Thursday, February 15, 2007

Just Say "No", Just So Oversimplified

Back in the free-wheeling days of the early 80's, drug use was rampant. It was, however, much more intense (and deadly) than that of the 60's, where it was free-love and pot, with the occasional 'shroom and LSD for the heavy. Cocaine, Heroin, Speed, Crank, Meth, and so forth and so on, were the problems that lead Nancy Reagan to launch her "Just Say No" campaign, and it really was a black and white issue. Even McGruff the Crime Dog was roped into the effort. It wasn't "don't drink and drive", "don't smoke a joint and then use heavy equipment." There was no grey area, no refuge where, if the circumstances were right, drug use was okay. It was clinical fact that using drugs detroyed - forever - brain cells.

Graphics design organizations have promoted the "just say 'no' to spec" campaign, because firms were being asked to create works on the speculation that if the prospective client liked it, then - and only then - would the prospective client actually become a client, and pay you for your work. I can recall when Rolling Stone would give actual assignments - paid against space rate - for concert photography in the DC area. Then there was one or two photographers willing to shoot for them on spec, even travelling 90 miles south to Richmond to cover a concert - on spec - just so they could say "I'm here for Rolling Stone." Yet, interestingly enough, even while that was happening, when they were not available, my remaining with the "assignment fee, plus expenses, against space" position meant that I got paid for the assignment regardless of if they published the photos.

The Advertising Photographers of America even jumped into the fray, when ad agencies tried to secure photography for their campaigns on spec. A revolt lead many of the prestigious agencies to stop asking for spec work, yet this still pops it's head up from time to time.

I shall return to the "no spec" issue in another post. I present it as a contrast to the "just say 'no' to bad deals" mantra that was first espoused by the Editorial Photographers organization. That mantra caused many a fair deal to disappear, not because it was bad, but because it was oversimplified by so many during their implementation of the concept. Consider this exchange:

Editor:Hi John, would you do this assignment for me for $350?
Me: Hell no.
Editor: Why not?
Me: It's a bad deal. {click}
Editor:John? Hello? John? Heeelllloooo?
THAT is an oversimplification of what happened many a time. Photographers did not return e-mails fishing for low-paying assignments, instead of responding with a reasonable figure, and chalking the estimate-prep as an exercise. Photographers did not engage in a reasoned negotiation with the prospective client, and just walked away.

When I speak with a client, part of the client dialog includes the question "What budget are you trying to work within?" Oftentimes, they are straight with me. But even when they state a figure that is unreasonably low, my response is not "no", as the oversimplified interpretation of the mantra would call for, but rather, I respond with something like "Let me look this over, and I will send along what I can do for you." And then, in short order, I do. And, guess what? Oftentimes, not only do I get the assignment, but the client notes that I was the only one they talked to that sent an estimate. The others "just said 'no'" and didn't present their position, contract, fees and expenses, and provide a reasonable justification for them. Many a client calls from other parts of the country, where perhaps the market rates for photography might be lower, and they may experience sticker shock when looking to secure a photographer in my area. I am happy to contribute to that sticker shock, because to me, my rates are not a shock, they are fair and reasonable. To date, a majority of my clients - in fact -- all my clients (because if they are my clients, they have hired me at my rates) - find my rates fair.

It made perfect sense for the mantra to apply to drugs, and to a client calling on you with a "spec assignment", but it does a disservice when that interpretation applies to photographers. It's not black and white. At the end of a negotation, where there has been back and forth, and you've proposed your "best and final offer", and the client comes back to you for more cuts/reductions, then it is appropriate to say 'no'. Oftentimes, for me, my first proposal is my best and final offer. Note -- best and final offer (BAFO) is a term that the government uses in contracting, whereby you, the bidder presents your BAFO, and they either accept it, or reject it, period. It is what it says it is, BEST, and FINAL.

