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Working ProThe

Issue 233 • July 2015

LO O K F O R T H E LO G O

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Working ProThe

C o n t e n t s# 2 3 3 - J u l y 2 0 1 5

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

Editor Peter Eastway

G.M Photog., FNZIPP, Hon. FAIPP, Hon. FNZIPP, FAIPP

Disclaimer The information provided in The Working Pro and associat-

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

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

under any liability for any recommendations, representations or infor-

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

ions and suggestions for subscribers to evaluate in coming to their

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

information should not be relied upon without readers first obtaining

independent advice from their own financial and legal advisers.

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

Publication The newsletter is published 10 times a year – monthly

with November/ December and January/February being combined.

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

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

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

E-mail eastway@betterphotography.com

Copyright © 2015

AIPP Membership Contacts

Suite G.02, 171 Union Road,

Surrey Hills, Victoria 3127

Phone: 03 9888 4111

E-mail: enquiries99@aipp.com.au

Cover

R i c h a R d W e i n s t e i n

C o m m i s s i o n e d b y M o n d i a l J e w e l l e r yw w w. r i c h a r d w e i n s t e i n . c o m

Contents

4 Ross’s RamblingsRoss Eason APP.L M.Photog., Hon.LM, National President

1 4 Update: AIPP Reflections ProjectA strong and rewarding feeling by being involved.

1 6 Nikon Event Raises $58,000There was an amazing sense of community and generosity at the Nikon AIPP Event gala dinner to help “beyondblue”.

1 8 Richard Weinstein on Personal ProjectsPersonal projects are just as important as understanding copyright and licensing for commercial photographers.

2 2 Paul Cincotta on WeddingsMaster of Photography Paul Cincotta lives on beautiful Hamilton Island in the far north of Queensland. He has recently been internationally ac-claimed for a most unusual wedding photograph.

3 2 Photo Depreciation Rates Now OfficialIf you’re spending over $20,000 on a piece of photography equipment, the ATO has released a set of new ‘effective lives’ for new acquisitions

3 4 Improving EfficiencyAre you structured to provide your clients less? It’s a strange question, but it could also be profitable.

3 8 Welcome To The ACMPOn 8 May 2015, the ACMP effectively merged with the AIPP. Here’s how the memberships will work in the future.

4 0 Is The AIPP Mentoring Program For You?Eric Victor, program director of the AIPP’s 2015 mentoring program, ex-plains what’s happening and how to get involved.

4 4 New Telephotos From NikonHigh resolution DSLRs are allowing higher quality images and new tele-photo lenses from Nikon lift the quality further again.

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Ross’s RamblingsR o s s E a s o n A P P. L 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

What Is The Most Valuable Benefit Of Our

Membership ?

I’m just back from The Event in Perth, our 6th

Nikon AIPP Event. As part of the opening, I

said that we don’t measure the success of the

event in numbers, be they number of attendees

or balance sheets. The true measure is

engagement, members networking, socialising

and building relationships, including our trade

partners.

This was an incredibly successful Event

in every aspect. The connection between

members was the best I have seen and I have

attended all six Events. Life-long relationships,

both professional and personal, were

established.

For many, myself included, that interaction

or networking is the most valuable aspect of

membership. It can’t be bought in a shop or

shared on social media.

It’s Not About The Money!

We are very lucky to have relationships with our

trade partners that push beyond the corporate

ethos. Nikon, as our CPD sponsor, supports

the AIPP well beyond our agreement and it is

most obvious at The Event. Their generosity

in subsidising the social aspects and the

charity auction is simply inspiring, as was the

commitment from our other trade partners

who attended The Event. But, and it’s a big

but, it’s the personal engagement and sense

of community that these trade partners deliver

that adds more value to our members. They,

too, understand that building a relationship has

a strong benefit for all our members.

So Maybe It Is About The Money

Each year at The Event gala dinner, we run

a charity auction. This year’s was in support

of Beyond Blue. In Perth this year, we raised

a staggering $58,000. If you add that to the

tally from the previous three years, we have

a combined total of over $200,000 that this

Institute has raised for the four charities we have

supported, something all members should be

very proud of.

A New Board

In June members elected one new Board

member, Melinda Comerford, and re-elected

Kylie Lyons.

The AIPP Constitution requires the Board

each year to elect from within its ranks three

office bearers: President, Chairman and

Treasurer. This year as there was only one

nomination for each of the three positions, no

vote was required. Felicity Biasi has taken on the

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role of Chairman, Melissa Neumann Treasurer

and I have accepted another term as President.

Succession planning is a key attribute of the

Board. We identify those on the Board who will

replace us and ensure they have the skills to

undertake their role. We plan carefully with the

long term in mind and these changes reflect

that. They equally reflect the selfless decision we

all need to make to ensure that transference of

skills can be achieved.

This year, two existing Board members have

retired: Andrew Harrison as treasurer and Jade

Wisely as a co-opted Board member, have both

made the decision to concentrate on their

families and businesses. Andrew served four

years on the Board, three of those as Treasurer.

His contributions and wisdom always brought a

stabilising view to the table. Thank you, Andrew.

Jade served for 18 months as a co-opted

Board member, bringing her expertise with

corporate communications to refine our

communications strategy. Jade’s contribution

to the Institute has been invaluable and her

contributions will continue to evolve and

become evident in the future. Thank you, Jade.

A Quote From Steve Jobs

I have been inspired by the commitment of our

Reflections photographers because they are

representing the true spirit of photography and

what we all contribute to society: a photograph

that captures part of our life’s journey.

To quote Steve Jobs, “What it represents is

as important as what it is, it’s a tool for the heart

and when you can touch someone’s heart,

that’s limitless”. Steve was talking about music,

but I could not help draw the comparison to

a photograph and the impact it has on the

subjects and their families. I know we have

touched some hearts. You can see it in the pride

they display.

Reflections Project Video

We need more photographers to get involved

in the Veterans Project - please help! This little

Vimeo piece might encourage you - https://

vimeo.com/132887934

ross.eason@aipp.com.au

0438 722 992

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

Click Here

2015/16 TASMANIAN COUNCIL

K E L LY G E R D E S P R E S I D E N T APP AAIPP

As a state councillor I think it is very important we have a good membership base especially given that we are a small state. This year I would like to see us work together as a team to encourage new members to join and to also focus on getting our current members more involved and engaging so they can make the most of their membership. 

D A N I E L L E B U R R O W S V I C E P R E S I D E N T APP

I think it’s important to make sure our members are receiving adequate support in this sometimes isolating profession. This being my third year on council, I am keen to continue to encourage new and emerging members while keeping the excitement alive for those who are fully accredited. My goal is to not only see an expanding and thriving community but to also see major professional and personal growth for each of our members.

