The Business Of Photograhy
#1
07-08-2008, 02:40 AM
The Business Of Photograhy
Bringing this thread over to TeamSpeed so members have easy access to it, and I can finally finish it too. 
The Business Of Photography:
So you want to be a professional photographer? First, let's understand what that means. Professional photographer means everything you shoot is stunning, the sun shines in your favor, and you get women like flies on a fresh turd. Correct? Wrong. A professional, just like anywhere else in life, is being paid to do a job. Strippers are considered professionals, while your friend who is a great dancer, is not, because she doesn't make money doing it. Sadly, in todays world, photography and quality are not often mixed with one another. A professional photographer by definition, is a photographer who gets paid to create images, or to sell his existing images. I am a professional photographer. Am I the best photographer on 6speed? I don't even think I am in the top 20. However, I have had enough experiences, jerk arounds, and problems to be able to give those who are new to the paid game some protection from the BS. Read on, as I will be adding to this thread rather heavily in the next day or so.
Types of publishing...
There are many different ways to be published. Those mediums include high end magazines (Traveler, Architectural Digest, Road and Track, etc,) low end magazines (Import Tuner, Turbo, etc,) newspapers, websites, menu covers, flyers, corporate logos, and many more. For the sake of relevance, we will talk about the main three, magazines, online, and printed advertisements (flyers and such).
Magazines...
are the LEAST paying of the three, in fact many don't pay at all. Why? We have a lot of members who like to shoot cars. Suppose Motor Trend called up one of them, and said... "Hey, we like one of your shots, how would you like the cover?" What do you think the member is going to say? "Hell Yes" and then run and tell all his friends right? Magazines feel like THEY are doing YOU a favor...especially in this world where there is no shortage of photographers. Magazine publications do nothing more than stroke your ego and build your resume...which...sometimes is a good thing. However, it is not what you should be striving for.
Another factor to remember is that A LOT of magazines EMPLOY photographers (National Geographic) is one of them. They need to "feed them." If you, a nobody, presents them with an image that is stunningly spectacular, they will NOT even consider it, due to the fact that they need to provide their "investments" work. Magazine photography is A LOT like acting/singing in Hollywood...who you know is FAR more important than what you know. If you have no connections in the magazine, you are most likely not going to get anywhere, regardless of how good the shot is. The guy that's dating the editor's daughter who got his SLR last weekend will (not really, but I'm just trying to prove a point.)
So, as far as getting paid goes, forget magazines. Even if you get it, it wont even be enough for you to pay for the lens you shot the photo with.
Online Use Photography
This has become a rather lucrative and profitable part of photography in the last few years. Yes granted, MANY MANY sites still use stock photography, but good stock photography isn't that cheap, and many still hire photographers for individual flare. Online photography doesn't pay a whole lot (depends on what it is of course) but you can make money in quantity AND you have free advertising. The biggest consumers of online photographers are hotels, restaurants, casinos, clubs, bars, country clubs and things of that nature. This type of photography has a lot of real estate/ambulance chasing symptoms as is requires a lot of local door to door knocking. If you see a new restaurant opening up in your area, don't be afraid to walk in there with your book and ask them if you would like to shoot for them. Many times they a)will like that you came in, and saved them the time of looking and b)didn't think about it, but think it's a great idea. What's the worst thing that will happen? They'll say no? So what? Move on. Online photography does get tricky in terms of pricing, but we will cover that in the "How much do I charge section."
Printed Ads
This my friends, is what I personally strive for. This is where the money is. This type of photography is not exceptionally difficult to get into, but damn near impossible to get to the top. What do I mean by printed ads? Open any magazine laying on your desk...see an ad for a tire, a cologne, a watch, a shampoo bottle, etc? Those are printed ads. Now, sure, you won't be able to get to that level for quite some time (if ever) but you never know....it's my dream anyway. However, this is not the only "level" in this field. I personally, have done photos for a catering company to use on their fliers that they hand out at weddings. I have shot martinis in bars so they can put the photo on their menu special. All these little things put a decent amount of money in your pocket, without having you slave over the proverbial stove for it. Little gigs are not too difficult to obtain, and while they might not line your pockets, they will help you network, and build clientèle...80% of your business is going to be word of mouth.
There are a few more niche gigs, but I will discuss those later (weddings, sports, etc.)
The Business Of Photography:
So you want to be a professional photographer? First, let's understand what that means. Professional photographer means everything you shoot is stunning, the sun shines in your favor, and you get women like flies on a fresh turd. Correct? Wrong. A professional, just like anywhere else in life, is being paid to do a job. Strippers are considered professionals, while your friend who is a great dancer, is not, because she doesn't make money doing it. Sadly, in todays world, photography and quality are not often mixed with one another. A professional photographer by definition, is a photographer who gets paid to create images, or to sell his existing images. I am a professional photographer. Am I the best photographer on 6speed? I don't even think I am in the top 20. However, I have had enough experiences, jerk arounds, and problems to be able to give those who are new to the paid game some protection from the BS. Read on, as I will be adding to this thread rather heavily in the next day or so.
Types of publishing...
There are many different ways to be published. Those mediums include high end magazines (Traveler, Architectural Digest, Road and Track, etc,) low end magazines (Import Tuner, Turbo, etc,) newspapers, websites, menu covers, flyers, corporate logos, and many more. For the sake of relevance, we will talk about the main three, magazines, online, and printed advertisements (flyers and such).
Magazines...
are the LEAST paying of the three, in fact many don't pay at all. Why? We have a lot of members who like to shoot cars. Suppose Motor Trend called up one of them, and said... "Hey, we like one of your shots, how would you like the cover?" What do you think the member is going to say? "Hell Yes" and then run and tell all his friends right? Magazines feel like THEY are doing YOU a favor...especially in this world where there is no shortage of photographers. Magazine publications do nothing more than stroke your ego and build your resume...which...sometimes is a good thing. However, it is not what you should be striving for.
Another factor to remember is that A LOT of magazines EMPLOY photographers (National Geographic) is one of them. They need to "feed them." If you, a nobody, presents them with an image that is stunningly spectacular, they will NOT even consider it, due to the fact that they need to provide their "investments" work. Magazine photography is A LOT like acting/singing in Hollywood...who you know is FAR more important than what you know. If you have no connections in the magazine, you are most likely not going to get anywhere, regardless of how good the shot is. The guy that's dating the editor's daughter who got his SLR last weekend will (not really, but I'm just trying to prove a point.)
So, as far as getting paid goes, forget magazines. Even if you get it, it wont even be enough for you to pay for the lens you shot the photo with.
Online Use Photography
This has become a rather lucrative and profitable part of photography in the last few years. Yes granted, MANY MANY sites still use stock photography, but good stock photography isn't that cheap, and many still hire photographers for individual flare. Online photography doesn't pay a whole lot (depends on what it is of course) but you can make money in quantity AND you have free advertising. The biggest consumers of online photographers are hotels, restaurants, casinos, clubs, bars, country clubs and things of that nature. This type of photography has a lot of real estate/ambulance chasing symptoms as is requires a lot of local door to door knocking. If you see a new restaurant opening up in your area, don't be afraid to walk in there with your book and ask them if you would like to shoot for them. Many times they a)will like that you came in, and saved them the time of looking and b)didn't think about it, but think it's a great idea. What's the worst thing that will happen? They'll say no? So what? Move on. Online photography does get tricky in terms of pricing, but we will cover that in the "How much do I charge section."
Printed Ads
This my friends, is what I personally strive for. This is where the money is. This type of photography is not exceptionally difficult to get into, but damn near impossible to get to the top. What do I mean by printed ads? Open any magazine laying on your desk...see an ad for a tire, a cologne, a watch, a shampoo bottle, etc? Those are printed ads. Now, sure, you won't be able to get to that level for quite some time (if ever) but you never know....it's my dream anyway.
However, this is not the only "level" in this field. I personally, have done photos for a catering company to use on their fliers that they hand out at weddings. I have shot martinis in bars so they can put the photo on their menu special. All these little things put a decent amount of money in your pocket, without having you slave over the proverbial stove for it. Little gigs are not too difficult to obtain, and while they might not line your pockets, they will help you network, and build clientèle...80% of your business is going to be word of mouth.There are a few more niche gigs, but I will discuss those later (weddings, sports, etc.)
Last edited by NFRs2000NYC; 07-08-2008 at 02:42 AM.
