Frequently Asked Questions
Professional photographers must recoup the cost of equipment, materials and general overheads, as well as making a living for themselves and their staff. Photography by professionals like Marte Lundby Rekaa can therefore never be cheap, but the expenditure will produce results that more than justify their cost.
Here are a few questions that I am often asked about the relationship between photographer and client.

Why use a professional photographer?
A pro-level camera doesn’t make pro-level shots. It’s photographers that make images, cameras only take them. A professional photographer combines technical skill with artistic vision and experience. A professional like Marte Lundby Rekaa has all the equipment – and the knowledge of how to use it – to create strong images in any environment.
The beneficial impact of a professionally taken image on a client’s target market reinforces – or even creates – a reputation for excellence. A shot that is less than cleverly composed, excellently lit and well reproduced will damage the market’s perception of the company that uses it. A professional photographer don’t do shots that are less than cleverly composed, excellently lit and well reproduced!

If you commission me the images I produce are exclusive to you. Shots bought from a photographic library will only be exclusive under the terms of the licence you buy. Unless you pay for an exclusive licence other organisations will be able to use it for their own products or company. When it comes to royalty-free photo library shots, there is no guarantee of exclusivity. Your competitors may also use the shots you choose.

How do I charge?
I charge a day rate – or a proportion of it – to include time taken in travel, set-up and pack up. I also charge for post-processing, assistants and expenses. My charge also varies according to end use; I will, for example, charge more for a shot to be used full page in a national press advertising campaign than I will for a thumbnail in a catalogue. My day rate includes an overhead portion that pays for general overheads, and allows me to replace equipment as and when necessary.
If you are not sure whether you can afford to use me, contact me and we can discuss what you want, and how that can best be achieved within your budget.

Who owns the copyright of the images you take?
Under the Copyright Designs and Patents Act 1988, authors own the copyright of the books they write, musicians own the copyright of the songs they create and photographers own the copyright of the images they take. This allows a photographer to control who uses their work, in what form, and in what media. For my clients, it’s important to discuss how and where you want to use the resulting images. I’ll then licence you to use them in that way, and you can be sure that they will be exclusive to you. If you later decide you’d like to use the images in another context, then discuss it with me, and I will extend the licence to allow you to do that.

Why don’t I get the right to use your photographs wherever and whenever I want?
Most clients don’t want to pay for unlimited use of commissioned images, as this will be very expensive.
Worldwide rights for every media – posters, press, cinema, web, videos, TV, CD’s, tee shirts etc – and every use – editorial, advertising, gallery, display, games, etc – for the life of copyright (70 years after the death of the photographer) would be extremely expensive. Also, if professional models were used their charges also reflect the use of the image. An unrestricted licence would be enormously expensive and you would almost certainly be paying for uses you will never need. It’s rather like buying a train, when all you really need is a ticket.

What If I want to use the image in ways I hadn’t originally anticipated?
This sometimes happens; maybe it’s a tribute to the excellence of my work! I always aim to work out a licence that will cover your needs, so you don’t have to waste time coming back to me. If subsequently you decide you’d like to use an image in other ways – putting a brochure shot into a TV ad, for example – we’d be happy to negotiate an extension of your licence.

If I’ve paid for your time, and your materials, why can’t I keep all the work?
There is a difference between the medium – usually a digital file nowadays – and the image that is carried on it, in the same way that there is a difference between the paper a book is printed on and the story it tells. Buying a book does not allow you to make a film of the story. So it is with photography. The Copyright Designs and Patents Act 1988 gives the photographer ownership of the image, which is then licenced for your use in the ways described by the licence. This allows me, and all photographers, amateur and professional, to control the way in which our work is used so that our reputation doesn’t suffer, and our income is protected.