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Stock photography is changing rapidly. The most serious issues facing stock photographers are:
they have no idea who their potential customers are;
they don’t know what their customers are looking for in the way of images; and
they don’t understand how their customer’s businesses are changing.
PhotoShelter has just released the results of a new survey designed to determine “What Buyers Want From Photographers.” The 48 page report is available for Free here
Does anyone other than photographers think that photographers should be compensated with more than a credit for the use of their images? The response photographer Kristen Pierson received from the publisher of the Warwick, RI Beacon displays a common attitude, not just of the average consumer, but of many professionals and commercial users who should be licensing rights to the images they use.
that connects creative and marketing professionals to a curated network of more than 7,500 professional photographers in 115 countries has published an infographic
that outlines some of the risks professional photographers face in the current market.
National Geographic has gathered its expansive archive of still and moving images and its roster of award-winning photographic and filmmaking talent and made them accessible to the creative community in one place, through National Geographic Creative
PhotoShelter, in conjunction with Bill Cramer, founder and CEO of Wonderful Machine
, has released a new free guide on Pricing Corporate and Industrial Photography
. The guide provides useful price ranges for a variety of shoot types including: Corporate Lifestyle, Environmental Portraiture, Corporate Reportage, Headshots, Event Photography and Library Shoots.
The United Kingdom company Eposure
has posted preliminary results of its Photographer Day Rates survey
that was conducted online through its blog. Eposure is a company that “brings commercial photographers and businesses closer” and provides information and mentoring programs for photographers.
has raised a $700,000 round of financing from Square Peg’s Paul Bassat and Justin Liberman as well as other Australian investors. Originally based in Australia, the company has raised $2.2 million thus far.
Given the competition in the world of professional photography, anything that can help a photographer find customers is worth considering. A reader recently called my attention to Imagebrief.com
that allows art buyers to provide a detailed outline brief of their image needs for current projects. Photographers can review the briefs and submit images for the projects.
Novus Select has announced the addition of David Burnett, Holly Wilmeth, John Hafner and Joseph Puhy to its existing roster of talented artists centered around advertising. All have shot advertising and branding projects for top brands including GM, FedEx, Canon, Cabela’s and more.
After Hurricane Sandy many news organizations will be thinking hard about covering breaking news events with iPhone’s and delivering the images via Instagram. Kira Pollack, Director of Photography for Time Magazine, hired five professional photographers to cover the event with their iPhones rather than their digital SLRs. By delivering the images via Instagram Time was able to show customers a more comprehensive report faster that would have been possible with a traditional approach to the assignment.
announced today the formation of Tectonic Media Group
(TMG), a New York-based talent management and media consulting firm. TMG represents the top talent in action and adventure sports photography and filmmaking. The firm will look after each artist in all aspects of their career, from print advertising and editorial work, to directing commercials, branded content, and feature length documentaries, as well as content licensing, book publishing, speaking engagements, and brand endorsements.
American Photographic Artists (APA
) has announced that Editorial Photographers (EP
), a highly regarded association aimed at improving profitability of editorial photography, has agreed to a merger that will benefit professional photographers around the world. The merger is scheduled to be completed by the end of the year. This merger will increase the size of APA to approximately 3,200 members.
Last month we wrote about Scoopshot
a site where any photographer can submit cell phone pictures for editorial use. The company has been in business for about 18 months and has over 130,000 contributors from 165 different countries. Now Scoopshot has added an option that allows editors to identify and give assignments to a select group of photographers that produce professional quality work.
We are rapidly moving toward a time when consumers will get more of their news via YouTube rather than from commercial television. On average 22 million people watch the evening news on the three U.S. broadcast channels each night. But, when there is a major event YouTube views regularly eclipse that number. During Japan’s tsumani disaster in March 2011 the 20 most viewed news-related videos on YouTube that focused on the tragedy were viewed more than 96 million times.
The U.S. Copyright Office is proposing to increase the registration fee for filing an online application from $35 to $65, and the fee for using a paper application from $65 to $100. They are requesting a fee increase because in 2011 fee receipts only covered 59.5% of the cost of providing the service. The rest comes out of the taxpayers pockets.
ASMP’s “The Future of Licensing
” webinar with Frederic Haber, of the Copyright Clearance Center; Henry Oh, entrepreneur and digital content distributor; Eugene Mopsik, Executive Director of ASMP and Richard Kelly, moderator was held yesterday and can be downloaded here. Licensing was defined as a process that allows a customer to use something that is too expensive for them to own outright.
StockFood, the world’s leading food image agency, introduces living4media
: a new picture agency specializing in home and living. The concept behind www.living4media.com
is to unite the most outstanding images produced by internationally renowned photographers and well-known niche agencies under one roof.
Many who enjoy photography and have had some success at licensing rights
to their images dream of quitting their “day job,” giving up a regular
pay check and taking pictures full time. This story offers a few things to
think about that apply both to photographers who hope to do commercial
assignments and those who want to license rights to stock images.
In May Peter Phun published an article on BlackStar Rising entitled “It’s Time for Pro Photographers and Hobbyists to Call a Truce
.” The article has received a lot of comments. I would like to weigh in with my thoughts on the difference between professionals and non-professionals.
In November of last year we wrote about World Assignments,
an organization designed to help buyers find photographers who worked in
various locales around the world or had expertise in working in such locations.
and Agency Access
have just released a free ebook entitled “What Buyers Want From Photographers
.” The information resulted from a 35 question survey sent to Agency Access’ global database of 55,000 photography buyers. 500 responded to the survey.
Anyone who earns significant revenue from producing or licensing stock
images for educational purposes should be looking, as soon as possible,
for another line of business. Why? It is rapidly becoming
impossible to earn enough from licensing images for educational use to
cover the costs of producing them. For decades photographers have been
willing to license rights for limited usage of their images with the
understanding that if a greater use is made the photographer will
receive additional compensation. This system was originally developed to
help publishers limit their risk in the event that some of the book
they produced did not sell well or generate as much revenue as hoped.
Prior to 1976 a commissioning client owned the copyright to images
created by photographers. At that time the vast majority of images that appeared in
publications and advertising were created on assignment. The 1976 copyright law changed all that and gave photographers control of their work and the ability to license narrow and specific rights. Now, the business world is pushing photographers back into a model that
looks very much like pre-1976. The promise of a continual income stream
from our creations often seems distant and unobtainable.
At ASMP’s recent Strictly Business 3 education weekend in Philadelphia
four photographers explained how they had reinvented their businesses in
the current challenging business environment. Here are their stories. There will be more success stories at the last Strictly Business 3 conference in 2011 which takes place in Chicago April 1st through 3rd.