Photography

ISSUE 1 October/November 2005

Freelance

Made Easy

Clients in need

NEWS/LEADS

of your shots

What they really want

MONEY MAKERS

Stock libraries

INSIDE VIEW

of successful shots

Selling secrets

Contents

October/November.2005..ISSUE.1

MONEY MAKERS How much money did this shot make? Find out here
COVER STORY Mic Man, by Paul Ward Mic Man is a local rapper and this was done as part of a shoot for his album cover, explains Paul. He wanted to look as bling as possible, so we borrowed the jewelry and I asked him to put his hand just a few inches away from the lens. The background was nothing more than a white sheet and I lit the shot with two Bowens studio lights. You can see more of Pauls work in our Money Makers feature, starting on page 14. Pic spec Camera: Canon EOS-1DS Lens: Canon EF 17-40mm @ 33mm Exposure: 1/100sec at f/10.

14

22

Paul.Ward

INSIDE VIEW What stock libraries really want to see.

Stuart.Macla

News and leads. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

Got some pictures that you want to sell right now? Weve got a whole load of clients are interested in buying them!

Digital technique

. . . . . . . . . . . . . . . . . . . . . . . . . . .

18

Essential techniques for digital SLR users youll wonder how you and your clients ever did without them.

Who we are
Freelance Photography Made Easy is produced six times a year by Jump Media for Magezine Publishing Ltd, Units 31/32 The Turbine, Shireoaks Triangle Business Park, Coach Close, Shireoaks, Notts S81 8AP Tel: 01909 512111 Fax: 01909 512147 e-mail: members@fpme.co.uk

So you want to.... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

make money from your photography Good on you! This introductory feature tells you all you need to know to get started, from picking the right gear to telling the taxman.

Inside view. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
Every issue, we take one part of the freelance market and talk to some key figures to find out whats really needed to break into it. We kick off with stock libraries.

Web address: www.fpme.co.uk

Editor Roger Payne roger@fpme.co.uk Advertising Director Tracey Johnson tracey@fpme.co.uk Publisher Peter Bargh peter@fpme.co.uk
The views expressed in this magazine are those of individual contributors and do not necessarily represent the views of the publisher, unless otherwise stated. The publisher accepts no responsibility for any errors contained within the publication. We welcome articles or photographs in digital or traditional form. Every care will be taken with any material submitted, but neither the publisher nor any of its employees, members, contractors or agents accepts any responsibility for loss or damage to photographs, illustrations, manuscripts or any other material submitted, however caused. Please enclose a stamped addressed envelope for any material that is to be returned to sender. All advertisements are accepted, and all material is published in good faith. No part of this magazine may be reproduced by any means without prior written permission from Magezine Publishing Ltd.

Events guides. . . . . . . . . . . . . . . . . . . . . . . . 24
Events across the UK that have potential to produce saleable images. Plus, where to sell them once youve got the shots.

Comment. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .13
Pete Bargh, publisher of FPME, reveals a torrid tale of how he made it as a freelancer. War and Peace has nothing on this epic!

Tried & Tested .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. . 26

Tests of new equipment, both photographic and otherwise, that will help your freelance career.
Thanks to everyone who helped get this issue together, but in particular: Paul Ward, Paul Carvill, Roy Hampson, Neale Haynes, Karen McCunnall, Paul Frost and Stuart Maclaren

Money makers. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
A selection of photographs that have successfully sold, plus the stories of how they were taken

October November 2005 4.99 Subscription rates: subs@fpme.co.uk 6 issues including post 35 (UK & Eire) 41 (Europe) 44 (Worldwide)

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SO YOU WANT TO BE... a freelance snapper. Heres how to start.

Paul.Ward

INSIDE VIEW at stock braries ly want to see.

18
EVENTS Where to go to get saleable images like this.

TECHNIQUE Make the colours in your Raw files sing!

24

Stuart.Maclaren

elcome to Freelance Photography Made Easy, a brand new magazine dedicated to helping you make money from your photography. I guarantee that if you follow the advice, tips and techniques well be covering in this and forthcoming issues, youll be selling pictures and making money from your hobby in next to no time. Sounds good, eh? Before we start, Id like to officially introduce myself. If some of you have been into photography for longer than youd care to remember, you might have heard my name before. Thats probably because I spent the entire 1990s working on photographic monthly magazines. More recently, I became a freelance journalist and photographer, so Im experienced in making money from my camera. I want to pass on as much of what Ive learnt to help you be successful. Each issue, Ill also be showing you one of my shots that Ive sold, and tell you how the sale came about see right. Of course, a magazine like this needs input from its readers to really make it a success.

So, Id like to take this opportunity to encourage you to get involved. Firstly, if youre already making money from your shots, get in touch. Well always be after shots that have successfully sold, and the stories behind them. Secondly, Id love to hear your comments about any of the features or opinions that you read in these pages. Finally, let me know about any features that youd like to see in the magazine its important that we deliver exactly what you want. But enough from me, enjoy issue one and if you like what we do, make sure you tell your mates!! Roger Payne, Editor PS Dont forget to visit our website for weekly leads to sell your shots at www.fpme.co.uk

Rogs shot This was taken at Rockingham motor circuit a few weeks back, where I went to practice my panning techniques. It shows a journalist from a leading car magazine taking part in a drifting competition. It was, quite literally, my last shot of the day and after I downloaded the shots I sent them to the magazine on a speculative basis. It turned out that the photographer they had there missed getting shots of this journo in action, so my images were added to the report they carried on the event. I sold the image again when I wrote a column for a photographic magazine extolling the virtues of digital photography. Total sales? 150 not bad considering I only went to get a few hours practice under my belt! Pic spec Camera: Canon EOS 1D Lens: Canon EF 100-400mm at 190mm Exposure: 1/80sec at f/8. ISO 200.

FPME OCTOBER/nOvEmBER 2005 | 

NEWS

Technique shots needed for Photography Monthly

PhotograPhy Monthly magazine are looking for quality images depicting a wide variety of lens techniques. Im looking for great shots that show really obvious techniques, such as distorting the subject using an ultra wide-angle, or compressing an image with a telephoto, explains Daniel lezano, PMs editor. Untypical uses for the lenses would be good too a portrait shot with a wideangle lens or a landscape taken using a telezoom, for example. Im also looking for sets of comparison pictures taken at various focal length settings on a zoom lens. as winter will soon be upon us, Daniel also welcomes submissions of winter images to illustrate features that Photography Monthly may run in the forthcoming months. Winter is a very photogenic time, so plenty of people will be out with their cameras, explains Daniel. We need images that will inspire their picture-taking. Finally, Dans keen to hear from new photographers whose work hasnt been published before in a photographic magazine. Budding Baileys should submit a portfolio of images either to Daniel or Features Editor adam Scorey. Both can be contacted at: Photography Monthly, Barber house, Storeys Bar road, Fengate, Peterborough PE1 5yS.
IB ID: 50

Phone 0845 650 1065, or e-mail photography.monthly@photographymonthly.co.uk.

NEWS IN BRIEF
Photoshop CS2 book
Want to get to grips with the latest version of Photoshop? adobe Photoshop CS2 oneon-one is a 512-page book and training DVD by Deke McClelland, which covers all aspects of the software. It costs 28.50 and is published by oReilly. ISBN 0-596-100965

Citizen journalists sought by on-line picture agency

ScooPt IS an Internet-based picture agency specialising in selling images of newsworthy events. Scoopt founder Kyle Macrae told FPME the agency was founded on the principle that if you take a picture thats worth publishing, you should get paid for it whether youre a professional photographer or a member of the public. the shot shown here, taken by Stephen Bell, is typical of the citizen journalism style image Scoopt can sell. If you keep your eyes open, your wits about you and a camera or camera phone in your pocket, you might find yourself in the right place at the right time,

GOT ANY NEWS?

