Posts tagged photography
Epson Pano Award winners

Overall Open Winner - The Sunshine Skyway Bridge St Petersburg Florida - Dennis Ramos This year the competition received 3971 entries from 870 photographers in 54 countries. The fifth Epson International Pano Awards is dedicated to the art of panoramic photography. Advances in digital photography and editing software has resulted in a surge in the popularity of image stitching, especially in the panoramic format. Panoramic film photography also remains alive and well. The Epson International Pano Awards showcases the work of panoramic photographers worldwide and is the largest competition for panoramic photography.

The overall winner of the 2014 Open competition is Dennis Ramos from the USA. His winning image is also first in the Open – Built Environment category. Dennis says, ‘It was a beautiful cloudless day with some patches of rolling fog over the bridge. My friend and I decided to go fishing that mid afternoon. I found out that my reel wasn't working so I grabbed my camera gear instead. I took a lot of shots around including this long exposure panoramic shot of the bridge. It took me a lot of time waiting and shooting in between the fog to get a good exposure. While waiting during long exposure times, I wished I had my fishing rod as well.’

Other place-getters in the Open competition are; Marcio Cabral – Open/Nature 2nd place Timo Lieber – Open/Nature 3rd place (Timo was also the 2013 Photographer of the Year) Will Dielenberg – Open/Nature 4th place Denis Gadbois – Open/Built Environment 2nd place, Highest Scoring Spherical/360 Image, Highest Scoring IAPP Member Marco Castelli – Open/Built Environment 3rd place Mohammad Reza Domiri Ganji - Open/Built Environment 4th place, Highest Scoring HDR Image Douglas Peebles – Highest Scoring Image from Film Capture Alexander Vershinin – Highest Scoring Gigapixel Image

For more information and to see all of the winners, click here.

SALA is open at Atkins

Marc Bowden's Paeonia Invite We are very proud to be hosting Marc Bowden's Paeonia this evening as our first SALA show for 2014.

Marc's most recent work looks closely at our relationship to flowers and their true and implied purpose. The work is visually beautiful and fills our recently renovated front space with colour.

Marc's show runs from July 18th to August 14th 2014, with a private opening Friday July 18th at 6pm.

Link to Marc's website:

Link to SALA 2014:

A Rare opportunity

AIPP SAPPA graphic If you love photography and are wanting to learn more, the Australian Institute of Professional Photography (AIPP) are holding their state print awards.

Correctly titled the Epson SA AIPP Epson Professional Photography Awards or SAPPAs, this annual event is open to the public to see great South Australian and Northern Territiry photography judged.

The photographs are judged as prints in categories, one at a time over two days by a rotating panel of five judges. The work is presented in a darkened room with only the print illuminated to draw the attention of the room. The judges each score the print between 50 and 100. Any variation by a single judge from the average of more than 10 points requires discussion and rescoring. The room often becomes tense as a judge fights for something they see in a photograph that other judges do not see.

The categories that are judged are; Illustrative, Landscape, Travel, Documentary, Commercial, Wedding, Family, Portrait

The timing of each category can vary, but the judging needs to be over in two days. So some times it runs late.

The judging panels are always a mixture of highly awarded and or experienced local and interstate photographers, to provide an unbiased team. The entries are generally kept under wraps to ensure judges have not seen the work, the work is also presented anonymously and it must have been created in the past 2 years. It is difficult objectively judging a subjective thing, but this system is internationally recognised as the standard.

The result of the judging is category winners, for example the Wedding Photographer of the Year and from that an over all Epson SA Professional Photographer of the Year 2014.

So why miss this free event.....?

Link to SAPPA website, click here.

Cost: Free Where: Marden Senior College, Marden Rd, Marden SA (off Payneham Rd), click here for a map of the facitiltes at Marden. When: Sunday June 29th to Monday June 30th If you cannot a make it and wish to see the judging it will be live streamed, follow this link to the stream.

