Charlotte Louise Beetham: editorial

My Brief

Job Profile of an Editorial Photographer

http://www.academyart.edu/photography-school/faq/editorial-photography.html

An editorial photographer provides images for magazines, newspapers, books, websites or other editorial material, rather than corporate branded material. The most important difference between editorial photography and other types of photography is the element of usage.

The work of an editorial photographer is typically published with text, such as a story or caption. It should complement the piece and present a definitive idea from the story in a visual manner. The editorial point-of-view is crucial in this form of photography. Thus, editorial photographers express their creativity within a conceptual boundary.

Editorial photography can be fashion. It can be still-life or photojournalism. It can be food, or it can be architecture. Depending on your area of interest, you may decide to specialize in one of these areas or another, for example, sports photography.

An editorial photographer shoots both on location and in-studio. Depending on the assignment, they hire cast and crew, and even have to pull location permits. Some editorial photo shoots can be like an advertising shoot in their high production value. However, since the usage is editorial, the budgets and resources can be much different. And yes, some are even conceptualized to the degree of an ad shoot. The difference is in how the image is used.

Don’t be confused. The term "editorial" can also be used as a descriptive to identify a style that has a relaxed, more spontaneous quality. Sometimes, art directors at an ad agency describe their concept or project as having an "editorial" feel, but this is not an editorial shoot. They are simply describing a "feel" they are trying to achieve. Again, very often there is a lifestyle component to their vision, but it still remains an advertising shoot.

The job profile of an editorial photographer includes, but is not limited to:

Coordinating with photo editors and art directors at an editorial outlet to understand the requirements for an image. Sometimes, this involves coordination with writers, reporters or editors.
Finding suitable locations or events where the idea of a piece can be conveyed visually.
Analyzing photography requirements and selecting cameras and gear accordingly.
Taking photographs.
Retouching images as per publishers’ requirements.
Submitting images to the publishing house.
Knowing how to run a small business, or at least basic accounting, and developing excellent research and marketing skills. Client management is important too.

Legal and moral restrictions including copyright.
http://www.epuk.org/

What is copyright?

The law of copyright…

...protects against unauthorised reproduction of works and entitles copyright owners to economic benefit whilst seeking a fair balance between the interests of authors and users of copyright materials.

What are moral rights?

These are:

the right not to have one’s work subjected to derogatory treatment

the right to be identified as the author of one’s work

the right not to have a work falsely attributed to oneself as author

the right of privacy for photographs commissioned for private and domestic purposes

Copyright law originally came into being to ensure that individual craftsmen received proper economic compensation for the products of their craftsmanship. The problem for photographers was always that UK law excluded them from first ownership of copyright when work was commissioned and therefore denied them the protection and benefits afforded to composers, illustrators, writers and painters, etc.

Largely because of the lobbying of 19th century portrait painters who felt threatened by the advent of photography, the work of British photographers and engravers became treated as a copying technique and, unless it was agreed otherwise, copyright was vested in the commissioner rather than the author of the work.

This view of photography, apart from being basically unfair, was contrary to legislation in much of the rest of the world and has led to confusion at one time or another for nearly everyone involved, either as creator or user. The implementation of the Copyright, Designs and Patents Act 1988 has done a lot to improve the situation although many people, including photographers themselves, still have to cope with rights in photography generated under legislation going back to 1862, which were left largely intact by the 1988 Act and now also have to deal with the complications produced by the copyright harmonisation measures brought in throughout the European Union and the European Economic Area. (Like the European Union, the European Economic Area is defined by international agreement and may vary over time. Readers needing to know the membership of the EEA are therefore advised to check on the latest position at the time their need arises).

Age of consent for photography.

If its a person under the age of 18, parental consent must be given. This can be done in the form of a legal document stating a parent. However this is only relevant for studio shoots. If in a public place it is legal to take pictures of people, however this must not constitue harassment or be inappropriate images of adults or children.

Police guidlines.

