2015 AIPP APPA Category Winners

John Ansell APP M.Photog- 2015 AIPP Australian Professional Photographer of the Year

John Ansell APP M.Photog - I credit the scouting movement with keeping me out of a lot of trouble as a teenager. The Jungle Book by Rudyard Kipling when younger, and the integrity of Lord Baden Powell when slightly older, seemed to resonate with me. He seemed to display the best of British characteristics that this changing country needed. In every scout hall I went into there would be this portrait of the founder Baden Powell looking down. This image concept is entirely about that small portrait of him in the background. The shirt is that of a young scout and Lord Baden Powell is placed to be looking down on an older, softer and hopefully wiser man, not the young, and often stupid, teenager he looked over and tried so hard to guide in the 70's industrial town of Dandenong. Perhaps only my family can tell you whether the founders efforts were successful.

John Ansell APP M.Photog - Living in a regional area dominated by the coal powered Electricity industry we are blessed with a strong migrant community. Many migrants came out to Australia after WW2, and in particular to our region, from small Italian towns to build the industry and region into what it is today. I wanted to create an image that displayed the strong work ethic of those migrants, the literal rolling up the sleeves and getting the job done. It was harder yet simpler times, and the nearby Gippsland Immigration Park celebrates the contribution of immigrants to the development of Gippsland. In a timeline of Australia this post war migration changed the shape of our region and I wanted this portrait to celebrate the strength of those immigrants.

John Ansell APP M.Photog - Sometimes as photographers I think we all have preconceived ideas in our heads. In my Timeline of Australia series I was looking to honor the original Australians. I was influenced by recent public displays of strength and pride at AFL sporting events. I was introduced to Ronald Edwards and he was keen to get involved. A fine and respected Artist in his own right, Ronald is a very proud member of the local Gunai Kurnai people. However the more we progressed it became clear to me that my original concept did not really suit this wonderfully gentle, softly spoken and quietly proud man.

John Ansell APP M.Photog - I have had the idea for this image rattling around in my brain for some time. Like all areas of Australia our region has seen many people from Sudan join us, often from the larger Metropolitan areas. If my project and plan was to provide some sort of timeline of our country then it seemed to me this was a great image concept to provide some sort of bookend. To literally break free from the restrictions of the past to a new direction, for not just an individual, but for our country. This wonderful young man was keen to get involved and completely comfortable with me chaining him up. An act that I confess had me concerned for a man of African descent, that had spent two years of his childhood in a refugee camp. I need not have worried. A keen sportsman and University student he epitomises the hope, confidence and determination of a young generation and hopefully our country.

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KELLY TUNNEY APP M.PHOTOG II - 2015 AIPP AUSTRALIAN WEDDING PHOTOGRAPHER OF THE YEAR

KELLY TUNNEY APP M.PHOTOG II - For the last couple of years at APPA I’ve always had the idea of experimenting and pushing the boundaries with printing and presentation ideas. Without going into too much of the back story of this particular portrait. It’s a simple shot and it had to be to experiment with this particular technique. This image was printed 3 or 4 times and cut up and put back together again. I spent considerate time in an art shop talking about 27 types of glue to make this work. I went with Rice Glue in the end to also add a textural vanish to the last coat. It was a huge risk. Will they get it? Will they create the narrative I had in my head? In the end, everything I anticipated happened. Judges scored ranged from 70 to 92!!! You’re going to LOVE it or HATE it

KELLY TUNNEY APP M.PHOTOG II - It was a crazy January stormy day in Canberra. Winds were quite fierce (as you can see). We were about to finish up our location shoot with Melissa and Luka and I noticed the bridge and storm clouds in the background. I ran down to a (very busy) main road underneath and just let them go. I was too far away to direct or even speak to them but this crazy veil had a mind of it’s own. That became the shot!

