Digging around on A Photo Editor today I came across this example of an image license negotiation with a book publisher. Jess Dudley, a producer at Wonderful Machine, helped one of their photographers negotiate terms and prices.
It's a good nuts-and-bolts example of building and negotiating a license. If you're not licensing your images, you're leaving a ton of cash on the table.
Read. Learn. Reap the benefits!
Read the article here.
Image of the Week
Image of the Week: Set still from 'The Last Supper', actor sitting behind light scrim.
Thursday, March 22, 2012
Monday, February 13, 2012
The Bottom Line
Photographer's Rights
I get this question every time I run my Business of Photography seminar at Vancouver Photo Workshops, and this article sums up the answer quite nicely.
I get this question every time I run my Business of Photography seminar at Vancouver Photo Workshops, and this article sums up the answer quite nicely.
Thursday, August 11, 2011
If You Don't Get What You Deserve, You'll Get What You Negotiate For...
It's been some time. Lots going on over here over the summer; motion photography, new promotional work, new personal work, new blog too!
This webinar showed up in my email inbox, thought I'd share it with you. It's a chat about negotiating for photographers. Negotiating is something most photographers are really not comfortable with and to that end not very good at. These days a shooter's ability to negotiate WILL make or break their career, as poor negotiations will result in money left on the table. I could rant here, but I'll let the webinar share the info.
The chat is about an hour. Make the time. You probably have nothing to lose.
This webinar showed up in my email inbox, thought I'd share it with you. It's a chat about negotiating for photographers. Negotiating is something most photographers are really not comfortable with and to that end not very good at. These days a shooter's ability to negotiate WILL make or break their career, as poor negotiations will result in money left on the table. I could rant here, but I'll let the webinar share the info.
The chat is about an hour. Make the time. You probably have nothing to lose.
Friday, June 10, 2011
Hey, Anyone Could Have Shot That
Keep in mind that the skills needed to generate a successful ad image are only 10% photographic. The rest? Client interaction, on-set conduct, conference call etiquette, budget finagling, crew management, general problem solving, the care and feeding of buzzwords and jargon — and knowing when to go with the flow versus when to make suggestions that might nudge the project out of the everyday and towards something more transcendent ...
This is what separates photographers from camera owners.
Monday, May 30, 2011
Monday again and here I am in my chair with a huge cup of lovely, lovely coffee reading Rob Haggart's blog, A Photo Editor.
Rob comments in one of his posts about what he learned in a recent panel discussion he took part in. It's an interesting little read about the photo biz and how buyers (the ones on the panel) choose the photographers they work with.
The more of these posts I read the more I realize they all say the same thing (touched on in 'comments'). Give it a look here.
Personality, people. Find one. I usually find mine two thirds of the way through a bottle of Bombay.
Rob comments in one of his posts about what he learned in a recent panel discussion he took part in. It's an interesting little read about the photo biz and how buyers (the ones on the panel) choose the photographers they work with.
The more of these posts I read the more I realize they all say the same thing (touched on in 'comments'). Give it a look here.
Personality, people. Find one. I usually find mine two thirds of the way through a bottle of Bombay.
Wednesday, May 11, 2011
A Few Tips for the Young Upstart...
What the hell is better on a rainy Wednesday afternoon than surfing photo biz sites and blogs? Through my virtual travels I came across this 6 part blog entry by Gregory Benson. It's a quick read of 'skim the surface' type tips regarding do's and don'ts of the business of photography. Good tidbits for new photographers and maybe a reminder or two for the more seasoned veteran. Sharing is caring...
Have a look. What else are you going to do... go outside?
Have a look. What else are you going to do... go outside?
Wednesday, April 27, 2011
Hot on the Heels of Then and Now...
Just returned from an advanced screening of The Bang Bang Club, a film based on actual events that occurred in South Africa in the early 90's & one certain group of photographers who covered it, trailer here. Thanks to Heather over at Vancouver Photo Workshops for the pass. The film is based on the book written by Greg Marinovich and Joao Silva, 2 of the photographers who lived the story.
Plot: The real life story of a group of four young combat photographers. They risked their lives and used their camera lenses to tell the world of the brutality and violence associated with the first free elections in post Apartheid South Africa in the early 90s. This intense political period brought out their best work (two won Pulitzers during the period).
Plot: The real life story of a group of four young combat photographers. They risked their lives and used their camera lenses to tell the world of the brutality and violence associated with the first free elections in post Apartheid South Africa in the early 90s. This intense political period brought out their best work (two won Pulitzers during the period).
