working pro 220
DESCRIPTION
The official journal of the Australian Institute of Professional PhotographyTRANSCRIPT
1
Working ProThe
Issue 220 • April 2014
THEEVENT
2014 NIKON AIPP
GOLD COAST
THEEVENT
2014 NIKON AIPP
GOLD COAST
THEEVENT
2014 NIKON AIPP
Gold Coast
THEEVENT
2014 NIKON AIPP
GOLD COAST
Sunday 8th – 10th June 2014Royal Pines Resort
Gold Coast Queensland
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STAY TUNED FOR MORE DETAILS
I T ’ S H A P P E N I N G A G A I NTHIS YEARS EVENT THEME...
‘TURNING THE ORDINARY INTO THE EXTRAORDINARY’
THEEVENT
2014 NIKON AIPP
GOLD COAST
THEEVENT
2014 NIKON AIPP
GOLD COAST
THEEVENT
2014 NIKON AIPP
Gold Coast
THEEVENT
2014 NIKON AIPP
GOLD COAST
Sunday 8th – 10th June 2014Royal Pines Resort
Gold Coast Queensland
SAVE THE DATE
STAY TUNED FOR MORE DETAILS
I T ’ S H A P P E N I N G A G A I NTHIS YEARS EVENT THEME...
‘TURNING THE ORDINARY INTO THE EXTRAORDINARY’ Working ProThe
C o n t e n t s# 2 2 0 - A p r i l 2 0 1 4
4 President’s Message Kylie Lyons keeps the membership up to date with news and information about the Institute.
6 Promising Changes For APPAIf APPA is to survive and grow, changes will need to be made. Peter East-way introduces the big picture.
8 Why The APPA Changes Are GoodAny changess that make APPA easier to enter and encourage greater par-ticipation are positive, explains Peter Eastway.
1 0 Word of Mouth - Melissa NeumannIt’s a long term business strategy, but one that pays dividends for pho-tographers who are in for the long haul.
1 2 Who Will See Your Facebook Posts? - David WatsonHave you wondered why fewer people get to see your posts these days? David Watson has both answers and suggestions.
1 4 Showing Clients That You Love Them - Ross EasonPhotographers more than ever need to provide personalised service for their clients - Ross Eason shares some great examples.
1 6 What Should Facebook Really Do? - Tom PuttWhen you post on Facebook, what outcome are you looking for and is it reasonable? Tom Putt explains his approach.
1 8 Editor’s Selection - APPA WinnersA selection of entries that caught the editor’s eye from the 2013 Canon AIPP Australian Professional Photography Awards.
2 2 Your Award Entry: Dust Spots PlusPutting an award entry together takes time and effort, so don’t waste it by forgetting to spot your prints or removing distracting blemishes.
2 4 Tylor v Sevin = $23,850A recent court case has confirmed a photographer’s right to copyright protection. It’s a great outcome for our profession!
2 6 Is Clothing Deductible?Most clothing is not tax deductible, unless it’s a uniform or protective in some way. So what can photographers claim?
2 8 Does Copyright Give Me Full Control?Just because you own the copyright in a photograph doesn’t mean you can do what you like with it. There are other issues that come into play.
3 0 World Press Photo 2014Canon is once again presenting the world’s best press photography as an exhibition, opening in Sydney this May.
The Working Pro is the official newsletter of The Australian Institute of Professional Photography (AIPP).
Editor Peter Eastway G.M Photog., Hon. FAIPP, Hon. FNZIPP, FAIPP
Disclaimer The information provided in The Working Pro and associat-
ed publications is made in good faith, but is general in nature. Neither
the editor, the publisher or the AIPP accept responsibility for or will be
under any liability for any recommendations, representations or infor-
mation provided herein. The Working Pro presents information, opin-
ions and suggestions for subscribers to evaluate in coming to their
own decisions in the light of their own individual circumstances. The
information should not be relied upon without readers first obtaining
independent advice from their own financial and legal advisers.
Unless otherwise noted, all articles are written by Peter Eastway.
Publication The newsletter is published 10 times a year – monthly
with November/ December and January/February being combined.
The Working Pro newsletter is published by Pt 78 Pty Ltd,
ABN 75 003 152 136, PO Box 351, Collaroy Beach, NSW 2097, Australia.
Phone: (02) 9971 6857; Fax (02) 9971 6641.
E-mail [email protected]
AIPP Membership Contacts
Suite G.02, 171 Union Road,
Surrey Hills, Victoria 3127
Phone: 03 9888 4111
E-mail: [email protected]
Cover S i lv e r A wA r d
William Long M.Photog.2013 CANON AIPP AUSTrALIAN
PrOFESSIONAL PHOTOGrAPHy AWArDS
WINNEr OF ArCHITECTUrAL CATEGOry
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The Balancing ActK y l i e L y o n s M . P h o t o g . , H o n . L M , N a t i o n a l P r e s i d e n t
Our industry is in state of flux. We are definitely
faced with the situation of adapt or die.
