A meta image search site can offer stock providers access to a broader customer base, while offering buyers more image choices. Aggregator search sites index multiple collections and brands through split commission, pay-for-service or technology-licensing arrangements with image owners.
Two years ago I bought my first digital camera. Now I’m shopping for a video camcorder. No, I don’t have dreams of winning an Academy Award. But as an instructor of visual communications, I need to stay at least a few paces ahead of my students.
He’s been called everything from the father of stock photography to the sage and guru of the industry. Now his biggest source of pride is being the father of a top stock shooter, his daughter Jamie Grill.
Over half (57 percent) of the respondents to the annual Accenture survey of senior media and entertainment executives identified the rapid growth of user-generated content as one of the top three challenges they face today. Respondents included 110 advertising, film, music, publishing, radio, Internet, videogame and TV professionals working in North America and Europe.
There are three ways photographers can approach representation: They can represent themselves, use a personal rep, or use a photographic agency. Over the course of a career, a photographer may use all three of these approaches.
They say that good fortune favors the prepared mind.
Still, Arizona Highways photographer Richard Webb was completely unprepared for what he witnessed in Hellsgate Wilderness. Lucky for him, his camera was ready.
So, a couple of days ago I found myself in a somewhat unusual place (for me), in a studio listening to a Megadeth concert and interview. I was somewhat familiar with Dave Mustane, and was duly impressed with his business acumen.
The Association of Commercial Stock Image Licensors (ACSIL) has recently completed a survey of the worldwide stock footage industry and outlined their findings in a very comprehensive and detailed 259-page study entitled “ACSIL Global Survey of Stock Footage Companies 2007.”
Like most photojournalists I work alone and have always preferred it that way, because I find that’s when I get my best pictures. However, when Graham Pitts, an Australian writer, asked me if I was interested in working with him on a project called A Body of Knowledge about women who were HIV Positive, I thought it would be a great opportunity to work in a multimedia context.
The BlogTO Toronto arts blog has a nice post, with pics, of The Celebrity Persona exhibition at BCE Place Galleria. The exhibition features digital reproductions of photos from Ryerson University’s Black Star Historical Black & White Photography Collection.
At its annual meeting earlier this month, PACA invited four representatives of the stock photo trade press to discuss current industry trends and share their opinions of what stock photo agents might expect in the near future. The title of the panel was “Where Does The Press Think We’re Headed?”
As a photographer, it’s in my job description to artfully render my surroundings no matter where I am. But some places inspire my best work and hold a connection for me that I can’t explain.
For Arizona Highways magazine, I once asked our photographers to seek out their favorite locations. Poring over these images was one of the most interesting photo edits I’ve ever worked on. Knowing the photographers and their stock files as I do, I could have predicted some of their choices. Obviously, a large body of work from one location suggests a powerful connection between land and landscapist.
I recently did a survey of Getty photographers in which respondents expressed a high level of frustration and dissatisfaction. After the survey was completed I got several more responses and one photographer gave me a very detailed explanation of what had been happening in his career. I would like to share this with you.
Three weeks ago, I was in India sitting on a Bihar train reading the headlines:
“Maoist rebels attack a train in Bihar”
“Serious outbreak of Malaria in Bihar kills 72 people.”
Just in case I still thought the assignment would be easy, I was told to drink plenty of of water — because a villager in the area where I was working had fallen asleep in the shade of a tree and died of dehydration as a result of the heat.
Professional photographers might have mixed feelings about Flickr, but there’s one thing everyone in the industry can agree on: you can’t ignore it. It’s just too useful.
We’ve already discussed how photographers can use Flickr to find photography competitions and do online location scouting. And putting your best photos online for buyers to see goes without saying.
Years ago a great London-based studio photographer called Chris Joyce, now sadly dead, would allow me to wander around his still-life studio. Thus was invented the sport of “cambo kicking,” which was the not-so-subtle way of altering a camera position by the simple means of tripping over the camera stand.
When an electronics company first squeezed a lens into a mobile phone, people in the photography industry started asking questions. With just 110,000 pixels, Sharp’s J-SH04 didn’t look like much of a threat to professional photographers at the time, but it seemed inevitable that the quality of camera phones would rise as quickly as the quality of the phones themselves.
What do you do when you’ve been disgraced from your job after altering 79 photographs (revealed so far) and are fired? Turn to what was your hobby — storm chasing.
About The Image recently ran an article that would have sent chills down the spines of anyone afraid of Flickr going commercial. The article looked at the fate of an API that would have enabled Flickr Pro members to move their images onto the 123RF.com stock site.
I’ve always been a fanatic about researching the destinations I’m going to photograph, and by the time I get off a plane in a new city, I probably know more about the hidden parks and historic streets and buildings than most of the people living there.
“A good photograph is knowing where to stand.”
The statement seems disarmingly simple, especially when we discover it comes from Ansel Adams, arguably the greatest landscape photographer of the 20th century. Rudimentary on its surface but burgeoning with truth, it offers a glimpse into the mind of a photographic genius.
Nothing makes me madder than being told I have just taken a “lucky shot” — generally speaking, because on the day concerned I probably got out of bed at least five hours before my grudging critic.
There is a great story about Gary Player, the South African golf champion, hitting a hole in one at a tournament.
I learned the finer points of photo editing from one of the best in the business. He’s a mentor I’ve never met, but he’s with me every day.
When Arizona Highways hired me more than two decades ago, I thought myself the luckiest man on Earth. I’d made the leap from newspapers to the greatest landscape photography magazine in the world. The weight of carrying on the magazine’s celebrated photographic legacy was not lost on me. These were my salad days. And this was my big moment.
Digital photography has turned a world of possibilities into reality. It has alleviated photographic challenges and made visual communication much faster, easier and more fun. But offsetting these positives is a Pandora’s box of evils that have been released in the publishing world. Paramount among them is the issue of digital image manipulation.
We are frequently approached by photographers interested in receiving assignments through Black Star. “What is your selection process?” they want to know.
There is no formal system for selecting Black Star photographers — and there is no formal pecking order among our approximately 350 photographers, either. Our selection process is more art than science, and always has been.