The professional photographers' market - Italy (2024)

1.2 A Growing Global Market

The global photo services market has experienced significant growth in recent years. In ****, the industry was valued at Global Photographic Services Market Value and is expected to reach $**.* billion by the end of ****, with a compound annual growth rate (***) of * percent during the ****-**** forecast period. This expansion can be attributed to several key factors, such as advances in photographic equipment and post-production software have improved the quality and efficiency of services offered, and increased demand for high-quality visual content, both for personal and commercial use, has stimulated the market. In recent years, the rise of social media and digital marketing has significantly influenced the market for photographic services. Photographers now play a crucial role in helping brands establish their visual identity and engage target audiences.

Global photo services market value World, ****-****, in billions of dollars (***) VMR

1.3 The Italian market

The professional photography market in Italy is divided into several segments, each with specific characteristics and demands. Commercial and advertising photography represents a key sector, where companies and brands rely on professional images for advertising campaigns, catalogs and websites, with the aim of presenting their products or services in an eye-catching way. Event photography, which includes weddings, conferences and various celebrations, is another important pillar, with a constant demand for photographic services to capture significant moments. Finally, real estate and architectural photography has seen consistent growth, supported by the expansion of the real estate market and the need for high-quality images for property sales and rentals. In ****, the photography industry in Italy showed signs of stabilization and growth, with a * percent increase in overall value. This is mainly attributable to increased sales of mirrorless cameras, which dominate the market, while SLRs continue to maintain a significant presence, especially for professional use.[***] Turnover The turnover of companies active in the photography business in Italy shows considerable variability over the ****-**** period. In ****, it was ***.* million euros, while in **** the sector continued to grow, reaching ***.* million euros, thus surpassing pre-pandemic levels, a sign of a robust recovery and renewed interest in photographic services. ...

1.4 The development of the consumer price index

During the period from January **** to September ****, the Consumer Price Index for Photography Services showed a steadily increasing trend. In January ****, the index stood at ***.*, signaling a relatively stable starting point. In the following months, a gradual increase is observed, with modest but steady monthly changes leading the index to touch ***.* in October **** and *** in December **** (***).

With the beginning of ****, the index continues to rise, registering a value of ***.* in January and reaching ***.* in September ****. This increase (***) reflects the increase in costs associated with the production of photo services, including materials, equipment, and operating expenses. The steady growth trend could also indicate increased demand for photographic services, both for private events and for commercial and advertising use, or a general price adjustment to maintain profitability in the industry.

Consumer price index - photographic services Italy, ****-****, base **** = *** - monthly data Istat

2.1 Demand characteristics

To construct the size of demand in the photo services sector in Italy, it is relevant to consider monthly household spending on these services. From the data examined, the average monthly household expenditure on photographic services varied significantly between **** and ****. In ****, the average expenditure stood at *.** euros, a value that likely reflected stable demand and the propensity of households to use photography services for events such as weddings, ceremonies or for artistic and personal purposes. In ****, however, the average expenditure dropped dramatically to *.** euros, a decline coinciding with the arrival of the COVID-** pandemic and the introduction of restrictions and lockdowns. This event severely limited opportunities for celebration and social interactions, consequently reducing the demand for photography services, especially for events.

In ****, with the easing of restrictions and a gradual resumption of social activities, average monthly spending rose again to *.** euros (***) a sign of a partial recovery of the sector. However, this recovery was not enough to bring spending back to pre-pandemic levels. In **** and ****, monthly spending returned to *.** euros and subsequently dropped to *.** euros, suggesting stagnation or a slight contraction in demand. This trend can be attributed to various factors, including economic uncertainty and inflation, pushing households to reduce non-essential ...

2.2 Demand drivers

Being photographed is an experience that can arouse mixed emotions: on the one hand there is the desire to be portrayed, and on the other the fear of being judged or not recognizing oneself in the final image. The investigation conducted by Monimix Blog delves into these feelings, highlighting how the presence of a camera can generate anxieties, insecurities but also the desire to immortalize one's image. This study aims to better understand the relationship between people and professional photography, offering valuable information for photographers who wish to create a comfortable environment for their clients.

From the data that emerged, it is clear that a significant portion of the population experiences feelings of discomfort in front of the camera. Specifically, **.** percent of respondents said they dislike being photographed, a reaction that often stems from dissatisfaction with their appearance in images. This aspect reflects a deep perception of imperfections or flaws, which leads many to feel inadequate in front of the lens. An additional **.** percent reported feeling particularly uncomfortable during the photographic experience, highlighting a difficulty in letting go in front of the camera. Adding to this data are other nuances of discomfort: **.**% of respondents feel a sense of vulnerability at the ...