This doesn’t apply just to our own busi-
nesses, but the AIPP also needs to adapt to the
changing needs of our members.
The ‘typical’ photographer today is very dif-
ferent to the typical photographer of five or
even ten years ago.
And it’s important for the AIPP to embrace
photography practitioners of all levels in all
genres and that is what the Board has in the
back of its mind whenever it has to make gover-
nance decisions.
The Board is acutely aware of its governance
responsibilities and would never deliberately
mislead or confuse members.
However, balancing the diverse opinions
within the AIPP has always, and will always, be a
challenge.
We value the input of all members. The time
given by all volunteers (committees and Board
alike) is valuable and we greatly respect that
contribution.
Still, it’s not always easy to keep everyone
happy. The balancing act is to look at the best
option that is best for majority of members.
So how do you get involved?
The newest and easiest way is to join a spe-
cial interest group or SIG. We have SIG’s on
wide and varied topics such as AIPP benefits for
members, AIPP use of social media, mother and
baby photography, and a brand new SIG for fo-
lio assessments, just to name a few.
More information about SIG’s can be found
on page 2 of the AIPP blog (www.aippblog.
com).
As a way of obtaining more member input
into our photography awards system, we have
introduced Category Advocate Groups. If you
have ideas that might benefit our current cat-
egories or perhaps an idea for a new award cat-
egory, send an email to [email protected]
and get onto the SIG(s) that you have a passion
for so your thoughts can be heard.
I encourage you to be active and help take
ownership of your membership organisation.
Have your voice heard.
As I always say... you get out what you put in!
0411 552 488
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Promising Changes For APPAP e t e r E a s t w a y , G M . P h o t o g , H o n . F A I P P, F A I P P
As the AIPP grows and the market changes, the
AIPP’s awards systems need to grow and adapt
as well.
Currently we have a two tier system, com-
prising the national Canon AIPP Australian Pro-
fessional Photography Awards and the state-
based Epson Professional Photography Awards.
Participation from the membership is high,
between 30 and 40 percent, but the AIPP Board
wishes to see at least half the membership en-
tering every year. This is the goal.
However, if half the membership were to
enter the national Canon APPA awards, the fa-
cilities couldn’t handle the volume. Already we
have four judging rooms working for three con-
secutive days and judging around 3000 prints.
There aren’t enough judges for more rooms and
it’s not fair to ask judges to give up more than
three days. The current system is essentially at
capacity.
To get more participation, the system needs
to be changed, but in a way that the existing
awards and distinctions are not affected or di-
minished.
The proposal is for a three tier system, which
I will describe very simply here. However, there
are many levels of carefully thought through
details to ensure the system runs smoothly and,
importantly, doesn’t disadvantage members
who are currently entering the Awards.
Tier 1
The first level will be an online competition with
a range of categories. Entry will be inexpensive
and there is no need to prepare physical prints.
Importantly, Tier 1 is a proving ground. To be
eligible to enter the State Awards, you need to
‘qualify’ in the online competition (unless you
have already proved yourself in other ways).
Tier 2
The second level comprises the various Epson
state awards, with print and digital entries.
This is also a qualifying level to enter the na-
tional Awards.
Tier 3
At the top of the pyramid is the national APP
Awards. Only the best work will reach here,
similar to how only the best athletes reach the
Olympics.
However, unlike the Olympics, entry to APPA
for many previous entrants will remain auto-
matic. The new system is designed to accom-
modate the future, not restrict current members
from reaching their goals.
NB Entry to the Canon and Epson awards for
2014 will not change. In fact, it could be a good
idea to enter this year with the changes in mind!
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Why The APPA Changes Are GoodP e t e r E a s t w a y , G M . P h o t o g , H o n . F A I P P, F A I P P
It will come as no surprise to read that I am a
firm advocate for the APPA system, as currently
promoted by the Canon and Epson Awards.
If I had to point to just one aspect of my pro-
fessional career that has helped me the most, it
is APPA.
And no, it’s not about winning the PPy or a
category, it was about proving myself to myself,
about reaching goals and striving to capture
and create better photographs.
Selecting & Refining
This will be the 30th year I have entered APPA
and every year, I go through the same process,
selecting and refining my four best entries. The
judges don’t always see them the same way I
do, but that’s not important.
It’s the fact that I spend the time looking
through my work and refining it. This is how I
improve my craft and my skill. The process of
producing photographs to (hopefully) award
standard permeates every aspect of my profes-
sion.
