THE INDUSTRY


ONE 1826
Joseph Nicéphore Niépce
(JOSEPH  NISAPHOR  NYIPSE)


Niépce dissolved bitumen judea  in lavender oil, a solvent often used in varnishes, and thinly coated it onto a a piece of pewter. Probably 8 hour exposure. Given away by light throughout the scene. Later research using same materials suggests several days.

TWO
Henry fox Talbot 1835


The oldest surviving negative out of a camera  onto salted paper Sodium chloride, dried then a coat of silver nitrate. this created the light sensitive silver chloride. Used either in the camera or just placing objects on it creating shadows, what they called Photograms.
He later improved on this to create what we know as calotype, or talbot type. Like todays, a latent image you can’t see, then is developed. Not quite as sharp as daguerreotype as being on paper as opposed to metallic plates of daguerrotype, the fibres could blur the edges.

THREE  1845
Sir Francis Ronalds

First continuously recording camera
Arguably the  first electrical engineer (his fault 30 years of crap) Used photography to make photographic traces continuously of atmospheric pressure or humidity.
FOUR  1855
André-Adolphe-Eugène Disdéri

 (ONDRAY ADOLF OOOjEN DISDEREE). French
This was Nadir's visiting card, or carte de visite up in one of his balloons doing his Ariel bit.
Inventor of the visiting card..French, carte de visite .probably to become the business card. Became a craze and he made thousands but then loads of photographers jumped on the band wagon and he ended up skint, a victim of his own invention.

FIVE 1868
Luis ducos du Hauron
(lowee j co joehon)

The man that came up with the three colour principle for colour photography. Made from three photograms.  he patented the method then the world of photography apparently forgot about him.
It happens
A bit like Andrew Russel Wallace came up with the idea of evolution by natural selection independently  of Charles Darwin but Darwin rolled with it, writing books while Wallace was out there doing all the legwork.


 SIX 1878
Eadweard Muybridge

Was the first guy to use cameras to prove a point. the point being, do all four hooves of a horse leave the ground. Using electrical trigger to take a series of snaps with a row of cameras. So we can see, exposure times were getting a lot quicker. he used the wet calodian method which was popular at the time. He's the guy that shot his wife’s lover and got off with it , even while insisting himself that he was not insane as the defence were trying prove he was. He got off with it, the verdict being   justifiable homicide.

SEVEN 1887
Louis  le prince
Credited as the first person to make a moving picture using a strip of Eastman paper negative film. The oldest existing moving film a mere 20 frames. He was about to embark on a trip to  the US to premier his work, but he decided to make a trip to see his brother in Paris. After the visit he boarded a train to Dijon, His brother was there to see him get on the train  but he disappeared he was due to get off. He was never found. There’s been plenty conspiracy theories about that.
The first celluloid films were produced a couple of years later by the same eastmen kodak.






EIGHT   1898

THE FIRST KODAK FOLDING POCKET CAM not the first model even though labled No0. This camera that couldn’t be focused used  the 105 celluloid film which was 6 x 9 cm, on a spool.
Discontinued 1906.  They had made 20,000 made.
Made by the eastman kodak company. As snip at $6 about 180 dollars in todays money. £6  would be 545.

NINE  1908
Kinemacolor was the first successful colour motion picture process, used commercially from 1908 to 1914. It was invented by George Albert Smith of Brighton, England in 1906
Rive Del nilo, Banks of the Nile 1911. Directed by Charles urban and only 6 mins long.

TEN 1914

Autographic film kodak. Actually write on back using metal stylus.
The system was never very popular, and was discontinued in 1932.

ELEVEN 1925


An early Leica I with Elmar 50mm f/3.5 lens. Presented Ninety years ago, at the 1925 Leipzig Spring Fair in Germany.
One of the fave for war photography coz a solid dependable. Interestingly use by Yevgeny Khaldei who documented all the second world war and took the famous picture of the Russian flag being waved over the Reichstag in 1944



TWELVE 1935

Kodachrome. Kodachrome is a brand name for a non-substantive, color reversal film introduced by Eastman Kodak in 1935.[2]  Reversal meaning it produced a positive image. It was one of the first successful colour materials and was used for both cinematography and still photography

THIRTEEN 1947

 First true SLR. same modular design - interchangeable everything: lens, back, viewfinder. 1600F was the first camera by Hasselblad (excluding military aicraft models) in their long line of medium format SLRs. These days you can even get a digital back that attaches to the same film body.

FOURTEEN 1957

The very first digital photograph was a picture of Russel A. Kirch’s three month old son, Walden. This turned out to be the basis for the satellite imaging, CAT scans, bar codes on packaging, desktop publishing, digital photography and other revolutionary developments in image processing technology.


 FIFTEEN   1967

The first 10 X 10 PIXEL ARRAY 1967
Peter JW Noble is the inventor of the active pixel, used in virtually all digital cameras.  He first worked in sensor arrays starting in May 1966, and rapidly developed the basics of active pixels and self-scanned arrays, now known as image sensors.

SIXTEEN 1975

First digital camera 
Steven Sasson, an engineer at Eastman Kodak, invented and built the first self-contained electronic camera that used a charge-coupled device image sensor in 1975.
uses a Fairchild 100 x 100 pixel CCD. Charged Coupled device. [1][2]

SEVENTEEN. 1986

 By 1986 Kodak had developed a sensor with 1.4 million pixels.[3]

EIGHTEEN. 1996

APS ADVANCED PHOTO SYSTEM 1986
Advanced Photo System (APS) is a discontinued film format for still photography first produced in 1996. It was marketed by Eastman Kodak under the brand name Advantix,



NINETEN 2006

but a division of DALSA Semiconductor has successfully manufactured and delivered a 111 megapixel image sensor .
 the new 4-inch-square CCD features an array of 10,560 x 10,560 pixels,

Twenty 2016

At less than half the weight of a conventional digital medium format camera, the mirrorless  Hasselblad X1D-50c is a game changer in the world of photography.
Inspired by our iconic design heritage, the camera is ergonomic and compact, offering a handling experience unlike any other. The X1D combines Scandinavian sensibility with beautiful performance.

______________________________________________________________
_______________________________________________________________________


The Industry


Global Photography Outlet       www.yellowkorner.com

Useful Websites for research

For global industrial information and news.      www.petapixel.com

For latest camera and product reviews.        www.dpreview.com

For film news.        www.thedarkroom.com/film-formats

For darkroom formula and info on processing.         www.digitaltruth.com

For retro recreational photography.        www.lomography.com

For new and used cameras.       www.wexphotovideo.com

Labs





Good Photobook companies





The Industry

Topic 1
Photographic Industry Timeline:-

•   ancient times: Camera obscuras used to form images on walls in darkened rooms; image formation via a pinhole


•   16th century: Brightness and clarity of camera obscuras improved by enlarging the hole inserting a telescope lens


•   17th century: Camera obscuras in frequent use by artists and made portable in the form of sedan chairs


•   1727: Professor J. Schulze mixes chalk, nitric acid, and silver in a flask; notices darkening on side of flask exposed to sunlight. Accidental creation of the first photo-sensitive compound.


•   1800: Thomas Wedgwood makes "sun pictures" by placing opaque objects on leather treated with silver nitrate; resulting images deteriorated rapidly, however, if displayed under light stronger than from candles.


•   1816: Nicéphore Niépce combines the camera obscura with photosensitive paper


•   1826: Niépce creates a permanent image


•   1834: Henry Fox Talbot creates permanent (negative) images using paper soaked in silver chloride and fixed with a salt solution. Talbot created positive images by contact printing onto another sheet of paper.


