PicScout CEO Offir Gutelzon Interviewed

Searching For Images? This "search metaphor" stock photo is currently part of an image infringement law suit by Getty Images.


Interview with Offir Gutelzon, PicScout CEO, December 12, 2009

Disclaimer to John Lund: The answers provided reflect PicScout’s opinion as of the date of this response. Given the highly fluid environment we are in, answers could change quickly based upon market changes.

Q. Offir, can you give us a brief background; how PicScout came to be and your role in that, as well as a little about where your company stands today?

A. In 2002, Eyal Gura and I founded PicScout. At the time, Eyal’s girlfriend (now his wife), was working for an Israeli stock agency in the job of searching for image infringement on the web in the old fashioned way--manually. That is, searching online for images and looking for attribution and ownership both online and in the real world and trying to determine if licensing had been engaged for the online usage of images owned by the stock agency. This proved to be a challenging task, if not an impossible one. Eyal and I, who at the time were both getting advanced degrees from IDC Herzliya (http://portal.idc.ac.il/en/main/homepage/Pages/homepage.aspx), recognized a tremendous market need to have an automated system which could track, protect and monetize images in the ever-exploding Web. I assumed the role of taking our vision from an idea to a product operation model to R&D and into reality, which we knew would require a seamless infrastructure capable of serving millions of Rights Managed images globally.

Through the PicScout proprietary and highly scalable image recognition technology, we created the image copyright protection marketplace, bringing millions of dollars back into the industry with our now widely-used product, ImageTracker™. From the outset, we envisioned our goal: Image commerce becoming a legitimate Internet economy.

PicScout believes every image on the Web—whether an amateur or professional image-- is usable, saleable and trackable. The company recently launched products and services to assure that every image gets its credit™ and engender a new model for image commerce, moving the industry from a practice of policing infringement to one of enabling use. The enabling technology we recently announced, the PicScout Image IRC™ includes our products ImageTracker™ and ImageExchange™, and creates a pervasive online image marketplace. PicScout does not run the image marketplace; running the marketplace is, and always has been, what the image industry itself does. PicScout just makes it possible for our customers to present their store fronts to their customers—the many millions of online users trying to find them—through the use of the PicScout ImageExchange™ add-on.

Today, PicScout, with its many customers, is realizing the new model in an actual online marketplace of images that exists everywhere an image resides. The Image IRC assures that every one of its images is recognized with ownership and rights and equipped for transaction at the point of the user experience, wherever that may be. See: http://www.picscout.com/news-and-events/industry-wide-support.html and http://tinyurl.com/ybfu7tj.

PicScout has moved from a single product company to a company with a platform of products and services that now serves multiple industries: The image industry and all its users. These users are challenged every day both to find images and determine their rights, so they can legitimately use an image they find online. These users are from many categories of creative groups who employ images to accomplish their work—designers, corporate marketing and communications professionals, the advertising industry, the publishing industry, bloggers, photography editors and buyers. The image marketplace, based on the PicScout Image IRC, facilitates communication and connection between image owners and image buyers in a new model that moves away from infringement to legitimate and immediate image use.


Q. There is considerable buzz about your new products ImageExchange and Image Tracker. Can you give us a brief run down on these products?

A. PicScout products offer both the carrot and the stick.

Our first product, ImageTracker, represents the stick. Launched in 2003, ImageTracker is based on proprietary PicScout image fingerprinting technology that allows any image to be identified even if it has been altered. ImageTracker has been widely adopted by image owners and licensors across the industry. ImageTracker has successfully identified potential cases of infringement for our customers. Equipped with the information, our customers have acted to restore tens of millions of dollars to the industry by pursuing infringement charges.

ImageExchange, the carrot, reverses the image commerce model and leverages all that the new PicScout Image IRC has to offer. ImageExchange is the tool for image buyers and users to see ownership and available rights and transact for image use at the point of encounter with an image anywhere online. ImageExchange, currently in beta trials, is a free Browser add-on. Creative professionals register for the beta and download at http://imagex.picscout.com/ Once the tool is installed, its button can be turned on or off. Using ImageExchange, an image buyer recognizes any of the tens of millions of Image IRC images by markers wherever they encounter one of the images online—whether in a search, such as through Google or Yahoo! Image Search, or at a site, or anywhere online that an Image IRC image might appear. The international information symbol—a small, encircled appears in the upper right corner of an image. ImageExchange enables an easy 4-step image acquisition process: Find, click, view metadata, click-through to transact.

Our creatives in the beta (marcom people, designers, photo editors, etc) are telling us that they are saving hours and days of time. They tell us they get requests all the time to find and use certain images in presentations, marketing materials, and in print or online publications. While the new Google Similar Image feature and Yahoo’s search functions make searching for the right image easier, the image user still must then spend hours and days trying to find the rights, and usually they're not able to do so. It's been very frustrating for them, to say the least. PicScout ImageExchange is making their work much easier.

Consider that until now professional image buyers—those in corporate marketing, designers, advertising agencies, and magazine, newspaper and online photo editors, for examples—have steered clear of online images altogether, because of ownership ambiguity. A designer risks too much for themselves, their companies or their clients if they reproduce an online image and later must face accusations of and charges for infringement for themselves and their client. So individuals in professions comprising image users must avoid the feast of images the internet inherently has to offer with ready availability, because image copyrights have been impossible to manage. ImageExchange opens the online image marketplace for legitimate transaction and a new model for image commerce emerges.

Q. Some of my images, particularly my Animal Antics photos, are infringed to a truly amazing degree. The infringements, though, are mostly on social networking sites, Flickr, non-commercial blogs and so forth. I get the feeling that few if any of the many infringements of my images are worth pursuing. Is that true? If so, do you think it is true for most photographers?

A. You present an example of where Image IRC and ImageExchange are invaluable. While you are right in saying that using your images without permission is infringement, it is impossible to fight all infringements unless you have endless time and money. Rather than you, the owner, having to bear the responsibility of pursuing infringement by using a product like the ImageTracker and then enforcing your findings, if users are enabled with ImageExchange, they will recognize your image’s ownership, what the rights for use are, and be able to pay for/license the rights to use the image at the point of encounter. Essentially, cases of infringement become promotions; though you’re not condoning the infringement, you provide an immediate remedy for it.

In terms of the ImageTracker, today most of our clients find it worthwhile to specifically pursue business accounts rather than individual accounts, although some do consider individual cases as a matter of principle.

With the new ImageExchange, infringement and any excuses for non-legitimate use can no longer withstand scrutiny, if your images are part of Image IRC. So ideally, what occurs is a reduction in the number of infringements because you take away the excuse and the hassle of trying to figure out how to buy it. At PicScout, we fundamentally believe that if you give people the opportunity to do the right thing (by identifying images with the icon and providing corresponding licensing information), the vast majority will do the right thing – and for those that don’t – the ImageTracker serves as the enforcement tool.

Q. I believe one of the dysfunctions of the current system for licensing and distributing photography is that there doesn't seem to be a practical way to license for "personal use", i.e. screensavers, homework reports, non-commercial blogs, or prints to stick on your refrigerator. Do you agree? Is there an answer?

A. Any image, including those you mention here, can be recognized with ownership and rights and equipped for immediate transaction if it’s part of the PicScout Image IRC. Wherever one of our images is encountered, its marker, the icon, can be seen by anyone using ImageExchange. This means the shopping cart and pricing charts provided by the licensors can include a range of potential uses and a range of prices. We believe if our industry makes it easy for people to buy (not necessarily license), and buy at a level they seek to use the image for, they will do the right thing. You can think of it as the same as people who buy music for personal use, they do not necessarily know about the music studio that created the music, they just use iTunes or go to Virgin.

