs without your permission, even if

they didn’t know the images were subject to

your copyright.

If you find someone has infringed your

copyright, send them a letter and refer them to

the court case. They are much more likely to pay

your fee than risk a higher damages award.

26

Is Clothing Deductible?C a n P h o t o g r a p h e r s C l a i m S u i t s o r R a i n c o a t s ?

A barrister who goes to court must wear a suit,

but that suit is not tax deductible to him or her.

If a barrister can’t get a tax deduction for work

clothing, how hard will it be for photographers?

General Clothing

The general rule is that clothing you could wear

out socially is not deductible at work. So, a wed-

ding photographer who wears a smart suit or

dress to a job cannot claim a tax deduction.

Nor can a commercial photographer who

dresses up in a suit to shoot a client function.

Branded Clothing

To get a tax deduction for clothing, the most

common way suggested by accountants is

to have your business name embroidered or

stamped on your clothing in some way.

However, before you think of hand writ-

ing your business name under the armpit or in

very small type with a fabric pen, you should

be aware that the tax office has thought about

this as well and has put in place extensive rules

about the size and placement of your company

branding.

Have a chat to your accountant to deter-

mine the rules that may apply to you.

Occupation Specific Clothing

Clothing that you would only wear while work-

ing may be deductible, such as the wig for a

barrister or a police uniform, although these are

often supplied by the employer.

Photography vests with pockets for lenses

and memory cards would be deductible on this

basis for photographers because it is specific to

our profession (and possibly fly fishermen).

However, an ordinary jacket with large pock-

ets would not.

Protective Clothing

Editorial, landscape and wildlife photographers

may find themselves working outdoors and re-

quiring protective clothing.

Camoflagued clothing for wildlife photog-

raphers, protective rainwear for landscape and

sport photographers, and protective steel-

capped boots for commercial photographers

needing access to construction and mining

sites will generally be deductible if only used for

work purposes.

And if you work outdoors, you will probably

be entitled to claim sunglasses, hats and sun-

screen as well.

However, the tax office may require you to

apportion the use of these clothes between

private and business use. A second pair of sun-

glasses for private use may solve this problem,

as would a separate tube of sunscreen for work

use.

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.

27

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 . . .

D o w n l o a d a n d e n j o 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 5 . . .L e n s S e l e c t i o n - W h i c h O n e s ?

S t i t c h i n g P a n o r a m a sM a s t e r i n g L u m i n a n c e

M u l t i p l e E x p o s u r e s I n C a m e r aA n d l o t s m o r e . . .

28

Owning copyright doesn’t mean you have unfettered use of the photos. Other laws can come into play. Photo by Peter Eastway.

29

Does Copyright Give Me Full Control?C a n I U s e M y P h o t o s H o w e v e r I P l e a s e ?

There is some confusion about copyright and

what it allows you to do with your photographs.

As a professional photographer working for

a client, you may or may not own the copyright

in the photographs you take. Hopefully you do

because of the contract you have with your

client. (WIthout a contract, generally a busi-

ness-to-business photographer will own the

copyright, but a domestic wedding or portrait

photographer will not.)

However, owning the copyright and then

using the photograph in any way you please are

two completely different issues.

There are limits to how a photograph can be

used by you, even if you own the copyright.

Advertising Use

Photographing a couple at a wedding and then

using those photographs to promote your own

business is not an automatic right.The couple

may not like the photographs you have taken

or may prefer to keep them private. you need to

have their permission to use the photographs

of them to promote your business.

Another example is a photograph you take

of a famous tennis player in public. you may

own the copyright in the photograph, but it

doesn’t give you the right to sell it to another

company who uses it for advertising purposes.

This law has nothing to do with copyright, rath-

er the advertiser doesn’t have permission to use

the photograph of the tennis player in its adver-

tising. If the advertiser obtains permission from

the tennis player, then you can sell or licence

the photograph to the advertiser.

Editorial Use

It’s a slightly different situation if you sell the

photograph to a magazine or a website. In Aus-

tralia, there is nothing stopping you from sell-

ing a photograph of the tennis player taken in a

public space for editorial (not advertising) pur-

poses.

