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Sunday, November 6, 2011

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Best Business Practices for Photographers Review

Here's a well written photography book that most photographers will not want to read. That's because it's aimed at professional photographers who already have at least a little business experience under their belt. Moreover, it's aimed at assignment photographers, rather than studio or fine arts photographers, although some of the people who shoot in these genres may benefit from discussions of things like rights, pricing and insurance. It's all business, with no photographic technique or vision (although Harrington certainly does describe business techniques and vision). Finally, even though it's an excellent book, it does not deal with every aspect of the business of photography.
The author begins by reminding the professional photographer that he is in business. There is a brief discussion of equipment in which the author urges the readers to get the best equipment he or she can afford, and a warning that the professional had better consider the logistics of every job.
In another part Harrington discusses working with assistants, employees and contractors as well as pricing, including consideration of factors like retirement accounts and insurance. He discusses hiring accountants and lawyers. To me, the meat of the book is in the discussion of contracts. Besides furnishing the reader with samples of his own documents, he explains essential provisions. There are also chapters on infringement and enforcing contractual rights. There's a brief tour through archiving images, although the essence of Harrington's message is, read Peter Krogh's "The DAM Book", a point with which I heartily agree. The author also touches on the market for stock photographs.
He finishes the book with chapters on care and feeding of clients (literally), training yourself and others, and a discussion of your obligations to your family and community.
A theme that keeps coming through is the importance of protecting your work by making sure you keep your ownership interest in your images and that you charge enough for their use. I agree with Harrington, but he certainly is a little strident on the subject.
I do have bones to pick. He covers the IRS's 20 factors that determine if a person is an employee or a contractor, which is important if you don't want to be responsible for paying that person's Social Security and income taxes. He suggests ways of avoiding the characterization of a person working for you as an employee. However, if you follow his suggestions and comply with federal regulations, you may find yourself paying someone who can't be made useful to you, or alternatively paying those taxes at a later date. Read this section with care so that you understand the regulations, but then discuss it with your lawyer.
There is also a discussion of negotiating indemnity agreements in contracts. I suspect many readers don't even know the consequences of an indemnity agreement, which will make it difficult to negotiate these provisions. Hopefully this will be explained in the next edition.
Finally, Harrington is sometimes hardnosed in his advice for dealing with clients. If you follow his advice, you better make sure your diplomacy skills are also in place.
Photographers who are just getting started in business would probably benefit from reading books like "Starting Your Career As a Freelance Photographer" by Tad Crawford or "American Society of Media Photographers Professional Business Practices in Photography". However, once you are on the road as a professional, this is certainly a must-read book