Q. Does registering your copyright with the Copyright Office make any difference when dealing with many of the most common infringements such as unauthorized use of pictures on social media sites and/or non-commercial blogs?

A. When an image is registered with the Copyright Office, you do have the right to file for statutory damages, which carry many substantial penalties, and in some cases you can recover legal fees, as well. You should speak with an attorney for additional information regarding this question.

Q. PicScout is for collections over 30,000 images. I, for example, have about 6,000 images out there, and they are almost all handled by various agencies. Should I just leave it up to the agencies to enforce the copyright?

A. You are referring to ImageTracker in your question, where we typically require a minimum number of images. The images for ImageTracker also must be Rights Managed images where the licensor can easily validate who does and who does not have permission to use a particular image. The primary image usages should also consist of commercial web sites in order for the product to be of value in terms of revenue recovery. If your images are represented by one of the agencies working with us, you are safe. If you want to get reports directly from us, you should be aware of the efforts you’ll have to make on your own behalf and the necessary fight you face to prove your rights, even when a case may seem clear.

Image IRC with ImageExchange embraces any image—rights managed, royalty free, or creative commons. We are about to announce a photographers platform where images may be submitted to the Image IRC through a photographers service. This will be the first of many announcements forthcoming which will enable photographers, regardless of image collection size, to be able to include their images in the Image IRC, which means all their images will appear to ImageExchange users with the icon.

Copyright enforcement is a component of the “stick” model. Enabling use—the “carrot”—is the more proactive solution and much easier on you and buyers of your images.

Q. It is my understanding that it is impossible to track and enforce infringement of RF images. Do you think that your technology will move the photography world more towards RM images and away for the RF business model?

A. From a tracking perspective, RF images are the same as RM images. However, to enforce copyright infringement, you must be able to prove the person/entity did not have the right to use the image. Historically, given how Royalty Free images have been distributed, tracking of an image’s use by image owners and distributors has proven very difficult to do. You should also speak with an attorney for a specific legal opinion on this point.

Our ImageExchange technology provides no advantage for one license type over another; Under ImageExchange use, RM, RF, as well as UGC images, all contribute to growing the overall size of the marketplace by enabling more people to buy more images at the point of the user’s experience. Whatever the technology, market demand will ultimately judge the model which best meets the needs of customers.

Q. Are the concerns of stock agencies any different than those of individual photographers?

A. PicScout is focused on ensuring that Every Image Gets Its Credit. Doing so aligns the interests of agencies and photographers by specifically focusing on growing the overall market size of paid/authorized image consumption.

Q. Are agencies doing a good job of combating piracy?

A. Technology has evolved quickly and as a result piracy is as easy as a right-click-and-save-as. The best way to combat piracy is by providing a solution that does not require consumers of images to significantly alter their behavior. ImageExchange does just this by providing a solution at the point of the user experience – enabling users of images to connect with the licensor for authorized use. Until there are more ImageExchange equipped users and knowledge of how to use legitimate images increases, agencies will use products such as the ImageTracker with their own good compliance teams, or one of the legal partners from the PicScout network, to do what they can to combat piracy.

Q. One hears that copyright is less respected in countries such as China and India. Is that true? Is that changing at all?

A. PicScout provides ImageTracker services on a world-wide basis depending upon client needs. While we are in the process of reaching out in India and China, our statistics show that even in developed countries such as US, UK, and Germany, the infringement rate of RM images on Commercial websites is as high as 85%. Can China and India be much worse?

Q. I have given permission to many people who make "siggies, tags and tubes" to use my “animal antics” work non-commercially in exchange for links to my site and a credit line. The idea is to at least bolster the importance of my site and get the word out about my work. That would seem, however, to make tracking unauthorized uses very difficult, or even impossible. In your opinion is that a good idea or a mistake?

A. I greatly believe it’s a good move to permit others to use your images in exchange for marketing, even if tracking unauthorized use is difficult. This is one of the reasons we created the Image Exchange, so you can market your images and manage their use in different applications through the Image IRC. It doesn’t matter where your image appears or who is using it, the ImageExchange always displays the icon, which can also serve as a sales/traffic generator for the artist/agency.

Q. You say 90% of images on the web are infringements. How did you come up with that figure? What percentage of copyright infringements is worth going after?

A. Today, PicScout company data shows more than 85% of rights managed images on commercial web sites are being used non-legitimately. We came up with this number after constantly crawling the growing web for more than 7 years to maintain accurate reporting of non-legitimate usage to our clients.

Note some additional historical information about infringements: Currently, Image Tracker serves only RM images, because we believe these are the only image infringements actually worth the time and effort required for enforcement. As we see the market shifting increasingly to RF, the advantage to the industry clearly comes from creating awareness of every image’s rights and connecting people directly to images’ licensors.

In 2003, PicScout was searching commercial web sites for Rights Managed images of some major stock collections and discovered that nine out of every ten images found were unauthorized uses. (Infringements of Stock Images and Lost Revenues, 2007)

In 2005, SAA and PicScout joined together to conduct a more in-depth study of the infringement problem. Using a sample of 20,000 images over a four month period, PicScout used its own technology to comb commercial websites in the US, UK and Germany. In just 4 months, 388 infringements were located. Translating this to an annual number, it was determined that nearly 1 out of every 17 images was being used non-legitimately. Interestingly, the highest rate of misuse was in the US (64%), followed by Germany (23%) and then the UK (13%). Furthermore, it was determined that on 29 of the sites where images were found, another 91 images that were not included in the sample were also being used. This suggests a pattern of misuse – if one image is found to be non-legitimate, it’s a good chance there will be more. Unfortunately, we also determined that these unauthorized images were not short-term uses; one year after the study, “many of the same images were still in use” on the websites. (Infringements of Stock Images and Lost Revenues, 2007)

“Getty says it finds about 42,000 examples of copyright infringement a year. For its part, Corbis says it uncovers about 70,000 violations annually.” (LA Times, 9/13/09)

Q. Is piracy on the web going to be an increasing problem, or will developments like PicScout turn the tide?

A. We believe that given the opportunity and the tools to “do the right thing” most people will do it. The PicScout Image IRC with ImageExchange model opens the online image marketplace for legitimate image use and transaction; such a model has not been widely available until now. As the industry and its users embrace the new image commerce model, we believe online image rights infringement will diminish and become comparable to the real world, at least. Having said that, we believe that infringers will always exist, and therefore, there always will be a need for the stick, such as the ImageTracker.


Q. What kinds of copyright challenges do photographers face in dealing with Europe and Asia?

A. Each country has its own regulations and laws regarding copyright. We would suggest that you speak with a copyright attorney for specific opinions and quotes here. If you would like an introduction to attorneys in the UK and Germany, we would be happy to provide them to you.

Q. If it isn't economically viable for PicScout to handle photographer accounts with fewer than 30,000 images, what advice do you have for such photographers?

A. See previous answers regarding pending platform announcements. First, make sure all of your image distributors are using the ImageTracker. Second, when PicScout announces the photographers platform upload your images to be part of the Image IRC.

Q. Do you have a favorite PicScout success story you can share?

A. For the ImageTracker, PicScout has brought millions upon millions of dollars back into the industry through recaptured revenue and we are very proud that we have created this revenue stream for photographers and agencies. Some agencies are more effective in copyright revenue infringement collection than others – this is why in 2010, PicScout is devoting significant attention on an account management basis to help our agency clients improve their processes and collection methods for image infringement either internally or through using outside third party legal partners.

