Category Archive: business
Getty’s latest move in the stock photography market has been met with shock and horror. 35 million of Getty’s images are now free to embed, unwatermarked, for “noncommercial use,” which includes websites that run advertisements (see the image embedded above). In an interview with PDNPulse, Craig Peters, Senior Vice President of Business Development, Marketing at Content Images at Getty, says that while there is no current plan for this embed system to result in money going to photographers, at some future point, Getty might add advertising into the embedded images (as YouTube does) and photographers would get a cut of that. “This is their content, and if we generate any revenue from that content, we not only have the obligation, but we have every intent to share that revenue,” he said.
Here’s a collection of reactions to the news from around the photography world. Unsurprisingly, people are not excited about this development:
- Getty Images Image Embed: Progressive or Destructive? by PhotoShelter CEO Allen Murabayashi (and check out his 2008 post, How Getty Is Killing the Stock Photo Industry)
- Getty did what? at the Digital Asset Management for Photographers blog
- Industry concerned about Getty Images’ free-for-all approach at the British Journal of Photography
- Getty’s move is cynical but inevitable, says British Press Photographers’ Association at the British Journal of Photography
- 10 facts about Getty Images’ embed feature at the British Journal of Photography
- Getty Images makes 35 million images free in fight against copyright infringement at the British Journal of Photography
- Getty’s Craig Peters on Why Free Images Are Good for Photographers, And for the Photo Industry at PDNPulse. Be warned, it’s heavy on positive PR speak. Example: “We’ve informed Getty contributors through a number of channels. I haven’t seen every reaction, but those I’ve talked with, or who have e-mailed me, have been incredibly positive.”
- Monetizing Getty’s 35M Image Archive via FREE Editorial Uses by John Harrington
- GettyMart and Their 35 Million Free Images by Todd Bigelow
- Getty Images blows the web’s mind by setting 35 million photos free (with conditions, of course) by Joshua Benton at Harvard’s Neiman Journalism Lab
- Getty Images Are Now Free For Online Editorial Use at A Photo Editor
Regarding all of this, I’ve seen a few photographers on facebook saying they’re pulling their images from Getty’s collections. I don’t have any images available through Getty, but if the past is any indication (Hume be damned), other stock houses will likely follow Getty’s lead. Keep an eye on this. I think Todd Bigelow and John Harrington are correct that Getty’s interest in making these images out for free is the browsing data that surrounds the image. Licensing directly to blogs for small fees hasn’t really worked out, if you remember the Associated Press debacle a few years back, but getting (and selling) analytics relating to image usage is likely worth a lot.
In other Getty news, the Getty/Flickr licensing partnership started in 2008 will be terminated at the end of current content agreement. PetaPixel has the details, which makes it sound like this is just temporary as the Yahoo/Flickr and Getty work out details for a new agreement.
A week or so ago I posted this photo from Dutch newspaper de Volkskrant on dvafoto.tumblr.com, but in retrospect we wanted to feature it on the main blog as well. It is an important demonstration of what press freedom and access to power is all about and the inherent hazards in allowing government entities (or any other group) to provide their own coverage. The images may emerge from a democratic government, but they really won’t look much different than the propaganda released from a dictatorship.
This is the essence of a debate that has been raging since the Fall about access to President Obama’s White House (and before that, honestly: Scott wrote about issues of photography in the White House days after Obama took office). Ron Fourniner’s article in The National Journal titled “Obama’s Image Machine: Monopolistic Propaganda Funded by You” has a thorough account of a meeting that took place on October 29 in the office of White House Press Secretary Jay Carney. At that meeting New York Times photographer Doug Mills laid out the complaints of the White House Press Corp about access to the President’s activities, and likened the White House’s activities to the Soviet Union’s state-run news agency TASS, whose successor ITAR-TASS, and fellow state-run media RIA-Novosti, is more recently known for supplying famously heroic images of Vladimir Putin to the international media.
Doug Mills’ meeting with Jay Carney was followed up by a letter hand delivered to the White House on November 21st (PDF), signed by a number of prominent media and media advocacy organizations, including the National Press Photographers Association, The New York Times, The White House News Photographers Association, ABC, CNN, NBC, Getty Images and the Associated Press. The AP also issued their own statement about this issue. Santiago Lyon, AP Vice President and Director of Photography, answered questions on the AP’s own blog:
The photos on that page [The White House official Flickr page] are visual press releases and are carefully vetted by administration employees before distribution. Such images are increasingly offered to the media by the White House in lieu of real journalistic access and we and other media organizations find this unacceptable. Media organizations generally do not reproduce written press releases verbatim, so why should we settle for these official images?