Expected category timing see the graphic below:

AIPP SAPPA 2014 judging schedule

Summer School 2014 - Jan 24th to 31st

Atkins_workflowseminar_0161 We would love to see you at this year's Atkins Summer School, the topics are designed to help you enjoy your photography more, have fun and rethink your photographic business. All are welcome.

Cost to attend is $25 per session, payable when booking (we will call you after you register)

Register by clicking here.


**NEW** Social Media Shortcuts. Friday, January 24th, 9.30am - 12.30pm Is Social media the biggest time waster of the decade? What value is it adding? Are there any shortcuts? Paul Atkins will present his methods and those learned at workshops both here and in the USA over the past five years. Hopefully this will help you!

Adobe Lightroom Basics. Tuesday, January 28th, 9.30am – 12.30pm Lightroom 5.0 is the best tool for managing and lightly editing your digital image files. Paul Atkins has been using Lightroom since the first version and has brought many new users up to speed. The presentation will focus on the Library and Develop modules, but will touch on other modules and hidden features. Beginners and intermediate users will benefit from attending.

Workflow, from shoot through to archiving. Wednesday, January 29th, 9.30am – 12.30pm  What is "best practise"? What balances a image quality, data-safety and efficiency? Paul Atkins has been watching and interviewing professionals in the industry and has complied this presentation. Bring your questions and opinions, we can all learn from each other.

Photography Business Models Thursday, January 30th, 9.30am – 12.30pm. This workshop will help you fly above your photographic business, looking at it from a different perspective. Stuart Davis will be presenting this session. Stuart is from Enterprise Connect, he is a business specialist who has spent the last 4.5 years providing advice and assisting Creative Industries companies. This has included facilitating workshops in Design Integration and Business Modelling as well as conducting Business Reviews. He has also participated in a master class by the authors of Business Model Generation and used this methodology across the country. Enterprise Connect is a Federal Government initiative to re-engergize small to medium businesses in Australia. This will be worth every minute of your time, this is an opportunity to get help rethinking photography as a business.

For more information on what Stuart does:

The Film Challenge.... Friday, January 31st, 9.30am – 12.30pm with a return to the lab at 4pm for projection and discussion until 5pm In the immortal words of Harry Callaghan, "do you feel lucky punk?". However, this shouldn't be about luck, this is a test of your skills in a tricky environment: Mid summer, Adelaide, one roll of 35mm (not Xpan) or 120 (up to 6x9) tranny film, one morning to shoot. Midday we process and sleeve, 4pm meet back at Atkins to choose your best frame and a discussion of what everyone shot. From there the Atkins will scan and prepare prints with minimal editing and host and exhibition during the following month. We will gather votes over the month for an informal 'peoples choice award' Are you up to it...?

9.30am pick up film and have quick chat, then off to shoot. Return at 12.30pm for processing, return at 4pm to review results. The cost of entry includes the roll of film and processing.

Milton Wordley's masterpiece on display.

A Year in the Life of Grange. Milton Wordley's book, A Year in the Life of Grange, is on display at Atkins for the next week.

The book is a photographic essay on Penfolds Grange Hermitage. The book is important on several fronts,

  • it was wholly produced in South Australia, Milton's Photography, Phillip White's words, and John Nowland's design, Finsbury printed and Chasdor bound,
  • it was entirely funded my Milton,
  • it is winning awards internationally,
  • it comes in two editions, one in a collectors box featuring art prints (printed by us)
  • it is limited and is selling fast.

Please visit Atkins to see how a book should be made before these are squirrelled away into the arms of collectors.

Summer School still taking bookings

Atkins_workflowseminar_0161During the last days of January we offer a series of short courses presented by working members of the industry. The objective is to provide attendees with a head start down the correct path for their area of interest. Our Summer School is not accredited, and is not a thorough in-depth course, but you will find it enormous value. A great way to kick start 2013.

Cost to attend is $20 per session, payable when booking. Register here.