I’ll tell you one story that demonstrates well how important it is to recognize that every image gets its credit and why every image should ultimately be part of the Image IRC.

One of our own PicScout team members and her husband, an amateur photographer, were on vacation and he took a beautiful picture of our employee on a dock during (sunrise/sunset). Weeks later, after returning home, they received a promotional mailing from the lodge where they had stayed. In the advertisement touting the lodge’s many features and assets, the company had incorporated a slightly altered version of the very photograph our team member’s husband had taken. It was discovered that the lodge had acquired the image through Flickr without permission to use it. The lodge thought the amateur’s image was valuable enough to promote their business – and should have sought permission and/or compensation to use the image. This image is part of the Image IRC, and as adoption of the ImageExchange becomes commonplace, the image will populate with the icon as users encounter it.

Q. Do you see Google Image search becoming an increasingly important tool for art directors, designers and art buyers to find images for commercial uses?

A. Kids and students now growing up to be the next image buyers are making their choices now from among one of the big three search engines. According to PhotoShelter, 6% of image buyers surveyed use image search engines, which adds to the traffic coming through traditional stock houses. Google, Yahoo! Image Search, Bing, as well as any web page that contains an image, offer technology to inspire creative professionals and enhance their productivity, such as Similar Image. Ultimately, incorporating the ImageExchange icon and the PicScout connection functionality, where owner information is readily identified, will further expand the relevancy of these search engines for users and buyers of images.

Q. Do you forecast the consumer ever becoming an important revenue source for photographers?

A. We see potential for current expansion among the quasi creative professional as being an immediate source of additional revenue. This group, consisting of corporate communications professionals, i-bankers, consultants, sales people—in fact, anyone needing to convey messaging through today’s graphical environment, both internally and externally—as being an immediate source of market expansion. Over time, we also see the general consumer market developing, once ImageExchange use penetrates among the professional and quasi professional image buyers to find images and transact for legitimate use.

We believe this will occur because of the precedent that will be set for image buyers to transact online for image use.

In terms of the casual image buyers, like those wanting to enjoy images they find online to use as posters or emblems on a t-shirt, of those that are aware of copyright protection, they believe today there are only two real options: Either don’t use the image; or copy the image and think no one will know or no one will get hurt. The reality is the marketplace has not made it easy for them to use an image in a legitimate way.

Also, it's not that everyone online has gone bad, it's that awareness of what is legitimate use is limited. On behalf of iStockphoto, KRC Research in Washington DC, conducted an online survey of 1,003 adults in June 2008 asking them about digital media usage. The study “revealed that 33 percent of Americans are using downloaded digital content, but nearly 30 percent are unaware that permission may be required for its use. This lack of awareness spikes to 38 percent among Americans in both the 18-24 and 65 and older age groups.” http://www.istockphoto.com/file_pressreleaseview/35/iStockPR_09_17_2008.pdf

To illustrate the difficulty in identifying image ownership and rights, do a Google Image search for a happy family or a youth soccer team. You'll see some great images, but with many, many duplications of same photos that all seem to have different origins or site residences. Without the ImageExchange, actual ownership of any image found in a search is anybody's guess.

Q. This may be a little off topic, but I believe the biggest challenge facing photographers in the coming years will be getting seen amid all the mind-numbing quantities of photographs being uploaded onto the internet. Do you have any opinions or insights you could share with us on that potential problem and what photographers can do about it?

A. I believe this question is best addressed by asking agencies how they feel quality, uniqueness, freshness and other characteristics of images can best be showcased when there are such vast quantities of images being uploaded onto various sites. While the amount of images is growing, I greatly believe in the idea of price discrimination, where prices should be different based on the type of usage of the image, or considering different levels of services for different sizes or types of companies; i.e., profit or non-profit.

Q. Are there issues that I haven’t brought up that you feel are important for photographers to be aware of?

A. Collectively, it’s in the industry’s best interest to ensure that Every Image Gets Its Credit. Therefore making images part of the Image IRC and enabling use of the ImageExchange, either through an add-on or as a native part of an application or program, provides a clear mechanism for enabling a legitimate internet economy to develop for images. This means a vast increase in the quantity of images purchased as well as an awareness increase in terms of the valuation of images. Rapid adoption of both are important to the industry’s ability to play catch-up with technology advances and consumer behavior trends. Also, making content available for more marketing applications and promotional use, while selling content as RF, is essential. Photographers should follow your actions, like those you’ve taken that improve rankings on search engines, and promote themselves in new ways, even at the risk of image infringements.

Passion, Perseverance And Visualization

  Photograph of my own feet in a boat on Inle Lake, Myanmar.  Ahh the life! This is a concept image about success, financial planning and the way forward.  ©johnlund


Delivery Boy, Substitute Teacher And Photography Blogs
Three things you need to have to succeed in photography: passion, perseverance and visualization.  I say that because success in photography, at least for me, has taken a long time. It took me six years before I could quit my secondary jobs (gas station attendant, delivery boy, substitute teacher and landscape laborer) and rely on photography to support me. It took seven years from the time I started seriously shooting stock until I could give up assignment work. And have been working at SEO (and photo blogging) for a year now and am just starting to see real results.  To succeed in photography you have to have perseverance. To keep doing the things you need to do while waiting for that success you need passion.

Strengthen Your Passion And Perseverance
One of my inspirations is Brian Tracy, a motivational speaker and coach. Brian reports that the vast majority of people quit just before success is finally about to arrive. To even set out to become a professional photographer you have to have some passion.  But what can you do to strengthen that passion, to increase that essential perseverance, and to help motivate yourself to actually do all those little things that need to be done to insure success? One way is to practice visualization.

Trips To Exotic Places And A Million Dollars A Year
Picture what you want your life to be like five years from now. Make that picture as clear and detailed as possible. For instance, five years from now I want to be living in my completed (I am living in a fixer-upper) home in Mill Valley. I want to be taking at least two trips to exotic places around the world each year. I want to have stock photo revenue of at least one million dollars each year. I will have a strong community of friends and fellow shooters. I will be in excellent shape (hmmm, I will be sixty-three years old). I will be able to do fifteen pull-ups, fifty consecutive perfect push-ups, and weigh 178 pounds (I can do now do nine pull-ups, forty consecutive push-ups and I weigh 182 pounds). Five years from now I will be selling at least one hundred or more fine-art prints a year (currently at about 12 a year), I will have one thousand more Rights Managed images online and will have a million visitors a year to my web site.  You get the picture, lots of fun detail!

Visualize Your Goals With Detail
By visualizing your goals with detail you make them more real, you give them more passion.  The more real your goals are the more compelling they become. Also, with detailed visualization, you can plan the steps, the individual goals, that are necessary to make that dream a reality. For example, to get one thousand more Rights Managed images online I will have to create two hundred such images a year. Slightly over sixteen images a month, or four images a week. Now there is a concrete goal for me to work on. I know from my past history that it is an ambitious goal, but is reachable. There is something really magical about setting ambitious but reachable goals. It is also essential to set deadlines for those goals. You can always set new deadlines if you miss one, but if you don’t set the deadline to begin with then your goal isn’t really a goal, it is just fantasizing!