S U E L L E N C O O K APP

In my first term on council I would like to try to expand the range of photographic styles represented by our state membership and explore opportunities to showcase interpretive, artistic and conceptual imagery and play a role in exposing members to the creative world of less traditional genres of using photography as an artistic medium.

OUR NEW COUNCIL MEMBERS TELL US WHAT THEY WANT TO ACHIEVE AS A STATE COUNCILLOR? 

S T E V E L O V E G R O V E APP.L M.PHOTOG

My goal for this year would be to continue the great job the previous council has done to try and engage more with our membership and to find more ways to provide opportunities for members outside of Hobart to be involved and see positive returns on their membership.

R I C K I E A V E S APP

As a continuing Tasmanian state councillor in 2015/2016, I hope to continue our teams good work with focused attention on improving member participation in local events, workshops and the awards; in particular with student and emerging members. In line with providing and organising these events, I hope that working with council can improve the state’s financial position, in order to strengthen our small states independence long into the future.

K AT I N K A S M I T H APP

As a state councillor I would love to get more members actively involved in their state AIPP. Be that through coming along to learning events, print critiques, awards or even just socialising together. I’d love to find out more about what our members want and work to get relevant learning opportunities to the state to benefit our members.

Council Structure: Most councils have five members, but this can be varied by mutual consent.

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Click Here2015/16 QUEENSLAND COUNCIL

A D A M F I N C H P R E S I D E N T APP M.PHOTOG I

I would like to build a strong council team, that is committed and supportive of its membership and work hard to bring events dedicated to improving and inspiring professional photography in Queensland.

S U Z A N N E M C C O R K E L L V I C E P R E S I D E N T APP

I bring leadership, vision, strategy, enthusiasm and a very loud laugh! More than anything, I aim to meet like-minded people and learn about the organisation. My aim would be to work with the team to determine member needs, look at what is currently working well, and not working so well. I am passionate about photography, so would like to see the profile of the AIPP and Photographers raised. I would hope to promote collaboration with other states and increase the engagement of members, as well as member numbers. I would also hope to promote equity of access for regional and remote members who have limited capacity to attend events.

R YA N S C H E M B R I APP M.PHOTG IV HON.LM

I would like to broaden the reach of the QLD chapter and help build a great educational platform for the future. 

T R I S T A M E V I S O N APP

Help to guide through what is currently a new age of photography.

M E G A N R I Z Z O APP

Combining her experience in International business, banking & finance Megan is a results driven woman who likes to ‘get things done’, whilst encouraging and motivating those around her. Megan has assisted and supported the AIPP whenever possible over the last 3 years at events held in QLD and is the current SE QLD Co-Ordinator for the AIPP Reflections Project. Megan is a strong advocate of the AIPP and looks forward to encouraging other photographers to become part of this professional and supportive community.

OUR NEW COUNCIL MEMBERS TELL US WHAT THEY WANT TO ACHIEVE AS A STATE COUNCILLOR? 

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

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Click Here2015/16 WESTERN AUSTRALIAN COUNCIL

K I R S T E N G R A H A M P R E S I D E N T APP AAIPP

I’ve enjoyed my past two years as a council member, and would continue to work on improving events to cover the wide variety of photographers who are a part of the WA AIPP, as well as increasing events for regional members. 

S T E V E W I S E APP M.Photog

Continued growth of enthusiasm, camaraderie, innovation and excitement within the WA AIPP community - both new and old ... and an even better Presidents Xmas Cocktail Party than last year. If that’s possible.

D E S B I R T APP.L M.Photog Hon.LM

To work and support an enthusiastic and dedicated council group to provide all members (young/old/emerging/domestic/commercial/regional/metro etc) in an ever-changing industry. The role of the AIPP is vital in supporting professional photographers to continue to develop their business, creative and technical skills. I am keen for the AIPP to provide a range of activities and events to support Members in these areas.

V I T T O R I O N AT O L I APP.L M.Photog IV

Photography industry growth. Inspire photographer education training & recognition. Work towards sustainable business practices for photographers.

S H A I R E E N V A N T U I L APP

As a previous councilor I would like to continue my work as a team player. We are about to embark on a full Education Liaison with the help from yourselves and I believe this to be an invaluable process. I am very interested in the proposal of some sort of education and industry qualification combination. We are about to step into an exciting and cohesive year full of opportunities and unity in Western Australia and I would like to be a part of this process. I am also of the strong belief that council is currently turning the diplomatic tide and am delighted to see both old and new faces at our industry meets. One of my main goals as a member is to encourage community and a strong dynamic state.

OUR NEW COUNCIL MEMBERS TELL US WHAT THEY WANT TO ACHIEVE AS A STATE COUNCILLOR? 

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

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Click Here2015/16 NEW SOUTH WALES COUNCIL

M I LT O N G A N P R E S I D E N T APP

During my time as the current NSW state president I have been passionate about growing, educating and inspiring our amazing community of photographers. The initiatives I have implemented include a strategic year long event plan to ensure that the creative, business and networking aspects of being a professional photographer are addressed, and a strong focus on social media to grow and support the online member community, showcase their work and inspire new members to join the AIPP. If I am re-elected onto council I would love to continue growing and developing these and further initiatives.

A N N I PA Y N E V I C E P R E S I D E N T APP.L M.Photog

To get more members to socialise and network and enter the state awards.

D A V I D G L A Z E B R O O K APP AAIPP

I wish to continue the great work the NSW council has done in the last 12 months. I want to make “The Sauce” an annual event. This requires immediate planning which I intend on starting. As an enthusiastic member of current council I wish to continue but always receptive to feedback from members to do the best job possible.

C H A R L E S F O U L S H A M APP.L M.Photog I

I would like to help promote the education of photography and business within the institute for its members. I have 25 years experience within the photographic industry so I would like to offer some of this expertise to the AIPP and its members.

K A R L W E L S C H APP AAIPP

Keen to set up breakfast groups in regional areas. Want to help create events that members are enthusiastic about attending in person. Want to keep planning and executing the schedule of events that our council has put in the pipeline already for the rest of the year. 

OUR NEW COUNCIL MEMBERS TELL US WHAT THEY WANT TO ACHIEVE AS A STATE COUNCILLOR? 

