Fighting Condensation with Reasonable Methods (Podcast 401)

Fighting Condensation with Reasonable Methods (Podcast 401)

I received a question recently from listener Derek Bezuidenhout asking about condensation issues in cold weather.  I’m asked this a lot and usually have one main bit of advice and that is to ensure you put your gear back into your camera bag before going indoors. There are a few other things to consider though, so I thought we’d go over this today, especially as many of us in the northern hemisphere are getting well and truly into our winter seasons now.

Viewfinder Misting Up

Derek’s question was actually in two parts. The first asking if I had problems with my viewfinder misting up in the cold, and if so, what do I do about it. Yes, I do sometimes get a misted up viewfinder. It’s actually usually only when the temperature is floating around freezing point and when it’s either raining or snowing. Once it gets much below freezing, I don’t see this.

When it happens, my methods for cleaning the viewfinder are very basic. I often find that it happens just as I’m trying to capture something where timing is important, so I simply stick my finger into the viewfinder and wipe it. If I’m wearing gloves, the cloth of the gloves helps to remove the moisture, but if it’s my finger, it really just smears the water across the glass.

This generally clears the viewfinder enough for me to continue shooting and I might then use a lens cloth to give the viewfinder a wipe to clean it up some later, but if it’s misting up a lot I just keep wiping it with my finger until I get home or back to a hotel later in the day, when I might clean the viewfinder with a lens cloth again just to get rid of any smearing that might be left behind.

Derek also mentioned in his email that Scuba divers often spit in their masks to prevent them from misting up, and I have tried licking the viewfinder, but I honestly didn’t find this very effective, so my main method remains  a mixture of wiping with my fingertip and cleaning with a lens cloth as time allows. I believe there are anti-misting sprays that you can use too, but I’m not sure how effective these are. I guess I have not felt this to be a big enough issue to try to work around it.

Preventing Condensation on Cameras

The second part of Derek’s question was about preventing condensation on cameras when you come indoors out of the cold. Specifically, you hear a lot of people talking about the need to put your gear into plastic ziplock bags or your camera will be struck by lightening the moment you walk into a warm environment. Derek wanted to know if that’s what I do and if this is really necessary. Derek also mentioned that I probably didn’t need to worry about this because I use a Canon EOS 1D X, which is a weatherproof body.

Firstly, we should talk about the fact that weatherproof cameras are still susceptible to condensation, because the problem is really about condensation forming inside the camera and lenses, although it can affect non-weatherproofing cameras more, because the moisture can get into the top LCD or the preview LCD on the back of the camera more easily. Generally though, you still have to be careful with weatherproof cameras, to prevent condensation from forming inside the camera.

Put it into Your Camera Bag

So, are ziplock bags really necessary? The short answer is, no. I never put my gear in plastic bags or ziplock bags to prevent condensation forming on them when I go in from the cold. I find that just ensuring that you put your gear into your camera bag before going inside, and then leaving it there for a few hours to warm up gradually, is enough to prevent condensation forming.

The only time I break this practice is when my gear is covered in moisture when I put it away. If I have snow on my gear, I will blow it off as I put it into the bag, but say if the snow is wet or I’d been shooting in the rain, and there is actually moisture on the gear when I put it away, I try to find somewhere cold to take the gear out and wipe it off before going into the warm. This might be the doorway to my house or hotel, which is generally going to be cooler than the main rooms of the building. If that’s not possible, then I take it out of the bag one item at a time, give it a wipe, then put it back into the bag and get the next piece of gear out, zipping the bag back up each time.

Condensation on Canon EOS 1D X

Condensation on Canon EOS 1D X

Of course, if the inside of the camera bag is also wet, we’ll want to dry that out at some point, but first, we need to get the gear acclimatised. Depending on how cold it was outside, you may need to leave your gear in the bag for two or three hours, but then once it’s warmed up some, take it out and lay it out on the floor and leave the bag open for a while too, so that it can all dry overnight, if possible.

