Would you like to inspect the original subtitles? These are the user uploaded subtitles that are being translated:
WEBVTT
1
00:00:01.560 --> 00:00:06.100
It's obviously very important to understand your worth
2
00:00:06.100 --> 00:00:08.360
when you're negotiating with clients.
3
00:00:08.360 --> 00:00:10.860
People often say to me, what's your day rate?
4
00:00:10.860 --> 00:00:13.950
And I say, well, what's the job?
5
00:00:13.950 --> 00:00:16.070
You may have a standard published day rate,
6
00:00:16.070 --> 00:00:17.680
I mean, I do, you know,
7
00:00:17.680 --> 00:00:19.700
we've dreamt that up at some time
8
00:00:19.700 --> 00:00:21.850
and it's in the upper end of what we can imagine
9
00:00:21.850 --> 00:00:23.300
people paying us.
10
00:00:23.300 --> 00:00:26.520
But you need to understand your value
11
00:00:26.520 --> 00:00:29.250
within a particular proposition.
12
00:00:29.250 --> 00:00:30.980
And there's a number of factors
13
00:00:30.980 --> 00:00:33.140
that will help you calculate that.
14
00:00:33.140 --> 00:00:36.500
If let's say a large corporation asked me to do a job,
15
00:00:36.500 --> 00:00:38.510
the first thing I would think is,
16
00:00:38.510 --> 00:00:40.840
well, why they asking me?
17
00:00:40.840 --> 00:00:43.460
How many other photographers
18
00:00:43.460 --> 00:00:46.970
could they be talking to about the same job?
19
00:00:46.970 --> 00:00:50.250
In my case, I'd ask, does it involve an actor
20
00:00:50.250 --> 00:00:53.100
who I know likes to work with me,
21
00:00:53.100 --> 00:00:55.980
and isn't necessarily going to work with
22
00:00:55.980 --> 00:00:57.750
a number of other photographers?
23
00:00:57.750 --> 00:01:01.840
Now, with that one question, I've worked out,
24
00:01:01.840 --> 00:01:05.360
whether I've gone from being one in 1000
25
00:01:05.360 --> 00:01:07.540
possible photographers for this job
26
00:01:07.540 --> 00:01:10.170
to possibly one in 10.
27
00:01:10.170 --> 00:01:12.140
Because if that is so,
28
00:01:12.140 --> 00:01:14.730
then my value within that equation
29
00:01:14.730 --> 00:01:17.263
has immediately gone up massively.
30
00:01:18.110 --> 00:01:20.520
Then I ask if the mission of the job
31
00:01:20.520 --> 00:01:24.210
is in line with my unique voice as a photographer?
32
00:01:24.210 --> 00:01:27.130
And it is, maybe those 10 photographers,
33
00:01:27.130 --> 00:01:29.680
maybe we're only talking about two
34
00:01:29.680 --> 00:01:31.110
who really compete with me.
35
00:01:31.110 --> 00:01:35.280
And in some cases, maybe the job is clearly mine.
36
00:01:35.280 --> 00:01:38.260
And once you know that you're one of the only people
37
00:01:38.260 --> 00:01:39.330
for the job,
38
00:01:39.330 --> 00:01:41.910
then it's not that hard to work out your value
39
00:01:41.910 --> 00:01:43.440
within that proposition, right?
40
00:01:43.440 --> 00:01:44.540
I mean, you know,
41
00:01:44.540 --> 00:01:47.630
maybe you know that your competitor
42
00:01:47.630 --> 00:01:49.350
charges similarly to you.
43
00:01:49.350 --> 00:01:50.708
So you just put in the rate
44
00:01:50.708 --> 00:01:52.020
that you're pretty confident
45
00:01:52.020 --> 00:01:54.280
they're going to put in as well.
46
00:01:54.280 --> 00:01:56.090
I do a few other things.
47
00:01:56.090 --> 00:01:59.800
If it's a company that I haven't heard of, I look them up.
48
00:01:59.800 --> 00:02:03.357
I like to know how much money they made last year.
49
00:02:03.357 --> 00:02:06.620
And that information's free, just a Google away.
50
00:02:06.620 --> 00:02:09.060
What is the net worth of the company?
51
00:02:09.060 --> 00:02:11.100
What was their annual turnover?
52
00:02:11.100 --> 00:02:13.160
What was their profit last year?
53
00:02:13.160 --> 00:02:16.320
Because from that, I can deduce a lot.
54
00:02:16.320 --> 00:02:19.190
If a company made 12 million in profits,
55
00:02:19.190 --> 00:02:21.750
I know that they can afford X.
