Wow, more stock photographer news today! Getty is ending its 5+ year agreement with Flickr, which allowed them to invite flickr users to submit images from their Flickr stream to the Getty repository. I think Getty had pulled in close to half a million flickr images in that time.
Images they pulled in will still have the same arrangement with the contributor, but the most interesting part is (ex-flickr) contributors can now add images directly to Getty (to be screened), where as before they would have to wait for an invite. I think this is a good move, as many photographers on flickr who were contributing to Getty would have many images that were over looked and this will give them a chance now to add them.
Its also interesting that this has happened on the back of the “free for non-commercial use” news that Getty released last week. But I can also see this causing Getty a headache – and in the long run many photographers – will Getty get swamped with mundane, up there a million times already, of no use images? Will this slow getting acceptable images up there? Will Getty back out of this idea in a few months when they can’t handle the load…..
The statement from Getty:
Today we are announcing that we provided notice to terminate our existing agreement with Flickr. Our original agreement reached its end, and while we continue to be open to working with Yahoo!/Flickr, we have not agreed to a new agreement at this time.
Your status as a contributor to Getty Images is unchanged by this news. Your current agreement with Getty Images remains the same and agreements will NOT be terminated by us as a result of this change, no matter how few images you have on gettyimages.com.
For the last 5 years we’ve been very proud to provide a global platform for the work of Flickr artists, celebrating their originality and talent with our customers around the world. Those of us who are directly involved with the Flickr collection have thoroughly enjoyed and been inspired by our experience working within the Flickr community. Built to represent the best in authentic, spontaneous photography selected through social sharing, Getty Image’s Flickr collection has grown to be a tremendous success.
We have never been more committed than we are now to expanding on what we’ve started together.
What Will Change? Here are some highlights—with details to follow in the coming days and weeks:
- Welcome to Moment: The Flickr Collection will form the basis of a new house collection called Moment.
- Moment Mobile: Our new Moment-Mobile App provides another way for you to participate by submitting images shot on your mobile device. All Flickr collection contributors will be invited. (iOs only for now-Andriod to come). We are very pleased with the launch and early results from our Moment App, which is now being used by 3,500 contributors from 100 countries who have so far have submitted more than 30,000 images through the app. Curators: Flickr curators will continue and expand their role in identifying the best social content from a wider range of sources which, alongside our Moment App, will further grow our Moment collections.
- The Upload Portal you are already familiar with will be updated to accommodate a slightly different workflow (see below) but your log-in will remain the same.
- You will be in control. Since we will not be using the systems built for the Flickr partnership, we will no longer be searching and browsing through photostreams or Artist Picks looking for images and inviting them. Instead, you will be using the same procedure as all our other Getty and iStock contributors and submitting full-sized, captioned and released images to us for review and selection.
- Support: Communication and daily guidance will continue via our GettyImages Contributor Community website and forum. We will be sending out a welcome e-mail containing the URL and your log-in credentials. These emails will begin shortly and continue over the next few weeks until everyone is covered.
- Creative Research: You will have access to our proprietary research briefs on an ongoing basis.
- Range of Products: You will have access to be reviewed for submissions to our other collections where appropriate including editorial, video, andPhotos.com — our new platform for wall décor, print sales, and more.
- What should you do? Please watch for more news and information in our GettyImages Contributors Group on Flickr and watch for important emails.
- Check your Contact information! Please make sure the e-mail address and other contact information we have for you is up to date so we can include you in our communications.
You can do this by logging in to the Upload Portal at https://contribute.gettyimages.com and clicking on “Update your profile” in the “Account Management” section.
Thanks you for all of your wonderful images and support over the past five years! We look forward to moving ahead with Moment, and with each and every one of you.
The Getty Images Creative Team
Posted by admin On March 7th, 2014
Getty Images is redefining the stock photography business model, by changing how 35 million of their (or your!) images can be licensed; making them free for non-commercial use. So I guess this is primarily aimed at bloggers, so hopefully we can expect to see our images legitimately popping up on WordPress, BlogSpot and whatever the next one will be!
When you find the image on Getty you have the embed option as below.
I suppose Getty are adapting to how the internet works. Are they too late to make this change? If the music industry had brought out digital business models quicker, would they have combatted piracy and the pretty much death of the CD, were the likes of Spotify too late? While not giving stuff away for free Netflix is probably the best example of a business model in the movie/TV area that are trying to keep up with the internet and digital age, they are one of the most successful online companies out there and their user count grows constantly. All digital offerings need to change and adapt to the times.