The best photographers in the world are not
just lucky.
They get the best jobs and win the compe-
titions because they study and practice. Many
new photographers to our profession are sur-
prised when they hear how much time I have
invested. Surely there’s any easier way, a button
to press, a Photoshop trick? The only trick is per-
sistence and practice.
New APPA System
What I like most about the new APPA system in
this regard is how easy it will be for every AIPP
member to enter.
One of the reasons members give for not
entering is the cost. It’s not just the entry fee,
but the cost of producing and mounting the
prints, the print case and freight.
While many members see this as a small
price for the value they get from the Awards
process, it is not always financially possible for
newer members, especially if they are unsure of
how beneficial the process can be.
The online entry tier immediately removes
the cost barrier.
It will also allow the entrant to experience
the judging process (getting a result), allowing
them to prove themselves. If their results are
good, they can choose to move to the next lev-
el and enter the State awards.
If their results are not so good, then the
feedback provided by their score and judges’
comments is a positive step towards improving
their craft and the skills they need as a profes-
sional photographer.
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Word of MouthM e l i s s a N e u m a n n ’ s L o n g T e r m B u s i n e s s S t r a t e g y
“I think my marketing is a little different than
most because I use word of mouth. People find
me as much as I find them because I’m an old
fashioned family photographer with clients who
come back to me over and over again.”
Melissa Neumann talks mainly about her
family portraiture, although she also shoots
weddings and commercial jobs.
A lot of her family portrait clients have hus-
bands or wives who are corporates, and this
translates into corporate portraiture and event
photography.
After 20 years, Mel is still going strong and
her secret, she says, is ensuring her clients are
well serviced and looked after. “When I began in
the profession, I worked for studios where ser-
vice was important. We made people feel spe-
cial and that’s why they were coming back, to
buy that experience.”
Mel takes the same approach and from here,
referrals bring in new work. “There’s nothing
better than picking up work by word of mouth.
If you have clients who referred you to some-
one, you know the new client is already quali-
fied.”
This isn’t to say Mel doesn’t need to market
and advertise herself. rather, when she does go
out with a promotion, she has a lot of ambassa-
dors helping.
“I find that within a group of people you will
have an ambassador client, someone who re-
ally likes what you do, and if they see a new
promotion from you, they pick it up and pass it
on to their friends. I just have to put it on Face-
book and it goes through all these smaller client
channels.”
Melissa says she is looking for two to three
portraits a week. Of course, five or six would be
even better, but in addition to portraiture she
has a flow of weddings, corporate shoots and
smaller portraiture sessions.
“I don’t directly ask my clients to refer me,
but if someone does, then I do something un-
expected for them.” For instance, a client re-
ferred Mel to three of her friends, so she created
a photo book using photos from the client’s
earlier shoots, just as a thank you. “She really ap-
preciated it and then she sent me another three
clients!”
“I don’t have a referral program as such, but
it all comes back to providing great service.”
Mel Neumann AAIPP is an AIPP National Vice Presi-
dent with over 20 years’ experience. She is also in-
volved with a new venture to help photographers
- take a look at www.cameralove.com.au
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Photograph by Mel Neumann.
12
Who Will See your Facebook Posts?D a v i d W a t s o n e x p l a i n s t h e n i t t y g r i t t y o f a F B m e s s a g e .
Who will see your Facebook posts? Here’s a little
background information to help it all make sense.
Facebook made some hefty changes to its
Newsfeed algorithm last year and what we see
now is based on around 100,000 variables. The al-
gorithm is how Facebook works out what we see
when we login.
Back in August 2013, Facebook said that an av-
erage user has around 1500 potential newsfeed
stories, but on average only sees about 300.
Put simply, there is more content being cre-
ated than a user can consume, hence the need for
the algorithm.
Facebook shows Pages content items in the
Newsfeed based on a few variables, and some of
the more important ones are:
• HowrecentlyauserorFaninteractedwitha
Page (clicks, likes, comments, shares);
• Howoftentheuserhasinteractedwitha
Page’s posts;
• TheoverallvalueofthatparticularPageand
their content posts;
• Thekindofpostitis–link,image,video,news,
blog etc.
So, if your fans aren’t seeing your posts, it’s of-
ten a result of poor engagement.
If your fans aren’t interested in what you’ve
been posting, then Facebook will show them con-
tent that they are more interested in, based on
their user profile, influence, network and past in-
teractions.
This could be content from other Pages, or
content from their friends.
Again keep in mind that there is a finite num-
ber of opportunities to show a user content of any
sort, and we’re all competing for that limited space
and attention.
