AIPP Journal - March 2019

Issue 269

AIPP's Future Strategy Pricing For Commercial Jobs Olympus's Amazing OM-D E-M1X

March 2019

JOURNAL

CONTENTS 6

John Swainston's President Message It's been a busy month for the National President and National Board alike. John Swainston reports in.

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Planning a Future Strategy for the AIPP Your AIPP Board met face to face in early March to plan for the future and to revitalise our Institute. And the result: a clear strategy to get us started on the New AIPP. John Swainston reports.

Cover

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AIPP National Board - Meeting Summary

Danny Kneebone APP AAIPP

The following summaries the outcomes of the January and February AIPP National Board meetings, as compiled by Steve Wise.

GOLD AWARD, PORTRAIT CATEGORY 2018 AIPP AUSTRALIAN PROFESSIONAL PHOTOGRAPHY AWARDS

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Why Enter The Epson State Awards?

There are so many photographers who owe their success to entering the AIPP's Awards systems, one wonders why everyone isn't entering automatically. It's what sets us apart as a professional photographer.

AIPP JOURNAL is the official newsletter of The Australian Institute of Professional Photography (AIPP).

Editor Peter Eastway B.Ec CPA APP.L FNZIPP Hon. FNZIPP G.M. Photog. 1 P.B. Hon. FAIPP FAIPP Disclaimer The information provided in the AIPP JOURNAL and associated publications is made in good faith, but is general in nature. Neither the editor, the publisher or the AIPP accept responsibility for or will be under any liability for any recommendations, representations or information provided herein. The AIPP JOURNAL presents information, opinions and suggestions for subscribers to evaluate in coming to their own decisions in the light of their own individual circumstances. The information should not be relied upon without readers first obtaining independent advice from their own financial and legal advisers.

Unless otherwise noted, all articles are written by Peter Eastway.

Publication The newsletter is published 10 times a year – monthly with November/ December and January/February being combined.

The AIPP JOURNAL newsletter is published by Pt 78 Pty Ltd, ABN 75 003 152 136, PO Box 351, Collaroy Beach, NSW 2097, Australia.

Phone: (02) 9971 6857; Fax (02) 9971 6641.

E-mail eastway@betterphotography.com Quietly celebrating 26 years of publication.

AIPP Membership Contacts www.aipp.com.au admin@aipp.com.au PO Box 249, Mooroolbark Victoria 3138 Phone 1300 685 334

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22

Who Owns Copyright – Me Or My Client?

There are different rules for different types of photography and video production, but it can all be simplified with an agreement.

24

Can I Claim GST When I Buy Equipment?

If you're registered for GST, one of the 'attractions' of buying new gear is being able to claim back the 10% GST. But are you entitled to?

ISSUE 269 / MARCH 2019 26

1. How Do I Price A Commercial Shoot?

With most professional photographers shooting commercial work, at least from time to time, here's a series of 7 issues to help you understand the market and price your work profitably.

28 30

2. What Is My Competition Charging?

Knowing what other photographers are charging is essential information if we are to be successful. Our clients will know this information, so must we when it comes to negotiation.

3. What Are My Client’s Expectations?

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7. Which Clients Do I Educate?

We know that good quality photography is incredibly valuable and can be the difference between success and failure for a client's marketing, but do they know this? How can we ensure they do?

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What Makes An Award Image?

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Belle Verdiglione's Winning Birth Photo

A client who values photography is more likely to pay a higher fee, so by asking questions, you can discover if a client is worth working for and how to plan the job to an expected price point.

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4. What Is Usage And Should I Charge It?

Perth photographer and AIPP member Belle Verdiglione has been picking up a number of awards for her birth photography. And you can see the joy and emotion in her subjects very clearly!

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'Usage' used to be a key component for advertising and stock photography, but it is less common these days. Nevertheless, understanding usage could one day make a huge financial difference.

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5. How Much Do I Need To Charge?

Dark, dark, dark tones have worked wonders for Rana Rankin's emotive portrait, but is it a dangerous game to play with the judges?

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No matter what your competition is charging or your clients are paying, there is a minimum you need to earn if you are to make a living as a professional photographer (even if it's part-time).

Olympus OM-D E-M1X The world’s highest image stabilisation performance with 7 shutter speed steps of compensation, highspeed burst shooting up to 60 fps and autofocus with intelligent subject detection, what's not to like!

Sony 135mm f1.8 G Master Lens Looking for a point of difference in your photography?

Something that could be great for portraiture? Check out Sony's latest 135mm mid-telephoto with an incredibly wide maximum aperture of f1.8!

6. Should My Quality Be Better?

With the majority of photographs being taken for the internet, is quality such a big issue? Don't confuse technical quality with the process of engaging your client in a discussion about creativity!

Platinum Sponsors 3

4

CHALLENGE YOURSELF! ENTER THE 2019 AIPP EPSON STATE PROFESSIONAL PHOTOGRAPHY AWARDS April to June this year. Get ready now!

Entry details and dates can be found at http://stateawards.aipp.com.au

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NEWS

John Swainston's President Message It's been a busy month for the National President and National Board alike. John Swainston reports in.

Being a member of an association of any kind

magazines serving that hobby, join a camera

involves commitment.

club and, if really keen, become a member of

the Australian Photographic Society with its

It starts with an idea. It’s shared with others.

People agree that a coming-together makes

annual APSCON convention.

sense because of common purpose. An

association is formed and things develop.

our forebears could not have ever imagined,

In an era of rapid technological change that

with YouTube instructional videos, online

FIVE DECADES AGO

courses and smartphones with 4K video, slo-

The AIPP was formed nearly five decades

mo, stabilisation and so many apps, everyone is

ago. Its purpose was to enhance and grow

a photographer.

professional photography.

video makers, v-loggers and podcasters are not

In those days, people were pretty clear what

photography was, who enthusiasts were, who

full-time professionals, yet they are populating

and what professionals were.

Twitter and Instagram with content which is

If you wanted to 'be a photographer', you

followed by millions and so in turn, they are

would likely undertake a diploma course at one

in demand by corporations, businesses and

of the specialist TAFE centres or even attend a

wedding partners for the reflected glory an

select few courses at university.

association with such people brings.

Further on, you would apply to become

a member of the IAP and join a few hundred

ENTRY IS A JOURNEY

fellow professionals.

The desire to be better at one’s craft for an AIPP

member is given an avenue in the AIPP's annual

On the other hand, if you just enjoyed

photography as a hobby, you’d read one of the

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However, some of the best photographers,

Epson State Professional Photography Awards

Platinum Sponsors Gold Sponsors Trade Partners ATKINS PRO LAB

ATKINS PRO LAB

APVP Sponsors

Advancing Professional Photography.

For Everyone.

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NEWS

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and the national APPA event.

hide in a world of social media.

Entry is a journey.