This is important because if you allow wet gear to warm up after a certain point, especially if the room is quite warm, you will essentially start to steam your gear. Once this happens you may find that condensation will form inside the lenses and camera bodies. If you get condensation inside a lens, you’ll see a patch of cloudiness as you look through the lens either directly by holding it up the light or when it’s attached to the camera. I’ve had this happen, and the lens was unusable until I had a chance to let it totally dry out.

Just How Cold Does it Need to Be?

How cold it needs to be to cause condensation to form varies, depending on how much moisture is in the air in the room you enter. A good rule of thumb though is the freezing point. If it’s 0°C (32°F) and you’ve been outside long enough for your camera to get down close to this temperature, you should be careful when going indoors.

Sometimes though, for example when we’re photographing the Snow Monkeys, it can be as warm as 2-3°C ( around 36°F) outside but because they warm the rest area hut up quite a lot, and there are a lot of wet people in their, the humidity gets quite high, so condensation forms easily on the cameras. To prevent this we either put the camera in our bags or leave them outside.

Note though that I don’t get too paranoid about this. If it’s close to freezing, I will often go inside and watch to see if condensation starts to form before taking any action. Your camera isn’t going to die the moment condensation starts to form, so just keeping an eye on it and taking action if you see the condensation start to form is often enough. And really here, I’m talking about when it is close to freezing point, and you aren’t sure. Once it goes below freezing point, you really just need to put the camera in your bag before going in doors for any length of time.

Taking the Memory Card/Batteries Out

At the end of your day, if the gear was cold but not wet when you put it away, it is generally still a good idea to just ensure that it’s all zipped up in your camera bag, and leave it zipped up for a few hours. If you need to get at your memory card to transfer your images or you want your batteries out to recharge them, there’s usually not an issue with opening the bag long enough to take out the memory card and batteries, but put the camera back into the bag and zip it up quickly.

I used to suggest taking memory cards out before putting the camera into your bag so that you don’t have to open it until the gear has warmed up, but I stopped doing that, because the risk of misplacing a memory card between the lobby of a hotel and your room is greater than the risk of condensation forming on your gear in the few seconds that it takes to remove it from your bag, take out the batteries and memory card, and put it back into your bag.

If you need to clean your gear and aren’t sure if it’s warmed up enough yet, just open the bag, and keep your eye on the gear. You will be able to see condensation start to form if it’s not, so just give your gear a quick wipe without taking it out of the bag, and close it again, and leave it for another hour or so.

When I need to rush the warming up process, I’ve also opened the zip but left the bag closed, to let in warmer air gradually, and that worked fine too. I’ve also come inside after a number of hours in -35°C (-31°F) and the gear was so cold that I just had to leave it in the bag until I went back outside again. If the only reason you need to get your camera bag out is to clean it, then don’t bother. It’s more important to keep your gear working than to clean it.

Salt Water

The only time I would break that advice is if your gear has been exposed to salt water. In Antarctica for example, it is often not only below freezing point, but because we travel on Zodiacs, we sometimes take some sea water spray, if you had your camera out in that, wipe it down with a damp towel before you put it into your bag and start to allow it to warm up. There’s usually enough time to get back to your cabin, wet a towel, ring it out and then wipe the camera and lens down before you put it into your camera bag. Then allow it warm up inside the bag as usual.

General Weatherproofing Considerations

Before we finish, let’s just quickly talk about some general weatherproofing considerations. As Derek mentioned in his mail, I use a Canon EOS 1D X for some of my photography, especially when I know that I’m going to be getting it wet.