It’s not all bad news though.
By using some of the tools that Facebook pro-
vides us, like its Insights analytics tool, we can eas-
ily see what posts work best for the audience we
have. We can see more detail about the fans that
are connected to us by age, location, and gender.
We can see what times of day our fans are on-
line so that we can optimise our posts for when
they are online.
By using the scheduled post tool, we can post
even when we’re not at work or in front of our
computers.
David Watson is a 20+ year sales and marketing
veteran who has worked across different industries
with a range of businesses. Prior to launching his
consultancy business Strategy Point in 2012, David
worked with Momento and was a member of the
AIPP National Board. www.strategypoint.com.au
13
WEDDINGPHOTOGRAPHY
THE AIPP IS A MEMBERSHIP ORGANISATION THAT EXISTS FOR THE BENEFIT OF ITS MEMBERS
If you have a “Special Interest” or a keen area you want to see more and better AIPP involvement, the SIG’s are your opportunity to get involved and help us make this happen.
Simply contact us on [email protected] to suggest a new SIG or get involved in one of our existing SIG's
SIGSPECIAL INTEREST GROUP
AIPP MENTORING
A C C R E D I T A T I O N
FOR VIDEO P R O D U C E R S
MOTHER & BABY PHOTOGRAPHY
AIPP USE OF SOCIAL MEDIA & COMMUNICATIONS
BIRTHPHOTOGRAPHY
PORTRAITPHOTOGRAPHY
AIPP WORKSHOP P R E S E N T E R S & SPEAKERS
AIPP MEMBERSHIP
BENEFITSWORKING WITH
the ATO (AUSTRALIAN TAX OFFICE)
14
Examples of Ross Eason’s day-to-day work for resort clients.
15
Showing Clients That you Love ThemR o s s E a s o n E x p l a i n s H i s O n e o n O n e A p p r o a c h
With so many photographers quoting for a job,
how do you stand out? First, reminds ross Ea-
son, you need to have a style or technique that
your clients can’t do themselves. That needs to
be part of your USP.
The second difference has to be you - your
personality and your interest in helping the cli-
ent with their project. Often what they are do-
ing is far more than just having a photograph
taken.
ross gave an example of presenting a quote
to a holiday resort, explaining that it is best to
get in front of someone for a face to face meet-
ing. “I ask them what day and what time we can
meet. I assure them there is no obligation, ex-
plaining that I need to understand the job be-
fore I can give them a good value proposition.
I’ve never had a no and I’ve travelled as far as
Sydney at my own expense to have a meeting.”
When there, ross asks his prospective cli-
ent to tell him about their customer base. “In
the case of a resort, I want to know who will
be staying there, or perhaps more importantly,
who would they like to be staying there, who
makes the decisions about staying there and,
once there, what do they like to do.
“Next I quiz them about their opposition and
what collateral (marketing materials) do they
have. I explain I want to put myself in the shoes
of their customers, to understand the decision
making process their customers go through,
and then find a way to photograph their re-
sort so their customers come simply because it
looks better and stands out from the crowd.”
This process not only helps ross create bet-
ter photographs, it demonstrates a genuine in-
terest in his client’s project and demonstrates
expertise and professionalism.
ross also talks about the ‘flip-back’ compari-
son, referring to the process of flipping through
a magazine or a website, but then returning
or turning back one or two pages because a
photograph really caught your attention. “I ex-
plain that this is what I want to do for them. I
want their clients to turn back to their page and
when they hear that, they see that I am trying
to bring value to the relationship.
“Obviously I lose some clients because I am
more expensive, but I live with the reality that
you can’t win every job - or if you are, then there
is something wrong with your costings!”
Ross Eason M.Photog., HLM is a commercial pho-
tographer in South East Queensland. He is an AIPP
National Vice President and has been in business for
over 30 years. www.easoncreative.com.au
P H O T O B Y B A M B I W I X O N
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An example of Tom Putt’s day-to-day studio portraiture of his canine subjects.
How Tom Putt Uses Facebook To Engage With His Customers
Read More AIPP Member Only ContentTo read AIPP member and specific business related advice, visit the AIPP
website and sign in. Once you’re signed in, follow the menu Member Services, My Publications, The Working Pro - Extended Material.
17
What Should Facebook really Do?T o m P u t t e x p l a i n s h o w h i s s t u d i o u s e s F B
To be successful, Tom Putt’s Ella+Friends Pho-
tography dog portrait studio needs to market
itself, even though it has one of the most promi-
nent studio positions in Melbourne.
“I would love to have a retail space with peo-
ple flooding through the doors without any fur-
ther effort from me, but it’s simply not realistic.
