Tag: Ruth Carter

  • Lawyer Responds to Photographers’ Problems

    “Photo Shoot” by Cliff from Flickr (Creative Commons License)

    Last week, I saw a thread in an online photography group that started with a simple question: “What problems do you face as a photographer?” After reading hundreds of the responses, I wanted to respond to some of their problems as both a lawyer and an entrepreneur:

    Competition – Other Photographers Offering Half the Price

    My first thought when I read this was, “There’s a good chance it’s also half the quality.” You never want to be in a race to the lowest price. Instead of worrying about price, focus on what makes you different from the competition.

    If someone wants a cheap photographer to document their once in a lifetime event, like their wedding, that’s their choice. If I were facing a client who said, “I can get someone to photograph my wedding at half this price,” I hope my response would be something like, “This is your special day. You have to choose who you trust to capture these moments for you.”

    Personally, I have no problem when a client self-selects out from working with me if they don’t want to pay my rate. It’s better that they decide that early and go with someone else.

    This problem reminds me of a sign I saw in a tattoo parlor: “Good tattoos aren’t cheap. Cheap tattoos aren’t good.” The same is likely true for photographers.

    Clients Don’t See What We’re Worth

    Part of being an entrepreneur is educating prospective client about the value we bring. It’s not that skilled photographers cost so much, but they’re worth so much. Some of the ways you can do this is by having a high-quality portfolio and a stellar reputation.

    Remember: You’re not just taking photos; you’re creating an experience – every interaction from the first “hello” to the final deliverable. Your ability to take and edit photos are important, but so are the way you carry yourself, how you communicate, and your creativity, work ethic, and confidence in your skills. All of those things add or detract from your value as an artist. You want to be in a position where people want to hire you, not just any photographer.

    I had a similar situation when I hired the designer who created the logos for Scarlet MavenTM and Lights Camera LawsuitTM. I could have used a discount service like 99 Designs or Fiverr, but I didn’t want to entrust a stranger with this task. I wanted to work with Square Peg Creative and Dina Miller. I’d seen and loved the way she created. I was willing to pay extra for that experience, and the resulting logos that I love.

    How to Tell People I’m a Proper Photographer

    The best way to tell people that you’re a professional photographer is to act like one. Create a business entity, a website with a portfolio, and contract templates for your services. If you want people to take your seriously, you have to act like a professional.

    Speaking of Contracts

    Contracts are relationship management documents. Once a client signs the contract, they are bound by its terms. Whenever there’s a problem, you can refer back to the contract and the terms they already agreed to. This is where you can put information like,

    • The deposit is non-refundable.
    • The photographer chooses the best images to show client. The client will not get raw images.
    • There’s no guarantee you’ll capture every image the client was hoping for.
    • The client is not allowed to edit the final images. This includes adding filters or stickers or cropping the images.

    There’s a video I recommend to almost every entrepreneur called F*ck You, Pay Me, that features a graphic designer and his lawyer talking about how they use contracts to make sure the client pays per the contract’s terms. The suggestions work for many types of professional creatives.

    Clients with High Expectations and Low Budgets

    While many people don’t like talking about money, it is a topic you want to discuss early in the vetting process by either giving the prospective client your price list or asking about their budget. Don’t be afraid to be frank with clients who have expectations that are way beyond what they can afford. Tell them what they can afford based on their budget, as well as what you could do if they are willing to pay more so they can make an educated decision about what they want.

    Clients Who Try to Negotiate on Price

    In the photographer-client relationship, they are hiring you. You get to decide what is and is not negotiable in your contract. If your rates are not negotiable, be clear about that the first time they ask.

    In my practice, I hand pick who are my pro bono clients and who gets a discount. That’s my call, not the other way around.

    Here’s a tip I saw from another photographer: Make your prices all-inclusive. Don’t list separate prices for shooting and editing, because it opens the door for clients to try to haggle on one or the other.

    Companies that Want You to Work for Free or Magazines that Want to Use Images for Free

    Oh, it’s so cute when people want you to work for “exposure.” You get to decide how you respond to those requests. Here are some of my favorites:

    • Exposure is not a currency that my landlord accepts.
    • I can’t pay my mortgage with exposure.
    • People die of exposure.

    Chasing Payments

    Ideally, you want to create a photographer-client relationship where it’s easier to comply with the terms of the contract and pay on time, than not. Many photographers charge a non-refundable deposit to book a shoot or event and require the balance to be paid in by the day of the shoot or event. At the latest, I don’t recommend a photographer provide proofs unless they’ve been paid for the shoot.

    You also want to have terms in your contract about cancelled appointments, late payments, and non-payments, so that you set yourself up to get paid what you’re owed in a timely manner.

    Are You Free Next Week?

    You can put the information about how far in advance a prospective client should expect to book you near your contact information or in your FAQs if you have them.  

    People Assuming You will Photoshop them Perfect

    This problem reminds me of Christian Siriano on Project Runway when he said, “I’m not a miracle worker, lady. I can’t make you have an ass!”

    In talking with your client, set some expectations about what Photoshop can and can’t do. Assume your client doesn’t know anything about photography, unless they are a professional photographer themselves. You can educate your clients by showing them before and after images so they can see the type of edits you’ll be doing for them.

