Is the AIPP and APPA Back from the Dead? The Never Ending Story…

The History: At 5pm on November the 11th 2021, the Australian Institute of Professional Photography (AIPP) officially closed its doors and went into voluntary administration. At the time of closure, the AIPP was not in financial arrears and was not insolvent, but was (and had been) hemorrhaging money for many years due in significant part to continually declining membership. At the time, the board made a unanimous decision to place the AIPP into voluntary liquidation to avoid trading while insolvent. I wrote extensively about this decision HERE on my blog. While this is interesting background reading on why and how the AIPP was placed into administration, it is far from the full story today.

The Challenge: The voluntary administration of the AIPP was subsequently challenged in court by a small but vocal number of members (past and present at the time of closure) who wished to see the AIPP continue under new leadership and with a new model (presumably one that would run much leaner without the historic overheads of the organisation that ultimately fatally crippled it). This process was both expensive and time-consuming, with much of the AIPP’s surplus funds (circa $70,000 AUD) at the time of closure being eaten away by the administrator’s legal and associated fees and costs.

The Outcome: Ultimately, the legal challenge was successful, and the AIPP was removed from administration. The old board members (myself included) elected to immediately resign and stand down. Since the few challenging members failed (in our view) to present convincing evidence that a resurrection of the institute would be financially successful, we saw no reason to continue as directors. Directors are financially liable and accountable should the company continue trading into insolvency, and none of us wished to place our own personal assets at risk (who would?). A new board was convened at the court’s direction (primarily from the challenging members), and the surplus funds (minus costs) from the AIPP’s administration were returned to the re-formed institute.

Status Today: Fast forward to today, the end of May 2026, and there has been precious little correspondence from the new board to AIPP members regarding the ongoing prospects, organisation structure and benefits of membership. No plan for future growth has been made public (yet), and there has been no correspondence regarding future membership costs. Over the last six+ months, I have been aware of several small, organised, informal gatherings in both Victoria and NSW, but nothing that would officially indicate that the AIPP is back in full force or has regained any of its prior industry standing or commitment to governance, accreditation and advocacy.

The Loss of APPA: One of the greatest disappointments for many with the closing of the AIPP was the loss of APPA – The Australian Professional Photography Awards. These were, if you will pardon the pun, an institution amongst a large percentage of members and were eagerly anticipated every year. Not only was it an opportunity to have your printed (not digital) work judged by experienced peers, but also to accumulate honours points towards your AffiliateMaster Photographer, and ultimately Grand Master of Photography. All of which were (and still are) highly coveted titles amongst photographers.

The Achilles heel of the APPA awards was always its financial overheads. Expensive venue hire, interstate and international travel for judges, accommodation, food, electronic hardware, software and the list went on. Much of the event was organised and run by unpaid volunteers, but they still needed to be housed, fed, and transported. Then there was the gala dinner. Another expensive event that rarely covered its costs. APPA has historically cost the AIPP over $200,000 annually to run, with many years resulting in a significant loss to the institute. This was unsustainable.

A New Twist: A new and interesting twist to this story has emerged this month in a member-circulated email from the current AIPP board offering members (myself included) who were financial at the time the AIPP went into administration an opportunity to continue accruing points toward their Affiliate, Master of Photography and Grand Master of Photography honours through the newly formed Australian Photographic Prize. The Australian Photographic Prize rose from the ashes of the APPA awards and was first run in 2022. I wrote about the formation of this award HERE.

The Catch: This invitation to accrue points comes with a couple of very notable caveats. The first of which is that you can only enter if you were a financial member of the AIPP when it went into voluntary administration. The second notable caveat is an additional $55.00 AUD fee if you wish to accrue points towards your honours (to be paid directly to the reborn AIPP). This is in addition to the cost of entering the Australian Photographic Prize (which in itself is not cheap, starting at $35 per entry – bundles are available). If we crunch some quick numbers and enter six images into the APP, that would come to $210. If you wanted those six images to be eligible for points toward your honours, you would need to pay the AIPP an additional $55, bringing your entry fee to $265. Not outrageous, but not cheap either. But the clincher is that you are also agreeing to become a new AIPP financial member this September, but no cost has been published for this membership to date.

AIPP members who lament the loss of APPA (there are many, myself included) will no doubt relish the opportunity to continue accruing points toward their honours and will probably (maybe?) pay the additional non-refundable $55 to ensure their points count. By doing so, they also agree (at least in principle) to pay their membership dues by the 1st of September, 2026, for those points to count. The cost of AIPP membership has yet (to my knowledge) to be formally announced anywhere.