Your Ideal Life, Passion And Goals
This brings us back to where we started, to visualization. Visualizing your ideal life in detail enables you to set appropriate goals and makes that future life compelling enough to keep your passion high and give you the perseverance to take the necessary steps to reach each of your goals. Speaking of goals, I have made three Rights Managed images so far this week and I need to complete one more tomorrow to meet my goal!

Sarah Golonka Interview On Successful Stock Photography

 One of Sarah's favorite stock images. ©SarahGolonka

 Sarah, as an art director/editor for several stock agencies, a freelance photographer, stock consultant and a stock shooter, you must have, in a sense, a kind of “global” perspective on stock photography. Can you fill us in on your background in stock and photography, and your journey to where you are now?
I have been involved professionally with stock photography for over 7 years now, entering  the field shortly after graduating from collage at Purdue University, in West Lafayette, IN,  where I studied fine art photography & psychology.  At that time, I didn’t even know about stock photography, and how it would soon be playing such a major role in my future career.

Just after graduation,  I landed an internship as a photo assistant at this great little stock photography agency called PictureArts, in Culver City, CA. When I began interning at PictureArts, it was still a very small company, owned by Jeff Burke & Lorraine Triolo.  It was while I was working with the team at PictureArts, that I began to learn about the world of stock photography, and how stock photography was beginning to play such a major role in  the advertising market. I was soon hooked, and dove into learning all aspects of the stock photography world.

Fast forwarding a few years, I went from being an intern, to an editor and art director for PictureArt’s Brand X collection, worked freelance as an Art Director/Producer for both Jupiter Images & Corbis, and in addition, became a Senior Editor at Blend Images.  While each of my positions at these various stock agencies filled up my weekly schedules, I also took the time to shoot as a stock photographer as well.  I am currently represented by Jupiter, Getty, Blend Images & Tetra.

Throughout the years I have had the great opportunity to work with and learn from so many amazing creative people within the stock industry.  I’ve also have had the unique opportunity to see the stock photography world from both an editor and a photographer’s perspective.  This gives me a unique perspective, which I use to help encourage other photographers not only to shoot smart, but also to shoot creatively.

How are you allocating your time these days (with stock, editing, photography assignments and consulting)?
I am working on quite a few different projects, all of which I love!   Right now my time is spent as both a stock photography consultant, (which includes both editing and art direction for a few different stock photographers and agencies,)  and then I am also shooting as a freelance stock, event & portrait photographer, within the Los Angeles, CA area. You can view my current work on my website: http://www.smg-photography.com

At the moment I am working on an exciting project with Sanrio (Hello Kitty,) as their event photographer for their Three Apples Exhibition, which is a 3 week long exhibit celebrating the 35th anniversary of Hello Kitty. This is currently  taking place at Royal/T Café, in downtown Culver City, CA.  I’ve been documenting all aspects of this event and look forward to having my photography published next year in a book that will be sold as a commemorative item of the event.  You can learn more about this great event by visiting the Three Apples website: http://www.sanrio.com/threeapples


You were my editor at Blend Images, and also worked with several other photographers I am close with.  I know we all respected your feedback and your ability to help us see how we could maximize our stock shoots.  From your experience are there any “universal” or “common” areas that most photographers overlook when shooting stock?
Focusing on quantity vs. quality:
I still see so many photographers trying to shoot aggressively, focusing on the quantity vs. the quality of the images that they are producing for stock.   Especially these days, within this current marketplace, I think it is so important to shoot smart, which means turning your focus to producing images of higher quality instead of quantity.   Many photographers also need to start putting much more time into their pre-production; taking an extra moment to do the research to see what does and does not already exist in the current marketplace, generate some new ideas that they haven’t seen on a stock site before, and incorporating those ideas into a shoot list ahead of time, in addition to communicating with their editors to make sure they are on the right path, before they even begin shooting.  Shooting blindly always will give you mixed results.


High production value:
I don’t think that a shoot needs to cost a lot of money to be successful, but I do feel that a shoot needs to reflect high production value in order to be competitive in today’s marketplace.  These day’s it’s so important to raise the bar and take the extra time to think about your concepts, casting, location, lighting and styling.  All of these details are equally important to make your images more sellable.  So many of the ‘same old’ images are out there now, so why not try to take these sellable concepts and put your own creative spin on them, or just create some new concepts on your own?  Clients want to spend money on images that look new and fresh and different than what they have seen before.  Plus, creating something unique will give you less competition within the existing marketplace and in turn, will generate more sales for you if you are shooting a sellable concept.

The photographer/talent relationship:
I also see many photographers not taking the time to connect with their models, before and during a shoot.  If you take the time to make a personal connection with your talent, they will be more comfortable around you and in turn, you will create stronger and more realistic images. Be nice and make friends. Models have feelings too!

Know your own stock sales history:
This I see a lot of shooters not doing.  They know they have made money from their images, but do they know exactly which images of theirs have been selling over and over?  More importantly, do they know which images of theirs are NOT selling?  Just by taking the time to review your stock sales history, you can learn a lot about what clients like and maybe do not like, about your particular style or choice in subject matter.  Once you start to research your own sales history, you then can begin to see, from a client’s perspective, what your stock photography strengths and weakness are, and then shoot accordingly.

How has your photography and editing experience helped you in shooting stock?
I have had the unique experience of looking at the stock photography world from two different perspectives, as an editor and as a photographer.  From this I have drawn the conclusion that it is of the utmost importance for a photographer to communicate with their editors and to take advantage of the creative feedback and advice that they are willing to give you.  If you have an editor that doesn’t give you much feedback, then be a bit more aggressive and ask some more specific questions.  Learning what your editor does and does not like, and why, will only help you become a better stock photographer.

Your editors are looking at your images from not only a creative standpoint, but also in terms of whether or not your images are sellable & competitive in today’s marketplace.  Always ask questions and find out why some of your images were not selected after an edit, then be sure to take that into consideration when you plan your next shoot.  Learn from each of your submissions.  Don’t be offended by your editor’s advice or criticism.   They are looking at your images in terms of salability, so take the time to learn why they think one of your images was more sellable over another.  This is how you can then start to shoot smart and then begin to gear each of your shoots towards your agency’s specific wants and needs.  In turn, you will begin to see your select rate begin to increase, which is what everyone wants, right?

For you, what is the most challenge aspect of shooting stock? 
Taking a great idea and actually getting it to reflect that concept in a contemporary & sellable way.  Having a great idea and then executing it successfully, is never an easy task. Today you have to take so many additional details into account so that your stock images look individualistic and different than all the rest.  Here is when spending the extra time in pre-production really comes into account.  Having a solid shoot list is a great start, but then hiring strong talent (that looks and acts natural in front of the camera,) in addition to  making sure all the location and wardrobe styling details work together too….it’s a lot more difficult than many people expect.  It’s always a challenge for me.

What is the most challenging aspect of editing or art directing another photographer’s work?
Communication.  Each photographer is different and some respond better to visual examples for inspiration, while others prefer more verbal direction.  Some photographers take constructive criticism well, others do not.  Any art director or editor can have a great idea or shot in mind, but communicating that idea successfully to the photographer, and getting them to shoot that concept in the way in which you want, is always challenging!

Can you explain what separates an average stock image from a best seller?
A best selling image will not only display a sellable concept that is easily understood by the masses, but it will also push the creative envelope.  A ‘best seller’ image doesn’t look like a similar to other images shot by other photographers.  It’s individualistic. It looks real. If it is a lifestyle image, the people in the image have very natural expressions and body language, as if they are real people who had no idea that a camera was even in the room.

