Ruminations On Moving Into Motion Stock Photography

I was recently privy to an Internet conversation among a number of accomplished stock shooters about stock video. These photographers range from some who have barely tested the waters to veterans with solid backgrounds in shooting motion stock footage. In that conversation one photographer mentioned that he had sold his RED (The Red One is a high end digital camera that can shoot both feature film quality video and still images as well) and is no longer producing video. He feels that the return on his investment just isn’t worth it when compared to both the satisfaction and the return on investment he gets from shooting stills. Still another shooter was lamenting the disappointing results he is seeing from the sales of his initial efforts in the realm of motion stock.

Those two aren’t the only ones who are backing away from motion. From what I am seeing it seems there is about a 50/50 split, among those who are speaking up, between the shooters feeling negative about motion stock and those who are bullish on it.

Some very respected people are saying there is money to be made in Micro stock footage. The demand for video is growing and there is still “low hanging fruit” in the micro video world. Some are advising jumping into that market using the new crop of DSLRs that shoot HD video…and keeping the shoots at the lowest end of the cost spectrum. To me it seems that may well be true, for a while.

When I look at my own admittedly small experience I see some of my clips doing very well, and some not selling at all, similar to stills. But here is what I am thinking. The right video can pay well. But video is harder to shoot. Everything has to be perfect. You can’t solve problems with Photoshop. I was watching video with one of my compatriots. It was a beautiful shot panning with a woman jogging over a hilltop at sunset. As the woman jogged she came between the lens and the sun creating a beautiful flare. It was perfect except for the just noticeable camera bag in the background. If it had been a still image the fix would be simple. As a video, it’s a no go.

The scary thing for me about shooting for Micro is how much competition there will soon be. If there is opportunity there, at least in the long term, I think it will be by producing footage that rises above what the majority of shooters will be doing. It seems logical that most shooters will be “grabbing” footage, so the opportunity will be for “produced” footage that is targeted and has reasonably high production value.

As for me, I plan to compete in the RR/RM categories where the potential returns are much greater and the competition will be less. I am also going slowly. I am being very careful about shooting footage. I am also keeping my eyes out for unusual opportunities. My recent three-week shoot with the Phantom HD camera is a good example. The ultra slow motion HD footage that we could capture with that camera made it a no-brainer when the chance to shoot with it came up. It was worth the investment in time, models, supplies and so forth. But for the most part I will confine my video to just those situations where I already have made the investments for a still shoot and it is a relatively easy situation to add in some video, or there is a unique opportunity in terms of the content we can capture and/or virtually no costs involved in the shoot. A couple of examples of video that has done well for us: A pan across Buenos Aires from the top of the second highest building in the city, footage of a rock concert we staged for a still shoot, young children running and tumbling by the camera.

One possible reason to get into motion is the increasing likelihood that advertisers will want to have cohesive material in both motion and stills for their campaigns. That could become an important selling point and increase the price point of the material as well. Another reason might be if you have a burning desire to shoot motion. I don’t, and that might be another reason for my caution. I do enjoy my brief forays into motion, but my true joy comes from making still images.

For me, the most important reason to “dip my toe” in the video waters is to keep on top of my profession of stock imagery and to continue to learn and grow. If there is a sea change towards motion I want to be at the helm and not in the lifeboat!

Lifestyle Stock And Minutes You'll Never Get Back

I had lunch yesterday with an old friend of mine who remarked that "Things change when you can see the end". He was referring to the fact that he wants to work less and enjoy his life more. He, like me, is 57 years old. It is true. Even at, say 49, life looked different to me. Increasingly, every minute is important. More and more I look at my stock photo career and ask myself how I can use it to not just make money, but to enjoy my life. A good example can be seen in a stock shoot I did in Buenos Aires.

I arranged to go with two friends of mine, Dew Kelly and Sam Diephuis. Both are excellent shooters and often work with me to produce stock photos for Blend Images. This was a ten day trip to produce stock photography and produce it in a way that we could also really enjoy the experience.

After committing to the shoot the first thing we did was to look for some locations for our shoot. We settled on three primary locations knowing that once we were there we could fill in other locations and shoots as needed. The first of our locations was found via the Internet, www.apartments BA.com. We found a luxury Apartment on one of the top floors of the second highest building in Buenos Aires. It has 360 degree views of the city and a clean, modern look. The apartment easily accommodated the three of us, and we were able to stay there as well as shoot there. Even at $600.00 per night it was a bargain. What we saved over the location fee of a comparable place in the U.S. more than paid for our travel expenses! We shot stills and video. Sam shot a panorama video from the roof of the building and that footage, while only having sold twice so far, pretty much paid for the cost of renting the location.

