A Digital P***ographer＇s Guide to Model Releases: Making the Best Business Decisi*** with Your P***os of People, Places and Things数字摄影师肖像使用授权指南：最佳商业决策与人、地、物摄影 mobi 下载 网盘 caj lrf pdf txt 阿里云

Scenario： You’re at your kid’s soccer match at school and you’re taking pictures。Being the p***o buff that you are，you get everything—kids scoring goals，parents screaming from the sidelines，the popcorn vendor，and fans in the stands。Later，you show the pictures to some of the people，and find that some want to buy a print for themselves。This becomes a popular event，and over time，your reputation grows。The local newspaper gets wind of your talent and wants to license a few p***os so it can put some in the paper for an article on the school’s sports curriculum。Perhaps some s***s are so good that the local gift shop wants to sell enlargements of the s*** you took of the winning goal at the state champi***hips。All’s going well，until someone tells you that you can’t do any of these things unless the people in the p***os sign a "release" allowing you to use their pictures。

This and other virtually identical scenarios illustrate a most common situation in which a p***ographer has to decide whether he needs a release from the people he is p***ographing。Whether it’s a school game，a music concert，an amu***t park，or a professional-league game—the circumstances may vary—but it’s all about the same thing: What are people’s rights concerning their own likenesses，and what are the rights of the p***ographer to use those p***os？ This book takes readers through the decisi*** and business opportunities that are affected by p***ographing people and model releases。

Looking to sell your p***os？ First，take this quiz!

•　Do I need a release for a p***o of someone I took in public？

•　Should I get a release even if the person is unrecognizable？

•　Is a release necessary if I make a profit selling a p***o of a person？

•　Do I need releases for p***os of buildings？

•　Are releases necessary for pictures of people from other countries？

•　I took a lot of pictures as a hobby，and now I want to sell them。Do I need releases for all my people pictures？

•　If I have no plans for a p***o when I take it，should I get a release anyway？

•　Does it make a difference if the subject was paid to be in the picture？

Give yourself one point for "Yes," and two points for “No”In fact，make it three points。If you scored higher than zero，you have a lot to learn about model releases，because you can’t answer these questi*** without more information。How will the p***o be used？ By whom？ Can the subject be associated with an idea，product，or service？ Until you know that，the question of releases can’t be answered。

As the p***ographer，you need to understand your buyer’s concerns in order to make savvy decisi*** about how you market your p***os and to whom。Here’s how to make money from all your p***os，whether or not they have releases，by understanding the business ***ects of the law。

作者简介：

Dan Heller is a freelance p***ographer based in Marin County，California．He is often on assignment，shooting images for adventure travel companies who use his work in their promotional materials．When he’S not traipsing across continents，he taps this great body 0f work to create fine art prints，and to relicense p***os for commercial and editorial uses，as part of his stock p***ography business．

Dan honed his p***ographic skills from years of taking pictures while on vacation．It was his decision to post those vacation p***os on his Web site that sparked a growing business，generating sales and transforming his hobby into a career．

Dan has since become a p***o industry ***yst，who writes about trends and developments that shape the future of the business，both from an individual p***ographer’S perspective and from the broader industry view．He is also a business c***ultant for companies entering or investing in the stock p***ography industry．You can read his blog on the subject at http：//danhelleLblogspot．corn

INTRODUCTION：

　HOW WE GOT HERE

PART 1：EVERYONE’S DOlNG ITSO WHAT’S WRONG7。

　Preempting Misinformation

　HOW to Think About Model Releases

　Hey,You’re Not a Lawyer

Remember：It’S Just Business

Working with Your Clients’Lawyers

PART 2：WHAT’S A MODEL RELEASE?

　Getting on the Same Page

　Who is Resp***ible7

　Litigation in a Nutshell

　Minimizing Your Involvement

　The Licensee’S Resp***ibility

How was the Image Acquired7

Was the Release Status Understood？

　The Practical Approach

　The Role of Ethics

　War Stories from the Muddy Middle

When the Best Intenti*** GO Awry

Pav the Quarter to Avoid the Parking Ticket

　The Bottom Line in Business

PART 3：UNDERSTANDING“USE

　Defining“Publishing

　Understanding Commercial Use

　Understandjng Editorial Use

Satire and Humor

Artwork

Blurred Lines

　The Perils of Publicizing

　Self—Publishing and Self—Promotion

PART 4：ANALYZING THE NEED FOR A MODEL RELEASE

　Risk Analysis：The Three Key Questi***。

How is the P***o to be Used

Is the Subject Clearly Recognizable

HOW Did You Take the Picture

　Model Releases and Compensation

PART 5：DISSECTING A MODEL RELEASE

　Contract Authorship and the Spectrum of Risk

　Your Own Model Release

Boilerplates Gone Bad

A Simple Sample Model Release

　Revising a Release

　C***iderati*** for Editorial Uses

PART 6：DEALING WITH PHOTOS OF PROPERTY

　Understanding Copyrights

Copyrights Protect Expression

When Being Inspired Is Not Copying

Establishing Copyright

　Understanding Trademarks

Trademarks Protect Identity

Limits to Trademark Protection

PART7：THE BUSINESS OF LICENSING

INDEX

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Scenario: You're at your kid's soccer match at school and you're taking pictures. Being the p***o buff that you are, you get everything—kids scoring goals, parents screaming from the sidelines, the popcorn vendor, and fans in the stands. Later, you show the pictures to some of the people, and find that some want to buy a print for themselves. This becomes a popular event, and over time, your reputation grows. The local newspaper gets wind of your talent and wants to license a few p***os so it can put some in the paper for an article on the school's sports curriculum. Perhaps some s***s are so good that the local gift shop wants to sell enlargements of the s*** you took of the winning goal at the state champi***hips. All's going well, until someone tells you that you can't do any of these things unless the people in the p***os sign a "release" allowing you to use their pictures. This and other virtually identical scenarios illustrate a most common situation in which a p***ographer has to decide whether he needs a release from the people he is p***ographing. Whether it's a school game, a music concert, an amu***t park, or a professional-league game—the circumstances may vary—but it's all about the same thing: What are people's rights concerning their own likenesses, and what are the rights of the p***ographer to use those p***os? This book takes readers through the decisi*** and business opportunities that are affected by p***ographing people and model releases.