Defining the photo imaging industry
The Photo Imaging industry is made up of nearly 14,000 companies, almost half of which are sole trading or freelance photographers.
The remaining companies can be broadly divided into the following categories:
- Image producers (including laboratories and minilabs)
- Photo retail
- Picture libraries and agencies
- Manufacturers
- Support services (e.g. equipment hire and repair)
Across the industry as a whole, 93% of companies employ 5 people or fewer.
The total workforce comprises around 44,000 people. Half of these are based in the south of England, with the largest proportion - some 40% - in London and the South East. The rest of the workforce is spread throughout Scotland, Wales, Northern Ireland and the remaining regions of England, with the highest concentrations in the North West (12%) and the South West (11%).
Who works in the photo imaging industry
The workforce is older than that of the audio visual industries as a whole, with an average age of 42.Women are underrepresented in all areas of the photo imaging industry,making up only a third of the overall workforce. Among photographers this figure is even lower, at 20%. Within other areas of the industry, this rises to just over 40%, but this is still less than the UK average for female employment.
the photo imaging sector - what does this encompass
what kind of jobs /careers do people do
freelance work
Ways of promoting yourself
Social networking sites
Myspace
Face book - www.facebook.com/ljphotography
Flickr
Blogger
Other websites
Business cards
create an ad in the newspaper
Working outside the UK
As i am interesting in working abroad and doing my work placement in canada I realise that it would be useful to research the pros and cons of working abroad and how you go about doing it. I have decided to look at the website www.skillset.org to get my information.
Here is a table of results from people who are working in the performance industry outside the UK in w/c 7th feb
you can see from the results that the majority of people in the performance industry are working within the uk rather than outside the uk. I am personally surprised by this as I though that most job opportunities would be outside of the UK.
for my work placement I am organsing a placement in canada in a small photography studio owned by a family friend and I will be working as a photography assistant so I have researched on the skillset website what a photography assistant is and what they do there role is in the industry and also what qualifications are needed.
What is the job?
Assistant Photographers must be prepared to do whatever is necessary to ensure that a photographic shoot runs smoothly. This typically involves preparing sets, checking that all equipment is functioning properly, setting up lighting and accessories, taking meter readings, transmitting files and transporting film or prints to and from laboratories.
When working from a studio, an Assistant will help out with the general administration of the studio, keeping the sets clean and tidy and printing photographs as required. Assistants will be expected to catalogue and optimise digital files, to scan film and to assist with image manipulation and enhancement. They should also keep records of the film stock, exposures, lighting set-ups, as well as the names and details of art directors, models, stylists, animal handlers and other contributors. When clients are present during a shoot, it is the Assistant Photographer's job to entertain them, and to shield the photographer from unnecessary interference or interruption.
On location, the Assistant's duties may involve making a technical ‘recce' (reconnaissance) and assessment of the site in advance, checking for vehicle access, power and communications facilities. They will often organise transport, catering and accommodation, set up equipment, and source a local laboratory or reliable courier.
High-profile photographers sometimes employ several Assistant Photographers who are then known as First Assistant, Second Assistant, and so on. Here, duties will be divided between the various assistants at the discretion of the photographer. In most cases, the First Assistant is likely to provide direct support to the Photographer on set, while the Second Assistant assists with production and general administration.
Typical career routes
Since this is an entry-level job, some photographers are happy to employ Assistant Photographers with little or no work experience. However, most prefer that applicants have some form of formal photographic training or previous experience in photography, fashion or advertising before seeking work. Assistant Photographers will therefore be expected to have a good grounding in all creative and technical aspects of photography, set construction and lighting. This not only enables the Assistant to understand the necessary preparation, execution and presentation of the job, but also to meet with clients, art directors, models and other contributors and understand their discussions with the photographer. Assistants should also have a friendly and positive attitude and be able to anticipate the needs and requirements of the photographer.
Essential knowledge and skills
Assistant Photographers need to be organised and practical, they should have excellent communication and interpersonal skills, be able to foresee and evaluate potential problems, and deal with the unexpected in a calm and efficient manner. They must possess good office skills, a polite and helpful telephone manner, be able to demonstrate keen attention to detail, and a willingness to learn.
They should know how to operate digital and traditional cameras, as well as scanning equipment. They should also be aware of the different software tools (e.g. Photoshop or Aperture) and techniques of image manipulation and enhancement. They should also be conversant with digital communications.