•   1837: Louis Daguerre creates images on silver-plated copper, coated with silver iodide and "developed" with warmed mercury; Daguerre is awarded a state pension by the French government in exchange for publication of methods and the rights by other French citizens to use the Daguerreotype process.


•   1841: Talbot patents his process under the name "calotype".


•   1851: Frederick Scott Archer, a sculptor in London, improves photographic resolution by spreading a mixture of collodion (nitrated cotton dissolved in ether and alcoohol) and chemicals on sheets of glass. Wet plate collodion photography was much cheaper than daguerreotypes, the negative/positive process permitted unlimited reproductions, and the process was published but not patented.


•   1853: Nadar (Felix Toumachon) opens his portrait studio in Paris


•   1854: Adolphe Disderi develops carte-de-visite photography in Paris, leading to worldwide boom in portrait studios for the next decade


•   


•   1855: Beginning of stereoscopic era


•   1855-57: Direct positive images on glass (ambrotypes) and metal (tintypes or ferrotypes) popular in the US.


•   1861: Scottish physicist James Clerk-Maxwell demonstrates a color photography system involving three black and white photographs, each taken through a red, green, or blue filter. The photos were turned into lantern slides and projected in registration with the same color filters. This is the "color separation" method.


•   1861-65: Mathew Brady and staff (mostly staff) covers the American Civil War, exposing 7000 negatives


•   1868: Ducas de Hauron publishes a book proposing a variety of methods for color photography.


•   1870: Center of period in which the US Congress sent photographers out to the West. The most famous images were taken by William Jackson and Tim O'Sullivan.


•   1871: Richard Leach Maddox, an English doctor, proposes the use of an emulsion of gelatin and silver bromide on a glass plate, the "dry plate" process.


•   1877: Eadweard Muybridge, born in England as Edward Muggridge, settles "do a horse's four hooves ever leave the ground at once" bet among rich San Franciscans by time-sequenced photography of Leland Stanford's horse.


•   1878: Dry plates being manufactured commercially.


•   1880: George Eastman, age 24, sets up Eastman Dry Plate Company in Rochester, New York. First half-tone photograph appears in a daily newspaper, the New York Graphic.


•   1888: First Kodak camera, containing a 20-foot roll of paper, enough for 100 2.5-inch diameter circular pictures.

•   1889: Improved Kodak camera with roll of film instead of paper

•   1890: Jacob Riis publishes How the Other Half Lives, images of tenament life in New york City

•   1900: Kodak Brownie box roll-film camera introduced.

•   1902: Alfred Stieglitz organizes "Photo Secessionist" show in New York City

•   



•   1906: Availability of panchromatic black and white film and therefore high quality color separation color photography. J.P. Morgan finances Edward Curtis to document the traditional culture of the North American Indian.

•   1907: First commercial color film, the Autochrome plates, manufactured by Lumiere brothers in France

•   1909: Lewis Hine hired by US National Child Labor Committee to photograph children working mills.

•   1914: Oscar Barnack, employed by German microscope manufacturer Leitz, develops camera using the modern 24x36mm frame and sprocketed 35mm movie film.

•   1917: Nippon Kogaku K.K., which will eventually become Nikon, established in Tokyo.

•   1921: Man Ray begins making photograms ("rayographs") by placing objects on photographic paper and exposing the shadow cast by a distant light bulb; Eugegrave;ne Atget, aged 64, assigned to photograph the brothels of Paris

•   1924: Leitz markets a derivative of Barnack's camera commercially as the "Leica", the first high quality 35mm camera.

•   1925: André Kertész moves from his native Hungary to Paris, where he begins an 11-year project photographing street life

•   1928: Albert Renger-Patzsch publishes The World is Beautiful, close-ups emphasizing the form of natural and man-made objects; Rollei introduces the Rolleiflex twin-lens reflex producing a 6x6 cm image on rollfilm.; Karl Blossfeldt publishes Art Forms in Nature

•   1931: Development of strobe photography by Harold ("Doc") Edgerton at MIT

•   1932: Inception of Technicolor for movies, where three black and white negatives were made in the same camera under different filters; Ansel Adams, Imogen Cunningham, Willard Van Dyke, Edward Weston, et al, form Group f/64 dedicated to "straight photographic thought and production".; Henri Cartier-Bresson buys a Leica and begins a 60-year career photographing people; On March 14, George Eastman, aged 77, writes suicide note--"My work is done. Why wait?"--and shoots himself.

•   1933: Brassaï publishes Paris de nuit

•   1934: Fuji Photo Film founded. By 1938, Fuji is making cameras and lenses in addition to film.

•   1935: Farm Security Administration hires Roy Stryker to run a historical section. Stryker would hire Walker Evans, Dorothea Lange, Arthur Rothstein, et al. to photograph rural hardships over the next six years. Roman Vishniac begins his project of the soon-to-be-killed-by-their-neighbors Jews of Central and Eastern Europe.

•   1936: Development of Kodachrome, the first color multi-layered color film; development of Exakta, pioneering 35mm single-lens reflex (SLR) camera

•   World War II:

•                       Development of multi-layer color negative films

•                       Margaret Bourke-White, Robert Capa, Carl Mydans, and W. Eugene Smith cover the war for LIFE magazine

•   1947: Henri Cartier-Bresson, Robert Capa, and David Seymour start the photographer-owned Magnum picture agency

•   1948: Hasselblad in Sweden offers its first medium-format SLR for commercial sale; Pentax in Japan introduces the automatic diaphragm; Polaroid sells instant black and white film

•   1949: East German Zeiss develops the Contax S, first SLR with an unreversed image in a pentaprism viewfinder

•   1955: Edward Steichen curates Family of Man exhibit at New York's Museum of Modern Art

•   1959: Nikon F introduced.

•   1960: Garry Winogrand begins photographing women on the streets of New York City.

•   1963: First color instant film developed by Polaroid; Instamatic released by Kodak; first purpose-built underwater introduced, the Nikonos

•   1970: William Wegman begins photographing his Weimaraner, Man Ray.

•   1972: 110-format cameras introduced by Kodak with a 13x17mm frame

•   1973: C-41 color negative process introduced, replacing C-22

•   1975: Nicholas Nixon takes his first annual photograph of his wife and her sisters: "The Brown Sisters"; Steve Sasson at Kodak builds the first working CCD-based digital still camera

•   1976: First solo show of color photographs at the Museum of Modern Art, William Eggleston's Guide

•   1977: Cindy Sherman begins work on Untitled Film Stills, completed in 1980; Jan Groover begins exploring kitchen utensils

•   1978: Hiroshi Sugimoto begins work on seascapes.

•   1980: Elsa Dorfman begins making portraits with the 20x24" Polaroid.

•   1982: Sony demonstrates Mavica "still video" camera

•   1983: Kodak introduces disk camera, using an 8x11mm frame (the same as in the Minox spy camera)

•   1985: Minolta markets the world's first autofocus SLR system (called "Maxxum" in the US); In the American West by Richard Avedon

•   1988: Sally Mann begins publishing nude photos of her children

•   1987: The popular Canon EOS system introduced, with new all-electronic lens mount

•   1990: Adobe Photoshop released.

•   1991: Kodak DCS-100, first digital SLR, a modified Nikon F3

•   1992: Kodak introduces PhotoCD

•   1993: Founding of photo.net (this Web site), an early Internet online community; Sebastiao Salgado publishes Workers; Mary Ellen Mark publishes book documenting life in an Indian circus.

•   1995: Material World, by Peter Menzel published.

•   1997: Rob Silvers publishes Photomosaics

•   1999: Nikon D1 SLR, 2.74 megapixel for $6000, first ground-up DSLR design by a leading manufacturer.

