Unit of competency Outline
Date retreived
22/07/2026 8:06 AM AWST
22/07/2026 8:06 AM AWST
Whilst all efforts are made to provide accurate and timely information from the relevant source/documentation, please be aware that the information supplied may not be the most current version. The accuracy of the detail has not been confirmed by the Department and therefore should not be relied upon without first confirming the contents.
Produce commercial photoimages
Produce commercial photoimages
Unit of competency
National Code
CUVPHI506A
CUVPHI506A
State Code
D1208
D1208
TGA Status
Replaced
Replaced
DTWD Status
Replaced
Replaced
State Implementation and Classification
Approved Date
21/08/2008
Field of Education
100303 - Photography
Original Release Date
21/08/2008
Nominal Hours
80
Description
This unit describes the performance outcomes, skills and knowledge required to produce commercial photoimaging products for art directors and direct clients.No licensing, legislative, regulatory or certification requirements apply to this unit at the time of endorsement.
Notes
Elements and Performance Criteria
1 Establish and define requirements for a range of commercial projects.
- 1.1 Evaluate requirements of clientbrief for a range of commercial photoimaging shoots.1.2 Research sources of information for contemporary styles and conceptual/aesthetic approaches to similar commercial photoimaging shoots.1.3 Clarify sample layouts/other visual references with appropriate person/s.1.4 Prepare job, creative fee and usage estimates for a range of commercial photoimaging shoots.1.5 Meet with client to confirm shootresponsibilities and refine/define shoot requirements.1.6 Prepare terms and conditions/quotation for shoot in accordance with client deadlines and check against initial estimate.1.7 Make agreement and complete contract with client or commissioning agent (where applicable).
2 Prepare for shoot.
- 2.1 Research/adopt professional practice arrangements for shoot and confirm with appropriate person/s.2.2 Investigate site-specific OHS, licence and permit requirements.2.3 Consider shoot requirements and make test shots to refine skills for shoot.2.4 Prepare shoot management timelines and make appropriate shoot preparations.2.5 Negotiate with necessary parties for access to models, locations and other subject/s.
3 Shoot images, proof and optimise work to client specifications.
- 3.1 Capture in-production images to agreed style and content within shoot context.3.2 Confirm (with client/commissioning agent) any changes that occur during the shoot that may lead to cost variances. 3.3 Work with production team, proof images and seek feedback from client/art director on shoot progress and image selection.
- 3.4 Optimiseimages and output creative product to agreed client specifications using industry standards.3.5 Prepare work for electronic/physical dispatch and presentation/publication within the shoot context.3.6 Prepare invoice/account for client.3.7 Deliver completed images/creative product to client with invoice/account and copy of licence and confirm client satisfaction.
4 Wrap up and review shoot.
- 4.1 Check and reinstate equipment, studio and props.4.2 Catalogue and archive images/creative product appropriately.4.3 Maintain contractual and financial records for business and taxation purposes.4.4 Review client response and personal performance within shoot context.4.5 Identify future opportunities, work directions, equipment needs and workflow changes resulting from the shoot.
RANGE STATEMENT
The range statement relates to the unit of competency as a whole. It allows for different work environments and situations that may affect performance. Bold italicised wording, if used in the performance criteria, is detailed below. Essential operating conditions that may be present with training and assessment (depending on the work situation needs of the candidate, accessibility of the item, and local industry and regional contexts) may also be included.
Client brief may include:
closed brief/open brief
self-commissioned for folio or self-promotion.
Commercial photoimaging shoots may include:
advertising (figurative, non-figurative)
architectural (internal, external)
catalogue/corporate report
fashion/food
industrial (small product, structural).
Sources of information may include:
contemporary media (newspapers, television, magazines)
internet sites
interviews
personal experiences
professional awards
professional libraries
workshops, seminars, conferences.
Appropriate person/s may include:
members of creative teams
art directors
client representatives
designers
members of relevant professional associations
mentors/peers
practising commercial photographers, photoimagists or members of allied fields.
Shoot responsibilities may include:
check estimate against budget and make necessary adjustments to date, props, location, talent
confirm budget with client
confirm legal aspects of the shoot (e.g. copyright, licensing issues and intellectual property rights)
control the creative product and the shoot
negotiate and sign contract
pay bills of third party suppliers/service providers
receive purchase order from client
select and hire model/s
select locations, props, backgrounds
send confirmation/quotation to client and include:
cover note
creative fee and usage
duration, media and region
terms and conditions
sign-off on creative product.
Shoot requirements may include:
analogue or digital capture technologies and supporting accessories
food and accommodation
layout references
model/s, props, backgrounds and hire options for equipment
photoimaging lighting:
ambient
light painting/light tents
light/shadowless tables
mixed lighting
multi-flash
supplementary (electronic flash/tungsten/fluorescent/other)
processing requirements for image work created
production team
studio, location (internal/external)
the creative product (how it is to be used/what the client specifies)
timelines for stages of commercial workflow
transportation of team/equipment
use of studio style or other as specified by client.
