Kevin Long, Creative Manager

Transcription

1 (Office use - Job No: ERBMC13) ROLE PROFILE QUESTIONNAIRE: TITLE: Photolibrary Picture Researcher and photographer SECTION A Jobholder Details Job Holder s Name Department/Team Location Becky Lyons Brand, Marketing & Content Communications External Relations Headquarters Contact Phone No Becky.lyons@rspca.org.uk Line Manager s Name / Title Department Contact Phone No. Kevin Long, Creative Manager Brand, Marketing & Content Communications External Relations This description should only contain facts about the current job, not the job holder SECTION B Job Purpose and Structure Overall Job Purpose A short summary (2 or 3 sentences) of the main duties of the job To act as picture editor for RSPCA publications and creative materials, manage the image research for major projects and to advise and source images for use by RSPCA and external clients to promote the work of the RSPCA and maximise income. Also to take on photographic assignments for the photolibrary and internal stakeholders. 1 P a g e

2 Structure Chart Showing the reporting relationships relating to this Role Chief Executive Director of Resources Director of Corporate Development Director of External Relations Director of Field Operations Chief Legal Officer Chief Veterinary Officer Executive Office Support (AGENCY) Executive Assistant Assistant Director Resources, IT Assistant Director, Corporate Development, Income Generation Assistant Director, External Relations, Science Assistant Director, Field Operations, Inspectorate Assistant Director, Resources, People Assistant Director, Corporate Development, Enterprise Interim Assistant, Field Operations Director Wales & North Assistant Director, Resources, Finance Interim Assistant Director, Field Operations South 2 P a g e

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4 SECTION C Key Tasks / Job Description It is helpful to give an indication - even in very broad terms of how often the tasks are completed (Frequency) and how large a proportion of the job they comprise (Percentage or time) one or preferably both of these columns should be completed). Additional tasks may be added but the essence of the job should be captured in 8 to 15 key tasks. KEY TASKS 1. Picture edit, advise and research for all RSPCA major projects including Annual Review, catalogues, magazines, campaigns, digital media, events, Enterprise and brochures, taking responsibility for the quality of photographic content and to work alongside the designers. Within agreed budgets acquire the best pictures using a variety of sources including commissioned photographers, stock library agencies and the internet and ensure clearance of rights of usage. Discuss design and layout ideas with the project owners and designers to ensure the correct use of these pictures to maintain a professional standard and that the photographic elements of the project are delivered on time and within budget. FREQUENCY (hourly, daily, weekly, monthly- NOT Occasional /Often) Regular Approx. % of Total Job or time taken 50% 2. Responsible for directing a wide range of photographic shoots for publications and commercial projects including covers, features, still life, people, animals and children. Also finding locations, props and processing all necessary paperwork. Communicating with project managers and designers to agree a clear brief and end product. To use own initiative to manage product placement wherever possible, including managing shoots for RSPCA commercial products. Undertake photographic assignments (including RSPCA events at national and local level. Build stock library imagery via shoots. Carry out shoots for commercial products for both print and digital advertising. Occasionally undertake shoots of a sensitive or confidential nature that can include unsociable hours and compliance with local police and council authorities. Regular 50% 3. Resolve and check that all photography and related activity complies with the RSPCA brand, copyright law and RSPCA policies and procedures. 4. Responsible for the editing, processing, colour-correcting and uploading of own imagery to the digital asset management system (electronic image store). Captioning, key wording and ultimate uploading of own imagery to the RSPCA photolibrary. Daily Ongoin g 5. Manage the colour-correcting of images in RSPCA printed publications including Annual Review, Young Photographer Awards, Prosecutions Review and branded Enterprise packaging. Checking image use at proof stages eg. Cromalins and responsibility for photo credit lines and working within the magazine budgets. 6. Sign off Animal Life magazine image quality at the printers stage by ensuing images are colour-corrected and the RSPCA logo and brand Regular 30% Bi-monthly 30% 4 P a g e

5 colours are not compromised according to the magazine style and RSPCA brand (as agreed in conjunction with the editor/manager of Brand, Marketing and Content) 7. Communicating with external owner of the photolibrary s to rectify any issues or errors and communicate with Photolibrary website users to train and advise how to register and navigate the site. 8. Work with the finance team to maintain the credit-control chaser system to ensure prompt payment of invoices and minimise bad debt. 9. Work with the finance team to produce quarterly photographer sales reports to determine the commission to be paid to photographers. Quarterly Monthly 10% 10% Monthly 5% 5 P a g e