The Opportunity: There is an opportunity now for the AIPP to refinance its operations through renewed memberships. The number of entrants to the Australian Photographic Prize this year who choose to take up the AIPP offer of a $55 fee in exchange for accruing honours points on their APP entries will strongly signal to the new board how many members intend to become financial when memberships open this July. A small showing of financial AIPP entrants willing to part with their $55 will not bode well for the AIPP’s currently fragile future. A strong showing of entrants, though, may just reinvigorate the institute and give it the cash and membership injection it desperately needs to once again become the industry body this country sorely needs.

Author: Joshua Holko, AIPP Master of Photography with Gold Bar – M. Photog I

Canon EOS R1 Firmware Update V1.3.0 May 2026

Canon has updated the firmware for the Canon EOS R1 today. The big news is that this update lets you bind pre-capture to a custom button! Thank you, Canon! The equally big news is that Canon has expanded on its Action Priority capability. This is huge news for the future of this incredible feature. This firmware update includes the following:

Firmware Ver1.3.0 incorporates the following fixes and enhancements:

1. Adds [American Football] in [Action Priority] to optimise human subject detection for individuals wearing helmets and shoulder pads.
 *For an overview and instructions on using [Action Priority], please refer to the Instruction Manual or the AF Settings Guide.

2. Improves tracking and detection performance for [Register people priority] in challenging conditions—including profile views, blurred or partially obscured faces, small subjects in the frame, and children—even when the feature is set to [Off].
 *Performing a firmware update will delete registered data stored in the camera. If necessary, save the data in advance using [Save/load registered data on card], and reload it after the firmware update. For details, please refer to the Instruction Manual.

3. Adds [Wi‑Fi freq. band] to [Communication Settings], allowing the user to select the 5 GHz or 2.4 G Hz band when transferring from Bluetooth to Wi-Fi.

4. Adds [No. of connections] to [FTP transfer settings], allowing the user to select the number of transfer threads for [FTP transfer].

5. Adds the ability to store up to four [Color temp] values in [White balance setting] and to assign [Switch color temperature] to [Customize buttons for shooting].

6. Adds the ability to set [False Color Settings] to [On] when [HDR/C.Log View Assist] is selected.

7. Adds the ability to assign [Pre‑continuous Shooting] to [Customize buttons for shooting].

8. Adds the ability to transfer AF-related settings between cameras of the same model by adding [Save to card] and [Load from card] to [Register/recall AF‑related settings].

9. Adds the ability to display the electronic level during movie recording.

10. Adds the option for grid display during movie recording.

11. Adds the ability to display playback screens and menu screens when outputting to two screens via [HDMI Display During Connection].

12. Adds the ability to switch the group settings of a receiver camera from the sender camera when using the EOS Multi-Remote app.

13. Adds the [Night Display Mode] menu option

14. Fixes an issue that may cause Err70 to be displayed in live view when the user captured a multiple-exposure shot in a dark environment.

15. Fixes an issue that may cause Err49 to be displayed repeatedly during communication with an SFTP server.

16. Fixes an issue that may impact the camera’s shooting ability if the auto power-off function is activated during interval timer shooting.

17. Fixes an issue that may cause the camera to restart when the shutter button is pressed while deleting images.

18. Fixes an issue that may cause the camera to not be recognised when connected to a smartphone via USB.

19. Improves other system stability.

If the camera’s firmware is already Ver1.3.0, it is not necessary to update the firmware.

The User Manual on the website has been updated accordingly.

Q&A Section:
Preparations for the firmware update:
In the folder you downloaded are the firmware (EOSR1130.FIR / file size: 270942208 bytes) and instructions on the firmware update procedures (a PDF file in five languages: Japanese, English, French, Spanish, and Simplified Chinese). Before starting the firmware update operations, please be sure to carefully review the instructions to confirm your understanding of the firmware update procedures.

Firmware download link:
https://www.canon.com.au/cameras/eos-r1/support?option=drivers

Dynamic Range is Just Not That Important March 2026

It is not very often I share a third-party video, but this one from David Bergman (for Adorama TV) on why Dynamic Range is not nearly as important as most people think just hits the nail on the head. Ask yourself, when was the last time you saw a really great photograph with 12 or more stops of dynamic range? The answer is you probably haven’t, and the reason is that most great photographs actually have quite a limited dynamic range because they are taken in soft light. Just as an aside, I have long said that we should not measure cameras by their dynamic range but instead by their ISO performance (signal-to-noise ratio).