My photographs can be found on Flickr and if wanted licensed through Getty, or found on Getty directly. Now as has had happened many times before, people/companies have pulled the image directly off Flickr or done a reverse search on the Getty image and found the other source on Flickr. No money to Getty, no money to me. Now obviously this wont stop companies from stealing them as they wont embed and the embed license isn’t offered to them anyway, but maybe bloggers will use the embed method rather than steal, that way its kind of advertising for Getty/your image.
How an embedded image looks.
I don’t sell many images through Getty, as the title says, there are 35 million images in their collection, so its highly unlikely (unless you manage a one off!) someone will license my image when theres hundreds, if not thousands of similar ones, so usually its down to luck. Like my previous point, this could result in a potential sale when your image is seen on the blog that links out to the source on Getty.
I do see many photographers being outraged and cancelling their contract with Getty, but is this such a bad idea? Isn’t an officially embedded image better than a stolen one where you wouldn’t have gotten a sale anyway?
I guess the real question is will this take on, will bloggers embed rather than steal, will other stock sources look at using the same or similar model…..the coming months will be interesting.
Posted by admin On March 5th, 2014
Recently I’ve had the “copyright” conversation with some very ill informed people, with their believe of the term copyright ranging from you have to actually take copyright out on an image, to if you put it online its fair-game.Copyright exists the moment you take the photograph, and putting it online will not change that matter. The only way you lose copyright is if you actually sign it away.
Heres a very good piece from the UK Intellectual Property Office, although the UK pretty much applies internationally.
What is a Copyright Notice?
Some images which appear on the internet are controlled by picture libraries which either own the copyright in the images or have the copyright owners’ permission to sell rights to use the images. The picture libraries sometimes restrict how the copies of the photos are used as part of their contract terms when they allow people to use the images. The restrictions may not arise out of copyright law: an image library can set terms and conditions of use in respect of images it supplies, including ones which are out of copyright, through a contract.
Deliberate infringement of copyright on a commercial scale may also lead to a criminal prosecution.
Even in situations where people may think their copyright infringement will not be detected, they run the risk of being discovered and consequently being pursued through the courts.
Posted by admin On March 4th, 2014
Book Depository sale is a few hours in, I missed the reminders that this was on today. No photography books yet, but theres been a couple decent things at good prices…. have picked a couple of photo books over previous sales so worth a dip in n out.
Posted by admin On March 4th, 2014
A couple of years ago Getty partnered up with Flickr to License users images, I was invited to sign up and over a couple of years contributed a couple dozen photos for inclusion on the Getty website.
Theres a lot of debate particularly among amateur photographers on whether or not to sell their photos on stock websites, most of the complaining seems to be pointed towards the licensing split, where the photographer gets 20-30% depending on the licensing type the buyer takes out. Now I don’t have a problem with that, the licensing site is where most people go to find their images, I did it many moons ago in my website building days.
They also host the image, good keywords, categorised, search engine, and all sizes on offer for the different needs, and have a very good billing structure in place. They also try and find and bill companies who are using (your) images without paying for it. So I’m ok with my 20-30%, its better than 0% of nothing!
But I have to admit this one did hurt! I got a whopping $5.70 for my family silhouette to be used on the History Channel website! I suppose I’m lucky they didn’t just take it for free like an ever growing list of companies have and continue to do. Its licensing models and how prices can vary vastly I guess I have the problem with, but hey thats how it goes!
But that won’t stop me from allowing the images to be licensed, I know no one knows its my image when it gets used somewhere, but its still nice to see them out there and not just lingering on Flickr or Facebook. I never took up photography to make money, I always wanted to keep it as a hobby, I don’t have the back or knees to be taking photos at a wedding all day anyway!
One day all the $5 will add up and can go to getting a new flash card or something!
Posted by admin On February 28th, 2014
So the after months of speculations, rumours and “leaks” the D4s is on its way, coming in at a head spinning £5,200, but with some rather nice enhancements including an industry leading ISO of (extendable) 409,600! Also updated are a redesigned 16.2-megapixel FX sensor and the Expeed 4 image processor, a burst rate of 11 frames per second at full resolution, and is protected by “a tough weather-sealed full metal body.”
From Nikon: Nikon today announces the D4S, a new 16.2 megapixel FX-format flagship built to keep professionals ahead of the game.
The ultimate imaging machine has advanced: as the successor to Nikon’s acclaimed D4, everything about the D4S powers exceptional images at exceptional speed. An expanded ISO range and EXPEED 4 image processing take low light photography to another level, making the D4S a master of the dark as well as the light. Advances to AF performance offer improved acquisition and tracking at 11 fps, plus much finer control over the AF area with the new Group Area AF mode. Nikon’s RAW Size S file format accelerates image transfer onto networks and a Gigabit 100/1000TX Ethernet port enables ultra-fast connection.