2.3 Geographical distribution of demand

The average monthly expenditure of Italian households on photographic services varies significantly across geographic areas. In northern regions of Italy (***), the average monthly expenditure per household is *.** euros, reflecting moderate demand for professional photographic services. In the Center, the value rises slightly to *.** euros monthly, suggesting a higher propensity toward the use of photographic services, probably in line with a higher presence of cultural events and ceremonies. In the South, including the South and Islands, the average monthly expenditure per household stands at *.** euros, being lower than in other areas. These data show how the field of professional photography is perceived and used in a varied way across the Italian territory.

2.4 Remote Photography: The Post-COVID Virtual Photographic Services Revolution

During the COVID-** pandemic, the photography industry, like many other industries, was forced to reinvent itself in response to the limitations and social distancing imposed by lockdowns. One of the most innovative solutions that emerged was the practice of conducting photo shoots via video call, using platforms such as FaceTime or Zoom. These remote shoots allowed photographers to continue working even during the most critical phases of the pandemic, keeping the connection with clients alive and offering a different creative experience.

This trend, which initially began as a necessity, quickly won over an audience curious to experience something new and unique. Photographers took advantage of phone cameras and framing and composition techniques to direct the subject at a distance, giving precise instructions on how to position themselves, what angles to choose, and how to create good lighting with the resources available in the home. Although the image captured has a lower resolution than that of a professional camera, the end result often has an intimate and authentic look, making the shots particularly suitable for portrait and personal photography projects.

One notable example was that of British photographer Tim Dunk, who began offering photo shoots via FaceTime during the lockdown. Through this ...

3.1 Market structure and dynamics

In recent years, the number of employees in enterprises active in the photographic business sector in Italy has shown an upward trend, with some fluctuations reflecting external economic events and conditions. In fact, compared to ****, there is a significant increase of +**.* percent in ****. These figures reflect the resilience of the industry and the growing importance of visual content in various areas, such as events, advertising and social media. The increasing number of employees in recent years is indicative of a recovery and growth potential for the photography industry in Italy.

Companies active in the sector (***) Italy, ****-****, in numbers (***) Istat

An analysis of the legal form of businesses active in the photographic activities sector in Italy shows an absolute predominance of sole proprietors, freelancers and self-employed workers, accounting for **.* percent of the total. This figure highlights how the sector is largely made up of independent professionals, a configuration typical of creative markets, where flexible management and the ability to work independently are preferred in order to respond to an often variable and personalized demand.

Legal form active companies (***) Italy, ****, % Istat In terms of the number of employees of active enterprises, we see a trend that tends to be akin to business ...

3.2 Value Chain

The value chain in the professional photography market includes several stages, each of which contributes to the creation of added value and the satisfaction of end customers' needs. Here are the main steps in the chain:

Production and development of photographic equipment: the first link in the chain involves manufacturers of professional photographic equipment, such as cameras, lenses, lights, tripods, and post-production software. Technological innovations at this stage greatly affect the quality and effectiveness of photo shoots. Equipment distribution: photographic equipment must be distributed effectively through physical and digital sales channels, with retailers often also providing technical support and rental services for professional photographers, allowing them access to high-quality tools without buying every piece. Photographic services: professional photographers are the central link in the chain. They provide services ranging from commercial and advertising photography to event and real estate photography. At this stage, the photographer's skill, creativity, and experience add unique value to photographic products, tailoring services to the client's needs. Post-productionand editing: The post-production phase is crucial for enhancing and refining images, adapting them to the required standards. Editing includes color correction, retouching, and image enhancement, which add perceived value and increase the overall quality of the final product. Content ...

3.3 Main actors

To analyze the players that dominate the market, we consider the enterprises with Ateco code **.**.** - Photojournalist Activities in the Company Registry database whose turnover is manifested.

Photojournalist activities

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3.4 Profile of photographers and assimilated professions

An analysis of the profile of photographers and related professions shows a range of skills from shooting to post-production, adapting to different contexts and purposes. Photographers portray people, environments, objects and commercial products for artistic, documentary and advertising purposes, while also capturing events and news for informational purposes. In addition, following scientific protocols, they engage in the reproduction of subjects, data and phenomena relevant to research and study. At the post-production stage, they develop negatives, apply photo editing and image manipulation techniques, and print the final photographs. Checking and maintaining equipment, including electronic and optical systems, is an integral part of the work, ensuring that the equipment is working properly and that the results meet the required quality standards.

According to AlmaLaurea data, **.* percent of photographers after graduation are self-employed, **.* percent have permanent contracts and* percent have fixed-term contracts.

Job characteristics (***) Italy, ****, % AlmaLaurea

Regarding enterprise characteristics, ** percent work in the private sector while *.* percent work in the public sector.

Characteristics of the enterprise (***) Italy, ****, % AlmaLaurea

4.1 Type of Offering

TheNational Association of Professional ItalianPhotographers has compiled a concise but comprehensive list that represents the best possible classification of the different types of professional photography existing in Italy.

