12 Tips for Overcoming Common Wedding Day Setbacks

By: Jackie Lamas

Weddings are filled with love, laughter, and a lot of pressure. Brides and grooms put a lot of thought into every detail of their day and even the most perfectly planned wedding can encounter problems that can affect you, the photographer. There are no two weddings alike, however, there are common setbacks that can happen at any wedding or event that you may be photographing.

1. Running short on time

The photography timeline is set out so that everyone involved can stick to a schedule. That allows all of the important details and people to be photographed. Unfortunately, running late or short on time because of any reason can be a cause of stress to everyone involved. 

If you are caught with less time, the first thing you should do is to assure your client that everything is okay and these setbacks are really common on the wedding day. Make sure that you mention you can make up time later and offer suggestions to the problem.

For example, if the bride has taken a little longer than was originally planned to get ready and now you only have 10 minutes for family photos, suggest to the bride that you can snap a few in that 10-minute window and also after the ceremony.

If you are waiting for someone to arrive for photos, make use of the time and photograph details, other people with the bride and groom, individual photos, or more photojournalistic photos. It’s important to keep taking photos no matter the setback, this will keep the bride and groom calm knowing that you aren’t missing any detail and it can distract from the problem.

Usually, you can make up the time later and get the photos you need either during cocktail hour or during the reception. You can photograph details, portraits, and even get some interesting lighting using flash during the reception.

Photos of the bridal party during the reception because we ran out of time beforehand. You
can always try and take photos later in the day if the time runs short.

2. Having too much downtime

It is rare to have downtime when photographing a wedding but it can happen. Having downtime usually occurs during the getting ready phase, waiting for the bridal party, or reception parts of the day. It’s okay to have downtime, however, there is nothing worse than seeing vendors, especially photographers, sitting down and waiting it out during these times.

Sure, it’s perfectly fine to use this time to go to the bathroom or take a snack break. Your break just shouldn’t be more than 10 minutes.

Make sure to use the downtime wisely. Prep for the next round of photos, check batteries or set up off-camera lighting. You can also do test shot in the next location where you’ll be photographing.

Even though you’re waiting for the next event to come, never stop photographing any and all of the little details. In short: there is always something to photograph and do while you’re waiting.

3. The bride is full of emotions

I will not use the term “bridezilla” because I don’t believe it’s fair to the bride. Wedding days are high pressured days and brides are usually nervous and full of emotions before walking down the aisle.

It doesn’t matter if the couple is doing a first look or are getting ready in the same room, some brides are more nervous than others.

If this is the case, don’t mention anything! Even if the bride is nervous, anxious, or even angry, just redirect the focus on something else like her dress or that she looks beautiful. Reassure her that everything will be okay and tell her to just enjoy the moment now.

As the photographer, it’s your responsibility to help the bride relax and feel very natural as the day unfolds. Always keep a positive attitude and try to transmit that same vibe to the bride and groom. If they feel like you are there for them, it will make all the difference in the photos. If you’re excited about the wedding, then they’ll be excited.

4. Family telling you how to do your job

Unfortunately, it doesn’t matter how long you’ve been photographing weddings, you will encounter a family member or friend who wants to tell you how to do your job at least once.

When you encounter this type of setback, don’t make any negative or sarcastic remarks. Thank them for the idea they offered and move on. You can also comment that you’ve been photographing weddings for X number of years and are experienced in taking photos. Better yet, just go along with what they are saying and don’t say anything in return.

If they are asking for a particular photo, take the photo. If you already have, kindly let them know that you got the shot earlier in the day. This will keep them at bay knowing that you are taking all of the most meaningful photos.

At the end of the day, the guests will remember you more than you realize and if you make snarky or sarcastic remarks it may result in a negative view of your professionalism. You are there to photograph your bride’s day and that also means tending to the requests of her guests (they’re well-meaning).

5. When there is no planner or coordinator

If the couple has opted to not have a planner or coordinator, it is up to you to make sure to assist the couple during the wedding day.

Technically it isn’t your responsibility, however, helping with putting on boutonnieres, adjusting centerpieces, and placing the veil will always help you to capture the best photos possible.

Work with your couple before the wedding to make a schedule of the most important parts of the day that you’ll be covering. This way, everyone knows what time the family photos are happening, what time the dance starts, and what time you’ll be photographing the dress. Knowing when and where all the events will take place will give your couples peace of mind.