KELLY TUNNEY APP M.PHOTOG II - I wanted to create a memorable piece of art for my wedding clients, Dan and Cait. Cait had mentioned she had killer shoes so I knew she would be on board with the concept. I wanted to give them something that would showcase the personality of the wedding in the most unique way possible. It got everyone at the wedding involved and was a real hit (even when the guests may have had too many drinks to get their shoes off)!! We set aside a tripod and some studio lights at the reception (in the couple’s backyard) and invited everyone who wanted to, to get involved. Last count on the tally said that we captured 78 pairs of ‘party shoes’ that evening! You can really see the personality of the guests with shoes ranging from crazy platforms, sneakers and even thongs! We also had a grandpa cane and untidy kids shoelaces.

KELLY TUNNEY APP M.PHOTOG II - I had such a brilliant bridal party in this shot! I prepared them to do something crazy at the end of the shoot. Explaining that it was ‘over the top’ so go crazy and make me believe this is the best fun you have ever had at a wedding!!! It started off a little tongue in cheek when I first had the idea. I thought of trying to incorporate every cheesy/kitsch crazy idea of things people do at weddings. Like frames over heads, throwing the bouquet, the drunk bridesmaids, and singing…..you get the general idea. But when everyone came together, they all got so into it and had so much fun. It become real, and not a ‘piss-take’ I love this shot!

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Easton Chang APP - 2015 Australian Advertising Photographer of the Year

Easton Chang APP - Shot on location in El Mirage desert, California USA before approaching rainy weather, we had to shoot fast before the rain would reach us and potentially leave our team stranded in a muddy lake bed. This is a specially modified Mercedes Benz AMG GT-S from San Diego.

Easton Chang APP - This shot for Mercedes Benz Australia is a fantastic collaboration between the photography, designer and stylists on set. The image was shot on location near Broke, NSW. We literally had minutes to shoot with the thunderous clouds approaching over us. The result is a gloomy, mysterious tonal image that depicts the day and location we shot on the day.

Easton Chang APP - An image shot for Chrysler Action, this Valiant was shot in the back streets of Sydney late in the evening.

Easton Chang APP - Shot for Porsche Australia, this is the million dollar Porsche 918 Spyder in the absolute centre of Australia. The brief was to showcase the German supercar in contrast among the Australian colour and landscape.

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Trevor Foon APP.L M.Photog III - 2015 Australian Alternative Process Photographer of the Year

Selena Rollason APP AAIPP - 2015 Australian Birth Photographer of the Year

Selena Rollanson APP AAIPP - x This image shows the caesarean birth of a rainbow baby named Logan. Mum lost his baby sister Lucy in 2012 when she arrived in the world too soon. Emotions were very high when Logan's Mum went into labour with this baby boy because all they wanted was for him to be born alive. In the end, a natural delivery could not be achieved so a caesarean section was performed. This image depicts baby Logan being lifted above the curtain to show his Mum who can be seen in the bottom of the image with Dad's hand on her head.

Selena Rollanson APP AAIPP - Baby Theodore was not expected to live very long due to a genetic condition diagnosed during the second trimester of pregnancy. His parents were told that he may not survive the birth and if he did, he may only have taken a breath or two. They asked me to be present to capture the day as an everlasting memory of their beautiful baby boy. It was a highly emotional day and his parents were amazingly strong throughout. Sadly baby Theodore passed away during the birth and did not live to breath air with the rest of us. He was beautifully wrapped up and placed in the cot by his parents who then spent some very valuable time with him over the next few days prior to his burial. This family are now a special part of my life and I dedicate my award win to Baby Theodore, his family and his memory. RIP Theodore, may you fly with the angels and watch over all of us forever.

Selena Rollanson APP AAIPP - Dad's often don't get a chance to be hands on during the birth of their baby. This Dad was studying medicine and asked to be more involved in the birth of his daughter by delivering her himself. The doctor showed him what to do and where to put his hands. Then using his gloved hands, the doctor supported Dad as the baby's head slowly emerged. Dad loved being involved and couldn't have been prouder of himself for doing it.

