Working Pro 226

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Working ProThe

Issue 226 • October 2014

A P P A I S S U E

S P E C I A L R E P O R T

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Working ProThe

C o n t e n t s# 2 2 6 - O c t o b e r 2 0 1 4

4 Ross’s Ramblings - The President’s Message Our National President Ross Eason writes his news, views and plans for the future of the Institute.

8 Around The StatesWhat’s been happening in your neck of the woods? Our state councils keep us in touch with what matters around the country.

1 4 The Big One - James Simmons PPYThe 2014 Canon AIPP Australian Professional Photographer of the Year is James Simmons - and boy, was he happy!

1 6 Behind The Scenes At APPARunning the Canon APPAs is a huge job as Milton Gan’s photographs of APPA clearly show!

1 8 The Canon AIPP APPA Gala DinnerDavid Glazebrook provides us with a photo diary from Le Montage, Lily-field, where the 2014 AIPP dinner was held.

2 1 The APPA Category WinnersThe Category winners, finalists and highest scoring prints presented for your viewing pleasure! Did the judges get it right? Of course they did!

5 6 From 95 to 79Peter Eastway explains how to deal with score changes at APPA – why a win at state level might not translate to the nationals.

5 8 Canon APPA StatisticsThere were nearly 3000 entries this year at APPA, so how many were Sil-ver and Golds, and is this a reasonable outcome?

6 0 How Is The PPY Judged?To win a Silver or Gold Award requires a score, but to win a category or the PPY requires a review judging panel to give your work the nod.

6 2 APPA Category AdvocatesIf you have an interest in a particular genre of photography and you think it should be represented at APPA, here’s how to have your say.

6 4 Using A Single Overhead LightThe 2014 AIPP Australian Fashion Photographer of the Year Peter Coul-son explains one of his lighting techniques at the recent Nikon Event.

6 8 The Photo Watch DogWilliam Long’s advocacy for photography competitions has helped many of us win a fairer outcome - it’s a fascinating story.

7 2 Transporter SyncWith this little device, you can create your own personal cloud, for you and you clients.

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

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

Disclaimer The information provided in The Working Pro and associat-

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

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

under any liability for any recommendations, representations or infor-

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

ions and suggestions for subscribers to evaluate in coming to their

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

information should not be relied upon without readers first obtaining

independent advice from their own financial and legal advisers.

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

Publication The newsletter is published 10 times a year – monthly

with November/ December and January/February being combined.

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

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

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

E-mail [email protected]

AIPP Membership Contacts

Suite G.02, 171 Union Road,

Surrey Hills, Victoria 3127

Phone: 03 9888 4111

E-mail: [email protected]

Cover

James Simons M.Photog.

2014 CANON AIPP AUSTrALIAN

PrOFESSIONAL PHOTOGrAPHEr OF THE yEAr

w w w . j a m e s s i m m o n s . c o m . a u

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ross’s ramblings ScreamsR 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

I love hearing our members scream…

We have this little annual event called the

“Canon Australian Institute of Professional

Photography Australian Professional

Photography Awards”, but for reasons that are

perhaps less obvious, let’s just call it APPA.

I won’t go into detail as it is covered later in

this Working Pro, but for me the one thing that

is absolutely electric when you attend APPA are

the screams of exhilaration when someone gets

an Award.

It’s a bit different for everyone, but seeing

someone get their first Silver is just as magical

as watching a Master of Photography get a Gold

with Distinction. And the tears that accompany

these outbursts of emotion are just as genuine

at both ends.

I’m not sure if those screams came across in

the live stream. I hope so. With a large viewing

audience and an intention to help those

members who can’t make it to the Awards in

person, live streaming is a great example of

how we are trying to reach out to all of our

members.

This year saw the final trial of our new

Awards judging system, custom designed and

built by the AIPP with the help of Josh Marshall,

one of the dedicated members who makes

up our Awards team. There are many people

to thank in that team and while I know they

don’t seek recognition, we sincerely thank all of

them for their dedication and time. There is a

huge army of volunteers who banded together

to make it possible, all so generous with their

time, talent and support. I think this typifies the

success of the AIPP and it demonstrated to me

that our community culture is alive and well.

All About The Money

We are a fortunate community of

photographers and like any community, we

have opportunities to reach out to help those

less fortunate. Many of our members do just

that with little recognition.

Well, we’re going to change that. We’ll soon

be announcing details of a new philanthropic

project aimed at two things:

• Finding and recognising our members who

are supporting their community;

• Establishing a fund to support students

who require financial assistance or offer

opportunities for studies not normally within

their reach.

This is an exciting evolution and will ensure

that we expand the wonderful sense of

community we already have. At times we can

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all get caught up with sales and profit figures,

and while there’s no problem with that because

we are in business after all, there can be greater

satisfaction gained from what we give than

what we receive.

I saw a perfect example at the APPA Awards

dinner when Gavin Blue was honoured for his

work with Heartfelt. During that presentation, a

video reflecting the work of Heartfelt brought

a tear to every woman and man present with

something I have not seen before, two standing

ovations for Gavin and richly deserved.

We all feel such a sense of achievement

when we are involved with helping others and

we need to make that part of our culture.

Get Out Your Shovel

Okay, let’s face it. The Kiwis are great at rugby

and they are also pretty good at working an

idea. Last year they launched an initiative to

photograph the remaining diggers of WW2 and

they have had a huge success with it.

We want to do the same, but it is a much

bigger task. We have more territory and higher

numbers, but we also have more members and

resources. Next month we will bring you details

of what we have in mind.

The NZIPP has had huge national media

exposure with their project and we are

confident we can achieve the same. This will be

a regional community service that can benefit

POST APPA INFORMATIONCanon AIPP/APPA Gala Dinner Photographs

Thanks to David Glazebrook and our good friends at Kayell/Elinchrom, we have some amazing

social photos from the Canon AIPP Awards dinner - check them out here:

http://www.aippappa.com/appa-2014-info/2014-gala-dinner-galleries/2014-appa-gala-dinner-01

All The Canon APPA Awards On Line

Don’t forget to check out all the Silver and Gold awards on the AIPP website

http://www.aippappa.com

Gold Celebration Hard Cover Book

All Accredited AIPP members who entered APPA will receive a hard copy ‘coffee-table’ style book

containing all the Gold Awards from APPA this year. Stay tuned for a delivery time.

Traditional APPA Book

And the traditional hard copy book containing all the Awards will be made available in coming

months as a print on demand option. Details will be provided when it’s ready!

