Posts tagged maine photographer

Showcase: York County Community College

February 28, 2023 0 Comments read Blog, Client Work, Editorial, On Location, Showcase

YVCC — *York County Community College, © Brian Fitzgerald*

Over the past few years, I’ve worked with the Maine Community College System (MCCS) to highlight the workforce training programs at their seven campuses across Maine. These programs are designed and targeted to the needs of employers in Maine and are often a pipeline directly to well-paying professional jobs immediately upon graduation. Programs are diverse, ranging from nursing and culinary arts to project management and Amazon Web Services (AWS). The list is endless and always changing to adapt to the needs of the state’s employers.

We highlighted a few of the workforce development programs at York County Community College last year and tried to also capture some of the sense of community and connection between students and their faculty. It was a great opportunity to tell a story about a Maine institution that offers such incredible value to the community.

*York County Community College, © Brian Fitzgerald*

Leave Room for the Muse

February 21, 2023 0 Comments read Blog, Creativity, Personal

Maine Brewer — *Behind the scenes,Peter Bissell, Bissell Brothers Brewing, Portland, Maine. © Brian Fitzgerald.*

When I hire a skilled professional—like the folks who installed my bathtub last year (really sorry about the non-code stuff you found and then had to correct), I like being able to trust that they know what they are doing and can be left to execute the vision as they best see fit. My role generally consists of leaving the room or my house entirely and then showing up hours or days later for the big reveal.

The hands-off, “pro knows all” approach is one that some of my clients take when hiring me, and it works very well for certain types of projects where the outcomes are very clear and precise. But my favorite type of work tends to be more collaborative and made better through creative give-and-take during the process rather than just beforehand (Good examples are my editorial coverage of Maine Gov. Janet Mills’ campaign and the Fish + Game Changers project for the Maine Dept. of Inland Fisheries).

It’s fun working with agencies, who might have art director types who work closely with me to ensure the vision is evolving in the right direction. Evolving is the operative word here, because almost every remarkable project I’ve worked on has become that way because the creative partners—the client, the art director, and me, the photographer—are willing to start with the vision and then go where it naturally takes us. You have to be open to creative influence, or as author Steven Pressfield might note, you have to leave room for the Muse to do its work. Flexibility and creative collaboration are sure ways to elevate the final results of any photo or video shoot. Rigid, blinders-on thinking are sure ways to kill the creative magic.

Want Headshots and Portraits for your Brand? Consider This.

September 1, 2021 0 Comments read Blog, Education, Marketing, Shop Talk

Headshot treatment for Ecommerce marketing agency iBec Creative: bringing personality to the standard head-and-shoulder portrait.

You’ve long suspected that your company’s staff portraits are in need of updating (Ted’s skinny tie has gone in and out of fashion since his portrait was taken. Twice). Your biggest competitors on LinkedIn, have amazing portraits (is that a tiger in the backround?) and between the shame and the frustration, you’re determined to hire a photographer, now.

Hold on just a second.

If you’ve waited this long, it’s worth pausing a moment to reflect. ‘Everyone else is doing it’ is not a good enough reason. A well-done portrait is an investment in time and money. Chances are you’ll be using those portraits for years (or until Ted’s tie goes in and out of style one more time). So it’s worth considering what your goals are.

When to get new headshots

The single most important question to ask when contemplating a new headshot project is, simply, ‘are my current portraits working for me?’ Your brand portraits aren’t just a nice-to-have. As a business tool you should expect them to do some heavy lifting representing your brand to potential clients, around the clock. Your portrait, in effect, should work harder than you do. If your existing portraits are obviously outdated, are wildly inconsistent, or just have a style that doesn’t fit your brand (cool ‘tech’ style portraits wouldn’t inspire confidence if used for the staff of a venerable investment bank, but they may be a good fit for an online banking startup that offers services exclusively through mobile apps) then your portraits are actually working against you.

Branding Portraits

What makes a ‘good’ headshot

Your company portraits must be consistent in style and professionally executed in terms of lighting, of course. They also need to be purposefully thought out so that they reflect your industry and your brand in particular.

A professional photographer can help come up with appropriate and creative looks for your brand.

It’s true, a great portrait can help your brand communicate the message you want to your audience. But poorly-done and poorly-conceived portraits will absolutely hurt your brand.