My colleague, Stanley Rowin, who also writes a blog on the business side of photography - Pro Photo Business Blog is in the midst of the subject, and I encourage you to read and think about what he's saying. He's written a Part 1, and a Part 2 on the subject, and I expect, his Part 3 conclusion soon. I suspect Stanley will have some good ideas about where to go from here.
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Wednesday, February 14, 2007

The Problem With Doing Nothing

Nelson DeMille, one my most favorite fiction authors, wrote one line for one of his characters in his book Plum Island, and it has remained with me for atleast a decade. He wrote (for his character) "The problem with doing nothing is that you never know when you're finished." I have endeavored, as I recall that sentiment, to always be trying to do something.

Not every post here is going to give you some concrete "take home" way to improve your business. This one's more ethereal.

It's frustrating that when I make a presentation to a room full of people, all of whom have invested time (an evening, or a day) and the statistics show that fewer than 10% of those in attendance will actually act on what's presented. They're doing nothing. I wish I could determine who those folks are, and go and shake them, and say "do something! Get yourself out of this rut and improve your lot in life. I know you want the phone to ring more. I know you want to earn more money. It's right here, in front of you, in the presentation." (atleast I hope it is!)

How People Learn: Brain, Mind, Experience, and School
From the book:

"It is important to be realistic about the amount of time it takes to learn complex subject matter. It has been estimated that world-class chess masters require from 50,000 to 100,000 hours of practice to reach that level of expertise...Although many people believe that "talent" plays a role in who becomes an expert in a particular area, even seemingly talented individuals require a great deal of practice in order to develop their expertise (Ericsson et al., 1993)."
Recently, I was talking with an aspiring photographer. One with talent, and one that I expected had promise. I asked him - "so, what do you think about when you're on your way home from work?" He said "usually, just about the traffic." I said "When you get home, after dinner, before you go to bed, what's usually on your mind?" He said "a bit about work tommorrow, what I'll wear, I don't know." So, what's wrong with this picture?

What's wrong, is, where is the planning for the future? I can honestly say that as a young, aspiring photographer, when I woke up, for the hour or two before work, I thought about making great pictures, and about my portfolio. On my way home from work, I put the traffic out of my mind. I was thinking about my portfolio. When I got home, I would edit images I made over the weekend. I would caption them, prepare them to send off to publications for consideration. I would scower the newspaper to see what they predicted would be happening the next day. I would watch and see what events were coming up over the weekend. I would check to see what concerts were coming to town so I could seek a credential to photograph them. Not to show my age, but this was back in the day when I processed my own E-6 film and hand mounted it, printed captions with a dot-matrix printer and affixed a label to each slide mount, slip the mounts into a slide page, and I did not have the internet to do my research, so I'd often find myself at a bookstore reading through Spin, Rolling Stone, and every other magazine where concert schedules were listed. I collected and read the "Upcoming Events" list on the first weekend of every month in the paper and local city magazine (as well as the free city weekly) so I could see what functions were that might attract a celebrity, and I'd sometimes call the event organizers and offer my services as a photographer on those evenings, times when I didn't otherwise have work.

The point is, many a friend would be out partying, watching television, and so on. They saw their time off as just time to goof off. I saw that time as the time where I could do whatever it took to chart my course for the future. From the minute my eyes blinked open to the moment I drifted off to sleep, (that's me in the photo, circa 1992 at about 2am editing photos) I was thinking about being a photographer. I was reviewing in my head, line by line, a conversation I had with a prospective client, determining where I'd failed to "close" the deal so I could provide their photography, or cover their assignment. When my eyes closed at night, and I could not fall asleep, I would lay in the darkness, the street lamps glowing dimly through my north-facing window, thinking about how I could improve. Improve my photography. Improve my lighting skills. Improve my negotiation skills. Improve my knowledge about business. I read every book I could -- many many of them listed in my recommended reading list -- Secrets of Closing the Sale, What They Don't Teach You at Harvard Business School -- and so on. I pushed myself. I knew as sure as I could, that if I just worked harder -- and smarter (or as smarter as I could) -- than my "competition", I could achieve (and sustain) my dream career, one as a photographer, where it's work but not a job.

