Showing posts with label copyright. Show all posts
Showing posts with label copyright. Show all posts
Saturday, March 15, 2008
Basic VJ copyright
video by Mark M. Hancock / © The Beaumont Enterprise
Doctors and other medical professionals in the Beaumont area gather to relieve stress by playing rock music in a studio above a three-car garage (3CG). The 3CG band performs a jam session of blues.
Music has three copyrights. They are: the composer, the performer and the production company. For music videos, the VJ holds the fourth copyright, but is subject to the first three.
As new VJs ask around, they might hear about the "20-second rule." There is no such rule for individuals or businesses (including newspapers). I won't say what it equates to in the real world, but we'll say a lot of folks get babies by applying a similar fictitious rule.
IF - and only IF - a radio or TV station has all the proper ASCAP record-keeping and payment processes in place, they can use 20 seconds (or more). Since ASCAP licenses are outrageously expensive, don't expect a newspaper to pay the bill. Even if they do, it only applies to the newspaper's Web site - not to a VJ's personal site or blog.
To play music, show a theater performance or even a specific choreography routine, it must be original and a VJ needs the composer's AND performer's permission (preferably on tape).
Then, the VJ becomes the de facto production company (if sound is live) and also retains the shooting copyright.
When a band only performs covers of other people's work*, VJs can ask the band to play "Blues in B." Almost any band can play this. It's the standard jam-session song. It doesn't step on any copyright and actually lets the performers shine.
This isn't foolproof because one of the players could start playing something from another band, but it's the best we can do without taking years of music lessons and law courses.
* If the performers cover Bach, you're OK. We're talking about contemporary pieces from the last 70 years.
Background sound
If music is playing in the background at an event, I've read it isn't a problem to record natural sound while covering news (this might be the infamous 20-second rule). This applies to situations such as festivals and other events where VJs have no control over the sound system.
However, adding music after-the-fact as background is still forbidden unless the VJ has appropriate licences.
Enough for now,
Saturday, December 09, 2006
Avoid anything Nygard
I was going to post some fluffy images from fashion designer Peter Nygard's visit to Beaumont during his nationwide tour of Dillard's stores. Then, I found this CRAZY rights-grabbing cattle call from "senior fashion photographer" John Bartelings (via Model Mayhem). Read it for yourself if you want to see what's absolutely unacceptable.
They wanted student photographers to follow the designer around and pop flashes to add some razzle dazzle for the TV and video shooters. The whole tour is a staged event; why wouldn't they stage this as well?
Here's the crux of it:
This doesn't apply to the media. It's actually for the media (TV). If media folks in other cities could avoid covering the event and feeding this horrible abuse of photo students (and future fashion copy-cats), please do so.
Enough for now,
They wanted student photographers to follow the designer around and pop flashes to add some razzle dazzle for the TV and video shooters. The whole tour is a staged event; why wouldn't they stage this as well?
Here's the crux of it:
"(HOWEVER: NO PUBLICATION RIGHTS-SEE WAIVER FORM) they will provide their own equipment and own film/Memory Cards - NOTE: CF cards will - after download - be returned to the photographer they will follow instructions from our Staff Photographers & Nygård Officers ... they will provide their presence FREE of charge they have to sign the attached Waiver Form and return it when picking up the Media Pass..."I'm surprised the student shooters didn't need to provide caviar and goblets of blood samples.
This doesn't apply to the media. It's actually for the media (TV). If media folks in other cities could avoid covering the event and feeding this horrible abuse of photo students (and future fashion copy-cats), please do so.
Enough for now,
Tuesday, November 21, 2006
Sign the Orphan Works petition
Earlier this year, I asked folks to take action about the proposed "Orphan Works" (copyright stealing) concept. For the folks who who care about your intellectual property rights and haven't voiced your concern yet to your representatives in D.C., LightStalkers offers a relatively painless Pro-Copyright Petition. Just send them an e-mail with your name, profession, location and citizenship, and they'll add you to the petition list.
This important issue must be resolved. I'd imagine there are very deep pockets behind the push to take our property rights, but possibly the latest political turn might make some folks think before they try to steal more of our rights.
Thanks to Frank Johnson at shootfilm.net for the link.
