Camera and Equipment Insurance

On July 5, 2010, in lense, by admin
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Good camera equipment is not cheap. Most photographers spend years acquiring theirs. If you had to replace all your equipment at once, or even a portion of it, would you be able to? What would you do if faced with such a situation? Settle for a fraction of the equipment you once had? Stop taking pictures altogether and pick up a cheaper hobby?

Costly Camera

Contents

  1. What type of policy do I need?
  2. What if I use my equipment commercially only on occasion?
  3. I want to add a floater to my homeowners or renters policy
  4. I need a commercial policy
  5. Bottom line
  6. Survey Results and Insurance Program

None of the above sound appealing? Consider insuring your equipment. If your equipment is insured, check the coverage and exclusions of your policy to make sure you have the coverage you need. If you lost all your equipment tomorrow, would your insurance company pay for the replacement value of your equipment? Would you face exclusions if you receive photography-related income? Understanding your level of coverage today could save you from being unable to shoot pictures tomorrow.

What type of policy do I need?

The type of policy you need depends on how you use your equipment. If you do not make any money through the use of your equipment, a standard homeowners or renters policy should cover against theft and fire, even when your equipment is outside your home. Typically, standard homeowners and renters policies cover you against named perils only. They also typically have deductibles. If your equipment is accidentally damaged, for example, you drop it, chances are it will not be covered under a standard homeowners or renters policy.

If you use your equipment for non-commercial purposes, another alternative is buying an “all-risk” floater. This attachment to your homeowners or renters policy includes a schedule of covered items. An all risk floater generally covers the scheduled equipment against everything except specifically excluded perils stated in the policy (e.g., acts of war). So if you’re walking down a street and you accidentally drop your camera and a car drives by and runs it over, smashing it into pieces, it’s covered unless that situation is specifically excluded in your policy.

If you use your equipment primarily for business purposes, you should be insured by acommercial inland marine policy. A commercial policy offers all-risk coverage for equipment, eliminates the potential of exclusions if equipment is used professionally, and offers a variety of optional floaters designed to insure against the liabilities faced by a professional (e.g., someone trips over your tripod).

What type of policy do I need if I occasionally use my equipment for commercial purposes?

That’s a difficult question to answer. Some photographers who generate revenue from their work, even if it’s not their primary source of income, need a commercial policy. Commercial policies are generally more expensive than personal policies and might be required depending on the value of your equipment and the level of income you generate from photography. It’s not unusual for a photographer to talk with two different insurance agents and be told by one that they require a commercial policy while the other says a personal policy is sufficient. Your best bet is to talk to a number of insurance agents representing different companies and see which company will offer you the best deal. Remember that misrepresenting your information could cause your coverage to be denied. Worse, if you are offered a policy, misrepresenting your information could cause your claim to be denied, even though your policy is fully-paid!

Due to interest from the community, photo.net has arranged for a special photo equipment insurance program available exclusively to photo.net members. The program offers photographer’s insurance at a heavily discounted rate as a photo.net subscription benefit.Click here to view a document outlining the coverage levels, benefits and associated costs for the insurance. If you’re already a photo.net subscriber, you can access the insurance application form in the Subscriber Services section of your personal photo.net workspace page. If you aren’t currently a photo.net subscriber, you can click here to subscribe.

I want to add a floater to my homeowners or renters policy

Items of value, including photography equipment, that are not covered or have limited coverage on standard homeowners policies may be scheduled on a personal articles floater. Rates for insuring your equipment on a personal article floater vary among companies. Generally, you should expect to pay about $1.35 – $1.75 per every $100 dollars of equipment with no deductible. Coverage is usually in addition to your unscheduled property, giving you more coverage if there is a total loss. Most homeowners and renters insurance policies provide coverage against named perils only. If your camera falls off a shelf and breaks, it is not necessarily covered. Personal article floaters are usually written on an all-risk basis, meaning your equipment is insured against everything except specifically excluded perils. So, if you’re leaning over the side of a boat to get the perfect shot, your strap breaks and your camera falls to the bottom of the ocean, it should be covered unless that peril is specifically excluded in your all-risk floater or if you intentionally threw the camera overboard. With a personal article floater, the burden is on the insurance company to prove that a claim is not covered. With a standard homeowners policy, the burden is on the insured.

Personal article floaters provide broad coverage, usually with no deductibles. Generally, you’re agreeing on the value of your equipment prior to loss. When you apply for a floater, your insurance broker will ask you to list all your equipment, the market value/replacement cost, serial number and other information on your equipment. The market value of an item is the replacement cost of the item in its current state, not a new piece of equipment. Generally, insurance companies replace insured equipment and do not pay cash for the value of the item. If you want cash to replace the item yourself, generally you will have to negotiate with your insurance provider.

Personal article floaters can also cover items you’ve bought even if you have not told your agent. Policies can provide coverage for newly acquired items for up to 30 to 90 days if you pay a pro-rated premium.

I need a commercial policy

If photography is your primary income, or a source of income, a commercial policy might be right for you. Generally a commercial policy is more expensive than a personal article floater attached to your homeowners or renters insurance policy. You should expect to pay between $1.75-$2.25 per every $100 dollars of equipment with a deductible between $250-$500 per claim. A commercial policy offers a similar level of coverage for equipment as an all risk personal article floater, but eliminates the potential exclusion of equipment if used professionally.

Additional coverage available on a commercial policy includes general liability, commercial property, workers compensation, commercial automobile coverage and umbrella liability to name a few.