For many, the aspiration to simply learn is

members were trolled yet again by a vocal few

That the AIPP itself, its judges and its

enough. The benefit that all entrants receive

is both unjustified and baseless.

from individual comments on every picture,

from a range of professional experience, both

the expertise in judging, in rules and in the

from within the Institute’s membership and

process will continue to be applied.

outside, provides vital insights in personal craft

development. But, for some, there is an even

pursue a journey of personal craft development

greater need for success.

which produces great value for you as a

member when you follow the guidelines.

Entering the AIPP awards should only ever

As a member, you should be assured that

There is still great value in choosing to

be about personal growth. The journey itself is

far the most important benefit. The value comes

scenes, but even so, the process as it is actually

from learning from expert judges.

works. And works well!

SEVERE CONSEQUENCES

STRATEGIC CHANGE

As we have seen in recent weeks, going

The Awards are just one part of this association.

beyond this has, in a highly reported case, led

The AIPP also helps members who want to

to a member breaking the rules, with severe

'associate', who want to embrace the changes

consequences when found out.

in photography and the many different genres

of expression, technology and delivery. We

No, we at the AIPP did not discover this. But

Some forensic changes will occur behind the

nor did five other worldwide organisations.

want to increase our collective relevance

and engagement in such a fast-paced,

The journey for those involved in the

investigation, for judges, for mentees of the

transformational world.

person involved, for people who didn’t win

when they should have done, the past weeks

on the next pages gives you a hint of the

have been traumatic.

Board’s three-day strategic planning session

outcomes held in early March.

And also for the individual involved who has

The outline of Strategic change that follows

to come to terms with the consequences.

We welcomed Dan O’Day as a new Board

The rules themselves were breached.

member and believe he represents much

Anyone who fails to follow the rules will

of what we perceive is a needed change –

ultimately be found out. There is no place to

a different perspective, superb execution

•

Leanne Curtis APP AAIPP

•

Shaun Furey 9

NEWS

for clients, a global ambassador for great

them, placing in the hands of the general public

photography.

a means of making them with little labour and

with even less knowledge, has, of necessity

We thank Dan for stepping up and

participating as a Board member in what is

been followed by the production of millions

a vital time for grasping the possibilities and

of photographs. It is due to this fatal ease of

running with them.

making pictures that photography, as a picture-

taking medium has fallen into somewhat

Your contribution has already been so

valuable, Dan, so thank you.

disrepute in so many quarters.

At the same time, I’d like to thank Craig

“And because there are few people who are

Wetjen, who stepped down from the Board in

not familiar with scores of inferior pictures, the

February.

popular verdict is that all photographers are

either professionals or enthusiasts.”

Craig has brought insight into the personal

challenges many members face as lone and

sole business operators in his year on the Board.

in Camera Work in 1906. One hundred and

He has staked out education and personal well-

thirteen years ago. He could have been writing

being improvements through draft policies that

today.

will benefit everyone going forward.

the same.

His work will continue in coming months

These words were written by Alfred Stieglitz

The more things change, the more they are

through others.

Professional Photography Awards which kick off

Craig: Thank you! We wish you well as

Good luck in the AIPP Epson State

you return to teaching and helping others in

in South Australia next month.

different capacities and continuing your journey

If you have never entered, do!

as a photographer.

If you are a veteran, grow some more. Be

proud of associating with other committed

EVERYTHING HAS CHANGED, BUT NOTHING HAS CHANGED

photographers in a common purpose of

Finally, I want to share this quote, which I shared

best photographer that you can be.

with our Board, to show that despite all the

personal development and promotion of the Have a great month.

changes in photography, the real issues actually don’t change.

“Owing to the universal interest in pictures

and the almost universal desire to produce

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John Swainston Hon. FAIPP National President john.swainston@aipp.com.au

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NEWS

Planning a Future Strategy for the AIPP Your AIPP Board met face to face in early March to plan for the future and to revitalise our Institute. And the result: a clear strategy to get us started on the New AIPP. John Swainston reports.

Strategy is big picture thinking. It's not all the

2. THE WHAT

little details - that comes later. And the most

In a world where there's lots of free stuff that

important thing a Board can do is plan an

teaches all manner of skills on the net, what can

organisation's overall strategy.

the AIPP do? What can it uniquely provide to its

members?

The AIPP Board met in Sydney recently,

joined by Ollie Dale from the NZIPP as we share many of the same issues as our friends over the

3. THE HOW

Ditch.

We know how much the journey of a modern-

day image-maker radically differs from the past,

It is important that our Board members

(directors) are properly trained about what

so we need to work out how we can create

they're required to do on a Board, so Saturday

value, both perceived and actual, for our new

was spent in training, learning what it means

reality.

to be a Board director and to understand what

our duties and legal obligations are to our

being born via this new mindset. It’s a process

members.

that will require more work through widescale

discussion with all of our members, as well as

We will share many of these learnings with

We can see a very different industry body

state councils for clearer role understanding and

those who are not members.

decision-making in coming weeks.

to face, so it will take a few months, but the

Then Sunday was all spent on developing a

We see us doing this by phone and face

strategy.

2019 Board is convinced that some radical

new offerings and value propositions for the

We explored three core elements.

membership are needed.

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1. THE WHY?

We see this as the value we all feel in belonging,

Board if you have feedback that you would like

as well as why so many don’t.

to share with us.

Feel free to contact any one of us on the

•

Simone Addison APP M.Photog.

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NEWS

As the discussion proceeded, we were very

Legally we are a company, but let’s behave

aware that professional image-making is a

more like a family that cares for present

much broader spectrum than merely great still

members, yet-to-be members and past

photographs.

members.

Equally, the Board is very mindful of the

value brought by our trade partners and

STEP 2

sponsors, so the question we asked is, how

With the pace of change we are all facing,

we can deliver for them as well as established,

we need to align our activities with where

valued, long-term members?

the profession and our members need to be in three to five years. Our communication

SUMMARY

has to be more relevant, whether it’s about

A radical re-boot with fresh ideas for

photography or video. The two are indivisibly

development, membership and inclusiveness!

linked. We are all image makers.

ENGAGE – GROW – DEVELOP – EVOLVE

STEP 3 Working with colleagues around the world, we

The AIPP needs to be a much happier place. It

will develop new pathways for individuals to

needs to be more inspiring and more tolerant of

find their own success as they want it, rather

the diversity of all kinds of image making and all

than on a fixed and limited linear path.

kinds of price propositions.

We’ll examine new organisation structures

STEP 4

and direct communication to ensure every

We will reach out to the broader photo

member feels valued.

community, where AIPP excellence can be

both a focus and a magnet for like-minded

We've identified five steps we need to take

in developing this strategy.

individuals who, up to now, saw little with which they could identify.

STEP 1

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Over the next 15 months, every aspect of

STEP 5

membership will be examined and modified to

We will create an environment so any working

make membership easier – removing obstacles,

photographer will want to be a member;

red tape and simplifying access, while retaining

the new AIPP will be a must-join place that

the many strengths that differentiate us.

maximises each member’s potential.

