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ISSUE 147 £4.75





Which high-end kit is right for you? SALES TIPS



Award-winning kit that has made a big impact

INGREDIENTS FOR SUCCESS The recipe for profitable food photos

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Real-world advice to boost your business

Money Shots! Revealed: The images your clients really want and how to take them PHOTOGRAPHYNEWS.CO.UK

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page 8

6 Upfront

New lick of paint for Canon's popular pro lens.

8 Money spinners

5 commercial shots to nail today.

18 Interview: Tom Parker

An award-winning taste of the world.

26 Lighting secrets

One light is all you need for classy portraits.

34 21 killer tips

Which of these will skyrocket your business?

43 The great debate

USB or album for wedding packages?

46 Event photography

Get in the thick of it at press and PR events.



THERE ARE THREE little words that can strike many a professional photographer down with fear. They are: ‘Can you just…?’ This loaded phrase is followed by some left-field request for some photos that are well out of the brief you have agreed on. Usually shots in a dramatic style the client has seen somewhere on the Internet. We all know the answer is no: ‘that’s not what was agreed, that’s not what you are paying for, it’s out of my usual area of speciality and I haven’t brought the right kit.’ But to keep the client happy, the majority of photographers will give it a go. You know the sort of thing, like being hired to do corporate white-background headshots of scores of staff which you have completed, followed by the: ‘Can you just do some shots of the directors that are dark and moody and make them look like superhoeroes while you are here?’ Or you’re shooting some ecommerce-type product shots of hundreds of tiny gizmos at a factory when you’re faced with: ‘Can you just do some shots of the interior of our new boardroom and offices while you are here?’ Lots of different styles of shots take very different skills and often different kit. But if you can pull them off successfuly, they can be real money-spinners. This month we identify the five types of shot that are among some of the most popular requests from commercial clients. And we speak to experts who tell you how to pull them off. Along with lots of other moneymaking photography, too. Like how to profit from shooting everyting from food to social portraits and even war zones. Enjoy the issue.


50 New series: How to be…

A professional documentary photographer. GEAR

56 Winning formula

Working photographers endorse TIPA winners.

62 Group test: square filters Don’t be a square; put the right one in.

66 Mini tests

A prickly topic, is AI the future for flash? VIDEO

68 New series: at the movies What video kit to budget for. GET IN TOUCH

72 Ask the experts

Advice from those in the know.

74 The selector

Tom Barnes and the super smiley Pasquale

On the cover:

Clive Brunskill’s epic shot of Maria Sharapova for mega agency Getty shows a modern style that can be a money earner



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see page 54 for details

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MONEY MAKING SHOTS! Master the latest trends in commercial photography to give yourself an edge in business

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1. The hero portrait

IDEAL FOR SPORTS stars through to business leaders and more, the heroic portrait is a staple of many campaigns nowadays. A combination of a relatively hard main light and even harder rim lighting, it’s not too difficult to master if you have the basic understanding of how to use off-camera flash. Getty Images photographer Clive Brunskill is one of those rare individuals who is as adept out in the field capturing action shots of top athletes as he is in the studio, shooting carefully lit editorial-style portraits for demanding commercial clients. “It is unusual,” he admits, “but over the years I’ve become known for producing sports portraits, and I have the advantage over someone that might be a more straightforward portrait specialist in that my background means that I have a good knowledge of action poses and the natural positions that a subject’s arms and legs might be in when they’re moving. This means that the shots I end up taking usually have more of a realistic feel.” This shot of England international rugby player Toby Flood was produced by Clive as part of a campaign for British Midland Airlines, and the requirement was for a ‘heroic’ type image that would emphasise Flood’s sporting achievements. “The client was looking for something dramatic, lightingwise,” says Clive, “and they had come across similar images to this in my portfolio and so asked me to do my thing with this particular project. At Getty we try to over-deliver on what our clients are asking for and so I was looking to create something that wasn’t a copy of what I had done before but rather something that very much met the client’s specific brief. “For this shot I started off by asking the make-up artist on the shoot to apply a light moisturiser to Toby’s skin, which creates a sheen in the light and reveals muscle tone. This is also the way to go if you’re looking to