56
00:02:21.750 --> 00:02:24.350
If they make 3 billion in profits,
57
00:02:24.350 --> 00:02:26.140
you know they can afford more.
58
00:02:26.140 --> 00:02:28.020
And if they lost 400 quid,
59
00:02:28.020 --> 00:02:30.250
you know that they're wasting your time, right?
60
00:02:30.250 --> 00:02:33.830
So it's just research, research, research.
61
00:02:33.830 --> 00:02:36.300
And it is so, so important.
62
00:02:36.300 --> 00:02:38.350
I research the hell out of clients
63
00:02:38.350 --> 00:02:42.120
and I understand who it is that I'm dealing with.
64
00:02:42.120 --> 00:02:43.940
And then I look at usage.
65
00:02:43.940 --> 00:02:46.560
A picture they need for one Instagram post
66
00:02:46.560 --> 00:02:48.600
is nothing like the same usage
67
00:02:48.600 --> 00:02:51.070
for a global print campaign, obviously.
68
00:02:51.070 --> 00:02:54.760
So I know if it's a blue chip company
69
00:02:54.760 --> 00:02:57.010
and they're doing a global campaign
70
00:02:57.010 --> 00:02:59.830
that they are spending tens of millions
71
00:02:59.830 --> 00:03:01.580
on that advertising placement,
72
00:03:01.580 --> 00:03:05.340
then they can definitely afford to pay my top dollar rate
73
00:03:05.340 --> 00:03:06.600
for the photos,
74
00:03:06.600 --> 00:03:10.420
because they have to value that part of the process,
75
00:03:10.420 --> 00:03:12.810
otherwise, they're going to be wasting money
76
00:03:12.810 --> 00:03:16.880
on their huge ad spend by nickel and diming on the photos.
77
00:03:16.880 --> 00:03:19.070
Next, you need to understand
78
00:03:19.070 --> 00:03:22.270
something incredibly important called buyouts.
79
00:03:22.270 --> 00:03:26.173
But to do that, you first need to understand copyright.
80
00:03:27.200 --> 00:03:32.200
I really, really, really fight hard to retain my copyright,
81
00:03:33.190 --> 00:03:35.620
and I have done my whole career.
82
00:03:35.620 --> 00:03:38.930
I remember meeting the famous "Picture Post" photographer,
83
00:03:38.930 --> 00:03:41.920
Bert Hardy, when I was about 17 years old.
84
00:03:41.920 --> 00:03:44.570
And he said his best advice
85
00:03:44.570 --> 00:03:47.210
was never give away your copyright.
86
00:03:47.210 --> 00:03:48.730
Now let's be clear,
87
00:03:48.730 --> 00:03:51.960
there are definitely situations where I have,
88
00:03:51.960 --> 00:03:55.060
and it's normally because it's a job
89
00:03:55.060 --> 00:03:57.630
that I really, really, really wanted to do.
90
00:03:57.630 --> 00:04:01.270
And they were never going to do it without taking ownership.
91
00:04:01.270 --> 00:04:04.400
Or it was that I was being paid so much
92
00:04:04.400 --> 00:04:06.590
that I was prepared to make the compromise,
93
00:04:06.590 --> 00:04:09.590
or that it was just a job I simply didn't care
94
00:04:09.590 --> 00:04:11.800
that much about owning the material afterwards.
95
00:04:11.800 --> 00:04:16.010
But I would say that in 97% of my shoots
96
00:04:16.010 --> 00:04:19.490
that I've done in my career, I've owned the copyright.
97
00:04:19.490 --> 00:04:23.750
And I really have walked away from and turned down
98
00:04:23.750 --> 00:04:26.000
a number of really good jobs
99
00:04:26.000 --> 00:04:28.470
because they were demanding my copyright,
100
00:04:28.470 --> 00:04:30.030
I just wouldn't do it.
101
00:04:30.030 --> 00:04:33.093
And not because I didn't want to do the job,
102
00:04:34.030 --> 00:04:38.780
in many cases I did, but it was about the principle.
103
00:04:38.780 --> 00:04:43.750
And it's pretty easy to give clients the reassurances
104
00:04:43.750 --> 00:04:45.490
they need to convince them.
105
00:04:45.490 --> 00:04:49.860
You can let them know that they can have a license
106
00:04:49.860 --> 00:04:54.590
to use the images for as long as they possibly need them,
107
00:04:54.590 --> 00:04:57.230
but you own the rights.
108
00:04:57.230 --> 00:05:00.820
There are all sorts of deals you can make with people,
109
00:05:00.820 --> 00:05:05.820
but still keep the title of copyright holder.
