CPP Spotlight: Stampfli Photography

Meet Craig Stampfli of Stampfli Photography. Craig specialises in Commercial and Real Estate Photography and is located at The Gap.

He is also the Secretary of the PPAQ.

1- What influence can experienced and seasoned professional photographers have on a new generation who see photography as an instant reward and recognition medium?

Instant reward is fleeting, and not long lasting, if you are chasing recognition for your photography, be prepared for hard work. If you are looking at photography with the intent on success through recognition, then maybe you should consider a different career path.

2- Where do you draw your artistic inspiration?

From an overactive imagination and the amazing photos that I see every day.

3- What advice would you have given yourself in the first few years of your career?

Drink less coffee, buy less gadgets and travel more. I’m fortunate to have travelled quite a bit over the years, however there are still so many places I want to see and experience. And I’m joking about the coffee, you can never have too much coffee. Or T-shirts.

4- What do you see as one of the most important qualities or things to focus on to be a successful photographer?

Photography is just a small part of being a successful photographer, and often takes just a small amount of time out of my day. Solid business knowledge and the dedication to look at the whole and not just the button pushing is required.

5- In your opinion how is being a member in an Association like the PPAQ relevant in today’s business climate?

The camaraderie and support from photographers who have become close friends is invaluable. To be able to call out for help, borrow a bit of gear, or more likely just ask for advice is the reason why long lived associations are so important and definitely needed. In an age where Google or YouTube are the default to show how something works, it is comforting to be able to reach out to colleagues for help. Possibly even more satisfying is being able to help someone who needs a hand or is looking for that small nugget of knowledge that I may have tucked away, ready to share.

To see more of Craig’s work, visit his webpage here or follow her facebook page here.

In the Studio with….Elite Studio

We recently had a wonderful opportunity to listen to Andrew Merefield, CPP  talk about his studio, the story behind the name and his plans for the future. Andrew also shared the various workshops that he runs, his printing business with Darren Jew and a host of other things. Andrew has a long history with the PPAQ and is the brains behind our current Developing Professional Photographers program. It’s a true pleasure to spend time with him and we are so grateful to be able to count him as one of our valued members.

The PPAQ’s “In the Studio with…” events are a platform for our members to share their experience within our community. Each CPP takes away something different from every event and that’s what makes them so valuable.

About the PPAQ

The PPAQ guarantees the highest standards in professional photography, ensuring exceptional imagery, business probity and client confidence. PPAQ members nurture relationships with fellow professionals, clients and community; actively promote the Association and build membership; and commit to continuous learning and improvement.

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CPP Spotlight: Clare Lacanau Photography

Hello and Welcome!

This is the first in a monthly blog series which aims to introduce you to each of our Certified Professional Photographers.

Meet Clare of Clare Lacanau Photography. Clare specialises in newborn photography and is located in North Brisbane. She’s also a valuable part of the PPAQ council.


1. What influence can experienced and seasoned professional photographers have on a new generation who see photography as an instant reward and recognition medium?

With technology changing so quickly and constantly we need to express the importance of printing our images, the importance of the final products we offer…the legacy. Everyone now has a camera with them everyday and it’s very easy to take a selfie or photographs of your children but how many of these images are unprinted or become lost data when the device is obsolete, lost or broken?! The next generation are quickly becoming an invisible generation, with images stored never to see the light of day. A professional print can be shared from generation to generation and becomes their legacy. You can restore an image from a print, whereas lost or damaged data is gone forever.

2. Where do you draw your artistic inspiration?

As a child I was inspired and heavily influenced by my Dad and his photographic style. We lived in Africa and he would often photograph wildlife, us as a family and the stars. I loved watching him and helping him develop photographs in the dark room…it was like magic!! As a student I loved the works of great impressionists like Renoir and Monet, all the beautiful soft colors and the way they used them and the way they used light in the artworks. I am always inspired by light!! I love beautiful neutral, soft textures and often create my own props to use during newborn sessions. My current photography inspiration comes from amazing photographers like Sue Bryce, Kelly Brown and Robin Long.

3. What advice would you have given yourself in the first few years of your career?

Breathe, have patience, take one step at a time…this a marathon not a sprint. Don’t be afraid to fail, as failure equals learning and growth. Done is better than perfect, don’t allow perfection to lead to fear and paralysis. Success never happens over night it takes, hard work, determination, failure and lots and lots of work on yourself…your self value and self worth especially!!

