You have a campaign coming up. You know the story you want to tell. You have people in mind, a rough idea of the mood, and you really want images that move people. But on the day, things feel a little… scattered. Shots get missed. The atmosphere is off. And the final images don’t quite land the way you hoped.
Most of the time, this comes down to one thing: the brief.
I photograph and film for charities and non-profits, and I’m often involved in the pre-production too: helping to choose the stories, scouting locations, and meeting the people being photographed before the camera even comes out. That preparation makes a real difference to the final images.
But when a photographer is brought in without that involvement, a strong written brief becomes essential. In this post, I’ll walk you through exactly what to include, so your campaign images do the work they’re meant to do. There’s also a simple template at the end that you can copy.
Why the brief matters so much
Charity photography carries real weight. These images show real people, real struggles and real missions. The brief is how you make sure the photographer understands all of that before they arrive.
Without one, even an experienced photographer is working in the dark. They’ll make assumptions about the tone, how close to get to people, and which moments matter most. Some of those assumptions will be right. Some won’t.
A good brief closes that gap. It gives the photographer the context to make careful, sensitive decisions on the day, and to come back with images that really serve your campaign.
What to include in your brief
This is what I’d want to know before photographing any charity campaign. Use it as a starting point and adapt it to your project.
1. Tell me about your organisation
Start with the basics, but go deeper than your homepage.
- What does your charity do, and who does it support?
- What are your core values?
- Who is your audience, and what do you want them to feel when they see these images?
- Are there any sensitivities around how your organisation, or the people you work with, should be represented?
This background shapes every creative decision the photographer makes.
2. Define the aim of the project
Be specific about what the images are for.
- Is this for a fundraising campaign, an annual report, social media, a funding bid, or press?
- What do you want people to do after seeing the images: donate, sign up, share, contact their MP?
- Are there particular messages or themes the photos need to communicate?
The aim decides what kind of images you need, so the photographer should always know it before they pick up a camera.
3. Describe the style and mood
This is where many briefs fall short. “Authentic” and “real” are a good start, but try to go further.
- Do you want a documentary approach, following people through their day with as little direction as possible? Or more structured, directed images? Or both?
- Should the mood feel warm and hopeful, or honest and unflinching? (It can be both.)
- Can you share reference images from other campaigns, photographers or publications you admire?
- What do you want to avoid?
Visual references are one of the most useful things you can give a photographer. A few well-chosen words help too: one of the best briefs I’ve received described the tone as “real, empathetic and honest, without sentimentality”. That told me so much.
4. Explain how you work with the people being photographed
This is especially important in charity photography, where people may be vulnerable, going through a difficult time, or simply not used to being in front of a camera.
- How will the photographer be introduced to participants?
- How much time will there be to build rapport before photographing?
- Are there ways of communicating that work best for the people involved?
- Is there anything the photographer should know about the individuals or communities beforehand?
A good photographer will take their lead from you here. Brief them well, and they’ll follow it. (I write more about this in the power of connection in charity photography and filmmaking.)
5. Walk through the consent process
Consent is non-negotiable, and the photographer needs to understand how yours works.
- Who is responsible for getting consent: the photographer, your team, or both?
- Does anyone have limited or conditional consent, for example, no images showing their face?
- What should the photographer do if someone withdraws consent during the session?
- Will a key worker or chaperone be there who can advise?
Being clear about this upfront protects everyone, and helps the photographer feel confident about what they can and can’t capture. For more on this, see my ethical charity photography guide for comms teams.
6. Shot list or documentary approach?
Some campaigns need specific images: a trustee meeting, a particular service in action, a named person. Others work better with an open, documentary approach, where the photographer follows the day and responds to what happens.
Be honest about which you need, because they’re very different ways of working.
- If you have a shot list, share it in full, and mark the must-haves and the priorities.
- If you’d like a documentary approach, say so, and then trust the photographer to do their job.
- If it’s a mix, explain when each approach applies.
7. Budget, timeline and key dates
- What’s your budget, and what should it cover (fees, editing, travel, expenses)?
- When do the photos need to be taken, and when do you need the final images?
- Are there key dates to work back from, like a campaign launch, an awareness week or a press deadline?
