Dig More Streams

Dig more streams is a saying I got from David Du Chemin’s excellent book, Visionmongers. (If you haven’t read Visionmongers please see here for a short review.) Dig more streams refers to creating more income streams for your photography business.

Is it time to write that book or e-book you’ve been meaning to get around to?

The principle here is to critically evaluate your photography business and examine whether you can generate a greater financial return by offering different products or packages.

What are some examples?

If you are a wedding photographer – can you create more products for your clients to purchase? If you normally do electronic images and prints, can you do albums as well? If you are shooting family portraits, can you expand your product range to offer canvas prints as well? or other print products? Or can you restructure your package offerings to provide more value for your client and more margin for your business? If you are an experienced industry professional, can you write and sell a book or an e-book? Can you expand your current business by selling prints to a worldwide market via online portals? Can you use your spare time to build a stock photo portfolio? Can you teach a beginners course on how to use a digital camera?

These are just a few of many, many examples. What are the opportunities for you and your business?

What are the advantages of being able to dig more streams?

By adopting the ‘dig more streams’ approach you will be able to:

generate additional income from your existing activities (e.g. by adding albums and prints to your wedding photography service)
create new income streams (e.g. selling prints online)
generate repeat business (e.g. selling a first anniversary package to your wedding clients)
add more value to your existing clients (e.g. if you specialize in new born images, keep a note of the babies birth dates and follow up with a 1 year old special offer, then a 2 year old special offer, then … you get the idea!)
capitalize on the growing number of professional and semi professional photographers by meeting their education needs (e.g. writing an e-book about how to shoot weddings)

Selling wildlife canvas prints locally and online has helped me dig more streams

One example from my own photography business is that I often am asked about my experience as a stock photographer. That leads to photographers asking me what they can do to build a stock photography portfolio themselves. The repetition of those questions lead me to write an e-book called Build A Five Figure Income in Your Spare Time which covers my own experience plus advice to people starting out in stock photography. If you would like to check it out, please see here. If you’ve got a digital camera, a computer, determination to keep improving, and some perseverance – then financial success as a stock photographer is possible for you.

Thanks for reading Dig More Streams. Has it prompted you to think about more streams which are possible for you and your business?

iStockers, Why the Shift to Subs is Good

I have been an iStock contributor since 2008, and an exclusive contributor since May 2010. I have written a series of posts for Beyond Here about stock photography and the changes going on at iStock. Today I tackle the growth in subscription sales and, for iStockers, why the shift to subs is good.

In September 2014 iStock announced changes to the subscription program. I covered those changes in this post. Since then my subscription sales have been growing strongly. I summarized that progress in this post. Another month has passed. I have had another strong month for subscription sales, and many iStockers are reporting their strongest subscription sales month. So what does that mean?

iStock is a viable option for big buyers shopping for an image subscription program

Well, it means that iStockers are seeing more downloads of their images at a lower average price per download. My experience is that my ‘normal iStock’ downloads initially declined and have now remained steady. For those of us who have been iStockers for several years, it is a big change not to see your balance changing frequently. Instead of being reported in real time, the downloads through the subscription program are only reported once per month.

More downloads, lower average income per download. Why would this be good?

I see four key reasons for iStockers, why the shift to subs is good.

(1) The subscription program drives repeat business. One benefit of a subscription program is that it builds repeat business for iStock. Buyers use the service each day or week or month for many, many months. This can only be good for contributors in the long run. We want buyers shopping at iStock and continuing to shop at iStock.

(2) Greater consistency of income. Lots of downloads at a low average income per download produces consistent income from month to month as you are not reliant on a single large sale. While you may not see your balance moving every day, when the sub downloads are reported you can see the subscription program is being used daily by buyers. I expect we will see much less variability in income from month to month as the subscription program continues to grow.

(3) In time, buyers will move from competitors. It has long been felt that the quality and variety in the iStock library is superior to other microstock sites. (Keep in mind, I am biased as I am an iStock contributor! The reality is that I haven’t checked competitors sites for some time). Now that the subscription program appears to be gaining traction with buyers, we can expect that clients will move to iStock over time – continuing the growth in iStock subs downloads.

(4) Big buyers will be attracted by the subscription program. The real benefit of the subscription program is for large volume buyers who need large numbers of images per month. Think ad agencies, newspapers, and magazines. Big buyers coming to iStock will be positive for iStock contributors.

