has introduced a new approach to Rights Managed licensing and is opening the door to some really special photography. “We always had a clear position on the subject of rights managed licensing”, says Tomas Speight, CEO of Panther Media GmbH, “we would only ever do it if we could make it so easy it doesn’t need explaining”.
What can photographers and stock agencies do about pricing and the shift of revenues from photographers to a few huge platforms? Mike Watson says, “It’s unlikely that the major platforms will change their practices and the all-you-can-eat deals will continue. It’s time for photographers and independent agencies to unite and talk directly to their customers.” Read his whole blog post
on the robertharding blog.
Get ready for 15% royalties. Getty has contacted some European agencies that supply the company with Royalty Free images for its Creative collection and told them that when their current contracts expire they will be terminated unless they agree to accept a 15% royalty.
Given the declines in stock photo prices, it may be time for the industry to look for a new image pricing strategy. Yesterday I made an argument
for why the industry needs to price based on performance, or demand for certain images. There also needs to be a price floor for certain images that are in greater demand. Price should have little, if anything, to do with whether the image is exclusive or non-exclusive.
A professional stock photographer has pointed out to me that a long held tactic to price a premium brand of anything is that a higher price indicates higher quality. He argued this is why some photographers insist on selling their images as Rights Managed. They believe they are producing a higher quality product. They often go to a great deal of effort and expense to produce their images. As a result, they feel they are not only justified in charging more, but that it is the only way they can recover their production costs.
I’ve been doing a little more thinking about some of the implication of the story
I wrote on Monday. As an American I had assumed that image creators who only earn a few thousand a year from their creative work couldn’t possibly be supporting themselves from the images or illustration they produce. Therefore, I had concluded that they must be amateurs. That may not be the case.
In the next few months I intend spend a lot of time examining the question, “Can the stock photo industry raise prices on at least some of the images it offers?
” The possible answers to that question are either YES, NO or MAYBE.
Can the stock photo industry survive if it is only a business of amateur suppliers? It is certainly on road to becoming that business. Gross sale rates have declined so much that most photographers who need revenue from the images they produce to support themselves and their business can no longer justify continued production. (Check out stories here
In the article “Understanding Editorial At Shutterstock
” I reported on a London photographer had to find uses of his images and report the uses to Shutterstock in order to be paid. Shutterstock provided a clarification pointing out that they use the same procedures as other editorial agencies to track usages of their images.
has reported Q4 2016 revenue of $130.2 million and a total of $494.3 million in revenue for all of 2016. The full year revenue was up about 16% from $425.1 million in 2015. There were a total of 167.9 million downloads for the year up from 147.2 million in 2015. While revenue grew 16% the collection size grew 63% to 116.2 million up from 71.4 million at the end of 2015.
(IC), a leading photo and video agency on the Chinese Mainland, Hong Kong and Taiwan, has signed a three-year exclusive agreement with the Chinese Super League (CSL), the country's most prestigious football league.
has launched a new, easy-to-use global photographer directory
with over 50,000 photographers from 11,000 searchable locations across 191 countries. Customers may search for a photographer in a specific city or town who specializes in one of 18 different categories of photography.
What is an “Authentic” picture? Do they really sell? Photographers are being asked to produce more authentic pictures, but they are being given little or no information about what makes a image authethic, or how well such images are actually selling.
If in the last 30 years you’ve seen an image taken in India there is a good chance it was supplied by Dinodia Photo Library. For years Dinodia images have been represented by many other image distributors around the world and those images have found their way into countless books, newspaper and magazine articles.
The Getty Creative collection has grown by 4% in 4 months and now stands at 17,376,859 images. At that rate the collection size will be about 19,462,082 images by the end of 2017. In August 38% of the collection was RM images. Today 36.8% of the images are RM. At this rate of decline less than one-third of the images will be RM by the end of 2017. A huge percentage of these RM images are supplied by image partner agencies
that only, or predominately, represent RM images
It is almost that time of year (early January) when I publish one of my semi-annual reports on iStock sales trends. A reader asked me recently to explain how I get access to the information in these reports. I'll explain the process I go through in this report.
I was recently asked by an African American stock photo customer why the stock photo industry doesn’t do a better job of showing diversity. I was surprised by the question and didn’t know how to answer.
is proud and excited to have won the tender for the exclusive representation of the British Library content in the UK. Bridgeman Images has worked for the British Library for many years across all our offices. We are delighted to have been appointed for all commercial and editorial licensing with the exception of branded products and scholarly uses which will remain with the British Library.
As I pointed out in a previous article
I recently contacted a number of very successful photographers who, in the 90s, earned most, if not all, of their income from stock photography. After 2000, and despite a lot of continuing hard work and cost cutting, many saw significant earning declines and eventually had to look for something other ways to support themselves and their families.
has gone public with a promotion to the 95% of design professionals that use stock photography. For the first time, buyers looking for a comprehensive all-in-one search tool can review and license photography from all industry sources – and get no duplicates.
The Getty Unification Project
that creates common platforms where both iStock and Getty Images contributors can upload their images and bring them into the Getty marketing system opens the door for a lot of potential new changes. If, or when, any of the following issues will come to fruition is unclear. But, Getty or iStock contributors and anyone considering offering images to either of these companies should consider the implications of these possible changes.
In a recent promotion ImageBrief sent out a link to its “What’s Selling
” collection. This is a hand picked subset of sold images specifically organized for photographers who have asked for insights into the type of images clients are buying.
has announced an exclusive three-year agreement with AM Stock-Cameo to make more than 60,000 HD clips available to Shutterstock users. This robust, diverse library features aerial footage, explosions, driving plates, and shots of hospitals, military bases, schools, and more. This is essential footage for transition and establishing shots.
Chai Jijun, Co-Founder and EVP of Visual China Group (VCG) provided a very detailed and complete picture of the stock photo business in China when he gave the keynote address at the DMLA 2016 Conference
last week. The following is his presentation.
Will crowd-sourcing images (UGC) or highly curated collections from professional creators be the future of stock photography? All the major suppliers of stock imagery are focused on acquiring more User Generated Content, but long range will that be the best way to grow revenue or create the most usable collections for image consumers? At the recent DMLA 2016 Conference
Brianna Wettlaufer, CEO of Stocky United, talked about an alternative to UGC and how to run a viable, sustainable and profitable photographer’s co-op.