Members of the media are not only members of the public; they can influence the way the Metropolitan Police Service is portrayed. It is important that we build good relationships with them, even when the circumstances are difficult. They have a duty to report many of those things that we have to deal with – crime, demonstrations, accidents, major events and incidents. This guide is designed to help you take the appropriate action when you have to deal with members of the media.

Members of the media have a duty to report from the scene of many of the incidents we have to deal with. We should actively help them carry out their responsibilities provided they do not interfere with ours.

Where it is necessary to put cordons in place, it is much better to provide the media with a good vantage point from which they can operate rather than to exclude them, otherwise they may try to get around the cordons and interfere with police operations. Providing an area for members of the media does not exclude them from operating from other areas to which the general public have access.

Members of the media have a duty to take photographs and film incidents and we have no legal power or moral responsibility to prevent or restrict what they record. It is a matter for their editors to control what is published or broadcast, not the police. Once images are recorded, we have no power to delete or confiscate them without a court order, even if we think they contain damaging or useful evidence.

If someone who is distressed or bereaved asks for police to intervene to prevent members of the media filming or photographing them, we may pass on their request but we have no power to prevent or restrict media activity. If they are trespassing on private property, the person who owns or controls the premises may eject them and may ask for your help in preventing a breach of the peace while they do so. The media have their own rules of conduct and complaints procedures if members of the public object.

To help you identify genuine members of the media, they carry identification, which they will produce to you on request. An example of the UK Press Card is shown below.

Members of the media do not need a permit to photograph or film in public places.

To enter private property while accompanying police, the media must obtain permission, which must be recorded, from the person who owns or is in control of the premises. We cannot give or deny permission to members of the media to enter private premises whether the premises are directly involved in the police operation or not. This is a matter between the person who owns or is in control of the premises and the members of the media.

Giving members of the media access to incident scenes is a matter for the Senior Investigating Officer. The gathering of evidence and forensic retrieval make access unlikely in the early stages and this should be explained to members of the media. Requests for access should be passed to the Senior Investigating Officer who should allow access in appropriate cases as soon as practicable.

Advice and assistance in dealing with members of the media is available 24 hours a day via the Press Bureau at New Scotland Yard.

The UK Press Card

All the UK’s professional reporters, photographers, and broadcast crews rely on swift public and official help to bring the news to Britain’s homes and business. And every one of them can get a genuine UK Press Card.

The official UK Press Card is an excellent way to identify newsgatherers in the aftermath of a major news event or at any other time. This is guaranteed by the UKPCA’s gatekeepers, who represent all the organisations which employ or represent Britain’s newsgatherers.

At the core of the scheme is a unique photocard and hotline system managed jointly by the gatekeepers. It has a number of security features and is recognised by the Association of Chief Police Officers for England and Wales (ACPO) and by its sister organisation in Scotland, ACPOS.

Each UK Press Card has a unique serial number. Each cardholder has a separate personal identification number or word. By using the hotline – 0870 8376477 – anybody can verify that the card is genuine and that the holder is a bona fide newsgatherer.

The card also has several secret security features in addition to the verification hotline. There are only revealed to the police or similar authorities. The card is produced using similar technology to the photo driving licence, with the photograph and design integrated into the structure of the card.

Every card carries the logo of the issuing organisation or the holder’s employer together with the holder’s name and the card serial number. And no card can is valid for more than two years, ensuring a periodic review of the holder’s right to have it.

The UK Press Card Authority

The UK Press Card Scheme has been in operation since the early 1990s. It was set up to provide a single, national identity card for professional newsgatherers, following the abolition of a press card issued by the Metropolitan Police Service. It is managed by the UK Press Card Authority Ltd. A list of designated gatekeepers is available on www.ukpresscardauthority.co.uk or through the Press Bureau at New Scotland Yard.

Guidelines for reporters, photographers and news crews for dealing with police at incidents.

We are the eyes and ears of the public. The role of the police is to act as the law enforcement executive of that same public. It is our role to report on matters of public interest . The police are subject to the same laws as us. This guide has been designed to help you in dealing with the police at the scene of incidents.