I love what I do. I can't imagine doing anything else. I am so very grateful for whatever station in life I am at, and wherever in life I end up. My time now when I arise is spent dressing my daughters for school, making lunches, and when they come home, and I am not making photographs on an evening assignment, I am saying grace with them, coloring with them, and tucking them into bed, (that's them, on Halloween last year) and then I can sit down, and watch a few television shows with my wife, shows we've grown to cherish, and we have them for many of the weekday evening nights, save for Fridays, which are sacrosanct "movie nights", where we get a family-friendly dvd and gather together and have popcorn as a family. The girls all look forward to those nights, and I do too.

I am blessed that I am not so "nose to the grindstone" now, but, in some odd way, I had the faith that, just as a farmer does when he plants a seed, and waters it, and weeds around it, that one day, his hard work will be rewarded with a crop, one that sustains him, that if I too, fertilized my "soil", and nurtured the seedling, that one day, it would be not so time consuming. So far, so good.
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Tuesday, February 13, 2007

We Are Not Alone (Redux)

When it comes to being exploited, the next chapter in the realm of those soon to be screwed are real-life actors. Below, an amazing 5-minute video demonstrates how Tom Hanks will be able to literally phone in his performance.

It's only a matter of time before movie studios will be able to take a few frames from a face in a movie (taken from the unit photographer, no doubt) and finish movies where an actor died. Or, make multiple sequels when someone died, or worse yet, make one when the actor does not wish to be a part of it. Watch those new contracts my actor friends, soon you'll have to be weary of signing away the future use of your likeness and voice from computers who will put you in movies you never wanted to be in.

Next up? Virtual "people farms." They can take one image off a royalty-free photo, that has a model release for it, and render it into 3D, and then put that exact person into a movie, either as a real character, or as a background character. All the more reason to maintain your rights!
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Monday, February 12, 2007

Incremental Change is Good

Ah, it's a nice sight when the worm turns. It seems that those point-and-shoots that your friendly self-employed realtor was using just isn't cutting it anymore. Quality image production (which comes as no surprise to we photographers) should be left to the professionals.

Yea! Someone freaking gets it.

Our quality results come from more than just a chip and a lens, it's actually about a good eye! (Surprise, Surprise!) I encourage all you real estate photographers to share this news with realtors you are considering working with. While I don't do many assignments like this, I have already forwarded the URL to a prospective client who, when I provided a quote for the photography just like this, said they'd just "do it themselves."

The New York Times reports about the benefit that realtors are having when hiring professional photographers. Here's an excerpt:

"In real estate, a picture can be worth more than a thousand words. Much, much more. When selling properties online, agents and Web designers say that the pictures buyers see of houses and apartments for sale are often the first — and sometimes the only — chance for a seller to make a good impression. Less-than-flattering pictures can turn buyers off and lead to lonely open houses....Eighty percent of people across the country who bought a new home last year used the Internet while house hunting, and they rated photographs as the most useful tool in their search, according to a survey of buyers and sellers by the National Association of Realtors...In many cases, it is the agents themselves who are snapping the pictures and posting them on the agency Web site. Because of this, it is important that sellers choosing an agent know who will take and pay for the pictures and whether a professional photographer is available...“It’s so important to have photos that are professionally presented,” said Rosalind Clarke, a senior sales associate with the Corcoran Group ...She added that she uses only pictures taken by professional photographers, because “if things look shoddy or unprofessional, not only are buyers going to find the property unappealing, they’re going to associate you with being shoddy and unprofessional.”...agencies vary greatly in their policies on pictures. Some send their agents and brokers out armed with digital cameras, but others use only pictures taken by professionals. Still other agencies let brokers decide whether to take their own pictures or pay a fee to use the agency’s recommended photographers...All of which explains why there is such a wide range in the quality of photos found on real estate Web sites...“When you look at the difference between professional photos and ones taken by brokers with digital cameras, it’s not hard to see that you get what you pay for,” said Lauren Cangiano, a senior vice president of Halstead Property in New York...Halstead uses only professional photos, and its agents reimburse the agency from their commissions after the properties have sold. The same pictures will be used on information sheets, in the agency’s storefront windows and in advertising brochures.
Read Entire Article

