IFAD regularly acquires new digital images to reflect our current priorities, projects and issues that concern rural poverty and food security. Images are usually acquired from photo missions that involve a professional photographer visiting and documenting projects, or contracted photographers performing typical photojournalistic functions. These include researching and delivering story options and providing complete photo essays along with images that give an overview of project activities in the area. These projects are generally well under way or near closing so the images can capture well-developed activities and structures.
Research the story
The first step in the photo mission is researching the story. Clear objectives and deliverables should guide each assignment. If the photo mission is part of a bigger project, ideas on story content, approach, mood and audience should be thoroughly discussed with colleagues. Good feedback will help provide the terms of reference. Things to think about are:
Whether the chosen project is a good candidate for photography. Projects that involve growing crops or selling products in markets, for instance, are usually more photogenic than those that primarily involve meetings.
The time of year and the growing cycle. Planting and harvesting are more photogenic than fallow fields.
The stage of the project. The middle and later stages often have more to show than the beginning.
This research should result in several story ideas or angles to guide the photographer’s work.
The photographer uses this information as a starting point and supplements it with additional research before going out to the field. The photo editor also provides background information and basic field contacts.
Whether the chosen project is a good candidate for photography. Projects that involve growing crops or selling products in markets, for instance, are usually more photogenic than those that primarily involve meetings.
The time of year and the growing cycle. Planting and harvesting are more photogenic than fallow fields.
The stage of the project. The middle and later stages often have more to show than the beginning.
This research should result in several story ideas or angles to guide the photographer’s work.
The photographer uses this information as a starting point and supplements it with additional research before going out to the field. The photo editor also provides background information and basic field contacts.
Hiring a photographer
Hiring a photographer. Photography requires vision, skill, training, sensitivity and experience. Like many creative professions, photography is subjective, and no two people will approach a subject the same way. The photo editor reviews the work and background of potential photographers and interviews them for the assignment. Effort is made to hire photographers from or based in developing countries. Sometimes amateurs are used, but professional photographers should be hired for project photography.
COM can offer advice before hiring a photographer and drawing up terms of reference, but remember the following:
Establish a budget. Set aside funds to hire a professional photographer. The amount will depend on the scope of the work; it will be comparable to hiring an international consultant.
Assess photographers. Consult with COM to identify one or more photographers who have professional experience in the international development and/or humanitarian field, and at least three years of experience working with print and digital media. Review their work to make sure their style fits your communications objectives (remember that promoting dignity and respect is fundamental). Interview them to assess their skills, approach and flexibility to deal with potentially difficult circumstances, and to identify any special requirements or limitations.
Discuss the scope of work. Have a detailed conversation with the photographer about the scope of the work. Specify the communications objectives and identify a focal person on the ground who will work directly with them. Be clear about the type of photographs you need, describe specific projects to be photographed, and discuss frankly any difficulties that might be encountered. IFAD photographs should be suitable for all types of print and electronic products (banners, posters, publications, reports, the website), but if you know in advance about specific applications for them, let the photographer know. Ask for a mix of vertical and horizontal shots.
Agree on the fee, timing, locations. Be clear about how many days the fee covers, what it includes (travel, post-production) and how many projects or locations you need to be photographed.
Provide a preliminary shot list. Although it is impossible to know everything about the project, try to provide a shot list of the images you expect and the quantity. This will make the work easier for everyone and will help to avoid misunderstandings later.
COM can offer advice before hiring a photographer and drawing up terms of reference, but remember the following:
Establish a budget. Set aside funds to hire a professional photographer. The amount will depend on the scope of the work; it will be comparable to hiring an international consultant.
Assess photographers. Consult with COM to identify one or more photographers who have professional experience in the international development and/or humanitarian field, and at least three years of experience working with print and digital media. Review their work to make sure their style fits your communications objectives (remember that promoting dignity and respect is fundamental). Interview them to assess their skills, approach and flexibility to deal with potentially difficult circumstances, and to identify any special requirements or limitations.
Discuss the scope of work. Have a detailed conversation with the photographer about the scope of the work. Specify the communications objectives and identify a focal person on the ground who will work directly with them. Be clear about the type of photographs you need, describe specific projects to be photographed, and discuss frankly any difficulties that might be encountered. IFAD photographs should be suitable for all types of print and electronic products (banners, posters, publications, reports, the website), but if you know in advance about specific applications for them, let the photographer know. Ask for a mix of vertical and horizontal shots.
Agree on the fee, timing, locations. Be clear about how many days the fee covers, what it includes (travel, post-production) and how many projects or locations you need to be photographed.
Provide a preliminary shot list. Although it is impossible to know everything about the project, try to provide a shot list of the images you expect and the quantity. This will make the work easier for everyone and will help to avoid misunderstandings later.
Licensing
Freelance photographers are considered independent contractors and we recommend that they be hired as service suppliers. They automatically own the copyright to their photographs, which are their intellectual property, unless there is a contract stating the contrary. IFAD retains the right to use the photographs it has commissioned in perpetuity while allowing the photographer to retain copyright. IFAD requests that photographs not be used in a way that contradicts the best interests of poor rural people and IFAD.
Developing the terms of reference and contract
Based on the information collected while researching the story and discussing the scope of work with the photographer, the next step is to prepare the terms of reference. This is done either by or in collaboration with COM. At a minimum, the terms of reference must include:
- The number of days, broken down by days for travel, the mission itself and post-production work
- An itinerary showing the specific activities to be covered, how many days are to be spent at each location and the travel time between sites
- A preliminary shot list and approximate number of photographs expected.
Medical insurance. Photographers are required to be medically insured while working under contract with IFAD, as per standard practice.
Visas. Photographers are responsible for acquiring their own travel visas. The photo editor can provide an official letter stating their purpose in the country.
Security problems while travelling. If a photographer feels at serious risk during the mission, he or she should contact the photo editor to change or cancel the mission.
Visas. Photographers are responsible for acquiring their own travel visas. The photo editor can provide an official letter stating their purpose in the country.
Security problems while travelling. If a photographer feels at serious risk during the mission, he or she should contact the photo editor to change or cancel the mission.