Email Roger@fpme.co.uk

says Kyle. Scoopt can then sell your photos or videos to the mainstream media. Scoopt also aims to protect photographers from getting ripped off when they approach the press themselves. often, when a member of the public goes to the press with an image, theyll just be paid a one-off flat fee in exchange for copyright, Kyle explains. But with Scoopt, photographers retain copyright, so they can re-license a picture time and time again. Plus, we spilt fees 50/50 with our members. Its a great way for your subscribers to make money! Becoming a member of Scoopt is free and without commitment.

Visit the website at www.scoopt.com to register.

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NEWS
English images needed
QUartErly hErItagE publication this England is on the look-out for a unusual or innovative photographs of English scenes. Jane Priestley, editorial secretary, told us: We have a very large photographic database, which includes plenty of pictures of English landmarks, but we are interested in receiving unusual photos, and ones which other photographers are not likely to have taken before. Submissions can comprise black and white unmounted prints, colour transparencies (preferably medium format) and digital files. Digital photos should be taken on cameras with at least megapixels, and stored at a resolution of 300 dpi. says Jane. they should be supplied on an apple Mac-compatible cD or DVD with as much accurate detail as possible about each pic enclosed on a separate sheet, with a print of the image. When captioning, please note we use the old and traditional county boundaries there is no such place as greater Manchester to us!. this England ltd also publish Evergreen and Beautiful Britain, for which they can accept well composed photos of Welsh and Scottish scenes.

NEWS IN BRIEF
Reuters buys sports agency
ReuteRS, the worlds largest international multimedia news agency, has bought sports photography agency action Images. the deal is part of Reuters plan to invest in and expand its picture business.

Fuji launch new portrait film

FujIColoR nPS 160 and nPC 160, the mainstays of the wedding and portrait film market, have been replaced. Fujicolor Pro 160S is available in all formats from 35mm to 10 x 8in, while Pro 160C is available in 35mm, 120 and 220.

Submissions for all three titles should be posted to: jane Priestley, editorial Secretary, this england ltd, Po Box 52, Cheltenham, Glos Gl50 1yQ

Wanted! 2007 calendar images

although titles are only published if theres suitable distributor demand. Infocados tom rolands told FPME: Were actively looking for new contributors and we are keen to see both transparencies and digital submissions. Photographers should look at our website to see our terms and conditions and our submission guidelines - the copyright remains with the photographer on all images used. Submissions should comprise a minimum of 50 and a maximum of 500 images. Digital images need to be a minimum file size of 15Mb, while any transparencies need to be clearly marked with your name, a caption and a reference number on the slide mount. Most of Infocados calendars are a square format so submitted images should be croppable if they are to be used. Infocado ltd, the old rectory, Water newton, cambridgeshire PE8 6lU. Phone 01733 237373. E-mail info@infocado.co.uk. IB ID: 51

Im a celebrity

calEnDar PUBlIShErS Infocado are inviting submissions for their 2007 range of calendars. the company has an extensive Wants list on its website (www.infocado.co.uk),

the SnItCheR Desk website is after shots of celebrities. Pictures can be uploaded to the site at www.thesnitcherdesk. com or e-mailed from a mobile phone. Commission is 80/20 in favour of the photographer, but the Snitcher Desk also requires exclusive rights to the picture for 120 days.

In good voice
olyMPuS haS added three models to its range of digital voice recorders. Prices range from 100 for the 256Mb WS300M to 160 for the 1Gb WS-320M. theyre ideal for photographers needing to record technical info or picture details in the field.

FPME OCTOBER/NOvEmBER 2005 | 5

NEWS

Lighthouse authority looks to add to its family

TriniTy House, the General Lighthouse Authority for england, Wales and the Channel islands, is running a photographic competition for its 2007 calendar. shots can be taken at any one of 71 lighthouses operated by Trinity House with winners skerries lighthouse, not only appearing in anglesey the calendar, which is produced in association with leading calendar publishers J. salmon Ltd, but also receiving a boating adventure and a nikon digital camera. Paul Howe, Marketing & Communications Co-ordinator at Trinity House told FPMe: Were not just looking for shots taken on beautiful, calm days, great pictures taken in stormy and bad weather are just as welcome. in addition to the competition, Paul was also keen to point out that

eddystone lighthouse, nr Plymouth

Trinity House has an on-going need for quality shots of their lighthouses. We get regular requests for images to appear in adverts or on posters and postcards, so id like to see shots from your readers, he told us. Again, they need to be taken at Trinity House maintained sites. Paul advised potential contributors to have a look at lighthouse postcards and pictures for sale in art shops and try and replicate similar images. Many of the shots you see in shops are taken in the us or europe, very few come from uK locations, he explained. The closing date for the competition is 31 January 2006 and you can get full details, plus a map with the location of all 71 lighthouses, on the website at

www.trinityhouse.co.uk.

To supply pictures to this Image Buyer, go to the FPMe website and upload shots using the reference IB ID: 52

NEWS IN BRIEF
EOS 5D launched
Canons laTesT DslR is an ideal freelance tool. It features a 12.8 megapixel full frame sensor and is smaller and lighter than the pro-spec eos 1D Mark II n making it handy for snappers who want to travel light. nothing lightweight about the price tag though, the body only RRP is 2540, although street price will lower.

Weekly goes Nuts for freelancers

TWo yeArs ago, the concept of a weekly magazine aimed at men was unthinkable, but now the two leading titles in the market sell over half a million copies a week between them. nuts, published by iPC is the market leader with weekly sales a shade over 300,000, and has an insatiable appetite for images, which presents great freelance opportunities. We do use a lot of shots from agencies, but this doesnt mean we wouldnt use pictures from freelancers, nuts Picture editor John Gooch told FPMe. id advise any potential contributors to study the magazine first and have a look at the sort of images we use. essentially, theyve got to make somebody say Wow when they look at it. There are two key areas where freelancers can help the magazine. We like to see shots of spectacular crashes from motorsport events, says John, or images of extraordinary events. A good recent example of this was a shot we published where a whale, being transported to a factory in Japan on a trailer, had exploded because it had filled up with gas. There was blubber all over the street. Weve used a similar, less unpleasant, shot of a lorry carrying strawberry jam which had spilled its load! if youve got some suitable images, John advised getting in touch both by phone and e-mail, due to the hectic nature of a weekly.

Contact John on 0207 261 5395 or by e-mail on: john_gooch@ipcmedia.com IB ID: 53

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IB

NEWS
NEWS IN BRIEF
client is after, paying particular attention to number and type of images required. if you have a photo, or photos, that suit the image buyers request simply visit our website (www.fpme.co.uk) to upload your shots, selecting the necessary image Buyer iD number. youll be guided through the uploading process on the site. Well do the rest. We will contact the image buyer telling them they have some new photos to view and will put them directly in touch with you if they like what they see. We dont take a commission on any sale you make so you get maximum benefit. This service will also apply to all the weekly leads that we supply to you as part of your subscription and, starting from next issue, will be throughout the magazine. if the lead doesnt have an image Buyer reference number, you simply contact the client directly with potential images using the details we provide.

How FPME helps sell your shots

in eVery issue of Freelance Photography Made easy (FPMe to its friends!) well be putting you in touch with the people who want your photos. exclusive leads like the ones you see on these news pages will help you sell your images to a wide range of clients. And if you take advantage of our unique website service, you can get your shots seen by potential clients quickly and simply. A number of the leads in these news pages have a unique image Buyer reference number, denoted by the red, white and green iB logo you see above. First of all, carefully study what the

Competitions
Travel
The WanDeRlusT Travel Photo of the Year 2005 competition runs until 30 november and is after images in four categories: People, Wild, action and Journey. Winners in the amateur category get a trip for two to Canada and a nikon digital camera, while the pros bag 5000. Full details and an entry from are available on the Wanderlust website at www. wanderlust.co.uk/ photocomp/index.htm. or you can write to Wanderlust Magazine (PoTY amateur: Form Request) Po Box 1832, Windsor sl4 1YT.

