'Copyright, Contract & licensing'

Wed 20th Feb 2013 Professional Practice 'Copyright, Contract & licensing'

Glen Thomas (aopgwen-gwen@aophto.co.uk)

This session was really interesting and vital for anyone who plans any kind of future selling images or working as a photographer in the future.

We were also advised to join: http://www.dacs.org.uk/

COPYRIGHT, CONTRACTS & LICENCING

© AOP/Gwen Thomas 2012

gwen@aophoto.co.uk

@aopgwen

LICENSING

• The right to control copying including digital

scanning

• Copyright, Designs and Patents Act 1988

• Photographers own copyright in their images -

commissioned and personal

• An automatic right - no need to register it

• Lasts for 70 years after the photographer dies

• There is no copyright in an idea

Exemptions in the Law

1. Employed  Employer pays tax, NI

2. Incidental Inclusion  Included work not key

3. Criticism & Review  Image or content only

4. Research & private study  Not by reprographic process

5. Education  For exams only

6. News reporting  Not photography

Assign or Licence

• Copyright in the UK is a property right

• Assigning copyright is like selling your house

• Licensing is like renting your house or rooms

within your house

Moral Rights

Employed photographers do not have these rights

The Attribution Right

• Right to a credit

– Not an automatic right, must be asserted

– Does not apply to magazine/newspaper work

– Does not apply to reporting current events

The Integrity Right

The right to object to derogatory treatment

– An automatic right

– Does not apply to magazine/newspaper work

– Does not apply to reporting current events

False Attribution Right

• The right not to have someone else’s work

credited to you

The Privicy Right

• The right of a commissioner to prevent

publication

• Applies only to private and domestic

commissions eg

– Weddings

– Family portraits

WORKING WITH COPYRIGHT

Making © work for you

Licensing

• Exclusive

– Only one licensed client can use

– Photographer needs permission for folio use

– Client can sue for infringements

• Non-Exclusive

– More than one licensed client can use

– Photographer can use in folio

– Client can sue for infringement with written permission

from photographer

Advertising, Design & Corporate

• Media

• Territory

• Time

• Exclusive

• Base Usage Rate (BUR)

CONTRACTS

• An agreement between two parties

• Every commission is a contract

• Always have contracts in writing

Paperwork

• Terms of the contract

• Estimate

• Terms and Conditions

• Purchase Order

• Invoice

• Licence

Editorial

• All Rights

• First British Rights (FBR)

• FBR with syndication

COLLECTIVE LICENSING

• Method of licensing work in difficult to police

situations eg photocopying

• Photocopying/scanning licences issued by the

Copyright Licensing Agency

• Licence fees distributed between publishers,

authors and visual artists collecting societies

DACS

Design & Artists Copyright Society

• Not for profit visual arts collecting society

• Negotiate and licence their artist members work

• Collect and distribute collective licence money to

all visual artists via PAYBACK

What can photographers claim for

from DACS?

• Work licensed for reproduction in magazines, books,

journals

• Work licensed in a programme broadcast on BBC Digital or terrestrial UK television

How do I get the money?

• Register at the DACS website

• Fill in the form when it arrives

• Wait for your cheque!

DON’T FORGET……….

• Your work is your

creation & your

pension

• Mark your work

• Never send work on

spec

• Read all paperwork

• Don’t rely on word of

mouth

• Use terms &

conditions

• Register with DACS

• Start using paperwork

     

London exhibitions on during the 21st & 28th February

Here is a list of photography exhibitions that are on in London on the 21st & 28th of February.

These will coincide with your trip to London. 

LONDON EXHIBITIONS TAKING PLACE ON THE

21^ST AND 28^TH FEBRUARY

(Coincides with your field trip to London)

This list can also be found on MY UCA under Professional practice folder

Heidi Specker / Termini

01.02.13 - 16.03.13

Brancolini Grimaldi / London

http://www.brancolinigrimaldi.com/

Candida Höfer / A Return to Italy

12.02.13 - 12.04.13

Ben Brown Fine Arts

http://www.benbrownfinearts.com/

Man Ray / Man Ray Portraits

07.02.13 - 27.05.13

National Portrait Gallery

http://www.npg.org.uk/

Thomas Joshua Cooper / Messages

01.02.13 - 28.03.13

Haunch of Venison

http://haunchofvenison.com/

Bettina Rheims / Gender Studies

26.01.13 - 01.03.13

Hamiltons Gallery /

http://www.hamiltonsgallery.com/

Thomas Zanon-Larcher / Falling: A Part

25.01.13 - 09.03.13

Wapping Project Bankside /

http://www.thewappingprojectbankside.com/

Group Show / Kiss Me Deadly: A Group Show of Contemporary Neo-Noir from Los Angeles

24.01.13 - 09.03.13

Paradise Row /

http://www.paradiserow.com/

Tessa Traeger / The Chemistry of Light

24.01.13 - 21.02.13

Purdy Hicks Gallery /

http://www.purdyhicks.com/

Juergen Teller / Woo!