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Johannes Reinhart - APP AAIPP - 2015 AIPP Australian Documentary Photographer of the Year

Johannes Reinhart APP AAIPP - Street photography is where I charge my batteries. It’s where I can be free of demands, walking around and watching the theatre of life unfold, where a gesture, or the way somebody walks gives a hint about their lives and leaves me wanting to know more. Sometimes I daydream scenarios and make up little stories in my head of the people I see. On a sunny day in Cottesloe, I walked past this restaurant, spotting the staff cleaning windows and I was immediately drawn to the scene. I often don’t want to attract attention to myself, which isn’t easy when you carry a large digital slr, so I quickly worked out my settings, pre-focused and hung around a little looking in the other direction. When I sensed that the moment was right, I quickly composed and took a couple of frames before they could see me.

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Katie Kolenberg - APP M.Photog - 2015 AIPP Australian Family Photographer of the Year

Katie Kolenberg APP M.Photog - This is a composite of 12 images of the reflection of two siblings playing next to a dam on their family property just outside Canberra. I positioned them across the water, and then encouraged them to play with each other, run around, show their coolest dance moves and just generally muck around. The resulting image is quirky and illustrative making them look like little cartoon characters.

Katie Kolenberg APP M.Photog - These frames were captured right at the end of a particularly challenging session in a client's home. Directing a portrait session with three children under five is something most family photographers will have faced. But instead of making the children behave like something they're not, I set them up and waited to see what would happen. I feel particularly passionate about doing this, and have only ever received positive feedback from parents regarding images like this.

Katie Kolenberg APP M.Photog - We call this little girl 'Kissy Face'. She was photographed in our home studio. The first thing her mum did when they arrived for their family portrait session was apologise for her daughter's lopsided pigtails. But all I saw was the potential for a truly adorable baby portrait.

Katie Kolenberg APP M.Photog - This is a composite of 12 images of the reflection of two siblings playing next to a dam on their family property just outside Canberra. I positioned them across the water, and then encouraged them to play with each other, run around, show their coolest dance moves and just generally muck around. The resulting image is quirky and illustrative making them look like little cartoon characters.

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Vicky Papas - APP AAIPP - 2015 AIPP Australian Fashion Photographer of the Year

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Gee Greenslade - APP AAIPP - 2015 AIPP Australian Illustrative Photographer of the Year

Gee Greenslade APP AAIPP - Named Logical this image was created as a part of an ongoing series called 'We Could Have Moved Mountains' and talks about the tension between the digital age and natural world.

Gee Greenslade APP AAIPP - This was created as a piece illustrating one of my favorite Carl Sagan quotes

Gee Greenslade APP AAIPP - This is from a series called Blud Lines that was inspired by early 2000's digital art created on websites like devaintart. Its called Death Becomes Her. This image in particular is a mix between traditional digital photography and phone photography.

Gee Greenslade APP AAIPP - Inspired by the work of Ruben Ireland this piece is a part of my ongoing series 'The Arena' - a collection of warriors or 'tributes' going into a creative arena.

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David Evans APP M.Photog I - 2015 AIPP Australian Landscape Photographer of the Year