As a portrait photographer, if you don’t market,
you don’t have clients. you need to continu-
ally develop strategies to get people to walk
through your door.”
Tom says the market is changing and it is be-
coming increasingly difficult to attract portrait cli-
ents into the studio. “It’s incredibly challenging to
get people to engage with you because portrait
photography - whether of themselves or their pets
- is not something they have to do. It’s not like
they have run out of milk and bread, you have to
give them an excuse to have their portraits taken.”
This, explains Tom, is why the portrait pho-
tography industry is full of specials and free
photo shoots, anything to give clients an excuse
to have it done. “Otherwise we find people are
too lazy or just have other priorities.”
One of Tom’s approaches is to have a high
profile studio with large window displays, but
even this isn’t enough to get people to stop
and engage. More recently, Tom has been inves-
tigating the power of social media, beginning
with Facebook. He engaged an expert to help
him through the marketing strategies needed
to reach his clients.
“We found that 85 percent of people who
see our posts are women, so we’re no longer
advertising to men! With Facebook, we’re able
to target our market to the point where we can
set up ads which will take people to a special
landing page on our website that is specifically
designed for them.
Facebook has changed and Tom says his
advice is to pay for exposure. “In the past, you
could build a Facebook page and if you had
done it properly, the exposure would grow or-
ganically. Now that Facebook is listed on the
NySE and needs to provide for its shareholders,
the talk around town is that you won’t see as
much organic growth unless you pay for it. It’s a
fact of life.
To read how Tom uses Facebook to engage
with his market, log into the the AIPP website.
Tom Putt M. Photog. is a portrait and landscape pho-
tographer in Melbourne. He also has interests in land-
scape photography, publishing and leading photog-
raphy workshops. www.ellaandfriends.com.au; www.
inspiredlandscapes.com.
18
There are so many great images at Canon APPA and the Epson State Awards that not every Award gets the attention it deserves. To redress this in a very small way, the editor will present a small selection each issue for your enjoyment.
E D I T O r ’ S S E L E C T I O N
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E D I T O r ’ S S E L E C T I O N
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E D I T O r ’ S S E L E C T I O N
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Okay, okay, so we never see prints with spots this bad at APPA! However, at least we got you to read the caption! Photo by Peter Eastway.
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your Awards Entry: Dust Spots PlusT h e L i t t l e T h i n g s T h a t K i l l Y o u r E n t r i e s
When your print or digital entry is displayed in
front of the judging panel, it needs to be per-
fect from a technical perspective.
The judges may see hundreds of images in a
day and they are looking for reasons to knock a
print down just as much as they are for elevat-
ing it to an Award.
Excellent Execution
Professional awards aren’t just about good
ideas, they are about excellent execution. If
we’re going to hold ourselves up as professional
photographers, then we must produce a quality
of work that says ‘professional’.
This isn’t to say some awards are given for
images with lots of imagination or emotion,
even though technically they might not be pre-
fect. Technique alone doesn’t make a great pho-
tograph, but award prints with poor technique
are very rare.
So, the trick before you enter your photo-
graphs is to carefully inspect your print for what
is the worst crime a professional photographer
can commit: dust spots!
Okay, so not getting the photograph or us-
ing poor lighting are worse, but if you have a
great shot and you leave it covered with dust
spots, you’re missing the point. Judges will not
give you an award if you can’t spot your prints.
Photoshop Technique
The technique is very simple. In Photoshop, you
use the Healing Brush tool, or sometimes the
Clone tool.
Enlarge the print to 100% on screen so you
can see dust spots easily. Navigate the image to
the top left corner and then, section by section,
inspect the image from left to right, top to bot-
tom.
As you inspect the image, remove dust spots
using the Healing Brush tool.
Some photographers add a Curves adjust-
ment layer to the top of the layer stack, and
darken down the image with extra contrast so
the spots are easier to remove. If you use this
technique, remember to be working on the im-
age layer that has the spots, not the adjustment
layer!
Other Blemishes
It’s not just spots that judges baulk at. Hairs on
the sensor are equally problematic, but so are
areas in the image that simply look like spots,
either white or black.
If these little areas look unsightly or detract
attention from the main subject, use the same
technique to remove them.
The idea is to have an image without un-
wanted distractions.
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25
Tylor v Sevin = $23,850A u s t r a l i a n C o u r t C a s e U p h o l d s C o p y r i g h t C l a i m
The Federal Circuit Court of Australia has award-
ed $23,850 in damages and costs to a photog-
rapher whose stock photograph was used on a
website without his permission.
Travel Photo
The case, Tylor v Sevin [2014] FCCA 445 (26 Feb-
ruary 2014), was based on a travel agent (Sevin)
using a photograph taken by American photog-
rapher Vincent Tylor.