A ‘best seller’ image usually will also have some negative space, (so that the client can have the ability to crop or add text overlay, to the image,)  and the image will also be identifiable at a small thumbnail size. (If a client is searching a stock website, if they can’t tell what the image is as a thumbnail, they will never click on it in the first place!)  Also, the styling will be just right, the colors will compliment the subject in a contemporary way and the details of the location will not overpower the subject, but will add to the story being told, in a very natural and realistic way.

How about what separates an average shooter from an exceptional shooter?
I would say that an exceptional shooter takes the time to ‘shoot smart,’ (aka: pre-production, creative research,) but then also takes creative risks. Almost anyone can shoot a sellable concept, but it’s those who shoot that concept in a creative way, which hasn’t been done or seen before, are the ones that open themselves up to creating some of the best selling stock imagery.  Yes, taking those risks may not always work, but if you do it right, the rewards will outweigh the risks.

What do you like to shoot the most?
I really love shooting people!   Working with two or more models is my favorite because I can get them to really interact with each other, which allows me to focus on documenting their natural, personal interaction, in a creative way.   

Where do you get your ideas?
I get my ideas from a multitude of different sources.   Yes, I always like to be aware of what already exists in the current stock marketplace, but then the key is to create something that doesn’t already exist.  So after I look to see what agencies do have, I then turn to other sources for my inspiration. I always take the time to visit the local bookstores to spend time flipping through all the magazines that are on the stands.  It’s great to see what existing stock images are being printed and how they are being used. But more importantly, I also make sure to review the more editorial, assignment and fine art resources as well.  I draw a lot of inspiration from looking at what many of the non-stock photography shooters are doing, by looking at different publications as well, or  by visiting gallery exhibits and reviewing various creative blogs and websites. Honestly, we are bombarded by visual imagery everywhere these days, so you can draw ideas from anywhere!


What is your process for creating stock?
When I am beginning the pre-production for a stock shoot, I first speak with my editor and make sure I am shooting agency-specific.  I want to know exactly what their specific wants and needs are, since I don’t want to waste anyone’s time.  Shooting stock is about creating imagery that will make money, so that’s my most important first step,  making sure my shoot idea is actually a sellable one and that it will include images that my agency will actually select for their collection.  

Next I begin my creative research so I can create a strong shoot list and determine all my production details.   I first look to see what my agency already has on the subject that I’m going to shoot, making sure I’m not repeating any of the same ideas so I can gear my shoot towards what hasn’t been covered yet.  Then I begin to pull tear sheets and other creative inspiration from a multitude of sources.  I also put a lot of thought into my casting, (do they have a sellable look and can they act natural in front of a camera? )  After that I determine my location, wardrobe details (including color and style,) and work hard to make sure that everything falls into place.  Before I shoot, if my editor is up for it, I send them my shoot list and some of my styling/production ideas to make sure I’m on the right track, before I finalize my production details and start shooting.

What kind of material, in your experience, has the most income potential?
Well, from my experience I know that there are certain subjects that are always very sellable, since there is such a need for them in the marketplace, such as sports, education, and seasonal imagery, but yet depending on what agency you are distributing your work through, those needs may change depending on the agencies specific clientele.  Being a bit more general, I’d say that stock shooters should strive for creating images that again, look different and have a higher production value than what we already see being over-represented at all these current stock agencies.  Overall, images that tell a story, look natural and realistic, and that portray a strong concept;  have the most potential for creating more income for the photographer.


What is the most common mistake that stock photographers make?
Shooting for quantity vs. quality. Slow down and take the time before your shoot to do the research, create a strong shoot list and make sure all your production ducks are in a row.   Then during your shoot, you can relax, be creative and focus on getting some good variety.

What is it like to have your own stock photography edited by someone else?
Difficult, but yet eye-opening.  “Knowing” vs. actually “doing,” are two different monsters, which I learned quite quickly.   I actually love getting a critique by another editor because it gives me the chance to ask all those important questions and to find out how I can grow to become a stronger stock photographer.  I think that many photographers look at their own work much differently than they would someone else’s,  since they have much more of a personal connection with it.  This is why it’s so important for me to get as much creative feedback as possible from my editors, after a shoot.  That’s the way I learn how to make more money creating stock.   I know that I may not always agree with their decisions, but again, I know they are not telling me whether or not I’m a good photographer, just whether or not my images are sellable.  That’s an important clarification to make and to always take into consideration. 

Have you involved yourself with motion?  If not, do you plan on doing so?
Currently, I am not, but I do plan to eventually become involved.  I’ve been keeping up with all the current trends in this new and upcoming market and for right now, I am actively watching and learning to see where it’s going. Motion involves many new financial investments, and has a bit of a learning curve too, so I don’t want to jump in until I’m ready.

I have this suspicion that what separates the best of RM, RF and Micro is simply the label we put on it.  That being said, I do believe there are images that are more appropriate for each category.  Can we have your thoughts on that?
I personally believe that the quality (and sometimes subject matter,) should be the main differential factor when placing images into one collection vs. another.

Over the years I’ve seen so much inter-mixing between each sales model that it’s almost anyone’s guess these days, on whether an image is a RM, RF or sometimes even Micro, just by simply looking at the image.  I believe that although at one time each individual collection was once visually identifiable, it is no longer as easy to make that determination.  But, to keep stock photography alive and financially sound for the photographers who do shoot it for a living, I do think many agencies need to redefine and adhere to an updated creative strategy, specific to each sales model.

As things stand currently, I think that image quality and subject matter should be taken into consideration when the decision is being made to which collection an image is being placed into. It is now in the past where one could assume that a RM image was of higher quality than a RF image.  Due to this fact, I think photographers should look at RF & RM in terms of being different sales models vs. a defining factor of whether or not their images are of high quality.  In turn, photographers should also gear their shooting towards one model vs. another,  since they appeal to two different types of clientele, and therefore, depending on which collection your images are in, it could have a noticeable affect on your image sales.

Now that Micro has made great strides in the marketplace, the competition has increased ten-fold and photographers have much more competition than they ever did in the past.  I think there is a place for RM, RF and Micro in the current marketplace, but in my personal opinion, I think it’s up to both the stock agencies and the stock photographers to do the right thing and help keep the definitions clear, between each collection. I also think that if a professional stock photographer decides to shoot micro, they should put a bit of thought into the repercussions of their actions. I believe that Micro should not include super high-quality images. These images have their place in RF & RM collections.   If photographers begin to submit high-quality work to Micro,  they will be helping to contribute to the downfall of current RF/RM stock price points, resulting in a image market where both high quality and low quality images are all competing at the same low price point.  This, in time, could dramatically reduce the income of any full time stock photographer, who makes their income from both RM and RF sales.

Hypothetically, let’s say a photographer shot a high-quality image and put it in an RF/RM collection, and then they took that same image and put it into a Micro collection.  What do you think will happen?   You’ll not only be competing with yourself, but how happy will you be with your sales when your Micro shot sold more than your RF/RM image, and in turn, you made a lot less money?  I think Micro has a place and is a great outlet for photographers who can afford a big staff to help with making shooting Micro profitable, in addition to many amateurs and part-time photographers who normally wouldn’t have a market to distribute their images.  (Yes, I know there are always exceptions…)  But right now I believe it’s more important than ever for a stock photographer to shoot smart and think about why you are placing your images in one collection vs. another, and what can happen over time,  if you want to keep making a profit from shooting stock photography full time.  


