It’s been 10 years, and the expression of talent and dedication we’ve seen through the Awards has increased tenfold, at the very least. I’m in awe of the continuous increase in passion, quality and innovation shown by the Finalists and Winners, and the accelerating breadth of engagement and support from entrants, judges, partners and the wider industry. It’s an honour to be a part of this solidarity. 2018 Awards Night Recap The Australian Event Awards celebrated this year’s Finalists and Winners, and ten years of the Awards program, with a bit of sass and sparkle on the Sunshine Coast. Sami Lukis delighted as the host for the evening, and there was a strong local line up of performers. Adiamus String Quartet enhanced the glamour of the evening, singer-songwriter Clare Hennessy shared beautiful tunes, and local vocalists The Kitty Kats closed the evening, getting attendees up on their feet with their powerhouse musicality and cheeky charm. Events professionals from all sectors enjoyed entertaining banter as Lifetime Award Winner Ignatius Jones presented a few of the 23 Awards, and a broad range of other industry leaders enjoyed delivering trophies to the winners. Natasha Gosper who was named Young Achiever of the Year. David Atkins, Lifetime Achievement Winner 2010, took out Event Producer of the Year for the second year in a row.
Ivor Novello award winning duo Joe Henson and Alexis Smith began collaborating in 2005 when they co-produced an album for Joe’s band Seventhsun. The duo have worked with some of the biggest names in the music industry as well as being A-list composers for video games. 2014 saw the release of hit survival horror title Alien: Isolation, and they followed this up with 2017’s Horizon: Zero Dawn, the Playstation 4’s biggest selling new IP to date. They are currently composing the score for Ubisoft Québec’s Assassin’s Creed Odyssey. The Flight’s television projects include the BAFTA nominated BBC documentary series Drugsland, and Kids on the Edge, produced for Channel 4 by Century Films. Located in an old cooperage, the Flight’s east London studio is home to an array of home made instruments and vintage analogue synthesisers. One of the most common mistakes I see when reviewing images submitted by our readers, or when reviewing portfolio images during our workshops, is a rather simple case of crooked horizons or badly aligned lines. Although most photographers are very well aware of this one, for some reason many simply fail to see such problems in their images. Because we as human beings generally prefer straight, leveled lines instead of odd angles. When you hang a photo in your living room, why do you want to perfectly align it with the ceiling, your floor or your furniture?
Why does your TV or your computer monitor stay on a flat surface or hung perfectly aligned on the wall? Why do we have so many objects with the right angle? Therefore, it is always a good idea to pay close attention to your scene, its surroundings and backgrounds, not just your main subject. I apply it for photographing people and wildlife as well, as demonstrated below. So in a way, it is a universal rule. Sometimes those visual guides simply do not exist. What do you in such situations? If the image achieves good visual balance without any lines, then sometimes you do not have to worry about any of that.
However, in many cases, visual guides are there, but they are hard to find and identify. We also have vertical trees and the hard to see horizon line in the background. Which do we use as visual guides? With the exception of the first image, pretty much every shot was composed as shown, in camera. The most important thing is to try to do this in your camera and not leave the task for post-processing. My advice is to always pay attention to your framing and look for anything that might serve as your visual guide. Once you identify what the visual guide for alignment is, only then start framing your subject. What really helps when doing this is to keep the viewfinder grid turned on in your camera.