The iStock sub program is making a noise

On the flip-side, because of the growth in sub downloads and the lack of growth in ‘normal iStock’ downloads it has become very hard to achieve redeemed credit targets. My personal experience is that this year I am unlikely to achieve the redeemed credit target required to maintain my current royalty level. I expect this is the experience of many contributors, and see iStock being under pressure to change the redeemed credit targets. I hope I’m right as I don’t fancy a reduced royalty rate.

Thanks for reading iStockers, why the shift to subs is good.

Seven Traits of People Running Successful Photography Businesses

This week I took part in an interesting discussion between photographers in a Facebook group. The discussion started with one photographer asking if others thought it was a good idea to do her own personal and business tax returns. (For readers not based in Australia, the tax year here ends in June and people begin submitting tax returns as early as July).

It is very hard to answer her question without knowing her circumstances. She may be a qualified tax accountant and it might be worthwhile doing her own taxes. That scenario is unlikely and my advice was that it is best to have a specialist do your taxes. That’s what I do for both my personal and business tax returns. I find it is worth the peace of mind knowing that my tax returns have been done properly. It also means that I get all of the deductions available to me as a small business owner. But most importantly, using an expert to do my tax returns leaves me more time to look after my clients.

Taxes are one example of business tasks better left to a specialist.

The photographer in the Facebook group had just completed her first year in business as a photographer. Her comments reminded me that it is very common when we are starting out to try and do everything ourselves. We may not have the business cash flow to be able to pay for a range of services, or we just figure that because we have the time, we will do things ourselves to save money. Some might think that is a valid approach, but all of the people I know who are running successful photography businesses take a different approach. That lead me to consider the traits I see in people running successful small photography businesses. Here they are, seven traits of people running successful photography businesses.

The photographers I know who are running successful photography businesses have these things in common. They:

(1) Get help with business activities they are not expert in – that includes but isn’t limited to doing taxes, editing images, printing, preparing contracts, framing prints, delivering products to their clients. The list goes on. Where they are not expert, or where they can’t add value, they get an expert to help.

(2) Understand the value of their time. This is where being a good business person really shows. They may be able to do their own taxes, but they know it will take them 3 weeks where an expert can do it in one week. Why would they want 3 weeks of their year tied up doing taxes? They know it is not a good use of their time to be tied up doing this type of task.

(3) Build relationships with clients. This is the one element of their businesses that they won’t leave to someone else. They know that the connection they make with their client is critical to the ongoing success of their business. All other things get set aside to make time for their current clients, and for finding new clients.

(4) Build their own skills. The people I know who are running successful photography businesses keep adding to their core skill set. They invest in learning new post processing techniques, or learning how to better market their business, or learning how to shoot expertly with a new piece of equipment. They don’t get distracted with trying to do their own taxes. They build their skills so that they can better serve their clients.

(5) Network with other successful photographers. People running successful photography businesses take time to build relationships with others doing the same. They discuss the business as well as the art. They share ideas and learn from each other.

(6) Take time off. Yes, people running successful photography businesses know that they need to take time off. They need to get away and relax. They put the dates in the diary at the beginning of the year. They are deliberate about taking a break and recharging the batteries. Is that what you do? Or do you have a break when you don’t have any clients?

(7) Don’t give up. Small businesses, like people, go through good times and bad times. The people I know who are running successful photography businesses understand this. In the good times, they don’t get carried away with their own success. They view it as an outcome of the work they have put in. And equally with bad times, they know that tough times will pass. They keep focused on their clients and the quality of their work, knowing that short term down times will not effect their long term success.

Successful small businesses owners understand the importance of time off to recharge their batteries

If you are starting out or looking to refocus your photography business, challenge yourself on each of the points above. Are you doing tasks which would be better done by an expert? Have your skills grown in the last year? Are you putting enough time into finding or looking after clients? Are you getting distracted by trying to do everything yourself? How well are you doing on the seven traits of people running successful photography businesses?

Thanks for reading the seven traits of people running successful photography businesses. Have you seen other traits that set people apart? Please leave a comment and share your experience.

Growth in iStock Subscription Sales

I have been generating income through stock photography for over 7 years, and have written a number of posts for Beyond Here about stock photography. I continue to see stock photography as a great way for a photographer to enter the business of photography, and for established photographers to generate a steady year round cash flow to supplement their client work. (If you are new to stock photography please see this post Starting in Stock Photography)

The world of stock photography has changed significantly from when I started, and now consists of several very large image libraries with millions of images each. I choose to be an exclusive contributor with iStock (reasons are outlined in this post – Why Be Exclusive on iStock).