1. If asked by officers to identify yourself always be prepared to show your UK Press Card. The police do have a verification line to check this against your press card PIN. It is your responsibility to make sure you know yourPIN. It is not necessary to tell police which publication, station or agency you are working for or if you are freelance. However a polite, cheerful conversation goes a long way to promote good relations.

2. If you feel you are being prevented from doing your job in contravention of the police guidelines then show the guidelines to the officer concerned. If this fails to resolve the matter ask to speak to a senior officer or a police press officer if there is one on scene and try to solve any problems that way.

3. If this facility is refused or is unavailable make sure you get the shoulder number of the officer(s) concerned. In the case of senior or plain clothed officers ask for a name and rank. Always remain polite and un-confrontational

4. With the above information contact your desk or your member organisations liaison officer and seek further help.

Moral Rights

These are rights which remain with the author of a photograph, irrespective of what happens to the copyright. They were introduced by the 1988 Act and apply to all photographs protected by copyright. They cannot be assigned in the way copyright can be assigned. On the death of someone holding the moral rights which are explained in the following sections, the rights pass to the person the author has nominated in their will. If there is no will, or the will does not mention the subject, the rights are enforceable by the person who inherits the copyright in the photographs or, if the copyright does not form part of the estate, the author’s personal representatives. There are three basic rights for photographers and a right of privacy for commissioners of photographs as follows:

Objection to false attribution

This is the right of all photographers (and of anyone else, for that matter) not to have a work falsely attributed to them. It is an automatic right, does not have to be asserted in writing and applies to all photographers whether employed or not and for whatever purpose the work was made. Unlike the other moral rights this one expires 20 years after the death of the photographer. This is one of the reasons photographers should be very careful about bequests. Their heirs should be those that can be trusted to protect their rights. The good reasons for making a will are explained later in this publication and should be read with care.

Safeguarding of privacy in work commissioned for private and domestic purposes

This is a right which belongs to the client and was devised to protect the privacy of those who commissioned the services of a photographer to record weddings, graduation portraits, momentous and personal family gatherings and may also include the recording of medical conditions. The 1988 Act removed copyright in commissioned work from the commissioner and handed it to the photographer, leaving the commissioner exposed to possible publication of private photographs and exploitation by unscrupulous photographers. The photographer now owns the copyright but cannot publish, exhibit or broadcast the photographs without the permission of the commissioner. The photographer may not display prints in a shop window or use them in a portfolio and certainly cannot use them for financial gain should the subject of the photographs become newsworthy. This right does not apply to any photographs taken before August 1 1989. (see ‘privacy’ in the section on ‘Frequent problems’ later in this publication)

Objection to derogatory treatment of a work (integrity right)

This right allows objection by photographers or their heirs to having their work treated in a manner which amounts to distortion or mutilation or is otherwise damaging to their `honour or reputation’. Such distortion or mutilation could include manual or digital manipulation, cropping, masking, colorisation, `comping’ (assembly into a composite image), morphing, retouching – anything in fact from moving an inconveniently placed Pyramid to distorting the anatomy of a normally endowed model to ensure that she looks like every other Page 3 girl. If the result is damaging to the reputation of the author, an objection may be lodged. This is an automatic right and there is no need to assert it in order to acquire the right. This right is not generally available to employed photographers except in particular circumstances. Nor does the right to object apply to photographs taken for reporting current events, or, in most cases, for publication in newspapers or magazines or for use in collective reference works such as encyclopaedias. The right does not apply to `anything done for the purpose of avoiding the commission of an offence’. This could include offences under prohibited sexual activity, indecency, obscenity, race relations, data or child protection, judicial proceedings, official secrecy, public order or emergency powers legislation.

Authorship acknowledgement (paternity right)

The creator of a photographic image now has what has been called the `paternity’ right to have a reasonably prominent credit whenever a work is commercially published, exhibited in public, broadcast, or included in a film shown in public or issued to the public. This is not an automatic right and must be asserted in writing.