IB

Website library gives a direct route to clients

iF you dont like the idea of sharing a 50/50 commission split with a picture agency, then Photographers Direct website could be the solution. We act as a photographic portal where picture sellers upload their images for picture buyers to come and look at, explains Photographers Direct founder Chris Barton. There are two registration options: commission or subscription based. The commissionbased option has no upfront charges, but you agree to pay 20% commission on any sales you make. The subscription option costs from 170 + VAT per year, but you pay no commission if you sell images through the sites Picture search requests where requirements are e-mailed to you on a daily basis. subscription also gives extra benefits, including three times more space for your images on the site, giving you greater sales potential. Chris was keen to stress that with over 5000 photographers currently contributing to the site, images will need to be of an extremely high quality if theyre going to be successful, but there are some specific areas where hes looking to grow his stock of images. We need pictures of historical materials, such as 17th and 18th Century etchings and drawings, dynamic shots of any sport and newsworthy current events. newsworthy shots are particularly useful if theyre going to be valuable in the years ahead. A good recent example was a request for a shot of the relief efforts following the Boxing Day tsunami.

Plants and gardens

The Rhs (Royal horticultural society) Photographic Competition 2006 is open to both amateur and professionals. There are six categories covering a range of garden-based themes including plant portraits, close-ups and wildlife. There is a charge to enter, but theres a 1000 grand prize, plus further cash prizes for individual category winners and runners-up. For further details, e-mail photocomp@rhs.org.uk or send an sae marked Rhs Photographic Competition 2006 to: Rhs Garden Rosemoor, Great Torrington, Devon eX38 8aT. The closing date is 28 July 2006.

For more details, visit the site at www.photographersdirect.com.

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wanttobea...

So you

wanttobea... freelance photographer

Good on you! Roger Payne gives you an introduction to freelancing and explains the first points to consider when youre starting out.

So you

8 | FPME OCTOBER/nOvEmBER 2005

wanttobea...
arning monEy from taking pictures has to be the ultimate for many photographers. Whether youre picking up some extra cash to supplement your main income or making a full-time career change, the buzz youll get from selling your shots is second to none. in every issue of FPmE well give you tips, hints, advice and encouragement to help you achieve your goals but, like everything in life, youll need to be determined and committed if you want to achieve results. This feature offers you a broad introduction to the world of freelancing and covers the key issues you need to bear in mind when youre taking your first steps in the business. Then, in each subsequent issue of the magazine, well concentrate on a more specific area of the market to give you in-depth detail on how to succeed. if you take our advice on board, youll never look back.

So you

Gearingup
if you consider the way the photographic market has evolved in the past few years, its pretty obvious to see that the world is moving to digital photography. Dont chuck that 35mm SLr in the bin just yet, though, the best option is to find out what potential clients are after. Certainly, if youre opting to go for commissioned work then many clients will prefer the convenience of digital. if, on the other hand, youll be supplying colour prints as an end result, film may currently be a more viable option. as with all things freelance, do your research first, then make your decision. When you turn freelance, dont be lured into thinking that getting a whole load of new gear is suddenly going to turn you into a master photographer. in fact, it could have the opposite effect! if youre not looking to expand the range of subjects you currently shoot, then you wont need any more kit, aside from maybe replacing or upgrading items that have seen a good few years service. if, on the other hand, youre branching out to try new types of photography or to offer a wide range of photographic services, then gear upgrades may be necessary.

...dont be lured into thinking that getting a whole load of new gear is suddenly going to turn you into a master photographer.
We could all write a money-no-object wish list of photographic gear, but you need to differentiate between what you want and what you need. once youve done that, seek opinions on the items on your shortlist. reviews in a camera mags is one way, but finding fellow photographers who already use the gear is better as they can often give you useful information that the magazines miss. Forums on websites like ephotozine.com are brilliant for this and will allow you to get feedback in a short period of time. i started my freelance career with a nikon F90X, Tamron 28-200mm lens and an old Slik tripod. ive since upgraded and added pieces of equipment. Turn the page for a low-down on the kit i use:

FPME OCTOBER/nOvEmBER 2005 | 9

wanttobea...
Cameras l Canon EOS-1D MkII (right) l Canon EOS-1N I use the 1D for most of my work, as the majority of my clients prefer digital. The 1N is a useful back up, plus it can also be used if any clients request shots on film. Lenses l Sigma 15mm f/2.8 l Canon EF 17-40mm f/4 l Canon EF 28-135mm f/3.5-5.6 l Canon EF 100-400mm f/4.5-5.6 The 100-400mm lens was the most expensive to buy and is also the one I use the least typical! In hindsight, a 75-300mm would have served me just as well and cost half the price. Think carefully what you need before you buy. Accessories l Manfrotto 055 tripod l Sekonic L-718 lightmeter l Peli 1610 case l Lastolite reflectors l Chamois leather l Gaffer tape Not a lot of accessories, but these do the job well. The Peli case is pretty much indestructible and strong enough to take my weight so I can gain extra height or a different vantage point if needed, the chamois leather is good for putting over the camera when its raining and the gaffer tape is handy if I need to stick things down or hold objects in place! Flash l Canon 580EX flashgun l Canon 550EX flashgun l Canon ST-E2 transmitter l Bowens Esprit 500 studio lights with Travel Pak I use a lot of flash both in the studio and on location. The two Canon flashguns can be used off camera with the transmitter but retain full TTL metering, which is useful, but does take some practice to get used to. The Bowens Esprit 500 kit comprises two heads and gives me studio lighting indoors from the mains and on location with the rechargeable Travel Pak battery.

SO YOu

Specialiseorgeneralise?
There can be many catalysts to starting life as a freelance photographer. You may have won a photographic competition, done some shots for family or friends that turned out really well, or you could be sick to the back teeth of your current job and fancy doing something different. Whatever the reason, one of the key choices you should make as a freelancer is what type of work you want to undertake. Broadly speaking, you have a choice of four options:

Commissionedwork
For many, this is the ultimate freelance work where youll deal with a range of clients wholl commission you to undertake a variety of work. Magazines, newspapers, companies and advertising agencies are just some of the potential clients that you could work with. Succeeding in this area will typically mean youll have a thorough grounding in one type of photography, but youll need to be flexible and confident enough to tackle a range of photographic disciplines. Two days commissioned work for two separate magazine clients saw me shooting Christmas cards and jams in the studio one day and car-tocar tracking shots the next! It can be lucrative, but can also mean the biggest investment in equipment.

Contributingtopublishers
Calendar, postcard, book and magazine publishers all need a regular supply of quality images. This approach is similar to stock photography, but this way you deal with the client directly, so you get all the money! As with stock photography, youll need a good number of quality shots already in the bag, plus the capacity to shoot more, as images can quickly date and picture needs are constantly changing. Dont just send a speculative submission in without contacting the client first. Get in contact with them and discuss current and future needs, plus how theyd like the work submitting. And dont worry if you dont currently have any contacts, thats what Freelance Photography Made Easy is all about!

Specialising
If youre highly proficient in one photographic discipline, such as nature, sports or landscapes, and would like to stick to it, then specialising is the way forward for you. Bear in mind that competition will be fierce, particularly if you have a popular specialist subject. Your work will have to be as good as, if not better than, other recognised names in the field, so youll have to be highly critical about your shots if you arent, someone else will be! The advantage of specialising is that it can mean little or no investment in new equipment the chances are youll already have what you need plus you know youll always be comfortable with the subject matter youre shooting.

10 | FPME OCTOBER/nOvEmBER 2005

wanttobea...

SO YOu

Gardens, birds, buildings. Whatever your photographic fort if youre producing saleable images theres a stock library that will be interested in your shots.