The apartment provided for both upscale lifestyle shots and business shots (the dining room also passed for a corporate boardroom). We shot party scenes, people with their dogs, romantic couples, domestic chores, home exercise and much more. I was able to wake up in the morning to breath taking views and to begin shooting without schlepping equipment. We could dine out or cook our own meals. Actually, we had so much "shoot" food that we couldn't eat all of it. But hey, we had a refrigerator and freezer to store it in. We had a washer and dryer, rooftop access and grounds to enjoy. Not a bad way to conduct a stock shoot!

We rented a smaller, but still nice apartment, for the remainder of the shoot. Our shoots (put together with the help of our Argentinian producer Paula Zacharias) included a gym (shooting a gymnast doing his routine in a business suit), a theater (where we staged a rock concert, a bodybuilding contest, a political debate and also shot audience reactions), and a soccer shoot in which we hired a local semi-pro team. We had an awesome time and came back with tons of great content including ethnically diverse lifestyle, Business, and concept images.

An important thing to remember for these kinds of shoots, is to get property and model releases upfront. This trip went smoothly in that regard, but I have had some unpleasant surprises when I have failed to take the “upfront” precautions. Another important thing is to look closely at every model release before the model leaves. On the whole, models do a terrible job of filling out releases (they also do a terrible job of bringing their own wardrobe...but that is another story). When shooting in situations like these I also tend to hire extra models. The expense of one or two models is small compared to having everything set up and ready to roll, and then not having enough models. It is always a good idea to allow for the "model flake factor" (no offense to the many models who are professional, prompt and thorough).

Also, when in foreign countries it is important to understand the cultural differences around time and commitment. I have shot in Argentina many times and have finally gotten use to my producer calling up models at 1:00 in the morning for a shoot that day! Come to think of it, maybe the most important thing to remember when shooting in far off places is to bring you best attitude. I always try to keep in mind that if a shoot just isn’t working, for whatever reason, it won’t be the end of the world, and every minute I spend in unhappiness over it is a minute I will never get back.

Dangerous Moments In Stock Photography

Dangerous Moments in Photography

I have been lucky. I have seldom been hurt during a shoot. But there have been some close calls, and, yes, I have suffered a few injuries. This is the story of one of those injuries, and let it be a warning and a wake up call to all my fellow photographers.

It began innocently enough. I was given a chance to beta test a software/hardware interface for shooting with a Phantom HD, a high speed video camera, by GVS Systems. It was a chance I couldn't refuse, as those puppies run about $5,000.00 a day to rent (with comparable software and hardware set ups). I arranged to work with friend and fellow photographer David Fischer. We were shooting in David's studio, a spacious, South of Market concrete building in San Francisco.

It had been a long day. We had covered a lot of ground shooting everything from tossing salads to water splashes to even balloons filled with propane gas. I had a near miss that morning when my first attempt at igniting a balloon filled with propane flared up a tad more vigorously than I had planned, but there were no lingering ill effects save for the smell of burned hair that permeated the studio through the rest of the day.

No, my injury didn't come from playing with propane. It was, as I have mentioned, at the end of the day. We were doing the last shoot (isn't always the last shoot?). It was an extreme close up of a soda can...and I was opening the pop top. Can you picture in ultra slow motion (1000 frames per second) the top being pulled off, the blast of spray and fizz, followed by a surge of frothing liquid? Not! The first shot produce a mere wisp of vapor. For the second attempt I shook the can before opening. A hiccup of vapor and a few bubbles popped out. Hmmmm, this time I shook the can more vigorously and even pounded it a couple of times on the counter top. Now we were getting somewhere! A healthy spritz of foam followed by a small geyser of foam bubbling out.

Now part of the problem was that I hadn't really anticipated the soda shot. It was just something we thought of at the last moment. We only had a few cans, and now only one was left. This one had to be good. No, it had to be great! I shook the can, then I shook it some more. I pounded it on the counter. I squatted down to the floor and pounded it on the hard concrete.

Suddenly, the can sprang a leak! Our last can! But there was still time! I leapt to my feet in an attempt to get the can in position and rip off the top. Well, I tried to leap to my feet. Instead, my feet slipped on the floor, slick from the stream of fluid shooting from the ruptured can. Now it wasn't the camera shooting in slow motion, but rather my vision of myself as my momentum brought me to a waist high horizontal position, where it felt like I hung for just a moment, before slamming to the floor. I lay there, struggling to catch my breath, half wondering how many bones I had broken and half being aware of the wetness spreading across my body from the still spurting can.

Hey, it hurt like hell and it took me three days before I could walk comfortably again!