Enough for now,
This important issue must be resolved. I'd imagine there are very deep pockets behind the push to take our property rights, but possibly the latest political turn might make some folks think before they try to steal more of our rights.
Thanks to Frank Johnson at shootfilm.net for the link.
Enough for now,
Saturday, April 08, 2006
Don't sign access contracts
In this biz, we sign and negotiate many contracts. Common to the profession are model and property releases, vender agreements, delivery memos, image licenses, "hold harmless" waivers (personal safety waivers) and more. Most of these are either required to protect our rights, keep us from getting sued or keep someone else from getting sued.
We either write or read them carefully and redact (scratch through) phrases we know are unfair or plain wrong. Anything without a date or time limit is typically considered "wrong." I won't hold a company harmless forever. However, I'll hold them harmless for one day while I'm flying with a parachute team.
Typically, we encounter various contracts during our freelance work. Staffers rarely encounter contracts after an initial employment except on assignments dealing with airplanes and other dangerous situations. This is primarily because we work for a corporation. Any contracts with the outside world are handled through the corporation attorneys. Since we're not the legal representative of the corporation, we can't sign a binding contract on the company's behalf.
Entertainment access contracts
In recent years, national, touring entertainment events are trying to make PJs sign contracts to gain access. They can demand signatures for access, but PJs shouldn't sign them. If it eventually means we're walking away, then it's the performer's fault - not ours.
It's really embarrassing and disappointing to walk away from a concert assignment. It's only happened three times in my entire career. It leaves me with a creepy, violated feeling inside. However, I'd rather walk than be completely violated by signing the contract.
Early in my career, I signed an ambush contract at a venue. I still hold resentment against the performer and its promoters. I won't purchase any of the performer's products, nor mention the performer's name in print or online (it was previously one of my favorite performers).
PJs are at the venue for the "First two songs, no flash" to document a performer's visit. The bigger and more local the performer, the more important it is to document the performance. These images are used immediately after the performance, but they become part of a publication's archive and are used again for future stories.
Most performers return to a venue or city if their last appearance was successful. Archive images are used for future preview stories. Furthermore, entertainers are news. Imagine not being able to run images of a performer who gets married, becomes sick, gets in an accident, gets arrested or dies. After all, the performers will probably die before the newspaper does.
Why not sign?
This is a common argument. Let's look at the primary reasons. There are more reasons, but these should suffice.
1) First and foremost, a staff PJ isn't authorized to enter an agreement for the company. PJs can enter personal agreements to waive safety (common while covering parachuting, rock climbing and other dangerous "extreme sports"). However, the PJ is not the company and the PJ can't know what happens to the image after it's placed into the system. Contract stipulations could be violated the second the image enters the system and the PJ has no control over it.
Since most staff PJs don't actually own the images (the company does), the images stay at the company if the PJ moves to another paper or magazine. After the PJ is gone, anyone in the organization could violate this contract and leave the PJ and/or the company on the hook for contractual damages.
2) Although most PJs can work their way through a contract and find the loopholes, there's always the chance for a trick phrase to catch the PJ and put her/him in a pinch. The problem isn't with the general contract wording, it's with the alternative meanings (i.e. the language lawyers prefer).
For example, "Bob owns all rights to his name and likeness." It sounds reasonable - particularly when couched with other innocuous statements such as "grass is green." However, it means whoever signs this agreement also agrees that Bob owns the images made of him during the performance. Furthermore, this is an ex post facto agreement. Since the statement says "all," it means any images taken before or after the contract date by any person in the organization.
Honestly, it's unlikely the performer will ever enforce the terms of this contract. However, the fact that they could do it is enough to reject the contract and walk. It leaves the PJ and the company open for a lawsuit and has a chilling effect.
For example, let's say a circus has a signed contract from five years ago. During the show, a clown violently kills a stilt walker, two security guards and a few patrons then flees. Now, the city has an armed, killer clown on the loose and a PJ has spotlighted images of it.
FYI: they'll stop the press for this story with photos.
The circus promoters immediately want to squash this news as well as any related images and stories. With a carefully-worded, signed contract, they can threaten the newspaper and keep the story of their killer clown out of the news. This isn't a situation any journalist, PJ, editor or publisher wants.
3) It's unfair treatment. No reporter would agree to a similar contract. Somehow, entertainment folks have decided to treat visual reporters differently than text reporters. The text reporters are free to write whatever they choose, however they choose.
