The inaugural Australian Photographic Prize (APP) has brought hundreds of enthusiasts and professional photographers together to showcase their work, stepping in with a national awards event for the photographic community in place of the now-defunct Australian Institute of Professional Photography’s APPAs.
Word from co-organiser, Karen Alsop, is that there will be a second Australian Photographic Prize, once again in Melbourne and pencilled in for August.
The APP event – a conference and expo, including live judging, ran over four days, September 8 – 11, in Narre Warren on the outskirts of Melbourne. It goes some way to filling the gap left with the demise of the AIPP’s Australian Professional Photography Awards (APPA).
Featuring a resonant acronym, combined with a similar judging and points structure, along with familiar names and sponsors, including the rebirth of the Epson Print Awards, it’s hard not to regard the APP a a close relative of the APPAs. A quick glance at the Epson Print Awards results shows many former APPA champions in the mix.
But there is one fundamental difference; the Australian Photographic Prize is not exclusive to professionals: the Epson Print Awards are open to everyone, and the Nikon Digital Awards are targetted at enthusiasts or those who earn less than $10K per annum from their photography.
Modelling a new awards system on APPA just months after the Institute went belly up comes across as ambitious and risky. For years, while the AIPP was able to maintain the camaraderie (for the most part) and spirit of the competition, the Board wasn’t able to make the adjustments to make them financially sustainable.
By virtue of starting afresh the APP organisers, Karen Alsop and Robyn Campbell, were able to adopt the desirable components of APPA while addressing what the zeitgeist has taken to calling ‘problematic’ components, such as how to welcome keen amateurs to the fold, and including digital image file entries.
The vibrant enthusiast photography sector, including the bustling camera club scene, is one of the most active segments of the photographic community. They are the most hungry to soak in photography, from purchasing new gear to paying for education and experiences through tours, workshops and magazines. And many feel their work is worth showcasing, and fit to win awards.
So it’s really a no-brainer for a national photo contest to pursue success by expanding to cater to this group. The AIPP, whose culture and history were embedded deep in professional photography – whatever that means nowadays – was not constitutionally capable of tearing down that particular wall.
And yet the Australian Photographic Prize also continues some of those more professional guild-like traditions from the AIPP: ‘…There are Master and Grand Master Awards for those who have previously gained the equivalent academic, national, or international competition titles,’ the website states.
The Australian Photographic Prize is divided into two main categories: the Nikon Digital Awards for amateurs, and Epson Print Awards which are open to all photographers but includes pro-oriented categories like Wedding and Commercial. As the name suggests, the Nikon-sponsored awards accept digital image files, and Epson is strictly prints.
Camberwell Camera Club member, David Bignell, won the Nikon Digital Award-winner with a reflective self portrait; while Queensland-based professional photographer, Charmaine Heyer, won the Epson Print Award (top image).
‘Once I started printing on tissue I considered the possibilities of how the paper could be linked to emotions. I started to create self-portraits with torn tissue, wet tissue, crumpled tissue and so on. The fragility of tissue felt apt to describe the fragility of the mind under different pressures. Ironically, being locked down opened a door to a new creative space to explore, and a Zeitgeist to capture.’ Photo: David Bignell.
There were also talks from the likes of Kelly Brown, Kris Anderson, Paul Hoelen, Robin Moon, Tony Hewitt, and Courtney Holmes. And workshops. And an expo. Most of the shebang was also live streamed.
Here is our interview with Karen Alsop:
How many attendants were there at the APP event – and do you have any notion of the make up of the audience – young or old, gender, pros or enthusiasts, students, etc?
We had over 200 people in person per day, and almost 5000 views on our livestreams (judging, conference gala). We had students from local Primary and Secondary colleges attending, and a strong mix of enthusiasts and pros who all came together to be part of the event.
How many entrants did you have for the two main awards – The Epson and Nikon awards?We received almost 600 entries into the APP Nikon Digital Awards, 150 entries into the Eizo Digital Artist and Village Cinematic Award and exactly 700 entries into the APP Epson Print Awards
Were you pleased with the levels of attendance and entries to the award?
For an inaugural event we achieved higher than expected award entry numbers. Onsite event attendance could have been stronger, however, given the current societal shift away from face-to-face interaction due to pandemic concerns, attendance numbers were promising for future growth. Livestream attendance was strong across all events, with students from Charters Towers in Far North Queensland, through to overseas entrants from America tuning in.
What were the highlights of the event from the organisers’ point of view?
Highlights were the incredibly high standard of work which was submitted, entrants certainly ‘gave us their finest imagery!’
Additionally, the sense of community and blending of amateur, professional and student participation, with a highlight being the bus load of secondary school aged photographers who were in the room to hear feedback on their images.
Finally, the enthusiasm from our sponsors to come on board and support the Australian Photographic Prize and the photographic community.
Do you plan a second Australian Photographic Prize for next year?
Yes, we will be running a 2023 Australian Photographic Prize next year, possibly in early August.
Anything you might do differently next year, innovations, change of venue, etc?
This year we developed our own Online, Print and Livestream Judging Awards Software, which is a first as far as we are aware. We intend to continue to refine this software to ensure entrants and judges have the best possible experience using the system.
Decisions are yet to be made on the venue, although it will be in Melbourne. Finding a facility with the high standards of Live-streaming technology is a challenge, and our 2022 venue was well positioned to cater for this. The combination of judging rooms, event rooms, catering, gala functions and entertainment requires a specific type of venue. We will be undertaking a review process and are open to feedback from entrants and attendees for considerations towards planning next year’s event.
Any other comments or acknowledgements?
We’d like to acknowledge our sponsors, in particular Nikon, Epson and Kayell who came on board as our Visionary Sponsors. We’d also like to thank the entrants, judges and crew who took the time to be a part of this event, without whom, it would not have been possible.
Facebook feedback for Australian Photographic Prize:
The following comments are a cross-sectioncoming from attendees at the first Australian Photographic Prize event:
Katrina Burgers
Paul Hoelen
Helen Green
…Thank you to Robyn Campbell and Karen Alsop and all you’ve done. You took a massive risk, and I hope it paid off for you now and continues to grow into the future. It might be just an event, but I think you replanted the seed of our community, and I hope it grows to something even more extraordinary. I am in awe and can’t thank you enough. Adam Hourigan
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