highlight muscles in a footballer’s legs, for example if you had him kicking a ball. I then took up a low vantage point by sitting on the floor, and that again adds power to a portrait since you’re now looking up at your subject and emphasising their height and strength.” The first components of the lighting set-up were two stripboxes, positioned either side behind Toby just out of the viewpoint of the camera so that their output grazed his face on either side. These were flagged with black cloth to prevent the risk of flare. They were deliberately set to provide highlights on the cheeks that were 1-1.5 stops overexposed, which is more extreme than Clive would normally aim for but he was taking note of the fact that his client loved the look. The next light in the set-up was a 72in Octa positioned pretty much directly overhead, and this lit Toby’s forehead, nose and chin, but left his eyes and neck in fairly deep shadow. This area was then subtly lifted. Clive often uses a small striplight at his subject’s feet, although here the light was provided by a polyboard

This shot of England international rugby player Toby Flood was produced by Clive as part of a campaign for British Midland Airlines


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reflector on the floor. Overall the difference in exposure between the shadow areas of this portrait and the highlights is around 3-4 stops. “All I had left to do at this stage was to light the background,” says Clive. “This was positioned some distance behind the subject and so it was in complete shadow. I decided to light it with two umbrellas positioned at 45° either side of Toby, and through positioning it’s possible to create exactly the tone you want behind your subject.”

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Food for Thought Tom Parker regularly travels the world searching for new experiences and fresh people, and food has become an intrinsic part of the process WORDS TERRY HOPE / IMAGES TOM PARKER

ou can tell an enormous amount about people by the food they eat, and diet often defines a culture. “Food can definitely add to the character of a place,” says travel and lifestyle photographer Tom Parker. “In many places around the world, where it’s not mass produced, production and preparation of food is a much larger part of the culture than it is in a place such as the UK. Here it’s all too often bought from supermarkets and prepared functionally.” It’s one of the reasons why food has become such a fundamental part of Tom’s focus, and it dovetails perfectly with his desire to see new places and meet fresh people. To date he’s shot in over 80 countries, and his yearning for travel was defined after he spent some time living in Nepal. “My goal was always to go back to Asia,” he says, “and I loved Sri Lanka and had personal connections with the country anyway and so made the decision to move there in September 2004. At that time I’d been working for a local newspaper in the UK one day a week and at weekends as a photographer, and

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BIOGRAPHY NAME: Tom Parker GENRE: Travel & lifestyle KIT: Canon EOS DSLRs, 17-40mm, 24-70mm, 24mm tilt-shift, 70-2oomm, 135mm & 50mm WEBSITE: tomparker

after relocating I was making freelance radio packages for the BBC as well as working as a photographer. “Then the tsunami happened. I was actually on holiday in Thailand when it hit, but I flew back to Sri Lanka on 29 December when it quickly became apparent quite how serious it was. I was commissioned by many international publications, including Newsweek, the Independent and TIME, and these were commissions that probably would not normally have not been accessible to me. So although it was the most terrible tragedy, there is the slightly uncomfortable irony that the tsunami actually helped me to get my career properly started.” These days Tom is UK-based, covering a wide range of subjects for commercial clients that range from construction and conservation projects through to projects for hotel chains and editorial work for magazines such as Condé Nast Traveller UK and Departures. He also shoots regularly for Travel and Leisure US and Porter magazine, and travel makes up about a quarter of what he does.