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

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Click Here2015/16 SOUTH AUSTRALIAN COUNCIL

PA U L AT K I N S P R E S I D E N T The AIPP is currently forging the photographic industry of the future, as a council member in SA I will ensure our state contributes to the forging, seeing that our photographers and ideas are represented in the national program. Just as important is the bond between South Australian photographers, I will strive to enhance these ties and keep our industry strong in it’s relationships.

S I M O N E H A N C K E L V I C E P R E S I D E N T APP

I want to help the great team we have and build better commercial content for members, I would also work with the council to lobby the Board for better Social media rules for the AIPP.

L O U I S E B A G G E R APP

I have gained a strong understanding of protocols and procedures as a council member and I am excited about what I can bring to the table for the SA community over the coming year. I have a drive and passion towards my own work, but I also care about the industry in general and where we see ourselves in the future. Also to provide members with ongoing CPD events across all genres of the photographic industry.

H E L E N R O B E R T S APP AAIPP

I hope to continue to foster our community spirit in SA and encourage new or old photographers to join the AIPP and become part of the community. To provide service and education both to individuals and groups at appropriate training levels. To assist the national body when necessary and keep our SA members in touch with new information.

M A R K Z E D APP AAIPP

My goal is to set out a 12 month calendar of events within the first 4 council meetings and have them advertised to the membership well in advance. In addition to a monthly social gathering for commercial and advertising photographers. I aim to spearhead events that cover relevant training and information for the business to business photographers in the hopes of building membership and support of the commercial community in SA. I would also like to help implement the first national contemporary photographic artist award with the help of the elected council.

OUR NEW COUNCIL MEMBERS TELL US WHAT THEY WANT TO ACHIEVE AS A STATE COUNCILLOR? 

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

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Click Here

2015/16VICTORIAN COUNCIL

N I C K G H I O N I S P R E S I D E N T APP.L M.PHOTOG 

I intend to bring a level headed approach to further enhance and develop the experience for our members. I want to be proactive in harnessing and embracing members to be more involved. I want to challenge and be challenged in fostering and nurturing new and exciting advances in our industry and help the AIPP and its members to forge ahead and become the beacon for Professional Photographers.

D A N N I I B E S T V I C E P R E S I D E N T APP

I have absolutely loved working with the amazing VIC council over the last year, and would like to continue on to keep building the experience of unity, family and comeraderie while providing events that are beneficial and enjoyable to Victorian members. I would also like to work with the council to recommence a welcoming process for new members. 

J O S H U A H O L K O APP M.PHOTOG

As a past serving state council member I want to continue the solid foundation work done by the current council - continue to grow the photographic community, putting on more positive events and returning value to members. Continue to grow to the AIPP Victorian positive culture and foster a culture of education and learning to improve the perception and awareness of the AIPP amongst non members.

V A N E S S A M A C A U L A Y APP M.PHOTOG

I wish to assist the VIC team in the organising of the fabulous events they already host throughout the year, and look forward to developing new opportunities such as more public speakers and specialised workshops. I have a particular interest in the Illustrative genre, and would like to lobby the board for better creative guidelines for APPA in this category. I will also continue to encourage the wonderful social events, which I thoroughly enjoy attending.

D A V I D S I M M O N D S APP M.PHOTOG II

It is a few years since I was last on the ACMP board, and many since I was directly involved with AIPP. That said, I am delighted that at last we will be one body and one voice, so my main contribution may well be a voice for the commercial sector, with years of involvement with copyright, access rights for photographers, and generally building community and growing membership. I also see the mentoring program as very important.

OUR NEW COUNCIL MEMBERS TELL US WHAT THEY WANT TO ACHIEVE AS A STATE COUNCILLOR? 

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

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

Click Here2015/16 ACT COUNCIL

B E N K O P I L O W P R E S I D E N T APP M.PHOTOG

My continuing goals as a member of council are: 1. Fostering a more inclusive sense of community amongst a broader range of members and endeavoring  to promote more active participation by all members in AIPP processes and events, 2. Passionately advocating for the AIPP and it’s values to prospective members in all pubic forums, 3. Mentoring & educating emerging members in the industry, and 4. Creating events and meaningful dialogue with other industry stakeholders that will broaden the AIPP’s appeal to the greater photographic community.

L I B F E R R E I R A V I C E P R E S I D E N T APP

Help the AIPP to continue supporting and offering guidance to photographers who decide to start their own businesses. Help the AIPP strengthen our ACT network of existing photographers and also grow our local AIPP community, with more events and opportunities to come together.

G E O F F C O M F O R T APP.L M.PHOTOG IV

To continue working to provide the best educational opportunities for ACT members. To pass on my corporate knowledge of the AIPP to new committee members. To continue working on the ACT Awards to ensure this is the peak event for ACT members.

L O R I C I C C H I N I APP

I would like to be more active in communicating to the public about the importance of the AIPP, promoting to photographers the benefits. 

H I L A R Y W A R D H A U G H APP.L M.PHOTOG III

I would like to continue my involvement within the AIPP ACT Council; to help further the Institutes’ goals and be a part of suggesting and making decisions for our future.

D O U G H A L L APP AAIPP

What do you want to achieve as a state councillor? Increased awareness to the new and starting photographers, through social media. New types of events to encourage fun and exciting participation at all levels.

OUR NEW COUNCIL MEMBERS TELL US WHAT THEY WANT TO ACHIEVE AS A STATE COUNCILLOR? 

Council Structure: There was an equal vote for 5th position, so a sixth position was created by mutual consent.

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Update: AIPP Reflections ProjectA s t r o n g a n d r e w a r d i n g f e e l i n g b y b e i n g i n v o l v e d .

According to the photographers who have

already been involved in the AIPP Reflections

Project, it is an amazing experience on many

levels.

Yes, you will be giving up some of your time

for free, but in return you will have a very warm

feeling because of what you have provided.

This is a way for all of us to give back to our

community – and especially to the men and

women who were prepared to give everything

to their community in a time of war.

However, what you might not be prepared

for is a life-changing experience, one where

the people you meet and photograph may just

change the way you view your world. There is a

quiet dignity in our veterans. Some of this may

come from their age, but much of it is from their

own life changing experiences.

While we’re reaching out to our veterans, in

return they will reach out and touch us.

According to John de Rooy, the Reflections

project director, we have lots of veterans now

waiting to be photographed.

“There are over 3,000 veterans registered to

be photographed and many more joining every

day.

“Ideally we would like to photograph most

of the veterans by the end of August, but we

will continue photographing after that to

honour all the WWII Veterans we can find.

“And we still need more photographers to

register as in some areas, the photography is

currently being handled by just a few accredited

photographers.

“Please go to https://aippveterans.com/

photographers/ and register to be involved.