There are National Occupational Standards (NOS) for Photo Imaging. These give a detailed breakdown of the knowledge, awareness and skills needed to effectively carry out a particular job role. The NOS relevant to this job are listed at the end of this profile.
Training and qualifications
A college qualification cannot guarantee employment, but courses which run effective work placement schemes help students gain valuable work experience and make industry contacts before they graduate. The Professional Qualifying Examination (PQE) offered by the BIPP (British Institute of Professional Photography) has a good reputation with employers. The PQE has traditionally taken the form of an additional year's course following on from a Higher National Diploma (HND). Today it is often incorporated into a three year degree programme. Eight colleges and universities in England and two colleges in Scotland currently offer the PQE (see the BIPP website for further details).
To be accepted on a Photography Degree course you will usually need at least five GCSEs (A-C) or five Standard Grades (1-3), plus two A levels or three Highers, or equivalent qualifications such as an art foundation course. For an HNC/HND course you will usually need four GCSEs (A-C) or Standard Grades (1-3) plus one A level or two Highers or equivalent. An Access to Higher Education qualification may be accepted for entry to certain courses.Prospective employers normally expect to see a portfolio of photographs - this should be well presented and consist of 10 to15 photographs, that reveal a broad range of skills and competencies.Well established photographers or studios often support work-based qualifications, such as Apprenticeships and NVQ/SVQs.
Many practitioners start out by assisting an established photographer and learn on the job. Employers may support work-based qualifications, such as Apprenticeships and NVQ/SVQs. Photo Imaging NVQ/SVQs are currently available at levels 2, 3 and 4.
Membership of a professional association such as the British Institute of Professional Photography (BIPP), the Association of Photographers (AOP) and the Society of Wedding & Portrait Photographers (SWPP) may also be beneficial. The BIPP and the SWPP offer a range of qualifications, usually awarded after portfolio submission, enabling a candidate to benchmark their skills against other successful practitioners working in the industry.
Assistant Photographers will be expected to possess a full, clean EU driving licence.
Health & Safety
Assistant Photographers are likely to be subject to physical stresses from carrying heavy camera equipment and lighting, indoors and out, in all seasons, come rain or shine. They should therefore seek advice about appropriate techniques for lifting and moving equipment. In addition, they need to understand Health & Safety legislation and be capable of assessing and managing the risks and dangers associated with the use of electrical lighting, equipment and props. Freelancers should make sure that there is a current Public Liability insurance policy to cover their working activities, or that they have their own policy in place.
How to write a CV
source - http://www.coaching-life.co.uk/career/cvguide.html
A step-by-step guide
Starting your own business (working for yourself)
As I have started doing my own photo-shoots from home I have decided it would be useful to research the do's and dont's when starting your own business and whether I need to change or improve anything. Here is some of the questions which I asked myself when researching this topic:
What photography equipment will my business need?
Setting up any new business can be a costly prospect. There are numerous overheads that must be accounted for, and unexpected costs inevitably crop up. Photography equipment can be expensive and, if your business requires equipment that you do not already have, your set-up costs may well be sufficient for you to need to seek investment from a third party.
Photography equipment obviously comes in many different forms, and the equipment that your new business requires will depend upon the nature of the work that you are intending to do. Clearly, in order to keep your initial investment to a minimum, you will probably be looking to minimise the amount of new photography equipment that you buy.
However, while cost is obviously a factor, it should be remembered that your equipment is the core of your business. Without it you cannot operate. As such, it makes no sense to buy poor quality photography equipment (or to not buy things at all) if it means that the quality of your work will suffer. The cost might be problematic at the outset but, wherever possible, you should see this as in investment in the future of the new business.
Some items of photography equipment are necessary regardless of the type of work that your business is doing. Obviously, in the first instance you will require a camera of good quality. Digital equipment is highly recommended for professional photographers; while the initial outlay may be higher than for analogue, you will make your money back almost instantly as your developing costs are reduced to nothing. Furthermore, the price of professional digital gear is falling all the time, to the point where it is now possible to buy a camera body of more than adequate quality for around £500.