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IMAGES: From Asia to South America, and pretty much everywhere in between, Tom Parker's destinations provide fresh ingredients for his photography


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You could be a great photographer, but unless you can get the word out there you’ll always struggle to find the clients you need. Time to think outside the box and try out some of our killer tips WORDS TERRY HOPE

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WE COULD LEARN a lot from the American approach to marketing, which is to be bold and brash and confident in your ability and very comfortable about telling the world exactly what you have to offer. It’s too easy to sit back and to expect your clients to come looking for you, but the simple fact is that your work could be outstanding and people still won’t be beating a path to your door because they don’t know you’re out there. Creative people in particular can struggle with the mechanics of running a business but it’s important to realise that the actual picture-making process is just part of the story. Getting a grip on marketing is also crucial, and there is nothing distasteful about shouting about your skills and achievements and making the world aware that you’ve got a service to offer. Take a look through our list of suggestions to see if there’s something you could benefit from. And always be on the lookout for good ideas: you can never afford to stand still and you should be evolving all the time and looking for fresh ways to sell yourself.



With Google My Business, you can ensure information about your business, including map references, can easily be found by potential customers looking for photographers online. The best part is, it’s free: visit to find out how to get started.



Think about whether you should be hosting an About Me video on your website. Do an Internet trawl to see what others are doing to get some ideas (see panel, overleaf). These need to be short and sweet and to the point, and their aim is to introduce you as a personality and to set you apart from bland, faceless websites. Definitely no hard sell here.



The nature of social media is that it’s evolving continuously, so think about your clients and choose the right way to go. Facebook still has lots of followers but there are plenty of younger, more agile options out there, such as Instagram, that are giving you choices. The big issue with social media is that it can


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Build a viable email list

Now that the new GDPR laws are in force, it’s vital that you ensure you are not violating any of the rules when you contact your customers. All current and future clients must be invited and give valid consent to be part of your contact list; visit for up-to-date advice. Once you have a clean list, you need to respect the fact that your customers have made a choice to be on there; so don’t over-mail people or use your list to promote things on behalf of others. An informative and regular – say once a month – posting that updates clients on your latest jobs, promotions and news will go down well and will keep you in the minds of your clients. You could also incentivise people to sign up by having a monthly draw that offers a free photo session as a prize. Think about the emails you receive yourself: which ones grab your attention and are actually worth receiving? This is the template you should be aiming to follow.

become a time-consuming chore, so consider saving time by using a free app such as If This Then That (IFTTT) to automate your posts. This allows you to post in one place and then have it automatically post that same content on to other platforms, saving time and widening your reach.



Blogs can still work but are becoming less widely used and need to be constantly updated. This is the only way that Google will know that your site is still active and it will boost your rankings. It’s also important to blog about things that your clients want to know: don’t worry so much about attracting other photographers, since these are not the people who pay your bills. For example, wedding photographers may want to put out a series on their blog with tips for brides for getting better wedding photography, whereas portrait photographers may post about what to wear to a session. Providing information to your clients helps them to value you and see you as an authority about the subject.



If you operate a portrait business consider setting up a day or so of mini sessions, each a maximum of an hour long, that can be competitively priced and offer access to

something you’ve set up. For this, it’s worth networking with other, non-photographic businesses; for example, a business that offers fancy dress outfits, with a make-up artist to offer makeovers followed by a photo shoot, or you could hire fairy costumes for children, pictures for people’s social media sites, official portraits for local business owners. Photographer Julia Boggio offers portrait sessions at a local lavender farm (see panel, page 38) when the crop is in full season and also teams up with people such as maternity consultant Hattie Weeks to offer new parents a bespoke portrait session. Think out of the box and come up with something original and engaging: smaller bookings are easier to place than one big one and can be more profitable.



Network with other photographers in your line of photographic business. Don’t treat other photographers as the enemy: you can actually co-promote each other, agree to assist if they have bookings at times you don’t and pass on referrals if a booking comes in that you can’t accommodate. Be choosy by all means and make sure the photographers you work with are on the same wavelength and reliable: some photographers even arrange joint training days between themselves to pick up new skills and to acquire fresh images for the website.