Hiro Sebata, Professional Product Manager at Nikon UK, comments:
“The Nikon D4S follows the success of the D4 and brings with it a new level of performance designed to meet the needs of the most demanding photographers.”
He adds: “Nikon engineers have taken on board valuable feedback from professional users in order to implement a wealth of improvements that will make all the difference to professionals working in the intensely competitive fields of sports, press, and nature photography. Equipped to power ahead in the most challenging environments, the D4S ensures serious photographers stay ahead of the game.”
Built upon success
Moving beyond the limits its predecessor was built to push, the D4S blazes a new trail for high-speed professional image making. The camera’s revamped sensor offers the ultimate image quality, and the expanded ISO range of 100–25600 is extendable up to an industry-leading 409600 (equivalent). Nikon’s new EXPEED 4 image processing engine boosts the camera’s overall performance to a whole new level, vastly improving image rendering and ISO performance. A true master of the dark as well as of the light, sophisticated localised noise reduction, edge sharpening and tone control ensure the D4S delivers outstanding results in the kind of ‘dirty’ low light conditions many sports and news photographers are confronted with. The burst rate of 11 fps is not compromised by ISO settings or lens choice, and details are rendered sharp and exceptionally well defined even when Noise Reduction filtering is applied. As with the D4, the D4S is built to sustain peak performance in the most demanding environmental conditions imaginable. The camera is protected by a tough weather-sealed full metal body, and features subtle details that make all the difference to handling: changes to button layout and re-shaped control buttons improve operation in damp conditions whilst the re-contoured design and smoother grip make it easier to hold out in the field.
Full throttle: stop at nothing
Everything about the D4S is built around the need for speed. In a world where the speed of transmission and networking has become as important as megapixels and ISO settings, the D4S delivers on every count. The frame-per-second with autofocus tracking has increased from 10 fps to 11 fps, making the D4S the fastest autofocus D-SLR-camera in Nikon’s history. The camera implements a Gigabit 100/1000TX Ethernet port and offers a new RAW Size S option for accelerated image transfer. When milliseconds matter, the shutter’s 42 ms lag can gain you the critical edge, taking pictures in less than the blink of an eye; and a completely new shutter and mirror mechanism reduces mirror bounce, delivering a stable viewfinder image with minimal viewfinder blackout when shooting at high speed.
Bettering the best: AF advances
The D4S takes the class-leading accuracy and usability of Nikon’s renowned 51-point AF system and advances it further. In addition to improved lock-on, expanded ‘Store by orientation’, and new options for AF mode restrictions, the D4S boasts a brand new Group Area AF mode. Designed to allow much finer control over the size of the autofocus area, Group Area AF constantly monitors five different AF fields, which can be shifted across the 51-point array as composition demands. Shooting in this mode enables fast moving subjects to be tracked with phenomenal precision over long distances, and greatly improves acquisition and background isolation when shooting subjects that are comparatively small and close to a high-contrast or distracting background. As with the D4, the AF system inside the D4S is configurable in 9-point, 21-point and 51-point coverage settings and sensitive down to -2 EV (ISO 100, 20°C/68°F).
Multi-area D-Movie evolves
For moviemaking in diverse conditions, the D4S offers broadcast-quality video in multiple frame formats and boasts a range of operational enhancements that allow more control over footage while filming and improve sound recording. D-movies are now possible at 50p/60p, and photographers can set sensitivity and select maximum ISO in M mode, plus select the sensor crop format, control power aperture, and fix shutter speed. In addition, Nikon’s 3D noise reduction reduces random noise and noise flicker when filming at high sensitivities. As with the D4, the D4S offers three sensor crop formats, FX, DX, and native crop (approximately 2.7x), and uncompressed full-resolution HDMI output to external devices. You can simultaneously record full resolution HD movies in-camera and with an external recorder via HDMI (an HDMI cable clip is provided with the camera for a secure connection). Sound recording has improved thanks to more options for audio control, including the option to select the sound range (wide/voice), and reduce wind noise when recording with the built-in microphone.
Summary of key features:
- Revamped 16.2-MP FX-format sensor: offers the ultimate in image quality and excellent cropping flexibility.
- Phenomenal light sensitivity: ISO range of 100–25600 is extendable up to an industry-leading 409600 (equivalent).
- 11 FPS with AF: 11 fps in FX format with AE/AF superior to the D4.
- EXPEED 4: boosts the camera’s overall performance to a whole new level.
- Multi-CAM3500FX 51-point AF system configurable in 9-point, 21-point and 51-point coverage settings and sensitive down to -2 EV (ISO 100, 20°C/68°F).
- AF advances: improved lock-on, new options for AF mode restrictions, plus the new Group Area AF mode.