The types of lens that you buy will very much depend on the nature of your business. If you are mainly doing portraiture, for example, then it makes little sense to invest in a long telephoto lens. However, most photographers will find that a 35mm-equivalent digital lens will be put to repeated use. You should invest in a selection of lenses, as you are likely to require different focal lengths for different situations. A 28mm lens and a small to medium telephoto are likely to come in useful.
As a digital photographer you will also require a computer and photo editing software. Photoshop is the industry standard here, and the professional editions are still fairly expensive. However, it is possible to pick up copies of previous versions (for example CS1) comparatively cheaply. Your computer is the core of your operation, and it is therefore worth investing in a machine that will last. In order to efficiently run functions such as batch editing in Photoshop you will require at least 2 gigabytes of RAM and a dual core computer.
Again, depending on the nature of your work, you may also require lighting of some sort. If your business is to be based in a studio then you should consider a fixed lighting solution. Some of the best offer automated light movement on rails that are built around the studio, meaning that you don’t have to break down your rig every time you wish to rearrange it. If some of your work is to be carried out on location, you should investigate portable lighting rigs. Companies like Portastudio make perfectly acceptable rigs of this type fairly cheaply.
As can be seen, the total value of your photography equipment is likely to be fairly substantial. As has been mentioned, your equipment is vital to your business and it is therefore important that you take out adequate insurance. Specialist photographers’ insurance is offered by a number of companies, and is investigated in detail elsewhere on this site.
source -www.startaphotographybusiness.co.uk
Do I need to get insurance on my equipment?
When setting up in business, there are a number of potentially unforeseen costs that can crop up. These will obviously vary depending on the nature of the business involved and the work that will be undertaken.
However, if you are setting up a photography business you will almost certainly need some sort of business insurance.
Business insurance comes in many different forms; again, the most suitable type for you will depend on your individual business model. However, when running a photography business there are a number of elements that should be considered from the outset.
In the first instance, basic photographer’s insurance is a must. You will need to at least insure your equipment; if this is lost, stolen or damaged, not only will you lose the value of the equipment itself, but your business will no longer be able to function. As such, equipment insurance is something that you must be prepared to pay for.
There are a number of companies offering specialist photographer insurance; reputable commercial insurers will either provide standard packages that will be suitable, or they will be able to tailor insurance to suit you.
You should remember that there will be limits on the value of equipment that they will insure; a standard sum is around £15,000. If you require insurance of a higher value you must be prepared to pay higher premiums. You should also note that some companies will not insure photographers that perform more dangerous disciplines such as underwater photography.
Aside from insuring your equipment, you may also require more specialised business insurance. If your business has any sort of public-facing element, you will require public liability insurance. This type of business insurance protects you from claims made by third parties. These parties might include customers, other members of the public, sub-contractors and so on.
A good policy will cover you against claims made by these parties for injury or damage to their property. There are a number of companies offering public liability insurance tailored specifically to photography businesses, many of which will cover you for claims made against you up to a value of £5 million.
Depending on the nature of your photography business, there may be a minimum sum for which you must be insured; this will depend on your individual circumstances.
Photography businesses should also consider professional indemnity insurance. This type of policy will cover you against claims made against your business as a result of a professional dispute. Instances in which professional indemnity insurance might be useful include a portrait session, after which you accidentally erase the images from your storage.
Any compensation claim made against you, or the costs of additional studio time, should be covered by your professional indemnity business insurance. It is important to note, however, that this type of insurance normally comes with a number of significant exclusions; you will not, for example, be covered against loss or corruption of data unless this has occurred as a result of your negligence.As has been mentioned, the types of insurance required by your photography business will depend on your individual business model. You may wish to seek advice from insurers, and you should certainly shop around to make sure that you are getting the best deal.
Business card mock up design
As I am currently trying to make myself known as a freelance photograph I thought it would be useful to design a business card. I have recently been on photo box to design my own business card but didn't find the right style for me so I have gone on Vista-print where there are templates for you. I wanted an elegant and sophisticated look for my business card. Here is what I have designed.
Front
AOP - how does it help with professional development
AOP covers a variety of important issues that will get brought up along my freelance photographer career, issues such as:
Copyright and moral rights
Contract law,privacy and other important legislation
The business end
Marketing and representation
Advertising photography
editorial photography
corporate and design photography
Libraries
Digital
working outside the uk
Assisting photography
Why watermark your work?