Stock photography sites give you access to buyers around the world. What’s your next move?

During September 2014 iStock made several alterations to their operating model. At the time there was an outcry from contributors and purchasers of small sized images. I wrote several posts which covered the changes (My Take on this Weeks iStock Announcements, Moving iStock Forward, and Understanding the Changes at iStock). iStock seemed to be focusing on the large volume image buyer – like ad agencies, publishing houses, and media companies – through its subscription sales model. So, what has happened to the growth in iStock subscription sales? Has there been an increase? And what are the implications for contributors?

Firstly, has there been growth in iStock subscription sales?

My personal experience has been that the subscription program does seem to be delivering. I have seen month on month growth in subscription sales with the exception of the seasonal downturn in January. (Keep in mind I am just one of thousands of contributors on iStock).

Note – in the graph I include both subscription and partner program (PP) downloads. I have very few images in the partner program and the number of downloads from PP is minimal. So, the growth you see is driven by growth in iStock subscription sales.

Subscription downloads from my iStock portfolio continue to grow

What has happened to ‘normal’ iStock downloads over the same period? My normal iStock downloads initially declined in the period for September to December 2014. Since then my ‘normal’ downloads have stabilized with very little variation on a month to month basis.

What are the implications for iStock contributors? I see 5 implications from the growth in iStock subscription sales.

1. Continued growth in iStock subscriptions sales. The trend is up, and I expect we will see continued growth. For contributors that will likely mean a continued increase in overall download numbers, at a lower average price per download.

2. Steady or slightly declining ‘normal’ downloads. My experience to date has been steady month on month ‘normal’ downloads despite an increase in portfolio size. I also expect this trend to continue. On a positive note, I am encouraged that we don’t seem to be seeing a wholesale switch from ‘normal’ to subscription sales. All going well, that means the iStock customer numbers will be growing overall.

Stock photography needs patience. Keep building your portfolio. The downloads will come.

3. Steady monthly income, variable weekly income. As normal iStock downloads (which are reported as they happen) make up a smaller percentage of my total downloads, my weekly income is now quite variable. However, the growth in the subscription sales (reported once a month) is seeing my monthly income be more consistent than it was before the change. Now that iStock makes payment to contributors automatically once per month, the week to week variations really don’t matter. The lesson here – ignore the week to week variations, and only assess your performance at the end of each month.

4. Difficulty in achieving redeemed credit targets. Redeemed credits currently don’t apply to subscription sales. That makes achieving the targets and increasing your royalty rate very difficult. I can’t see that the redeemed credit idea can survive in its current format. I suggest not getting too focused on redeemed credits. Trust that the powers-that-be at iStock will introduce a revision or a new system for determining royalty rates.

5. It’s tough to become exclusive. Many Beyond Here readers have opened iStock accounts in the last year (hooray!) But achieving the requirements to become exclusive is really tough now (driven by the growth in sub sales which don’t count currently toward the exclusivity criteria). I expect that the redeemed credits issue is going to be a higher priority – but the criteria for becoming an exclusive contributor will need to change if iStock want contributors to only submit their images to iStock. In the meantime, continue to build your portfolio and enjoy the growth in subscription sales.

Thanks for reading ‘Growth in iStock Subscription Sales’. Please leave a comment with your experience or your questions. Happy shooting.

Why Make Time to Shoot Personal Projects?

Running a small photography business can seem like a never ending challenge – finding new clients, planning shoots, doing the shoot, editing images, posting to social media, organizing albums and prints, delivering the finished product, and repeat! Yet we constantly hear about the importance of personal projects. I have both long running personal projects and shorter ones. They are a great asset for me and my business. So, why make time to shoot personal projects?

Shooting images of Australian wildlife is a long running personal project of mine

What sort of personal projects am I talking about? When I am not shooting weddings I shoot images for my stock photography portfolio. When I’m not shooting a specific theme for my stock photo work I will shoot a personal project. An example would be Australian wildlife images. I am a wildlife fan, and believe in the work being done by conservation organisations. I enjoy shooting wildlife images, and it feels good to know that conservation organisations can access those images at a very affordable price through my stock photo portfolio. I shoot Australian wildlife images and take particular interest in shooting images of endangered species.

I have taken up Getty Images brief for my latest personal project, ‘re-picturing femininity’

I have recently started a new personal project which I am also going to use for my stock photo portfolio. As an exclusive contributor to iStockphoto, I get access to the Getty Images briefs written for photographers. One of those looks at the theme of ‘re-picturing femininity’. That is, showing girls and women in a new light. Not traditional roles, but the new women of today – leaders, working mothers, trades people, and more. It is exciting to think that the images I shoot can have a small impact on the images available in this category. I’ve completed shoots showing women as business leader, corporate regulator, pilot, and athlete, with many more to come.