4) It's against the spirit of the free press (First Amendment). If we're not invited, fine. If we're invited, let us do our job. We're there to show the performer to our readers and make some readers happy for a moment.
Resolve this problem before it happens
First, the reporter assigned to cover the entertainment event should want to contact the tour company for an advance interview of the performers. During this time, the reporter can find out if any such contract will be presented.
If so, the reporter should have the promoters fax the contract to the company attorney. Since tour dates are scheduled months in advance, there's plenty of time to work out the logistics. The attorney can go through the contract and see if the company is willing to take on the legal liability involved while giving this performer free publicity (in editorial space, which can't be purchased at any price).
If so, the lawyer settles the agreement and all is cool. The PJ gets the shooting rules in the assignment and all is settled. No problem for the PJ.
If the company attorney and the promoter lock horns and either backs away, the PJ simply doesn't get the assignment. No problem.
Either way, everything should be settled before the PJ gets the assignment or arrives at the venue.
Should the venue not be aware of this pre-established agreement, the contact name and number on the assignment should be for the tour manager and any problems can be settled immediately.
Keep perspective and professionalism
Should an ambush contract ever be presented to a working PJ, try to stay calm. Often, promoters back away from the contract if they understand the PJs will walk. Explain the situation calmly to the promoter and give them a chance to resolve the problem.
If the venue promoter says it's out of their control and the tour manager is somehow unavailable, call the desk. It's best to have the desk make the final decision. Often, it's company policy to walk away from these situations. However, the desk will want to make the final call.
PJs actually have the upper hand in these situations. It's unlikely a newspaper will lose a single subscriber if a concert isn't covered. However, it's very likely the performer loses potential album sales if the concert isn't covered by a major newspaper. If several newspapers band together, performers (or their lawyers) are likely to ditch the silly contracts. Then we (PJs and performers) can all happily do our jobs.
Make lemonade
If the headliner demands the contract for access, see if the opening act (typically new in the business) is included in the contract. If not, shoot the opening act. They probably welcome any publicity.
Another option is to shoot fans in the lobby or outside the venue.
At least the PJ has something to fill a hole in the paper. Additionally, today's opening band may be tomorrow's headlining band.
Enough for now,
We either write or read them carefully and redact (scratch through) phrases we know are unfair or plain wrong. Anything without a date or time limit is typically considered "wrong." I won't hold a company harmless forever. However, I'll hold them harmless for one day while I'm flying with a parachute team.
Typically, we encounter various contracts during our freelance work. Staffers rarely encounter contracts after an initial employment except on assignments dealing with airplanes and other dangerous situations. This is primarily because we work for a corporation. Any contracts with the outside world are handled through the corporation attorneys. Since we're not the legal representative of the corporation, we can't sign a binding contract on the company's behalf.
Entertainment access contracts
In recent years, national, touring entertainment events are trying to make PJs sign contracts to gain access. They can demand signatures for access, but PJs shouldn't sign them. If it eventually means we're walking away, then it's the performer's fault - not ours.
It's really embarrassing and disappointing to walk away from a concert assignment. It's only happened three times in my entire career. It leaves me with a creepy, violated feeling inside. However, I'd rather walk than be completely violated by signing the contract.
Early in my career, I signed an ambush contract at a venue. I still hold resentment against the performer and its promoters. I won't purchase any of the performer's products, nor mention the performer's name in print or online (it was previously one of my favorite performers).
PJs are at the venue for the "First two songs, no flash" to document a performer's visit. The bigger and more local the performer, the more important it is to document the performance. These images are used immediately after the performance, but they become part of a publication's archive and are used again for future stories.
Most performers return to a venue or city if their last appearance was successful. Archive images are used for future preview stories. Furthermore, entertainers are news. Imagine not being able to run images of a performer who gets married, becomes sick, gets in an accident, gets arrested or dies. After all, the performers will probably die before the newspaper does.
Why not sign?
This is a common argument. Let's look at the primary reasons. There are more reasons, but these should suffice.
1) First and foremost, a staff PJ isn't authorized to enter an agreement for the company. PJs can enter personal agreements to waive safety (common while covering parachuting, rock climbing and other dangerous "extreme sports"). However, the PJ is not the company and the PJ can't know what happens to the image after it's placed into the system. Contract stipulations could be violated the second the image enters the system and the PJ has no control over it.