Interestingly, the court accepted that the
travel agent, or the web designer employed by
the travel agent, may not have realised that the
photograph was subject to copyright. In the
reason for the judgment, the judge acknowl-
edged the evidence of expert witness Chris
Shain (AIPP member).
“[The photos] have become picked up from
a site where they appear and where an appro-
priate licence fee has been paid, and transferred
to sites where no licence fee is paid in breach of
the copyright of the photographer. This is what
has occurred in the instant case. It is the first
case brought in this court of this type, which is
why the court has noted that it is important.””
Put more simply, the travel agent couldn’t
simply say she didn’t know the photographs
were subject to copyright and get away with it.
Vincent Tylor had approached Sevin to try to
resolve the issue, but being unsuccessful, took
Sevin to court.
Continued the judge, “The court does be-
lieve that there is a need to deter a similar in-
fringement of copyright, either by this respon-
dent, or by any other potential respondents.
Breaches of copyright in this manner are com-
mon, as evidenced by Mr Tylor and Mr Shain,
and the courts must do what they can to assist
copyright owners to maintain their property,
and prevent the unlawful use of it.”
The judgment allowed $1850 being a rea-
sonable fee for the use of the image, and then
added damages of $12,500, in part because
Sevin didn’t even turn up to defend herself. The
court didn’t seem to like that! The balance was
to cover the legals costs of $9500.
What Can You Do?
This court case is great for photographers be-
cause it is crystal clear. It is also crystal clear
what a defendent can expect if they use your
photographs without your permission, even if
they didn’t know the images were subject to
your copyright.
If you find someone has infringed your
copyright, send them a letter and refer them to
the court case. They are much more likely to pay
your fee than risk a higher damages award.
26
Is Clothing Deductible?C a n P h o t o g r a p h e r s C l a i m S u i t s o r R a i n c o a t s ?
A barrister who goes to court must wear a suit,
but that suit is not tax deductible to him or her.
If a barrister can’t get a tax deduction for work
clothing, how hard will it be for photographers?
General Clothing
The general rule is that clothing you could wear
out socially is not deductible at work. So, a wed-
ding photographer who wears a smart suit or
dress to a job cannot claim a tax deduction.
Nor can a commercial photographer who
dresses up in a suit to shoot a client function.
Branded Clothing
To get a tax deduction for clothing, the most
common way suggested by accountants is
to have your business name embroidered or
stamped on your clothing in some way.
However, before you think of hand writ-
ing your business name under the armpit or in
very small type with a fabric pen, you should
be aware that the tax office has thought about
this as well and has put in place extensive rules
about the size and placement of your company
branding.
Have a chat to your accountant to deter-
mine the rules that may apply to you.
Occupation Specific Clothing
Clothing that you would only wear while work-
ing may be deductible, such as the wig for a
barrister or a police uniform, although these are
often supplied by the employer.
Photography vests with pockets for lenses
and memory cards would be deductible on this
basis for photographers because it is specific to
our profession (and possibly fly fishermen).
However, an ordinary jacket with large pock-
ets would not.
Protective Clothing
Editorial, landscape and wildlife photographers
may find themselves working outdoors and re-
quiring protective clothing.
Camoflagued clothing for wildlife photog-
raphers, protective rainwear for landscape and
sport photographers, and protective steel-
capped boots for commercial photographers
needing access to construction and mining
sites will generally be deductible if only used for
work purposes.
And if you work outdoors, you will probably
be entitled to claim sunglasses, hats and sun-
screen as well.
However, the tax office may require you to
apportion the use of these clothes between
private and business use. A second pair of sun-
glasses for private use may solve this problem,
as would a separate tube of sunscreen for work
use.
This is general information only. We do not know your specific financial or legal situation and we are not providing you with advice. As such, this article should not be relied upon as legal, financial or accounting advice. Please use this article as a conversation starter with your own adviser.
27
W h e r e a r e m y f r e e c o p i e s o f
B e t t e r P h o t o g r a p h y M a g a z i n e ?
T h e y a r e h e r e . . .
w w w . a i p p . c o m . a u
S i g n i n t o t h e m e m b e r ’ s s e c t i o n . . .
G o t o m e m b e r s e r v i c e s . . .
G o t o m y p u b l i c a t i o n s . . .
G o t o B e t t e r P h o t o g r a p h y . . .
D o w n l o a d a n d e n j o y !
W o u l d y o u l i k e t o r e c e i v e a p a p e r v e r s i o n o f B e t t e r P h o t o g r a p h y
m a g a z i n e , f o u r t i m e s a y e a r ? y o u c a n s t i l l s u b s c r i b e a n d r e c e i v e
a 2 0 % d i s c o u n t . F o r d e t a i l s , e m a i l
k i m @ b e t t e r p h o t o g r a p h y . c o m
I s s u e 7 5 . . .L e n s S e l e c t i o n - W h i c h O n e s ?