110
00:05:05.840 --> 00:05:08.240
I'm incredibly grateful today
111
00:05:08.240 --> 00:05:10.460
that I didn't give my copyright away
112
00:05:10.460 --> 00:05:12.653
nearly as much as I was asked to.
113
00:05:13.790 --> 00:05:16.330
You never really know where your money's going to come from
114
00:05:16.330 --> 00:05:17.270
in the future.
115
00:05:17.270 --> 00:05:20.750
I mean, in my case, you photograph a young actor,
116
00:05:20.750 --> 00:05:22.720
you don't know that in 20 years time,
117
00:05:22.720 --> 00:05:25.410
they're not going to be Leonardo DiCaprio.
118
00:05:25.410 --> 00:05:27.740
I'm starting to think now, as I get older,
119
00:05:27.740 --> 00:05:31.290
about the pictures that I took 25, 30 years ago,
120
00:05:31.290 --> 00:05:33.670
which are actually starting to become vintage,
121
00:05:33.670 --> 00:05:35.263
which sounds terrifying to me.
122
00:05:36.124 --> 00:05:38.730
At some point I'm going to retire,
123
00:05:38.730 --> 00:05:41.250
but I own the rights to my pictures,
124
00:05:41.250 --> 00:05:45.530
the right to exhibit, to sell prints, to make books.
125
00:05:45.530 --> 00:05:49.130
I can pass them down to my children and to my grandchildren.
126
00:05:49.130 --> 00:05:54.130
Copyright is a huge, huge thing to give away.
127
00:05:54.350 --> 00:05:57.283
Please don't do it unless you have to.
128
00:05:58.440 --> 00:06:01.480
Owning your copyright also has a big impact
129
00:06:01.480 --> 00:06:04.240
on how you bill your commercial shoots
130
00:06:04.240 --> 00:06:05.903
long after you did them.
131
00:06:07.150 --> 00:06:09.610
The legal reality of your copyright
132
00:06:09.610 --> 00:06:13.020
is that when someone employs you to do a shoot,
133
00:06:13.020 --> 00:06:16.390
they employ you to type the pictures,
134
00:06:16.390 --> 00:06:18.780
but the pictures still belong to you.
135
00:06:18.780 --> 00:06:22.530
Copyright law effectively states
136
00:06:22.530 --> 00:06:27.250
that the person that creates the art owns the art.
137
00:06:27.250 --> 00:06:29.280
So if you pay me to take a photo,
138
00:06:29.280 --> 00:06:33.300
you still have to pay me to use the photo
139
00:06:33.300 --> 00:06:36.900
unless I've signed my copyright over to you.
140
00:06:36.900 --> 00:06:39.930
I certainly didn't understand that enough
141
00:06:39.930 --> 00:06:41.610
when I was younger.
142
00:06:41.610 --> 00:06:44.330
By the way, to be clear in editorial work,
143
00:06:44.330 --> 00:06:46.700
so if you're working for magazines or newspapers,
144
00:06:46.700 --> 00:06:51.030
you should absolutely always own your copyright.
145
00:06:51.030 --> 00:06:53.240
They are not paying you enough.
146
00:06:53.240 --> 00:06:55.720
Despite what rights you may give a magazine
147
00:06:55.720 --> 00:06:58.960
to use the pictures elsewhere or to syndicate,
148
00:06:58.960 --> 00:07:02.330
the copyright itself sticks with you.
149
00:07:02.330 --> 00:07:05.810
I've had a few magazines try it on in the past,
150
00:07:05.810 --> 00:07:08.060
but none of them fight me hard for it.
151
00:07:08.060 --> 00:07:12.010
I've always retained my copyright in editorial.
152
00:07:12.010 --> 00:07:14.320
The really cool thing in all this
153
00:07:14.320 --> 00:07:17.530
is a thing called the buyout.
154
00:07:17.530 --> 00:07:20.300
So I do a photo shoot for a client,
155
00:07:20.300 --> 00:07:23.900
they've paid me my day rate, but I still own the pictures.
156
00:07:23.900 --> 00:07:27.210
So if they want to use them in their ad campaign,
157
00:07:27.210 --> 00:07:30.040
then they have to do a thing called a buyout,
158
00:07:30.040 --> 00:07:32.660
which means they have to pay me
159
00:07:32.660 --> 00:07:36.350
a usage fee on those pictures.
160
00:07:36.350 --> 00:07:39.730
If it's a seasonal ad campaign,
161
00:07:39.730 --> 00:07:43.400
normally the buyout for that season
162
00:07:43.400 --> 00:07:45.300
is included in your rates.