23.01.13 - 17.03.13

ICA / London

http://www.ica.org.uk/34587/Exhibitions/Juergen-Teller-Woo.html

Group Show / Body I Am: Birgit Jurgenssen, Ana Mendieta & Hannah Wilke

22.01.13 - 16.02.13

Alison Jacques Galler

http://www.alisonjacquesgallery.com/

Group Show / Light from the Middle East: New Photography

13.11.12 - 07.04.13

Victoria and Albert Museum

http://www.vam.ac.uk/

The Bride and the Bachelors: Duchamp with Cage, Cunningham, Rauschenberg and Johns

14.02.13 – 09.06.13/The Barbican

http://www.barbican.org.uk/

Attached Files:	LONDON EXHIBITIONS TAKING PLACE ON THE.docx (96.778 KB)

spring term artist talks

ARTIST TALK – Heike Löwenstein

18TH February 2013, 2-3.30pm, Studio 2

The interest in place and identity has run as a strand through Löwenstein’s photographic practice of over 20 years. In the 80's and 90's she has focused on commissions in documentary, editorial, architecture and industrial photography and worked for numerous national and international clients, for example Stern, OTIS, Dorling Kindersley and BMW. Since then she had several books with her work published and had numerous solo and group shows in Berlin, London, Glasgow and New York between 1993 and 2011.

Heike Löwenstein’s field of enquiry is photography concerned with meaning of place and

representation of identity. Her research pursues the impact of an environment upon the formation of identity and the self. The role of space and place are central to her research and photographic

practise.

ARTIST TALK – Stephen Bull

12th March 2013, 10.30-12pm, LT1

‘Lionel Blair Meeting Hazel Stokes’ from the series Meeting Hazel Stokes (2006)

Stephen Bull is a writer, artist and lecturer. His works using found photographs -

often relating to the theme of celebrity - has been exhibited in venues including Tate

Britain and The Photographers’ Gallery, London. His series ‘Meeting Hazel Stokes’,

shown in the Brighton Photo Biennial Fringe 2006 and in the exhibition “How We

Are: Photographing Britain”, at Tate Britain in 2007, re-presents snapshots of a

celebrity-obsessed theatre usherette posing with famous people in order to show

how mass reproduced images can lead to a form of fame.

He is the author of Photography (Routledge, 2010) and he is currently editing the

Companion to Photography (Blackwell, forthcoming). He contributes to magazines

including Source: The Photographic Review and Photoworks. He also devised and hosts

the live events Desert Island Pics. Stephen is Course Leader for BA (Hons)

Photography at the University for the Creative Arts, Farnham.

Artist Talk – Jessica Potter  

13th March 2013, 10-11.30am, LT1 

Jessica Potter’s work investigates the photograph as a site of writing through processes of description 

that operate between the photograph and the written word. The relationship between word and 

image is central to thinking about the nature of the photograph. Within this context she has 

developed a body of photographic work and writing that takes the form of voice recordings. The 

work brings together examples taken from 20th century French literature and 20th century American 

photography, specifically the writing of Gustave Flaubert, Alain Robbe-Grillet and George Perec and 

the photographic series Labor Anonymous by Walker Evans. The relation between these examples lies 

in a desire to present experience and question realism through methods of description. 

 Passer by Iceland, 2010 

Jessica Potter is an artist and writer who lives and works in London. Her work is concerned with the 

relationship between word and image involving processes of photography, writing and drawing. She is 

currently in the final stages of a PhD by practice in the Photography Department at the Royal College 

of Art, London. She gained her MA from Camberwell in 2004 and BA from Goldsmiths in 1999.  