Personal projects make a difference and are fun.

So, why make time to shoot personal projects?

1. It fuels the passion! Shooting for somebody else or trying to shoot what somebody else will like is ultimately hard work and draining. If you are in a cycle of weddings every weekend, or corporate head shots every day, try something different to fuel the passion. Re discover what you love to shoot and why you picked up the camera in the first place.

2. It makes a difference. A difference to what? The causes you believe in, and to you. Shooting wildlife images may not appeal to everyone but it provides needed images to conservation organisations. That is important to me – so it makes a difference to know that my images are helping wildlife.

3. It lets you experiment. It is not easy to keep learning new things on every shoot, and if we are shooting weddings each Saturday that’s not the place to practice or experiment. That’s the place to make sure the bride and groom have a great day, and that you create great images. Personal projects on the other hand give you opportunities to experiment, to try new things, and to push your boundaries. Shoot a close up with a 400mm lens – just because you can.

4. Personal projects attract like minded clients. Clients who share your interests will be attracted to your work. I have several wedding clients who first came across my work through my wildlife images. We instantly had something in common and an easy talking point. Shooting personal projects will attract like minded clients.

5. It’s fun! Yes, it’s fun to shoot personal projects! For that reason alone we should be able to find the time.

Thanks for reading ‘Why Make Time to Shoot Personal Projects?’

How to Build a Portfolio When You Have Limited Experience

Getting started in paid photography work is not easy. That’s the case whether you are just starting out, or if you are looking to make a transition from one style of photography work to another. A large part of being able to attract paid work is being able to show potential clients a strong portfolio which demonstrates your photographic style. Today we look at ‘how to build a portfolio when you have limited experience’.

Working with different models and different light conditions will help build a diverse portfolio quickly.

If you are expecting clients to hire you because you are a photographer and have done a good job on a handful of jobs, you are working on hope rather than a plan. To be able to effectively market yourself beyond your immediate circle of family and friends, you need to have a body of work which shows your photographic style. That allows a potential client to look at your work and say ‘yes, I like this. I am going to hire this photographer’.

So, how do we overcome the ‘chicken and egg’ situation of wanting to attract paying work, but needing a strong portfolio to show your style and to attract those clients?

The short answer is to build a portfolio that reflects the type of work you want to attract. If it’s weddings you want to get into, you need to build a wedding portfolio. If it’s family portraits, you need to build a family portrait portfolio. If you want to have clients buying your landscape images, you’ll need to have a portfolio of strong landscapes. I’m sure you get the idea. So, lets look at how to build a portfolio when you have limited experience.

Here are four ways to build a target portfolio:

1. Shoot TFP. There are facebook groups of models and photographers in nearly every city. Join one of those groups and post a brief for what you are looking for. You will have models and HMUA’s (hair and make up artists) volunteering their services to assist. Why? Because models and HMUA’s need portfolio’s too. It is a win-win situation which works for nearly every type of photography involving people. (Working cooperatively like this is known as ‘TFP’. This originally stood for Time for Prints, but now means Time for Portfolio. Each person contributes their time and skill to build their portfolio.)

2. Pay models to work with you. If you are serious about building a high quality portfolio, you may prefer to work with experienced models. Experienced models don’t have a need to build their portfolio and so you will need to pay the model for their time and skill. You can use facebook groups or dedicated sites like Model Mayhem to post your photographic briefs. Working with experienced models you are likely to get a higher percentage of quality images than you would if you are working with someone starting in the industry. One additional advantage – paid work results in fewer cases of people arriving late or not arriving at all. This the single best way I know to build a high quality portfolio quickly.

Working with friends and family is one way to build skills and your portfolio

3. Work with friends and family. This is my least preferred option, but I have seen photographers do this successfully. It works well for photographers who are mastering the style of shot they want, who don’t want the additional challenge of working with models they don’t know. This works well if you want to shoot and re-shoot until you get it right. If you’ve never shot a wedding before and want to get into wedding photography, ask friends to be your bride and groom. It is even better if they are actually married and own a wedding dress and suit. If you want to get into family portrait work, ask friends to help you and offer them edited images in return. You get the idea.

