BASIC INFORMATION
With the current US copyright laws as they are applied now, artists own all rights to their created images and sell/transfer rights to agencies and their clients. All questionable negotiations have historically defaulted in favor of the artist. Technically, even minor modification of the art requires the artists’ permission. You are RENTING, not buying an image unless explicitly stated on the contract. Generally, think of usage costs reflecting the amount of exposure a particular image may receive. The more exposure, the higher the price. Exact terminology may differ, but the semantics remain the same if all of the information is included in each negotiation. You can phrase it any way you want, but be clear about the INTENT by including information from all categories outline below. Talent usage is similar, but there are differences in how each medium is priced out: talent usage tends to be much more specific. Again, it is based on exposure. European terminology will differ from US terminology, particularly in the “Print” category. In Europe, “Print” includes anything that is not broadcast.

Usage is defined by the following:
TIME PERIOD or LENGTH OF TIME
This is the length of time an image or images will be used: one year, two year, one time, etc.. It is best to specify “from date of first use” when negotiating a contract for an image. Standard use generally defaults to one year use {from shoot date} in a specific medium unless terms are otherwise negotiated.

RIGHTS/QUANTITY
This is the number of times within the time period that the image will be used.
Limited: A limited number of times such as “2 insertions” or “run of 5,000” within the time period purchased. By the time you reach multiple insertions in publications such as Tuoi Tre or Dep, you may as well buy unlimited rights.
Unlimited: Can be used an unlimited (unspecified) number of times within the time period purchased. This does not allow a transfer of copyright to you or to your client, nor does it mean the same as “unlimited time.” You both have only the rights to use the image, not to resell it or allow a third party to use it.
Total Buyout: You have purchased the copyright to the image and have full rights to do whatever you want with the image. You own it, basically. In the case of illustration, you own the rights, but you do not necessarily own the final art. That usually requires a very specific, carefully worded purchase agreement. Expect to pay dearly for this usage!

EXCLUSIVITY
I recommend purchasing exclusivity of all images to prevent the resale of any images during the time period you’ve purchased. Unless otherwise stated, an artist has the right to sell an image to another client at any time—even if it is one currently licensed to your client. Usage defaults to non-exclusive of the selected images only if not otherwise stated.
Exclusive: The image (and the outtakes, if specified) cannot be sold to anyone else during the time period purchased.
Exclusive to Industry: The image cannot be sold to anyone else within the same industry (Liquor, Banking, etc.)
Non-Exclusive: The image (and the outtakes) can be sold to other clients at any time

GEOGRAPHIC REGION
This is the area in which the images will be seen.
National: Vietnam only.
South East Asia: Includes Vietnam and its provinces, ASEAN countries.
Global or International: Throughout the world (internet is automatically global).
Local: Specific city or area (Ho Chi Minh City Area, etc.)
Regional: Specific region (North America, Europe, Middle-East, etc.)
By Country: Specific countries can be purchased, but if the exposure is large, such as Europe, it may be wiser to go with Global to make sure you are covered.

MARKET
This category also gives the artist an idea of the degree of exposure. Consumer advertising generally receives more exposure and at a premium cost. Trade is not as expensive, nor as far-reaching in exposure. Editorial is relatively cheap.
Consumer: Markets to “people who buy things”; it is purely commercial (sells things) in nature and the artist want a piece of the action because of the high degree of exposure.
Trade: Markets to “people who sell things to others”; it is lower down on the food chain, and therefore not as expensive.
Editorial: Informational in nature, not commercial. Magazine layouts and textbooks fall into this category.

USAGE REALM
This category further defines how the images will be used. These categories are then segmented even further by defining specific mediums for each.
Advertising: A medium that sells something, like an ad or an outdoor board.
Promotional: A medium that promotes something, like a poster for an event like a concert.
Public Relations: Similar to Promotional, but more awareness-driven and less commercial.
Corporate: Annual reports or internal materials like sales kits.
Editorial: Again, informational in nature, not commercial. May accompany an article or be included in a textbook.