Buisness Pack

Templates for business pack;

• Invoice

• Estimate

• Model release form

• Licence

 • Agent/Photographer agreement

Remember to source/provide your own:

• Delivery note

• Call sheet

• Property release

 

invoice.pdf (5.458 KB)

 licence.pdf (6.057 KB)

 estimate.pdf (5.642 KB)

 AOP_Model_Release_Form.pdf (57.212 KB)

 agent-photographer_agreement.pdf (9.794 KB)

Artist Talk / Heike Löwenstein

Artist Talk / Heike Löwenstein

The interest in place and identity has run as a strand through Löwenstein’s photographic practice of over 20 years. In the 80's and 90's she has focused on commissions in documentary, editorial, architecture and industrial photography and worked for numerous national and international clients, for example Stern, OTIS, Dorling Kindersley and BMW. Since then she had several books with her work published and had numerous solo and group shows in Berlin, London, Glasgow, New York China and Dresden between 1993 and 2012.
She has been awarded a fellowship at University Campus Suffolk in 2008 to implement the use of 3D and other CGI technologies and concepts into the photography curriculum. Heike has an MA in Hypermedia Studies with merit from the University of Westminster in 1996. She studied photography at the Bayerische Staatslehranstalt für Photographie in Munich 1986-1988 and practised in Berlin from 1989-1996 before moving to London. She has worked and taught photography in London, Glasgow, Blackpool, Suffolk and Derby now divides her time between London, Rochester and Suffolk. She is subject leader for photography at the University for the Creative Arts (UCA), Rochester.

Heike Löwenstein project / `peoples spaces`

Annie Craig - Walled Garden, Glendaruel (Argyll, Scotland), 2007

“A place can be defined as relational, historical and concerned with identity” (Marc Auge, Non-Places)
PeopleSpaces was conceived in 1998 as an idea that was borne out of Heike’s interest in the significance of place for capturing her subjects. It had developed while undertaking commissions, however, Löwenstein wanted to take this relationship between a person and their environment further within her personal work.
The analysis of space, environment and identity is a relatively recent consideration. One hundred thousand years ago the population of the planet could squeeze into Wembley stadium. Now it’s a struggle to fit the supporters of two football teams into the stadium. When humankind first inhabited the earth it was the environment that dictated behaviour and hence identity. Now, centuries later, humans have stamped their authority on the environment through globalisation and population growth. Our relationship to space and identity has changed dramatically. The German philosopher Immanuel Kant proposed that space and time are not inherent features of the world around us but rather ways in which our minds order our experiences. Therefore, have we changed so dramatically from being formed by our environment, as early humans were, to drawing our identity from the space we have created?

The aim of the PEOPLESPACES is to investigate this relationship between people and their environment and to help explain how it affects identity. As the world is made up of many different types of communities, in terms of size, geography and demography the projects Heike aims to undertake in the future will reflect the different nature of the world’s communities. The method is to photograph a representative sample of people in from a specific geographical location to achieve a complex portrait of the whole area, the ‘ultimate environmental portraiture’.
PEOPLESPACES examines the relationship between the people of a specific location to their geographical area and vice versa by allowing the person to select the particular place in which they are photographed. They are then asked to produce a narrative as to why they chose the specific place. Built up over time and with a representative sample this then portrays a region from the eyes of the people who inhabit it, thereby giving the viewer a unique insight into an area.
PEOPLESPACES is unique in that it utilises panoramic photography and its unique ability to capture time and space coupled with the use of other multi-media tools.
These projects can have long lasting benefits, not only to those participating who will gain a deeper understanding of their own communities but also to a wider audience that may include decision-makers at all levels in our society. The insights gained through PEOPLESPACES will lead to better understanding of social issues resulting in clearer and more informative decision-making.

Heike has undertaken the first project in Glendaruel, a valley on the Cowal peninsula in Argyll, Scotland between 2007 and 2008. It is a small community of about 180 people (including children) which is made up of a mixture of farmers who have been born here or come here, people who grew up here, went away and have come back to live and work (from) here, some who have come to retire and some who have been attracted by something special about the place, without having a prior connection.
It is a 'working Glen', tourism plays an important role, but agriculture has been the dominant preoccupation. As farming here as anywhere else is under threat this might be changing in the future, indeed what the future holds for the next generation of farmers is very uncertain. That as many other issues feature in the work.
Heike has been attracted to Glendaruel by the make-up of its community and the environment that can be breathtakingly beautiful one moment and extremely dismal and challenging the next. She has a personal connection with Glendaruel that allowed her to spend some time there over the last few years, and enabled her, with the assistance of some interested volunteers, to start the project in 2007 and move it on as time allowed. She has photographed and interviewed about 35 people, and made a few sound recordings as tests. The project has come to rest since 2009; since then PEOPLESPACES has informed my practice based PhD at the Glasgow School of Art which is taking new work in a different direction.