#2
07-08-2008, 02:47 AM
"How Much Do I Charge?"
This is the single most asked question of new photographers. You practice, practice, practice, finally get good enough, and now you land your first paid gig...and you panic. You don't want to overshoot the price, as the client will walk, but you don't want to sell yourself short. What do you do? Well...like all aspects of business, you might have to get a little dirt on ya.
First of all, let me appeal to everyone before we begin. Please, obey the photographers code....
1)In God we trust, everyone else pays cash.
2)DO NOT SELL YOUR IMAGES TO THOSE CHEAP STOCK PHOTOGRAPHY PLACES. These are the people that are KILLING the photography business. Why pay for a photographer when you get can a good image for $1.99 royalty free? There are some very good stock agencies (Getty for instance) but don't sell out to the cheap ones.
3)Protect yourself. Contracts, and ALL ASPECTS of shoots must be negotiated before hand. Do not "trust" that people will take care of you later...they won't.
4)Do not go for that "we won't pay you, but we will give you credit for the photo" bullsh!t. Try that on your landlord, see if it works.
5)Know your "AFTER SHOOT" costs inside out. If I tell you I'll pay you $150 for an image, you might jump at it, but you forget you spend a $20 tank of gas to get it, 4 hours of editing, lunches, camera equipment, insurance, etc. Suddenly, that $150 is nothing.
6)NEVER SELL YOUR COPYRIGHT
So, back to the problem at hand, "how much do I charge?" Well, that depends. First of all, you need to be absolutely sure/confident that you are going to deliver. If you are unsure, don't do it. Practice some more. Luckily for us photographers, unless you are shooting for some MAJOR client, what you would consider "crap" they will probably love. Anyway, I digress. This is where the business gets a little dirty. You need to know the going rate for what you are shooting. Are you shooting a club flyer but are clueless about how much to charge? You need to know the "base price." To obtain it, you might need to call 10 photographers in your phone book, and ask them as if you were going to hire them. Yes it's annoying, yes it's a waste of a professional's time, but everyone does it, and you might get it too. After you ask 10, you should have a good baseline of what the "market value" of that shoot is. Now....yes, you are new, and a nobody, so your first instinct, like all businesses, would be to try and undercut the competition. That's fine an all, except one thing. Many people still believe in the "you get what you pay for," so you undercutting the competition might actually hurt you, as they will think that you are a noob just trying to get ANY gig you can. You can see this by logging onto craigslist and seeing the "weddings for $199" posts.
Your goal as far as pricing should be slightly under the competition, but not too much. The client must feel like they are getting a deal. Don't go too low, as few people pay the "asking price" so leave yourself some wiggle room.
Now, another very important point...
This is a HUGE mistake that many people often forget to ask...and lose possibly thousands of dollars. Why is this important? You probably want an example....I have shot a number of restaurants where they wanted photos for their websites of some random dishes. This was used to just fill the page, make it look pretty, etc. I charged them a shoot fee, etc. Now, I also shot for a large catering company, and the photo would be used on the cover of their flyer/brochure. Can you see a difference in the two examples? No? The difference is, the website is just an informational page, while the brochure is a blatant advertisement. The catering company will be making money due to my image (not only the image, but it is the first thing that hits the customer.) They hand out the flyer at all their events, people judge based on the look/presentation of the food, and a bad photo will surely deter many potential customers. You must factor in the potential profit they will be making, and factor it into your price.
Another important reason to ask what the use of the photo is, is legal, and to protect yourself. Suppose you get hired shooting two girls in the park, and then it turns out it was used on the welcome screen of a porn site? The girls will sue, and you are in it as well.
For the sake of your sanity, and well being of all relationships, I stongly recommend you do NOT shoot for your friends or family. If you REALLY want to be a nice guy, prepare to do it for free. If there is money involved, you will 99% of time have a problem and a falling out. Don't do it. It's not worth it.
Finally, please remember cardinal rule number 1. Many MANY people still think photographers just push a button. Those people will always argue with you, try to get you to shoot for $50, tell you that you are greedy, etc. Always, politely recommend that you are unable to meet their price quota, and walk away. Do NOT sell yourself short. Everything you produce out of your camera has some sort of value. That value is determined by what someone will pay to use it. You wouldn't work for $3 an hour right? Apply the same rule to your shoots.
Copyright Issues
From the moment you press the shutter button and the camera goes "click" you own that image. It doesn't matter who's camera that is, where the moon is at that current time, or the price of tea in China. It is your image. There is one, and only ONE exception to that rule. If you work for anyone as a photographer...meaning, you get a paycheck every week for being a photographer, every shot you take while "on the clock" belongs to your employer. Thats it. When you are "selling a photo" you are NOT selling the photo. You are selling USAGE RIGHTS. You still own the photo, and they have no legal right to use the photo in anyway that was not previously agreed upon. There are instances, where someone will want to buy the COPYRIGHT from you. That means, if you sell it, you no longer have any say about the photo, or what it will be used for, nor are you entitled to any money the photo generates from there on in. People will ask you to sell the copyright often, but I suggest that 99.9% of the time, you don't do it, and if you do, multiply your price by 10. People who want the copyright have a serious agenda, and they will probably be making money due to your photo...if they are getting theirs, get yours.
Also, please remember, that unless you sell your copyright, the client has absolutely no right to edit your photo. Never sell RAWs. They probably don't want your signature/copyright graphic on it, and thats fine, but they still have no right to edit.
Releases
What is a release? A release (often called a model release) is basically a written document that a photographer must obtain from a person/company in the photo that states "I give you permission to use this photo which contains my face/trademark in it."
"Do I really need one?" Yes, absolutely? Are there exceptions? Yes there are. "Ok fine, when do I need one?"
You need a release whenever you take a photo of a clearly identifiable person or trademark (the McDonalds "M" for instance) which will be used for commercial purposes. If you USE a photo (not sell it), you might get a C&D letter (Cease and Desist) which asks you to remove the image. Failure to do so will result in a lawsuit.
"When do I not need a release" When you shoot a public venue with permission (ie concert) in which the photo will be used in editorial context, and represented/captioned accurately and honestly. You do NOT need a signed release from the crowd at a concert, but if one of those faces asks you to remove the image, it must be removed. Everyone has the right to control an image of themselves. "But wait" you say..."Why don't celebrities just ask these papers to remove their crotch shots and coked up noses?" Simple...they do...they publish them once, and that's it. They can't stop the presses as they say, and once published, the damage is LEGALLY done, and cannot be reversed. The legal fees would bankrupt most celebrities if they were going after everyone that publishes their image.
Here are some common examples for you to go by...
I have a sweet photo of my friend's Porsche GT3, and a local shop wants to use it on their website. Do I need a release?
No you do not. The photo is used in editorial context, and you do not need a release.
I have a sweet photo of my friend's Porsche GT3, and a local Porsche Exhaust maker wants to use it in a full page ad in EXCELLENCE magazine. Do I need a release?
Yes, in this case you do. The only way around this is to remove all Porsche markings, including all badges, crests, and centercaps. Otherwise, you need permission from Porsche. However, one word of warning, some manufacturers (BMW for instance) trademarks certain parts of the car's design, like the kidney grilles, while others, trademark the entire car's body (Ford GT for instance). In that case, there is nothing you can do.
I took a photo of a teamspeed meet and teamspeed wants to use it on their home page for a story, do I need a release of all those people?
No, you do not. As long as the photo is properly represented with honest captions, you have the right to use the photo in editorial context.
I took a photo of a teamspeed meet, and teamspeed wants to use it in an ad. I don't know who half those people are. Can I sell them the photo?
Not a chance.
I went to a Lakers game this weekend, and got awesome shots of Kobe breaking the backboard on a dunk. Can I sell them?
Hell no.
I shot a model sitting on a Gallardo hood this weekend. She was wearing Gucci sunglasses, and Gucci wants to print my photo for an ad. Can I sell it?
Yes....IF you have a release from the model AND Lamborghini. To avoid the Lambo release, don't get any trademarks in the photo (badges, etc).
I posted my shots on 6speed online to get some comments and critiques, now some company stole it an is using it on their page. I want to sue!!!! Can I?
Well...this is a long answer. Although you own the copyright to the photo, you have to register it with United States Copyright Office if you want to make any real money, which CAN involve punitive damages. If you do NOT, then the most you can get is the market value for a photo, which will be less than $100. You must also first send a certified C&D letter.