You will benefit from giving back to your

community and meet some amazing veterans

in the process.”

Please spread the word about this project to WWII

veterans and photographers. To register a veteran

or a photographer for the project please go to:

https://aippveterans.com

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Photographs by Rebekah Wilson for the AIPP Reflections Project.

Your InstItute needs

You!You are not too late to join the AIPP’s Reflections Project. In fact, this

is the perfect time to join. We have over 3,000 veterans to photo-

graph and we really need your help. It won’t take you long, but the

experience will live with you for a lifetime.

Please help.Register today by visiting https://aippveterans.com/photographers/

See the video at: https://vimeo.com/132887934

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Nikon Event Raises $58,000T h e r e w a s a n a m a z i n g s e n s e o f c o m m u n i t y a n d g e n e r o s i t y a t t h e N i k o n A I P P E v e n t g a l a d i n n e r t o h e l p “ b e y o n d b l u e ”.

On Wednesday 1 July, the Australian Institute

of Professional Photography (AIPP) through its

annual charity print auction raised over $58,000

for “beyondblue”, taking the total raised for

charities in the last four years to over $200,000.

Previous benefactors included Breast Cancer

Research, the Prostrate Cancer Foundation and

the Make-a-Wish Foundation.

Gala Dinner Event

The annual auction takes place at the end of the

AIPP national conference, The Nikon AIPP Event.

It all started in 2012 at the Hunter Valley

Nikon AIPP Event. Grand Master of Photography

David Oliver photographed fellow Grand Master

Tony Hewitt during a workshop. Tony adopted

Lewis Morley’s famous Christine Keeler pose,

which included taking off his shirt, and the print

sold at the Nikon Cocktail party that night for

several thousand dollars.

This got the AIPP thinking and two nights

later at The Event’s gala dinner, a series of prints

from the speakers was auctioned.

This year, the 2015 Nikon AIPP Event was

held at the Crown in Perth. The three day

professional photography conference, held

from 29 June to 1 July, included amongst

its delegates, AIPP members, photography

students and members of the public interested

in improving their photography knowledge.

Peter Myers, the AIPP Executive Officer said,

“The theme of our conference was Developing

your own style.

“Professional photographers love their work

and they enjoy seeing the pleasure their work

brings to their clients. But equally, they also

understand, even in difficult financial times, the

need to give back and support the community

at large.

“Each year we choose a charity to be the

beneficiary of this fund raising effort, and each

year we try to raise even more money”.

The prints for the auction were donated

by the speakers and presenters at the event,

including this year Brooke Shaden, Tony Hewitt,

Stef King, Joshua Holko, Steve Wise, and the

current Australian Professional Photographer of

the year James Simmons, to name just a few.

The AIPP, together with its major partner

Nikon, are already planning and looking forward

to The Nikon AIPP Event 2016 and raising even

more money.

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(Above) Kylie Lyons (left) in full swing at the annual charity print auction with a Tony Hewitt masterpiece up for grabs, but you will have to wrestle it away from Sue Lewis (centre) and Jo Mugford.

(Bottom) James Simmons (right) and David Dare Parker congratulate Vittorio Natoli (left) after his $10,000 bid on the image donated by James Simmons (shown).

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Richard WeinsteinP e r s o n a l p r o j e c t s a r e j u s t a s i m p o r t a n t a s u n d e r s t a n d i n g c o p y r i g h t a n d l i c e n s i n g f o r c o m m e r c i a l p h o t o g r a p h e r s .

ACMP President Richard Weinstein is a

commercial and advertising photographer,

working in the jewellery and still life areas. He

has a busy studio based in Alexandria, Sydney,

perfectly located to service city and interstate

clients.

“I feel that the permanence of having my

own studio is very important because 60 per

cent of my work is still studio based and I like

having my equipment ready to use.

“It also gives clients a different perspective

on your business. I still get the occasional knock

on the door and products will be delivered

direct to the studio because my clients know I

am here.”

Keeping Sane

In addition to jewellery, Richard shoots

corporate portraits and catalogues, but

despite a full diary of commissions, he remains

passionate about his personal projects.

“I think in the visual arts, clients love the fact

that you are still passionate about your craft and

that you are pursuing image making outside

your professional work. I also think it’s very

important for your own sanity. Personal projects

keep you motivated, you learn new skills and

it can help you change direction. Personal

projects also broaden your network, opening

up new opportunities.

“I highly recommend creating a personal

body of work every 24 months. Try and

challenge yourself to explore areas outside

your comfort zone, but make sure the subject

matter interests you enough so you explore it

deeper. Even if the outcome is not realised in

an exhibition or a book, the process of making

the work is often more important than the final

result.

“I have a love for Australian natives plants

and after the launch of my exhibition, I picked

up a hotel commission through Art Duo to

supply prints for their public spaces.

“I am also interested in book projects and

last year launched Making the Cut, written

by David Dowsey and focusing on the Cutler

bespoke tailoring dynasty in Australia.

“The project came about when John

was approached by David, a journalist from

Melbourne. He had heard about John’s business

and offered to write his story. “John is just

as passionate about his work as I am about

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Above: Images from Richard Weinstein’s personal project, Australian Native Plants. Below: Examples of Richard’s day-to-day work.

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photography. Our relationship goes back over

ten years, shooting advertising work for him, so

this project culminating in a coffee-table book

was extremely rewarding for me.

“I’m very interested in people who

make things with their hands. It can be a

cheesemaker, a winemaker or a tailor - I’m just

interested in people who change the world

with their hands. In fact, that’s the basis of my

next personal project – photographing hands.

“Personal projects may also lead to a new

income stream, but the energy and time

invested on doing this work is always rewarding

on so many other levels.”

Professional Standards

“Many young photographers want to jump into

their own businesses too early. I think you’re

much better off getting a job for two or three

years first and really learning and defining your

style. Get as much experience working with as

many photographers as you can.

“Anyone can put up a website and a lot do,

but that’s the problem. Often these people

haven’t reached a high enough standard in their

work to really run their own business.

“I realise that these days people want a quick

fix, but having a lovely camera doesn’t make

you a good photographer, you just own a lovely

camera.

“This is why I’m passionate about teaching

and mentoring. Young photographers who

take the time to study are able to explore

photography and experiment, as opposed to

learning on the job.

“This is why I explain to my students that

completing a course doesn’t automatically

make you an excellent photographer, and being

an excellent photographer doesn’t mean you’ll

be able to make a living out of photography.

They are two very different skills.

“Having skills in composition and lighting

isn’t the same as having skills in quoting and

running a business. You have to learn business

skills as well.”

