"I create images and visual design for artists, galleries and antique dealers in many areas of specialisation, ranging from oil and watercolour paintings, sculpture, jewellery, ceramics, textiles, glass and furniture whether it is for business cards, artist profiles or gallery invitations or exhibitions.

I offer you 34 years experience in the arts environment. This includes having established the photographic department in the Sydney Powerhouse Museum in 1977, which I managed until 1989 when the revamped exhibition hall successfully opened.

Given the broad range of art objects in the many collections and exhibitions at the Powerhouse, my expertise is particularly suited to artists and galleries.

During these last 16 years I’ve been working in the advertising, government, commercial and private environments. These have contributed significantly to further expand my skills and expertise.

My imagery has been honoured with a Hasselblad Masters award, as well as many Australian Institute of Professional Photographers awards, and I have achieved the distinction of (AAIPP) associate. Recently I was a finalist in ‘Shoot the Chef’ 2005 portrait prize at the Art Gallery of NSW. These awards justify the many hours spent refining my skills. But more importantly, they allow me to guarantee your project will be produced to the same high standards. Please view the website www.gregpiper.com.au for a comprehensive insight into my work.

Production services extend to digital image manipulation, retouching, restoration, and montage. Also undertaken is scanning existing film and creating high quality files for offset reproduction, on-screen or web use as well as digital output devices i.e. photographic colour prints.

Grant applications may be presented as slides or PowerPoint presentations and their specifications are different to a publication or newspaper articles.

When necessary in the studio, I am joined by my assistant, Asimina, a talented fine arts graduate, who not only assists with photography and design but also keeps the studio running smoothly. I work with a wide range of clients nationally, even internationally.

A selection of recent projects and clients are:
Chief Secretary’s Building, a restoration exhibition
Jalna Yoghurts product, retail website and brochure
HolySheet Homewares, bed/bath catalogue, buspack and website
Woolloomoolloo Finger Wharf, a corporate restoration brochure
Sydney Town Hall Collections, a history book produced by City of Sydney Council
Turkmanistan Jewellery, retail collection - Lynette Cunnington Asian Art
Australian Glass Today, a 2005 glass artists reference book written by Margot Osborne

1. How do I select the best photographer for
my project?

Most commercial photographers have areas of specialisation, so make sure that whoever you use has the experience, skill and equipment for the particular task at hand. A professional will tell you if they are not the right person for your assignment.

2. How can I get the most out of my photography project?

Be clear about your objectives: the very first thing is to discuss what you are trying to achieve - what do you want the photograph to communicate, what are these pictures for? Good photographers are good communicators, so involve them early, and make them a part of your team. Allow enough time: careful planning and sufficient pre-production time is critical to a good outcome for all concerned - good photographers are interested in quality and effective imagery just as much as you are. If you are uncertain about your needs, ask questions. Communicate with all your team: it’s always important to put your photographer in touch with any graphic designers or other creative people involved with the project – after all, they will have to use the pictures. If the photographer envisages a really nice horizontal panorama and the designer is imagining a vertical shot, they need to talk to each other!

3. How do commercial photographers charge?

Commercial photography is priced according to the nature of the work and the client’s usage requirements. Factors that affect the fee include the anticipated use of the images, the photographer’s creative talent and experience, production time, equipment, facilities, image requirements, usage, deadlines, site logistics and other specifics, and staff. The creative fee also must cover services in addition to the photography itself, such as pre- and post-production time.

4. To get an idea of budget, what should I ask for?

Make sure you are clear about what you are asking for - a fixed quotation or an estimate. Estimates are usually given in a non-competitive situation and may be flexible depending on the nature of the project. However, a quotation will have a bottom line that includes all the factors needed to create the images you need for the purpose you have outlined. Some photographers in the industry work on a ‘day rate’. Comparing day rates within other photographers’ quotations can be misleading, as there are lots of other factors that go into getting the right picture created, which the day rates may not include.

5. How can I ensure the best value for my budget?

Don’t just compare prices; compare the style and the professional way in which the work will be undertaken. With professional photography you get what you pay for. The value of the photographs to the client is a big factor in determining the fee. Don’t cut corners on quality lighting; rather, discuss with the photographer other ways to get the pictures you want. There will always be someone willing to photograph your project for less, but look for value, not price. Professional expertise and experience will save you money in the long run. This is your insurance on how your work is seen by others.

6. Who owns the copyright to my project’s photographs?

Under Australian copyright law, as creator of the images, the photographer owns the copyright to any images they make and the usual practice is to license the use of the pictures to you as the client by agreement. As copyright owner the photographer has the right to control copying, reproduction, distribution and display of the photographs. In exactly the same way that a musician is able to control the copying of their music, and, just like a CD recording of music, possession of photographic material such as slides, prints, transparencies or digital files, does not grant the right to reproduce the images. If you plan to give the photographs to others who were not involved in the assignment, or if you have received photographs without written permission for their use, remember only the photographer can license rights. Copyright and the right to use the pictures cannot be transferred without consent of the copyright owner. Agreements should be in writing to protect everyone’s interests and, to prevent misunderstandings, agreements should be signed by both parties.

For further information contact Chris Shain, currently a director of the Australian Copyright Council, at www.copyright.org.au

From the top of the page:

Ceramic art by: Shona Wilson, Merran Esson, Anders Ousback, Janet Mansfield,Jenny Orchard,
Shoot the Chef - 2005 portrait prize, Stephen Bird, and Stephannie Colston.