Stockphotography
Stock libraries take your photographs and sell them for you. The good news is they market your work, often to clients you would never think of contacting yourself. The bad news is they take a cut of whatever the picture sells for typically 50%. But its a very rewarding feeling getting a regular royalty cheque through the post. If youve got a large number of high quality images already on file then stock is a good option for you. Many libraries will want to see at least 200 images as an initial submission then, if they accept your shots and you want to continue to earn from them, youll need to top up your contribution on a regular basis.
shouldnt do. Theyll also be able to prepare your end of year accounts and deal with the Inland Revenue on your behalf. All youll have to do is pay your accountant (typically a few hundred pounds a year, but well worth it) and pay any tax due to the Revenue. Of course, this all sounds simple, but theres a bit more to it, which is why well be devoting a feature to the money side of freelancing in the next FPME. An accountant will also be able to advise you as to whether you should register for VAT. This is optional if your business turns over less than which will depend on how big your images Money is one of the primary motivators for 60,000 a year, but could be an advantage, Nikon Bon Nikon Bonare used. But if youre chasing commissioned tum omnicit starting a freelance photography career. But tum omnicit fure amquon temespecially if you intend to buy some new gear.amquon tem au- need to have a day rate. When I first aufure work, youll when youre starting up, there are two big conimus constius viris, Which leaves you with what to charge.conimus constius viris, set up, I found out how much everyone else issues to consider: should you tell the taxman Ti.Bitam diu iaet pos its a question of doing your research. Ti.Bitam diu iaet pos Again, charged and and how much should you charge. culum prarbis. Nestrat culum prarbis. Nestrat then charged slightly less, just to If you contribute to publications, they may generate some work. You can then increase ilint. ilint. The answer to the first question is simple already have a fee structure, Sat intie pra Sat intie pralater when youve built up a good your prices yes. Fail to tell the taxman about the money dem, C. Lestiena, P. Si int dem, C. Les-ultimately, though, the decision is client base. you earn, be it a primary, secondary or tertiary caestrum tiena, P. Si yours. Dont price yourself out of the market income, you can land yourself in hotinessiwater. int caestrum but, equally, dont be too cheap, as people will Your best possible move is to get a qualified dem pro, inesdoubt your abilities as a photographer. accountant to explain what you should and

Moneymatters

...dont price yourself out of the market but, equally, dont be too cheap, as people will doubt your abilities as a photographer.

FPME OCTOBER/nOvEmBER 2005 | 11

wanttobea...
Understandingcopyright
As a freelance photographer, you need to be aware of copyright law and how it affects the pictures you take. On a very basic level, when you take a picture, you own the copyright to that image. Owning copyright means that a third party can only use the image if you agree to it. Typically, in return for you agreeing to the image being used by a client you will receive a payment and be identified as the images author (usually by means of a picture credit). However, there are some instances where the laws surrounding copyright can vary. Its those we concentrate on here.

SO YOu

Before you assign copyright to a client, consider the images money-making potential.

Signingcopyrightovertoa client
Increasingly, some businesses are seeing the value of pictures as an extra source of income. Because of this, if youre doing commissioned work, you may be asked to assign full copyright to the client youre working for. In many cases, this will be the terms under which you are offered the work, but its important that you understand the implications of agreeing to this kind of deal. Essentially, youre selling your rights to the images. So, the client who buys them will, in turn, be able to market them for their own financial gain. A magazine publisher, for example, may choose to sell your work to a calendar or greetings card manufacturer. If youve assigned copyright to them, you wont be entitled to a share of the profit they make as a result. If you do agree to sign copyright over to a client, you should get paid more for the work in the first place. For example, if you decide to charge a day rate of 200 for commissioned work where you retain copyright, charge 300 for a day if youre going to sign copyright over to the client.
Got a good example of a photographic technique? Then a photography mag may be interested but not if its been printed elsewhere before.

Gettingpermission
If youre going to take pictures of someone and make financial gain from it, the individual(s) concerned should sign a model release form. Although youll still retain copyright of the images, the person shown in them has a right to privacy and so must agree to the intended use. So, if you take a picture of a mate, which you send to a picture library, Be sure to get a model and is then sold for use release form signed in a national advertising if you want to sell campaign, its vital that he images of people. or she has understood that this could happen and have signed an agreement. Its similar with property. If you photograph a building from a public place such as a road, the copyright is yours, and you can sell the image. But if you step on to private land and take pictures without permission from the owner, youre trespassing. This also applies to places such as shopping centres and theatres. Although theyre public places, theyre privately owned. In either case youll need written permission to take and/or sell the images of these buildings.

Typesofuse
If you submit images to a publication and havent agreed to a sign over copyright, you will typically be agreeing to a one off use. This means that youll be paid a fee to print your image once. The copyright remains with you, the client is effectively borrowing it from you. If the publisher uses it more than once, even in the same edition of the publication, they have broken the one off agreement and youre entitled to a higher fee. To protect yourself, its a good idea not to double up on who you send

images to. If the same picture appears in two publications at the same time, it would be embarrassing both for you and the publications concerned. Plus its a sure fire way to guarantee that you wont get any repeat business! Copyright neednt be a dirty word for freelance photographers, but its important that you ascertain upfront where you stand with any potential clients. A degree of negotiation may be required, but ultimately you should protect your rights, protect your images FP and keep your clients happy. mE

12 | FPME OCTOBER/nOvEmBER 2005

PETER BARGH

AS PUBLISHER of the UKs leading online photography magazine, ePHOTOzine, I hear many stories from photographers trying to establish themselves who are experiencing the same problems I had when starting out.
My route into making money from photography started in 1974, when I picked up a camera for the first time. I bought a copy of Practical Photography to teach me how to use it, and while the content was very staid by todays standards, it was enough to get me hooked. I religiously bought every issue and soon owned a full 35mm outfit. When I left school, I got a job working for a photographic retailer. The pay was dire, but it meant I could play with new gear, talk enthusiastically with customers and get discount off more kit, so it was bearable. I read every photography book

I spotted one of my photos in Amateur Photographer. What a feeling!

Comment
and magazine going and built up a broad knowledge covering everything from the Zone system to the Scheimpflug principle. My ever-increasing knowledge prompted me to buy a medium-format outfit and soon after I had large format. I invested in processing kit and used to convert my parents pantry - a 2ft x 4ft room, just big enough to house an enlarger and three trays. It was a pain to black out, but I got loads of enjoyment using it and dabbled in toning, preflash techniques and double printing. Buoyed with the quality of results I was getting, and feeling confident that I could spot a good picture, I started to enter the PP Photographer of the Year competition. Every month I thought Id submitted a cracker, only to receive a rejection slip a few weeks later. Then, while working for Jessops, my luck changed. I entered an in-house competition and came first, scooping two Sigma lenses. Photographers Association magazine. It wasnt long before AP was phoning me asking for caption details to the pics Id supplied. But all this activity still wasnt bringing in enough money for me to buy the gear I wanted, and Practical Photography still werent using anything I submitted! I tried a different approach and submitted illustrated articles. I used my mums vintage Remington typewriter, which was always getting jammed and punched holes in the paper when typing the letter O. Despite this handicap, my knowledge

Winning made me more confident to submit photos to the photography magazines Id been learning from. I still got the rejections from PP, but in June 1989 I spotted one of my photos in Amateur Photographer. What a feeling! More to the point, what a trigger! I subscribed to the Bureau of Freelance Photographers and Freelance Focus and started to get leads. I submitted to calendar and card companies, picture editors and local papers. Results started to appear. I got commissions to do weddings, factory stock shoots and publicity events. I was published in the Sheffield Stars 1990 Calendar, had a picture used on the cover of the Sheffield Citizens Guide and then got my first cover on the British Amateur

and interest in specialist areas meant I had a succession of material published in Amateur Photographer. My career took a dramatic change when I saw an ad for a technical writer on Practical Photography. I applied and after three interviews was given the job...why? Partly my history, but also partly sheer luck. I sent the CV in with a photo of myself and editor Will Cheungs partner thought that was novel idea. Without that it could have been another rejection from the PP stable! Working for ten years on the leading photographic titles has given me an insight into what does and doesnt work from a freelance perspective. Over the coming issues well be passing this valuable experience on to you. The moral of my story? Persevere, dont get upset by rejections and consider all avenues. As youll see from future issues of Freelance Photography Made Easy, its not always the obvious photos that sell.