Do you think it is important, or will be important, for individual stock photographers, to have their work on their own web sites?
I think it’s important for any photographer to have their own work on their own websites.  Everyone is web-savvy these days and if you don’t have yourself professionally represented online, your potential models or clients may question the quality of your work, your intentions or you may just be closing the door to many potential job opportunities. 

Do you believe that Google Image Search is, or will become, a significant factor in the world of stock photography?
Yes, I think any image search engine, including Google image search, is going to keep becoming more and more significant as time goes on.  Understanding Google analytics is a very complicated process but it should not be ignored, since more and more people do a direct Google search to find what they are looking for, online.   Phone books are a thing of the past.  I know that I have personally received unsolicited work from a Google search alone, so why wouldn’t someone else take advantage of at least properly tagging their images and personal websites to help increase their marketing and exposure?

What advice would you give someone just starting out as a stock photographer?
Question everything and learn from the answers your receive, communicate with other stock photographers and your editor; and most importantly, stick to your own style and learn how to apply sellable concepts to your images vs. trying to change your style to what you believe is ‘successful’ stock shooting style.

What advice would you give a jaded veteran such as me?
Keep your head up and look back to help prepare yourself for the future. Be aware of and open to change and work with it vs. against it.  Analyze your sales history and draw your own conclusions as to why your images did and did not sell, then apply that information to your future shoots. Keep taking creative risks and stick to shooting what you are good at vs. trying to reinvent the wheel. 

Are you optimistic about the future of stock photography (and why or why not)?
Change is happening and honestly, I am more curious vs. optimistic about the future of stock photography.  I know it will not disappear, but also am unsure of how profitable it will be, compared to the past.  So much is going on right now …..I do not think that anyone will be able to make any clear predictions about it’s future until people’s spending habits (and art buyer’s budgets,) go back to normal and the economy stabilizes.  Regardless, I do know that the previous way that photographers used to go about producing stock photography is now part of the past.  The bar has been raised and much more effort is now being placed on the photographers shoulders, then ever before.  It’s no longer about pushing a button to document a simple concept.  Now it’s about creating an image that tells a story in a very new, interesting and creative way.

On a positive note though, I do feel optimistic that those photographers who are open to change, are willing to take creative risks and who pay close attention to the business aspect of their stock photography, (analyzing their commission statements, etc. )  These are the stock shooters who are on top of their game and in the end, will have the holding power to float above this current wave of change in our industry.

Interview With Charlie Holland, Former Director Of Photography, Getty Images Los Angeles

Photo ©Seth Joel/Charlie Holland
"An unplanned little picture about conservation taken one day when we had a hand model in the studio"  Charlie Holland.

Can you fill us in on your career path and how you came to be Director of Photography For Getty Images, Los Angeles?
Well, I have a degree in Social Anthropology and African History so my path to Tony Stone was not a straight one. I started as a photo researcher in New York in the late 1970’s – although I should probably start lying about the dates….I worked in magazines and books until Premiere magazine came along and I did five years there then moved on to Universal Studios as a marketing director. After another stint in magazines, I took the job as the DOP of the Los Angeles creative office of Tony Stone, replacing Sarah Stone which of course made me a persona non grata right off the bat with the staff and with the key photographers. I remember being kicked under the table by the creative director, Stephen Mays, when I started to explain my background to a group of leading photographers because he felt that my editorial background would be considered less than appropriate training for a gatekeeper in the stock industry. I thought the stock industry was just getting ready for a big shake up and that Tony Stone, already owned by Getty but not using the name, was going to be a great place to see it from. Well, I was not disappointed.

As Director of Photography for Getty LA, what were your responsibilities?
From the start, the job was to coordinate, direct the creative staff to edit, acquire, design and produce contemporary photography relevant to clients needs, present and future. I went in there with the notion that you should ‘assign’ the photography for the catalog, then the primary sales tool, just like you assigned a magazine. The company had already analyzed their catalog needs but not been systematic about how to get that material. I focused on making every editor an art director, someone who was capable of analyzing every photographers skills and resources, conceptualizing shoots, costing out productions, and recruiting talent to shoot the right material for each catalog or marketing product. It took about three years to get a crack team of 7 art directors in place. Then the company started to give us shoot money to commission work from a bigger pool of photographers - that is photographers who were new to the business and thus unable to burden the cost of production. So I supervised the conceptualization of all the shoots, allocated the resources, and coordinated very large productions to maximize our own production investment and worked closely with our key photographers on their self financed shoots. I pretty much stayed behind the curtain on set. Or in the trailer if we could afford one. The art directors preferred it that way! In fact, once on a huge shoot with three photographers and100 extras, the art director purposely gave me the wrong wavelength for my walkie talkie so I would stay out of his face on set! And no, I didn’t fire him, in fact he ended up getting my job.

You have probably looked at as many images as anyone. For you, what makes for a great stock photo?
Well, it has to be a good picture. But a really good stock photo makes you want to open your mouth and come up with a tag line…it invites copy. Good stock is sort of like good comedy (and good advertising) – there is a moment of truth that you recognize but it is revealed in a moment you might not have conceptualized yourself. It is both obvious and original at the same time.

What qualities make for a great stock photographer?
Now that most creative departments have disappeared it is largely the ability to self assign and self art direct. I think you need to be able to plan a shoot, shoot the predictable shots within that shoot and then have the energy and creativity to see the unexpected as it happens. Also, more than ever, you need to be able to edit for a client and not just for oneself.

The number of images that are available for licensing is mind-boggling. There has been a natural downward pressure on prices. When I look at how I can increase, or even maintain, my stock photography income, the first thing that comes to mind is to make more images…but that is part of the problem. Can you address that apparent conundrum?
Well it is a good idea to up your production but not that simple. Sheer numbers aren’t going to help. Adding variety to your subject matter over the course of your shooting year is important. Making pictures that radically differ from each other during your shoot day. Do your research before you shoot. Expand into different business models to make sure you are reaching as big a market as possible.

What do you think is the biggest challenge facing stock shooters right now?
Like you just pointed out - falling prices and a huge oversupply of predictable images. So while the customer base may still be growing the “giant pool of pictures” grows faster.

Where are the biggest opportunities in stock photography?
I think there is still some life in the RM model and new work going into RM must be the right subject matter – i.e. express the right concepts but those ideas must be expressed in an original way both intellectually and photographically. The ‘super shooter’ studios have produced so much ‘stock’ material that the visual vocabulary has become incredibly stale. In the mid 90’s the same thing happened: darts on dart boards meant successful business, Doric columns meant banking, chain links meant strong corporate teamwork etc etc. You as a photographer have to keep your eyes open for the changing symbols of our changing society and in particular the vocabulary of corporate culture.

Do you think direct sales by photographers will become a more important piece of the puzzle?
Yes, I do. But it is still difficult and very costly to have a website, and to provide all the services a professional buyer expects. You must have someone available to help clients search and negotiate for as many hours a day as possible. That’s a significant overhead. But on the other hand, I have already heard about stock requests being sent out by twitter to an art buyers photographer base. It seems art buyers might be getting overwhelmed by the sheer volume of material, exhausted by the samey-ness and are going back to directly contacting photographers. I think there will be other ways of making the material available direct to the client through improved google search engines for instance, but I am not sure exactly how yet! I think you are being very smart building traffic onto your site.

