Whose Picture is That?

If I took the picture, does it belong to me? If you’re in the picture, does it belong to you? It’s a common question, but the answer may vary depending on the circumstances. I’m certainly not a lawyer, but as a photographer, it’s important for me to have a basic understanding of how to answer that question. If you’re a bride-to-be, it’s also important for you to understand the issue as well, since photographers vary in how they handle the issue.

Models and shadows

First, a little background, then we’ll look at what it means to me, as a photographer, and to you, as a client.

In very simple terms, when I take a picture, the copyright belongs to me. In other words, I “own” the right to make copies of that photograph or digital image. But, that doesn’t mean I can do anything I want with it. As individuals, we all own the rights to our own name and likeness, and have some say as to how, and by whom, they can be used. So, if I take a picture of you, we both have some rights, and some say, as to what happens to the image.

Starting with a very simple example, suppose I take a picture of a cloud. Since nobody owns the cloud, it can be considered to be in the public domain. And, since I took the photo, I own the copyright to the image. I can publish the photo, or I can choose to let someone else use the photo for their own purposes. Maybe a company wants to use that picture of a cloud in an advertisement, so they will pay me a fee to use that photo. The usage agreement could be exclusive, meaning I won’t let anyone else use that same photo, or it could be non-exclusive, meaning I’m free to license others to use the same photo. Since I own the copyright, I get to decide who can make copies of the image.

Now, suppose I make a poster of that photo of a cloud, and you buy a copy to hang in your office. You didn’t buy the rights to the photo, you only bought an instance of the photo. It’s your poster, so you can hang it up, you can give it away, you can throw it away. You can even sell your poster to someone else. But, you can’t make copies of it, since you don’t own the rights to the image.

But, what happens if I take a picture of you? As the photographer, my rights are the same as above, but with one big exception. You have rights as to how your likeness is used. So, I own the copyright to the image, but I’m limited in what I can do with it without your permission. If that same company as above wants to use the picture of you in their ad, they still need to license the photo from me, but now I need explicit permission from you, the model, to use that photo for commercial purposes. In this example, I would need a signed model release that clearly states how I can use that photo. As the model, you may or may not be paid. You might grant unlimited usage, or you might only allow for one particular use. The terms of the model release can be whatever we agree.

By the way, editorial usage (think photos in a newspaper) has different rules. If I take a picture of you winning a 10K race, I can sell that photo to the local newspaper, and they can use the photo as news coverage of the race. That’s editorial usage, and they would not need a model release. However, they could not use that same photo in an ad for running shoes unless they had a model release from you, and every other person in the photo who could recognize themselves.

So, what does that mean to us as photographers and clients? If you pose for a portrait session, we expect that you’ll want to buy copies of the image, but you probably wouldn’t expect me to sell copies to anyone else. Weddings are more public, so you might expect others to be able to buy copies of photos from your wedding. In either case, you certainly wouldn’t expect for me to license the photos to someone else for an ad campaign. You have rights to determine how your likeness is used.

As the photographer, I own the copyright to the images. In the “old days” it was quite simple, Photographers always retained the copyright, and clients were not allowed to make copies. Today, photographers take a variety of approaches. Some photographers will retain all rights, others will give the client unlimited usage rights to the photos. There isn’t a right or wrong way to do it, just different ways.

As a bride-to-be, it becomes especially important for you to understand how your photographer views these issues. You’ll especially want to discuss DVD’s and online web galleries. If you have an online gallery, do you want other people to be able to buy prints? Do you want a the web gallery to be accessible only through a password? If you receive a DVD of images, will they have the photographer’s logo on them? Are you allowed to make your own prints and distribute copies?

I would also urge you to be realistic about your intentions. Since some photographers will allow unrestricted usage of the images on the DVD, many couples decide that they’ll just make their own prints and album. There’s nothing wrong with that, but do you really have the time and tools to follow through? Remember too, most photo lab and consumer ink jets prints and DVD’s all fade over time, sometimes in just a year or two. In a few years, you may not have any photos from your wedding. It’s not uncommon to spend thousands of dollars on a wedding dress that’s worn one time, but then skimp on the photos that should last a lifetime.

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The 2010 Morton Pumpkin Festival Photo Contest

The 2010 Morton Pumpkin Festival Photo Contest in Morton, Illinois appeared to be another great success. There were over 160 photos entered in three categories, Junior, Amateur and Professional. The quality of the photos was outstanding. I was especially impressed with what I saw in the Junior category, which is 12 to 18 year olds. I’m sure the judge had a difficult time picking the winners. A different judge might have chosen a completely different set of winners, and they’d still be photos to be proud of.

After some debate, I decided to enter my photo of the surprise lily rather than the beach sunset. I was pleased that it was awarded 2nd place in the Professional Division.