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Damien Bowerman APP M.Photog. III 15

NEWS

AIPP National Board - Meeting Summary The following summaries the outcomes of the January and February AIPP National Board meetings, as compiled by Steve Wise.

TAGS AIPP Management

MEMBERSHIP LEVELS FEEDBACK

MAC (Membership Accreditation Committee) for

John Swainston flagged the possibility of

introducing a ‘General’ level of membership for the AIPP, to cater for professional

BOARD MEMBER NOMINATIONS / ELECTIONS

photographers who wish to be involved in the

A draft letter had been prepared inviting

AIPP, but who are not necessarily interested

Members to elect for vacancies on the

in the awards or accreditation; and also

Board. This letter would be distributed to the

to target industry professionals who may

members. John flagged that, as the new bylaws

not be photographers (i.e. retouchers, lab

had not been completed yet, all members will

professionals, etc). He suggested it could also

still have the option to vote on the new Board

be a suitable membership type to interest past

of Directors.

members returning to the AIPP and would

suit professional photographers interested in

Roger Rosentreter as joint Company Secretary

advocacy.

along with Peter Eastway

The Board voted on the appointment of

Melissa Neumann concurred and said it

was vital that the AIPP re-build with a sense of

BYLAWS

community.

Active feedback on the new draft bylaws

was asked of the Board and the State Council

It was agreed by the Board that the numerous

documents on membership be delivered to the

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further deliberation with a timeline attached.

Presidents. Committees would be asked for

NEWS

direct feedback on relevant bylaws also.

of material being available to those who did not attend, and associated costs and pricing. This

NEWBORN ACCREDITATION

will be investigated further.

There was discussion around Newborn Accreditation for AIPP Members – considered

IT UPGRADE

an important game changer. Melissa would take

Louise Bagger and Robert Coppa continued

the reins on the new Newborn Accreditation

working on information relating to the IT

Project.

upgrade – providing a summary document

of two referral interviews for the company of

It was noted that the AIPP had been able

to advocate legally for its members in a recent

choice. Discussion around financial stability lead

hospital birth photography matter. John and

the Board to ask for a review of the situation

the Board were in support of Melissa’s idea

before proceeding.

that stringent accreditation for photographers in specific genres is a relevant and important

PHYSICAL MEMBERSHIP CARDS

matter.

Membership cards were discussed along with

design options and infrastructure costs – plus

It was felt the accreditation standards

would need peer review. He suggested various

the relevance of the current perspex plaques

relevant professionals (midwives, child health

with year badges being sent out. It was decided

care nurses, pediatricians etc) who could be

these plaques would be discontinued and

consulted for their expertise.

funds redirected to membership cards with mulitple functionality.

ONLINE EVENTS FOR REGIONAL MEMBERS

HR OUTSOURCING

A working group set up by Sara would be

With two current vacancies on the Board, there

convened to look into setting up more

was discussion around co-opting someone

consistent online events and streaming for

to the Board with HR experience, suggesting

regional AIPP Members.

there are many people who wish to gain Board

experience on a not-for-profit Board.

It was suggested that online workshops and

seminars could be recorded and stored in the for membership. There was further discussion

CRAIG WETJEN STEPPING OFF THE BOARD

around consent for recording, delaying release

Craig confirmed that he would be stepping

AIPP Member Library as an excellent resource

17

NEWS

off the Board. The Board thanked Craig for his

base model for the trade show floor was in

valued service and Craig agreed to stay on until

place and he has been working on how this

his replacement was elected .

space could be best used for sponsors.

He felt that the AIPP was not providing

BOARD ELECTIONS

enough value at the trade event.

At the time of this Board meeting, the Board

had received one nomination for election as a

hoping to open the trade event up with an

board director.

educational component designed to encourage

more non-members and the general public to

This nomination had been approved by

In order to combat this in 2019, Bruce is

the Nominations Committee, as per the official

attend.

requirements.

There were discussions around Epson as

major state sponsor and concentrating on

MENTORING COMMITTEE

their ROI. KPI’s were being finalised for Epson as

David Simmonds tabled an initial proposal from

well as adjustments and additions to the State

the Mentoring Committee to the Board for the

Awards website to promote their brand.

AIPP Mentoring Program – and how it would

look going forward.

and ask them to organise an event in the lead

up to their State Awards that could be Epson

Discussions around administration and

finance took place – as well as suggestions

It was suggested to approach the Councils

focused.

regarding further research outside the AIPP to find out what other associations are doing,

ADMIN STAFF UPDATE

their best practices and the need to appeal to

The Board was informed of the resignation of

younger members and students. This would be

Sharifa Ghionis as the Administration Team

fed back to the Committee.

Leader and the Board wished to thank Sharifa

for her hard work over the previous year in

Further structure and co-ordination was

requested by the Board for this program, with a

running the AIPP’s administration.

focus on the future rather than what has been

done in the past.

for an experienced graphic designer within

There was also discussion around the need

the AIPP, for the purposes of consistent and

TRADE PARTNER / SPONSORSHIP Bruce Pottinger informed the Board that the

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professional branding.

This will be looked into and actioned.

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R i c h a r d B e n n e t t A P P. L M . P h o t o g I V H o n . F A I P P F A I P P

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AWARDS

Why Enter The Epson State Awards?

There are so many photographers who owe their success to entering the AIPP's Awards systems, one wonders why everyone isn't entering automatically. It's what sets us apart as a professional photographer.

20

The objective of entering the Epson State

to deal with the lower scores at the time, but

Professional Photography Awards isn't to win

looking back now, it pushed me along, helping

the overall prize or even a category, it's to earn a

me become a better photographer. Falling short

Silver Award. Now, I know this statement might

of Silver can be the best thing that happens if

be a little controversial because I've also written

you look at your career in the long term.

that the aim of our various Awards systems is

to challenge yourself and to do better than you

Photography Awards and expect to gets 'likes'

did last year.

or 'hearts' like you do on social media. Enter

with an open mind and, if you fall short, spend

Maybe earning a score of 70 or 71

So, don't enter the Epson State Professional

(professional practice) is all that you're looking

some time analysing why, comparing your work

for this year, but eventually, as you settle into

with other entries, and asking the judges (after

the Awards process, it all comes down to Silver

the event) for feedback.

Awards. This is the mark of success. This is what

makes you smile and gives you a sense of

there's no limit. While there can be only one

satisfaction and accomplishment.

category winner, every entrant can conceivably

Especially when you realise it is five other

earn a Silver Award (or higher) if their work is

photographers on a panel who have made the

good enough. That means you can win up to

deliberation. It's not a public, popularity prize,

9 or 12 Silvers at the Epson State Professional

it's an award based on sound photographic

Photography Awards!

principles and professional practice.

is just $165 (less a 25% discount if you're AAIPP

A Silver Award will give you the confidence

The good thing about Silver Awards is that

Entry for up to four prints for APP members

that you're doing great work.

or higher), and only $105 for three prints for

Emerging members and $70 for Students.