Since most staff PJs don't actually own the images (the company does), the images stay at the company if the PJ moves to another paper or magazine. After the PJ is gone, anyone in the organization could violate this contract and leave the PJ and/or the company on the hook for contractual damages.
2) Although most PJs can work their way through a contract and find the loopholes, there's always the chance for a trick phrase to catch the PJ and put her/him in a pinch. The problem isn't with the general contract wording, it's with the alternative meanings (i.e. the language lawyers prefer).
For example, "Bob owns all rights to his name and likeness." It sounds reasonable - particularly when couched with other innocuous statements such as "grass is green." However, it means whoever signs this agreement also agrees that Bob owns the images made of him during the performance. Furthermore, this is an ex post facto agreement. Since the statement says "all," it means any images taken before or after the contract date by any person in the organization.
Honestly, it's unlikely the performer will ever enforce the terms of this contract. However, the fact that they could do it is enough to reject the contract and walk. It leaves the PJ and the company open for a lawsuit and has a chilling effect.
For example, let's say a circus has a signed contract from five years ago. During the show, a clown violently kills a stilt walker, two security guards and a few patrons then flees. Now, the city has an armed, killer clown on the loose and a PJ has spotlighted images of it.
FYI: they'll stop the press for this story with photos.
The circus promoters immediately want to squash this news as well as any related images and stories. With a carefully-worded, signed contract, they can threaten the newspaper and keep the story of their killer clown out of the news. This isn't a situation any journalist, PJ, editor or publisher wants.
3) It's unfair treatment. No reporter would agree to a similar contract. Somehow, entertainment folks have decided to treat visual reporters differently than text reporters. The text reporters are free to write whatever they choose, however they choose.
4) It's against the spirit of the free press (First Amendment). If we're not invited, fine. If we're invited, let us do our job. We're there to show the performer to our readers and make some readers happy for a moment.
Resolve this problem before it happens
First, the reporter assigned to cover the entertainment event should want to contact the tour company for an advance interview of the performers. During this time, the reporter can find out if any such contract will be presented.
If so, the reporter should have the promoters fax the contract to the company attorney. Since tour dates are scheduled months in advance, there's plenty of time to work out the logistics. The attorney can go through the contract and see if the company is willing to take on the legal liability involved while giving this performer free publicity (in editorial space, which can't be purchased at any price).
If so, the lawyer settles the agreement and all is cool. The PJ gets the shooting rules in the assignment and all is settled. No problem for the PJ.
If the company attorney and the promoter lock horns and either backs away, the PJ simply doesn't get the assignment. No problem.
Either way, everything should be settled before the PJ gets the assignment or arrives at the venue.
Should the venue not be aware of this pre-established agreement, the contact name and number on the assignment should be for the tour manager and any problems can be settled immediately.
Keep perspective and professionalism
Should an ambush contract ever be presented to a working PJ, try to stay calm. Often, promoters back away from the contract if they understand the PJs will walk. Explain the situation calmly to the promoter and give them a chance to resolve the problem.
If the venue promoter says it's out of their control and the tour manager is somehow unavailable, call the desk. It's best to have the desk make the final decision. Often, it's company policy to walk away from these situations. However, the desk will want to make the final call.
PJs actually have the upper hand in these situations. It's unlikely a newspaper will lose a single subscriber if a concert isn't covered. However, it's very likely the performer loses potential album sales if the concert isn't covered by a major newspaper. If several newspapers band together, performers (or their lawyers) are likely to ditch the silly contracts. Then we (PJs and performers) can all happily do our jobs.
Make lemonade
If the headliner demands the contract for access, see if the opening act (typically new in the business) is included in the contract. If not, shoot the opening act. They probably welcome any publicity.
Another option is to shoot fans in the lobby or outside the venue.
At least the PJ has something to fill a hole in the paper. Additionally, today's opening band may be tomorrow's headlining band.
Enough for now,
Thursday, March 16, 2006
"Orphan Works" action needed
Imagine risking your life to make a photograph. You go through the steps to get a proper, registered copyright. Next, imagine the photograph later appears in a national advertising campaign without your knowledge, approval or payment. Then imagine not having any legal recourse to get proper payment, damages or even legal fees.