163
00:07:45.300 --> 00:07:48.320
But if you're talking about, for instance,
164
00:07:48.320 --> 00:07:52.840
a fragrance campaign where they may use the same image,
165
00:07:52.840 --> 00:07:56.390
years and years and years down the road,
166
00:07:56.390 --> 00:07:59.233
each year, you charge a buyout.
167
00:08:00.180 --> 00:08:03.410
Now, if I'd given my copyright away,
168
00:08:03.410 --> 00:08:05.750
I would never see another penny.
169
00:08:05.750 --> 00:08:08.370
And the amazing thing with the buyout
170
00:08:08.370 --> 00:08:11.690
is that the client has to rebuy that image again,
171
00:08:11.690 --> 00:08:13.960
every single year they want it.
172
00:08:13.960 --> 00:08:16.250
Now, some businesses may buy you out
173
00:08:16.250 --> 00:08:18.310
for two or three years in one go,
174
00:08:18.310 --> 00:08:21.733
in which case you cut them some sort of a deal.
175
00:08:23.030 --> 00:08:26.180
But often you do a shoot for one year buyout.
176
00:08:26.180 --> 00:08:30.060
So when they come back the next year to reuse the images,
177
00:08:30.060 --> 00:08:35.060
you can charge them the previous year's buyout, plus 10%.
178
00:08:35.410 --> 00:08:38.820
Now don't forget rebuying the image is way cheaper
179
00:08:38.820 --> 00:08:40.290
than that client recommissioning
180
00:08:40.290 --> 00:08:42.053
a whole photo shoot production.
181
00:08:42.940 --> 00:08:45.250
And it keeps building year on year,
182
00:08:45.250 --> 00:08:50.250
it goes up 10% every year, and 10% is the industry standard.
183
00:08:51.190 --> 00:08:53.010
I once did a fragrance campaign
184
00:08:53.010 --> 00:08:56.190
that kept buying out for a total of seven years.
185
00:08:56.190 --> 00:09:00.080
It turned out to be my highest paid days work
186
00:09:00.080 --> 00:09:02.300
of my entire career.
187
00:09:02.300 --> 00:09:04.860
So the importance of understanding your rights,
188
00:09:04.860 --> 00:09:06.270
as the image maker,
189
00:09:06.270 --> 00:09:09.340
and to retain the title of copyright holder
190
00:09:09.340 --> 00:09:12.830
is incredibly important to a professional photographer.
191
00:09:12.830 --> 00:09:15.560
And the fact that you can continue to make money
192
00:09:15.560 --> 00:09:17.750
from this stuff in the future
193
00:09:17.750 --> 00:09:20.750
and that you have control over your work
194
00:09:20.750 --> 00:09:22.770
is hugely empowering.
195
00:09:22.770 --> 00:09:26.280
People fought very hard for this to become law,
196
00:09:26.280 --> 00:09:29.000
and it's something that you must fight hard for.
197
00:09:29.000 --> 00:09:30.990
Fight for your copyright.
198
00:09:30.990 --> 00:09:32.923
Now travel and prep days.
199
00:09:33.760 --> 00:09:37.280
Then you have days that you either travel to work
200
00:09:37.280 --> 00:09:39.950
or that you have to prep the actual shoots.
201
00:09:39.950 --> 00:09:42.200
It's an industry standard to get paid
202
00:09:42.200 --> 00:09:44.840
for travel days and prep days.
203
00:09:44.840 --> 00:09:48.010
If you have to travel to America to take a picture.
204
00:09:48.010 --> 00:09:51.290
Then that's a day that you're not earning money.
205
00:09:51.290 --> 00:09:54.600
If I then have to prep in a studio for a shoot,
206
00:09:54.600 --> 00:09:56.590
that's another day that I would otherwise
207
00:09:56.590 --> 00:09:58.000
be not earning money.
208
00:09:58.000 --> 00:09:59.830
So we charge a percentage.
209
00:09:59.830 --> 00:10:04.130
I generally charge 50% of my day rate for a prep day
210
00:10:04.130 --> 00:10:08.170
and a little under 50% for a travel day.
211
00:10:08.170 --> 00:10:10.470
Now sometimes I'll do all in deals,
212
00:10:10.470 --> 00:10:13.270
but everything is based on getting paid for those days
213
00:10:13.270 --> 00:10:15.400
you can't work elsewhere,
214
00:10:15.400 --> 00:10:18.100
because you're prepping or traveling.
215
00:10:18.100 --> 00:10:19.033
Editorial.