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Press and event photography puts photographers on the front line of the action, demanding versatility and confidence in equal measures WORDS MATTY GRAHAM / IMAGES CORINNE CUMMING


s photography genres go, the life of a press and events photographer is one of pressure and fast thinking. While portrait photographers have the time to set up lighting gear and chat to subjects about poses and direction, these comforts are simply not available to a press or events photographer. Instead, press and event photographers have little control over what is happening in front of them and have to roll with the punches, capturing action as it happens – all while trying to capture photos that still possess creative composition and the wow factor that will help their images stand out. So what exactly does it take to create magic in conditions that are often overly-structured, controlled by PR staff and what some may describe as sterile? Well, as it turns out, a combination of assets is the best approach. A mix of using the right kit, technique and having the right skills in communication and perseverance will help give you the edge. One photographer who possess all these attributes and more is Corinne Cumming (capturedbycorinne. com), a London-based events photographer who specialises in live music events and private conference photography. “Every type of photography brings its own challenges, but event photography is something I started in when I was 16 by going along to live music

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shows,” explains Corinne. “One attribute photographers wishing to work in event and press photography should have is persistence – even when you’ve had a bad day and don’t want to move on to the next event, a pro should dust themselves off and keep going. It’s like when athletes get ‘runner’s wall’ – you just have to push through it.”


Determination to keep focused and capture great images amid ever-changing conditions is one thing, but with the exceptional kit on offer for professionals these days, picking the right gear can make a huge difference. Corinne currently shoots with two Canon EOS 5D MkIII DSLRs – a backup camera is essential if anything goes wrong with your main body because an event won’t stop for you to fix the problem. Corinne also uses a Blackrapid strap system to give better balance to the payload and to spread the weight of the gear when she needs to carry the cameras for hours at a time. When it comes to lens choice, Corinne relies on a 24-70mm and 70-200mm pairing – not only do the two lenses cover pretty much all the focal lengths she needs during event photography, but limiting herself to two lenses means she can keep a lens on each of her two Canons, so there’s no need to change lenses – it’s easy to miss a shot when searching around for a prime optic in your kitbag.

IMAGES: You need a good nose for the story and the right position to shoot it from

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“Every venue seems to have a sweet spot for lighting, a little location where the light is just far better suited to photography”


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Call 01778 392497

or subscribe securely online at TERMS AND CONDITIONS: Please allow 21 days for delivery of your first issue. This offer is valid for UK addresses only. For overseas subscription prices please call +00 44 1778 392497 or visit Lines open 8am to 6pm Monday to Friday, 9am to 5pm Saturday

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Only the best gear receives a TIPA Award. Here’s our pick of the 12 gongs pros should be excited about and why EVERY YEAR THE technical Image Press Association (TIPA), comes together to award the best products in the photo market. TIPA Awards are highly coveted by manufacturers, so winning is a serious matter, highly prestigious, and respected. The Association is made up of experts from magazines and websites from all around the world and Professional Photo is a member, so we have a say on what

makes the final list. Here then is a pro-flavoured selection of the products which came out top in this year’s voting – there are 40 TIPA Awards in total, but these are the ones that really matter to working photographers. And to prove it, we went right to the horse’s mouth, getting a professional perspective from the people using this triumphant gear, day in day out. Find out more at

ABOVE: The Nikon 180-400mm zoom helped Roy Mangersnes capture images like this


Nikon AF-S Nikkor 180-400mm f/4E TC1.4 FL ED VR This versatile zoom is exciting Nikon sports and action pros with its built-in 1.4x teleconverter, four-stop vibration reduction system, and rugged build. The 1.4x shift gives you a 252-560mm f/5.6 lens, rising to 840mm if you shoot in DX crop mode and being part of the lens’s construction, it’s optimised in terms of light transmission and edgeto-edge sharpness. A £10k lens that seems like a bargain? That’s this.