6 SECTION D Job Requirements 1 Decision Making Please give examples of the main decisions you make in your job and what impact they have (i.e. the results of these decisions) The job holder has to decide on the prioritisation of workload, set own objectives and deadlines and also communicate effectively with key stakeholders to agree on various elements of the projects eg. Deadlines/style/feel etc How often? TASK = Edit, advise and decide on the correct use of images across RSPCA projects including Annual Review, catalogues, magazines, campaigns, digital media, events, enterprise and brochures. IMPACT = Checking and making sure there is a consistent photographic brand across Society wide materials. Also to check any images containing scenes/products that contravene our policies and procedures are removed safeguarding the RSPCA from negative media and public attention whilst protecting the RSPCAs reputation. Building positive relationships internally with key departments. TASK = Decide on visual style/content of photo shoots for major RSPCA products, including publications, campaigns, digital media, events and enterprise and that the photographic elements of the project are delivered on time and within budget. This includes the style and look of photography, dressing and directing sets, choosing animals and models and using own initiative to include product placement where possible especially on high-end commercial products. Photographic style includes cropping, focus, copy space etc. IMPACT = Professional consistent use of photographic styles to suit individual projects and meets RSPCA brand requirements. TASK = To arrange own photo shoots and communicate with requesters to agree deadlines and brief details IMPACT = Saving money by organising photo shoots internally and delivering images by agreed deadlines. Building relationships with key stakeholders improving internal communications and working processes. TASK = Edit, process, colour-correct and upload of own imagery onto the digital asset management system. Then caption, keyword and upload images to front end communications hub website (Photolibrary) for both internal and external use and sales. IMPACT = Professional and easily findable imagery for RSPCA clients to use free of charge and for external clients to purchase. TASK = Colour-correct all printed/published images in identified RSPCA publications including Annual Review, Young Photographer Awards, Prosecutions Review, Enterprise packaging and advertising, Animal Action and Animal Life magazines to specified colour spaces. IMPACT = Consistent colours and brightness across our flagship publications and products conforming to industry professional standards. TASK = Control picture costs stay in the magazine budgets in consultation with Brand, Marketing and Content manager. IMPACT = Control no overspend of budget TASK = Sign off Animal Life magazine on press at the printers to ensure images are colourcorrected according to the style and that the RSPCA logo and brand colours are not compromised. IMPACT = Readership is c. 450,000 so has massive brand reach. TASK = Communicating with the digital asset management service provider on any issues or errors IMPACT = Photolibrary website is working and the digital asset management system is working 6 P a g e

7 In which aspects of your work do you receive most guidance and which aspects are checked most frequently? (This might be by a manager, someone else, or a system) The job holder reports to the Creative manager. The creative manager assigns photographic projects to the post holder. The post holder has freedom to picture research, use picture budgets and decide on styles of photography and content. Working on projects is a collaboration between key stakeholders, the post holder, and design. The main contact is with member of the project lead teams who will at times work together. It is possible the commissioners of work/projects will raise questions about the imagery they have received. The post holder is responsible for their own work and the post holder can use their own discretion and initiative to approve shoots. By whom / how often In which aspects of your work do you have most freedom to act and do you have to use your own initiative in any areas of your work? The post holder has alot of freedom with photographic shoots. This includes studio and on location work. There is freedom to decide and use own initiative on style, look and subject eg. Props, models, animals including setups. Once a project is assigned it is up to the post holder to manage the relationship, delivery of photographic expectations of the client. The post holder has freedom to ensure picture budgets are used in the most efficient way though line manager holds the overall budget The post holder has freedom to decide on and then proposing content ideas eg. Covers for RSPCA printed publications. The post holder has freedom to communicate with project stake holders on projects and then refer issues on brand and budget to the creative manager where applicable. 2 Responsibility for Resources Consider your direct responsibility for resources, e.g. animals; cash, budgets, income, invoices; equipment; intellectual property; tools; vehicles; property; RSPCA image; stocks and supplies; information / records. Type of Resource & Value (if appropriate/available) Camera kit and studio equipment (Value Approx: 12k) RSPCA imagery External Imagery Digital asset management system Picture budget for magazines ( 5k) Nature of Responsibility e.g. security; confidentiality, maintaining; budgeting; purchasing ;invoicing; planning, organising, using Security Security, maintaining Security, maintaining Security, confidentiality of clients, secure collection and finance Budgeting Who else shares, or has ultimate responsibility for, this asset? Picture Editor Picture Editor Picture Editor/Creative Manager Picture Editor/Creative Manager Brand, Marketing and Content Manager 7 P a g e