  1. Basic Photoshop - Friday, January 25th, 9.30am - 12.30pm
  2. Managing large quantities of digital images - Tuesday, January 29th, 9.30am - 12.30pm
  3. What does it take to run a successful, profitable business in professional photography? - Wednesday, January 3oth, 9.30am - 12.30pm
  4. Photoshop for printing - Thursday, January 31st, 9.30am - 12.30pm
  5. Wedding photography business models - Friday, February 1st, 9.30am - 12.30pm
For full details and registration, click here.
New York on film

New YorkEvery year I find myself heading off to Kodak's head quarters in Rochester New York for their prolab conference. It is a swell affair that fuels me with ideas. I always visit other labs on the trip, and invariably enjoy a wander with the camera. This last trip I felt like bringing my Mamiya7 120 film camera. I love how it feels in the hand, I love the aperture priority, the rangefinder focus and the big negatives it produces.

I am not a film nut. I use a Nikon d700 most of the time and I often travel with a Lumix LX3. But this trip I wanted to see New York differently.

The film I chose was Kodak Portra 400. I broke down the pro packs of 5 rolls into singles so the airport security theatre could inspect without X-ray. And this was to be my first and last surprise: At every security checkpoint, the guards were happy to feel the rolls, and do an explosives test. No questions asked. All I had to say was "this is high speed film, can you please hand inspect". Bingo.

So what was the downside of shooting film? As you would expect flexible ISO was the thing I missed most, although it only caught me out once when I wanted to make the ubiquitous subway photos. In the evening I left the camera behind. I could have opted for higher speed film, but that was not part of my plan.

Managing large rolls of 10 exposures was a bit fiddly, but I shot a lot less and a lot more deliberately. In total I shot about 11 rolls, or about 107 frames. There were few repeats, and few mistakes. Changing the film on the fly is an exercise in dexterity, but years of experience using a Mamiya Press on the racetrack came flooding back and I never missed an opportunity. The camera did not attract attention, and it's near silent "plink" sounding shutter was never noticed. A few saw me winding on, as that lever makes quite a sweep when advancing 7cm of film. The Mamiya7 hangs well from your shoulder and nestles behind your arm, it is light enough to not impede progress in a crowd, and quick to draw up as the strap comes from the right grip, so you find it easily.

I slipped back into the habit of prefocusing, where you judge the distance to subject as you draw the camera up and move the focus to suit and in the same action, checking the aperture suits. For me it was either wide open or f8. All that was left to do was compose and squeeze off a shot. No waiting for AF to hunt, no checking the LCD for the results, no options to tempt.Mamiya_legacy_h_m7II

Actually the option I did struggle with was I kept switching it off for fear of killing the battery. Which is really dopey because it takes months to flatten the battery in the Mamiya. I must learn to leave it on. But years of cautious digital use is hard to shed. What about the results?

I don't think I'm the most objective fellow, I have spend most of my life shooting film. I've pretended to be Ansel Adams lugging my 5x4 kit through the bush and Henri Cartier-Bresson with an Leica M4P in Las Vegas. So perhaps when I say I loved the experience of working with film again I'd been on a sentimental journey... I do like the way colour neg falls off to shadow and pointing it into the sun produces a look that digital struggles with. The physics of medium format gives the images a 'big' feeling, depth of field is shallower, lens boca is more effective. That 80mm standard lens (the only lens I have for it) is gold. It is a grand look.

And there is so much room to move inside the frame, so much resolution. In our experience, 35mm film through an average camera can be scanned to 25 megapixels, and there is room for six 35mm frames in one 6x7! So a big print is like looking through a window. Will I do it again: yes, why not? It is a possible choice, at least in the near future. Will I shoot digital: hell yes, it is fun, fast, flexible. What is my ideal camera: if LeicaM gets a sensor as good as the D800, I'd sell one of my kids.

If you want to see more from my trip, follow this link to Flickr.

Paul Atkins.

PS - Different story but, I worked with Simone Hanckel on our fantastic new sample images we have been using this year, and I shot both D700 and the Mamiya7 with Portra400. Simone's work was astounding as usual, my D700 shots were ok, but I spent the better part of a day working them to get the look and feel I was after...