    It’s ok to have fun with it, if that’s your style, by saying things like, “If you’re 5’2”, I can’t make you 5’10”,” or “If you have a ‘dad bod,’ I can’t transform you into Thor.” On the softer, more realistic side, remind your client that it’s your job to capture them looking their best, not like someone else.

    Bonus Tips from my Experience as Model: Posing

    Several people said they had problems with posing models or giving direction. As a model, my response is, “Don’t be afraid to try.” You’re the one behind the camera. I can’t see how I look.

    If you give a model a pose and it doesn’t create a good image, try something else. I won’t know if you didn’t get the shot you wanted. I’ll think you have lots of ideas.

    It’s ok to think out loud and say things such as, “I like how this light is hitting your eyes, let’s try this.”

    I’ve you are afraid you won’t remember the ideas you wanted to try from other images, bring notes to the shoot. It shows you’re prepared, and thinking about what types of images might be best for me.

    Learning how to pose models and give direction is something you develop over time, with practice, and watching others. Unless you’re doing some extreme work, no one is going to die. And don’t forget – I can’t see how I look, so as far as I know, whatever you’re trying is brilliant.

    Lights Camera LawsuitTM

    There’s always a need for quality legal information for photographers. That’s why I created an online course called Lights Camera Lawsuit: The Legal Side of Professional Photography to address photographers’ most important questions. I want you to feel secure in your business, confident in the way you operate day-to-day, knowing that you’ve set yourself up to get paid what your worth without incident.

    At $497, the course contains nearly six hours of legal information you can immediately apply to your business. That’s less than what I charge for two hours of legal work for clients!  

    Please subscribe for more information and to make sure you don’t miss out on any special offers or discounts.

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    Ruth Carter

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  • How to Give a Discount on your Photography Services without Discounting your Value

    “The Belly Dancer with the Fans” by mmockingbird from Flickr (Creative Commons License)

    Sometimes photographers, like all service providers, want to provide a discount for their services. Perhaps it’s for a friend, someone you’ve always wanted to work with, or an organization you know can’t afford you and you want to help.

    Nothing Wrong with a Discount

    There is nothing wrong with offering a discount for your photography services, whether it’s a special one-off or a promotion that’s available to any client.

    The challenge is you don’t want to cheapen the perceived value you provide. When a person buys an item at a cheap price, they may have lower expectations about it and will perceive it as less valuable than a similar product that performs the same function but costs twice as much. You don’t want your clients to discount the value you’re giving them, even when they get it at a discounted price.   

    Have you noticed that it’s often the clients who are getting the biggest discounts who complain the most? I made that mistake once. I quoted someone an exceptionally low flat fee to do their contract because I thought it would be an easy project. The nitpicked so much and requested so many changes, that by the time it was done, the amount I made per hour of work was laughable. (This was also the client who taught me to put a cap on the number of edits I’d do on a flat fee project. If they wanted more edits after that, they had to pay hourly.)

    Always Show a Photography Client your Value

    Even when you give a client a discount, always include your standard price and then the discount. Being a professional photographer is two jobs in one – you’re an artist and an entrepreneur. The entrepreneur’s job includes educating clients and prospects what you are worth. Photography clients are not just paying for your time, but also your talents. Remind them about the value you bring to the table, regardless of what they’re paying.

    This tactic is not offensive.  You see this when you buy things online. The website always starts by posting the price and tells you how much of a discount they’re giving you and the price you’re getting.

    How to Write an Invoice or Contract with a Discount

    This is how I’d write an invoice or payment section of a photography contract that includes a discount:

    Sitting Fee:                       $200.00

    I-Like-You Discount:           -$75.00

    Total Sitting Fee:               $125.00

    You get to choose what you’re going to call your discounts. I encourage my clients to be creative and include their personality in their contracts, but you have to decide what works for you.

    Lights Camera LawsuitTM

    There’s always a need for quality legal information for photographers. That’s why I created an online course called Lights Camera Lawsuit: The Legal Side of Professional Photography to address photographers’ most important questions. I want you to feel secure in your business, confident in the way you operate day-to-day, knowing that you’ve set yourself up to get paid what your worth without incident.

    At $497, the course contains nearly six hours of legal information you can immediately apply to your business. That’s less than what I charge for two hours of legal work for clients!  

    Please subscribe for more information and to make sure you don’t miss out on any special offers or discounts.

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    Ruth Carter

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  • Clarify What Your Photography Client is Buying: Prints vs Digital License

    “Shooting the Dress” by Garry Knight from Flickr (Creative Commons License)

    Professional portrait photographers generally need at least two contracts when working with a client: one for the sitting and one for the deliverables. For the latter, make sure the client is crystal clear about what they are, and equally important, what they are not buying. Having clarity on the front end will prevents problems on the back end.

    Assume Clients Don’t Understand Copyright

    Part of your job as a professional photographer is to educate your client about the basics of copyright and how it applies to images you’ve been hired to create. Many people assume that they are allowed to take a print, scan it, and share online or via email.