There are several examples along with the article that shows images made by the realtor, and then those that the realtor hired to make professionally, which demonstrates just what the value is to these realtors and what we bring. The article cites figures from one to several hundred dollars per home, which would seem to work if a well planned photographer can knock out several in a day.
“When you look at the difference between professional photos and ones taken by brokers with digital cameras, it’s not hard to see that you get what you pay for,” said Lauren Cangiano, a senior vice president of Halstead Property in New York.
Amen Ms. Cangiano, Amen.
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My Deliverable's Accompanying Terms & Conditions

Over in the Flickr forums, Scott Hargis asked about contract terms & conditions being put onto the CD that is delivered to clients, and whether or not to do it, if I did it, and so on. Yes! Yes! Yes!

Every CD contains a TEXT file, titled "ReadMe.txt", and within that text file is:


READ ME FILE FOR JOHN HARRINGTON PHOTOGRAPHY PHOTO DISC

The images on this CD-ROM are copyrighted, and subject to a license which accompanied the contract that was signed by someone in your organization outlining what the term of the contract is (or was), and the rights that were granted for the use of the photographs which were originally delivered to you on this CD-ROM. Even if those images were copied from the CD to another archival system, they remain subject to that contract's terms and conditions for length and scope of license. If you are not aware of the license specifics, please contact our office at the number below, and we can provide you with a copy of the original contract.

This Digital Photo Archive CD is configured to run automatically after you have placed it in your CD-ROM drive. You may view a library of thumbnail photos, search by description, keyword or other field text, double-click to view larger photos, run a slideshow and other options.

The program, Extensis Portfolio, is simple and intuitive. Answers to more frequent questions can be found at http://www.extensis.com or by contacting John Harrington Photography at (202) 544-4578 for documentation. This disc includes a browser version of Extensis Portfolio 5.0, licensed for use by Extensis.

If the archive fails to load perform the following:

1. Place the CD in your CD-ROM Drive
2. Access the directory of the CD by running the
Windows Explorer found in the Start Menu
3. Double click on the file "Click_to_Begin.exe"

Mac users can click on the catalog "Image Catalog" and the application will launch.

The application Portfolio loads a catalog of images created for your event. Images may be e-mailed, printed or copied and moved in any way you see fit, consistent with the licensing that was a part of the contract that was signed for this assignment. The thumbnails identify the filename of the high-resolution photo, found in the "Images" subdirectory on the disc.

To access the high-resolution version copy the appropriate .jpg image file from the "Images" subdirectory on the disc.

To print your photos, please contact John Harrington Photography at (202) 544-4578. To view a schedule of rates associated with reprints, please visit http://www.johnharrington.com/reprints

If you have any additional questions please don't hesitate to contact John Harrington Photography or e-mail John@JohnHarrington.com.
This file goes out with each and every CD, and covers things in general way. In some cases where there is a unique license, we will also include a file titled "license.txt" as well, which is a cut and paste from the contract that was sent and received back signed.
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Primer & Refresher: Terms & Conditions: TERM 1

This Term lays out several definitions of words that will be used in the contract. Why is this necessary? Because lawyers love to debate (usually in court, often in settlement agreements) EXACTLY what was meant by a term, who was included (or not included) as a licensee, and such. This helps set forth what things mean.

Below first is the entire term, and then it's broken down piece by piece.