David Evans APP M.Photog I - Highest Scoring Print - “How to take feedback constructively to turn an 81 into a 97 using the ‘reindeer method’”; This scene is near Abisko in Swedish Lapland within the Arctic Circle, right up in the north-west near the border with Norway, during the ‘daytime’ in the winter polar night. It was about minus 5 degrees from memory, with not a breath of wind. I could hear the snow falling. It was mid-December 2014, and this stream would soon freeze over for the long polar winter. I have named this image, ‘Open Water’. This print was originally entered into the SA AIPP state awards as a straight landscape, sans reindeer. It received a respectable score of 81, a silver. So, how did it become a Gold Distinction and Highest Scoring Image at Canon APPA, with a score of 97? The judges at the SA state awards provided some excellent feedback. Aside from some comments about snow detail and handling of the white tones, which were easily corrected, Alan Moyle commented that he was led nicely into the scene by the water but ultimately there was nowhere for his eyes to rest and he ended up at the small patch of sky at the back. Not ideal and of course I could see what he meant immediately. I had felt prior to the state awards that the image was nice, but I wanted to like it more. It needed a reference point and a counter-balance - an animal perhaps. Something elegant. Alan had given me an idea to make the print really sing. I immediately thought of a reindeer I had photographed in the forest the day before at Reindeer Lodge near Jukkasjärvi. The pose of the animal was unusual yet dignified, and at the time it had stuck in my mind even though I’d not yet downloaded the image from the memory card. Now, many of you will know that my attention span with computers is short - and landscape composites are not usually my thing. However, I could really visualise the scene with a reindeer and decided to be bold and try something different. Pushing my boundaries is, for me, what entering APPA is all about in a personal sense. This is of course within the rules, but it’s new territory for me in regards to landscapes. All four of my entries this year were composites of varying degrees, with all elements captured within the same area in a 3 day period.With the help of Gee Greenslade, the reindeer was introduced to the composition. It is actually quite a simple composite. I then spent a bit of time ‘seating’ it into the landscape with some light dodging and burning on it’s fur and the snow underneath. The result is exactly how I had imagined it. The white reindeer was added as a ‘hidden’ element, and also to ‘engage’ with the first reindeer’s body language. White reindeer are considered good luck, and it seems to have done the trick! I will be giving her an extra carrot when I return to Reindeer Lodge next year. I happened to watch the judging of this print unfold, and I will never forget it. Watching the challenge after the initial score, and then the mention of the white reindeer which had not yet been seen by all the judges - then a score of 100 from one judge, and some tears from another. I don’t usually like to make people cry, but this was perfect. I nearly cried myself when the final score of 97 was announced. I only hope the knowledge that the scene was in fact partly imagined does not diminish the judges’ memories of the experience. It was captured using a Pentax 645Z with 120mm lens, and printed using an Epson 9880 on Canson Edition Etching Rag. Printing this image was incredibly difficult and it was the print I was most unsure about of the four I entered. I’d stared at it for so long that I was finding it hard to be objective. Getting the blacks just right, especially in the water, meant I re-printed 14 times before I was relatively happy with the result. I’m so glad I did. I’m also so grateful for the feedback I received about the original print, and more importantly that I was open to doing something creative with the wisdom gifted to me at the state awards by Alan Moyle. My intention this year was to produce a portfolio of quiet, understated and gentle images that didn’t scream at the judges. Snow-scapes seemed perfect for this purpose, and I think the gentle nature of reindeer perfectly complemented the feelings I wanted to convey. My prediction now for ‘what’s hot’ at APPA next year in the Landscape category is ‘reindeer aerials’ :) Special thanks to Peter Rosén at Lapplandmedia PhotoAdventures Abisko, Nutti Sámi Siida - Reindeer Lodge Jukkasjärvi, and STF Mountain Station Abisko. And also to my sponsors Epson Australia, Pentax Australia, Vanguard Australia and Triple Scoop Music.

David Evans APP M.Photog I - This tree really stood out from those around it due to it’s symmetrical form and perfect boughs. It was situated near the stand of trees with the red trail marker featured in one of the other images, near Abisko in Swedish Lapland, once again during the ‘daytime’ in the winter polar night. It screamed at me to be photographed. To me the image is all about minimum, delicate black in maximum, gentle white - the dormant submission of nature in the depths of winter. The empty sky is an intentional part of the narrative. After capturing this photograph I lay on my back in the deep, dry snow and let the snow fall into my open mouth - listening to the nearby stream bubbling it’s way to nearby lake Torneträsk. The dogsled was added for scale and context, and simply to add to the story. I’m still unsure if the addition was necessary. Nevertheless, the print received a score of 86, a Silver with Distinction. Captured on a Pentax 645Z with 35mm lens, and printed using an Epson 9880 on Canson Edition Etching Rag. Retouching assistance by Gee Greenslade. Special thanks to Peter Rosén at Lapplandmedia PhotoAdventures Abisko, Nutti Sámi Siida - Reindeer Lodge Jukkasjärvi, and STF Mountain Station Abisko. And also to my sponsors Epson Australia, Pentax Australia, Vanguard Australia and Triple Scoop Music.

