Acknowledgments |
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iii | |
Introduction |
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1 | (1) |
Disclaimer |
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1 | (1) |
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2 | (8) |
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Making money from photography |
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3 | (2) |
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5 | (1) |
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6 | (1) |
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How good are you, really? |
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7 | (3) |
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10 | (34) |
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Whom do you want to work for? |
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10 | (10) |
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Advertising and design agencies |
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10 | (1) |
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Public relations companies |
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11 | (1) |
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12 | (2) |
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14 | (1) |
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Direct clients and corporate |
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14 | (1) |
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15 | (1) |
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15 | (1) |
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15 | (4) |
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19 | (1) |
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20 | (19) |
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The role of photographers' agents |
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21 | (1) |
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The shoot production process |
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22 | (2) |
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The photographer relationship |
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24 | (1) |
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Keeping up with technology |
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25 | (1) |
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Advice to photographers starting out today |
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26 | (2) |
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Presenting your work and getting noticed |
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28 | (1) |
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28 | (1) |
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28 | (1) |
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Search engine optimization |
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29 | (1) |
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30 | (1) |
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30 | (2) |
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32 | (1) |
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Self-analysis and editing your portfolio |
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32 | (1) |
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Photography directories and advertising |
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33 | (1) |
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34 | (2) |
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36 | (1) |
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37 | (2) |
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39 | (5) |
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40 | (1) |
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Awards and building on success |
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41 | (2) |
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43 | (1) |
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44 | (24) |
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44 | (11) |
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45 | (1) |
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Sole proprietor/sole trader |
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45 | (1) |
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46 | (1) |
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46 | (1) |
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47 | (1) |
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47 | (1) |
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48 | (1) |
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48 | (1) |
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49 | (1) |
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49 | (1) |
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49 | (2) |
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51 | (1) |
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51 | (1) |
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Accountancy and record keeping |
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52 | (1) |
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52 | (3) |
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Business responsibilities |
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55 | (2) |
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55 | (1) |
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56 | (1) |
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57 | (3) |
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57 | (1) |
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57 | (1) |
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58 | (1) |
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Medical, income protection, and disability insurance |
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59 | (1) |
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60 | (4) |
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60 | (1) |
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60 | (1) |
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61 | (1) |
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Professional associations |
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61 | (1) |
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62 | (1) |
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62 | (1) |
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Certified Financial Planners |
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63 | (1) |
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64 | (4) |
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65 | (3) |
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68 | (46) |
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Developing good production skills |
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68 | (28) |
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70 | (1) |
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The true cost of running a business |
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71 | (4) |
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Estimating and quoting on a job |
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75 | (1) |
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76 | (1) |
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77 | (2) |
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Paying attention to the details |
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79 | (1) |
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80 | (1) |
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80 | (1) |
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81 | (4) |
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85 | (2) |
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87 | (1) |
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87 | (1) |
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88 | (1) |
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Lawyers and how to avoid them |
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89 | (2) |
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91 | (2) |
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93 | (1) |
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94 | (1) |
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Image library submissions |
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94 | (2) |
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96 | (6) |
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96 | (2) |
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98 | (1) |
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99 | (1) |
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Underwater ad for Araldite |
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100 | (2) |
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102 | (12) |
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102 | (1) |
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103 | (1) |
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Digital Millennium Copyright Act (DMCA) |
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103 | (1) |
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104 | (1) |
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104 | (1) |
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105 | (1) |
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106 | (1) |
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106 | (2) |
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108 | (2) |
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110 | (1) |
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Adding copyright information |
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110 | (2) |
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Picture Licensing Universal System (PLUS) |
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112 | (1) |
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112 | (1) |
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113 | (1) |
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114 | (34) |
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114 | (1) |
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Legality of photographing in public |
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114 | (3) |
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117 | (1) |
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118 | (1) |
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Finding and choosing models |
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119 | (1) |
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120 | (2) |
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122 | (1) |
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122 | (1) |
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123 | (1) |
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Planning a model shoot schedule |
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123 | (1) |
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124 | (1) |
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Working with child models |