Professional practice arrangements may include:
contracts
copyright, licensing and intellectual property rights
creative product archive/digital asset management
financial management
insurance; personal public risk, accident and sickness, equipment, completed creative product transportation and storage
licences and permits
model and property releases
OHS
project budget management.
Shoot preparations may include:
assemble and check all equipment
brief assistants/members of creative team
conceptualise involvement in creative process
confirm time/place/requirements for all aspects of the shoot that will be supplied by others
undertake weather check for location shoots.
Shoot context may include:
agreed sign-off protocols
application of teamwork and management skills conducive to a creative environment
colour management specifications
format/orientation of image
provision of innovative suggestions/options to improve creative product
scope of the brief
technical requirements of creative product
timelines.
Production team may include:
art director/direct client
assistants for:
camera equipment
digital systems
home economists
location scout
make-up artists, hairdressers and stylists
post-production coordinator/s
set builders.
Optimise images may include:
maintain quality/integrity of the digital data
process files:
capture
digital negative
RAW
bit depth
colour space
digital asset management
file dimensions/size in pixels
file format (e.g. JPEG, TIFF, PSD, PDF)
file naming, metadata, captions and inclusion of file information data
multiple file formats
transfer media (e.g. CD, DVD, internet)
uncompressed/compressed files
retouch, enhance, photo-montage (as requested)
use appropriate colour space.
Creative product may include:
colour film transparencies to specified format
digital files as specified
print/s to specified size, mounting and finish.
The range statement relates to the unit of competency as a whole. It allows for different work environments and situations that may affect performance. Bold italicised wording, if used in the performance criteria, is detailed below. Essential operating conditions that may be present with training and assessment (depending on the work situation needs of the candidate, accessibility of the item, and local industry and regional contexts) may also be included.
Client brief may include:
closed brief/open brief
self-commissioned for folio or self-promotion.
Commercial photoimaging shoots may include:
advertising (figurative, non-figurative)
architectural (internal, external)
catalogue/corporate report
fashion/food
industrial (small product, structural).
Sources of information may include:
contemporary media (newspapers, television, magazines)
internet sites
interviews
personal experiences
professional awards
professional libraries
workshops, seminars, conferences.
Appropriate person/s may include:
members of creative teams
art directors
client representatives
designers
members of relevant professional associations
mentors/peers
practising commercial photographers, photoimagists or members of allied fields.
Shoot responsibilities may include:
check estimate against budget and make necessary adjustments to date, props, location, talent
confirm budget with client
confirm legal aspects of the shoot (e.g. copyright, licensing issues and intellectual property rights)
control the creative product and the shoot
negotiate and sign contract
pay bills of third party suppliers/service providers
receive purchase order from client
select and hire model/s
select locations, props, backgrounds
send confirmation/quotation to client and include:
cover note
creative fee and usage
duration, media and region
terms and conditions
sign-off on creative product.
Shoot requirements may include:
analogue or digital capture technologies and supporting accessories
food and accommodation
layout references
model/s, props, backgrounds and hire options for equipment
photoimaging lighting:
ambient
light painting/light tents
light/shadowless tables
mixed lighting
multi-flash
supplementary (electronic flash/tungsten/fluorescent/other)
processing requirements for image work created
production team
studio, location (internal/external)
the creative product (how it is to be used/what the client specifies)
timelines for stages of commercial workflow
transportation of team/equipment
use of studio style or other as specified by client.
Professional practice arrangements may include:
contracts
copyright, licensing and intellectual property rights
creative product archive/digital asset management
financial management
insurance; personal public risk, accident and sickness, equipment, completed creative product transportation and storage
licences and permits
model and property releases
OHS
project budget management.
Shoot preparations may include:
assemble and check all equipment
brief assistants/members of creative team
conceptualise involvement in creative process
confirm time/place/requirements for all aspects of the shoot that will be supplied by others
undertake weather check for location shoots.
Shoot context may include:
agreed sign-off protocols
application of teamwork and management skills conducive to a creative environment
colour management specifications
format/orientation of image
provision of innovative suggestions/options to improve creative product
scope of the brief
technical requirements of creative product
timelines.
Production team may include:
art director/direct client
assistants for:
camera equipment
digital systems
home economists
location scout
make-up artists, hairdressers and stylists
post-production coordinator/s
set builders.
Optimise images may include:
maintain quality/integrity of the digital data
process files:
capture
digital negative
RAW
bit depth
colour space
digital asset management
file dimensions/size in pixels
file format (e.g. JPEG, TIFF, PSD, PDF)
file naming, metadata, captions and inclusion of file information data
multiple file formats
transfer media (e.g. CD, DVD, internet)
uncompressed/compressed files
retouch, enhance, photo-montage (as requested)
use appropriate colour space.
