Our Associate Member scheme is now open

Our Associate Member scheme is now open

At the association’s AGM in 2019 we started the ball rolling towards the creation of a new category of membership of The BPPA.

As part of our role of “inspiring” we chose to do this by helping to guide and mentor the next generation of photographers wanting to join the profession. This is now becoming a reality and we are delighted to announce that the doors are open to anyone fulfilling the criteria:

Any person who is not yet working full-time as a press photographer but who is striving to achieve that goal either through working part-time in the industry or by studying on a course specialising in news photography, photojournalism or related editorial photography.

Starting with a mentoring group based on Facebook the association will be inviting anyone who would like to apply for Associate Membership to do so by contacting us.

We have been working with relevant courses at Falmouth University and the University of Gloucestershire to develop the concept and hope to expand to other institutions as well as anyone who has chosen to make their way into the industry through other routes. The team of mentors has been put together and consists of a broad range of experience and specialisms. It includes agency and newspaper staff photographers as well as experienced freelancers.

Associate Membership is open to any person who is not yet working full-time as a press photographer but who is striving to achieve that goal either through working part-time in the industry or by studying on a course specialising in news photography, photojournalism or related editorial photography. Accordingly there are two routes into Associate Membership of the Association:

RULES OF THE SCHEME

Independent photographers working part-time in the industry and anyone studying on a non-approved course

  • Portfolio review by two or more members of the sub-committee
  • Interview in person or via tele-conference to include questions about copyright, metadata, ethics etc
  • Agreeing to sign up to the The BPPA’s Code
  • The length of the Associate Membership offered should be agreed after their interview and be part of the offer of Associate Membership but not less than twelve months

Those Currently studying on, or who have recently graduated from, an approved course

  • Students on an approved course just have to sign up, agree to abide by the The BPPA’s Code and they will be eligible for associate membership.
  • Courses will be approved by a sub-committee of The Board based on whether they are specialising in news photography, photojournalism and related editorial photography and teaching a list of topics such as copyright, metadata, ethics etc
  • The length of the Associate Membership offered should be not less than the duration of their course for students on approved courses plus six months and in extensions of a year thereafter.
  • The BPPA will offer an on-line based mentoring scheme where all Associate Members will have access to a panel of experienced press photographers. From time-to-time we will extend offers to Associate Members and try, wherever possible, to include them in the activities of the association

Notes:

  • There will be no option of a UK Press Card being issued to Associate Members. The press card is only open to full members.
  • Associate Members would not be offered their own galleries on our site and would not be eligible for the Find-a-Freelance system.

We are starting the new year by helping you brush up on your Photo Mechanic based workflow

We offering members and non-members the chance to take part in a series of keenly priced half day workshops which will be focused on making the most of Camera Bits software to select , caption and send your images out to the picture desks in a fast and efficient way using Photo Mechanic.
BPPA Secretary Neil Turner has a long history and experience writing about and teaching photography as well as working as a photo editor on very large sports events with world class teams of photographers.
Take the chance to learn from his years of experience as a photo editor how to make the most of the complex and powerful Photo Mechanic. Take control of variables, code replacements and autocomplete texts.
Attendees are welcome to bring laptop’s to follow the tuition in real time if they wish. If not, just listen, take notes and ask questions.
Even the experienced are bound to learn something new.
You can register on this keenly priced workshop here…

Alamy – a follow-up

The UK Press Gazette quoted The BPPA’s open letter to Alamy’s CEO in their piece about his video signalling his intention to reduce the photographers percentage of royalties to 40%. This morning the UKPG asked us to provide a response to James West’s latest video where he offers to keep the 50% split for exclusive content. We provided the following text:
 
“Alamy’s move to alter their commission structure has brought a large number of other issues to the surface such as the low prices they sell pictures for, their broken promise that when they reduced the photographers cut to 50% they wouldn’t go further and their somewhat grudging acceptance that it is the commitment and buy-in from thousands of photographers that has got them to the positive position in which they now find themselves.
 
