Future Planning
One of the big mysteries in the stock photo agency business is the percentage of “
Unique images” licensed annually. Some agencies, like Shutterstock, report the total number of images licensed, but many of those licensed are used by multiple customers so the actual number of
different, unique images used is much smaller.
One of the hardest things for stock photographers to calculate is their actual costs of stock image production. As in any business it is critical to understand your costs if you hope to eventually earn a profit from their production. This story will provide an outline of some of the things that need to be considered when determining costs. It will also provide some average costs figures that some leading professionals work toward.
I would like to encourage every stock photographer to begin to calculate, on an annual basis, their Return-Per-Image (RPI) for each agency they work with. This is particularly important for those photographers who hope to realize a profit for the time and expense they invest in producing stock images.
The General Data Protection Regulation, GDPR, that goes into effect on Friday, May 25, 2018 will require companies that do business in the EU to provide a form to the companies that they are dealing with. It is not clear if it is necessary to supply such a form to each and every individual that a company deals with. A survey by
CompliancePoint shows that 76% of U.S. businesses are not prepared for the enforcement deadline. (Check out
previous story.)
A few months ago in an interview promoting his new book
The Good Fight: America’s Ongoing Struggle for Justice, Rick Smolan was asked “How has technology disrupted photography.” Rick has been an editorial photographer since the 1980s, shot for Time, Life and National Geographic and may be best known for his “Day in the Life Of” series of books. The first
six minutes of the interview is worth a listen.
Over 60 years ago I decided that because I enjoyed taking pictures I wanted to pursue photography as a way of earning my living. I’ve had a great career, but as a profession things have changed dramatically. For anyone starting out today it is much more difficult to get a foothold – and much less likely that you will ever earn reasonable money – taking pictures for a living.
Copytrack has completed its
Initial Coin Offering (ICO) and will be launching a Global Copyright Register (GCR) this summer that will work in conjunction with their Global Copyright Enfocement services (copytrack.com). With their Presale and ICO they have a total of 8,600 investors who have purchased around 16 million tokens. The purchase of images found on the GCR will be tracked in a Blockchain and paid for using cryptocurrency tokens.
It is that time of year when stock agencies report on image trends they expect to see in the coming year. The purpose of these reports is to help photographers focus their production on the subject matter the agencies think will be in demand in the coming year.
One of the things I said in my
2018 Predictions is: “Image creator may be given more useful information about what is in demand.” In recent years we’ve seen a huge growth in the number of creators entering the stock photo business as well as images added to the collections. But we’re no longer seeing a corresponding growth in revenue.
Here are a few stock photo industry changes that I predict will occur before 2019.
1 – At least one radically new and different business model for licensing stock images will be introduced. 2 – Customers will become more disenchanted with the major stock photo distributors. 3 - Image creators may be given more useful information about what is in demand.
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Most commercial users want to be honest. They don’t set out to steal. They certainly don’t want to be chased by a photographer and his/her legal team once it is discovered that they have used an image without permission. If photographers want to license more images to professional users – and get better prices – then they must make it easier for customers to find them once the customers finds an image they would like to use. The process is easy enough if the customer finds the image on a stock agency website, but more and more customers are finding the images they would like to use by searching Google, Bing, Flickr or by randomly searching Facebook, Pinterest, Twitter, other social media sites or various publications.
Storyblocks has published a
2018 Trends Guide that features predictions for the year ahead based on 64M searches and 38M downloads across their sites in the last year (365 days). The results suggest that creators are increasingly globally aware and creating a strong increase in demand for diverse and global content.
VisualSteam has released the results of its 5th Annual Survey of Creative Pros on the issue of Stock Image Licensing. The survey was sent to US art buyers, art directors, art producers, creative directors, photo editors and marketing professionals and provides a glimpse into what is driving image licensing today.
Tired of low stock photo prices? Maybe you ought to license your images to customers direct. More and more customers are finding the images they need by searching Google. Sometimes the image may be one of yours that is represented by an agency. You may be able to get these searchers to come directly to you.
In a little over a month I will be moderating a panel discussion at the
DMLA 2017 Conference in New York on the subject
Prices: Can We Raise Them? Stock photo prices have been declining for years, partially due to oversupply. Must prices continue to fall? Is there a strategy for charging more, to enough customers, that production of new images will become a viable business option for more producers? If so, how? What’s the strategy? If not, will that impact contributor supply? What alternatives are there for agencies to grow their business?”
A big question the stock photo industry is facing, and one I think very little effort has been expended in trying to analyze, is
Are Professional Stock Producers Needed? Can the industry survive and grow with only images produced by part-timers and amateurs who are more interested in having their work “liked” than in earning enough to cover their production costs?
Time Inc. unveiled plans for a “strategic transformation” that will yield more than $400 million in savings over the next few years. In the last quarterly earnings report total revenues fell 10% year to year while operating income fell from $50 million to a loss of $38 million.
In reviewing the latest reports from Magna, eMarketer, PriceWaterhouseCoopers and ZenithOptimedia it appears that the global advertising market is expected to generate about $504 billion in 2017, up 3.7% from 2016. The growth in 2016 was +5.9%, but the Olympics and U.S. Elections contributed a lot to that growth. Global advertising growth is expected to re-accelerate to +4.5% in 2018 with the return of even-year events (Football World Cup in Russia, Mid-Term U.S. elections, Winter Olympics in South Korea.)
Justin Brinson of
PicturEngine posted a thoughful comment to last week’s article “
New Stock Image Distribution System Needed.” I’m re-posting his comments here because I want to be sure all my readers have a chance to consider them. I’ll add a few of my own comments below his.
Many of the attendees at the CEPIC Congress are working to produce a collection of more “Premium” images as a way to set themselves apart from the massive collections produced to a great extent by amateur contributors. To do this they are editing tighter and separating out images of the highest “quality” and production values. The argument for this is that there are still customers willing to pay higher prices for better quality, unique images with top quality models and great production values.
Stock photo agents tend to resist supplying photographers with much information about the specific images customers license. I would like to look back to the 1980s and 1990s and remind them how such information helped agencies grow their businesses and photographers produce more of what customers really wanted to buy.
What can photographers and stock agencies do about pricing and the shift of revenues from photographers to a few huge platforms? Mike Watson says, “It’s unlikely that the major platforms will change their practices and the all-you-can-eat deals will continue. It’s time for photographers and independent agencies to unite and talk directly to their customers.” Read his whole
blog post on the robertharding blog.
Andy Sitt, the Malaysian founder of
123RF, is seeking to raise the profile of his Chicago-headquartered stock image and design business among funds and investors in hopes of launching an initial public offering (IPO) within the next 12 to 18 months. "We're at that stage where we have to think of the next stage of the company and I believe that the next stage would be some form of exit. So (profiling the company) is more towards building it for a potential IPO," Sitt told DEALSTREETASIA.
Stock photo sellers and producers should read the New York Times story “How the Internet Is Saving Culture, Not Killing It” (
https://www.nytimes.com/2017/03/16/learning/questions-for-how-the-internet-is-saving-culture-not-killing-it.html?_r=0 ) The story makes the argument that increasingly Internet users are willing to pay for certain content and no longer expecting that everything they find on the Internet should be free.
Thanks to information supplied by
microstock.top concerning Shutterstock contributors and information from
Nationmaster.com regarding the average 2014 monthly salary from 162 countries, it is possible to get a better understanding of why more than 60% of the images in the Shutterstock collection are provided by Eastern European and Asian creators.