David Evans APP M.Photog I - This photograph was taken on a snowy afternoon near Abisko, Swedish Lapland, during the ‘daytime’ in the winter polar night. It was so still that the thick snow was piling impossibly high on even the smallest twigs and branches. I set off through the thigh-deep snow in search of a composition that would accentuate the shapes formed by the snow-covered trees. This stand of trees caught my eye, not only because the red trail marker was so striking against the colourless surroundings, but also because the slight backlighting made the edges of the snow perched on the delicate branches so crisp and sharp. The image was entered into the SA state awards where I again received valuable feedback about improving the print, although it received a Silver with Distinction regardless. Small additions of the faint ridge line in the background and the footprints were made for APPA, and it again received a Silver with Distinction with a score of 85 and some lovely comments about it being a quiet, well crafted image. ‘Quiet’ is a perfect word to describe this photograph. Captured on a Pentax 645Z with 120mm lens, and printed using an Epson 9880 on Canson Edition Etching Rag. Retouching assistance by Gee Greenslade. Special thanks to Peter Rosén at Lapplandmedia PhotoAdventures Abisko, Nutti Sámi Siida - Reindeer Lodge Jukkasjärvi, and STF Mountain Station Abisko. And also to my sponsors Epson Australia, Pentax Australia, Vanguard Australia and Triple Scoop Music.

David Evans APP M.Photog I - The scene is within the grounds of the old Sámi Church in Jukkasjärvi, Swedish Lapland, during the ‘daytime’ in the winter polar night. With an overnight temperature of minus 22 degrees celsius, a thick, magnificent hoar frost had covered the trees. Of the four prints I entered in the Landscape category, this one required the most amount of post production to achieve what I had pre-visualised. Several unattractive gravestones were removed, as well as a fence running across the back of the scene. I selected a resting reindeer, photographed not far away, to place into the scene to create a quiet and gentle feel, reflecting the reverence I had whilst photographing in a graveyard, and echoing the whispers in the frosty trees. I also thought the antlers of this animal resembled the branches of the trees, creating thematic coherence. I also tried to add a second standing reindeer on the left hand side, but I felt this made the image look quite masculine as a whole, which was not in keeping with my vision. Less is more, I thought. Printing the image was somewhat difficult as the white and grey tones had a tendency to print quite flat, requiring several attempts and some local contrast adjustments in shadows and highlights using layers and a brush. This print was untested, in that it had not been previously shown or entered into state awards. It was the gamble print in my portfolio. It received a score of 92, a Gold award. Captured on a Nikon D800 with 24-70mm lens, printed using an Epson 9880 on Canson Edition Etching Rag. Retouching assistance by Gee Greenslade. Special thanks to Peter Rosén at Lapplandmedia PhotoAdventures Abisko, Nutti Sámi Siida - Reindeer Lodge Jukkasjärvi, and STF Mountain Station Abisko. And also to my sponsors Epson Australia, Pentax Australia, Vanguard Australia and Triple Scoop Music.

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Kerry Martin APP AAIPP - 2015 AIPP Australian Pet/Animal Photographer of the Year

Kerry Martin APP AAIPP - Great Dane Puppy Bella. Bella was 3 months old at the time of her photo session and as a giant breed quickly growing into her paws. She was the most amazing 'cookies and cream' colour so we picked the perfect background colour to enhance her colourings. It was towards the end of her session, when a little tired (as puppies can get), that she flopped down giving me this photo. It was of those moments when I just knew it was a photo that I was going to love and couldn't wait to see it in print.

Kerry Martin APP AAIPP - Newfoundland Baloo - Baloo was photographed with his 5 fur-siblings during my Snow Dog Retreats at Dinner Plain in 2014 and his humans Amber and Dan. Sadly Baloo passed away about 6 months after this session. The shake sequence of photos were first put together as a gift for Amber (from her mum) to celebrate and commemorate Baloo. Baloo had been her 'soul dog' so the whole family were affected by his unexpected death. I loved the personality that these photos showed - how he starts as a regal looking dog, transforms through a series of crazy faces to look like a younger 'puppy-like' version of himself at the end.

Kerry Martin APP AAIPP - Old English Sheepdog Douglas. This photo was taken during my Snow Dog Retreats at Dinner Plain. It was Douglas' first visit to the snow and he was accompanied by fur-sister Mabel and their humans. These dogs loved the racing about in the snow and we were fortunate that it snowed during their session giving us to capture this photo of him in the beautiful scenery of the Victorian Alps as the snow fell.

