Elysee Restaurant, 13 Percy Street. Photo: The Fitzrovia News.
One of London’s oldest Greek restaurants has lost its licence after a string of warnings over serious crimes allegedly perpetrated at the venue.
Elysée at 13 Percy Street in Fitzrovia, a “focal point of the Greek community”, opened in 1936 and has since boasted famous clientele including the victorious 1966 England football team,…
I just finished listening “kids, wait till you hear this!” by my oh so beloved Liza.
I’m not going to talk about whether the reading voice was enhanced by AI or not. I heard Liza, and I love it. I won’t go into scandals, and I won’t go into Substance Use Disorder—I had my share of that with my Dad.
But I will go into the showbiz stuff… and it breaks my heart to learn how Liza has been stolen…
I wanna post a cover/remix of a song I’m making on youtube, but I genuinely have no idea how licensing of stuff like that works
like is the artist gonna block my video or just monetize it for themselves or what
for the record I have no intent of attempting to monetize this, I’m just doing it as a fun project and to put music on the internet
Poiché scrivere codice diventa sempre più economico, questo include anche le reimplementazioni. Di recente ho raccontato che un'intelligenza artificiale ha effettuato il porting di una delle mie librerie in un altro linguaggio e che ha finito per scegliere un design diverso per quell'implementazione. Per molti versi, la funzionalità era la stessa, ma il percorso seguito per arrivarci era diverso. Il porting ha funzionato tramite la suite di test.
Qualcosa di simile, ma diverso, è accaduto con chardet . L'attuale manutentore lo ha reimplementato da zero, indirizzandolo solo all'API e alla suite di test. La motivazione: consentire il passaggio dalla licenza LGPL al MIT. Personalmente, ho un cavallo in gioco qui, perché anch'io avrei voluto che chardet fosse sotto una licenza non GPL per molti anni. Quindi consideratemi una persona molto di parte al riguardo.
Non sorprende che questa nuova implementazione abbia suscitato scalpore. In particolare, Mark Pilgrim, l'autore originale della libreria, si oppone alla nuova implementazione e la considera un'opera derivata. Il nuovo manutentore, che la mantiene da 12 anni, la considera un'opera nuova e incarica il suo agente di programmazione di fare proprio questo. Secondo l'autore, validando con JPlag, la nuova implementazione è diversa. Se si considera effettivamente come funziona, non c'è da stupirsi. È significativamente più veloce dell'implementazione originale, supporta più core e utilizza un design fondamentalmente diverso.
Ciò che ritengo più interessante di questa questione sono le conseguenze della situazione attuale. Il codice copyleft come la GPL dipende fortemente dal copyright e dalle difficoltà di applicazione. Ma poiché è fondamentalmente aperto, con o senza test, oggigiorno è possibile riscriverlo senza problemi. Io stesso ho intenzione di farlo da un po’ di tempo con altre librerie GPL. In particolare, ho avviato una reimplementazione di readline qualche tempo fa per ragioni simili, a causa della sua licenza GPL. C'è un'ovvia questione morale qui, ma non è necessariamente ciò che mi interessa. Per tutto il software GPL che potrebbe riemergere come software del MIT, potrebbe anche trattarsi di abandonware proprietario.
Per me personalmente, la cosa più interessante è che potremmo non essere nemmeno in grado di proteggere queste creazioni con il copyright. Un tribunale potrebbe comunque stabilire che tutto il codice generato dall'intelligenza artificiale è di pubblico dominio, perché non è stato prodotto con sufficiente contributo umano. È del tutto possibile, anche se probabilmente non molto probabile.
Ma tutto questo porta con sé alcuni interessanti sviluppi per i quali non siamo necessariamente pronti. Vercel, ad esempio, ha felicemente reimplementato bash con Clankers, ma si è visibilmente indispettito quando qualcuno ha reimplementato Next.js nello stesso modo.
Le conseguenze sono enormi. Quando il costo di generazione del codice scende a tal punto e possiamo reimplementarlo partendo solo da suite di test, cosa significa per il futuro del software? Vedremo molto software riemergere con licenze più permissive? Vedremo molto software proprietario riemergere come open source? Vedremo molto software proprietario riemergere come open source?
