Level 5 photography
Professional Studies
Week 20
Digital Archives

A minor part of this report is to make a digital archive of my work this was from a website to a blog, anything that showed collection of my work professionally, so this stage I have decided to make a Flickr account instead of making a website which I feel I am not ready and do not think I have enough portfolio as I am not liking some of my personally as I think I could do better. T o keep my work professional standard I had to finish some small detail for example the information about my images and naming different images, this would help me to look extremely professional because it will be representing me if i get known and spread around the world and receive work from this area of marketing.

Here are some followers of my examples of my followers which my flickr is connected to facebook to add friends and the friends can pass their flickr friends an invite to my flickr page.

This is what it looked like when I have finished signing up and have accepted my details and name for my flickr account and by uploading photos I drag and drop into the hello box and start organizing.

Here I have named my images Levitation on each one as that what my project was about and the pop up box saying publishing, means it is ready to show my followers on my Flickr which is not many but I am only starting out.

I find this website is good for organizing and saving my work securely if I have lost it on hardrive, memory cards ad my computer.

Level 5 photography
Professional Studies
Week 5 
Success and Making it , PetaPixel

http://petapixel.com/2013/06/05/top-photographers-share-their-thoughts-on-success-and-making-it/

PetaPixel video

The video is basically about top photographers that have made it to their field of success and website bring the top photographers to share their thoughts on how they achieved their goals to get their career and gives advice for students who are watching this video in lectures on their course or photographers that are just teaching themselves.

feed back from the class as tutor wanted to know what students have grasped from the video and then get other students to add in thoughts on the top photographers advice.

• Shoot things you are familiar with
• Keep advancing, don't be afraid of doing shooting which not comfortable with as you never know the skill you were scared of trying could be your thing
• Say yes to opportunities
• Be enthusiastic
• Research
• Better to do something and fail than not do it at all, must over come fear of failure
• Take risks
• Don't alienate contacts
• Get involved with social networks
• Cut down your expenses
• Market yourself
• Build your portfolio
• Look for opportunities, don't wait for them to come to you
• Find clients
• Be determined and don't doubt yourself
• Make decisions and stick with them
• Be inspired but keep originality, find personal style
• Do what you love, be passionate, don't simply chase the money
• Work hard, be committed

Level 5 photography
Professional Studies
Week 9
Copyright, contracts, and licensing

Class doing my course when Just started the food photography project by the tutor Richard Whitehead that teaches commercial photography recently informed us that copyright law has changed slightly, using an artist's photograph for blog research for a academic purposes is copyright infringement if you don't save the reference such as the weblink underneath picture stating that it is not your's.  We are told that it is best to change blogs to password protected which only visible to a selection of people like tutors and not open to public domain on google+ blogger website.

Beyond the lens- AOP , 4th edition 2014

https://www.gov.uk/government/uploads/system/uploads/attachment_data/file/305165/c-notice-201401.pdf

COPY RIGHT, CONTRACTS

© AOP Gwen Thomas 2012

© AOP/Gwen Thomas 2012 gwen@aophoto.co.uk

LICSENSING

-The right to control copying including digital scanning
- Copy right, designs and Patents Act 1998
-Photographers own copyright in their images- commissioned and personal
- An automatic right- no need to register
- Lasts for 70 years after the photographer dies
-There is no copyright in an idea of employed, incidental inclusion, criticism and review, research and private study and education and news reporting

-Employer pays for tax, NI ,Included work not key, Image or content only, Not by reprographic process, For exams only, Not photography

Licensing 
• Exclusive – Only one licensed client can use – Photographer needs permission for folio use – Client can sue for infringements

 • Non-Exclusive – More than one licensed client can use – Photographer can use in folio – Client can sue for infringement with written permission from photographer

Working with copy right

Making © work for you

Licensing

• Exclusive - only one licensed client can use - photographer needs permission for folio use - client can sue for infringements
• Not exclusive- More than one licensed client can use - photographer can use in folio- client can sue for infringement with written permission from photographer ! Media •! Territory •! Time  •! Exclusive •! Base Usage Rate (BUR)

CONTRACTS

• An agreement between two parties

• Every commission is a contract

• Always have contracts in writing

• Terms of the contract

PAPER WORKS CONTRACTS

• Estimate price and period
• Terms and conditions
• Purchase order
• Invoice
• Licence 

COLLECTIVE LICENSING

• Method of licensing work in difficult to police situations eg photocopying

 • Photocopying/scanning licences issued by the Copyright Licensing Agency

 • Licence fees distributed between publishers, authors and visual artists collecting societies

What can photographers claim for from DACS?