Working in different light will build your skills and add diversity to you portfolio

4. Work in different types of light. Whether you choose all or none of the options above, it is important to shoot in different lighting conditions. Light is the basis of good photography and it is important to build your experience and expertise working in different lighting conditions. That means shooting in bright daylight, cloudy conditions, low light, indoor, outdoor, in the studio, and with lights on location. A weak portfolio is likely to have one or two shoots in similar lighting conditions. A strong portfolio is made from a diverse range of shoots in all types of different lighting. Challenge yourself by shooting in different types of light.

If you follow these tips you can quickly build a strong and diverse portfolio which will be the foundation of attracting paying clients. Thanks for reading ‘How to build a portfolio when you have limited experience’.

Featured Photographer Janet Hastings

Today’s featured photographer on Beyond Here is Janet Hastings. Janet lives and works in Melbourne, Australia and operates her business as Janet Hastings Photography. Read on to learn more about Janet, her business, and how she operates.

Janet, tell us about Janet Hastings Photography ….

Janet Hastings Photography was born through the encouragement of my family following the birth of my twin grand daughters. I have always had a camera in hand, and have honed my skills over many year producing stock photography. This had always been a hobby and a way to fund my photography equipment. When my grand daughters arrived, my love affair with newborn photography began. Within a few months I was following this new dream of developing a photography business specializing in newborns, maternity, and baby’s first year. To get my dream off the ground I went back to study to gain qualifications in photography. I never want to stop learning.

I am never happier than when I am creating beautiful memories for new parents of their newborn’s earliest days.

Janet aims to capture the essence of a newborn. Image copyright Janet Hastings Photography.

How do you describe your photographic style?

I love to capture the pure essence of a newborn baby. For me, this means minimal props, with a focus on simplicity. I love to capture real memories of these earliest days – the serenity of a sleeping newborn, the unexpected facial expressions, right down to the tiny squishy lips, little toes, fingers and the tiniest fingernails. I also love to capture the essence of the relationship between new parents and their tiny baby. I know the images I create will become treasured family keepsakes.

While you use minimal props, what are your favorites?

My main props include a large variety of backdrop throws – soft and snuggly blankets in various colors and textures which set the color palette for each part of the newborn shoot. I then select complimentary wraps, bonnets, nappy covers and sometimes a special keepsake that the parents would like included. I have a variety of wicker baskets and tubs that I layer with faux furs and other fabrics to make a snuggly nest for baby. Prior to the session, I discuss with my clients their color preferences and home decor to ensure that the color palette of the blankets and props compliment their style as well as my creativity.

How do you prepare for a new born shoot?

I have a home studio dedicated to newborn photography. It has a large posing pod, backdrops and continuous lighting using soft boxes to soften and diffuse the light. I shoot with a Canon 7D which is ideal for my style of photography. I particularly enjoy using my Sigma Art Series 35mm lens for newborn photography, but will swap around with my other lenses for variety.

It is important to have a studio environment where parents and baby feel at ease. Image copyright Janet Hastings Photography

It is so important that the parents feel relaxed and at ease during the photoshoot. I have a comfortable couch in my studio where parents can relax and generally feel at home while I photograph their baby. I provide a feeding cushion and privacy during feeding times. I do request that one of the parents assist when I am posing and photographing baby. I will never force a baby into a pose that they don’t seem comfortable with. Every baby is different as some are more flexible than others. Some curl beautifully while others like to stretch their little legs and my role is to work with the differences and still create memorable images. Baby definitely sets the pace and flow of my sessions which can last 3 hours or more.

Newborns have difficulty regulating their body temperature so I always heat the studio. While it can become uncomfortably hot for the adults, baby will be cozy and more likely to drop off to sleep for those beautiful, serene, sleepy images I hope to capture. I also use white noise which helps an unsettled baby to relax and drift off to sleep.

What is your most memorable session?

I have had many memorable moments, both fun and challenging. With newborn photography you need to expect the unexpected. I let parents know that ‘little accidents’ are bound to happen, and when they do we simply clean up and move on. It is just a part and parcel of newborn photography. I remember, during one of my early photo shoots, when a dad ended up with a handful of the ‘unexpected’. He didn’t know what to do for a moment but handled the situation so well. After the clean up we moved on with a very successful session. I’m sure that will be one of the stories that comes to mind when his daughter turns 21!

The challenging moments usually relate to fractious babies – the newborns that love to be cradled in their parents arms and instantly become upset when laid down. The greatest asset during a newborn session is patience and time. I am a naturally patient person which assists greatly when I am working with an unsettled baby. I usually succeed in settling a newborn to sleep during their shoot. I employ techniques I have learned through being a mum and more recently a grand mother. I have often been asked by a new parent if they could take me home after their session! Have you heard of the baby whisperer?