8 3 Responsibility for People Do you support, guide, train, lead or supervise any employees (permanent and fixed term) and non employees working in the organisation such as agency staff, casuals and volunteers? How many / what job titles? What responsibility do you have? E.g. helping starters, checking work, appraising, recruiting No direct line management. The postholder supports, trains and guides employees on how to use the Photolibrary on the Comms Hub. These people include permanent, fixed-term, contract, agency staff, volunteers, branch workers, field staff and external clients such as calendar, press and book publishers. Where required training on how to take a good on brand photo eg. inspectors 4 Interpersonal and Communication Skills With whom do you communicate, internally or externally? Please also give examples of the nature of the communication e.g. passing information, giving guidance, training, negotiating, confronting. Internal The postholder communicates with all RSPCA staff on guidance, training and sourcing imagery either by phone, or face to face. The postholder communicates with key internal stake holders for photographic projects such as designers and project managers with passing information, including negotiating and agreeing deadlines and content. How Often? Daily, Monthly etc. Daily External The postholder communicates with external clients such as book publishers, corporates and local authorities on negotiating rates and agreeing image use which abides by RSPCA policies and does not contravene the RSPCA brand guidelines and reputation. 5 Planning and Organising Is there a requirement to plan or organise (e.g. own day to day or longer term work or that of others)? This may include project work. Please describe / give examples from the Task list in Section C. There is a requirement to plan and organise own work on a day-to-day and long term basis. This includes ongoing photo work and development of image styles of the RSPCA. Day-to-day organisation can be difficult because requests for imagery and photo shoots are unpredictable and there maybe a large volume of urgent requests within a short space of time particularly from Enterprise, press and brand, marketing and content. The job holder is responsible for prioritising these and communicating with the requesters/stake holders as appropriate. Day-to-day work includes agreeing, organising and carrying out photo shoots for a variety of projects that can have high external impact on our brand. On occasion this work includes set design and working closely with the designers. This includes discussing style, look and feel of imagery required. Then agreeing time frames and deadlines for delivery. Day-to-day work includes dealing with both internal and external clients and users of the Photolibrary on the Comms Hub to help, train, guide and advise them on how to use the system, save money by sourcing free imagery (internal only) and building relationships to maximise income (external only). The post holder will review workload on an on-going basis with the Creative manager. On-going work including directing a variety of photo shoots eg. Enterprise food packaging and sales website, Junior membership of children in all seasons with animals for advertising, digital media and print. On-going work includes scheduling time for the delivery of images to the client (internal or external) for a set date. This includes the processing, correcting and uploading of own images to the digital asset management system. Then key wording and metadating imagery (all key descriptive information about photo) to a professional industry standard and publishing on the front end website of the photolibrary on the Comms 8 P a g e

9 Hub. Tasks include scheduling a variety of time dependent work into the post holders diary such as proofing, colour-correcting and signing off images for RSPCA projects and publications. Eg. Animal Life and Animal Action magazine, Annual Review, Prosecutions Review, products and packaging for retail sale (pet food packaging). The postholder is required to plan in the sign off for Animal Life magazine images at the printer as this deadline is unmovable. 6 Working Conditions Please give details of any exposure to disagreeable, unpleasant, uncomfortable or hazardous elements/working conditions. Some examples include (significant exposure to) constrained position; constantly repetitive work; weather/wet/heat/cold; noise; odours; dirt, dust; chemicals; fumes; dangerous animals; confrontational members of the public; potentially emotionally demanding situations; Consider risk of injury and if protective clothing is needed. Hazards Desk Element Task Requiring Exposure to this Element Frequency of Exposure Photo shoots on location, unpredictable people and animals. Emotionally demanding situations. Exposure at centres to zoonotic infections and diseases, dust, dirt, etc Repetitive work, constrained position, distressing images to view 2/4 times a month Daily Typical Duration 1 day 1 day 7 Deadlines & Pressures Please provide information about deadlines, competing demands on your time and the need to deal with unforeseen situations. Examples of Pressure or Demand For How Long? How Often? There are at times volumes of work that have to be delivered in short notice. eg. Within hours). The job holder has to prioritise this workload and demands. Picture research and advising for publications which have print deadlines Bimonthly Bi-monthly Colour-correcting for publications with print deadlines 1 week Bi-monthly Delivery of imagery to external clients for consideration for projects eg.whsmiths 1 to 2 Yearly calendar selections weeks Photo shoots with short deadlines. Imagery could require processing immediately 1 day Ocaasional ly Shortlisting of Young Photographer Awards images, only have a few days a year to complete 1 week Yearly 9 P a g e