Kerry Martin APP AAIPP - Weimaraner Leighton - 12 months old. There were many aspects of Leighton's personality that her humans loved and we set out to capture those in her session. One of these was her long legs and the adorable way she crosses them while waiting for something. I love how beautiful, sleek and shiny she is with the studio lighting.

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Andrew Campbell APP.L GM.Photog - 2015 AIPP Australian Science Wildlife and Wild Places Photographer of the Year

Andrew Campbell APP.L GM.Photog - NGC 6188 - The Fighting Dragons of Ara Oblivious to their surroundings, locked in perpetual combat, Godzilla and Monster X fight their eternal battle to the death under the stars of Ara. This image captures the torn and fragmented structure of the swirling, fragmented clouds of gas and dust in the Milky Way; turning molecular clouds into a work of art. Tricolour Narrowband image 11 hrs exposure over 5 nights. Gold Appa 2015, Gold VPPY 2015, 2015 Winner David Malin Awards, Deep Space Category.

Andrew Campbell APP.L GM.Photog - Ic 2944 - The Cauldron - Lambda Centauri Nebula, a cloud of glowing hydrogen and newborn stars. This image reveals several Bok Globules thick clumps of star forming dust silhouetted against the blue Ionized oxygen glowing gas cloud. Tricolour Narrowband image taken over two nights 13 hrs exposure with RGB stars

Andrew Campbell APP.L GM.Photog - Sharpless Sh2-308 - A Cosmic Bubble. This shell of ionized oxygen 60 light years across was blown by the fierce winds of the huge Wolf-Rayet star at the centre. Like any good bubble, this one will eventually burst and disperse its stellar material into the surrounding space then explode as a supernova. One of only 12 known photographs of this extremely feint, relatively unknown object. 15hr exposure taken over 5 nights.

Andrew Campbell APP.L GM.Photog - NGC 3324 - The Tears of Allah Like a cool lagoon in space, the blue lagoon of ionized oxygen resists the fiery desert of Hydrogen gas that surrounds it. The intense ultraviolet radiation from several hot young stars causes the gas cloud to glow with rich colours and has carved out a cavity in the surrounding gas and dust. Tricolour Narrowband image taken over two nights 8 hrs exposure with RGB stars

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Krystle Wright - 2015 AIPP Australian Sport Photographer of the Year

Krystle Wright - During the filming of Tales By Light, a TV series created by Canon Australia, I was asked to bring forward a few ideas that I've been wanting to shoot. The Bonneville Salt Flats is an incredible baron yet unique landscape and taking to the sky in a paramotor was such an awesome experience. My friend Shane Denherder would fly his paramotor all over the salt flats and I would follow in a tandem paramotor with my pilot Justin Brim. When it comes to adventure, I like to document and take the attitude of being a fly on the wall as I don't like to interrupt the process and would much rather let things unfold naturally.

Krystle Wright - This was quite the extraordinary day. We left Seattle in the early hours of the morning and drove for 3 hours into the North Cascades National Park in Washington, USA. We had checked the weather map and we knew it was a gamble with the rain but winter was coming and this would be our last chance to rig this highline on the Winterly Spires. As we arrived into the carpark, it was absolutely hammering down with rain yet we decided to start hiking because there was no point in just turning around. May as well get some exercise while we are here. We kept hiking higher and higher and as we reached the ridge line, the weather clears! The momentum kept carrying us forward and after checking around, we decided it was worth to begin climbing to get on top of the spires. The athletes were incredibly passionate about this project and my role as an adventure photographer is to document, even if I weren't there, the activity would have still occurred. It was an incredible adventure that day!

Krystle Wright - Occasionally I do dream up certain images or concepts where I want to somewhat control the situation. I had an opportunity to follow through with this freediving concept thanks to Tales By Light TV series that was created by Canon Australia. The series focussed on the behind the scenes of what it was like to be an adventure photographer and we ventured to Espiritu Santo in Vanuatu as Yoram Zekri had free dived here previously and knew of the crystal blue waters in Matavulu Blue Hole. Sometimes when the idea is simple, it can be difficult to execute but we finally nailed the image! I wanted to have a single beam of light highlighting Yoram and as the daylight faded to night, the black fall off creates a beautiful suspense in the image.