Santiago Lyon also penned an op-ed for The New York Times on December 11, 2013: “Obama’s Orwellian Image Control”. If you are interested in this topic, it is a critical piece to read. He reiterates his point above:
The official photographs the White House hands out are but visual news releases. Taken by government employees (mostly former photojournalists), they are well composed, compelling and even intimate glimpses of presidential life. They also show the president in the best possible light, as you’d expect from an administration highly conscious of the power of the image at a time of instant sharing of photos and videos.
And he ends with strong and wise words:
Until the White House revisits its draconian restrictions on photojournalists’ access to the president, information-savvy citizens, too, would be wise to treat those handout photos for what they are: propaganda.
Part of this issue is the distinction between public and private events. Some editors and photographers are arguing that when the White House releases its own images from events on social media – such as Presidents Obama and Bush meeting on Air Force One en route to Nelson Mandela’s funeral, which was off-limits to the press corp pool also onboard the aircraft – they are demonstrating that the events are not private and are indeed newsworthy. BagNews’ discussion “As Press Battles WH Over Photo Access, Did Media Cross its Own Line Publishing Obama/Bush Mandela Trip Pictures?” provides many good examples of the difference between White House coverage of events and that of the free press, including the Obama/Bush pictures on Air Force One. Another post at BagNews, “Photo Ops and Staging: Beyond White House Access, the Larger Issue is What We Have Access To” by David Campbell, has more examples of the exclusive framing of events that the White House photographers have that they deny members of the press access to.
For more context, photographer David Hume Kennerly talks about his time in the White House in an interview with James Estrin of the New York Times’ Lens Blog. Time Magazine’s Lightbox blog also published an article by former White House photo editor Mike Davis: “The Backstory: Why Photographers Need More Access In The White House”.
Furthering their terrific studies of these issues, BagNews announced this week that the subject of their next salon would be The Debate over White House Photo Access. It will take place on February 9, 2014. I also want to thank Michael Shaw, Publisher of BagNews, for providing me with resources and his insight on this topic.
BagNews argues, rightly, that, “One thing we need are images that address the construction of the image, including pictures showing photographers in the photo, the set-up of the photo-op, or using particular visual strategies such as different angles, depth of field, and framing.” One important function of the press is to create transparency about how the political machine works. Being able to have an independent look at how events are set up and designed is critical in understanding what exactly the events mean.
Time magazine points this out in other ways too with another of Phil Bicker’s great edits of handout photos in a post called “Public Service or Propaganda? Top Handout Photos of 2013″. Bicker posts often on Time Lightbox under the title “Man on the Wire”, and we wrote about one of his post’s last year: “Déjà Vu in 2012″. In this post he shows off all manner of official photographs that have been published in the press.
Besides the White House, Kremlin and the North Korean official news agencies, other notable sources for handout photos include the NTSB (for photos of the crash of Asiana flight 214 in San Francisco and a train crash in New York), NASA (for photos of space research, manned space flight and an unfortunate picture of a flying frog during rocket launch), the Government Communication and Information System of South Africa for pictures of Nelson Mandela’s funeral, the U.S. Army for a photograph of Chelsea Manning.
I’ll finish this roundup with two examples of images that cross more obviously in to the sphere of possible-propaganda, images that look like they could be news photographs but are in fact handed out by political organizations: a photo of bodies of victims that Syrian rebels claim were killed in a toxic gas attack by pro-government forces in eastern Ghouta and a photograph that the Kenyan Government provided from the Westgate Mall attack in Nairobi showing the collapsed roof of a parking garage.
BagNews also provides startling examples of powerful official imagery that has, in one way or another, been made available to the press. “Ready, Aim, Backfire: Police Photographer’s “Rolling Stone Retribution” Photos” examines the photographs of Boston Marathon bomber Dzhokhar Tsarnaev leaked by a Massachusetts State Police official photographer. This is an interesting example of how official photographs might actually undermine the official narrative; see BagNews for more on this argument. Another post, from January 6, 2014, “Even if the Police Report Wasn’t Buried by the Holiday, What Photo Would Make Us Understand Sandy Hook?” is a powerful anonymous essay about the police report and evidence photos taken by Connecticut State Police from their investigation into the Sandy Hook school shooting in December 2012. This post looks closely at the photographs, ponders their meaning (or lack thereof), and asks why they were buried in the Holiday news cycle and rarely published.