The BPPA welcomes Alamy’s decision to reconsider their reduction in the percentage paid to photographers but in making this only for exclusive content they are still going to anger many of our members. One of them has said “exclusivity is appropriate to a delicatessen, not a Walmart” and this sums up how most feel.
 
Should they push ahead with this plan the details of how they manage this will be complex. Will photographers have to make some sort of declaration for every single picture retrospectively? Will the burden for proving exclusivity rest with the photographers? Our opinion is that Alamy are still not listening and are still cutting the income of all those photographers who for very good reasons do not wish to, or cannot, surrender exclusivity.”

An open letter to Alamy CEO James West

Dear Mr West
When our members first pointed out that Alamy was reducing the commission that it pays to contributing photographers the first reaction was “oh no not again”. Sitting and watching the video that you posted on YouTube didn’t help. 
Alamy is a company whose success is built on its relationship with the people who have trusted you to handle their stock and live photography sales. Relationships built on trust are destroyed very quickly when one party moves the goalposts and that’s exactly what you are planning to do.
Many of our members are contributors to Alamy and a significant number of them have invested incredible amounts of time and money supplying images through your service. They have done this based on an expectation of an equitable split of sales. The graphs showing increasing revenue and turnover do not show the whole picture when it comes to the incomes of individual contributors. Very few of them have had the degree of income or turnover growth that Alamy can proudly boast about. We know many photographers whose income from Alamy has plateaued at best and, in a number of cases, reduced significantly.
We are not stupid. We are amongst that group of photographers that you mentioned who understand the market. We know that many individual images fetch lower prices than they once did, that it is a complex and competitive market and that sales models have changed since 1999. We understand that the financial uncertanties of Brexit mean that you have to be cautious over the next twelve months or more. We understand that Alamy wants to improve and grow. We understand that you want to fund those goals from within your own revenues but we don’t understand why you would do so at the expense of the contributors whose effort has been one of the key drivers of your rise to a turnover in excess of $30,000,000.
In essence you are asking hard working and dedicated photographers to take a 20% pay cut. It doesn’t matter that Alamy is selling more and has the potential to sell even more in the future if your investments in technology and research pay off. By reducing the photographers percentage you are asking them to pay for those developments and we would be interested to know if anyone at Alamy is taking a 20% pay cut to help fund their futures.
You will, no doubt, have read the comments underneath your video on YouTube. The anger is there for all to see and there are many photographers on there who are going to reconsider their relationship with Alamy. They don’t agree with your assertions that 40% of more sales is better than 50% of a slower increase in sales and, as individual photographers, they are probably correct.
We would ask that you reconsider this move and that you continue to pay existing contributors 50% of the sales. If new contributors want to join then maybe you could agree the 60/40 cut with them. There has to be a way to keep the trust of our members and still be able to fund development because, as things stand, Alamy keeping 60% of fewer pictures of lower quality is a distinct possibility which benefits nobody.
Kind Regards
The BPPA Board

Our Draft Code

 
Immediately after the Leveson Inquiry we started to think about how a code of conduct could be drafted for The BPPA that would help prospective members and the British public understand what our profession is all about.
We looked at similar documents from all over the world and we looked at the various codes of conduct and practice that our clients have already signed up to. It has been a massive task and we are proud to unveil what we are calling the “Final Draft” which was approved at a Board meeting last week. Here is the code in full:
The British Press Photographers’ Association Code of Conduct
Members of The British Press Photographers’ Association are professional photographers concerned with taking, editing and distributing news, feature, sports and other editorial photographs. Their work is predominantly for the British news media. The photographers take every care with their work, but it remains the responsibility of publishers to carry out checks concerning accuracy, damage to reputation, and the will of the Courts.