Term #1: "1. DEFINITIONS: This Agreement is by and between John Harrington Photography (“Licensor”) and (“Client”) which includes Client’s representatives . Licensor’s relationship with Client is that of an independent contractor. “Image(s)” means the visual and/or other forms of materials or digital information supplied by Licensor to Client. Licensor is the sole creator of the Image(s). The Image(s) are Licensor’s interpretation, rather than a literal copy of any concepts or layouts provided to Licensor by Client. “Service(s)” means the photography and/or related digital or other services described on the front of this Agreement that Client is specifically commissioning Licensor to perform pursuant to this Agreement. “Transmit” or “Transmission” means distribution by any device or process whereby a copy of an Image is fixed beyond the place from which it was sent. “Copyright Management Information” means the name and other identifying information of Licensor, terms and conditions for uses of the Images, and such other information that Licensor may prescribe."

Here's the breakdown:

"This Agreement" - Meaning this one specifically. Seperate and distinct from other proposed agreements that the other party (or parties) may have offered.

"is by" - Means John Harrington Photography wrote and proposed the Agreement.

"John Harrington Photography (“Licensor”)" - This defines me as the party with the intellectual property available for license, and that the capitalized word "Licensor" refers to me.

"(“Client”) which includes Client’s representatives ." - This defines (and here you would insert the clients company name before the opening parenthesis) the capitalized word "Client" to always be referring not only to the company/organization, but also to anyone whom is their representative (like a PR firm, ad agency, design firm, and so on.)

"Licensor’s relationship with Client is that of an independent contractor." In other words, at no time should I be considered an employee, subject potentially to WMFH, and this also protects them, so that I can't make a workmans' comp claim against them if I am hurt, trying to say I was their employee when that happened. Many many contracts that clients propose also includes this clause.

"“Image(s)” means the visual and/or other forms of materials or digital information supplied by Licensor to Client. " This defines what the capitalized use of the word "Images" is, and is important especially when you include "digital information" because it also then includes a digital photo file and the metadata or digital instructions (like an XMP sidecar for example) about how to process the images.

"Licensor is the sole creator of the Image(s)." This ensures that both parties agree that no joint claim of creation or creativity, and thus copyright ownership can be made. Both parties agree that Licensor is the sole creator. Note the use of capitalized words.

"The Image(s) are Licensor’s interpretation, rather than a literal copy of any concepts or layouts provided to Licensor by Client." In some cases, a claim could be made that such specific direction was given, that a joint authorship claim should be considered. This defines the fact that the images are an intepretation and not a literal copy.

" “Service(s)” means the photography and/or related digital or other services described on the front of this Agreement that Client is specifically commissioning Licensor to perform pursuant to this Agreement." This defines the word services to not just include the actual taking of the photographs, but also pre- and post-production, scouting, and so on. Anything I (or we) do for the client falls into the scope of the word "Services".

"“Transmit” or “Transmission” means distribution by any device or process whereby a copy of an Image is fixed beyond the place from which it was sent." Sets forth exactly what we mean. E-mailing, FTP'ing, CD delivery, use of a thumb drive, and so on.

" “Copyright Management Information” means the name and other identifying information of Licensor, terms and conditions for uses of the Images, and such other information that Licensor may prescribe." Again, sets forth the scope of what Copyright Management Information is, including these T&C, and leaves it open beyond that which "Licensor may prescribe."

With these words and phrases better defined, it makes it easier to have understandable terms through the rest of the agreement. Ask yourself, as you read this, "which of these definitions would I take out?" And also ask "Are there other terms I should be defining that are specific to me?" Once you understand each and every word in this (and the remainder) term will you be not only comfortable with the terms, and explaining to the client what they are, what the mean, and why they are there, but moreover, when you see terms you know are important and they are missing from agreements that a client might present, you can be clear to them as to why your contract is the one that should be signed. However, when you see a client contract that has substantially similar terms, you are in a better position to understand what they've written, why, and how it might just be fine to sign that one..


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