I also shoot with a 5D Mark III too, and although Canon marketed this camera as having “better” weatherproofing than the 5D Mark II, neither are supposed to be weatherproof. In the Canon line up, the only camera in production that is fully weatherproof as of Dec 2013 is the 1D X. That doesn’t mean that I never get the 5D Mark III wet though. These camera generally take a bit of rain, and if you drape a handkerchief over them the wicking effect usually keeps them dry in light rain. I’ve shot like that for years with my old D30, 10D, 20D and then the 5D and 5D Mark II before the Mark III. I just don’t like using rain covers, and have found a cloth to be enough for light to medium amounts of rainfall.

I actually killed my 5D Mark III in Iceland this year by pushing the “better” weatherproofing a bit too far. I was kind of testing the camera, and it did better than I expected, but after a number of hours in the cold rain, it died. It did come back to life two days later, but it took two full days. Some people carry desiccants, and I kind of wished I had some in Iceland, but what I did was wrap the camera in some dry clothes and left it in my suit case for a while. I took it out and checked it a few times, and when I looked in the morning two days after it broke, it was back, and stayed back for the rest of the tour.

This wasn’t a problem from a shooting perspective, as I would never go anywhere without two bodies. I continued shooting with the 1D X while the 5D Mark III was down. If you are wondering why I didn’t just shoot with the 1D X from the start if I had it with me, the answer is resolution. I’d rather have 22 megapixel files than 18 megapixel files. It just gives you more options and enables me to print the images larger without having to increase the resolution or take other steps. The 1D X is an incredible camera of course, but it’s in my bag for its ultimate weatherproofing, and for when when I need those 12 frames per second shooting speeds.

I guess I should mention for good measure is that the 1D X is only weatherproof when you are using a weatherproof L lens. Most L lenses are weatherproof, although you need to check the specs of your lenses before you trust them in some nasty weather. As long as they are weatherproof, you’re fine in some pretty nasty conditions. You can’t dunk them in water of course, they’re weatherproof not waterproof, but I’ve walked through  forests in a rain storm for hours with a 1Ds Mark III and the old 70-200mm f/2.8 Lens and my 16-35mm f/2.8 lens on the camera and they didn’t batter an aperture leaf.

From Warm to Cold

Note too that I have rarely had issues going from warm to cold locations. On one occasion I did have ice form on my sensor, probably caused by the camera coming from a warm hotel room into -25°C (-13°F) conditions. You can see a black spot in the top right corner of this photo (click on it to view larger). This was ice on the sensor, that appeared after a few hours of shooting, and disappeared later when the camera warmed up a bit. It didn’t harm the camera at all.

Bihoro Pass

Bihoro Pass

A Few Caveats

There are a few caveats that I should mention too. Firstly, this advice is only valid if your camera bag is relatively airtight when zipped up. If you use a shoulder bag for example with just a flap over your gear, and warm air can easily get in from the sides, you might need to put the entire bag in a large plastic bag for a while. You’ll need to experiment yourself to see how careful you need to be.

Also, if for example you are not working from a camera bag, you may still need to carry a plastic bag or two and put your gear inside before entering a warm vehicle or building, to keep condensation from forming until you can put your gear into your bag later.

And, at the end of the day, all of this is based on my experiences shooting in temperatures down to -38°C (-36°F) and then going into a warm bus or hotel etc. I use Gura Gear Bataflae Camera Backpacks which have pretty good zips on them, and I’ve seen over a hundred people with various bag types use this method on my winter workshops without issues. But, at the end of the day, you need to ensure that his works for you at your own risk.


So, in summary, even weatherproof cameras need protection against condensation when you go inside from the cold, because the condensation can form inside the camera, not just outside. Lenses are a risk too. Keep everything inside your back until it warms up to room temperature. The only time you might need to use a plastic bag is if you need to prevent condensation on gear that you cannot get back into your camera bag for a while.

So, thanks for the questions Derek! I hope this helps as we dive into the winter in the northern hemisphere, or as a future reference for any listeners/readers venturing into cold climbs.

Hokkaido Winter Landscape Photography Adventure

And talking of photographing in cold climbs, I’m really excited to announce that I’ve team up with David duChemin again for a Winter Landscape Photography Tour in Hokkaido from January 5 t0 16, 2015.