Have you got a comment to make about freelance photography? If so, wed like to hear from you. Write to: Comment, FPme, UnItS 31-32 tHe tURBIne, SHIReoAKS tRIAnGLe BUSIneSS PARK, CoACHFPME oCtoBeR/noVemBeR CLoSe, SHIReoAKS, nottS. S81 8AP or e-mail roger@fpme.co.uk. We look forward to hearing from you.

2005 | 27

makers
Money
Successful images and their stories from the people who took them

PaulWard
Paul has a degree in film making, but launched his freelance photography career after being asked to do some nightclub photos for a local magazine. He now regularly has his club work published in dance music magazines including M8, IDJ and Mixmag. He also gets commissioned to do cover and fashion shoots for a free regional magazine, and images for nightclub flyers. He owns a range of kit, including two digital SLRs and a Bronica SQAi. Although he prefers to shoot in film, he finds that most clients request digital images. You can see more of his work at www.paulwardphotography.com.
8 | FPME OCTOBER/nOvEmBER 2005

Emptyness
This was taken in a burnt out warehouse in Birmingham for a guy who approached me about a new magazine he was working on. The shoot was a nightmare, Id had food poisoning the night before so felt awful and because the magazine couldnt afford professional models we just had girls who had been spotted on a night out in town! Despite these setbacks, the models were OK and I got some decent shots. I earned 50 for the shoot, but after all that effort the magazine never ended up going to print!

The shoot was a nightmare, Id had food poisoning the night before...

MovingDay
Camera

MovingDay
This was shot for a Birmingham nightclub called Promise who were moving venues and needed an image for a flyer. It was taken in a local removal companys yard. The final image is a composite of four images (shown below) including the main shot, an extra shot reframed to one side (to increase the width of the image to fit the flyer size), and some people in different poses. Finally, because the sky had overexposed, I stopped on the way home and took an image of a cloudy sky to give more interest to the shot. I lock off the tripod so its easier to clone in people from other images. With this many people on a shoot youd be very lucky to get everyone looking great on the same frame! I even managed to get myself in the image too (on the left, pushing the trolley) . A lot of work, but I earned 100 for my trouble.

Canon EOS-1DS Lens ISO setting

ISO 200

Canon EF 17-40mm f/4 at 28mm

Exposure

1/100sec @ f/8, with flash from Bowens Gemini lights

The final image is a composite of four images

Emptyness
Camera Canon EOS-1DS Lens Canon EF 17-40mm f/4 at 17mm ISO setting ISO 100 Exposure 0.8sec @ f/6.3, with flash from small hand held flashgun

ot was re, od the ore...

See more of PaulsOCTOBER/nOvEmBERpage | 9 work over the 2005 FPME

makers
Money
Stand on me
Camera Canon EOS-1DS Lens Canon EF 17-40mm f/4 at 23mm ISO setting ISO 250 Exposure 1/60sec @ f/5

Paul Ward

Stand on me

This shot earned me 100 from a clothes designer who made the outfit for a low budget sci-fi film Im working on. The model is the lead actor, and after doing a variety of normal poses we decided to try something different. We found a large 30mm thick sheet of clear Perspex, put it on a frame, then I laid underneath and shot upwards. The designers loved the look of the shot and often get asked how we did it.

Floodlit building
Camera Pentax LX Lens 28mm f/2.8 Film Fuji Sensia 100 Exposure 6secs @ f/8

Aspen
Camera Canon EOS 20D Lens Canon EF 90300mm f/4.5-5.6 USM at 100mm ISO setting ISO 400 Exposure 1/160sec @ f/5.6 with fill-in flash

Paul Carvill
Pauls a 32-year old sales manager who only got his first proper camera (his words, not ours) in July this year. As these shots show, hes a capable photographer whos happy to tackle a range of subjects. Potential freelancers can also learn from Pauls marketing techniques, which are refreshingly innovative.

The owl was taken at a public demo at The Raptor Centre, Elsham Hall. says Paul. I was pleased with my results, so I went back to the centre and asked if they wanted to see the shots. They liked them, and asked me to get them printed up as postcards, which cost me just over 100 for 1000. I made around 100 for each set of 1000 I supplied, hardly a kings ransom but enough to buy me some new kit.

I used to race motorbikes and when I decided to pack it in I still wanted to be around old mates, so I decided to have a go at photography. Now Im hooked. I set up a website (www.motorbikeracer. com) and the rider in this shot, which I took at Cadwell Park, saw his picture on the site and bought a copy of the image from me. Im hoping that my website will generate further sales in the future.

Roy Hampson
This image has sold three times so far, but if Id have listened to the first piece of feedback I got, Id never have earnt a penny from it! I originally sent it to a calendar publisher, who rejected it saying (in a very terse letter) that the building was leaning back and would look dreadful in their calendar. He suggested I spend hundreds of pounds on a shift lens, just to acquire a 50 picture sale. Im my own worst critic and, to be honest, didnt think the picture looked all that bad so I persevered. Its since been published in a different calendar, my photo agency has sold it to Yellow Pages, and it was used to illustrate a feature in a magazine. Total earnings in 18 months are around 200.

Biker
Camera Canon EOS 20D Lens Canon EF 70200mm f/2.8 IS ISO setting ISO 200 Exposure 1/100sec @ f/8

Are you a money maker?

Are you already making cash from your camera? If so, wed like to hear from you. Were interested in seeing images, and hearing the stories behind them. In the first instance, please e-mail a low resolution digital file and a brief outline of how the shout, and subsequent sale came about to: roger@fpme.co.uk

I used to race motorbikes and when I decided to pack it in I still wanted to be around old mates, so I took up photography. Now Im hooked.
FPME OCTOBER/nOvEmBER 2005 | 17

TECHNIQUE

raw files
Working with

If youre shooting in JPEG mode on your digital SLR youre doing your pictures a disservice! Switch to Raw and reap the rewards. Heres how

f youre shooting in JPeG mode on your DSLr youre compromising the quality of your images. Sure, youre getting more shots on a memory card, but by leaving the camera to compress the images, youre losing precious detail. The answer? Shoot using the raw mode,

a facility on all digital SLrs that ensures you get every bit of information that hit the sensor when the shot was taken. Images captured in raw, however, do require some extra post-production work to make them look their best. Here, using Photoshop CS, we show you how to do just that

HOW TO DO IT STEP BY STEP

START OPEN THE FILE. After copying the Raw files to your computer (in our case, an Apple Mac), double click on one of the files to open up Photoshop CSs Raw files window. Across the top of the window youll see camera settings, ISO and focal length information, on the right are the alterations you can make to the image and across the bottom are colour space, bit depth and resolution details.

SET IMAGE SIZE. At the bottom of the Raw file screen, click the Size bar. Here, you alter the size of the file (and increase or decrease its output size). Weve found that increasing by one size in this case by selecting 4096 by 2371 allows the image to be used larger, with no drop in quality. Figures in the Size bar vary depending on your cameras resolution, these figures are from an 8.2 megapixel DSLR.