Enough of this BS, can you just tell me in plain English when do I need a release?
Yes I can...here it is... ANYTIME you take a photo that is intented to advertise any form of business with the potential of generating income (basically always, other than editorial content) that contains a recognizable face or trademark, you need a release.
Insurance, why you need it.
So, you have all this camera goodness, and now you wonder if you should get insurance on it. Well...part of it is peace of mind, another part is work related. Keep in mind, part of this post will be a bit personal, meaning I can only write based on NY laws, but I am fairly certain most of this will be applicable in most states.
Security reasons....
Well, between my laptop, my desktop, photoshop, camera, lenses, flashes, rentals, all trinkets, I must have spent close to 25-30K. Now, suppose you are flying on a shoot from LA to NY (or vice versa) and your airline loses your camera bag (you should never check it in the first place)....but suppose...Read your airline ticket contract next time..."we are not responsible for digital cameras, computers, or any electronic devices." EVEN IF THEY LOST IT, AND ADMIT TO IT, you are SOL with a capital S.
Your only protection is insurance. Your apartment might get robbed, and you might not have remembered to tell your renter's/homeowners insurance carrier that you have all this equipment. Again, you are SOL with a capital S. If you are not sold by now....read on.
Business reasons...
Suppose you were asked to shoot some event..corporate, wedding, whatever. You finish up, you get home, take out the CF card, while your cute daughter/cousin/sister/puppy runs over, knocking over your glass of prune juice, spilling it on your card, and frying it. Now you lost the data. Congratulations, you just landed yourself a lawsuit, and some pretty bad word of mouth. Insurance covers these accidents which include lost data, and reshoots.
Now, here is where NY applies. In MANY locations (all hotels, some restaurants, etc) you may not even step foot into the building with your camera unless you have a 1MM policy of liability. Why you ask? What can my 85mm do to injure someone? The answer is nothing. But what if someone knocks over your lightstand with a 1000W hotlight on it, setting the curtains on fire and burning down the east wing of the Ritz Carlton? Get the picture now?
Now, I don't advertise, nor do I get any money for this. This is purely an informative piece....
I have searched for quite some time for a good camera insurance carrier. Please remember, that many people like to add their camera insurance through other means, from their car insurance carriers, to their business insurance carriers, to their home insurance, etc. However, when sh!t hits the fan, these companies are there ESPECIALLY for photographers, so they UNDERSTAND the stories, why a 50mm lens costs $1200, etc. Other companies, don't, and it's a real PITA to get your money.
So, I personally use Hill and Usher. They were recommended to me, and have been very pleasant to deal with...here is my policy for reference purposes...
$680 Annual Cost
$500 deductible
1MM Liability, 2MM aggregate
$25,000 of Equipment (camera/lenses/flashes only...proof required)
$5000 Computer Equipment
$5000 Rental Insurance (VERY IMPORTANT)
Full coverage anyplace on earth.
Full theft
$10,000 lost data/re-shoot
It might seem a bit steep to some, but if you lose a big gig for not having insurance, or break a 70-200mm 2.8, you paid for it anyway.
In conclusion, insure now, or cry later.
Contracts
I should have put this in the first part of the thread, as this is the single most important part of the business. Yes, sometimes it's unpleasant, but it's simple business. Without one, you are a sitting duck, with no leg to stand on, with a rifle pointed at your head. Never shoot ANYTHING without one, no matter how "insignificant" the shoot is. Shooting a friends wedding for $5, sign a contract. Shooting a cousins bar mitzva for 25 cents? Sign a contract. If someone refuses, do NOT negotiate anything else. Move on. If someone doesn't agree to the terms, see if you can resolve them, edit the contract, and sign it. The biggest mistake of newcomers is them thinking that contracts are for big gigs and multi-million dollar corporations.
As far as where to get them, you can either have a lawyer draft one up for you, or just plug "photography contract" in google, and purchase one from the 100s of contract sites online. You can easily edit them, so you can mold them to state whatever you need. Make your contracts bulletproof.
Key things to have in your contracts....
1)No Transfer Until Paid...meaning, no ownership is granted until the balance has been paid in full.
2)Usage rights/Time Periods...if you are selling a right for the photo (99% of the time) specify what they can/can't use it for, and how long they can use it for.
3)Ownership Rights...this is very touchy with clients, as they THINK they are buying the copyright. Your contract has to make it perfectly clear that they are not, and only getting USAGE rights (unless you sold the copyright, in which case, specify it).
To reiterate....
Business License
This is not mandatory, especially if photography is your second in command (in terms of income.) Business licenses are sometimes necessary for certain gigs. There is no black and white rule, so I can't comment on where/when you will need it, but some places only work with photographers that have their own companies..even if you ARE the company. Joe Schmoe Photography LLC or something of that nature. *Usually* having proper insurance is enough. Another thing to think about...if you are planning on doing heavy photography work (lots of it) it is a good idea to turn yourself into a company for write off purposes. Photography is a gold mine for write offs, as not only can you write off equipment, you can also write off all your equipment as a depreciating asset.
This is the single most asked question of new photographers. You practice, practice, practice, finally get good enough, and now you land your first paid gig...and you panic. You don't want to overshoot the price, as the client will walk, but you don't want to sell yourself short. What do you do? Well...like all aspects of business, you might have to get a little dirt on ya.
First of all, let me appeal to everyone before we begin. Please, obey the photographers code....
1)In God we trust, everyone else pays cash.
2)DO NOT SELL YOUR IMAGES TO THOSE CHEAP STOCK PHOTOGRAPHY PLACES. These are the people that are KILLING the photography business. Why pay for a photographer when you get can a good image for $1.99 royalty free? There are some very good stock agencies (Getty for instance) but don't sell out to the cheap ones.
3)Protect yourself. Contracts, and ALL ASPECTS of shoots must be negotiated before hand. Do not "trust" that people will take care of you later...they won't.
4)Do not go for that "we won't pay you, but we will give you credit for the photo" bullsh!t. Try that on your landlord, see if it works.
5)Know your "AFTER SHOOT" costs inside out. If I tell you I'll pay you $150 for an image, you might jump at it, but you forget you spend a $20 tank of gas to get it, 4 hours of editing, lunches, camera equipment, insurance, etc. Suddenly, that $150 is nothing.
6)NEVER SELL YOUR COPYRIGHT
So, back to the problem at hand, "how much do I charge?" Well, that depends. First of all, you need to be absolutely sure/confident that you are going to deliver. If you are unsure, don't do it. Practice some more. Luckily for us photographers, unless you are shooting for some MAJOR client, what you would consider "crap" they will probably love. Anyway, I digress. This is where the business gets a little dirty. You need to know the going rate for what you are shooting. Are you shooting a club flyer but are clueless about how much to charge? You need to know the "base price." To obtain it, you might need to call 10 photographers in your phone book, and ask them as if you were going to hire them. Yes it's annoying, yes it's a waste of a professional's time, but everyone does it, and you might get it too. After you ask 10, you should have a good baseline of what the "market value" of that shoot is. Now....yes, you are new, and a nobody, so your first instinct, like all businesses, would be to try and undercut the competition. That's fine an all, except one thing. Many people still believe in the "you get what you pay for," so you undercutting the competition might actually hurt you, as they will think that you are a noob just trying to get ANY gig you can. You can see this by logging onto craigslist and seeing the "weddings for $199" posts.
Your goal as far as pricing should be slightly under the competition, but not too much. The client must feel like they are getting a deal. Don't go too low, as few people pay the "asking price" so leave yourself some wiggle room.
Now, another very important point...
ALWAYS ASK WHAT THE PHOTO WILL BE USED FOR!
This is a HUGE mistake that many people often forget to ask...and lose possibly thousands of dollars. Why is this important? You probably want an example....I have shot a number of restaurants where they wanted photos for their websites of some random dishes. This was used to just fill the page, make it look pretty, etc. I charged them a shoot fee, etc. Now, I also shot for a large catering company, and the photo would be used on the cover of their flyer/brochure. Can you see a difference in the two examples? No? The difference is, the website is just an informational page, while the brochure is a blatant advertisement. The catering company will be making money due to my image (not only the image, but it is the first thing that hits the customer.) They hand out the flyer at all their events, people judge based on the look/presentation of the food, and a bad photo will surely deter many potential customers. You must factor in the potential profit they will be making, and factor it into your price.
