©Natalie Fobes 2009
Copyright

Registering your copyright on your photographs is the big hammer of your business tool belt. While it doesn’t protect you against unauthorized use of your images, it does give you more benefits if you ever have to go to court to collect compensation.

The moment your shutter opens your image is copyrighted. The only exception to this is if you have signed a contract giving your copyright away to the entity that has hired you.

So why should you register your images? Because if an infringement occurs and the photographer takes the case to court you can seek two remedies: statutory damages and reimbursement of attorneys’ fees. Otherwise you are stuck trying to prove actual damages that may be determined to be only the sum the defendant should have paid as a licensing fee in the first place. This is hardly enough to cover one hour of a hot shot lawyer’s fee.

The myths of copyright:

Myth 1: Displaying the copyright symbol is all the protection you need. False. The symbol does alert the viewer that the image is copyrighted. In this day of digital manipulation that symbol can easily be removed. If you do find an infraction you will not be able to seek damages and reimbursement of attorneys’ fees.

Myth 2: Registering copyright is time consuming. False. if you build it into your workflow and register it before publication or within three months of publication of any of the photographs. You can fill out the forms online if you have the full version of Adobe PDF and save a version. Or make one copy with all the basic information and then copy that whenever you are registering new images.

Myth 3: Registering copyright is expensive. False. I have registered literally thousands of images at one time for one fee. A dvd holds a lot of thumbnail jpgs.

Myth 4: If you find an infringement you should take them to court immediately. False. Suing for copyright violation is the last resort. If your paperwork is in order, if your image is registered, if the circumstances don’t constitute fair use, if the circumstances don’t constitute innocent use, then the first phone call should be to the infringing party to negotiate a fee for the usage. Copyright infringement is not the ticket to the waterfront condo in Maui. It is a tough battle that can stretch for years.

Bellevue attorney Bruce Gardiner suggests that the best way to prevent copyright infringement with clients that have licensed your work is to clearly state the license on the paperwork, include a clause stating that if the image is used outside of the license then the fees will be triple and then have the client sign it. He says unauthorized use then becomes a contract dispute and not a copyright issue. Contract disputes are easier to litigate.

Every one of you will experience unauthorized use of your photographs during your career. You will give yourself a lot better chance of recovering some compensation for the use if your images are registered. Even then you will have to decide if it is worth the time, energy and money pursuing compensation.

The process of registering your copyright
It is simple if you are registering unpublished works.

You can do it the old-fashioned way by downloading the form, burning a disk with your images, writing a check and fed-exing to the Copyright Registrar. Or take advantage of online registration.

Go to http://www.copyright.gov , click on the eco icon for information. Once you are signed up you will receive a login. To begin the registration process click on “register a new claim.” The first time you register you will have to fill out a number of pages. Remember to save the template by checking the appropriate box under copyright services located on the right. Follow the instructions. Pay with a credit card.

Your files should have already been prepped as small jpgs. Title the folder with your name and information that will help you remember what it is. For example: I title the folder based on when I’m registering. 2009_1_Fobes. Then create a zipped file by selecting the folder go to File>compress folder name. DO NOT add .zip to the end of the title. You must keep the upload less than 30 minutes or it won’t upload. My connection requires that I keep the folders less than 150 MB. Yours may be different. Watch the progress bar when you first start uploading. If it says it is under 30 minutes continue with the upload. If it is more, adjust the size of the folder.

The challenges are to make registering your copyright a part of your workflow, to keep track of when you registered a collection and to know what is in the collection. When I register I make a cd or dvd of the images and staple that sleeve to a copy of the form.

Some photographers register every week. I register images every quarter. My collection title is then 2009_1_ Fobes. One exception to this is that if I’m shooting an assignment I make sure the photos are registered before the publication.

Regardless of how you choose to register your images, just do it.

For more information: ASMP, PDN, Copyright office, Editorial Photographers, Seth Resnick

Two small changes for the portrait assignment.
The first is that the web gallery will be exported from LR into a folder with your name on it and dropped into my drop box.
The second is that you will not have to print a label for your cd. It should be neatly handwritten with your name, copyright notice, telephone number and the client’s name on it.