If the assertion is included in a document assigning copyright to someone else, the right can be enforced against that person and anyone else to whom the copyright is subsequently assigned or licensed. If the assertion is in some other document, in a letter for instance, signed by the author, the right can only be enforced against those who have been notified. Paperwork and photographs rarely stay together and it may be difficult to assert rights if photographs and documents are in the hands of someone with no brief to keep them together. When photographs are published in a book, it is advisable to have a notice that these rights have been asserted by the photographer along with the other copyright details so giving protection to the interests of all concerned. Where the photographer is identified on prints, mounts, frames or anything else to which photographs are attached, the right to a credit will generally apply whenever photographs are exhibited in public, whether or not the identification is still present or visible.

The right does not generally apply to employees for work done in the course of their employment, although again there are exceptions to this. Nor, oddly enough, does it apply to photographs taken for the purposes of reporting current events or, in most cases, for publication in newspapers, magazines or periodicals, or in collective reference works. However, it has always been the general practice, often provided for by contract, for acknowledgements to be given in editorial contexts and the practice still continues. This will generally give photographers contractual rights even if they have no moral right to a credit. Most publications are content to credit their contributing photographers. It ensures a ready supply of material from sources who might be reluctant to cooperate without a printed acknowledgement and such acknowledgements can enhance the reputation of the publication.

Anyone acting on behalf of a photographer such as an agent, picture library, archive or museum, should ensure that the author’s assertion of `paternity’ rights is notified to all potential users of the photographer’s material. The photographer might be able to sue for negligence if there was a failure to take steps to get this right observed by users.

Publication right

This new right came into effect on December 1 1996. It is a new property right equivalent to copyright which gives protection for 25 years from the end of the year of publication to the individual or legal person who publishes a photograph which has never been previously published, whose copyright has expired and whose copyright was not Crown or Parliamentary copyright. The right only applies if the publisher, (or at least one of them, in the case of a joint publication) is a national of an EEA state and first publication also takes place within the EEA. The right only comes into being if the owner of the physical object, be it negative or print, etc, agrees to the publication. The right works in the same way as normal copyright. Publication is defined as including any communication to the public, not merely issuing copies to the public.

Database right

This is another new right effective from January 1 1998, comparable to copyright, which is designed to protect investment in the selection, collection and assembly of the contents of a database which may be in electronic or manual form. The right, which belongs in the first instance to the maker of the database, is intended to protect against substantial extraction or reutilisation of data and gives protection for 15 years from the end of the year in which the database is made. This right is in addition to any copyright in the contents of the database as an original work and is intended to protect ‘sweat of the brow’ undertakings of ‘works, data or other material’ which are ‘arranged in a systematic or methodical way’ like compilations of the works of particular photographers organised by stylistic features or topic; electronic catalogues of out of copyright photography, etc. Quite how this right will work in practice remains to be seen. As with copyright, database right is subject to general and non- commercial educational and research copying exceptions and fair dealing or ‘fair practice’. The right only arises if the maker of the database is a person, real or ‘legal’ who satisfies EEA nationality requirements.

Photographers

Andrea Klarkin

Andrea was born in Belgrade in 1972. He pursued his studies at an art school in Belgium where he resided. While studying, he began working as a reporter and very quickly embarked in fashion photography. Obsessed by beauty, he created his ambience based on shapes, light and texture. He is based in Brussels and travels to work for editorial clients (Vogue, Flaunt, Harpers bazaar, Wallpaper, Gloss, Madame Figaro) As well as advertising clients (Valentino, Guerlain, Swarowski, Nike, Lanvin, L’Oreal, Wolford, Longchamps, Canon, Whirlpool).

Andrea Massari

"I was born in Rome on 31st January of 1974, but I've spent my childhood in Sao Paulo, Brazil :-) ... it was wonderfull!

Here comes two of me… the first one is going round and round just to catch everything is possibile about art and design, charmed by some great creators like Mirò, Matisse, Picasso, Lichteinstein and Pollock; but the second one is taint by a lot of great photographers such as Sieff or Avedon that influenced my own creative expression.