So where does a photographer start?

Richard suggested that working out your

strengths and weaknesses is a good first step,

For instance, if you’re not good at paperwork,

perhaps you need to hire a good bookkeeper.

Or, if you’re not good at preparing quotes,

perhaps you need to work with a producer who

will represent you.

“Some people find it useful to have other

people negotiating on their behalf, writing

contracts, following up accounts and doing the

production. It’s also important to keep up with

industry trends, copyright laws and technology.

Richard Weinstein is the owner of Richard Weinstein

Photography, a commercial advertising photog-

rapher in Sydney. He is the president of the ACMP

Chapter.

www.richardweinstein.com

21

(Above) Richard’s personal project, Making The Cut, on bespoke tailor John Cutler has just been released as a coffee-table book. (Below) An image from the Making the Cut project.

22

PaulCINCOTTA

A I P P M a s t e r o f P h o t o g r a p h y

M a s t e r o f P h o t o g r a p h y P a u l C i n c o t t a l i v e s o n b e a u t i f u l H a m i l t o n I s l a n d i n t h e f a r n o r t h o f Q u e e n s l a n d . H e h a s r e c e n t l y b e e n i n t e r n a t i o n a l l y a c c l a i m e d f o r a m o s t u n u s u a l w e d d i n g p h o t o g r a p h .

WPPI Grand Award

Great photographs seem to just happen, but this overlooks one very important fact: photographers have to

be aware of what’s happening around them to capture them.

Paul Cincotta was photographing a ‘pinterest’ bride who had previsualised many of the photographs

she wanted for her wedding.

She was adamant about what she was after. She planned her album through other people’s

photographs that she’d found on social media and in bridal magazines. I don’t have a problem with this

because it clearly conveys to me what my clients like and, importantly, what they don’t like. This is really

valuable because it gets the bride, and often her groom, involved in the photography and this in turn

makes them easier to photograph. They have a vested interest in how the shoot turns out.

(Opposite) Paul Cincotta’s 2015 WPPI Gold Distinction Award & 1st Place: Wedding Bride Alone , plus the 2015 WPPI Wedding Grand Award.

23

24

PaulCINCOTTA

A I P P M a s t e r o f P h o t o g r a p h y

25

26

I had researched all the photos and angles

this bride wanted and I had even shown her a

few images on the back of the camera, so we

were off to a good start.

I stepped out of the room so she and her

bridesmaids could get her dressed, but while

waiting in the hallway, I could see her reflection

in the doors of a high-gloss cupboard.

At the time, the bridesmaids were standing

in the way, but I could see a photo in the

making.

There was a bag in the foreground, so I

moved this out of the way, but I still had to deal

with the staircase in the foreground.

Paul had a Canon 24-70mm f2.8 zoom on

his camera. His standard outfit includes this mid-

range zoom, plus a 16-35mm wide-angle zoom

and a 70-200mm tele zoom, all constant-aperture

f2.8 models.

He also takes a 50mm f1.8 and a macro lens if

there are specific shots he needs, but most of the

time it’s just the three zooms.

Initially when I saw the photo, I just wanted

the reflection and thought that the staircase

was in the way. I looked at various options of

getting around the staircase, but it seemed

that I would have to include it. Then suddenly it

occurred to me: it was a stairway to heaven and

so I looked at how I could include the staircase

in the composition.

When the bride came out and said, ‘Ready?’,

and I said, ‘No, no, please go back into the room’.

It’s interesting what other thoughts go

through your mind. The previous year, I had

earned a Silver with Distinction award for a

photo of a bride looking through a diffused

door, but one of the judges had penalised me

for only having one arm visible.

So this time, when asking the bride to pose,

I made sure I could see both her arms in the

reflection.

As soon as I took the photo, I was thinking

‘Yes, I have something here’. When the bride

came out and asked if I got it, she could see that

I was really excited and from that moment on, I

had her confidence. I really was so happy I did a

little song and dance!

However, the diffused aluminium railing

definitely didn’t work in colour, so I switched it

to black and white.

Paul entered the photograph into the 2015

WPPI awards held in Las Vegas annually where

it won first prize in a wedding category and the

Grand Award for weddings overall.

Entering Awards

When I worked as an assistant for Lynnette

Smith, she had an AIPP awards book which we

would look through, discussing the images and

comparing them with our own.

The AIPP has always been an association to

which I aspired to belong and in the early days,

becoming a member was an achievement in

itself, but what I really wanted to do was win

PaulCINCOTTA

A I P P M a s t e r o f P h o t o g r a p h y

27

Much of Paul’s work in previous years has been taken on Hamilton Island and nearby Whitehaven Beach.

28

some awards and see my own photographs in

an awards book.

After Melbourne, I was working in Far

North Queensland. It’s quite isolated up here,

especially out on Hamilton Island, so it’s difficult

to compare notes with other photographers.

The awards system became my yardstick.

In my first year, I earned a Silver and was

very chuffed about it. However, my assistant at

the time had worked as a print handler on the

state awards and told me there were a couple of

things I had done wrong – such as not matting

the image!

His simple suggestions helped me win

four Silvers the following year and earn my

Associateship.

Of course, the real value in entering the

awards is the process of going through your

work from the last twelve months and whittling

it down to your four best images. It sounds

simple, but it’s incredibly difficult – and it can be

heartbreaking too if you don’t get awards.

My approach is to treat the Canon APPAs

and the Epson State Print Awards as clients.

They have special requirements and a certain

style, so I set out to achieve these things, just as

I would for a wedding client.

Throughout the year, I put aside images that

I think could be potential entries. I’d tag them in

Lightroom and then in winter, when we’re quiet

with work, I’d sort through the images and work

out which were the best.

I also invested in matting and framing

equipment. Given I enter up to 12 images in

the Queensland awards and four images in the

nationals, I can spend a lot of money each year

getting my work printed and framed.

Buying my own equipment made economic

sense, plus it also let me check my work before

sending it off. If I had my photos printed and

framed on the mainland, I usually didn’t get

a chance to check them before they were

entered.

When you begin, getting a Silver award is

really important, but after a few years, I realised

that a lot of my images were just scraping in

with low 80s. Felicity, my wife, would wonder

why I was disappointed with four silvers, but I

wanted more.

I realised I had to dig deeper and push

myself to create something that was different.

It’s a real challenge to excite a panel of judges

who have seen everything before. The trick is to

aim much higher.

Lightning Landscapes

Landscape photography is Paul Cincotta’s therapy.

He is addicted to lightning photography because

when it happens, he has to drop everything

because these opportunities don’t hang around.