You can license the same image over and over again. My salmon photographs are a major part of my stock library. The bulk of the work was done between 1986 and 1996. The licensing fees from those photographs are probably 10 percent of my annual income. Some of my wedding photographs are in my stock agencies. With the Mariners Book contract I reserved the right to license the photographs to third parties. I gave them the right to use the photographs for anything they wanted, except magazine stories. Photographs from the Mariners book continue to sell through Corbis. One of a guy mowing the outfield is the most licensed image I have at Corbis.
When in doubt, try to keep your right to use and license the images.
You never know when your image might be valuable. I shot an environmental portrait of a guy in 1986. In 2008 that portrait was licensed to a client by one of my agencies for an amazing amount of money. It had never been published before. Anywhere.
On the other hand there are times you choose to shoot in a “work for hire” contract.
I did the Microsoft book under one. I charged more than normal and knew that the job would be a long one. So basically all I can use the photographs for is promotion.
When granting licenses for your work make sure you know the true value of the images you are licensing.

www.corbis.com
www.sethresnick.com
asmp.org

What is the difference between stock and assignment licensing: Stock you are only selling usage. Assignment you are selling custom photography done to your client’s specs. You license creation and usage by either including the usage in the creative fee or by having it listed as a line item on top of the creative fee.
What are some of the benefits of listing it separately? If your client doesn’t like the quote you can negotiate out some of the usages (not the usage fee however)
What are some of the benefits of including it in the creative fee? (simplifies it for the client)
Either way you always have a very specific license for the usage in your terms and on your invoice.

What are some of the things you need to know to come up with a usage agreement?

Territory
Language
Term of usage
Media in which it will be used
How big or important is it going to be played
How many times
Exclusive or non-exclusive
Credit
In case of an ad, how much does the ad space cost in the media

1. Initial contact with potential client should be pleasant and professional. The first impression you make will last.

2. Gather information. Find out what the assignment is. What is the concept.

Where and when is it. Who is in the photographs. What is the usage needed. Ask who will approve the estimate. Who will approve the photos. Is there an art director. Ask who you will be billing. Ask if there are other photographers in line for the job. What is their overall budget? You can ask and they may not tell but when they do you have great information.

Keep asking questions until you are sure you get it. You must really understand what they are looking for to adequately estimate the time and expenses that it will take.

Take notes on the conversation.

3. Research. Spend some time researching the company and your contact on the internet.

4. Research what a similar usage would be if they used stock photography. Sign up for an account at Corbis, it is free, and price the usages of a photo. Purchase FotoQuote and price the usages. Students get a discount.

5. Crunch the numbers and create an estimate including scope of work, usage, (description may be included in scope of work) your creative fee including usage or a creative fee and a separate line item for usage, your expenses, and the terms and conditions. Software like FotoBiz and Blinkbid can help you do this.

6. Get a signed estimate or confirmation.

7. Shoot the assignment

8. Deliver the images with a delivery memo

Archiving the information

For all clients, whether they are stock or assignment, I keep all notes, delivery memos, estimates, shipping bills, receipts together. When a job is current it goes into an active file that is in a fireproof safe. The first page of that active folder is a simple accounting sheet telling me what was sent, when, how much is owed. I also have this on my business software, Inview and Stockview.

Once I am paid the stack goes into a file with the client’s name on it. That way I can refer back to the job when I work for them again.

Get it in writing should be the mantra of every photographer. Every time you license an image or shoot an assignment you must have that contract in writing. Do not depend on the good intentions of a client. The client is not going to look out for you. Their job is to look out for their best interest. They want as much in usage and as little in fee as possible. You must look out for your own best interests.

If you are emailing your estimate let the client know they have to print it out, sign it or digitally sign the document and return it to you. You should ask for a percentage of the total invoice up front. That percentage varies but usually is 25-50%.

Your forms should be considered contracts. When writing them pretend that you are testifying in court. Use specific language with correct grammar and spelling. Pay attention to details. Have your clients sign an estimate or confirmation letter, any change orders and delivery memos. 

Your forms will vary depending on the area in which you work. Refer to section 5 of the book to see examples. Or, go to the ASMP website for more information and tutorials. If you are ASMP members, you can go to the website to see the paperwork share examples of real estimates and invoices for jobs shot by ASMP members. 

Two examples: www.fobesphoto.com/MC-estimate.pdf   and www.fobesphoto.com/Kauggman-estimate.pdf

Please note that I have not included the last page terms with these examples. Both had the full terms and conditions with them when they were sent to the client. 