But the 120 film shots were perfect, I gave the film to John Clarke in our C41 department, he processed and passed to our film scanning department and Karen Tilbrook did here usual great work, and bingo the look and feel was precisely what I had wanted. Not only did I shoot fewer photos, but the result was easier and as good if not better.

Was that me wanting a film look from my photographs, or is it still awesome...?

New York, hotel view New York - Intrepid Lancaster Tractors Antique Centre

Summer School Topic 5 - Wedding photography business models

©Photography by Dale. Winner of 2007 Adelaide's Best Wedding Photo. Friday, February 1st, 9.30am – 12.30pm - Wedding photography business models – The objective of this session is to compare the product based model, where clients receive albums and prints to the disk delivery model where clients receive all of the files on disk but no prints. It will be a carefully moderated session where each model can be discussed, costed and properly evaluated. Open discussion chaired by David Sievers.

Register here.

Summer School Topic 4 - Photoshop for printing

Adobe-logoThursday, January 31st, 9.30am – 12.30pm - Photoshop for printing – preparing images for both efficient production and fine art prints. The preparation of work for production has to take less time than work for portfolios or fine-art, you simply cannot spend the time on 600 images for proofing that you could for one award print entry. We will go through how you approach both tasks to get the best results. This session will demonstrate workflow tips and tricks in Lightroom, and Photoshop. Presented by Paul Atkins. Register here.

Voting is open!

Voting is open in the Adelaide's Best Wedding Photograph competition. Head down to the Winter Bridal Ideas Expo at Ridley Centre, Royal Adelaide Showground this weekend (2 & 3 June 2012), 10am to 5pm to vote on the prints.

Alternatively, you can vote on-line here. Remember, one vote per person, and a lucky voter will win a $250 voucher from AtkinsTechnicolour.

Click here to vote. Click here to find out more about the competition. 



I am still reeling from another great PMA and APPA convention. The PMA (Photo Marketing Association) is made up of photographic retailers and wholesalers, mostly camera stores and print providers. APPA on the other hand, is the Australian Professional Photography Awards, which is judged in the middle of the PMA trade show. The trade show attracted 20,000 visitors, and it covered most of the Melbourne Exhibition Centre (Jeff's Shed) and ran for three days. The visitors were mostly general public, but a big swag of the professional industry made the pilgramage to the largest photoshow in the southern hemisphere.

The APPA judging is intense, and made more so by it's location on the show floor. Interested viewers were stuffed 10 deep watching four panels of five judges look at thousands of images then , score, debate, and award. The results are slowly filerting out, and tonight is the gala awards dinner, the fifth and final night of partying...We will find out who got the highest scoring print, who won what category and who is Professional Photographer of the Year.

APPA really benefits from the exposure the tradeshow brings. APPA entrants are mostly AIPP (Australian Institute of Professional Photography) members. They are working photographers who are trying hard to raise their practise and improve their photography. The industry must educate the general public as to what it takes to be a professional photographer, and what is a great photograph. This show helps define and promote our industry members.

As a printing service we are having a lot of success at both state and nationally with our client's entries. This year Hilary Hann won Fine Art Photographer of the year with her portfolio of four images. Congratulations Hilary!

In paralell to the judging and tradeshow are a series of lectures run by even more indusrty bodies. Consider these: APCI, DIMA, PSPA, PIEA, PMA, AIPP, IDEA. There is a smogesboard to choose from.

As an indication of speaker quality, the IDEA group (the body that runs the show itself) secured AJ Riebli, a production manager at Pixar Studios. AJ had is not a public speaker, but he makes animated features such as The Incredibles, Finding Nemo and Cars. Opportunities to speak with people like this are rare. AJ walked us through the process of making La Luna, Pixar's recently Oscar nominated short film.

AJ wenth through the process from inception to final production, he discussed everything from sketching and modeling characters to lighting and special effects, we all felt closer to probably the worlds largest creative organism, Pixar studios. In no other industry are more creatives wrangled on one task, and AJ is one of the wranglers.