It is said that motion is the fastest growing segment of stock imagery. Would you recommend that still shooters look into motion?
Everyone should look into motion. My nephew went straight from stills to flipbook stills i.e. stop motion action movies made on his point and shoot camera to the video function of his mother’s camera. He is 10. But beware there is a big learning curve and don’t be fooled into thinking that affecting a ’funky style’ will hide all the mistakes on your learning curve. And don’t think that you are going to be able to earn much money with just your canon 5d. There is a lot more equipment you are going to need to make that camera stable and functional. You can’t even do a talking head without conquering the audio skills as well.

Rights Ready was Getty’s attempt to make licensing of RM imagery simpler and easier. What went wrong?
Frankly, you make Right Managed licensing easier by making rights managed licensing easier not by creating another licensing model to confuse and confound.


Do you think RM licensing needs to be made simpler to expand the market for it?
My answer, yes and no. For heaven’s sakes, how hard is it to know what you are going to use a picture for? If you as a client can answer that, then you can use any pricing model to find out how much that will cost you. If clients say they want it to be simpler it is probably a way of saying that they want it cheaper!

How do you decide whether an image belongs in RF or RM?
I used to be able to expound on this one ad nauseam, Now I just used a basic rule of thumb – an image I could see carrying an advertisement: RM. An image that is good for editorial or is purely a point picture, a substitute for a graphic, meaningless but decorative, is RF. I know some agencies are telling their photographers that they need RF pictures with higher production value, more models, more unusual treatments but it boils down to predictable, easy to keyword, subject matter. Or as I used to call it, visual Esperanto.

What roles will RM, RF and Micro have?
I think micro will kill RF before it kills RM. Two years ago everyone at Getty was saying you should get into Micro and my feeling was why bother when I am already getting .14c sales in RF? I don’t think many people can pull off a business on the scale of Yuri Arcurs because the ROI through microstock is so low that the scale of production and sales volume has to be vast to generate significant returns.

Do you have any suggestions for how to research where and what the “holes” in an agency’s collection are?
It just takes patience. I search by keyword, then delve into the details of the keywording and try combinations. Use keyword that you find in the latest business/management books. Be up to date on the jargon of corporate culture. If I have a location and am planning a shoot I list the keywords I would like to attach to a shot and then search by those and then alter aspects of my shoot brief to maximize my exposure in a clients search result. I also have an unfair advantage in searching through the Getty imagery in as much as I can assess the age of an image by its number and I am familiar with their search order results weighting. So I can search –as if I was a professional – and ‘see’ quite quickly when that category of imagery was last refreshed.


Do you think stock photography is still a viable career for photographers?
No, and I never did even when I entered the business in 1997. At the time there were a hand full of very astute professional stock photographers who had trusted the guidance of their stock agents and invested huge amounts of money into their shoots for the business. I believe their investments paid off handsomely. They had a lot of skin in the game by the late 1990s. But when I recruited photographers I always advised them to consider this a secondary source of income and not to give up their day jobs, to consider $500 or $10,000 a month a gift and not a pay check or entitlement.

You work with your husband, Photographer Seth Joel. Can you share with us the approach you two have to the stock photography industry?
Cut down production expenses. Keep a consistent stream of imagery flowing. Change it up, shoot safe for half the day and then take a risk – try something new. Make sure your images are available over as many platforms as you can. Travel. Have fun doing it.

Are you optimistic or pessimistic about the future of stock photography?
I practice doing my own bagging every time I go to Trader Joes...secretly hoping the manager notices how good I am at it just in case....

What advice would you give a young shooter just starting out?
I teach a course in contemporary stock photography at Art Center in Pasadena so I deal with this one all the time. Essentially I say if you have a web site you are in the stock industry – you could get a call today from an art buyer wanting to license one of your images so make sure they are model released, copyrighted and you know how to price and license an image. Or you could see an image of yours being used on a website and you need to know how to get paid appropriately for that use. Then why don’t you increase the odds of that call coming in by adding more copyrighted, model released images to your web site so that all your expenses and efforts in marketing and self promotion could be paid off by one of those calls/sales. I try to teach the young photographers how to make those pictures, within the context of their own taste and style, and to make those pictures commercially relevant for contemporary advertising. There is no point just shooting random material and uploading it into a public access stock site like Shutterstock. Don’t bother for the $50 a month. Be smart, show good stuff on your website, do some good test shoots with resale value and commercial content then get a contract with one of the good third party provider companies and let them distribute your material through other aggregators over multiple platform.

How about advice for some of us veterans?
Be smart, direct your efforts. Spread your submissions out over collections, over time and over business models. Do not overspend on your productions.

Do you have a favorite stock image that you and Seth have created that you can share with us?
Hand and polar bear-See picture above.

Are there any other thoughts you would like to leave us with?
Yes, like you, it struck me it might be time for a new Tony Stone collection. A tightly edited collection of imagery for high-end advertising. But that depends on the health of the print advertising market. It is not cost effective to develop and edit a collection for web use – firstly the fees aren’t there and secondly – well lets just ask everyone - have you ever seen a good ad on the web?
Or maybe art buyers will be looking for individual freelance photo editors to sift good material out of the massive volume of images available on the www. Sounds like the 1980’s to me. And they will probably pay the same $ per hour rate as they did then too!

Charlie Holland and Seth Joel's work can be seen here: http://www.sethjoel.com

Assignments, Stock Photography, and a Rich Life

Getting out of your normal environment can stimulate ideas. This shot from my working vacation can be a travel photograph, or a concept stock photo about skill, balance and small business. But the most important benefit from this trip was recharging my batteries (internal...not camera)!


Shooting Assignments And Stock Photo Production
In a way, a photographer who shoots only stock and no assignments is putting themselves at a disadvantage when in comes to stock photography production. When shooting assignments you end up in places, and with access to people, that you probably would never even think of, let alone be subsidized to shoot.  So I have often asked myself if it wouldn’t help my stock photography career to shoot assignments. Ah, but then I think of all the wasted time associated with assignments. 

Estimates, Prep and Post
There are the estimates, that to do a good job, can take a least a day and sometimes several days to complete.  And if you do get the job there are the days of prep and of post, and the endless little changes the clients always seem to want, and the last minute additions that they don’t want to pay for…and the hassles to get paid.

Introducing Fresh Ideas
OK, I say to myself, I won’t return to doing assignments just yet.  But how can I introduce new and fresh ideas into my work that are comparable to those that would come in via assignments?

Expose Yourself To Something New
Well, I have come up with a couple of thoughts around that. First, I get out of my ordinary environment and expose myself to something completely new and different.  One way in which I have done that very successfully is by doing what I refer to as adventure travel. I have a friend and colleague who leads photo trips to some pretty cool places.  Places like India, Jordan, Myanmar and China. Every time I have taken one of these trips I have come back not only refreshed and with a whole notebook of new ideas, but also with photography from the trips themselves that have invariably paid back the cost of the trip and have each become their own little profit center.

Travel, Time, and a New Paradigm
Occasionally I have undertaken such travel by myself, but it is a lot more fun for me to be with like-minded people and to have the logistics handled by someone else.  In a way these trips are far more efficient for me as well. I avoid spending all that time in researching places and putting together the trip.  Instead, I just step out of my business world and into a whole new paradigm, and then, recharged, step back into my “real world” existence.

An African Safari, A Photography Blog And Great White Sharks
The other method I have for injecting some unusual ideas into my work comes as kind of a corollary to the travel. I keep a list of 100 things I want to do before I die (OK, I have never actually gotten more than about 60 things written down). Things like go on an African safari (haven’t done that one yet…but think of the cool stock photos that could come out of that…and I don’t mean photos of wild animals, but of camp life and so forth…), shoot photography for a world humanitarian organization, dive with great white sharks, start a photography blog (oh yeah, I did that one), Visit Rio de Janeiro during Carnival, anyway, you get the picture.

