Photojournalism
Many Western stock photographers are beginning to wonder if it isn’t
time to explore the potentials of the Chinese market. I asked Jerome
Lacrosniere, CEO of ImagineChina in Shanghai for some information about
the state of the Chinese stock photo industry.
Most newspaper and magazine publishers have recognized for some time
that the handwriting is on the wall and the old business model where 80%
of the cost of producing a newspaper or magazine was covered by
advertising and 20% by subscriptions is no longer viable.
This is the second of five articles where Dan Bailey discusses what it takes to make the jump from amateur photographer to pro and work towards making a living with photography. This article focuses on the types of gear and professional expertise you'll need to gain as you make the transition. In future articles, he'll discuss, Marketing and Self-Promotion, The Business of Photography and how to put it all together and get started in a photography career.
As we move forward in the digital publication age, a group of
celebrity photo agencies has untied into the Editorial Photo Agency
Guild, which is leading the way in attempting to establish some pricing
principles for the use of photos in iPad applications. The need for a
unified approach in bargaining became apparent when People magazine announced its plans to launch an iPad application and provide it free to print subscribers.
If you have decided on a career as a freelance photographer, your
vocation will be marketing and your avocation, or sideline, will be
photography.
Phrases like “it’s not all doom and gloom” pop up often, but those who offer such encouraging analysis are typically in the top tier of the profession. While their experience is certainly real and laudable if not amazing, is it representative enough to be touted as a roadmap to a successful career? Common sense, economics, mathematics and every available source of statistical information says no.
Has the time come to take photojournalism off life-support? For the last thirty-odd years, Neil Burgess, director of NBPictures headquartered in London, has been listening to people talk about, or predict the death of photojournalism. This article, first published on EP/UK, outlines the sorry state of photojournalism today and comes to the conclusion that there is only one thing to do.
In a letter to its contributors, Corbis has disclosed it will be
seeking liquidation of the Sygma business entity in France. The company
acquired Sygma in 1999 and has had numerous well-publicized legal and
management issues with the former agency’s photographers, staff and
assets.
A large percentage of the still-photo segment of the stock photography
business is related to advertising—either licensing images for use in
print ads, or licensing them for use in editorial products that are
supported to a great extent by ads. The health of the stock photography
business is directly related to the health of the print business. To
understand what is likely to happen in the still photography business,
it is important to have some understanding of advertising trends.
I
had already been a still photographer for over 20 years when I started
exploring digital video and the motion medium ten years ago. I had
built a successful career shooting editorially for magazines like
National Geographic Traveler, Smithsonian, Travel & Leisure to name
a few, as well as producing annual reports for major corporations.
When digital video hit the scene in the late ‘90’s, I was already
starting to feel a slight frustration in trying to tell certain stories
with a still camera. I was beginning to think and see in terms of
movement and sound. At the same time, technology was making it
possible and affordable with digital video cameras and non-linear
editing software for me to use this medium to tell my stories. The new
tools were a means to an end.
Is it time to institute a system of floor prices for the use of
rights-managed images for editorial purposes? Is there any price so
low—$50, $30 or $20—that the image creator would prefer not to make the
sale?
This story provides links to some of the stories on this site that may be of interest to someone new to the stock photography business, or someone who might to have a
brief refresher course on some of the things that have been happening in the
last few years. Many of these stories will also give you some idea of developing trends and what the
future might hold.
The topic of future career opportunities in
photography has engendered a lively discussion on several Linkedin groups. Do such opportunities still exist or should most of those entering the profession consider other avenues?
U.K. stock-image company
Alamy
has announced plans to launch a 24/7 news feed service in May. The
service will first launch in beta, with a full product release coming
later in the year.
For those who think that the use of photography in education will remain the same, here are some numbers from the U.S. Census Bureau.
There is talk about a crisis in journalism, which generally takes
the form of angst-ridden journalists, editors and news folk in general
asking, “How do we maintain the commercial status quo without which
journalism as we know it will be gone?” The question is sincere and
extends beyond the fear of losing jobs; there is a genuine concern that
the investigative and informative roles of the news media will be lost
with a high cost to the civic health of our society. It’s not about finding new ways to do old things, but time to
radically rethink our business models by redefining out products, our
partners, and our clients. This article is about reinvention and redefining what we do.
More and more still photographers are getting into video because of the
appeal of the hybrid still cameras that also shoot video.
Photographers love the visual coming out of these big chip cameras –
what’s not to love? But they quickly find out that if they aren’t just
going to be laying visuals down to a music track, they will need to
start thinking about their audio – specifically a narrative track or
one driven by sound bites from interviews. I work in the corporate
sector, as well as create documentaries, so I do a lot of interviews.
The interviews, along with a scripted voiceover comprise my audio track
and drive the story.
I was in Chicago a couple of weeks ago and stopped by
Zacuto.
Zacuto
is a business that has made outfitting DSLR cameras for video a
specialty. They have cleverly engineered an assortment of their party
add-ons that take these cameras to a higher level. They have also
provided solutions to overcome some of these cameras shortcomings.
Depending on the genre you are working in, documentary work, corporate,
indie films or photojournalism will ultimately determine which way
you’ll need to “trick” these cameras out.
A San Francisco-based photographer recently asked: "There is a lot of speculation about tablets like the Kindle and the iPad possibly leading the way for more image use and therefore a possible boon to stock-photo licensing. Do you have any thoughts on that?"
We have done a bad job. A terrible job. If picking a photograph is all about its price and not its quality than we, the photo industry, have made a terrible job at selling our work.
Every time an editor, whether from an ad agency or a magazine decides to use an image because it is cheaper than the others, that means we have all failed to advocate for the real value of photography. We have failed, all of us, Photographers, agents, photo agencies to make the new generation of image buyers see the real value in our images. Thus the current situation.
Photography should
be a revolutionary act. It should be a kick in the establishment, the
common, the mundane. It has to be an act of revolt against banality and
conformity, a powerful explosion of new ideas. It should be as violent
to the mind as a thousand thunderstorms. It should rip apart the
accepted social fabric . It should denounce, point, accuse and solve.
In one frame. It should be a declaration of war to everything we take
for granted and accept as obvious.
With all the free information available on the Internet why would or should anyone want to pay for information?
Many consumers believe that writers should give away their work in
order to build a following of customers who will then pay them for some
other product or service they provide. Most would acknowledge that some
effort and expense is required on the part of the creator to produce
good, useful information, but often that is not deemed to be of any
economic value. Photographers tend to supply information on their blogs
as a way of getting customers to hire them for assignment work, for
paid speaking engagements or as a way of selling a book. The other way
to earn revenue is to generate enough traffic to your site that
advertisers will pay to surround your information with ads in hopes
that some or your popularity will rub off on them. Is giving away information the only way?
A friend who has been on the periphery of the photo industry for decades now works for a company that manages social media and search engine optimization for a variety of clients, including law firms. She said her office mates disagree on what they are allowed to do with pictures they find on news Web sites. She asked: "Are bloggers allowed to illustrate their blog entries with photos they find on news sites, such as a photo of a sinkhole? What are the rules about using editorial images in a blog post?"
In looking ahead to 2010, photographers should focus on how they will adapt to the new realities of the photography business.
From a stock photography point of view, the future is bleak for those trying to sell images for textbook use. This segment of the stock photography business is on what appears to be an irreversible downward spiral.