And I hope you don't get your Silver Awards

too easily. There have been many years when

Now's the time! Start getting your entries

none of my entries reached Silver. It was tough

ready this week!

•

Nathalie Hicks APP

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EDUCATION

©

Who Owns Copyright – Me Or My Client?

There are different rules for different types of photography and video production, but it can all be simplified with an agreement.

If you have an agreement with your client,

in the photographs taken.

before you begin a job, that states you own the copyright, then essentially all the problems

VIDEO PRODUCERS

concerning initial copyright ownership

Ownership of a video production is more

disappear.

complicated than a still photograph and there

However, if there is no agreement in place,

can be elements within a production where

then the Copyright Act determines who owns

copyright is not owned, but is licensed (e.g.

the copyright.

music). However, generally speaking, the copyright in a film or video production is owned

DOMESTIC PHOTOGRAPHERS

by the person who commissioned the film or

Domestic photographers are generally wedding

production, unless there's an agreement to the

and family portrait photographers. It's where

contrary in place.

the photographer is dealing with the consumer – a B2C arrangement.

SPECIAL RULES

In the absence of an agreement to the

Overriding these general provisions can be

contrary, the client owns the copyright in the

special rules which apply to employees (the

photographs taken.

employer may own the copyright), or when you are working for government departments (the

COMMERCIAL PHOTOGRAPHERS

government will own the copyright).

Commercial photographers are essentially

not domestic photographers and their shoots

copyright can be changed with an agreement

can be characterised as business-to-business

between the parties involved and this is one of

(B2B). Examples include advertising and

the reasons the AIPP recommends members

corporate photography.

always use a contract or agreement for every

job that specifies that copyright is owned by the

In the absence of an agreement to the

contrary, the photographer owns the copyright

However, the 'default' position for owning

photographer or video producer.

This is general information only. We do not know your specific financial or legal situation and we are not providing you with advice. As such, this article should not be relied upon as legal, financial or accounting advice. Please use this article as a conversation starter with your own adviser.

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•

Milton Gan APP AAIPP

23

EDUCATION

Can I Claim GST When I Buy Equipment?

If you're registered for GST, one of the 'attractions' of buying new gear is being able to claim back the 10% GST. But are you entitled to?

You can claim GST when you buy equipment if

invoice says ‘Tax Invoice’ on it indicates that the

you are registered for GST.

price includes GST, but chances are the GST will be separately listed on the document as well.

ARE YOU REGISTERED? This is the first question you have to ask. Many

WHAT ABOUT SECONDHAND?

photographers with smaller businesses may not

The same rule applies when you buy

be registered for GST, so when they purchase a

secondhand. If you get a Tax Invoice, GST is

piece of equipment for, say, $1000 + $100 GST

included.

= $1100, there is no GST claim. However, they

will be able to claim or depreciate the full $1100

privately, the seller may not be registered for

price (with the GST included) on their tax return.

GST – in which case they won’t be giving you a

Tax Invoice and you can’t claim GST!

If you’re not registered for GST, you simply

However, if you’re buying equipment

ignore GST.

SELLING YOUR OWN GEAR IF YOU ARE REGISTERED...

If you’re registered and you sell your equipment

On the other hand, if you are registered for GST

to someone else, you must include GST.

and there is GST included in the purchase price,

you can claim the GST.

equipment might initially ignore GST, but you

are unlikely to be able to add 10% GST after the

How do you know if there is GST in

Of course, in the real world, the price of your

the purchase price? The answer is pretty

deal is sealed.

straightforward: the GST will be noted

somewhere on the ‘Tax Invoice’ you receive

person who can’t claim GST, they will definitely

when you buy the equipment.

not be interested in slinging you an extra 10%

GST. So, when selling your gear, keep this in

When you purchase a new piece of

And if you’re selling your gear to a private

equipment from a shop, there’s no doubt they

mind: you will lose 1/11 of the sale price as

will give you a Tax Invoice. The fact that the

GST.

This is general information only. We do not know your specific financial or legal situation and we are not providing you with advice. As such, this article should not be relied upon as legal, financial or accounting advice. Please use this article as a conversation starter with your own adviser.

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•

Karen Alsop APP M.Photog.

25

EDUCATION

1. How Do I Price A Commercial Shoot?

With most professional photographers shooting commercial work, at least from time to time, here's a series of 7 issues to help you understand the market and price your work profitably.

The profession has gone through massive

extra for usage.

changes in the past decade which has had a

dramatic impact on pricing and profitability.

or by the day, and the client has unlimited

And all areas of professional photography

usage.

Photographers may also charge by the hour

have been affected. If you're working for other businesses as a photographer, how do you

USAGE ONLY

charge them and what are your options?

Photographers may licence their photographs for a specific use – they get a usage fee only.

SHOOT PLUS USAGE

They are not paid to take the photographs

Photographers may charge for the shoot, plus

because, usually, the photographs already exist.

a usage fee depending on how extensively the

This is how stock photographers work, but with

resulting photographs are used. In other words,

so much cheap stock photography available,

they are paid for their time and then they are

this side of the market has contracted.

paid additionally for the usage. You’ll find this

approach taken by high end photographers

variations. When working out your own prices,

in Sydney and Melbourne, especially those

the better your knowledge of the market, your

working with advertising agencies.

competition and what you need to charge to

Within these three basic models are many

survive, the better able you will be to determine

26

SHOOT BUT NO USAGE

your price. One thing is for sure: Your clients

Photographers may charge per photograph,

won’t want to pay you any more than they

and include unlimited usage. Once the

have to, but some clients are prepared to pay

client owns the photograph, the client can

a higher price for what they perceive to be a

use it or sell it to other people as they wish.

better outcome. Our challenge is to change

This approach is taken by the majority of

their thinking from price-only to value for

photographers, most of whom do not charge

money.

•

Jorge Garcia

EDUCATION

2. What Is My Competition Charging?

Knowing what other photographers are charging is essential information if we are to be successful. Our clients will know this information, so must we when it comes to negotiation.

We live in a capitalist society, a free market

Before we give them an answer, it’s

where people are entitled to charge as much or

important for us to have an idea of what our

as little for their products and services as they

competition is charging.

like. Similarly, clients or customers can choose how much they want to pay for these services. If

CHARGING MORE

they think the price is too high, they don’t need

If our competition is charging $500 and we are

to buy at all.

quoting $3000, we are very unlikely to win the

job unless we also give our client good reasons

With commercial photography, our clients

are buying a product unseen. They don’t yet

for spending the extra. And unless we know our

know what we are going to produce for them,

competition is charging less than us, we won’t

so unlike a car or a loaf of bread, it can be very

know to explain the price difference in the first

difficult for them to compare one photographer

place.

with another.