Press photographers should:

  1. Observe the highest ethical, technical and creative standards. They should conduct themselves in a manner reflecting those standards and be aware that their actions, both positive and negative, reflect on the profession as a whole
  2. Not materially alter their images, or edit them in such a way as to give misleading impressions of news events
  3. Provide accurate and comprehensive caption information
  4. Resist any offers of payment or other inducements from third parties involved in the story to change the way they approach the coverage of news events
  5. Remember they are subject to the laws of any country they work in
  6. Always be aware of the codes of conduct observed by their employers and clients and act appropriately when working on their behalf
  7. Treat people they meet in the course of their work with respect and dignity, giving special consideration to anyone suffering the results of war, crime or other difficulty or hardship
  8. Protect their own intellectual property and respect the property of others
  9. Defend media freedom, and the right to work in a fair and unfettered manner
  10. Feel able to refuse any work involving excessive or unnecessary risks to themselves or others

Ten clauses that sum up how we should behave rather than a set of absolute rules. This is important because we live in an age where there are lots of blurred lines and where each of us may well be doing a wide range of work for which each of these clauses will have greater or lesser significance. PR and hard news are very different and it is important that you read the Code with that in mind.
You will probably have questions about the wording and why it does and doesn’t feature X or Y and we are more than happy to answer those questions. We anticipate the most common query being about why it doesn’t have more specific rules and the answer there is in clause 6:
“Always be aware of the codes of conduct observed by their employers and clients and act appropriately when working on their behalf”
This is important because it refers to the IPSO Editor’s Code for those working for newspapers and other codes for magazines, broadcasting both in the UK and around the world.
According to our constitution this code can come fully into force once it has to be approved at a General Meeting and the next one is scheduled for the 4th of June in London.

The one on the left is a snapper…

Mikael Buck

On the left we have a Snapper, it’s a type of fish, on the right we have a photographer – please learn the difference.
Would you like to demean everything I have achieved in my career with one word? Great! Then just call me a snapper – you won’t be the first or the last person to do it.
With few exceptions, the term snapper is used as a description for photographers by almost everyone we work with – from journalists, to PR professionals, picture editors and other press photographers. What began as a jokey phrase used amongst photographers has been taken from us and turned into a widely accepted description of what we do.
Often when I bring this subject up the reply I get back is something along the lines of “What’s your problem? It’s just a word. I think it’s quite fun”. Well, here’s my problem…the term implies that our sole contribution at work is to own a camera and turn up on time. In nobody’s dictionary is a snap considered to be something that took any skill or input to achieve – it is without a doubt a derogatory term when used to describe a photo.
Of course, most people using the do not really believe we are just taking ‘snaps’. I’ve heard the term used by many colleagues and clients who I know to have a great respect for, and understanding of, what we do. But the term has slowly seeped into our collective consciousness and rarely gets questioned. Whether the person using them intends it or not, some words are loaded with meaning.
One defence of the word I’ve often heard is: “Well OK, obviously some of you guys are photographers, like those who do reportage and high end portraiture – but you can’t exactly call waiting outside court or a night club and taking a few snaps of someone leaving photography”. Yes you can. If you think having five seconds (that’s not an exaggeration) to get a sharp picture of someone running towards you in the dark isn’t a skill then I suggest you try it for yourself. Afterwards you’ll need to talk to quite a few people to make sure that you’ve identified the right person in your photo. But it’s just a snap so maybe don’t worry about that part too much, eh?
Some of my colleagues will no doubt think that I am getting carried away over an insignificant and almost endearing term. And they might compare me to a cabbie who would like to be know as an Executive Transportation Route Consultant (sorry cabbies – if that’s what you want, then that’s fine by me!). Indeed, the online forum where the majority of Britain’s working press photographers discuss their profession is called Snapperweb, so obviously not everyone feels the same way as me.
But I believe if press photography as a profession is going survive the transition to online then we need to learn to acknowledge and communicate to others the contribution we make to journalism – and the language we use is a powerful symbol to the wider world as to how we view ourselves.
Despite what some people will have you believe, press photography is alive and well – most of the space in our national newspapers and news website is given over to photographs and most of these photographs are taken by professional news photographers and not amateurs. This tells you all you need to know about the power of the still image and the skill of the people taking these pictures. Yet shift rates have remained the same for over a decade, the public view our profession with complete disdain and staff positions are almost unheard of. That tells me that as a profession we do not have the power or influence that is commensurate with the contribution we make – stopping using the term “snapper” to refer to ourselves is a small, easy step we can take towards rectify that situation.
So then, just to sum up – a snapper is a type of fish and not a press photographer. Spread the word!
I’d love to hear your thoughts, whatever side you take in this debate. Leave a comment below or tweet me and the association – @mikaelbuck and @TheBPPA
The views expressed here are solely my own and do not necessarily represent the views of The BPPA.
You can see Mikael’s gallery page here.