Having a schedule, or itinerary, will also help to move things around. For example, if the bride is late for her bridal party photos, you can take photos of the people who are there so switch to the groom’s family photos.

Photography is service based and as such, you should always strive to give your clients the best service possible. If that means acting as coordinator for the day to capture the best photographs possible, by all means, do it.

You can also have a family member or member of the bridal party to help to coordinate and fix any problems that may come up during the day.

6. Vendor Meals

There is nothing worse than working a wedding and having to eat a vendor meal during dinner. Everyone works differently, yet vendor meals can be a huge setback, especially if it consists of a sandwich and an apple. 

You can prepare for this by taking snacks or even a full meal. Pack an icebox or lunch bag with your favorite snacks and perhaps a little something more just in case you will be having a vendor meal.

Try asking the couple if they are okay with you taking an empty seat during the reception or getting in line for the buffet at their event. Most guests won’t mind because, by that time, they will have seen how hard you’ve been working all day. Luckily, most couples now invite their vendors to eat dinner or make sure that they’ve had something substantial.

In any case, take your snacks and water because you’ll need them throughout the day, whether you get a vendor meal or real dinner.

7. Little time with bride and groom

Sometimes, wedding day timelines can get a little compressed leaving less time for the most important photos (next to the ceremony). However, you can create stunning photos of the bride and groom all in one spot without having to move them to different locations.

To achieve this, download 10 of your favorite poses for couples onto your phone and photograph each one from different angles. Take individual photos of the bride and groom, including details of their wardrobe.

Without moving the couple very much, you can get many different poses and photos in a
short amount of time.

When you take advantage of posing in one spot, you can get lots of different photos from different angles in less time. Subtle changes to posing like facing the bride toward the groom and then facing the bride away from the groom can offer more variety.

Using one location can maximize the time you have for photos because moving from one location to another can often waste time. This way you can focus on them and getting great expressions.

For example, pose the couple in front of a plain wall, facing each other, hands around the bouquet. Take one photo of them in this pose full length. Take another mid-shot asking the groom to kiss the bride on the cheek while the bride smiles and looks down at her bouquet; that’s two photos.

In this same pose, get close and take a photo of the kiss. Next, go behind the couple and photograph mid-shot. Still in the same pose, get a close-up of the groom’s hand around the bride’s waist from behind the couple; the makes five photos without moving the couple.

After you have worked through one pose, choose another and work through it until you have all possible photos. This technique will ensure you get the most photos out of each pose in little time, without moving the couple.

8. Rain

Depending on where you live, what time of the year you’re photographing, and weather conditions, it could be that you get hit with rain on the day of the event. If this does happen, maintain a positive outlook and always try to help find solutions to work around the rain.

When rain strikes, switch to an indoor location or a location with covered walkways.

Change locations for photos. If you were going to do the family photos outside of the church, try moving the family inside the church or better yet, to the reception location. Look for options where you have awnings, covered walkways/breezeways, and inside a home or venue. 

Sometimes, the weather clears and you’re able to go outside for the remaining portraits.

You can also take advantage and get creative with the wedding photos. Ask the couple if they are willing to pose in the rain under an umbrella. You might be surprised how many are willing to get something a little different!

9. Drunken guests

It’s not uncommon for wedding guests to want to start the party early. Work with the coordinator or the bride and assign a family member to take care of the drunken guest. If they are part of the family, try and keep them away until it’s time for them to be in photos.

Try as best as you can to be nice and not comment on their state of being. Drawing attention to their behavior can upset the couple more and ruin the time you have for photos. Be really direct in posing and communication and always stay positive.

10.  Clashing with the wedding coordinator/planner

Although it is rare when vendors don’t see eye-to-eye during an event, it is really important to stay close to the couple. If you need something particular make sure to run it by the couple first. They have the final say on everything that goes on during the day.

Always maintain a high level of professionalism and make sure that you aren’t seen being rude or speaking rudely to the other vendors. If the clash worsens, tell the bride that you and the coordinator/planner have differences and suggest options to help maintain order.

Communication is key and it’s always best to go to the couple if you experience backlash or trouble with another vendor.

11. Other photographers/weddings at the same portrait location

This is probably the most common setback in the wedding industry. Many couples tend to choose the same locations for the portrait session.

If there are other photographers at the location before you arrive, simply introduce yourself and let them know that you’ll also be photographing a wedding. Ask them if they plan on using another location for photos and if they’d be willing to switch it up after a certain amount of time.

