Enter one or more keywords to search thousands of online images.
Or directly search David Sanger images at Getty Images or Alamy.
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Enter one or more keywords to search thousands of online images.
Or directly search David Sanger images at Getty Images or Alamy.
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Producers Ron Blatman and Miles Saunders have put together a masterful 4-part HDTV documentary on the long story of Saving San Francisco Bay. Parts 3 and 4 air tonight Oct 15th at 8pm on KQED TV in San Francisco (repeated on Sunday). Don’t miss it.
Having spent three years photographing my book on San Francisco Bay with author John Hart, I know many of the places and subjects covered. It is a pleasure to see this broad ranging subject succinctly presented in four hours, with narration by Robert Redford. The film makes extensive use of interviews with some of the original players in the move to stop the filling and degradation of the Bay, and start an ambitious restoration process. John Hart and I were interviewed for the project and he appears in part 1.
Filmed by Sacramento cinematographer Kit Tyler, the program makes excellent use of animation, showing the flooding of the Bay after the Ice age and the arrival of the Spanish in the 1700’s. Tonight’s episodes complete the history and focus on the conservation efforts. With increased pressures from agriculture and the eight million inhabitants of the Bay Area, plus the constant pressure of climate change, what is done in San Francisco will impact conservation efforts throughout the world.
Details are at www.savingthebay.org.
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How do you identify an image you find on the web and find the copyright holder if you want to license the image?
This is the core question that concerns photographers when Orphan Works legislation is discussed, and the impetus behind the PhotoMetadata project to embed identifying information.
Last week Picscout announced a set of products which aim to solve this problem, at least for images in collections of stock agencies or others who sign up for PicScout Image IRC™ (Index, Registry and Connection !)
The idea is simple. IRC clients submit small versions of their entire collection which PicScout analyzes, fingerprints and indexes for visual recognition. Any candidate image can then be matched against the entire Registry. If a match is found then a prospective buyer can directly contact the distributor to license the image. Alternately, the collection owner can tell if any image found on the web is part of their collection and whether it has been properly licensed.
The result is two products: ImageExchange™ allows photo buyers who find an image anywhere, in their files, online, even scanned from a magazine, to search the registry (via an API or a plugin) and then directly connect with the distributor or copyright holder for rights clearance. Image Tracker™ allows collection owners to find unauthorized uses by looking through crawl data.
It sounds sweet in theory. If all commercial and professional photographs were in the registry then there would be no more Orphan Works problem for those images. In practice it is unlikely to be so easy, though without doubt this is a promising start.
Here are some of the potential problems I see:
Picscout currently only indexes collections of 30,000 images or more. Fewer than that is not considered cost effective, i.e. the overhead and setup is too expensive. Where this leaves individual photographers, who almost all have much smaller collections, is unclear. There are definite advantages for PicScout to have uniform interfaces, particularly for the licensing/connection backend. Dealing with many different photographers at different levels of expertise could be time-consuming, so an arrangement with a technology platform like Photoshelter would be ideal. According to Picscout, participation in the Registry does not require subscribing to Image Tracker™ so collections can choose which platform features to subscribe to.
Picscout aims to take a percent of sales, noting on their site: “ImageExchange acts as an online affiliate program, sharing image-licensing income between PicScout and licensors.” This will reduce the percent that goes to the photographer. How the affiliate program will be automated is unclear, since every distributor will need to interface. The exact percent or transaction fee taken has not been disclosed, but should become apparent during the initial public testing period.
If buyers find it easier to find images through web search they will move away from distributor sites for search, and only use the distributor site for the final licensing.
Since the vast majority of images available online are microstock or RF, these are the images buyers are likely to find. The premium RM collections of Getty, Corbis, even Alamy are not indexed by Google and so will not be found in web search, unless the images are licensed (or copied). One issue could be that distributors do not pursue RF or Micro copyright infringements, so have less incentive to participate in Image tracking for these images. (They could track them but low prices and multiple reuses make it less cost-effective).
If a buyer can tell which images are in the Registry they can also tell which images are not in the Registry and therefore can be copied with less risk. Over the long run, though, this might encourage greater Registry participation by distributors.
PicScout has already indexed several million image licensed under Creative Commons. John Harrington has raised concerns about this, thinking it will encourage users not to pay for image use. Since Google search already allows search for CC images, this is not the real problem. Most CC Licenses offered on Flickr are NC so do not include commercial use; such licensing is assumed to be handled separately. The result though is perhaps worse, because individual owners usually have no idea how to structure a commercial copyright license. Rather than free images, the real downside with CC images in commercial uses is risk and liability.
Evaluating an entire page of thumbnails is time-consuming. Each thumbnail must be downloaded and analyzed by the PicScout servers before returning index comparison results, No doubt the PicScout engineers are hard at work solving this. However Google search is highly optimized for rapid response and any major drag on response time will discourage clients from using any add-on,. Single image testing is less work, but to be useful image search will need to analyze hundreds of images at a time.
