Working Pro 237

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Working ProThe

Issue 237 • November/December 2015

The 2015 CANON AIPP AUSTRALIAN

PROFESSIONAL PHOTOGRAPHER OF THE YEAR

PROUDLY SUPPORTING THE AIPP

Working ProThe

C o n t e n t s# 2 3 7 - November/December 2 0 1 5

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

Editor Peter Eastway

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

Disclaimer The information provided in The Working Pro and associat-

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

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

under any liability for any recommendations, representations or infor-

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

ions and suggestions for subscribers to evaluate in coming to their

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

information should not be relied upon without readers first obtaining

independent advice from their own financial and legal advisers.

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

Publication The newsletter is published 10 times a year – monthly

with November/ December and January/February being combined.

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

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

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

E-mail [email protected]

Copyright © 2015

AIPP Membership Contacts

Suite G.02, 171 Union Road,

Surrey Hills, Victoria 3127

Phone: 03 9888 4111

E-mail: [email protected]

Cover

J o h n A n s e l l APP-l, M.Photog.2015 CANON AIPP AUSTRALIAN PROFESSIONAL

PHOTOGRAPHER OF THE YEAR

w w w. j o h n a n s e l l . c o m . a u

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

1 0 Winning the Big One!To be selected as the Canon AIPP Australian Professional Photographer of the Year is the pinnacle of a photographer’s career, as no doubt John Ansell will agree. But the process of impressing your peers is really what it’s all about.

1 2 How To Win At APPA?We interview the 2015 Canon AIPP Australian Professional Photographer of the Year, John Ansell to find out about all his secrets - what does it really take to win the big prize at APPA?

1 7 The 2015 Canon AIPP AwardsHow good are these photographs? On these pages, we present the category winners of the 2015 Canon AIPP Australian Professional Photography Awards.

4 0 No Silver Awards - What Does It Mean?Earning silver and gold awards is what APPA is all about, but when it comes to our progress as a professional photographer, equally important are the scores in the 60s and 70s.

4 2 Social Media: How Do You React?It’s one thing to be well-mannered yourself, but how do you react to other people being rude to you? Is there an excuse for being rude back?

4 4 The Luminous AuctionIn recent years, the AIPP, it’s members and sponsors have been incredibly generous towards several charitable causes. The Luminous Awards continues in this theme for the first time in 2015.

4 6 A TAFE AmbassadorIt’s very easy to pick up a camera, but quite another to call yourself a professional photographer. Penelope Beveridge’s enrolment with Sydney TAFE has become the cornerstone of her successful international career - and she remains passionate about formal education today.

5 0 The Best Way To Learn WeddingsPaul Cincotta realises that times have changed, but if you can work as an assistant or a stringer for a good wedding photographer, it will set your career up for life.

5 4 AIPP Workplace Health & SafetyAs the AIPP grows, it engages with a broader cross section of people with varying expectations of what should be provided. The AIPP’s aim is to provide ‘best practice’ outcomes in all its endeavours.

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Ross’s Ramblings R 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

This will be the last edition of The Working Pro.

It has severed us well in different forms, but the

simply reality is in today’s world, each member

looks for their news and information in different

formats and in different degrees of detail.

After extended consultation with

communications advisors, including Peter

Eastway, the edi-tor of The Working Pro, and

the team in national office, we have developed

a new format that will allow all members

to receive important information about the

Institute, the industry and advice on how to

maintain their business.

This new format will roll out early next year.

The important difference

will be the delivery style

Each month, news will still be delivered as

before, but in a new look PDF, as well as in

smaller grabs and headlines via social media,

blogs and emails. For those who have a passion

to ponder the news while on the throne, or like

to leave it on their desk for later review, there

will also be a highly summarised B&W version as

an option that can be easily printed.

So, why the change? It is important that

members are aware of what is happening and

after much consultation with members, the

reality is there is no single delivery method that

ticks every box. For every member who wants

it printed and delivered by snail mail, there is a

counter view for other alternatives, so we are

now targeting the broadest range of possible

options.

Regardless of how it is delivered, it is

absolutely incumbent on all members to keep

them-selves informed. Please take the time to

keep up to date with what we are doing.

It is your Institute. You need to make an

effort to be aware of what is happening.

9 - 6500 - 855 - 252 - 87 - 11

Not my account balance, but the tally for the

end of the 2015 awards season.

• 9 state, territory and national awards, all run

to one consistent standard. We welcomed

Northern Territory this year for its first awards.

• 6500 total entries around the country

A Collector’s Edition of The Working Pro

5

At the Canon AIPP APPA, there were

• 855 Silver Awards

• 252 Silvers with Distinction Awards

• 87 Gold Awards

• 11 Gold with Distinction Awards

This is a great demonstration of our national

awards strategy in practice. Later in this edition

there are details of the award winners and

without doubt, they represent some of the

finest photographers in the country. On behalf

of the Board, I would like to congratulate all

who entered, as well as those who stood on the

podium at the Awards Dinner.

Success can be measured in many ways and

the journey can take time. The strength of our

awards system is that it recognises endeavour at

every level. Having the confidence to enter and

the objectivity to accept a score demonstrates

the core ingredient of success - the desire to

improve.

To all those who entered, well done. And to

all those who helped, be they judges or volun-

teers, you are all golds with distinction. Thank

you.

It has been a big year…

We have accomplished a lot as an Institute over

the past 12 months:

• Reflections - over 6000 veterans

photographed. To our Reflections

photographers and state co-ordinators, thank

you for an incredible effort. A special thank

you to John de Rooy, the project co-ordinator.

• A new database and website, under budget

and on time. Thank you to Peter Myers and the

team in the National Office.