•   2000: Camera phone introduced in Japan by Sharp/J-Phone

•   2001: Polaroid goes bankrupt

•   2003: Four-Thirds standard for compact digital SLRs introduced with the Olympus E-1; Canon Digital Rebel introduced for less than $1000

•   2004: Kodak ceases production of film cameras

2005: Canon EOS 5D, first consumer-priced full-frame digital SLR, with a 24x36mm CMOS sensor for $3000; Portraits by Rineke Dijkstra
Topic 2

 Employability, see three attachments, Diagnostic, List of skills and Jobs:-

The Skills Council compiled this list after consulting employers in the Photography sector.





Grade yourself out of ten for each quality and add up for a final score.

·       Timekeeping and Punctuality           

·       Reliable

·       Good Work Ethic

·       Good Communicator

·       Sense of Humour

·       Easy Going

·       Flexible

·       Open to New Ideas

·       Team Worker

·       Independent worker

·       Resourceful attitude
·       Responds to criticism and advice well

Total /120


List of Employability Skills Photography Sector



·       Timekeeping and Punctuality
·       Reliability
·       Good Work Ethic
·       Good Communicator
·       Sense of Humour
·       Easy Going
·       Flexible
·       Open to New Ideas
·       Team Worker
·       Independent
·       Resourceful
·       Responds to criticism and advice well
__________________________________
Examples of jobs on offer in the photographic industry

 One
Freelance Studio Manager | ASAP Start | 6 Month Contract | up to £300 per day 

My client is: a leading digital advertising agency with a fantastic company culture and offices in the heart of London. Over the past decade, they have built up a formidable business and they now have offices worldwide in places like New York and Melbourne.

This role involves: working in a fun and fast-paced environment, responsible for scheduling time for all bookable resource across different disciplines in line with project plans and delivery dates. You'll be working with creative designers, communication specialists and digital advertising gurus.

We are looking for: a proactive and driven Studio / Traffic manager who has been working in a similar role for 18 months or more. You will ideally have experience within a fast-paced agency environment and have the ability the make this role your own. 

What We Need:
  • Experience as a successful Studio / Traffic Manager in an agency environment
  • Strong project management, planning and scheduling skills
  • Experience of using scheduling software
  • A natural problem solver
  • Resilience with the ability to work in a fast-paced environment
  • Good people person, a brilliant communicator
  • Able to work independently and take initiative
  • Great Influencing and negotiation skills


To be considered for this unique opportunity, please click "Apply" or contact me (Archie Brown) at 



This job ad was posted by Salt. To find out more about Salt's Privacy Policy and how your application is processed, please visit our website https://www.welovesalt.com/privacy-policy/.
Two

Experienced newborn and baby photographer required to work in an established boutique baby photography studio in Manchester’s Northern Quarter.
Job description:
We are looking for a part-time photographer to work 3/4 days per week including weekends.
Competitive commission based salary.
Although training on the unique style of photography will be given, an expertise with certain session types / ages ranges is essential - posed newborn photography, cake smash sessions etc.Photographer will be working in a one-on-one bases with clients and small children.
Due to the flexible nature of work, living locally will be advantageous.
Duties:
- Plan each session with confident client liaison
- Photograph up to four sessions per day - Babies & children from 1 week old to primary school age.
– IPS: Cull, view & sell images direct with clients
- Clean & tidy the studio space
The right candidate:
- Must have taken part in specific newborn photography workshop training and have a knowledge of baby safety relating to newborn photography
- The right candidate will have 2 years experience working professionally as a baby photographer
- Outstanding people skills and a passion for providing excellent customer service on a one-on-one basis
- Well presented, personable, fun and confident individual, great with small children
- Able to think creatively on the spot and adapt to change when working with small children
- Exceptionally loyal and trustworthy individual who is excited to be a face to the business
- Target driven with demonstrable sales ability - IPS experience is advantageous
- Hard working and conscientious in any given task
- A fast worker with good organisational and time management skills
- Confident with manual DSLR settings in a studio environment and have an understanding of studio lighting
- Must not be working in direct competition in the area
** Please send a covering letter along with your CV, providing evidence of how you meet the criteria and including a link to an online portfolio.













Footasylum was established in 2005 and now trades from over 60 high street stores across the UK. Footasylum has made a name for itself as one of the leading retailers of fashion street wear and sportswear on the UK high street. Apart from all that, we are an awesome place to work. We are passionate about retail, innovation and we are looking for the best talent to help us drive our company to the next stage.
THE ROLE:
·Develop and contribute to Ecommerce Videography for all facias within Footasylum
·Maintain Studio documentation(Studio hours, shot count, Studio expenditure)
·Contributing to the selection of models and attending castings where required
·Attend pre-production meetings for all campaigns
·Driving consistency in the creative direction of web photography, whilst constantly looking to improve the quality of imagery and online presentation through testing and learning
·Cleaning and retouching photography where required
THE OPPORTUNITY:
This is an opportunity to work for a growing Retailer with the chance to collaborate with the worlds biggest brands.
You'll have the ability to collaborate with stakeholders to implement creative campaigns which will fundamentally impact the retail and online environment.
We are the only UK retailer with the ability to create and produce assets for global mega brands
SKILLS AND EXPERIENCE:
·Be unfazed by a busy environment and able to work in an organised and efficient manner managing multiple projects simultaneously and adapting to last minute changes in direction and execution requirements
·Continually push the boundaries of our creativity to keep photography fresh and stay ahead of our competitors
·Have excellent attention to detail and consistently operate to the highest standard
·Be proficient in Mac and Adobe Creative Suite software, specifically Adobe Photoshop and Adobe Lightroom software
·Above all, have a passion for the Footasylum brand and the products we sell with the ability to reflect the essence of the brands DNA in creative photography

Topic 3

Future moves for the industry – A case study and seminar that assesses future technologies with photography and their impact on the industry.

Possible discussion areas


1.    DSLR/MovieCameras,Stills from Movies, 4k Industry standard

With a resolution of 4k a still from a 4k movie would have the sharpness and quality of a mid range modern hi res camera. For example, an 8MP   camera can take a photograph with a resolution of 3600 x 2400 pixels which is comparable to the 4k standard which is 3840 x 2160.


 2.    CSC’s and medium format digital

 CSC's or 'Compact System Cameras' refer to 'mirrorless' cameras. Today’s definition of a CSC is a camera with interchangeable lenses but no mirror. Some have DSLR sensors, some have smaller ones, some have electronic viewfinders, others have no viewfinder – just the LCD screen.
Medium format digital cameras, also called “digital backs”, can cost tens of thousands of pounds, compared to medium format in film is much more reasonable. Once the most widely used film size, medium format now occupies a niche in the photography world, used by professionals and amateurs  for its distinctive, true-to-life quality.

 Medium format film usually refers to a 120 film size which is 102x127mm.