What makes your headshots successful

Beyond hiring a professional photographer you ‘click’ with and who understands your brand, you need to have buy-in within your company. Everyone needs to be on board. Don’t attempt a headshot redo unless you can count on everyone to participate. Give yourself adequate time to do the portraits right—a two-minute assembly line approach will result in headshots, but they won’t be anything special. Set the tone that these portraits are a critically important component of your company’s image that you are invested in doing right. For many employees, having their portraits taken is a challenging or even downright scary proposition. Communicating why youre have them done, and giving them plenty of time to prepare, tells them that you care about their experience and want the best results.

Formal headshot vs. Environmental portraits

Formal headshots—i.e., a more typical head-and-shoulders portrait with a backdrop—is a traditional approach that still has its place. They are especially useful on platforms like LinkedIn, where seeing the person’s face (and not getting distracted by a background) can make them stand out.

Environmental portraits are those that are typically done in a way as to show elements of an office or other location in the background as a way of conveying contextual information or a certain mood. They may appear more visually interesting and can look less ‘formal’ and thus more approachable than a more formal headshot portrait.

Your photographer should work with you to suggest the best approach for your brand. Sometimes my clients will opt for both, so they have options that may work best for different uses.

In the end, portraits are a necessary part of doing business in an internet-connected world. Approach them as an opportunity to extend your brand and send a consistent message, and you’ll find the investment is a solid one.

Fitzgerald Photo: new look, new work

May 18, 2021 0 Comments read Blog, Showcase, Video

female lobsterman

I’m proud and excited to relaunch the Fitzgerald Photo website with a brand-new look and lots of new work, including commercial video production.

Primarily, I’m a portrait photographer who is known for producing impactful work on location. With my photojournalism background I consider more of a storyteller—whether conveyed through environmental portraiture or in the form of a multiple-image photo essay.

On the website I’m introducing video work for the first time. I decided to add motion because of the unique storytelling aspects that motion imparts to my work. The still image is incredibly powerful, but sometimes stories are best told in sequences with motion and audio. It’s yet another set of tools that can help me to tell more impactful, powerful stories for my clients.

Stay tuned for more motion projects, and new work from Fitzgerald Photo.

Not sure how to incorporate video into your content marketing? Contact Fitzgerald Photo. We can help!

After the Shoot

September 1, 2020 0 Comments read Blog, Business, Marketing, Shop Talk, Tools

construction silhouette — *© Brian Fitzgerald*

It’s a great feeling knowing that the shoot you’ve been planning for is complete. But just as the real work of planning begins long before the actual shoot date, there is still much work to be done after shoot day is over and the gear is packed away.

It may be days until clients get to see their images, but our job is just beginning. We start by archiving our precious files per our 3-2-1 system and scanning releases and other paperwork. Most critically, our post-shoot ritual involves a reflection on the shoot itself: the shoot post-mortem.

Post Mortem
The post-mortem is based on the After Action Report methodology used by the military and other organizations to retrospectively analyze our performance and improve it for the future benefit of our work and our clients. This is especially true when things don’t go according to plan (It’s important to note that this is a feature, not a bug; being flexible and able to pivot leads to often surprisingly great results). Discussing these unplanned events, as well as outright failures, leads to big leaps in understanding that help us when it comes to future projects.

We use checklists, write notes and have discussions about everything from subject interactions to shoot timing to gear performance. We’ll brainstorm how to improve in the future. These notes will be organized into actionable steps and to-do items that get added to our calendars and followed up on later.

Editing
Over the course of the next several days, we edit images using a multi-step culling process. First, we discard the obvious ‘bad’ images—out of focus frames, technical snafus, or closed eyes, for example. Subsequent editing rounds cull down even the largest shoots down to a manageable number that will in turn be toned and shared with clients so that they can make their final selections.

Post-Production
Once clients select their images, we process them for delivery and use. Our goal is not to make people look unrealistic and “Photoshopped”, but to apply toning and contrast, and clean up issues with skin, hair, or backgrounds. It may involve perspective correction and ‘merging’ multiple images together. More typically, it consists of mitigating skin blemishes, correcting skin tones and producing high-resolution image files that will reproduce well in print and online.

Image Delivery
Because our clients are businesses, agencies and creatives who utilize digital files for their own uses, we deliver high-resolution digital images optimized for their intended use.

We use Photoshelter.com for our client proofing galleries and also to deliver final electronic files to clients. We may utilize WeTransfer or Dropbox as well, depending on client needs. Photoshelter is a great, visual, easy-to-use system that works great for our clients in most situations.