4. What do you see as one of the most important qualities or things to focus on to be a successful photographer?

As a typical ‘creative’ for me it is, and always will be about self value and self worth. Being able to show others the true value and importance of what Photography is about. Just because we are passionate and love what we do doesn’t mean we have to undervalue and undercharge for it.

5. In your opinion how is being a member of an Association like the PPAQ relevant in today’s business climate?

I really value being a member of PPAQ as it offers  recognition as a professional, to be set apart from being just a ‘Mum with a camera’. I have spent many years studying, learning and refining my craft and will spend many more still. It is also so important to be part of a community of professionals that you can communicate with regularly to discuss changes in the industry and bounce ideas off. Being part of a supportive community, with the idea of community over competition is of great importance to me. I enjoy being part of an organization where we can help lift each other up, there is room for all of us to be successful, in our own right and as a group.

To see more of Clare’s work, visit her webpage here or follow her facebook page here.

Tina Arena at the Tivoli

Words and pictures: Craig Stampfli, CPP

How often do you answer the phone when you don’t recognise the number? As a small business owner, I tend to answer all calls, and they tend to run the full gamut from potential clients to crank calls scamming for dodgy advertising. A couple of weeks ago I answered a call that not only cost me nothing but allowed me to photograph an Australian and International Singer on the first night of her Australian Tour. Definitely, a call I’m glad I didn’t let go to voicemail.

Canon Australia in conjunction with CameraPro in Brisbane arranged for three photographers to shoot the entire concert, as well as the Q&A session with Tina Arena before the main event, as it turned out this would be the only Q&A session for the entire tour, so quite an opportunity. Canon also provided us with bodies and glass to try out, and I happily snapped up a 6D mk ii and a 5D mk iv along with 24-70 and 70-200 f/2.8 lenses. My quick fingers also snapped up a 35mm f/1.4 lens to try out, because why not.

So what is it like to shoot a high profile concert for the first time? Well, it was a very enjoyable experience, it was also challenging, loud, crowded and awesome. At times I found myself singing along, though not as loud as some of the crowd. If you ever get the opportunity jump at it, it is the type of challenge that keeps you on your toes. As for the shooting, I’m quiet comfortable with the 24-70 and the 70-200, they are my main lenses for most scenarios, the 35mm was incredibly fast and suited to the low light. It’s hard to beat a fast prime! Towards the end of the concert I managed to get down towards the front, and some shots with the 35mm were taken leaning against the front speakers and on the edge of the stage.

As for those two new bodies, I felt most comfortable with the mk iv as the controls, buttons and knobs all fell easily to hand (or finger?) as I have a 5D mk ii and mk iii. The 6D mk ii, although a very capable camera, misses out on some of the controls that I have gotten used to over the years and I felt I had to try and retrain my brain on the fly. Over time I’m sure the small idiosyncrasies could easily be absorbed and easily forgotten. A big thank you to Deanna from Canon Australia and Ryan and Alex from CameraPro for the opportunity and the chance to use some new gear.

Craig Stampfli is a CPP and current Council Member of the PPAQ. You can find out more about him by visiting his website here: www.stampfli.photography

Antelope Canyon: The Inconvenient Truth

Upper Antelope Canyon, Navajo Nation, USA

 Words and pictures: Colin Bushell, CPP


“I was being tossed around violently, like a ragdoll in a tumble dryer.”

It was an unpleasant vision, and one I was not expecting from my wife as she returned from a chemical toilet behind our meeting point. She was right though. The weather was being cruel. A dust storm was blowing red sand around in a maelstrom of abrasive, skin-eroding pain. Eyes stung, lips dried out in seconds and breathing was restricted by the necessity of wearing a bandana wrapped around our faces.

I had been commissioned by an Australian based eco-tourism magazine to photograph, and write an article about the way that the Navajo people were managing one of the world’s great photographic destinations. My brief was to show how such an iconic destination had been converted into an eco-tourism must see by its indigenous hosts, somewhat like the way the Kuku Yalanji people have done in Mossman Gorge here in Queensland.