    In my pre-lawyer life, that’s what I thought. I spent plenty of time in the computer lab during my undergrad scanning photos. There was even a bulletin board dedicated to the photos that people left in the machine.

    This is still an issue for Joe Average people. Here’s a real question that recently came across my screen: I hired a photographer to take family pictures. I want to share them online and with extended family. The photographer says I can’t do that. Why?

    I suspect this person bought prints and not a digital license, or they have a license but it doesn’t include an allowance to distribute the images.

    As a risk-adverse lawyer, I would put specific verbiage in the contract that states what the client can and can’t do with the photos, including that only the digital version the photographer provides can be used to share the images with family and friends, probably in bold print.

    This serves two purposes:

    1. It protects your copyright, and
    2. It maintains the quality of your work.

    It’s also a good idea to include the information about your socials so they can tag you. (Good clients give credit their photographer when posting images online, even if they’re not required to.)

    What the Client gets with Prints

    When a client buys prints, they are buying the tangible object – the picture on whatever medium it was printed. They are buying the thing. They are not getting the copyright right or any copyright rights (unless that’s part of the contract they signed).

    The limits of what someone can do with a print are similar to what they can do if they bought a book. They can display it, sell it, give it away, destroy it, etc. What they can’t do is make copies of it.

    Scanning a print is making a copy. So is taking a photo of the photo.

    I’ve seen people do this at amusement parks. They don’t want to buy the photo the park took of them on the rollercoaster, so they take a photo of the screen where the image is displayed – so they take photo of the photo. When I’ve seen this happen, the teenage clerk usually says, “We’re not supposed to let people do that.” Now you know why. 

    What the Client gets with a Digital License

    What a client can do with a digital license depends on the limits within the license itself.

    Whoever owns a copyright has the exclusive right to control if and how the work is copied, distributed, displayed, performed, and what derivative works can be made from it. If I were writing a license for a photographer, I’d address all five of these rights – including “perform,” even though that’s not a verb we typically use in regards to photographs, but I’d rather be thorough.

    Most of the time, the photography licenses I draft are for a non-exclusive, perpetual, worldwide license. It also addresses whether the licensee is allowed to use the images for commercial use. Sometimes the photographer requests additional provisions, like one that says the licensee isn’t allowed to alter the images, which may include cropping.

    Following the license provision, I often add a sentence that states all other uses of the images must be approved by the photographer in advance.

    Solution: All Print Packages Include a Digital License

    One way to address this issue to require clients to purchase a digital license when they’re purchasing prints. The client won’t have to scan any images if they already have digital versions.

    When you first meet with a client to discuss their needs, ask them about what they want to do with the final images, including how they want to show them to others. If you hear a client talking about how they can’t wait to share the photo with family/friends – clarify what they mean and make sure purchase a package that suits their needs.

    Lights Camera LawsuitTM

    There’s always a need for quality legal information for photographers. That’s why I created an online course called Lights Camera Lawsuit: The Legal Side of Professional Photography to address photographers’ most important questions. I want you to feel secure in your business, confident in the way you operate day-to-day, knowing that you’ve set yourself up to get paid what your worth without incident.

    At $497, the course contains nearly six hours of legal information you can immediately apply to your business. That’s less than what I charge for two hours of legal work for clients!  

    Please subscribe for more information and to make sure you don’t miss out on any special offers or discounts.

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    Ruth Carter

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  • How to Respond When Someone Steals Your Photo

    Running with the Seagulls by Ed Schipul from Flickr (Creative Commons License)

    Photographers need to be mindful of the possibility that some people may use their photos without permission. People will pull images to use on their website and social media posts. Additionally, there are people who think they have rights to a photo merely because they’re in it. I’ve even heard of hair and makeup artists who take photos from the shoots they have worked on to use them in their portfolio.

    This issue is compounded by the fact that there is inaccurate information about photo use on the internet. Some sources assert that you can use any photo you find on the internet as long as you give an attribution and a link to the original. They think they’re giving you free publicity, but what they may be doing is committing copyright infringement and telling you about it.

    Start with the End in Mind

    When I work with clients who believe their copyright has been violated, one of the first question I ask is,

    How do you want this to end?

    Knowing what the client wants as a result of my work tells me what avenue for recourse they’re interested in pursuing.

    To maximize the likelihood of achieving your desired outcome, it’s best to decide before your photos are stolen how you want to respond to the alleged infringer so you can be prepared in advance for when it happens.

    Always Respond When Someone Uses Your Photo Without Permission

    You don’t set the precedent that people can use your photos without a license. If you let others use your work and then you want to assert your rights against another infringer, the infringer could point to your past behavior and argue that since you’ve allowed others to use your images without repercussions, that this new infringer should be treated the same.

    (This is why you hear about companies sending strongly worded cease and desist letters to minor infringers. They have an obligation to protect their intellectual property.)

    There are five ways you can respond when someone steals your photo:

    Option #1: Grant Permission

    If you’re ok with someone’s use of your image, you can grant them permission after the fact. It can be something simple like

    Hi there. I noticed you’re using my photo for XYZ. I’m ok with uses like this, but in the future, you need to ask my permission in advance. I grant you permission for this use.