Once files are delivered and in use, the shoot is over—yet the work of continual improvement continues. When we arrive at a shoot location, we bring with us the knowledge acquired from hundreds of previous shoots. Our clients benefit—as do we—from each part of our system having been tested and vetted through real-world application and use.

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Want to know more about our process? You might be interested in our posts on the right questions to ask yourself before hiring a photographer , what to expect once you’ve hired a professional photographer or what to expect when shoot day arrives.

Success on Shoot Day is No Accident

August 25, 2020 0 Comments read Assignments, Behind the Scenes, Marketing, Shop Talk

Policeman shoot

Shoot Day is finally here.

You’ve planned for success, arranged for staff, customers, or talent to be on hand. Your space is cleaned and you’ve gotten confirmation from all parties including the photographer. The day you’ve been planning for has finally arrived.

The adage, “failure to plan is planning to fail’ is an apt one when it comes to a shoot. Avoiding details and decisions until the day the photographer and crew show up means, at a minimum, leaving the success of your shoot to chance.

If you have a talented photographer working with you, you may get lucky. They will likely get interesting images that accurately show what is happening in your business.

What you won’t get—except by accident—is purposeful imagery that goes beyond the obvious and allows you to propel your brand visually. This kind of work only comes from planning and conscious decision making before shoot day.
An experienced pro photographer will not arrive without a plan (even if it’s a minimal, stripped-down one), formulated in communication with you beforehand.

It’s not the size or complexity of the plan that matters; it’s whether there is a plan at all, whether the right questions are asked and answered, and whether the plan is appropriate to the task at hand.

A portrait shoot requires different planning and approaches than an event shoot. But what unifies them is knowing beforehand what are the deliverables, the must-haves, and what would (in your mind) make the shoot a success. Assuming these are in place, your shoot day is on its firmest possible footing. The hardest work should already be done. Today is the culmination of the work done days or weeks before.

You can expect the photographer and crew to arrive at least an hour before the start of your shoot. If it’s a complicated production or involves video, this setup period could be several hours rather than just one.

The photographer will go over the basic shoot plan and will be in constant contact with you or a designated point of contact throughout the shoot. If you’ve planned to be involved in the direction of the shoot, or to view images as they are being created, there will be constant interaction as the shoot progresses. Otherwise, there may be short updates as the shoot progresses.
If changes occur over the course of the day—as invariably they do—the photographer will update you and if decisions need to be made, will be ready with recommendations and options.

What you should expect from your photographer, always, is great communication. If they are unclear about something, they will ask you rather than making assumptions that lead to reshoots later on.

Your photographer is also there to protect you. This means, among other things, managing the set and crew. This means not putting people or equipment in dangerous or damaging situations. This means having commercial insurance sufficient to protect you and their crew in the case of an accident. It also entails ensuring model and property releases get filled out by the necessary parties, protecting everyone in the process. On a less dramatic but no less important level, it means being a de facto member of your team; mindful of situations that are good for you and avoiding that which isn’t. On scene, we are your ambassador and act accordingly when dealing with your team members and/or customers.

At the end of the day, you can expect that the shoot location will look the same as it did prior to the photographer’s arrival hours earlier. I joke that our job is primarily to move stuff around and occasionally we pick up a camera. We want to leave behind a positive experience and not create extra and unnecessary work for anyone else. Your brand is our brand and on shoot day we’re all on the same team.

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You’ve Hired Us. Now What?

August 11, 2020 0 Comments read Blog, Business, Marketing, News, Photographers, Shop Talk

If you’ve made the decision to hire a professional commercial photographer for your brand, company or organization, you’re likely wondering: what happens now? At Fitzgerald Photo, our goal is to showcase your brand and make your products, people and services shine. In order to do so, we follow a well-defined path that we know leads to great results.

Onboarding
As soon as the ink is dried on your contract and terms, planning starts in earnest on your project. From your perspective as the client, you can expect to receive regular and clear communication from your visuals team. If you’ve never worked with us before, you’ll get a welcome packet with information about our company, the services you’ll be using and our workflow. We use specific software and other tools to collaborate on projects and this is where you’ll find out how that all works. You’ll also discover the answers to many of the logistical questions you might have; everything from the size and type of image files you’ll receive to our post-production process and the protection and long-term storage of your image assets.