In fact, often they don’t compare and just

CHARGING LESS

assume that we all produce the same standard

Similarly, if you’re charging $500 for a job and

of photography.

everyone else is charging around $3000, you’d

have to feel like a bit of a mug for doing it so

Or, they might not even be aware of quality

differences. As long as they can recognise their

cheaply!

product or employee, that’s all they want.

Undercharging the rest of the market may

mean you’re undervaluing the work you do, that

28

A LOAF OF BREAD

you’re not providing the same level of quality or

This is one reason why the first question many

service, or that you won’t be in business for too

clients ask is, ‘How much?’. For them, it’s very

much longer because there’s no profit. Or you

much like buying a car or a loaf of bread and

could be a brilliant marketer and $500 is all you

there’s no point spending more than necessary.

need because you’re so busy!

•

R o b y n C a m p b e l l A P P. L M . P h o t o g . I I I

29

EDUCATION

3. What Are My Client’s Expectations?

A client who values photography is more likely to pay a higher fee, so by asking questions, you can discover if a client is worth working for and how to plan the job to an expected price point.

A successful photographer will always ask as

bigger picture. If the photographs are part of a

many questions as possible before providing a

large advertising program, it indicates that the

quote for a commercial job.

quality of the photography is very important

and that they may be more open to a more

The reason is very simple: we may have the

wrong idea of what the client wants.

involved and expensive treatment.

By asking lots of questions, you’re not

an interest and very often this can help secure

WHERE ARE THE PHOTOS BEING USED?

the job.

If the photographs are required for a website,

then the technical expectations may be lower

imposing on your client, rather you’re showing

Of course, you need to consider every

inquiry on its merits – there can also be

than an image required for a billboard or

some clients who just want a price and

magazine reproduction.

sometimes they are not the right clients to

have anyway.

the photographs may be used and some would

Of course, often a client doesn’t know where

argue it doesn’t matter since, as professionals,

WHAT ARE THE PHOTOS FOR?

we should always provide top quality work.

Gathering information about how the clients

want to use the photographs can give you a

information can still help you work out your

good idea of the type of images you need to

client's expectations. It also gives you important

create and their expectations.

intelligence that can be useful for negotiating

usage if this applies.

A couple of small head shots of junior

employees may be handled very differently to a

lifestyle photograph of the managing director.

others it is something they don’t really relate to.

This information can also help you

understand where photography fits into their

30

This is very true, but knowing this

Some clients value good photography, for Normally we want clients who have high

expectations and value quality above price.

•

Aran Anderson APP M.Photog.

31

EDUCATION

4. What Is Usage And Should I Charge It? 'Usage' used to be a key component for advertising and stock photography, but it is less common these days. Nevertheless, understanding usage could one day make a huge financial difference.

To hire a model for a job, you pay modelling

photographs from a library, you would need

fees plus usage fees. The ‘usage’ fees can

to answer all these questions before the library

increase depending on how and where the

could give you a price for ‘usage’.

photographs are used. The usage fee would

be lower for a small, limited run brochure, but

negotiated the same deal.

much higher for broad internet use which went

worldwide.

can be problematic.

Advertising and commercial photographers However, explaining usage to many clients

Some advertising and commerical

photographers also charge this way. When you

USAGE IN OTHER MARKETS

take a photograph for a commercial client, you

Explaining usage to a local builder who just

own the copyright (unless you agree otherwise).

wants a few photographs for his website is not

As the copyright owner, you then licence the

going to work easily!

client to use the photograph.

Many people have an expectation that if

they hire a photographer to take some images,

32

USAGE IN SOME MARKETS

then they own those images and can do what

For high end advertising jobs, this was quite

they like with them. Charging them usage may

accepted practice. The more the photographs

cause them to think you are ripping them off.

were used, the greater the value to the client

and the more they should pay for ‘usage’.

photographey are completely unaware that

usage exists in some markets, and fewer

Usage was charged using a formula that

Many newcomers to professional

took in how it was used (media and size of

photographers today charge it.

the reproduction), where it was used (what

geographical area), and for how long it was

or not charge usage, but it is an aspect that we

used (time).

should consider for every job, whether we end

up charging it or not..

If you purchased rights-managed stock

There is no rule that says you must charge

•

Sarah Long APP AAIPP

33

EDUCATION

5. How Much Do I Need To Charge?

No matter what your competition is charging or your clients are paying, there is a minimum you need to earn if you are to make a living as a professional photographer (even if it's part-time).

You can only earn a decent living by charging

STEP 3

enough in the first place.

Assuming 50 weeks a year, multiply your

average charge by the number of jobs, times 50

Unfortunately, it may not be possible to

compete with prices your clients are prepared

weeks.

to pay, meaning you may need to change

where you work or who you work for. This is an

This is your gross income. From this you will

uncomfortable fact, but better to face it than

have to take away your costs. if you’re not sure

slowly going broke and out of business.

what these might be, let’s assume 40%.

For example: $1000 x 3 x 50 = $150,000

So, how do you quickly work out what you

need to earn? Here’s one simplified way.

STEP 4

Calculate your costs at 40%.

Start with what you’re currently earning or

planning to earn.

For example: $150,000 x 40% = $60,000.

Then, when you see the result, you can re-

do the calculations with different numbers until

STEP 5

you get the result you want.

Calculate your net income or wages by deducting your costs from your gross income

STEP 1

For example: $150,000 - $60,000 = $90,000.

How much do you charge on average for each job or shoot? Remember, this is just an average,

ASSUMPTIONS

not for every job.

If this calculation gives you a result under

$50,000 for a full time job, then you either

For example: $1000.

increase your prices, or increase the number of

34

STEP 2

jobs you do each week. In reality, it will probably

How many jobs will you do each week?

be a bit of both. (We will re-visit this topic in

For example: 3 jobs.

more detail in another issue.)

•

Peter Barnes APP M.Photog. I 35

EDUCATION

6. Should My Quality Be Better?

With the majority of photographs being taken for the internet, is quality such a big issue? Don't confuse technical quality with the process of engaging your client in a discussion about creativity!

36

Most readers are in love with the idea of

professional photographers and our job is to

photography – and working as a professional

produce photographs our clients love.

photographer.

work? Well, that depends on how you approach

Most of us enjoy spending time to refine

Can it be dissatisfying producing average

our lighting, our camera angle or our post-

the job. I always aim to create the best I can,

production in the interests of achieving a better

but I will shoot strictly to my client’s brief as

quality outcome.

well. Then they can choose what they like – and

hopefully it is my best work!

Our clients can also be interested in a high

quality result, just as they’re interested in a high

But if it’s not, that’s not the end of the world.

quality car or a high quality meal. However,

If we are particular about the quality of what

what’s good for one person may be below

we produce, we may choose not to work for

average for another.

some clients who are on a different wavelength.

WHOSE TASTE IS RIGHT?

AM I BETTER?