The prevalence of handout photos being published in news sources demonstrates the success organizations are having in shaping the narrative they prefer by controlling the photographs that are available of an event. This is something that we should all be aware of, and wary of. There are times and places – for example, the President’s private family dinners and on the launch pad during a rocket ignition – where restrictions on access are acceptable and logical. But so many other times, as clearly laid out in the photos and articles above, this power is being abused. And we the media and the people are right to resist this.
2013 was an interesting year for me, full of travel and new experiences. I was able to see a couple of stories I’ve been trying to produce for years turn into full pieces in major magazines. I was also thrilled to join Boreal Collective, where I will be collaborating with fantastic photographers and good friends of mine. We have a lot of exciting plans for 2014, and you can follow us on twitter or facebook. Another high moment from last year was exhibiting my work “Only Unity” in Belgrade, Serbia in November. It was the first complete solo exhibition of the project I’ve been working on for the last seven years.
It has been a year to take stock and think about how to present the work that I’ve completed in my time living in Serbia and start to plan what comes next.
Today, weeks late as is my tradition here on dvafoto, I present 25 of my favorite images from the last year, presented chronologically. Now I can’t wait to get started on new projects and new endeavors in 2014.
You can follow my work more regularly through my tumblr: onlyunity.tumblr.com and on instagram: @mattlutton. Here are some of the other major happenings in my life and work last year, some of which showed up in my slideshow above:
I completed a story that I’ve been looking in to for the last year about segregation in Roma communities in Slovakia, which sometimes takes the form of construction of barrier walls separating Roma communities from Slovak neighborhoods. The project was commissioned by Vice Magazine and published in April as “The New Roma Ghettos: Slovakia’s Ongoing Segregation Nightmare” alongside an incredible story written by Aaron Lake Smith. More of the project can be seen on my website.
In April I attended the first New York Photo Review organized by the New York Times and James Estrin of the NYTimes’ Lens Blog.
I spent June traveling around Croatia and Serbia for the Dutch travel magazine Columbus. It was great to get off my normal beat in the Balkans and see some beautiful sights and eat very well, especially in Central Serbia near Uvac Canyon. The photographs from Croatia are now available in my archive.
While photographing for Burn I visited Istanbul, Turkey for a friend’s birthday and promptly found myself photographing street skirmishes relating to the Taksim Square / Gezi Park protests we wrote about in mid-June. It was my first real experience with tear gas and rubber bullets, giving me a new perspective on the work all of our colleagues who work in these situations regularly. It is not easy.
In August and October I was reporting in Sarajevo, Bosnia and Hercegovina for the Chronicle of Higher Education for a piece that was published as “The Science of Hatred”. My pictures and work was published alongside Tarik Samarah’s photographs from Srebrenica.
My exhibition at the ArtGet Gallery, part of the Belgrade Cultural Center, was a part of Raw Season organized by the collective Belgrade Raw, who I interviewed on dvafoto in 2009. The series of exhibitions this year included shows by very talented friends of mine, including Donald Weber (who was showing his project “Interrogations”) and Pete Brook (who exhibited ‘Seen But Not Heard’: Photos from US Juvenile Prisons.). It was tremendous fun to show them around Belgrade when they were in town for their openings.
The year concluded with an opportunity to see through another story I’ve been interested in for years, and to do it alongside my friend and fellow Belgrade foreign correspondent Andrew MacDowall. The Financial Times commissioned us to produce a audio-visual slideshow in Bosnia and Hercegovina about the unique relationship between a iron ore mine in the Republika Srpska village of Omarska and a smelter in the Federation city of Zenica. The piece which was published online as “Zenica partnership helps banish ghosts of Omarska” as part of their annual Connected Europe magazine. More images from this piece are also available on my archive.
See some of the presentations of these stories in print and pictures from my exhibition on the published work section of my website.
Thanks everyone, and see you around dvafoto this year!
We know that photojournalists have a worse job than dishwashers (and reporters are worse off than lumberjacks), but the methodology of CareerCast’s annual list of best and worst jobs always feels a little loosey-goosey to me. Having a job and making money might not be everything, but it’s worth looking at some real data.
The US Department of Labor’s Bureau of Labor Statistics’ Occupational Employment Statistics program collects hard data on non-farm jobs semiannually. The result is picture of the American workforce unlike any other, collating average wages and employment numbers across the country in fine detail. Here is the most recent data (May 2012) for photographers in the US.