S t i t c h i n g P a n o r a m a sM a s t e r i n g L u m i n a n c e
M u l t i p l e E x p o s u r e s I n C a m e r aA n d l o t s m o r e . . .
28
Owning copyright doesn’t mean you have unfettered use of the photos. Other laws can come into play. Photo by Peter Eastway.
29
Does Copyright Give Me Full Control?C a n I U s e M y P h o t o s H o w e v e r I P l e a s e ?
There is some confusion about copyright and
what it allows you to do with your photographs.
As a professional photographer working for
a client, you may or may not own the copyright
in the photographs you take. Hopefully you do
because of the contract you have with your
client. (WIthout a contract, generally a busi-
ness-to-business photographer will own the
copyright, but a domestic wedding or portrait
photographer will not.)
However, owning the copyright and then
using the photograph in any way you please are
two completely different issues.
There are limits to how a photograph can be
used by you, even if you own the copyright.
Advertising Use
Photographing a couple at a wedding and then
using those photographs to promote your own
business is not an automatic right.The couple
may not like the photographs you have taken
or may prefer to keep them private. you need to
have their permission to use the photographs
of them to promote your business.
Another example is a photograph you take
of a famous tennis player in public. you may
own the copyright in the photograph, but it
doesn’t give you the right to sell it to another
company who uses it for advertising purposes.
This law has nothing to do with copyright, rath-
er the advertiser doesn’t have permission to use
the photograph of the tennis player in its adver-
tising. If the advertiser obtains permission from
the tennis player, then you can sell or licence
the photograph to the advertiser.
Editorial Use
It’s a slightly different situation if you sell the
photograph to a magazine or a website. In Aus-
tralia, there is nothing stopping you from sell-
ing a photograph of the tennis player taken in a
public space for editorial (not advertising) pur-
poses.
This assumes that the photograph is not de-
rogatory or defamatory, of course.
Other Agreements
If the photograph was taken at a tennis tourna-
ment, then the terms and conditions printed
in small type on the back of the ticket may pre-
vent you from selling photographs you take at
the tournament. This doesn’t have anything to
do with copyright either, rather it’s an agree-
ment you make when you buy the ticket - ei-
ther you accept the terms and conditions on
the ticket, or you don’t go to the tournament!
Copyright is important, but it’s not the only
law that affects how your photographs can be
used.
©
This is general information only. We do not know your specific financial or legal situation and we are not providing you with advice. As such, this article should not be relied upon as legal, financial or accounting advice. Please use this article as a conversation starter with your own adviser.
30
World Press Photo winner 2014: Goran Tomasevic
31
World Press Photo 2014 O n c e a g a i n p r o u d l y s p o n s o r e d b y C a n o n
Three Australians have featured in the prestig-
ious 57th annual World Press Photo contest:
Getty Images photographers Chris McGrath (1st
prize, General News, Stories); Ezra Shaw (2nd
prize, Sports Action, Stories); and Quinn rooney
(3rd prize, Sports Action, Stories).
The overall winner was Goran Tomasevic for
his photograph 30 January 2013, Damascus, Syr-
ia.
The photo shows Syrian rebel fighters taking
cover amid flying debris and shrapnel after be-
ing hit by a tank shell fired towards them by the
Syrian Army in the Ain Tarma neighborhood of
Damascus.
Also, receiving a Special Mention was a six-
image series taken by amateur photographer
Tim Holmes from the town of Dunalley, Tasma-
nia, where 90 homes were destroyed by wild-
fires during a period of record high tempera-
tures.
Canon Australia will be displaying the com-
plete World Press Photo exhibition at the State
Library of New South Wales from 24 May to 22
June 2014.
Entry is free of charge.
“We are thrilled to bring the World Press Pho-
to exhibition to Sydney again this year to show-
case the very best in reportage photography
from the past year,” said Jason McLean, Director
– Canon Consumer Imaging, Canon Australia.
“It is a proud moment to see Australians
stand out among the nearly 100,000 images
submitted in the world’s premiere photo jour-
nalism contest and this achievement reflects
the importance of powerful photography in our
society.”
The jury gave prizes in nine themed catego-
ries to 53 photographers of 25 nationalities. The
judging was conducted at the World Press Pho-
to office in Amsterdam.
All entries were presented anonymously to
the jury, who discussed their merits over a two-
week period.
The jury operates independently and a sec-
retary without voting rights safeguards the fair-
ness of the procedure.