• Certification - a new standard for professional

photographers.

• Luminous Fund - supporting student

education and building a fighting fund for the

future.

• The Event Charity auction raising a staggering

$54k for charity.

• Merger with ACMP - broadening our scope of

industry representation.

So where to from here? In 2016, we can make

sure Australians know what benefit an “ACCRED-

ITED” photographer can bring.

Let’s all get over the Christmas rush and

enjoy a safe festive season with those whom we

love - and appreciate this wonderful country

and the good fortune we have to live here.

[email protected]

0438 722 992

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Johannes Reinhart APP AAIPP

Social pics by Vittorio Natoli APP.L M.Photog IV

Ricki Gestro

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

Click Here

Congratulations to all our WA members who entered APPA last month! Special mention to Johannes Reinhart for taking out the Documentary PPY, Rob van Koesveld with Book PPY and Ricky Gestro for the Student PPY.

WA category finalists included Steve Wise, Stef King, Sheldon Pettit, Rob Petric, Nathan Maddigan and Daniel White, and highest scoring prints were achieved by Nick Melidonis, Nathan Maddigan and Melissa Richardson

Congratulations to the members who received their Associate, Masters, and Gold Bars on the night too. Our APPA celebrations (and a few commiserations) culminated in our post APPA sundowner held at Shoot Photography Workshops. Thanks to all who came and made it a great

night. Congratulations to Steve Wise for winning the Fremantle International Portrait Prize, and Johannes again for great results in this and the Moran Portrait Prize.

November will be a busy month, with a Breakfast Meeting, New Members Night and an open day with our new state sponsor Art’s Edge Photo & Frame. Plus make sure you come to the Christmas Party on December 9!

U P C O M I N G E V E N T SWednesday 9th December President’s Christmas Party

A R O U N D T H E S T AT E S | W E S T E R N A U S T R A L I A

http://www.aippblog.com/index.php/wa-upcoming-events/

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S A V E T H E D AT ECHRISTMAS FUNCTION Date: 4th December 2015 | Exact venue in Salamanca, Hobart and costs will be provided as soon as they are confirmed.

A R O U N D T H E S T AT E S | T A S M A N I A

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

Andrew McConachy APP

http://www.aippblog.com/index.php/aipp-tas-upcoming-event/

8

It’s always good to balance work with leisure and back on 16 September we headed off for another Off The Grid social event, this time down in South Sydney at the historic Como Hotel. It was great to catch up with some familiar faces as well as meet some of our newest members.

October was pretty light on for events, but that probably wasn’t a bad thing considering that the looming deadlines for the APPA entries caused a lot of our members to go into lockdown, including the council! We hope everyone was successful!

The NSW council has a very close relationship with TAFE NSW and we are often invited to assess and judge the portfolios of photo imaging students, as well as attend their graduations. This month, Milton spent a

day at TAFE Ultimo assessing student work via one-to-one sessions and providing feedback and direction as they hurtle towards the deadline for final portfolio submissions. As usual it was fantastic to see how much incredible talent is emerging from the student ranks.

We are currently planning the Christmas party which is pencilled in for early December.

For tickets and details on future events, please keep an eye on your inbox and the official AIPP NSW Facebook Page at www.facebook.com/aippnsw

A R O U N D T H E S T AT E S | N S W

Image by Ian Carlson APP M.Photog

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

Click Here

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

http://www.aippblog.com/index.php/aipp-nsw-upcoming-events/

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Winning the Big One!T o b e s e l e c t e d a s t h e 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 r a p h e r o f t h e Y e a r i s t h e p i n n a c l e o f a p h o t o g r a p h e r ’ s c a r e e r , a s n o d o u b t J o h n A n s e l l w i l l a g r e e . B u t t h e p r o c e s s o f i m p r e s s i n g y o u r p e e r s i s r e a l l y w h a t i t ’ s a l l a b o u t .

John Ansell was obviously very, very happy.

Surprised, overwhelmed, but happy!

And why wouldn’t you be when you’ve

just been announced as the 2015 Canon AIPP

Australian Professional Photographer of the Year.

The announcement was at the Crown

Casino in Melbourne in late October following

a busy weekend of judging at the Melbourne

Convention and Exhbition Centre. With floor

space kindly donated by IDEA Australia and The

Digital Show, the judging took a full three days

with four judging rooms and over one hundred

judges and back-room assistants.

This was the 39th Australian Professional

Photography Awards, receiving 2434 entries

from 648 photographers. While the $10,000

cash purse and the title Canon AIPP Australian

Professional Photographer of the Year has

obvious appeal, there are many winners at APPA

because this is where professionals from around

the country are able to present their best work

for peer review. If you earn a Silver or a Gold

Award, that in itself is cause for celebration.

Professional photographers are able to enter

up to four prints in one or more of 15 different

categories. The three top scoring portfolios in

each category are further assessed by a review

panel to determine the category winners, yet

another accolade and career highlight.

The 16 winning category portfolios

(including the Creative category which is a

cross-category prize) are then assembled before

a panel of 11 past PPY and category winners,

Grand Masters and Masters of Photography

for a final review process. Each member of the

panel is invited to talk about the prints, putting

forward their points of view, and taking on other

judges suggestions. A majority of 7 judges is

required to award the overall winner, the Canon

AIPP Australian Professional Photographer of the

Year.

So, in addition to scoring highly, John

Ansell’s four portrait prints had to impress

two extra judging panels to earn ‘the big one’

following one of the most rigorous judging

processes in professional photography.

Photographs thanks to Craig Wetjen.