All of your paperwork should clearly state the scope of work, license, fees and your terms. (see terms and conditions worksheet)

Forms you will use include:
Estimate, quote or bid. An estimate is a calculated estimate but the invoice will reflect the actual price. A quote is a firm price. A bid is a firm price that is competing with other photographer’s bids. I usually do Estimates.

Confirmation of estimate, bid or assignment. This can be a separate letter or a signed estimate.
Contracts. If the assignment is complicated and extensive, like a book project, you may have a full blown contract. Until you know how to read contracts have your attorney look at it.
Change order. This is used when the scope of work has changed after the estimate was accepted. It describes the change and the fees and expenses the change incurs. It should be signed by the client.
Delivery memo sent with the deliverables. Your client should sign this to acknowledge receipt. This also has the terms and conditions and usage granted. 
Invoice. The final fees and expenses are reflected on the invoice. Deduct the advance that you received before you shot the assignment. Usage and t&c are on this form.
Model, property releases as needed
Follow-up, thank you note (aka: request for more work)

You don’t have to reinvent the wheel. Search online to download specialty-specific forms and terms. ASMP, PPA, APA and others all offer boilerplate terms that can be used by their members. Use photography business software like Blinkbid or Stockview or fotoQuote that includes ready to print forms with terms. Take time to adapt them to your business.

In general the document is divided into five sections: Your client and your contact information, your creative fees, the license for usage agreement, the production expenses and the terms.

The front of a document is where you list the most important elements and those you want to give weight to. The back is for the small print, ie, terms relating to weather delays or cancellation, etc.

On the front:
The client’s contact information, your contact information,
The scope of work or assignment information
The license detailing the usage including number of images, where the photos are going to be used, the sizes, credit line requirements, placement in the media described above and duration of use
The creative fee consists of the fee you negotiated for shooting the assignment*
As I mentioned last week some photographers break their fee into two parts: their creative fee and the usage fee. I look at it this way: they are paying the same for the photographs whether the $2000 is classified as all creative fee or broken into $1500 for the creative fee and $500 for the usage. 
The production expenses you will incur including assistants, pre-and post-production costs, processing, meals, travel, props, anything you buy for the shoot. And remember to mark up your expenses 20-100 percent.

It is important to get the scope of work and usage correct. You’ve got to ask them questions.

Assignment Description or scope of work questions
1. What is the overall description of the project,
2. How many views or individual shots will you be taking.
3. Film and/or Digital File Format,
4. Description of deliverables
5. Time frame for the assignment.
6. Digital concerns. Not all of these would apply to your project.
• How will the images appear? (Offset press, web site, digital prints, etc.)
• Will the files need to be re-purposed for additional media in the future?
• What is the largest anticipated reproduction size, and what resolution is required?
• How, when and where will the captures be edited?
• How critical is color matching? 
• Who will be providing proofs, and what type of proofs are required?
• Will the files be distributed to unknown printers (e.g., magazines)?

Licensing & Usage Rights Granted
• Who will use the images?
• Where will the images appear?
• How will the images appear?
• What language?
• How long will the images be used?

Check out the ASMP job share documents at www.asmp.org  They have three that are viewable even if you don’t belong. 

Terms that should be on the front of the estimate.

1. Possible variance of quote usually 10%
2. That transfer of usage rights is dependent on payment in full
3. Notice that additional usages require an additional written agreement by photographer
I include the following language: no other usages allowed without permission of the photographer. All usages not specifically listed remain with the photographer.
4. Payment terms and rebilling fees or interest charged for unpaid invoices
5. Notice that advance payments are due before you begin the assignment
6. Refers the client to terms and conditions on the reverse side

The back of document is for the nitty gritty details: reshoot or weather delay charges, overtime charges if applicable, where disputes will be litigated if needed, model release indemnification, etc.