At the moment I am using my photography business name , Lj photography and watermarking my work with that for copyright reasons.I have decided to research more thorough into watermarking and why its important.
Assistant Photographers must be prepared to do whatever is necessary to ensure that a photographic shoot runs smoothly. This typically involves preparing sets, checking that all equipment is functioning properly, setting up lighting and accessories, taking meter readings, transmitting files and transporting film or prints to and from laboratories.
When working from a studio, an Assistant will help out with the general administration of the studio, keeping the sets clean and tidy and printing photographs as required. Assistants will be expected to catalogue and optimise digital files, to scan film and to assist with image manipulation and enhancement. They should also keep records of the film stock, exposures, lighting set-ups, as well as the names and details of art directors, models, stylists, animal handlers and other contributors. When clients are present during a shoot, it is the Assistant Photographer's job to entertain them, and to shield the photographer from unnecessary interference or interruption.
On location, the Assistant's duties may involve making a technical ‘recce' (reconnaissance) and assessment of the site in advance, checking for vehicle access, power and communications facilities. They will often organise transport, catering and accommodation, set up equipment, and source a local laboratory or reliable courier.
High-profile photographers sometimes employ several Assistant Photographers who are then known as First Assistant, Second Assistant, and so on. Here, duties will be divided between the various assistants at the discretion of the photographer. In most cases, the First Assistant is likely to provide direct support to the Photographer on set, while the Second Assistant assists with production and general administration.
Typical career routes
Since this is an entry-level job, some photographers are happy to employ Assistant Photographers with little or no work experience. However, most prefer that applicants have some form of formal photographic training or previous experience in photography, fashion or advertising before seeking work. Assistant Photographers will therefore be expected to have a good grounding in all creative and technical aspects of photography, set construction and lighting. This not only enables the Assistant to understand the necessary preparation, execution and presentation of the job, but also to meet with clients, art directors, models and other contributors and understand their discussions with the photographer. Assistants should also have a friendly and positive attitude and be able to anticipate the needs and requirements of the photographer.
Essential knowledge and skills
Assistant Photographers need to be organised and practical, they should have excellent communication and interpersonal skills, be able to foresee and evaluate potential problems, and deal with the unexpected in a calm and efficient manner. They must possess good office skills, a polite and helpful telephone manner, be able to demonstrate keen attention to detail, and a willingness to learn.
They should know how to operate digital and traditional cameras, as well as scanning equipment. They should also be aware of the different software tools (e.g. Photoshop or Aperture) and techniques of image manipulation and enhancement. They should also be conversant with digital communications.
There are National Occupational Standards (NOS) for Photo Imaging. These give a detailed breakdown of the knowledge, awareness and skills needed to effectively carry out a particular job role. The NOS relevant to this job are listed at the end of this profile.
Training and qualifications
A college qualification cannot guarantee employment, but courses which run effective work placement schemes help students gain valuable work experience and make industry contacts before they graduate. The Professional Qualifying Examination (PQE) offered by the BIPP (British Institute of Professional Photography) has a good reputation with employers. The PQE has traditionally taken the form of an additional year's course following on from a Higher National Diploma (HND). Today it is often incorporated into a three year degree programme. Eight colleges and universities in England and two colleges in Scotland currently offer the PQE (see the BIPP website for further details).
To be accepted on a Photography Degree course you will usually need at least five GCSEs (A-C) or five Standard Grades (1-3), plus two A levels or three Highers, or equivalent qualifications such as an art foundation course. For an HNC/HND course you will usually need four GCSEs (A-C) or Standard Grades (1-3) plus one A level or two Highers or equivalent. An Access to Higher Education qualification may be accepted for entry to certain courses.Prospective employers normally expect to see a portfolio of photographs - this should be well presented and consist of 10 to15 photographs, that reveal a broad range of skills and competencies.Well established photographers or studios often support work-based qualifications, such as Apprenticeships and NVQ/SVQs.
Many practitioners start out by assisting an established photographer and learn on the job. Employers may support work-based qualifications, such as Apprenticeships and NVQ/SVQs. Photo Imaging NVQ/SVQs are currently available at levels 2, 3 and 4.
Membership of a professional association such as the British Institute of Professional Photography (BIPP), the Association of Photographers (AOP) and the Society of Wedding & Portrait Photographers (SWPP) may also be beneficial. The BIPP and the SWPP offer a range of qualifications, usually awarded after portfolio submission, enabling a candidate to benchmark their skills against other successful practitioners working in the industry.