10 8 Complexity and Problem Solving What are the main problems and how are they resolved? The postholder has to translate a variety of briefs and requests, into suitable imagery. During the brainstorming process, the job holder, co workers and key stakeholders are engaged in imagining what the finished piece or scene might look like. The postholder has to distil clear direction for photo shoots and image selection from internal stakeholders if the broad stakeholder group has conflicting wishes. This includes projects such as commercial packaging and covers for printed publications including Annual Review, magazine, brochures and leaflets. This is obtained by assessing the different needs and agreeing with the stakeholder group the photo shoot and image direction. The postholder must apply effective management of times and schedules. The post holder must decide the photo shoots and image selections style and objective. This is resolved by solidifying the vision whilst managing various individual inputs. Please describe any analytical requirements of the role to resolve problems or to arrive at the required solutions/decisions. The postholder analyses the different needs of stakeholders on image and photo shoot use and assesses these needs before deciding the direction required. The postholder assesses how the picture budget for magazines can be used most efficiently though final decision on the budget is held by line management. The postholder identifying problems with the digital asset management system and reporting/working with external service provider for a resolution. Is there a requirement to be creative or to apply innovative thinking or judgement to develop any aspects of the work or to meet situations that arise in the job? Please give examples. This is a creative role. The post holder is constantly required to be highly creative and possess innovative thinking and judgement on photo shoots and image selection within RSPCA publications, digital media and product designs. Including for photo shoots and delivering innovative image options for clients whilst considering problems such as light, season, location, models animals etc. Please also see brainstorming under complexity and problem solving above. 9 Education & Training What level of Education, Skills and / or Training including any Qualification is required - i.e. essential, to start in the job and to perform it satisfactorily? A diploma or degree is photography supported by a portfolio of relevant work English and Math passes at GCSE level or equivalent Experience of carrying out photo assignments Experience of Digital asset management systems Ability to multitask and prioritise work under pressure according to tight deadlines Creative approach and the ability to interpret and work to a given brief Problem solving and time management skills Knowledge of picture copyright law and image use legal issues Excellent communication and negotiation skills Keen interest in photography and design Adobe Photoshop, Creative Cloud and Bridge to intermediate level and a good knowledge of photo processing software and image colour-correction Competent user of Word and Excel software packages 10 P a g e

11 10 Experience What sort of directly relevant Experience would be required before starting in the job The post holder would require the following experience: Solid photography experience including different styles Extensive knowledge and experience of commercial photolibrary and digital asset management system Ability to build relationships with a range of clients including negotiating skills Experience dealing with multiple stake holders including creative and external clients Experience of telephone and contact with clients and customer relationship management, plus sales support work on invoicing and working with finance departments Ability to quickly identify suitable images for a wide variety of uses Basic knowledge of natural history Flexible approach to work duties Team player Ability to engage with photographic subjects including people and animals Ability to undertake occasional planned travel within England and Wales What is the minimum length of time required to gain such Experience? At least 2 years Is any specific induction period required? What does this involve? For how long? 1 month to learn about the RSPCA 1 month for learning the digital management system So 2 months in total 11 P a g e

12 SECTION E Role Profile Questionnaire Agreement Please provide details once Questionnaire is completed. Postholder declaration I confirm that, to the best of my knowledge, the information contained in this Role Profile Questionnaire is a true and accurate reflection of my current role at the RSPCA. Print name Signature Job title Today s date Line Manager / Role Profile Owner declaration I confirm that I have read this RPQ and, to the best of my knowledge, the information contained in this Role Profile Questionnaire is a true and accurate reflection of the Society s needs of this role at this particular point in time. Print name Kevin Long Signature Kevin Long Job title Creative Manager Today s date Senior Manager declaration I confirm that I have read this RPQ and, to the best of my knowledge, believe it to be an accurate reflection of this particular role in my area of responsibility in the RSPCA. I also confirm that I have checked this RPQ for internal consistency against all other roles within my department. I confirm that where the Line Manager is not the Role Profile Owner, I have liaised with the Role Profile Owner. Print name Signature David Bowles Job title Head Public Affairs and Communications Today s date 12 January 2015 Job Analyst declaration I confirm that I have discussed the contents of this RPQ with the relevant postholder(s) and their line manager, and believe that it is sufficiently comprehensive and robust to meet the needs of the Assessment Panel. Print name Signature 12 P a g e

13 Job title Today s date THANK YOU FOR YOUR HELP 13 P a g e