CHANGE SETTINGS. Next, go to the section on the right. Leave the Basic button selected and move to the area below the coloured histogram. Make sure the Adjust tab is selected and you can play with colour temperature (how warm or cool the image appears), exposure, shadows, contrast and so on, until the image looks perfect on the screen. Note: Ensure your monitor is accurately calibrated before attempting this.
18 | FPME OCTOBER/NOVEMBER 2005

TECHNIQUE
TOP TIPS
H IF YOURE doing commissioned work, check if your client wants Raw images supplied in a certain way. Some magazine publishers, for example, like to be supplied with Raw files so they can apply their own settings. Others may have very specific settings that you could apply for them, saving them time and offering them a better service. H DUST ON your DSLRs sensor is unavoidable. To minimise it appearing, be sure to switch your camera off when changing lenses. This way, the sensor wont be electrically charged and is less likely to attract dust. H IF YOU have a series of Raw files taken in the same lighting and all requiring the same level of alteration, you dont have to use the sliders on every image. In Photoshops Raw window, click on the Settings bar and select Previous Conversion, which applies all the settings from the previous image. HONE WAY of quickly editing your images before you start converting the Raw files is to use Photoshops Browser feature. Select File-Browse and then find the folder with the pictures in from the menu on the left. A series of small thumbnails appear which can be double-clicked to open the files.

PREVIEW YOUR CHANGES. While youre working on the image, you can check how much it has changed by unchecking the Preview button at the bottom left of the image window. Heres the image before and after we applied the adjustments. We decreased the exposure by one stop and then increased the saturation to boost the colours and make the petals and sky really vivid. With each adjustment, you can either use the slider or type in an exact number in the relevant box.

BEFORE

AFTER

6
BEFORE AFTER

FINE TUNE. If you do get increased noise, Luminance Smoothing can reduce it, but this can soften the image again! Fine tune the image by using both sliders to get an optimum result, bearing in mind that sharpness is paramount! Once youre happy with all your alterations, click the OK button at the top right of the screen.

SHARPEN THE IMAGE. Click the Detail tab on the right of the screen. Magnify part of the image with plenty of detail in by selecting the magnifying tool in the top left hand corner of the screen. Move the sharpness slider to around the 70 mark, then watch the difference in the image as the sharpness is applied. This is similar to using Photoshops Unsharp Mask filter. Some images will be fine with the maximum sharpening, but keep an eye out for increased noise, particularly on images with large areas of a single colour.

FPME OCTOBER/ NOVEMBER 2005 | 19

TECHNIQUE

CHECK FOR DUST. Once the file is saved youve got one more job to do. Have a good look for blurred black marks on the image, which indicate dust on the sensor when the picture was taken. Theyre more obvious if youve got a large area of one colour. Here, theres one in the bright blue sky! To remove, magnify the area, then use Photoshops Healing Brush tool to sample an area of similar colour and remove it.

SAVE AS A TIFF. Save the image. Go to File-Save. Select the Destination Folder, name it accordingly, make sure TIFF is selected as the file format and hit Save. Then, when the TIFF Options panel appears, make sure Image Compression is set to None and Byte Order is selected for type of computer youre saving it on to. In our case, Macintosh. Hit OK.

BEFORE

AFTER

USING A PC OR WORKING IN PHOTOSHOP CS2?

PC

DEALING WITH RAW FILES. If youre a Windows user who relies on Microsofts automatic Scanner and Camera Wizard to take care of your photo to PC downloads, you need to change your method. The Wizard cannot, at this moment in time, detect Raw files and leaves them on the camera/memory card. To overcome this, use your image editing softwares browser to locate the photos manually. Click on the My Computer icon, select the camera or card hard drive and then the necessary image folder within it. Microsoft has recently introduced a Raw Image Thumbnailer and Viewer for Windows XP. This allows you to view, organise, and print photos captured in Raw image formats. It currently only works on files from Canon and Nikon digital cameras, though.

CS2

RAW IMPROVEMENTS. The Raw files window has been improved in Photoshop CS2 and does some of the conversion work for you if you allow it! The biggest changes are on the right hand side of the screen where the sliders for key image alterations have Auto options. Here, CS2 suggests optimum correction settings. In our experience, weve found theyre usable 90% of the time, but if you dont like this degree of automation, or prefer to dial in your own tweaks, you can still override them by unticking the Auto box and using the sliders. Photoshop CS2 also does away with the Basic and Advanced tabs that access the image alteration options. In CS2 five tabs on the right of the window allow access to a wide range of overrides. Finally, you can now Save files directly from the Raw window. If you do this, bear in mind you wont be able to remove dust as shown in Step 8 above.

Here I clicked on My Computer, then the Sandisk card in the card reader and then located the Raw test image folder. Notice these are Pentax Raw files and you do not see the small image thumbnail so its not easy to locate specific photos. Using Photoshops Browser makes life much easier.

20 | FPME OCTOBER/NOVEMBER 2005

TECHNIQUE

contact sheet
WHeTHer you shoot commissions or send images to picture libraries and publishers, supplying a contact sheet will earn you big Brownie points. A few sheets of low res images means your clients wont have to wade through

Creating a

Creating a contact sheet of low res images allows your clients to view and select images quickly. Heres how its done
memory-hungry high res files. Contact sheets can be created using any type of image file, including raw, and can be done in a couple of minutes using Photoshop CS. Its this easy

BEFORE you start, put all the images into a folder, give the folder a name and save it in a location where youll be able to access it quickly later.

OPEN Photoshop and then select File Automate Contact Sheet II. This opens up the Contact Sheet window. Ignore the Source Images box at the top for a second and move down to Document. In the Units box, select cm and type in approximate sizes for an A4 sheet of paper (Width 21, Height 29). Make sure Resolution is set to 72 pixels/inch.

MOVE to the Thumbnails section and select the number of columns and rows you want on each sheet. To make sure the images are of reasonable size, four columns and five rows is about right. Leave the Auto Spacing and Use Filename As Caption boxes ticked.

FINALLY, go back to the top of the window and click the Choose button to find the folder you put the images in for Step 1. Once youve done that, click OK and let Photoshop do the rest. Once the contact sheet is generated, save it as a Photoshop document and print out. Simple.

IN THE NExT ISSUE OF FPME

HOW TO ADD KEYWORDS AND COPYRIGHT INFO TO YOUR IMAGES

FPME OCTOBER/NOVEMBER 2005 | 21

INSIDE VIEW

libraries
BUZZ PICTURES
Name
Neale Haynes

Stock

Would you like to send your work to stock libraries, but dont really know where to start? We contacted two of the UKs leading libraries to find out what they look for from potential contributors
biggest sellers
Clean, bright action shots (like the one below) where the subject has signed a model release form so there are no problems with marketing the images.

How do you like submissions to be presented?

Good quality captions are essential and keyworded to help with searches if youre supplying in digital format.

Title
Managing Director

What type of images does the library specialise in?

Freesports or extreme sports. We cover the well-known sports such as bungee jumping, go-karting and mountain biking, but also the stranger sports like bog snorkelling, JCB racing and wakeboarding.

How many images would a photographer be expected to supply on a regular basis?

Its reasonable to expect a photographer to supply around 100 good quality images every quarter, but theres no set amount.

What type of images are you looking for now?

Top quality winter sports shots ski-ing, snowboarding and so on.

What picture formats do you accept?

Digital, or just old fashioned film.

What type of shots dont you want to see ever again?

Out of focus rubbish

How many images would you like in a submission?

At least 100 original images.

Whats the biggest mistake potential contributors make?

Some photographers have an over-inflated opinion of how good their work is. Have a look on our website at the images that sell and only get in touch if your work is genuinely as good as what you see.

How should potential contributors get in touch?

Initial approaches by e-mail, please. Contact office@buzzpictures.co.uk and someone will be in touch.

Image by Alex Williams www.buzzpictures.co.uk

22 | FPME OCTOBER/NOVEmBER 2005

Buzz Pictures website is at www.buzzpictures.co.uk Image by Neale Haynes

INSIDE VIEW
PICTURES COlOUR lIBRaRy
Name
Karen McCunnall

biggest sellers
Famous landmarks from the UK and overseas always do well for us.

What type of shots dont you want to see ever again?