Assistant Photographers will be expected to possess a full, clean EU driving licence.
Health & Safety
Assistant Photographers are likely to be subject to physical stresses from carrying heavy camera equipment and lighting, indoors and out, in all seasons, come rain or shine. They should therefore seek advice about appropriate techniques for lifting and moving equipment. In addition, they need to understand Health & Safety legislation and be capable of assessing and managing the risks and dangers associated with the use of electrical lighting, equipment and props. Freelancers should make sure that there is a current Public Liability insurance policy to cover their working activities, or that they have their own policy in place.
How to write a CV
source - http://www.coaching-life.co.uk/career/cvguide.html
A step-by-step guide
Your CV is an essential part of your toolkit when applying for jobs. It provides potential employers with their first glimpse of you, and gives you the opportunity to grab their attention, and persuade them that you have the skills and experience they are looking for, and are worth interviewing.
It is worth bearing this purpose in mind when you are creating your CV, and also stopping to consider your CV from the employer’s perspective.
They want to know if you satisfy the education, skills and experience that are needed for the post, and they are probably making this decision in the context of a large number of competing CVs, in a limited timeframe.
A CV provides basic information about you - your personal details, work experience and qualifications, and possibly additional information such as your referees, interests and particular skills such as a second language. This is the type of information a CV should cover. How you present it is much more flexible - there is no Holy Grail of a perfect CV, and there are as many CVs as there are individuals. However, there are a few useful tips which you can bear in mind when compiling your CV which could make it more effective. In the following sections we cover CV content and presentation, plus a few other golden rules.
CV content
We mentioned above the different sections that your CV should contain, and we’ll look at them one by one here.
Personal details
Start off with your name and contact details, ie address, e-mail and phone numbers. Obvious as it sounds, don’t put down an e-mail or number which you don’t check or can’t be reached at easily - frustrating for a recruiter if they want to contact you for an interview. It is entirely up to you if you want to include additional information such as marital status, date of birth or nationality. If you refer to yourself with initials, have an unusual or gender neutral name, you may want to include your gender, purely so that any recruiter wishing to correspond with you can address you correctly. Similarly, if the job requires that you are able to drive, mention that you have a driving license.
Work experience
…or employment history, whatever you prefer to call it. This section should usually come first - an exception would be for a recent graduate with less work experience, who might prefer to start off with qualifications. List your most recent or current role first, and go back chronologically - potential employers are most interested in what you are doing at the moment, and less so in the Saturday job you had as a teenager. Give the dates, name of the organisation and your job title. Exact dates for periods of employment are not necessary, even if you can remember them, but you should give the month and year, and check these for accuracy. If you have a long list of previous roles, save space by compressing the earlier roles into shorter descriptions, or just include the job titles; prioritise the more recent experience.
Using short sentences, describe the main responsibilities of your job, any special projects or achievements and salient facts and figures - bullet points can be a good idea here. Most jobs can be distilled to between two and six core areas. Be as concrete as possible and avoid vagueness and clichés, for example, abusing the word "liaise", an overused staple of CVs. Who did you liaise with, for what purpose, and what was the outcome? Focus on outputs and end results, use positive language, and be concise. There is no need to write reams about what your company does, or your reasons for leaving - these can be explored at interview.
Education
…or qualifications, you decide. List these, again with the most recent first, along with grades and dates attained, and the institution where you studied if you like. You may also wish to include here any skills based qualifications you have attained outside of your formal education, eg IT, language and secretarial skills. Avoid listing all the in-house training course you have ever attended, unless you feel something is particularly relevant or important.
References
Ideally include the names and contact details of two referees, one of whom should be your current employer. If you are a recent graduate, one referee should be academic. Many CVs don’t include referees’ details, simply stating "references to follow". This is OK, as most employers won’t take up references until a later stage in the recruitment process and will usually check with you first, however some employers like to see that you have included the details even if they don’t contact them. It can also save the recruiter time later if the names are already supplied.
Hobbies and interests
Entirely optional. Can be good as gives the employer an impression of you as a person, and useful for recent graduates as this can be an opportunity to demonstrate skills and aptitudes usually illustrated in the work experience section. Beware of writing a long list of exotic hobbies which could make you sound like a sickening overachiever, and of using the hobbies section to pad out your CV.