Shooting storms gives you some time out,

so even if there’s a pressing deadline, I leave the

studio behind.

However, the technique for shooting

PaulCINCOTTA

A I P P M a s t e r o f P h o t o g r a p h y

29

Examples of Paul Cincotta’s more creative streak when it comes to shooting weddings.

30

lightning is a little like fishing. You lay the bait

and hopefully you’ll catch something.

Basically I use a long time exposure and

hope the lightning occurs within the frame.

Interesting, although people say lightning never

strikes in the same place twice, it’s not quite

correct. Depending on the weather and how

fast the storm is moving, I find lightning often

stays in much the same spot.

Sheet lightning can light up the sky, but it’s

not as spectacular as fork lightning. However, for

fork lightning, you need to stop down to ensure

the exposure is right - I’m often shooting at f16

and sometimes with neutral density filters. I’ve

31

PaulCINCOTTA

A I P P M a s t e r o f P h o t o g r a p h y

also tried lightning triggers, but they seem to

fire after the event, so I just keep the shutter

open as much as I can.”

Paul Cincotta is a Master of Photography and lives

on Hamilton Island, Queensland.

http://www.imagism.com/

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Photo Depreciation Rates Now OfficialI f y o u ’r e s p e n d i n g o v e r $ 2 0 , 0 0 0 o n a p i e c e o f p h o t o g r a p h y e q u i p m e n t , t h e AT O h a s r e l e a s e d a s e t o f n e w ‘e f f e c t i v e l i v e s ’ f o r n e w a c q u i s i t i o n s

When you buy a large piece of equipment, you

can’t always claim it directly against your tax in

the year you bought it. It is more usual to claim

it over a number of years - to depreciate it.

Of course, with the Government’s recent

Budget announcement, this isn’t quite correct

as there is currently a $20,000 limit, under which

any piece of equipment you purchase (new or

secondhand) can be claimed in the tax year that

you bought it.

However, this concession won’t last forever

and eventually the equipment limit will be

reduced again, probably back to $1,000 or

thereabouts.

When this happens, we will once again be

calculating depreciation for our equipment that

cost over $1000 (excluding GST). Most readers

will put these purchases into a small business

‘asset pool’ for depreciation purposes with

a fixed depreciation rate, but there may be a

few photographers who choose to depreciate

their assets singly - in which case a recent ATO

announcement concerning effective lives will

be of interest.

The idea behind depreciation is to allow you

to claim a proportion of the cost of an asset for

each year you use it.

Predicting this accurately for every purchase

you make is impossible, so the ATO suggests an

average number of years over which it expects

you to use the asset. This is its effective life.

For instance, if you purchase a DSLR, the ATO

suggests its effective life will be three years.

If the DSLR body cost you $1800, you could

claim $600 each year for three years. By the end

of three years, you would have claimed the full

cost of the asset, but of course, you might still

be using the DSLR and that’s perfectly okay.

The ATO notes that “these lives (shown on

the page opposite) have been determined

based on normal industry practices and

taxpayers can still self-assess their own ‘effective

lives’ based on their particular circumstances”.

However, if you do self-assess (which is

usually to get a better tax result), you should

have good notes explaining your reasons, just in

case the ATO comes knocking!

For the majority of photographers,

these effective lives (which determines the

depreciation rate) will be of little interest as

the small business asset pool is generally the

preferred way to calculate depreciation.

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.

33

A U S T R A L I A N T A X A T I O N O F F I C E

Official Depreciation Rates - Professional Photographic Services Effective 1 July 2015Asset Description Effective Life in YearsAudio assets (including microphones, preamplifiers,

sound recording devices, transmitters and receivers) 3

Camera lenses 5

Digital cameras:

Compact cameras (including point and shoot cameras) 3

Compact system cameras (including bridge cameras,

micro four-thirds cameras, mirrorless cameras) 3

Medium format single lens reflex (SLR) camera systems

(including camera bodies and digital backs) 4

SLR cameras (including full-frame SLR cameras) 3

Lighting assets:

Electronic flash units (including compact flash heads, monolights):

Portable 3

Studio lightings 5

Light meters 5

Light shaping tools (including modelling glass protectors,

reflectors and scrims, softboxes and umbrellas) 3

Portable flash units (including flashguns) 2

Power packs (including battery packs and compact flash generators) 4

Support assets:

Backdrop support systems (including background elevation systems) 10

Bags and cases 5

Camera track sliders 2

Light stands (including boom arms) 5

Photographic printers/plotters 4

Tent and shooting tables 2

Tripods 5

Unmanned aerial vehicles (UAVs) - rotary 2

Wind machines 5

T H E A I P P A T W O R K

Representing PhotographersThe AIPP has represented all professional photographers to the ATO during the recent review of depreciation. Past National

President Eric Victor worked with and lobbied the ATO for more reasonable rates. His efforts included inviting three ATO

staff out to a studio in Brisbane and explaining the differences and uses of our equipment, e.g. the difference between a

Speedlight, a monobloc and a floor pack. The ATO was most appreciative of this advice and professional photographers across

Australia are the better for it. Just another example of the many behind-the-scenes initiatives undertaken by the AIPP.

34

Improving EfficiencyA r e y o u s t r u c t u r e d t o p r o v i d e y o u r c l i e n t s l e s s ? I t ’ s a s t r a n g e q u e s t i o n , b u t i t c o u l d a l s o b e p r o f i t a b l e .

The market for photography is very competitive.

Many clients can take their own photographs

and make their own prints or albums. In fact,

in this DIY age, many people want to take and

make their own photos.

So, when they hire a photographer, perhaps

all they want are the raw files? Maybe just JPEGs.

Or perhaps they don’t want lots of photos

because they already have so many sitting on

their phones and computers.

A lot of professional photography jobs today

could be short affairs. Clients are wanting quick,

immediate service. Are you set up to provide

this?

And in addition to providing a standard of

photography far higher than our clients can

achieve (perhaps by using special lenses, studio

lighting or backgrounds), we also need to look

at our own business structure and how it can be

more efficient - and more profitable.

Are You Efficient?

There are a lot of photographers reading this

newsletter who have never shot with film,

yet much of what they have learnt has been

handed down from photographers who

were expertly schooled in film and darkroom

techniques, and then made the transition to

digital.

I think the transition to digital has created

some incredible inefficiencies in what we do –

and no, this criticism isn’t aimed at every reader

because there are many photographers who

have looked carefully at their workflow and

created some great efficiencies.

Overshooting

An example. When wedding and portrait

photographers used film, they were frugal with

their exposures because every press of the

shutter button cost money.