And then there is a matter of taste. All through

Whether you produce a better quality of

my career, clients have picked images from my

photography than another photographer can

shoots that were not in my top ten. Oh, the

be really hard to qualify.

shots they chose were good enough – correctly

exposed, nice composition, appropriate lighting

will be sophisticated enough to see or even

– but they didn’t have the photographic sizzle

notice the difference.

that set my heart racing.

more for your work, you possibly need to

However, who is to say that my taste or

Technically you may, but not all our clients

So, when you’re convincing them to pay

preferences are more valid than those of my

concentrate on better service, bigger file sizes

clients? They paid me, so should I be happy?

or more images etc., as this can be easier for

them to understand and quantify.

I think the answer is generally yes. We are

•

Angela Miller APP M.Photog.

EDUCATION

7. Which Clients Do I Educate?

We know that good quality photography is incredibly valuable and can be the difference between success and failure for a client's marketing, but do they know this? How can we ensure they do?

A lot of clients are only interested in price,

where they are coming from.

not because they can’t afford to pay more,

but because they don’t know enough about

photography, what do you tell them?

Assuming they appear interested in

photography or the processes involved.

INVOLVE THEM BIGGER FEE?

Whether you’re dealing with an individual or

In some cases, spending time with your clients

a large corporation, professional photography

and working through the options they have

is all about relationships and negotiations. By

can result in a much bigger fee. Once they

asking questions of your potential client, you’re

understand what is involved, or you can show

showing an interest in them and what they

them the differences in approaches, they may

want. This is a good starting point.

be prepared to increase their budget.

This information will also give you ideas

about what you can offer them.

38

OR TIME WASTER?

However, educating potential clients can also

room interiors, you could show them examples

be a huge waste of time. Some clients are not

taken with and without additional lighting,

focused on photography, just as some people

pointing out the differences and explaining

don’t follow cricket or football. It probably won’t

how good quality photographs will help them

matter what you say or what arguments you

sell their product or service.

present, they are not going to become avid

lovers of photography and for them, a cheap

clients like advertising agencies can be very

price is a good price.

sophisticated, but there is a trend towards

working with clients directly and this can be

The trick is to pick the clients you wish

For instance, if they want you to photograph

In commerical photography, some

to educate. Usually after asking them a few

an opportunity for education – and hopefully

questions about the job, you’ll understand

sales.

•

Ryan Ammon APP

EDUCATION

What Makes An Award Image?

Dark, dark, dark tones have worked wonders for Rana Rankin's emotive portrait, but is it a dangerous game to play with the judges?

Last issue we featured Peter Hasson's dark and

technique. This technique is less likely to have

moody landscape, with the caveat that dark

been so successful with a lighter-skinned

black and white prints could sometimes be

subject (a high key technique would probably

seen as a 'formula' to get a good score at APPA.

have had more chance of success, whereas a

Does the same apply to portraiture?

high key technique on Rana's subject would

Over the years, a number of Masters and

have been difficult to execute effectively).

Grand Masters of Photography have used

dark and intruiging exposures to good effect

technique to subject.

within the Awards system, but then the judges

seemed to grow weary of the effect and the

correctly as well. The pose is simple and direct,

scores lessened, to the extent that some prints

the angle of the head and the stare of the eyes

employing this style didn't even make Silver.

captivating. The propping grabs the viewer,

leading us to the gentle highlights on the arms

This is one of the challenges of following

So, full marks to Rana for matching However, Rana has done everything else

styles and trends because, by the time you

and hands.

notice them at APPA or in the AIPP Epson

State Professional Photography Awards, the

the printing. Using low key values throughout

technique loses its effectiveness.

the image, it is very easy for these to block up.

If you're looking at this page on a smart phone

However, this should in no way belittle the

The challenge for Rana is most definitely in

beautifully emotive portrait submitted by Rana

or a high contrast monitor, the image might

Rankin, which earned a deserved Silver with

already look blocked up, but the original file

Distinction. Her choice of subject matter suits

is beautifully controlled and no doubt under

the technique, or should I say the technique

competition lighting, the print would have

suits the subject matter and sometimes this is

sung.

where photographers get it wrong. It's not just

a matter of using or applying a technique to a

a classic technique. Simple, powerful and well

photograph, it's about applying an appropriate

deserving of a Silver with Distinction.

So, a brave image, beautifully executed with

Peter Eastway is a past chairman of the AIPP Australian Professional Photography Awards and an experienced judge. However, his views are those of a single judge and our awards system intentionally uses five judges to obtain a range of opinions. This article reflects Peter's opinion only.

40

y n a y l d r a h s i There n o i t a r a p e s l a y t u ton a e b e h t s i but this nique. h c e t e h of t

s k c a l b ch i r p e e D d e t n i r p e b o t d e r nee u s n e o t , y l l u f care 't n s e o d il a t e d e th . t s o l t e g

l u f r e d on w e h t , g n o r t Behind s a s e i l e u q i n h c t. te i a r t r o p g n i g a eng ng i s o p g n i t s e r e ld o Int h n o i ss e r p x e . r e and h t e g o t g n i h everyt

•

R a n a R a n k i n A P P. L A A I P P 41

NEWS

Belle Verdiglione's Winning Birth Photo Perth photographer and AIPP member Belle Verdiglione has been picking up a number of awards for her birth photography. And you can see the joy and emotion in her subjects very clearly!

It's been a good beginning to 2019 for Belle

Verdiglione APP. First she walked away with

specialised field and the judges of these awards

both the 2nd Place Overall Winner in the Birth

take into account the level of expertise and the

Becomes Her Image Contest as well as the

art of storytelling required to create timeless

Overall People’s Choice Winner for her entry

images."

titled “Our rainbow baby is finally here”.

A week later, Belle was elated to be

photo, was equally pleased. Said Claire, “This

announced as the 1st Place Winner in the

photo is so powerful to our family, it signifies

International Association of Professional Birth

the beginning and the end. The end of our

Photographers Competition as well as 1st Place

heartache that is infertility and miscarriage; and

Winner of the Members’ Choice Award.

the beginning of our dreams being answered,

holding our baby in our arms and birthing him

Belle says these two birth photography

Added Belle, "Birth photography is a highly

Claire, the mother featured in Belle's

competitions are a big deal in her genre,

into the world in such a beautiful and calming

describing them as the “Academy Awards for

environment. We feel truly blessed that Belle

birth photographers”.

was with us on our journey and was able to

capture such a meaningful picture.”

According to Belle, the Birth Becomes Her

competition was founded by Jenn and Monet,

Belle was also blown away with her awards,

internationally respected photographers

saying: “To have won first place is a dream

who have been pivotal in growing the birth

come true because not only did this image

photography industry and increasing its

capture the attention of the judges, but all the

visibility in mainstream culture. The International

amazing birth photographers selected it for the

Association of Birth Photographers Competition

Members' Choice too!”

also celebrates the beauty of birth as captured

42

by skilled photographers from more than 51

Belle Verdiglione’s website: http://www.belleverdi-

countries around the globe.

glionephotography.com.au

43

NEWS

Olympus OM-D E-M1X The world’s highest image stabilisation performance with 7 shutter speed steps of compensation, high-speed burst shooting up to 60 fps and autofocus with intelligent subject detection, what's not to like!

