Last updated August 24, 2016

This blog was first published in 2009, but recently updated, it has just as much relevance today…

In our workshops, we always encourage talented people to insist on a fair price for “selling” their photos. Just because one is an “amateur” does not mean that a credit line is ample reward for a published photograph.

There are many amateurs we know whose work is better than that of some professional photographers. Everyone should know that the copyright to any of his/her photographs is established at the click of the shutter which includes, among other things, the right to negotiate decent pricing for usage.

We were reminded several years ago of the thrill of the prospect of seeing your first photograph in print, hopefully with your credit line alongside. A friend of ours, and one of our alumni, produced a striking photograph that a large university wanted to pick up for use in their next media guide, possibly on the cover, too. How exciting to have your work recognized in such a fashion!

Along with congratulations, I wrote back saying that any photograph worth publishing is worth commanding a fair price, whether produced by an amateur or a pro. An arresting photograph is an arresting photograph regardless of the source. Remember the expression, “A picture is worth a thousand words?”

Alas, Corporate America and publications are devaluing photography. They want to get more for less, yet I see no evidence of their lowering their advertising rates! They have one set of rules for themselves and another for the rest of us. It reminds me of little kids … “What’s mine’s mine, and what’s yours is mine, too!” And if you look at the quality of images in many journals, often, that has declined.

Getty Images set out many years ago to own the copyright to all their images, selling them for a pittance of what images used to earn. Many photographers predicted that eventually, Getty would underprice themselves out of business. In fact, a February 2015 Bloomberg Business article addresses Getty’s decline. I can’t speak for others, but when Getty gobbled up my former stock agencies, then came out with what I felt was an onerous contract, I bailed and sold stock on my own.

There is a glut of royalty-free images out there.

I don’t know about you, but “selling” our photographs for nothing does not pay for new equipment, nor does it put food on the table, cover health insurance, set aside money for the kids’ college education, repair Old Betsy so she can stay on the highways and byways another year or so, buy a couple of movie tickets, ensure that the rent or mortgage is paid, et cetera.

Now the interesting thing here is that amateurs whose work, as noted above, can be just as good or better than that of some pros, don’t see it that way. After all, they have a “real” job or are retired, and their photography is a serious hobby. They are covered for the health insurance, car, entertainment, housing, and their kids’ education.

What they don’t realize — and this is part of just about any seminar or lecture we have ever given — is that when they accept that great credit line for their photo in XYZ magazine, ad campaign, or college brochure, they are actually taking money away from pro photographers who have to make a living with their photography.

Every time a magazine or corporation gets to use a photograph for a mere credit line, they figure they can do it again. Hey, why should they pay for good photography when they can get it for free? Hmmm. So, what happens the next time a pro has a great image that would be perfect?

“That’s a beautiful photograph, and we’d love to use it. Of course, we’ll give you a credit line.”

“Excuse me? That credit line doesn’t pay the bills.”

Now in our book, this does not mean that amateurs should not have their work published. Any pro worth anything never objects to a terrific photo appearing in print … as long as that photograph earned a fair usage fee. Again, if a photograph is worth publishing, it is worth commanding a fair price.

So, what is a fair price? There are good programs and websites out there:

• ASMP, American Society of Media Photographers, of which we are Life members, also gives a really good overview as well as suggested links to pricing guides.
• A nifty program called fotoQuote that includes coaching tips every step of the way.
• NAPP, National Association of Press Photographers, has another good overview with links on the subject, including their Cost of Doing Business Calculator for letting you know the absolute minimum you need to charge to walk out the door with camera in hand.
• Seth Resnick has also been a long-time advocate of fair prices for photography and has a $50 service done through his Stock & Assignment Photography Pricing Form; take a look, as Seth knows the ins and outs of fair pricing.
• Jim Pickerell used to produced a book, Selling Stock Photography, that later went to an online web subscription, Selling Stock.
• And I must give credit to the late Rohn Engh who did a lot to help people with their stock photography.

There are, of course, many other resources, but these will get you started.

The photographs in this week’s blog, by the way, have been valuable photographs with multiple usage fees for Arnie and me over the years. Not once did either of us settle for a credit line alone! Note that I used the term “usage fees” and not “sales” that implies ownership after an exchange of money.

Next time: I’ll publish my rental-car analogy for the value and pricing of photography!

For more information on our workshops, go to Barefoot Contessa Photo Adventures.

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