In life, most agree that death and taxes are the only true certainties. However, if you’re a photographer you can add another to that list of inevitabilities: change. For almost all genres, the landscape for emerging and working professionals continues to evolve. So, if you’re after a career of complacency, then you might have to look elsewhere.

Regardless of the genres you’re working in, things are always changing. And this was certainly reflected by the industry experts and photographers interviewed for our feature stories which covered advertising, editorial, and wedding and portrait photography. And while the barriers to entering the market are expected to remain low for the foreseeable future, that certainly doesn’t mean that it’s getting easier to run a thriving business. It’s the innovative, the pioneers, and the change-makers that will be ones doing really well.

The increasing demands on editorial photographers continue unabated, but the good news is that are still plenty of solid opportunities. One growing trend amongst editorial photographers has nevertheless been the need to do something many might have baulked at a few years ago: look for sources of income beyond purely editorial assignments. And co-editor of The New York Times’ photojournalism blog, Lens, James Estrin has witnesses this first-hand. He knows of photographers shooting for The New York Times that also rely on income from shooting weddings.

The world of advertising photography is also experiencing change at pace that shows no sign of slowing down. The requirement for photographers to shoot both stills and motion looks like it’s here to stay. And because clients prefer dealing with as few external parties as is necessary, it’s those photographers with the skills to shoot video, or have it produced in-house under the banner of their business that are most likely to score an assignment. UK photographer, Alex Telfer believes that sticking purely to just one medium, particularly in today’s visual landscape, is rather foolish.

The Annual is a wonderful opportunity to showcase some of the best work shot over the last 12 months. As always, the task of whittling the mass of submissions down to what appears in this special bumper edition is a rather unenviable task. Thanks to all who sent work in, and a huge thanks to all those making submissions after the initial deadline. The total “late fee” pledged to charities this year was an impressive $3,385. A truly sensational result!

Our search for Australasia’s best new talent is on again with the call for submissions now open for Australasia’s Top Emerging Photographers 2019. This year, entrants will have the opportunity to share in over $26,000 in cash and prizes with the overall winner not only being crowned Australasia’s Top Emerging Photographer 2019, but walk away with $2,500 plus a Fujifilm X-H1 camera kit (RRP $3,698) from our major sponsor, Fujifilm. Now in its 11th year, the competition will again be judged by a panel of some of the finest photographers and industry experts from Australia and around the globe. Turn to page 76 for details, and visit the website: www.capturemag.com.au/atep-2019. Special early-bird pricing is available until 13 December, 11:59pm AEDT.

(Emerging Photographer)