In a couple places I refer to something called “Copyleft“.  While the term–and the concepts behind it–goes back almost 40 years, it’s only been in the past few that it’s really gained a popular, mainstream, following.

As technology has made it easier for people to  share, modify, and make copies of “intellectual property”, special interest groups have pushed for stricter and stricter interpretations of copyright law.    The US Constitution  says “The Congress shall have Power [. . .] To promote the Progress of Science and useful Arts, by securing for limited Times to Authors and Inventors the exclusive Right to their respective Writings and Discoveries.”

Until the latter part of the 20th century, copyrights were short (28 years, with a 28 year renewal option).  Then, in 1976, Congress extended copyrights to 75 years or 50 years after the creator’s death.  In 1998, Congress extended them to 120 years, or 70 years after the creator’s death.   Under the current, strict  interpretations of copyright, this means it’s possible you couldn’t make a copy of your wedding photos (shot today by a 20-year-old photographer) until somewhere around the year 2180.  Your grand-children couldn’t scan a copy of your 170-year-old photo and post it on their geneology website.  They couldn’t share it with their family, donate it to a museum, or do anything other than hand it on the wall in their house.

Strict adherents to copyright insist that you, as a consumer, aren’t allowed to do anything with a copyrighted work except use it the way they say you can.

Copyleft rejects that idea–to varying degrees.

Over the past decade or so, copyleft licenses have met with a large number of legal challenges–which they have one.  This has established a legal precedent which means that people like me can feel secure using these licenses for our businesses.

People like me believe that you shouldn’t need to ask for special permission to use the things you’ve bought in the ways you want you.  However, we still want to be able to say that there are things you’re not allowed to do with our work.

In my eyes, I’m a photographer.  I get paid to take photos.  I’m not a print shop.  I don’t want to spend the time and effort to make 300 wallet-sized copies of the same photo.   And I certainly don’t want to waste time tracking people down to see if they went to the local pharmacy chain and made a couple copies to send off to Aunt Martha and Grandma Betty.

On the other hand, if you’re using these photos to make money… I expect proper compensation.

That’s fair, right?

So, when you shoot with me, you’re given explicit rights to make copies of your photos, to share them with friends, to upload them to your personal websites, to use them in your yearbook or church directory–all the normal things that people do with photos of themselves.  You can take them to whomever you wish to get copies made–from a professional lab to a photo kiosk in the mall.     And if, in 50 years, your children want to make copies, they don’t have to try and hunt me down to ask for permission: They’ll already have it.

For me, copyleft means I can spend my time being creative rather than worrying about Aunt Martha getting an “unorthorized copy” of your family photo.

Don's Marine :: Models = KjLyn & Chrystal

Commercial photography is a different kind of beast–one with a lot of variations. While it’s a small part of my business, I am available for commercial shoots showing your products in action or your facilities.

If you’re looking to advertise on your website, in magazines, direct mail, brochures, or any other visual media, it’s likely you’re going to want photos of your products, your facilities, or events where your services are being used. I can help you with that.

Commercial rates start at $650. This includes:

• Photographer’s time
• Image processing
• A DVD with final images in full-resolution .TIFF format for print, full-resolution .JPG format for print, low-resolution .JPG for digital publishing, and web-optimized .JPG for web site use.
• All rights to copy, publish, and distribute–including for commercial use. As copyright holder, I do reserve the right to block usage which I find to be morally objectionable (e.g., promoting racism).

Need more than just a photographer?

You’ve got a business to run. You don’t want to be dealing with details for a shoot; you just want it to happen. Through my network of contacts and photography associations, I can provide models, wardrobe crew, make-up artists, and even some specialized locations for your commercial shoot. You can specify what you’re looking for or leave it to me.

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Photographer

I first started working with photography early in high school. Even at that time, I was interested in looking at things differently; standard portraits and landscapes just didn’t do it for me.

I hold a Bachelor of the Arts in Technical Theatre (design) from the University of Wisconsin at Green Bay. 2 decades of working with lighting and design for stage and dance has given me a strong understanding of the rules of lighting and presenting objects and people–and the courage to step beyond those rules to create stark, powerful photos.

Philosophy

My job, as a photographer, is not to shape you into the pose I want; it’s to let you be you and capture the moments that show it off.

The moto of my company is “Truth, Lies, & Beauty”. Beauty is not only skin deep, and the camera always lies. The skill is in finding the lie that reveals the greater truth about a person’s beauty.

The photos I take are not airbrushed or “photoshopped”. If you’re looking for a glamorous photo with perfect skin and every hair in place, look elsewhere. If you’re looking for photography which understands that imperfections are what make a person interesting, this is the place.

Ownership

With most artists these days–including photographers–you’ll hear a lot of blustering about copyrights; namely all the things you’re not allowed to do with the photos you buy. A few of us operate under a different philosophy that’s come to be known as “copyleft“. There’s a lot of variation on the particulars, but the core idea is “Yeah… I still own the images I take, but I’m not going to get all bent out of shape if you choose to use them for personal stuff.”

As the photographer, I do own the rights to the images. But I’m not going to come chasing you down to check if you’ve made copies at the local photo-shack, or if you’ve posted them in your online profile. I’ve got better things to do with my time.

Where I will assert my rights is if you intend to use the images for commercial applications (advertising, for example), or for promoting things against which I have strong moral objections (racist propoganda, for example).

If you want to use the images for commercial purposes, we just need to add a rider to the contract stating that you’ve paid for this use (see the Rate Card for details). Not a big deal.

Operation

I work out of my small home studio, or on location. I’m casual, easy-going, randomly irreverent, and prone to get into strange contortions to get just the right angle for a shot.

During a shoot, my shutter is constantly moving. It’s common to average about 200 shots an hour. A lot of those will be junk. The vast majority will be okay, but not good enough. The few that remain, however, are where the camera’s lies reveal the truth.

I ask that models come to the shoot with a selection of their own wardrobe (excluding, of course, fashion and commercial shoots based on wardrobe). We will select the outfits that work best. A few tips on wardrobe:

• Solid colors work best. Large patterns can work okay as long as they aren’t too complex. Small patterns–especially stripes and checks–can cause strange effects when photographed. These effects are usually enhanced when images are resized. So… while the pinstripes may look great in real life, they can become a spastic disco pattern when posted online.
• Black fabrics will not show up as black. Black dyes are based on either a red base or blue base. Under studio lighting, that base color will show through. Our brains know how to adjust for the color changes of lighting; the camera does not. A black blouse & skirt combo that appears to match perfectly may show up as purple and green in a photo.
• Unless there’s a reason for tighter-fitting clothes, loose clothing tends to work better. Especially under harsh studio lighting, tight clothing tends to exagerate bra lines and panty lines and other unwanted features. Loose clothing also makes it easier for you move around and be yourself during the shoot.

I ask that models come to the shoot without makeup, but (if applicable) bring along a basic makeup kit.

Always remember that the shoot is about you. Don’t be afraid to do your own thing, ask questions, or make suggestions. Just don’t be offended if I choose not to take the suggestions.