Mentoring young photographers

Phil Clarke-HillSanteria religion / cult in Cuba 2012/13

It goes without saying that the business is now unrecognisable from the one that I entered in the early 1990s. Then, the structure was relatively linear and there was a clear defining path to an editorial career. Now, every photographer has to be a brand and use social media to shout their wares and tout their abilities. It isn’t even clear what editorial or documentary photography actually is anymore.

I’ve talked before about a ‘bleed’ from the art world and as previous postings on this site seem to indicate, a good deal of photographic education now wraps itself in talk of ‘practice’ and pseudo academic language.

As an editorial photographer and one that works in a documentary tradition, I’m actually delighted that new ways of seeing are being utilised but I’ve always tried to make work that is simple and engaging. I firmly believe that if you’re photographing people in (often) difficult situations you have a duty to be clear and straightforward and that your work should be similar. Your work should be about the subject and not about you.

It’s hardly surprising then that there’s a good deal of confusion about how to progress within the business – or more crucially how to make pictures that won’t fade with current fashions but have a longevity that speaks to an audience with simplicity and crucially, I think, a beauty.

In the past, when I was stuck visually or with an issue of editing, I could ask older, wiser members of my agency for help and advice. That old agency structure has now by and large fallen (in some ways a positive step) and it often leaves people working in a vacuum.

Photography – documentary photography, photojournalism – whatever you call it, is analogous to its written cousin. It is fundamentally a craft that has elements that are worth learning. I’ve always thought that if you are trying to communicate with an audience by showing them the world (perhaps with a view to changing/challenging their opinions) your work must be clear and simple. That isn’t to say dull, but it must be engaging and understandable. There are so many images now and so many photographers producing them. If everyone’s a photographer then you have to make sure that even if your Tweeted voice isn’t the loudest, the work that you produce is the absolute best it can be.

Over the last decade I’ve had dozens and dozens of young (and some not so young) photographers writing to me to ask if they can assist me or just get feedback on their work. I certainly don’t have all the answers, but if someone sends me a half decent email I‘ve always responded and if I’m in the UK, often arranged to meet.

Phil Clarke-Hill emailed me several years ago to ask my honest opinion of his images. We met up several times and it was clear that although he had talent and a strong desire to shoot, he wasn’t as focussed as he could be and his way of shooting was too loose. Some of his frames had a picture in them desperately trying to get out.

I had him shoot some exercises, I lent him an old lens. I set him a project to work on. I made him change where he stood. I made him look up some photographers that I really admired and crucially explained why I thought their images worked and still work. Moreover, I made him aware of authors that wrote beautiful reportage. I’m convinced that there is a symbiosis within all journalism and in the best practitioners there is an erudition, a refinement, a clear, simple way of communicating a story to an audience that transcends the medium.

Phil listened and really engaged. He started to make pictures that were clearer and that said what he wanted them to say – images that could be read visually. Two years later, he’s in a very different place. He’s shooting assignments for good magazines and specialising in South America – especially Brazil. He regularly emails and sends me stuff and asks advice about the things that don’t often get discussed – travel, visas, logistics, pitching – essentially, being a professional. He’s just about to make a book and has an exhibition soon. It’s surprised me how much I’ve enjoyed the process myself – seeing someone benefit from my experiences and (many) mistakes.