• Work licensed for reproduction in magazines, books, journals

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

DACS WEBSITE:

-Your work is your creation & your pension

- Mark your work

-Never send work on spec

-Read all paperwork

 - Don’t rely on word of mouth

- Use terms & conditions

- Register with DACS

- Start using paperwork

© AOP Gwen Thomas 2012


COLLECTIVE LICENSING
•! Method of licensing work in difficult to police situations eg photocopying •! Photocopying/scanning licences issued by the Copyright Licensing Agency •! Licence fees distributed between publishers, authors and visual artists collecting societies
DACS Design & Artists Copyright Society

•! not for profit visual arts collecting society •! Negotiate and licence their artist members work •! Collect and distribute collective licence money to all visual artists via PAYBACK
What can photographers claim for from DACS?

•! Work licensed for reproduction in magazines, books, journals •! Work licensed in a programme broadcast on BBC Digital or terrestrial UK television
Copyright, Contracts & Licensing

•! not for profit visual arts collecting society •! Negotiate and licence their artist members work •! Collect and distribute collective licence money to all visual artists via PAYBACK
What can photographers claim for from DACS?

Level 5 photography
Professional Studies
Week 8
Terms and conditions 

Definitions:
 For the purpose of this agreement ‘Client’ shall where the context so admits include their agents, intermediaries, assigners, sub-licensees and successors in title. ‘Photographs’ means all photographic material furnished by the Photographer, whether transparencies, negatives, prints or any other type of physical or electronic material.

Copyright:  The entire copyright in the Photographs is retained by the Photographer at all times throughout the world.

Ownership of Materials: Title to all Photographs remains the property of the Photographer. When any Licence to Use the material has expired the Photographs must be returned to the Photographer in good condition within 30 days.

Use Any Licence: to Use comes into effect from the date of payment of any outstanding balance. No use may be made of the Photographs before payment in full without the Photographer’s express permission. Any permission which may be given for prior use will automatically be revoked if full payment is not made by the due date or if the Client is put into receivership or liquidation. If issued, the Licence only applies to the Client and product as stated on the front of the form and its benefit shall not be assigned to any third party without the Photographer’s permission. Accordingly, even where any form of ‘all media’ Licence is granted, the Photographer’s permission must be obtained before any use of the Photographs for other purposes, eg use in relation to another product or sublicensing through a photolibrary. Permission to use the Photographs for other purposes outside the terms of the Licence will normally be granted upon payment of a further fee, which must be mutually agreed (and paid in full) before such further use. Unless otherwise agreed in writing, all further Licences in respect of the Photographs will be subject to these terms and conditions.

Exclusivity The Client: will be authorised to publish the Photographs subject to the agreed exclusivity period. The Photographer retains the right in all cases to use the Photographs in any manner at any time and in any part of the world for the purposes of advertising or otherwise promoting her work, including entering competitions and awards. After the exclusivity period indicated in any Licence to Use the Photographer shall be entitled to use the Photographs for any purposes.

Client Confidentiality The Photographer will keep confidential and will not disclose to any third parties or make use of the material or information communicated to her in confidence for the purposes of the photography, save as may be reasonably necessary to enable the Photographer to carry out her obligations in relation to the commission.

Indemnity: The Photographer agrees to indemnify the Client against all expenses, damages, claims and legal costs arising out of any failure by the Photographer to obtain any clearances for which she was responsible in respect of third party copyright works, trade marks, designs or other intellectual property. The Photographer shall only be responsible for obtaining such clearances if this has been expressly agreed before the shoot. In all other cases the Client shall be responsible for obtaining such clearances and will indemnify the Photographer against all expenses, damages, claims and legal costs arising out of any failure to obtain such clearances.

Payment:  Client will be expected for the commissioned work as agreed. If not paid, in full, by the agreed date the Photographer reserves the right to charge interest at the rate prescribed by the Late Payment of Commercial Debt (Interest) Act 1998 from the date payment was due until the date payment is made.

Expenses : Where extra expenses or time are incurred by the Photographer as a result of alterations to the original brief by the Client, or otherwise at their request, the Client shall give approval to and be liable to pay such extra expenses or fees at the Photographer’s normal rate to the Photographer in addition to the expenses shown overleaf as having been agreed or estimated.