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AIPP New Accredited MembersN e w A P P s f o r S e p t e m b e r 2 0 1 4

Accredited

Professional

Photographers

WA

rachell Montgomery

TAS

Shannon Smith

NSW

Tim Bradshaw

Zahrina robertson

Dmitriy Komarov

Daniel Ferris

rose Punch

VIC

Simone Markham

Vikki Shayen Wong

Peter Gianfrancesco

Don Chu

QLD

Forough yavari

Laine Allen

renee Emily Towers

Victoria reid

Mel Spittall

Hayley Gough

Gabriel Veit

every member in every state and town. All

we need to do is engage in the ANZAC Spirit.

Do I need to explain the link to shovel and

diggers?

Raising The Bar On Entry

Becoming an AIPP Accredited Professional

Photographer should be something that

every professional aspires to. By default, when

we accredit someone, we essentially endorse

them to the consumer, so to ensure we

protect the value of our Accreditation process

and the reputation of the Institute, it is vital

that the accreditation entry process meets a

minimum standard.

With that vision in mind, we currently have

a working group reviewing the application

process for AIPP membership. When we have

the final model in place, we will bring it to the

membership for feedback, hopefully within

the next two months.

Putting The ‘M’ Back Into AGM

In late November we will be holding our

Annual General Meeting. While this is a

mandated formality for the approval of our

audited accounts, it is also an opportunity

for our members to meet with the Board.

This year, we would like to see a greater

involvement from our members and will be

aiming to create an interactive experience by

live streaming the AGM, including live Q&A

via text technologies. The anticipated date is

the 26 November and as soon as we have the

details, we will let our voting members know.

[email protected]

0412 108 362

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

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The 2014 Canon AIPP Emerging Photographer Of The Year Adam Williams

NSW

A R O U N D T H E S TAT E S

F O R M O R E U P C O M I N G E V E N T SClick Here

A P P A 2 014We were super excited that APPA returned to NSW for the first time since 2011 and we were proud to host what turned out to be an awesome and historic event including THAT perfect score of 100 by Kelly Gerdes and James Simmons becoming the first wedding photographer to win the overall PPY title!

Congratulations go to all our NSW members who won awards and honours, and to our amazing category winners:

Nadine Saacks - Album Of The YearMatthew Evringham - Advertising Photographer Of The YearAran Anderson - Commercial Photographer Of The YearAdam Williams - Emerging Photographer Of The Year

And thank you to everyone who helped to make APPA 2014 a huge success including, of course, the fantastic army of red shirts!

N S W E V E N T SOctober 23rd - Off The Grid - Parramatta - Our next invitation to down tools and catch up with fellow photographers sees the venue head west to Parramatta and the Bavarian Bier Cafe. Join us in this converted church for drinks and good times!

Coming UpThe NSW Council are hard at work creating a roadmap of events for the next year and beyond, addressing essential skills for professional photographers, inspiration, workshops and social gatherings. There is also a very special three day event in the works for early 2015! We can’t reveal too much at the moment but keep an eye on the state calendar and AIPP NSW on Facebook.

NSW Council - Milton Gan, Anni Payne, Karl Welsch, David Glazebrook, Charles Foulsham

A C U R AT I O N O F W I N N E R S F RO M A P PA 2 014Following on from APPA, our friends at Pixel Perfect are exhibiting the highest scoring images at their X88 Gallery. Images include the winning category portfolios as well as copies of the the gold and gold distinction winners.

The exhibition runs from 2nd to 16th October and is open from Wednesday to Friday each week from 11am-5pm. X88 Gallery is at 88 Abercrombie Street, Chippendale, NSW 2008.

S O U P K I T C H E N SAugust’s studio visit was hosted by none other than David and Clare Oliver who warmly invited us into their gorgeous studio and shared their passions for wedding and portrait photography and the power of the print. More recently, September’s Soup Kitchen was hosted by Damien and Nicole Ford from Evoke Photography who shared their inspiring story about growing a home-based wedding photography business into a successful studio with five staff.

© Matthew Evringham

©Clare & David Oliver

© Aran Anderson

http://www.aipp.com.au/AIPP/Events/Events/AIPP_live/Upcoming_AIPP_Events.aspx?hkey=b598004c-449c-424b-8ed9-f0be6bbe9e2c

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U P C O M I N G E V E N T S7 Oct - Monthly Breakfast at Alfonso's Cafe

8 Oct - New member and APPA Celebration evening

15 Oct - Ben Liew's debrief - Meet the Magnum

30 Nov - Xmas Picnic

B R E A K F A S T M E E T I N G SThe first Tuesday of every month is Breakfast Day at Alfonso’s Cafe. Our ever faithful AIPP community makes a great effort for the first Tuesday of each month to meet for a casual breakfast. This is a great time for a chat with the gang and for new and potential members to be completely scared away!! (Just kidding of course!!)

P O S T S A P P A P R I N T F E E D B A C K Following a very successful award season for South Australia, our council, together with the awards planning committee, hosted a print feedback evening to provide entrants with an opportunity to receive invaluable comments on how to potentially achieve higher scores for their work.

SA


F R O M T H E A I P P S A P R E S I D E N TAdelaide is in full swing after our SALA (South Australian Living Artists) Festival has finished and our Shimmer Photographic Bienalle opening. We have been graced with visits from Jeff Moorfoot from the Ballarat Bienalle and Jacqui Dean with her show Translucence.

Milton Wordley has lectured on his self published multi international award winning masterpiece “A year in the Life of Grange”. There are so many photographic exhibitions and events gracing the halls of South Australia that AIPP members are run off their feet either participating or visiting the shows!

Last month we ran a highly successful Ladies of Light Seminar featuring two of SA’s best photographers; Sam Oster spoke and demonstrated studio lighting and Simone Hanckel did the same for natural lighting.

The event sold out with two weeks to go, and we still had a waiting list. It looks as though we need to follow that one up!

Just prior to the Ladies of Light, we had a Business Facilitation workshop run by Duncan Redman. The workshop looked at potential changes needed to your business model to remain healthy and profitable. Those that attended, thought it was excellent information, and left energised.

Personally, as a participant in some of these peoples’ businesses, I met with two of those who attended and discussed solid changes they were making based on that workshop… what more could you ask for.

With popular monthly breakfasts, some exciting events behind us and a few in the wings, the 2014-15 year has truly taken off!

- Paul Atkins

SA Council

Paul Atkins, Peter Barnes, Louise Bagger, Ben Liew, Niki Charalambous

© Ben Liew, Ky Luu, David Sievers


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The 2014 Canon AIPP Highest Scoring Print Winner - Kelly Gerdes

TASMANIA


F O R M O R E U P C O M I N G E V E N T S

Click Here

O N T H E L O U N G EA big thanks goes to Peta Nikel who hosted our first ‘On The Lounge’ evening mid-year. A wonderful and intimate mini-workshop style event where Peta warmly invited members into her home based studio for an evening, providing an insight to her work and studio environment.