This location in Pasadena, California is really popular for bridal portraits. There were at least 

3 other photographers there at this time.

If there are a lot of photographers and events, simply choose a spot at the location that is free of people. Staying clear of other photographers’ background and watching out for people walking into your frame will keep the portraits clean.

12. Guests taking photos during the ceremony

Keep in mind that the wedding guests are an important detail in the couple’s day. Each was given an invitation to share and be a part of the wedding.

Having said that, some guests will take it upon themselves to take photos of the most important parts of the day, namely, the ceremony.

When this does happen, gently tap the guest on the shoulder, with a smile and motion to them that you need the spot in order to take a great photo of the couple. Most guests will move out of the way and not be bothered by this gesture.

This also asserts that you are the main photographer while staying positive and professional with guests. This non-verbal gesture also works with other vendors like videographers.

It’s also a good idea to let the guests take their photos first and then position yourself to take the profession photos afterward. This way, you’re letting guests take and share their own shots but also letting them know that you need to take these important photos as well.

The more photos the couple has of their day, be it from your camera or from their guests, the better. They’ll appreciate you for letting guests enjoy themselves by taking their own photographs.

Wedding photography is the most important take away from a couple’s wedding. However, it is not free from mishaps during the day of the event.

Each wedding can have one or more setback, it’s up to you the photographer to work around them and find solutions quickly. Maintain a positive attitude and always reassure the client that everything is photographing beautiful.

Have you experienced any of these or other setbacks at a wedding you photographed? 

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Wedding Photography Tip – 3 Ways to Tame a Bridezilla

By: Mat Coker

One of the most terrifying things in wedding photography is a bridezilla. You’ve likely read the stories of photographer’s careers being ruined by an impossible to please bride. Of course, this is a worst case scenario and fears become heightened by the bridezillas you see on TV.

“I think of photography like therapy.” – Harry Gruyaert

But it’s normal for photographers to encounter some level of bridezilla behavior. The question is how to deal with it.
I’ve learned from photographers like Joe McNally, Zack Arias, and Jasmine Star that it’s our job as photographers to make great photos – no matter what.
So if you’re faced with a bridezilla (or any overwhelming person) at any point in your career you simply need to know how to handle them. Here are 3 ways you can do that.

This was one of the most laid back and down to earth brides I’ve photographed. 

Hard-working, yet easy going and ready to have fun every step of the way. 

Unlike some brides, she learned to handle the stress of a wedding very well.

1. Understand

“You don’t make a photograph just with a camera. You bring to the act of photography all the pictures you have seen, the books you have read, the music you have heard, the people you have loved.” – Ansel Adams

Even the most difficult situations become easier to deal with when you understand what’s going on.
The truth is, most bridezillas never actually wanted to become bridezillas. So why do some brides act like that? Major changes in your life come with stress. Marriage comes with one of the highest levels of stress. In addition to the stress, there is also decision fatigue, personal baggage, and pre-wedding depression.
Maybe the question should be why there aren’t more bridezillas!

This photo was taken at golden hour. The unique shape of the sun flare was caused by 

moisture on the camera lens. There was a mist in the air that led to the surprising effect.

They don’t start out as Bridezillas. Not long ago she was living a normal life as somebody’s girlfriend. Then in the blink of an eye, her entire life changed as she became engaged.
When you put a person in a dramatic situation, you find out how much they can take before they crumble under the pressure. Planning a wedding provides more than enough stress and drama to make a person blow up.
Everybody reaches a threshold of how much stress they can handle. And for a variety of personal reasons some brides reach that threshold on or before their wedding day.
Bridezillas are people like you and me who have discovered what it takes to make them break.

This photo was taken from in the water. The couple was sitting on an abandoned train 

bridge. I thought the tunnel would make a good frame for the photo, so into the water I went.

2. Anticipate

“When there are other limitations, I don’t let myself be a limitation.” – Fer Juaristi

There is more than enough time leading up to the wedding day to anticipate who might become a bridezilla.
You can almost guarantee that if a bride comes from a happy family and she handles stress well then she isn’t going to become a bridezilla. But if her life is filled with stress and chaos and she doesn’t handle it well, there is going to be trouble on her wedding day!

Engagement sessions are a perfect chance to get to know the bride and groom. Take time 

to see how they are handling the stress and find out if there are ways you can help.