The long-term success of IRC depends on buy-in from stock distributors, photographers and photo buyers. The more images online, the better the buyer experience and the more widespread acceptance there will be. It will take time to build up a critical mass of contributing agencies, but the greater the number of participants, the better the chances will be for success.
In summary, though there is much to be seen in the details, the PicScout move is a promising first step in identifying and facilitating licensing of images on the web. Other competitors will no doubt arise. If there is widespread adoption of efficient and comprehensive Image Registries, then photographers and photo buyers alike will benefit.
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Over the weekend of Fourth of July I’ll be moving the website from phpwebhosting.com to mediatemple.com Hopefully all goes smoothly but if you see any glitches please add to comments. See you there!!
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Hands have always fascinated me, the rough, the fine, the cautious, the workaday, the tender, the strong…..
id is
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Sometimes we get where we are going in the most circuitous way.
Today I discovered a recording artist I had never heard of and a song I really enjoy, Carla Bruni – Le Plus Beau Du Quartier. What is fascinating to me is the roundabout and serendipitous wav I got there, and the interesting places I stopped along the way, and what I learned.
It started with following a link on Kevin Marks’ Friend Feed where he quoted Fred Wilson commenting on a post by Josh Koppelman about shrinking markets. Fred is a venture capitalist, and investor in Twitter, Tumblr and Disqus, and blogs at www.avc.com. There I found the video of a talk on Disruptive Economy at Google.
After the video I read several other posts including Is Momblogging The New Radio?
Which led me to Jennifer McKinney’s blog My Charming Kids
Where I found a link to Jennifer’s great childrens’ photography site www.jennifermckinneyphotography.com
Where she played several songs including
A long way round, but I’ll have more to say soon on disruptive economy, shrinking markets and how I think it applies to the future of stock photography and media. Meanwhile I am enjoying the music.
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Recently I was a guest on a podcast on PhotoNetCast.com discussing stock photography licensing models with Rich Legg, a primary iStockPhoto contributor. The discussion was wide-ranging covering how to get into the business, how it is changing, expected revenue and returns and why certain buyers and photographers choose RM, RF or microstock for image licensing.
In the larger photographic world there is seldom conversation between “traditional” stock photographers and “microstock” shooters. It was refreshing to put all that aside and discuss the rapid changes that are taking place in the industry (and the economy). The two camps certainly seem to be moving towards each other with RM photographers seeing steep declines in average prices recently while iStockPhoto contributors are seeing steady increases in prices.
It was interesting to me that Rich was planning a shoot the next day with five models, and running the numbers to estimate ROI and RPI, while I was doing the same calculation for a recent shoot in Argentina. Hopefully we’ll revisit the conversation in a year and see how things have changed.
Thanks to Antonio Marques, Jim Goldstein and Martin Gommel for hosting the progam. Listeners can add comments or questions here or on their site.
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Every photographer at some point in their career asks themselves “Why am I doing this?”. It is an excellent question and one which warrants careful thought. Everywhere we are surrounded by images – images on the packages of products we buy, in magazines we read, on billboards we drive by, on television and websites, on our living room walls and bedside dressers, in our wallets even on our clothing. As photographers, we produce all these images. Yet often the experience of the viewer is far removed our original perception of the subject. This leads in a roundabout way to the question I often ask on location as a travel photographer, “Why am I taking this picture?”
It is a humbling experience to stand before a subject, a person, building or landscape, in a foreign country, camera in hand, and propose to make an image. Thinking of the vast number of images already in circulation, the billion shots of the Eiffel Tower, the flowers and sunsets, happy children and earnest peasant farmers, it is easy to get jaded. “What can I say that is useful? What does this subject have to say? How do I see what is in front of me?”
Harvard economist Umair Haque calls for a new constructive capitalism to focus more on “create authentic, meaningful value”. For the photographer this means seeking to make images that mean something, images that make a contribution to the world, that illuminate in some way. For me as a travel photographer that means images that reflect and carry the values I see in travel – respect for other cultures, learning to be a guest, broadening one’s horizons, developing a capacity for wonder, seeing beyond oneself and learning from the Other.
So how do you make meaningful authentic photographs? The American photographer Minor White said “No matter how slow the film, Spirit always stands still long enough for the photographer It has chosen.” It might sound presumptuous, but it helps to cultivate a sense that there might be something else going on when one is is photographing, whether it is being aware of “the decisive moment”, or consciously emptying oneself, trying to stand aside and let the subject present itself in its own right.
For a photographer this practice can be part of a counteraction against the flood of images, the posed models and generic business handshakes that surround us. And it can be part of a transition beyond generic travel shots, the billion-and-first Eiffel tower shot etc., to an authenticity that is rare but life-enhancing. In this world of commodity images it is a goal worth striving for.
If you have experiences of the search for authenticity in your own photography, please add your comments below.
Note: You can see and extended video presentation by Umair Haque here. More on Minor White on Encarta and here
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