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PRO-SPECTIVE “I’ve been using the 180-400mm since early April 2018, including on an expedition I was hosting to Svalbard. For a long time my preferred lens has been the 400mm f/2.8, but the flexibility of the 180400mm has given me so many images I would have missed with the prime. I used the 200-400mm for a while, but I was never comfortable with that. The 180-400mm is in a different league when it comes to sharpness, speed and handling. It’s super sharp at all focal lengths and with the teleconverter on the right of the barrel, I can turn it on or off really fast without losing track of my subject.” Roy Mangersnes,

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Impressively spec’d and highly versatile, the A7 III has a 24-megapixel BSI CMOS sensor, a very respectable 10fps drive mode and stabilisation rated up to five stops. Handling is enhanced by a touchscreen, a bright 2.59M dot OLED finder, deep grip, dual card slots and long battery life, and you also get high-quality 4K video oversampled from 6K capture.


The 42.4-megapixel A7R III is Sony’s full-frame, high-resolution mirrorless machine, and pros are flocking to it. Despite its massive resolution, the A7R III gallops at an impressive 10fps, and has a five-stop stabilisation system. You’ll get sharp, low-noise images even at high sensitivities and a wide dynamic range of an incredible 15 stops.



Elinchrom ELB 500 TTL

Mobile and powerful, Elinchrom’s ELB 500 TTL has all the latest tech: TTL metering or manual settings depending on how you like to shoot, high-speed sync up to 1/8000sec, rapid recycling, easy wireless control and asymmetrical output with a fastest flash duration of 1/20,000sec.


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PRO-SPECTIVE “I was exclusively using the ELB 400 for location work, and the 500 has dropped into its place seamlessly. First time out with the kit, I had a full day’s product shoot using both the ELB 500 and an ELB 400; the ELB 500’s IGBT technology showed, with almost instant recycling at 200Ws or below. After over 500 images, the ELB 400 was down to about 30% whereas the ELB 500 still had over 90%. The ELB 500 also uses just one type of head for everything it does, and they’re tiny to make travelling easier. What about TTL? I’m a manual kinda guy, but the nice thing is the ELB 500 screen shows the actual output, so you can drop from TTL to manual with identical output, and there’s no guesswork.” Michael A Sewell,

Aimed at pro action and sports photographers, the 24-megapixel A9 provides a stunning 20fps rate with full AF and a buffer that can handle an incredible 241 Raws or 362 JPEGs with no viewfinder blackout. What’s more there’s a phenomenal 693-point phasedetect AF system covering 93% of the frame to ensure you can keep up with even the most erratic subjects.

BEST CSC TELEPHOTO ZOOM LENS Sony FE 100-400mm f/4.5-5.6 GM OSS Sports, action and wildlife pros need high-quality lightweight, compact and responsive telezooms. That perfectly describes the 1395g, 205mm-long Sony 100-400mm f/4.5-5.6. The lens complements Sony’s astounding bodies with fast and accurate AF, and built-in optical stabilisation to help capture blur-free images.

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Looking to update your square filter kit, or invest in a system for the first time? Here are some top contenders...



sing large, professional glass means adopting bigger, higher quality filters too, so this month we’re looking at pro-spec 100mm square filter options from top brands. Holders need to be durable, easy to use, adaptable, and vignette as little as possible at wideangles. Many holders also come with mechanisms to rotate polarisers and designs that minimise light leaks. Some systems can be bought into piecemeal, while others are bought as kits. We tested the systems using a Nikon D850 with 16-35mm f/4.


LEE FILTERS 100MM FOUNDATION KIT & WIDE ANGLE ADAPTER RING £99.95 LEE FILTERS IS a mainstay for professionals, and it’s clear why. The 100mm system is well designed and highly adaptable, built around the Foundation kit, a light and beautifully machined resin and brass holder, available on its own or in kit form. There are two types of adapter ring, a standard and wide-angle version to