 The Digital equivalent Hassdelblad for example, the H6D-100c will set you back a mere £24,000 and has a 100 megapixel cmos sensor. (11600 x 8700)


 3.    ISO versus Flash, Is this the end for flash?

 ISO, which stands for International Standards Organization, is the light sensitivity rating of a digital image sensor. When increase the ISO, the sensor becomes more sensitive to light, which allows it to capture more light without slowing down the shutter speed or opening up your aperture 
Hi ISO is advantageous in low light surroundings such as indoor events, art galleries (where flash is usually prohibited) and maybe where flash would ruin a scene such as candles on a birthday cake at a party.
ISO is more useful when not using a flash and ambient light is the main source of light. Any photographer using flash will usually choose a low ISO setting to eliminate grain in their photographs. Altering the ISO value will still affect the flash power, aperture, and shutter speed values.
But this has the disadvantage of introducing grain into a photograph as can be clearly seen here. 
1/500 sec      f 2.2        ISO 400     50mm

1/6400 sec      f 2.2        ISO 12800     50mm



 4.    Light field cameras, Lytro etc. Flash in the pan?

 A light field camera, also known as plenoptic camera, captures information about the light field emanating from a scene; that is, the intensity of light in a scene, and also the direction that the light rays are travelling in space.
This basically mean that the camera can store all the visible rays of light it see's in a 'compound' image. With the appropriate software you can actually change the focus and depth of field in the image.
The image is measured as a Megaray sensor and the latest model is a 40 megaray Lytro Illum.
You can buy a lightfield camera for less than £500 and the software is free.
Unfortunately the company Lytro is experiencing a decline in its sales but not its IP. Google has an interest in the mobile device market so we may not have seen the last of them yet.

"The sudden, but not completely unexpected demise of Lytro at the end of March and the acquisition of many of its employees (but apparently not its IP) by Google has focused new attention on “light field” cameras. In particular, the focus has centred on their future in the consumer tech market and how the technology might affect mobile devices."
5.    Print labs, what is the future for paper photographs?

 Prints on paper can look very stunning, especially with all the different kinds of papers with their own unique textures and lustre. Of course there are many standards of print from the home CMYK to the more expensive multi cartridge printers:-
Canon-i9900_cartridges_sm
 But for display, they would have to be framed or affixed to some kind of firm media. they would in some case be covered in a plastic or a glass sheet for their own protection, which in itself brings up the problems of glare and reflection, and non reflective glass can be expensive. In this day and age their are many more ways and media's to print photographs that are more robust and even more stunning in presentation:-
Di bond


 Alumini


 Acrylic


 Canvas


 Art panel


 And many more, that could leave 'paper' an old fashioned choice in the future, yet still obviously a lot cheaper.
6.    The ‘Impossible’ project https://www.the-impossible-project.com/

 A project to do the seemingly impossible task of bringing instant film photography back to the people. It began back in 2008.
To date we have the introduction, amongst others,  of the Polaroid SX-70
Image result for Polaroid SX-70
"In February 2008, Polaroid announced it would stop producing film for its cameras. According to Polaroid back then, the picture was devastatingly clear: digital photography had decimated film photography, and, as the years progressed, developing film or sticking with an instant camera was the preserve of purist professional photographers, hobbyists or outright nerds who were holding onto the analogue technology.  Kodakconsumer film sales dropped to less than 1 per cent of what they were at their peak.
Darkrooms and lumbering machinery were replaced by ATM-sized kiosks in chemists, 2017 was probably the most hopeful moment for instant photography in years. 
A few months after Polaroid’s announcement in 2008, a man called Florian “Doc” Kaps met a Polaroid employee, André Bosman, at a closing event for Polaroid’s factory in Enschede in the Netherlands. Kaps took his first Polaroid photo in 2003, after picking a camera up at a flea market. In October 2008, the newly named Impossible Project bought machinery from Polaroid for over $3 million, and leased a factory building that used to be part of Polaroid’s plant in the Netherlands. Over email, Kaps detailed his “fierce belief” at the time, saying, “My philosophy is inspired by all the makers, tinkerers, inventors, believers and creators who pursue their analogue craft and ideas with 120 per cent against all odds and prophecies.”"


 7.    Which film formats will survive?
Time line of film formats.
Film Format Chart
Ads we can see, many film formats have fallen by the wayside and out of the 11presented, only 5 are still going strong in the present day. It is interesting to note that a couple of the earliest formats are still being used and some of the experimental formats of the 60's and 70's have fallen by the wayside. If its not broke, dont fix it is the phrase that comes to mind. The 116,120 and220, being medium format sizes are unlikely to disappear any time soon. The 35mm film has become a massive industry standard and uncountable cameras use this popular format. The 16mm 110 film introduced in 1972 enabled Kodak to use existing processing equipment originally designed for 16mm movie film. It is a verity small format and doesn't do well in the enlargement area and prints can be unsharp and grainy. Fujifilm stopped manufacturing this format in 2009. There is still an extensive range of 110 cameras for sale and are relatively  cheap, but the majority seem to be second hand if one was to google them.
A company called Lomography has taken up the mantle and now produces 110 film.
If any format was going to disappear for good, it would probably be thins one.

 8.    What is the next level for smartphone cameras?

The cameras in smartphones are getting more sophisticated and intricate and in the case of the new Galaxy S10, they claim on their web site.

"The next generation camera that lets you shoot like a pro without being a pro"


 Two Galaxy S10 plus phones. One phone is seen from the back, showing the triple rear camera including 12MP Telephoto Camera, 12MP Wide-angle Camera and 16MP Ultra Wide Camera. The other phone is seen from the front, showing the dual front camera including 10MP Selfie Camera and 8MP Depth Camera.
They have introduced three lenses. a 12MP telephoto lens, A 12MP wide angle and an 'Ultra wide angle at 16MP.
Sony have managed to squeeze in 16.4 million pixels in its tiny sensor. the actual pixels being 1.12micrometeres which crams an awful lot of photodiodes in a very small space. The Galaxy claims to shoot in RAW which I assume it does, but i have compared the picture quality of a galaxy with a dslr. Check out the results:-

 Galaxy S10 from RAW

Nikon D810 from RAW

The nikon d810 clearly wins the quality competition.

 A few manufacturers have taken the 3D route such as :-
HTC EVO 3D.jpg
The HTC evo 3D and ta couple of offerings from LG are the only ones available globally. the few dozen others or, not surprisingly, available in Chinas and Japan.

USA on the other hand has the Red Hydrogen One (typical USA name) that even boasts a 3d screen.

Image result for Red Hydrogen OneImage result for Red Hydrogen One
The USA Red Hydrogen One. The last word in 'mobile' phones perhaps?

Its is noted that Apple and Samsung, the two big names in mobile phones, gave it a miss.
__________________________________________________

Topic 4   Visit to a Photolab

Topic 5

 What advantages/disadvantages do CSC cameras have?

      CSC, or Compact System Cameras are basically mirror less cameras. It’s probably fair to say that today’s definition of a CSC is a camera with interchangeable lenses but no mirror. Some have DSLR sensors, some have smaller ones, some have electronic viewfinders, others have no viewfinder – just the LCD screen. They are generally smaller not having to incorporate a mirror which needs room to be housed, and also there is no need for the viewfinder optics. They are quieter as there is no mirror noise. Some have electronic shutters so there is no shutter noise or shake. Burst rate can be much higher, e.g. Nikon 1 V3, up to 20 frames per second.
      Another benefit of shooting a burst on a mirrorless camera is that generally the autofocus does better between frames than on a DSLR because the mirror isn't required to find focus.