Here is a very basic example of when to use what form.
•Estimate request and research: A client asks you to submit a estimate, quote or bid for a job and gives you a scope of work. Ask as many questions as you need to find out what he/she really wants.
•Estimate is sent to client for approval and signature: You create an estimate quote or bid and deliver it to your client. Unless your client changes the scope of work, or unforeseen events affect the shoot, this is what the final invoice will be. Your creative fee and/or usage fee are separated out from your production costs. All are itemized. Your terms and conditions should be included in this document. These must be clearly stated.
•The client often will try to negotiate a smaller bid. Often they will change the scope of work. Rework the numbers as needed and resubmit the document.
•Once your figures are accepted have them sign the quote and return it or send them a confirmation of your quote and have them sign it. It is imperative that you have their signature on the document. That is your proof they have agreed to pay you. It is your signed contract.
•Shoot
•Change Order: If client wants something added to the scope of work then write it up with your additional costs and have them sign it.
•Delivery of receivables: After the shoot you deliver the images to the client. No matter if you deliver them via ftp, dvd or as prints you must have a Delivery Memo included that states the usage and applicable terms and conditions. I also include a cover letter. If transmitting digitally then have the delivery memo and letter in the photo folder. The photo folder should be zipped or stuffed. The client should acknowledge receipt of the images either by signing it and mailing it to you (best) or acknowledging it in an email.
•Invoice: Your creative fee, production costs, usage and terms and conditions are on the invoice.
•After the job has been accepted send your client a thank you note telling them how much you enjoyed working with them, how successful the assignment was and how you look forward to working with them in the future.

Websites to look at:
www.asmp.org

www.stankaady.com
www.markbolster.com

The goal of the assignment is to help you come up with a fee for your photography services.

Download the CODB calculator from my website. A sample can be found here.

Use the calculator to come up with your CODB. Add an amount for profit to the CODB to come up with a fee you would charge clients for your day rate.

Bring a hard copy to class and drop a digital copy into my drop box on the school’s computer.
Your name should be printed clearly at the top. Your file should be named your last name-codb.

How many of you know your cost of doing business? How about how much you need for your personal expenses? If you are a retail photographer, do you know your cost of goods sold?

The answers to all these questions help you establish your fees.

What are some of the other considerations? Other photographers’ rates. Client’s budget. Usage. Where you are in your career. You are going to charge less than an established photographer so you can build your portfolio.

But don’t ever give it away. Always get something for your skill. And don’t underestimate your ability.

I’ve created a calculator that you can download from my site. www.fobesphoto.com/codb.xls This is a sample that I’ve put together at www.fobesphoto.com/codb-sample.xls

How many of you are passionate about the business of photography?

I learned the hard way the importance of being a business person first and a photographer second. For the first five years of my freelance career avoiding the business end of photography. I was shooting stories for National Geographic almost full time. I never read the contracts thinking that the great people at the magazine had only my best interest at heart. I didn’t have time, or an inclination, to market myself. I was shy and from a culture that said it was wrong to promote.

And I naively thought that if you were a good photographer the clients would come knocking at your door.

Guess what. I was wrong. You can be a good photographer. You can be a great photographer. Anyone ever heard of Flint Born? But if you don’t have your business act together you will not be able to make a living doing what you love to do. You will be a damn good hobbyist who does photography on the weekends.

I learned the importance of business the year that Geographic turned down all my story ideas. I didn’t have any other clients. I didn’t have any other income from stock or exhibits or royalties. Or a job. Fortunately I had savings that I went through pretty quickly.

That was the year I realized that if I was going to survive as a photographer then I had to get good at the business of photography.

I joined ASMP. I volunteered to be the Events coordinator so I could learn the names of the other members and introduce myself to them. I networked with those other members by inviting them to lunch. I took workshops not on photography but rather on the business side of photography. I put together a portfolio. I set up interviews in New York at stock agencies and magazines. I started a marketing and promotion campaign to remind those editors that I existed. I started getting assignments. I started licensing stock through my office and through the stock agencies I had signed with.

I diversified my income sources. I had gallery exhibits. I applied for grants and received grants for my fine art work and my documentary stories. I continued shooting assignments for the magazines and some corporations but also started shooting targeted stock photography to submit to my agencies.

Seven years ago when my husband and I adopted our daughters I stopped traveling for the magazines. To replace that assignment income I started shooting weddings. Three years ago I was concerned that there were too many photographers getting into the wedding business, many of them newspaper, magazine and corporate photographers, so I started shooting fine art portraits. And I started teaching here.

My philosophy is that if you are diverse, when one sector of your business is down, another might be up.

Things are tough right now. You know they are.

The recession has hit our profession hard at a particularly bad time. We were still in transition from analog to digital and hadn’t perfected the new business models that would work in the digital age.

Every photographer I know is down. Two weeks ago a stock photographer told me his income is down 75%. He was selling his Seattle home and moving to a rural area to reduce his overhead. Another photographer told me just this week that she was barely putting food on the table so she was slashing her fees.

2008 was my best year ever. This year I am down about 25% from that high. I feel fortunate. It is a challenging time to be a photographer.