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How To Win At APPA?W e i n t e r v i e w t h e 2 0 1 5 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 r a p h e r o f t h e Y e a r , J o h n A n s e l l t o f i n d o u t a b o u t a l l h i s s e c r e t s - w h a t d o e s i t r e a l l y t a k e t o w i n t h e b i g p r i z e a t A P P A ?

John Ansell was at the Canon AIPP APPA dinner

to receive his Master of Photography, not to

pick up a category win or, beyond all hope, the

Professional Photographer of the Year. For him,

the red ribbon was a milestone in his career.

“A few years back, I had some prints score

really badly at APPA. I can remember sitting on

the steps outside the Sydney venue, with my

head in my hands, wondering why I bothered. I

mean, I had a very good business and I’d been

a professional photographer for over twenty

years, so getting good scores at APPA really

wasn’t that important.

The Red Ribbon

“Yet, the more I thought about it, the more I

realised I really enjoy the process. At that stage,

I basically had no points left in the bank, so I

resolved to start my Masters all over again and

this was my third year.”

It’s great to hear stories like this because,

from the outside, it seems all photographers

are successful. Social media is very good at

painting a perfect world, but the reality behind

photographers who earn their Master of

Photography is invariably a lot more difficult.

So, what about a category win? As the 2015

AIPP Australian Portrait Photographer of the

Year, John’s experience says it all. He had spent

some twenty years entering APPA. Not every

year, but once he had made a commitment

to himself to earn his Masters, a lot of other

opportunities opened up as well.

“However, I didn’t expect this. I wasn’t

planning on a category win and even when I

was standing up on the stage before the big

announcement, I thought I was just there for

a group photograph. In fact, I told Andrew

Campbell we should all really get into a better

position for our photo!

“Eventually when Chris Macleod started

talking, I worked out what was happening and

I was pretty sure Andrew was going to win. I

even put my hand behind his back, ready to

give him a push, so when my name was read

out, it was the surprise of the decade!

“We drove home that night and I had to stop

the car three times to hyperventilate!”

Tintypes

So, what was so special that inspired the

judges? Apart from four exceptional portraits,

13Reproduction of original tintype by John Ansell, 2015 Canon AIPP Australian Professional Photographer of the Year

14

the answer is in their presentation as tintypes!

All four of John’s photographs were created

with an old ‘alternative’ process that we don’t

see very often today.

It might not surprise you to learn that John

is good friends with Trevor Foon, the winner of

the 2015 AIPP Alternative Process Photographer

of the Year award. Explained John, “I had seen

Trevor working with wet plate collodion prints

and I fell in love with it. I thought it would be

great to get back into the darkroom after nearly

15 years!”

John had entered a couple of tintypes last

year, so this year he resolved to do a series

based on aspects of Australian history. “Every

photograph is planned and very deliberate.

They had to be for the tintype process because

the images are made with wet plates and

processed immediately after exposure.

“I think this is what I love about tintypes, the

physical process. I love watching the image as it

appears out of the fixer and the final tintype has

a depth that you simply can’t see in a normal

photographic print. For me, it’s a fabulous

look and every time you take an image, the

result is always different. There’s nothing that is

repeatable.”

To make a tintype (also called a ferrotype),

John uses a Sinar p 4x5” camera which

determines the size of the final image. An

engraver’s plate cut to size is coated with a

collodion solution and then, in the darkroom

under a deep red light, sensitised in a silver

nitrate bath. The plate is drained and placed into

the holder while still wet, and the photograph

made within the next 10 to 15 minutes. This

explains why all of John’s photographs needed

to be planned - and why his models had to

patiently hang around until the tintype was

processed.

“Collodion is mainly sensitive to UV light, so

exposures can be very long and you need to let

your subjects understand this.”

In the darkroom, the plate would be

immersed into the developer, a wash and finally

a fixer solution. Although the image is vaguely

visible after the developer, it really shows itself

during the fixer.

“The developer is fifteen seconds exactly.

Foony uses a clock, but I just count, ‘one Ansel

Adams, two Ansel Adams…’ in my head.

However, as easy as it sounds when you

read the instructions, there are just so many

things that can challenge you, from chemical

contamination to finger prints. It’s a fairly

intensive process!”

History Lesson

John put out a call on Facebook when looking

for models and friends pointed him in the

direction of Ronald Edwards for the aboriginal

portrait, and a young Sudanese man for the

portrait with chains.

“I was cautious about chaining up a young

African male who had come from a refugee

15

camp only 11 years ago, but all my subjects

were very responsive and enthusiastic.”

The four images represent the original

Australians, Baden Powell and the Scout

movement, the Italian migration for the power

industry, and breaking chains to make a new

start.

“I was a cub and scout leader and I really

related to Baden Powell as a younger boy

and what he stood for, while the Italian lady

represents the Italians who settled in the

Latrobe Valley region in the 1950s and ‘60s.

There’s still a thriving Italian community here.

So, why does John enter APPA? “Entering

APPA pushes me to do something different

from my normal work - photographing schools

and commercial photography. It pushes me

to try stuff that’s outside my comfort zone and

apart from that, it’s good for the soul.”

John Ansell CPP-L M.Photog. is based in Traralgon

and photographs families and commercial clients

throughout the Latrobe Valley and Gippsland. www.

johnansell.com.au

Reproduction of original tintype by John Ansell, 2015 Canon AIPP Australian Professional Photographer of the Year

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I O N A P E R F O R M I N G A R T S C E N T R E , 8 5 N O R T H R D , W Y N N U M W E S T, B R I S B A N E

W W W . H O T D . A I P P B L O G . C O M

6 T H - 8 T H F E B R U A R Y 2 0 1 6

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Be inspired by yours peers, see the latest in equipment and technology from our sponsors and network your socks off at our social evenings during the Queensland Division’s annual photography conference! Speakers attending are...