Someone else that I’ve worked with over the last couple of years is the young Bangladeshi photographer Farzana Hossen. I taught a workshop in Chittagong four years ago for the Pathshala Institute for a group of local and visiting Norwegian young photojournalists.

Farzana, it was clear, was an exceptional photographer with an inherent and classical visual sense and she was full of questions – not about ‘how’ but ‘why’. The series that she was working on, about her own family, was both mature and subtle. Her next work about violence against women in Cairo was more straightforward visually but much more complicated to shoot. We spoke over email and ‘phone about the logistics and dangers of the work (during the 2013 demonstrations) and I did my best to advise on fixers and contacts for her work. Later that year when she came to London I helped edit her project on acid attack survivors that won her the Ian Parry Award.

Currently, I’m working with a photographer in New Delhi (where I’m still partly based) and another in the UK. What’s really interesting for me, is that I feel the process has invigorated my own work. I have a new book out next year and I can honestly say that some of that work was influenced as much by working with (and learning from) several younger photographers. It may be clichéd but it’s true that it’s been enormously gratifying to be able to help someone and pass on what (limited) knowledge I have.

My mentoring isn’t intended to be a competitor to a University course – many of which I’ve guest lectured at – I see it as guidance for people who are actually trying to work in an industry that is both confusing and constantly moving.

Stuart Freedman is a Freelance Photojournalist and Mentor who points out that his degree is in Politics rather than photography. His website is http://www.stuartfreedman.com/mentoring/

 Phil Clarke-Hill

Theoretical Photography & The Big Bang Theory


Like most professional photographic organisations, The BPPA has a strange relationship with photographic education. On one hand many of our members visit courses on a regular basis and quite a few fill roles as members of industrial liaison groups. On the other hand we find it impossible to whole-heartedly recommend more than one or two courses anywhere in the country.  We readily acknowledge that there are many lecturers and tutors that try hard to prepare their students for entry to the profession but  it appears that there are relatively few that come close to succeeding.