U P C O M I N G E V E N T SA post APPA celebration is being planned for the end of October 2014. Plans are underway to develop an exhibition to showcase member’s awards entries. With an incorporation of an opening night this gathering will provide an opportunity for members to exhibit their award winning prints following success of both the state and national awards, along with providing another social gathering opportunity for all members.

A P P A 2 014Tasmania is glowing with pride following APPA 2014, the state was winner of the Presidents Cup as the highest average scoring state, Kelly Gerdes was awarded with the highest scoring print achieving a perfect 100, and Gold Awards went to Kelly Gerdes, Andrew McConachy and Conor Richardson, with Dan Cripps receiving 3 Gold Awards and again making it as a Portrait Category Finalist.

N E W C O U N C I LA new Tasmanian council came together mid-year, consisting of President Jon Jarvela, Vice-President Danielle Burrows, Kelly Gerdes, Steven Smith and Ricki Eaves.

C O F F E E C A T C H U P SIn an effort to promote regional contact with state members, in a cost effective manner, the development of ‘Coffee Catchups’ has been a new introduction which has proved positive and will be maintained. Informal meetings are held monthly at local cafes in Burnie / Devonport, Launceston and Hobart.Check the facebook page for dates and locations

©Andrew McConachy ©Conor Richardson


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B L A C K & W H I T E S H O O T T O P R I N TPresented by Ian van der Wolde

Our sellout seminar with Ian van der Wolde at the end of August went really well. Everyone said they were glad they came. We may have a similar seminar to this one in the future, so keep your eyes on the calendar if you are interested in attending.

VIC


APPA CELEBRAT ION COMMISERAT ION GATHER INGPlease join us in celebrating or commiserating our APPA results!

Come and see some of the gold award winning prints up close and personal. Talk to some of our APPA winners. Eat, drink, and be merry!

Date: Tuesday, 14th October

Venue: The Darkroom, 147 Station Street, Fairfield

Time: 7pm - 10pm

Cost: Students: $30 | Members: $40 | Non-Members: $80

Tickets available at www.appagathering.eventzilla.net

VIC Council Louise Francis, Joshua Holko, Shireen Hammond, Sarah Jackson, Tony Knight

©Highest Scoring APPA Print by a Victorian - Jose Aguiar

The 2014 Canon AIPP Science, Environment & Nature photographer of the year Joshua Holko

B R I N G I N G V I C T O R I A N A I P P M E M B E R S F A N T A S T I C E V E N T S A N D H A V I N G A G R E A T T I M E T O G E T H E R !

Ian van der Wolde instructing the attendess of his seminar in all things black & white.


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U P C O M I N G E V E N T SMid-October - Perth Photowalk

27th October - Private Tour of The Richard Avedon Exhibit

11th November - Breakfast meeting

26th-27th November - Marcus Bell workshops

3rd December - President’s Cocktail Party

WA


N E W S F R O M T H E T R E N C H E S - W AWhat a fantastic year we’ve had here in WA, culminating in our own James Simmons taking out the top honour at this year’s AIPP Australian Professional Photographer of the Year Awards! Riding on back-to-back PPY wins now (Tony Hewitt of course winning last year’s trophy), as well as Kirsten Graham winning the Creative Photographer of the Year category, the ND5 team (including WA boys Christian Fletcher, Michael Fletcher, and Tony Hewitt) winning Book of the Year, and Stef King, Brook Desmond, Steve Wise, Sheldon Pettit, and CIT Perth all coming in as finalists for various categories, we just couldn’t be prouder of our state’s talented members. And boy, the excitement and expectation for the coming year’s awards is already at a new high. With any luck well get the entire WA membership to Melbourne for APPA 2015!

We’re also pretty darn proud of the rest of the WA members who hit a milestone this year, including Gary Sarre (Master with Three Gold Bars), Tina Urie (Master with Two Gold Bars), Diane DeRay, Christian Fletcher, Vic Miller, James Simmons and John Woodhouse (Masters with One Gold Bar), Rebecca Johansson, Stef King, and Amber Simcoe (Masters), and Simone Addison, Adam Browne, Suz Crosbie, Brook Desmond, Peta Horsten, Natasja Kremers, Geoffrey Liau, Sheldon Pettit, Johannes Reinhart, Jason Soon, Michelle Thomas, Nilofar Walters, and Channon Williamson (Associates).

Aside from the lead-up to APPA, these last few months have seen the WA AIPP Community connect over breakfast meetings, print critiques, photo walks, and even a lunch 3 hours south of the city in Busselton. What’s most exciting is that many of these initiatives, although facilitated by the WA Council, are really being championed by the members themselves. Our Busselton meeting had many local photographers putting up their hands to create some amazing “down south” events. The Perth Photo Walks was started by James Simmons, with so much support from the likes of Steve Wise and Tim Pontin, Kirsty Aksentiew and Natasja Kremers, and many others. Breakfast meetings and print critiques rely on the wisdom

WA Council Nathan Maddigan, Kirsten Graham, Shaireen vantuil, Tim Pontin, Steve Wise

© James Simmons © Kirsten Graham

IMAGE ONE: WA State Council - (left to right) Steve Wise, Kirsten Graham, Rebecca Johansson, Tim Pontin, Nathan Maddigan, Shaireen VanTuil

IMAGE TWO: WA State Awards, May 2014

IMAGE THREE: Perth Photo Walks (Image by Natasja Kremers)

IMAGE FOUR: WA crew at APPA 2014

of our Master photographers, who so willingly give their time and wisdom to the events. And of course, our sponsors are supporting every facet of these events, giving their time, finances, venues, and expertise, and it’s very much appreciated.

As a council, we’re so proud to serve our members, and we’re so appreciative of the amount they give back to the WA community, and to the industry nation-wide. We’re pretty excited about the coming months, and look forward to connecting with even more of our members.


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The Big One - James Simmons!C a n o n A I P P A u s t r a l i a n P r o f e s s i o n a l P h o t o g ra p h e r o f t h e Ye a r

Congratulations to James Simmons, the

2014 Canon AIPP Australian Professional

Photographer of the year!

With 2789 entries across 15 categories, it is

a huge achievement for any photographer and

also the first wedding portfolio to win the big

one for as long as any of us can remember!

There have been many amazing wedding

portfolios over the years and some have come

incredibly close, but by the end of the judging

process, it’s another category that is in the

limelight.

This year it was once again a closely

contested debate, but after the final

deliberations concluded, it was James Simmons’

exciting black and white wedding photographs

that were awarded the PPy.

Sponsored by Canon, James takes away a

cheque for $10,000, but more importantly he

joins an honour roll of some of the country’s

leading professional photographers.

The APPAs were held at Luna Park in Sydney

in September, 2014, along with The Digital

Playground trade show and photography

seminars. There were four judging rooms

working for three consecutive days, followed

by the gala Canon AIPP Awards Dinner on the

Monday night.