There are some interesting revelations in the data. First, the average American photographer makes an annual wage of $36,330 (median $28,490). There are 56,140 Americans employed, either part- or full-time, as photographers. However, there are only 3,860 photographers employed by Newspaper, Periodical, Book, and Directory Publishers, making an average wage of $41,150. You can also see maps that breakdown wages and employment by state and other geographical areas. The three highest paying metropolitan areas for photographers are San Francisco, Los Angeles, and Hartford, Conn. The three nonmetropolitan areas with highest employment of photographers are an area of Ohio called “Other Ohio nonmetropolitan area” (not where OU is), “Western Central North Carolina nonmetropolitan area,” and “Northeast Mississippi nonmetropolitan area.”
Importantly, these numbers do not include self-employed workers, so this data does not cover freelancers.
(via Jared Wickerham on facebook)
A Pew Research Center study shows that photographers have been hit hardest by US newspaper layoffs since 2000. There has been a 32% reduction in writing staff (from ~25,500 to ~17,500 writers), but newspaper photographers’ numbers have decreased about 42% (from 6,171 to 3,493). Newspapers frequently cite changing technologies or ease of training writers to take photos or video as they report the news. Over at Sun-Times/Dark Times we’ve seen just how bad that can get through comparisons between Tribune and Sun-Times coverage after the Sun-Times laid off its entire photography staff.
I always find it curious that newspapers are quick to train writers to serve as photographers in these situations, and that almost never goes the other way.
Conflict reporting is a dangerous undertaking increasingly dominated by the work of freelance journalists (as high as 80% of journalists working in Syria are freelancers), most of whom lack the legal, financial, and security resources of large news organizations while working in risky environments. Vaughan Smith, of London’s Frontline Club, and a group of freelance photographers and other journalists have organized the Frontline Freelance Register to address the issue of freelancers putting themselves at risk without the institutional backing of large news organizations (two French freelancers freelancers were just abducted in Syria; James Foley has been missing for 204 days as of the writing of this post). The FFR is billed as “a representative body for freelance journalists exposed to risk while gathering news” and will work to establish and promote industry-wide safety standards and best practices for journalists working abroad in difficult and dangerous circumstances.
If you work in dangerous environments, you can apply to join the FFR here.
Related: RISC trains freelance conflict journalists to treat life-threatening injuries in the battlefield.
“instead of trying to pick apart the meaning and motivation behind photographs, these articles will try to find out how photographers are actually surviving in 2013. I want to talk concretely about the challenges facing photographers, and the conditions that affect their work, both in the personal and professional sense of the word.” -Dan Abbe, Why How You Living?, American Photo
We’ve been on the subject of business in photography recently. American Photo has embarked on a fascinating series profiling photographers around the world and how they cobble together a living. Called “How You Living?” the series takes a candid look at what photographers do to get by. Here’s a short explanation about the motivation behind the series. The crux of the interviews, though, is something not often talked about in photography circles: how do you make a living? The short answer is that there are very few people who make their living entirely from taking pictures.
Only a couple of the photographers make some or a substantial part of their income by using a camera. Others fit in photography alongside full-time jobs, freelance design work, teaching, or whatever else it might take. For those of us making a go of freelance photography, this might not be news, but it’s refreshing to hear photographers speak openly about how they make things work. For those of you just starting out, know that you’ll probably need to supplement your photography with other work (or less interesting types of photography) for some time. I know I certainly did.
This is making me panic as a Photo Journalism major. -top voted comment discussing Who Pays Photographers? at reddit
Pricing journalism always feels like a dark art. Following the online payment for journalism back-and-forth last week, Manjula Martin started collecting payment rates for writers at the Who Pays Writers? tumblr. Following that lead, one of our friends set up Who Pays Photographers?, a collection of anonymously-submitted reports of rates paid for (primarily) assignment work. Not long after the site took off, I got a call from the creator concerned about the popularity of the site (averaging 15,000 unique visits a day), and we talked a bit about what purpose the site might serve and how to make it a reliable resource. You can submit rates anonymously through the site.
An interview at PDN tells a little more about what goes into collecting this information and the goals. You can see all of the submitted rates paid to freelancers around the globe, from Gazeta Wyborcza’s $26 day rate to Forbes’ $1250 day rate including assistant and digital fee. The entries also have notes about contractual terms and the time it takes to receive payment. It’s not always a rosy picture, though that’s hardly a surprise.
The response to Who Pays Photographers? has been generally positive, spreading quickly via twitter, facebook, and reddit. At reddit and elsewhere, though, people have been dismayed by the low fees for most photojournalism.
