Perth Product Photography Blog

Photo and Video Usage Rights: What Every Business Needs to Know

Lisa Reed — Mon, 22 Sep 2025 18:22:11 +0000

Use Visual Assets with Confidence

Clarity on Your Rights

When we work together on photos or motion projects, the finished images, videos or films aren’t just files you can download and use anywhere, anytime, forever. They’re assets with creative and commercial value.

A Usage Licence is simply the written agreement that sets out how you can use those assets with confidence.

Think of it as a framework, not a barrier.

It gives you clarity on your rights, protects your investment, and makes sure the creative work behind your visuals is respected.

Why Usage Rights Matter for Photos and Videos

You want peace of mind that you can publish, promote, and share your brand and business visuals without worry. As photographers, we want to ensure the images we create are valued and used ethically in a fast-changing, AI-shaped world. A licence balances both sides.

Without a licence, things get messy. Especially when assets are shared within businesses and widely across platforms, campaigns, or even countries. With a licence, everyone knows what’s allowed and where the boundaries are.

Photographers also need clarity around licensing, as we outline here: The Importance of Copyright and Usage Licences for Commercial Photographers.

What a Licence Covers

Every price quote from Sum Effect includes a usage licence. It’s about matching the scale of use, to the scale of value.

A licence sets out:

Where you can use the assets (geographic territory)
How long you can use them (duration)
What formats you can use them in (digital, print, packaging, etc.)
How many assets and placements are included
Usage and whether it is non-exclusive or exclusive to your business, or can be extended
Copyright ensures photographers decide how their work is used and be fairly rewarded for the value it brings. It protects the created photos, videos and films from being used without permission
Attribution / Credit is a moral right under law for photographers which means they’re entitled to be credited for their work, and their work is treated with respect.

Common Types of Usage

Here are some common examples of use across our client base:

Packaging is where images are printed directly on retail packaging.
E-Commerce is when images are used in online platforms where products or services are sold.
Catalogue is when images appear in a printed brochure, booklet, or pamphlet to promote products.
Collateral is when your business produces or controls media (and are not paying for placement of the image assets), such as a website, blog, social channels, reports, and brochures.
Publicity is when you submit imagery assets to third-party publications for editorial use without paying for placement.
Advertising is when you pay for placement, whether that is for socials, web, print, out-of-home (OOH), or broadcast.
Display is when you use the images themselves as the product, on merchandise or in public/private displays.

We also use terms like Consumer vs. Trade to help us describe image use, which defines whether your target audience is the general public or a specific professional group.

Some projects even call for Unlimited Use, where every possible media use is included.

Responsible and Restricted Use

We provide these guidelines to our clients to help protect from accidental misuse, and to preserve the integrity of our creative work.

Responsible use

Our expectation is you’ll use the assets in lawful, positive, and respectful ways.

You’re welcome to crop images (without significantly changing their composition) and to add text or graphic overlays, as long as these additions don’t distort or misrepresent the original image.

Restricted use

As commercial photographers, we seek to protect the integrity of our work by setting clear limits.

What this means in practice:

You can’t alter, edit, retouch, or manipulate the assets beyond application of overlays.
You can’t create derivative works or claim joint ownership by incorporating the assets into other concepts.
You can’t resell or redistribute assets as standalone files, or package them into a library or collection.
You can’t use the assets in merchandise, NFTs, or resale products, whether physical or digital.
You can’t use the assets in machine learning, generative AI, training datasets, or biometric technology.
You can’t incorporate the assets into a logo, trademark, or corporate identity.
You can’t use the assets for endorsements, sponsorships, or affiliations with third-party products, services, or organisations.

Simply in regards to AI, our deliverables not approved for AI use and/or AI training.

Copyright and Attribution Explained

Copyright

Copyright ownership means assets created by us as a commercial photography business, and the associated legal property rights to those assets, remain the property of Sum Effect / Matt Reed as the creator.

What this means in practice:

Commercial photographers are the legal copyright holder, and provide a licence to you with the rights you need to use the assets in the ways agreed. Those rights activate once your invoice is paid in full.

We also retain the right to use the work to show what we do (for example, on our website, social channels, portfolio, or award submissions). To respect your business, we only do this after you’ve first used the assets, or after 12 months if they haven’t yet been published.

Copyright “buy out” is possible. It’s a property sale, and can be negotiated separately at an additional fee. It’s an expensive way for businesses to acquire imagery.

If you’d like to go deeper into the ownership side, see: Photography Ownership: Why You Don’t Own Your Brand’s Photos and Why That’s a Good Thing.

Attribution

Moral rights protect a commercial photographers’ personal connection to their work. Under law a photographer requires proper credit or attribution whenever and wherever imagery is used, even if the creator no longer owns the copyright.

These rights are only malleable with a photographer’s consent. Most commercial photographers decide exactly where and when they require attribution/credit. For example, we require attribution/credit for Social Media and Publicity use. You must include: © Sum Effect / Matt Reed alongside published images and/or tag @sumeffectstudio.

What this means in practice:

If your business uses socials, then when you use an image you credit. There are a number of ways to do this: you can do a mention in the post text, tag us in a post, or tag & credit. All these forms are great.

We you have asked for Publicity use and send images to a third-party (media, publishers, or industry outlets), they need to carry our credit line at a minimum. Like here on the Margaret River Region website. This is a standard way of acknowledging the photographer’s role, and ensures the images are properly attributed when used beyond your own channels.

How We Work with You

Licensing can sound complicated, but we keep it practical. Our process is simple:

We start with you – who you are, what the assets are, and how you intend to use them.
We assess value – matching the scope of use with a fair fee.
We put it in writing – clear terms that protect both your business and the creative work.

If your needs change, the licence can grow with you. We can expand or extend usage, or re-license existing assets for new campaigns.

Why Usage Rights Matter in Today’s Market

In today’s market, images move faster and further than ever before. Technology and AI have blurred the lines around ownership and ethics.

A usage licence keeps things clear and grounded. It’s a safeguard that ensures your business has the rights it needs, while valuing the work that goes into creating the visuals that tell your story.

In Short: Usage Rights Give You Confidence

A Usage Licence is there to give you confidence, not red tape. It’s how we protect your investment, respect creative work, and keep everything clear in a shifting digital world.

References

Artist Management Association (AMA). (n.d.). Usage. https://artistmanagementassociation.org/usage

Image Makers Association Australia (IMAA). (n.d.). Resources. https://www.imagemakersassociation.com.au/resources

Henry Black. The Art of Intention | Inspiring Portrait Photography with Artist Tessa MacKay

Matt Reed — Sat, 06 Sep 2025 03:11:17 +0000

A film about portraiture, process, and presence.

In a time when images are often fast, fleeting, and digitally manipulated, “Henry Black. The Art of Intention” is a short film that slows down the act of seeing.

Photographer Henry Black, with a background in film and a commitment to precision, has embraced the deliberate pace of large format photography. His portraits of artists are made in their own everyday spaces, shaped with light, contrast, and patience.

This film follows Henry as he creates a portrait of Australian/New Zealand artist Tessa MacKay, known for her large-scale hyperrealist works. Filmed in her Fremantle (Walyalup) studio, the session becomes a meeting point of two practices: a painter of detail and a photographer of intention.

Why large format photography?

With his head under the dark cloth, Henry views the world upside down and back to front. The process is tactile and methodical, every frame carries weight. For Henry, portraiture is not simply about making an image. It’s about slowing down, being present, and honouring the craft of the artist in front of him.

The choice of film is more than technical. It mirrors the physicality of Tessa’s own work, resisting the sameness of digital shortcuts. The result is a portrait shaped not only by lens and light, but by the shared integrity of two creative practices.

Tessa MacKay: Artist and subject

Tessa’s reputation as a hyperrealist painter extends beyond her meticulous technique. Her work reveals an intimacy with detail, a patience with process, and a deep connection to the human form.

To see her step into Henry’s frame is to witness two crafts in conversation, realism meeting realism, precision meeting presence. The portrait becomes both document and dialogue.

More than a portrait

What emerges is more than a photograph. It’s a meditation on method, mindset, and the quiet anticipation of creation.

Every portrait is an act of deep respect. To take time, to work with integrity, is to remind ourselves that how we create matters as much as what we create.