Another important reason to ask what the use of the photo is, is legal, and to protect yourself. Suppose you get hired shooting two girls in the park, and then it turns out it was used on the welcome screen of a porn site? The girls will sue, and you are in it as well.
For the sake of your sanity, and well being of all relationships, I stongly recommend you do NOT shoot for your friends or family. If you REALLY want to be a nice guy, prepare to do it for free. If there is money involved, you will 99% of time have a problem and a falling out. Don't do it. It's not worth it.
Finally, please remember cardinal rule number 1. Many MANY people still think photographers just push a button. Those people will always argue with you, try to get you to shoot for $50, tell you that you are greedy, etc. Always, politely recommend that you are unable to meet their price quota, and walk away. Do NOT sell yourself short. Everything you produce out of your camera has some sort of value. That value is determined by what someone will pay to use it. You wouldn't work for $3 an hour right? Apply the same rule to your shoots.
Copyright Issues
From the moment you press the shutter button and the camera goes "click" you own that image. It doesn't matter who's camera that is, where the moon is at that current time, or the price of tea in China. It is your image. There is one, and only ONE exception to that rule. If you work for anyone as a photographer...meaning, you get a paycheck every week for being a photographer, every shot you take while "on the clock" belongs to your employer. Thats it. When you are "selling a photo" you are NOT selling the photo. You are selling USAGE RIGHTS. You still own the photo, and they have no legal right to use the photo in anyway that was not previously agreed upon. There are instances, where someone will want to buy the COPYRIGHT from you. That means, if you sell it, you no longer have any say about the photo, or what it will be used for, nor are you entitled to any money the photo generates from there on in. People will ask you to sell the copyright often, but I suggest that 99.9% of the time, you don't do it, and if you do, multiply your price by 10. People who want the copyright have a serious agenda, and they will probably be making money due to your photo...if they are getting theirs, get yours.
Also, please remember, that unless you sell your copyright, the client has absolutely no right to edit your photo. Never sell RAWs. They probably don't want your signature/copyright graphic on it, and thats fine, but they still have no right to edit.
Releases
What is a release? A release (often called a model release) is basically a written document that a photographer must obtain from a person/company in the photo that states "I give you permission to use this photo which contains my face/trademark in it."
"Do I really need one?" Yes, absolutely? Are there exceptions? Yes there are. "Ok fine, when do I need one?"
You need a release whenever you take a photo of a clearly identifiable person or trademark (the McDonalds "M" for instance) which will be used for commercial purposes. If you USE a photo (not sell it), you might get a C&D letter (Cease and Desist) which asks you to remove the image. Failure to do so will result in a lawsuit.
"When do I not need a release" When you shoot a public venue with permission (ie concert) in which the photo will be used in editorial context, and represented/captioned accurately and honestly. You do NOT need a signed release from the crowd at a concert, but if one of those faces asks you to remove the image, it must be removed. Everyone has the right to control an image of themselves. "But wait" you say..."Why don't celebrities just ask these papers to remove their crotch shots and coked up noses?" Simple...they do...they publish them once, and that's it. They can't stop the presses as they say, and once published, the damage is LEGALLY done, and cannot be reversed. The legal fees would bankrupt most celebrities if they were going after everyone that publishes their image.
Here are some common examples for you to go by...
I have a sweet photo of my friend's Porsche GT3, and a local shop wants to use it on their website. Do I need a release?
No you do not. The photo is used in editorial context, and you do not need a release.
I have a sweet photo of my friend's Porsche GT3, and a local Porsche Exhaust maker wants to use it in a full page ad in EXCELLENCE magazine. Do I need a release?
Yes, in this case you do. The only way around this is to remove all Porsche markings, including all badges, crests, and centercaps. Otherwise, you need permission from Porsche. However, one word of warning, some manufacturers (BMW for instance) trademarks certain parts of the car's design, like the kidney grilles, while others, trademark the entire car's body (Ford GT for instance). In that case, there is nothing you can do.
I took a photo of a teamspeed meet and teamspeed wants to use it on their home page for a story, do I need a release of all those people?
No, you do not. As long as the photo is properly represented with honest captions, you have the right to use the photo in editorial context.
I took a photo of a teamspeed meet, and teamspeed wants to use it in an ad. I don't know who half those people are. Can I sell them the photo?
Not a chance.
I went to a Lakers game this weekend, and got awesome shots of Kobe breaking the backboard on a dunk. Can I sell them?
Hell no.
I shot a model sitting on a Gallardo hood this weekend. She was wearing Gucci sunglasses, and Gucci wants to print my photo for an ad. Can I sell it?
Yes....IF you have a release from the model AND Lamborghini. To avoid the Lambo release, don't get any trademarks in the photo (badges, etc).
I posted my shots on 6speed online to get some comments and critiques, now some company stole it an is using it on their page. I want to sue!!!! Can I?
Well...this is a long answer. Although you own the copyright to the photo, you have to register it with United States Copyright Office if you want to make any real money, which CAN involve punitive damages. If you do NOT, then the most you can get is the market value for a photo, which will be less than $100. You must also first send a certified C&D letter.
NEVER UNDER ANY CIRCUMSTANCES ARE YOU TO SEND THE OFFENDING PARTY A BILL. BY DOING SO, YOU ARE ESTABLISHING VALUE, AND YOU HAVE NO CHANCE OF GETTING A RED CENT ON TOP OF THAT IF YOU HAVE A REAL LAWSUIT. 99.99% OF LAWYERS WILL NOT TAKE A CASE THAT HAS ESTABLISHED VALUE.
Enough of this BS, can you just tell me in plain English when do I need a release?
Yes I can...here it is... ANYTIME you take a photo that is intented to advertise any form of business with the potential of generating income (basically always, other than editorial content) that contains a recognizable face or trademark, you need a release.
Insurance, why you need it.
So, you have all this camera goodness, and now you wonder if you should get insurance on it. Well...part of it is peace of mind, another part is work related. Keep in mind, part of this post will be a bit personal, meaning I can only write based on NY laws, but I am fairly certain most of this will be applicable in most states.
Security reasons....
Well, between my laptop, my desktop, photoshop, camera, lenses, flashes, rentals, all trinkets, I must have spent close to 25-30K. Now, suppose you are flying on a shoot from LA to NY (or vice versa) and your airline loses your camera bag (you should never check it in the first place)....but suppose...Read your airline ticket contract next time..."we are not responsible for digital cameras, computers, or any electronic devices." EVEN IF THEY LOST IT, AND ADMIT TO IT, you are SOL with a capital S.
Your only protection is insurance. Your apartment might get robbed, and you might not have remembered to tell your renter's/homeowners insurance carrier that you have all this equipment. Again, you are SOL with a capital S. If you are not sold by now....read on.
Business reasons...
Suppose you were asked to shoot some event..corporate, wedding, whatever. You finish up, you get home, take out the CF card, while your cute daughter/cousin/sister/puppy runs over, knocking over your glass of prune juice, spilling it on your card, and frying it. Now you lost the data. Congratulations, you just landed yourself a lawsuit, and some pretty bad word of mouth. Insurance covers these accidents which include lost data, and reshoots.
Now, here is where NY applies. In MANY locations (all hotels, some restaurants, etc) you may not even step foot into the building with your camera unless you have a 1MM policy of liability. Why you ask? What can my 85mm do to injure someone? The answer is nothing. But what if someone knocks over your lightstand with a 1000W hotlight on it, setting the curtains on fire and burning down the east wing of the Ritz Carlton? Get the picture now?
Now, I don't advertise, nor do I get any money for this. This is purely an informative piece....
I have searched for quite some time for a good camera insurance carrier. Please remember, that many people like to add their camera insurance through other means, from their car insurance carriers, to their business insurance carriers, to their home insurance, etc. However, when sh!t hits the fan, these companies are there ESPECIALLY for photographers, so they UNDERSTAND the stories, why a 50mm lens costs $1200, etc. Other companies, don't, and it's a real PITA to get your money.
So, I personally use Hill and Usher. They were recommended to me, and have been very pleasant to deal with...here is my policy for reference purposes...
$680 Annual Cost
$500 deductible
1MM Liability, 2MM aggregate
$25,000 of Equipment (camera/lenses/flashes only...proof required)
$5000 Computer Equipment
$5000 Rental Insurance (VERY IMPORTANT)
Full coverage anyplace on earth.