È un mondo nuovo e abbiamo ben poche idee su come orientarci. Nel frattempo avremo qualche battaglia sul copyright, ma ho la sensazione che ben poche di queste arriveranno in tribunale, perché tutti i soggetti coinvolti avranno in realtà un certo timore di creare un precedente.
Nel caso della GPL, però, credo che si risveglino vecchie battaglie tra licenze copyleft e licenze permissive, che non vedevamo da tempo. Probabilmente non è piacevole vedere il proprio lavoro riscritto con un Clanker e la propria paternità cancellata. A differenza della Nave di Teseo , però, la situazione sembra più chiara: se si butta via tutto il codice e si riparte da zero, anche se il risultato finale si comporta allo stesso modo, si tratta di una nuova nave. Continua solo a portare il nome. Il che potrebbe essere un altro argomento a favore del fatto che gli autori dovrebbero mantenere i marchi registrati piuttosto che affidarsi a licenze e diritto contrattuale.
Personalmente, trovo tutto questo entusiasmante. Sono un convinto sostenitore del rendere le cose accessibili con il minimo controllo possibile sulle licenze. Credo che la società stia meglio quando condividiamo, e ritengo che la GPL vada contro questo spirito, limitando ciò che si può fare con essa. Questo sviluppo rispecchia la mia visione del mondo. Capisco, però, che non tutti la condividano, e mi aspetto ulteriori scontri sull'emergere di “slopfork” di conseguenza. Dopotutto, combina due argomenti molto scottanti, licenze e intelligenza artificiale, nel peggior modo possibile.
Honey and Smoke, 216 Great Portland Street. Photo: The Fitzrovia News.
Saritamar Limited has applied to Westminster Council for a variation of their premises licence at Honey and Smoke, 216 Great Portland Street, in Fitzrovia West.
Currently the business has permission to sell alcohol for consumption on the premises from 10am to 11.30pm, Monday to Thursday; 10am to midnight, Friday to Saturday;…
Licensing application: Honey and Smoke, 216 Great Portland Street
5 tips for pitching your board game to publishers—and step-by-step instructions for 10 of them (video):
Amereida on the corner of Great Portland Street and Clipstone Street. Photo: The Fitzrovia News.
Amereida Ltd has applied to Westminster Council to vary its premises licence at 160 Great Portland Street on the corner with Clipstone Street in Fitzrovia West.
The current licence (25/02933/LIPDPS) authorises the sale of alcohol for consumption both on and off the premises but requires it to only…
Matt Leacock on how the industry has changed in the past 20 years, working with publishers, advocating for game designers, and more:
A deep dive into board game publishing contracts: what to look for, what to avoid, specific percentages, negotiating terms, and more (video):
https://www.youtube.com/watch?v=TgLJqu67dYc
see also our reports as mentioned in the show: https://cardboardedison.com/reports
To Whom It May Concern (or Should Concern Anyone with a Functioning Brain),
We are writing to express our utter bewilderment—and thinly veiled contempt—for the baffling ecosystem that has sprung up around the public domain recordings of Caterina Valente. What we are witnessing is not a market. It is a clown car of redundancy, a festival of pointlessness, a masterclass in idiotic, copy-paste…
An Inquiry into the Absurd “Business Plans” of Public Domain Parasites
A pair of short videos with quick tips for making two essential elements for pitching a game design to publishers:
How to make a pitch video: https://www.youtube.com/watch?v=HkqgouPT9Pw
How to make a sell sheet: https://www.youtube.com/watch?v=Uan_taJqOqw
This picture was taken nine years ago, at Sundance. Facebook just popped it up in my memories from Jan 24, 2017. My old buddy, Chris from Nomadic State of Mind, snuck us into the press room at the premier of Long Strange Trip. He pretended to be my agent, and introduced me to Billy, Mickey and Bobby. One of them was rude, one of them was polite but couldn’t hear anything I said, and the third one…
A new premises licence is sought at 3 Berners Street. Photo: The Fitzrovia News.
E Oxford Foods Ltd has made an application to Westminster Council for a new premises licence for 3 Berners Street in Fitzrovia West.