MEDIA
Media usage describes where an image will be seen and can be defined as precisely as you choose. As with photography, when negotiating with talent the specific media included will directly affect your price. Broadcast use is seldom needed, but can be purchased if necessary. Remember that sometimes being TOO specific may come back to bite you later.
Any And All Media: Covers EVERYTHING: all print, OOH, POS, Electronic and Broadcast. “Any” and “All” are somewhat redundant, but it drives home the idea that everything is covered.
All Print: Generally, anything printed onto paper that you can hold in your hand: newspaper, magazine, collateral, direct mail. You may expand your negotiations to include POS or OOH by adding it specifically, otherwise they are generally not included under this category. Exceptions may include GO cards or similar limited exposure items.
Newspaper: Use this category in conjunction with Geographic Region. Size also plays a role.
Magazine: Use this category in conjunction with Market and with specific publications. Collateral: Includes anything in print that “goes along with” the campaign but is of secondary importance. Things like brochures, some mailers and bill stuffers fit under this category.
Direct Mail: Pieces that are mailed to people. Quantity of pieces and Geographic Region affects pricing. Where the image is seen also makes a difference, whether it’s on the cover, envelope, etc.
Point-of-Sale (POS) or POP (Point-of-Purchase): Things that will be seen where the product is sold. Banners, signage, counter cards, displays, in-store posters, table tents, hang tags.
Out-of-Home (OOH) or Outdoor: Virtually anything seen outside of your home: outdoor boards, bus sides, trans stops, rail cards, GO cards.
Trade Show: Trade show booths or materials used in a trade show. Show attendance and how the image will be used must be discussed.
Electronic: Media that is not printed: Internet, C Ds for distribution, Asset Management System, screensaver. Unless rights are specifically purchased, images cannot be resold.
Internet: Global internet use. Where it will be seen (home page or inside page)may affect pricing. Sometimes numbers of hits makes a difference also.
Miscellaneous: Things like Ad Planners must be negotiated apart from the other media because of the potential for wide-spread, undetermined use.

BODY OF WORKS
This means all of the images shot for the project, not just the selected image or images. Some photographers will automatically sell you the rights to the entire body of works, but most will sell you the rights to only the selects. You will need to clarify at the beginning of the negotiation because usage will default to the selected images only if not specified. You will also want to include a clause that outtakes may not be sold as stock until the rights on the selects expire.

REUSE
It is in your best interest to include verbiage in your initial use statement that covers future reuse. Legally, unless otherwise indicated, an artist can sell an image to another client at any time, with an increased risk after the original use expires. Because the exact date of first use may not be known at the time rights are purchased, it follows that the date of expiration may not be exact. With the proper verbiage, you can create a checks-and-balance system to at least have an opportunity to decide if you want to purchase reuse before your client sees it in another ad. I recommend stating that your “client reserves first option of reuse upon expiration of current rights.” If you and your client do not renew your option, then there is a possibility that the image will be purchased by someone else.

MISCELLANEOUS
You will want to include the right to use images for your agency to use in self-promotion. Those rights are technically not granted past the original usage period without express authorization. Although usually not a problem, it doesn’t hurt to have it stated officially. To get the maximum amount of usage time of an image, include the phrase “from date of first use” or “effective date of first use.” That way, if an image is not used for several months, your usage won’t begin until then. Otherwise, it may be a point of contention a year from the shoot date. This is especially important with talent. If the photographer is coordinating the talent, do not automatically assume that the usage for the talent matches the usage you are contracting with the photographer. You must clarify talent usage at the estimate stage.

EXAMPLES OF USAGE VERBIAGE
Here are some samples of how to phrase your usage statement: One year unlimited exclusive international advertising and promotional rights and usage in any and all media for entire body of works, effective date of first use. Artist retains self-promotion rights forever, as does the agency. Client reserves first option of reuse upon expiration of current rights. Two years unlimited exclusive regional (Minnesota, Wisconsin and Illinois) advertising and promotional rights and usage in any and all media for entire body of works, effective date of first use. Artist retains self-promotion rights forever, as does the agency. Client reserves first option of reuse upon expiration of current rights. Image will be digitally enhanced in post-production. Unlimited exclusive global advertising and promotional rights and usage in any and all print for an unlimited time. Includes entire body of works. All images, including outtakes, may not be sold as stock until all usage expires. Client reserves first option of reuse upon expiration of current rights. Artist retains self-promotion rights forever, as does the agency. Total buyout of rights, usage and copyright. Artist retains self-promotion rights. {The word ‘buyout’ by itself is meaningless and will not hold up in court}

This information was provided to A Photo Editor by Former Art Buyers and current photography consultants Amanda Sosa Stone and Suzanne Sease. Usage terms guide created by Kat Dalager. Thank you very much !