Were happy to see all shots, but if youre going to submit a well-known landmark, bear in mind that itll need to be exceptional or a completely new view of it.

Title
Submissions Manager

What type of images does the library specialise in?

Travel and travel-related images. We cover both the UK and overseas.

What picture formats do you accept?

Most of our work comes in digital format, but well also take exceptional transparencies.

Whats the biggest mistake potential contributors make? What type of images are you looking for now?
We dont have specific seasonal requirements, were looking for quality images all year round. We publish a list of wants on our website (www.picturescolourlibrary.co.uk), some photographers will just turn up and take shots of locations we need thinking theyll get sales. The images still need to be high standard, not just a snap.

How many images would you like in a submission?

Initial submissions should be a minimum of 800 images, low resolution JPEGs if youre sending digital. Digital photographers need to be using cameras capable of at least 17Mb files (SLRs with six megapixels and above).

How do you like submissions presented?

If we accept your work well need securely packaged and fully captioned transparencies or TIFFs if supplying digital. Digital files need caption and keyword information embedded within them. We can supply a hard drive if a large number of images need to be sent to us.

How should potential contributors get in touch?

By e-mail in the first instance. Contact me on Karen@ picturescolourlibrary.co.uk.

How many images would a photographer be expected to supply on a regular basis?

Its difficult to put a figure on it, but wed certainly need pictures on a continuous basis. We tend to be selective about the photographers we use so we can do well for them. Given this, we expect a good supply of original material.

General tips for submitting to stock libraries

l Most stock libraries are now fully digital or in the process of converting. Some will still accept film submissions, but most will require scans of film images or straight digital files. l If youre submitting digital images, many libraries will have specific requirements in terms of the format the images are saved in, the file size and whether any sharpening or adjustment has been applied.

l Commission fees vary from library to library, but the average is a 50/50 split between you and the library. l Copyright of any images you submit to a library will remain with you. However, there are an increasing number of royalty-free libraries appearing who will require you to assign copyright over to them. l Many libraries have comprehensive websites, which include details about how to submit your work and any current requirements. Its worth checking these out before you get in touch as youll probably find the answers to most of your questions.

FPME OCTOBER/NOVEmBER 2005 | 23

EVENTS

ocToBer & novemBer

Photo opportunities with saleable potential. Each issue we focus on one particular event, as well as covering others to suit your photographic tastes

Focus on BonFire niGhT

his year is the 400th anniversary of the Gunpowder Plot, so why not hold your own photographic celebration by attending one of the many events up and down the country? Weve listed some of the larger events here across a wide geographical spread, but there may be an event with just as much potential closer to home check your local press for details. The key to success at any fireworks display is arriving early and getting a good vantage point, which isnt going to get obstructed as more people arrive. if possible, visit the location before the big day so you can find out when and where the fireworks will be set off, have a look around for a good position and check where will and wont be accessible on the night. Technique-wise, mount your sLr on a sturdy tripod, select the B setting and a small aperture then use a piece of card to uncover the lens as fireworks shoot into the sky. Try a wide range of exposures to ensure you get some saleable images.

All displays on Nov 5 unless stated

Brighton Racecourse, Brighton When? November 4 Details: 01273 603580

Alexandra Palace, London Details: 0208 365 2121 Glasgow Green, Glasgow Details: 0141 553 1092 Kings Dock, Liverpool Details: 0151 233 3007 Midsummer Common, Cambridge Details: 01223 457521 Don Valley Stadium, Sheffield Details: 0114 256 0607 Bute Park, Cardiff Details: 0292 023 0130 Meadowbank Stadium, Edinburgh Details: 0131 661 5351 Cranleigh Common, Surrey Details: 08701 566366 Durham Police HQ Details: 0191 384 6905 Forest Recreation Ground, Nottingham Details: 0115 915 5330 Bitts Park, Carlisle Details: 01539 444444 Leeds Castle, Kent Details: 0870 600 880 War Memorial Park, Basingstoke Details: 01256 817618 The Quay, Poole Details: 01202 253253 Littledown Centre, Bournemouth Details: 01202 451700 West Park, Wolverhampton Details: 01902 552121

ShotS

your

Sell

if theres a display near a famous landmark in your area, get in touch with your local tourist board that may buy the images from you. alternatively, photographic magazines often run features on shooting fireworks, although they wont need shots now until next year. andrew James, editor of Practical Photography says: Id be looking for the classic sky filled with fireworks shot along with foreground interest to add some scale. andrew can be contacted on andrew.james@emap.com.

Stuart Maclaren

EVENTS

EVENTS
Paul Frost

What? oNeill British Surfing

Championships

EVENTS
What? Diesel Gala When? October 14-16 Where? Severn Valley Railway, Bewdley, Worcestershire Details: 01299 403816 or www.svr.co.uk A special timetable using Severn Valley Railways fleet of historic diesel locomotives, plus some visiting traction.
SVr

WheN? october 15 & 16 Where? tynemouth longsands

Beach, tyne and Wear

surfs up!
ThoughT surfing was a summer pastime? Think again, these events prove that surfing goes on long after weve packed away our swimming costumes for another year. Chances are, the competitors will be wanting to stay on their boards as long as possible, because that water is going to be freezing!

DetailS: 0191 258 2496

ShotS

your

Sell

What? Gul open Newquay BPSa WheN? November 12 & 13 Where? Fistral Beach, Newquay DetailS: 0208 789 6655 or
www.britsurf.co.uk
Blackpool Tourist Board

steve Bouth, editor of Wavelength magazine says: We have our own photographers at many events, but we use freelance work as well. Im not really interested in bog standard shots from the beach, Id like to see something different, a new viewpoint. Overall scene-setting shots are good, too. If any potential contributors have waterproof housings, they should use them and get in the water with the surfers! steves happy to see images, initially by e-mail: steve@wavelengthmag.co.uk

What? Motorcycle Beach Race When? November 30, from approx. 3pm Where? Central Beach, Blackpool Details: 01253 478222 or www.visitblackpool.com Several hundred mad riders racing between North and Central piers What? Steam Event When? October 29 & 30 Where? East Lancashire Railway, Rawtenstall Details: Autumn steam gala, including night event. 0161 764 7790 or www.east-lancs-rly.co.uk What? British Land Blokarting Championships When? November 18 20 Where? Gwithian, nr Hayle, Cornwall Details: 01736 332648 or www.speedsailuk.com Essentially windsurfing on wheels, Blo-karters can reach speeds of up to 50mph. What? The 13th Real Ale Wobble When? November 12 & 13 Where? Llanwrtyd Wells (Britains smallest town), Powys Details: 01591 610666 (between 10am and 5pm) Mountain biking event, where competitors get free half pints of real ale at checkpoints en route. Should make the finish interesting!
Details of all these events are subject to change. Please confirm details with the organisers before you travel. We cant be held responsible if you travel 200 miles and find it has been cancelled a week earlier!! Peter Bargh

autumn air show

WheN? october 16. Museum open from
8am, flying starts at 1.30pm

Where? imperial War Museum, Duxford DetailS: 01223 835000 or

www.iwm.org.uk
Imperial War Museum

What? Blackpool illuminations WheN? Until November 6 Where? the Promenade, Blackpool DetailS: 01253 478222 or
www.visitblackpool.com
The iLLuminaTions are a photographic honey pot! This year they incorporate the inaugural Festival of Light featuring innovative light installations from around the world.

The lasT major air show of the year in the uK, featuring aircraft from the 1930s to the present day.