Watch the film

“Henry Black. The Art of Intention.” was filmed in Fremantle (Walyalup) and Perth (Boorloo), Western Australia, and produced by Sum Effect.

We invite you to watch, reflect, and share the branded film with those who value slow craft, real artistry, and the celebration of human connection.

Watch on Youtube: Henry Black. The Art of Intention.

Still frames from the film

A Sum Effect Production
Director, DOP, Editor // Matt Reed
Producer // Lisa Reed
Featuring // Henry Black, Tessa MacKay
First Assistant Director, Camera // Jessica Correia
BTS Cinematographer // Elliot Ramsay
Sound Design // Rob Johnson

Music in order of Appearance, courtesy of Artlist.io:
“Twilight” by Risian
“Vera” by Borrtex
“Waking Life” by Risian
“Sense Of Music” by Borrtex
“Forest Fire” (instrumental version) by Louis Island
“Reflections” by Risian

Supported by:
Canon Professional Services
Wonderful Machine
Image Makers Association

Content vs Assets Creation: Why Knowing the Difference Matters

Lisa Reed — Sat, 11 Jan 2025 06:07:03 +0000

When businesses ask about photography or video, the first question is usually simple: “How much will it cost?”.

The answer depends on something deeper, the difference between content creation and assets creation. Understanding this difference helps you make smarter decisions, avoid wasted spend, and get imagery that truly works for your business.

Content Creation: Fast, Flexible, and Regular

Content creation is about the everyday. It’s what keeps your brand visible and fresh in fast-moving digital channels like social media, blog articles, email newsletters, and campaign bursts.

Short-term use. Content usually supports digital use such as social activity or a campaign with a quick shelf life.
Regular rhythm. It works best when we’re engaged on an ongoing basis, capturing new visuals regularly, for example each week, month or quarter.
Agile process. If we know your brand well, we can be responsive and flexible, sometimes it really is as simple as turning up with a camera.
Lower per-project cost. The investment is lighter each time, but adds up over months of activity.

Content creation is at its strongest when you need volume and speed. It’s about maintaining momentum, keeping your channels alive, and showing your audience that your brand is active and relevant.

Asset Creation: Strategic, Long-Term, and Planned

Asset creation is a different beast. Assets are the high-value visuals that underpin your brand identity and need to work across multiple applications, both print and digital, for years to come.

3–5 year lifespan. Assets are designed to last, becoming the backbone of your brand library.
Multi-application. They need to work everywhere: in print and digital applications such as your website, annual report, brochures, capability statements, investor decks, PR campaigns, and media kits.
Strategic process. Asset creation requires planning, strategy sessions, detailed shot lists, brand alignment, location scouts, and talent preparation.
Higher upfront investment. Because the stakes are higher, production is more thorough. You’re paying not just for images, but for the ability to use them everywhere with confidence.

Done well, assets deliver exceptional value. A single library of carefully planned imagery can serve your brand across 3–5 years, ensuring consistency and credibility wherever your business shows up.

Why the Approach Matters

The difference between content and assets isn’t just in the output, it’s in the approach that gets us there.

For content, we can be nimble. For assets, we need clarity. That’s why we ask questions like:

How many images are you needing?
Where will they be used?
For video, will you edit in-house or through a post-production team?
Are you sourcing talent and locations, and will they be ready?
Can we do a location scout?
What key messages do the visuals need to support?
Can we see your brand style guide?
Are there visuals you’ve loved or disliked before that we should know about?

These aren’t “nice-to-haves.” They’re what ensure your imagery works long-term and avoids the costly mistake of leaving gaps in your brand library.

Two Ways to Engage a Photographer or Filmmaker

At its core, you have two choices:

Content creation. Regular and planned. Great for ongoing relationships where the photographer understands your brand, and you need fresh visuals often.
Asset creation. One-off and planned. A deeper investment where planning pays off, building a library of high-value imagery that supports your brand across years.

Both are valuable. The key is knowing which one you need for the stage your business is in.

Final Thoughts: Content vs Assets Creation

If you approach photography and filmmaking with clarity, knowing whether you need content or assets, you’ll get more value, stronger visuals, and fewer surprises.

Content creation keeps your brand active in the moment.

Asset creation secures your brand identity for the long run.

The smartest businesses invest in both, understanding when to move fast and when to go deep.

Payment Culture in the Creative Industry: A Call for Balanced and Fair Exchange

Matt Reed — Wed, 04 Dec 2024 03:11:50 +0000

When Delayed Payments Become Industry Norm

The creative industry in Australia is quietly bleeding under the weight of delayed payments. What’s often labelled as “standard” or “best practice” is, in truth, a cover for a power imbalance.

Micro and small businesses including photography studios, filmmakers, designers, producers, and freelancers are routinely expected to absorb the cash flow delays of clients far larger and better resourced than them.

This is exploitation dressed up as “industry standard.”

The Australian Government’s Statutory Review of the Payment Times Reporting Act 2020 (June 2023) confirms what small suppliers already live: large businesses use smaller ones as cheap finance. Payment terms of 30 days are locked into inflexible contracts and enforced via sluggish internal systems. These practices persist not because they’re efficient, but because they’re convenient for those in power.

It’s Not About “Industry Standard”, It’s About Power

In our agency relationships, the common excuse is: “We can’t pay you until we’re paid.” That’s poor cash flow management. You ordered the work. The work was delivered. Pay on time. Improve your systems, your competitors are.

In our direct-to-client relationships, our payment terms are often plainly ignored. When we follow up, the usual excuse is: “We only do payment runs twice a month.” That’s not a policy. It’s blatant disrespect. We should not have to chase you, let alone beg, to be paid.

Even more unethical is the rising trend of post-acceptance negotiation, where payment, copyright, or licencing terms are changed after an estimate/ quote has been approved. We hear “if you can’t do it, then we’ll need to find someone who will”. This isn’t a negotiation. It’s coercion. And it reflects a deeper problem: creatives are too often treated as disposable.

We treat our clients with civility and respect, and expect the same in return. In balance.

The Real Cost of Late Payments

To be clear, we’re not talking about late payments. We can all agree that late payments are wrong on every level.

This is about payment terms where the work is done now, and paid for later.

The issue is not about money. It is about value we provide, and our client’s values.

There’s little financial upside to elongating your payment terms. It creates enormous downstream damage. It forces small suppliers to increase fees next time to cover cash flow funding costs. Some will blacklist you as a slow payer. Others deprioritise your work. Trust collapses. Resentment builds. Creative capacity shrinks. Risk aversion rises. Innovation slows. Growth is stifled in one of Australia’s most vibrant sectors.

All of this happens silently, in the background, while procurement teams talk about “process.” Let’s not pretend this is neutral. Delayed payments damage businesses, relationships, and entire sectors.

A Global Shift Towards Ethical Payment Practice

Other markets are moving. In the UK, the Good Business Pays initiative tracks and rewards fast payers. The top ten businesses all pay within 5–11 days. In Europe, Net 7 is becoming a default standard for SMEs and creative collectives; not an aspiration.

Why? Because fast payment is cultural. It’s a leadership decision. It signals respect, ethical intent, and commercial maturity. It keeps the supply chain strong.

Australia’s contrast is sharp. Most Boards don’t even have payment culture on the governance agenda. It should be.

Our Story: What Balance Looks Like

We run a project-based business. There is no safety net. We operate on a cash-in, cash-out basis. It’s in our DNA.

I’m a farmer’s son. I grew up with the reality of harvests and hand-to-mouth planning. The default DNA is not to borrow beyond our means, stay in balance, do the work, get paid. Since opening in 2009, honesty, integrity in the handshake and healthy cash flow have been our strengths.

When COVID hit end of 2019, that balance was tested. Annual contracts vanished. Clients froze spending. We endured two waves of redundancies which were painful, destabilising, and deeply personal. During that time, we fell behind on payments. That was one of the hardest chapters of my business life.

In 2021, we worked with Grant Thornton Australia under their small business restructure program and managed to avoid bankruptcy. Emerging with clarity, courage, and a strengthened position.

We now walk away from projects where the power dynamics are off. We’ve learned to spot the red flags. We’ve learned that staying in balance is more important than saying yes.