Full theft
$10,000 lost data/re-shoot
It might seem a bit steep to some, but if you lose a big gig for not having insurance, or break a 70-200mm 2.8, you paid for it anyway.
In conclusion, insure now, or cry later.
Contracts
I should have put this in the first part of the thread, as this is the single most important part of the business. Yes, sometimes it's unpleasant, but it's simple business. Without one, you are a sitting duck, with no leg to stand on, with a rifle pointed at your head. Never shoot ANYTHING without one, no matter how "insignificant" the shoot is. Shooting a friends wedding for $5, sign a contract. Shooting a cousins bar mitzva for 25 cents? Sign a contract. If someone refuses, do NOT negotiate anything else. Move on. If someone doesn't agree to the terms, see if you can resolve them, edit the contract, and sign it. The biggest mistake of newcomers is them thinking that contracts are for big gigs and multi-million dollar corporations.
As far as where to get them, you can either have a lawyer draft one up for you, or just plug "photography contract" in google, and purchase one from the 100s of contract sites online. You can easily edit them, so you can mold them to state whatever you need. Make your contracts bulletproof.
Key things to have in your contracts....
1)No Transfer Until Paid...meaning, no ownership is granted until the balance has been paid in full.
2)Usage rights/Time Periods...if you are selling a right for the photo (99% of the time) specify what they can/can't use it for, and how long they can use it for.
3)Ownership Rights...this is very touchy with clients, as they THINK they are buying the copyright. Your contract has to make it perfectly clear that they are not, and only getting USAGE rights (unless you sold the copyright, in which case, specify it).
To reiterate....
DO NOT EVEN THINK OF BEGINNING A SHOOT UNLESS EVERYTHING HAS BEEN AGREED ON AND SIGNED.
Business License
This is not mandatory, especially if photography is your second in command (in terms of income.) Business licenses are sometimes necessary for certain gigs. There is no black and white rule, so I can't comment on where/when you will need it, but some places only work with photographers that have their own companies..even if you ARE the company. Joe Schmoe Photography LLC or something of that nature. *Usually* having proper insurance is enough. Another thing to think about...if you are planning on doing heavy photography work (lots of it) it is a good idea to turn yourself into a company for write off purposes. Photography is a gold mine for write offs, as not only can you write off equipment, you can also write off all your equipment as a depreciating asset.
Last edited by NFRs2000NYC; 07-08-2008 at 02:56 AM.
#3
07-08-2008, 02:49 AM
Getting Work, Working, and Getting More Work.
So, you've read all of the above, and now you want to know how to actually get work. Well...have a seat, pour yourself a glass of your favorite beverage, and read on, as this may take a while.
The first step in any business (when you get into it) is remembering that you are a nobody. Your name means nothing, and no one knows who the hell you are. Put yourself in their shoes. Why would someone want to hire you? Your first mission is to BE ABLE TO SELL YOURSELF. If you are NOT a people person, find a new profession. Become a CPA (no offense to our fine 6speed CPAs of course. ) Get your personality in check. You WILL get jerked around. Thats the nature of business. There is no room in photography for photographers that are dicks. Your entire business will be word of mouth, and ONE bad experience by a client is enough to kill your entire operation. Contracts or not, sometimes, it might be a wise decision to let a small thing go, for future earning potential.
Now that we have established that you are good hearted person with good business ethics, you have to start where everyone starts....at the bottom. This entire thread is made for people that I assume have no connections, and really start from nothing. If you know people in certain places, you can probably bypass a lot of what I write, but 99% of people can't.
First order of business.....choose a direction. You might be a jack of all photography themes, but you will have much better luck and efficiency if you pick a direction that you want to go in. However, consider earning potential. Shooting cars and Hot Import Night babes might be fun, but is there any real money in it? Some of the most common "directions" that we will discuss in detail later on include, among others...
Wedding Photography
Motorsports
School Photography
Corporate Events
Artistic
Print Sales
Stock
Portraiture
Nightlife
Modeling
High Fashion
Low End Advertising
High End Advertising
The more you shoot for one theme, the more your name becomes attached to it. The more you stick with a particular theme, the better your relationship will be with the people in/related to that business AND your rate will go up. So...the best tip always forgotten by the new guys...pick a direction...don't take anything and everything...you'll never master it. This does not mean you should ONLY shoot THAT theme and nothing else, but at least you have a clear cut specialization. In a SEA of photographers, it will make you outshine them.
Second order of business, a portfolio (AKA a book). I will again, assume that if you feel comfortable enough shooting professionally, that means you have been shooting as a hobby for a number of years, and have quite a few very nice images. Pick your cream of the cream of the crop, and have them printed in the industry standard 11x14. Get them printed at a good printer, not with a home deskjet.
Get an attractive portfolio case...nothing crazy, I just use a $35 black case. There is no need for a triple titanium adamantium diamond crusted flux capacitor having $4000 portfolio case. Arrange your photos in the book by relevance. Don't throw car photos among baby photos, landscape photos, etc. Now, you are new, and you should not be ashamed to tell people this IF they ask. You CAN lie, but make sure you can back your lies up with skill. You can say you've been shooting since you were in diapers, but make damn sure your photos reflect this. You might encounter a problem where you won't have a particular type of shot that client wants to see (ie wedding). You can always tell them that you shot modeling before, but are tired of the crazy models and art directors, etc etc and want to move on to weddings. The last sentence was only an example, not a suggestion. I will explain why when I get into detail about wedding photography.
The third aspect of the photography business that you need to remember is quantity. Just taking a quick look, I can see that most of our members are from big cities/areas. NY, Cali, Florida, etc. In these areas, there is no shortage of photographers. By quantity, I meant that you are a a very small fish in a VERY large sea. Over time, you can develop your own style (such as David Hill), but that takes years, and you need to deliver results NOW. Don't worry about being original. Serving garlic and chocolate chip pizza is original, but that doesn't make it a good idea. Be polite, friendly, good at what you do, and word of mouth will spread. My favorite analogy for the photography business was told to me by the ex art director for Pepsi (he was their director in the mid 80s). He told me that photography is like breaking a windshield with your head. It will take a lot of time, patience, pain, and strength to break through, but when you do, it will spider like crazy, and you will have more work than you know what to do with. Which brings me to my next important point.
Out of all problems you face in the photography business, this is one you want to have...too many gigs, not enough time. Do NOT take on more gigs than you can handle, as your work WILL suffer, and unhappy clients equal no repeat customers. A big no no in this business. If you actually do get to the point where your phone is ringing off the hook like a PBS telethon, you my friend, have made it, and consider expanding. Hire a second/third shooter, an editor, a secretary, rent a studio, whatever you need to let you be able to take those extra gigs.
Coming back to our original point....getting work. Well, there are only a number of ways to do this, but more often than not, it involves pounding the pavement. However, a few key tips might help you cut some corners and save you some time. Remember this word....NETWORKING. Your best bet on scoring gigs is to network businesses that deal with your business. Again, for instance, let's take wedding photography. What do weddings usually contain? Flowers, catering, bridal dresses, halls, etc. So, how do you land a gig? Networking! Take a stroll down to your local flowershop, and explain to the owner/manager that you are a wedding photographer, you would like them to push you towards clients. In return, you push THEM to people who need flowers. Heck, you can even work up a deal, where both your customers get a 5% off rate if they mention the other party's name. Ask to leave some business cards, in return, take some of theirs. yes, I know, this sounds like a tedious process, but it's necessary, and if you are impatient...well...you are in for a very sad conclusion.
Don't be afraid of the word "NO." You need to get used to hearing it. Your job, is to be as nice and as likable as possible. Even if they say no, thank them for their time, and STILL OFFER to push their business. Often times, they very well may reconsider. They might imagine that if you are THIS nice when they say no, then you must be absolutely incredible when they say yes. In this business, one hand washes the other. If you help them, they will help you, and might even consider hiring you themselves.
Start small and start local. Don't go out to Beverly Hill's most exclusive flower shop. They probably won't even talk to you. Start with the small mom and pop businesses, where the owners are real, honest people, who have feelings, and some form of business ethics. Don't have the photographer killer attitude of "I'm too good to be shooting this." If you were, you wouldn't be asking businesses to help. If a local muffler shop wants a nice photo of their welder, take it. On your resume, it won't state what the photo was off, but the business WILL be on your client list, and the bigger the list, the bigger you are.