LAW ON INTELLECTUAL PROPERTY (No. 50/2005/QH11)

Pursuant to the 1992 Constitution of the Socialist Republic of Vietnam, which was amended and supplemented under Resolution No. 51/2001/QH10 of December 25, 2001, of the Xth National Assembly, the 10th session; This Law provides for intellectual property.

Article 1.- Governing scope
This Law provides for copyright (…) and the protection of these rights.
Article 2.- Subjects of application
This Law applies to Vietnamese organizations and individuals; foreign organizations and individuals (…)
Article 3.- Subject matters of intellectual property rights
1. Subject matters of copyright include (…) artistic (…) works. (…)
Article 4.- Interpretation of terms In this Law, the following terms shall be construed as follows:
1. Intellectual property rights mean rights of organizations and individuals to intellectual assets, including copyright and copyright-related rights (…)
2. Copyright means rights of organizations and individuals to works they have created or own.
3. Copyright-related rights (hereinafter referred to as related rights) mean rights of organizations and individuals to performances, phonograms, video recordings, broadcasts (…) (…) 6. An intellectual property right holder means an owner of intellectual property rights or an organization or individual that is assigned intellectual property rights by the owner.
7. A work means a creation of the mind in the (…) artistic (…) domain, whatever may be the mode or form of its expression. (…)
9. A published work, (…) means a work, which has been made available to the public with the permission of the copyright holder (…) in a reasonable amount of copies.
10. Reproduction means the making of one or many copies of a work by whatever mode or in whatever form.
11. Broadcasting means the transmission of image of a work to the public in such a way that members of the public may access that work from a place and at a time they themselves select. (…)
Article 6.- Bases for the emergence and establishment of intellectual property rights
1. Copyright shall arise at the moment when a work is created and fixed in a certain material form whether or not it has been published or registered. (…)

COPYRIGHT AND RELATED RIGHTS CONDITIONS FOR PROTECTION OF COPYRIGHT (…)

Article 14.- Types of works covered by copyright 1.Artistic works covered by copyright include:
c/ Press works; (…)
f/ Cinematographic works (…);
g/ Plastic-art works (…);
h/ Photographic works; (…)

CONTENTS OF, LIMITATIONS ON AND TERM OF PROTECTION OF COPYRIGHT

Article 18.- Copyright Copyright to works (…) consists of moral rights and economic rights.
Article 19.- Moral rights Moral rights of authors include the following rights:
1. To title their works;
2. To attach their real names or pseudonyms to their works; to have their real names or pseudonyms acknowledged when their works are published or used;
3. To publish their works or authorize other persons to publish their works;
4. To protect the integrity of their works, and to prevent other persons from modifying, mutilating or distorting their works in whatever form prejudicial to their honor and reputation. (…)
2. The rights shall be exclusively exercised (…) or granted by authors (…) to other persons for exercise.
3. Organizations and individuals, when exercising one or all of the rights specified in this Law, shall have to ask for permission of and pay royalties, remunerations and other material benefits to copyright holders. (…)
Article 24.- Copyright to artistic works (…)
2. Organizations and individuals that use works must neither affect the normal utilization of such works nor cause prejudice to rights of the authors and/or copyright holders; and must indicate the authors’ names, and sources and origins of the works. (…)
Article 27.- Term of copyright protection
a/ (…) photographic works, (…) shall have the term of protection of fifty years as from the date of first publication (…). (…)
Article 28.- Acts of infringing upon copyright
1. Appropriating copyright to (…) artistic (…) works.
2. Impersonating authors.
3. Publishing or distributing works without permission of authors. (…)
5. Modifying, mutilating or distorting works in such a way as prejudicial to the honor and reputation of authors.
6. Reproducing works without permission of authors.
7. Making derivative works without permission of authors.
8. Using works without permission of copyright holders, without paying royalties, remunerations or other material benefits. (…)

COPYRIGHT HOLDERS, RELATED RIGHT HOLDERS

Article 36.
Copyright holders mean organizations and individuals that hold one, several or all the economic rights specified in Article 20 of this Law.
Article 37.
Authors who use their own time, finance and material-technical foundations to create works shall have the moral rights specified in Article 19 and the economic rights specified in Article 20 of this Law. (…)