Starting your own business (working for yourself)
As I have started doing my own photo-shoots from home I have decided it would be useful to research the do's and dont's when starting your own business and whether I need to change or improve anything. Here is some of the questions which I asked myself when researching this topic:
What photography equipment will my business need?
Setting up any new business can be a costly prospect. There are numerous overheads that must be accounted for, and unexpected costs inevitably crop up. Photography equipment can be expensive and, if your business requires equipment that you do not already have, your set-up costs may well be sufficient for you to need to seek investment from a third party.
Budgeting and Investment
Photography equipment obviously comes in many different forms, and the equipment that your new business requires will depend upon the nature of the work that you are intending to do. Clearly, in order to keep your initial investment to a minimum, you will probably be looking to minimise the amount of new photography equipment that you buy.
However, while cost is obviously a factor, it should be remembered that your equipment is the core of your business. Without it you cannot operate. As such, it makes no sense to buy poor quality photography equipment (or to not buy things at all) if it means that the quality of your work will suffer. The cost might be problematic at the outset but, wherever possible, you should see this as in investment in the future of the new business.
Some items of photography equipment are necessary regardless of the type of work that your business is doing. Obviously, in the first instance you will require a camera of good quality. Digital equipment is highly recommended for professional photographers; while the initial outlay may be higher than for analogue, you will make your money back almost instantly as your developing costs are reduced to nothing. Furthermore, the price of professional digital gear is falling all the time, to the point where it is now possible to buy a camera body of more than adequate quality for around £500.
Lenses and Computers
The types of lens that you buy will very much depend on the nature of your business. If you are mainly doing portraiture, for example, then it makes little sense to invest in a long telephoto lens. However, most photographers will find that a 35mm-equivalent digital lens will be put to repeated use. You should invest in a selection of lenses, as you are likely to require different focal lengths for different situations. A 28mm lens and a small to medium telephoto are likely to come in useful.
As a digital photographer you will also require a computer and photo editing software. Photoshop is the industry standard here, and the professional editions are still fairly expensive. However, it is possible to pick up copies of previous versions (for example CS1) comparatively cheaply. Your computer is the core of your operation, and it is therefore worth investing in a machine that will last. In order to efficiently run functions such as batch editing in Photoshop you will require at least 2 gigabytes of RAM and a dual core computer.
Lighting
Again, depending on the nature of your work, you may also require lighting of some sort. If your business is to be based in a studio then you should consider a fixed lighting solution. Some of the best offer automated light movement on rails that are built around the studio, meaning that you don’t have to break down your rig every time you wish to rearrange it. If some of your work is to be carried out on location, you should investigate portable lighting rigs. Companies like Portastudio make perfectly acceptable rigs of this type fairly cheaply.
As can be seen, the total value of your photography equipment is likely to be fairly substantial. As has been mentioned, your equipment is vital to your business and it is therefore important that you take out adequate insurance. Specialist photographers’ insurance is offered by a number of companies, and is investigated in detail elsewhere on this site.
source -www.startaphotographybusiness.co.uk
Do I need to get insurance on my equipment?
When setting up in business, there are a number of potentially unforeseen costs that can crop up. These will obviously vary depending on the nature of the business involved and the work that will be undertaken.
However, if you are setting up a photography business you will almost certainly need some sort of business insurance.
Photographer Insurance
Business insurance comes in many different forms; again, the most suitable type for you will depend on your individual business model. However, when running a photography business there are a number of elements that should be considered from the outset.
In the first instance, basic photographer’s insurance is a must. You will need to at least insure your equipment; if this is lost, stolen or damaged, not only will you lose the value of the equipment itself, but your business will no longer be able to function. As such, equipment insurance is something that you must be prepared to pay for.
There are a number of companies offering specialist photographer insurance; reputable commercial insurers will either provide standard packages that will be suitable, or they will be able to tailor insurance to suit you.
You should remember that there will be limits on the value of equipment that they will insure; a standard sum is around £15,000. If you require insurance of a higher value you must be prepared to pay higher premiums. You should also note that some companies will not insure photographers that perform more dangerous disciplines such as underwater photography.
