Articles by Jim Pickerell
Adobe just released its latest 2018 visual trend, “Creative Reality,” exploring surreal utopias and vibrant color palettes as well as the ways artists are reflecting this new day-glow-infused reality in their work. From art exhibits on
Burning Man to immersive projects like
Summerland, artists are creating new worlds filled with eccentric textures and hyper-sensorial experiences.
After reading last weeks stories
Are Photographers Shooting What’s In Demand? and
What To Shoot: Learning From iStock a photographer sent the following:
...shoot what stirs your mind...
...shoot what you think others might not...
...shoot what you believe you're good at...
...shoot what's reasonably accessible...
...that's all...bye-bye now...
If you’ve been a Getty contributor for a long time you might want to check to see if all the images they have accepted over the years are still in the collection. Jonathan Nourok (
www.jonathannourok.com ) has been contributing his botanical images to Getty Images since it was Tony Stone Images almost 30 years ago. He also posts some of the same images on his own website, but since he has an exclusive agreement for licensing with Getty he notes on his website that the images are only available for licensing through
gettyimages.com.
Recently I’ve done three stories examining various aspects of the collections at
Getty and
iStock and
Shutterstock. The chart below provides easy comparisons of these three collections.
I’ve examined the number of images in certain keyword categories at
Getty and
iStock. Today, I’ve done a count of the number of Shutterstock images with the same keywords as the other two agencies to see if it is possible to draw any comparisons. I'll take a look at the comparisons of collection size between Getty and Shutterstock. In addition there are some interesting things to be learned when comparing the number of photos with the number of illustrations on the Shutterstock site.
In the
previous story I examined the Getty Image Creative collection, and in particular EyeEm’s contribution to that collection, in and effort to determine what subject matter might be in greatest demand, and thus most needed. iStock offers some interesting insights into the subject because it basically has two separate collections – Signature and Essentials – with imagery at different price points.
If the major stock distributors want to sell more pictures it might be a good idea to give photographers more information about the relative demand for certain subjects in terms of number of images licensed and revenue generated by images with certain keywords. If occurred to me that the fastest growing collection on Gettyimages.com is EyeEm. Currently there are 26,024,940 images in the Getty Creative collection and 4,620,578 or
18% of them have been supplied by EyeEm. A little less than two years ago EyeEM only had 256,152 image in the collection.
This story provides some comparative figures of the 205 brands represented in the
Getty Images Creative collection between August 2016 and June 2018. There were 15,001,453 images in the collection in 2016 and 23,922,471 today, a 37% increase overall in two years.
The ACSIL Global Survey of Stock Footage Companies 4 is open now for participation. All footage companies worldwide are invited to participate in this fourth study of the stock footage industry. ACSIL and Thriving Archives today announced the launch of the ACSIL Global Survey of Stock Footage Companies 4 (AGS4), their fourth survey of the global footage business. The 47-question survey is being conducted online, and all footage companies worldwide are invited to participate. The online survey is open now through August 13, 2018, and can be accessed at
www.thrivingarchives.com/ags4.
A controversial bill in the EU seeking a rewrite of Europe’s copyright laws giving creators more power to restrict how their content is distributed has been rejected by lawmakers. The vote was 318 against the legislation, known as The Copyright Directive, while 278 voted in favor, and 31 abstained, taking the reforms back to the drawing board.