Sharing your budget upfront isn’t awkward. It lets the photographer suggest what’s realistic and make the most of what you have.
8. How the images will be used
- Where will the images appear: social media, website, print, press, an exhibition?
- Who will own the copyright, and what usage rights do you need?
- How should the photographer be credited?
- What formats do you need, for example web-sized files, press-ready high-resolution files, landscape and portrait, colour and black and white?
If images are going to the press, also think about captions: who’s in the photo, and how they should be credited (by name, or for example as “Kinship carer”).
9. Practicalities on the day
- Where will the shoot take place, and is there anything to know about access, parking or public transport?
- Who will be there on the day, and who is the main contact?
- Is there anywhere that shouldn’t be photographed, like other service users or identifying signs?
A real example: the Kinship brief
When Kinship commissioned me to photograph kinship families for Kinship Care Week 2026, their brief was one of the clearest I’ve worked with. It explained:
- the story they wanted to tell, and the reality behind it,
- the aims: national media coverage, raising awareness and influencing policy,
- the tone:real, empathetic and honest, without sentimentality, gritty but also hopeful and empowering,
- the two different uses, press portraits and slower images for a possible exhibition,
- and who was responsible for what, with Kinship managing consent and safeguarding, and me working within their framework.
Because all of that was clear, I could put my energy into the families and the photographs. The images went on to illustrate a feature in The Guardian. You can read the full story in my Kinship case study.
What happens after you send the brief
A brief is the start of a conversation, not the end of one. When I receive a brief, I usually:
- Have a call with your team to ask questions and make sure I understand the story.
- Send a proposal with my creative approach, a plan and a cost breakdown.
- Help shape the stories and, where possible, speak with the people being photographed beforehand, so I’m never a stranger on the day.
- Photograph and/or film, then share a first edit for your feedback before final delivery.
A simple brief template you can use
Copy this, fill it in, and send it to your photographer before your next campaign.
Charity Campaign Photography Brief
Organisation name:
About us: (Who you are, who you support, your core values)
Project name and purpose: (What are these images for? What should they inspire people to do?)
Audience: (Who will see the images?)
Style and mood: (Documentary / directed / mix. A few words for the tone. Reference images. Anything to avoid.)
Subjects and locations: (Who will be photographed? Where? How many people or days?)
How we work with participants: (Tone, communication style, any specific needs or sensitivities)
Consent and safeguarding: (Who manages consent, which forms are used, any restrictions, safeguarding contact)
Shot list (if applicable): (Must-haves, priorities, nice-to-haves)
Budget: (Total, and what it should cover)
Timeline and key dates: (Shoot dates, delivery deadline, launch date)
Usage and rights: (Where images will be used, copyright, photographer credit)
Deliverables: (Number of edited images, formats, captions, turnaround time)
Practicalities: (Access, travel, who will be there)
Key contact on the day: (Name, phone number, role)
Any other notes:
Feel free to adapt it to your project. The more detail you give, the better your photographer can prepare.
Why this preparation pays off
When a photographer walks in already understanding your mission, your participants and the story you want to tell, everything changes. The images feel purposeful. The people in front of the camera feel respected. And you end up with images that actually do what you need them to do.
A good brief is an act of respect: for the photographer, for the people being photographed, and for the work your charity does. It doesn’t need to be perfect. It just needs to be honest and thorough.
FAQs about briefing a charity photographer
How long should a photography brief be?
One or two pages is usually enough. What matters most is covering the aim, the tone, the people involved, consent and how the images will be used.
Should I include our budget in the brief?
Yes. It helps the photographer suggest a realistic plan and make the most of what you have, and it saves time for everyone.
How far in advance should I brief a photographer?
Ideally a couple of months, especially for campaigns with fixed launch dates or several locations. That leaves time to plan, build trust with participants and fit around their availability.
Who should own the copyright of charity campaign photos?
It depends on what you agree. Some charities own full copyright, while others license the images for specific uses. Just make sure it’s clear in the brief and the contract.
Can the photographer help write the brief?
Absolutely. If you’re not sure where to start, a good photographer will happily talk it through with you and help shape the story.
See my charity photography and filmmaking work.
