Best Business Practices for Photographers [35]
He then said, "We just have a fundamental difference about how to approach this." I said, "Well, mine is a perspective based upon copyright law and rights granted under the Constitution. Are you suggesting that if an artist produces a song and earns money off the CD that they then shouldn't be paid additionally when their music is used in a movie or a commercial?" And he said, "Well, that's different." I said, "No, actually, it's the same copyright principle."
We completed that assignment, not because the client was happy with the terms, but because they signed a contract with a standard rights package and then after the fact (just a few business hours before the event was to start) thought they would try to renegotiate the terms of the agreement—to terms we cannot convey and that we principally objected to. Thus, the power of the signed contract.
That day, Arlo didn't play "Alice's Restaurant," which was all right by me, since what he did play was amazing in its own right. At first I thought I'd be disappointed that he didn't, but afterwards, and upon reflection, I was exceedingly pleased with what he did play. So, too, was the client who wanted all rights pleased with the work we produced for them. Even if they didn't get every right under the sun, they got quality work from a professional photographer who was "doing something" profitable that day.
Doing It without Ruining It (for Others)
If you are in a position where you have a full-time job, and you want to go semi-pro, it is responsible to ask, "How do I work as a semi-professional photographer without ruining the livelihoods of those who do it full time?"
First, you must determine what your objective is. So, let's make a few assumptions.
You really enjoy photography.
You'd really enjoy seeing your work published.
You might consider trading in your cubicle job for a camera and satchel if you could afford it.
If you really enjoy photography, you'll first need to determine whether you just love seeing the photos you took of the local landscape or you feel that you want to try to change the world with your revealing images from [insert location here]. Perhaps you enjoy revealing people's outward appearances in a way they've not seen themselves before, or maybe it's the solitude of the studio and still life that gives you peace.
Then, realize that in order to be paid, you'll need to follow someone else's direction. This has the potential of diminishing your enjoyment just a little (but not always). You may find that you have to follow directions you don't like, because even the best of us are called upon to photograph things that are less than exciting. In the end, however, I would speculate that the person dabbling in photography would find that the worst day as a photographer is better than the best day riding the pine in a cube. (Don't get your hopes up, though—it may well not be!)
Okay, so here's where many folks run into trouble. They want to see their works published (hopefully with photo credit). This is really the impetus behind the problems with one-dollar stock photography—people whose enjoyment is derived from just seeing their work published. People with idle time and a digital camera are so eager for (supposed) bragging rights and a split second in any spotlight that they will sell their images for a true loss. They'd enjoy being able to walk into the shipping super's office while on break moving pallets in the warehouse to say to their