Last year, we were graced with the presence of Ita Butrose, she spoke about her life in business. Another amazing chance to learn from someone who has made so much from their life.

Strangely, both AJ and Ita's sessions were not full. The reason is that the PMA membership is dwindling due to sales moving on-line and through lack of printing. The PMA recognises that the tide has turned, wisely they are not attempting to stop the tide. They are in the process of refocussing the organisation to bring education to all photographers and promote buying locally.

There was nothing stopping the APPA and PMA attendees from seeing AJ or Ita, infact they walk past the entrance to the auditorium on the way to the judging! What is lacking is the communication between two parties who really need each other. Sometimes the solution to your problems lies with your neighbours, and you just need to lean over the fence and ask.

Paul Atkins.



Are you thinking about fusion?

The Grandfather.A Photo Essay by Todd Heisler and Alexis Mainland.

This is an astounding example of using still photos with spoken work to create a memorable portrait. Very moving. This should be inspirational for all, and photographers, a guide into the world of 'fusion' where stills can be used to make a short video.

This is a New York Times presented essay and is a part of a series "One in 8 Million" that tells the story of New York characters. It is a mix of images from Todd Heisler and interview and production by Alexis Mainland. Enjoy.

Link to video.

Calculating the dynamic range of your digital camera.

Why do this test? Years will go by where you guess what your camera's exposure latitude may be, you may wonder why in some shots the skin tone has gone grey. You may want to know if you can shoot that scene at midday, or what those night shots will come out like and what different ISOs do to the detail and colour of a scene.

In doing this test you will quickly learn the quirks of your camera, you will gain a better undstanding of exposure and light. Eventually these numbers will become a part of how you work with your camera, you will be able to engineer shots that are much richer in colour and detail. You will know what you and your camera gear are capable of.

It will take about 40 mins the first time, if you choose to run the test at various ISOs, it will take about 20 minutes each test.

Why can't you trust the histogram on your camera? It is based on your in-camera processing, you know you can pull more out in your raw converter. The camera's histogram is only a guide, as is the highlight warning tool. Those flashing highlights are only an indication of what you have captured. Careful metering based on an understanding of what your camera is capable of is the only way to get perfect exposure for any scene.

What you need.

  • Camera with manual function, this test is for digital cameras, but same principals can be used for film.
  • Set the camera's metering to spot rather than center weighted or matrix as you will need to meter off a specific part of the scene.
  • Tripod or other method to lock the camera position.
  • Consistent light source.
  • Pure white object that is not too reflective, textured white fabric is good.
  • Something to cast a deep shadow.
  • Colorful object that has both pastels and strong colour, include a skin-like tone and other pastels as well as some saturated colour.
  • Grey card for metering and white balancing.
  • Good quality calibrated monitor to evaluate the results.
  • Photoshop or Lightroom or any program that can display digital images accurately.

This test is partly subjective. You need to decide what you would accept as a white with detail and how much shadow noise is acceptable.

Ideally the test camera will be capturing raw files, while the test can be performed with jpegs, you will be sacrificing dynamic range shooting jpegs. You may also want to consider ensuring your camera is set to the maximum bit depth, It is a little known fact that the Nikon D700 ships in 12bit mode when it is capable of 14bit mode! That is a strange decision by Nikon as those extra bits contain useful data.

How a light meter works. It is important you understand how a light meter works. They are simple tools, all they do is calculate the exposure required to make what they are pointed at a mid-toned density (12% grey to be precise). Therefore, metering off pure white will make that white expose as a mid grey. Metering off a black will make that black a mid-grey. So in proper use, you only want to meter off a mid tone to get correct exposure. A white in the scene needs to be over exposed, and a black, under exposed.

The setup. Set your light close to your subject so you get a fairly dramatic subject with shadows and highlights. You want enough shadow and highlight to meter off accurately. Ensure the setup fills the viewfinder. Ensure the camera is focussed and it will pay to leave the focus in manual mode so it doesn't change.

