TFCD Explained
TFCD Explained
What you may expect from your photographer
There are many new models, parents of models, and individuals who'd like to be models but are not familiar with the concept of Time for CD, Hereinafter referred to as (TFCD). The following explains what to expect when you work with a photographer on a TFCD basis. However please check all details with your photographer as all contracts differ slightly.
The premise behind a TFCD photo shoot is quite simple, neither the photographer nor the model charges for their time. Instead, in exchange for the model's time, the photographer compensates the model with digital images. This agreement results in a fair and equitable exchange of time for digital images with no money changing hands. To see what I supply from my studio please see “what you can expect from me” at the end of this document.
Working under a TFCD arrangement, models are able to add photographs to their portfolios without paying for a photographer’s time. Thus saving a considerable amount of money, this agreement further allows models to practice their craft by working with many different photographers under various conditions and in many different environments, thus gaining valuable experience in front of the camera in their chosen profession. Photographers are motivated to work under a TFCD arrangement in order to improve their skills while building their own professional portfolios. Other incentives for photographers may include a desire to work with exceptionally attractive or interesting models,testing new equipment, experimenting with various lighting techniques, developing content for a personal project, or simply their passion for photography.
Model Releases forms explained
Many photographers working under TFCD arrangements require a Model Release form to be signed by the model. Although some models and photographers might find themselves intimidated by this document, the Model Release is simply a legal contract intended to protect the rights of both the model and the photographer. Models should always read and fully understand the 'Model Release' prior to signing the document as it is a legal contract of services between the model and photographer. I use a standard model release form which may be viewed at the end of this document. Release forms may differ so you may wish to negotiate with your photographer; after all, all contracts are negotiable.
Compensation
One purpose of the Model Release is to define the remuneration between the model and photographer, insofar as what each will receive from agreeing to participate in the photo session. The release should clearly define what the Model/Photographer shall receive from the contract. This is in effect the models/Photographers payment for agreeing to participate in the photo shoot and as such is a legal contract under UK law between the Model and Photographer.
Permission to Reproduce
The Model Release should include a statement that provides explicit permission for the model to reproduce the images provided by the photographer and how those images may be used by the model.
Copyright
Although the model is featured in the photographs, UK law stipulates that the copyright for these images is retained by the photographer. For more information on this subject visit the UK Copyright services fact sheet which can be found here.
http://www.copyrightservice.co.uk/protect/p16_photography_copyright
Photographer Feedback
To make the most of your session, it's often helpful to ask the photographer to pick his or her preferred images from the session. The photographer will often pick a photo that you would not consider for your portfolio. The photographer may view that particular photograph as exceptional for some stylistic/artistic reason which the model may not have considered, which may include the pose, makeup, or lighting or your particular look. If you ask the photographer about why they picked a particular photograph, you can often gain insight into why certain photographs may be more appealing than others, it is therefore imperative that you explain what you hope to gain from the session beforehand as the photographer will have viewed many different types and styles of portfolio.
Retouching
You should ask the photographer if he or she will provide you with the electronic versions of any additional images they elect to retouch from your session. For example several months later you may visit the photographer’s website and see an image from your session that they have worked on which you did not consider when you chose the images for your package. In this instance the photographer is usually happy to comply with your request as he or she often prefers that you only display the best examples of their work, after all, the photographer has already spent the time working on the image and may be happy to e-mail you a copy, its in the photographers best interest to only display their best work. The photographs you may receive immediately after the session are mostly likely images straight from the photographer's camera. They usually haven't been adjusted in any way. You'll find that photographs developed and processed digitally by the photographer are often far superior in terms of quality. If there are photographs from your session that you'd like to have retouched at a later date or were not included in your package you may wish to ask the photographer if they provide a retouching service. Most photographers offer that service for a small fee. It's important to remember that the small amount of money you may pay for retouching will make a huge difference in the quality of your final photographs that are to be used in your portfolio. (For a more detailed explanation of this see “what you can expect from me” at the end of this document)
Crediting the Photographer
If you have your own website or if you are posting photographs on a modelling site, you should always credit the photographer and provide a link to the photographer’s website. If the photographer uses your photos on their website, you may wish to ask them to provide a link to your website. You should also credit any make up artists (MUA) stylists etc on your websites as this type of promotion can often result in new work for all those involved in the photo shoot. This type of crediting also helps raise everyone profiles with search engines. A potential paying client may see your listing through a link even though you were not listed in the search engine query.