Image copyright Janet Hastings Photography

What are your keys to an efficient work flow?

My work flow commences before I even meet my clients. The first contact is usually by phone or email. I then provide information regarding cost and preparing for a newborn session. I ask my new client to complete a pre-session questionnaire which gives me insight into their style, their home decor and what they are hoping to achieve from their session.

After the session I use Lightroom to rate and short list the images to 30 to 40 of the best images which I present to my clients. I make basic adjustments to these images in Lightroom, and then export to Photoshop where I edit for skin tone, blemishes etc. My aim is to present images that truly reflect baby’s earliest days, so often I will leave flaky skin which is so typical of a newborn. The end result is a dreamy, serene style that parents love.

The parents return for a Portrait Preview Session approximately 3 weeks after the shoot. I use ProSelect software to conduct this session where parents choose the images they wish to use for their end products. That may be framed or block prints, canvases, keepsake albums and image boxes. Often clients will order enlargements or mini albums as gifts for grandparents.

How do you generate new clients?

Word of mouth is the best advertising – a happy client is always willing to refer you. I run a referral program so that the referring client receives a voucher for a future session if someone they refer books and completes a session with me.

The importance of social media cannot be understated. My website showcases my work, generates business and includes my blog (which is linked to social media). My facebook page is also an important aspect of my advertising program. With my clients permission I post one or two preview images on facebook following a shoot which my clients happily share with their facebook friends. I always watermark these images so that my business name is shared as well.

I occasionally offer model calls via my facebook page which are very popular. Participants receive a set number of prints for their time. During these sessions I can be free to work on new concepts and ideas and I use these as my professional development time. Model call sessions often result in further portrait sales and I make sure that my models and their parents enjoy the experience. These assist with word of mouth advertising too.

If you had 3 tips for photographers starting out in new born photography, what would they be?

Never stop learning – become a sponge to soak up all the information you can about your equipment, newborn posing techniques, editing software and marketing.

Don’t be discouraged if obtaining clients is slow at first. Persistence is vital to build your brand and your business. Be prepared for slow times at first, and use these times to develop your skill, learn something new, or develop advertising ideas.

Value yourself and your time. Make sure that you charge appropriately for your services. Take into account your time and talent for the photo shoot and the hours you put into post processing. You also need to cover your costs for website hosting, affiliations, public liability insurance etc. Most importantly, don’t sell yourself short.

What does the future hold for Janet Hastings Photography?

In January 2015 I gained accreditation with the Australian Institute of Professional Photography (AIPP) which has opened up a whole new world of inspiration and opportunities. I plan to continue to grow my business, to be a life long learner and an inspiration in my field of newborn photography.

Thank you Janet for sharing your story and your tips.

To see more of featured photographer Janet Hastings work please visit her website at Janet Hastings Photography.

Image copyright Janet Hastings Photography

What to Include in Your Photography Contract

When you are making the step from photography as a hobby to photography as a business, one of the challenges is getting contracts organised. For many of us, this is an unfamiliar area and is about as much fun as doing our tax returns! Equally, we know that it is important because it puts in writing the commitment of the client and the photographer, and protects us should anything go wrong. So, what to include in your photography contract?

Contracts are vital to outline commitments of all parties and to protect your business

Below is a list of what I include in my photography contract. Please keep in mind it is not a definitive list. If you are an experienced industry professional and want to add input for other readers, please comment on this blog post. If you are new to the world of paid photography and contracts, please add your questions in the comments area on this post. I will do my best to answer them, and other readers will add their thoughts. Just keep in mind that I’m a photographer and not a lawyer. If you want expert legal advice, you will need to speak to a qualified legal professional.

What to include in your photography contract?

Who is the contract between? In my case it is between my company and my client. As I shoot weddings and portraits, my client is usually an individual or individuals, but the client could also be a business if you are shooting commercial work. For weddings, I include both the bride and groom as the client and ask them both to sign the agreement.

What are the details of the shoot? The contract applies to the specific shoot you outline on the agreement. For example, if it is a wedding, this part of the contract covers where it will be held, the date, the time photography starts, the time photography finishes, and any special details of the wedding.

Copyright and Images. My agreement outlines that my company owns the copyright for the images produced. It also makes clear that the client can use and display the images for personal use.