White balance the camera to your lighting (do not choose auto white balance). Set the camera on manual. The camera can be moved for the metering otherwise, everything must be locked down. To make the test easier to evaluate, you can vary the framing for each of the three tests slightly, so you can tell one from the other easily.

Set the camera's ISO to a typical setting. This test should be repeated at both high and low ISO to see how ISO affects dynamic range with your camera. You may also want to test with different lenses and filters if you have the time.

If you want to compare several cameras in a truly scientific manner, the test must be performed identically each time with each camera, so be precise where you meter off and do not change the set up between tests.

Highlight test. Point the camera in spot metering mode at the whitest part of the subject. If the white material chosen is shiny (highly reflective), it may pay you to avoid the specular highlight as this should be blown our as it is a direct reflection of the light source. You are tying to meter off the area where you would want white with detail.

The camera will be in manual mode, choose a high-ish f-stop and set the shutter speed so the exposure meter indicates correct exposure. Then adjust the fstop to the lower numbers (not adjusting shutter speed) as you gradually over-expose each frame, letting in more light. Ideally you want to open up at least 5stops through the test. Most dslrs fstops' move in 1/3 increments, in this case you will make 15 exposures. You will note on the back of your camera the image getting brighter and eventually blowing out the whites.

Shadow test. Point the camera in spot metering mode at the darkest part of the subject, the deep shadow you arranged. You are tying to meter off the area where you would want minimal detail.

The camera will be in manual mode, so set the shutter speed so you get correct exposure at a low-ish fstop (perhaps f4). Then, adjust the fstop to higher numbers so you are letting less light in, gradually under exposing. Ideally you want to close down at least 5stops. As in the highlight test, expose at each 1/3 stop closing the lens up to minimum aperture (f22 or whatever your lens is capable of). You will note on the back of your camera the image starting with out blown out whites, then getting darker and eventually loosing a lot of detail as you go through the steps.

Midtone Colour test. Use the spot metering mode to meter a mid-grey that is in the scene. Ideally a grey card should be used. The grey card should be facing the camera on the same plane as the scene (the closer to the light the brighter it gets, so meter as precisely at the subject as you can) and with grey card pointed directly at the camera.

Next, in manual exposure mode shoot three stops up and three down from the ideal metering. Use the smallest increments your camera offers. Your starting fstop needs to be midway on the scale (f8) to allow for the 3 up and 3 down. If your camera shoots in 1/3 stop increments, you will shoot 9 frames up and 9 down from that mid point.


Evaluation of shadow and highlights. This is where you need your opinions. Open up all of the files in your editing software. I use adobe Lightroom as it allows for quick evaluation of the raw files. Make sure all presets or effects are off. A good quality, properly calibrated monitor will ensure you are seeing the detail you should see. Many monitors struggle at the extremes and we are testing extremes.

Start at the first exposure for white, which will look ok, but dark. Move through the successively lighter exposures until you find one that you can't recover the highlight detail satisfactorily. Use both exposure adjustment and highlight recovery tools. The image prior to this is your is your 'white with detail' point. Count back to the start exposure. Count the full stops. This is your highlight latitude.

Next look at the exposure for black where the shadow you metered off is grey and the image will look very light. Again move through the successive exposures, getting darker, looking for the image where the shadows are strong but can be lightened so detail appears, but noise is acceptable to you. Use exposure and shadow lightening methods, you are testing all the tools you have to make those extremes work for you. Again count the full fstops to the first exposure for the shadows. This is your shadow latitude.

Evaluation of midtones. Start with your ideal exposure and work both up and down the apertures noting at what point the pastel, or midtone colours begin to change. You may see a desaturation or loss of colour in some of these softer colours. As they drift away from ideal, note both the under and over exposure point at which this happens. This will give you your midtone latitude.

In conclusion and in practise. If midtone colour and highlight and shadow detail are critical to you then you need to know your camera and how to use it's light meter.