    Option #2: Cease and Desist Letter

    This is a letter from you (or your lawyer) to the suspected infringer that informs them of the copyright rights they violated, directs them to remove the image by a specified date, and tells them what you’ll do if they don’t comply. Be ready to follow through on whatever you threaten/promise in your letter, or you’ll lose credibility.

    These are sometimes referred to as the “nastygram,” especially when it’s written by a lawyer and the client’s goal is to put the fear of god in the person so they comply. There is no rule that says you can’t send a letter that says,

    I love that you love my photo, but you need to remove it by . . .

    Option #3: DMCA Takedown Notice

    DMCA stands for Digital Millennium Copyright Act. This option is only available in situations where your photo and the infringement of it are both on the internet. Instead of sending a cease and desist letter to the person who stole your photo, you send a takedown notice to the company that hosts the website where the infringement is occurring. Some social media platforms have a form on their site for submitting a takedown notice with designated spaces for all the information you’re required to include in a DMCA takedown.

    Option #4: Send a Bill and a License

    There is at least one photo licensing company that is notorious for doing this, but any photographer can send (or have their lawyer send) a letter to the suspected infringer that says,

    By using my photo, you’ve agreed to my licensing terms. Here’s a copy of the license and your bill!

    If you want to use this option, it’s ideal if you have your licensing terms or at least information about licensing on your website.

    Option #5: Sue for Copyright Infringement

    This option requires the most work in advance compared to the other options because you must register the photo’s copyright with the U.S. Copyright Office in order to be eligible to sue for infringement. There are time constraints in which you have to register you work in to be eligible for statutory damages, including attorneys’ fees. Additionally, your photo has to be stolen by someone who can afford to pay the damages, otherwise you may never collect (and you’ll likely have to pay for your attorney yourself).

    If registered your photo too late, you can still sue, but you can only get your actual damages, and you have to pay your attorneys’ fees. Most of the time, in this situation, it’s not worth it to sue because you’ll spend more on your attorney than what you’d get in damages from the court.

    What’s the Right Option to Protect Your Photography?

    You have to make that decision yourself. Decide in advance how you want to respond when someone steals your photo and plan accordingly.

    Your strategy for responding to suspected copyright infringement can include more than one of these options – such as sending a cease and desist letter yourself and if that doesn’t work, then have your attorney send one. Some people are more motivated to comply when they see the law firm’s letterhead.

    Regardless of your strategy, it’s best to speak with your attorney in advance and consult them when dealing with someone who’s using your photos without permission. There have been many times that I’ve written the cease and desist letter for my client to send that included the sentence,

    I hope we can resolve this without having to get lawyers involved.

    Lights Camera Lawsuit

    There’s always a need for quality legal information for photographers. That’s why I created an online course called Lights Camera Lawsuit: The Legal Side of Professional Photography to address photographers’ most important questions. I want you to feel secure in your business, confident in the way you operate day-to-day, knowing that you’ve set yourself up to get paid what your worth without incident.

    At $497, the course contains nearly six hours of legal information you can immediately apply to your business. That’s less than what I charge for two hours of legal work for clients!  

    Please subscribe for more information and to make sure you don’t miss out on any special offers or discounts.

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    Ruth Carter

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  • Can I Shoot Here? Photography Rules at Public Events

    https://www.flickr.com/photos/johnrabbit/8660242398
    “The Lights of Simian Mobile Disco” by John Rabbit from Flickr
    (Creative Commons License)

    Public events present fantastic opportunities for photographers to take captivating photos, but before you pull out your camera, you need to understand some of the legal do’s and don’ts of shooting in public.  

    What is “Public?”

    What is public versus private is a challenging question for some people to comprehend. There is a difference between being “in public” and being on “public property.” Many places where the public is invited to be, such as shopping malls, convention centers, fairgrounds, and stadiums are in public because you’re in a place where many members of the general public can see you, but you’re still on private property, and can be asked to leave if you’re breaking the rules.  

    Even when events are on public property, like street fairs and events at public parks, these areas are like private property for the purpose of the event. The organizers likely obtained an event permit from the city, part of which gave them permission to enforce stricter rules regarding photography than what you would have to follow if you were merely walking down a public street.

    Their Event. Their Rules.

    When you want to shoot at an event, try to find the photography rules. When you enter the event, look for notices. Many times, the organizers post a notice that says by entering the premises, you agree that the event organizers can take your picture and use the images for any purpose. These notices do not apply to you unless you are a photographer hired for this purpose.

    Here’s where you can look for information about whether you can legally take photos at an event.

    • If the event is on private property, look for a list of rules on the wall. Many shopping malls and stores have rules that prohibit shooting photos or video on the premises.
    • If you are attending a sporting event or concert, check the back of your ticket. If there is fine print, that is likely a contract between you and the event or venue, which may include terms about taking photos.
    • Check the website for the event or venue to see if they are specific rules regarding photography at the event. Many times, this is in the frequently asked questions (FAQ) section. If the event is out in the open, like at a park or fairground, I would not expect there to be rules that prohibit photography, but I have seen “No Photography” signs on vendor booths at art festivals where artists were selling original works.

    Rules of Thumb for Shooting Photography in Public

    Here are some general rules when taking photos at public events.