Generosity, Attitude And Possibility

A little over a week ago somebody parked their trailer in the parking spaces alongside my studio. They are public spaces, but I still felt a little put upon. I really didn’t want someone’s trailer being stored there. Apparently I wasn’t the only one as the property manager dropped in on me and asked if I knew anything about the trailer. I told her I didn’t, and was about to add my own complaints about the trailer, but decided that, as the trailer really wasn't hurting anything, I would just keep my complaint to myself. I just decided to let it go.

The next day as I walked out of the studio and glanced over at the trailer I thought to myself “what a good looking little trailer”. Then it hit me what a great stock photo I could create around it. The trailer is one of those small shiny aluminum Airstream numbers, in essence, a giant mirror. Where it was parked wouldn’t work for my photography. I decided to keep an eye out for the owners.

The next morning I saw someone was working on the trailer. I introduced myself, complimented them on their trailer, and asked what they were doing. They were very enthusiastic in telling me about how they were preparing it for their upcoming trip to Burning Man. I asked if I could shoot the trailer for a stock photo, and they assured me it would be no problem. When it came time for them to move the trailer I had them pull it out and line it up for me so that it matched the lighting for the background that I wanted to put it into.

The Airstream trailer has a cool factor that would make it key for my image. I could put the trailer into a vast empty plain to illustrate a concept like “solitude”, I could put it in front of a tropical beach to illustrate “getting away from it all”, or I could place the trailer in an urban environment to illustrate concepts such as “ideas” or “bizarre”.

Eventually I will end up using this trailer photograph in a myriad of ways. I couldn’t have asked for an easier set-up. I only had to step out of my office door a few feet to get the shot, spent no time scouting for the trailer, and didn’t have to spend any money. The important point in this story is really about generosity, attitude and possibilities. I started off with a sort of antagonistic attitude that really benefited no one. When I changed my attitude, when I became a bit more generous in that attitude, then the doors opened up for my ideas and creativity.

A Targeted Approach To Stock Photography

We stock shooters are facing some huge challenges, and things certainly aren’t as easy as they used to be. But opportunities still exist. To succeed we need to be targeted. We have to know our target audience, know how we can reach them, and know our unique strengths that make our work right for that market. There are a number of photographers and stock entities that we can turn to for inspiration.

I look at the work of Colin Anderson and can’t believe that he won’t continue to do well. He knows whom he wants to reach…the image buyers who recognize quality and have the money and willingness to pay appropriately for it. Colin is creating images that others without his creativity and DRIVE just can’t. He has learned how to use 3D and combine it with photography to create his unique vision.

Dan Heller takes an entirely different approach. He also knows whom he is trying to reach and how to do it, and is being rewarded for his work. Dan leverages his unique knowledge and insights into SEO, the Internet, and sound business practices to bring his images, and those who want them, together.

Blend Images is another inspiration. Blend has identified a niche, the celebration of ethnic diversity, and is not only serving that niche well, they are also providing their photographers with unmatched resources and a great community. Blend is thriving for its efforts.

On the Micro side you have the example of Yuri Arcurs who has the vision, work ethic, and organizational skills to become a stock photo powerhouse. Not everyone is suited to the kind of phenomenal output (while maintaining quality) that Yuri manages to accomplish, but Yuri has mastered it.

Tom Grill is a master at determining where the holes are in the stock agencies and then filling the holes with amazing efficiency. He understands and exploits the data from his sales reports in order to pinpoint exactly where he needs to put his energies in order to maximize his profit.

The point is that there are many different ways to succeed in stock photography. As individuals and companies we each have to know our own strengths, know who our market is, and figure out how to match our strengths to that market. We then must have the drive and perseverance to follow through on that effort. What are you best at? How can you distinguish your work from that of others? Who is the most suitable market for that work? How can you best distribute to that market? Answer those questions and the rest is just elbow grease and belief in your self.

Is it Still Viable To Make A Living In Stock Photography

As I was coming out of Whole Foods tonight with six small red potatoes and two salmon (farmed) filets, I ran into a young photographer whom I had first met about a week ago at a local photography event. He is familiar with my stock photo work and had a question for me. His question, “Is it still viable to get into stock photography?”

Simple question, and the simple answer is “yes”. But there is a huge caveat there! I used to encourage everyone I met to get into stock photography. I still think it is an awesome career choice, but now I have a very difficult time encouraging people to get into it. Earning a good living at stock photography is definitely harder now than it used to be. So what determines whether or not you will succeed at it?