Creative product may include:
colour film transparencies to specified format
digital files as specified
print/s to specified size, mounting and finish.
EVIDENCE GUIDE
The evidence guide provides advice on assessment and must be read in conjunction with the performance criteria, required skills and knowledge, range statement and the Assessment Guidelines for the Training Package.
Critical aspects for assessment and evidence required to demonstrate competency in this unit
Evidence of the following is essential:
ability to apply a typical workflow in commercial photoimaging professional practice
ability to interact and liaise with clients, art directors and associated professionals
ability to apply business, coordination and negotiation skills to own photoimaging work practices
ability to apply technical and imaging skills, including capturing/optimising commercial images.
Context of and specific resources for assessment
Assessment must ensure:
access to a range of photoimaging production equipment employed in a commercial context (e.g. cameras, computers, software, printers, darkrooms, studios, lighting, accessories)
access to a range of locations and studios for commercial photoimaging shoots
access to sources of information to research contemporary styles and conceptual/aesthetic approaches to commercial photoimaging
opportunity for collaboration with or in allied industries (e.g. design, fashion, make-up, food styling, engineering, architecture, graphic art, printing)
access to appropriate learning and assessment support when required
the use of culturally appropriate processes, and techniques appropriate to the oracy, language and literacy capacity of the assessee and the work being performed.
Method of assessment
A range of assessment methods should be used to assess practical skills and knowledge. The following examples are appropriate for this unit:
direct questioning combined with review of portfolios of evidence and third party workplace reports of on-the-job performance by candidate
direct observation of candidate applying a typical workflow in commercial photoimaging professional practice
case studies to assess candidate's ability to research contemporary styles and conceptual/aesthetic approaches to commercial photoimaging
participation in/observation of professional design, advertising and photography/photoimaging award/s
review of photoimaging products against commercial industry standards and service specifications.
Holistic assessment with other units relevant to the industry sector, workplace and job role is recommended, for example:
CUVPHI501A Research role and use of the photoimage in visual communication
CUVPHI502A Research and exploit photoimaging trends
CUVPHI503A Explore the descriptive and emotive nature of photo lighting
CUVPHI504A Investigate and exploit innovative imaging options
CUVPHI505A Produce an innovative presentation package of professional work
CUVPHI514A Employ colour management in a digital imaging workplace.
The evidence guide provides advice on assessment and must be read in conjunction with the performance criteria, required skills and knowledge, range statement and the Assessment Guidelines for the Training Package.
Critical aspects for assessment and evidence required to demonstrate competency in this unit
Evidence of the following is essential:
ability to apply a typical workflow in commercial photoimaging professional practice
ability to interact and liaise with clients, art directors and associated professionals
ability to apply business, coordination and negotiation skills to own photoimaging work practices
ability to apply technical and imaging skills, including capturing/optimising commercial images.
Context of and specific resources for assessment
Assessment must ensure:
access to a range of photoimaging production equipment employed in a commercial context (e.g. cameras, computers, software, printers, darkrooms, studios, lighting, accessories)
access to a range of locations and studios for commercial photoimaging shoots
access to sources of information to research contemporary styles and conceptual/aesthetic approaches to commercial photoimaging
opportunity for collaboration with or in allied industries (e.g. design, fashion, make-up, food styling, engineering, architecture, graphic art, printing)
access to appropriate learning and assessment support when required
the use of culturally appropriate processes, and techniques appropriate to the oracy, language and literacy capacity of the assessee and the work being performed.
Method of assessment
A range of assessment methods should be used to assess practical skills and knowledge. The following examples are appropriate for this unit:
direct questioning combined with review of portfolios of evidence and third party workplace reports of on-the-job performance by candidate
direct observation of candidate applying a typical workflow in commercial photoimaging professional practice
case studies to assess candidate's ability to research contemporary styles and conceptual/aesthetic approaches to commercial photoimaging
participation in/observation of professional design, advertising and photography/photoimaging award/s
review of photoimaging products against commercial industry standards and service specifications.
Holistic assessment with other units relevant to the industry sector, workplace and job role is recommended, for example:
CUVPHI501A Research role and use of the photoimage in visual communication
CUVPHI502A Research and exploit photoimaging trends
CUVPHI503A Explore the descriptive and emotive nature of photo lighting
CUVPHI504A Investigate and exploit innovative imaging options
CUVPHI505A Produce an innovative presentation package of professional work
CUVPHI514A Employ colour management in a digital imaging workplace.
Replaced By
| State Code | National Code | Title | Type |
|---|---|---|---|
| S7721 | CUVPHI521A | Produce commercial photo images | Unit of competency |
| State Code | National Code | Title | Type |
|---|---|---|---|
| D208 | CUV50407 | Diploma of Photoimaging | Qualification |