    1. Don’t be creepy. Don’t stare at people, follow them around, or act like a stalker. I’ve heard about this type of behavior at cosplay events, including a few years ago at Phoenix Comicon where someone shot video of women without their consent, and posted a compilation where the purpose was to objectify them. (The video has since been removed.) Now, it’s more common to see rules at these events that include a zero tolerance policy for this type of behavior.

    2. Ask permission if you can take someone’s photo. This is particularly true if you’re taking photos of someone else’s child.

    3. Be ready for questions from security, ushers, and/or event attendees. If you are using a high-end camera when most people are using their smart phones, you may raise suspicions. This is especially true if you or the person you’re shooting are doing anything abnormal.

    As a former gymnast, I like to do handstands. When my friends and I went to an Arizona Diamondbacks baseball game, I decided to do in the stands. We did it right before we left: I kicked a handstand, my friend took the picture, and we immediately walked up the stairs to leave. As expected, an usher stopped us as we reached the top. I was ready for him to say we needed to leave, but thankfully he was curious to know what we were doing.

    Handstand at the Baseball Game, June 2010

    4. Remember, if you don’t have a model release, you likely can’t use the images that contain identifiable persons for commercial purposes, including marketing yourself, without the risk of being accused of violating the person’s right of publicity. (Check your state’s law to see what the rules about publicity rights are before you take photos of others, especially strangers.)

    5. When you are taking photos on public property – not at a private event, know the applicable laws. You may encounter people who make false statements about the law, and you have to correct them.

    For example, Improv AZ has organized the No Pants Light Rail in Phoenix every year since 2009. It takes place on the public light rail system with the general public, and we have official photographers who ride with us, sans pants, to document it. One year, we encountered light rail security who tried to tell one of our photographers that he couldn’t bring his camera on board, because it would be a violation of the law. We stood in the door of the light rail car – one foot in the car, one foot on the platform – which forced the door to stay open, so our photographer wouldn’t get left behind. We explained the law to the security guard and asked him to call his supervisor, who confirmed that everything we were saying was true, and we continued with the Ride.

    The best way I can encompass the rules for shooting photographs at public events is Be Aware, Be Thoughtful, and Make Good Decisions.

    Lights Camera Lawsuit

    There’s always a need for quality legal information for photographers. That’s why I created an online course called Lights Camera Lawsuit: The Legal Side of Professional Photography to address photographers’ most important questions. I want you to feel secure in your business, confident in the way you operate day-to-day, knowing that you’ve set yourself up to get paid what your worth without incident.

    At $497, the course contains nearly six hours of legal information you can immediately apply to your business. That’s less than what I charge for two hours of legal work for clients!  

    Please subscribe for more information and to make sure you don’t miss out on any special offers or discounts.

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    Ruth Carter

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  • When a Client Threatens to Leave a Bad Review

    https://www.flickr.com/photos/yazuu/3053549142
    Angry Guy by Adrian Tombu from Flickr (Creative Commons License)

    Here’s the scenario: A client hired you for a photography job, which you did, and you provided the deliverables on time. The client is unhappy with their photos, threatens to leave a bad online review if you don’t give them their money back.

    What do you do?

    You’re a Photographer, Not a Miracle Worker

    Your client has put you in a difficult position. You have to work with what you’re given from the client. You don’t want to be insensitive, but you can only do so much. It may be impossible to give the client images that match what they envisioned in their head.

    Many times, part of being an entrepreneur involves educating and managing the client’s expectations. Based on the client’s complaint, it may be prudent to review the images and see if there’s anything you can do, perhaps suggest additional edits than what they hired you to do or explain that this is best you could do given the constraints of the situation.

    Ask Yourself the Difficult Question

    Ask yourself the difficult question: Did you screw up? Do you owe this person additional edits, a re-shoot, or some type of compensation? If so, admit it.

    As Peter Shankman says, “There is no greater lover than a former hater.” If you make a mistake, admit it, and make up for it, that person may become your biggest cheerleader.

    Go Back to the Contract

    When dealing with an upset client, having a well-written contract can help you resolve the matter and remind the client about what you both agreed to at the outset of your working relationship.

    If the client is upset because you didn’t provide an image of certain pose, show them the provision that says there are no guarantees that they’ll get every pose or image they hoped for.

    If the client wants to see all the images you took during the shoot, show them the provision that says you’ll only be showing them the best images and that they won’t see every image you take.

    If the client says they shouldn’t have to pay because they’re unhappy, remind them that they hired you for your time and skills. Payment is expected if you fulfilled your obligations under the contract.

    Hopefully, you have a photography contract that anticipated common complaints and addressed them accordingly.

    You Can Always Cave to their Demand

    Whether you give this person their money back is a business decision, not a legal one. You may decide that the best course of action, regardless of whether you think it’s warranted, is to give this person their money back and move on. That’s your call.

    I recommend you decide in advance, just for yourself, the circumstances under which you’ll give a refund. Many photography contracts state that there are no refunds or that they are given only in rare specified situations.