Some of you might remember a reconnaissance trip that I did in Hokkaido in January 2011, and I’ve put together an excellent Winter Landscape tour based on that, and some of the locations that we used to visit in my old format Winter Wonderland Tours when we used to do both a wildlife and landscape leg. We’re visiting the far north of Japan though, including Souya Misaki, the northern most point of Japan from where you can see the Russian island of Sakhalin to the north and that far-eastern Russian coast weather really beats down on the northern coast of Hokkaido making for some really harsh and yet incredibly beautiful landscape photography opportunities.

This Landscape specific tour has been a long time in the making, but it’s going to be a lot of fun. Plus, David has pretty much stopped doing his own tours for the time being, so this guest spot that he’s doing with me in 2015 is one of the only chances people will have to travel with David for a while, so we expect this tour to sell quickly. If you would like to join us, check the tour page for details.

Hokkaido Winter Landscape Photography Adventure

Show Notes

Gura Gear Bataflae Camera Backpacks

The Hokkaido Winter Landscape Photography Adventure tour page

Music by UniqueTracks


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Podcast 294 : Registering Copyright of your Photographs

Podcast 294 : Registering Copyright of your Photographs

It’s pretty much common knowledge that the copyright of a photograph comes into being the moment you release the shutter and the image is saved to your memory card. It’s fine to put a copyright notice on your images when you post them to the Web, and you have the right to try to litigate against anyone that uses your images without licensing the image or receiving permission from you.

You’ve probably also heard through various Podcasts though, that although you have the right to try to get some sort of retribution for unlawful use of your images, without registering the copyright of your images, you would probably not even find a lawyer that would take on your case, unless you shot something very special, and there was a chance of a very big pay check for your lawyer on winning the case.

Before I go on, I will just clarify that I’m not a lawyer and I have no training in this area at all. I’m just a photographer with a task to do in registering my images, and I imagine that most of you reading or listening to this will be in exactly the same boat. So today I’m just going to walk you through the process of registering your images with the United States Copyright Office, which is a section of the Library of Congress. I put this off for years, because it seems like such a daunting task, but really, it’s very easy, and I wish I’d done it sooner.

Some of you will probably also be wondering why someone living in Japan would register their images with the US Copyright Office. Well, this is simply because I believe the system to register online in the US to be very simple, and because pretty much every country that you can think of has some kind of treaty or convention with which they bought into the US Copyright laws, so it’s probably the best single place to register. You can see details of which countries are signed in the Circular 38a which is available from the US Copyright Office Web site at

What to Copyright?

Before we hop over to the US Copyright Office to take a look at the process, let’s first consider what we will copyright. Now that you can do this online, you could literally zip up your entire image library, and register the whole thing for just US$35. Consider though that you will probably never use some of the multiple shots of a scene or subject that you made while drilling down to the final shots that you were very happy with. In last week’s Podcast I spoke about how I keep all of my final selects in a separate folder. There are just short of 2,500 images in this folder and this is all that I registered. I don’t intend to publish any of my other RAW files, and if I do, I’ll have to register them later, but that’s not a big deal now that I’ve finally taken the time to understand the system.

Published, or Unpublished Work?

It’s also pretty important before you register to consider whether or not your work is Published, or Unpublished, because the process is different based on this. If you have a library of images that you’ve never posted to the Web, or displayed in public in any way, then you could register them all in one go, regardless of the year that you shot the images. If you have been putting your images on the Web though, and the Web site had no way of stopping the general public from looking at the images, then they are Published, and should be registered as such.

The problem that I found because of this was that you have to register the date that the work was first published, and then the year that the work was completed. And, the year that the work was completed has to be the same year that the work was started.