The AIPP used a new judging system that

had been trialled in the states earlier in the year.

Using iPad minis to give their scores, the system

worked exceedingly well and live streaming

allowed photographers from around the

country to listen in and see how their entries

scored.

While the four judging rooms were well

attended, it was outside on the walls that

people mingled and interacted as the winning

prints were hung on the wall.

Thanks to Sue Lewis once again for

masterminding the APPA logistics and a big

thanks to Melinda Comerford and Mark Zed for

handling the judging side.

For more information and to see the other

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

aipp.com.au.

PHOTO: DAVID GLAZEBrOOK

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P H OTO G R A P H E R O F T H E Y E A R2014 C a n o n aIPP a u s t r a l I a n P r o f e s s I o n a l P h o t o g r a P h e r o f t h e Y e a r - W I n n e r

James Simmons M.Photog.s P o n s o r e d b Y C a n o n

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Behind The Scenes At APPAR u n n i n g t h e C a n o n A P P A s I s A H u g e J o b !

Over 100 volunteers are involved in running the Canon APPAs each year, plus our hard working

National Office. Here’s a glimpse of what you see and don’t see behind the scenes. Thanks to our roving

photographer, NSW President Milton Gan for the photos.

It’s not always the best angle for the audience, but the judges need to get up close and personal to give the entries the correct score. There can be a rush for the print when it first turns around!

What you don’t see when the judges stand up are the ‘red shirts’ behind the scenes, preparing the next print for viewing or writing the score on the print that has just been judged.

And once they’ve scored, often there’s a debate that follows: was the score correct?

Nuran Zorlu was one of the many panel chairs, supervising the judges and judging process.

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A lot of APPA helpers are return offenders! There’s something about working behind the scenes over the weekend that gets in your blood - or perhaps it’s just the partying afterwards!

APPA realises how much it costs to produce the prints for judging, so white gloves are worn by all print handlers. It’s not a bad thing for us to do when showing our clients their prints as well!

Judges have assessment sheets to help them give an appropriate score.

After judging, it’s a huge job to sort the prints and put them back in the correct print case.

We have a great computer system, but manual records are always kept as well, just in case!

Visitors love that the original prints are displayed outside the judging rooms for closer inspection.

Waiting patiently ‘behind the wall’ for the judges to finish their deliberations.

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The Canon AIPP APPA Gala DinnerP h o t o D i a r y F r o m L e M o n t a g e , L i l y f i e l d

Once again, Kim Harding and the National Office did the Institute proud, organising a spectacular

evening of dinner-suit and evening gown proportions. If you were there on the night, check out the

AIPP APPA website to see photos of you and your compatriots. Thanks to David Glazebrook for the pics.

There were over 400 guests at Le Montage in Lilyfield, situated on the inner harbour in Sydney.

Yervant was as smooth as ever, seen here with Mandarine Montgomery (left) and Julie Ewing.

Sue Lewis divulged the statistics for yet another successful APPA judging

David Glazebrook took all the photos, except this one with Nadine Saacks and Clare Oliver.

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This looks like a bunch of hard working, behind the scenes APPA workers, letting down their hair and kicking up their heels after a fun but arduous weekend.

Grand Master of Photography Tony Hewitt found it hard to hand over his PPY status (just kidding), but once again did a fantastic job as the Master of Ceremonies.

Melissa Anderson and Jacqui Dean looking re-splendent at the dinner.

It’s okay Michelle Tuddenham from Canon, we’re not even going to ask what you’re doing!

Board member Felicity Biasi introduces the APPA heirachy to the dinner guests.

Todd Hunter McGaw and Dan O’Day have some serious problems to work out.

We didn’t see much of Peter Myers on the night, but he was there, working hard!

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2 0 1 4C a n o n A I P PA u s t r a l i a n

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

C a t e g o r y W i n n e r s a n d

M a j o r P r i z e s

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W E D D I N G2014 aIPP a u s t r a l I a n W e d d I n g P h o t o g r a P h e r o f t h e Y e a r - W I n n e r

James Simmons M.Photog.s P o n s o r e d b Y g r a P h I s t u d I o & C o m P l e t e W e d d I n g

Canon AIPP Austra l ian Profess ional Photography Awards 2014

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fInalIst

ryan Schembri M.Photog.

hIghest sCorIng PrInt

James Simmons M.Photog.

fInalIst

Dan O’Day M.Photog.

Wedding

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P O R T R A I T2014 aIPP a u s t r a l I a n P o r t r a I t P h o t o g r a P h e r o f t h e Y e a r - W I n n e r

Peter rossi G.M. Photog.s P o n s o r e d b Y K aY e l l a u s t r a l I a


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fInalIst

Vicky Papas AAIPP


Adam Hourigan

fInalIst

Dan Cripps M.Photog.

Por t ra i t

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FA M I LY2014 aIPP a u s t r a l I a n f a m I lY P h o t o g r a P h e r o f t h e Y e a r - W I n n e r

Kelly Brown M.Photog.s P o n s o r e d b Y a t K I n s


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fInalIst

Colleen Harris AAIPP


Colleen Harris AAIPP

fInalIst

Luisa Dunn AAIPP

Fami ly

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B I R T H2014 aIPP a u s t r a l I a n b I r t h P h o t o g r a P h e r o f t h e Y e a r - W I n n e r

Victoria Berekmeri AAIPPs P o n s o r e d b Y P I x l e s

One of Victoria’s winning entries has not been published by request.


29

fInalIst

Selena rollason


Selena rollason

Bir th

One of Selena’s winning entries has not been published by request.

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CO M M E R C I A L2014 aIPP a u s t r a l I a n C o m m e r C I a l P h o t o g r a P h e r o f t h e Y e a r - W I n n e r

Aran Anderson AAIPPs P o n s o r e d b Y PPIb P r o f e s s I o n a l P h o t o g r a P h e r ’ s I n s u r a n C e b r o K e r s


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fInalIst

Kevin Chamberlain M.Photog.


Mark Duffus M.Photog.

fInalIst

William Long M.Photog. HLM

Commerc ia l

32

FA S H I O N2014 aIPP a u s t r a l I a n f a s h I o n P h o t o g r a P h e r o f t h e Y e a r - W I n n e r

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


33

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George Favios


Peter Coulson M.Photog.

fInalIst

Stef King M.Photog.