    If They Leave a Bad Review

    If the client follows through on their threat and leaves a bad review, respond to it in a polite and respectful manner. You can say you’re sorry they’re upset and invite them to contact you directly to discuss it. (Many times, how you respond to a bad review isn’t about the upset client, but rather it’s an opportunity to demonstrate to anyone who reads it that you take client concerns seriously.)

    In a perfect world, you’ll have enough positive reviews that one bad one won’t tank your average. But if you’re just starting out, one negative review could have a substantial impact on your score. You may want to invite happy customers to leave reviews about their experience to bring your average back up.

    Lights Camera Lawsuit

    There’s always a need for quality legal information for photographers. That’s why I created an online course called Lights Camera Lawsuit: The Legal Side of Professional Photography to address photographers’ most important questions. I want you to feel secure in your business, confident in the way you operate day-to-day, knowing that you’ve set yourself up to get paid what your worth without incident.

    The course goes live on March 16, 2020 and is $497. That’s less than what I charge for two hours of work and you’ll be getting over ten hours of legal information.  

    Please subscribe to make sure you don’t miss out on other fantastic offers and opportunities to interact with me.

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    Ruth Carter

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  • What Makes an Effective Photography Contract Template

    “Photographers” by Mark Fischer from Flickr (Creative Commons License)

    One of the most common questions I get from photographers is, “Where can I get a good (free) contract template online?” I’m sorry to say that I have yet to come across such a resource that I’d feel comfortable recommending to anyone, but I can tell you what I look for when I review these documents.

    Contract = Relationship Management Document

    The best way I can define a contract is it’s a relationship management document. Its purpose is to put everyone involved on the same page about their responsibilities and how you will address certain problems if they occur. Contracts manage expectations and allow you to hold each other accountable to the promises you made.

    When I write a contract for a client, I try to walk through the interaction between the people involved during the relationship created by the contract and consider potential problems that might occur.  

    Here’s something to note about contracts: Whichever side writes the contract, does so based on their best interests. The drafter is looking out for their interests, not yours. I write the same type of contract quite differently depending on which side is my client.

    Photography Contract Review

    When a client asks me to review a photography contract template, these are some of the provisions I expect to see in a quality contract:

    Parties and Scope: A contract should be clear about the who, what, where, and when between the parties. A third party should be able to read the contract and understand who is party to the contract and what their responsibilities are.  

    Consideration: “Consideration” is legal term meaning an exchange between the parties – what is each side giving and getting. In photography contracts, it’s usually trade for photos (TFP) or payment for images.

    Deliverables: I would expect a photography contract to clearly state what the model/client is getting from the photographer as well as any limits on what the model/client can do with the images.

    Copyright Notice: The contract should state who will own the copyright in the images – the photographer or the model/client. If the model/client is getting the copyright, I’d expect them to have to pay more than if they were just getting the images and a license to use them in certain ways.

    Model Release: If you want to use the images for marketing purposes or to make money off the images in other ways, you will probably need a model release.

    Problems and Worst-Case Scenarios: How are you going to deal with common issues like cancellations, no-shows, refund requests, and late payments? Those all should be addressed in your contract. What about rare but bad problems, like the files from the shoot are stolen, corrupted, or otherwise destroyed before you can make a back-up copy? You may want to address the worst-case scenarios in your contract too – usually in the “force majeure” section.

    Dispute Resolution: If there is a problem between the parties, how will you resolve it – mediation? Arbitration? Litigation? Some other way? In what county and state will this occur? Which state law applies? In some states, you must specify that the non-prevailing party has to pay for the prevailing party’s attorney’s fees, otherwise the court won’t likely require this.

    Boilerplate Terms:  There are some provisions that I include in nearly every contract I write, like waiver, severability, modification, and entire agreement. These are the provisions that can have a substantial impact on your relationship with the other party but are often left out when a lay person tries to write their own contract.

    No One Size Fits All

    A contract template is a starting point for a contract with a model/client. There may be times when you need to revise it to fit the needs of a project. Additionally, you will likely need different templates for portrait work and event photography because the issues the contract needs to address are different.

    There’s nothing wrong with using a contract from the internet as a place to get ideas for contract terms and how to phrase provisions, but I’ve never seen a contract template that someone got for free online that I would approve as written.

    Lights Camera Lawsuit

    There’s always a need for quality legal information for photographers. That’s why I created an online course called Lights Camera Lawsuit: The Legal Side of Professional Photography to address photographers’ most important questions. I want you to feel secure in your business, confident in the way you operate day-to-day, knowing that you’ve set yourself up to get paid what your worth without incident.

    At $497, the course contains nearly six hours of legal information you can immediately apply to your business. That’s less than what I charge for two hours of legal work for clients!  

    Please subscribe for more information and to make sure you don’t miss out on any special offers or discounts.

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    Ruth Carter

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  • If You’re Going to Represent Yourself

    https://www.flickr.com/photos/indyblue/262966370
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    “David and Goliath !” by Indyblue from Flickr (Creative Commons License)

    I’ve received a number of questions from people who want tips about representing themselves in a lawsuit. I’ve also had the experience of being in a lawsuit where the opposing side opted not to have counsel. These are my recommendations if you’re considering appearing in a lawsuit in propria persona (“pro per”).  

    Don’t.