The contest drew entries from professional
press photographers, photojournalists and doc-
umentary photographers across the world.
By the mid-January deadline, 98,671 images
had been submitted by 5,754 photographers
from 132 countries.
For an overview of all the winners vis-
it: http://www.worldpressphoto.org/
awards/2014
An eBook by Peter Eastway
G.M. Photog., Hon. FAIPP, Hon FNZIPP, FAIPP
For more information and a read of the free sample, please visit:
www.betterphotography.com
I have judged
many photography
competitions and
there are lots of little
things that entrants
forget to do. If only I could let them
know before entering the competi-
tion, they would do so much better!
Well, as a judge I’m not allowed
to ring up and help entrants, but I can
write a book that distills what I have
learnt over the last twenty years that
will give you a great head start.
Of course, no one can give you an
iron-clad guarantee that you will read
my book and then win the next photo
competition you enter – and I explain
why in the book. However, what I can
guarantee you is that if you read my
book, you will improve the quality of
your photography.
You see, whether you’re aiming to
win a photography competition or just
take a better photograph, the advice is
very similar. And I know that the tech-
niques and approaches I’ve developed
over the years will help you capture
and produce better photographs.
My book is called How To Win Photo Competitions.
It begins with a little about me.
After all, it’s easy enough to write a
book about winning photography
competitions, but it’s better if you have
a little bit of experience. Fortunately
for me, I’ve been lucky enough to win
quite a few competitions, plus I have
a lot of experience as a judge. I can
talk to you about both sides of the
competition.
Add in the fact I’ve been a maga-
zine editor for 30 years and I hope I’m
able to communicate my message
pretty well. So, in just a couple of
pages (I don’t want to bore you), I
explain why I know what I’m talking
about (even though my Dad told me
not to boast).
We then look at competitions
and how they work, how you should
approach them, and how to use the
results to assess your own photog-
raphy. It’s important to set the scene
before we get into creating photos
that win competitions.
The next two sections are the
nitty gritty. We begin by talking about
taking a great photograph in the fi rst
place. Competition winners begin
with the camera and so we talk about
camera technique, colour, composi-
tion, framing and so on - little tricks
and hints that will make a world of
diff erence to your photographs.
From here we step into post-
production – using the computer
to improve the images our camera
has captured. Most readers will have
dabbled with Photoshop, Elements
or Lightroom and this is all you need
to enhance your images so they are
in the running for a competition win.
These days, no matter how good your
camera is, you simply must do a little
post-production to fi nesse your entry.
I fi nish the book with some use-
ful background information about
how competitions work (generally
speaking), and then I analyse some of
the images that have won awards for
me, pointing out the aspects that the
judges responded to in a positive way.
The book has lots of photographs
and illustrations to explain exactly
what I’m talking about.
And it is an eBook. It is easy to
read on a computer, laptop or iPad,
and you need Adobe Reader (Acrobat)
to view the book. There is no paper
version of this book, although you can
print out the Acrobat Reader fi le if you
wish.
I have created a sample eBook for
you to look at on the Better Photogra-
phy website, so please visit and have
a read. If you like what you see, I hope
you’ll purchase a copy.
And for your next photo competi-
tion - good luck!
– Peter Eastway
How To Win Photo Competitions
How To Win
NEW PRICE FOR 2013only $29.95www.betterphotography.com
WinPhotoCompAdvert-2013.indd 1 21/01/2013 9:24:27 PM
Presented by Les Walkling & Tony HewittThis is a full seven day all-inclusive unique experience designed for professional photographers and enthusiast/non-professional photographers. The James Cook University Orpheus Island Research Station is a world class research and teaching facility, and the tropical islands provide for amazing photographic opportunities. This is the tenth year Les has presented this workshop and he rates it as his best. This year his co-presenter is Tony Hewitt, 2013 Canon AIPP Professional Photographer of the year.
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Orpheus Island Photography Workshop 201411th to 17th August
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The workshop comprises lectures and presentations each morning, backed up with hands-on work after lunch and into the evening with state-of-the-art printing and colour managed workflows.
Fine art printing, print critiques, advanced image editing, camera craft, RAW processing, pictorial design, colour management, marketing/business planning, small group tutorials and one-on-one consultations are highlights of the workshop.
This year Les and Tony are supported by several experienced tutors to ensure that the knowledge you are acquiring is immediately translated into real-world imaging skills and new ways of seeing.
Our renowned chefs, Natalie and Melissa will create marvellous banquets for us and each evening we dine under the stars by the beach celebrating the days achievements.
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“Orpheus will give you the time
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Enquiries Ph: 07 4725 4860 E: [email protected]
www.tonyhewitt.com