Willie MacVicar at Bealachandrain

Jessica Potter talk

Feb 2013 Professional Practice 'VL' Jessica Potter talk.
Jessica Potter is a photographer nearing the end of a seven year period of education and development which started with a BA course and has led to a practice led PHD.

Her work is very closely connected with the relationships between text and image and the writings of French twentieth Century writers such as Jean Paul Sartre http://www.sartre.org/.
Jessica explores how to exhaust an image with accompanying audio or written words phrased initially in a monochrome descriptive tense. This methodology stemmed from an interest in the unease she felt between the relationship between text and images. This investigation started during her BA.
She was also interested in landscapes, edges and boundaries thematically. Especially the public space and it's usage, this included a fascination with observing and recording those frequenting the space.The methods used to create the images were analogue using both 35mm and 120 roll film and when faced with fellow members of the RCA where she had progressed too, she felt very technically inexperienced. The images themselves are not beautiful or aesthetically pleasing because it's the narrative that seems to be more important. Potter has referenced Sartres book 'Being Nothingness' and 'Nausea', especially interested in "The look" or "The relationship between one person and another". Potter also described the benches she enjoyed to work from, or to photograph as "like cameras themselves". This phrase related to the way the bench was positioned like a viewfinder directing the sitter in a defined and specific way. It was whilst focusing on the park benches that her writing of the descriptive text increased. Audi work was produced to support the visual and written text, spoken by a male voice in a monotone fashion. Some work related to a series of benches surrounding a pool, and the drain hole was described in relation to Sartre and in a somewhat sublime way, although I felt the images didn't translate and communicate that message to me.
Moving on from parks the next body of work related to the high-street and was black and white unlike the colour bench series. The narratives revolved around specific rules Potter self imposed to create the work. These rules included for example, photographing as a subject was leaving the frame, or reached a certain position in the frame. The images are a visual representation on a 'public space of encounter' and the supporting descriptive text is designed to explore the concept of 'Taking the image to the point of Exhaustion'. The ideas behind the work again are connected back to Sartre by Potter, with a nod to Walker Evens previous work created in 1946 recording workers (in Fortune magazine). Evens wanted to be a writer and created work that became a typology Potter stated, and that is where the connections between their work merges. Potter uses text with and theory given as much status as the images themselves. Potter described her series of 12 images (the number of images on a 120 roll film in her medium format camera) as a "visual sentence".
Following on from parks and the street, Potter decided to explore the allotment as an alternate public space to photograph. Exploring mounds of organic matter and ideas like "what is the difference between a mound and a heap?" Potter explained that again these explorations could be linked back to French 20th century writers or poets especially the "20th New Novel or nouveau roman" movement.

Professional Practice re-brief: CV update talk

Thurs 31st Jan 2013 Professional Practice re-brief: CV update talk
A brief overview of term ones tasks. Write up VL's, and contact professionals within three sectors of the creative industries.

Term two/three: Work placements and creation of the business pack. Whilst on placement create a record or activities undertaken, collate information and evidence. Also produce reflective analysis all of which will support my PDP journal.

Assessment is via the physical folder itself and completed Evaluation form(s)

Personal professional Profile

Blog(s) and website(s), business cards, plus any other forms of publication.

Have placement ideas by the 7th for tutorials. Progress and to enable forward plan.

Folders to be complete for review on the 21st 28th March (split across two days)
Final Hand in date May 3rd



CV update: 15:30 with Jan Rowan Careers Adviser (jrowan@ucreative.ac.uk on site Tues & Wed)

Support up to three years after leaving
Contacts book
Mater CV

Consider:
www.Prezi.com
www.wix.com (website developer)
www.branchout.com

meeting with manager of photo memories

I was really pleased today cause although i had a an email from Emma Taylor declinng my placement, i also met up with Richard the manager from the store `photo memories`. During our meeting, we discussed my placement refering to dates and times etc...? I have asked for a 2 week placement, starting at 10am and finishing at 5.30pm. The dates are the 25th - 11th febuary.

