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FinishersPix, and full release of rights
David Stembridge, Photographer
Waynesboro | Ga | USA | Posted: 7:34 PM on 07.28.13
->> I looked through and found a few threads, and would like a little more feedback on shooting the event in my area. I'm being offered 300; plus meals, they give me a card, after the event I turn it over. While I'm signing a pretty extensive and completely exclusive rights release contract, I have in writing that I may use a few shots for portfolio; but will have to request them, and they send to me, guessing branded. Got a little feed back from my friend Stanley Leary, curious if anyone else has some input?
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Andrew Nelles, Photographer
Chicago | IL | usa | Posted: 11:34 PM on 07.28.13
->> $300 to shoot an entire event and forfeit rights to all images doesn't sound like a fair deal to me. Using your work in your own portfolio shouldn't be something you need to request permission for.

Overlooking the low rate for this sort of work, I would negotiate that contract. Hold onto your copyright, if exclusivity is important to them, get a time limit on it being exclusive to them.
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Kevin Krows, Photographer
Forsyth | IL | USA | Posted: 6:38 AM on 07.29.13
->> I guess it all depends on the event, number of hours required, and other expenses (like travel). Images for your portfolio? I wouldn't be too concerned about this as you should have plenty of other images in your library for that.

As far as giving up your rights. I think you need to ask yourself. "What am I really giving up?" I shoot many events where the only real value of the images is to the organization I am shooting for. Making additional money beyond the agreement is $0 or I am prohibited from selling to third parties.

You're turning over cards which means no post production and no deadlines. Post production is a big cost for me. 1 hour shooting is another 1-1.5 hours in post. You don't have that cost or delivery expense.

David, there is no cookie cutter answer to your question. If $300 covers expenses and meets your needs in terms of income for your time, GO FOR IT.

I use the same arrangement when I need additional photographers to help me cover events. My cards and sometimes, my equipment. Works well for both sides.
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Clark Brooks, Photo Editor, Photographer
Urbana | IL | USA | Posted: 8:39 AM on 07.29.13
->> David,
Like Mr. Krows basically said, the answer depends. First, you are not clear about who you are shooting for. Are shooting for an event photo company or directly to end client, like a corporation or organization?
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Wesley R. Bush, Photographer
Murfreesboro | TN | U.S. | Posted: 8:56 AM on 07.29.13
->> Sounds like a common work for hire. Just be sure to figure in your total time working in determining whether it is worth it. Driving to the event, attending pre-event informational meetings, waiting for the event to start, driving home, can easily add several hours onto your schedule. Before you know it, shooting for 6 hours @ $50/hour turns into 10 hours @ $30/hour.
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David Stembridge, Photographer
Waynesboro | Ga | USA | Posted: 12:49 PM on 07.29.13
->> Ok people I appreciate the input! It looks like a pretty cut and dry event, as you mentioned with absolutely no post production or dealing with clients. Yeah.... work for hire! Thanks again!
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Martin McNeil, Photographer
London | London | United Kingdom | Posted: 6:01 AM on 07.31.13
->> When Federal minimum wage is $7.25/hr, and the US average hourly pay is about $24/hr - then I'd say as long as David hits above that mark for the $300 fee he's been offered, he's on to a good thing... especially in this economy.

One more thing: my personal take on travel to and from an event is that, as long as it's local, Joe Average has to suck this up as a 'Cost of Being Employed'

Whilst travel expenses absolutely have to be factored in your CoDB, I'd also say that if you're hitting well above average earnings for the assignment AND the job is a local one, then it might be a good idea to absorb the travel time and expense.

FYI my definition of local - given that I live in London, England - would be anywhere that takes me an hour or less to get to by car or public transport. On an average day that would mean up to twenty five miles in one direction.
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Wesley R. Bush, Photographer
Murfreesboro | TN | U.S. | Posted: 8:51 AM on 07.31.13
->> Martin, I'll just say that I respectfully disagree with several of your comments above if they are geared toward someone attempting to earn a living solely from photography. A hobbyist, sure, absorb time and travel, shoot for average wage, and call it the cost of doing business. But anyone wanting a long-term career in photography will want to avoid considering the average wage when determining the value of their work in any economy.
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Sean Burges, Photographer, Photo Editor
Canberra | ACT | Australia | Posted: 8:17 PM on 07.31.13
->> I used to do some of this stuff for Brightroom five years ago when I lived in Canada. I'd agree with all that Mr Krows says, but throw in the proviso that possibly the real cost is the hammering of your gear. If you are shooting a road race or tri with 1,000 athletes you're likely looking at putting 5,000 or so frames through your camera, which has a real 'wear and tear' effect. My answer was to keep an older generation 1D body around to shoot these things. In current terms, it is probably cheaper to buy a used 1D mark 2 and ditch it when you kill it with these events then go through the repair costs and inconvenience and hammering a 1Div or Dx.
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Thread Title: FinishersPix, and full release of rights
Thread Started By: David Stembridge
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