What you can expect from me from our session
How I work, I predominately shoot with 2 cameras and various lenses, this is dependant upon how my studio is set up and what techniques I am using.
I shoot in high quality RAW and small JPEG formats simultaneously and, if time permits, at the end of the session I will upload the images to my PC for review and will copy the images to a CD for you to take away with you. These will be the low resolution jpeg images that I have shot with my watermark on them.
The length of the session and the number of different looks/costume changes that occur will determine how many digitally retouched images you receive. As a rough guide I will supply you with between 2 and 8 digitally retouched images per session. These images are for you to use as you wish, however make sure you familiarise yourself with UK copyright law.
http://www.copyrightservice.co.uk/protect/p16_photography_copyright
A retouching service is available and should you wish to purchase further images a license may be purchased for each additional image at £20 per image.
Postage & packing is not included. Any postage & packaging costs incurred by me will be charged on at cost price and I only find out that price when I place the order at the lab. I have chosen these 2 labs on the basis of quality and price. There is a vast difference in prices, although both are printed using the traditional photography wet process method as opposed to inkjet prints, these prices represent true value for money and are for a limited time only. The main difference between the labs is that Lab one is completely automated whereupon Lab Two is controlled by an operator and as such hand printed and checked. I can mount the images ready for framing and prices start at £20 per mount I can also show you examples of mounted prints. If you have any questions please ask me and finally there is a minimum charge of £20 per order not including postage and packaging and a 50% non returnable deposit is required before I can place an order with the Lab. For sizes not quoted above please contact me for a price list. The prices quoted are only available on the TFCD contract and represent a vast reduction in price of what I would normally charge.
This is the a wording of the model release that I use.
THIS MODEL AGREEMENT AND RELEASE (“Agreement”) is dated (todays date) and is between the undersigned photographer (“Photographer”) and the undersigned model/performer (“I”).
Agreement is as follows:
For good and valuable consideration of the Studio photo shoot session provided by the photographer. I shall receive a CD of between 2 and 8 digitally high resolution images for the model to use, the amount of images is dependant on length of session, along with a copy of all images taken of the session in low res jpeg with the photographers watermark contained thereon, I hereby grant the undersigned Photographer permission to photograph me. I further give my irrevocable consent to the Photographer and his/her direct or indirect licensees and assignees to publish republish or otherwise transmit the images of myself in any medium for all purposes throughout the world, save to promote pornography or the likes of pornography. I understand that the images may be altered or modified in any manner. I hereby waive any right that I may have to inspect and approve a finished product or the copy that may be used in connection with an Image that the Photographer has taken of me, or the use to which it may be applied. I further release the Photographer and his/her direct or indirect licensees and assignees, from any claims for remuneration associated with any form of damage, foreseen or unforseen, associated with the use of the images. I am of legal age and have the full legal capacity to execute this authorization without the consent or knowledge of any other person.
This above information was part written by Steven T Beard LRPS and Rob Greer who is a Los Angeles based wedding photographer. http://www.robgreerweddings.com
I was recently asked some questions by a young lady that is new to modelling and have decided to place my reply below, I hope this information may be of help to others.
I have now revised my model release form to specifically forbid the use of images in a pornographic way, I had not thought of this before, and you can rest assured most reputable photographers would never contemplate this as it would be very bad for business, a bit like, when a model books a shoot and does not turn up, which has happened to me even this week, and also to several of my colleagues, we have a list of models that we will not work with on a TFCD basis. Much the same as models have a list of photographers with whom they wont work with. It is essential however that you always have a contract drawn up and it is often easier for the photographer to have one, however you are free to produce your own contract and send it to the photographer for their perusal they may or may not sign it, after all it is a mutual agreement and all parties should be comfortable with it.
The subject of airbrushing. Airbrushing is very time consuming so I very much doubt a photographer would do it to that extent on a TFCD shoot. What, we as photographers should do on a TFCD shoot is provide you with professional looking images which you may use to enhance your portfolio, after all, there is no point in you turning up to an agency after they have seen your images and you dont look anything like them. We are talking about removing temporary facial artefacts like spots etc, things that would or could be covered in make up on an assignement.