work placement email and improving buisness pack

Professional Practice: Spent the day discussing my business pack with Barry Haige a graphic designer. During the visit we added to the source images I had already found to produce a more extensive mood board. We discussed the production of a postcard and a website to improve my online presence.

my email and responce from Emma Taylor :

MY EMAIL :

Hi, my name is Sophie Jones and I am a yr2 photography student studying at UCA Rochester. I had a tutorial with my Course Leader BA (Hons) Photography (Contemporary Practice) Heike Löwenstein, and was advised to contact you regarding work placement. We have 2 weeks in which we have to work alongside a creative company or individual, and would love to learn and experience more about the creative industry. I have already received feedback from my first enquiry, and have arranged to spend 12 days with them. But would love the experience to work alongside yourself for the final last 2 days. Could you please email me back ASAP, as this would greatly be appreciated.

Kind Regards,

Sophie Jones

RESPONCE :

Hi Sophie,

At the moment not the right thing in the diary to have you shadow me sadly.

Perhaps if you're going to be in town we could meet for a coffee anyway and you could ask me any questions you might have?

Best Wishes

Emma

I was very gratefull, for the responce i had from Emma, as although she declined my offer, i really appreciated her offer of meeting up and asking a few questions regarding her work and the industry. I feel this would help me massivly to understand and learn about these areas.

artist talk

Tues 9th Oct 2012 Emma Weislander

http://www.emmawieslander.com/home/index.html

Artist talk LT1 10:00-

Emma Weislander is a fine art photographer specialising in landscapes.

She also teaches and takes on some commercial work.

Initial work shown included landscapes taken in Sweden some ten years ago, this work was a direct approach to the landscape.

Vanishing Point 2007 Ink-jet print 150cm x 150cm “The top of the iconic mountain the Matterhorn literally forms the central part of the work Vanishing Point. Photographed from a viewing platform, with the mountaintop positioned in the perspectival middle of the viewfinder, the very small part consisting of the very top itself has been cut out and enlarged to a point where the image is on the threshold of recognizable. Attempting to see the furthest away in this inaccessible part of the landscape as well as in its reproduction -the photograph - the subject becomes what is seen. Here I am interested in the recorded indexical information versus the interpolated information added by the digital process - as it is programmed to attempt to fill in the gaps where information is absent. Also, the experience of the image depends on the distance to it. This makes it impossible to look closely at the image, as what was depicted then dissolves.” http://www.emmawieslander.com/home/index.html

 

Taking inspiration from Leonado Da Vinci and his use of the distant background, this series replicated that looked at the distant horizon.

From here she moved onto a reinterpretation of the clichéd images of the sun.

Work was created using the 'Black Mirror' as inspiration and this series was shot in the Lake District

Yellow/Orange/Blue/Green 2008-2009 C-type print Series of 20 photographs. Another series of landscapes this time taken though old coloured glass filters (complete with optical imperfections)

How You Describe It (360º Sunset) 2007 Photosensitive epoxy resin using SLA Series of 5 sculptures 10cm x 10cm x 10cm. A series of 3D work representing the form taken by the sun as it sank below the horizon followed.

'The Museum of Snow' A series of work with an agenda commenting upon global warming.

'Glacier 60000' A moving image representation of an image created by degrading a JPEG image of a glacier using the 'File Save' technique. An exploration into the instability of digital media when repetitively saved.

`Dirty Dirty Trees' A moving image piece, filming the cleaning or birch trees.

'Wish you Were Here'. 2010 A series creating the impression that a landscape is being photographed using nothing but a studio wall, floor and a light-bulb crudely hung

'Burnt' 2010 A further exploration of the sunset, and the idea of the image considered as an object.

 

Seminar 15:00 Room 803

Notes include:

Humble Art Foundation http://hafny.org/

Ruby Mag http://www.ruby-mag.com.ar/home.html

Manage your own website

Keep an e-mail mailing list of persons interested in your work

Consider artist residency (if you wish to be a fine art photographer)

Apply for Photo festivals

Consider pictures libraries as an income stream.

artist talk

Artist talk

Simon Roberts “Documentary Landscape Photographer”

http://www.troikaeditions.co.uk/artists/simon-roberts

http://phonar.covmedia.co.uk/?p=322

LT1 11:15 Oct 10^th 2012

Simon was influenced at an early age by Ansel Adams and then Stephen Shaw, he is self is taught photographer.