When digital arrived, they discovered they

could shoot much more freely, so freely that the

300 frames for a wedding bloomed into 1500 or

even 3000 exposures on a digital camera.

So, in addition to spending 8 to 12 hours at

the wedding, they added hours and hours of

work to their post-production.

Post Production

The same criticism can be levelled at portrait

and commercial photographers. We tend to

forget that over shooting creates additional

work later on.

35Photograph by Ryan Schembri, APP. L, M.Photog., Finalist, Wedding Category, 2014 Canon AIPP Australian Professional Photography Awards

36

For photographers hiring staff, the post-

production isn’t seen as a big problem because

they don’t do it. But for photographers doing

their own post-production, it ties them to their

computers for hours or even days longer than

necessary.

How many photographs end up in an album

or on an iPad? Fifty? One hundred? Even if

you’re using 150 photos in an album, it’s hard to

believe you need 1500 exposures to get them.

Why is this inefficient?

The time spent editing the work could be

better spent in other areas of your business,

such as marketing yourself and bringing in new

work.

Marketing

It’s interesting interviewing successful

professional photographers and reading articles

written about them.

If you’re tuned to what they are saying, you’ll

soon realise the successful photographers aren’t

just great shooters, they are great marketers and

advertisers as well.

They spend a large proportion of their

working week communicating, whether via a

blog, on Facebook, Instagram or with a good

old fashioned exhibition or shopping centre

stall.

You need to structure your business

efficiently so you have time to do the

marketing.

Don’t spend your time behind a computer

and convince yourself that you’re being smart or

efficient because chances are you’re not! Sorry.

Photography can be structured so it is

incredibly efficient. You can also hire and train

staff to do all of the post-production work, if

you are strong enough to entrust your artistry

to someone else.

Making It Happen

Here are some suggestions:

• Shoot less. Two or three shots of the bride in a

particular pose is all that’s needed, not seven

or eight. In fact, one shot might be all you

take.

• Use Lightroom, Capture One or a similar

processor to automate as much of your

processing as possible. I think 90% of your

photos will be 90% perfect and that’s 100%

acceptable as a professional.

• Hire staff to do the processing so you have

time to do more shooting, or more marketing.

• In the studio, shoot tethered and use the

software to edit and process the files so the

job is essentially finished when you put down

the camera. There are ways to automate all of

this.

• If you are selling physical photos, consider out

sourcing print production to a lab or bureau.

As our prices are squeezed, we will need to

do more jobs to maintain our income, so we

need to do them quicker and more efficiently.

37

Photograph by Steve Scalone, Finalist, Travel Category, 2014 Canon AIPP Australian Professional Photography Awards

38

Welcome To The ACMPO n 8 M a y 2 0 1 5 , t h e A C M P e f f e c t i v e l y m e r g e d w i t h t h e A I P P. H e r e ’ s h o w t h e m e m b e r s h i p s w i l l w o r k i n t h e f u t u r e .

The membership fees previously paid to the

ACMP entitle ACMP members to membership

of the AIPP for the remainder of this calendar

year, with no further fees payable. However, the

AIPP will ask ACMP members to renew their

AIPP membership on 1 January 2016 at the

standard AIPP membership rates.

Because ACMP members have been

members for some time and were previously

accepted as ACMP accredited members, the

AIPP is able to welcome ACMP members as

AIPP Accredited Professional Photographers,

without the need to take part in our standard

accredited member admission process.

More importantly, the AIPP/ACMP is in the

process of putting in place a series of initiatives

to enhance the ACMP brand and promote the

ACMP as the mark of an Accredited Commercial

and Media Photographer.

Accredited

Within the AIPP structure, the term ACMP now

refers to an “Accredited Commercial & Media

Photographer”, a very subtle but important

difference. In other words, a professional

photographer can no longer join the ACMP as

such, but can, through their AIPP membership,

become an ACMP (Accredited Commercial &

Media Photographer).

Integrating ACMP into the AIPP

All of the directors of the ACMP who were

active directors at the time of the merger were

invited to establish an ACMP “Chapter” within

the AIPP.

Achieving the objectives of the chapter will

be the responsibility of a new chapter council

comprising the ACMP directors, plus up to

six existing AIPP members, all of whom share

common objectives and goals.

The chapter will be governed under the

existing AIPP governance protocols, with its

terms of reference agreed and published in

the new ACMP Charter, and its main priorities

identified and published in its “Targets & KPI”

document.

Search For A Pro

Basic ACMP membership details have now been

imported into the AIPP membership database

system, using the email addresses previously

held. However, to get full advantage of their

39

membership and the Search For A Pro system,

ACMP members will need to update their own

details.

The “Search For A Pro” system is one of the

important initiatives we will use to help raise

awareness of the ACMP brand. All members are

able to create their own category (photography

genre) specific profiles such as advertising

photography, industrial photography, corporate

photography, commercial photography, etc.

Once you have created your profiles, we will

add the new ACMP brand and logo to promote

the fact that you are an Accredited Professional

Photographer and a specialist commercial and

media photographer, identified through the

ACMP logo.

As an example, if you go to www.aipp.

com.au and use the Search for a Pro facility

and search for Robert Catto, one of the ACMP

directors, you will see how Robert has created

his profile and utilises the new logo.

Search for Robert as an advertising or as a

corporate photographer to get more examples

of how this process works.

40

Is The AIPP Mentoring Program For You?E r i c V i c t o r , p r o g r a m d i r e c t o r o f t h e A I P P ’ s 2 0 1 5 m e n t o r i n g p r o g r a m , e x p l a i n s w h a t ’ s h a p p e n i n g a n d h o w t o g e t i n v o l v e d .

Eric Victor, you are the current program

director of the AIPP mentoring program

and the year has reached the half way

mark. How is it going?

Rather well! We have over 60 participants, which

was our target for this year. It covers both the

domestic and the commercial market.

The program has now had over 300

participants since its beginnings and the

feedback that we are receiving continue to be

very encouraging.

You have been involved with the program

since its inception, but how do you see the

program in the future?

Like everything in life, you need to adapt.

Since I ran the pilot program five years ago,

the content of the program has evolved

enormously.

We do not wish to judge success by

numbers, but by the quality of the experience.

So the future effort will be to select our

participants better and to increase the quality of

our mentors.

What is the main objective?

The industry has changed enormously since

2000. It is becoming harder to make a living

as solely a photographer and the traditional

business model is well and truly useless.

Today our professional world has morphed

into a very flexible model, which is sometimes

hard to define, but is in no way lacking

potential.