Permissions. I include in my contract a section which specifically outlines that my company is able to use the images for any industry competitions and in general promotion. In many contracts you will see a separate ‘model release’ section. I cover this in a single paragraph outlining the permissions given by the agreement.

House rules and cooperation. This section of my contract is specific to weddings. It makes clear that if there are any house rules from the venue that may limited the photographer, it is the responsibility of the client to discuss them with the venue. It also makes clear that if the client wants specific guests included in the images (like in family formals) that they will assist in organizing the people to be in the right place at the right time. And while I have never had a major issue with a wedding guest pushing in on me, I make it clear that if that occurs it is the responsibility of the client to deal with the guest.

I make it clear in my contract when payment is required

Retainer and Payment. I ask my clients to pay a non refundable retainer at the time the contract is signed. I also outline when final payment is due. In the case of weddings, payment is due 4 weeks before the wedding date. I find I do a lot better job for my clients when, not only am I sure of being paid, but when I have been paid already.

Limit of Liability. This is a vital section of my contract. It outlines that if something goes wrong (like if I am in hospital with a broken leg on my clients wedding day), that I will organize a suitably qualified replacement photographer. The key part is that it makes clear that in the event of things not going smoothly, that my liability is limited to a refund of monies paid. That protects me from any damages claims in the event that things go really wrong.

Completion schedule. This section outlines my commitment for when my clients can expect to receive their images. I have a separate clause which also outlines that additional time will be required for albums, prints, canvas prints etc.

Free Format Area. I leave a free format area towards the end of my contract. This is a space that, if I am sitting with the client, we can hand write in any specific details which either party would like to add to the agreement. It can also be used for notes about what the clients photography package includes.

Signatures. At the end of my contract I have a simple line which reads ‘I hereby agree to the terms of this agreement’ with space for the client to add their name, signature, and date. I also add my name, signature, and date as their photographer.

Getting the contractual side out of the way allows me to focus on delivering a great experience and images to my client

I have heard of some photographers using very long, complex contracts. I believe in simplicity and not overwhelming my client. Mine is 2 pages.

I hope this post covering ‘what to include in your photography contract’ has been useful to you. Please use this as guidance only and speak to a qualified legal professional for expert advice.

Starting Out With Light Modifiers

Many readers of Beyond Here are wanting to take the step into the professional photography ranks. They are looking to make photography a significant part of their income, and then make it their main source of income. Making that leap often means learning the skills and having the equipment to shoot multiple days of the week and in different lighting conditions. In many cases this will bring an ‘outdoor’ photographer indoor where they will need a range of lighting equipment, and the skills to use them. In this post we look at starting out with light modifiers. Here is an overview of the basic equipment.

This image was shot with a single soft box to the left of camera

Reflector – a reflector is a very simple piece of equipment. They are straightforward to use and simply reflect the existing light. They come in silver and gold which create different levels of ‘warmth’ in the light. Reflectors come in a range of sizes and are cheap and worth having.

The simplest light modifier is a diffuser for a speedlite

Speedlite Diffuser – a speedlite diffuser is the most basic type of light modifier. They come in various forms, but the most simple is a piece of plastic which fits over the head of the speedlite. They are surprisingly effective in softening the light from your speedlite. They are very cheap and worth getting. The speedlite shown in the diagram is being used off camera. If you have never used your speedlite off camera, please see this post. Learning to use your speedlite off camera and softening the light will open up a new world of lighting opportunities for you.

Reflective Umbrella – umbrellas are ideal for creating soft light across a large area, which makes them useful for lighting groups of people. They are cheap and easy to use. The only disadvantage is that they tend to spread lots of light around. Like the reflector, reflective umbrellas come in different colors – silver, gold and white.

A simple set up for a speedlite to be fired through a shoot through umbrella

White Shoot Through Umbrella – shoot through umbrellas are great for diffusing light and spreading it evenly. They are simple to use, and as the name implies, you shoot the light through the translucent umbrella. They come in different sizes, so keep in mind that the light will be softer when coming from a larger source. Shoot through umbrellas and reflective umbrellas are very easy to use in an indoor environment. An example is in this post. Be very wary of using umbrellas outdoor. Even a very small gust of wind will catch the umbrella and blow your equipment over.

Scrims – a scrim is a square or rectangular frame with diffusion fabric spread across it. They are typically larger than umbrellas and can be used to create large areas of diffused light. Use a scrim to diffuse light from flash, continuous lights, or the sun.