Bodies of work discussed:

‘Motherland’ http://www.motherlandbook.com/

Shot on a Mamiya seven (using a 220 back and a Tripod whenever possible) images included Landscape and Portrait work.

 

‘We English’ http://we-english.co.uk/

Shot using a plate camera and referenced right back to early representations of the countryside painted in the 1800’s Simon created a website prior to starting the project. This was a promotional tool used to generate interest in the work. The website included a section for suggestions for locations and events to photograph. The images were shot from an elevated position (from on top of Roberts Campervan). This elevated camera position increases/lifts the mid-ground. A conscious decision was made to ensure that any people within the frame are no higher than ¾ the frame or smaller. The camera position is consistently wet back to include the landscape and thus add context. By standing back and covering both landscape and people’s interaction with it he created “layers of time and space”. When taking the pictures using a plate camera Simon was conscious of his presence within the environment. When shooting he would make a show of setting up and allow people to become comfortable with his presence before even considering taking the image, waiting for their acceptance and for them to start to ignore him. I was very interested in the statement that the work was very much about different “ways of seeing or ways of looking”

Sponsorship for the work came from the National Media Museum Bradford and the Arts Council.

‘The Election Project’ http://theelectionproject.co.uk/ 2010

 

Commissioned by the house of commons itself, Roberts looked back to the work of William Egglestone who covered the run up to the US 1976 election. This oblique approach to the work was planned in advance with the aid of a full time researcher. Again shot using a plate camera from the elevated position of the top of the roof of the campervan the images show the entire election process. Again a website was created and an open invitation was sent out, this time to upload images from the campaign taken by any other photographer. Sixteen hundred and ninety six images were eventually submitted and those all eventually made it into one large single image. Along with this large image (created using Photo Shop contact sheet facility) the final piece of work consisted of 25 final images. Six months after the project was completed a newspaper was created with a total qty of 3000 copies.

‘This is a sign’

A brief outline of this work explained its agenda and use of text. The sign as a tool of political protest is explored (and even collected). It’s a body of work about language, including aftermath shots from the London/UK riots. It investigates the act of protest in a post trade union society and looks Also investigates the world of finances and the recession in relation to society and the landscape/environment.

Simon Roberts seminar 14:00 806

After starting a college course in news photography Simon left that after six months to work for the Ross Parry agency. A series of self directed work relating to a young boxer is the work that got him his big break and work doing magazines and editorial work. Roberts won the ‘news photographer of the year (Ian Parry award). After the boxing series Roberts worked on the ‘Snowbirds’project, followed by ‘Desert blasts’. During this last shoot that covered an event that only lasted twenty four hours he shot 85 rolls of film.

Some key tips highlighted included the importance of maintaining copyright for your own work.

Also take care if asked to licence your work out too, one off usage can be ok, but avoid other contracts.

Control your own pictures library as it can be a long tern income stream.

When on jobs always look to see if you can do work for yourself.

Be a pro active generator of ideas if you are doing editorial work, it can generate more work.

Consider producing a reusable mini portfolio system that enables the contents to be switched, useful for showing work.

Eighty percent of advertising work relates to portraiture.

Create interesting and differently shaped business cards so that you stand out

When creating books Roberts created limited number of signed special editions, that included signed copies off every print within the book itself. This can finance the production of the actual book run itself.

The ‘We English’ series was partially financed by a contract with the times that paid towards living costs during the shooting. Each week one image (digital) was supplied and at the same time readers could supply information to Roberts about events happening at his next scheduled location. Also Local radio and twitter was used to reach a larger audience.

Roberts collaborates with researchers, design specialists.

Promotion and interest was created by selling a limited edition print for 99p, this was also used as a gauge to see the level of interest in the work being produced.

 

When shooting the ‘Motherland’ project logistical tips included: sofa surfing, a fast way to get access to local people and business. Also ensure you have correct documentation, which included press accreditation for Roberts and three month visas which were only renewed upon proof to the authorities that genuine work was not only being created but actually published. Roberts took work with a travel company to provide this work/evidence that enabled him to continue to produce the work for the ‘Motherland’series.

Remember you may need at least “seven levels of engagement”before you work is even recognised let alone accepted and used.

Tools such as ‘Tweet deck’ are great for information gathering if using twitter. Consider the information you choose to publish and the online presence you wish to create.