TRANSFER, ASSIGNMENT AND LICENCING OF COPYRIGHT AND RELATED RIGHTS

Article 45.
2. Authors must not assign the moral rights except the right of publication (…). (…)
Article 47.
2. Authors must not license the moral rights except the right of publication (…). (…)
Article 48.- Copyright or related right license contracts
1. A copyright contract must be established in writing and include the following principal contents:
a/ Full names and addresses of the licensor and the licensee;
b/ Licensing bases;
c/ Licensing scope;
d/ Payment price and mode;
e/ Rights and obligations of the involved parties;
f/ Liability for contract breaches. (…)

COPYRIGHT (…) REPRESENTATION, CONSULTANCY AND SERVICE ORGANIZATIONS

Article 56.- Organizations acting as collective representatives of copyright
2. Organizations acting as (…) representatives of copyright shall conduct the following activities (…):
a/ Performing the management of copyright (…); conducting negotiations for licensing, collection and division of royalties, remunerations and other material benefits from the exercise of authorized rights;
b/ Protecting legitimate rights and interests of their members; organizing conciliations upon occurrence of disputes.
3. Organizations acting as (…) representatives of copyright (…) shall have the following rights and duties:
a/ To conduct creation-promoting activities (…);
b/ To cooperate with their counterparts in international and national organizations on the protection of copyright (…); (…)
Article 57.- Copyright consultancy and service organizations
2. Copyright (…) consultancy and service organizations shall conduct the following activities at the request of authors, copyright holders, (…):
a/ Providing consultancy on issues related to the provisions of law on copyright (…); (…)
c/ Joining other legal relations on copyright (…), protection of legitimate rights and interests of authors, copyright holders (…) under authorization. (…)

PROTECTION OF INTELLECTUAL PROPERTY RIGHTS GENERAL PROVISIONS ON PROTECTION OF INTELLECTUAL PROPERTY RIGHTS

Article 198.- Right to self-protection
1. Intellectual property right holders shall have the right to apply the following measures to protect their intellectual property rights:
b/ Requesting organizations or individuals that commit acts of infringing upon intellectual property rights to terminate their infringing acts, make public apologies or rectifications and pay damages; (…)
d/ Initiating lawsuits at courts (…) to protect their legitimate rights and interests. (…)
Article 199.- Remedies against acts of infringing upon intellectual property rights
1. Organizations and individuals that commit acts of infringing upon intellectual property rights of other organizations and individuals shall be handled with civil, administrative or criminal remedies. (…)
Article 201.- Intellectual property assessment
1. Intellectual property assessment means the use by competent organizations (…) of their professional knowledge and expertise to make assessment of and conclusion on matters related to intellectual property right infringement cases. (…)
3. Intellectual property right holders and other related organizations and individuals shall have the right to request intellectual property assessment to protect their legitimate rights and interests. (…)

HANDLING OF INFRINGEMENTS OF INTELLECTUAL PROPERTY RIGHTS WITH CIVIL REMEDIES

Article 202.- Civil remedies Courts shall apply the following civil remedies in handling organizations and individuals that have committed acts of infringing upon intellectual property rights:
1. Compelling the termination of infringing acts;
2. Compelling the public apology and rectification; (…)
4. Compelling the payment of damages; (…)
Article 203.- Right and burden of proof of involved parties
2. The plaintiff shall prove that he is the intellectual property right holder with one of the following evidence: (…)
b/ Necessary evidence proving the basis for establishment of copyright (…);
c/ Copies of license contracts for intellectual property objects where the use right is licensed (…). The plaintiff shall have to produce evidence of acts of infringing upon intellectual property rights (…). (…)
Article 204.- Principles of determination of damage caused by infringements of intellectual property rights
a/ Material damage, including property losses, decreases in income and profit (…);
b/ Spiritual damage, including damage to honor, dignity, prestige, reputation and other spiritual losses caused to authors of (…) artistic (…) works (…).
Article 205.- Bases for determination of compensations for material and spiritual damage caused by infringements of intellectual property rights
1. Where the plaintiff can prove that an act of infringing upon intellectual property rights has caused material damage to him, he shall have the right to request the court to decide on the compensation level (…). a/ Total material damage calculated in an amount of money plus profit gained by the defendant (…)
2. Where the plaintiff can prove that an act of infringing upon intellectual property rights has caused spiritual damage to him, he shall have the right to request the court to decide on the compensation level (…). (…)

IMPLEMENTATION PROVISIONS (…)

Article 221.- Implementation effect This Law takes effect as from July 1, 2006.
This Law was passed on November 29, 2005, by the XIth National Assembly of the Socialist Republic of Vietnam at its 8th session.
Chairman of the National Assembly NGUYEN VAN AN