What you need in your portfolio to start with is a good strong headshot image, a mid shot and a full length shot, these are a basic requisite this is also dependant upon what your own goals are, if you are a hand model you obviously dont need the aforementioned. An actor friend of mine that I went to drama school with makes most of his money from hand shoots, (he does have rather girly hands in my opinion) and you would not believe the lengths he goes to to take care of them. You list in your portfolio the following that you are interested in Fitness Model, Stock Photo, Fashion, Runway, Print Magazine, Swimwear, Lingerie, Parts, Modeling, Hair Gothic. You need images in your porfolio that reflects this and I would make a very important point, the images need to reflect your personality, who you are etc, but thats my job as the photographer to make you feel comfortable and confident in yourself so that we may show your personality in the finished product as that is what is going to sell you to potential employers.
All any photographer asks is bring plenty of ideas with you and enthusiasm and above all it should be fun and professional.
I recently started selling some of my photographs and soon realised that I needed a more thorough understanding of UK Photographic Copyright Law. It is important that you understand the key aspects of copyright law to ensure that you don’t inadvertently loose rights to your photographs that you want to keep! I have read around the subject a little bit and I thought I would share my findings with PhotoGalaxy’s members. This is not intended to be an exhaustive guide to UK Photographic Copyright Law, it is just my take on what I think are some of the most significant aspects. Also note that copyright law may be slightly different in other countries.
Copyright
First of all, copyright is “a property vested in works which authors have created”. In this case the photographer is the author. Copyright (1) protects against unautorised reproduction of your photographs, (2) entitles the copyright owner to economic benefit and (3) seeks a fair balance between the authors and users of protected materials. The good news is photographers automatically own the copyright in any work that they have created; you do not need to register it, declare it, or anything else. It is possible to transfer all or certain copyrights to another party.
Employed Photographers
The situation is slightly different for employed photographers. Employed photographers do not own copyright in work created “in the course of their employment” unless they have an agreement to the contrary. You can consider yourself employed if your employer pays PAYE and National Insurance. Freelance work does not constitute being employed. You should always discuss ownership of copyright before undertaking an assignment to ensure that both you and your employer understand the score.
Duration of Copyright
The duration of copyright in a photograph taken in an EU country or by an EU photographer is 70 years from the end of the year in which the author dies. This applies to work created after 1st August 1989 - different terms apply to photographs taken before this date.
Moral Rights
Moral rights are less well known than copyrights but equally important. The main difference is that moral rights remain with the author regardless of what happens to the copyrights. Moral rights include, (1) the right not to have your work subject to derogatory treatment, (2) the right to be identified as the author of your work, (3) the right of privacy for photographs commissioned for private purposes. This last right belongs to the client, for example someone who commissioned a photographer to take private photographs at a wedding.
Paternity Right
The moral right ‘to be identified as the author of your work’, also know as your paternity right, entitles you to a reasonably prominent credit whenever your work is commercially published or exhibited. However, this is not an automatic right and must be asserted in writing when you grant permission for your work to be used. If you assert this right when you assign copyright to someone else, you can enforce this right against anyone else to whom the copyright is subsequently assigned.
Infringements
“Ignorance of the law is no excuse for failure to obey”! Infringement of your copyright or moral rights is breaking the law. Offenses can also include possession of an infringing item in the course of business and copying a photograph for connivence so that the photographer does not need to be contacted every time it a copy of the image is required.
UK law allows up to 6 years for you to seek legal remedy for an infringement. If you suspect an infringement has occurred you should seek advice immediately from a legal advisor or the British Photographers’ Liaison Committee; if you attempt to pursue the matter on your own you could weaken your position.
Permitted Uses
Fair dealing or fair practice refers to situations when copying of protected material is permitted without the need to obtain permission from the rights owner. Copies of your image may be made for: (1) individual research / private study, (2) criticism / review of the photograph itself provided accreditation is included, (3) educational use (although there are strict rules governing how copies may be made), (4) libraries / archives / museums may copy your work to facilitate individual private study or to replace an object in their permanent collection that has been lost, damaged or destroyed, (5) advertising the work for sale, (6) incidental inclusion (for example if your photograph was accidentally captured in another photograph), (7) public administration such as for evidence in court.
That concludes my brief overview of the fundamentals of UK Photographic Copyright. I stress again that this article is for general guidance only and is by no means exhaustive. I have not said much about trading under UK Photographic Legislation or the everyday implications of copyright law for the average photographer... I will save all this for a second article!
This summary was compiled predominately with the reference to an excellent guide called “The ABCD of UK Photographic Copyright”, published the British Photographers’ Liaison Committee. I would recommend this booklet to anyone who is looking for a more in-depth guide to UK Photographic Copyright.
