| No, I don't mean to incorporate. Instead, take on the | | | | As a freelancer you are free, you need not be |
| image of a corporation. Become a monopoly. Become | | | | subjugated. It's freedom when you are not struggling |
| so photographically powerful that the 'real' corporations | | | | with corporate entities. You can expect to give up part |
| can't interfere with your stock photography enterprise. | | | | of your freedom if you let someone subjugate you. |
| More on this shortly. | | | | We have come to a fork in the road when it comes |
| First--historically, last-century corporations could offer | | | | to freelancing. Forget working with the corporate world |
| security to freelancers in the form of enticing | | | | on their terms. The Internet has empowered us with |
| contracts. However, history has also shown a | | | | the opportunity to pursue a new direction. |
| corporation can treat the freelancer like a servant. | | | | YOU HAVE THE ACE |
| When you are no longer useful to them, they would | | | | The publishing houses of the future are no doubt going |
| drop you. Or change the rules when they felt like it. | | | | to select photographers and authors who will follow |
| Period. | | | | corporate guidelines and contracts. However, stock |
| THE ANNUITY CUT-OFF | | | | photo corporations and major publishers will always |
| Part of the advantage of being your own boss is that | | | | make exceptions for artists who have something |
| the value of your stock photography will pass on to | | | | special - and your ace in the hole is that you will |
| your spouse and heirs. Not so with most corporations. | | | | specialize in the very subject they are looking for. |
| There's a cut-off, and a recent ruling by Time Inc. | | | | It's going to take some re-building on your part. Sure. |
| reminded us of this recently when former LIFE | | | | And before you take two steps forward, you are |
| Magazine photographers, including Gordon Parks, John | | | | going to slide one step back. This is not short-term |
| Loengard, among others, learned that the 50% of net | | | | riches, it is long-term security for your solid place in the |
| income from sales of their images to third parties will | | | | world of stock photography. |
| continue to be awarded to surviving spouses, but will | | | | Do some self-examination and decide what your real |
| end there. Children or other heirs will not benefit. | | | | interests are in photographic subject matter |
| WHICH GROUP ARE YOU IN? | | | | (archaeology, wild flowers on the seashore, rock |
| Freelancers tend to divide into two groups. Those that | | | | bands, penguins, song birds) and become a `monopoly' |
| operate by tried and true methods of the past. And | | | | of your own. |
| those that roll with the times and adapt. | | | | The Web now offers you dozens, even hundreds of |
| One group of us is going to spend a lot of energy | | | | new markets, who are waiting for you, if you take |
| fighting to maintain a 1900's way of doing business. | | | | action. The generic image is out. It belongs in the files |
| Even if this group wins the fight (Number 1 above), it | | | | of Royalty Free. What do you care if you can no |
| might get them a contract that just very well might | | | | longer sell your generic photo of a seagull against the |
| land them right back where they were: kowtowing to | | | | setting sun, or that picture of the senior citizens riding |
| the ever-growing size of the creative corporate world, | | | | bikes in the autumn foliage? These kinds of pictures |
| --the recording industry, major stock photo agencies, or | | | | are already gobbled up by the huge major |
| multinational publishing houses. | | | | conglomerates. Photo researchers already know |
| Some photographers appeal for pity from the | | | | where to find them. Forget it. That era is over. |
| corporations, the public, and other photographers. | | | | This is a payback. All you have learned about how |
| These photographers talk about their mortgage and | | | | corporations treat their clients, customers, and workers, |
| saving for their kids' college tuition. Other veteran | | | | you can now forget. You will be a sought-after |
| photographers talk about having to change their | | | | specialist with a collection of specific kinds of photos in |
| operating methods so late in life. Other photographers | | | | your specialty niche area(s). |
| are giving up in despair, saying they will no longer | | | | When a photobuyer anywhere in the world needs |
| photograph again - so disheartened are they in the | | | | your kinds of photos, he or she will come directly to |
| way this New Media world is treating them. | | | | you. They won't go through the 20th century labyrinth |
| The other group is going to say they don't want to be | | | | to find you--they will search peer to peer (like Napster), |
| tied to any contract, that they are free, and they will | | | | or the 21st century Web, and find you immediately. |
| become a mini-corporation unto themselves, and take | | | | Will they demand additional electronic usage? Yes |
| on the 'look' of a corporation, call the shots, and | | | | they will, and your fee for electronic use has already |
| become involved in a niche area they enjoy, where | | | | been built into your new pricing structure. Whether they |
| the corporations must come to them - because they | | | | do re-use your photo electronically or not will be up to |
| have the needed photos - because the images exist | | | | them. |
| nowhere else. | | | | HIGHER FEES |
| Don't belly up. It was bound to happen. Instead, let the | | | | The corporate people will accept your higher fees |
| old way of marketing your pictures slide into oblivion | | | | because you will have migrated from producing |
| and don't try to cling to it. | | | | corporate generic pictures to becoming a specialist. |
| My point is this. Forget it. Start anew. Yes, fight to | | | | You don't need the corporations -- they need you. You |
| retain the rights you thought the copyright law provided | | | | won't deal with a single corporate entity anymore. |
| you in the past (Number 2 above), so you can pass on | | | | You'll deal with dozens or hundreds, depending on your |
| the benefits of your earlier work as an annuity for | | | | specialty(ies). You will become a specialist in the very |
| your children and grandchildren. Then, instead of fretting | | | | area where they need convincing photography. They |
| about which way the current "Us versus Them" case | | | | can't afford not to pay you a healthy price for your |
| is going to turn out, put your energy and efforts to the | | | | work. |
| new avenues that the electronic world of delivery of | | | | So you see, although you are not strictly a corporation, |
| information and photos has to offer you. | | | | you can reverse your marketing tactics and employ |
| I say, step away from the old mold of tight contracts | | | | the same business principles corporations use, and |
| with corporations. The Internet is changing for the | | | | become a legal `monopoly' (corporations are not |
| better every eighteen months, empowering stock | | | | allowed by interstate commerce law to be a |
| photographers in the progress. Hold on. The balance of | | | | monopoly). You can become a `monopoly.' The beauty |
| picture power is going to shift to you, the individual | | | | of it all is that you are engaged in a monopoly that is |
| entrepreneur. You will no longer need the "security" of | | | | self-satisfying and one without stringent contract |
| a corporate publisher. Instead of you going to them, | | | | demands. You can't help but succeed in the new stock |
| they will be coming to you. | | | | photography environment. |