Saturday, April 16, 2011
Then & Now
While flipping channels on the 52 inch television I was sitting in front of out here in the 'burbs last night I came across a documentary on iconic photographs and their creators (The Knowledge Network; The Genius of Photography). The photographs and photographers discussed were/are of the photojournalism variety; Robert Capa, Henri Cartier-Bresson, W. Eugene Smith, etc. Photographers who captured the essence of the world in front of them, photographers whose images recorded the life and times of their era. We've seen the images time and again, perhaps not always knowing who the photographer was behind them. Incredible images revealing other peoples and their cultures, the dejection, despair, pain and hope reflected in the faces of those directly and indirectly affected by the horrors of war, the brutality and beauty of humanity. Iconic images of those times.
While the program continued I began to wonder about this era, our era. What images would emerge as the defining images of the time? Which photographers are now recording images that will become the depiction of our society's reality, the history for the future? James Nachtwey's images popped to mind, as well as the work of Sebastiao Salgado.
My thought process began to ramble and skew a bit... What images that are of incredible sociological importance will never receive the viewership they deserve due to governmental/major corporation-influenced media censorship? This topic was touched upon in the documentary. One instance; images created by photographers in Nagasaki directly after the bomb fell were not released until years after the event, as if the Japanese government hoped to erase the event from their history. A second instance; photographer Joel Meyerowitz commented on an instance at ground zero soon after the WTC disaster. He pulled out his camera to record the aftermath and was immediately accosted by a police officer spewing, "NO PHOTOGRAPHY ALLOWED!". Without photo documentation, is there history?
'Photographs never lie.' In this day and age of photo manipulation, can this statement stand today? Essentially, through the various forms of computer manipulation, every photo published is a twist of the reality that existed in front of the particular camera that recorded the image, a bastardization of that image's truth, if you will? Photojournalists shooting today would maintain that they capture the events as they unfold, no manipulation and for the most part I'd believe that. Who's to say what happens to the image once it's transferred to whatever publication has chosen to publish it? I guess trust in any of this comes down to individual choice. I think the ability to trust entirely in the complete and utter truth in any photograph died with the demise of Polaroid.
I'm thankful for the photographers and others who put themselves in harm's way in the name of telling the story. Imagine for a minute storming the beach in Normandy with the troops during D-Day as Capa did. This, by the way, is something that has been regulated out of existence due to media censorship. Photographers no longer shoot 'during' such events, only 'after' (as stated in the documentary I was watching). I'm sure I don't have the constitution to record events and history as these individuals do. Kudos to them all.
Photos speak volumes, always have. Always will. I can't wait to see which images emerge as those that will define this era.
A little something current; World Press Awards images. Not for the faint of heart. View link at your discretion.
While the program continued I began to wonder about this era, our era. What images would emerge as the defining images of the time? Which photographers are now recording images that will become the depiction of our society's reality, the history for the future? James Nachtwey's images popped to mind, as well as the work of Sebastiao Salgado.
My thought process began to ramble and skew a bit... What images that are of incredible sociological importance will never receive the viewership they deserve due to governmental/major corporation-influenced media censorship? This topic was touched upon in the documentary. One instance; images created by photographers in Nagasaki directly after the bomb fell were not released until years after the event, as if the Japanese government hoped to erase the event from their history. A second instance; photographer Joel Meyerowitz commented on an instance at ground zero soon after the WTC disaster. He pulled out his camera to record the aftermath and was immediately accosted by a police officer spewing, "NO PHOTOGRAPHY ALLOWED!". Without photo documentation, is there history?
'Photographs never lie.' In this day and age of photo manipulation, can this statement stand today? Essentially, through the various forms of computer manipulation, every photo published is a twist of the reality that existed in front of the particular camera that recorded the image, a bastardization of that image's truth, if you will? Photojournalists shooting today would maintain that they capture the events as they unfold, no manipulation and for the most part I'd believe that. Who's to say what happens to the image once it's transferred to whatever publication has chosen to publish it? I guess trust in any of this comes down to individual choice. I think the ability to trust entirely in the complete and utter truth in any photograph died with the demise of Polaroid.
I'm thankful for the photographers and others who put themselves in harm's way in the name of telling the story. Imagine for a minute storming the beach in Normandy with the troops during D-Day as Capa did. This, by the way, is something that has been regulated out of existence due to media censorship. Photographers no longer shoot 'during' such events, only 'after' (as stated in the documentary I was watching). I'm sure I don't have the constitution to record events and history as these individuals do. Kudos to them all.