For instance, Photoshop is no longer only

the weapon of a photographer, it also belongs

to the graphic artist. Which leads to a simple

situation, why don’t we learn graphic art?

This in turn raises another, often-asked

question: Should I have a second job?

In most cases for someone entering the

profession, this is a sensible approach. It is a sign

of understanding the task ahead. When your

photography eventually requires 100 per cent

of your effort, then you will know that it is time

to resign from that second job!

Coming back to the question, we do our

best to create stepping-stones for the young

professional, to help them negotiate the pitfalls

of the industry. Sharing our experiences gives

41

them a better chance to cut a path in the

jungle.

You will notice that I keep on repeating the

word ‘professional’. That is indeed our main

objective.

Isn’t there a kind of universal truth under-

lying our profession?

Of course! One might think that having a

website with bells and whistles is the cure of all

ills.

Unfortunately, that is forgetting the most

important factor, the human kind. Business

methodology doesn’t change the fact that

we are dealing with a public and art directors.

Waiting for a phone call from an unknown client

might not work, whereas a face to face visit

might have a better outcome!

What makes a good participant?

Commitment. There is no point in spending

good money if you are only half thinking

to work as a photographer. Usually the

applicants who have already tried professional

photography for a year or so with limited

results are the ones getting the most out of the

mentoring program.

They already have some experiences, some

issues to solve and maybe some misguided

concepts.

How do you select the participants?

Any one is welcomed, but we have set some

standards.

The fact that the participant has to apply

means that they are already committed to a

professional life and that they need a step up in

entering the profession.

This alone shows an understanding of the

complexity of the task.

We ask for a commitment both

financially and mentally, which is key to a

successful outcome. A questionnaire needs

to be completed to give the mentors an

understanding of where the person is at.

The full requirements are on the AIPP

website but will change a little for the 2016

season.

What is the major stumbling block for

these participants?

More often than not, it is a matter of not

understanding the purpose of the program and

the commitment required.

We do our utmost to describe it, but there

are a few participants that expect either a

structured course or have not done their

financial homework.

You mention that it is not a course?

It is a program where very experienced mentors

42

guide the participants thru the early stages of

entering the industry. It is an exchange of views,

of possible solutions, and of experiences.

The emphasis is on the participant to

develop his or her own business model and to

receive an educated feedback from the mentor.

Each participant has different ambitions and

ways to get to their goals. The mentor is there

to facilitate this process and keep the project on

track.

You just mentioned the word business

model. Is there any pure photographic

component in the program?

The program is designed to help the

photographer entering the industry to sustain

his or her business and to understand its

potential. We are assuming that the technical

side of photography is known.

Mind you, we do deal with images when it

comes to fine tuning a portfolio, as the portfolio

is the business card of any photographic

endeavour.

Where do you see the program going in

the future?

It is a critical part of the charter of the AIPP to

educate. Not only a few individuals, but also

an entire industry. The more professionals the

Institute can educate. the better the industry

will be for all.

With the efforts placed by the AIPP toward

accreditation, we will need to follow suit and

evolve into a more precise program. The aim

will be to foster a number of participants into a

higher orbit.

This may mean that the program is extended

to a second year with one to one mentoring.

There are plenty of avenues to explore and we

have many of them on the table for reflection.

You have been in the industry for a long

time, managing a leading photographic

studio and now semi-retired. Isn’t it time to

learn to play golf?

Listening to a few of Bach’s cantatas, maybe?

The mentors have one thing in common,

which is the deep acknowledgement of how

good the industry was for our generation.

Starting today is another matter and if we

can help, we do. The program relies on the

goodness and generosity of mentors, but even

with all good intentions, it is a demanding ask.

However, I have to admit that there is

satisfaction when imparting experience and

when a participant does crack it, a great joy.

Eric Victor is a past National President of the AIPP

and the program director of the AIPP’s Mentoring

Program. We didn’t ask him if he plays golf.

43Photograph by Vicki Papas, AAIPP, Finalist, Portrait Category, 2014 Canon AIPP Australian Professional Photography Awards

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New Telephotos From NikonH i g h r e s o l u t i o n D S L R s a r e a l l o w i n g h i g h e r q u a l i t y i m a g e s a n d n e w t e l e p h o t o l e n s e s f r o m N i k o n l i f t t h e q u a l i t y f u r t h e r a g a i n .

If you shoot sport or wildlife, you need a long

telephoto and while some may argue that

400mm is an ideal compromise between

functionality and reach, these new super

telephotos from Nikon may challenge that view.

The two new AF-S Nikkor lenses are the

500mm f/4E FL ED VR and 600mm f/4E FL ED

VR. Currently claimed to be the lightest lenses

of their focal length in the world for full-frame

DSLRs, the 500mm weighs in at 3090 g (was

3870 g) and the 600mm at 3810 g (was 5.060

g). Obviously these are not featherweights, but

the weight reductions are very significant and,

along with higher ISO settings, means hand-

held work from time to time becomes much

more realistic.

The lenses feature fluorite lens elements,

Extra-low Dispersion (ED) glass and Nano

Crystal Coat multi-coating, which in turn Nikon

claims, produces vibrant images, accurate

colour and rich detail. Nikon even suggests it

helps to create a more efficient post-processing

workflow for photographers working on time-

sensitive projects.

Nikon’s Vibration Reduction (VR) system

provides both Normal and Sport modes. In

Normal mode, a shutter speed effect equivalent

of up to 4.0 stops is possible. The Sport mode

is for tracking rapidly moving subjects from a

distance, such as surfers catching a wave or

birds in flight.

The lenses integrate with the DSLR body

to provide accurate autofocus tracking, even

during high-speed continuous shooting, and

the improved AF tracking is complemented

by a reliable auto-exposure control with the

employment of an electromagnetic aperture

mechanism. This enables the aperture to be

controlled via electric signals from the camera

body for further accuracy, which is important

for time-lapse videos and exposure generally.

Designed to withstand the challenges

of shooting in the field, both new lenses

incorporate a fluorine coating applied to the

meniscus protective glass at the front of the

lens for protection against dirt, water droplets

and grease. Durability is further enhanced

with the inclusion of a tripod collar ring with

bearings to enable smoother transitioning

between horizontal and vertical shooting.

The lenses are due for release on 19 July

2015 with pricing to be made available shortly.

45(Above) AF-S Nikkor 500mm f/4E FL ED VR and 600mm f/4E FL ED VR. (Bottom) Example photograph taken with Nikon D4S and Nikkor AF-S 600mm f/4E FL ED VR

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