    The saying is true: The lawyer who represents themselves has a fool for a client. This is doubly, or triply, true for a non-lawyer who represents themselves, especially if the other side has counsel.

    You will be at a considerable disadvantage from the start because you likely don’t know the processes involved in litigation or the civil rules of procedure that apply in that court. (Law students take at least one semester of civil procedure.) If you self-represent, you may often feel like you’re flailing while trying to understand the basics of being in litigation.

    Your opposing counsel may have years or decades of experience, and will use it to their strategic advantage on behalf of their client. The court will be somewhat understanding of your disadvantage, but “I didn’t know” is never a valid excuse for any mistakes you make. You will be held to the same standards as represented litigants and lawyers

    Check the Court’s Self-Help Website

    Many court websites have a self-help section for people who are representing themselves. This webpage may have forms and guide about the process to assist you.

    If you have a law library, use it! This may be part of the court or a law school. Make an appointment with the law librarian. They are there to help you, and I’m sure you won’t be the first pro per litigant to ask them for help.

    Invest some time to learn about the claims in your case. Learn the elements of each one, what is the burden of proof and who has it (including when it may shift from one side to the other). Matching elements of the claim to evidence and supporting it with statues and/or case law is a large part of litigation.

    Don’t Ignore Documents and Filings

    Do not ignore any documents that are served on you via email or regular mail. Saying “I never received it” won’t save you if the other side followed the court’s procedure for service. These may be things like interrogatories, requests for admissions, and other types of discovery. Not responding to these may be detrimental to your case.

    Additionally, there are limited times in which you can send such documents to the opposition, and if you don’t send these to the other side, you may lose precious opportunities to acquire information for your case.

    Consult a Lawyer

    Some people represent themselves because they can’t afford to hire a lawyer. I get that. The legal system is biased towards people who can afford counsel. The saying “You can get as much justice as you can afford” has a lot of merit.

    Even if you can’t afford to be represented by counsel, you can still hire a lawyer that you periodically consult to help you create a strategy, craft your arguments, and prepare your filings.

    If you’ve been served with a lawsuit, consult a lawyer immediately! The deadline to respond comes up fast, and if you don’t respond, you could lose by default. If you want to sue somebody, even if you want to represent yourself, you should still consult a lawyer to prepare an effective complaint.

    Thanks for reading this post. If you liked this post and want to know more about my work, please subscribe to the Carter Law Firm newsletter where I share behind-the-scenes information and readers get exclusive access to me.

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    Ruth Carter

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  • Let’s Talk About Trademarks

    https://www.flickr.com/photos/trippinlarry/5987691227
    “Lemonade, anyone?” by trippinlarry from Flickr (Creative Commons License)

    I’m going to say “no” a lot today. I’ve seen many trademark questions lately, many of which make me cringe.

    Here’s what you need to know about trademarks. They are synonymous with branding. Your trademarks are the names, logos, slogans, etc. that you put on your products or services that differentiate you from the competition. They inform consumers about the origin and quality of the product or service.

    When you apply to register a trademark, you have to tell the U.S. Patent and Trademark Office (USPTO) what you’re claiming as a trademark and on what products or services you’re using it. The USPTO won’t register your trademark if it’s too similar to a previously registered trademark. If they have a problem with your application, they’ll send you an Office Action with an explanation of the problem, and they give you 6 months to submit a response.

    This is also why it’s possible for two companies to use the same trademark when they’re products and services are so different that no one would think they came from the same company, like Delta Airlines, Delta Faucet, and Delta Dental.

    Onto the questions . . .

    How would an Unregistered Trademark be Better for “Brand Image” than a Registered Trademark?

     A trademark is a trademark regardless of whether you register it or not. What changes is the rights you get with your brand when it’s a registered trademark. Having a registered trademark gives you the ability to stop competitors from entering the marketplace in the U.S. while using a trademark that is confusingly similar to yours. (Trademark rights are limited by country. If you have a registered trademark in the U.S., that doesn’t mean someone couldn’t register the same trademark for the same goods somewhere else.)

    When you don’t register your trademark, you only can get common law trademark rights based on the geographic area where you are using the mark in commerce. You won’t have the ability to stop a competitor from using the same or a confusingly similar trademark in another geographic area in the U.S. like you’d be able to do if you had a registered trademark.

    Additionally, if you don’t register your mark, there’s a risk that your competitor will, which will limit your ability to use your trademark to the area established by your common law rights when the other mark was registered. This happened to the first Burger King restaurant. The first Burger King was “frozen” in its established area when the franchise registered the trademark. If the first Burger King company wanted to expand beyond that area, it must do so with a different trademark than “Burger King.”

    If your company is going to license its trademark to others, having a registered trademark is more valuable that an unregistered trademark. For many companies, their most important asset is their intellectual property.

    If I Want to Apply to Register a Trademark and There’s a Competitor That’s Already Registered a Similar Name, Will I have a Better Chance with the USPTO if I Apply to Register my Logo that Contains the Company Name?

    Why do you want to a brand that’s similar to your competition? It baffles me when companies knowingly pick a name that’s like one that’s already in use. It makes wonder if the owners are trying to ride a competitors’ coattails (which is illegal) or if they don’t understand how branding works.