ShotS

your

Sell

ShotS

your

Sell

Tony harmsworth, assistant editor of aeroplane magazine says: We regularly use freelance contributors. From Duxford, wed be looking for shots of planes that have been recently restored or are visiting from other countries, as many of the planes well have seen before. Tony can be contacted on anthony_harmsworth@ipcmedia.com

helena axon, media & events assistant for Blackpool Tourism says: The Illuminations are a challenge to photograph so were always looking for shots to buy. This year, we also need shots of the Festival of Light installations as well as the traditional Illuminations along the Promenade. We would want to buy copyright of any images so they can be put to a variety of uses. helena can be contacted on 01253 478231 or by e-mail at: helena.axon@blackpool.gov.uk

FPME OCTOBER/NOVEMBER 2005 | 25

GEAR TEST

O
3

N
2

TRIED&

TES T
1 3
Brother HL-2070N printer 150 200 PRICE FPME VERDICT
Inkjet printers are cheap to buy, but costly to feed. Changing black and colour inks in most models will typically lighten your wallet by around 50. If you dont use your inkjet for high quality colour prints, a laser printer is a viable option. This Brother model is network-ready so can be hooked up to more than one computer. If you dont need this facility, the HL-2030 is similar for under 100. Compatible with both PC and Mac, the printer is easy to install and can print up to 20 pages a minute. Its mono only, but thats fine for invoices, letters and even digital contact sheets. A new toner still costs around 50, but should last for 2500 sheets of A4.

O
1
Sigma AF 15mm f/2.8 EX 450

Photoshop CS2 training

PRICE FPME VERDICT

Giving yourself the edge over fellow freelancers is crucial if you want repeat business. This will often be down to your skill as a photographer, but having the right gear can help. A fisheye lens can give your shots an extra dimension. This Sigma fisheye fits all the popular AF SLR and DSLR mounts and offers a full frame 180 view. Focusing down to just 15cm means you can get intimate with your subject and capture some eye-catching images. The lens is well made and produces quality results. Its quite an outlay considering its applications are limited, but it could just make your shots stand out from the crowd.

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Adobe Photoshop. Not the easiest program in the world to master, is it? But if you can tame it, your pictures and business will prosper. The spectacularlynamed Deke McClelland hosts this series of training DVDs. Once you get past Dekes accent and the tacky Van Gogh style set he presents from, youll see that the DVDs are thoroughly comprehensive. With a running time of 27 hours, itll take you a long time to go through all the DVDs, but you can also cherry pick individual sections to brush up on specific techniques. Images are provided for you to practice the lessons on and you will know all there is to know about Photoshop if you get to the end!

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6 | FPME OCTOBER/nOvEmBER 2005

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Peelable business cards 5.99

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TDK CD label printer 50 34.99 PRICE FPME VERDICT
Give your digital image CDs a more professional look with this thermal transfer printer from TDK. The LPCW-50 prints directly onto the surface of the disc in one of four colours: black, red, blue or silver. The printer is for PCs only running Windows 98 or later. Once the software is loaded, its simple enough to start printing and we found that the unit, albeit fairly basic, delivered smudgefree printing on a range of CD finishes. You can either use built-in templates or design your own print, which can include images if required. Recommended if you send a lot of CDs to prospective clients.

Jessop 5-in-1 reflector

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First impressions count, so you need to look professional when meeting clients. Having business cards is a sure-fire way of looking the part, but they can be pricey, and will often mean ordering a minimum of 250 at a time. With these WH Smiths cards you can print as few as 10, to your own design on an inkjet or laser printer. A pack of 10 sheets gives you 100 cards. Youll need a PC or Mac, ideally with page layout software so you can set your page up correctly. This does take time, but an A4 template comes with the pack. Quality can be up to 720dpi and while the cards arent very thick, most people wont know the difference.

PRICE FPME VERDICT

Photographers should never be without reflectors. They can squeeze invaluable extra light into a shot where flash would look too harsh. This 80cm Jessops model is based on the same principle as most reflectors, flick it to open, twist it to fold (always funny watching the uninitiated trying to do it), but comes with a four-sided zip-on cover to give you a variety of effects. Silver, gold, white and black are all available so you can pick the one most suitable to your subject. Without the cover it also acts as a handy diffuser, which can reduce the harshness of flash. A really versatile piece of kit thats well worth the money.

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FPME OCTOBER/nOvEmBER 2005 | 7

Gift shop
Xtraflash Slave Flash 7.70

Kenro Studio Flash 220

Ideal as a start up kit for the hobbyist enthusiast or the small studio. The kit comprises two compact Flash Heads with 110WS output, two lighting stands, a 45x45 cm soft box, a set of colour effect filters and a camera sync cable. If your camera doesnt have a flash sync socket youll also need to buy a PC hotshoe adaptor below.

Special post-free offer on gadgets for your cameras or lenses.

This foldaway, pocket, remote, slave flash automatically fires as the flash on your camera goes off. This makes it ideal for fill in flash or additional lighting for any brand of film-based or digital cameras (providing you can turn off the cameras preflash feature). Use 2 or more for creative lighting. Place gel over the tube for specialFXs. Use outside to fill in the shadows. Use one to increase flash output. Use as additional light for hairlights. Bargain price!!! We now have the last stocks of these. Used ones sell for well over 20 on eBays auction site. Powered by just one AA battery (not supplied).

Flash shoe adaptor 7

Slides on to a camera hot shoe to allows a studio flash or off camera flash to be connected to the camera via a sync lead when the camera doesnt have a PC socket.

Stofen Omni Bouncer 16

Often called the softie this is an almost perfect product for your flashgun. It weighs in at just 15 grams and simply clips onto the head of your flash. It softens the light in general use, eliminates red eye, but in more specific use it gives the delightful softness of an umbrella and the all directional coverage of a bare bulb. Very clever and now very famous. Often seen on T.V. in news programmes as the Omni is used by press photographers world-wide. We have many available, please state which you want on the order form: OM-B for Vivitar 283/ Canon 430EZ, OM-C for Pentax AF500FTZ/Nikon SB-24/25/26/Minolta 5400xi/Canon 380EX, OM-PZ8 for Pentax AF360FGZ, OM-EX for Canon 420EX, OM-EY for Canon 580EX, OM-EZ for Canon 540EZ and 550EX, OM-SB-16 for Nikon SB16/Cobra 700AF. If your flash is not listed above please visit the FPME web site to check which you need and many other options.

Hoya Infrared R72 filter

Filter for use with Infrared film to get those ethereal black & white photos. The filter also works with many digital cameras. The filters are available in lens filter thread sizes from 49mm to 77mm. Digital camera owners could buy the smallest size and hold it over the lens. 49mm Hoya Infrared filter R72 29 52mm Hoya Infrared filter R72 29 55mm Hoya Infrared filter R72 32 58mm Hoya Infrared filter R72 37 62mm Hoya Infrared filter R72 45 67mm Hoya Infrared filter R72 65 72mm Hoya Infrared filter R72 100 77mm Hoya Infrared filter R72 170 Please state which size you want on the order form

Mail order form

Send to FPME, Units 31/32 The Turbine, Shireoaks Triangle Business Park, Coach Close, Shireoaks S81 8AP (Mail order prices quoted in this magazine are valid until 31 Dec 2005)

Spirit level 13
No client will buy photos with wonky horizons! Keep your horizons straight using this hot shoe mounted spirit level. Perfect for landscapes and building photography and essential if youre going to attempt panoramic photography.

I would like to order the following items:

Item description Qty Cost

Lens cleaning cloth 3

Micro Fibre cleaning cloth for cameras, lenses and binoculars that is amazingly effective. Lasts for ages...just wash it when dirty. Ideal for cleaning your digital cameras LCD screen too. Dont waste time retouching pics when your gear could be spotless in the first place.
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LensPen 10
Superior lens cleaning system for fine optics. A special pen-shaped cleaning item that has a slide out brush on one end and a flat self-replenishing pad style cleaner on the other. The brush is used to remove dust and fluff while the pad can be used to remove smears and finger marks, even on the small lens of your digital camera. It doesnt scratch and outperforms other cleaning items. No sprays, no chemicals, convenient and portable.
28 | FPME OCTOBER/NOVEMBER 2005

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