Mirrorless Camera Advantages

  1. Smaller Size / Bulk and Lighter Weight: removing the mirror and the pentaprism frees up a lot of space. This means that mirrorless cameras can be designed to be smaller, less bulky and lighter compared to DSLRs. With a shorter flange distance, the physical size of both the camera and the lens is reduced. This is especially true for APS-C size sensors (full-frame is tougher to address, as discussed further down in the article). No more wasted space, no need for extra ruggedness to give a feel of a bigger camera. In short, mirrorless cameras can be made noticeably lighter than DSLRs. The rise of smartphones as compact cameras has taught us a very important lesson – convenience, small size and light weight can potentially overpower quality. The point and shoot sales are practically dead, because most people find their smartphones to be “good enough” for those snapshot moments. All smartphone manufacturers are currently pressing hard on camera features, because they want people to think that they are not just getting a phone, but also a great camera in a single compact package. And judging from the sales figures so far, it is clearly working – more and more people are embracing smartphones and leaving their older compact cameras behind. Simply put, smaller size and lighter weight in electronics win in today’s economy. We can observe the same trend in many other gadgets – thinner and lighter TVs, tablets instead of laptops, etc. Hence, people will naturally gravitate towards lighter and more compact, especially if quality is not compromised significantly.
  2. No Mirror Mechanism: no more mirror flipping up and down means a lot of good things:
    • Less Noise: no more mirror slap, just the click of the shutter mechanism is all you hear from the camera.
    • Less Camera Shake: the only physical component in the mirrorless camera that can cause vibrations is the camera shutter. And even then, it is possible to use electronic front curtain shutter (EFCS), or even disable the shutter completely and shoot with electronic shutter to completely get rid of camera shake from the shutter mechanism.
    • Easier to Clean: if dust ends up on the sensor, cleaning mirrorless cameras is easier than DSLRs. You do not need a fully charged battery to lock up the mirror in most cameras – the sensor is exposed once you dismount the lens (some cameras with in-body image stabilization should have their stabilization mechanism locked via camera menu to prevent movement and damage). In addition, most mirrorless cameras do not have an opening under the mirror to house a phase detection sensor and other components, so there is very little chance for dust to circulate after the chamber and sensor are fully cleaned.
    • Potentially Very Fast FPS Speed: having no mirror means that the capture rate (FPS) does not have to be limited by the mirror speed. This means that mirrorless cameras could potentially capture images at much faster frame rates than 10-12 FPS we see today, with much less noise and viewfinder blackout.
    • Cheaper to Build and Support: less moving parts translate to lower cost of manufacturing and support for the manufacturer.
  3. Live Preview (WYSIWYG): with mirrorless, you can get a live preview of what you are about to capture – basically “what you see is what you get” (WYSIWYG). If you messed up White Balance, Saturation or Contrast, you will see it in live preview – whether in the EVF (see below) or the LCD.
  4. No Phase Detection / Secondary Mirror Alignment Issues: now that many of the modern mirrorless cameras are shipping with hybrid autofocus systems that utilize both phase and contrast detection autofocus, you do not have to worry about the alignment of phase detection and secondary mirror. On a number of new generation mirrorless cameras, the phase detection sensors are located on the actual sensor, which means that phase detection will never have to be calibrated for distance, since it sits on the same plane as the sensor that captures the image.
  5. Price: producing mirrorless cameras is potentially cheaper than producing DSLRs. As of today, most mirrorless camera manufacturers charge heavy premiums for their camera systems, because their overall costs are high and the volume is not there yet. While the actual manufacturing costs are lower than DSLRs, companies have to spend plenty of R&D money on improving particular camera features, autofocus performance and other technologies like EVF. Overtime, mirrorless camera prices will come down.
  6. Electronic Viewfinder: now here comes the biggest strength of mirrorless cameras and the present + future innovation with it. Without a doubt, an EVF has huge advantages over OVF. While the current implementation of EVF might not be as robust and responsive as it should be, it is just a matter of time before manufacturers fix that. Let’s go over some of the key benefits of EVF over OVF:
    • Information Overlay: with OVF, you never get to see more than some basic grids. There is some static information presented in the viewfinder, but it is mostly fixed and cannot be easily changed. With EVF, you can get any information you want displayed right inside the viewfinder – from live exposure data to histograms. Different warnings could be added, such as a warning for a potentially blurry shot.
    • Live Preview: the same live preview on the LCD can be shown inside the EVF.
    • Image Review: another key feature that you will never get in an OVF is image review. How cool is it to see the image that you have just captured right inside the viewfinder? With OVF, you are forced to look at the LCD screen, which is a big pain in bright conditions. People end up buying specialized loupes just to be able to see their LCD screen in daylight! With EVF, you never have to worry about this, since you can use the viewfinder for reviewing images instead.
    • Focus Peaking: a very useful feature that allows one to see what areas of the frame are in focus. Basically, you can nail focus when performing manual focus without having to rely on your eyes. The area that is in focus gets painted with an overlay color of your choice and you can stop exactly where you want it to be. You cannot do this with an OVF in a DSLR.
    • No More Viewfinder Coverage Issues: with OVF, you typically get something like 95% viewfinder coverage, especially on lower-end DSLR models. This basically means that what you see in the viewfinder is about 5% smaller than what the camera will capture. With EVF, you no longer have this problem, because it will always be 100% viewfinder coverage, since what you see in the EVF is what the sensor will capture.
    • Much Brighter Display: if the light conditions are poor, you cannot really see much through an OVF. Focusing with OVF in low light is also difficult, because you cannot really tell if the subject is in focus until you take the picture. With EVF, brightness levels can be “normalized”, so that you can see everything as if it was daylight. Some noise might be present, but it is still way better than trying to guess when looking through an OVF.
    • Digital Zoom: this one is by far my most favorite feature! If you have used a Live View mode on your DSLR before, you know how helpful zooming in on a subject can be. With most modern DSLRs, you can zoom in to 100% and really nail focus. Well, with mirrorless cameras, this feature can be built right into the viewfinder! So imagine manually focusing with a lens, then zooming in to 100% right inside the viewfinder before you take a picture. Pretty much every mirrorless camera is capable of doing this. It goes without saying that an OVF would never be able to zoom like that.
    • Face / Eye Tracking: now we are moving to the coolest part of the EVF technology. Because the EVF shows what actually happens on the sensor, additional technologies for data analysis can be utilized to do very cool things, like face and even eye tracking! I am sure you have seen face tracking on smartphones and point and shoot cameras, but if you take it a step further, you could have the camera automatically focus on the nearest eye of the person that you are photographing. How cool is that? Many camera manufacturers are already doing this very efficiently on their mirrorless cameras!
    • Potentially Unlimited Focus Points: as you already know, most DSLR cameras have a limited number of focus points that are distributed mostly around the center of the frame. While it works out in most situations, what do you do if you need to move the focus point to an extreme border of the frame? The only option is to focus and recompose, but that might not be always desirable, since you are also shifting the plane of focus. In addition, anything away from the center focus point is typically inaccurate and could result in “focus hunting”, where the camera struggles with AF acquisition and goes back and forth continuously. With mirrorless cameras and phase detection sensors placed directly on the imaging sensor, this limitation is lifted. Contrast-detection has already been possible anywhere on the imaging sensor, but now most new mirrorless cameras have also added the ability to focus via on-sensor phase detection, with focus points distributed over most of the sensor, all the way to the extreme borders.
    • Subject Tracking and Other Future Data Analysis: if things like face and eye tracking are possible with mirrorless cameras, you can only imagine what camera manufacturers will be able to do in the future. Imaging having a complex tracking system that intelligently combines sensor data with autofocus and uses it to track a given object, or subject in the frame – something already possible on many mirrorless systems. Even top of the line DSLR cameras today have challenges with full subject tracking. If you have tried photographing birds in flight with a DSLR, tracking can get challenging, especially when the bird moves out of the focus point area, or when the light conditions are less than ideal. If data is analyzed at pixel-level and there is no real autofocus area to concentrate on, subject tracking can potentially get very advanced and sophisticated with mirrorless cameras.
    • Eye Damage: when looking through a viewfinder, one has to be extremely careful about photographing extremely bright sources of light (such as the sun), especially with long focal length lenses. With EVF, the image is projected through the sensor and there is no harm to your eyes.