D A R R E N T A P P O U R A S

K R I S A N D E R S O N

I A N P O O L E

D A R R E N J E W

G A R Y C R A N I T C H

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J A C K I E R A N K E N

K E L LY B R O W N

N U R A N Z O R L U

A N N I P A Y N E

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B E R N I C E S I M P S O N

A D A M F I N C H

A N D M O R E

T O C O M E …

BEN CLARK APP M.PHOTOG, KELLY BROWN APP M.PHOTOG, JACKIE RANKEN GM.PHOTOG, ADAM FINCH APP M.PHOTOG I, MIKE LANGFORD APP.L M.PHOTOG IV FAIPP, IAN POOLE APP.L AAIPP, NURAN ZORLU APP M.PHOTOG, GARY CRANITCH APP M.PHOTOG, DARREN JEW APP M.PHOTOG II, ANNI PAYNE APP.L M.PHOTOG, KRIS ANDERSON APP

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2015Canon AIPPAustralian

ProfessionalPhotography

Awards

Professional Photographer of the Year& Category Winners

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P H O T O G R A P H E R O F T H E Y E A R2015 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

John Ansell APP.L M.Photog.s P o n s o r e d b Y C a n o n

P O R T R A I T2015 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

John Ansell APP.L 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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A D V E R T I S I N G2015 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

Easton Chang APPs P o n s o r e d b Y M Y I n s u r a n C e b r o K e r

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A L T E R N A T I V E P R O C E S S2015 aIPP a u s t r a l I a n a lt e r n at I v e P r o C e s s P h o t o g r a P h e r o f t h e Y e a r

Trevor Foon APP.L M.Photog. IIs P o n s o r e d b Y M Y I n s u r a n C e b r o K e r

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B I R T H2015 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

Selena Rollason AAIPPs P o n s o r e d b Y P h o t o M o u n t s a n d a l b u M s /b r I l l I a n t P r I n t s

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F A S H I O N2015 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

Vicky Papas APP AAIPPs P o n s o r e d b Y g r a P h I s t u d I o


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C O M M E R C I A L2015 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

Lisa Saad APP M.Photog. IIIs P o n s o r e d b Y PPIb


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S P O R T2015 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

Krystle Wrights P o n s o r e d b Y e l e v e n 40


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T R A V E L2015 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

Steve Scalone APP AAIPPs P o n s o r e d b Y C a M e r a e l e C t r o n I C


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L A N D S C A P E2015 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

David Evans APP M.Photog. Is P o n s o r e d b Y C a P t u r e o n e (d I s t r I b u t e d b Y l&P)


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S C I E N C E , W I L D L I F E & W I L D P L A C E S2015 aIPP a u s t r a l I a n s C I e n C e , W I l d l I f e a n d W I l d P l a C e s P h o t o g r a P h e r o f t h e Y e a r

Andrew Campbell AAP.L G.M.Photog.s P o n s o r e d b Y C a M e r a P r o

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D O C U M E N T A R Y2015 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

Johannes Reinhart APP AAIPPs P o n s o r e d b Y a s u K a b o o K


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I L L U S T R A T I V E2015 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

Gee Greenslade APP AAIPPs P o n s o r e d b Y e I z o


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P E T S & A N I M A L S2015 aIPP a u s t r a l I a n P e t / a n I M a l P h o t o g r a P h e r o f t h e Y e a r

Kerry Martin APP AAIPPs P o n s o r e d b Y P I x l e s


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F A M I L Y2015 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

Katie Kolenberg APP M.Photog.s P o n s o r e d b Y P r o f o t o (d I s t r I b u t e d b Y l&P)


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W E D D I N G2015 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

Kelly Tunney APP M.Photog. Is P o n s o r e d b Y C . r . K e n n e d Y

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C R E A T I V E2015 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

Peter Rossi APP.L GM.Photog.s P o n s o r e d b Y d I g I dIreC t


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S T U D E N T2015 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

Ricky Gestros P o n s o r e d b Y K o d a K a l a r I s


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E M E R G I N G2015 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

Jennifere Thompsons P o n s o r e d b Y I n d e P e n d e n t P h o t o g r a P h I C s u P P l I e s


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I N T E R N A T I O N A L2015 aIPP o v e r s e a s P h o t o g r a P h e r o f t h e Y e a r

David Edmonson, USAs P o n s o r e d b Y aIPP

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A L B U M2015 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 a Wa r d

Jerry Ghionis APP.L M.Photog IVs P o n s o r e d b Y a l b u M r e g I s t r Y

B O O K2015 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 a Wa r d

Robert van Koesvelds P o n s o r e d b Y M o M e n t o P r o


T E R T I A R Y I N S T I T U T I O N2015 aIPP a u s t r a l I a n t e r t I a r Y P h o t o g r a P h Y I n s t I t u t I o n o f t h e Y e a r

Photography Studies CollegeMelbourne, Victoria

s P o n s o r e d b Y K o d a K a l a r I s

H I G H E S T S C O R I N G P R I N T2015 a u s t r a l I a n h I g h e s t s C o r I n g I M a g e a Wa r d