Professional photographers talk about this topic a lot – mostly bemoaning the state of photographic education and even when it is pointed out to them that not all those studying photography want to become photographers they are still highly critical of the status quo. Anecdotes about students who don’t know their “apertures from their elbows” abound and entire cohorts are dismissed because of this. Many courses aren’t concerned with training for the craft of photography but it isn’t always clear that the undergraduates signed up for those courses realise this.
Members of The Board of our association have become quite disillusioned by the long-running trend towards “academisation” or “academic drift” even within courses whose principle purpose is to produce graduates capable of working in the photographic industry. The world of academe understands intellectualisation and it understands research based methodologies. It doesn’t understand or, more importantly, respect craft, skill or talent.
What we are scared of is a pecking order of tutors, lecturers and professors developing where those who talk intellectual nonsense about photography using terminology compatible with the way that higher education perpetuates itself are placed at the top and those whose goal is to equip students with real world skills are looked down upon or relegated to support roles. We know that photography – and press photography in particular – has a vocabulary all of its own with liberal usage of slang, acronyms and technical jargon but the way that academics use language is either intentionally or unintentionally excluding the profession from taking an active part in education.
If you’ve never watched the US sitcom “The Big Bang Theory” you’ve missed out on one of the best bits of television to come out of America in many years. It also serves as a good analogy for what is happening to arts education in general and to photographic education specifically.
At the top of the tree we find Dr Sheldon Cooper – a theoretical physicist whose intellectual arrogance allows him to look down on all other areas of research and education. Next on the ladder we have Dr Rajesh Koothrappali – another theoretical physicist whose work is less well respected and nowhere near as trendy. Moving down the list we have an experimental physicist Dr Leonard Hofstader who actually gets his hands dirty in the lab and Dr Am Farrah Fowler who is a neuroscientist. Getting nearer to the bottom of the tree we have Dr Bernadette Rostenkowski who has sold out and works in the real world in research with a large pharmaceutical corporation and poor old Howard Wolowitz who ‘only’ has an MA and is an engineer and an astronaut. There are several other characters including the pivotal non-scientist Penny but for the purposes of the comparison we have enough players.
You could easily build a table with direct comparisons from the world of Big Bang Theory to the world of photographic education in the UK. At the top there are the Sheldons – thinkers who write papers, have big thoughts about the nature of photography but who, on the whole, don’t take real pictures – or at least ones that matter. There are the Leonards – practitioners who cannot make a living outside of academe who occasionally have something interesting to contribute to the bigger picture and there are the Howards that actually contribute something concrete but whose achievements don’t cut much ice within the education system. You can slot the other characters in for yourself.
Everyone wants to look down on the Bernadettes – highly trained and highly qualified and actually earning a living from a real world application of those skills – but they prefer to ignore or dismiss them instead. A big mistake and a very silly and divisive attitude. I’m not going to stretch the analogy any further by shoehorning the other key characters into it but, if you are a Big Bang fan, that doesn’t mean that you can’t have a go.
Unfortunately there is one problem with this comparison. The Big Bang Theory is really funny. Academic drift in UK photography education isn’t.
There seems to be a tendency within arts education that exists to make sure that it continues to exist: a self-perpetuating and self-interested core whose sole purpose appears to be to create a world where the words spoken and written about the art are more important than the art itself.
Good news of sorts – we are not alone. The concept of academic drift is well recognised and well documented.
Dr Jonathan Harwood is Emeritus Professor of History of Science & Technology at the University of Manchester and he wrote a very interesting paper entitled “Understanding Academic Drift: On the Institutional Dynamics of Higher Technical and Professional Education” in which he identified a trend in higher education whereby knowledge which is intended to be useful gradually loses close ties to practice while becoming more tightly integrated with one or other body of scientific knowledge. One of his key conclusions was that as teachers search for status in the academic hierarchy there is a tendency to mimic colleagues with perceived (or actual) higher status and that choice of language (dense ‘academic’ jargon, etc) is one obvious way to achieve this.
It is clear that this tendency to become part of the system has spread from Dr Harwood’s initial research areas of agriculture, engineering, medicine and management sciences in the 19th and 20th centuries into arts and photographic education in the 21st.
Theoretical photography has grown and flourished inside the academic world whilst it appears that nobody from our industry was watching. It employs a vocabulary so opaque that you have to study with the masters of the game to understand it and by then you are part of the game. You have become part of theoretical photography and if you dare to become the little boy who calls out the Emperor’s New Clothes as a sham then you are dismissed as not having sufficient intellectual capacity to ‘get it’.
There are those who inhabit the arts establishment who are complicit in the game too and all of the time those of us who practice and love photography are being nudged out of what should be a series of inclusive discussions. This wouldn’t be too much of an issue if they went off to play their game and left us to get on with doing the job but there are two serious side effects that cannot be allowed to continue.
The first is the effect on those young people spending a small fortune studying photography with the intention of making it their career. Many (or even most) of them are being taught by people with no real understanding of, or regard for, the industry and whose primary motivation is to further their own careers as academics.
The second is the way that Government defers to academic opinion rather than that of professionals. In an industry like ours where practitioners are, by the very nature of the job, individuals it is so much easier to consult with a learned professor than it is to talk to photographers. All too often this results in a skewed view of what is happening, what needs to happen and how to get from one position to the other.
Dialogue is almost certainly the answer but how do working photographers get inside the walls of academe to get it started and how do we persuade academics to put aside their opaque vocabulary? Could it be that we need intermediaries and interpreters? The answer might be that those lecturers inside the system who haven’t bought into the academic drift yet could act as a bridge.
As an association whose mission is to promote and inspire the highest ethical, technical and creative standards from within our industry we would like to extend an invitation to meet, talk and see if we can do something to stop theoretical photography mimicking theoretical physics.
Acknowledgement:
Dr Jonathan Harwood http://link.springer.com/article/10.1007/s11024-010-9156-9