Rejection: Unless a rejection fee has been agreed in advance, there is no right to reject on the basis of style or composition.

Cancellation and Postponement: A booking is considered firm as from the date of confirmation and accordingly the Photographer will, at  discretion, charge a fee for cancellation or postponement. The due performance of this agreement is subject to alteration or cancellation by either part owing to any cause beyond their control. The Client may cancel this agreement at any time by giving written notice to the Photographer but, in doing so, will forfeit any monies paid.

Right:  Credit The Photographer asserts  Right to a Credit and the Photographer’s name should be printed on or in reasonable proximity to all published reproductions of the photographs.

Electronic Storage: Save for the purposes of reproduction of the licensed/agreed use, the photographs may not be stored in any form of electronic medium without the written permission of the Photographer. Manipulation of the image or use of only a portion of the image may only take place with the permission of the Photographer.

Limitation of Liability: In the unlikely event of total photographic failure or cancellation of this contract in any other circumstance the liability of one party to the other shall be limited to the total value of the contract. Neither party shall be liable for indirect or consequential loss.

Applicable Law The agreement: shall be governed by the laws of England and Wales.

Variation These Terms and Conditions: shall not be varied except by agreement in writing.

Level 5 photography
Professional Studies
Week 21
Alamy- stock images

1999: Alamy is founded

In 1999 James West, along with his uncle Mike Fischer, founded Alamy.  John Smith  have been making money on financial markets for years and over the time he has been spend on trading he met people making mistakes just as him when trading. John decided to create the program that allows less experienced traders to be as successful as him without exposing risks. By signing up to Alamy for free by using the student code that is given by university. Signing up you will receive free capital and find out about your future profits.

Changing industry with technology

buying stock images by entering keywords into their search bar and if see what you like that you think will be helpful in blog, campaign, reports and powerpoints for meeting and interviews you can purchase image online or chat or cal them.  Mike Fischer experience in technology and James West enthusiasm for new ideas that challenged the stock photo industry. Alamy was formed and James became CEO and Mike became business mentor.

 licensing stock imagery

RM stands for rights managed- with the image you only pay for what you're using the image for. Rights managed license define exact use in terms of where, when and for how long an image used.

RF stands for Royalty Free- you pay a one off fee to use the image with no restrictions on how you use image, how many times you use it or how long you use it for. you can use the image across multiple projects for life. there are some restrictions on image use for reselling.

Getting permission

-plan to use an image commercially you might need a model or property release

- model property release is signed permission from an individual or owner of a property, or owner of a photograph to be used commercially

- you will need to contact Alamy to check if you can clear extra permissions in these situations above

Alamy live news, contributors from all over the world reach news events from award winners to specialists in their field, got the best creative and editorial imagery from around the world. 

The ME Awards is one of the biggest mobile entertainment industry called stockim which is their iPhone app that lets you seel iphone images on Alamy.

40% to the distributor, 30% to Alamy, 30% to you.

Join Alamy as a contributer

• you get 50% of each sale, the largest royalty paid by any of the major players in the Industry
• you have a non-exclusive contract with a 45 day notice period
• you retain all copyright and editorial control of your images
• you can sell through our network of overseas distributors
• you get dedicated email support
• your images will be for sale to thousands of buyers on a super-fast, easy to use website

Alamy packaged digital photography in a way that grabbed the markets attention, and allied with the equitable approach to its photographers the company reached its first million images in just over 4 years and became profitable in 5 years.

And now, fourteen years after it was founded, Alamy has the largest online collection of images and video clips.

The first digital photograph

first digital photograph had only appeared on the internet in 1992. 

  

Level 5 photography
Professional Studies
Week 18
CV

A CV is your story – you on a piece of paper – your skills, knowledge, experience, aspirations and passions. Your CV is your chance to sell your self – selling means thinking about who you are talking to and tailoring your pitch to suit. This means that you need to develop several CV templates (say for freelance projects, job applications, funding bids, or further education).

CV supporting a funding bid or research proposal would need to include your exhibitions, any publications or appearance in relevant magazines as well as the basic stuff about who you are, your education

start with your BASE CV – this one has everything you have done in it and is the source document for all CVs you send out. The BASE CV should include: Education – schools, college, university Employment – relevant to your career Exhibitions – when and where? Was it solo? Publications – have you had any work published or have you been featured in publications Employment – general where you have gained valuable experience but not in your chosen field (say team work in a sales environment)

Awards & Prizes – have you won or been nominated for any? Do you have qualifications gained outside formal education – say sports coaching badges or Arts Award.