Krystle Wright - Moab, Utah has been a special location to me for many years as the desert landscape has me continually enthralled. I've come back again and again in search of an image that appeared to me in a dream and my perfectionist attitude is never quite content. It took me many years to find the right location and it all finally came together on one morning as three of my friends leap off The Citadel tower as I took to the sky in a helicopter and hung out over the edge on the skids to be sure nothing would get in my way of taking the image.

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Steve Scalone APP AAIPP - 2015 AIPP Australian Travel Photographer of the Year

Steve Scalone APP AAIPP - This image was taken at MoMA in NYC. I find most museums to be architecturally interesting especially if they have been designed with voids between levels. I will always end up on the top floor and look down to see what presents itself. If I have the time, I might even look at some art as well :)

Steve Scalone APP AAIPP - The MONA Museum in Tasmania is an amazing piece of architecture. Delving into it's depths there are so many opportunities to capture stark compositions. Once again, I will always try to find the highest point first of all and see what presents itself waiting for the right human element to walk through.

Steve Scalone APP AAIPP - I travelled to Chicago in February during one of the coldest winters the USA has seen in a while. This image was taken in -15C and I was still amazed how many people were out and about living everyday life.

Steve Scalone APP AAIPP - The MONA Museum in Tasmania is an amazing piece of architecture. Delving into it's depths there are so many opportunities to capture stark compositions. Once again, I will always try to find the highest point first of all and see what presents itself waiting for the right human element to walk through.

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Peter Rossi APP.L GM.Photog - 2015 AIPP Australian Creative Photographer of the Year

David Edmonson - 2015 AIPP Overseas Photographer of the Year

David Edmonson USA - When shooting, I'm always thinking of not only serving the clients needs but also is there a scene that inspires a reference to a painter I admire. With only 5 minutes left at the venue, I asked the bride to quickly sit down and capture this image of her that reminds me of that 1920's-1940's Hopper feeling.

David Edmonson USA - This was a tribute family portrait of a family I have known over 30 years. The father was my best friend who died and this portrait is exceedingly personal in that they gave me full license to do something to illustrate their love for the Arts and Music. Since I knew them so intimately, I arranged the each adult character to according to the qualities I knew about them i.e. teaching, serving, love of family. It was done as a single capture and while it took several days to build and light the set, the actual shooting time took 10 minutes. i used mannequins to pre-light the scene to make the process easier on the children.

David Edmonson USA - We had done a similar image in a Vermeer style the year before for my son's wife and daughter. When my daughter visited the States for the first time from Rome, she asked if I would do something to create a legacy piece for her with her daughter. For this one, I wanted to tighten the scene up and still have the feeling of a little girl having a bath with her mother coming from window light. I feel that if I took a photo of her and her daughter wearing today's clothes, in 20 years it may look dated. By taking her out of the context of modern day, my hope is that this gift to my child and granddaughter will have a enduring legacy that will live on long after I'm gone and never look dated. I chose the tones of the image to match their home which is from the 17th century.

David Edmonson USA - This was meant as a tribute to a Luthier family and each person's action tells a story of their role within the scene. A violin is considered to be the closest sound to the human voice. My belief is that we are called to have a voice whether to Construct, Repair, Fine Tune or Inspect. In my studies of Luthiers, I found that their workspaces were typically cramped and heavily cluttered and I sought to create a scene that reflected just that.

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Jennifere Thompson - 2015 AIPP Australian Emerging Photographer of the Year

Jennifere Thompson - Waiting Time, ICU Too, represents all endangered animal species whether living in their natural environment or within captivity. It’s about connecting with the animal, sharing vulnerability concerns for survival in their dwindling habitats. During the picture taking, I spent long hours standing in the one place and trying to avoid camera shake. I bumped little heads and watched colourful reflections in the glass surrounding the animal enclosure. It wasn’t until I was alone that the Orangutan took a moment to sit still. He watched me as I observed him with a smile across my face. It was at that moment that I felt a strong bond as if I’d just met him for the first time. Waiting Time became the first image in the series called, “ICU Too” My signature style is black and white and most often my images are void of background, linking the audience with knowledge of an Orangutan who is waiting time.