Planning
Planning for success includes meetings to discuss expectations, goals and logistics (whether in-person or, these days, online or over the phone). We’ve found that the more work and care put in at this stage, the smoother (and better) things are when it counts—on shoot day. These meetings don’t have to be a huge time commitment; we have no love for unneeded meetings and can guess you don’t either. Depending on the project, this may simply be a series of detailed emails outlining and getting consensus on the shoot day plan. At no point should you be wondering why you haven’t heard a word from your photographer a few days before a big shoot.

Scouting
Site visits are an important part of the planning process. There’s nothing like seeing the spaces we’ll be shooting in to prepare us for the possible hitches we may encounter or the opportunities we can take advantage of. In cases where an in-person visit isn’t possible, we may request phone snapshots of the site(s), which in combination with Google street view images help form as complete a picture of the location as possible.

Useful Communication
We believe in clear and appropriate communication. This means that you’ll know when and if anything changes that might affect you, from the weather on shoot day to unanticipated changes that affect delivery schedules (unlikely, but it can happen). You’ll get confirmation every step of the way, including the shoot day schedule, the specific team members you’ll be dealing with, as well as arrival, setup, breakdown and departure times. While we can’t keep surprises from occurring, we can minimize the amount that occur just through regular communication.

Shoot Day
Shoot day often involves last-minute, unexpected and unanticipated events. These can be as minor as a model getting delayed in traffic by five minutes or as dramatic as a power failure that shuts down the site an hour before shoot time. Most are somewhere in between. You’ll be prepared because we will have outlined what to expect should many of these minor or major events occur, ahead of time. You can trust that we have the experience to roll with whatever changes come; in fact, we welcome changes and believe that flexibility leads to more creativity and better results. The last thing we want to do is be so rigid in our planning that we stick to the schedule no matter what, instead of taking advantage of a better visual opportunity—or a serendipitous need—that arises on the fly.

Having a solid plan, but being flexible to changing the plan as needed, enables shoots to proceed and be successful no matter the circumstances. Unplanned changes often mask new visual opportunities that may end up showcasing your brand in ways we hadn’t imagined, but end up being far more interesting, genuine and authentic.

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Want to know more about our process? You might be interested in our post on the questions to ask yourself before hiring a photographer, what to expect on shoot day, or what happens after the shoot is complete.

Before hiring a photographer, interview yourself

July 21, 2020 0 Comments read Blog, Business, Marketing, News, Photographers, Shop Talk

Hiring a photographer can be a challenge. For those who don’t go through the process very often, it usually means spending hours on Google or social media to find qualified professional photographers; having multiple discussions; then vetting estimates that (hopefully) come in under budget and on time. That’s in addition to whatever work is already on your plate.

Things change quickly in the photography world. If you don’t regularly work with a preferred photographer, you might find that the one you last relied on is no longer in business, or is too busy to take on new work. You’re soon typing terms like “best commercial photographers” into your search bar and scratching your head at results that include everything from weddings to pet portraits to products for catalogs.

Sorting all of this out takes time, and then once you’ve connected with a likely short list of photographers, the process of outlining goals and requirements begins. This is followed by evaluating the estimates, which can vary wildly between photographers due to their varying backgrounds, experience and preferred ways of doing business.

I’ve written before about the questions to ask when hiring a professional photographer. Before your initial conversation, here are a few tips to better prepare you for the process of determining the “best” photography professional for your needs. Doing just a little prep work before you make that call or send that email will reduce your effort, frustration and will maximize good results.

Where are your photographer leads coming from?
You can make some quick assumptions depending on where your leads are coming from. Referrals from a trusted colleague or other source are great because you can assume the photographer is a known quantity, and move on from that basis. Referrals from a professional photography association or paid listing website (ASMP, APA National, NPPA,
, and others) allow you to view photographers by specialty and portfolio. You can assume these are experienced pros that have the experience to guide you through the requirements process and will ask questions you might never have considered. The most common referral source, Google and social media, is great but requires a bigger investment of time to sort, weed out and establish fit. I’d recommend it as a supplement to the first two sources.

What is your brand all about?
How would you describe your brand and brand mission? What key adjectives best describe your brand? What are your long-term brand goals and objectives?

What are your goals for this project?
Is this photography project a quick one-off or are you building a brand-consistent visual library that you’ll use for years to come? If you’re after a quick hit, you can always pivot if it doesn’t work as you’d like, or if the photographer isn’t the best fit. If it’s the latter, choosing a photographer for a long-term relationship is a better approach.