The photographers and studios that survive will have one thing in common, no matter if they are corporate or wedding, portrait, stock, advertising or editorial. They will have their business act together.

My goal is to give you the basic tools you will need when you graduate on June 19th. I’ve got to warn you though. I will not be able to teach you everything you need to know about business in only two quarters. No one could.

You will have to take what you have learned here and expand on it. You will need to research on your own, join a professional organization to network with other photographers, take additional workshops and classes and most of all, learn from your experiences. Learn from your mistakes and learn from your successes. Learning on the street I like to call it.

This quarter we are going to cover a lot quickly. If at any time you get lost or confused, make an appointment to see me. Or call me. Or email me.

The challenges we are facing in our profession are not going to disappear in the next one or two years. The gravy days are over in my opinion.

A few points I would like you to remember.

1. There is always a need for innovative, creative photographers who are not afraid to think outside the box when it comes to ways to make money. Anyone read about Chase Jarvis new book “The best camera is the one that’s with you” website and iPhone app to edit photos and interactive site. It launched last week and the book immediately went to 333 in Amazon’s bestseller list. The App costs $2.99 and some are calling it the ultimate photo app for the iPhone. 200,000 were reportedly downloaded in the first few days. The web site www.thebestcamera.com attracted more than 200K views in the first 24 hours.

2. There are no bad ways to make a buck in photography right now. If you are one who turns your nose up about wedding, portrait or pet photography, get over it. One week last year I shot preschool portraits for my daughter’s preschool on Monday, Tuesday and Wednesday. I shot a Smithsonian Magazine assignment on Thursday, Friday and Saturday. I made as much money on the preschool portraits as I did on the magazine assignment. And you never know where an assignment might lead. One of the wedding photographers in town was hired by Microsoft to photograph employee kids day a couple years ago. This year she is being hired by Microsoft to photograph upper management.

3. Diversification is the only way to go even if it is more difficult to market yourself. I shoot stock, magazine assignments, corporate assignments, corporate portraits, fine art, family portraits, preganancy shots, I have had three books published of my work, I give presentations at conventions like PhotoPlus in New York and WPPI in Las Vegas. The only thing I won’t attempt to do is table-top product photography.

The commercial photography program is designed to produce photographers. But, there are not that many jobs in photography right now. I know very few of you will graduate and open up your own studio in the first year after school.

But there are jobs in photography that aren’t as photographers. Assistants, producers, stylists, digital techs you all know. How about marketing and promotion people? One well-known photographer told me that he was desperate to find someone who could market effectively using the social networking sites.

Workflow consultant, bid consultants, negotiators, editors, exhibit designers, album designers are all needed right now.

How about learning what it takes to get a website at the top on a google search? People who know search engine optimization are invaluable right now.

Multimedia is exploding. Photographers need people who know how to do it. Directors, sound techs, editors will all be in demand in the next few years.

And how about selling? If you are a salesman you can write your own ticket. As you may know, portrait photographers make most of their money on the print sales. This week I was talking with one of Seattle’s best. Last year he grossed $250K. His average sale for prints is $1500. He wants to up it to $2000. He’s thinking about hiring a person and paying a commission of 20% on anything over $1500.

When you consider what kind of job you might want to pursue, consider your needs and skills. If you are good with people maybe you could be a great salesperson. If you are good with technology, maybe you should steer toward being an IT person. If you have a child at home and need flexible hours, maybe you should concentrate on portraits.

You may not use the business skills you are learning in the next quarter to start your own studio. But no matter what area of photography you go into, you will use negotiation, promotion, selling, and the knowledge of licensing and terms and conditions.

Don’t get discouraged and don’t get anxious. Learn everything you can this year. I guarantee it will pay off on June 19^th.

ASSIGNMENT INFORMATION AND PROJECT DEADLINES

PHOTOGRAPHER

CLIENT

ADDRESS

EMAIL AND PHONE

Assignment: Two corporate portraits for one client. The first is an environmental portrait telling us something about what they do. The retouched print will be delivered both as an 8×10 and as an 8×10 300 ppi digital file. The second is a vertical head and shoulders shot. The retouched shot will be delivered as a 1024×768 72 ppi digital file for powerpoint and keynote presentations.

Overview:

The client must be outside of the college community and can’t be a friend or family member.

Client will select the photographs from the webgallery with email confirmation.

The photographs will be taken on location.