When I meet with a couple who is interested in having me as their wedding photographer, I ask questions that let me know what sort of temperament the couple has.
Ask about their vision for the wedding. Then ask what would ruin the wedding for them. I had great fun with a couple who insisted that even if a tornado came along and they had to move the wedding to a basement shelter, they still wouldn’t care because their family is what means everything to them. The dress, flowers, and the decor were all secondary.
Ask other questions like, “What simply must be perfect?” or “What is your biggest fear for the day?” and “What would totally ruin your wedding day?”
Ask how quickly her emotions change to the negative and what cheers her up most in life.

This photo was created using a slow shutter speed (about 2 seconds).

If a bride tells me that the most important thing to her is that she has a perfect Pinterest wedding, I know there could be trouble.
There are enough problems with the dress, flowers, and decor to drive anybody crazy. If the bride is anxious and disagreeable, to begin with, planing her perfect Pinterest wedding will drive her nuts. She’s a perfect candidate to become a bridezilla.

When the bride is wearing fun socks and cowboy boots, you know she’s not overly 

stressed about the details.

Being a wedding photographer means knowing how to work with people. So if you can’t handle the stress of working with a bridezilla, you should politely decline weddings when you think there is a good chance she’ll become one. Let her know you don’t think you’re the best photographer to help her have a perfect wedding.

3. Encourage

“It is more important to click with people than to click the shutter.” – Alfred Eisenstaedt

If you understand the things that lead to bridezilla behavior, and you’re happy with the challenge of working with one then good for you! You could actually help her get through her wedding day without baring her teeth and lower her stress level.
The truth is, most bridezillas don’t enjoy being bridezillas. You can’t help the ones who enjoy it. But you can help the ones who are afraid of becoming a bridezilla.

Weddings can be an exhausting journey, not just for the photographer who works all day, 

but for the family who has worked for months or years to get to this day.

If she’s open to having help, you can assist her in setting goals, seeing the big picture and
embracing what is truly important about her wedding day.
Find out what’s bugging her the most and share stories about other couples who have dealt successfully with these things. That way you’re not just pushing your opinion on her, but sharing stories of real people who found a way not to crumble under pressure. You can even publish these stories on your wedding photography blog.
Help her see her goal and what is truly important to her. Help her pivot around obstacles, and there will be less of a chance of her crumbling under the pressure of her wedding day.
No matter what you do, be the one who helps, not somebody who makes it worse.

When a wedding is done right, the bride and groom are still excited and energized at the
end of the day.

Happily Ever After

“If a photographer cares about the people before the lens and is compassionate, much is given. It is the photographer, not the camera, that is the instrument.” – Eve Arnold

No photographer wants to photograph a bridezilla. No bride wants to be a bridezilla.
You can surpass a bride’s expectations of you as a photographer by understanding her situation and being the most flexible, helpful, encouraging person on her wedding day.
All it takes is one good friend to be a calming presence amidst stress and anxiety to help a bride not turn into a bridezilla. This person could be you.

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Have you ever been a victim of photo piracy?

 By: Elizabeth Halford 

Back in February, I posted about watermarking and how I use this opportunity for advertising. I mentioned briefly the idea that if someone was going to steal your images, you may as well make them work for you with watermarks that are attractive and don’t get cropped out. At least then when Tight Theresa steals my images, her friends will know where they came from and hopefully get in touch. Although on second thought, do I want all her tight friends also scamming me for freebies? A subject for another day. But I digress.
I also mentioned in that post that I couldn’t believe the lengths people go to in order to steal my images and that watermarks make no difference when someone has their heart set on stealing your stuff. Ironically, it was only a couple months later that a friend many hours away called to say she’d seen some of my stuff being displayed on canvas in a printers near her. After some investigation, I found that the images (stolen off Flickr, cropped to oblivion) were being distributed on canvas by a large warehouse in this country. And they weren’t just any old images, they were four images of my son.
Now, some well-meaning friends who don’t understand the nature of piracy and the invasion I felt just said, “wow that’s so cool! You’re like…famous and stuff! You’re good enough to steal from.” Um…thanks but no thanks. I’m also good enough to get paid.
Through this event and hearing the reactions of people who really didn’t see the big deal made me realise that we are pirates. Some of us copy CDs, some ‘let’ our friends leave their pirate DVDs at the house, others copy images off Google to fill the corners of our blog posts, quote Wiki without attribution, directly steal concepts for our photography without giving props. In some way or another, many of us do something unethical with another person’s intellectual property once in a while.
And even more, I believe that we’ve all been the victim of piracy at some time or another, whether knowingly or unknowingly. Take that image stolen from me for instance. It’s being distributed by a massive warehouse in Birmingham. Who knows where in the world there are hanging photos of my little boy. But that’s the risk I take when I decide to share my work online. You have to do so knowing that once it’s out there, you can’t control what happens next. But please let me know if you see this image in a canvas printers’ near you! 🙂
This isn’t a list for how to avoid being a victim or piracy because clearly, I can’t control that in my own life. But I just thought it would be great to get the discussion going and hear stories of photographers who have had their work stolen. Even more interesting to know is how did you find out?

