Stock Photo Search

March 24, 2009

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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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2-410-925  stock photo of California, San Francisco Bay, Angel Island State Park

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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draft PicScout post

October 12, 2009

1-680-22  stock photo of California, Gold Country, Miner, Marshall Gold Discovery State Historic Park

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:

  1. Cost

    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.

  2. Reduced License Percent

    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.

  3. Reduced Search through Distributor Sites

    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.

  4. Increased Microstock and RF Sales

    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).

  5. Free and Unindexed Images Highlighted

    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.

  6. Creative Commons Images

    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.

  7. Efficiency

    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.

  8. Acceptance

    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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7-178-7  stock photo of Alaska, Juneau, Mendenhall Glacier and husky

“If it’s a brown bear lie down and play dead. But be sure it’s a brown bear. If it’s a black bear, make a lot of noise to scare it away.” The young woman hiker in Nike running shoes and a red windbreaker turned to me nonchalantly, as if her advice was the most natural conversation in the world.

We were on a gravel trail alongside the Mendenhall Glacier outside of Juneau, Alaska, only 13 miles from the downtown and the state capitol building. Opposite, above a brilliant turquoise lake, layered with flat sheets of ice breaking up in the spring thaw, rose a jagged wall of blue ice, sheared with gaping crevasses. As I kept an eye out for bears, hoping I could tell brown ones from black, it slowly dawned on me that Alaska was larger and wilder than I had expected. Much wilder.

Bears, moose, wolves and eagles have frequented the forests of Southeast Alaska for millennia. Man is in many ways an interloper, his hold on the land tenuous at best. Later that week I rode a tramway to the summit of Mt Roberts, high overlooking Gastineau Channel and the town of Juneau. Below me a narrow strip of ant-sized houses and office buildings clustered around the harbor, stretching a few miles to the airport and across the channel to Douglas Island. Beyond them in all directions were forests and mountains. In the distance snow-capped peaks rose over the waters. The small settlement seemed inconsequential in comparison.

From the top of the tramway a rough trail led into the spruce forest. Past the end of the short hiker’s loop lay four hundred miles of unbroken wilderness. These were the historic lands of the Tlingit Indians, the earliest inhabitants of the region. Tammie Mercer, a young Tlingit woman, showed me around the visitor’s center and explained the role of Alaskan Native corporations. To settle native land claims, the US government in 1971 gave hundreds of millions of dollars to the Tlingit, Haida and other native peoples. Each tribe set up a corporation to manage and invest the funds for the benefit of the community. Goldbelt, the company which built the tramway, has active investments in the tourist industry and reserves one third of the jobs on its projects for Tlingit shareholders.

The Tlingit lived in Southeast Alaska long before Russians fur traders crossed the Bering Straits in the 1700’s. Their culture, once suppressed, is now returning. One foggy afternoon in Juneau’s harbor I met a young Tlingit girl, Elizabeth Hovis, a dark haired student at Juneau Douglas High School. Growing up in the town of Angoon on nearby Admiralty Island, she remembers hearing her grandmother speak the Tlingit language. She became so interested that she started classes in her high school to help other students learn their native tongue. The tribe is divided into two clans, Raven and Eagle. “You inherit your tribe from your mother, and marry someone from the opposite tribe,” she explained. “I’m Eagle, and a princess as well. My father was a chief.” As we spoke I caught a glimpse of cultural roots which ran very deep, part of the land itself.

To see more of the land, away from the cities, I took an eight-day cruise southbound from Juneau to Seattle. The thousand mile journey winds through the protected waters of the Inside Passage. Our boat, the M/V Spirit of Endeavour was smaller than most, carrying only a hundred passengers, and offered a more intimate look at the glaciers and wildlife.

7-192-12  stock photo of Alaska, Glacier Bay National Park, Ice floes and flag

The morning after sailing from Juneau we awoke to a surprise. Surrounding our boat, as far as we could see, was ice. Jagged blue-green floes and white pan ice floated in a grey sea. On the shore were great tidewater glaciers which from time to time calved icebergs with a great rushing boom. Glacier Bay National Park contains twelve major glaciers, the longest stretching over forty miles across the border into Canada. Kevin Richards, a resident National Park ranger, had come on board during a brief stop at the entrance to the bay. He explained how Glacier Bay, first seen by Europeans in 1794 (by the British Captain Vancouver), has receded over 65 miles in just over 200 years. Glaciologists have studied the ebb and flow of the ice, identifying a series of major and minor glaciations over the ages. Within the park wildlife is abundant – moose, black and brown bears, timber wolves, mountain goats, river otter, mink, marmots and many seabirds.

Marine mammals are plentiful in Alaskan waters, though their numbers have been much reduced from hunting. In the quiet waters of Icy Strait we sighted a humpback whale. Turning the boat to follow the distinctive spouting of water, the captain approached closely, anticipating where the whale would surface after a deep dive. With another spout, an arch of the back and the flash of a huge tail fin, the whale surfaced and went under again.

Further south in narrow Peril Strait in Chichagof Island, brown harbor seals dozed on rocky outcroppings. On the steep and narrow cliffsides above the channel, several white bearded mountain goats grazed, bounding away when the boat approached. Twice we sighted bears, munching on berries at the forest’s edge.

The Tlingit lived off the natural bounty of the Southeast waters, hunting deer, bear and seal, fishing for salmon and gathering berries. They lived in communal villages, their large houses up to 100 feet long. The animals of the forest also came alive in the sacred stories, passed on by storytellers. Eagle, Raven, Wolf, Whale, all of the tribe’s totems, were well known to every member of the community. Only certain people were privileged to tell each story, and then only at the right time, sometimes in dance.