Most states require you to carry workers compensation insurance(they’re so good in Massachusetts of keeping track of this even photo.net had to comply when sent notice after only a month of incorporation). Professional photographers operating a studio with employees could be liable for any and all costs associated with injuries in the event fo an accident. Professionals not only face this liability with full-time employees, but also with anyone they have hired for an assignment. Carrying workers compensation protects you from personally being liable for such costs. General liability insurance further protects you from third party bodily injury or property suits.

Bottom line

The bottom line is that you should get the type of coverage that best fits your needs beforeyou’re faced with the strain of having to pay for equipment, injuries, or other liabilities. If your equipment is insured, check your policy and make sure you have the coverage you need and that you will not face exclusion if you receive income from your photography.

Photo.net Survey Results and Insurance Program

We ran a survey on photo.net to determine both if there was interest from the community for a photo.net insurance program and the level of demand. There is great interest as we received 699 responses. We determined the average amount of equipment users wanted insured was $8,452 and the median was about $5,500. 15% of users reported greater than $20,000 dollars worth of equipment to insure.

As a result, photo.net has arranged for a discounted photographers insurance program to be available exclusively for photo.net members (view details). As a photo.net subscriber, you can access the insurance application form in the “subscriber services” section of your personal photo.net workspace page.
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Article Source : http://photo.net


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Art Of Photography

On July 5, 2010, in lense, by admin
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Photography is both an art and a science. Photography allows us to express our feeling and emotions, but to do so we need to master the scientific part of the medium. Unlike a painter, who is in direct contact with his subject and his canvas, a photographer is separated from his subject by the camera and from his “canvas” by computers and printers today and by darkroom equipment previously.

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The scientific aspects of photography can be both overwhelming and fascinating, so much so that for some photographers photography comes to be just that: a scientific process that they attempt to master over their lifetime. However, to achieve mastery of the technical side of photography is to address only one of the two aspects of photography. The result is often technically excellent photographs that lack emotion and “seeing” qualities. In this regard, I share the opinion of Ansel Adams who said, and I paraphrase, that there is nothing more boring that a technically perfect rendering of a fuzzy visual concept. In other words, an artistic photograph is created when technique is used to express a vision and an emotion, not when technique is used for it’s own sake.

Countless articles are written daily about the many scientific aspects of photography. From equipment reviews, to image processing techniques, to tips on how to be a more efficient photographer, to stories about what works and what doesn’t, there is no shortage of material on the subject. Nothing wrong with that. In fact, I have contributed my share of articles on this subject and I will continue to do so. Again, the scientific aspect of photography is very important and learning as much as you can about it is certainly worth your time and efforts.

However, learning about the artistic aspect of photography is just as important. Unfortunately, there is a much lesser amount of information on photography as art. Far fewer essays are being written, far fewer discussions are taking place, and far less information, help and tips are available. It is as if photographers, for the most part, discovered how much they have to learn about photographic science and, overwhelmed and enchanted by equipment and technique, stopped there and looked no further. It may also be that some photographers, or photographic instructors, are uncomfortable writing about photography as art, or lack the practice and knowledge to do so.

The goal of this series is to remedy this situation in two ways: first, by providing you with a source of help and information about the artistic aspect of photography. Second, by making use of my personal background. I was trained as a painter and artist at the Academie des Beaux Arts in Paris and later discovered photography. From day one I approached photography as an art form just as capable of expressing what I see and feel as any other artistic medium. My training, combined with my practice and knowledge of many artistic medium, provides me with a unique perspective on photography. For example, I often draw comparisons between photography and other arts. I also look at art from both a historical and a contemporary perspective. Finally, I make my living selling fine art prints, writing about photography and art, and teaching photography. In short, I am not just an observer. I am an active practitioner, writer, teacher and student of both aspects of photography. I am also an art collector, an enthusiastic admirer, and an occasional practioner of many other artistic medium.

When I decided to start this series I carefully considered what the contents of each essay might be. The last thing I wanted to do was provide ineffective, redundant or superficial information. I wanted to avoid what I perceived to be the most obvious pitfalls of such a series, namely to talk of photography as if it was art, without attempting to explain why it is, and later proceed to apply art concepts to photography, as if there was a direct crossover between photography and other arts.

At first I did not know how, or if, this could be done. It was only after writing and publishing on my site several essays for a series I originally titled Thoughts and Photographs that I felt confident to have found the proper format. I later renamed this series Reflections on Photography and Art, a title that I continue to find appropriate for this endeavor since this is after all a reflection, albeitedly one based on years of experience.

At this time I have a list of over 25 essays that I am considering including in this series. Certainly, some of these essays will be revised, while some will be pushed aside and new ones will be introduced. This list is but a beginning, a starting point. However, I feel more confident starting on this journey knowing that I can proceed further than a couple of essays. I feel better having a road map, so to speak, to guide me in the exploration of photography as art.

In comparison to my previous series, Photography and Aesthetics, this new series is written in a freer, more direct fashion. Photography and Aestheticsconsists of carefully organized articles written over weeks and, for the later articles in the series, months.  Reflections on Photography and Art consists of essays, a format that allows me a much freer approach to the content of each piece.  As we will see in the series, feeling free to create is one of the sine qua non conditions for practicing photography as art.  I deemed it perfectly natural to metaphorically shape the structure of each essay around one of the overall premises for this series.

Do you want to build upon your current skills by studying the artistic aspect of photography? If your answer is yes, I welcome you to join me in what can only be an enlightening, though at times challenging, experience.

Article Source : http://www.luminous-landscape.com

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