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Help: I Am Being Sued for Nearly $500,000 by a Model I Photographed

Hello fellow photographers. My name is Joshua Resnick. I am a stock photographer, but what I am going to tell you potentially affects all photographers. I wanted to bring to your attention a lawsuit I am involved in that I think could put the whole industry at risk if things don’t go well.
I am being sued in federal court for hundreds of thousands of dollars by a model I worked with in January 2013. This is a model that I paid, and who signed a release allowing me to sell her images through stock photo agencies. Why I am I being sued? It revolves around images that got misused or were just outright stolen and the model is blaming me for it.

It seems that many of her pictures ended up on erotic book covers, escort ads, and strip club ads. To my understanding she is claiming I either sold these directly to these people or through Shutterstock. As for myself, I only sold her images through a stock agency with a terms of service that did not allow pornographic/defamatory use — I have never sold an image of hers directly to someone.
The images I took were also posted by the model on her Facebook page, and eventually I even found pirate sites giving away the images for free. So it is very possible these misuses could have been from her Facebook or from those pirate sites, and it is also possible someone could of bought the image from an agency but potentially broke the TOS. I don’t know exactly what happened yet, but that’s my best guess.
My case has unfortunately received national attention in publications such as the New York Post, the Daily Mail and Fox News, none of which have bothered to explain my side of the story.
If they had not ignored my side of the story, here is what they would have reported: the model was an experienced lingerie model, appearing on a magazine cover in such apparel. I told her agent before the shoot it would be used for stock photography.
During the shoot I also told the model that the images would be for sale for stock photography and explained how stock photography works. I explained to her that these agencies prohibit pornographic use in their terms of service. Another person who often helped me from time to time was present during the shoot and witnessed everything.
I said nothing more and I didn’t lie. I did NOT promise her that her images would not be misused — that’s impossible in our right-click-save-as days. She saw the images before signing the model release, was happy with them and posted them herself on her Facebook page.
Another misconception that seems to be in the news pieces and the complaint is that our arrangement was TFP or Trade for Portfolio use. I paid her via her agent through Paypal and have all the records of it, even providing her gas money to travel to Columbus where the photo shoot was done.
If the court rules in her favor, it could create a dangerous incentive for other models to do the same and try to hold photographers liable for things that are out of our control. Basically, a model release could mean nothing to protect you. All they would need to do is claim there was some sort of oral agreement and it would be void.
Also, I am not the only photographer this has happened to, but as far as I know none of these photographer’s cases are public record and were settled out of court or with non-disclosure agreements or are currently unsettled. Mine being public record and such a high profile is important to win for photographers because of the example it could set.
Defending yourself against even completely false accusations will cost almost anyone a huge amount of money. A common misconception is that when you win in court, you get your attorneys fees paid. That’s not always the case. Even if I do win, this case will likely be financially devastating either way.
On January 7th, I set up a crowd funding campaign to raise the funds that would allow me to defend myself in this case. The case is in New York now and I’m facing a huge financial burden to protect myself and our industry in general. Knowledgeable copyright lawyers cost an absolute fortune. I want to defend myself to the extent I can given my funding to discourage models in the future from bringing forth similar actions.

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About the author: Joshua Resnick is a stock photographer based in Columbus, Ohio. You can find a selection of his images here.

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Texas Can Steal Your Photos Without Paying for ‘Takings’: Court

Jun 15, 2019

Michael Zhang

Photographers were just dealt a big legal blow this week after a Texas state appeals court ruled that the state can infringe upon copyright without risking punishment under the state’s or federal government’s “takings” clause.