216
00:10:20.230 --> 00:10:21.590
You don't really earn money
217
00:10:21.590 --> 00:10:24.850
from editorial magazine commissions.
218
00:10:24.850 --> 00:10:26.920
And I rarely look at editorial
219
00:10:26.920 --> 00:10:31.920
as anything more than promotion and great access to work,
220
00:10:32.170 --> 00:10:34.820
to talent, to teams.
221
00:10:34.820 --> 00:10:36.220
In the fashion industry,
222
00:10:36.220 --> 00:10:38.730
the editorial work is the thing that attracts
223
00:10:38.730 --> 00:10:41.940
the paying brands to commission photographers.
224
00:10:41.940 --> 00:10:43.780
Now magazines do in part
225
00:10:43.780 --> 00:10:47.440
make their money from selling copies, but for the most part,
226
00:10:47.440 --> 00:10:51.320
they make their money by selling advertising.
227
00:10:51.320 --> 00:10:53.719
And what that means is that all the advertisers
228
00:10:53.719 --> 00:10:55.840
are looking at the magazines.
229
00:10:55.840 --> 00:10:58.670
So you do your work for next to nothing,
230
00:10:58.670 --> 00:11:00.458
or in some cases you lose money,
231
00:11:00.458 --> 00:11:03.870
because you want the pictures to look a certain way,
232
00:11:03.870 --> 00:11:05.060
and maybe those costs
233
00:11:05.060 --> 00:11:07.730
are more than the budget the magazine's given you,
234
00:11:07.730 --> 00:11:10.540
but the fashion brand sees your work,
235
00:11:10.540 --> 00:11:14.700
and then they come to you to shoot their campaigns,
236
00:11:14.700 --> 00:11:17.230
that in turn, got back into the magazines.
237
00:11:17.230 --> 00:11:18.720
That's the payoff.
238
00:11:18.720 --> 00:11:21.263
That is how editorial works.
239
00:11:23.610 --> 00:11:24.973
When you're starting out,
240
00:11:26.360 --> 00:11:28.600
you might well have to do a lot of jobs for free.
241
00:11:28.600 --> 00:11:31.210
I mean, I still do a lot of jobs for free today,
242
00:11:31.210 --> 00:11:32.640
so you'll definitely have to do them
243
00:11:32.640 --> 00:11:33.630
when you're starting out.
244
00:11:33.630 --> 00:11:34.540
What you've got to be sure
245
00:11:34.540 --> 00:11:37.650
is that the client's aren't taking advantage of you.
246
00:11:37.650 --> 00:11:40.210
But if you say you're going to get your pictures seen,
247
00:11:40.210 --> 00:11:42.030
I mean, take editorial work.
248
00:11:42.030 --> 00:11:45.450
a magazine will get you access to subjects,
249
00:11:45.450 --> 00:11:48.330
you'll work with teams, you'll work with crews,
250
00:11:48.330 --> 00:11:50.710
and you'll get your pictures seen.
251
00:11:50.710 --> 00:11:55.210
You then take those pictures and you promote them to people
252
00:11:55.210 --> 00:11:57.520
that could pay you to do those jobs.
253
00:11:57.520 --> 00:11:59.220
So you have to do the stuff for free
254
00:11:59.220 --> 00:12:00.780
to get it in your portfolio,
255
00:12:00.780 --> 00:12:02.600
in order for people to pay you
256
00:12:02.600 --> 00:12:05.270
to do what they've seen in your portfolio.
257
00:12:05.270 --> 00:12:07.230
Because they're unlikely to look at your portfolio
258
00:12:07.230 --> 00:12:10.600
of car pitches and give you a job to do landscapes, right?
259
00:12:10.600 --> 00:12:12.466
It's just not what they're going to do.
260
00:12:12.466 --> 00:12:14.753
If you're a fashion photographer,
261
00:12:14.753 --> 00:12:17.440
they're probably not going to give you a commission
262
00:12:17.440 --> 00:12:20.140
to photograph dogs.
263
00:12:20.140 --> 00:12:22.850
If you want to make a living as a photographer,
264
00:12:22.850 --> 00:12:24.250
you have to think about
265
00:12:24.250 --> 00:12:27.540
the commercial application of the work you're doing.
266
00:12:27.540 --> 00:12:30.580
Where could you see that being used
267
00:12:30.580 --> 00:12:34.250
where it will actually benefit someone's business
268
00:12:34.250 --> 00:12:36.493
enough for them to pay you to do it?
19915
Can't find what you're looking for?
Get subtitles in any language from opensubtitles.com, and translate them here.