Publications and use of photography

When looking into newspaper travel magazines, it surprised me that a very large majority of the images used were taken from stock photography. There seems to be a number of sites that are popularly used throughout the publications I looked at, this includes the following;

- Alamy
- Redux
- Getty
- Superstock
- NYT
- Travel Pictures
- Eyevine
- 4 Corners
- Camera Press

When looking into wildlife and landscape photography on alamy, I found that there was a large range of images used. However they are all very clear, clean and crisp images of the animals, rather than something more abstract. This obviously allows for a larger audience, as many of these images could be seen in publications such as wildlife magazines along with educational wildlife books. They could also be used in a more artistic manner, such as on cards or as poster prints. 

When looking into prices, it was quite difficult to understand what kind of image would go for what price. If I were to consider putting my own work into stock photography, I would have to gain a greater understanding of how these prices work, but for now I have simply looked into the differences between rights-managed and royalty-free images.

I came across an article by a writer named Nick Dunmur on 'pro-imaging.org' which discussed mainly the cons of royalty-free images and the pros of rights-managed. It seems to be based at those interested in purchasing images from stock markets, yet it is interesting to see how the two are compared.

Royalty-free:

The article defines royalty-free images as the following...

'A one-off payment is made in order that the image in question can be used. The price of the image is usually based on file size and once purchased, the image can be used as many times you like in as many ways as you like with the one caveat that you may not resell the image itself'.

Dunmur goes on to give examples of how royalty-free images have caused issues with competing businesses...

'In the summer of 2004, Dell and Gateway featured the same model and location (although not the identical shot, but from the same shoot) in their Back-To-School campaigns. Two companies in competition with each other using the 'same' image does not impress or convey an image of quality. The same thing happened with Wanadoo and Cegetel, two French ISPs, who both used the same image as part of their campaigns for new business'

These examples could also occur within company's on opposite ends of the spectrum, however it seems much more important when the businesses are in competition as one will not stand out from the other. The to me demonstrates that perhaps it would benefit some companies, along with budding photographers, to employ photographers more often, avoiding this potential error of printing similar images to business rivals. 
The article continues to point out issues within using RF (royalty-free)photographs...

'RF imagery is supplied for its broad appeal, and because a controlled vocabulary list is used to keyword the images, they turn up on the same searches time after time. RF is high volume and fast turnaround and that leads in turn, to an undermining of the value and worth of creative original photography. Because of the high volume nature of RF, often critical paperwork such as property and model-release is not sought and can leave the client with a far bigger bill afterwards'

Where the rest of the article seems directed towards purchasers of stock photography, there are issues covered within the above paragraph that question how royalty-free photography can benefit photographers. The part that stood out to me most was that the large volume of images in RF 'leads in turn, to an undermining of the value and worth of creative original photography'. This statement alone makes me very wary of RF stock photography, as I personally feel that it would destroy the passion I hold for the subject, making it a mundane task, simply repeating images that already exist. 

Rights-managed:
The end of the article speaks about rights-managed stock photography, speaking of the benefits when compared to royalty-free images.

'Obviously, the best solution every time would be to commission original photography, but the realities of budgetary constraints and timescale may rule this out as an option. However, Rights Managed (RM) imagery offers a middle ground whereby the imagery is licensed on the basis of 'use' rather than 'unit'.

Licensing this way offers a much better deal for both buyer and photographer and guarantees a level of integrity for the client which is missing in RF. The usage of the imagery can be defined exactly, and it could be that the cost is lower than that of RF.

In conclusion, RF offers the client no protection or originality and is sold much like any other commodity - that is, on the basis of 'unit'.

RM on the other hand, protects both the client's and the photographer's interests and calculates the fee on the basis of 'use'.'

It seems from this article, although seeming a little bias, that rights-managed benefits both buyers and sellers of stock photography much more than royalty-free. This is definitely something to bare in mind should I ever wish to work in stock photography. 
There are often holes within the stock market where specific themes and ideas are requested for, this would perhaps help with the problem that stock photography holds in the creative light, as filling a niche would allow for more photographic freedom.
During my research into image libraries and stock photography I also came across an article entitled '6 Tips for Getting Your Work on Travel Image Libraries'. The following are sections which caught my attention...

'1. Decide which image library is right for you.
Some image libraries desire more lifestyle photographs whereas others would prefer reportage style images. You should look at many different libraries and see which ones suit your style of work and also which ones you would prefer to work with.'
This is an obvious yet very relevant point, as choosing the right library could mean the difference in your images being bought and used or being ignored and discarded. 

'2. Study their images.

Image libraries generally want huge variety and therefore images that are different to what they already hold. For example, St Pauls Cathedral in London has been photographed thousands of times, but the image taken above uses the light streaks from the traffic to offer a slightly different view. Had the image not contained the streaks from the traffic it would have likely been rejected. So study what they already have and try to make your selection on what they are missing.'
Again perhaps an obvious point, yet it reinforces the importance of knowing your audience. Researching what images are in the libraries allows for you to find any gaps in the market that need to be filled, therefore making your work stand out and perhaps be more likely to be purchased. It also enables your photographic creativity, as nobody wants to be reproducing the same images again and again.  

'3. Be ruthless when you edit.

'Usually, in the first instance you need to send a small selection of low resolution images to image libraries for them to review. If they are happy with your selection they will ask to see more. So you need to ensure that you are ruthless when you edit your initial submission. Don’t choose images based on sentiment – just because you waited around for two hours to get the shot doesn't make it a great photograph. Instead, try to detach yourself from the images and think like a picture editor who is looking at someone else’s photos.'

This quote speaks for itself, demonstrating the importance of being selective and not sending images because you like them.
'4. Be a perfectionist.It might sound obvious, but all image libraries have very clear guidelines on how they want images supplied such as minimum file size, format, colour profile etc. If you are invited to send more after your initial submission, make sure you study the submission guidelines carefully to ensure your images are technically perfect. This means checking every single image you are sending at 100% view because image libraries will spot any errors. Make sure your images are sharp and be especially aware of chromatic aberration and excessive noise in your photos.'
Again speaking for itself, this quote shows that even the tiniest technicalities can make the biggest difference.

'5. Work with them.

The image libraries are there to promote your work. If you are accepted, try and build a relationship with them. Ask the library if they have any current picture needs or if they need photos from a specific location.'

This quote is particularly interesting, as, although small, I feel it says a lot about the photographic industry. A large majority of success through photography comes through communication skills. This also reinforces my previous point about how if you find holes within the market, you are more likely to be noticed and have more creative freedom.

'6. Look for opportunities.

Once you have established yourself with a library you should start to plan your trips around destinations which have potential to be big tourist spots that year. As these will end up being destinations that clients will potentially require images for, you’ll have a better chance of getting a return on your investment. So read travel magazines, trade newsletters and newspapers to get a sense of up and coming destinations.'

Along with communication, self motivation is an important factor to note. With travel photography, if you go to more places and take every opportunity to photograph then you will build a larger portfolio, in turn making your work more likely to b

http://www.pro-imaging.org/content/blogcategory/25/53/http://digital-photography-school.com/6-tips-for-getting-your-work-on-travel-image-libraries