Dream Assignments and Stock Photography
Make a list of things you want to do before you die. Go crazy with it! Then look at that list with an eye for how you can accomplish those things and make them pay off for you through stock photography.  It is kind of like giving yourself your own dream assignments…and using stock photography to enhance your life in more ways than just monetarily. In the end, it is a full and rich life that I want more than a full and rich estate!

Creating A Compelling Stock Photo

Diversification And A Primary Focus
There is just no getting around the fact that we are drowning in images and it will only get worse.  As any of you who regularly read this stock photo blog will know, this is something I think about constantly, along with how stock photographers can continue to thrive in such an environment.  I believe in diversification, which in this context, for me, means creating royalty free and rights manage imagery and distributing those images through several agencies. But I have a primary focus. My primary focus is on rights managed images.

Focusing On Rights Managed
There are several reasons I am focusing on rights managed images. First, I believe that overall the payment for those images is more commensurate with the value a user of that imagery receives. That is, for important uses, the price point is higher. Secondly, my percentage is higher. I get twice the percentage for RM as I do for RF. Thirdly, if the pirating of images is ever curbed it will probably be primarily, if not exclusively, for rights managed images.  That reason, however, might be wishful thinking. Who knows.

Compelling Photos And Premium Prices
So, given that my priority is rights managed imagery, and given that there is a lot of resistance out in the market to using rights managed imagery, I want to create photos that are so compelling that people will want to use those images badly enough to use the rights managed system and to pay premium prices. But what makes a picture compelling? It can be a lot of things. It can be that the photograph is unique in its content, or has a style that sets it apart, or perhaps it is just that the image is perfect for a particular users need.

Information And Data Management
The idea for this image came from a topic that seems to be very much on every photographer's mind; data management. Particularly as stock photographers we have to deal with storage, retrieval, tracking, uploading, and tagging our digital assets.  We have to enter metadata, track sales and, heck, even pay attention to our social media efforts. Information, data and digital asset management takes a huge chunk of my available time, and so it is reasonable to conclude it must be something that every business is struggling to keep on top of. In my mind that means that there is a market for imagery that addresses information management and technology as a general concept.  There is opportunity here to create images that can both stand out from the crowd (hey, another great concept) and be applicable to a wide range of products and services.


Intention, Streaking Lights And Information Flow
I gave myself the intention of coming up with an image that would illustrate a futuristic sense of data management and technology that would be appropriate for a large range of applications. Then I began to go through my files (I use bridge because I am too lazy to learn Lightroom or the various other programs available) and look for something that might spark my imagination.  I came across this cool shot of streaking lights at night that seemed to me could illustrate data or information flow.  I began to "play" with the image to see if I could make it look as if it were streaking through an urban environment.  After about an hour-and-a-half of trying different combinations of images I realized that what might really make the image come together was a person.  At that point I put the half-complete image into an "ideas" folder and decided to complete it after shooting a model in an appropriate pose.

A List, A Model And Getting To Work
Two weeks later (last week) I was ready to hire a model to use for this and a number of other ideas. I like to create a list of ten to twenty ideas and then do a shoot to get the parts for them.  Last Saturday I photographed the model. Yesterday I got around to stripping her out, pasting her into the streaking light image and getting to work.  I spent about three hours noodling with the image before I felt it was complete.


Flexible Cropping, A Sense O Place And Motion
A couple of points that I feel are important.  As I referred to in an earlier stock photo blog, I created the image so that it could be cropped as a vertical or horizontal, as a spread in a magazine, or as a magazine cover. It can work as a billboard or in a newsletter. The image is a bit busy at thumbnail size, but its square crop insures a maximum footprint when viewed on a stock site, and the story can still be grasped quickly.  By having a hint of a city skyline in the background the image is given a "sense of place" which is an important plus for a stock photo. Tom Grill, a true master of stock photography, is fond of saying that "motion sells" and the streaking lights give us that sense of motion.

Headlines, Art Directors And Designers
The woman is re-directing the flow of information and apparently pleased at what she is doing. The image can adapt easily to various headlines such as "Get A Handle On Your Data Management" or "Information Distribution At Your Finger Tips". I will quit with the mock headlines before I lose too many readers! Perhaps most importantly, I haven't seen this approach done by any one else yet. I believe it to be new, fresh, attention getting and relevant to a need in the marketplace.  I just hope art directors, art buyers and designers agree with me!

Intention, Interesting Images, And A Targeted Shoot
To kind of sum things up, I set my intention to come up with an information technology stock photo. I utilized a collection of interesting images I keep on hand, for possible inclusion in stock photo composites, to help come up with an idea. With an idea in mind (actually a list of approximately fifteen ideas in this case) I hired a model and did a very targeted shoot.  As I composited the image I kept in mind important criteria for a successful image. Last, but not least, before I left my studio yesterday I submitted the image to a stock agency.  Now on to the next one!

Odds, Ends And The Long Haul

An Interview, Imagekind and CafePess.
Had a nice interview by Marc Silber Marc Silber Interview go online.
Sold a print on Imagekind this week.  That makes about one print a month since I started this concerted Internet effort, which while is still paltry, it’s a whole lot more than the zero prints I sold before I started the effort. I have doubled my Cafepress.com sales.  OK, doubling isn’t all that impressive when I tell you it has gone from an average of one sale a week, a coffee mug, calendar, or piece of apparel, to two sales a week. I have made a smattering of sales (licensing) of various images and have confirmed that people are going from my site to the agencies that handle my work (Blend Images, Getty, Corbis and Kimball Stock).

Quality Content And A Long Term Project
One thing is for sure, this SEO (search engine optimization) process is a lengthy one. Getting visitors to your site is a long-term project! It is a lot of work too. My twin brother is my web master and very adept at this. He says if you want Google to see your site as an important one, make your site important. That means quality content and lots of it. I now have over 2000 images uploaded, but at the rate I am going it will take several more years to get all of my stock photos online. One possible way to speed the process up is to hire a developer to create a robot that will harvest my Getty, Corbis and Blend images, and put them on my site.  I have a friend who has gone that route and I have to admit there is a certain appeal to it!  But for now I will just continue my snails pace of uploading.

Climbing Traffic And Click Through Ads
Traffic is slowly climbing.  Last week, according to Google Analytics, I averaged over 500 unique visitors a day. That is up from a one visit per week average ten months ago. My click through ad revenue ranges from $20.00 per day to about 32 cents a day (last Thursday). My average seems to have edged up to about $6.00 a day.  Hey, it pays for my coffee habit!

A Balancing Act And Making Images
One thing I constantly wrestle with is where to put my time. Making images and getting them up online is the fastest way to increase my income. On the other hand, I remain convinced that it is extremely important for long term success to increase my ranking with Google, and other search engines, through SEO and online content. It is a constant balancing act. Luckily I find myself enjoying this SEO process (other than the repetitive and sleep inducing meta data entry).

A Photography Blog And Building Community
A key part of my web efforts include writing this photography blog. It has actually turned out to be a fun challenge. I used to be a columnist for Digital Imaging magazine and for Picture magazine.  I would make myself crazy trying to come up with article ideas.  But with the Blog, it is more like sharing things and less like work. My goal and hope is that the blog is entertaining and informative. It is a key component of providing quality content and, I hope, of building community within both the creators and users of stock photography.