This is the crux of a proposed "Orphan Works" amendment to the U.S. Copyright Law.
The ASMP and other organizations around the world are urging photographers and those who care about photography's future to write letters to Congress to stop this action. If it passes, it'll effectively eliminate all protections photographers currently have for images published inside the U.S.
If successful, it's possible this gutting of copyright protection could take root in other countries worldwide.
ASMP has produced a detailed call to action, sample letter and congressional fax contact information. Although faxes are harder to ignore than e-mails, you can also e-mail your congressional representatives.
If we do nothing else this decade, let's stop this one action. I understand this requires time and effort. But if this amendment passes, it'll require much more time and effort later (looking for a new profession).
Folks who are new to this industry or still in college have the most at stake. If this passes, advertisers and editorial markets would have no motivation to pay for images. Once an image gets published, it could become free.
This is also a great time to start blasting large national publications that run our images without credit -- although our AP instructions specifically state "mandatory credit." Under the proposed amendment, these would be "Orphan Works" and could be used for free without remedy. This alone would be enough to keep many of us from submitting any images to AP.
Consider the chilling effect this action would have on visual information. If only images published with credit lines have any protection, and some media outlets choose to change credit lines to "AP photo" (which they are not), then PJs and their media outlets would only lose money by submitting images to AP. Consequently, most won't.
Please act on this legislation before it's too late. Please also bring this issue to the attention of your directors of photography, managing editors, publishers and company attorneys.
Enough for now,
UPDATE: Sign the Pro-Copyright Petition.
This is the crux of a proposed "Orphan Works" amendment to the U.S. Copyright Law.
The ASMP and other organizations around the world are urging photographers and those who care about photography's future to write letters to Congress to stop this action. If it passes, it'll effectively eliminate all protections photographers currently have for images published inside the U.S.
If successful, it's possible this gutting of copyright protection could take root in other countries worldwide.
ASMP has produced a detailed call to action, sample letter and congressional fax contact information. Although faxes are harder to ignore than e-mails, you can also e-mail your congressional representatives.
If we do nothing else this decade, let's stop this one action. I understand this requires time and effort. But if this amendment passes, it'll require much more time and effort later (looking for a new profession).
Folks who are new to this industry or still in college have the most at stake. If this passes, advertisers and editorial markets would have no motivation to pay for images. Once an image gets published, it could become free.
This is also a great time to start blasting large national publications that run our images without credit -- although our AP instructions specifically state "mandatory credit." Under the proposed amendment, these would be "Orphan Works" and could be used for free without remedy. This alone would be enough to keep many of us from submitting any images to AP.
Consider the chilling effect this action would have on visual information. If only images published with credit lines have any protection, and some media outlets choose to change credit lines to "AP photo" (which they are not), then PJs and their media outlets would only lose money by submitting images to AP. Consequently, most won't.
Please act on this legislation before it's too late. Please also bring this issue to the attention of your directors of photography, managing editors, publishers and company attorneys.
Enough for now,
UPDATE: Sign the Pro-Copyright Petition.
Wednesday, December 07, 2005
Reasons for distrust
If anyone wonders why PJs are so protective of our images and actual digital files, read David Leeson's Dec. 5, 2005 post about image theft. The post also points out the importance of ingesting images (rather than simply copying) to imbed copyright information into the image files. People around the world are claiming ownership of his Pulitzer Prize-winning images from Iraq.
His post explains why delivery memos and contracts are now required forms in this biz.
Enough for now,
His post explains why delivery memos and contracts are now required forms in this biz.
Enough for now,
Thursday, April 21, 2005
How to order Beaumont Enterprise images
Images with © The Beaumont Enterprise belong to the company and will need to be ordered as directed below.
The Beaumont Enterprise reprint and reproduction policy:
Many photographs taken by Beaumont Enterprise staff photographers are available to purchase as prints or on other products, such as mousepads, cups or T-shirts. Generally, photos will be made available to order by the day AFTER publication in The Beaumont Enterprise.
To order prints or other photo-products, please visit home.beaumontenterprise.com/photos.
Almost all images are available in color even if they were published in black and white.
The Beaumont Enterprise owns and retains all copyrights to photographs made by its photojournalists. Prints and photo-products ordered from The Beaumont Enterprise are intended for personal, non-commercial display only.