Soft box – soft boxes give the photographer more control of light than umbrellas. Soft boxes are what I use most frequently in the studio environment. They are simple to use and avoid light spreading everywhere in the studio environment. Soft boxes come in a range of different sizes from small to very large. Choose which is most appropriate for your lighting needs and your space.

An example of soft boxes in a simple studio environment

That covers the very basics of starting out with light modifiers. This post only touches the surface of a large subject. I’ve done it without mentioning beauty dishes, gridspots, Fresnel lights, or an octabox! Thanks for reading starting out with light modifiers. I hope it has demystified light modifiers and given you the encouragement to begin modifying your light.

7 Great Questions to Ask When You Start a Photography Business

This week I’ve had four photographers who are starting photography businesses approach me to ask for assistance. It is exciting that people are taking that step, and using Beyond Here as a resource to help them.

These four people are all launching their businesses on a part time basis – in addition to holding full time jobs. I like that approach. They have cash flow coming from another source while they build their photography business. As we have discussed their businesses, all four have asked me the same question “Craig, could you critique my portfolio?” While I am happy to provide them with input on the style and quality of their work, there is a real danger that photographers get too focused on the images and not focused enough on the business.

If you are starting your photography business, or reassessing after being in business for a while, here are 7 great questions to ask when you start a photography business.

When you are starting out, ask lots of questions about the business of photography

Question 1 – who do I know who can help me generate clients? When you are starting in business it is common to have high hopes, big dreams, and not many clients! Building a pipeline of clients can take time, but everyone has a network who they should ask to help them. If you are a wedding photographer, do you know a marriage celebrant who could help you? If you photograph new born babies, do you know mothers of little ones who could help? Or a mid wife? If you shoot events, do you know someone who is an event organizer? or who works at an event venue? These people can help you. Ask them.

An efficient work flow will leave more time to focus on clients

Question 2 – how can I refine my workflow to complete jobs efficiently? Shooting and editing jobs is only a fraction of the tasks you will do when you are running a photography business. If you spend too long completing jobs, you won’t allow enough time for the important tasks of finding and meeting new clients. A great starting place is to challenge yourself whether your work flow is optimal. Many professionals outsource post production work to allow them to focus more time on clients. Is your workflow working for you or against you?

Question 3 – what will I do if I have a gear failure? Having a gear failure on one of your first jobs is very unlikely but could quickly bring an end to your business if you have not planned for it. Imagine a wedding photographer with only one camera whose gear fails minutes before the ceremony. You are not likely to have a long successful career if your first bride doesn’t get images of the ceremony and reception. So how will you handle this? The easiest is to make sure you have multiple cameras and lenses. Then if you have a failure in one, you can go to your alternate. (If you are a wedding photographer, this is another good reason to work with a second shooter. For more good reasons see here). If you can’t afford to purchase back up gear, make sure you borrow some from another photographer.

Plan in advance for how you will get paid

Question 4 – do I have a process to get paid? Do you know how you will bill and collect payment from your client? As a wedding photographer I ask for payment in advance. It is written into my contract that payment will be made 4 weeks prior to the wedding date. When I am shooting a wedding it is reassuring to know that not only will I get paid, but that I have been paid already. Have you considered issues around payment?

Question 5 – how will I back up my clients images? When you are running a business you can’t afford for a computing error to cause you a client disaster. There are many ways to back up your clients pictures to protect you from losing your clients files. I keep mine on a laptop, backed up on an external hard drive, plus USB storage of clients files, plus off site back up with an online storage provider. It might sound like a lot of caution, but a photography business can’t afford to lose client files.

Question 6 – are myself and my gear insured? Unfortunately it is not uncommon for a photographers equipment to be stolen. Unless you can afford to replace all your gear in the event of theft, it is important to have insurance. You will also need to look into public liability insurance. Again, small businesses can’t afford for an event like a wedding guest tripping over your camera bag to put you out of business. For more information on liability insurance please see this post.

Question 7 – how can I generate more income from my current jobs? Many people get into the photography business by shooting family portraits or weddings. They both provide an excellent opportunity to better serve your client and to generate greater revenue. If you shoot family portraits and provide images on disk, you have the opportunity to provide prints and albums. That can add greater value for your client and generate more income for you. As a wedding photographer, can you provide high quality prints and frames as well as electronic images? Can you provide the bride and groom with a service to turn their images into a classic album? With one each for both sets of parents? Look at your existing work and find ways to add more value for your client and generate more income for yourself.

Thanks for reading 7 great questions to ask when you start a photography business.

Generating more income from your existing clients or jobs is a great way to grow a photography business