Public Liability Insurance
Aside from insuring your equipment, you may also require more specialised business insurance. If your business has any sort of public-facing element, you will require public liability insurance. This type of business insurance protects you from claims made by third parties. These parties might include customers, other members of the public, sub-contractors and so on.
A good policy will cover you against claims made by these parties for injury or damage to their property. There are a number of companies offering public liability insurance tailored specifically to photography businesses, many of which will cover you for claims made against you up to a value of £5 million.
Depending on the nature of your photography business, there may be a minimum sum for which you must be insured; this will depend on your individual circumstances.
Professional Indemnity Insurance
Photography businesses should also consider professional indemnity insurance. This type of policy will cover you against claims made against your business as a result of a professional dispute. Instances in which professional indemnity insurance might be useful include a portrait session, after which you accidentally erase the images from your storage.
Any compensation claim made against you, or the costs of additional studio time, should be covered by your professional indemnity business insurance. It is important to note, however, that this type of insurance normally comes with a number of significant exclusions; you will not, for example, be covered against loss or corruption of data unless this has occurred as a result of your negligence.As has been mentioned, the types of insurance required by your photography business will depend on your individual business model. You may wish to seek advice from insurers, and you should certainly shop around to make sure that you are getting the best deal.
Business card mock up design
As I am currently trying to make myself known as a freelance photograph I thought it would be useful to design a business card. I have recently been on photo box to design my own business card but didn't find the right style for me so I have gone on Vista-print where there are templates for you. I wanted an elegant and sophisticated look for my business card. Here is what I have designed.
Front
Back
AOP - how does it help with professional development
AOP covers a variety of important issues that will get brought up along my freelance photographer career, issues such as:
Copyright and moral rights
Contract law,privacy and other important legislation
The business end
Marketing and representation
Advertising photography
editorial photography
corporate and design photography
Libraries
Digital
working outside the uk
Assisting photography
Why watermark your work?
At the moment I am using my photography business name , Lj photography and watermarking my work with that for copyright reasons.I have decided to research more thorough into watermarking and why its important.
Watermarking and Copyrighting Your Photographs
There is a danger factor in publishing your images online. Whether you are being published professionally or just putting pictures up on your personal blog, there is always the chance of theft or copyright infringement. Take it from me: it is a huge violation of privacy, trust and feels like a dirty prank is being pulled on you by the internet itself. It's a great way to ruin the day. But you are in luck, faithful Steve's Digicams reader. There are ways to prevent copyright infringement and dissuade jerks from ripping off your photographs.
What is watermarking and copyrighting?
A watermark is a visible image imprinted or embossed directly onto the paper or digitally added onto an image later. It would be your name, your company logo, the company name, the copyright symbol or nearly anything that marks that image as belonging to you. Some are extremely obvious while others are hidden (much to the chagrin of a thief under fire). Watermarks are used on nearly every paper source; banknotes, passports, easy to purchase reams of paper (remember that episode of "The Office" where someone watermarked the paper with an "obscene image"), digitally created images and photographs. Watermarking is an ancient practice, dating back to 13th century Italy. As soon as papermaking started, watermarking became necessary. Cartiere Miliani in Fabriano is credited with the earliest watermark dating 1282. But funny enough, things have not changed much over the past seven and a half centuries. People are still protecting their paper and their work using simple watermarks.
Copyrighting is a more in-depth way to protect your work. According to the United States Copyright Office website, it is the "protection provided by the laws of the United States to the authors of 'original works of authorship'...This protection is available to both published and unpublished works...the 1976 Copyright Act generally gives the owner of copyright the exclusive right to do and to authorize others to do the following:
- to reproduce the work in copies...
- to prepare derivative works based upon the work...
- to distribute copies or phoorecords of the work to the public by sale or other transfer of ownership...
- to display the work publicly..."
Essentially, if you took the picture and want to copyright it, you control what happens with that image as long as you own the copyright.
Why would someone use a watermark or copyright their images?
Is your work available to the public? Can someone see your pictures? Are your images uploaded to a photo hosting website? Do you have a blog that you post photos to? Do you share your work digitally? Do you get paid for your work? Do you not get paid for your work? Are you using your photographs in this year's Christmas card?
If you answered yes to any of the questions above, you need to use a watermark or copyright your work.
How do I copyright or watermark my work?