Beaumont Enterprise photos may not be republished either in print or on the Web without the consent of and/or purchase from The Beaumont Enterprise.
If you seek to purchase editorial or commercial reproduction rights of selected images appearing in The Beaumont Enterprise, please contact the photo department via E-mail or phone at (409) 833-3311.
Enough for now,
 
The Beaumont Enterprise reprint and reproduction policy:
Many photographs taken by Beaumont Enterprise staff photographers are available to purchase as prints or on other products, such as mousepads, cups or T-shirts. Generally, photos will be made available to order by the day AFTER publication in The Beaumont Enterprise.
To order prints or other photo-products, please visit home.beaumontenterprise.com/photos.
Almost all images are available in color even if they were published in black and white.
The Beaumont Enterprise owns and retains all copyrights to photographs made by its photojournalists. Prints and photo-products ordered from The Beaumont Enterprise are intended for personal, non-commercial display only.
Beaumont Enterprise photos may not be republished either in print or on the Web without the consent of and/or purchase from The Beaumont Enterprise.
If you seek to purchase editorial or commercial reproduction rights of selected images appearing in The Beaumont Enterprise, please contact the photo department via E-mail or phone at (409) 833-3311.
Enough for now,
 
Monday, March 14, 2005
Stop using AOL
Photographers should stop using all AOL services immediately. Time Warner Inc., formerly AOL Time Warner Inc., has changed its terms of service to automatically have free, unlimited perpetual use of any information posted to "public areas" of AOL Instant Messenger network.
Luckily they have a Procedure for Making Claims of Copyright Infringement, which places the onus on the PJ. Instead, just send them a certified mail invoice at punitive damages rate for one month's use. Make sure to compound it monthly until they get around to it.
If they balk, and your copyright is registered, you and a lawyer of your choosing can own a piece of this huge publishing company.
See some of the key terms on Break'n out the Big Glass.
Enough for now,
Luckily they have a Procedure for Making Claims of Copyright Infringement, which places the onus on the PJ. Instead, just send them a certified mail invoice at punitive damages rate for one month's use. Make sure to compound it monthly until they get around to it.
If they balk, and your copyright is registered, you and a lawyer of your choosing can own a piece of this huge publishing company.
See some of the key terms on Break'n out the Big Glass.
Enough for now,
Wednesday, August 04, 2004
How to order prints
Reprint policy:
Due to low sales compared to the cost of maintaining state tax records, we no longer offer photo-quality reprints, posters, mugs, mouse pads and other items (printed products) for sale to the public.
Although there is no alternative way to purchase printed products, no reproduction permissions of any kind are granted.
We still license individual image use to publishers (please see below).
Reproduction of images
Images with © before "Mark M. Hancock" or "NewsEagles.com" are owned by the photojournalist.
Publishers wanting to license images for reproduction (print or electronic) should contact Mark by email or call 214.862.7212.
Publishers can commission assignments for Mark M. Hancock via email at markhancockrealty@gmail.com, phone 214.862.7212 or see the "Contact Me" section of the DFWmark site. Mark also accepts assignments through Zuma Press via the regular publisher channels.
Other company photos
Images with © next to a company name belong to the company and need to be ordered as directed through the company. Please follow these links:
The Dallas Morning News
The Beaumont Enterprise
Missing and/or older images
When ordering prints from authorized clients, please help them locate the correct image(s) by describing the image(s) and caption information along with the publication date and location if known. Please email this information to them.
Additional questions
If you have additional questions or seek reproduction rights, please call 214.862.7212.
Enough for now,
Due to low sales compared to the cost of maintaining state tax records, we no longer offer photo-quality reprints, posters, mugs, mouse pads and other items (printed products) for sale to the public.
Although there is no alternative way to purchase printed products, no reproduction permissions of any kind are granted.
We still license individual image use to publishers (please see below).
Reproduction of images
Images with © before "Mark M. Hancock" or "NewsEagles.com" are owned by the photojournalist.
Publishers wanting to license images for reproduction (print or electronic) should contact Mark by email or call 214.862.7212.
Publishers can commission assignments for Mark M. Hancock via email at markhancockrealty@gmail.com, phone 214.862.7212 or see the "Contact Me" section of the DFWmark site. Mark also accepts assignments through Zuma Press via the regular publisher channels.
