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commissioned cultural photography

Process, scope, and collaboration framework

I am often contacted by cultural institutions, associations, theatre groups, dance ensembles, and educational organisations who are familiar with my photographic work and ask whether I could photograph their people, activities, or cultural practices.

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This page explains how commissioned cultural photography works in my practice when such a request does not form part of my long-term personal projects (such as Caryatis).

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Its purpose is to clarify the process, requirements, and collaboration framework, so that all parties have a shared understanding before any discussion moves forward.

Black-and-white group portrait of women and men wearing traditional Greek garments, photographed outdoors in a rural landscape, part of a commissioned cultural photography project by George Tatakis.
Black-and-white portrait of a young woman photographed outdoors, using natural light, with shallow depth of field and organic background, representative of George Tatakis’ commissioned cultural photography aesthetic.

scope of this page

This page refers exclusively to commissioned assignments that:

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  • are initiated by an organisation or collective

  • are based on an appreciation of my visual language

  • do not form part of my ongoing artistic research or long-term projects

 

In these cases, the collaboration is approached professionally, with clear expectations, preparation, and remuneration.

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Projects considered for inclusion in my personal body of work follow a different process and are discussed separately.

Black-and-white photograph of women wearing traditional Greek garments standing in a forest landscape, photographed with natural light, representing the visual language and cultural context of George Tatakis’ commissioned cultural photography process.

PROCESS

The sections below describe the typical workflow for commissioned cultural photography assignments that fall outside my long-term personal projects.

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Each collaboration is assessed individually, but the steps outlined here reflect how these projects are generally approached.

1. initial brief

Each collaboration begins with a short written brief prepared by the organisation.

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The brief does not need to be exhaustive or overly technical. Its role is to provide context.

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It should include:

  • who the organisation or group is

  • what is to be photographed (for example: a dance ensemble, a theatre group, or a cultural collective)

  • an approximate scale (number of participants)

  • the general nature of the activity or practice

  • the intended context of the images (archival, institutional, publication, etc.)

 

Individual names or cast lists are not required at this stage.
What matters is a clear understanding of what the project is and why it exists.

Black-and-white portrait of a woman wearing traditional Greek clothing, seated in a historic interior and illuminated by strong light, photographed as part of George Tatakis’ commissioned cultural photography practice.
Black-and-white photograph of a decaying traditional stone building with visible wear, cracks, and patina, photographed using natural light and illustrating the type of historically untouched environment suitable for George Tatakis’ commissioned cultural photography.

2. Aesthetic compatibility and locations

All commissioned work must be aesthetically compatible with my photographic language.

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For this reason, proposed locations are a critical part of the discussion.

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Suitable environments

The work is conceived for:

  • old or traditional buildings

  • interiors or exteriors that have not been modernised

  • spaces that retain visible traces of time, use, and material history

 

Dirt, wear, patina, or signs of abandonment are not a problem.
On the contrary, they are often integral to the image.

 

Unsuitable environments

The following elements are generally incompatible:

  • modern aluminium frames

  • air-conditioning units

  • visible radiators

  • contemporary floor tiles

  • recent renovations that make a space appear new

 

While some restorations respect traditional materials and construction methods, this is assessed on a case-by-case basis.

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For practical reasons, it is recommended that more locations than strictly necessary are available, allowing for proper evaluation on site.

3. on-site scouting & light

All final decisions regarding locations are made during on-site scouting.

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This allows me to evaluate variables such as:

  • the direction and quality of natural light

  • the relationship between bodies and space

  • the compositional possibilities of each environment

 

I work exclusively with natural or existing light.


This makes on-site assessment essential and explains why the process cannot be fully predefined remotely.

Black-and-white landscape photograph showing trees and mist in a rural environment, photographed with natural light, illustrating the importance of on-site scouting and light evaluation in George Tatakis’ commissioned cultural photography process.
Photographer standing on a ferry deck overlooking the sea, photographed in natural light, illustrating the need for time, presence, and immersion in commissioned cultural photography projects.

4. timing & presence

Commissioned work of this nature requires time and immersion.

I do not travel for same-day assignments.

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A typical structure involves:

  • Day 1: arrival and location scouting

  • Day 2: beginning of photographic sessions

 

At least one overnight stay is required in all cases, regardless of distance.
This allows the work to develop organically and in dialogue with the place.

5. Appearance and preparation of participants

Participants are approached in a natural and unembellished manner.

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  • No makeup is used

  • Hair and appearance remain unstyled and neutral

 

When traditional garments are involved, they should be:

  • authentic pieces, or

  • highly accurate contemporary reconstructions

 

In both cases, attention to material, structure, and historical accuracy is essential.

Natural, unstyled portrait of a woman photographed with available light, illustrating the unembellished appearance and authenticity expected of participants in commissioned cultural photography.
Close-up detail of an engraved classical face, symbolising value, responsibility, and the professional framework of commissioned cultural photography collaborations.

6. financial framework

These collaborations are approached as professional commissions.

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The organisation covers:

  • travel expenses (calculated per distance)

  • accommodation

  • a professional fee (daily rate)

 

Financial details are discussed after aesthetic compatibility and practical feasibility have been established.

7. Copyright, usage, and releases

All photographs and videos produced remain my intellectual property.

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I do not undertake work-for-hire assignments.


Projects requiring full transfer of rights follow a fundamentally different framework and are not part of this process.

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My rights

I retain the right to:

  • exhibit the work

  • publish it in books or publications

  • submit it to competitions

  • sell fine-art prints

  • use it in my portfolio and archives

 

The organisation’s rights

The organisation may:

  • use selected images on its official website

 

Any printed or extended use:

  • requires prior approval

  • is subject to my curation and supervision

  • must include proper credit

 

All participants are required to sign appropriate model release agreements.

Interior space featuring framed black-and-white photographs displayed in a contemporary setting, illustrating exhibition, publication, and licensed usage of fine-art photographic work.
Black-and-white portrait of two individuals standing in a traditional interior space, symbolising trust, responsibility, and the formalisation of a cultural photography collaboration.

8. Agreement and confirmation

Before any work takes place, the collaboration is formalised through a written agreement.

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The agreement:

  • reflects the specific nature of the project

  • defines rights, responsibilities, and scope

  • protects both parties

 

Each agreement is prepared in relation to the particular assignment and follows the principles outlined on this page.

Interior space with framed black-and-white photographs displayed above a seating area, suggesting consultation, dialogue, and the presentation of fine-art photographic work in a professional context.

CONTACT

If, after reading this page, you believe that such a collaboration could be appropriate for your organisation, you may get in touch with a brief description of the proposed project and its context.

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