David Evans APP M.Photog Is P o n s o r e d b Y I l f o r d

PROUDLY SUPPORTING THE AIPPPROUDLY

SUPPORTING THE AIPP

39

New AssociatesAARON CITTI

AARON TAIT

ADAM WILLIAMS

AHMAD SABRA

ANDREW MCCONACHY

ANTONY WATSON

AREK RAINCZUK

ASHLEY KARAKATSANIS

BEN HOSKING

CAMERON BLAKE

CHERYL POULSON

CHRIS THOROGOOD

CHRISTINE HALL

CLAYTON HAIRS

COLIN BAKER

DANIELLE BENSON

DARREN SMITH

ELIZABETH REEVES

ERIN PIMM

HEIDI LINEHAN

HILARY ADAMSON

JADE SCHOFIELD

JAMES FIELD

JIMMY TEO

JOHN WISEMAN

JUSTIN BLANK

KAREN TUCKWELL

KARI HAUSER

KATE BUECHNER

KATHERINE WILLIAMS

KATIE FIORILLO

KELLIE BLINCO

KEN SPENCE

KRIS ANDERSON

KYLIE GARNER

LEESA PERRY

LES PULLEN

LIB FERREIRA

New Associates LIZA CLEMENTS

LORI CICCHINI

LOUISE BAGGER

MARK KELLY

MATT STREATFEILD

MEGAN RIZZO

MELANIE SINCLAIR

MILTON GAN

NATASHA WARD

PAMELA PAULINE

PAUL THESEIRA

PETER CARROLL

PETER DUNN

PETER GREIG

PETER LETHEREN

RANA RANKIN

RICHARD WINDEYER

ROGER WANDLESS

ROXANNE GORMAN

ROZA MARCINIAK

SARA HANNAGAN

SARAH ADAMS

SASCHA UNGER

SELENA ROLLASON

SIMON HARRINGTON

SIMONE HANCKEL

STUART MARLIN

SUE THOMSON

TRISTAM EVISON

New Masters of

PhotographyALEX PAN

ALISON LYONS

AMY MAGNISALIS

ANDREW KWINTOWSKI

CHRIS BUECHNER

DANIELLE MINETT

DAVID GLAZEBROOK

DAVID STOWE

DEAN MANSBRIDGE

EMILY HANNA

GEORGE FRAGOPOULOS

HEATH WADE

JAN RAMSAY

JOHN ANSELL

LISA IVANDICH

MELISSA NEUMANN

PETER BARNES

REBECCA CROFT

SANDRA LEA

SHANNON COTTERILL

SUE DAVIS

VANESSA SIZE

1st Gold BarALICIA ADAMOPOULOS

CRAIG WETJEN

DAVID EVANS

KEREN DOBIA

SHANE MONOPOLI

STEVE WISE

2nd Gold BarCHARLES FOULSHAM

DAMIEN BOWERMAN

DAVID SIEVERS

NICK GHIONIS

PETER LIK

2nd Gold BarRICHARD MULDOON

ROBYN CAMPBELL

SIMON CASSON

3rd Gold BarDARREN JEW

DAVID BRITTIAN

IAN VAN DER WOLDE

JULIE EWING

LISA SAAD

TREVOR FOON

4th Gold BarJANET CRAIG

ROBERT PICCOLI

5th Gold BarLESLEY DOWNIE

MIKE LANGFORD

NICK MELIDONIS

6th Gold BarANDREW CAMPBELL

JACKIE RANKEN

JACQUI DEAN

7th Gold BarTONY HEWITT

8th Gold BarPETER EASTWAY

Grand Master of

PhotographyANDREW CAMPBELL

MIKE LANGFORD

APPA 2015 Honours

40

No Silver Awards - What Does It Mean?E a r n i n g s i l v e r a n d g o l d a w a r d s i s w h a t A P P A i s a l l a b o u t , b u t w h e n i t c o m e s t o o u r p r o g r e s s a s a p r o f e s s i o n a l p h o t o g r a p h e r , e q u a l l y i m p o r t a n t a r e t h e s c o r e s i n t h e 6 0 s a n d 7 0 s .

Grand Masters of Photography get scores in the

70s from time to time. In fact, Rocco Ancora (our

APPA chair) and I were having a laugh at the

Canon AIPP APPA this year, agreeing that once

you become a Grand Master, you put on a black

ribbon of doom and sign up to lots of ‘bronzes’

at future APPAs!

Of course, we don’t really believe this and

we’re just as keen as ever to earn a Silver, or

hopefully, a Gold!

APPA is many different things for

photographers, depending where you are in

your career.

At the beginning of your career, a score in

the 70s isn’t a bad thing. A score between 70

and 79 (which used to earn a Bronze award in

earlier years) indicates a level of professional

proficiency.

In other words, it’s a level that is completely

acceptable for a professional photographer to

provide to his or her clients.

Professional Standard

So, if you earned three or four scores in the 70s,

yes, you have room to improve, but don’t look

upon this as a disgrace. Far from it. It means

that the judges appreciated various degrees

of professionalism in your work. You should be

confident that you are producing photos of a

professional standard.

Scores Under 70

If your print scored under 70, this indicates you

have plenty of upside! Take advantage of your

membership and pick out a Grand Master to

talk to. Go to the AIPP website, find their email

address and send them a note, asking if they

would provide some comments and advice

about your images. I don’t know any Grand

Master who wouldn’t be delighted to help - and

if you find one, let me know!

This is what the AIPP is all about. Members

are there to help because they know that not

earning Silver or Gold is disappointing.

What makes a successful photographer is

coming back the following year, year after year,

and continuing to try until successful.

So what about a Grand Master who earns

a score in the 70s? We like to think it’s because

we were trying something new that the judges

aren’t yet ready to recognise.

Maybe next year...