The copyright infringement battle is being waged between Houston photographer Jim Olive and the University of Houston, a public university.
It all started when Olive, who’s known for his photos shot out of open helicopters, found one of his aerial photos (titled “The Cityscape”) of the Houston skyline being used by the university on its website to promote its C.T. Bauer College of Business. The photographer then sent the university a bill for $41,000 — $16,000 for the usage and $25,000 for removing his copyright credit.

“The Cityscape” by Jim Olive, the photo at the center of this legal battle.

The university quickly took down the photo but only offered Olive $2,500 for the unauthorized usage.
After Olive sued the university, the university pushed for the case to be dismissed because the public institution has sovereign immunity, which protects state government entities from a variety of lawsuits. Olive’s side responded by arguing that the copyright infringement was an unlawful “taking” under the state’s constitution, which prohibits the government from taking private property without adequately compensating the owner.
A lower court previously ruled that Olive can proceed with his copyright infringement lawsuit, but now the Court of Appeals for the First District of Texas has overturned that ruling.
“Even if the government sets itself up as a competitor by producing a copyrighted work, there probably is not good reason to conclude automatically that the copyright has been ‘taken,'” the three-judge panel cites in its ruling. “The copyright holder can still exclude all private competitors even as the government pirates the entirety of his work.”
“[W]e hold that the Olive’s takings claim, which is based on a single act of copyright infringement by the University, is not viable,” the ruling continues. “This opinion should not be construed as an endorsement of the University’s alleged copyright infringement, and as discussed, copyright owners can seek injunctive relief against a state actor for ongoing and prospective infringement.
“Instead, in the absence of authority that copyright infringement by a state actor presents a viable takings claim […] we decline to so hold.”
The NPPA notes that the US Congress passed the Copyright Remedy Clarification Act (CRCA) decades ago to prevent states from having governmental immunity from copyright claims, but some appeals courts have held that CRCA goes beyond Congress’ powers and have therefore struck it down as unconstitutional. The matter will likely go before the Supreme Court (in Allen v. Cooper) sometime in 2020.
“The Texas ruling affects more than just photographers,” NPPA writes in response to this week’s ruling. “It appears that a state entity could engage in broad piracy without being accountable.”
“It just doesn’t seem fair to me,” Olive tells the Houston Chronicle. “With this, they can just run rampant over copyright and take intellectual property with impunity.”

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What to Do When Your Images Get Stolen

By: Darina Kopcok

If any of your images live online in any shape or form, it is inevitable that they will get stolen.
With the Internet, copyright infringement has become rampant and is a worldwide phenomenon.
Some individuals don’t understand copyright and think that because an image appears online that it’s theirs for the taking.
However, there are a lot of companies that steal images and use them for commercial purposes – to sell their own products!

How do you know if your image has been stolen?

You can do random image searches on your images in Google. This is a cool feature, but rather tedious and incredibly time-consuming. If you have an extensive library of images, this could take more time than you’d want to spend.
A better alternative is sites like Copytrack, Pixray or Pixsy, which are image tracking services that not only find your stolen images but also will file a copyright infringement claim and sue for damages on your behalf.
This is a great way to seek restitution for stolen photos without the hassle of having to do everything yourself. Not to mention, there is no way you could scan millions of images on the Internet, looking for your work. The technology these services offer does it all for you.

Utilizing an image tracking service is something every photographer should consider. It’s a sad reality that so many photographers today are struggling, while thieves are profiting from our hard work.
An image tracking service can save you a ton of legwork. Most of the time, it’s as simple as uploading your photos. If you get notified that some of your photographs are appearing without permission or licensing, you can file a DMCA takedown notice or a legal claim through the service.
The image search function is free – to a point. It depends on how many images you upload. If you file a legal claim, the service will take a commission.
One caveat to using an image tracking site is that if you do stock photography, it can be hard to ascertain where your image has legitimately appeared.
Stock agencies don’t usually disclose to you who licensed your image. Also, many have partnered up with other stock agencies to sell your work, making your images even more difficult to track.

How an image tracking service works

According to the image tracking site Copytrack, 3 billion images are shared online every day. 85% of them get stolen.
Licensing images is about more than just tracking down infringements. Once you discover an infringement, you need to make a decision as to what you’ll do about it.
Both Copytrack and Pixsy can handle the legal side in the fight for fair payment for your work.
You simply upload your images while their Reverse Image Search functions in the background. They will notify you of your matches by email.
Once you confirm the stolen images, they take steps to enforce your copyright.
You don’t need to do anything.