We Won’t Betray Ourselves for a Brief

This industry is built on trust. If we betray that trust, or ourselves, it ripples through the entire business. We’ve learned this the hard way. So we choose a balance of power. Every project must feel fair from start to finish.

We also know that some clients aren’t ready to lead change. That’s fine. But we’re using our voice for those who are.

The culture around payment, copyright, and licencing terms in Australia is broken. There is no “industry standard” worth defending. If you’ve survived the last five years with a camera in hand, you know it’s true.

Our terms reflect our values. Fair exchange. Balanced partnerships. That’s how we do business.

What We’re Calling For

To shift the culture, we need a shared standard of what fair looks like.

Here’s what we ask for:

Standard: Advance payment to initiate, balance prior to delivery
We work fast. Final delivery should follow final payment.
Worst case: Net 7 terms
For small suppliers, seven days from invoice is the outer limit. No exceptions.
No delays behind internal approvals
Invoice equals delivery. Approvals are your job, not our problem.
Prompt payment as ethical standard
Your small suppliers are not your line of credit. If you ordered the work, pay for it.
Public recognition for fast payers
Let’s reward leadership. We need an Australian version of the UK’s Fast Payer Awards.
Procurement transparency
Declare your payment terms upfront. If they’re unfair, be prepared to talk or we’ll walk. You should expect that.

Our Position

We are a micro business. We pay our own freelancers and suppliers in 0–7 days. That’s our standard. That’s our expectation.

That’s also how it works when we pick up rental equipment, hire a car, take out insurance, replace equipment, buy hard drives to store that project, subscribe to a software program.

We don’t sign service contracts or Purchase Orders (POs) that embed unfair terms, especially related to copyright, licencing and payment. We follow ACCC guidance on small business protections. When we deliver the work, we expect to be paid.

This is about professionalism, trust, and mutual respect. It’s about ensuring that small, highly skilled creative businesses can survive and thrive. Where there is an equally shared balance of power and fair behaviour becomes the norm.

We applaud agencies who work with us in this way:

ChangeMakers Media & PR
Elevencom
Lateral Aspect
Propeller Brands
Resource Communications
Two From Two
Wahoo Advertising

We applaud companies who work with us in this way:

Allied Dental
Bon Charge
Centre for Offshore Foundation Systems
Centre for Prosthodontics
D’Orsogna Smallgoods
Heidelberg Materials Australia
Kailis Jewellery
Liberator
Linear
Nina’s Jewellery
Sodashi Skincare
St Barbara Limited

Final Word: Leadership Required

To every agency, brand, and business engaging creative suppliers:

Step up.
Look at your payment culture. Speak to your finance team. Fix what’s broken.

Boards, CEOs, and CFOs, ask yourselves:
What signal are we sending?

Pay fast. Pay fair.
Keep the exchange in balance.

It’s the right thing to do.

References

Australia Competition & Consumer Commission. (n.d.) Unfair contract terms. Retrieved from: https://www.accc.gov.au/business/selling-products-and-services/contracts#toc-small-business-and-unfair-contract-terms
Australian Government. (June 2023). Statutory Review of the Payment Times Reporting Act 2020. Retrieved from: https://treasury.gov.au/sites/default/files/2023-08/p2023-428993.pdf
Australian Small Business and Family Enterprise Ombudsman. (n.d.) Big Business Needs to Pay Up. Retrieved from: https://www.asbfeo.gov.au/media-centre/media-releases/big-business-needs-pay
Good Business Pays. (n.d.) Good business is getting paid today, not tomorrow. Retrieved from: https://goodbusinesspays.com/
Gov.UK Department for Business & Trade. (19 September 2024) Late payments research: understanding variations in payment performance and practices across business sectors and sizes , Retrieved from: https://www.gov.uk/government/publications/late-payments-research-performance-and-practices-across-business/late-payments-research-understanding-variations-in-payment-performance-and-practices-across-business-sectors-and-sizes-html-executive-summary
Norton Rose Fulbright. (February 2021). Must small businesses now be paid on time? Retrieved from: https://www.nortonrosefulbright.com/en-au/knowledge/publications/d3f94ced/must-small-businesses-now-be-paid-on-time

Emerging Creatives: Insights for Writers & Wordsmiths from Luke Pellegrini

Luke Pellegrini — Wed, 06 Dec 2023 01:15:40 +0000

Hi, my name is Luke and I’m a Writer here at Sum Effect. I haven’t been here for a whole lot of time, but I certainly have seen and learned a bunch.

Early days observations

I remember my first day here like it was yesterday. A greeting fit for a king. Being introduced to my very own desk and the kindness that was shown around the clock.

No matter how silly my questions were (and still are), there was and is always someone willing to answer and help me as much as possible. An example of this was during the time when I was writing the food blog. Matt kindly made time for me to call him and ask questions for an hour on food photography, when I had already picked his brain on it multiple days before. No question was too silly or too specific.

Whenever I walk into the studio, there is always a smile on every face and an aura of optimism that fills the air. And it doesn’t just stay in one place, it’s in every room. Being surrounded by such positive and encouraging creatives, it generates surges of ideas that flow so freely. I felt as though there was nothing I had to hide. Each idea was always the sprout of a tree that could grow branches, taking us in any direction.

To be in an environment like this has been an absolute pleasure and essential for my growth as a writer. I didn’t realise a workplace could be this nice, and its certainly been a pleasant surprise. I suppose it’s because of the close-knit family type environment Matt and Lisa have created. It’s an energy that I certainly wasn’t used to in a professional setting.

Lessons for emerging creatives: writers & wordsmiths

Over the course of time I have been here I’ve learnt a few things.

I learnt the value of the draft and how many cracks at a piece of writing it can take before you get it right. Prior to joining the Sum Effect team I always felt the first copy had to be the best copy and I shouldn’t waste anyone’s time with anything that was less than brilliant. It’s been a long but very freeing learning curve.

I’ve learnt that collaborating and ‘ping ponging’ ideas back and forth can really help move an idea along. An example of this was during my time working with Kate on our BTS segment ‘Behind the Frame’. The exchanging of ideas and working together to come up with the perfect idea for an episode was a real learning experience. This process has been so helpful in broadening my perspective, not only as a writer, but as a professional. It helped me to see different angles on stories and taught me to trust more when sharing ideas.

But one thing that has really stuck with me from my experience so far is the way I’ve seen Matt and Lisa treat clients. It goes beyond just a transaction, an exchange of goods and services. There is a connection that is developed between two people that have an understanding and are working together to achieve one common goal of producing the best possible outcome. It’s not only about getting the job done, but building a friendship. I learnt that these interpersonal connections are so important when working with anyone.

Tips and tricks

If you’re a young person like myself trying to come up in a media space, here are three things I found to be beneficial:

1. Don’t be afraid to ask questions. I know it sounds cheesy but it’s true! You’re never going to get the job done better by guessing and hoping, so always ask if you think something needs further clarification.

2. Draft as many times as you need to. Don’t feel like everything you do has to be good straight away, you’re allowed to make mistakes and get things wrong. Just do your best and be open to the critiques and new ideas put your way.

3. ‘Ping pong’ your ideas. Collaboration is a huge part of any creative process and it’s unfair to expect yourself to come up with everything alone. Trust the people you work with and their abilities, they’re there for a reason too! When you present your seedling of an idea to your colleague with an open mind, you’d be surprised just how well the idea can develop.

Final observations

Overall I’ve thoroughly enjoyed my time here and am grateful for this opportunity. I’ve learned a lot and I know that there’s still plenty more learning experiences ahead. But at this point in time, I’m just happy to be here and to be able to call myself a writer!

“Emerging creatives are the heartbeat of our industry’s future. We’re dedicated to fostering a safe, inspiring space where bold ideas are given a chance, challenges become opportunities, and every creative spark lights the way to feeling good about pursuing a creative career.”

Matt Reed – Business Owner, Commercial Photographer & Filmmaker

A Photographer’s Journey Over 20+ Years To Feel Proud Walk Tall

Luke Pellegrini — Tue, 28 Nov 2023 03:11:44 +0000

Matt Reed has been a commercial photographer since 2009, completing 5,000+ photoshoots for all types of clients big and small.