41

Sometimes the judges don’t appreciate the brilliance of Grand Masters and give them scores in the 70s. In fact, it happens to entrants at all levels! Don’t get angry, get even! Put in something next year that’s even better and knock their socks off. I don’t know a single Master of Photography who hasn’t had his or her share of disappointments. It comes with the territory. We have all had clients who

didn’t like our work for one reason or another, and entering APPA is no different. The trick to being successful is not to give up, but to persevere. Photo: Peter Eastway. Score: 78. Bronze with distinction (2011 APPA).

42

Social Media: How Do You React?I t ’ s o n e t h i n g t o b e w e l l - m a n n e r e d y o u r s e l f , b u t h o w d o y o u r e a c t t o o t h e r p e o p l e b e i n g r u d e t o y o u ? I s t h e r e a n e x c u s e f o r b e i n g r u d e b a c k ?

No matter how well behaved we are when posting

on social media, there will always be a few wayward

personalities who feel the right to give us a hard

time, not just on our own pages, but elsewhere

in public. How do we deal with someone who is

criticising our work, or who is posting photographs

that look like direct copies of our own images?

No matter how unfairly someone is criticizing

you, being rude back to them is never going to

paint you in a good light. Don’t take yourself down

to their level because most people reading the

exchange of comments will think your responses

are just as rude and inappropriate. In essence, it all

comes down to good manners.

If you think someone is doing the wrong thing

and you accuse them in public, it makes it difficult

for them to change their position without losing

face. If your real objective is to change their view,

you’d be better off sending them a private message.

If they subsequently agree with you, this

approach would allow them to change their point

of view on their own terms. They wouldn’t be

shamed into it.

One of the more difficult issues is seeing

photographers being applauded and praised for

photographs that are direct copies of someone

else’s work. How do you deal with this, especially if

it’s your work that’s being copied?

If you publicly post, “This is a direct copy of my

photograph and you’re ripping me off”, you haven’t

left the offending photographer much room to

move. On the other hand, posting something along

the lines of, “It’s great to see my photograph has

inspired you”, you’re not being so confrontational

and there is a chance the photographer may feel

forced to acknowledge your influence.

And even if you get no joy from the offending

photographer, at least everyone reading the post

will be alerted to the possibility of plagiarism.

It’s important to be 100 per cent sure of the

facts because there’s nothing truly original in

photography and so you may not have been

copied. For this reason, I probably wouldn’t post

anything myself. It would be much better if a

friend politely posted a comment, noting that the

photograph was incredibly similar to an image by

another photographer and asking if the offending

photographer had been inspired by this work?

However you choose to deal with unfair

criticism or plagiarism, it’s important to deal with it

politely and leave the offender an exit that is more

palatable than not doing the right thing.

43

Photograph by Adam Hourigan, Gold With Distinction Award, Portrait Category, 2014 Canon AIPP Australian Professional Photographer of the Year Awards

Your Responsibilities As An AIPP MemberAll AIPP members are now obligated under the new Membership Terms and

Conditions to follow the ‘Appropriate & Respectful Behaviour Towards

other Members & AIPP Staff’ guidelines.

Concerning social media, it states:

4. I acknowledge that I will not use social media or any other form of public and

electronic communication to:

• Bring the AIPP into disrepute

• Denigrate or abuse a fellow member of the AIPP, a past or current client or a

member of the general public

• Attempt to influence the outcome of an AIPP compliance process by

soliciting support for a position.

44

The Luminous AuctionI n r e c e n t y e a r s , t h e A I P P, i t ’ s m e m b e r s a n d s p o n s o r s h a v e b e e n i n c r e d i b l y g e n e r o u s t o w a r d s s e v e r a l c h a r i t a b l e c a u s e s . T h e L u m i n o u s A w a r d s c o n t i n u e s i n t h i s t h e m e f o r t h e f i r s t t i m e i n 2 0 1 5 .

Fifteen photographers (shown on these pages)

were invited to auction one of their Canon AIPP

APPA entries this year as the Luminous Project

kicked off. And while there were many famous

names in the auction, they were joined by the

swelling ranks of newcomers to the profession, as

exemplified by Jennifere Thompson.

Four Tier Approach

There are four tiers to the Luminous Project:

• The Luminous Award - Recognising members

for their good services. In the inaugural year,

past AIPP National President Ian McKenzie

OAM, APP-L, M.Photog., Hon. FAIPP, FAIPP was

chosen for his voluminous good works for the

AIPP and other organisations. The award was

presented at the Canon AIPP Awards Dinner

by Louise McKenzie, Ian’s widow.

• The Luminous Grant - Providing educational

support for members early in their careers. It

was won this year by Silvia Tomarchio from

Victoria and will entitle her to attend an AIPP

education event of her choice.

• Funding for this award is the third tier and

it comes from the auction of the prints. The

prints will be supplied by the members and

while this year it was an invitational, in future

years prints may be taken from the highest

scoring prints. To purchase a print, members

and non-members alike were invited to log

onto galabid.com/auction/aipp and bid for

their favourite prints. A total of $6300 was

raised.

• Which leads to the fourth and final tier. It is

expected in time that the print auction will

generate more income than is required for

the Luminous Grant. At this stage, the Board

plans to extend the concept to larger issues,

both within and outside the profession. It is

designed to be a philanthropic exercise and

something that all members can be proud of.

Easton ChangTony HewittJennifere Thompson

45

Greg Sullavan Darren Jew

Mike LangfordGeoff Comfort

Greg HockingPeter Eastway

Victoria BerekmeriTrevor Foon

Vicky Papas

Christian Fletcher

Joshua Holko

Hilary Hann

46

A TAFE AmbassadorI t ’ s v e r y e a s y t o p i c k u p a c a m e r a , b u t q u i t e a n o t h e r t o c a l l y o u r s e l f a p r o f e s s i o n a l p h o t o g r a p h e r . P e n e l o p e B e v e r i d g e ’ s e n r o l m e n t w i t h S y d n e y T A F E h a s b e c o m e t h e c o r n e r s t o n e o f h e r s u c c e s s f u l i n t e r n a t i o n a l c a r e e r - a n d s h e r e m a i n s p a s s i o n a t e a b o u t f o r m a l e d u c a t i o n t o d a y .

