Senin, 30 Desember 2013

TIPS60 - On Errors & Omissions Insurance



Here is another of our videos offering tips and inisights into the business of photography. a transcript of the video is included after the jump.

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TRANSCRIPT:Here are a few thoughts on E and O insurance. I'm John Harrington. E and O insurance, or errors and omissions insurance is a really valuable insurance offering that extends the benefits of your general liability insurance to cover claims by a client of neglect or inadequate services. It will pay for your attorney costs any settlement costs it's really a nominal amount of money in addition to your general liability insurance and is well worth it. Look in to various E and O riders that might be available from your insurance provider to have that extra amount of coverage. I would strongly encourage you to consider errors and omissions insurance because, if someone suggests to you, ""Well, Oh, you didn't do a good job"" or didn't do a good enough job, you didn't turn up, any variety of things that could go wrong errors and omissions insurance will cover you. It's worth looking into.


Please post your comments by clicking the link below. If you've got questions, please pose them in our Photo Business Forum Flickr Group Discussion Threads.

Senin, 23 Desember 2013

TIPS60 - The benefits of raising your rates (besides the obvious!)



Here is another of our videos offering tips and inisights into the business of photography. a transcript of the video is included after the jump.

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TRANSCRIPT:Here are a few thoughts and moving up to the next caliber of client. I'm John Harrington. Clients come in all shapes and sizes. They could be mom and pop corner store down the street, it could be the local grocery store, could be the local store that sells clothing and apparel, it could be a national chain, it can be an international chain. All of them are in kind of a hierarchical scale, not just the in the level and quality of work that you're doing for them, but also in the economic sphere. Whether the mom and pop store might consider $200, $300, $400 to be the most they should pay for photography, whereas an international apparel company recognizes the hundreds of thousands of dollars necessary to pull off a shoot that showcases their entire line. It's really important for you to understand the escalation from one tier to another and understand that your rates are going to raise as you're going up. So think about that. Think about raising your rates to increase yourself from one tier of client to the next.


Please post your comments by clicking the link below. If you've got questions, please pose them in our Photo Business Forum Flickr Group Discussion Threads.

Senin, 16 Desember 2013

TIPS60 - Why register copyright?



Here is another of our videos offering tips and inisights into the business of photography. a transcript of the video is included after the jump.

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TRANSCRIPT:Here are a few thoughts on the value of registering your copyright. I'm John Harrington. You can shoot all you want, make as many pictures as you want to and have your work stolen and deal with your clients without registering copyright if you want to, but ultimately registering your copyright with the United States Copyright Office is incredibly important because it allows for you to actually file a claim in federal court for copyright infringement. It also allows you to have statutory damages, which is basically a penalty or punishment for infringement of copyright and here's the big deal, it actually allows for you to have your lawyer's fees paid for by the people who stole your photography. It's very important you register copyright methodically and on a regular basis. It's something you can do every month, every two months and have a full force and effect of copyright registration as if you had done it the day that you took the picture. You have a 90 day window to register and still have full protection. So register your copyright all the time.


Please post your comments by clicking the link below. If you've got questions, please pose them in our Photo Business Forum Flickr Group Discussion Threads.

Jumat, 13 Desember 2013

Deception? Getty Images & The Pinterest Deal

The Carlyle Group owned Getty Images may be operating in a deceptive manner as it relates to the reporting of income, sales, and licensing of content under their recently announced deal with Pinterest. Under the now private ownership of The Carlysle Group, very little about the business dealings of Getty Images is available, but from time to time, interesting news can slip out.

Let's first look at Getty's blog post announcing the deal. Here are several relevant excerpts from the blog post about just what Pinterest is paying Getty for - Metadata only:
"Getty Images and Pinterest have struck a multi-year deal to drive a more visual world by combining our rich metadata and compelling content ..."
Metadata makes an appearance in the above quote, followed by an aggrandizing comment about the "fantastic Getty Images photographer..." and details on the information (that is, metadata) about the designer of the boots that appear in the photo:
"Let’s say you’re browsing Pinterest and see an image of Beyonce wearing totally fierce boots. But there’s no information about who designed them or where you can get them! It may also be hard to find out that a fantastic Getty Images photographer shot the picture."
Now, Getty makes it clear that the metadata is what's being sold/licensed, and that the photo then gets "photo credit" and a link.
"Our new partnership with Pinterest offers a solution....we’ll use our API, Connect, to provide relevant metadata to Pinterest – including Getty Images photo credits, where and when the image was shot and more. We’ll get a photo credit for our images on Pinterest’s site and a link back."
Here, Getty makes it clear that the payment is only for metadata. The below statement is as definitive as President Obama's statement regarding healthcare that if you like your doctor or health care plan, you can keep it. There's no question or equivication - Getty's getting paid "for this rich metadata":
"Pinterest will pay Getty Images a fee for this rich metadata, which we’ll share with contributors. "
If a photo licenses for $1.00, what do you suppose the metadata would license for? $0.01? $0.10? Certainly, the figure is a fraction of what the image would license for, and then, that fraction of the photo licensing income is shared at Getty's disproportionate percentage split in their favor.

