Insights

Hello there, and great job on finding this page.  If you’re new to the Queensland Camera Group we’ll share a secret with you:  there are three ways to improving your photography.  The first is putting your camera in your hands and going out and using it.  Daily!  The second is YouTube.  University of YouTube has taught all of us so much. 

The third way to improve your photography is the most important. 

It’s learning from each other, and that is what QCG is all about.  Here we share our most useful insights, from guest speakers, judges and fellow members.  But unlike the University of YouTube, the people featured here are people we know, trust and see on a regular basis. 

Want to improve your photography?  Read on to see the insights shared by our members and mentors.

What to do with your competition prints

Competing at Queensland Camera Group is fun and a great way to improve your photography. 

At QCG, the print is supreme – we strive to promote the printing of images as the superior way in which to enjoy and appreciate a photo.  There’s also no hiding in a print – the good, the bad and the ugly are all there to see which is why a faultless print is something after which we all strive!  And there’s so much to consider – colour, black and white, stock, matting, size, orientation – the list goes on!  Printers themselves aim to deliver the best blacks and the widest array of printing styles and products.

After you’ve been in the club for a while you will, like many of us, begin to accumulate some beautiful prints.  We’ve put together these ideas on what you might like to do with them:

  • Home gallery – it’s obvious, but needs some thought and a little planning.  If you find yourself printing the same sized images for competitions it makes creating and maintaining a home gallery so much easier to organise.  Just pop out your images from their mats, and into a frame.  Hang, and admire!  Gallery systems can be purchased online as well as at Bunnings.  Here are some examples from some of our club legends!  

Phil Lawrence’s home gallery.

Phil Lawrence’s home gallery.

Phil Lawrence’s work space and surrounding gallery.

Phil Lawrence’s work space and surrounding gallery.

Tony FitzGerald’s work up on the walls at home.

Tony FitzGerald’s work up on the walls at home.

Gorgeous home gallery by Tony FitzGerald. This is a gallery-style set up where the images are hung from a sliding mechanism above and just out of shot. A similar system is used in many galleries, including Percolator Gallery where we will host Collections 2020. Beverage, anyone?

Gorgeous home gallery by Tony FitzGerald. This is a gallery-style set up where the images are hung from a sliding mechanism above and just out of shot. A similar system is used in many galleries, including Percolator Gallery where we will host Collections 2020. Beverage, anyone?

  • Photo swap – a personal favourite!  Do you have an image that you admire over and above any that you have seen in club competitions?  If so, why don’t you ask the maker if they would like to do a print swap with you?  You choose the print you so admire, and they choose something from your collection.  I have David Bullock’s beautiful ‘Egg and Bowl’ still life in my kitchen and David has a portrait of his friend Sarah which I took a while ago.  ‘Egg and Bowl’ bring me so much happiness every time I look at it in my kitchen, plus I was absolutely thrilled that another club member liked an image of mine so much that they were keen to hang it in their own home.  The practice of print swapping is not new, but it was to me when David first proposed it to me.  My image of Sarah is part of a gallery which David has curated for his home – a mixture of his own images and the images of others -  and I asked David how he made his selection.

    “My own (images in my home gallery) are all time favourites where I achieved exactly what I intended in my mind’s eye,” David said.

    “The others are images that have blown me away in the capturing the moment perfectly and appeal to my particular preferences and affect me emotionally. Almost always prints.”

    Many of the professionals who participate in the AIPP APPA (Australian Professional Photography Awards) competition often swap their entered images with each other.  It’s a lovely compliment to pay to another photographer.

Egg and Bowl, by David Bullock.

Egg and Bowl, by David Bullock.

Sarah, by Anne Pappalardo.

Sarah, by Anne Pappalardo.

Swapsies! Phone photo of David Bulock’s home gallery, which features his own images and prints by other makers.

Swapsies! Phone photo of David Bulock’s home gallery, which features his own images and prints by other makers.