Contrary to some beliefs, dynamic range and signal-to-noise ratio are not the same, although both measure camera performance in decibels and are closely related. Dynamic range is the ratio between the maximum signal a sensor can handle and its lowest detectable signal (noise floor), while signal-to-noise measures signal quality at any given specific intensity.

In layman’s terms, dynamic range measures the span between the brightest highlights and darkest shadows a camera can capture in a single exposure without losing detail (clipping). In effect, it defines the camera’s ability to handle high-contrast scenes. The signal-to-noise ratio measures the ratio of signal strength to noise at a specific brightness level. SNR is highest at full-scale output and decreases in lower light.

There are some important key differences between the two. Dynamic Range describes the range of intensity, while Signal to noise describes the quality of the signal at one point. A camera with a high dynamic range may still have poor signal-to-noise if the noise floor is high or high SNR with low dynamic range.

Final Update on the Helicopter Polar Bear Incident in Svalbard 26th April 2025

Earlier today I finally received an update from the Governors office in Svalbard on their investigation into the harassment of the Polar Bear from helicopter by the Norwegian Polar Institute [NPI] in April last month (Full Story with Update and Podcast). A screenshot of my follow up email and their full response as received today is included below:

As is abundantly clear from the brevity of the email received from the Governors office they have found that the NPI did not violate their permit in the harassment and darting of this Polar Bear. This leaves some very big unanswered questions: The first of which, is, was an investigation even undertaken? and if so, where is the documentary evidence of this investigation?

What about the time-stamped photographs that were submitted to the Governors office that demonstrably demonstrate that the harassment of this Polar Bear went on far longer than NPI’s claimed ‘2-3 minutes’? Additionally, and to date, (and to my knowledge), none of the 12 passenger witnesses, the captain or the first mate of M.S Freya (who all witnessed this event first hand) have been contacted and/or interviewed by the Governors office. How can a thorough investigation be conducted without interviewing the first hand witnesses?

 ‘If’ this behaviour and methodology employed by the NPI did not violate the terms of their permit, then the requirements of the permit are seriously broken. NPI needs to be held accountable for their actions. They cannot continue to act with impunity.

It is worth noting that the Sysselmestern environmental office is directly under and controlled by the environmental ministry in Norway. The environmental industry effectively owns the NPI. This shabby cover up by the Governors office is nothing more than corruption at the highest level. Norway and the NPI should hang their heads in absolute shame at allowing this to continue.

    Optimally Calibaring Apple Liquid Retina XDR Displays for Photography

    Those who know me know I always advocate for the highest quality photographic display you can afford. It should be the first purchase you make after a digital camera. A wide-gamut, high-quality, calibrated photographic monitor is the difference between optimally processing your RAW files and standing blindfolded, throwing darts at a board. But what do you do while in the field on a laptop? Or, how do you otherwise make do if you have an Apple Liquid Retina XDR display and have neither the budget nor space for an external display? I should footnote this: If you can afford an Apple Liquid Retina XDR display, you have no excuse not to own a significantly better photographic display such as those from BenQ (Read our Recent review on the new BenQ 4K display).

    Jeremy Daalder over at Image Science recently published the best piece I have read to date on optimally calibrating an Apple Liquid Retina XDR Display. If you own an Apple laptop with a Liquid Retina XDR display or one of Apple’s hugely over-priced external displays then you owe it to yourself to take five minutes out of your day, and read his article. This is the first piece I have read on the internet that accurately documents the process for a successful calibration of these displays.

    INTRODUCTION

    Apple’s newest XDR Liquid Retina displays, such as is seen inside the new 14” and 16” MacBook Pro (and the XDR Pro Display) are a completely different ball game when it comes to calibration. The new XDR Liquid Retina displays (hereafter referred to as XDR displays) are different than their predecessors in that they employ a full array local dimming miniLED backlight. The issues at play here are essentially two-fold. Because of Apple’s decision to implement:

    1. A miniLED backlight (which older calibrators just weren’t designed to calibrate), and
    2. the forced usage of Reference Modes (both their clunky implementation of them and specifically the inability to NOT use them)…

    …both the required calibration technologies and the process for calibrating them is completely different to ALL older Apple displays (including all older external displays, any iMacs, any Intel-based Laptops, any Macbook Air’s, and even the newer Apple Silicon based 13” and 15” MacBook Pros).

    READ ON HERE