Mirrorless Camera disadvantages

  1. EVF Lag: some of the current EVF implementations are not particularly responsive, resulting in considerable lag. While this is certainly a nuisance compared to OVF at the moment, it is a matter of time before this lag is eliminated. The latest EVFs are already much better than what they used to be before. But as EVF technologies evolve, the lag issue will be resolved completely.
  2. Continuous Autofocus / Subject Tracking: while contrast detection has already reached very impressive levels on mirrorless cameras, they are still relatively weak in continuous autofocus performance and subject tracking compared to phase detection AF. However, with the rise of hybrid autofocus systems and their continuous development (where both contrast and phase detection are used together), we have already seen mirrorless cameras with incredible continuous autofocus capabilities. Soon enough mirrorless cameras will fully catch up and surpass DSLR cameras in AF performance.
  3. Battery Life: another disadvantage of mirrorless cameras at the moment. Providing power to LCD and EVF continuously takes a toll on battery life, which is why most mirrorless cameras are rated at about 300 shots per battery charge. DSLRs are much more power efficient in comparison, typically in 800+ shot range per charge. While it is not a huge problem for typical camera use, it could be an issue for someone who travels and has very little access to power. Still, I believe that the battery issue is also something that will significantly improve in the future (and we have already seen much better battery life on the third iteration of Sony A7-series cameras). Batteries will be more powerful and power-hungry LCD / EVF screens will be replaced with other more efficient technologies.
  4. Red Dot Patterns: due to the very short flange distance, most mirrorless cameras suffer from a “red dot pattern” issue, which becomes clearly visible when shot with the sun in the frame at small apertures. Basically, light rays bounce back and forth between the sensor and the rear lens element, creating grid patterns of red (and sometimes other colors) in images. Unfortunately, there is no way around this limitation on all mirrorless cameras with a short flange distance, as discussed here.
  5. Strong EVF Contrast: many EVFs designed today have very strong, “boosted” contrast, similar to what we see on our TVs. As a result, you see a lot of blacks and whites, but very little shades of gray. While one could look at the histogram overlay in EVF, it is still a nuisance. Manufacturers will have to find ways to make EVFs display images more naturally.

What advantages/disadvantages do DSLR cameras have?

 DSLR Camera advantages

Battery Life

Generally, DSLRs offer longer battery life, as they can shoot without using the LCD screen or an electronic viewfinder, both of which consume a lot of power. However, both types will have similar battery lives if you use the LCD screens to preview and view captured images a lot, as this consumes a lot of power. However, all DSLRs and mirrorless cameras come with removable batteries, so you can carry a spare.

Lenses & Accessories

Choosing a DSLR gives you access to a plethora of lenses from a number of manufacturers, ranging from cheap and satisfactory to professional and wildly expensive. Mirrorless models are more restricted, offering access to a small number of lenses from the camera maker, though the selection is growing.


 DSLR Camera disadvantages

Due to the mirror dependency of DSLRs for “through the lens” (TTL) viewing, they have the following limitations:
  1. Size and Bulk: the reflex system needs space for both the mirror and the prism, which means that DSLRs will always have a wider camera body and a protruding top. It also means that the viewfinder must be fixed in the same spot on every DSLR, in-line with the optical axis and digital sensor – basically, there is no other place to put it. As a result, most DSLRs have somewhat similar exterior look.
  2. Weight: large size and bulk also translates to more weight. While most entry-level DSLRs have plastic bodies and internal components to make them lighter, the minimum height and depth issue to house the mirror + pentaprism / pentamirror translates to lots of wasted space that needs to be covered.
  3. Complex Mirror and Shutter Design: every actuation requires the mirror to move up and down to let the light pass through directly onto the sensor. This alone creates a number of issues:
    • Mirror Slap: DSLR cameras produce quite a bit of noise thanks to the shutter mechanism coming up and down each time an image is captured. This mirror slap not only results in noise, but also in camera shake. Although manufacturers have been coming up with creative ways to reduce noise by slowing down the mirror movement (Nikon’s “Quiet” mode for example), it is still quite audible. Camera shake can also become an issue when shooting at long focal lengths and slow shutter speeds. Once again, DSLR manufacturers had to come up with features like “Mirror Lock-Up” and “Exposure Delay” to allow mirror to be lifted, then exposure taken after a set delay – all to reduce mirror-induced vibrations.
    • Frame Speed Limitation: while the modern mirror and shutter mechanisms are very impressive, they are limited by the physical speed at which the mirror flips up and down. For example, when the Nikon D4 fires at 11 frames per second, the mirror literally goes up and down 11 times within each second, with the shutter opening and closing in between! It has to be a perfect synchronization of both the mirror and the shutter in order for it all to work. Take a look at the below video that shows this in slow motion (skip to 0:39):
      Now imagine this process at 15-20 times per second – that’s practically physically impossible to achieve.
    • Expensive to Build and Support: the mirror mechanism is very complex and consists of dozens of different parts. Because of that, it is expensive to build and provide technical support if anything goes wrong. Disassembling a DSLR and replacing internal components can be very time consuming for a service center.
  4. No Live Preview via OVF: when looking through an optical viewfinder (OVF), it is impossible to see what the final image is actually going to look like. You have to look at the camera meter (which can be fooled in some situations) or the LCD in live view mode and adjust the exposure accordingly.
  5. Secondary Mirror and Phase Detection Accuracy: you might already know that all DSLR cameras with phase detection autofocus system require a secondary mirror. I wrote about this in detail in my “how phase detection AF works” article. In short, part of the light that reaches the mirror ends up on the smaller secondary mirror that sits at a different angle than the primary mirror. The purpose of the secondary mirror is to pass the incoming light to phase detection sensors that are located on the bottom of the chamber. The problem with the secondary mirror, is that it has to be positioned at a perfect angle and distance for phase detection to work accurately. If there is even a slight deviation, it will result in missed focus. And even worse, the phase detection sensors and the secondary mirror have to stay perfectly parallel to each other. If they don’t, some autofocus points might be accurate, while others will constantly miss focus.
  6. Phase Detection and Lens Calibration Issues: the problem with the traditional DSLR phase detection system not only lies with the secondary mirror alignment issues, but also requires lenses to be properly calibrated. It becomes a two way game – precise focus requires perfect angle and distance of the secondary mirror to the phase detection sensors (as explained above), and requires a properly calibrated lens to the body. If you had autofocus accuracy problems with your lenses in the past, you might have had experience sending your gear to the manufacturer. Very often, support techs will ask the lens in question to be sent together with the camera body. If you wondered why before, now you have the answer – there are basically two places where things could potentially go wrong. If the technician adjusts your lens to their standard camera environment and your camera is slightly off, your issues might get even worse after such tuning. That’s why it is best to calibrate both the camera and the lens to resolve those discrepancies.
  7. Price: although manufacturers have gotten much more efficient over the years in terms of DSLR production, assembling the mirror mechanism is no easy task. Lots of moving components mean high precision assembly systems, the need for lubrication in areas where metal components rub against each other, etc. In turn, this all results in increased manufacturing costs. And it does not stop there – if anything goes wrong with the mirror mechanism, the manufacturer must repair or even potentially replace it, which is a very labor-intensive task.  

What advantages/disadvantages do compact cameras have?