  • PSQ Salon of Excellence – the Salon of Excellence is a club vs club competition that is held annually as part of the Photographic Society of Queensland’s annual conference.  It is open to any member of a camera club, and you participate as a member of the Queensland Camera Group.  There is a cost to participate, but it is not expensive, and, you enter a digital thumbnail of your print via My Photo Club, with which we are now all experienced!  There are four categories in which you can enter including Nature, People, Social Documentary and Mono and you are able to enter four prints and four DPIs in each category.  The competition is graded, so you will compete against others in your own grade, but still representing the club.  QCG has taken home two Salon of Excellence trophies in 2018 and 2019 because of both the strength of our images and the number of members who participate, particularly in the area of prints, where we are one of the strongest clubs in Queensland.  Please consider entering as a way of giving back to your club!  It would be great if you could look through your portfolio of prints and consider entering them in this competition.    A coordinated delivery of print entries will be organised by the club, so you will not have to worry about getting your images to the Gympie Camera Club (who coordinate the judging).  For more information contact Esther Andrews from Queensland Camera Group.  The link here will take you through to the winning entries from 2019 https://psq-seq.myphotoclub.com.au/.  Entries close Friday 27 March, so there is plenty of time to look through your existing catalogue and maybe print one or two new images!  Good luck!

A couple of years ago, John Edwards and David Bullock would set up a display of our competition prints outside the front doors of Frontier Digital.  Not only did the customers at the shopping centre enjoy viewing our images, it also led some foot traffic into the Frontier store, which was great for Frank.  We’ve also for the last couple of years had exhibitions at libraries in the western suburbs as well as a long stint in the gallery at Brisbane Square Library.  If members have any other ideas or contacts that would allow QCG to hang its prints, please let us know as providing a gallery experience to our members is one of the goals we aim to achieve.

Good luck finding new homes or uses for your competition images – don’t forget to tell us how you’ve given them continuing life. 

What to do when you're asked to be 'The Photographer'

On joining a camera club, something many people will find is that their photography improves to the point where they begin to receive requests to photograph an event or important milestone. 

It is such a wonderful compliment but can be fraught with one or two downsides, particularly if you are not charging for your work or are asked to contribute to a charity event or similar, purely as a volunteer.

We chatted to a couple of our senior QCG members for their tips for when you are asked to shoot for free.

“It is very easy to ask someone to be an official photographer, but what is it they want a photographer for?”, writes QCG vice president and competition grader Tony FitzGerald. 

“As we all know, there is a bit more to photographing an event than just turning up with a camera and taking some snaps.

“I have done a bit of this style of work in both a paid and volunteer capacity and have found that for every hour at the event, there is typically 2 to 3 hours required behind the scenes in sorting, post production and resizing.  So there is potentially quite a bit of time and effort required.  Just ask Gaye Edwards about the backroom work she does on the multiple birth photography activity (and the club get some value for this activity).  Potential volunteers should be aware of this.”

Tony makes the following points in deciding whether or not to take on either a voluntary or paid job: 

1.     How long is a photographer required for?  Note: again from experience you need to be there at least ½ hour before the function commences to meet the key people, get the lay of the land and to orientate yourself.  Could easily be a 3-4 hour total site activity.

2.     What photos are the photographer expected to take?  These could include people arriving, random individuals and groups prior to formalities commencing, MC and speakers at a rostrum, people at tables, formal photos of dignitaries and special guests, large group photos.

3.     What is the requirement in respect of the number of final photos to be provided? This could range from 6 -10 samples for social media to 50 -60 photos for archival purposes.

4.     What is the expected turnaround time?  Some want images on the night to post on social media straightaway.  This could be problematic for cameras without Wi-Fi etc.  If not straightaway, when? Two days or two weeks?

5.     What is the expected application for the photos?  Social media, website, archive, printing.  This will have an impact on post production, resolution, file sizes etc

6.     How are the images to be provided?  Email, memory stick, Dropbox etc.

Former QCG president and leader of the club’s portraiture special interest group, Gaye Edwards says that like for a wedding or any important event, a shot list is absolutely essential.

“The event organisers should be able to supply one, particularly if the event has been held before,” Gaye said.

“Ask if the organisers only need jpegs, and what sizing is required, and how quickly are they needed!

“Although it's exciting to be asked to volunteer, keeping your time to a minimum is essential.  Ben Hur sized jobs take the shine off any glory.  You don't want to feel you've been taken advantage of,” Gaye said.

“And if the event is indoors it will likely require flash, so that's a specific skill and an expense (batteries, rechargers, backup flash etc.).”

Gaye says consideration also needs to be given to ensuring the source of the request for volunteer services is legitimate.