Photos speak volumes, always have. Always will. I can't wait to see which images emerge as those that will define this era.
A little something current; World Press Awards images. Not for the faint of heart. View link at your discretion.
Wednesday, April 13, 2011
F- you, pay me!
This short-ish video has been making the rounds recently, it's a presentation on contract negotiation for designers but as I'm sure you know, one could easily apply this to any of the creative freelance disciplines. It's great, check it out here.
It's a great presentation that receives a lot of 'damn straight's' and 'as it should be's' and 'like's' from the creative set. Thing is, it's one thing to say, 'Yeah, that's the way it should be!' and another entirely to incorporate this basic business practice into the day-to-day running of said business.
Creatives have to understand that they're running a 'business', not helping out their buddies, and businesses are created to make money. Why in the world do creatives let their clients dictate what the creative's Terms & Conditions should be, and what should be included in the creative's contract? Do vehicle insurance companies, credit cards or software creators let their clients/users dictate the T&D for their product/service?
"It won't/doesn't work here (market)..." and "That's not the way it's done, clients would never accept/sign that" are resultant of creatives being so afraid to lose work that they acquiesce to their clients. In other words, it happens/doesn't fly/won't work because we creatives LET IT HAPPEN. We creatives are running business. Businesses exist to make money. 'Profit' is not a dirty word, and neither is 'mark-up'. That's just business. Remember that clients come to us because they need our product/service to complete their projects. Believe in the value of what we as creatives provide, and charge accordingly!!
Once again, be the change you'd like to see.
It's a great presentation that receives a lot of 'damn straight's' and 'as it should be's' and 'like's' from the creative set. Thing is, it's one thing to say, 'Yeah, that's the way it should be!' and another entirely to incorporate this basic business practice into the day-to-day running of said business.
Creatives have to understand that they're running a 'business', not helping out their buddies, and businesses are created to make money. Why in the world do creatives let their clients dictate what the creative's Terms & Conditions should be, and what should be included in the creative's contract? Do vehicle insurance companies, credit cards or software creators let their clients/users dictate the T&D for their product/service?
"It won't/doesn't work here (market)..." and "That's not the way it's done, clients would never accept/sign that" are resultant of creatives being so afraid to lose work that they acquiesce to their clients. In other words, it happens/doesn't fly/won't work because we creatives LET IT HAPPEN. We creatives are running business. Businesses exist to make money. 'Profit' is not a dirty word, and neither is 'mark-up'. That's just business. Remember that clients come to us because they need our product/service to complete their projects. Believe in the value of what we as creatives provide, and charge accordingly!!
Once again, be the change you'd like to see.
Monday, April 4, 2011
Gettin' the Word Out
I wrapped another session of the Business of Photography seminar at Vancouver Photo Workshops last weekend. While the turnout wasn't huge, the attendees made up for it with their enthusiasm about the marketing, copyright and image licensing how-to material being presented, good on 'em.
Saturday afternoon was jam-packed with excitement as guest speakers Robert Karpa (of Venturi + Karpa fame) and Lisa Reddekopp (our insurance guru from Coast Capital) took over the big chair for their respective presentations; Robert on his approach to social media marketing and Lisa on, you guessed it, the ins and outs of insurance! Thanks again to both for their time & knowledge contribution.
As the seminar wound down I was presented with a Thank You card from the attendees, containing hand-written notes of appreciation from each attendee as well as a Starbuck's coffee card! I was a little touched, truth be told! What a great gesture, first time that's happened since the inception of this course over a year ago. Damn big of all of them!
Time to practice what I've been preaching. New promo imminent!
Stay tuned, it's gonna get interesting...
Saturday afternoon was jam-packed with excitement as guest speakers Robert Karpa (of Venturi + Karpa fame) and Lisa Reddekopp (our insurance guru from Coast Capital) took over the big chair for their respective presentations; Robert on his approach to social media marketing and Lisa on, you guessed it, the ins and outs of insurance! Thanks again to both for their time & knowledge contribution.
As the seminar wound down I was presented with a Thank You card from the attendees, containing hand-written notes of appreciation from each attendee as well as a Starbuck's coffee card! I was a little touched, truth be told! What a great gesture, first time that's happened since the inception of this course over a year ago. Damn big of all of them!
Time to practice what I've been preaching. New promo imminent!
Stay tuned, it's gonna get interesting...
Thursday, March 17, 2011
Stop Waiting for Your Big Break
I recently jumped on board the Photoshelter bandwagon! I've been searching for ways to electronically deliver images to clients efficiently, this seems to be my solution.