I originally intended to register all 2,500 of my images in one batch for $35 but this wasn’t possible because I’ve been putting my images on my Web site since 2003. In 2003 I published images from as early as 1991, but because I didn’t display these until 2003, I did register this batch together. For the following years after that, I had to split my registration into yearly batches. Because of this, I had 9 batches of images, at $35 each, so in total it cost me $315.

UPDATE: Note that I have since found that there is a big difference between the rights you have if you register your images more than three months after publication. Please check this article on The Copryight Zone, brought to my attention by Paul Kelly.

Prepare Your Images

I also suggest that you prepare your images before you start the registration process. If you are going to upload by year, as I did, and you don’t have your images in separate folders per year, use a program such as Lightroom to display your images by Capture date. Once you have your list of images for each year, ensure that you have all images selected, and then fill in the Copyright field in the IPTC data. You can find the IPTC data towards the bottom of the right panel in the Lightroom Library Module, though you may have to select IPTC from the pull down in the Metadata panel. I always have EXIF and IPTC selected here.

Lightroom Creator Field

First ensure that you add your name to the Creator field in the Contact information. This should already be filled out if you add your name to each image in the camera.

Lightroom Copyright Fields

Lightroom Copyright Fields

Then make sure that you select the Copyright Status as Copyrighted, and enter at least the year that you made the image and your name in the Copyright field. I enter “© 2003 Martin Bailey – All Rights Reserved”. This is also because this is displayed by some Web sites, so I like to have all information displayed from this field. I also then add All Rights Reserved to the Rights Usage Terms field below the Copyright field, for good measure.

As long as you select all the images for that year in Lightroom, this information will be added to all images. Then, with them all still selected, export the batch for this particular year. If you are going to export all of your images in one batch, then you just need to select by year to add your copyright information, and then you can export the entire batch later. Unless that is, you intend to export an insane number of images. If that’s the case, you would probably end up with a single zip file that’s way too big to upload after registration, and so you might want to consider exporting per year anyway.

You will want to resize your images, because they become public information once registered. Of course, the chances of someone trying to steel you images from the Library of Congress are pretty slim, so this is less of a worry than final size of your zip file, and the time taken to upload your files at the end of the registration process.

Image Size

I re-size my images to 900 pixels in width, and a maximum of 700 pixels high. Of course, if the image was a landscape aspect, then 9oopx wide is going to result in a 540px high image but for portrait images, there’s really no need for them to be much bigger than 700 pixels high. I also export at compression 7 on a scale of 10, though you could reduce this to around 5 to save on size if you have a lot of images to package up. 7 has virtually no visible signs of the image having been compressed, and the file size is pretty small for images of this size. I exported each year into a folder named with a number, such as 2003, 2004 etc. and then zipped these by right clicking each folder and selecting Compress “2003” etc.


Once you have your images prepared, we’re now ready to start the registration process. First let’s head over to The screen will look like this. I hope I’m not infringing any copyright laws by using this screenshot. This certainly would be the wrong people to mess with on copyright issues. Page Page

There’s lots of great information on this page, so do take a look around, but once you are ready to start the process, we can go ahead and click on the eCO Login link, marked Electronic Copyright Office.

If this is the first time you are doing this, then you’ll first need to create an account. It’s just like signing up for pretty much any web site, but you do need to provide a pretty strong password. I think it had to be eight or more characters long, and contain at least one number and one symbol, in addition to alphabetic characters.

Once you have your account successfully created, let’s go ahead and login. Once you are in, look for the Start Registration button towards the top of the page, and give that a click.

The first screen is to select the type of work that you are registering. For photographs, you’ll want to select “Work of the Visual Arts” from the pull down menu.

Type of Work

Type of Work

Once selected, click the Continue button. From this screen you’ll need to click the New button, to provide a Title for this body of work. Under the Title Type, select “Title of work being registered”, and then type something that describes the work. This doesn’t need to the be actual title that you gave your images, just a generic title for the body of work, such as “2011 Photographs”. For my 2011 registration I actually used “2011 Photographs to Aug 14”, so that I know where I left off. Unless I shoot something very special between now and the end of the year, I’ll probably wait and do one more registration at the end of 2011, to top this up.