“Family and friends are one thing, but if you have been approached by an organisation, make sure they are both legitimate and reputable.  Ask for full details of the charity, organisation or business – your personal safety is imperative.”

QCG member Nick Lefebvre also recommends understanding your legal obligations as a photographer as well understanding public liability issues, particularly with regard to people you are posing.  If you are working for money, consider organising a contract signed by both parties, and if you are looking to turn your photography into a business, get professional business advice aimed at protecting your assets.

Shooting an event or special occasion is a great responsibility and can challenge even the most experienced professionals.  Planning, questioning and forethought will be key to your success.

A final word from Tony FitzGerald:  “As you can see there is potentially more than you might expect by simply agreeing to be a volunteer photographer.  Having said that it is a really good experience and may lead to bigger things if that floats your boat.”

 

Image by Tony FitzGerald.  Jean Kittson was guest speaker at a women’s forum, where Tony worked as a volunteer photographer.  This event later led to paid gigs.

Image by Tony FitzGerald. Jean Kittson was guest speaker at a women’s forum, where Tony worked as a volunteer photographer. This event later led to paid gigs.

Image by Tony FitzGerald.

Image by Tony FitzGerald.

Image by Tony FitzGerald.

Image by Tony FitzGerald.

Gaye Edwards took this shot of ‘Archie’ for a pet rescue organisation.  Her challenge was to take promotional images of animals who were having troubles finding their ‘furever’ homes.

Gaye Edwards took this shot of ‘Archie’ for a pet rescue organisation. Her challenge was to take promotional images of animals who were having troubles finding their ‘furever’ homes.

Gaye says Archie was quite the poser once he relaxed!

Gaye says Archie was quite the poser once he relaxed!

Gaye made sure she did not travel alone to her photography shoot.

Gaye made sure she did not travel alone to her photography shoot.

Portrait / Black & White Tips

Rob Heyman is a Brisbane based photographer who is also a Triple Master of Photography with the Australian Institute of Professional Photography.  He is recognised as one of the leading portrait photographers in Australia. Rob's expertise is internationally recognised and as a result he is asked to speak at photographic events worldwide – including last April (2018) at the QCG in Bardon!

robheyman.jpg

Following is a small excerpt from Rob’s talk – if you’re interested in portraiture, this article is a start.  You can also follow Rob on Facebook where he regularly shares his latest portrait work, mostly of farmers in Victoria. Rob’s approach to portraiture photography is to choose natural outdoor locations for the optimal light conditions and backgrounds.  His folio of award winning images is testament to his remarkable talent.  He is also a lover of black and white, and was more than happy to share his experience both in portraiture and black and white processing with QCG. 

Below is a summary of some of the points shared by Rob:

Rob always shoots around 5.00pm in the afternoon, or starts an hour before sundown;

Posing – the tip of the nose must not break the side of the cheek;  don’t show the back of the hand and don’t shoot from less than 6ft away from your model;

Research and become an expert on the theory of posing – inspiration can be found from:

.               Yousuf Karsh https://karsh.org/

.               Irving Penn https://www.irvingpenn.org/portraits//

Documentary style photographers include:

.               Steve McCurry http://stevemccurry.com/

.               Mary Ellen Mark http://www.maryellenmark.com

.Rob shoots with two lenses – a 24 – 70 and his preferred 70 – 200;  has a spare macro as backup but never uses it;

Vignettes just about every photo – stops arms and legs dropping out of the image;

Don’t allow highlights to overwhelm;  enable the Highlight Indicator on your camera or the ‘blinkies’;  turn your LCD panel to black and white and get a better feel for how your image will look – this will also help draw your attention to unwanted elements in your composition;

Rob has three requirements when scouting for location:

-       Find a good background;

-       Then, establish your foreground;

-       Light must have a direction.

With regard workflow, Rob:

-       Converts to black and white by de-saturating in camera raw filter

-       Never sharpens, but prefers to increase Clarity if necessary

-       Vignette also added in camera raw filter using the Graduated Filter button (top bar)

-       Use levels to check if your blacks are black and your whites are white;  to set your whites, press the Alt key on Windows and Option key on Mac and slide the right hand slider right until little bits of white appear in the black (then bring back until the whites are one) and to set the black, use the left hand slider and hit Alt or Option – drag the slide left and the screen turns white with bits of black – the black shows clipping, so drag the slider right until they’re gone.