Permission is sought for a number of licensable activities including the sale of alcohol from 9am until 11.30pm, Monday to Thursday; 9am to midnight on Friday and Saturday; and from…
Basement club seeks later hours for alcohol and late night hot food sales. Photo: The Fitzrovia News
The London Cocktail Club Ltd has applied to Westminster Council to vary the premises licence at the basement of 61 Goodge Street in Fitzrovia.
At the moment the licence (24/04337/LIPCH) allows alcohol to be sold to drink both on and off the premises until 11.30pm from Monday to Thursday, until…
The Social at 5 Little Portland Street in Fitzrovia West seeks permission to serve alcohol until 3am. Photo: The Fitzrovia News.
The Social Little Portland Street Ltd has applied to Westminster Council to vary the premises licence for the ground floor and basement at 5 Little Portland Street in Fitzrovia West.
Currently the venue has permission for licensable activities, including the sale of…
Freelance photography is one of the most rewarding yet challenging careers in the creative industry. It offers unparalleled freedom to pursue your artistic vision, travel to exciting locations, collaborate with diverse clients, and build a portfolio that reflects your unique style. However, this independence comes with significant responsibilities, particularly when it comes to understanding contracts, protecting your intellectual property, and negotiating fair terms.
As the photography industry undergoes a rapid transformation, photographers encounter both unprecedented opportunities and intense competition. The rise of social media influencers, e-commerce demands, AI-generated imagery, and stock photo platforms have reshaped the landscape. However, this evolution has also led to challenges, such as many freelancers undervaluing their work and signing unfavorable contracts that restrict future earnings or relinquish rights entirely. A poorly negotiated agreement can result in significant financial losses, including thousands in lost licensing revenue, or expose photographers to legal risks.
This comprehensive guide, expanded for depth and practicality, delves into the critical distinctions between licensing and work-for-hire arrangements. It dissects common contract language, highlighting red flags, and offers negotiation strategies. Additionally, it provides actionable advice on preserving creative control. The guide also covers essential aspects such as model and property releases, pricing strategies for the upcoming 2025-2026 period, insurance, taxes, and building a sustainable freelance business. Whether you’re a wedding photographer, commercial shooter, editorial contributor, or stock specialist, mastering these elements is crucial for long-term success and profitability.
Copyright Fundamentals Every Photographer Must Know
Before delving into contracts, it’s crucial to understand the foundational concept of copyright law. In the United States (and most countries that are signatories to the Berne Convention), you automatically own the copyright to any photograph you capture at the moment of creation—no registration is required. However, registering your work with the U.S. Copyright Office can enhance your legal protection.
Copyright grants exclusive rights to reproduce, distribute, display, and create derivatives of your work. As the owner, you control how, where, and by whom your images are used. This is your most valuable asset as a freelancer because it enables repeated monetization through licensing.
However, clients often seek to acquire these rights. They may do this via licensing (granting limited permissions while you retain ownership) or full transfer (work-for-hire or assignment). Misunderstanding this can lead to irreversible losses. For instance, many beginners sign “work for hire” clauses without realizing they forfeit all future income from those images.
The key takeaway is that you always own the copyright. Any deviation from this should be compensated accordingly.
Licensing: The Photographer’s Preferred Model
Licensing is the gold standard for freelance photographers because it allows you to “rent” usage rights while retaining ownership. This model supports ongoing revenue—license the same image multiple times to different clients for varied purposes.
Types of Photography Licenses
Licenses vary by scope, duration, exclusivity, and medium. Common types include:
Rights-Managed (RM): Highly controlled and exclusive. The client pays based on specific usage (e.g., duration, geography, media type, circulation size). Ideal for high-value commercial work. Example: Licensing a corporate portrait for one-year use in North American print ads only.
Royalty-Free (RF): Client pays a one-time fee for broad, often unlimited non-exclusive use (with restrictions like no resale). Common in stock photography. Less lucrative per use but scalable for volume.
Exclusive vs. Non-Exclusive: Exclusive prevents you from licensing to competitors; non-exclusive allows multiple sales.
Limited vs. Unlimited/In Perpetuity: Limited specifies time (e.g., 1-5 years), territory, or medium. “In perpetuity” means forever—avoid unless heavily compensated.