Throw him into any scenario and he’ll come out with the photos needed.

Along the way, he has felt a growing disconnection with what he was making for clients. In a lot of cases what we were doing he would not choose to buy himself.

A bolt of clarity came on a regional shoot in the middle of nowhere. There’s one photo he took by chance of a genuine bloke called Mark. It changed the course of his life.

Matt now creates imagery that does more than meet a brief. It needs to help the people in front of the camera. We’re big believers in people feeling proud of who they are and their role in this world.

In addition to photos, Matt has wanted to make Branded Films for years.

It Made Sense to Tell Our Own Story

Feel Proud Walk Tall: A Photographer’s Journey is a branded film that tells the story of our very own Matt Reed and his journey to become the photographer and business owner we know today.

It was made with a lot of blood (figurative), sweat and tears (literal) and with the intention to entertain and inform.

What is a Branded Film?

A Branded Film can be a film of any length or format that focuses on heart and truth.

They are films commissioned by a company, organisation, business, or corporation with the intention of capturing stories based in reality. And are certainly not advertisements.

As a brand, doing this takes courage.

You have to break free from the usual rules of what your product or service has to look like, and how it can be treated. Do something that …

“shifts the corporate video dial”.

Tony Colley

It’s a legitimate, honest attempt to inform or educate by delving deeper. If you really want to create authentic branded content, this is the way forward.

Our Film’s Message

Something we really want to show to you all, is how important sincerity and authenticity is to us.

“A story of highs and lows of very real people who developed a business oozing with integrity.”

Suellen Horgan

We believe that when we are contracted to do a job, it’s to create a piece of media that informs the viewer of who you are. At its core, is the process of baring your mind and your soul to the world and showing them what you do and what you believe in.

This is best harnessed through exploration in the moment. To be present and be real. Letting down the walls of who you think you need to be and what you think people want to hear. Tell us and the world your truth.

When you do this, you build a connection to the audience like no other, like the connection we built with Marion.

“The film was really engaging and moving – especially at the tearful moment! – and that overall it made me, as the viewer, feel closer to you guys personally. Because you were speaking to the camera it felt like you were confiding to the viewer as a close friend – so that was very powerful.”

Marion O’Leary

The Photographer’s Journey Going Forward

Moving forward, we want to continue making media like this. Not only does it create a more sincere connection with the viewer, it feels good!

It feels so nice to be open and honest, liberating even. To do this we need you. We need you to be authentic, we need you let your walls down and we need you to trust us.

Of course we understand this isn’t always easy for some, who want a mapped out plan that is fixed to their agenda. But if you let us in, we can find the heart and soul of your story.

Share a piece of you with the world, and build a connection with so many others out there that don’t just buy products, but buy into you! People that want to invest their time and money into a person or people that they share commonalities with or find qualities they find endearing.

You don’t have to be the coolest, or the smartest or even the best. You just have to be you. We can do the rest.

We Feel This Is The Future

We’re proud of this 41.39 min film and would love you to see it too.

We feel this is the future for commercial photography and filmmaking. Making Branded Films. This is how we’d like to help businesses and not-for-profits tell their story.

We hope you like “Feel Proud Walk Tall. A Photographer’s Journey”.

Let us know.

View here.

5-Star Industry Reviews

Belgrade International Film Festival

In Feel Proud Walk Tall. A Photographer’s Journey, Matt Reed steps out from behind the camera to tell his own story—a rare and intimate move for a seasoned commercial photographer more accustomed to highlighting others. What unfolds is not just a documentary, but a creative self-reckoning: a deeply personal exploration of purpose, identity, and the transformative power of meaningful work.

The film traces Reed’s evolution from a humble upbringing on an Australian farm to the polished world of commercial photography, where over 5,000 photoshoots mark his industrious path. Yet beneath the impressive numbers and the polished client work lies a man increasingly unsettled by the transactional nature of the images he was producing. As Reed confesses early in the film, he often wouldn’t buy the work he was being paid to create. This dissonance sets the emotional tone of the film, building toward the pivotal moment that changed everything: a spontaneous portrait of a man named Mark, taken during a remote shoot. That image, raw and unfiltered, revealed a truth Reed had been seeking—photography as a tool not just for selling, but for seeing and honoring.

Director, subject, and narrator, Reed carries the film with an earnestness that avoids vanity. He doesn’t posture or over-dramatize. Instead, he allows his journey to unfold through quiet reflection, grounded interviews, and visual storytelling that mirrors his photographic aesthetic—clean, honest, and people-first. The documentary’s structure is simple but effective, moving chronologically through Reed’s career while layering insights about creative burnout, the tension between commerce and art, and the power of authenticity.

What makes Feel Proud Walk Tall stand out is its refusal to glamorize hustle culture. This isn’t a tale of meteoric success or industry accolades—it’s a story about rediscovering why you started. Reed’s pivot toward creating “imagery that helps the people in front of the camera” is both a personal and philosophical statement. It challenges viewers—especially fellow creatives—to reconsider what it means to do work that matters.

The film also subtly introduces Reed’s emerging venture into branded films for businesses and nonprofits, connecting his story to a broader mission: empowering others to tell their own. While this could have felt like a promotional plug, it’s handled with transparency and humility, aligning naturally with the themes of purpose and representation.

In just 42 minutes, Feel Proud Walk Tall achieves what many longer documentaries fail to do—it inspires without preaching, reflects without self-indulgence, and invites rather than instructs. It’s a quiet, powerful portrait of an artist finding his way back to himself and choosing, finally, to make something he’d be proud to buy.

Verdict:  ★ ★ ★ ★ ★ — A heartfelt and beautifully honest film about the creative journey, Feel Proud Walk Tall is essential viewing for photographers, filmmakers, and anyone navigating the search for meaningful work.

Short Films Matter

In Matt Reed’s compelling autobiographical documentary, the lens focuses not only on his illustrious career as a photographer but also on the inspirational journey of founding Didgeridoo Dojo and the dynamic evolution of his creative passions. Reed’s narrative, brimming with personal insights, exudes a profound sense of confidence and authenticity, revealing a man driven by an unwavering commitment to his craft.

The documentary paints Reed as a charismatic and passionate individual, portraying him not just as a photographer but as a hardworking, life-loving artist dedicated to the pursuit of creative excellence. Reed’s journey becomes a testament to the transformative power of following one’s passions, and his on-screen charisma invites viewers to share in his enthusiasm.

The film is a masterfully crafted ode to a creative life, with Reed’s story interwoven with a rich tapestry of contributions from his peers. Their insights offer a diverse and insightful perspective, creating a holistic view of Reed’s impact on the artistic community.

Matt Reed’s documentary is more than a glimpse into a photographer’s life; it is a celebration of creativity, dedication, and the boundless possibilities that unfold when one fearlessly pursues their passions. This engaging and inspiring piece is sure to resonate with audiences, encouraging many to embark on their own journeys of self-discovery and creative expression.

Verdict:  ★ ★ ★ ★ ★ — An inspiring documentary that is a symphony of creativity and passion.

Viewer Feedback

It honestly was one of the best examples I have seen of heart-centred, human, story-telling (in the context of a business or brand). Nailed it and I think there is a potential big market for this…..

Lorelei Campbell

An extraordinary story of love. Just brilliant.

Philippa White

You have made magic. And magic is soo hard to make in both what you create and in building a business and you have done it beautifully and authentically. Thank-you so much for sharing it.

Kammi Rapsey

I’ve wondered what your gift was, and this movie shows it. It’s love. The proper, unbiased, all encompassing type. So well done on what you’ve achieved so far, and with what is waiting for you in the tomorrows to come.

Jennifer Bishop

I was hooked to the very end – thank you. A lovely reminder of your beautiful souls and how the road has been lumpy but you’ve continued to make others smile and feel proud of you and proud to know you.

Jude Mahony

The film is an engaging short story of an interesting person with valuable skills; describing how they came to do what they do, and why they do it.

The audience buys into them and their work. Having made this investment, they have an enthusiasm/inclination/desire/predisposition to buy the product.

From a non-business point of view, my mum found it absolutely remarkable and commented to me that you’re “one in a million”. Without prompting she expressed her hope that those who are likely to engage your services will have a chance to see it. So you clearly have her in your team of cheerleaders too!