Provide a Title

Provide a Title

Once you’ve provided a title, click the Save button, and you’ll return to the last screen, and click Continue again. On the next screen you are asked if the work has been published or not. If you have not publicly shared your work, then select No, and then select the year that the work was completed. This is a little ambiguous, because if you are talking about an entire body of work, theoretically you could have started working on the photos years ago, but only completed your body of work this year. In this case, I’m assuming that 2011 would be fine, but if you don’t trust me on this, get help from a lawyer.

If you have publicly shown your work, then you’ll need to select Yes, and then provide a bit more information. Again there’s a year of Completion, and Date of First Publication. Now, here, I put the date that I created the first image of the year, thinking of the year as the start of the body of work, and then entered the actual year in the Year of Completion field. These have to be the same year for Published work, and this is why I had to split up my registrations into batches for each year.

Screen for Published Work

Screen for Published Work

For the Nation of First Publication, I chose the United States, because my Web servers are based in the US. By the way, for larger screenshots that get resized in the blog post, go to the bottom of this post and click on the images in the gallery to see in more detail.

On the next screen, you are asked who the author of the work is. Assuming that this is you, all you need to do is click the Add Me button, then fill out the additional data, such as your Citizenship and where you live, and date of birth if you want to. There’s also a date of death, but hopefully we can all steer clear of that field for a while.

Author Details

Author Details

Note here that you will probably want to ignore the Organization field. Even if you work as an organization, you’ll want to keep your copyrights in your own name. Once done, click Save and you’ll be asked what you created, so select Photograph(s), and click Save and then click Continue.

Author created?

Author created?

On the next screen you’ll be entering the Claimants name, and this is you again, so click Add Me and fill in your address and select your State. If you are not based in the US like me, then do select Non-U.S. from the State pull down menu. I’m not going to include a screenshot here, as much as I’d love for you guys to come around for a coffee and a chat, but one thing to note on this screen is that you will ignore the Transfer Statement fields. If you are registering our own work this is not necessary, and if you’re not, you’ll need help from someone other than me to complete this. 🙂

Having clicked Save, once again click Continue and on the Limitations of Claim screen, just click Continue again. There’s no reason to limit what you could claim against, as your photographs can pretty much be used in any of these ways and many more.

On the next screen, Rights & Permissions, you’ll click Add Me again, and this time add any phone numbers etc. as well as ensuring your address is fully filled out. Another tip here for non-U.S. applicants is that when you first register with the system, the number checks for phone numbers make you add your number is a totally whacked out way, with the first three numbers in parenthesis, then a gap, then three digits followed by four digits with a hyphen in between.

This is not how Japan writes down phone numbers, and it also gives you no way of adding a country number etc. I found though, that although these fields are populated by what you provided when you registered, you can change the format here to something closer to home and the system will let you continue. You can also now add an Organization name if you work as a registered company. Having checked the State pull down again, click Continue.

Same drill again on the Correspondent screen. Click Add Me, and ensure that all the details are filled out, then click Continue.

And once again, click Add Me on the Mail Certificate screen and this time you have to provide an Organization name, then click Continue.

Almost there now. Bear with me a little while longer. The next screen is to select whether or not you need Special Handling of your copyright registration. Unless you have just photographed someone very famous doing something very bad, and you need your copyright registered and documentation mailed to you straight away, or unless you just want to pay the extra $760 to see how fast they can expedite your claim, just click Continue.

Special Handling

Special Handling

On the next screen, Certification, you need to check the check box and type your name to certify that you are the author of the work and own the copyright that you are about to register. Of course, it would be against the law to grab someone else’s work and try to register it, and there’s a hefty fine of up to $2,500 for doing so. Assuming that you are registering your own work here, check the check box, type your name and click Continue.