You will be providing the client with an 8×10 print of his/her choice at the end of the assignment.

The deliverables (print and cd) must be presented in a box or container with a professional appearance.

All paperwork and cd’s must be labeled with your name, contact information and the job name

All paperwork must be typed

Production notebook must be a black , three ring binder with topic tabs and separation sheets.

Areas of Evaluation (5 Grades Total)

Part 1. Client Information and job analysis Due Oct. 16^th Grade __________

_____ Cover sheet with name, address, phone and email of your subject.

_____ Two paragraph description of him/her.

_____ One paragraph outlining client’s license needs for the photos.

_____ Analysis of the location. What are the strengths of the location? The weaknesses? The opportunities? The threats or what might get in the way, like no outlets near your location or a lot of foot traffic through the potential site. Lighting available or created?

_____ Permits or permissions needed to shoot at the location.

_____ Extra insurance needed?

_____ Analysis of the person. Does he/she have a prominent nose? Bags under their eyes? Do they have concerns about their features?

_____ Shot plan including location for environmental portrait and headshots, assistant duties

_____ Lighting plan

_____ Equipment list

Part 2. Estimate Due Oct. 23rd Grade __________

_____Estimate of shoot including creative fee, scope of work, license granted, expenses, terms and conditions

_____Estimate must be signed by your client or approval confirmation via email

Part 3. Shoot and Online Web Gallery Due Oct. 30^th Grade __________

_____30 photographs edited down from shoot

_____Quality of lighting for each shot

_____Compositional strength for each image

_____Posing strength for each image

_____Stylistic continuity of Images

_____Post gallery online

_____Gallery color palette compliments photos

_____Gallery title and text appropriate to photos

Part 4. Project Deliverables Due Nov. 6th Grades __________

_____1. 8×10 retouched print of environmental portrait selected by client

_____2. A CD with files selected by client retouched and color corrected

1. File of headshot portrait sized as 8×10 and 300 ppi

2. Powerpoint or web resolution digital file of headshot 1024×768 and 72 ppi

_____3. Signed delivery memo (signature aquired when complimentary print dropped off)

_____4. Invoice

_____5. Thank you card or note on your stationery. Should be handwritten.

Production Notebook

All materials produced for Parts 1 and 2

Support documentation

all emails related to shoot

phone call log of calls related to shoot with date and subject covered

permits, permission from building managers, etc.

shot plan

lighting plan

equipment list

anything related to the job

Part 5. Presentation on Nov. 6th Grade __________

_____Dressed Professionally

_____Introduced themselves to panelist with a handshake

_____Communicated clearly and professionally maintaining eye contact

Instructor: Natalie Fobes

Office Hours: By appointment before or after class on Fridays. Email me at Natalie@fobesphoto.com or nfobes@sccd.ctc.edu or call me at 206.937.9375.

Credits: Three (3)

Text/Supplies: ASMP Best Business Practices, 7th Edition. Assignments are to be turned in as both digital files and hard copies. BLOG: Assignments, lecture notes and other resource material will be posted at www.fobesphoto.com/blog

Time/Location: Thursdays at 10. Lab after lecture. 5158

Course Objective: To develop an understanding of real-life photography business practices. By the end of the quarter you will have learned what is considered when setting your fees, you will have shot a corporate assignment, created all paperwork associated with that assignment and written a business plan that you can use when you graduate.

Classroom standards
• My expectations will be based on real world business behavior, services and products
• Don’t schedule shoots or appointments until after class.
• As stated in the student contract, late assignments are not accepted and are graded as zero unless you have extreme circumstances.
• Absences not emailed or called in before class starts are unexcused
• Poor grammar and misspelling in assignments will be considered. Choose a partner to help you edit your assignments.
• I suggest you “Dress for Success” when guest speakers visit
• I suggest you take notes in class and don’t rely on handouts
• Check the blog regularly.
• No active cell phones except for designated security person
• I expect active involvement and participation and it will be part of your grade
• I expect respect for every person in class. Please pay attention to others who are talking.
• No side conversations please. If you have something to say please say it for all to hear
• Any questions or concerns please make an appointment to meet with me.
• Please review the Student Code of Conduct

To get the most out of this course you must be:
• willing to work hard with a professional attitude
• aware that each assignment is a potential portfolio piece
• motivated to learn more than required for class
• willing to take the responsibility to research on your own

ADA Accommodation: If you need course accommodations based on a documented disability, have any emergency medical information I should know about, or need special arrangements in case of building evacuation, please let me know at beginning of the quarter or as soon as possible.