Steven T Beard LRPS Office: 01795 599891 Mobile 07973 571435
What you may expect from your photographer
There are many new models, parents of models, and individuals who'd like to be models but are not familiar with the concept of Time for CD, Hereinafter referred to as (TFCD). The following explains what to expect when you work with a photographer on a TFCD basis. However please check all details with your photographer as all contracts differ slightly.
The premise behind a TFCD photo shoot is quite simple, neither the photographer nor the model charges for their time. Instead, in exchange for the model's time, the photographer compensates the model with digital images. This agreement results in a fair and equitable exchange of time for digital images with no money changing hands. To see what I supply from my studio please see “what you can expect from me” at the end of this document.
Working under a TFCD arrangement, models are able to add photographs to their portfolios without paying for a photographer’s time. Thus saving a considerable amount of money, this agreement further allows models to practice their craft by working with many different photographers under various conditions and in many different environments, thus gaining valuable experience in front of the camera in their chosen profession. Photographers are motivated to work under a TFCD arrangement in order to improve their skills while building their own professional portfolios. Other incentives for photographers may include a desire to work with exceptionally attractive or interesting models,testing new equipment, experimenting with various lighting techniques, developing content for a personal project, or simply their passion for photography.
Model Releases forms explained
Many photographers working under TFCD arrangements require a Model Release form to be signed by the model. Although some models and photographers might find themselves intimidated by this document, the Model Release is simply a legal contract intended to protect the rights of both the model and the photographer. Models should always read and fully understand the 'Model Release' prior to signing the document as it is a legal contract of services between the model and photographer. I use a standard model release form which may be viewed at the end of this document. Release forms may differ so you may wish to negotiate with your photographer; after all, all contracts are negotiable.
Compensation
One purpose of the Model Release is to define the remuneration between the model and photographer, insofar as what each will receive from agreeing to participate in the photo session. The release should clearly define what the Model/Photographer shall receive from the contract. This is in effect the models/Photographers payment for agreeing to participate in the photo shoot and as such is a legal contract under UK law between the Model and Photographer.
Permission to Reproduce
The Model Release should include a statement that provides explicit permission for the model to reproduce the images provided by the photographer and how those images may be used by the model.
Copyright
Although the model is featured in the photographs, UK law stipulates that the copyright for these images is retained by the photographer. For more information on this subject visit the UK Copyright services fact sheet which can be found here.
http://www.copyrightservice.co.uk/protect/p16_photography_copyright
Photographer Feedback
To make the most of your session, it's often helpful to ask the photographer to pick his or her preferred images from the session. The photographer will often pick a photo that you would not consider for your portfolio. The photographer may view that particular photograph as exceptional for some stylistic/artistic reason which the model may not have considered, which may include the pose, makeup, or lighting or your particular look. If you ask the photographer about why they picked a particular photograph, you can often gain insight into why certain photographs may be more appealing than others, it is therefore imperative that you explain what you hope to gain from the session beforehand as the photographer will have viewed many different types and styles of portfolio.
Retouching
You should ask the photographer if he or she will provide you with the electronic versions of any additional images they elect to retouch from your session. For example several months later you may visit the photographer’s website and see an image from your session that they have worked on which you did not consider when you chose the images for your package. In this instance the photographer is usually happy to comply with your request as he or she often prefers that you only display the best examples of their work, after all, the photographer has already spent the time working on the image and may be happy to e-mail you a copy, its in the photographers best interest to only display their best work. The photographs you may receive immediately after the session are mostly likely images straight from the photographer's camera. They usually haven't been adjusted in any way. You'll find that photographs developed and processed digitally by the photographer are often far superior in terms of quality. If there are photographs from your session that you'd like to have retouched at a later date or were not included in your package you may wish to ask the photographer if they provide a retouching service. Most photographers offer that service for a small fee. It's important to remember that the small amount of money you may pay for retouching will make a huge difference in the quality of your final photographs that are to be used in your portfolio. (For a more detailed explanation of this see “what you can expect from me” at the end of this document)
Crediting the Photographer
If you have your own website or if you are posting photographs on a modelling site, you should always credit the photographer and provide a link to the photographer’s website. If the photographer uses your photos on their website, you may wish to ask them to provide a link to your website. You should also credit any make up artists (MUA) stylists etc on your websites as this type of promotion can often result in new work for all those involved in the photo shoot. This type of crediting also helps raise everyone profiles with search engines. A potential paying client may see your listing through a link even though you were not listed in the search engine query.
