mt4x4

<p>Update:<br>

The record label sent me a "Work For Hire" agreement, stating that they would own all rights to the photo, and that they wanted me to sign a 1099.</p>

<p>I replied, telling them I wasn't willing to transfer copyright of the photo nor would I sign a "Work for Hire" agreement unless they wanted to renegotiate the price. However, I was willing to grant them non-exclusive rights to the photo for our agreed upon price.</p>

<p>They replied that they would send me a revised Non-Exclusive agreement. Instead, they sent me another Work For Hire agreement, maintaining they would own the copyright to the photo, but allow me to use it.</p>

<p>Anyways...I'm not signing a Work for Hire agreement nor am I willing to transfer copyright of my photo to them.</p>

<p>At this point I'm thinking I will just send them a Non-Exclusive License Agreement written by me along with an invoice.</p>

<p>However, I have no idea where to start with writing a license agreement. Photography is a hobby for me, not a business.</p>

<p>Can anyone recommend where to start? I can't afford a lawyer to write one...</p><div></div>

<p>I just wanted to pass an update along:</p>

<p>I got in touch with the record label this afternoon. They were much nicer to work with than I had expected. They offered me what I think is a fair amount for usage of the photo.</p>

<p>Thanks again for everyone's input. One lesson learned here is that the $35 fee to copyright your photos is well worth it.</p>

<p>First of all, thank you to everyone for your input. As always, the photo.net community is one of the most helpful out there.<br>

Personally, I'd prefer to just paid for the use of the photo. I'm not really bitter about the whole thing but do think I deserve some compensation as they obviously thought the photo was high enough quality to use for the CD cover.</p>

<p>What do you think a fair price would be? I usually sell prints and posters, so selling the rights in an intellectual property situation is new to me.</p>

<p>Is $1,000 a fair price for it to be used on the CD cover, or is that too high?</p>

<p>I'm going to give the record label a call today and see if they are willing to work something out. Right now I don't have any plans to take this to court, but if they don't want to work with me I may have no choice.<br>

The thing that really burns me is how much the record industry speaks out about music piracy, but then this label turns around and steals a photo with no permission or credit....</p>

<p>Okay, maybe I was wrong about the classification of "Major Label". They do however represent a couple of artists who are very popular at the moment. I guess I was just trying to get across that it isn't some small indy label, but actually a label with artists in the top 100.</p>

<p>Yes, I did give a couple of CDs to friends with the photo. So there is a small chance that the record label got it from one of them, but I seriously doubt it as they don't do much on computers or the Internet. But there is a small chance...<br>

Even if I did give a couple of friends CDs with the image, I would still maintain the rights to the image, correct?</p>

<p>So..a major record label out of Nashville used one of my photos for a CD cover. The CD is being released July 2nd, but already for sale as MP3 download on iTunes and Amazon, whose pages use the CD artwork (with my photo).<br>

The record label never contacted me and I haven't seen any evidence that I've been given credit for the photo.<br>

I'm guessing they nabbed the photo from my website which has a copyright statement in the footer and an easy to find contact form.<br>

There is no chance that it is a similar photo from another photographer. The photo was taken at an event put on by a club that I'm an officer in. I was the only one in that spot taking photos that day. I have the original along with a sequence of 15 other photos (it's a motor-sports shot).<br>

My question is, "What should I do?" and "What are my rights". I did post the photo on my website at 1200x800 resolution with no watermark, but I do have a copyright statement in the footer</p>

<p>I use the <a href="http://optechusa.com/product/detail/?PRODUCT_ID=80&PRODUCT_SUB_ID=&CATEGORY_ID=4">op/tech slr wrist strap</a> .</p>

<p>You could try the op/tech <a href="http://www.optechusa.com/product/detail/?PRODUCT_ID=8&PRODUCT_SUB_ID=&CATEGORY_ID=4">Classic Strap</a> (not the super classic). The Classic doesn't have any type of non-slip.<br /> <br /> Or better yet, you could just get the op/tech <a href="http://www.optechusa.com/product/detail/?PRODUCT_ID=87&PRODUCT_SUB_ID=&CATEGORY_ID=4">Dual Harness</a> .</p>

<p>Another option is the Dual Harness from Op/tech for about 1/3 the price. Plus it uses Op/tech's system connectors so you can easily swap the camera(s) to a next strap when you don't need to pack 2 cameras around.</p>

Blackberry<div></div>

<blockquote>

<p>photographically it was their wedding</p>

</blockquote>

<p>Huh. And I thought it was the Bride and Groom's wedding. Since when does being the hired photographer give you the right to tell the B&G which of thier freinds are allowed to take photos and what thier freinds can do with those photos.<br /> <br /> Based on what I read, if they photographer/studio wants to have the images of the B&G published in a high end magazine, THEY should be paying the B&G to cover the event; it is <em>their wedding </em> after all. I would expect a little more professionalism from a high end studio. But it seems that they are more concerned with who has "rights" to the images than actually <em>providing </em> the <em>service </em> that their <em>clients </em> <strong>paid </strong> for.</p>

<p>Hmm... looks like school administrators are as uptight as they were when I went to highschool.</p>

<p>John, it really depends on how you plan to use the flash.<br /> <br /> If you plan to use the flash in the camera's hotshoe and want a rotating head, the SB-600 is the best bang for the buck.<br /> <br /> If you were doing off camera flash you could probably get away with an older unit and a sync cord. But the older units don't have i-TTL.<br /> <br /> I got my SB-800 for $199, like new. There are deals out there. I would suggest either finding a used SB-600 (possibly from someone stepping up to a 900) or save up for a new SB-600. I also have a SB-600 and it is worth every penny.</p>