What is your budget?
Photographers will always ask—or should. Knowing your numbers isn’t a license for the photographer to charge the maximum fees they can while hitting strategically below your top line. What it does is put you in the driver’s seat. Of all the variables that comprise a good estimate—time, money and quality—a photographer needs to have a sense of your limits and expectations for all three in order to come up with an estimate that works best for you. A budget helps orient your photographer and gives them necessary information. Is the budget close to what they feel the job is worth, requiring a little negotiation or adjustment of services to meet? Or is the gulf between the two so vast that it’s a waste of your time and theirs to proceed? It’s helpful to know this fairly early in the process. It doesn’t have to be uncomfortable; for professional photographers it’s a routine and necessary question and they’ll respect you for having defined what you can spend ahead of time.

What are the ideal outcomes from doing this project?
Do you hae specific outcomes in mind (selling a service or product), or more general (creating brand awareness)?

How long do you plan on using the images?
Will these images really be useful to you in a couple of years? What about after 10 years, when (perhaps) many of the team members in the images are no longer with the company and the clothing/hair styles start to look a bit dated? Depending on your brand and industry, images may age very quickly or very slowly. Knowing the answers to this question can save you money, since in most cases the longer you use an image (i.e., the more value you derive from it over time), the more it can cost.

How do you plan to use the images?
Are the images going to be used for a specific print or online campaign? Will they be part of a display ad? Or will they be added to your library, to be used in less specific and more numerous ways for years to come? Will they be part of local or regional advertising or will they be used nationally or world-wide?

Who are your target audience/clients/customers? Why are you reaching out to them?
Who are you trying to reach? When they see these images or video, how do you want them to feel? Do you want them to take specific action (buy something) or to emotionally connect with you and your message, building a long-term relationship?

What problems can the photographer help you to solve?
Professional photographers are more than just button pushers. We are masters of organization and logistics. We help hire models, makeup stylists, arrange for locations, art direct, and can help strategize with you on the creative direction a shoot should go in. We can be a straight service provider, creating images to a pre-defined specification, or we can be a creative partner using their vision to create something unique. What is helpful to you, your brand and your organization at this time?

These are the types of questions that you can expect your photographer candidates, in one form or another, to ask to you. Knowing what photographers are looking for and the information they most need will help you to be prepared to make decisions based on your brand values and goals, and will lead to a much better process and estimates, too.

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Want to know more about our process? You might be interested in our posts on what to expect once you’ve hired a professional photographer, what happens when shoot day arrives or about our process once the shoot is complete.

Five Clicks: Your Blursday Playlist

July 14, 2020 0 Comments read Five Clicks, Inspirational, Shop Talk, Tools

The last few months have been a long, strange trip indeed. My teenage daughter came upstairs last weekend and asked when I was going to work, then seemed confused when I told her, “It’s Saturday.” 2020—since March, at least—has been that kind of year. It’s hard to know when one day begins and another ends, with the actual day of the week ceasing to be relevant. As my filmmaker friend Jonathan puts it, “Every day is Blursday”.

I’d like to share what I’m listening to this week in the studio: call it my Blursday Playlist. Five things I’m listening to, reading and watching that inspire and inform and serve to remind me that I’m actually connected to a bigger world out there. I may not always know what day it is, but I can still use my time well.

“1619“, New York Times (Podcast)
Hands down the favorite thing I’ve listened to in a while. The six-episode series takes us back to the very beginning of slavery in America, when a pirate ship called the White Lion landed at the British Jamestown Colony near present-day Hampton Roads, Virgina and traded between 20 and 30 African prisoners for supplies. This small group of Angolans were the first of the multitude of African slaves to follow. 1619 is long-form audio journalism at its best.

“The Jordan Harbinger Show” (Podcast)
I’m sure I’m late to this particular party, but I only started listening to Jordan’s podcast post-pandemic, when I was looking for something I could do while taking walks. His long-running show (currently with 378 episodes) consists of interviews from interesting and inspiring people as varied as Bill Nye (the Science Guy) and Frank Abignale Sr. (the real-life subject of the movie Catch Me if You Can). Very entertaining and always interesting–you’ll definitely learn a thing or two.

