Why you should ask your photographer for a contract

I get every one of my clients to sign a contract. Some people are surprised, until I explain that the contract’s main purpose is to document my commitment to delivering their photos within a reasonable time and at the agreed price. Here, I’ll take a look at the main points that should be covered in a photographer’s contract.

Who, what, where and when

My contract begins by setting out my name and address as the photographer, and the name and address of my client. It explains briefly what I am going to photograph, where the shoot will take place, the date and the start and finish times.

It’s helpful for both parties to have these details down in black and white, in order to avoid any possible confusion.

Price

The contract should clearly state the agreed total price for the services to be provided, as well as the payment conditions – when a deposit needs to be paid, and when the balance is due. I also include a clause covering what will happen if, by agreement with the client, the shoot lasts longer than expected.

The goal here should be to remove any possible uncertainty or ambiguity about the price.

Licence and copyright

The contract should explain clearly when, where and in what way you may use the images that the photographer delivers, and what rights he or she retains. In my case, clients have an unlimited licence to use the images I deliver as soon as payment is complete. They are not permitted to sell the images, but they can print, distribute, and share them online, or make them available to others to print, distribute and share online, without having to pay anything extra.

I retain the copyright to the images, and the standard version of my contract gives me the right to use them myself. As I usually explain to clients, showing my past work is absolutely essential for winning new work. All the images on this website are displayed with the clients’ permission. Understandably, some clients do ask for complete privacy. I am always ready to respect their wishes at no extra charge, and amend the standard contract to reflect this.

Delivery

The contract should also make clear what the photographer is going to deliver, and how and when delivery will be made.

I deliver JPEG files – light ones for web and screen, and heavy ones for printing – using a file transfer service. In the contract, I commit to delivering within seven days of the end of the shoot, though in practice I almost always deliver within 48 hours and, by arrangement, even more quickly.

This is a point that is always worth checking. Just yesterday, I photographed a couple who told me that they had waited six weeks to receive their wedding photos, and I have friends who ended up waiting six months for theirs! Whether the photos are from a wedding, a corporate event, or just a portrait session, such delays are totally unacceptable, and I doubt these people would have entered into ageements with the photgraphers concerned if they had known in advance how long they would have to wait.

Dramatic shots from difficult event lighting

Event photography plays an important role in spreading news about a conference, seminar or award ceremony to those who could not attend – both members of the organisation’s immediate community and those in the wider sector. To do this successfully, whether on social media or in newsletters and the press, the photographs themselves must be visually and emotionally engaging, and the more engaging the better.

The lighting is always sh*t

Lighting is critical in making strong images of any kind. Unfortunately for event photographers, the lighting of conference venues is never designed to help them. Sometimes, theatrical lighting effects are created to enhance the spectacle for those in the room. More typically, no thought at all is given to lighting and the photographer (and the participants) must simply make the best of whatever mix of natural, fluorescent, LED and vertical halogen spot lighting the venue happens to have. These days, we also have to cope with projection or LED screens, and often both. I use on-camera flash if I absloutely have to, but in general the results are stronger if I can find a way to work with the ambient light.

Work with what you’ve got

I have developed a two-fold strategy. First, I always try to arrive at the event venue at least half an hour before I am due to start shooting. This gives me time to explore the space, find out where and when key moments will occur, and check my route to the places with interesting angles to shoot from. Just as important, though, I assess the difficulties and the opportunities presented by the lighting. Sometimes, I even suggest changes to the event organiser, who can then pass on the request to the venue manager.

Creating drama

Two recent events presented contrasting examples of the challenges I often face, and the photographs above and below show how I tried to turn the difficulties to my advantage in order to create dramatic shots that grab the viewer’s attention.

The first event was in a black-painted auditorium with no natural light at all. The overall light level was extremely low, with a few powerful spots focused on the stage area where a panel discussion would take place. I made a number of shots from behind the audience. But the best images were made from behind the panel, using the stage lighting to create dramatic contrast.

The second took place on a bright summer evening, with low sunlight streaming in through large windows along one side of a rooftop bar. I exploited the strong contrast to create strong individual and group portraits, often with the main light source behind the subjects.

Introducing a personal project – prints for sale

Alongside my corporate and private portrait and event work, I am also involved in some exciting personal projects. Since January 2021, I’ve been working with a couple of young performance artists in woodland just outside Brussels to explore and document the space where humans and nature meet, blend and overlap.

Photo exhibition in Loonbeek church

Both the content and the collaborative process itself have been fascinating, and I’ve learned a lot. But we’ve also created some stunning photographs, which we exhibited in the village church of Loonbeek, less than a kilometre from where most of the images were made, in mid-May 2022.

A selection of the project images (including all the ones shown in the exhibition) is now available in a new gallery on this site, and are available to buy as framed or unframed prints. If you’d like one, please get in touch via the Contact page to discuss the size and support you want.