Finally, I know I've stated this before, but the photography business, for the most part, is word of mouth. Everyone from the bride, to a model, to a chop shop can kill your business. If you are a prick to work with (models) no agency/models will want to work with you, and you are now blackballed. If you had a fight with Tubby, the manager at the muffler shop....bad idea, as you don't know who he knows. For all you know, he is an institution in the area, doing business for 50 years, and knows every business owner within a 12 mile radius. ALWAYS KEEP IT CIVIL AND PROFESSIONAL, even if your client doesn't. It hurts you a lot more than it hurts them.
So, you've read all of the above, and now you want to know how to actually get work. Well...have a seat, pour yourself a glass of your favorite beverage, and read on, as this may take a while.
The first step in any business (when you get into it) is remembering that you are a nobody. Your name means nothing, and no one knows who the hell you are. Put yourself in their shoes. Why would someone want to hire you? Your first mission is to BE ABLE TO SELL YOURSELF. If you are NOT a people person, find a new profession. Become a CPA (no offense to our fine 6speed CPAs of course. ) Get your personality in check. You WILL get jerked around. Thats the nature of business. There is no room in photography for photographers that are dicks. Your entire business will be word of mouth, and ONE bad experience by a client is enough to kill your entire operation. Contracts or not, sometimes, it might be a wise decision to let a small thing go, for future earning potential.
Now that we have established that you are good hearted person with good business ethics, you have to start where everyone starts....at the bottom. This entire thread is made for people that I assume have no connections, and really start from nothing. If you know people in certain places, you can probably bypass a lot of what I write, but 99% of people can't.
First order of business.....choose a direction. You might be a jack of all photography themes, but you will have much better luck and efficiency if you pick a direction that you want to go in. However, consider earning potential. Shooting cars and Hot Import Night babes might be fun, but is there any real money in it? Some of the most common "directions" that we will discuss in detail later on include, among others...
Wedding Photography
Motorsports
School Photography
Corporate Events
Artistic
Print Sales
Stock
Portraiture
Nightlife
Modeling
High Fashion
Low End Advertising
High End Advertising
The more you shoot for one theme, the more your name becomes attached to it. The more you stick with a particular theme, the better your relationship will be with the people in/related to that business AND your rate will go up. So...the best tip always forgotten by the new guys...pick a direction...don't take anything and everything...you'll never master it. This does not mean you should ONLY shoot THAT theme and nothing else, but at least you have a clear cut specialization. In a SEA of photographers, it will make you outshine them.
Second order of business, a portfolio (AKA a book). I will again, assume that if you feel comfortable enough shooting professionally, that means you have been shooting as a hobby for a number of years, and have quite a few very nice images. Pick your cream of the cream of the crop, and have them printed in the industry standard 11x14. Get them printed at a good printer, not with a home deskjet.
Get an attractive portfolio case...nothing crazy, I just use a $35 black case. There is no need for a triple titanium adamantium diamond crusted flux capacitor having $4000 portfolio case. Arrange your photos in the book by relevance. Don't throw car photos among baby photos, landscape photos, etc. Now, you are new, and you should not be ashamed to tell people this IF they ask. You CAN lie, but make sure you can back your lies up with skill. You can say you've been shooting since you were in diapers, but make damn sure your photos reflect this. You might encounter a problem where you won't have a particular type of shot that client wants to see (ie wedding). You can always tell them that you shot modeling before, but are tired of the crazy models and art directors, etc etc and want to move on to weddings. The last sentence was only an example, not a suggestion. I will explain why when I get into detail about wedding photography.
The third aspect of the photography business that you need to remember is quantity. Just taking a quick look, I can see that most of our members are from big cities/areas. NY, Cali, Florida, etc. In these areas, there is no shortage of photographers. By quantity, I meant that you are a a very small fish in a VERY large sea. Over time, you can develop your own style (such as David Hill), but that takes years, and you need to deliver results NOW. Don't worry about being original. Serving garlic and chocolate chip pizza is original, but that doesn't make it a good idea. Be polite, friendly, good at what you do, and word of mouth will spread. My favorite analogy for the photography business was told to me by the ex art director for Pepsi (he was their director in the mid 80s). He told me that photography is like breaking a windshield with your head. It will take a lot of time, patience, pain, and strength to break through, but when you do, it will spider like crazy, and you will have more work than you know what to do with. Which brings me to my next important point.
Out of all problems you face in the photography business, this is one you want to have...too many gigs, not enough time. Do NOT take on more gigs than you can handle, as your work WILL suffer, and unhappy clients equal no repeat customers. A big no no in this business. If you actually do get to the point where your phone is ringing off the hook like a PBS telethon, you my friend, have made it, and consider expanding. Hire a second/third shooter, an editor, a secretary, rent a studio, whatever you need to let you be able to take those extra gigs.
Coming back to our original point....getting work. Well, there are only a number of ways to do this, but more often than not, it involves pounding the pavement. However, a few key tips might help you cut some corners and save you some time. Remember this word....NETWORKING. Your best bet on scoring gigs is to network businesses that deal with your business. Again, for instance, let's take wedding photography. What do weddings usually contain? Flowers, catering, bridal dresses, halls, etc. So, how do you land a gig? Networking! Take a stroll down to your local flowershop, and explain to the owner/manager that you are a wedding photographer, you would like them to push you towards clients. In return, you push THEM to people who need flowers. Heck, you can even work up a deal, where both your customers get a 5% off rate if they mention the other party's name. Ask to leave some business cards, in return, take some of theirs. yes, I know, this sounds like a tedious process, but it's necessary, and if you are impatient...well...you are in for a very sad conclusion.
Don't be afraid of the word "NO." You need to get used to hearing it. Your job, is to be as nice and as likable as possible. Even if they say no, thank them for their time, and STILL OFFER to push their business. Often times, they very well may reconsider. They might imagine that if you are THIS nice when they say no, then you must be absolutely incredible when they say yes. In this business, one hand washes the other. If you help them, they will help you, and might even consider hiring you themselves.
Start small and start local. Don't go out to Beverly Hill's most exclusive flower shop. They probably won't even talk to you. Start with the small mom and pop businesses, where the owners are real, honest people, who have feelings, and some form of business ethics. Don't have the photographer killer attitude of "I'm too good to be shooting this." If you were, you wouldn't be asking businesses to help. If a local muffler shop wants a nice photo of their welder, take it. On your resume, it won't state what the photo was off, but the business WILL be on your client list, and the bigger the list, the bigger you are.
Finally, I know I've stated this before, but the photography business, for the most part, is word of mouth. Everyone from the bride, to a model, to a chop shop can kill your business. If you are a prick to work with (models) no agency/models will want to work with you, and you are now blackballed. If you had a fight with Tubby, the manager at the muffler shop....bad idea, as you don't know who he knows. For all you know, he is an institution in the area, doing business for 50 years, and knows every business owner within a 12 mile radius. ALWAYS KEEP IT CIVIL AND PROFESSIONAL, even if your client doesn't. It hurts you a lot more than it hurts them.
#4
07-08-2008, 02:50 AM
The Meat: Theme Breakdowns
Wedding Photography:
I now pronounce you....the official photographer of a wedding. Are you sh!tting yourself? No? You should be. I shot two weddings since I started shooting...my first, and my last...and they were both the same wedding. Nothing is as hectic, stressful, nightmarish, and nail biting as a wedding. Why you ask? It's a happy day, what gives? Yea, it's a happy day for THEM, for you, the caterers, the porters, etc it's miserable. However, I hope this little tips/what you need section will help you be prepared for everything so you are not caught with your tail between your legs. Lets discuss the entire process as how you SHOULD approach a wedding gig.
The first and foremost task in your wedding gig dossier should be the meet and greet. Go have coffee with the bride and groom (on you), and discuss every little detail that can help you. Ask them what type of photos they want. 99.9999% of the time, their answer will be "nice ones", so be prepared with a rebuttal. Do they want journalistic style photos, do they want the traditional but boring "look over here and smile" photos, do they want satanic and gritty? It is your job to steer them into a style, and make sure you are comfortable shooting that style. It also helps that you KNOW a number of styles, so you don't sit there blank faced. If you don't, the internet is your friend. Look at a few hundred wedding photos, and you'll begin to see a variety of styles. IMHO, the best style is journalistic....capturing the wedding in a natural "as it happens" way. If you skip this step, be prepared to see some expressions that you don't want to see when you hand over the proofs. Please, if you listen to ANYTHING I say about wedding photography, let this be it. Chemistry is a big part of wedding photography. You both (bride/groom and you) have to like each other and get along. Without it, the shots will suffer. Make sure you go over the guest list, preferably one with photos. You need to know who is important (guests) and who is not (the secretary from the office.)