Josephine Horgan

In the lobby and first open floor of our corporate head office in Perth we play a generic branded video on loop. It’s full of company faces, dialogue and data. I now realise we missed the opportunity to capture and share the story of our amazing company through our extraordinary people.

Feel Proud Walk Tall style branded videos will be the new standard for the “about us” tab for every company who dares suggest their people are their most valuable asset!

The corporate video dial has just shifted ….

Tony Colley

Brad and I were inspired! We were humbled by your honesty and completely related to the ‘am I a fraud’ idea with regard to confidence.

Fleur Cassidy

Engaging, insightful, heart-warming and just so wonderfully honest!
You should most definitely Feel Proud and Walk Tall.

Jacqui Moxham

It was very inspiring for me and it really made me think about how we could do better with more genuine communication.

Sharin de Silva

What a marvellous expression of you and your team. So proud of you showing all of you to the world. We all benefit from what you share with your presence.

Charmaine Dove

Congratulations on such an inspirational film. So human, sensitive and honest. Such a beautiful process for you over the years. I hope you continue to flourish in your sensational work.

Dena Lawrence

A Sum Effect Production
Director // Matt Reed
Producer // Lisa Reed
Editor // Kate Ellen Campbell
Camera // Matt Reed, Kate Ellen Campbell, Henry Whitehead
Sound Designer // Haresh Chandra
Colourist // Dmytro Bas at The DB Post
Title Design // Kim Wood at 485 Design
Archival Footage // Provided by Sum Effect

Order of Appearance // Matt Reed, Kate Ellen Campbell, Haresh Chandra, Lisa Reed, Yoshitaka ‘Sanshi’ Saegusa, Henry Whitehead, Jasmin Bernhagen, Cristina Londono, Justine Kiggen, Cevrina Reed
Special thanks to our wonderful clients.

Music in order of Appearance, courtesy of Artlist.io:
“SYNERGY” composed by TURPAK
“CAFE DA MANHA” composed by Lus Allieres
“BETWEEN US” composed by Veaceslav Draganov
“ENDLESS SAVANNA” composed by Ikoliks; Remix Instrumental performed by Matt Reed; Remix arranged by Haresh Chandra
“DON’T CHEAT” composed by The David Roy Collective; Remix Instrumental performed by Matt Reed; Remix arranged by Haresh Chandra
“FIRST SUNRISE” composed by Ardie Son
“DRINKS ON ME” composed by Rex Banner
“FIELDS OF FAITH” composed by Noam Zaguri
“STRANGE CONNECTION” composed by Nobou
“INBORN” composed by Piotr Hummel
“UNDERTOW – INSTRUMENTAL VERSION” composed by Low Light
“ME” composed by Fjodor
“VOYAGE” composed by ANBR
“TRUE SELF” composed by ARYEH

Supported by:

Small Business Development Corporation

City of Cockburn

Go-to Equipment:
Canon Australia, DJI, Profoto, Manfrotto, Really Right Stuff, Tether Tools, SmallRig, Rode, Bose, Apple, Capture One, DaVinci Resolve, Adobe, Lowepro

What Is A Smile? Our #1 Reason To Get Out Of Bed

Matt Reed — Sun, 19 Mar 2023 07:39:45 +0000

We made this short film in answer to the question… “What does the world need that our talents can provide?”

Smiles.

Genuine smiles that come from the heart.

It’s why we get out of bed.

Short Films Explained

A short film is a cinematic work that is significantly shorter in duration than a feature-length film.

There is no strict rule defining the exact length of a short film, and it is generally considered to be a film with a runtime of less than 40 minutes. Some definitions allow for shorter durations, often ranging from a few minutes to half an hour.

Short films can encompass a wide variety of genres, styles, and subject matter, much like their longer counterparts. The key to short films is they must convey a complete story, idea, or concept within the constraints of their limited runtime.

Some common characteristics of short films include:

Conciseness: Short films often focus on a single, well-defined idea or theme and aim to tell a compelling story or deliver a message within a limited time frame.
Creativity: Short films are known for their innovative and experimental storytelling techniques, as filmmakers often use the format to explore unique visual and narrative approaches.
Compact storytelling: Due to their brevity, short films typically require efficient storytelling, often with a clear and engaging beginning, middle, and end.
Exploration of themes: Short films can tackle a wide range of themes, from personal emotions and relationships to social issues, in a concentrated form.
Platform for emerging talent: Short films are often used as a stepping stone for emerging filmmakers, allowing them to showcase their skills and creativity before taking on larger projects.

Short films can be seen on online platforms, at film festivals, and even on television.

They are an important part of the film industry for their ability to experiment, convey powerful messages, and captivate audiences in a relatively brief amount of time.

4-Star Review by a Short Film Critic

Thrilled our story is travelling far and wide helped by a great review from Short Films Matter.

Verdict:  ★ ★ ★ ★ — A vibrant testament to the magic behind a smile.

Viewer Feedback

This video has a WOW factor. Happy upbeat fast paced narrative.

It’s brilliant… I have watched it many times & find something new each time that I become fascinated & curious about.

A surprising pop up of beautiful happenings with contrasts creating an impulse to watch again!

It is fast moving, multi-faceted & uplifting across the board; it clearly demonstrates a fleeting diversity connecting the power of possibilities within your scope of work highlighting variations.

Again, drawing one in through the narrative with your theme ‘smile’ happily mingling with what can make a difference in our worlds, delivering endorphin releases identifying our feelings of positive wellbeing and greatness.

A call to invite passion with a smile manifested through glorious nature & creative endeavours.

The upbeat nuances create balance across the board noting many subtle contrasts with distinguishable ones. There are pauses that draw attention to the direct messages emerging from these.

We are openly invited to participate in your creation of a multi-faceted world!

I love the questions that you pose to the viewer, they are so engaging & empowering.

Love your work shows how much sparkles so brightly! It is so creatively inspiring!

Diana Kells

Nice work Matt, certainly made me smile!

Lucinda Sims

The video is beautiful. A smile says so much hey. It welcomes, it builds trust, it connects. Well done!

Jennifer Bishop

Awesome short! Love it very much especially the diversity in everything from people to industry!

Great job guys!

Peter Lai

OMG I love this!

Cristina Londono

Great video, really enjoyed it. A great showcase of the amazing work Matt and the team do, top class!

Janine Paynter

Love the video Matt!

Sharin de Silva

I love it! It made me smile .

Congratulations on your beautiful work.

Pip White

Absolutely f*%king BRILLIANT!

Well done gang.

Lou Corteen

Gorgeous! Love it

Steph Pelham

Gorgeous video! It made smile remembering how much fun our photoshoot was. It’s easy to smile when Matt is on the other side of the camera!

Belle Lyons

Your video is just lovely. It challenges us to think about what is important, and it comes down to a smile! How beautiful and heart-warming, and oh! so easy to do.

Mary-Ann Oliver

I just watched What Is A Smile which was absolutely beautiful and so heart-warming. I think Sum Effect should be doing our WA Tourism campaign as your photography makes everything so appealing.

Susy Vaughan

This is gorgeous! Love it

Michelle Tickle

Thank you for sharing this beautiful video! This video gives a nice flavour of your work. it reminded me of our shoot, how much fun it was, how much I smiled and felt like a superstar!

Sabina Ibrahimbegovic

We hope you like it too. Let us know.

View here.

A Sum Effect Production
Co-Directors // Kate Ellen Campbell, Matt Reed
Writer // Kate Ellen Campbell
Producer /// Lisa Reed
Video Editor & Voice Over // Kate Ellen Campbell
Camera // Matt Reed, Henry Whitehead, Shaun Atherstone, Sam Hesketh, Aaron Gaiger, Kate Ellen Campbell
Sound Designer // Haresh Chandra
Colourist // Matt Reed
Title Design // Kim Wood
Archival footage // Provided by Sum Effect

Special thanks to our wonderful clients

♫ “Voyage” by ANBR on Artlist

Images

1. Renowned pipa performer 連珮如 Peiju Lien from Taiwan

2. True Sport WA

3. St John WA

4. Lateral Aspect // WAMMCO International

The Importance of Copyright and Usage Licences for Commercial Photographers

Matt Reed — Tue, 21 Dec 2021 06:22:02 +0000

What Do You Stand For?