  • Compact: Compact digital cameras are easy to carry, hold, store, and shoot normal photos with “point and shoot” ease (HDR isn’t quite so automatic with a compact camera). Their diminutive size can make a difference if you don’t want to lug around a big digital single lens reflex (dSLR) with several lenses.
  • Inexpensive: Not all compact digital cameras are easy on the wallet, of course, but this type of camera starts out inexpensively. You can find a good camera that fits your budget with little trouble.
  • Multi-purpose: You can use a simple point-and-shoot for casual family photos during the day and HDR at sunset. These cameras are ideal to start your HDR career, and you can use them for many other purposes. They also make wonderful learning platforms to teach children about photography.
  • Results: Purists and quality fanatics might cringe at the prospect of seeing HDR shot from compact digital cameras, but they work.


What advantages/disadvantages do Rangefinder cameras have?

Rangefinders use a different focusing method called, appropriately enough, a rangefinder. Instead of looking directly through the lens via a mirror, a rangefinder’s viewfinder is an entirely separate visual system mounted as close as possible to the lens. It shows two overlapping images of the subject. By aligning the images, the distance—or range—to the subject can be calculated (thanks to the parallax effect) and you can focus the lens.


The rangefinder still has the advantage of being smaller, easier to focus in low light, quieter, and perhaps faster than the SLR. The lack of a mirrorbox makes a Rangefinder inherently thinner, and with no mirror, it's possible for a lens to intrude a bit into the camera body.

PROS:
No Mirror
Because rangefinders do not have a mirror, they are commonly more compact and have a quieter shutter. This makes them great for street photography. On top of that, the lens sits closer to the film plane in a rangefinder, often resulting in sharper images. A mirror-less body also means no shutter shake. Now you can shoot handheld at lower shutter speeds.
ViewfinderRangefinders have a larger viewfinder that is separate from the lens which allows greater field of vision and, in turn, enhances your ability to see your subject enter the frame, helping anticipate your shot.
CONS
Shutter SpeedRangefinders typically have slower shutter speeds. This means you can’t open up your aperture as wide/as fast as you’d want in daylight and may not be able to control your depth of field as easily.
Viewfinder 
While a rangefinder’s viewfinder is a good thing, it also has some drawbacks. Since you aren’t looking through the lens itself, you are more apt to cover it with your finger, forget your lens cap, etc.The viewfinder also makes a rangefinder not an ideal portrait camera because you aren’t composing or focusing through the lens. Rangefinders are also harder to focus in low light

What are the differences between Trade and Retail?
Trading is used to acquire goods from the people who produce them, and the retail sales business is how these goods are then sold to the general public.
What advantages/disadvantages does equipment hire provide?
Hiring equipment is the best way to be able to use expensive equipment without having to buy it. Also you may only want a specific piece of equipment for one shoot. Also, hire equipment will be insured by the hire company so you dont have to worry about theft or breakages. It is also a way of trying out a piece of equipment before buying the same item for yourself.

What device would you use to calibrate your monitor?
To make sure that your monitor is showing you colours as they are meant to be, it is advisable to calibrate your monitor. There are a number of colour 'gamuts' the most popular one on a standard home monitor being sRGB. Pro monitors can show more colours in the Adobe RGB gamut. To make sure your colour balance on you monitor is accurate you can use a calibrating tool and software. For example, a Spyder5 which will sit on you monitor screen and regulate your graphic card using software, to balnce  your red green and blue, correctly.

 What is a colour profile?
Image result for colour profiles
This diagram shows different colour profiles, or 'gamuts'. Each labelled area, represents the colours that can be be used, or seen, in that particular profile. As you can see, Adobe RGB has more colours than the more popular sRGB

 Image result for colour profiles
This diagram shows the CMYK colour gamut which refers to actual print ink. The colours that you would find in a CMYK printer are Cyan, Magenta, Yellow and Black. It can be clearly seen that this print cmyk colour profile can not print anywhere near the colours of an RGB profile  photograph.

 Does a colour profile result in better prints from a lab? How?
If your monitor is calibrated to, for example, sRGB, then when you edit a photograph, that photograph can then be sent to a printer who knows that the colour balance is sRGB and can print the photography knowing the colour balance will be correct. Also, print papers have colour profiles as some inks may appear slightly different on different papers, so the way ta paper reacts to a pigment will be clibrated in its profile.

 Trade and retail exists in the lab sector, are you aware of the differences between 'pro' and 'high street' labs?
 High street labs will print whatever is given to them to print on standard print paper and tend not to be concerened with colour profiles. If you take your photographs to print at asda, they will hardly ask you what colour profile the pictures were taken in or what editing software you used ti edit your pictures, and,  on what monitor, calibrated or not. (usually in a cameras settings you can select RGB or sRGB for the colour gamut in which you take your photographs). Trade Labs will be more likely to use high end paper or other print media and have a full understanding of colour gamuts. They would aslso print 'proofs' (small samples of your photographs) so that you can choose which combination of inks and paper provide the best representation of your photographic colours.

Topics 6-9
Professional Bodies

http://www.rps.org

http://www.the-aop.org

http://www.bipp.com

http://swpp.co.uk

https://photoguild.co.uk

http://www.redeye.
Some information on the top three Pro bodies in photography

The Association of  Photographers  (AoP)

The AOP is a UK based Membership Organisation that promotes, and protects the rights of photographers.
Aop was formed nearly 50 years ago and at present has around 2500 members.

Advantages of becoming a member:-

     "Become recognised by those that commission photography. Support and share the values of professional photography. Achieve recognition from your peers and from the industry. Associate with those who share your values and be seen as part of that community.
The AOP has the knowledge and experience to make sure your best interests are protected"
Aop has a range of membership categories.

Accredited Photographer - professionals working for the creative industries

AOP Accredited Photographer membership is available to professional photographers who are working in the creative industries who can demonstrate the appropriate level of professional practice.


This is the top membership choice for pro photographers. 
Cost £396 p.a.
Criteria and terms of this membership
  • Must meet the expectations of commercial buyers and professional commissioners of photography
  • Must be  consistent with having been a professional photographer for more than two years
Also, examples of the photographers work must be uploaded for assessment.

Some of the benefits of this membership package are:-
  • Business and Legal support. This includes our own adviser and if required, referral to our IP specialist law firm (first half-hour consultation at a discounted member's rate).
  • Listing in the Find a Photographer search area of our website including images, contact details, web & email links.
  • Access to a free PDF version of Beyond the Lens, the industry gold-standard professional practice textbook with information and advice on business and legal matters

Other Categories of AoP membership having their own individual criteria:-

Assisting Photographer

Agent
STUDENT MEMBERSHIP
Student membership is free to students who are studying on a AoP affiliated course.
Unfortunately, Blackburn University FDA isnt one of them so a fee of £26.25 pa is required.
AoP also runs a student awards scheme where one can enter images in various categories.
As a non member, each upload will cost £8.50.
As a member benefit, the cost is £5.75.

"AOP Student Awards are a celebration of the best in photography amongst students, helping to provide that all important step up to the professional arena. By supporting new emerging talent, the Awards are an opportunity to get a first look at the potential stars of tomorrow."

This years Awards for people studying, close on 29th April.
The categories are:-

People
Places
Things.
______________

There is also an extensive  list of discounts for members for various photographic services and companies
e.g.

  • Metro Imaging - photographic printing & processing, scanning, mounting, exhibition and display services
  • AIM Risk Services - multi-media insurance products
  • Dynamic International - ATA carnet and shipping provision
  • Eversure - insurance
  • Eyes in Progress - photography workshops, mentoring and training
  • FairFX - international currency cards and money transfer services
...to name but a few
______________________________________________________________________________________________________________________________

The Royal Photographic Society    (RPS)



The Royal Photographic Society, is one of the world's oldest photographic societies. It was founded in London, England, in 1853.
Membership runs at £120 p.a. for the individual, bit as with the AoP there is a concession for Students on a full time course at the cost of £55 p.a.