Now that you have the style picked out....yup...you guessed it...time for the contract. Please, for the love of all that is pure and holy, sign a contract. Of the dozens of types of photographers, wedding photographers are some of the most sued of them all, and no, I am not kidding. Even if you are shooting friends of family, have a contract. I have personally witnessed best friends rip each other apart because of issues from the photos. Remember.....The groom might be your best friend in the whole wide world, but his wife means more to him, so if she isn't happy, BELIEVE me, you'll know it. Have a basic contract....doesn't have to be super elaborate. Key things to have in a wedding contract....
1) Date of the wedding
2) Timeframe they are hiring you for....all day? 4 hours? ceremony only? Specify it, and specify all times.
3) Your fee.
4) Your print rules. Are you giving them a CD of their images so they can print themselves? Are you setting up a smugmug gallery so they can order prints from you? What if grandma wants prints? Do they get free prints? Decided if you want to make money and spend time on prints. If not, hand over a JPEG cd, an album, and call it a day. All prints/quantities should be in the contract. Most photogs give physical prints in the album, and thats it. If you want a CD, that's extra.
5) Replacement photographer (more on this later)
Third, scout the location. Take a trip down there, and see how everything is laid out. This will allow you have a great plan on what you will be shooting with (lens wise) so you can be much more efficient, and not get flustered. This brings me to my next point....have a plan, have a plan, have a plan. Know when you will be shooting what. Make sure you get shots of people walking in, giving gifts, stuffing their faces, whatever. Be at the right place at the right time. Don't leave things to chance. The better prepared you are, the better your shots will be. The better your shots are, BELIEVE me...and I swear this to you...make the bride and groom over the moon happy, and you will be shooting the wedding of 1/2 the guests at the wedding.
Now we move on to equipment. This also stems from your location scouting. You need to know the light in the location. Is it bright or do you need 75 flashes? Is there a nice high vantage point in the church where you can get great overhead shots? Do they allow flashes? Can you keep your intrusion to a minimum by being far away and not shooting with a flash into the bride's face?
Now that you have your location scouted...you can plan your arsenal.
You should have.....A 50mm, a wide angle, and 85mm, a 70-200mm, and a 400mm if you want to shoot from a distance. All lenses should be 2.8 or better. If you don't have a certain lens, rent them. Have 10 4GB cards, if not more. I advise AGAINST 8GB cards. Reason being, they take longer to fill up, and if they have an error, you lost that many more shots. Personally, I would recommend 2GB or 4GB at the most. Have plenty of them, and at least 2 fresh ones ON YOUR PERSONS at any given time. If you have to run back to your bag, you might miss a great shot.
Be prepared! Be prepared! Be prepared!
Food....mmmm....look at all that lobster, caviar, filet mignon, and fois gras! Sucks for you...you can't have any. You need to be shooting. "But c'mon, I've been shooting all day, don't I get a break?" Are you crazy? You are a slave, you don't get a break. Have your jacket pocket full of energy bars, candy bars, whatever. Things you can eat quickly, and on the move, without getting dirty. You can use the bathroom and drink, but I suggest you do this ONLY during HEAVY downtimes....basically, when EVERYONE is eating.
Get yourself a lock and cable. You need to lock up your gear when you are not around it. There has been an epidemic of event photographers getting robbed by location personnel, and wouldn't you guess, their insurance doesn't cover other businesses (you are a business remember!?) Lock the back, and lock the bag to something immobile. Trust me. Again, insurance is a good idea.
So, you threw the dice, and got yourself a bridezilla. This is why my first point is so important. For the sake of the thread, we will assume she was a two face and didn't appear to be bitchy during the meet and greet. You need to know how to deal with them. Yessing them to death will get you nowhere, and probably, hurt you, as you are missing great shots elsewhere. Alleviate some of her concerns, but is she persists, inform her that you do know what you are doing, tell her to have a great time, and her photos will be better. Family might also get in your way. Mothers will always hound you, as well as other people. Be available, but don't bend over with your pants around your ankles. The mother might get the shot she wanted, be she isn't the one paying you, and if you miss a key shot, the bride might be pissed. Be on the move and don't linger, this will make it harder for people to "trap" you.
A very crucial part of wedding photography, is for you to have a backup photographer. Call your friends, family, forums, etc and find another photographer you know will deliver, and have him be a replacement. What do I mean by replacement? The world is an unpredictable place. You can get violently ill, a family member might be hospitalized, you could get into a car accident...you never know. What you do know, is that if you don't show, you are getting sued.....and losing. You need to have a backup. Call a photographer, introduce yourself, and explain the situation. Tell him you heard he is really good, and you want him/her to be your in-case-sh!t. In case sh!t happens, they will cover you. Offer them the same courtesy. You will also need to sync your wedding schedules (which you know MONTHS in advance anyways.) You might need more than one contact, as your replacement might be booked on the same day (happens often in the spring/fall.) Again, networking. This is another bonus. If the photographer has a gig offered, but he is already booked, he might pass it along to you...and you would do the same. Make sure you have a replacement clause in your contract. Have the replacement's name in it. Have the replacement sign it, that way, if he doesn't show, the lawsuit is on him/her.
Have a plan for portraits. It is difficult to have people organize, but if you do it right, your life will be a lot easier. First of all, this is THE ONLY TIME during the wedding that you can actually tell people to stop taking photos, and tell everyone to pay attention to you. It is extremely annoying to be taking a portrait, and some uncle in the back with a disposable yelling "look over here!" You need to get them done, and fast. The best time is when people are ALL moving from point A to point B. From the dance floor to the main dining room, whatever. Use a tripod. Have everything set up, so you can start firing right away. Have people stand extra close together. What humans consider naturally "close" doesn't look good on camera. Have them stand almost uncomfortably close. It looks a lot better.
If possible (but highly recommended) always have a second body....even a cheap one. Get a used Xti, a 20D, whatever. You know how life is. When you need it the most, something decides to break. If you have one body, and you drop it, get it wet, whatever, what now? SOL. Be prepared.
Some basic tips for weddings...
1)Know what to shoot...remember, ITS ALL ABOUT THE BRIDE. Shoot details. The hanging dress, shoes, ring, etc etc.
2)Know your editing. Wedding photos take a lot of editing. Trimming 10-20lbs of the bride with the liquefy tool, taking out blemishes on skin...know your CS3.
3)Don't spray and pray. Don't just click away like a jackass, taking 10,000 shots, only to have to sift through them at home. You are only punishing yourself. Quality, not quantity.
4)Don't be a dick. Word of mouth remember? No matter how annoying someone is, be the cool fun guy! Get dances started. Sing a damn song if you have to. People don't remember photographers, but if you stand out, they really will.
5)Know the date. If you know you have a wedding tomorrow, don't be an idiot eating mexican, white castle, and pound down 15 ales with your buddies. The squirts will seriously impede your shooting.
6)Know your flash inside out, and try to never shoot with the flash directly in someones face. Use 45 degrees of tilt, or a lightsphere if you can.
7)Get a great album. Most albums are pure cheese. Get a nice one. Remember, it's the final product, and should be as impressive as your photos are.
8)Get with the times. Know what's hot, and what's not. The zoom blur crap is older than water. Know what the current trends are.
That's all for the wedding part now. I will add more when something creeps into my head. If you have a specific issue you'd like me to address, just ask, and I'll add it.
Wedding Photography:
I now pronounce you....the official photographer of a wedding. Are you sh!tting yourself? No? You should be. I shot two weddings since I started shooting...my first, and my last...and they were both the same wedding. Nothing is as hectic, stressful, nightmarish, and nail biting as a wedding. Why you ask? It's a happy day, what gives? Yea, it's a happy day for THEM, for you, the caterers, the porters, etc it's miserable. However, I hope this little tips/what you need section will help you be prepared for everything so you are not caught with your tail between your legs. Lets discuss the entire process as how you SHOULD approach a wedding gig.