Personal vs. Commercial Use: Personal (e.g., family prints) is narrow; commercial (advertising, products) commands higher fees.
Pricing Licensing
Pricing depends on usage scope. Base your creative fee (time, expenses, overhead) separately from the licensing fee (value of rights granted). Industry tools like fotoQuote or BlinkBid help calculate.
Examples for 2025-2026:
Basic social media license: $500–$2,000
National ad campaign (1 year): $5,000–$20,000+
Full buyout: 3–10x standard license
For weddings/portraits, many photographers license personal use while retaining commercial rights for marketing.
Real-World Licensing Scenarios
Consider a food photographer shooting for a restaurant. A limited license for menu/website use might cost $1,500. If the client wants unlimited commercial use, negotiate $5,000+. Stock photographers often use RF for passive income, earning royalties per download.
Editorial licensing (magazines/newspapers) is typically one-time, non-exclusive, with rates from $200–$1,000 per image.
Work-for-Hire: Proceed with Extreme Caution
Work-for-hire (WFH) transfers copyright ownership to the client from the very beginning. This applies under U.S. law if the contract explicitly states it and the work falls under qualifying categories, such as contributing to a collective work.
Pros: Simpler for clients; sometimes higher upfront pay. Cons: No future revenue; client can modify/sell images freely; you lose portfolio control.
Many professionals view WFH as antithetical to freelancing. Alternatives: Offer exclusive perpetual license (mimics ownership without transfer) or copyright assignment (you own initially, then transfer—for a higher fee).
When to accept WFH? Rarely—perhaps for lucrative corporate gigs where pay compensates (e.g., double/triple standard rate). Always negotiate removal first.
Decoding Contract Verbiage: Essential Terms and Red Flags
Contracts are dense, but certain phrases demand scrutiny. Always read fully; use your own template when possible.
Critical Terms
Work Made for Hire: Triggers full transfer. Red flag—negotiate out.
In Perpetuity/Perpetual: Unlimited duration. Push for time limits.
Worldwide/All Media: Broad territory/medium. Limit if possible.
Buyout/All Rights: Full rights transfer. Charge premium.
Exclusive: Blocks relicensing. Specify duration/scope.
Indemnification/Hold Harmless: You cover client’s legal risks. Make mutual; limit to your fault.
No Publicity/Portfolio Restriction: Limits your marketing use. Negotiate exceptions.
Moral Rights Waiver: Allows derogatory modifications. Retain where possible.
Third-Party Sublicensing: Client can pass rights to others. Restrict.
Other concerns include vague payment terms, cancellation fees (compensation for canceling), expense reimbursement, and delivery timelines.
Red Flags in Client Contracts
No clear scope/deliverables
One-sided indemnification
Automatic renewal
No credit requirement
RAW file delivery demands
Use resources like ASMP templates for balanced language.
Negotiation Mastery: Strategies and Scripts
Negotiation is collaborative, not combative. Goal: Fair deal protecting your interests.
Preparation Steps
Research client/industry rates.
Calculate bottom line (expenses + desired profit).
Prioritize must-haves (e.g., retain copyright).
Tactics
Educate: Explain licensing benefits: “Licensing allows cost-effective use while I retain rights for future opportunities.”
Offer Options: Tiered pricing—basic license $X, expanded $Y, buyout $Z.
Counter Red Flags: Redline contract; suggest alternatives.
Leverage Silence: After stating terms, wait.
Walk Away: Better no deal than bad one.
Sample Script: “I’m excited about the project! However, the work-for-hire clause isn’t standard for freelancers. I’d propose a perpetual exclusive license instead, with adjusted fee of [higher amount].”
ASMP recommends understanding client psychology—many use boilerplate but are flexible.
Preserving Creative Control and Artistic Integrity
Creative control ensures your vision remains intact.
Include clauses for:
Final approval on edits
Credit attribution
Restrictions on alterations
Portfolio/self-promotion rights
“Artistic style” clause: “Photographer retains final creative decision on composition, editing, and delivery.”
For weddings, clarify pose/style expectations upfront.
Beyond Contracts: Releases, Pricing, Insurance, and More
Model and Property Releases
Essential for commercial/stock use with recognizable people/property. Model release: Permission from subjects. Property release: From owners (buildings, pets, art).