Photography is one of the most exposed creative careers. We build something from nothing, then release it into the world, where it’s evaluated and used in ways that shape brands, campaigns, and industries.

This isn’t about being at the mercy of subjective opinions. It’s about recognising the value of our work and ensuring it’s protected, respected, and fairly compensated.

Pricing and licensing aren’t just technicalities, they are declarations of the worth of our craft, time, and expertise. Standing behind our value is not just a business move; it’s a professional standard.

Photographers don’t just capture images; we shape narratives. Within this dynamic industry, knowledge, confidence, and clear boundaries create longevity.

From Uncertainty to Clarity: The Power of Licencing

Early in my career, I underestimated copyright and usage licences. Like many emerging photographers, I thought I was making things easier for clients by handing over images without restrictions.

In reality, I was giving away control over my work, undervaluing my expertise, and setting a precedent that led to burnout.

Today, after thousands of shoots, I understand that licencing isn’t about creating hurdles, it ensures fairness. It’s a tool that protects creative ownership, secures income, and establishes professionalism.

Three Pillars of Usage Licences

For commercial photographers, usage licences rest on three key pillars:

Satisfaction – Taking pride in the work we put into the world.
Payment – Ensuring fair compensation that allows us to continue creating.
Alignment – Maintaining industry standards alongside other creative professionals, from voice artists to composers.

Understanding licencing is one of the smartest business decisions a commercial photographer can make. Here’s why.

Copyright vs. Usage Licence

At its core, the distinction is simple:

Copyright = Ownership: You own the image because you created it. Always.
Usage Licence = Permission: You grant clients specific rights to use the image, while still owning it.

Copyright: Your creative ownership

Copyright is an automatic legal right that gives creators control over how their work is used. In most jurisdictions, photographers retain copyright the moment they capture an image. This means:

You control how the image is used, distributed, and reproduced.
No one can use your work without permission.
You determine its value by licencing its use rather than transferring ownership.

In Australia, the Copyright Act 1968 protects photographers, ensuring they automatically own the copyright to their images.

To be clear: As a commercial photographer, you hold the copyright, you retain the copyright, and the copyright is never signed over to a client unless they pay for the rights (property purchase under law).

Clients often assume they own the photos by default.

Here’s why that’s not the case: Photography Ownership: Why You Don’t Own Your Brand’s Photos and Why That’s a Good Thing.

Usage Licence: Defining Image Rights

Usage Licences, standard across creative industries (photography, design, music, and film), define:

Duration: Limited (e.g., 12 months) or perpetual.
Territory: Local, national, or global.
Medium: Print, digital, social media, TV, billboards, etc.
Exclusivity: Exclusive (only the client can use it) or non-exclusive (creator can licence it to others).

Rather than transferring ownership, a usage licence grants clients specific rights under agreed conditions.

Why Do Photographers Undervalue Licencing?

In most creative industries, licencing is a given. Hire a voiceover artist, a composer, or a model through an agency, and you’ll be asked upfront where and how the work will be used. The greater the reach and impact, the higher the licencing fee.

Yet, many photographers:

Lack confidence in their pricing.
Aren’t educated about licencing best practices.
Default to giving clients full control over images simply to make the sale.

I know, because I was once that photographer.

Experience has taught me that undervaluing your work doesn’t just affect your income, it affects industry standards. The more we recognise and apply proper licencing, the more we contribute to a fairer, more sustainable creative sector.

Why Licencing Matters for Photographers

Licencing isn’t just about protection. It ensures photographers are paid based on the value their images bring to clients.

Consider:

A global ad campaign should not cost the same as a social media post.
A one-time digital use is not the same as an ongoing, multi-platform campaign.
Licencing creates sustainable revenue streams instead of one-off payments.

For photographers transitioning from portrait or wedding work (B2C) into commercial photography, understanding this distinction is crucial. In commercial photography (B2B), a usage licence is standard practice.

How to Protect and Price Your Work

Join professional photography organisations for best practice guidelines.
Always include licencing terms in your quotes and contracts.
Use licencing calculators or industry guidelines to set fair rates.
Educate clients, help them understand that licencing is about usage, not just a flat rate.

If you want to see how businesses think about usage rights, this guide for brands breaks it down: Photo and Video Usage Rights: What Every Business Needs to Know.

Resources for Professional Photographers

For Australian photographer seeking guidance, these organisations provide invaluable resources:

Image Makers Association Australia (IMAA) – Licencing templates, and advocacy. www.imagemakers.com.au
Arts Law Centre of Australia – Covers copyright, contracts, and legal rights. www.artslaw.com.au
Australian Copyright Council (ACC) – Legal guidance on copyright laws and licencing. www.copyright.org.au

For photographers working internationally:

Wonderful Machine www.wonderfulmachine.com
UK Association of Photographers (AOP) www.the-aop.org
Professional Photographers of America (PPA) www.ppa.com

Final Thoughts: Stand By Your Work

Licencing isn’t about making things complicated. It sets professional boundaries that serve both photographers and clients.

Understanding and applying licencing correctly ensures:

Your work is valued appropriately.
Your income is sustainable.
The photography industry continues to uphold fair standards.

If you’re feeling uncertain about where to start, you’re not alone. Confidence comes with knowledge and action.

Need a starting point? I’m happy to connect and chat. Find me on LinkedIn.

Glossary for Commercial Photography

Matt Reed — Fri, 19 Nov 2021 09:28:40 +0000

This glossary for commercial photography, video and filmmaking, is an alphabetic list of words with accompanying explanations.

Some explanations are coupled with example photos to show you exactly what we mean.

It’s a help hub resource for you to explain common words and phrases we use in the commercial photo and video industry.

This allows us all to use the same language, and your project to roll smoothly from start to end!

1,2,3

360 Video

A type of video where the product or subject in the video rotates 360 degrees so all sides can be seen.

A

Animations vs Motion Graphics

These terms are often used interchangeably, although they mean different things.

Animation is typically a substitute for video footage.

Motion graphics is adding motion to pre-designed graphics.

Aspect Ratio

Refers to a photo or videos ratio of width versus height (always in this order – width first, height second).

It’s important to know this before the camera comes out, as it affects the output format.

Knowing this up front allows the creation of well framed, strong imagery.

Common aspect ratios are:

1:1 Square: Ecommerce Default
2:3 Vertical: Standard Vertical
4:5 Vertical: Instagram Feed Post
9:16 Vertical: Instagram Story / Full Screen Phone
3:2 Horizontal: Standard Landscape
16:9 Horizontal: Standard Video / TV / YouTube / Full Screen Phone
Custom Wide / Website Banner

B

Beauty & Skincare

Deep Etched Pure White
A beauty & skincare product classic ecommerce photo for online shopping carts.

Deep etched is a technical term that describes the process of digitally removing the background from a product photo in the post-production phase.

This results in a pure white background and the product appears like it’s floating on a white page.

Despite the simplicity of the image, this style of product photography is one of the more technically difficult photos to master, ensuring the product looks its best once the background is removed.

On White
A beauty & skincare product photo taken with a white background.

This actually looks like light grey if it’s sitting against a pure white website background.

This is becoming more common in online shopping carts as brands are moving towards softer more realistic feeling photos.

On Colour
A beauty & skincare product photo taken with a colour background selected that’s on-brand to support key messaging.

Minimal Styling
A beauty & skincare product photo featuring one or two other elements. These elements could be props, ingredients or contents.

On Model Body
A beauty & skincare photo taken using a model’s body skin to give a product context, often showing the product in use.

Ingredients
A beauty & skincare photo taken using either the raw contents of a product or featuring ingredients that go into making the product.

On Model Face
A beauty & skincare photo taken using a model’s face, neck or head to give a product context, often showing the product in use.

In Model Hands
A beauty & skincare photo taken of the product in a model’s hand to introduce the human touch.

Environment
A beauty & skincare photo taken of a product in an environmental setting.

The term “environment” in photography typically refers to the product feeling like it’s in a location, the real world, a feeling of a place.

You’ll find more visual examples of Beauty & Skincare here.

Business Portraits

Headshot
A tightly cropped photo of a face, from the shoulders up (edges of shoulders seen).