Fashion

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A D V E R T I S I N G2014 aIPP a u s t r a l I a n a d v e r t I s I n g P h o t o g r a P h e r o f t h e Y e a r - W I n n e r

Matthew Everinghams P o n s o r e d b Y aIPP


35


Matthew Everingham

Adver t i s ing

36

D O C u M E N TA R Y2014 aIPP a u s t r a l I a n d o C u m e n ta r Y P h o t o g r a P h e r o f t h e Y e a r - W I n n e r

Anthony McKee AAIPPs P o n s o r e d b Y e l e v e n 40 g a l l e r Y


37


Anthony McKee AAIPP

fInalIst

Brook Desmond AAIPP

Documentar y

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S C I E N C E , E N V I R O N M E N T & N AT u R E2014 aIPP a u s t r a l I a n s C I e n C e , e n v I r o n m e n t & n at u r e P h o t o g r a P h e r o f t h e Y e a r - W I n n e r

Joshua Holko M.Photog.s P o n s o r e d b Y aIPP


39

fInalIst

Darren Jew M.Photog.


Joshua Holko M.Photog.

fInalIst

Liz Harlin AAIPP

Science, Env i ronment & Nature

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T R AV E L2014 aIPP a u s t r a l I a n t r av e l P h o t o g r a P h e r o f t h e Y e a r - W I n n e r

Nick rains M.Photog.s P o n s o r e d b Y l o W e P r o

41

fInalIst

Nadine Saacks AAIPP


Lib Ferreira

fInalIst

Steve Scalone

Travel

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S P O R T2014 aIPP a u s t r a l I a n s P o r t P h o t o g r a P h e r o f t h e Y e a r - W I n n e r

Matt Palmer AAIPPs P o n s o r e d b Y d I g I d I r e C t


43

fInalIst

Cameron Spencer


Matt Palmer AAIPP

fInalIst

ryan Pierse

Spor t

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I L Lu S T R AT I V E2014 aIPP a u s t r a l I a n I l l u s t r at I v e P h o t o g r a P h e r o f t h e Y e a r - W I n n e r

Keren Dobia M.Photog.s P o n s o r e d b Y IPs


45

fInalIst

Kelly Gerdes AAIPP


Kelly Gerdes AAIPP

fInalIst

Alison Lyons AAIPP

I l lust rat ive

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L A N D S C A P E2014 aIPP a u s t r a l I a n l a n d s C a P e P h o t o g r a P h e r o f t h e Y e a r - W I n n e r

ricardo Da Cunhas P o n s o r e d b Y l&P d I g I ta l P h o t o g r a P h I C


47

fInalIst

Sheldon Pettit AAIPP


Adam Williams

fInalIst

Jackie ranken G.M.Photog.

Landscape

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C R E AT I V E2014 aIPP a u s t r a l I a n C r e at I v e P h o t o g r a P h e r o f t h e Y e a r - W I n n e r

Kirsten Graham AAIPPs P o n s o r e d b Y e IZo


49

fInalIst

Ben Clark M.Photog.

fInalIst

Steve Wise M.Photog.

Creat ive

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S T u D E N T2014 aIPP a u s t r a l I a n s t u d e n t P h o t o g r a P h e r o f t h e Y e a r - W I n n e r

Jacqui Hogans P o n s o r e d b Y K o d a K

51

fInalIst

Fiona Davidson

fInalIst

Angie Connell

Student

T E R T I A R Y I N S T I T u T I O N2014 aIPP a u s t r a l I a n t e r t I a r Y I n s t I t u t I o n o f t h e Y e a r - W I n n e r

Photography Studies College, Melbournes P o n s o r e d b Y K o d a K

r u n n e r -u P : C e n t r a l I n s t I t u t e t e C h n o lo g Y , P e r t h

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E M E R G I N G 2014 aIPP a u s t r a l I a n e m e r g I n g P h o t o g r a P h e r o f t h e Y e a r - W I n n e r

Adam Williamss P o n s o r e d b Y aIPP

53

fInalIst

Debbie Fowler

fInalIst

Nicole Humphrey

Emerging

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A L B u M 2014 aIPP a u s t r a l I a n a l b u m o f t h e Y e a r - W I n n e r

Nadine Saacks AAIPPs P o n s o r e d b Y a s u K a b o o K & W a C o m

r u n n e r s -u P : b r o o K d e s m o n d aaIPP; J e r r Y g h I o n I s m.P h o t o g .

P H OTO G R A P H Y B O O K 2014 aIPP a u s t r a l I a n P h o t o g r a P h Y b o o K o f t h e Y e a r - W I n n e r

Ninety Degrees Five (ND5)Peter eastWaY, ChrIstIan fletCher, mIChael fletCher, tonY heWItt, les WalKlIng

s P o n s o r e d b Y m o m e n t o

r u n n e r s -u P : e u g e n e t a n aaIPP; n a d I n e s a a C K s aaIPP

G R A N D M A S T E R AWA R D2014 h I g h e s t a g g r e g at e f o r a g r a n d m a s t e r o f P h o t o g r a P h Y - W I n n e r

Peter rossi G.M. Photog.s P o n s o r e d b Y aIPP

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I N T E R N AT I O N A L 2014 aIPP I n t e r n at I o n a l P h o t o g r a P h e r o f t h e Y e a r - W I n n e r

Luke Edmonsons P o n s o r e d b Y f o t r e l

H I G H E S T S CO R I N G I M AG E 2014 h I g h e s t s C o r I n g I m a g e

Kelly Gerdess P o n s o r e d b Y I l f o r d

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From 95 to 79H o w T o D e a l W i t h S c o r e C h a n g e s A t A P P A .

David Oliver beat me. It’s a hard fact to swallow,

but accept it I must. Each year, we enter our

four prints and the person with the lowest

aggregate score buys the other lunch.

Beaten by a Hunter Valley farmer... again!

There’s a lot of passion at APPA as we all bare

our souls, submitting four gold awards only to

have them returned in their neat, squat cases as

something a little less valuable.

However, what many people miss is that

the benefit has happened before you enter. It’s

the process that is so important to becoming a

better photographer, the fact you have thought

about your four strongest photographs, or at

least four photographs you feel strongly about.

To have judges score your work less than

perfect can be a problem, but not everyone

sees things this way. New entrants are usually

delighted to get a silver or even a score in the

high 70s as this is recognition that their work

has some merit. It’s professional standard and

this is incredibly important.

However, if you’ve won gold at the Epson

state photography awards, it can be confronting

to receive a bare silver or even a 79 at the

Canon national photography awards. How can

the scores be so different?

Interestingly, it’s not a new problem. It’s

happened to me many times. I have also had

prints score poorly at state awards and then

do very well at nationals, so the change can be

both ways.

Talking to Geoff Comfort from the ACT last

week, we speculated about why scores vary

so greatly. He suggested that as the overall

standard at the state awards isn’t as high as at

nationals, perhaps the judges slightly overreact

when they see a strong print, but when that

same strong print is up against so many other

strong prints at nationals, it doesn’t fare so well.

Of course, for all the prints that score

differently, there are many more that receive

very similar scores.

The APPA judging system has been around

for over three decades, surely someone could

have sorted this issue out by now? Well, it’s

not the system, it’s the judges. And no, this is

no criticism of the judges because all they are

asked to do is provide their opinion.