Commercial: commercial photography refers to the production of photographic services intended for catalogs, brochures, descriptive printed matter or local promotion. This sector can be said to be saturated and its internal dynamics are closely related to the geographical area, since all Italian areas with a high density of industrial production, are also the areas with the highest number of professional commercial photographers. Advertising: advertising photography refers to the professional branch that deals with the creation of images intended for advertising pages and billboards, and representing the concretization of promotional investments with high or medium-high budgets. The dynamics of this sector, which cannot be said to be saturated, are closely interconnected with market dynamics. In periods of recession, there has always been a contraction in the turnover of advertising photographers, while the opposite has been observed in periods of economic boom Fashion: this sector is characterized by high saturation being considered the most inflated area of professional photography. Agency and free lance: by free lance photography we mean that branch of image production that ...

4.2 The prices

The cost of a photo shoot can vary significantly depending on the photographer, location, number of shots, and time spent. On average, a professional photo shoot is around ***-*** euros, but there are significant differences depending on the geographical area. In large cities such as Milan, Rome or Naples, prices tend to be higher, while in smaller cities or towns they may be lower. The cost of a photo shoot is influenced by several factors, including the experience and reputation of the photographer, the length of the shoot, and the type of photography required. More experienced and reputable photographers generally charge higher rates than those with less experience. The length of the service also has an impact on the price, as a longer service implies more effort and time on the part of the photographer, thus leading to a higher cost. In addition, the type of service required plays a determining role: the cost of a wedding shoot, for example, is usually very different from that for a professional portrait.

Factors that influence prices

Service costs

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4.3 The new supply perspective: AI

The integration of Artificial Intelligence (***) in professional photography is shaping new trends that profoundly affect the way photographers work and interact with images. Here are some of the major developments:

Advanced Computational Photography: AI is increasingly being used in modern cameras to improve image quality. Advanced algorithms make it possible to optimize exposure, reduce noise, and improve sharpness, making it possible to get high-quality shots even in difficult lighting conditions. This technology is particularly evident in smartphones, where computational photography compensates for hardware limitations. Workflow Automation: AI-based tools are automating repetitive tasks in the photographic process, such as selecting the best images, basic editing, and organizing archives. For example, software such as AfterShoot uses AI to quickly analyze and classify large volumes of photos, identifying those that are out of focus or have subjects with eyes closed, thus making photographers' work easier.[***] AI-powered Image Generation: systems such as OpenAI's DALL-E * can generate realistic images from text descriptions, opening up new creative possibilities. This technology allows photographers to explore new visual styles and concepts, expanding the frontiers of photographic creativity.[***] Personalization and Unique Style: AI enables photographers to develop and apply personalized styles to their images. Through analysis of previous photographs, algorithms ...

5.1 Rules and regulations

In Italy, the practice of the photographic profession is regulated by several regulations concerning both professional activity and the protection of photographic works. Law No. * of January **, ****, regulates professions not organized into orders or colleges, including that of the photographer. According to this law, to start a professional photographic activity it is necessary. it is mandatory to communicate the start of the activity to the competent Questore. This communication is personal and must be made by the owner of the activity or, in the case of a company, by the legal representative. No additional documents other than the communication itself are required. [***] It is necessary to register with the Registry of Companies at the local Chamber of Commerce, thus obtaining a VAT number for the operation of the business. Law No. *** of April **, ****, on copyright distinguishes between:

Creative photographic works: Photographs with a creative character, protected as works of authorship. Copyrights on these works last for ** years after the death of the author. Simple photographs: Images with no creative character, protected by related rights for ** years after production. In this case, the obligation to mention the photographer's name depends on the agreements between the parties.

Privacy and right to image: Publication ...

5.2 Strategic Plan for the Development of Photography (2024-2026)

The Ministry of Culture (***) has launched the Strategic Plan for the Development of Photography, designed for the three-year period ****-****. The goal is to support the entire photography supply chain in Italy, from artistic creation to the promotion of the existing photographic heritage. This plan is divided into several economic and organizational support projects for photography professionals and cultural institutions.

Main objectives

Preservation and enhancement of photographic heritage: Promote the preservation and cataloguing of photographic works, historical archives and collections to prevent the dispersion and deterioration of heritage. Support for contemporary artistic creation: To encourage the production and dissemination of contemporary photography, fostering access to new talent. Training and professional development: Fostering the growth of young photographers through training activities and internships in public or private entities in the cultural sector.

The plan aims to promote greater public awareness of photography as an art and cultural tool, enhancing both emerging talent and historical collections. The public notice, with a budget of *.* million euros, is divided into three areas of intervention, each with a different focus and together aimed at supporting various aspects of professional photography.

Areas of intervention

Acquisition and Commissioning: Description: provides grants to acquire contemporary photographic works or to ...

6.1 Market segmentation

• La Presse
• Eidon Press
• Wesual
• Vieffe Pictures
• Bakerstreet Studio