Used mainly by professionals for LinkedIn, Video Conferencing profiles and website “meet the team” pages.

Plain Portrait
A photo of a person showing more than just the face. It can be captured as an upper body, ¾ length or full body.

Usually photographed on a plain background. See Environmental Portrait for alternative backgrounds.

Environmental Portrait
A photo of a person showing more than just the face. It can be captured as an upper torso, ¾ length or full body.

The term “environment” in photography typically refers to a location, the real world, a feeling of a place. For example an environmental portrait could be a CEO in a boardroom, an engineer in front of a bridge in construction, an artist in their art room.

Environmental portraits are more storytelling and can give good context about what that person does.

Or it can just look like a beautiful or appropriate setting for the purpose of the photo.

C

Camera Angle

Refers to a creative choice a product photographer will make with the camera.

Common camera angles we use are:

Straight On
Angle
Top Down / Flatlay

Classic Ecommerce

A product photo taken with a deep etched pure white background. Also see Product Photography – Deep Etched Pure White.

Creatively Styled

A stylist creates a scene in the photo or video (composition) using backgrounds, props, ingredients, contents, and hands, face or body models.

Can be minimal styling or complex styling.

D

Deep Etched Pure White

A classic ecommerce product photo for online shopping carts.

Deep etched is a technical term that describes the process of digitally removing the background from a product photo in the post-production phase.

This results in a pure white background and the product appears like it’s floating on a white page.

Despite the simplicity of the image, this style of product photography is one of the more technically difficult photos to master, ensuring the product looks its best once the background is removed.

See also Product Photography, Beauty & Skincare, and Jewellery.

E

E-Commerce

Selling and buying products and services, for personal or business use, online through a website or social channels.

Elevated E-Commerce

A photo taken with product shown using minimal styling and a simple prop or on model in studio context.

Existing Footage

Video footage you already have in your marketing image library, or footage we have that you can draw from, for a new video.

F

Fashion

Flatlay

The product laid out flat on a surface, with the photo being taken from directly above – a bird’s eye view.

Hanging
A photo taken looking straight on to a fashion garment in a hanging position.

With or without a hanger.

Invisible Mannequin
A photo taken that allows a customer to view a fashion garment in a 3D environment.

It gives a product dimension and shows parts of the product that would otherwise be obscured when worn by a shop mannequin or model.

This is a more technical photo to create.

It involves photographing the garment on a mannequin, then also photographing the parts that are hidden by the mannequin and then merging the images together in post production to have a perfect 3D representation of the garment with no distractions.

On Model
A photo taken on a model, showing the face, that allows a customer to view a garment being worn.

On Model Unrecognisable
A photo taken on a model, without showing the face, that allows a customer to view a garment being worn.

Creative In Studio
A photo taken in studio, on model, with a white background that allows a customer to view a garment being worn.

Often a simple prop can be introduced to add more feeling or emotion to the photo.

Used in Online Stores and Lookbooks.

Creative On Location
A photo taken on location, on model, that allows a customer to view a garment being worn in a lifestyle context.

Created to support key messaging in Online Stores, Lookbooks and Campaigns.

These photos are less about being technically colour perfect and more about selling the feeling and lifestyle associated with the brand.

Filming Time

The actual camera in hand time.

Before shoot day, the production team will determine if this is a 1-day shoot, or if filming needs to be spread over multiple session/days.

G

GIF

A type of video file.

A short, animated image file format called Graphics Interchange Format (GIF) which is used commonly on the internet. Also see Stop Motion.

H

Human Element

A hand, or small part of the body included in the photo to give context or life to the photo.

I

Imagery

Includes both photos and videos.

Image Library

Includes all types of imagery, photo and video, to support brand, business or organisational marketing.

In the most practical sense, a brand image library is a folder on your computer or server full of all the right images and videos, at your fingertips, ready to plug-in to your marketing as needed.

Types of imagery can include your people, workplace, activities, projects, products and services. It can also include custom campaign imagery to make your advertising pop. It includes all of the photos and videos you need to communicate well.

Here’s what we make visible through photos and videos:

Your image library can be used for across marketing collateral – your website, socials, annual reports, presentations, tenders, and brochures. I can also be used for Publicity and Advertising.

Intros / Outros

Intros and Outros refers to messages and logos included at the start, and/or end of a video. Think bumpers on either end of a car.

J

Jewellery

Deep Etched Pure White
A diamond ring in a classic ecommerce product photo for online shopping carts.

Deep etched is a technical term that describes the process of digitally removing the background from a product photo in the post-production phase.

This results in a pure white background and the product appears like it’s floating on a white page.

Used to show the product’s intricate details from the front, back, side and close up.

Often multiple exposures are needed to capture the product detail particularly with high-end jewellery.

One of the most technically difficult photos to take due to lighting requirements and image editing involved so is typically priced the highest.

On White
A diamond ring photo taken on a white background.

This is becoming a more popular option than deep etched as the market is moving towards photos feeling as realistic and believable as possible.

Creative A photo taken with a background created to support key messaging.

On Model Hands
A photo taken that allows a customer to view jewellery being worn on a model’s hand or hands.

On Model Body
A photo taken that allows a customer to view jewellery being worn on part of a model’s body.

You’ll find more visual examples of Jewellery here.

K

L

Lifestyle

A photo or video taken with the context of use in life.

For example featuring red wine with the setting of cheese by the fire, a suitcase travelling through an airport, swimwear being worn at the beach, a phone charger in a nice home-office environment.

Lighting

The light present in a photo or video.

This can be the light that is already there in the room or location (sun, lamps, light through the window etc) or can be created using photographic lights.

Two basic types of lighting we use in studio are:

Soft light (think nice flattering light on an overcast day)

Hard light (think bright happy sunny days with shadows).

Location Scouting

Time allocated in pre-production to find suitable locations (indoor or outdoor), to be used as a location, setting or backdrop for the photo or video shoot.

Location scouting can be done in Google maps, specific scouting websites or by physically visiting locations to see their potential and what they creatively offer.

Lower Thirds

A lower third is when a person’s name and title appear in text as an overlay in the video.

Typically, you’ll see this in the lower corner of the video although it can be placed anywhere that is visually appealing.

Lower thirds save the person having to introduce themselves which takes up valuable seconds in the video and often doesn’t add any value.

M

Mood Board

A mood board is a collection of photo or video examples, to use as inspiration, or a style to replicate.

Requiring something quite stylistic gets into very subjective land and is tricky to communicate in words alone.

It helps to get visual alignment on the vision.

Multiple Video Outputs

If you’re wanting the same video to be used on different platforms, there may be a chance you want the same video edited in different aspect ratios. eg. standard 16:9 for YouTube and 4:5 for your Instagram feed.

Or is what you need just a single video?

Be clear up front on how your plan on using the videos as this can heavily impact what footage will and won’t work for extreme changes in aspect ratio.

Music

Sound is 50% of the video.

It heavily impacts the pace and feeling of a finished video. Saying that, music is not essential.

It’s a tool to use if it improves the experience of the viewer.

The cost of adding music to your video can range from low cost, to a significant investment for a custom piece of music.

Like stock photos and stock video footage, there are stock music websites filled full of music that can be licensed for your video.

We have our favourites.

N

O

Overexposed

If a photo is too bright, it is “overexposed”.

Cameras have a limit where if a photo is taken too bright, detail is lost in the brighter areas (even pro cameras).

In this photo there is a loss of detail in the models skin and outfit.

P

Photo

Image, picture, pic, photograph, snap, still or a shot.

Product In Use

A photo taken demonstrating a product in use or application.

Product Photography

Deep Etched Pure White

A classic ecommerce product photo for online shopping carts.

Deep etched is a technical term that describes the process of digitally removing the background from a product photo in the post-production phase.

This results in a pure white background and the product appears like it’s floating on a white page.

Despite the simplicity of the image, this style of product photography is one of the more technically difficult photos to master, ensuring the product looks its best once the background is removed.

Minimally Styled

A product photo featuring one or two other elements.
These elements could be props, ingredients or contents.

Heavily Styled
A product photo creatively styled featuring numerous elements; props, ingredients, contents, using hand, face or body models.