Photoshelter puts on different webinars a few times a month; how-to's on the features of their services. I virtually attended such a workshop yesterday afternoon. The workshop was presented by Brian Smith, portrait photographer. It was a very insightful and inspirational hour, I'd suggest checking it out HERE.
Giddy-up
Photoshelter puts on different webinars a few times a month; how-to's on the features of their services. I virtually attended such a workshop yesterday afternoon. The workshop was presented by Brian Smith, portrait photographer. It was a very insightful and inspirational hour, I'd suggest checking it out HERE.
Giddy-up
Monday, March 14, 2011
Professional Responsibilities
Recently I was asked to quote a project for a local restaurant; interiors & cuisine images for use on their website. I submitted my numbers and was informed that I was a bit higher than they're expecting to pay. No big deal, I responded that I was willing to negotiate. Their response (after a followup email from me a week later as to whether they still wanted/needed photography) was "There is a student photographer who works here who will shoot it for free.".
Now, I'm of a mind that we as photographers are ALL responsible for educating our clients. The email I drafted & sent:
Thanks for getting back to me. Yes, free is difficult to pass up, but free has underlying costs that can run pretty deep.
Having been to XXXX and experienced the room (it's great, as is the food!), I hope your student photographer has a firm grasp on balancing different light temperatures and perspective control, not to mention preparing files for web and print. Top that off with consistently carrying the same image feel through from the interiors to the cuisine images. Prospective customers may wonder about the restaurant's attention to detail with food in the kitchen if they're viewing substandard photography on the website. It's quite a gamble, sinking all that money into something, then trusting the restaurant's primary web and print representation to a student. Don't get me wrong, I love a great deal too. We all do. Bear in mind you get what you pay for and the first taste is with the eyes... even on line.
Best of luck,
Dan
I posted this question (would you respond) to a few photographers in this market and received 'just leave it alone' suggestions. My response to that:
Thanks for the reply, appreciate your time & opinion.
I'm of a mind that all professional photographers must take it upon themselves to educate clients on the value of photography. Apathy just promotes acceptance of substandard work. Often, the client just doesn't know any better.
If the client is just cheap then they'll get exactly the photography they deserve. If they're naive however, and a letter gives them pause to think about the value of photography to them and their business, that's a step in the right direction... understanding the value of photography and the advantage to contracting a professional, no?
Best,
Dan
I'd also sent this to photographers in other markets. The responses from them were in the "Excellent response! Send it now!" vein. Imagine that.
It drives me crazy when photographers say things like, "That won't work here (local market)" or "That's not the way it's done" or "It's standard to wait 90 days...". The reason this is the case is because we as photographers LET IT HAPPEN.
Be the change you'd like to see.
Now, I'm of a mind that we as photographers are ALL responsible for educating our clients. The email I drafted & sent:
Thanks for getting back to me. Yes, free is difficult to pass up, but free has underlying costs that can run pretty deep.
Having been to XXXX and experienced the room (it's great, as is the food!), I hope your student photographer has a firm grasp on balancing different light temperatures and perspective control, not to mention preparing files for web and print. Top that off with consistently carrying the same image feel through from the interiors to the cuisine images. Prospective customers may wonder about the restaurant's attention to detail with food in the kitchen if they're viewing substandard photography on the website. It's quite a gamble, sinking all that money into something, then trusting the restaurant's primary web and print representation to a student. Don't get me wrong, I love a great deal too. We all do. Bear in mind you get what you pay for and the first taste is with the eyes... even on line.
Best of luck,
Dan
I posted this question (would you respond) to a few photographers in this market and received 'just leave it alone' suggestions. My response to that:
Thanks for the reply, appreciate your time & opinion.
I'm of a mind that all professional photographers must take it upon themselves to educate clients on the value of photography. Apathy just promotes acceptance of substandard work. Often, the client just doesn't know any better.
If the client is just cheap then they'll get exactly the photography they deserve. If they're naive however, and a letter gives them pause to think about the value of photography to them and their business, that's a step in the right direction... understanding the value of photography and the advantage to contracting a professional, no?
Best,
Dan
I'd also sent this to photographers in other markets. The responses from them were in the "Excellent response! Send it now!" vein. Imagine that.
It drives me crazy when photographers say things like, "That won't work here (local market)" or "That's not the way it's done" or "It's standard to wait 90 days...". The reason this is the case is because we as photographers LET IT HAPPEN.
Be the change you'd like to see.
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