What are scraper sites?

One of the worst types of offenders in the realm of stolen images and copyright infringement online are scraper sites.
Scraper sites steal your content for their own sites or blogs. Some will just scrape content, but most use automated software that takes your images and posts content on their own site.
These sites take images from Pinterest, Google, and your own website and host them illegally.
Not only does your website host the images for them but also they take up your bandwidth!
If you write a blog in addition to post photos, you may find your content appearing on these sites.

What are your options if your image gets stolen?

If your image gets stolen, your first option is to do nothing, which is exactly what many photographers do. The hassle can make it seem not worth it sometimes.
However, if the company that has stolen your image is a large one, you can hire a copyright attorney to take them to court, as this type of claim may be worth thousands of dollars to you.
In most cases, the best option is to use a company like Pixsy and either have them file a DMC Takedown Notice, or file a claim on your behalf.
A DMC Takedown Notice is a request to remove content from a website at the request of the owner of the copyright of the content.

How to file a DMC takedown

DMCA stands for Digital Millennium Copyright Act. To get your stolen content removed from a website you need to file a DMCA takedown notice.
To file a DMC takedown, you can either hire a service or do it yourself.
You need to find out who owns the website. You can use a Who Is lookup tool.
The problem is that it can be difficult to find out who the website owner is in order to send them the notice, as a lot of these sites hide this info. For example, they use Cloudflare to hide their real IP address.
Luckily, there are DMC takedown services that can help you with this. DMCA charges $10 USD a month for their protection services and charges $199 USD for a full takedown.

How to register your copyright

As a photographer, you automatically own the copyright as soon as you create the image. This means that you do not necessarily have to file copyright for all your photos.
In most countries, you do not need to file copyright papers to prove you own the content or copyright. Government Registered Copyright is NOT necessary in order to get your content removed, however, suing for damages IS easier if you have registered your copyright.
To register your copyright, search online with keywords such as “register copyright Canada/US/Australia” etc., to find the Intellectual Property Office in your country.

If you have had your images stolen, it’s up to you to decide if you want to pursue restitution.
Small transgressions may not seem worth the time and energy, however, if someone is making money off your work, you may want to consider seeking compensation. Not only for the money but also the principle.
Have you had any of your images stolen? Share with us in the comments below.

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Thanks for visiting my blog.  This weeks photography freebie is by Photographer Ian Plant.
Get your free copy of his Ebook here:
https://ianplant.lpages.co/essential/

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10 Questions to Ask a Tour Operator Before Signing up for a Photography Tour

By: Peter West Carey

The company has an entrancing website and bedazzling photos. The itinerary looks all-encompassing and the testimonials seem positive. You’re excited and have your credit card ready for the deposit.
Slow down, partner.
Before you hand over your money, it’s a good idea to ask a number of questions of the photography tour operator.

Asking questions before paying for a photography tour is all about setting expectations – both yours and the operators. It’s also a chance to learn about the professionalism of the person or company you are signing up with.
Here then are 10 key questions to help you with your tour choice.

1. Do they have insurance? And what will it cover?

Protecting yourself is important with any tour, and it’s important to know what your tour operator has in place before you sign up. With the proliferation of photographers jumping to offering tours, it’s possible not all have put serious thought into insurance matters.

At the least, your operator should have insurance covering accidents during the trip – both ones they cause and ones out of their control.
The reason operators may skimp on insurance is simple – it’s expensive. And that cuts into profits. It’s also often the reason two operators who offer roughly the same itinerary will differ in price by 10-20%. Make sure you are covered before paying your deposit.

2. What is their guest to instructor ratio?

Everyone has their own ideal when it comes to instructor-to-guest ratios. Some enjoy one-on-one instruction all the time, and others prefer a small group of maybe five or six. Still, others may love the anonymity of a large 15-person group so they can do their own thing without interference.

I prefer groups no larger than six guests per instructor. This allows for some hands-on, one-on-one time. It also ensures the instructor is not being asked 5,000 questions while you wait for your chance.
Also, realize that an instructor may have a low ratio, but the over-group size might be larger, meaning they may bring in other instructors to help out. This is usually not a problem, but if you are hoping to hear directly from the lead instructor who attracted you to the tour, be aware you might not get the amount of facetime you’re expecting.

3. Is this a tour or workshop?

What’s the difference between a workshop and a photo tour? Susan Portnoy has a good comparison on her site, The Insatiable Traveler.