Keep presentation snappy and easy to read – use bullets – you can put more text in a covering letter.

brief description of yourself in base cv

 Who you are

 Your core skills – what are you good at? Teamwork; meeting deadlines;

Examples of Cv

http://www.clairemartinphotography.com/#/about-me/cv

Level 5 photography
Professional Studies
Week 10
Pricing and costing

How do photographers make their money?

How your work or time is valued, and the costing and pricing strategies used, will depend on the art form you operate within as well as its location and audience

The value of your work is influenced by a number of factors:

- quality and distinctiveness

-reputation and experience

- geographic location

-competition

- price

Before you can sell you need to understand

- Is the price you’re selling at profitable?

-How can you be sure of this?

What individual costs are involved?

-OVERHEADS - costs general to the business

- DIRECT COSTS – specific to a piece of work

Who pays for all this?

-Where costs and value/income are equal

- Anything you make above you break even point can be used to pay you a salary and to reinvest in the future of your business

How much do you need to charge to pay your costs and to make the profit you desire?

Ask yourself: 

How much do you want to earn? 

How many days will you work? 

48 weeks/year 4 days per week (1 day for admin and marketing unpaid) = 192 earning days/year

Add your overheads to your desired profit (your ‘salary’ from the business) and divide by the number of days to establish a day rate

Example

 £10,000 overheads + £30,000 profit = £40,000 divided by 192 days earning days/year = daily charge rate of £208/day

If you are making a loss you need to consider:

- Presenting your work in a different context Making savings in time or resources Subsidising the work through profitable activity

USEFUL WEBSITES 

a-n The Artist’s Fees Toolkit 

NUJ Freelance Fees Guide

1. Sample rates exclude artist’s expenses for a specific project and VAT as relevant.

2. Day rates are based on 177 paid days work for the artist a year. If artist is likely to

gain fewer days work, the day rate can increase accordingly.

3. For 10+ years experience, the rate to charge depends on external factors including an

artist’s art world track-record and/or unique attributes and market forces. See The

Artists Fees Toolkit for artists’ overheads headings and use the in-built calculator to

add them up and arrive at a personalised rate

4. Rates assume suitable professional conduct by the artist. See Code of Practice for the

Visual Arts and other good practice documents for artists and employers

5. a-n Artist + AIR and Arts Organiser members are automatically notified when these

sample rates are increased, against comparator professions. To become a member go

Level 5 photography
Professional Studies
Week 19
Job search

Job searches 
a process of research, networking and prospecting for employment and freelance contracts. Makes use of many media and involves significant self-promotion. 

- hard work, particularly in the current climate.

- make your life easier if you focus on what you want and do your research.

 - The Folio Employability Service will help with research and advice, and you should use your Professional Studies modules to develop a strong understanding of the market you want to work in.

- Keep records of your research as you go to save time later.

-Speak to staff on your Programme as they have a wealth of information and contacts as many of them continue to work in the sector.

- Folio has a pool of web links relevant to programmes of study plus some general links covering the arts and related organisations. These are available through the VLE.

 Sign up for alerts from the ‘jobs’ sections of websites – Arts Jobs, Guardian Culture and Media, Creative Choices.

 Sign up with company web-sites

 Find and join social media groups associated with your chosen field

 Find and follow key people on twitter

 Get seen – go to events, openings – work your contacts to get invitations

 Get noticed – make sure you have a speed pitch you can use when you meet new contacts; make sure your online profiles are professional and match your CV

These are a few of the general vacancy sites:

 http://www.artsjobs.org.uk/ http://www.creative-choices.co.uk/jobs-opportunities/jobs http://jobs.theguardian.com/jobs/media/5/ http://jobs.theguardian.com/jobs/arts-and-heritage/ http://4talent.channel4.com/

Job Interviews

- The main point to remember about a job interview is that you have to sell yourself and your skills

-  PREPARATION - Research the company or organisation  and Prepare a list of questions and plan your answers

 - PRACTICE

- PERFORMANCE

Interview questions:

 “Tell me about yourself”

“What are your strengths?”

 “What are your weaknesses?”

 “Do you know anything about our company?”

“What would you like to be doing in five years time?”

 “What do you think you can offer this company?”

What influences the Interviewer?