Olympus has beefed up and refined its

configuration with aspherical lenses and lenses

professional OM-D E-MI model, releasing the

with a high reflective index provide a clear,

new E-M1X which, importantly for a pro camera,

distortion-free display, right up to the edge of

has been carefully designed for comfortable

the viewfinder.

handling.

And as with the previous OM-D E-M1 Mark II,

a 120 fps (progressive system) high-speed frame

GREAT HANDLING

rate and a mere 0.005 second display time lag

Let's face it. When we use a camera, we're

provide the immediate feedback necessary for

often using it for hours on end, so it makes

action photography.

sense to expect comfortable ergonomics. The

44

new camera provides an integrated vertical

EXCELLENT RELIABILITY

grip, delivering an improved hand hold with a

As professional photographers, we're required

deep finger rest, whether holding the camera

to work in all types of weather and conditions.

horizontally or vertically.

exceeds the industry standard IPX1 testing,

The layout, shape, and height of all buttons

The weather sealing on the OM-D E-M1X

and levers have been redesigned to deliver

producing a camera body that is dust, splash,

controls that enable efficient operation while

and freezeproof (-10°C). The SSWF (Super Sonic

the photographer concentrates on the image

Wave Filter), which vibrates at 30,000 times per

in the viewfinder. A multi selector control is

second to remove dust and dirt from the sensor,

included for both the horizontal and vertical

features a new coating to further reduce the

positions, so that users can quickly shift focus

possibility of dust or dirt by an additional 10%,

areas while looking through the viewfinder.

compared to previous models.

The viewfinder features a new optical design

The robust construction includes a shutter

with class-leading viewfinder magnification

rated for a minimum of 400,000 actuations and

of 0.83x (35mm equivalent). The four-element

the OM-D E-M1X is equipped with a cartridge

45

NEWS

battery insertion system with the capacity for

sequential shooting at a maximum of 60 fps

two BLH-1 lithium-ion batteries (used also on

for capturing scenes in high definition that the

the OM-D E-M1 Mark II). This powers up to

human eye cannot see.

approximately 870 shots and it is easy to replace

the batteries, even when the camera is attached

and 18 fps AF/AE tracking high-speed

to a monopod or tripod.

sequential shooting can both be used in silent

Olympus also claims that this is the first

mode for shooting at concerts and sporting

camera in the world to support USB PD (power

events where users do not want to disturb

delivery), providing power to the camera from

others with the sound of the shutter.

The 60 fps high-speed sequential shooting

a maximum 100 W USB PD standard power source. This makes it possible to charge the

NEVER MISS A SHOT

two BLH-1 batteries in the camera body in

In Pro Capture Mode, you can record up to 35

approximately two hours.

frames retroactively from when the shutter

button is released, with no blackouts (image

In terms of actually holding and using the

camera, Olympus has made some really useful

loss) during shooting and recording in raw

improvements. So, what's inside the camera

if required. This feature has received high

itself?

praise from many pro photographers since its introduction on the OM-D E-M1 Mark II.

46

RESPONSIVE AUTOFOCUS

New double True Pic VIII image processors

The popular 121-point All-cross-type On-chip

provide quicker start-up times and recovery

Phase Detection AF sensor from the OM-D

from sleep mode, and there are two high-speed

E-M1 Mark II has also been adopted in the

UHS-II SD card slots.

new model, delivering not only Live View

images, but also utilising AF information from

80MP images in Tripod High Res Shot mode, a

recorded images to enable quick tracking of

new Handheld High Res Shot mode is available

unpredictable subject movement and changes

and Olympus suggests this feature is particularly

in subject speed.

useful for capturing high-definition shots in

situations where it is inconvenient to use a

The AF low light limit when an f1.2 lens is

In addition to capturing ultra high-resolution

attached is -6 EV, permitting accurate focusing

tripod, such as when trekking from place to

in both dark conditions and with low-contrast

place.

subjects.

which delivers slow shutter speed effects as

The new OM-D E-M1X features high-speed

Also of interest is the Live ND feature

47

48

NEWS

though using an ND filter. This new technology

of compensation performance when using

combines multiple exposed images to attain

the body alone, and the world’s best image

slow shutter effects. It is also possible to check

stabilisation of approximately 7.5 shutter

the slow shutter effects in the viewfinder before

speed steps of compensation when combined

shooting for improved efficiency.

with the 12-100mm lens. This feature makes

The slow shutter effects can be set in five

handheld shooting possible at lower shutter

levels: ND2 (equivalent to one shutter speed

speeds than ever before, which is perfect for

step), ND4 (2 steps), ND8 (3 steps), ND16 (4

night-time and indoor shooting (as long as your

steps), and ND32 (5 steps).

subject stays still, of course)!

INTELLIGENT SUBJECT DETECTION AF

FULLY FEATURED Other features include a built-in GPS sensor,

A new Intelligent Subject Detection AF mode

temperature sensor, manometer and compass.

detects three different types of subjects,

With anti-flicker shooting, the camera detects

including motorsports, airplanes, and trains,

the flicker frequency of artificial light sources

focusing on and tracking the optimal area.

and activates the shutter at peak brightness to

do away with uneven exposures and uneven

For example, this mode sets a pinpoint focus

on the driver’s helmet during motorsports

colouring.

and then automatically detects this part of the

subject as the photographer follows the action

learn that the powerful 5-axis IS and electronic

with the camera, enabling improved autofocus

stabilisation enable refined handheld 4K and

precision.

cinema 4K video recording. Image stabilisation

And video producers will be interested to

effects can be selected from three levels

WORLD'S BEST IMAGE STABILISATION

depending on the video producer's posture and

Olympus is now claiming the highest image

Log400 shooting which, Olympus claims, allows

stabilisation compensation performance of any

for shooting without loss of details in shadows

camera when combined with an M.Zuiko Digital

and highlights.

ED 12-100mm f4.0 IS PRO lens.

movement and the camera also supports OM-

RRP body only is $4499.

The OM-D E-M1X’s new gyro sensor enables

5-axis sync IS, which delivers a maximum

For more information, visit www.olympus.com.au.

of approximately 7.0 shutter speed steps

49

NEWS

Sony 135mm f1.8 G Master Lens Looking for a point of difference in your photography? Something that could be great for portraiture? Check out Sony's latest 135mm midtelephoto with an incredibly wide maximum aperture of f1.8!