If you know white with detail is 3 stops over exposed, then, when shooting a scene, meter the white you want detail in. If it is 3 stops or less over the midtone exposure, then all is great!

If your black with detail is 4 stops under exposed, and your scene metering matches this, then also great!

If the scene falls outside of these boundaries...

  • You have to accept a less than ideal result. Which you will understand what it will look like as you will have performed this test.
  • You can change the lighting by using repositioning, reflectors, or flash to manipulate the dynamic range of the scene.
  • Or use HDR techniques to take multiple frames varying the exposure for the problem areas, and combine the frames in post production.

We are bound by the laws of physics. In knowing your boundaries, you can play at your fullest potential.

Paul Atkins.

Tips for photographing in ice and snow conditions.
  1. Batteries will not last as long. Bring several spare charged batteries, expect less than half their normal life. Keep the spare batteries warm.
  2. Condensation occurs when you take a camera from a warm bag or within your parka, it will mist up. Slowly acclimatise it to the outside temperature before you shoot.
  3. Exposure in snow and ice does not work the way it normally works. Your camera measures the exposure of an area and attempts to bring it's density to a mid grey. So left alone, your camera will expose snow to be a grey, and any dark subject within the scene will be black without detail. You need to over expose the white snow by +1 to +2 stops to place it's exposure correctly. Shooting RAW will help adjust for this when your camera lets you down.
  4. Look for interesting subjects. Whilst the snowy enviroments are a total experience for you when you are there, they can be underwealming when looking at the prints, always shoot for interesting subjects and details.
  5. If the scene before you is amazing, perhaps a sunset or a great feature, spin around, it may be just as beautiful behind you. Also don't over shoot the one scene, move your body and get the picture from other angles.
  6. Take many camera cards instead of one big one. The old addage of 'keeping your eggs in one basket'. Also number those cards with a marker so you know what you have used.
This list came from some research I did before a meeting with the winner of the ANZANG - SAMuseum - Peregrine Travel - AtkinsTechnicolour trip to Antarctica. Jessica is off for an amazing adventure. We wish her and her husband bon voyage!
Paul Atkins.
Why we should have swapped places last weekend.

I had to wrench myself out of the comforts of a post-school holidays work and home environment to head up to the AIPP Hair of the Dog (HOTD) conference in Brisbane. I got there, was not thrilled with our stand location (between two competitors!) and a bit tired from the panic of putting a stand together in a few days (another story). Within a few hours I had realized how worthwhile the trip was.

The Qld HOTD team had put together a world class line up, but it was the format that was fantastic. Small enough to socially interact with every speaker, and big enough to be able to afford them. And as we all know more is to be gained between the sessions than at them. I hope SA can wrangle something like this one day.

Here are 10 things I picked up at this hairy dog, there are sooo many more, I will slip them to you over time:

1. SEO - on your website put a contact form on each page so readers can ask questions and subscribe everywhere - Matt Adams 2. Website structure - build your website with Wordpress and use Artisteer to create your own custom design. - Matt Adams 3. Use Google easy search to find the keywords that people use to find your type of business and make sure you include them in as many pages and posts as you can. This will boost your ranking. - Matt Adams 4. When photographing babies, Kristen Cook uses music and sounds to keep a constant level so when the camera fires, the baby is not startled. 5. Great photographers know what will happen next because they have experience. It takes time to learn your craft. Luck is where preparedness meets opportunity. - Greg Gibson, former Whitehouse photographer, now top wedding photographer. 6. Facebook marketing is really effective because your targets have opted into a walled garden, and tend to trust the environment more than the open Internet. Point in case, the Qld president Jan Ramsay generated 108 leads from a campaign, and has translated that to 12 solid bookings and 15 maybes for a relatively small expenditure of about $500. 7. Jonas Peterson told how his life and his personality informs his work and not a desire to "be like" any other photographer. You can only be yourself, you can only see from your perspective, so embrace that. 8. Christine Pobke spoke of the importance of personal projects to inspire you and promote your name. She told how a chance loan of a sofa to sleep on and the inevitable early wake up from the children of the house, and a close camera, led to her successful sleepover sessions that she has become known for. 9. Yervant demonstrated Snapflow software to remove frames from digital video stream. He is already running a Canon 5d during shoots, sometimes unattended, to capture video, from which he lifts stills for the album! And Canon will be releasing a 4k camera soon that each frame will be 5d resolution!! 10. Don't ever close your mind off to information because of the source. There is gold in the strangest places. - I have to remind myself this occasionally.