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reduce vignetting from the holder, (£19.95 or £39.95). We went for the latter, which screws in easily and the holder mounts via a sprung brass clip. Once seated it rotates smoothly and securely in the adapter’s groove and the knurled clip sits a long way proud of the holder, so it’s easy to operated in gloves. A padded nylon case is included along with a screwdriver and an extra set of blades increase the supplied two filter bays to three. Lee's 2mm thick filters slot in smoothly and are easily adjusted as the bays are short enough for even 100x100mm filters to leave graspable edges; they cost from around £100, and there’s an extensive range. A polariser can be screwed to the holder using the 105mm accessory ring (£34.99), and costs £179, as shown here. An advantage of it being on the

front is that you don’t need to remove the holder to take it off, but it does cause vignetting in that position. With two bays at 16mm we saw no vignetting, but it crept in from 17mm with three. With two bays, adding the polarising filter saw vignetting from 18mm. Of course you can lose one or both of the bays if you just want to use the polariser; with one bay and polariser there was no vignetting.

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H&Y QUICK RELEASE MAGNETIC FILTER FRAME KIT from £38 ALTHOUGH H&Y PRODUCES a regular 100mm holder and a range of filters for it, this kit is all about revolutionising what you’ve already got. The Magnetic Filter Frames let you do away with a slotted filter holder design, replacing it with a magnetic system. You remove the filter blades on your existing holder, add H&Y’s magnetic adapter strips, and then put a magnetic frame around your existing 100x100mm or 100x150mm filter. It then attaches on contact.

We were sent a kit to adapt a Lee Foundation Kit holder, but they’re also available for Formatt-HiTech, B+W, Nisi and H&Y’s own K Series holder. The process is a little fiddly at first, the screws being perilously small, but a magnetic screwdriver is included to help. The magnetic blades attached to the Lee holder neatly and the frames fitted snugly around a 100x150mm filter. The frame comes in four sections, attaching using a mixture of adhesive tape and clips. I couldn't get the 100x100mm frame to fit quite as well, but it still functioned with a small gap. Once framed, filters can be layered up much more closely than a regular holder allows, and it’s easy to slide them up and down. There’s also a locking screw, though you need to be careful not to over tighten this. Obviously you need to avoid too much outward pressure on the filters, too. I stacked three and noticed no vignetting.

The frames aren't really designed to be removed, though I managed it; they may suffer wear and tear if this is done too often though. The holder strips can be taken off easily. The frames cost £23 and £25 respectively, and each comes with a case and cleaning cloth. The adapter strips for holders are £15. A triple pack of three 100x150mm frames and one pair of adapter strips is £79.


B+W FILTER HOLDER II & ADAPTER RING £119.90 B+W FILTERS RECENTLY redesigned its square filter holder and released several new 100x100mm and 100x150mm filters. The design is still traditional, with no fitting for a rotating polariser as found on some other models, and the holder is made of lightweight aluminium, coming with three plastic filter bays. Like all such filters, you can remove some of the bays or loosen the fit if required, using the included crosstype screwdriver. The set-up felt well machined and robust. Like all such holders you need an adapter ring, costing £24.95 for a 52, 55, 58, 62, 67, 72, 77 or 82mm ring. Mounting securely on the adapter, the holder is held by a brass spring-loaded clip. After fitting, it turns with a bit of a grate, but holds position well. The holder design now features a foam


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gasket to cut light leaks; this sits around the aperture, pressing against the first of the filters you insert. Filters up to 2mm in thickness slot in very smoothly, with a good level of tension. We found that it vignetted very slightly at 19mm with all three bays, and very slightly at 16mm with just two. It doesn't come with short screws, so they sit a little proud after adjustment. B+W’s range of square filters isn’t the most extensive, but they’re well made and come in metal cases. There are 0.6, 0.9, 1.8, and 3.0stop NDs and 0.3 and 0.6stop soft grads, starting at £129.95. The holder doesn’t come with a case.

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ASK THE EXPERTS Those in the know on finding albums and ink at the right price and sorting out royalty payments



I’m looking to offer clients albums at all budget points. How do I find a quality supplier, who can hit both ends of the price range?

I regularly have work published in magazines and newspapers. Can I get copyright royalties for this and is there any way I can claim for the number of viewings my work must have had through the year?