After doing well in the state awards, it’s

intensely disappointing to receive a lower score

at nationals, but you have to accept that this is

just another opinion. And when you deal with

opinions, you’re dealing with the vagaries of

human nature. The system we have is great, we

just need to keep it in perspective.

57A Silver Award for David Oliver in the Portrait category this year. It’s a photograph of his daughter Clare who earned her Master of Photography this year as well. I think Clare just cost me lunch! Read article for the reason!

58

Canon APPA StatisticsW h a t W a s E a r n t A n d W h a t S h o u l d Y o u A i m F o r ?

Where do you stand as a professional? Are you

as good as the competition, or do you need to

work a little harder? And how do you find out?

This is where the AIPP is in the box seat. It

is the only organisation in Australia offering a

judging system that has five expert professional

judges sitting on a panel. If they give you a

Silver award or higher, you should be tickled

pink!

As the AIPP expands the awards system into

a combination of online and live systems, we

are offered a number of opportunities to test

ourselves within the profession.

Fifty Fifty

When you look at the statistics for APPA this

year, over 45% of entries received a Silver Award

or higher. It seems pretty easy to get an award,

statistically. However, talk to anyone who enters

the AIPP awards systems regularly and you’ll

learn two things.

First, it is a very rare photographer who

consistently gets Silver and higher for every

entry. Even Grand Masters of Photography

come away with images that are below award

standard from time to time..

Second, each entrant has submitted his or

her very best four photographs taken over the

last year. remembering this is a competition for

professionals who spend a large part of their life

living and breathing photography, surely we’d

expect a competent professional to get four

Silver awards or higher?

The statistics don’t agree with this, but if we

were to drill down further, we’d find that out

of the 54.3% that don’t earn an award, most of

them are in the 70-79 range, indicating they

have reached a level of professional practice. I

don’t have the figures for this year, but I believe

less than 10% score under 70.

Scoring Range

So in reality, the scoring range starts at around

70 and goes up to 100. To start, it is good to

aim for the high 70s. A score of 78 or 79 is

considered a Half Award point and you can use

four Half points towards your Associateship.

If you earned only 70s this year, your aim

next year is to get at least one Silver. The

following year, two Silvers and the year after

that, go for broke and aim for four Silvers.

Of course, many photographers reach

four Silvers more quickly than this, but for the

majority, it’s a matter of persistence.

If it were easy to take award winning

photographs all the time, then the Grand

Masters would be scoring Golds every year.

But for most of us, that’s not happening!

59

2014 C A N O N Au S T R A L I A N P R O F E S S I O N A L P H OTO G R A P H Y AWA R D S

Categories No. of Entries

Advertising 27

Birth 40

Commercial 86

Documentary 103

Family

Pregnancy/Babies 178

Single 76

Groups 146

Fashion 18

Illustrative 427

Landscape 401

Portrait 461

Science, Environment & Nature 85

Sport 76

Travel 228

Wedding 411

Album Award

Wedding Single 5

Wedding Multi 4

Portrait 4

Event 2

Photographic Book Award 11

Total Entries 2789

Awards No. of Entries

Silver 907 32.50%

Silver Distinction 256 9.20%

Gold 90 3.20%

Gold Distinction 21 0.80%

Not awarded 1515 54.30%

60

How Is The PPy Judged?I t T o o k S e v e r a l H o u r s T h i s Y e a r T o D e c i d e !

The process of judging the Canon AIPP

Australian Professional Photographer of the year

(PPy) award has evolved over many years, each

iteration addressing and refining the process so

we end up with a ‘fair’ result.

What Didn’t Work

Originally, the PPy was the photographer with

the highest aggregate. While the photographer

with the highest aggregate was very happy

with this result, sometimes there was criticism

that a particular category was judged more

leniently than another. For instance, people

would say it was easier to win awards in

weddings than in advertising, but the following

year it could be the reverse.

The point being made was that over the

course of three days, there could be variations

in the level of scoring, so to ensure these

variations weren’t affecting the final result,

a new system collected the best porfolios

together and judged them a second time.

Current System

To be in the running, you have to win one of the

categories (with the exception of the student,

book and album categories).

The judges are selected with a broad

cross section of interests and demographics.

Depending on the judges who are available,

the panel is drawn from different sexes, states

and disciplines so everyone is fairly represented.

The panel also includes past PPy and category

winners. It’s a distinguished panel.

The panel is convened at the end of APPA

and the portfolios displayed around the room.

Digital entries are displayed on Eizo monitors.

Before judging, a round table conference is

held where judges are invited to explain what

the PPy award means to them. With this insight,

the judges are invited to inspect the portfolios

and submit their vote.

Judges are asked not to assess the four

entries in each category as a portfolio, rather as

four individual entries.

There are 11 judges and if the result is 7 in

favour of one portfolio, that’s the winner.

If not, the portfolios that received no scores

are removed and the judges asked to score

their top three places. From here, the scores

are assessed to see if there is a clear winner.

Normally by this time there is.

This year, the process continued down to

three portfolios, then down to two portfolios.

The judges gave reasons for and against each

entry in further discussion, before casting their

final vote.

It only took a couple of hours...

61

The 2014 Canon AIPP Australian Professional Photographer of the Year Judging Panel.(From centre left at the bottom) Kylie Lyons, Richard Bennett, Greg Hocking, Rick Slowgrove (Canon Observer), Chris Macleod (Canon Observer), Phil

Kuruvita, David Paterson (non-voting Chairman), David Oliver, Jeff Moorfoot, Tony Hewitt, Anni Payne, Hilary Wardhaugh, Melissa Anderson and Ian van der Wolde. In the red shirts on the right, Mark Zed and Katrina Fegurson from the APPA team look on.

62

Category Advocates For APPAH a v e Y o u r S a y I n H o w T h e A P P A C a t e g o r i e s W o r k

Do we have the right categories at APPA? Are

there some new categories we should be

introducing? Are some existing categories out

of date?

Become An Advocate

As this is your Institute, the AIPP would love

you to get involved and you can do this as a

Category Advocate.

Explained Peter Myers, “In simple terms,

category advocates are a group of members

who want to “own” a category to be used in the

AIPP Awards.

“If you believe the AIPP should have a

specific category in its awards to cater for a

specific genre or section of photography, you as

a member can propose this.

“But more than this… If you propose a new

category, you now have the opportunity to

become one of the Category Advocates and

help define the category parameters, the rules,

and the entry requirements. We will also ask

you to work with us to ensure suitably qualified

and appropriate judges are used to judge your

category.”

What Categories Do We Need?

If the purpose of the awards system is to enable

working photographers to enter images for

peer review, then it follows that we need to

have suitable entry categories to enable high

quality feedback.

How Do I Become An Advocate

Its simple, send an email to [email protected].

au and tell us which category from our existing

awards categories you want to become a

category advocate for.