Nowhere does Getty state that Pinterest is paying for an image license.

Why is it important then, that Getty make it crystal clear that the payment is for Metadata? Let's look closely at a few sections of Getty's contract with contributors.

First Getty details that the agreement is for "Accepted Content" and then defines what "Accepted Content" is:
"This Agreement applies to all Content (as the term is defined in Section 1.2) that you have previously submitted and, in the future, will submit, that is accepted for distribution by Getty Images (“Accepted Content”). "
"1.2 Types of Content: This Agreement will apply to the following types of content (the “Content”): (a) photographs, illustrations, or other still visual representations (“Still Image(s)”); (b) moving visual content in any form including, film, video tape, digital files, animation and clips (“Footage”); and (c) font, audio file and any other work protected by copyright, in all cases, generated by any means and in any format or medium, including any reproductions and any modifications and derivative works thereof. "
It's clear there, above, that the content is "photographs" - not metadata. Below, Getty first states what should be obvious - that you own the rights to your "Accepted Content", however, Getty then goes on to make it perfectly clear that "Getty Images will own all right, title and interest, including all copyrights that arise apart from the copyright in your Accepted Content, to all types of derivative works created by or for Getty Images that contain multiple items of Accepted Content and/or other Content:"
1.13 Copyright to Accepted Content and other Works. Subject to the rights granted in this Agreement, you will retain all right, title and interest, including copyright, in all Accepted Content including when it is incorporated in a derivative work created by others. Getty Images will own all right, title and interest, including all copyrights that arise apart from the copyright in your Accepted Content, to all types of derivative works created by or for Getty Images that contain multiple items of Accepted Content and/or other Content. Either you or Getty Images on behalf of you may register the copyright in any Accepted Content with the relevant copyright authority.
So, apart from the "photograph" part of "Accepted Content", Getty owns everything else - metadata, "and/or other Content".

Again, contributors are being compensated for a fraction of a metadata fee rather than a fraction of a photo licensing fee, because Getty has made it perfectly clear that they're only being paid for metadata.

Until yesterday.

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At a conference held here in the Washington DC area, the US Patent and Trademark Office held a conference - "Copyright Policy, Creativity, and Innovation in the Digital Economy" (details here) for a day-long conference. I watched the webcast, and participating in the conference was John Lapham, Senior Vice President and General Counsel for Getty Images.

Here's the video: If you scrub forward to about 19:10 in the video, the discourse on this subject begins.

Lapham first states regarding the Pinterest deal:
"....a healthy percentage of their content belonged to Getty Images contributors, and rather having a slap flight about what should and should not happen with pictures on their site, to say, as pictures are moved around, you lose the metadata, you lose the attribution. and instead of yelling at each other about whether or not you should be licensing pictures or not, let's reattach the metadata properly to those images, and let's have our contributors in turn receive the royalties that they are due for the use of their content. That was the goal in reaching that type of arrangement..."
The moderator Ann Chaitovitz, Attorney‐Advisor for Copyright, Office of Policy and International Affairs, USPTO, presses Lapham, because all of the previous statements by Getty have been that payment by Pinterest was for metadata only. So she re-asks:
"Thank you. umm, so can I, just to clarify my understanding, it was, metadata - you re-attach the metadata, was their also a kind of a payment, or was that for, they would be tagged for future uses they would have the metadata?"
Lapham responds:
"Uhh, the arrangement works so that, uh, as, we have a database, an imagery database, that contains, you know, tens of millions of pictures, not only of ours, but of competitors, of other companies, and we can match that database of images up against a website to find out what the matches are. And so using that image recognition technology, we can say, you know, we can say, looking at the USPTO website for instance, that you have 110,000 Getty Images photos on there, and those images no longer have their metadata, we'll re-attach that metadata and the fees that can be charged for that can be on a per image per month basis so that the individual who created that work is in turn being compensated back for that."
Lapham makes several points. In his initial statement:
"let's have our contributors in turn receive the royalties that they are due for the use of their content."
He then states in his follow up:
"we'll re-attach that metadata and the fees that can be charged for that can be on a per image per month basis so that the individual who created that work is in turn being compensated back for that."
So, the fee being charged is for re-attaching the metadata? When he says "the fees that can be charged for that", he's clearly referring to the action earlier in the sentence "we'll re-attach that metadata..." and then, does the "compensated back for that" at the end of the sentence - does the "that" refer to their being the one who "created that work" or the re-attaching?