As a child, Penelope Beveridge was an

accomplished, award-winning artist. This was

not surprising, really, as her Mum was also an

artist and her Dad was a musician, so creativity

flowed through her blood from a very young

age.

Her plan was to become a high school art

teacher, but as a young woman she discovered

her true passion. Art’s loss would become

photography’s gain.

Tropfest

Penelope was drawn into the world of short film

making and soon became an art director.

Her group of young filmmaker friends would

often meet at a coffee shop in Kings Cross called

The Tropicana to solve the world‘s problems. It

was here that they hatched a plan to start an

annual short film festival to encourage budding

Australian cinematographers to break into the

business.

Today, that festival is known as Tropfest and

it has become a world-wide phenomenon

attracting major Hollywood stars.

As Penelope became more fascinated by

photography, she turned her hand to fashion.

But something was missing. Penelope knew

how to take great images, but she didn’t know

how to recreate them from the heart.

She knew that if she wanted to make

photography a career, she needed to have a full

understanding of it.

Sydney TAFE

So, in 1996, she turned to Sydney TAFE

and enrolled in an Advanced Diploma of

Photography.

So popular was the course, 1200 people

enrolled that year, but just 120 made the cut

and Penelope was one of them.

Today, Penelope Beveridge is an

international pro photographer, artist, industry

representative and philanthropist, who enjoys a

variety of roles and successes in her field.

She boasts an extensive list of high profile

clients, from companies such as Qantas,

47

Photographs by Sydney TAFE Ambassador, Penelope Beveridge.

48

Virgin Airlines, Coca Cola, Yahoo 7, Mercedes,

Medmojo Paris, Tourism Australia, Tourism

NSW, T2 Terminal, Museum of Sydney and the

National Art Gallery, and individuals from Prime

Ministers, celebrities and TV personalities.

Advertising and Commercial

With over 17 years’ experience in the

advertising and commercial industry, her

images have appeared globally in magazines

like Vogue Living and Entertainment, Gourmet

Traveller, Belle, Pacific Pastry (Singapore and New

York), Weekend for Two, Spa Life, Quintessentially,

Inside, Women’s Weekly and Delicious, plus she

is known for her food photography and styling

for a number of cookbooks and other high end

publications.

In addition, Penelope’s food and fine art

work has been extensively featured in Nikon My

Life, Australian Photography, Photoshop Australia

and Digital SLR Magazine.

Exhibition Work

Penelope’s repertoire of combining traditional

and digital art photography has earned her

countless commissions in food, lifestyle,

advertisements and editorials worldwide,

as well as exhibitions in Australia, New York

and China displaying her conceptual fine art

portraits.

In the food industry she has worked with

top international chefs plus a variety of Michelin

and awarded restaurants, hotels and resorts.

Her specialty is to visually capture the story,

stir the viewer’s emotions and always add the

“wow” factor with each image.

Penelope says, “My aim is to draw the viewer

into my world.

“For me, a successful image not only tells a

story, but it must lure the gaze, inspire, provoke,

fascinate and stir the emotions”.

In 2010, Sydney TAFE approached Penelope

and invited her to become an Ambassador

to help celebrate 120 years of vocational

education and training.

Since then, she has been a keynote speaker

at many Sydney TAFE events and mentored a

number of photography students to help them

get through their courses.

For Penelope, being a Sydney TAFE

Ambassador means giving back in thanks for a

remarkable career as a photographer.

If Penelope’s story has inspired you to pursue a

career in photography at Sydney TAFE, visit http://

sydneytafe.edu.au/careers/photography to see how

you can enrol.

49

Photographs by Sydney TAFE Ambassador, Penelope Beveridge.

50

The Best Way To Learn WeddingsP a u l C i n c o t t a r e a l i s e s t h a t t i m e s h a v e c h a n g e d , b u t i f y o u c a n w o r k a s a n a s s i s t a n t o r a s t r i n g e r f o r a g o o d w e d d i n g p h o t o g r a p h e r , i t w i l l s e t y o u r c a r e e r u p f o r l i f e .

When I started photography, I was a backyarder,

working on weekends. However, I also worked

at Teds and Camera House stores where

students from RMIT would come in to buy their

materials.

They’d ask me technical stuff about things

I thought they should know, but while I knew

lots about the technology, they were learning

about composition and lighting.

I also knew all about weddings because I

have an Italian heritage. I can recall as a toddler

dancing on the floor with a bride. Weddings

often had 300 guests, seven-tier cakes and were

the highlight of my upbringing.

So it made sense that I wanted to be a

professional wedding photographer. I took a job

as an assistant with Lynne Smith and worked for

three years, learning the profession. And Lynne

had learnt her profession the same way.

I shot over 120 weddings before I went

out on my own and that has been a great

background for me.

But these days, it doesn’t seem to work like

that. It’s hard to get a job assisting and many

photographers just pick up a camera and start

shooting weddings.

I think the AIPP mentor program is really

important because it means you can learn from

experienced professionals.

To be a professional, you need to learn the

business. It’s not just about taking pictures,

there’s a lot more to it, such as making the bride

feel good on the day.

This is how I approach weddings. Anything

the bride wants on her day, she gets.