Following the death of 11 tourists in 1997 from flash flooding, the organisation of tours is now strictly controlled. The Navajo name for Upper Antelope Canyon is Tse’ bighani- lini, which means “The place where water runs through rocks”. Sitting at over 1100 metres above sea level, a length of 200 metres, and a depth of 37 metres, the Canyon is a labyrinth of textured sandstone fabrics with portals delivering shafts of sunlight onto the floor below. Consequently, this has become something of a Holy Grail for photographers and geologically-minded tourists alike, with mid-morning tours in the spring and summer months, allowing you to be awed by the orange, purple and yellow glow of the underworld.


Upper Antelope Canyon is on the outskirts of Page in Arizona, about four hours east of Las Vegas. My tour specifically catered for photographers (we had to prove our credentials by having the minimum of a DSLR and a tripod) and was hosted by Adventurous Antelope Canyon Tours.  Navajo owned and operated, it is the only company offering tours beyond Upper and Lower Antelope Canyons; to Rattlesnake Canyon, Owl Canyon and Mountain Sheep Canyon.

And so it begins. While there is no doubt that the tours are being managed with visitor safety in mind, this is the point where the mention of the ‘crowds’ must be revisited, and this is where my story of eco-tourism success hits a beautifully coloured brick wall!

There are a number of ways to dress this up, but I’ll stick to some of the harsh realities instead. The writing on the wall was being prepared at that chemical toilet. Located behind the back of a fragile tin shed, let us remember that this was the meeting point for one of the world’s most gloriously beautiful natural attractions. The crowds gather an hour before their departure time, and what we don’t know at this stage is that we will eventually converge with other groups at the mouth of the Canyon. As my wife heads one way in a modern Land Cruiser for the ‘walking tour’, my ride heads in another, and I’m in the back of an old army truck, bones rattling and dust flying. The drivers appear to take much glee in racing and sliding across the desert floor, and I pause to wonder whether native animals are being sacrificed at their expense.

At the Canyon entrances, the photographers are given VIP status, as the masses of smaller groups are frequently forced to wait while chambers and other vantage points are photographed under strict timelines. While it appears chaotic, it quickly becomes apparent that this is the only way that so many people can benefit from the descending sunlight, which does not stick around for long. Later in the day, tours may be less busy, but by then, there will be no shafts of light to enjoy.

My photography group are a mixed bunch. One ‘professional’ next to me, leans across to advise me that his battery is flat and he doesn’t have a spare. A few minutes later, another tells me that her memory card is full and doesn’t have a spare. Thanks goodness they weren’t at a once in a lifetime destination! Certainly, concern for the welfare of the camera was justified. No camera bags were allowed. Advice from the local guide was to put your camera into a plastic bag, but I didn’t see the wisdom in that. You couldn’t shoot through the bag, and placing it in and out of a bag that was rapidly filing with sand, seemed less that favourable. Thankfully, Canon make good cameras and sturdy lenses, and my fingers are very good at crossing.

It would be accurate to say that some of the shots are assisted by the tour guides, who throw sand up into the shaft of lights on cue, although I can claim credit for repositioning a tumbleweed that looked a whole lot better as my subject at the end of one such shaft.

The experience is a whirlwind of its own. You have little time to work out your settings, with barely more than two minutes at each location. The two and a half hours underground goes by in the blink of an eye. Tripods get tangled in the tight spaces, and there is a degree of assertiveness required to find that vantage point before someone else gets in the way. Ironically, the glorious tranquillity generated by the finished photos bely the frenetic nature of the experience. I suspect Peter Lik’s questionable $6.5 million imagery benefitted enormously by his ability to rent out the entire Canyon for himself!

The first priority on our return to Page (OK, after a beer!) was to get some compressed air canisters and raid the department store’s make-up counter for various sized brushes (my cleaning kit was not up for the job!). I spent almost an hour cleaning the camera before opening or inserting anything. It must have worked; my trusty 5D still works a treat.

The Navajo Nation encompasses over 17 million acres, and occupies the entire north-eastern quarter of Arizona. It’s stunning. The amazing Horseshoe Canyon is literally around the corner too, but Antelope Canyon is the jewel in the crown and, while tours may appear too ‘mass managed’ and a tad exploitative, the environment appears robust enough to sustain such attention. There’s no doubt that this is a success story for entrepreneurial tourism, managed resourcefully by the land’s rightful owners.

As to where the prefix ‘eco’ can be added to anything currently happening… well, that’s another question.

All photos shot on a Canon 5D MkII with an EF 17-40mm f/4L USM.


Colin Bushell is a CPP and current Council Member of the PPAQ. You can find out more about him by visiting his website here: www.biggerboat.com.au