    The purpose of having a trademark is to prevent consumer confusion. The USPTO does not want to grant companies the similar trademarks if they’re selling similar products or services.

    For a lot of companies, I recommend filing the word mark for just their name (assuming it’s trademarkable) as well as the logo, because logos often change over time. The name of the product or company usually doesn’t.

    The USPTO requires separate applications for the logo and the word mark if you want both as registered trademarks. When a logo contains words, those often are given more weight than the rest of the logo in terms of whether there’s confusion because that’s often the most prominent part of the logo. The logo components may help differentiate your trademark from the competition, but it may not be enough. You can always apply and see what happens.

    Can I use a Cancelled Trademark if the Owner is still Manufacturing the Product?

    When you do a search on the USPTO trademark database, it will show the trademarks that are “live” and “dead.” A dead trademark may be “abandoned” or “cancelled.” An abandoned trademark was one that was applied-for but never registered. A cancelled trademark was registered at one time but not anymore.

    When a company has a cancelled trademark but is still using it, it likely means that they registered the trademark and did not file the renewal when it was due. The company still has common law trademark rights based on its geographic market.

    It may be possible to use a cancelled mark that’s still in use as long as you’re not in the competitor’s established geographic market, but I usually don’t recommend it. It sounds like a situation where you’d be setting yourself up to get a cease and desist letter and/or sued for common law trademark infringement and unfair competition.

    On the flip side, I have seen companies use trademarks that have been cancelled and the previous owner has long since stopped using the trademark or the previous owner went out of business. A few years ago, I saw popsicle companies doing this – claiming abandoned trademarks and bringing the product back to market.

    Is it OK if my Trademark is Barely Different than Someone Else’s – Like Adding or Removing a Space or Adding a Word?

    The key to whether your trademark is different enough is based on whether consumers will be confused. As such, the USPTO treats trademarks that look and sound the same as being the same. You can’t take a registered mark and change the spelling slightly and have a valid trademark for the same product or service.

    When you take someone’s trademark and add a word to it, the USPTO will consider how similar the marks are. If the main part of the mark matches an existing registered mark for the same type of product or service, it’s less likely that the USPTO will register your trademark as well.

    There is no equation or formula you can use to guarantee that your trademark application will be approved by the USPTO.

    Can I File my Own Trademark Application?

    Yes. You don’t have to be a lawyer to submit a trademark application to the USPTO, though I recommend using one. At the very least, it’s best to have a lawyer review the application before you submit it. I’ve run into too many people who submitted a trademark application by themselves for trademarks that aren’t registerable. They could have saved themselves time and money by consulting a lawyer.

    Thanks for reading this post. If you liked this post and want to know more about my work, please subscribe to the Carter Law Firm newsletter where I share behind-the-scenes information and readers get exclusive access to me.

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    Ruth Carter

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  • Why Contracts Have So Many Definitions

    https://www.flickr.com/photos/eleaf/2561831883
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    Iron Horse Bicycle Race Durango Women 10″ by Eleaf from Flickr (Creative Commons License)

    This week, I had a chat with someone who was concerned about the media release provision in a contract to be in a cycling race. It said by signing up for the race, you give the organizers permission to use any video or images of you, your likeness, you name, and your biographic information for any purpose without need any additional information from you. He was worried that the race organizers could sell his life story without his permission.

    I’ve seen this provision on every race contract I’ve signed – and it wasn’t one of the ones I altered. This type of provision is on lots of contracts, event tickets, even on A-frame signs around the state fair. Organizers want to use the photos from their event to promote the organization and its activities. They want to be able to make you their poster child if they snap an amazing photo of you. They want to be able to caption a race photo with “Chris Jones, 37, of Truth or Consequences, New Mexico . . .”

    These organizers don’t want to sell your story to make the next Lifetime Movie. I know this because (1) they don’t know your life story and (2) they’re not in the business of sell stories for the next movie of the week.

    This conversation reminded me of why contracts have so many definitions. Sometimes they start with pages of definitions. They help eliminate confusion and avoid disputes when questions arise down the line.

    If there is a dispute about the meaning of a word in a contract, and both sides have a reasonable interpretation of it, the court will side with the person who didn’t draft the contract, unless the contract states otherwise. (Check your jurisdiction’s rules to see if the same rule exists where you live.)

    Going back to the would-be racer, I told them if they had concerns about what a term in the agreement meant, they should email the organizers for clarification. (Never be afraid to ask questions about a contract before signing it.) If there’s a dispute later surrounding the meaning of the provision, they would be able to use the email response as the basis for their reasonable belief as to what it meant and to counter any contradictory statement by the other side.

    If you’re in a situation where you need to create, draft, or negotiate a contract, please call a contract lawyer for help. (This week, my editor sent me an FYI email about a company in Columbia that is selling a “Pack Of Professionally Drafted Legal Contracts” for $24. I responded with “Let me know how that $24 contract holds up when challenged in court.”)

    Thanks for reading this post. If you liked this post and want to know more about my work, please subscribe to the Carter Law Firm newsletter where I share behind-the-scenes information and readers get exclusive access to me.

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    Ruth Carter

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