It's true that Apple and other phone makers

to compensate for axial chromatic aberration,

have new cameras that feature a shallow depth-

minimise colour fringing and maximise overall

of-field effect. They obviously know something

resolution, ensuring outstanding image quality.

and perhaps it's as simple as creating photos

with a difference to get people to notice your

is applied to reduce flare and ghosting that can

work.

occur when shooting backlit portraits.

As professional photographers, we can take

An 11-bladed circular aperture mechanism

this a step further by using a mid-telephoto

contributes towards achieving extremely

lens instead of the phone-camera's wide-angle,

natural and beautiful background defocus

resulting in even shallower depth-of-field and

(bokeh), and the effect is maximised wide-open

an effect that smart phones can't replicate (yet)!

at f1.8.

Sony's G Master FE 135mm f1.8 full-frame

The new lens features dual-autofocus groups

lens (SEL135F18GM) is a great example of

in a floating focus arrangement for improved

pushing the creative envelope with high quality

close-up capability, allowing a minimum focus

optics.

distance of just 0.7 metres.

And the trick to a high quality, wide-aperture

To ensure that this lens can keep up with

zoom is keeping the image sharp from corner to

fast-moving portrait and sports subjects, the FE

corner, not just in the middle of the frame. The

135mm F1.8 GM has been equipped with four

FE 135mm f1.8 GM boasts an innovative optical

XD linear motors to achieve rapid, reliable and

design that places XA (extreme aspherical) and

speedy AF tracking and performance. There is

Super ED (Extra-low Dispersion) glass elements

also a control algorithm that helps to maximise

in the front group to effectively suppress all

control response and ensure quiet, low-

common telephoto lens aberrations.

vibration AF.

Additionally, the Super ED element plus one

ED glass element are strategically positioned

50

For further clarity, Sony’s Nano AR Coating

For further information, contact you camera

retailer or visit www.sony.com.au.

51

$50 off

Special fo r AI Coupon C PP Members ode: AIPP 2018

The Complete Photo Business Package by Peter Eastway Don’t waste your time going in the wrong direction – turn your photography into a well paying career!

There are a lot of people offering great advice on how to run a professional photography business, so what makes this package different?

Perhaps the main difference is that it’s written from a background of extensive practical experience. Peter Eastway is not only a highly regarded professional photographer, he has a background in business and accountancy (he is a qualified CPA), and he has years of experience working as a writer and publisher. He knows how to earn a living from photography, many of his accounting clients are successful professional photographers, and he can write and communicate business issues in an easy to understand style.

So when you read the Complete Photo Business Package, you can feel assured the advice is real, qualified and practical. And it comes with a moneyback guarantee, so there is no risk.

The Complete Photo Business Package comprises six publications.

Have a read of the contents to understand why this is the essential information you need to break into professional photography.

What You Need To Know To Be A Successful Professional Photographer • So, Do You Really Want To Be A FullTime Professional Photographer?

• Professional Photography Has Two Words • Business = Manners • What Photography Skills Do You Need?

• What Photography Equipment Do You Need?

• What Business Skills Do You Need?

• What Type of Photography Will You Shoot?

• Who Are Your Clients Going To Be? • How Will You Find Your First Clients?

• How Will Your Clients Find You? • Have You Done A Practice Shoot Yet? • Why Should Someone Hire You? • What Products & Services Will You Offer?

• What End Of The Market Do You Want To Work In? • Do You Need A Flash Car And Studio?

• Creating A Portfolio With A Difference • What Does Your Portfolio Look Like?

• What Will Your Clients See On Your Website?

• What Design Will You Use? • What Stationery Do You Need?

• Some Sample USPs • Getting You First Portrait • First Wedding • First Commercial Shoot • Charging $200 An Hour Is Different From Earning It • How Much Do You Want To Earn A Year?

• How Much Can You Charge?

• How Many Jobs Do You Need A Year?

• Does It Matter If You Don’t Charge Enough?

• Who Owns The Copyright?

• How Does Licensing Work?

• Insurances For Photographers • Working With Children

Professional Portrait Photography In Detail • Setting Up A Portraiture Business • Portraiture: Equipment Suggestions • Portraiture: Suggested Lighting Techniques • Portraiture: Shoot List • Portraiture: Can You Just Sell Digital Files?

• Portraiture: Why Selling Physical Products Is Better • Portraiture: Files For Social Media • Portraiture: Price List • Portraiture: Client Information Pack • Portraiture: Money Back Guarantee?

• Portraiture: The Sales Process • Portraiture: Benchmark Prices

Professional Wedding Photography In Detail • Setting Up A Wedding Photography Business • Weddings: Equipment Needs • Weddings: Post-Production

• Weddings: The Shoot List • Weddings: What Are You Selling?

• Weddings: Can You Make Money Selling Digital Files?

• Weddings: Making Shoot-And-Burn Work • Weddings: Offering More Than Shoot-And-Burn • Weddings: The Price List • Weddings: Booking Your Clients • Weddings: The Paperwork

Commercial & Landscape Photography In Detail • Setting Up As A Commercial Photographer • Commercial: Equipment • Commercial: Lighting • Commercial: Quotes and Estimates • Commercial: Terms and Conditions • Commercial: Bits and Pieces • Landscapes: The Big Picture • Landscapes: Marketing Landscape Photographs • Landscapes: Equipment • Landscapes: What Will You Photograph?

• Landscapes: Limited Edition Prints • Stock Photography

Business Planning For Professional Photographers This is a step-by-step guide that will take you through the process of creating a business plan.

You don’t need a business plan?

Well, a business plan is the difference between successful professional photographers and those who struggle to make a living.

Business planning needn’t be scary and this publication is an interactive PDF, meaning you can read the instructions and then fill in the 12 worksheets on your computer.

The worksheet templates will also help you calculate important figures such as how much you need to earn, how many jobs you need a week and how much you need to charge.

It’s an essential part of being in business and this publication makes it really easy.

Business Planned: What A Plan Might Look Like And just in case you’re not sure, we’ve filled in a business plan to show you what it looks like. No, this isn’t a plan that you can just put into practice, but it shows you exactly how to complete the templates in your own business plan.

Is This Package For You? The Photo Business Handbook package covers all the basics for running a successful photography business. It will give you a strong foundation so when you do other courses or workshops, the photography, marketing and selling skills you learn will work properly.

It doesn’t matter how good a photographer you are, being a professional photographer is all about running a business.

You’d easily pay thousands of dollars at workshops or with accountants to obtain this quality of advice, so why is this package so inexpensive?

“The profession of photography has changed dramatically and there are many people entering it for the first time. Unfortunately, most of these new photographers are unaware of what is required to run a successful business, or indeed of the value of the photographs they create.

“With my accounting background, I know what they need to do. I have been giving the same advice to photographers for over 30 years and while the nature of photography has changed completely, the underlying basics of running a business remain the same.

“The more people who understand these basic principles, the better it is for all of us.”

Full package: $99 ($149 less $50) - online/download. To purchase visit: www.betterphotographyeducation.com