Schedule: While this schedule reflects my plans for the quarter, I reserve the right to adapt the curriculum as needed. I will let you know if and when any changes occur.

Week 1: Oct. 2
Introduction of business practices
Review difference between commercial and retail photography
Discuss licensing for stock and assignment and work-for-hire contracts
Discuss jobs in photography but not as photographers
What it takes to be in business: licenses, insurance, online banking,
money accounting system like Quicken or Money
Establishing fees: using CODB, COGS and Personal needs
Discuss additional considerations: other photogs rates, stock prices for images

READ: Section 1: Chapters 1-4 Professional Business Practices
ASSIGNMENT: 1. Create CODB and target fee for assignments. Due Oct. 9
2. Corporate Portrait assignment part 1 due Oct. 16

Week 2: Oct. 9
CODB review
Resources for pricing information: Editorial Photographers, ASMP, sethresnick.com
Basic Business Forms: Estimate, change order, delivery memo, invoice, thank you
The importance of license (usage) agreements, scope of work and terms
Creating an estimate with scope of work, license (usage), creative fee, expenses and terms

READ: Chapter 5: Chapter 23-26
ASSIGNMENT: Estimate due Oct. 16. Will be reviewed in class.

Week 3: Oct. 16
Review of estimate
Sequence of a job and paperwork tracking
Licensing terms that apply to both stock and assignment

READ: Section 3: Chapters 12-13
ASSIGNMENT: Portrait Project Estimate with fee, usage, expenses (including markup) and terms due Oct. 23

Week 4: Oct. 23
Quiz on business forms
The importance of copyright and metadata
Online registration of copyright
Creating a web gallery: Lightroom makes it simple

READ: Section 2: Chapters 5-8, 11
ASSIGNMENT: Shoot corporate portrait and post online for client to select

Week 5: Oct. 30
Invoice and thank you note
Review web galleries in class
ASSIGNMENT: Final prints and web files due Nov. 6

Week 6: Nov. 6
Corporate Portrait Assignment due
Professional review 9:30-2:30 All students must be here the entire time

Week 7: Nov. 13
Business plan in depth
Handout business plan outline
ASSIGNMENT: Business Plan due Dec. 4

Week 8: Nov. 20
Business plan questions and further clarifications
Setting up your business accounts

Week 9: Dec. 4
Business plan presentations: Half in the morning, half in the afternoon. Presentation of 10 minutes each. Everyone must be here all day.
READ: Section 10: Chapters 50-52

Week 10: Dec. 11
Introduce the process of negotiation
Use Smithsonian as example of process
Use Nature Conservancy as example of waiting for them to quote first
Negotiation scenarios break into groups and practice
Quarter Review

Week 11: Goals review

Grading Standard:

The following grading standard is from Seattle Central. The final grade will be based on assignments (90%) and class participation (10%).

A 3.9 – 4.0 Excellent
A- 3.5 – 3.8
B+ 3.2 – 3.4
B 2.9 – 3.1 High
B- 2.5 – 2.8
C+ 2.2 – 2.4
C 1.9 – 2.2 Average
C- 1.5 – 1.8
D+ 1.2 – 1.4
D 0.9 – 1.1 Minimum
D- 0.7 – 0.8
E 0.0 – 0.6 No Pass

Grading criteria:

1.Each assignment will be graded on how well you follow the instructions and whether you complete the task.
2. Written assignments will be marked down for poor grammar and spelling errors.
3. The business plan and the presentation grades will be evaluated using real business considerations.
4. The more time and thought you put into your assignment will pay off.
5. The assignments are based on real business situations you will need to know in the future.
6. If you do not understand an assignment or need more help please schedule a meeting with me asap.
7. Assignments are to be turned in both digital and hard copy formats.

Assignments: Both digital and hard copies please!
Corporate Portrait Assignment due Nov. 6 40% of grade
Business Plan Assignment due Dec. 4
Written plan is 40% of grade
Presentation of plan is 10% of grade

Ten percent of the quarter’s grade will be based on class participation and quizzes.

Winter Quarter topics
Selling yourself and your photography
Marketing and promotion
Taxes
Insurance needs
Retirement planning

You will be required to have a state and city business license.
You will be required to join a professional organization like ASMP or PPA.
You will need the book “Selling 101” by Zig Ziglar