Other company photos
Images with © next to a company name belong to the company and need to be ordered as directed through the company. Please follow these links:
The Dallas Morning News
The Beaumont Enterprise
Missing and/or older images
When ordering prints from authorized clients, please help them locate the correct image(s) by describing the image(s) and caption information along with the publication date and location if known. Please email this information to them.
Additional questions
If you have additional questions or seek reproduction rights, please call 214.862.7212.
Enough for now,
Wednesday, January 21, 2004
Getting started in PJ
Your teacher made you research photojournalism as a job possibility. It sounds cool, so you started hunting around on the Web and landed here. You want the answers to all your questions. Right?
Unfortunately, I don't even know all the answers yet, and I have been playing around with this stuff for more than a decade.
Here's my suggestion. Start with what is a photojournalist . If it doesn't send you screaming to another profession, then come back here.
There are several directions into the industry rather than a single "way." Some people know what they want from the beginning, get a PJ degree, fight for internships, fight for stringer jobs, fight for a staff job, get the job, go to a bigger paper and eventually retire.
Others freelance for small papers while they work on degrees in engineering, business, English, computer science, geology, psychology, etc... At graduation, a staff job at a small paper is comforting and provides regular pay. It becomes a bird in the hand rather than the graduate-degree job in the bush. So, they settle into the job, become really good and live a happy life.
Those were the two extremes. Most paths meander somewhere between. It's probably best to be in the middle because the ends are indeed extreme.
The other extreme is a matter of aesthetics. There is a sliding scale between technicians and artists. All photojournalists must be a little of both, but each shooter is comfortable at a different place on the scale. Everyone is an artist capable of learning the technicals. It is like learning a musical instrument - but more expensive.
The industry is currently going through a major identity crisis (paper or silicon? would you like fries with that?). So, flexibility is a critical starting personal quality. Being part computer geek is also very useful.
To keep the size of this blog reasonable, I'll simply suggest some steps to consider at an early stage in this career.
Get the best camera system possible. Read the instruction manual at least three times to understand all the finer functions of the machine. Remember the quality of the glass (lenses) directly equates to the quality of your final images. Don't buy cheap glass and end up with cheap images, which nobody buys.
Get accustomed to charging for time, images and rights to use those images. Learn the business and learn how to conduct business (customer service, taxes, marketing, etc.). This is actually more important than your technical ability. I've seen some truly miserable PJs get rich in this industry while great PJs went hungry or worked at a 1-hour processing lab.
Study everything visual. Great photographs are the best starting point. However, music videos often use cutting-edge lighting and camera techniques.
Compete often, but never expect to win. Photography contests (and the judges) are subjective. Therefore, each image can win some contest. A community art society photography award is a great starting place.
If you win, great. If not, don't sweat it. Once you have a win or two, compete in harder competitions against better photographers. If someone wants to be a pro, then they must compete against and beat the pros.
A word of caution. Never release "all rights" for the sake of competition. There are a great number of rights-stealing contests in the world. They often offer an attractive cash prize for the best image. However, they're simply collecting many thousands of images from around the world to sell to their clients with no royalties for the photographers. In other words, your hard work becomes their property, and you have no recourse. The winner of the photography contest was: the contest owner (what a surprise).
Do as many quality internships as possible (daily, high circulation). There are high school, college and post graduate internships and sabbaticals. The internship has become the key to staff jobs lately.
Each internship should improve the student PJ's portfolio and skill set. It should also produce some competitive images. With a strong portfolio and some competition wins, the student is able to get better and better internships until s/he gets an unrefusable offer.
The best part of internships is the free film (or CDs), access and meaningful assignments.
A trick I've seen working for some PJs lately is to start interning in high school and keep it rolling through college. Internships are typically for Fall, Spring and Summer (Summer 1 and 2 combined). Logically, one could stretch college out an extra two years by doing multiple internships. This sounds like a waste of time, but it actually saves several years and some humility at smaller newspapers. This plan is semi-cheating the system, but it seems to work for those who can do it.
A word of caution though, doing too many internships can also limit a PJ's potential. Metro editors know when a PJ student is milking the system. Consequently, they won't touch someone who's done nothing but internships for the last two years.