A tour is a chance to be guided through an area typically rich in photographic content. There is less direct hands-on instruction, moment to moment, and the subject matter can cover a large spectrum.
A workshop, by contrast, is usually more hands-on and directed to a specific goal. An example of this is a one day workshop on street photography. Your instructor will be close at hand to make all those small course corrections and critiques needed for improvement.

4. Do they have any other assignments during this trip or is this their only gig?

I’ve run across this myself while taking a tour. The instructors brought us to a scenic overlook and then POOF! Gone.

It turned out they had an assignment in that area. While they only headed off five minutes away, it was rather disconcerting to think I, and the other guests, were less important for that hour of ‘other work.’
It’s important to also realize that having other work isn’t necessarily horrible for you. However, it’s important to know about it up front, and then you can decide if it is acceptable. Most of us are okay with some deviation if we know about it in advance.

5. Will there be daily opportunities to review work?

Some people love to have constant feedback and need that on their tour. While others could not care less because their art is a personal endeavor.

If you want regular feedback, ask about it. Again, it’s about setting expectations, so you’re not disappointed when your needs aren’t being met.
Sometimes the reviews are just back-of-camera check-ins to see what you’re seeing and offer correction or encouragement. Or maybe you want an hour of the instructor’s time every three nights in front of a laptop so you can get more in-depth critiques. Either way, know before you go.

6. Why do they run tours to this location?

This is a big question that should be easy for any operator to answer. I believe the best answer is, “Because I love the area/region/country!” Often, the answer in the background is, “Because it is highly profitable or super popular.”

There’s nothing wrong with making a profit or leading tours to popular spots, but I feel it is important to know why the operator is running the tours they run. If it’s for the love of an area, you’re more likely to get hard-to-acquire information, background details, and unique locations. Experience certainly matters in the photography tour business for access to hidden experiences.

7. What is their cancelation policy?

This item is pretty straightforward. You should ask this for tours, workshops or any time you are plopping down a large sum of cash for a service. Do they offer full refunds? What is the deadline for canceling without a fee? Do they offer to reschedule if extenuating circumstances or family health are involved?
What about the operator canceling a tour? Will they try to rebook you with another, similar operator? How quickly will they offer a return of all funds?

8. What is a typical day like?

The advertisements and website you researched looked incredible! Beautiful images and exotic locations abound in that slick presentation.

But what will it really be like when you’re on the tour? Sure, no two days will be the same if you’re traveling all around. However, it is important to understand if you’ll be on a bus for five hours each day or if dinner is planned without thought to sunset timing each night. It’s often the difference between a photo tour and a regular tour.
In my mind, a photo tour should be a balance of exposure to opportunities with time to reflect and take a break. Food is also very important to keep energy up for shooting all day. If you’re always on the move, you won’t have time for photos. If your itinerary covers too much ground, you’ll see a lot of things through car or bus windows without many opportunities.
Pacing can be essential during a week or two-week long tour. If every day is packed with 18 hours of photography and instruction, you’re going to be exhausted by Day 3. Flexibility is also important so that one event taking extra time doesn’t make the rest of the day’s itinerary crumble.

9. How much instruction can you expect?

This question is also a chance to make your expectations known. If you want hand-holding the whole time, and have barely touched a camera, let the operator know so they can decide if the trip will be a good fit.

Perhaps you have a particular skill set you want to develop. Letting the operator know early will help them prepare, and both of you can work on a simple plan to help you improve during the tour. Everyone on your trip will have different aspects of photography they want to improve. Expressing your desires will help all involved.

10. Do they handle all logistics or work with local operators?

This is another question that has no right or wrong answer, but it’s important to know in setting your expectations. Some operators, to increase profits or because they desire more control, will want to book all the hotels, events, admissions, etc., themselves. This can also lead to a lower cost for guests. But it can also lead to the operator taking more time away from instructing.

On the other hand, an operator who hires a local guide or tour company should have more time for instructing. It can also help to have a local when things go sideways, and a deep understanding of local customs and protocol is essential. It allows for a division of labor; the local guide can go ahead and check the group into a hotel and have rooms ready while the group continues to soak up a particularly beautiful sunset.

Many of the questions I posed here have no right or wrong answer. However, I feel they are all important to ask in setting expectations before investing time and money in a tour. Asking them can also help expose a guide who is not organized or ready to take a group on a trip due to lack of diligence.

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