- Multi-area D-Movie: Full HD (1080p) movies in FX- and DX-format at 60p/50p/30p/ 25p/24p frame rates. Offers three sensor crop formats FX, DX and native crop (approximately 2.7x) and clean HDMI-out. Access the ISO range from ISO 200 up and control shutter speed, aperture and audio levels while filming. Nikon’s 3D noise reduction reduces random noise, and the camera offers sophisticated options for audio control.
- Tough in the field: weather-sealed full metal body.
- Fast track: Gigabit 100/1000TX Ethernet port and RAW Size S file format for accelerated image transfer. Compatible with Nikon’s WT-5 Wireless Transmitter.
- Colour adjustable monitor: anti-reflective 8 cm (3.2-in.), 921k-dot LCD monitor that lets you push the colour balance and brightness in any direction.
- Fast durable shutter: Kevlar/carbon fibre-composite shutter unit with 42 ms shutter lag, standard life cycle rating of 400,000 releases and a shutter speed of 1/8000 to 30s, with flash synchronization at up to 1/250 sec. A new shutter and mirror mechanism delivers a stable viewfinder image with minimal blackout during high-speed shooting.
- Spot White Balance metering: easily acquire manual, pre-set White Balance data based on the selected area within the frame: the size of the area acquired can be retained even when the image is enlarged, and consecutive data acquisition is possible.
- High-capacity EN-EL18a battery: ultra-compact and lightweight lithium-Ion rechargeable battery with a capacity of 2500 mAh (10.8V).
- Storage media: two card slots—one for high-speed CF (UDMA 7) cards, and one for high-speed, high-capacity XQD cards.
On sale at selected retailers from 6th March 2014
Posted by admin On February 20th, 2014
Recently ICANN (Internet Corporation for Assigned Names and Numbers – those people that manage and decide what domains exists), has released a load of new domain types, very much away from the standard everyone has got used to or expected.
Them seem to be standardising things by industry. There are numerous of them, most of them actual words like .company, .menu, .realestate, .club, .plumbing and a number of photography related ones:
I’m not sure yet if I’d be bothered with any of them, it’ll be interesting to see the uptake. Prices from http://www.godaddy.com, not all providers are offering them yet.
Posted by admin On February 19th, 2014
The 57th World Press Photo results are out. This year saw 5,754 photographers covering 132 nationalities submit 98,671 photos.
The overall winner goes to John Stanmeyer, USA, (VII for National Geographic) showing African migrants on the shore of Djibouti city at night, raising their phones in an attempt to capture an inexpensive signal from neighbouring Somalia. (26th February, 2013)
Singles prizes include the typhoon in the Philippines, Bangladesh factory collapse, Boston bombing, Nairobi mall massacre, a number of Syria shots, along with stories prizes from Gaza blackout, Central African Republic, life in the Occupied Territories, and a very well shot (from above!) on sports in China.
My favourite is a shot from a stories winner, Jordanian, Tanya Habjouqa and her entry – Occupied Pleasures, and a rather amusing shot.
07 August 2013 After encountering gruelling traffic at the Qalandia check point, a young man enjoys a cigarette in his car as the back-up finally clears on the last evening of Ramadan. He is bringing home a sheep for the upcoming Eid celebration.
More than four million Palestinians live in the West Bank, Gaza, and East Jerusalem, where the political situation regularly intrudes upon the most mundane of moments. People’s movements are circumscribed and the threat of violence often hangs overhead. This is an exploration of the small moments of pleasure where ordinary men and women demonstrate a desire to live, not just simply survive.
Head on over to the World Press Photo website to see another great year of photography.
Posted by admin On January 31st, 2014
So last Sunday I had my first portrait shoot in over 3 years, it was also the first time I took the studio gear (Elinchrom D-Lite4s) out on a shoot, in fact they had been packed away since November 2010! Luckily they were more easy to put up than I remember/expected, and packed away just as easy when we were done. And more luckily the bulbs still worked, they’re about €60 a go! Anyway, I enjoyed it, think it went well….
Posted by admin On January 4th, 2014
I hate the straps that come with a camera out of the box, I’ve straps from all my cameras, most are still in their packaging – I find straps are unusable until they are months old and have lost their rigidity. Then about 3 years ago Smug-Mug were giving away a free neoprene camera strap, I’m not sure if the offer was supposed to be outside the USA but I managed to get one. Its a lovely strap, soft, bendable, bouncy, comfortable – I share it between the cameras depending on the need, I always meant to get another neoprene one bit they always seemed overpriced.
Well enough rambling! I came across this Kickstarter, it looks like a fantastic strap for a walkaround, looks comfortable and really handy. Rewards start from $25 (plus shipping if outside USA) for the basic strap.