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124 | (1) |
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125 | (1) |
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126 | (8) |
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127 | (2) |
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129 | (3) |
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Photographing celebrities |
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132 | (1) |
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132 | (1) |
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133 | (1) |
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134 | (6) |
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Truth and reconciliation hearings |
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137 | (2) |
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139 | (1) |
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140 | (8) |
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144 | (2) |
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146 | (2) |
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6 Photographing On Location |
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148 | (32) |
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148 | (10) |
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149 | (1) |
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149 | (1) |
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150 | (1) |
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150 | (1) |
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151 | (3) |
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154 | (1) |
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154 | (1) |
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155 | (1) |
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Preparing for the unpredictable |
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156 | (1) |
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Getting on with your crew |
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157 | (1) |
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158 | (6) |
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158 | (3) |
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161 | (1) |
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Working abroad as a photographer |
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162 | (1) |
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162 | (1) |
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Working for foreign clients |
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163 | (1) |
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163 | (1) |
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164 | (6) |
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164 | (3) |
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167 | (1) |
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168 | (1) |
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169 | (1) |
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170 | (10) |
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170 | (5) |
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175 | (1) |
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175 | (1) |
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176 | (2) |
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178 | (2) |
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180 | (34) |
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180 | (2) |
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181 | (1) |
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181 | (1) |
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Compact and mirrorless cameras |
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182 | (1) |
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182 | (25) |
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182 | (1) |
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Digital capture comes of age |
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183 | (1) |
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How much is it OK to retouch? |
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184 | (2) |
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186 | (4) |
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190 | (1) |
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Setting up Internet accounts |
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191 | (1) |
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192 | (1) |
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Data security and backup strategies |
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192 | (3) |
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195 | (1) |
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196 | (2) |
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198 | (1) |
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199 | (1) |
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File submission standards |
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200 | (1) |
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200 | (1) |
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201 | (2) |
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203 | (1) |
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203 | (1) |
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Supplying digital files that are acceptable for print |
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204 | (2) |
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206 | (1) |
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Charging for digital services |
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206 | (1) |
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207 | (7) |
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212 | (2) |
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214 | (26) |
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214 | (2) |
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214 | (1) |
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Financing a studio purchase |
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215 | (1) |
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215 | (1) |
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216 | (8) |
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216 | (2) |
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218 | (2) |
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220 | (1) |
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220 | (1) |
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220 | (1) |
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The hire studio alternative |
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221 | (1) |
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222 | (1) |
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223 | (1) |
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224 | (8) |
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224 | (1) |
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225 | (1) |
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226 | (2) |
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228 | (1) |
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229 | (1) |
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Advertising and promotion |
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230 | (1) |
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231 | (1) |
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232 | (8) |
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232 | (4) |
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236 | (1) |
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237 | (2) |
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Typesetters of the new millennium |
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239 | (1) |
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240 | (32) |
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240 | (8) |
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Creating certified print editions |
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242 | (1) |
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243 | (1) |
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Outlets for selling prints |
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243 | (3) |
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246 | (1) |
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Artist's resale rights (droit de suite) |
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246 | (1) |
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246 | (2) |
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248 | (8) |
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252 | (1) |
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252 | (2) |
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254 | (2) |
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256 | (8) |
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256 | (3) |
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259 | (1) |
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260 | (1) |
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260 | (2) |
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Building a fine art career |
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262 | (2) |
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264 | (8) |
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267 | (1) |
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Promoting yourself as an artist |
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268 | (3) |
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271 | (1) |
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272 | (21) |
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272 | (8) |
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274 | (2) |
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276 | (1) |
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277 | (1) |
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Dealing with the variables |
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278 | (2) |
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280 | (8) |
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280 | (2) |
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282 | (1) |
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The challenges of moving images |
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283 | (1) |
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284 | (3) |
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Combined production service |
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287 | (1) |
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288 | (5) |
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288 | (1) |
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289 | (1) |
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Smartphones used commercially |
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290 | (3) |
Index |
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293 | |