What you can expect from me from our session
How I work, I predominately shoot with 2 cameras and various lenses, this is dependant upon how my studio is set up and what techniques I am using.
I shoot in high quality RAW and small JPEG formats simultaneously and, if time permits, at the end of the session I will upload the images to my PC for review and will copy the images to a CD for you to take away with you. These will be the low resolution jpeg images that I have shot with my watermark on them.
The length of the session and the number of different looks/costume changes that occur will determine how many digitally retouched images you receive. As a rough guide I will supply you with between 2 and 8 digitally retouched images per session. These images are for you to use as you wish, however make sure you familiarise yourself with UK copyright law.
http://www.copyrightservice.co.uk/protect/p16_photography_copyright
A retouching service is available and should you wish to purchase further images a license may be purchased for each additional image at £20 per image.
Postage & packing is not included. Any postage & packaging costs incurred by me will be charged on at cost price and I only find out that price when I place the order at the lab. I have chosen these 2 labs on the basis of quality and price. There is a vast difference in prices, although both are printed using the traditional photography wet process method as opposed to inkjet prints, these prices represent true value for money and are for a limited time only. The main difference between the labs is that Lab one is completely automated whereupon Lab Two is controlled by an operator and as such hand printed and checked. I can mount the images ready for framing and prices start at £20 per mount I can also show you examples of mounted prints. If you have any questions please ask me and finally there is a minimum charge of £20 per order not including postage and packaging and a 50% non returnable deposit is required before I can place an order with the Lab. For sizes not quoted above please contact me for a price list. The prices quoted are only available on the TFCD contract and represent a vast reduction in price of what I would normally charge.
This is the a wording of the model release that I use.
THIS MODEL AGREEMENT AND RELEASE (“Agreement”) is dated (todays date) and is between the undersigned photographer (“Photographer”) and the undersigned model/performer (“I”).
Agreement is as follows:
For good and valuable consideration of the Studio photo shoot session provided by the photographer. I shall receive a CD of between 2 and 8 digitally high resolution images for the model to use, the amount of images is dependant on length of session, along with a copy of all images taken of the session in low res jpeg with the photographers watermark contained thereon, I hereby grant the undersigned Photographer permission to photograph me. I further give my irrevocable consent to the Photographer and his/her direct or indirect licensees and assignees to publish republish or otherwise transmit the images of myself in any medium for all purposes throughout the world, save to promote pornography or the likes of pornography. I understand that the images may be altered or modified in any manner. I hereby waive any right that I may have to inspect and approve a finished product or the copy that may be used in connection with an Image that the Photographer has taken of me, or the use to which it may be applied. I further release the Photographer and his/her direct or indirect licensees and assignees, from any claims for remuneration associated with any form of damage, foreseen or unforseen, associated with the use of the images. I am of legal age and have the full legal capacity to execute this authorization without the consent or knowledge of any other person.
This above information was part written by Steven T Beard LRPS and Rob Greer who is a Los Angeles based wedding photographer. http://www.robgreerweddings.com
I was recently asked some questions by a young lady that is new to modelling and have decided to place my reply below, I hope this information may be of help to others.
I have now revised my model release form to specifically forbid the use of images in a pornographic way, I had not thought of this before, and you can rest assured most reputable photographers would never contemplate this as it would be very bad for business, a bit like, when a model books a shoot and does not turn up, which has happened to me even this week, and also to several of my colleagues, we have a list of models that we will not work with on a TFCD basis. Much the same as models have a list of photographers with whom they wont work with. It is essential however that you always have a contract drawn up and it is often easier for the photographer to have one, however you are free to produce your own contract and send it to the photographer for their perusal they may or may not sign it, after all it is a mutual agreement and all parties should be comfortable with it.
The subject of airbrushing. Airbrushing is very time consuming so I very much doubt a photographer would do it to that extent on a TFCD shoot. What, we as photographers should do on a TFCD shoot is provide you with professional looking images which you may use to enhance your portfolio, after all, there is no point in you turning up to an agency after they have seen your images and you dont look anything like them. We are talking about removing temporary facial artefacts like spots etc, things that would or could be covered in make up on an assignement.