Surprise Lily

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The Evolution of a Photo

I’ve posted this photo before, but I thought it would be interesting to go through the photo’s evolution. It’s sometimes the little things that can make a big difference in the finished image.

The first photo below is the starting point. The composition places the couple near the back of the sanctuary so that a wide angle lens takes in the entire setting. That also creates a number of leading lines that all converge to the center, so the bride and groom are easily the center of attention.

The main light on the bride and groom is coming from camera left where my assistant is holding a strobe shooting through an umbrella. That creates the direction of light on the couple so that they have depth and dimension. It also causes the colors of the dress and the flowers to be rendered naturally. Again, the colors lead your eyes right to the couple. The gold colors of the background are from the tungsten lights in the church. Since I was using a relatively high ISO and slow shutter speed (ISO 800, 1/20th of a second at f/5.6) the background is under exposed a little bit, again so that the couple stand out.

Bride and Groom - Basic Exposure

It’s a good starting point, but the next step was to add a second strobe behind the couple (see the photo below). It’s the same basic picture, but the addition of the backlight creates a glow around the couple, and especially, it adds reflections to the ends of the pews. Now, the two lines of pews create another strong graphical element that helps lead your eyes right to the bride and groom.

Bride and Groom with Backlight

But, there are a few distractions in the photo, and I feel like the background is too gold, so it’s Photoshop’s turn. No real dramatic changes. I adjusted the color of the background separately from the foreground. I didn’t completely neutralize the warm tones, but it’s about half way to being neutral. I also removed the two light fixtures at the top of the frame, and the two exit signs on either side. That last big change in Photoshop was to brighten the two hanging tapestries on either side of the cross.

Bride and Groom finished image

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Contests and Decisions

I don’t normally enter photography contests, but the annual Morton Pumpkin Festival Photography Show is an exception. I started entering through a rather round-about process. A few years ago, my mother took a couple of my photos off her wall and entered them in my name while I was away on a business trip. I didn’t know about it until she called to tell me I’d won second place.

I don’t know how many years it takes for something to become a tradition, but I entered the contest each of the next three years. I guess I’ve done pretty well since I’ve earned four more ribbons, including a Best of Show and a Professional Division 1st Place. Since this will be my fifth year, I think my mother would say it’s become a tradition.

So, now I’m preparing for this year’s contest on September 11, and I have to decide which photos to enter. I’m on the fence about the image below. I really like the image’s story, and its unanswered questions. There’s obviously a woman taking in the sun on the horizon, but the body language and the solitary set of tracks on the beach leave you to wonder what she’s thinking. Is she pondering some of life’s biggest questions? Is she sad? Or lonely? You can’t see her face, so you have to look for other clues. Since the photo doesn’t answer the questions, you are allowed to make up your own story.

San Simeon Sunset

The actual story is somewhat un-dramatic. The woman is my wife, and we were enjoying a quick trip to the San Simeon area, which is along the Big Sur coastline in central California. I was busy with the camera, and she had walked ahead to enjoy the sunset. When I saw the composition of the large rock, sunset and her, I quickly set up the tripod and started taking pictures. She started to move out of the frame, but I asked her to stay there. The body language is a reaction to the cold January weather.

OK, the story isn’t dramatic, but I still like the photo.

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The Changing Face of Wedding Photography

I’ve started advertising my wedding photography on Facebook. You may never see the add on your Facebook page, but you can see the linked page right here.

Digital processes have been something of a two-edged sword for both photographers and brides. For photographers, it has lowered the cost of getting into the business, but it’s still pretty expensive if you want equipment that will produce professional results. The bigger change is post processing. Instead of simply sending rolls of film off to a lab, most photographers spend hours in front of the computer. I typically spend as more time processing images than I spent photographing the wedding.

There are big changes for brides as well. Proofs can be viewed online, and they’re normally available in just a few days. That makes it really easy for out of town guests and relatives to see the images. But even with online proofs, most of my brides still request a set of printed proofs, which I provide in a convenient proof book. That gives her something to take to work, or to dinner with friends. It can be passed around, and she doesn’t need a computer to show them off.

Albums are another huge change. Today’s albums are a far cry from the one from my wedding in the 1970’s. Modern albums look more like high-end photo books or magazines, with full-page and double-page layouts, text and graphics. They’re truly a keepsake that will last for years.

I do worry about brides who opt to not get an album. I think many couples simply settle for a DVD of images, and they probably have good intentions of putting together some sort of album. But, I’ll bet most never get around to doing it. And, most DVD’s will fade over time. In as little as a couple of years, the images may be gone, and then it’s too late. That’s why I also offer album design as service, using either my photography or your own images.

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