 

 

 

task 1 : 3 artist talks

Professional Practice Task 1

This information is required for task 1 of Professional Practice to be presented within your ongoing Professional Development Portfolio on December the 4^th where you will be given advice on how to move forward with the PDP.

•You must provide research into a minimum of 3 areas of the creative professions. These professions can range from photographers/curators/picture editing/graphic design/art buying/printing/retouching/agents/etc etc. This should be coherently presented on A4 sheets. This is descriptive information about the industries who/what/where etc.

•One of these areas must be the area you choose or want to do your work experience/placement within. For example if you want to work with a curator then provide information on being a curator. If you want to work with a picture editor provide information on picture editing.

•You must provide coherent typed A4 notes and personal reflections on 3 of the visiting lecturers who have delivered talks and seminars within term 1.

•You must make a minimum of 3 contacts/interviews/discussions/dialogue with creative industry professionals. These can include photographers/writers/artists/curators/picture editors/etc

If you are having any problems please outline these during the November & December tutorials.

Please refer to the Professional Practice brief and further information on MY UCA within the Professional Practice unit folder.

19th November 2012

15:15 16:30 Professional Practice. Chris Coekin. This additional session was added to help clarify the deliverables for the first section of this project. It was made clear that the folder had to be hard backed. information from the Visiting Lecturers (VL) had to be coherent and concise and include our personal reflections, and not be just rough notes. WE need to research three areas within the industry, i.e three roles, one of which will be the role we pursue for work placement. Pages are to be A4 printed, with a title page and index. Page separators would appear to be a sensible option and that way sections could be devoted to VLs and research for example. As time progresses we are expected to have three contacts (these are all minimum requirements btw), these can be interviews, and might take the form of e-mails or questionnaires for example. Work experience will start at the beginning of the next term between February and April.

SIMON WALKER -LECTURE TUES 27TH 2.30 Room 806

A further speaker that will help you with your professional practice unit has been added

On Tuesday 27th Nov at 2.30 Simon Walker is giving a lecture. Simon has been a staff photographer on the Times and their News Picture Editor. He'll be talking about his career and area of the industry and particularly about the way technology has changed the working practices of both photographers and publishers in this area. Currently he is CEO of Glopho and he will also be discussing this new company. After the lecture their may be time for a smaller group of students with a particular interest in photojournalism to meet and talk with him.

A rather interesting talk which did include some areas of photography that really interests me, it was also a talk that was used to promote Glopho. Being somewhat older than most in the room, it was interesting to hear about the progression of the technology used within the press. I also have an interest in war corrspondents and photographers, so it was interesting to meet one. Despite a fascination with war photography I can't say that I could ever see myself working in the cut and thrust world of the London press. It was an insight to yet another niche aspect of photography, one that is driven by the pursuit of drama, misery and celebrity. It was clear that politics, censorship, and exposure to the most extreme situations are all to be encountered when you join the press. It's a violent world and that was obvious from the stories about being shot or blown up, and again it's a young man's game. Not so sure about the Glopho concept, but then I'm not a news photographer, I'm a student!

 

23rd Friday 2012 10:30-13:00 (12:00)

Jo Broughton
At the tender age of seventeen Jo found herself an assisting role in a photographic studio. The first day of work must have been eye opening, when it turned out the studio shot still an moving images of a pornographic nature!
Jo did her BA at UCA Rochester in the first year that UCA ran the course, producing work that was to become her springboard into the industry.
She spent a considerable amount of time shooting her family, and some of this work was picked up upon and published. The work was viewed and requested for publication in 'Hotshoe Magazine' for the 'New Generation' pages. Eventually Jo progressed to doing assisting work on the editorial desk at the observer. Working at the observer for a year led to her considering her own artistic direction which led to a further step, this time in a different direction, into the RCA, which she left in 2002. All the time Jo had been working hard at self promotion and soon found herself producing work she'd never image she would be producing. Frequently using large format cameras Jo financed her studies by working three casual jobs. Continued networking and reviews frequently led to critical acclaim (and some failures). This elevation in status all helped with the next move which was to the Tom Blau gallery. In 2005 Jo was also asked by a contact the the BBC to get involved in a TV series about the changing world of photography and the emergence of new technologies and there impact 'Digital Britain'.

Her list of published works includes images printed in: 'The Independant Magazine', 'Life' 'The Sunday Review', 'Marie Claire'.

Bodies of work include: 'My ex boyfriend's Girlfriends', 'Virgins' and 'Empty Porn Sets'.