Now, we’re finally on the last screen, the Review Submission part of the application process, and here you’ll find all the details that you entered so far. Now, before we jump to the next part of the process, if you intend to register images again in the future, you might want to click the little blue link next to the Save For Later button, that says “Save As Template”. If you save a template now, all of the data that you just entered will be saved, and you can create future claims in less than a minute, just needing to update the title and dates that the images were shot etc. It makes future registrations very, very quick.

Once you’ve created a template, click Add to Cart. You can put in multiple claims and add them all to the cart before you checkout, but once you have all of your claims input and ready to go, click the Checkout button. You’ll be asked if you want to pay via a Deposit Account or Credit Card. I don’t have a US deposit account, but even if I did, I’d probably use a credit card to leave a nice record of the payment on my credit card statement.

When you select your payment method, at least when you select credit card, but I assume both, you are taken to a U.S. Treasury site to make your payment. This is as simple as any online credit card payment.

Upload Deposit

Upload Deposit

Once completed, you will go back to the U.S. Copyright Office site, and see your open case, or cases in a table. From here you need to click the blue linked Case number, and there you’ll see an Upload Deposit button. Click this to upload your images that you prepared earlier.

The upload screen is actually too narrow when it first opens, so you will need to grab the right side of the browser window and make it a little wider so that you can see both the upload fields and a title field to give each uploaded file a title. Just browse to the zip files that you prepared earlier, and select the ones for this particular claim, then add something descriptive in the Brief Title field. I just called each of my uploads the number for the year of the images I was registering my copyright for.

Upload Dialog

Upload Dialog

OK, so once you’ve uploaded your images or zip file, congratulations, you’re done!

Action NOT Needed

Action NOT Needed

I assume if there are any problems with your claim, you will be contacted by someone for additional information, but you should be careful to do everything necessary to make the process as smooth as possible.

Note that if you go to your Open Cases list to check the progress, you might get a bit of a shock when you see the orange indicators in the Action Needed column. As long as this is not a bug, when you roll your mouse over these orange indicators, you should see a yellow tool tip pop-up that says “No Action Needed”.

Once you have done, you’ll receive an email politely thanking you for registering your claim, and stating that “The effective date of registration is established when the application, fee AND the material being registered have been received”. After you have everything filled out, your fees paid and your images uploaded, it apparently takes around three months for the claim to be processed and the certificate of registration mailed out to you.

So, I hope that has helped in some way. I know that this was one of those things that I put off for a long time because I thought it was going to be a big task with lots of red tape, but it really wasn’t like that. Hopefully you’ll have seen here that although the first time has a few screens to go through, the information you need to provide is simple, and once you have a template made, future or multiple registrations really do take a matter of minutes each.


Just a couple of quick bits of housekeeping before we finish today. Firstly, I was interviewed by Chris Marquardt recently, and although we had no plans for what we’d talk about before we started recording, we touched on quite a few interesting topics, so do listen to Tips From the Top Floor episode 515.

Also note that I have released information on my 2012 Snow Monkey and Hokkaido Photography Tours and Workshops. We’ll be heading out to Nagano from February 13 to photograph the adorable Snow Monkeys and then on to Hokkaido to photograph the majestic Red-Crowned Cranes, Steller’s Sea Eagles, White Tailed Eagles, as well as Whooper Swans, Ezo Deer and the beautiful landscapes of the Hokkaido Winter Wonderland. We return to Tokyo on February 24, so we have 12 full days of photography, including in the field tuition from me, and a few classroom sessions and critique sessions that the entire group agreed in the past adds so much value to what was already an amazing photographic experience. Seats are filling fast, but if you are interested in joining us, please take a look at our workshops page or drop me a line via our Contact Form if you have any questions.

Show Notes

Chris Marquardt’s Interview with Martin on TFTTF 515:

Snow Monkey and Hokkaido Photography Tour and Workshops Info:

Music from Music Alley:


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