A lot of time is taken when creating these photos to make sure a sophisticated scene is successful in its communication goals.

Prop

When a product in a photo is accompanied by another element to help showcase or compliment the product.

Such as boxes, plinths, water, sand, earth, paint etc.

Prop Sourcing

Time allocated in pre-production to source props to be used.

This can include things like food ingredients, accessories, magazines, coloured backdrops, a dog, a dusty old timber box etc.

Q

R

S

Script Writing for Voiceover

Time allocated in pre-production to develop the written document that will be read by a voiceover artist in a video.

Shot List

A checklist of all shots to be photographed or filmed.

SKU

Product code in use.

Slow Motion

This is when video footage is slowed down to give it that gentle dreamy look.

It’s important to know if there’s the potential to need slow-motion footage prior to filming as there are technical implications.

Stock Footage

Generic footage that can be purchased from stock video websites.

If you need a clip of a busy street in Beijing, this will save you having to fly there.

Stop Motion or GIF

These are terms often used interchangeably to refer to a video made from a series of photos displayed consecutively to see motion.

Storyboard

A storyboard is the roadmap for a video.

This can be in words, pictures or sketches.

It typically outlines each scene or shot in the video.

T

Talent

Refers to models hired to feature in photos and videos.

Typically models are hired on a day rate basis.

As a general rule, the more experienced and talented the model, the easier and more successful the shoot and higher the cost.

Tabletop

A type of setup which is commonly used when taking Straight On or In To / Angle product photos.

It refers to the product being situated on a surface about the height of a table top which makes it easiest to position the camera where it needs to be to take those angles.

Technical Photo

When a photographer makes multiple decisions for one photo to achieve a desired look.

All these decisions need to work together: use of the camera, lenses, filters, and lighting.

Titles

A title can either introduce a video, or provide messages to an audience throughout the video to reinforce key points.

“To Camera” and “Off Camera”

These terms relate to when someone is in a video talking.

To camera is when that person is looking directly at the camera. This works well for direct messages to the viewer.

Off camera is when the speaker is filmed looking slightly off to one side. This is a nice soft way of the viewer feeling like they are joining in on a conversation that’s being had.

U

Underexposed

If a photo is too dark, it is “underexposed”.

Cameras have a limit where if a photo is taken too dark, detail is lost in the darker areas (even pro cameras).

In this photo there is a loss of detail in the models hair and pants.

V

Video

A film, movie, motion picture, Instagram reel, brand story, product explainer etc.

This term typically relates to the final video that will be used. A video can be simple or complicated.

Often videos are made up from a number of different video clips or video snippets.

Video Clip

A video term which refers to one single video recording, without edits.

Imagine a TV ad – this ad would be one video, however would be made up of a number of different video clips edited together to build the ad.

Voiceover

The voice you hear over the footage you are seeing.

This is when you hear a person talking, while you’re watching something relevant to what they are talking about.

Voiceover Artist

A voiceover artist, or voice actor, uses their voice to narrate, character act, or market products and services for various forms of media, including commercials, audiobooks, animated films, documentaries, video games, and e-learning content

W

X

Y

Z

Photography Ownership: Why You Don’t Own Your Brand’s Photos and Why That’s a Good Thing

Lisa Reed — Mon, 21 Dec 2020 06:00:28 +0000

Why Photography Ownership Matters for Leading Brands

When you invest in commercial photography, you’re not just paying for pixels. You’re backing expertise, vision, and the human effort that brings images to life.

If you believe great imagery has power, then valuing the people who create it is the only logical step. Respect follows naturally when you plan carefully, collaborate openly, compensate fairly, and build long-term partnerships.

The brands that lead don’t just consume creative work, they invest in it. Because when you value people, you’re not just taking from them. You’re ensuring they’ll still be there tomorrow to create for you.

In a world where nearly everyone has a camera in their pocket, it’s easy to demand urgent, low-cost, high-impact visuals. But what does that say about how you value the people behind them? And what does it say about how you value your own brand?

Photography Ownership: A Reflection of What You Value

Business is built on relationships, moving through get to know, like, and trust. Yet when it comes to creative professionals, that trust is often overlooked.

Photography ownership isn’t about restrictions or control. It’s about valuing the people behind the work and setting clear use boundaries.

Elevating Your Brand Through Strategic Visual Assets

Strong brands don’t leave their imagery to chance. They know powerful visuals shape perception, influence decisions, and drive engagement. Commercial photography isn’t just about taking pictures. It’s about creating assets that align with your purpose and direction.

Forward-thinking agencies, marketing leaders, and business owners approach imagery as a strategic investment, not a short-term fix.

Let’s explore why.

Why You Don’t Own Brand Photography, And Why That Works in Your Favour

When you engage a commercial photographer, you’re usually commissioning someone with truckloads of expertise to create tailored imagery for your business. You’re not purchasing a disposable product, you’re securing visual assets designed to work for your business.

Photographers retain copyright to protect their work and ensure its ongoing value, just as designers, architects, and consultants do.

Usage rights give you clarity, control, and flexibility. You get exactly what you need, when and where you need it, without unnecessary cost or confusion. Think of it as an agile framework for using images that helps your brand scale with purpose.

This is an area professional photographers themselves are encouraged to understand deeply: The Importance of Copyright and Usage Licences for Commercial Photographers.

Where Today’s Rules on Photography Ownership Come From

The idea of usage rights in commercial photography took shape in the mid-to-late 20th century, as advertising grew. Remember the TV series Mad Men? From the 1950s to the 1990s, businesses relied on photography for print, TV, and billboards, making clear agreements essential for defining how images could be used.

Today, with digital and social platforms expanding how far and fast images travel, ownership rules remain just as critical. They ensure you get the most out of your photography while protecting the creative integrity behind it.

How Usage Rights Define What You Can Do with Photography

When you work with a photographer, you’re purchasing the right to use their images under agreed terms. These terms usually cover:

How you can use the photos (e.g. website, social media, print)
Where you can use them (e.g. Australia only, worldwide)
For how long (e.g. 3 years)
Any restrictions (e.g. images cannot be resold or distributed to others)

This clarity makes agreements straightforward and fair for both sides.

What’s Actually Covered in Photography Usage Agreements

A standard agreement will usually spell out:

Commissioning Client – who commissioned and paid for the work
Type of Use – editorial, marketing, or advertising
Media Channels – where the images can appear (web, social, print, broadcast)
Territory – where they can be used (local, national, global)
Timeframe – the length of use
Exclusivity – whether the imagery is just for you or can be licensed further
Attribution – if credit is required, especially on social platforms and with third-party use
Photographer’s Rights – many retain the right to show the work in their own portfolio

These details protect both your business and the creator.

The Real Value of Understanding Photography Ownership

When your audience sees themselves reflected in your imagery, they feel connected. Visuals tell a story, one that builds trust and strengthens your brand identity.

By respecting ownership, you’re not just acquiring photos. You’re building an adaptable toolkit that keeps your brand relevant. This approach delivers:

Cost-effective, scalable use – pay for what you need now, expand later.
Consistency across campaigns – maintain control of how your brand shows up
Long-Term Brand Equity – maintain control of how your brand shows up.strong, well-managed imagery reinforces credibility

Leading the Industry Forward

Businesses that embrace photography ownership set the standard for professionalism. They show respect, transparency, and long-term vision.

More than ever in 2025, the brands that stand out are those making informed choices. They don’t cling to outdated models. They invest in people and in practices that last.

Ownership is one thing, usage is another. If you want the practical side spelled out, we’ve put together a clear guide: Photo and Video Usage Rights: What Every Business Needs to Know.

The Future of Brand-Driven Visuals

Photography ownership isn’t just a technicality. It’s a strategic choice that shapes how your audience sees and connects with you.

The best brands don’t just use imagery. They work with it, manage it, and leverage it to drive meaningful change.

Want To Learn More?

Looking to build a stronger, more strategic brand through imagery? Love to chat.

References

Australian Copyright Council. (n.d.). Photographers & Copyright. www.copyright.org.au

Arts Law Centre of Australia. (n.d.). Copyright FAQs. www.artslaw.com.au

Image Makers Association Australia. (n.d.). Photography Licensing Guide. www.imagemakersassociation.com.au/resources