 

 

http://www.granta.com/New-Writing/An-Interview-with-Jo-Broughton

Jo recommended the following association: http://www.london-photographic-association.com/index.php

Wed 14th Nov 2012 Artist Talk Professional Practice Andrew Lacon

LT 2 10:00
Optional and something I wanted to do to add some volume to my Professional Practice folder, especially as I am not going to Paris Photo. Andrews talk lasted for less than the advertised 45 minutes. I really liked the way he considered the photograph as object and i especially liked his 90 degree frame and cased image concept. I'll write up the notes as post them when complete.

http://andrewlacon.co.uk/

 

Emailing Emma Taylor

My email i sent to Emma Taylor, regarding work placement

Hi, my name is Sophie Jones and I am a yr2 photography student studying at UCA Rochester. I had a tutorial with my Course Leader BA (Hons) Photography (Contemporary Practice) Heike Löwenstein, and was advised to contact you regarding work placement. We have 2 weeks in which we have to work alongside a creative company or individual, and would love to learn and experience more about the creative industry. I have already received feedback from my first enquiry, and have arranged to spend 12 days with them. But would love the experience to work alongside yourself for the final last 2 days. Could you please email me back ASAP, as this would greatly be appreciated.

Kind Regards,

Sophie Jones

work placements

work placements

Emma Taylor

http://emmataylorlondon.blogspot.co.uk/p/about-me.html

"About Me"

I'm offering Marketing advice to companies and individuals within the Advertising & Photographic sectors.

So if you're in need of a freelance Project Manager and general Advertising Multitasker, and want to benefit from the skills set of an ex-photo agent from a creative background; drop me a line.

emmataylorlondon@gmail.com

Also available for one-on-one consulting sessions with unrepresented Photographers. Discussing portfolios, websites and help steer work in the right direction.

 

Email Me
emmataylorlondon@gmail.com

Call Me
00 44 (0) 7832 147024

Tweet Me
@OandtheFoxes

Pin Me
http://pinterest.com/oandthefoxes/

Link With Me
http://www.linkedin.com/in/emmataylorlondon

Pigeon Post Me
Emma Taylor
53 Westcombe Hill
Blackheath
London
SE3 7DU

 

Photo Memories / Gillingham

"With our High Street location, we offer a fast turnaround on develop and printing to both professional and amateur, as well as commerce and industry, we have grown to be one of Kent's most versatile and accomplished processing laboratories and photographic studios.

Covering most aspects of photography with a very large commercial client base. We offer commercial/industrial and P.R. photography on location, as well as a large well equipped studio for pack and product photography, portrait, portfolio work and a full coverage creative wedding service.

Now embracing the latest digital technologies which includes large format inkjet printing, the Rolling Poster, art & design, brochure, poster and ad.makeup, scanning, c.d. writing and image manipulation

plus digital output back to photographic paper at the very best prices".

                           Photo Memories

1ME7 1AQ

 

0800 035 4080

 

 

My BusinessProfessional Photography covering commercial, P.R., wedding and event Photography, large photographic studio on the 2nd floor with is over the retail High Street Shop covering processing for the professionals as well as the public and retail sales of frames, albums, photographic accessories and things like mouse mats, jigsaw, mugs and tee shirts as gifts. Then areas for passport and tiny tots corner for photographing little ones at very little cost. The company also has 2 large format printers to print massive prints and canvases to archive standard for today's modern home . Ring 01634 280144

re-breif : cv update talk

Thurs 31st Jan 2013 Professional Practice re-brief: CV update talk

A brief overview of term ones tasks. Write up VL's, and contact professionals within three sectors of the creative industries.

Term two/three: Work placements and creation of the business pack. Whilst on placement create a record or activities undertaken, collate information and evidence. Also produce reflective analysis all of which will support my PDP journal.

Assessment is via the physical folder itself and completed Evaluation form(s)

Personal professional Profile

Blog(s) and website(s), business cards, plus any other forms of publication.

Have placement ideas by the 7th for tutorials. Progress and to enable forward plan.

Folders to be complete for review on the 21st 28th March (split across two days)
Final Hand in date May 3rd.

CV update: 15:30 with Jan Rowan Careers Adviser (jrowan@ucreative.ac.uk on site Tues & Wed)

Support up to three years after leaving
Contacts book
Mater CV

Consider:
www.Prezi.com
www.wix.com (website developer)
www.branchout.com