<p>Lever locks are nice (I have a manfrotto monopod) but you can completely take the Gitzo apart for cleaning. You can't do that with the Manfrotto.<br /> <br /> Gitzo (although distributed by Manfrotto) has a better warranty...a true lifetime warranty.<br /> <br /> The Gitzo will also have better resale value should you choose to sell it down the road.<br /> <br /> For the modest price difference I would get the Gitzo, but keeping in mind that Manfrotto also makes great tripods.</p>

<p>I agree about stainless, it is good stuff. But good luck finding a stainless hook/clip on a camera strap...it's something you'd have to buy and add yourself. If you go that route, power to ya....but stainless is pricey.<br /> <br /> And as far as don't rate "those" plastic buckles with a load limit, exactly which plastic buckles are you talking about?<br /> <br /> OP/TECH for one does rate all of their straps for weight, which most certainly includes the buckle hardware. Their better straps are all rated at 15 lb, which is more than pretty much any camera+lens+flash combination (even a 600 f/4 VR on a D3 with an SB-900 weighs in under 15 lb). I can say from personal experience the buckles they use will hold more than that, but even rated at 15 pounds, it is more than you will probably ever carry on a camera strap.<br /> <br /> http://www.optechusa.com/datafiles/Strap_Reference_Chart.pdf</p>

<p>I agree with RT. If someone doesn't want thier kid's face posted on the Internet, the respectful thing to do is either remove the face from the photo (blur the face, mask the kid out, crop the photo, etc), or take it down.</p>

<p>Remembering that the business is largely based on referrals; you should ask yourself, is it worth it to anger a possible future MOTB over a single photo that you want to use in your portfolio and self-endorsement.</p>

<p>Then answer should be clear.</p>

<p>What setup do I need to get awesome bokeh and the Leica glow? How much would it cost?<br /> <br /> I'm really eager to take some OOF photos and need to know what gear can best handle this.</p>

<p>Hmm.. I've never had this problem. Then again, all of my cards are Lexar or Delkin.</p>

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<p>I like the idea of a metal quick disconnect better than plastic. Plastic works for a lot of situations but it's tensile strength isn't any match for metal. A lot of pro straps use plastic and I don't trust them.</p>

</blockquote>

<p>The glass impregnated plastic buckles that come with op/tech and tamrac straps can hold much more than you'll ever carry on a camera strap; without a problem.<br /> <br /> Too many people underestimate today's plastics due to the bad plastics we had in the 70's and 80's, but the fact is that (good) plastics today are very tough. Buckles also get a bad rep sometimes because of the cheap buckles out there. But when I can stand on my camera strap and pull on it as hard as I can without the buckle coming undone or failing, I don't have any problem trusting my camera with it.<br /> <br /> I would trust my camera with a good plastic buckle long before I would trust it with a cast hook/clip.</p>

<p>I have the OP/TECH one. It makes carrying the tripod much easier. Although for long hikes I like to strap my tripod to my backpack, for packing light the tripod strap is really convenient.<br /> <br /> A bag is also a nice option, but I have had a hard time finding a tripod bag that is simple and light. The tripod bag offerings all seem to be bulky beasts, which defeats the purpose of having carbon fiber legs and expensive alloy ballhead (at least for me)</p>

<p>Collect at the door? Otherwise maybe some shrubbery and line-of-sight blocking elves?</p>

<p>The D2H is also a good option, they are just a little bit harder to find than a D200. I have run across D2Hs from reputable dealers for under $300 used.<br /> <br /> Also, I forgot to mention on the 80-200 f/2.8, you might consider the 2 ring version over the push-pull version (single ring for zoom and focus). I had the push pull version which has no tripod mount, which means it wasn't very compatible with a monopod.</p>

<p>For sports. <br /> <br /> Set SB-800 to i-TTL, ev+1. (unless they have white uniforms, then I would leave EV at 0)<br>

Camera to aperture priority with a high sync speed (probably 1/250th). Reason to go highest is so subjects that aren't getting flash exposure don't get all motion blurry; unless of course you want to go for that effect.<br /> <br /> Control everything else by changing your aperture and ISO (dof, ambient light). Basically, the SB-800 is going to figure out exposure for you at this point. Turning ISO up or opening up Aperture will change the ambient exposure while the flash will determine the correct amount of light to spit out to expose your subjects correctly.<br /> <br /> Planet Neil is always a good source for flash type stuff. Here is an article that might help you out:<br>

Well, it looks like P.net is blocking links to Planet Neil, so you'll just have to go to the website and find the article titled "<strong>when aperture does not control flash exposure</strong> " (the title really kind of says the oppisite of what is discussed, so don't be fooled)</p>

<p>For sports shooting film means a lot of money in processing. Digital really is the way to go for sports.<br /> <br /> For a few hundred dollars.. I think a used Canon G10 is going to be it. I shoot Nikon film and DSLR but I think that Canon has gotten it right on their compacts. There are also some good 4/3s options from Olympus and Panasonic that offer pretty decent reach in a smaller less expensive package.<br /> <br /> If you want to get into a DSLR for sports you are looking for at least a D200 (for decent AF) and a used 80-200 f/2.8. You're getting into about $1,000 just for that camera and lens, which are getting pretty old by today's standards.</p>