MD, One Vision Imaging

There are literally dozens of album manufacturers. It’s no wonder that finding the right supplier can be daunting. So where should you start? Consider this; would you be happy with a fabulous, jewel encrusted leather album if the images inside were printed badly? The answer I’d hope would be a resounding no. After all it’s the images inside that really count, and this is what you as a professional will be judged on. Find a manufacturer that prints in-house and one that has a reputation for print quality. I’m of course an advocate for true photographic printing, a long-time proven print media, consistently delivering exceptional print quality through sharpness and colour saturation. Once you’re confident that the print quality is right then it’s time to consider the range. We all like choice but not too much choice, which is why most photographers offer two to three options; in simple terms a bronze, silver and gold. You need the bronze option to steer your customer away from requesting a digital-only option such as a USB. This is precisely why we created our cost-effective Britannia Album. You then need to cover your bets by ensuring your album selection will be liked by the majority. And don’t be afraid to ask your chosen lab what the bestsellers are. They’re the bestsellers for a reason and you’d be a fool to ignore this. Your style should be shown and delivered through your photography; this is what your customer is actually paying for. The album is simply a product that carries your work. There is however plenty of style and choice available out there, covering traditional and contemporary tastes. I’d offer three albums, all of which would not compromise on the print quality. I’d offer a true photographic cost-effective option, a timeless leather option with various accessory choices and a contemporary covered album.


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head of artists’ services, DACS

Copyright protection is automatically given to you when you create your work, which includes exclusive rights over the reproduction or copying of your photography, how and where it is distributed, and more. It also entitles you to issue licences of your work for a royalty, which is what DACS does on behalf of artists. Ideally, you should have a contractual agreement with your client which outlines how and when your work gets published, and may also outline how your work can or cannot be used. Your client should give you an estimate of how many people will view your work, as this may affect the fee you negotiate with them. At DACS we manage all types of publishing requests on behalf of a range of visual artists, including photographers, through our copyright licensing service. Our team of licensing experts deals with client negotiations, ensures copyright is licensed appropriately, and agrees and collects royalties on our members’ behalf. We have over 30 years’ experience and represent over 100,000 visual artists across our different services globally. You can sign up for our Copyright Licensing Service for free. If your work has already been published in a UK book or magazine, you may also be eligible to claim royalties from the secondary use of your work, such as photocopying. Every year, DACS collects a share of these royalties, which we pay to eligible artists as part of our payback scheme. In 2017, 38,000 visual artists, many of whom were photographers, received a share of over £4 million and individual payments ranged from £25 to £5400. Established by artists for artists, DACS is the UK’s leading not-for-profit visual artist rights’ management organisation. For more information visit the website.


marketing director, Swains

Are refillable inks cost-effective for professional use? Refillable ink printers are gaining ground in the photographic market, with Epson and Canon both offering models. These printers tend to be more expensive than their cartridge-based counterparts. However, the idea is that you save money in the long run with low print costs. And by in the long run, factor in about four years. So yes, they are cost-effective. If you compare ink prices like for like: a 70ml ink bottle is around £12, while a 25ml cartridge is about double that. Before you make a decision, check whether the printer you’re considering uses dye-based or pigment inks. Dye-based inks are more unstable in daylight, so pigment is better for professional use. The Epson Eco Tank photo printer range that we at Swains recommend includes pigment inks, and prints are claimed to last for up to 300 years. Offering affordable printing and excellent quality, the ET-7700 is an A4 printer and the ET-7750 A3. Both printers include two sets of inks, giving up to 3400 (10x15cm) prints before you need to refill. And when it is time to refill, it’s mess free. These printers are currently available with a three-year warranty for peace of mind.

Your client should give you an estimate of how many people will view your work as this may affect the fee I S S U E 147 P R O F E S S I O N A L P H OTO 0 7 3

08/06/2018 12:00

Professional Photo 147 sampler  

Take the shot! The images clients want & how to take them, plus real-world marketing advice

Professional Photo 147 sampler  

Take the shot! The images clients want & how to take them, plus real-world marketing advice