This means, take high school internships. In college, only take major daily internships and limit it to one per year. Once graduated, only take two internships at the most. By then, the PJ should know if they want a staff job or grad school.
If a PJ student didn't get internships in college, it's probably wise to continue into grad school to get the internships. Otherwise, it's going to be a hard road.
I could write more, but this should get most students thinking.
Enough for now,
Unfortunately, I don't even know all the answers yet, and I have been playing around with this stuff for more than a decade.
Here's my suggestion. Start with what is a photojournalist . If it doesn't send you screaming to another profession, then come back here.
There are several directions into the industry rather than a single "way." Some people know what they want from the beginning, get a PJ degree, fight for internships, fight for stringer jobs, fight for a staff job, get the job, go to a bigger paper and eventually retire.
Others freelance for small papers while they work on degrees in engineering, business, English, computer science, geology, psychology, etc... At graduation, a staff job at a small paper is comforting and provides regular pay. It becomes a bird in the hand rather than the graduate-degree job in the bush. So, they settle into the job, become really good and live a happy life.
Those were the two extremes. Most paths meander somewhere between. It's probably best to be in the middle because the ends are indeed extreme.
The other extreme is a matter of aesthetics. There is a sliding scale between technicians and artists. All photojournalists must be a little of both, but each shooter is comfortable at a different place on the scale. Everyone is an artist capable of learning the technicals. It is like learning a musical instrument - but more expensive.
The industry is currently going through a major identity crisis (paper or silicon? would you like fries with that?). So, flexibility is a critical starting personal quality. Being part computer geek is also very useful.
To keep the size of this blog reasonable, I'll simply suggest some steps to consider at an early stage in this career.
Get the best camera system possible. Read the instruction manual at least three times to understand all the finer functions of the machine. Remember the quality of the glass (lenses) directly equates to the quality of your final images. Don't buy cheap glass and end up with cheap images, which nobody buys.
Get accustomed to charging for time, images and rights to use those images. Learn the business and learn how to conduct business (customer service, taxes, marketing, etc.). This is actually more important than your technical ability. I've seen some truly miserable PJs get rich in this industry while great PJs went hungry or worked at a 1-hour processing lab.
Study everything visual. Great photographs are the best starting point. However, music videos often use cutting-edge lighting and camera techniques.
Compete often, but never expect to win. Photography contests (and the judges) are subjective. Therefore, each image can win some contest. A community art society photography award is a great starting place.
If you win, great. If not, don't sweat it. Once you have a win or two, compete in harder competitions against better photographers. If someone wants to be a pro, then they must compete against and beat the pros.
A word of caution. Never release "all rights" for the sake of competition. There are a great number of rights-stealing contests in the world. They often offer an attractive cash prize for the best image. However, they're simply collecting many thousands of images from around the world to sell to their clients with no royalties for the photographers. In other words, your hard work becomes their property, and you have no recourse. The winner of the photography contest was: the contest owner (what a surprise).
Do as many quality internships as possible (daily, high circulation). There are high school, college and post graduate internships and sabbaticals. The internship has become the key to staff jobs lately.
Each internship should improve the student PJ's portfolio and skill set. It should also produce some competitive images. With a strong portfolio and some competition wins, the student is able to get better and better internships until s/he gets an unrefusable offer.
The best part of internships is the free film (or CDs), access and meaningful assignments.
A trick I've seen working for some PJs lately is to start interning in high school and keep it rolling through college. Internships are typically for Fall, Spring and Summer (Summer 1 and 2 combined). Logically, one could stretch college out an extra two years by doing multiple internships. This sounds like a waste of time, but it actually saves several years and some humility at smaller newspapers. This plan is semi-cheating the system, but it seems to work for those who can do it.
A word of caution though, doing too many internships can also limit a PJ's potential. Metro editors know when a PJ student is milking the system. Consequently, they won't touch someone who's done nothing but internships for the last two years.
This means, take high school internships. In college, only take major daily internships and limit it to one per year. Once graduated, only take two internships at the most. By then, the PJ should know if they want a staff job or grad school.
If a PJ student didn't get internships in college, it's probably wise to continue into grad school to get the internships. Otherwise, it's going to be a hard road.
I could write more, but this should get most students thinking.
Enough for now,
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