 • Your personality and how you present yourself

• Your relevant experience

• Your relevant qualifications

 • Your background and references

• Your enthusiasm for the post in question

What Employers expect of you at interview 

 • Dress smartly/appropriately

• Arrive on time

• Relax and be yourself

• Listen carefully to questions

• Be enthusiastic

• Emphasise your skills and experience

Remember- when answer questions say ' I did...' not ' we'. The interviewers want to know about your contribution. If you keep saying 'we' this makes them unsure if it really was you who did something.

Answers to interview question (and the way you present to evidence on application form_ can foow a simple rule. learning, work experience, in your personal life which will demonstrate your faults and tell them :

Why? ( did you do something? what was the problem or challenge you faced?

What? (did you do)

How ( did it work out? what was the outcome?)

When? ( was is time limited, to a tight deadline?

Level 5 photography
Professional Studies
Week 12
Marketing

what do top photographers have in common

- Interests, knowledge and reading into the photographic economy and the world differentiate themselves on personality.

- Personality helps build relationships with clients, buyers and curators and understanding the ethic work and good business and able to commit to it long term and have a strong motivation and a range on craft and ideas, work that gels, resonates, reflects, surprises and approaches to marketing


Marketing definition

- management process responsible for identifying, anticipating and satisfying customers requirements if it is profitable

The 4 'Ps or 7 'Ps' 

- Product

- Price

- Place

- Promotion

 -Process

-Physical evidence

- People

Research the market

- Consider the current market and opportunities analysis

-Secondary and primary research

- Understand your place in the industry

Create an identity

- Register a domain name

- Design your brand identity

- Use your brand consistently

- Become visible through an effective approach to marketing ' be the person behind the brand'

The marketing tool kit and action plan

1. Have the best website or online presence possible

2. Make the most of search engine optimisation

3. Prepare the best portfolio you can

4.  Do some 'go sees' example look around for jobs, exhibitions, talk to other photographers, travel

5. send out some printed mailers

6.Get a small print run of business cards

7.Get listed

8.Send direct mail

9.Blog

10.Twitter and other social media

11.Book a stand at a trade show

12.Exhibit

13.Place an ad

14.Publish a book

15.Enter competitions

16.Get some press attention

17.Network

18.Talk

19.Send a gift

20.Keep shooting!

Professional Memberships

The Association of Photographers (AOP) 

British Institute of Professional Photography (BIPP) 

The Royal Photographic Society (RPS) 

The Society of Wedding and Portrait Photographers (SWPP)

Master Photographers Association (MPA) 

British Press Photographers Association (BPPA)

Bureau of Freelance Photographers (BFP) 

Editorial Photographers UK (EPUK) 

National Union of Journalists (NUJ) 

North East Photography Network (NEPN) 

Redeye

Networking Links or useful organisations Networks

North East Photography Network http://www.northeastphoto.net/ 

Redeye http://www.redeye.org.uk/ 

Photoworks http://www.photoworks.org.uk/ 

FESTIVALS Format http://www.formatfestival.com/ 

Photo London http://photolondon.org/ 

Brighton Photo Biennial http://www.bpb.org.uk/2012/ 

Les Rencontres D’Arles http://www.rencontres-arles.com/A11/Home 

Noorderlicht http://www.noorderlicht.com/en/ 

Chobi Mela http://www.chobimela.org/ 

PUBLICATIONS British Journal of Photography http://www.bjp-online.com/ 

Source Photographic Review http://www.source.ie/index.php 

Hotshoe http://www.hotshoeinternational.com/home.do 

Professional Photographer http://www.professionalphotographer.co.uk/

1000 Words http://www.1000wordsmag.com/ 

Visura http://www.visuramagazine.com/ 

Lens Culture http://www.lensculture.com/ 

Burn http://www.burnmagazine.org/ 

Photography Now http://photography-now.com/ 

Magnum http://www.magnumphotos.com/ 

VII http://www.viiphoto.com/ 

Panos Pictures http://www.panos.co.uk/ 

GALLERIES The Photographers Gallery http://thephotographersgallery.org.uk/ 

Open Eye Gallery http://www.openeye.org.uk/ Ffotogallery http://www.ffotogallery.org/ 

Side Gallery http://www.amber-online.com/sections/side-gallery 

Impressions Gallery http://www.impressions-gallery.com/ 

National Media Museum http://www.nationalmediamuseum.org.uk/ 

Site Gallery http://www.stills.org/ 

Michael Hoppen Gallery http://www.michaelhoppengallery.com/

Level 5 photography
Professional studies
week 3
Competitions

Lens culture portrait awards 2014

International competition that aims to showcase the best photographs from all over the world to discover  great range of 21st century photo portraits. Competition is open to everything from all points of view, all level of expertise and ideas of portraiture as photographic portraits are part of everyday life from fine art to spontaneous selfies, perfect photoshopped portraits (fictitious) social media profile pics, to mobile photne snaps altered with digital filters.