ChilledCow (Livestream)
My daughter Maggie is the source of this lo-fi playlist, available on Youtube and Spotify. The creator, ChilledCow, started a 24/7 livestream on Youtube featuring this music back in 2017 and just…never stopped. By the time Youtube mistakenly shut it down temporarily earlier this year, it had chugged on for some 13,000 hours, churning out mellow hip hop beats that somehow are that perfect white noise when you have to study or chill.

“Shadow Country” by Peter Matthiessen (Novel)
Matthiessen’s sprawling historical epic is actually three books in one: “Killing Mr. Watson” (1990), “Lost Man’s River” (1997) and “Bone by Bone” (1999). At over 900 pages, it’s perfect for these socially isolating days. Set in the lawless wilds the Florida frontier at the turn of the 20th century, Shadow Country is a portrait of an American outlaw and sugar planter who meets a violent end amid a landscape of racism and exploitation.

“I am Not Your Negro” (Documentary)
A searing essay by Raoul Peck based on author James Baldwin’s unfinished book that NYTimes critic A.O. Scott calls “an advanced seminar in racial politics.” My daughter chose this one for movie night, which lead to a deep discussion about race, history, and equality. A few months ago, my daughter was perfecting the dance to “Renegade” on TikTok and today she’s deeply passionate about the state of our world. Watch it, but be prepared to really see.

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What’s Your Image Worth?

June 23, 2020 0 Comments read Blog, Education, Marketing, Shop Talk

Portland Firefighter — *Firefighter Chris Tillotson, @Brian Fitzgerald*

As a professional commercial photographer, my job is to protect my client’s images as well as their image. This entails safely archiving their digital files so they can found months or years after a shoot, but it also means that I safeguard how those images are used and who gains access to my clients’ images in the future.

Depending on my specific contracts and releases, I often have the legal right to reuse images for multiple purposes after they are first used. Aside from incorporating some of the images into my blog and portfolio, I almost never do so, especially if the images were taken on assignment for a client (rather than taken as part of a self-assigned project). Why? Because once I photograph someone, I take on the responsibility—sometimes legally, always ethically—to safeguard their images so they aren’t used in ways my clients wouldn’t be comfortable with.

The most obvious example might involving selling images I’d taken for a corporate client as ‘stock’ images through a stock agency like Getty. Imagine my client’s surprise when they see a billboard advertising a competitor across town using an image of their staff or clients that they paid me to take a year before. In very short order, I’d be looking for another line of work.

The number one job of a professional photographer is to serve our clients and their interests first, not our own. In effect, we’re a member of their team and need to be careful to make sure their images are not used in off-brand or unapproved ways.

A less obvious example occurred this past April. It appeared in the form of an email sent by a photographer agency to its member photographers including me, requesting we submit gritty portraits of workers on the front lines of the pandemic: rescue personnel, healthcare providers, delivery drivers and others. A national (and unnamed) insurance agency wanted to use these images in a 6 month national ad campaign. They’d pay $3000 per image used, split evenly between photographer and the agency.

I considered the request. I have a large library of images of front line workers, mostly created not for clients but as part of personal editorial projects. Technically, I have the copyright and releases allowing me to reuse and resell these images. Back in April, with the pandemic shut-downs in full swing and uncertainty about future income, it was a tempting offer.

I could imagine the result of the campaign—a video depicting grave-faced police officers, firemen and nurses with a dramatic voiceover and swelling background music. At the end, the logo of some national insurance company would appear, and the unwritten message would be: we want to associate our brand with these popular heroes so you’ll think we’re special too.

Then I imagined the surprise of my portrait subjects in seeing their image being used to shill for a company that they’ve never heard of for a service they’ve never received. I thought of them, essentially being used to confer their heroic status to a large insurance company that doesn’t care about them personally but just want them for the uniforms they wear and the trust they confer.

I declined to participate. Just because I can legally do something doesn’t mean that I should. Whether a paying client or not, anyone who ends up in front of my camera are relying on me to protect their single most valuable asset—their image—and make good choices on their behalf.

I can’t judge photographers who chose to participate, either because of their financial situation or due to agreements negotiated between them and their subjects beforehand.

This anecdote highlight the importance of having discussions about future image use between photographers and their clients and subjects, with clear expectations written into a contract. In absence of such an explicit agreement, photographers should always remember that image, and reputation, is worth more than a quick hit of cash. Protect your brand and your images and make sure your photographer does, too.

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