In a message dated 5/30/2002 Michael Darling writes:
<< I retain rights to anything that isn't published, according to my
University
paper. I figure thats fair, since they rarely publish the best shots
anyway... So the paper gets first pick and once a frame is scanned and
published, it's theirs. I don't know how it works in other places, but
i'd
like to find out. >>
Hmm, IMO if you're working for a newspaper, or other publication, as a
full time *paid* staff photographer it's one thing, but I'm assuming
you're "volunteering" for the student newspaper for pleasure and to gain
experience in photojournalism. Allowing the newspaper to steal your
copyright under those conditions is, well, IMO you're allowing yourself
to get hosed. What if one of those images the student newspaper gets
attention from a paying client. As far as I'm concerned, unless you
signed a contract that stipulates otherwise (which would be ill
advised), you own the copyright, not the university. To learn "how it
works" I suggest a visit to www.editorialphoto.com. There is an
education outreach program stemming from there to educate the business
side of photography associated with this group.
That all said, I admit that I have gone about marketing myself "the
wrong way" in some ways, partly due to lack of understanding the
business side of photography, and partly from seeing an opportunity to
resurrect a once shattered and forgotten dream.
It gets worse. A couple of racing series' I shoot are very restrictive
on what can be done with images when shot as an editorial photographer.
Border lining on illegal really, but deep pockets would likely prevail
if it came to a head--and a photographer who crosses them would be
essentially banned from media access (yes, really). One of these series'
uses AllSport, aka Getty, for all of their own publications. In a recent
thread in the editorialphoto.com mail list a racing photographer had
though he found his dreams by finally getting accepted by Allsport (he
is a very good photographer, already published in Racer, Autosport, and
others). He figured out that at the usage rates Allsport/Getty pays that
he would make maybe $25k a year if he shot all 20 events in the season.
Of course all expenses to get to and shoot these events (all over the US
plus Japan, Europe, and Latin America) comes out of that. To cover 20
race weekends a year is a huge amount of work time when you factor in
travel time, image editing and scanning time, order fulfillment and
business communications, etc. Flippin' burgers at In-N-Out probably pays
a better wage than that.
Rant mode off, the very reason I shoot for myself first and foremost and
have not given up the day job is that in the type of photography I do it
is very difficult to make a full time income. If every month could be
just a little bit better than April 2002 there would be hope, and I
still hope to someday, but meanwhile I have a family to raise and
(perhaps unfortunately) have pretty deep roots in the highest cost of
living area in the US.
Bottom line is if you're learning to shoot editorial photography, it is
never too early to start learning the business side I have found (and I
too still have a lot to learn).
Mike Veglia
Motor Sport Visions Photography
http://www.motorsportvisions.com
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