The first and foremost task in your wedding gig dossier should be the meet and greet. Go have coffee with the bride and groom (on you), and discuss every little detail that can help you. Ask them what type of photos they want. 99.9999% of the time, their answer will be "nice ones", so be prepared with a rebuttal. Do they want journalistic style photos, do they want the traditional but boring "look over here and smile" photos, do they want satanic and gritty? It is your job to steer them into a style, and make sure you are comfortable shooting that style. It also helps that you KNOW a number of styles, so you don't sit there blank faced. If you don't, the internet is your friend. Look at a few hundred wedding photos, and you'll begin to see a variety of styles. IMHO, the best style is journalistic....capturing the wedding in a natural "as it happens" way. If you skip this step, be prepared to see some expressions that you don't want to see when you hand over the proofs. Please, if you listen to ANYTHING I say about wedding photography, let this be it. Chemistry is a big part of wedding photography. You both (bride/groom and you) have to like each other and get along. Without it, the shots will suffer. Make sure you go over the guest list, preferably one with photos. You need to know who is important (guests) and who is not (the secretary from the office.)
Now that you have the style picked out....yup...you guessed it...time for the contract. Please, for the love of all that is pure and holy, sign a contract. Of the dozens of types of photographers, wedding photographers are some of the most sued of them all, and no, I am not kidding. Even if you are shooting friends of family, have a contract. I have personally witnessed best friends rip each other apart because of issues from the photos. Remember.....The groom might be your best friend in the whole wide world, but his wife means more to him, so if she isn't happy, BELIEVE me, you'll know it. Have a basic contract....doesn't have to be super elaborate. Key things to have in a wedding contract....
1) Date of the wedding
2) Timeframe they are hiring you for....all day? 4 hours? ceremony only? Specify it, and specify all times.
3) Your fee.
4) Your print rules. Are you giving them a CD of their images so they can print themselves? Are you setting up a smugmug gallery so they can order prints from you? What if grandma wants prints? Do they get free prints? Decided if you want to make money and spend time on prints. If not, hand over a JPEG cd, an album, and call it a day. All prints/quantities should be in the contract. Most photogs give physical prints in the album, and thats it. If you want a CD, that's extra.
5) Replacement photographer (more on this later)
Third, scout the location. Take a trip down there, and see how everything is laid out. This will allow you have a great plan on what you will be shooting with (lens wise) so you can be much more efficient, and not get flustered. This brings me to my next point....have a plan, have a plan, have a plan. Know when you will be shooting what. Make sure you get shots of people walking in, giving gifts, stuffing their faces, whatever. Be at the right place at the right time. Don't leave things to chance. The better prepared you are, the better your shots will be. The better your shots are, BELIEVE me...and I swear this to you...make the bride and groom over the moon happy, and you will be shooting the wedding of 1/2 the guests at the wedding.
Now we move on to equipment. This also stems from your location scouting. You need to know the light in the location. Is it bright or do you need 75 flashes? Is there a nice high vantage point in the church where you can get great overhead shots? Do they allow flashes? Can you keep your intrusion to a minimum by being far away and not shooting with a flash into the bride's face?
Now that you have your location scouted...you can plan your arsenal.
You should have.....A 50mm, a wide angle, and 85mm, a 70-200mm, and a 400mm if you want to shoot from a distance. All lenses should be 2.8 or better. If you don't have a certain lens, rent them. Have 10 4GB cards, if not more. I advise AGAINST 8GB cards. Reason being, they take longer to fill up, and if they have an error, you lost that many more shots. Personally, I would recommend 2GB or 4GB at the most. Have plenty of them, and at least 2 fresh ones ON YOUR PERSONS at any given time. If you have to run back to your bag, you might miss a great shot.
Be prepared! Be prepared! Be prepared!
Food....mmmm....look at all that lobster, caviar, filet mignon, and fois gras! Sucks for you...you can't have any. You need to be shooting. "But c'mon, I've been shooting all day, don't I get a break?" Are you crazy? You are a slave, you don't get a break. Have your jacket pocket full of energy bars, candy bars, whatever. Things you can eat quickly, and on the move, without getting dirty. You can use the bathroom and drink, but I suggest you do this ONLY during HEAVY downtimes....basically, when EVERYONE is eating.
Get yourself a lock and cable. You need to lock up your gear when you are not around it. There has been an epidemic of event photographers getting robbed by location personnel, and wouldn't you guess, their insurance doesn't cover other businesses (you are a business remember!?) Lock the back, and lock the bag to something immobile. Trust me. Again, insurance is a good idea.
So, you threw the dice, and got yourself a bridezilla. This is why my first point is so important. For the sake of the thread, we will assume she was a two face and didn't appear to be bitchy during the meet and greet. You need to know how to deal with them. Yessing them to death will get you nowhere, and probably, hurt you, as you are missing great shots elsewhere. Alleviate some of her concerns, but is she persists, inform her that you do know what you are doing, tell her to have a great time, and her photos will be better. Family might also get in your way. Mothers will always hound you, as well as other people. Be available, but don't bend over with your pants around your ankles. The mother might get the shot she wanted, be she isn't the one paying you, and if you miss a key shot, the bride might be pissed. Be on the move and don't linger, this will make it harder for people to "trap" you.
A very crucial part of wedding photography, is for you to have a backup photographer. Call your friends, family, forums, etc and find another photographer you know will deliver, and have him be a replacement. What do I mean by replacement? The world is an unpredictable place. You can get violently ill, a family member might be hospitalized, you could get into a car accident...you never know. What you do know, is that if you don't show, you are getting sued.....and losing. You need to have a backup. Call a photographer, introduce yourself, and explain the situation. Tell him you heard he is really good, and you want him/her to be your in-case-sh!t. In case sh!t happens, they will cover you. Offer them the same courtesy. You will also need to sync your wedding schedules (which you know MONTHS in advance anyways.) You might need more than one contact, as your replacement might be booked on the same day (happens often in the spring/fall.) Again, networking. This is another bonus. If the photographer has a gig offered, but he is already booked, he might pass it along to you...and you would do the same. Make sure you have a replacement clause in your contract. Have the replacement's name in it. Have the replacement sign it, that way, if he doesn't show, the lawsuit is on him/her.
Have a plan for portraits. It is difficult to have people organize, but if you do it right, your life will be a lot easier. First of all, this is THE ONLY TIME during the wedding that you can actually tell people to stop taking photos, and tell everyone to pay attention to you. It is extremely annoying to be taking a portrait, and some uncle in the back with a disposable yelling "look over here!" You need to get them done, and fast. The best time is when people are ALL moving from point A to point B. From the dance floor to the main dining room, whatever. Use a tripod. Have everything set up, so you can start firing right away. Have people stand extra close together. What humans consider naturally "close" doesn't look good on camera. Have them stand almost uncomfortably close. It looks a lot better.
If possible (but highly recommended) always have a second body....even a cheap one. Get a used Xti, a 20D, whatever. You know how life is. When you need it the most, something decides to break. If you have one body, and you drop it, get it wet, whatever, what now? SOL. Be prepared.
Some basic tips for weddings...
1)Know what to shoot...remember, ITS ALL ABOUT THE BRIDE. Shoot details. The hanging dress, shoes, ring, etc etc.
2)Know your editing. Wedding photos take a lot of editing. Trimming 10-20lbs of the bride with the liquefy tool, taking out blemishes on skin...know your CS3.
3)Don't spray and pray. Don't just click away like a jackass, taking 10,000 shots, only to have to sift through them at home. You are only punishing yourself. Quality, not quantity.
4)Don't be a dick. Word of mouth remember? No matter how annoying someone is, be the cool fun guy! Get dances started. Sing a damn song if you have to. People don't remember photographers, but if you stand out, they really will.
5)Know the date. If you know you have a wedding tomorrow, don't be an idiot eating mexican, white castle, and pound down 15 ales with your buddies. The squirts will seriously impede your shooting.
6)Know your flash inside out, and try to never shoot with the flash directly in someones face. Use 45 degrees of tilt, or a lightsphere if you can.
7)Get a great album. Most albums are pure cheese. Get a nice one. Remember, it's the final product, and should be as impressive as your photos are.
8)Get with the times. Know what's hot, and what's not. The zoom blur crap is older than water. Know what the current trends are.
That's all for the wedding part now. I will add more when something creeps into my head. If you have a specific issue you'd like me to address, just ask, and I'll add it.
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