Anyway nature, sun and semplicity are most influential elements in my work, 'cause I want to show the side so pure and strange of what I see.

If we’re living at the edge of the world, in this place I want to frolic. Why not?

Naturalness is the lifeblood of what I do but how I express the idea is regulated by the way I make it reality.

Probably at first sight my work could appear to be inspired by different trends or tendencies but this isn't a treacherous thing, only an apparent dualism.

So while applying colors to paper nourishes a thick, bright, ironic, generous polymorphism, the photographic eye tends to fix the stream of private, plain, elegant nuances that can in any case reproduce the mutability and warmth of daylight."

Bruno Sabastia

Bruno Sabastia started his photographic journey in Montpellier more than twenty years ago, but his artistic ambitions made him move to Paris in 1995 where he worked relentlessly, assisting such photographers as Jean Lariviere.

He perfected his studio techniques, developed further his own style whilst pursuing his greatest passion - beauty photography.

Very quickly be became requested by various magazines and the most prestigious clients such as Roches, L'oreal, Paco Rabanne, Guerlian, Fujifilm, Adidas ect to name just a few.

Everyone was seduced by his vision of the feminine sensuality expressed through the sculptural manipulation of light and almost touchable skin tones. Besides his numerous commercial and editorial demands he continues to pursue his personal projects.

For Bruno, beauty is more than just a facade "every women has an inner beauty that is essential for me to bring to light. It is just a question os a few millimeters or a moment in time."

Gaetan Caputo

Gavin O'Neill

Gavin O'Neill, 38yrs, born in New Zealand. Working in London/NY. Specialising in beauty, editorial, catalog, and mens magazine work. Work has appeared in marie claire, vanity fair, vogue, cosmopolitan, black & white, GQ, Max, and commercial clients include L'Oreal, Braun, Seimens, LUX, Coca-Cola, etc.

Gerry Mac

Based in the North West of England, Gerry is a commercial and editorial photographer working for a wide variety of clients, from design and PR agencies to companies involved in the industrial and building sectors.

Formally trained to degree level in photography, Gerry has a wealth of experience, gained over many years of producing work to the most demanding standards that ensure client satisfaction and loyalty. Technical excellence coupled with a creative view of the world ensure that his stylish work is able to reflect the image of your business in the best possible light.

Newspaper images which i was present at and took some of my own but where not published because i was on work placement.

I went to the telegraph for my work experience and this is how the different telegraph houses share their images:

Put memory card into card reader
Open folder to view files
Choose images
Right click desktop and create a new folder
Drag and drop images into folder
Click in to photo station
Click browse
Click drop down menu
Click on folder which you made on your desktop
If images need editing click edit and use tools which are on there then save
IMPORTANT!! Always add captions to images or else images will not be used. Click text and put in your name then the important things to remember is:

· Who- is in the image? named left to right

· What- is the images about?

· Where- was it taken?

· Why- the image was taken?

· When- was the photo taken?

Drag and drop images with their captions in to local (temporary archive).

My images

Brookhouse Primary School, Blackburn invited local schools to join them in a Olympic sports day. In above photograph are five students from the five schools. 09/07/2012

Barrowford Primary School, Barrowford had a non-uniform day to raise money for Uganda and the dress code was to wer red, yellow and black. Above image is of some of their students in there bright out-fits. 09/07/2012

A recently built and vandalised bridge, Colne. Above image is of the vandalised bridge which the vandals cut underneath with a saw which then later collapsed as pedestrians walked on it. 10/07/2012

Locals complain about Sainsbury's early delivery noises, Colne. above image is of Councilor Neil Butterworth outside Sainsbury's. 10/07/2012

Gregson Lane Toddler Group Hoghton, having a Olympic walk around Gregson park. Above photograph is of the toddlers with their parents holding Olympic flames enjoying their walk. 11/07/2012

Gregson Lane Toddler Group Hoghton, having a Olympic walk around Gregson park. Above photograph is of one the toddlers running with his Olympic torch and in the background the other toddlers with their parents holding Olympic flames enjoying their walk. 11/07/2012