Not needed for editorial or personal use. Use apps like Easy Release.
Pricing in 2025-2026
Rates vary by niche/location/experience:
Portraits/Headshots: $200–$800/session
Weddings: $2,000–$10,000+
Commercial day rate: $1,500–$5,000+
Stock: Royalties per download
Factor expenses: Gear, travel, editing, taxes (30%+ self-employment).
Insurance and Taxes
Carry liability/professional indemnity insurance. Track expenses; consult an accountant for deductions.
Building a Thriving Freelance Career
Diversify: Weddings + commercial + stock. Network via social media and agencies. Use contracts consistently. Build a portfolio website. Seek mentorship through ASMP/PPA.
Conclusion
Freelance photography requires a careful balance between business skills and artistic talent. To build a successful and rewarding career, it is essential to focus on several key areas. First, understanding and prioritizing licensing is crucial, as it ensures that you have the legal right to use and distribute your work. Second, meticulously reviewing contracts is vital to protect your interests and avoid potential disputes. This involves paying close attention to terms such as payment schedules, usage rights, and deliverables. Third, confidently negotiating terms with clients can lead to better deals and more favorable conditions, which is important for maintaining a sustainable business. Lastly, safeguarding your rights is imperative to prevent unauthorized use of your work and to ensure that you receive proper compensation. Organizations like ASMP.org offer valuable resources, including templates and advocacy support, which can assist you in navigating these aspects of freelance photography. By dedicating time to mastering these fundamentals, you will set a strong foundation for your career, ultimately benefiting both your professional and financial future.
Sources:
Here is a comprehensive list of key sources that informed the content, drawn from authoritative organizations like ASMP, legal resources, and industry guides:
Works for Hire: How Not to Get Bitten - ASMP
https://www.asmp.org/legal/works-hire-not-get-bitten
Photography Copyright & Licensing in Colorado - ASMP
https://www.asmp.org/colorado/photographer-copyright-colorado
What Photographers Need to Know About Copyright Law - Copyright Alliance
https://copyrightalliance.org/education/industry/photographers
What Photographers Should Know about Copyright - U.S. Copyright Office
https://www.copyright.gov/engage/photographers
Negotiation Techniques for Photographers - ASMP
https://www.asmp.org/current-news/negotiation-techniques-for-photographers-four-dos-and-three-donts
Working with an Assignment Photographer (PDF Guide) - ASMP
https://www.asmp.org/wp-content/uploads/2016/04/assignment_photography_guide.pdf
Negotiation Tips for Freelance Photographers - PhotoShelter
https://go.photoshelter.com/photographers/blog/negotiation-tips-for-freelance-photographers
Bad Contract Tutorial - ASMP Colorado
https://asmpcolorado.org/tutorials/bad-contract.html
Photo Licensing 101: The Basics Explained - A Photo Editor
https://apalmanac.com/business/photo-licensing-101-the-basics-explained-176320
Why Commercial Photographers Should Approach Work-for-Hire with Caution - The Image Crafters
https://theimagecrafters.com/why-commercial-photographers-should-approach-work-for-hire-and-full-buyout-shoots-with-extreme-caution
The Ultimate Guide to Model and Property Releases - Xpiks Blog
https://xpiksapp.com/blog/model-release
Why You Need Model Releases and Property Releases - iStock
https://www.istockphoto.com/blog/best-practices/copyright-licensing/why-you-need-model-releases-and-property-releases
What Should Photographers Charge in 2025? - Kevin Titus Photo
https://kevintitusphoto.com/blog/how-much-should-a-photographer-charge
How Much to Charge for Product Photography in 2025 - Zno Cloud
https://cloudblog.zno.com/product-photography-pricing-2025-guide.html
AOP Usage Calculator for Photographers - Association of Photographers
https://www.the-aop.org/information/usage-calculator
Our annual Cardboard Edison Best Practices booklet, filled with board game design tips and resources for every step of the process, is back!
In this edition, you’ll find:
How to make the most of a playtest group
What should be in a pitch video—and what shouldn’t
Mistakes to avoid with your prototype’s art
Onboarding players more smoothly
How to prepare for indie game markets
…and lots more!