What you need in your portfolio to start with is a good strong headshot image, a mid shot and a full length shot, these are a basic requisite this is also dependant upon what your own goals are, if you are a hand model you obviously dont need the aforementioned. An actor friend of mine that I went to drama school with makes most of his money from hand shoots, (he does have rather girly hands in my opinion) and you would not believe the lengths he goes to to take care of them. You list in your portfolio the following that you are interested in Fitness Model, Stock Photo, Fashion, Runway, Print Magazine, Swimwear, Lingerie, Parts, Modeling, Hair Gothic. You need images in your porfolio that reflects this and I would make a very important point, the images need to reflect your personality, who you are etc, but thats my job as the photographer to make you feel comfortable and confident in yourself so that we may show your personality in the finished product as that is what is going to sell you to potential employers.
All any photographer asks is bring plenty of ideas with you and enthusiasm and above all it should be fun and professional.
I recently started selling some of my photographs and soon realised that I needed a more thorough understanding of UK Photographic Copyright Law. It is important that you understand the key aspects of copyright law to ensure that you don’t inadvertently loose rights to your photographs that you want to keep! I have read around the subject a little bit and I thought I would share my findings with PhotoGalaxy’s members. This is not intended to be an exhaustive guide to UK Photographic Copyright Law, it is just my take on what I think are some of the most significant aspects. Also note that copyright law may be slightly different in other countries.
Copyright
First of all, copyright is “a property vested in works which authors have created”. In this case the photographer is the author. Copyright (1) protects against unautorised reproduction of your photographs, (2) entitles the copyright owner to economic benefit and (3) seeks a fair balance between the authors and users of protected materials. The good news is photographers automatically own the copyright in any work that they have created; you do not need to register it, declare it, or anything else. It is possible to transfer all or certain copyrights to another party.
Employed Photographers
The situation is slightly different for employed photographers. Employed photographers do not own copyright in work created “in the course of their employment” unless they have an agreement to the contrary. You can consider yourself employed if your employer pays PAYE and National Insurance. Freelance work does not constitute being employed. You should always discuss ownership of copyright before undertaking an assignment to ensure that both you and your employer understand the score.
Duration of Copyright
The duration of copyright in a photograph taken in an EU country or by an EU photographer is 70 years from the end of the year in which the author dies. This applies to work created after 1st August 1989 - different terms apply to photographs taken before this date.
Moral Rights
Moral rights are less well known than copyrights but equally important. The main difference is that moral rights remain with the author regardless of what happens to the copyrights. Moral rights include, (1) the right not to have your work subject to derogatory treatment, (2) the right to be identified as the author of your work, (3) the right of privacy for photographs commissioned for private purposes. This last right belongs to the client, for example someone who commissioned a photographer to take private photographs at a wedding.
Paternity Right
The moral right ‘to be identified as the author of your work’, also know as your paternity right, entitles you to a reasonably prominent credit whenever your work is commercially published or exhibited. However, this is not an automatic right and must be asserted in writing when you grant permission for your work to be used. If you assert this right when you assign copyright to someone else, you can enforce this right against anyone else to whom the copyright is subsequently assigned.
Infringements
“Ignorance of the law is no excuse for failure to obey”! Infringement of your copyright or moral rights is breaking the law. Offenses can also include possession of an infringing item in the course of business and copying a photograph for connivence so that the photographer does not need to be contacted every time it a copy of the image is required.
UK law allows up to 6 years for you to seek legal remedy for an infringement. If you suspect an infringement has occurred you should seek advice immediately from a legal advisor or the British Photographers’ Liaison Committee; if you attempt to pursue the matter on your own you could weaken your position.
Permitted Uses
Fair dealing or fair practice refers to situations when copying of protected material is permitted without the need to obtain permission from the rights owner. Copies of your image may be made for: (1) individual research / private study, (2) criticism / review of the photograph itself provided accreditation is included, (3) educational use (although there are strict rules governing how copies may be made), (4) libraries / archives / museums may copy your work to facilitate individual private study or to replace an object in their permanent collection that has been lost, damaged or destroyed, (5) advertising the work for sale, (6) incidental inclusion (for example if your photograph was accidentally captured in another photograph), (7) public administration such as for evidence in court.
That concludes my brief overview of the fundamentals of UK Photographic Copyright. I stress again that this article is for general guidance only and is by no means exhaustive. I have not said much about trading under UK Photographic Legislation or the everyday implications of copyright law for the average photographer... I will save all this for a second article!
This summary was compiled predominately with the reference to an excellent guide called “The ABCD of UK Photographic Copyright”, published the British Photographers’ Liaison Committee. I would recommend this booklet to anyone who is looking for a more in-depth guide to UK Photographic Copyright.
Steven T Beard LRPS Office: 01795 599891 Mobile 07973 571435