7-205-7  stock photo of Alaska, Sitka, Totem pole, Sitka National Historic Park

Tribal stories were recorded in tall carved cedar totem poles. A village might have several dozen, some for memorials to past chiefs, others for welcoming or as part of a house structure. In the town of Sitka on the outer shore of Baranoff Island I walked through the gentle spruce forests of Sitka National Historical Park. Eighteen Tlingit and Haida poles have been carefully reproduced. Each is a vertical sequence of bird, man and animal faces, wings of a bird and symbolic figures, carved and lightly painted with reds, blues and blacks. The origins of some of the stories were lost in the nineteenth century when first Russian, then American, settlers suppressed the Tlingit culture.

Fur traders for the Russian American Company arrived in Sitka in 1799 from their northern settlements on Kodiak Island. There they built a small wooden fort on land ceded by the Tlingit chief Ska-yut-lelt. Not long after, a Tlingit war party attacked, wiping out the fledgling colony using guns traded from the Americans. The Russians were undaunted and settled again, forcing the Tlingit from their ancestral lands.

The Russians brought with them their religion, Russian Orthodox Christianity. With the encouragement of a rugged priest Ivan Veniaminov, later canonized as St Innokenti, many Tlingit eventually converted. Today the barred crosses of two steeples rise over St Michael’s Orthodox Cathedral in the center of Sitka. Over 90% of the congregation is Native Alaskan – Tlingit, Aleut and Eskimo.

Eager to see the cathedral, renowned for its gilt icons and elegant interior, I wandered in during our shore stay and was surprised to find myself in the midst of an Easter Monday service. Candles flickered and glowed throughout the nave and flowers decorated the icons. A golden-robed priest with a full beard circled the altar, swinging a censer to the chants of the choir. Four elderly Tlingit women and a young choir director sang a series of hymns, psalms and troparions, in English, Russian and Tlingit languages, joy mingling with sadness in their song.

Afterwards I stopped at the old fort on the crest of a grassy hillock. The handful of rusty black cannons overlooking the sound lay silent, reminders of a bittersweet past.

Conflict continues in Alaska as the state struggles to protect its environment and to reconcile competing interests. Although over a fourth of the land is part of the federal parks & forest system, some politicians and businessmen are seeking to re-open land to development and have challenged efforts to preserve wildlife and forests.

Debate also surrounds the fishing industry. In the port of Petersburg on Mitkof Island a hundred miles south I spoke with Dick Kuwata, a native fisherman, about declining catches. To purchase a fishing boat and outfit it with electronic navigation and fish detection aids, he said, a fisherman can spend up to an entire year’s take of fish. In frustration, many are leaving for other jobs. Nonetheless the harbor was crowded with fishing boats. Rows of tall masts bobbed in the tide. Nets festooned with colorful red floats lay draped over railings, drying in the sun. Bald eagles and gull circled over the waves, eyes out for leavings cast off by the trawlers.

7-249-3  stock photo of Alaska, Ketchikan, Tsimshian women with visitor, Metlakatla Island

Fishing is also a mainstay further south in the town of Ketchikan. Once a Wild-West community known for its frontier air and brothels, Ketchikan is now the hub of far Southeastern Alaska and the gateway to nearby Misty Fjords National Monument. It is also the site of an active Tsimshian Indian community in village of Metlakatla on nearby Annette Island. There a tribal group has worked hard to resurrect and preserve native dances, teaching young generations traditional steps and songs. Two dancers, dressed in red capes embroidered with black geometric figures of Whale, Eagle and Raven, and trimmed with white ermine fur, told us about their lives. One young girl plans to return to the mainland to be trained as a teacher. Her aim is come back to her village to teach the children.

7-240-11  stock photo of Alaska, Misty Fjords National Monument, Cruise ship in morning mist

As she spoke I realized that the future of Alaska is tied to the preservation of its land, its people and their cultural heritage. We sat in the longhouse and lingered over a plate of dried salmon jerky. Across the water, past a narrow swath of green, rose the mountains. Behind them stretched miles and miles of wilderness. Perhaps Alaska will remain unchanged after all.

Additional images of Southeast Alaska available

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Moving Day

July 4, 2009 · 3 comments

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

June 23, 2009 · 1 comment

8-509-80  stock photo of Weddings, Bride and groom, hands and rings

6-460-1540  stock photo of Canada, Montreal, Maison Saint Gabrielle, woman in period dress, hands

4-900-1728  stock photo of Ireland, Dublin, Old Jameson Distillery, Chief Blender

3-751-44  stock photo of England, Chelsea, Chelsea Pensioner

Hands have always fascinated me, the rough, the fine, the cautious, the workaday, the tender, the strong…..

id is

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Finding Music

June 8, 2009 · 0 comments

3-654-76  stock photo of Greece, Athens, Makrigiani, Bouzouki player

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 Le Plus Beau Du Quartier which I then tracked down on blip.fm

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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Authenticity

May 29, 2009 · 6 comments

4-130-21  stock photo of Tibet, Monk circumambulating Labrang Monastery, Xiahe

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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Four Cities of Flanders

April 14, 2009

I am repeatedly amazed and the density and diversity of photographic subjects in Europe. In Flanders, the northern, Flemish-speaking, region of Belgium, for example, within a short range of only 100 kilometers, are four major destinations, the cities of Bruges, Ghent, Antwerp and [...]

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