In order to ensure that a category advocate

group (CAG) does not become purely the voice

and opinion of just one or two members, we

have set a minimum requirement that in order

to formulate a CAG we need a minimum of 5

members involved.

If you contact us, and we don’t yet have

5 members involved, we will add you to a

waiting list, and try to enlist your help to try

and publicise the tentative CAG and get more

members involved.

As soon as we reach the magical number

of 5 members we will formally implement the

CAG.

What’s Involved?

How do we communicate and interact with

each other in a Category Advocate group?

We use Basecamp for online

communication, collaboration and

communication. We expect that almost all the

business of a CAG will be conducted online

63

via BaseCamp. It’s a great, cost effective tool, if

used well, for managing projects via a disparate

group from all across the country.

When you join a CAG, you will be sent an

invitation to create a BaseCamp account (it’s

free) and join the project for the particular

category for which you are an advocate. Simple

instructions on how to use BaseCamp are

included.

How Are Changes Proposed?

As a group you have to agree on what you want

the changes to be. you need to explain why

these changes are being proposed and then

you need to propose how the changes will be

implemented and managed.

For instance, you need to explain how the

newly proposed rules and parameters will be

monitored and policed and how entries will be

validated against the new rules.

All of this should take the form of a

structured proposal that should be sent to the

AIPP awards team. The national Office team will

help you put together your proposal if you need

help.

Category Manager

David Paterson, probably the AIPP member with

the most experience and knowledge of our

awards process, is the Category Manager.

Once you have submitted a proposal to

David, he will liaise with you to help make

sure your proposal is workable, and whether

it can be implemented within the many other

constraints of our awards system.

When Can You Join?

If you want to have your say, now is the time.

We have nine CAGs working at present.

Some have room for more members, others are

full, but email the National Office and ask.

We need to have all categories and rules

agreed to early each calendar year so that they

can be implemented for the state awards in

each state. remember, our first state awards

usually take place in early March, which means

entrants need to know the categories and rules

by January each year.

This means if you want to make changes for

2015, your proposals need to be accepted and

agreed before Christmas 2014!

So, don’t delay… If you want to get involved

do it now!

CuRRENT CATEGORY ADVOCATE GROuPSCAGs for Existing Categories

Birth

Commercial

Family

Illustrative

Landscape

Portrait

Science, Environment and Nature

CAGs Proposing New Categories

Boudoir

New Born

64

Peter Coulson presenting at The Nikon AIPP Event on the Gold Coast, 2014. Photos by Bambi Wixon.

65

Using A Single Overhead LightP e t e r C o u l s o n a t t h e N i k o n E v e n t .

Professional photographers struggling to find

a niche in a crowded market place should look

at studio lighting. If you’re just using available

light, what’s the difference between you and a

client using their smartphone?

Okay, so we know we can handle available

light better, but why not give your clients

something completely different – and

something they can’t do themselves?

Studio Difference

Fashion photographers like Peter Coulson

are using studio flash to produce high end

photography and it’s something that all

professionals should understand and be able to

do.

Of course, there are many different ways

you can approach studio lighting and Peter

presented just one at the Nikon AIPP Event on

the Gold Coast earlier this year.

The premise for Peter’s demonstration was a

single light directly above the subject: a down

light. He explained that we’re taught not to use

light like this outside – overhead sunlight is the

bane of many photographers.

However, if you understand how the light

falls off towards the edge of the light pool, then

it can be used very creatively in the studio.

“I’m using this lighting pattern more and

more because it gives me the freedom to move

both the model and me into lots of different

positions. It’s especially useful when you’re

working in a studio with white walls and floors

as these provide fill light.”

The hotel room for the presentation wasn’t

ideal as it had dark carpets and distant walls.

Work In Monochrome

Peter used a large octabox softlight, but he

noted you can use different light shapers for

different effects.

He also commented that the best way to

work was shooting tethered and checking the

image and the histogram (exposure) on your

monitor.

Peter likes working in monochrome.

Even on location, he will set his camera onto

monochrome mode because he feels he can

see the dynamic range so much better (the raw

files are still capturing colour).

“As soon as you put colour into the

equation, it mixes you up. Clashing colours can

make it hard to make good decisions.”

Light Pool

Once he has established the correct exposure,

66

he begins working with the model and the

light. Peter explained that the light isn’t just

a beam down, but there is light pooling out

sideways as well. It is this part of the light – the

edge of the light – that Peter works with.

The model is positioned to the side of the

light pool so she is being illuminated mainly

by the far side of the softbox, producing a light

quality similar to that produced by a beauty

dish.

The further away from the light, the less

there are shadows under the eyes because

the angle of the light has flattened out. And

yes, there is also less light, but it is the quality

of the light that determines the result and the

exposure can always be adjusted accordingly.

Moving Around

Peter then demonstrated how the lighting

on the model changes as she moved around,

and also how it changes as he moved around.

The angle of the face to the light is incredibly

important and that’s another reason for working

tethered (or wirelessly) to a laptop so you can

see the results immediately.

“If the model moves into the light, the

shadows become harsher, but if she steps

backwards out of the light, the shadows soften

off.

“I like working this way because it can be

time consuming to set up your camera and

move the lights for each shot. This way I set up

the light once and move me and the model

relative to the light.”

Of course, Peter doesn’t only work with one

light. He may add in a beauty dish or a white

card underneath the chin, always trying to

achieve the best result in camera to limit the

amount of post-production required.

White Cards

“I generally don’t like using reflectors because

they are too strong. I prefer white cards which

I can slowly move in and out with much more

control.”

Explaining exactly how the light works is

beyond the scope of this article, but you can

see the result Peter achieved and the location

shots will give you an idea of the set-up.

The point to take away from Peter’s

presentation is that a single light can produce

remarkable results, and that studio lighting is

one way we can differentiate ourselves from

other photographers - and our clients.

In the accompanying photos shot by Bambi

Wixon during Peter’s presentation, you can

see the lighting setup he used and where the

model is standing relative to the light. Take an

hour out of your schedule and set up a light

with a boom arm and try it yourself. Look at

how the light falls on your model and how your

model’s positioning changes the effect.

The value of this exercise cannot be

understated.

67

68

Commercial photograph by William Long.William was a finalist in the Commercial category in the 2014 APPAs

69

The Photo Watch DogW i l l i a m L o n g ’ s A d v o c a c y O n B e h a l f O f T h e A I P P

William Long’s interest in competition rules

began in 1999 with the M.I.L.K. ‘Moments of

Intimacy, Laughter and Kinship’ competition. It

was a worldwide competition with some very

attractive prizes, but William says they simply

milked the industry.

Losing Copyright

“you can still see images entered into that

competition being used today, even though the

competition organiser eventually went broke

and the photographs were sold to another

company.

