ian_campbell1

<p>And we wonder why the photography business is coming to an end...</p>

<p>Out of court settlement a few weeks ago.</p>

<p>You're not going to please these people no matter what you do, and you'll not make a profit off them, either. Set a price for the extra prints not in the contract, and sell direct to the participants, rather than the original contractee. Been there, done that, still bear the scars!</p>

<p>Stock for little e-books, portraits for income. (And not much there, either.) Alex is right: I used to eat off my royalties, and now I can barely wipe a tear away.</p>

<p>Agencies will reject it because the provenance is iffy: the artist owns the copyright, and the artist isn't you. The claim could be made that as there's no copyright, the stuff is in public domain, but that still wouldn't help you. Today's world, someone WILL sue, and agencies want to avoid any problems like that, so they'd pass.</p>

<p>I've been involved with agencies over the years, and I think you'd be better off heading towards an archive agency rather than Getty -- though they do own Hulton in the UK, but that's probably ended their need to take on any more old material.<br>

There are a few archival agencies based in Britain and France, not so much in the US any more that I can recall. </p>

<p>Yep, if they don't like the idea and you go ahead, the likely outcome for you won't be particularly pretty. There was a case a few years ago dealing with some frame company in Boston using an unreleased pic.<br>

If they do agree, have them sign a release before the words have faded from their mouths. Then run away very fast, cackling like a crazy person...</p>

 

<p>If they're big enough, the following rule applies: think of a big number, double it, keep going until it gets scary. Then charge it. Break it down any way you want, but keep the total number the same (delivery fees, post processing, materials, etc) They will persuade themselves and everyone else you're a fresh young talent, and well worth the fee (which really will only seem outrageous to you, just highish to the local esteemables.)<br>

If it's a small company, forget the above: they'll quibble over everything, bitch behind your back, gripe about the last photographer they used, take forever to pay, and in the end merge with someone just as bad and leave you holding the bag, and a pile of unpaid invoices! </p>

<p>Your pics. Just remember, though, Celebrity X does not go to work for free, so why should he expect everyone else to?<br>

Also worth remembering -- a photo credit isn't worth the paper it's printed on, usually. Money works better for so many other things. Like food.</p>

 

<p>I used to have it stamped on the receipt, personally.</p>

<p>Michael: don't do it for free. Do it, show them a full breakdown bill, and offer 90 per cent off as a tax deduction for you, as long as they credit it to you as a reciept.<br>

Your other problem, though, are the 10,000 volunteers with cameras: there are a lot of organisations who'll take the free pic over the paid one, no matter how low the price.<br>

Find semi-government development organisations -- I did some stuff for a development board in Scotland years ago: that paid moderately well, and I used the excess with a photo agency in Edinburgh. You might need to self publish a book with your remainders. Kindle works for that, as does Smashfiles if you want to go the low overhead e-book route. <br>

Sadly, you'll also need to develop a relationship with a nice person who accepts absences and brings in a more stable income than you will, because, from experience, there's not a lot of money in this.<br>

Cheers, mate,<br>

Ian</p>

 

<p>I'm afraid you got eaten on this 'deal'. You effectively paid them to do the job, rather than the other way round, and you can't afford to do that, if you look at your cost breakdown. I did a job for a company now a Heinz subsidiary outside the US, and their approach was wait three month, and ask for confirmation of what the job was again, then do the same again three months later. They usually paid close on eight months late on the only two jobs I was dumb enough to do for them, before calling it quits.</p>

<p>I have an SF1N, and it's fun enough to work with -- I did weddings with it for years -- but it does sound a bit like a meat grinder at work, especially winding on...</p>

<p>f11, auto shutter, depth of field to cover, 35mm lens, never even bring to the eye. Stop for a second, look up, walk on fast.</p>

<p>Your only mistake was going with them to the hairdressers. Option one, dealing with crazies, is call the police from a cell phone, option two, often more useful with utter nutters, is to run like the wind for the nearest subway. (If they have to pay money, they won't follow past the gate.)</p>

<p>Anyone doing any sort of social documentary work now is doing it for love, because there's no money in it or market for it, sadly.</p>

<p>Afraid now it's mostly an NGO or a self publishing world for the industrious freelancer. NGO's might meet your expenses; self publishing is an option now in the cheery world of the Kindle and its buddies, but it won't make you rich, famous, or well-fed. Buy a robust camera, because it's less than likely you'll be able to replace it from earnings...</p>

<p>Big Creek doesn't look very...big</p>

<p>I borrowed a Kodak digital once for something quick, and the damn thing constantly asked me stupid questions and needed an answer before it would let me work each time. No snapshots there...</p>

<p>I run a 35mm, but only because after 30-odd years, I don't need to look through the viewfinder to know what the camera is going to get. I used a Leica screwmount with an old Hoya lens first, then moved to a Olympus XA, because I prefer small and simple.</p>

<p>It really is getting harder and harder to just take photographs wherever you are. This rate, I may become a painter (and then the world WOULD have cause for complaint!</p>

<p>England is MUCH worse.</p>

<p>Got to the point now where I do everything in a carry on: I wash what I need on the road as I go.</p>

<p>you know, I thought canon made a better lens than this...I mean, to look like that after a "little" fall...</p>

<p>Think the screws secure the shutter mechanism. Problem with the ME SUper is when the parts go, you need another one to cannabalise, because Pentax no longer do parts. Circuit boards are a real problem, because they are now like hens teeth, I'm told. Return spring has gone on my last one, and I'm wandering with a MZ-M</p>