Chrysalis, unravelling anorexia

The opening of Emma Kate Codringron's photo essay on anorexia. Remarkable work from a talented and driven person. The work is printed by us on German Etching, Emma Kate's hanging method is amazing; tiny pegs on the top holding onto vintage string to 3m hooks. To keep the prints flat we mounted on to gatorfoam but allowed a 30mm overhang of the German etching. Really cool.

Emma Kate's story is harrowing and compelling and ultimately positive as she is a survivour who has grown through the experience.

I came away with the understanding that a condition such as anorexia is never cured, it is managed, it is held at bay with courage and support.

Everyone should see this show. Paul Atkins.

Adelaide's Best Wedding Photograph....

  Meg Hansen's winning pictureYes it is on again!

AtkinsTechnicolour is proud to announce the competition is off to a racing start, we have been receiving enquiries for the past month and it seems as though it will be as popular as it was last year (we had 51 entries!), we have our position booked in the Winter Bridal Fair at Wayville showgrounds, and a space ready in the Adelaide’s Brides’ Diary for the winner. 

So if you are a professional wedding photograhper and you think the public love your work, why not be a part of this great opportunity, let the public judge your work against other photographers.

Click here for more information.

Well done Megan Hansen for last year's winning entry pictured above.

Approaching weddings differently

  Simon Casson's Yellow Box

In the face of changing demands from wedding clients, Simon Casson has responded by opening up another service to capture the imagination of modern brides.

Simon's Yellowbox service sets about to simplify the process while keeping great photography at the core.

It's a great idea, there is always a market for simple elegance. Perhaps Simon has been inspired by Coco Chanel's mantra: 'before you go out, look in the mirror, and take one thing off'. - Paul

Yellowbox website

Simon Casson website

Here is Simon's press release:

Simon Casson has seen so much growth in the local wedding market that he has just launched a new business to cope with demand.

Based in North Adelaide, the current SA Editorial Photographer of the Year balances a "Monday to Friday" portfolio of local, national and international commercial clients with around 12-15 top end weddings per year on weekends.

"Around 75% of my wedding clients live either interstate or overseas - one or both of them may have grown up here, since moved and now are coming back home to get married", says Simon.

"Australia really does lead the world in quality wedding photography and as far as I am concerned it is my editorial style that influences how I shoot and how I design each wedding album"

The remainder of his local wedding clients are made up of a who's who of the local creative, media, law and medical community.

"We even had the booking of a certain international sporting personality until he decided to marry somebody else!", Simon said.

In response to ongoing requests he has now launched another service aimed at the broader Adelaide wedding market - Yellowbox.

"Yellowbox is comprised of a small team of select photographers who share my philosophy of editorial approach, totally unobtrusive and know how to have a fun day with the couple and their friends and families."

To celebrate the launch of Yellowbox all new customers receive a new iPod with all of their wedding images loaded ready to show their friends and family.

In the meantime Simon is looking after his loyal commercial/advertising clients and getting ready for a big wedding in Sydney on Anzac Day.

Even with the excitement, pressure and expectation of the average wedding day, Simon wouldn't have it any other way:

"I am so privileged to be such a large part of a couples day - I see so much - some very funny and emotional moments - I could write a book about the events that sometimes occur"

Even in this time of corporate economic uncertainty, weddings are showing no sign of being affected.

"It's a great day for a guest, you dress up, there's lots of smiles and kissing and sit down for a meal and some drinks and have fun! Everyone loves a wedding!"