Jennifere Thompson - He is an old man of the forest, an Orangutan whose habitat is dwindling. He moved gently in the dark, I could barely see his face and he never kept his eyes still for more than a moment. His small eyes were very alert and very light in colour with white eyelashes. He stared at me for just a moment, we locked eyes. He averted his eyes, I think he was very shy. His face makes me sad as I think about his future. I ask myself, will his species be around in 50 years, or will he be a memory in a museum? I can’t imagine how I’d feel if my own family were to become homeless, or even worse, extinct.

Jennifere Thompson - The Mandrill is shy and often turns his back on me. But I know that he knows I’m there. Sometimes he’ll sneak a peek at me. I watch him for many hours, I think of him as a friend. I know he likes me because he turns quickly and gives me a giant smile. It looks as if he’s baring his teeth at me. It’s just his way of saying, hello. I look into the depths of his soulful eyes and I think of his destiny. He is threatened as his species is hunted for a delicacy of bushmeat, or sometimes he's driven from his home in the rainforest. I see him through a glass enclosure, perhaps this will be the only way I'll remember him.

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Ricky Gestro - The 2015 AIPP Australian Student of the Year

David Evans APP M.Photog I - The 2015 Highest Scoring Print Award

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Photography Studies College - 2015 AIPP Tertiary Institution of the Year

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Jerry Ghionis APP M.Photog IV - The 2015 AIPP Australian Album of the Year

Jerry Ghionis APP M.Photog IV - Made with the wood cover and the leather pages

Jerry Ghionis APP M.Photog IV - Made with the wood cover and the leather pages

Jerry Ghionis APP M.Photog IV - Made with the wood cover and the leather pages

Jerry Ghionis APP M.Photog IV - Made with the wood cover and the leather pages

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Robert van Koesveld - 2015 AIPP Australian Photography Book of the Year

Robert Van Koesveld - The book title has changed to 'Geiko and Maiko of Kyoto' and the cover image is now different too. This was a result of realising how strong the preference was for the local term Geiko, rather than the western term Geisha.The picture here is now on the back cover. The image is of Toshikana at the time of her erikae; her transition from Maiko to Geiko. What you cannot see are her blackened teeth, a tradition for this event that dates back many centuries. In future she will wear the wig of a geiko rather than her own long hair.

Robert Van Koesveld - This is Tomitsuyu, a few years ago, just after debut as maiko. Her mistress is the figure in the background who is helping her manage the complex layers of kimono and obi. I think I have captured some of the anxiety of this time when the eyes of all the historical district are focused on the new maiko as she introduces herself to her new community. She has had to learn the complex protocols, a novice dance and how to walk in the okobi high shoes. Earlier I was able to photograph the long process of making her special hairstyle. Three years later she is a very confident and a very popular maiko.

Robert Van Koesveld - Tsunekazu is a senior geiko with a gentle and very warm personality. She is a natori: a master in the performing art of singing and a jikata or shamisen player. She will usually take this important role in performances by younger geiko and maiko. However she is a most accomplished dancer and is seen here in a solo performance during the grand annual odori show held in each by the five districts. After three years of asking, I was eventually given permission to photograph this big public performance. All geiko and maiko practice long and hard for these events and Tsunekazu is no exception despite her years of experience.

Robert Van Koesveld - Toshimana, photographed here, is an established Geiko who is very much in demand. She is a pleasure to photograph with a wonderful elegance and grace as well as a delightful sense of humour. Finding locations to photograph these artists can be challenging, as it needs to be both culturally and practically appropriate. Often locations are dimly lit with mixed lights and I acquired an array of lighting equipment for use indoors which had to be stored in Kyoto between my trips. I took seven trips to finalise the images and writing for the book. This image is now the front cover image for the final version of Geiko and Maiko of Kyoto.

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