I think you can boil it down to three factors; Desire, openness and perseverance. Let’s look at desire first. A few nights ago I was feeling pretty fed up with working. I calculated how many hours I put into work. Generally speaking, I average 73 hours a week. No wonder I was feeling fed up! That number even surprised me. I have been shooting stock since 1989 and shooting nothing but stock for at least seven years. And here I still am putting those kinds of hours in. Good thing I love doing the work. While I don’t necessarily believe that other people have to put the same number of hours in that I do, I do believe that it takes more hours than you would put in if you had a 9 to 5 job. You have to want to succeed in this business badly enough to put in the hours, and to do all the things that aren’t fun. Those un-fun things will be different things to different people. For me, bookkeeping, finding models and locations, entering metadata, and trouble shooting computers are part of what I would really prefer to not have to do. But do them I do.

Openness might be something that you haven’t thought of as a requirement for success in stock, but it is one of the most important qualities. You can get a lot further a lot faster in this business if you are open to hearing what others in the business have to say. It is a constant struggle for me to put aside my own beliefs and hear what art directors and creative directors have to say. What they have to say about what needs to be shot and how it needs to be shot. I have to be open to hearing what people have to say about my work and how to improve it. When Jack Hollingsworth and Shalom Ormsby both told me I should be blogging…I really didn’t want to do it. But I listened, and now I actually am enjoying it. It isn’t easy being open to all the changes going on in stock, but if you want to thrive and prosper, you have to.

Perhaps the most important quality of all is perseverance. This business takes time, and a lot of it. Not only does every aspect of it take time, but there will be discouragements too. As a matter of fact, I got one today…I got my Getty Sales report. Let’s not think about that right now. While time to market in many cases has increased exponentially, some agencies can still take months to get your images up, and additional months to collect and distribute royalties. With many of my RM images have seen sales take off after as much as two or in a couple of cases, three years before the first sale! Your going to have your work senselessly rejected, get ridiculously small sales, and experience insane income fluctuations, but you have to take it all in stride and stay focused on creating great work, relevant to the market, and working like crazy to get that work in front of those who need it.

There are many different ways to make it work. People succeed at Micro, at RM and at RR. They make money with stills and with video. Some produce volumes of work and others produce jewels. There is a way that will work for you if you have the desire, the openness, and the perseverance.

Landing On Your Feet In Tough Times

There are a couple of principles that I have built my photography business around, principles that just might help you land on your feet in tough times. Those principles are: Basing my business around income producing assets and multiple income streams. Long ago I made a conscious decision to focus on producing images that would bring in a continuing revenue stream. Later, when I got involved in the greeting card industry, I realized that it would also be a good idea to diversify my photography to generate a separate income stream.

For a time my income streams included assignments, stock and what is called paper products. Paper products covers products that have your photos imprinted on them and can range from coffee mugs and mouse pads to greeting cards and calendars. When creating my Animal Antics images, pets in anthropomorphic poses and situations, I have generally tried to keep the paper product rights myself. The idea is that I can get royalties from the distributors of products which can generate considerably more income than if the same images were licensed for a one time fee through a stock agency.

While I am still keeping the stock and paper products income streams going, I haven’t done an assignment in years. Now I am adding an additional income stream through advertising on my site. Right now that is in the form of Google click-through ads. Eventually it may include other advertising.

A lot of my fellow photographers question my wisdom on including advertising on my site, but I really think the potential of the advertising out weighs the relatively unobtrusive Google ads. I also believe, especially since I am not seeking assignment work, that if someone is looking to fill a particular image need, and they find a suitable image on my site, the advertising isn’t going to bother them. Time will tell.

Another venture I am currently undertaking is adding a video component to my stock (see video below). A side benefit from undertaking the video is learning new skills. While initially very reticent, I am now enjoying learning Final Cut Pro and am starting to think a little more in the way of motion. Another plus is my enjoyment of collaborating with others in undertaking video projects.

All of us photographers need to at least be aware of what alternate income streams might be available to us. Just taking a quick mental survey of photographers I personally know actually brings up quite a few possibilities. I know of one photographer who does quite well leading photo tours to exotic locations. Subsidized, income-producing stock sorties…not a bad gig if you can swing it! Another photographer I know supplements his income with weekend seminars in his field of expertise. Still others are offering online education.

Many additional income streams can be set up to be minimally intrusive on your time. Selling prints through a company like Imagekind, retail products through Cafepress or Zazzle, or even the aforementioned Google ads, are good examples. A word of caution though, doing a thorough job of setting up a program with a company like CafePress, or even Imagekind, does require a lot of upfront time.

A final word about finding supplemental income streams. My experience has been that any time I push myself beyond my normal zone of comfort it has been a positive experience. When you add up the benefits, additional income, insurance against market fluctuations, and acquiring new skills, well, the effort is bound to help you land on your feet!