“yes, there were some very good prizes, but

there were also a lot of photographs that won

nothing and were paid nothing, yet were used

for years afterwards generating income for the

organiser.

“I had entered the MILK competition myself

and it was only afterwards that I realised I had

given them the use of my image for nothing,

even though I wasn’t a winner. I discovered that

just by entering my image, it could be used

and sold to other people, and even though my

photo didn’t win, I couldn’t enter it anywhere

else.

I thought it was insane.

“With MILK, you gave the organisers your

copyright and I still come across competitions

today asking for copyright. Some organisers are

getting smart and stating that you get to keep

your copyright, but in the next paragraph you

find yourself giving them an unlimited licence

in perpetuity for both the organiser and anyone

else they sell the rights to. This is practically as

bad as taking your copyright.

“When organisers tell me this isn’t what

they intend to do, I ask what will happen if they

go broke? What will their company liquidator

do when he finds these photos and reads the

competition rules? It’s an asset he can sell.

“Owning copyright and understanding

your rights is just so important and this is why

I joined the AIPP. The situation wasn’t fair and I

simply have to stand up for the under dog!”

PhotoWatchDog

William is currently only on Facebook at https://

www.facebook.com/PhotoWatchDog, but his

dedicated website is close to completion –

www.photowatchdog.com.

“PhotoWatchDog’s purpose is to encourage

a fair, honest, and ethical approach to

photographic competitions. It nurtures good

competitions and highlights bad ones. I give

competition organisers and entrants the

knowledge of what is the right way to produce

a fair competition for the benefit of all.”

70

Normally there are two areas that concern

William the most. One concerns the rights

the organiser has to use the photograph in

the future, the other concerns the liability

the photographer has no matter how the

photograph is used.

William spent six years lobbying the

Queensland Government who, he says,

definitely had a plan to gain free imagery by

running photo competitions. The Queensland

Government was also one of William’s key

clients, so to condemn the Government for the

way it ran photography competitions was not

necessarily in his best interests, but that didn’t

stop him!

“When talking to the Director General one

day about why his Government’s competitions

were so wrong, I put forward a hypothetical

situation. young Louise enters a photo of

her Uncle Joe walking down the beach with

her little sister into one of the Queensland

Government’s photo competitions. Under

the terms of the competition, the entrant is

responsible for obtaining all model releases and

is liable for all uses of the photograph.

unfair use

“The photograph doesn’t win a prize, but

under the same terms, the photograph can be

used by the Government department in any

manner. First it appears in a calendar, then it

goes to another department and it is used on

a brochure warning people about paedophilia.

I dare say Uncle Joe might be miffed to be

portrayed this way.

“To his credit, the Director General

arranged for me to talk to all the Government

departments using photography competitions

like this. I explained clearly that they were

getting images for advertising and marketing

for free, but they weren’t telling people what

they were doing - and how did they feel about

misleading the public like this?

“There was a moment of silence! Since then,

at least 20 different departments have stopped

running photography competitions this way - in

fact, many don’t run photography competitions

as all.”

William admits to having a ‘fairness

syndrome’ where he feels compelled to stand

up and shout about it. “But I do appreciate

it when I can change minds and I’ve been

successful now on many occasions.”

Social Media

“I’ve learnt that it’s best not to assume

the worst when dealing with companies

and organisations that have inappropriate

competition rules. Instead, I point out to them

the reasons their rules look bad and then ask

them if this was their intent? Invariably they

answer they didn’t intend it to look this way and

the conversation is opened for suggestions.”

As William explained, some competition

rules hold the entrant liable for any use of their

photograph, even if the competition organiser

71

gives it away! “Not only are you liable, your

children are liable as well - well, perhaps that’s

a bit of an exaggeration, but it amazes me how

absurd some rules are.

“Some organisers tell me that their

competition isn’t aimed at professionals, but

most of the complaints I see are from semi-

professionals and amateurs, and this is creating

far more adverse publicity in a much broader

context. In fact, exposure to negative social

media is a great leverage for having bad rules

changed.

“So while I’m direct, I take the approach that

the organiser doesn’t actually mean to enforce

their rules and many end up being incredibly

grateful when I point things out.”

William adds that he has no trouble if a

prize winner’s photos are used because the

photographer has received something in return,

but for non-prize winning entrants, then it

would be more reasonable for the organiser

to pay something for the use of a photograph

if it wasn’t being used in relation to the

competition.

you can keep up to date with William’s

advocacy work on his Facebook page at https://

www.facebook.com/PhotoWatchDog.

Commercial photograph by William Long.William was a finalist in the Commercial category in the 2014 APPAs

72

The Transporter Sync comes as above, so you need to add in a portable drive of your own.The bigger the drive, the more ‘cloud’ storage you have!

73

Transporter SyncY o u r O w n P e r s o n a l C l o u d s , F o r Y o u A n d C l i e n t s

Look out Dropbox! There’s no need for third-

party cloud storage when you have your own

Transporter Sync.

The Transporter Sync is a small device that

will sit on your desk (or anywhere you choose)

and, along with a hard drive you attach to it

(not supplied as part of the package), will act as

a storage device. So, the bigger the hard drive

you attach, the more storage you have.

After connecting your hard drive to the

Transporter Sync, connect the Transporter

Sync to your router or switch using a standard

Ethernet cable. The first time you turn the

power on, the system will format the hard drive

and prepare the Transporter Sync system, ready

for action.

Finally, you need to create a free Transporter

account, and from here you can ‘claim’ your

transporter (using the serial number and mac

address printed on the base of the transporter).

All this should take around 10 minutes.

So, now you have your own personal

cloud set up. All that’s left to do is download

the software for your PC, laptop, tablet or

smartphone and you’re ready for action.

Once you’re up and running, you’ll find

everything is well thought out. For instance,

the Transporter Library is a collection of folders

that are only stored on your Transporter(s)

drives. While the default Sync Folders are great

for active files that require frequent access, the

Transporter Library is best for collections of files

that are either less active or require more space

than available on your computer.

And while most cloud storage solutions

require you to move all your files to a specific

folder to sync across devices, this can be a real

hassle with applications that save files to default

locations. The Transporter Special Folder feature

allows you to sync files directly from popular

desktop, documents, movies, music, and picture

locations.

The Selective Sync feature gives you the

flexibility to select only the folders you want

to be synced to your computer. This feature

is especially handy for saving space on

computers with small hard drives and is ideal for

photographers with multiple computers.

If you’re currently uploading your photos to

share with your clients, you can upload them

directly to your Transporter Sync and give them

access, in much the same way you’d give them

access to Dropbox.

For more product information, please visit

www.kayellaustralia.com.au.

74

“The secret to photographic technique is layers, and that’s whether you use Photoshop or Lightroom.”

How To Master Layers is 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

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