RPS run workshops throughout the year at a cost. I have been in touch with them for information about copyright for photographs and they also sent me information appertaining to these work shops.







They also sent information about membership and its benefits as well as the copyright information as you can see below:-


RPS run a competition on a monthly basis for members only, each month being a different theme. Winner's get their photographs published in the RPS journal. Unlike the AoP, there is no entry charge.

Membership stands at over 11,000.
The main benefits being:-
 Free entry to our exhibition space
 Monthly award-winning magazine
 Participate in local events
 Gain an RPS Distinction (see below)
 Access to member only offers
 Member only competitions
 Specialist insurance discount
 Your portfolio on our website
 15 Special Interest Groups to join
 Expert Distinctions advice
 25% off workshops we organise
 30% off Distinctions applications
 30% off our IPE competition
 Exclusive use of the RPS logo

Gain an RPS Distinction
The RPS offers three levels of Distinctions which set recognised standard of achievement throughout the world

1

LICENTIATE OF THE RPS (LRPS)

Requires 10 images which reflect your ability as a photographer.
2

ASSOCIATE OF THE RPS (ARPS)

Requires a body of work/project of 15 images of a high standard and a written Statement of Intent.
3

FELLOWSHIP OF THE RPS (FRPS)

Our highest level of Distinction. Requires a body of work/project of 20/21 images of a distinguished photographic and creative standard and Statement of Intent.
____________________________________________________

There will be the yearly RPS International Photography Exhibition at various venues throughout 2019.


Tickets are available to purchase on the door:
£7.00 Standard admission
Free RPS members (with valid membership card)
Free Under 18s*
£5.00 Concessions (full-time students, unemployed, over 65s, disabled and carer)*
£5.00 Attendees at a Society workshop, distinction event or other RPS House event on the day*
2 May IPE 161 Photographer Talk with Clare Hewitt. Book online: MAC
22 May to 23 June  Royal Albert Hall, London (view dates of public open days online)
5 July to 4 Sept Municipal Gallery, dlr LexIcon, Dún Laoghaire, Co. Dublin
4 to 27 October  HIP Festival, Hull

*proof of eligibility required
  
30 March to 12 May  Midlands Arts Centre, Birmingham
Related events: 
30 March Photo Workshop with Natalie Christensen. Book online: MAC
__________________________________________
Local RPS meetings and events are held throughout  18 regions of the UK and Southern Ireland.
____________________________________________

         The British Institute of Professional Photographers 

Tag line......The Voice of the Profession

The BIPP is a non profit organisation that was formed in 1901 by a collection of photographers who came together at a Hotel in Fleet St. The original name was The Professional Photographers Association.  By 1907, membership stood at 757. After three name changes it became the BIPP that we know today.

BIPP Why join information?

We’ll support you whilst you focus on achieving your goals and always aim to provide honest feedback and advice in a number of different areas.
You'll have the importunity to become a fully qualified photographer who stands out from their competition (sic). When you qualify, you'll be bound by a code of professional conduct adding that extra level of security to your clients.
___________________________________
 The BIPP are all about qualifications. They say it is the core of what they do.

Like the other two bodies, they offer differing levels of membership from professional at £250 p.a. to student membership at £50 p.a. whilst studying.

With a student membership, one receives:-
  • Discounts on training
  • Discounts on goods and services
  • The Photographer magazine
  • Regional and national meetings and events
  • Support and networking
  • Competitions and awards
The magazine being published 4 times per year.

Their qualification scheme is very similar to the RPS distinction scheme and is as follows:-

There are three qualifications, each reflecting increasing levels of experience, skill and achievement.

  • Licentiateship (LBIPP)
  • Entry level qualification, showing an established professional level of skill and competence
  • Associateship (ABIPP)
  • A high standard of craftsmanship and creative ability
  • Fellowship (FBIPP)
  • Attainable for distinguished and exceptional ability and creativity

Also like the RPS, assessment days are set throughout the year for people to submit their photographs to try to gain one of the qualifications on offer. This will cost you £150.
On the application form it asks for the name of ones BIPP mentor. but it doesn't mention anywhere on the website where find someone to fill that roll? I will call and ask.

It is recommended that one does a portfolio review before applying for a qualification.
 That's another £50 for members for a 45 min assessment.
A 2 hour assessment will cost £90 as a member.

If one can gain a qualification, the BIPP has this list of benefits in doing so:-


  • internationally recognised professional qualifications...leading to increased prominence in the market place
  • recognition of your qualification by other organisations and employers
  • the opportunity to achieve a BA (Hons) Photography degree through the OCA with just one year of study
  • a tiered structure offering continual professional development
  • qualifications advice
  • events and seminars across the country
  • portfolio reviews
  • regional meetings
  • subsidised training by industry leaders
  • entry to the Professional Photography Awards
  • entry to the BIPP Towergate Camerasure Fine Art Competition
  • the Photographer magazine
  • regular email updates
  • use of the BIPP logo
  • your own portfolio page on bipp.com
  • business generation leads
  • free resources - contracts, licensing, releases etc.
  • discounted display advertising
  • preferential deals from 3rd party companies
  • international network of contacts
  • credit card processing packages
  • free 24/7 legal helpline
  • exclusive UK access to the Federation of European Photographers
  • the peace of mind that comes with a framework of a code of professional conduct and complaints procedure
  • promotion of qualified members to the users of photography/buyer

______________________________________________________________





  1. Insurance Companies

    https://www.photoguard.co.uk

    https://www.hiscox.co.uk


    www.simplybusiness.co.uk/insurance/photographers        
    Info sources

    http://cambridgeincolour.com

    https://www.dpreview.com

    https://petapixel.com

    https://www.ephotozine.com


    Health & Safety

    http://www.hse.gov.uk/legislation/hswa.htm




 Jobs and Employment for the Industry module:



Creative Skillset Photo Imaging






Association of Photographers jobs page






AoP Find a Photographer






AoP Assisting page








Other Links


















http://www.danwintersphoto.com/PEOPLE/OVERVIEW/5/thumbs-caption

 _____________________________________________________________

 INVOICING 

 Possible jobs for student photographers

 Head Shots
Portraits
Family portraits
Construction progress
Junior sport events
pets
Gardens
Weddings
PR
Lifestyle
Interiors

Payment Protocols in Business

Legal requirements for an invoice
  • a unique identification number
  • your company name, address and contact information
  • the company name and address of the customer you’re invoicing
  • a clear description of what you’re charging for
  • the date the goods or service were provided (supply date)
  • the date of the invoice
  • the amount(s) being charged
  • VAT amount if applicable
  • the total amount owed
If you’re a sole trader, the invoice must also include:

  • your name and any business name being used
  • an address where any legal documents can be delivered to you if you are using a business name



Quotation or Estimate

A formal statement setting out the estimated cost for a particular job or service


Invoice

A list of goods sent or services provided, with a statement of the sum due for these; a bill.


Reminder

A reminder of a previous Invoice, listing goods sent or services provided, with a statement of the sum due for these; a bill.


Final Reminder

A final reminder of a previous Invoice, listing goods sent or services provided, with a statement of the sum due for these; a bill. This may detail next steps to recover payment. (Make sure this is legally checked)


When do businesses pay VAT?

When your business income reaches the VAT registration threshold, you will need to consider whether you need to register for VAT. For example, if your VAT taxable turnover exceeds £85,000 for the twelve months to 31 August 2019, you need to register for VAT by 30 September 2019



Task

Please make a personalised set of these forms for an imaginary job that you have been asked to do.





No comments:

Post a Comment

Subscribe to: Posts (Atom)