Why is this important? Well, in the Getty Images contract, Contributors transfer their right to sue (and/or settle) an infringement claim:
1.11 Right to Control Claims. Getty Images shall have the right to determine, using its best commercial judgment, whether and to what extent to proceed against any third party for any unauthorized use of Accepted Content. You authorize Getty Images and Distributors at their expense the exclusive right to make, control, settle and defend any claims related to infringement of copyright in the Accepted Content and any associated intellectual property rights (“Claims”).
We're asking a nuanced - but very serious question here. Lapham makes it clear that a healthy percentage of images on Pinterest are Getty's contributor images. Up until the deal, the presence of those images were infringing on the copyright of the owners of the images. Getty stated they didn't want to get into a "slap fight" with Pinterest. We're talking about millions of images, and the difference between what a photographer would receive as a portion of metadata fee versus a portion of income from an image license could mean millions more dollars in Getty's coffers at the expense of the contributors, just because of how the agreements between Pinterest and Getty, and between Getty and it's contributors, are written.

It would seem to me that it's deceptive to announce a deal where income comes from metadata, but then to -- in a not-as-widely-distributed forum where the message isn't massaged by countless re-writes of a press release -- to get a different answer that Getty may well actually be getting paid image licenses, for which they would, in turn, owe contributors the higher figure. Clearly the moderator had a different understanding going into the question, and she's a well regarded attorney advising the government on intellectual property matters, so it's not an insignificant detail that she's confused by what Lapham said as incongruous with the previously announced deal.

So, the question on the table that Getty Images contributors are due an answer to is "Are we being compensated for our Accepted Content (i.e. photographs) or are we being compensated for the metadata?" Lapham made it clear that they are due their royalties for the use of their content.

The follow up question is - "How much is the gross income per photo licensed, and how much is the gross income for the metadata fee for re-attachment and display?"

Please post your comments by clicking the link below. If you've got questions, please pose them in our Photo Business Forum Flickr Group Discussion Threads.

Senin, 09 Desember 2013

TIPS60 - Maximizing the Tax Deductibility of a Business Meal



Here is another of our videos offering tips and inisights into the business of photography. a transcript of the video is included after the jump.

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TRANSCRIPT:Here are a few thoughts on how to maximize the tax deductibility of a meal. I'm John Harrington. If you have a staff, if you have people working for you, when you're taking them out to a meal and you go to a restaurant and the bill is $100, you're actually only able to deduct about half of that. That being said, if you order carry out or take-out from that restaurant, bring that meal back to your office, the same exact meal, it becomes then an office meal, a meal taken in your office and as such is 100% deductible so that $100 charge you can deduct at $100 rather than $50. Now, I'm not an accountant, you just check with your accountant on this, but the benefit of having that meal in the office at 100% can be well worth getting in the car and bringing it back to the office and sitting around a table in the conference room, or otherwise just talking business in the office environment. So look into the tax deductibility of your meals and how to deduct them by maybe bringing them back to the office.


Please post your comments by clicking the link below. If you've got questions, please pose them in our Photo Business Forum Flickr Group Discussion Threads.

Senin, 02 Desember 2013

TIPS60 - Staff2Freelance - Why and How to give out freelance business cards



Here is another of our videos offering tips and inisights into the business of photography. a transcript of the video is included after the jump.

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TRANSCRIPT:Here are a few thoughts on what you might want to be doing when you're thinking about the potential for transitioning from staff to freelance, either expectedly or unexpectedly, related to business cards. I'm John Harrington. Now you should always have your own set of business cards with your own cell phone number and your own contact information and you should be handing those things out when you're talking to PR people or editorial clients that you might be working with from time to time on the side, if you're allowed to work on the side with clients. Having your own personal business card, handing that business card out on a regular basis is a good thing because it gets your name out there. Obviously, you need to be sensitive to any restrictions that your company has about doing freelance work or handing out your personal business card, but you should always have one when the opportunity presents itself. Be giving that business card out, generating a collection of clients that are interested in you and your professional services as a photographer. And if you can't do the job, what you can do is take that phone call and refer it on to a friend or colleague who you think might deserve the work.


Please post your comments by clicking the link below. If you've got questions, please pose them in our Photo Business Forum Flickr Group Discussion Threads.