If you can make her feel important and

special on the wedding day, and take some

good images along the way, then that’s a win.

Boiled Lollies

As a wedding photographer, you know you will

get hot and sweaty. You know you won’t drink

enough water. But you also know that if your

clients are happy and relaxed, you’ll get some

great shots.

Knowing how I feel half way through a

wedding, I started taking along a $3 bag of

lollies and sharing it with the bridal party. I

know how full-on the day has been and how

close everyone is to hitting the wall, so a little

51Wedding photography by Paul Cincotta, APP M.Photog. I

52

sugar is greatly appreciated.

And while I’m thinking of the bride, often

it’s the groomsmen who are first in line for the

lollies.

Asked about the cheaper wedding

photographers, Paul doesn’t give them a second

thought.

At $500 or $1000, they are not making

money. And if they are shooting a lot of

weddings, then they’re not charging enough to

even replace their cameras and will soon be out

of business.

Recently I looked at my Canon EOS-1D X

which is only 18 months old and it already

has 250,000 cycles (shutter releases) on it,

but it’s a professional body. Many wedding

photographers use cameras that are built for

fewer than 100,000 cycles and that’s not many

weddings.

However, there are all types of clients and

with around 100,000 weddings each year in

Australia, there will be a lot of clients who don’t

really value photography that highly. They are

not my clients.

In fact, I’m rather pleased with the way the

wedding photography profession is heading

right now.

Brides are beginning to understand what

to look for in a photographer and the bridal

magazines are doing a good job educating

them about choosing a photographer based on

style, not price.

That’s a good thing.

Important Shots

The most important photographs for me are the

shots that make the bride look amazing.

I get excited by placing a bride within a

landscape. It’s perhaps the simplest and easiest

way to get a great shot, but you still need to

ensure the bride trusts you and is having a good

time. If she feels comfortable with you, she’ll

take direction and give you the looks and poses

that make her look great.

Sue Bryce said that a bride has every right

to be the most beautiful person in the world

on her wedding day. I want the bride to look

drop-dead gorgeous, but I also know that there

are many other photographs that are incredibly

important.

Probably the most important photographs

are of the family. Some photographers say they

can be a headache to take, but I really enjoy the

challenge.

Mind you, I remember a wedding planner

at her own wedding gave me a list of 72 family

photographs she wanted me to take! “Paul,

you’re going to hate me for this”, she laughed. It

took us a couple of hours, but we did it because

those were the important photographs for her.

Paul Cincotta is a Master of Photography and lives

on Hamilton Island, Queensland.

http://www.imagism.com/

53Wedding photography by Paul Cincotta, APP M.Photog. I

54

AIPP Workplace Health & SafetyA s t h e A I P P g r o w s , i t e n g a g e s w i t h a b r o a d e r c r o s s s e c t i o n o f p e o p l e w i t h v a r y i n g e x p e c t a t i o n s o f w h a t s h o u l d b e p r o v i d e d . T h e A I P P ’ s a i m i s t o p r o v i d e ‘ b e s t p r a c t i c e ’ o u t c o m e s i n a l l i t s e n d e a v o u r s .

Recently AIPP members received a WH&S

Procedures email, all about workplace health and

safety. It’s a document that you might not have read

as yet, but it’s recommended to at least have a look.

Why Do We Have It?

The AIPP has paid employees (at National Office),

but importantly, it has many, many unpaid

volunteers as well. As far as Australian legislation is

concerned, when we all get together for a meeting

or an event, we’ve created a workplace -– and that

means the AIPP has obligations to look after its staff

and volunteers.

Of course, the reality is that these obligations

need to be fulfilled by us, the members. Paid staff

and volunteers will be more formally introduced to

the WH&S program, but even when you turn up to

an event in the future, you may notice some small

changes that are aimed at ensuring we really are

looking after the health and safety of everyone in

attendance.

What Is The Documenation

In many respects, OH&S is commonsense. However,

the process of harnessing and communicating

that commonsense is important. And that’s what

the documentation sets out – the consultation

processes that need to be followed by

management, workers, contractors and visitors, so

far as is reasonably practicable.

What is OH&S Consultation?

In accordance with occupational health and safety

legislation, AIPP has an obligation to consult with

workers, contractors, visitors and others in relation

to occupational health and safety matters, such

as a safer workplace, greater awareness of WH&S

matters in the workplace, improved workplace

commitment to WH&S, and greater cooperation

and trust through two-way communication.

The consultation process should be

documented and, importantly, if someone raises an

issue, the general recommendation is to bring it to

the attention of the AIPP executive office.

The AIPP has five documents to read and review

and you will find these on the AIPP website:

• Harassment, Discrimination and Occupational

Violence Policy

• AIPP Manual Handling Procedure.

• Incident Reporting Procedure.

• AIPP Office Ergonomics Policy.

• Hazard Identification and Risk Management

Procedure

55

56

W h e r e a r e m y f r e e c o p i e s o f

B e t t e r P h o t o g r a p h y M a g a z i n e ?

T h e y a r e h e r e . . .

w w w . a i p p . c o m . a uS i g n i n t o t h e M e m b e r D a s h b o a r d . . .

G o t o S t a y I n f o r m e d . . .

G o t o m y B e t t e r P h o t o g r a p h y M a g a z i n e A r c h i v e . . .

D o w n l o a d a n d e n j o y !

B E T T E R P H O T O G R A P H Y F r e e I s s u e 8 1

P h o t o C o m p o s i t e S e c r e t s w i t h K a r e n A l s o p

A d v e n t u r e P h o t o g r a p h y w i t h K r y s t l e W r i g h t

P h a s e O n e X F C a m e r a S y s t e m

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