To copyright your photo, you can go about it two ways: the lazy, free way or the legal way. According to the Berne Convention (which I recommend reading so you better understand what it really covers and how it legally protects you), as soon as you press down the shutter on your camera you own the image that creates. The copyright is automatic and instantly yours. You own the copyright of that photograph for a minimum of 25 years (duration of copyright depends on the medium). It does also state that people can use your work as long as they credit you with it. The Berne Convention does not ensure you will get paid every time someone else uses your photo. It does not clarify how you are to prove that the photo, if it were to come into question, would be proven as yours.
Going through the U.S. Copyright Office is the legal way of copyrighting your work. Legally copyrighting your photographs protects you on all levels. To copyright your work, there is a convoluted, sometimes necessary process that can get expensive and lengthy. You have to go through the U.S. Copyright Office and register your work either online or on paper (the website offers a PDF file for you to download, fill out and mail in). Registering online is much more streamlined, less cumbersome, goes much quicker and provides you with a status tracker, much like shipping and tracking a UPS package. It is also cheaper to file online running you only $35 versus $50 to do it on paper. You can register a single image or an entire body of published work (Form GR/Pph/CON is needed for a group of published works). Going through the Copyright Office is for those who sell their work to distributed publications. If in fact someone were to steal or abuse an image, you have the Copyright Office and the power of the United States government on your side.
In terms of protection, think of it this way: if someone were to steal your image, the Berne Convention is your angry dad while the Copyright Office is the mafia.
Watermarking your photographs can be done a number of ways. The most popular route is to create and add a watermark through Photoshop. There are plenty of tutorials online that explain how to create and apply watermarks to a single or batch of photos. Paint Shop Pro also makes it easy to add a watermark; here is a good explanation of how to go about doing so. If you don't own either one of those programs, there are plenty of r
esources available online to help you in watermarking your work.
Picmarkr is a user friendly watermarking program that is offered free online. They allow you to upload a picture from your computer, Facebook, Flickr or Picasa accounts. You have the option to resize your photo or leave it as is. From there, you have your choice of Text or Custom Logo/Image showing up once in a designated area or tiled across the whole image. You can choose between black or white text by itself or set on a 40% opaque line that can either fit just behind the text or along the entire image. Once you have designed your watermark, you apply it to the image and save it to any of the aforementioned accounts or back onto your computer. You don't get to chose text size, so in a large image the watermark gets easily lost. Below is an image watermarked with Picmarkr.
Watermark-Images is an easy to use free online program that allows for more control than Picmarkr. You can upload twenty pictures at once allowing for batch watermarking. You customize the watermark text; there is no option to watermark with an image or logo. You then chose the font type, the font size, color and transparency. The tricky part is choosing the position of the watermark. To place the image in the upper left hand corner, then chose 10% for both fields; tweak it from there. You can rotate the text, apply shadow and surround the text with a box. In the image below, the watermark is set at 70% from the left and 90% from the top; 45pt Impact font in black at 25% transparency in solid; no special effects and now box around the text.
Alamoon Watermark is a free downloadable program that does single and batch watermarking; you must purchase Alamoon Pro for $29.95 in order to batch watermark but the free version works just fine for one time watermarking. (I downloaded, virus scanned and used this program and can vouch for its legitimacy and the fact that it is virus free.) Before you even download the program, make sure you make copies of the photos you will be watermarking. As with Watermark-Images, you only have the option to watermark with text, no logo or image. Select the font you want; Alamoon is unique in that you can choose from any type face on your computer versus 6 or 7 select fonts from the program. You can either choose between predetermined positions or program it in with percentages (exactly like Watermark-Images). Alamoon will attach a watermark to the file you upload and not ask you to make a copy so when the option to save the file to a new folder arises, do so. Give it a new name and everything to prevent watermarking your original file (which I very nearly did to one of my favorite photos). You can save the file as a JPEG, PNG, GIF, BMP, PCX, TGA or TIFF. The option to resize the photo is also available. Below is an example of Alamoon's watermarking.
If you don't get a sense of relief and security from watermarking or copyrighting your photos, let the internet help fight the copyright battle. The super sleuth TinEye program, a.k.a. your new best friend, will scour the internet looking for digital copies of your image. You can search by either uploading the file straight from your hard drive or using the image's URL address. It is a tense wait while the TinEye searches for copies, but you will be happy to know the results, one way or the other.
My watermark example