Awards and prizes:


PORTFOLIO AWARD
1st prize: $1500 | 2nd prize: $500 | 3rd prize: $250


SINGLE IMAGE AWARD
1st prize: $1000 | 2nd prize: $500 | 3rd prize: $250


Home page spotlight: winners will be highlighted on home page for six weeks


High-Profile Exposure to our global audience of over 200,000 influential enthusiasts in the global photography marketplace including editors, curators, gallery owners, collectors, publishers, and festival directors.


An Exclusive Feature Article in LensCulture.


https://www.lensculture.com/portrait-awards-2014

The AOP open awards 2013
It is run by association of photographers and was the only AOP competition where professionals and amateurs compete on equal terms. there were no categories or themes so the choice of worl submitted was up to the photographer. The competition was running for 13 years and each year actracted approximately 1,500 entries from around the world, with a pubic vote that had around 4000 voters each year.

Level 5 photography
Professional Studies
Week 14-16
Tutorials

On Friday 6th Febuary I had my tutorial with Jill Cole to discuss my report and my competition entry at 15:15 as I have switched my time and date with Rachel Luckley as she couldn't make it to hers. During my professional studies tutorial I have told her I am doing research on the advertising career which she thought was a good idea but didn't like the layout of my questionnaire as I am creating a survey on survey monkey which will be posted on my facebook which students and some photograpahers I have on contact as friends could take some time in answering but tutor wants me to do a personal interview with professional advertising photographers so i can get experience in contacting a professional that can advice me on the career I am interested in for future. I have told her that I have entered an lens culture portraits award and tutor has told me that there is a helpful competitions guide on the ccad VLE which could help me fill my word count on my report on the competitions section for reference.

Level 5 
Professional studies
week 20
Examples of photography  web hosting and template providers

 123- reg https://www.123-reg.co.uk/

Sites to use to get your domain name for your own website:

Fasthosts

Layerspace/Layerweb 

Amazing Internet 

Clickpic 

The Image File 

Vhoto 

1&1 

Online Picture Proof 

Template websites

Zenfolio 

Layerweb

WIX

questions to ask when choosing a photography website provider

 - what purpose will the website serve (archive, blogging, sales, portfolio)?

- Do you need a selling function?

-Will you use a pre-designed template or design it yourself on dreamwave?

- Does the provider have a good reputation for customer service?

-Does it fit within your budget?

- How secure are your photo's online

-Do your images load quickly

- How do you want to showcase your photos online (full bleed, slideshow, other)?

- Do the images look good on computer screen (sharp, colour balance correct)

-Is the website optimized on mobile?


Photoshelter's 11 secrets to a great photography website

- Consider full bleed images

- Don't be poet

- Edit your portfolio tightly

- Get social

- Be responsive

- Be ready to sell

- Faster is better

- Act like a roadmap

-have search engine optimized ready

- keep it clean and simple

-Put your contact information everywhere

Level 5 photography
Professional studies
week 8

Self employed v Employed

Self employed 

- Have more than one client

- Determine their own hours

- No contract of employment, no set projects sent and no service contract

- Receive no holiday or sick pay

- Provide own equipment

- Required to work to very tight schedules and deadline and know how effectively edit for projects

- Work in their own time and bear risks of their own business

- Essential that you network and promote work

-  Taken up by workers who have been laid off, who cannot find full time employment

- Report the ongoing hassle of dealing with employers who don't pay on time and the possibility of long periods without work

- Have at least ten years of experience to working independently, being experienced do not always earn an income equal to full time employment

- Working from home is often an attractive feature to self employed but from home introduces constraints for the process of doing work, particularly when married with families as child care despite increases in their paid work time

Employed

- Responsibility for works taken by someone

- Regular hours of work

- Weekly or monthly of hours per week or days per month

- Entitled holiday or sick pay

- Contracts or letter employment ( contract service)