This assumes that the photograph is not de-

rogatory or defamatory, of course.

Other Agreements

If the photograph was taken at a tennis tourna-

ment, then the terms and conditions printed

in small type on the back of the ticket may pre-

vent you from selling photographs you take at

the tournament. This doesn’t have anything to

do with copyright either, rather it’s an agree-

ment you make when you buy the ticket - ei-

ther you accept the terms and conditions on

the ticket, or you don’t go to the tournament!

Copyright is important, but it’s not the only

law that affects how your photographs can be

used.

©

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.

30

World Press Photo winner 2014: Goran Tomasevic

31

World Press Photo 2014 O n c e a g a i n p r o u d l y s p o n s o r e d b y C a n o n

Three Australians have featured in the prestig-

ious 57th annual World Press Photo contest:

Getty Images photographers Chris McGrath (1st

prize, General News, Stories); Ezra Shaw (2nd

prize, Sports Action, Stories); and Quinn rooney

(3rd prize, Sports Action, Stories).

The overall winner was Goran Tomasevic for

his photograph 30 January 2013, Damascus, Syr-

ia.

The photo shows Syrian rebel fighters taking

cover amid flying debris and shrapnel after be-

ing hit by a tank shell fired towards them by the

Syrian Army in the Ain Tarma neighborhood of

Damascus.

Also, receiving a Special Mention was a six-

image series taken by amateur photographer

Tim Holmes from the town of Dunalley, Tasma-

nia, where 90 homes were destroyed by wild-

fires during a period of record high tempera-

tures.

Canon Australia will be displaying the com-

plete World Press Photo exhibition at the State

Library of New South Wales from 24 May to 22

June 2014.

Entry is free of charge.

“We are thrilled to bring the World Press Pho-

to exhibition to Sydney again this year to show-

case the very best in reportage photography

from the past year,” said Jason McLean, Director

– Canon Consumer Imaging, Canon Australia.

“It is a proud moment to see Australians

stand out among the nearly 100,000 images

submitted in the world’s premiere photo jour-

nalism contest and this achievement reflects

the importance of powerful photography in our

society.”

The jury gave prizes in nine themed catego-

ries to 53 photographers of 25 nationalities. The

judging was conducted at the World Press Pho-

to office in Amsterdam.

All entries were presented anonymously to

the jury, who discussed their merits over a two-

week period.

The jury operates independently and a sec-

retary without voting rights safeguards the fair-

ness of the procedure.

The contest drew entries from professional

press photographers, photojournalists and doc-

umentary photographers across the world.

By the mid-January deadline, 98,671 images

had been submitted by 5,754 photographers

from 132 countries.

For an overview of all the winners vis-

it: http://www.worldpressphoto.org/

awards/2014

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

Presented by Les Walkling & Tony HewittThis is a full seven day all-inclusive unique experience designed for professional photographers and enthusiast/non-professional photographers. The James Cook University Orpheus Island Research Station is a world class research and teaching facility, and the tropical islands provide for amazing photographic opportunities. This is the tenth year Les has presented this workshop and he rates it as his best. This year his co-presenter is Tony Hewitt, 2013 Canon AIPP Professional Photographer of the year.

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Orpheus Island Photography Workshop 201411th to 17th August

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The workshop comprises lectures and presentations each morning, backed up with hands-on work after lunch and into the evening with state-of-the-art printing and colour managed workflows.

Fine art printing, print critiques, advanced image editing, camera craft, RAW processing, pictorial design, colour management, marketing/business planning, small group tutorials and one-on-one consultations are highlights of the workshop.

This year Les and Tony are supported by several experienced tutors to ensure that the knowledge you are acquiring is immediately translated into real-world imaging skills and new ways of seeing.

Our renowned chefs, Natalie and Melissa will create marvellous banquets for us and each evening we dine under the stars by the beach celebrating the days achievements.

Our sponsors also attend the workshop and supply ‘state-of-the-art’ cameras, printers, knowledge and materials for all our creative photographic needs.

“Orpheus will give you the time

and support to complete your masterpieces.”

Tony Hewitt

Enquiries Ph: 07 4725 4860 E: events@leswalkling.com

www.tonyhewitt.com