I’m of the opinion that Who Pays Photographers? is an incredibly important resource. While many organizations and blogs work hard to educate freelancers about the business of photography, the actual fees paid for assignment or stock are often kept secret by photographers (though some do publish rate cards). The best way to improve our lot is to be honest and open about what it’s like to work in photography, and a major part of that is a conversation about money, since we all know exposure doesn’t pay the bills.
Make sure to submit some of the rates for your assignment work. I have already, and you should, too.
At Popular Science, we’re pretty good about paying for work; I’ve certainly never asked someone to write a piece for free (photography, sadly, is a totally different story. I feel for photographers!). -Popsci.com editor Dan Nosowitz in a discussion between editors on paying writers
There’s been a lot of talk in the past few days after Nate Thayer posted on his blog about an Atlantic.com editor asking him to write for free. There’s a good summary of the events here. To any freelancers, it’s a common enough occurrence. If you haven’t seen Fuck You, Pay Me, start there. The Atlantic has issued an apology to Thayer, no doubt due to the attention given Thayer’s blog post.
One of the most interesting things to come out of the discussion, though, is a branch thread (?) involving editors and writers from a number of well-known online and print publications on the subject of paying writers for work. It’s called How Much Should A Writer Be Paid, If Anything. The quote above, about the sorry state of payment for photography for online journalism, is cherry-picked from well down in the discussion, but the rest is definitely worth a read for insight into how online publications compensate their contributors. It’s a very interesting look behind the curtain of pageviews and budgets.
And while the situation for writers isn’t rosy, the quote at the top shows it can be even worse for photographers (as we all know). I was happy to read last year (search for “Well, I think it has to do with paying people”) that the NYT’s Lens blog has started paying photographers. Ironic for this discussion, the Atlantic’s In Focus blog, one of the premiere photography showcases online, doesn’t pay photographers last I checked (see update below; the blog does pay for wire service subscriptions). As more and more media entities get into the online photography game, it’s important to make sure photographers are paid fairly for their work.
Update: Thanks to In Focus editor Alan Taylor for adding to the discussion with his comment down below.
I met Camille Lepage in South Sudan last September when I arrived in the capital Juba on a two-week assignment. She had already been living there for almost two months, and has been there ever since. She was a huge help in getting our story off of the ground and filling my colleague and I in on how South Sudan works, with all the necessary tips and tricks that help make things happen there. And there are a lot of tips and tricks needed.
At the time she had just finished a stint at a local newspaper, The Citizen, and was starting work as a stringer for AFP. Since I met her, she has traveled all over South Sudan and the border region and begun to produce impressive stories on her own. I wanted to feature her project “The Silent War” from South Kordofan, which was was photographed in October and November last year and published this week in Le Monde. We also wanted to ask her a few questions about what life is like as a freelance photographer in South Sudan.
Dvafoto: When did you arrive in South Sudan?
I arrived in South Sudan in July 2012, just after finishing my degree in journalism at Southampton Solent University in the UK.
What was the main story you wanted to cover when you set out?
The wars at the borders with Sudan really pushed me to come to South Sudan. They are going on in complete silence and I have always wanted to cover underreported (if reported at all) wars or humanitarian crises, so I figured going to South Sudan, which was a new nation under construction, would probably be a good way to start. On top of that, I thought it was very unfair that a one year old country was constantly referred to as doomed or failed so I wanted to see it for myself and perhaps bring some new light on it.
How has the story you’re pursuing changed?
I think I really have two main focuses. The first is the humanitarian crisis in both Blue Nile State and South Kordofan where locals are being bombed by the Sudanese government, where NGOs and journalists are forbidden. Since June 2011, it has led hundreds of thousands of people to be displaced to other countries. I didn’t think I would spend so much time and energy on this, but after having spent 3 weeks in South Kordofan last November, I know I have to go back as often as I can. I also want to make my way to Blue Nile, which is trickier and much more costly too. Also, I can only go to those places during the dry season, when roads are practicable, so from November to May. I also need to finance those trips by working for NGOs at the same time, it’s a little challenging.
The second story is on the quest for identity of South Sudan and how a country that has been at war for decades can become a united nation. I’m looking the obstacles such as lack of infrastructure, which results in the lack of health care and sparks tribalism around the country but also the way forward, like a youth which wants peace and education.
How are your pictures getting out? Where are they being published?
I started freelancing with AFP when I arrived so through them they are often published in The Guardian, Time Magazine’s Lightbbox, BBC, sometimes on the NYT Lens Blog etc. For my personal projects, I’m pitching them to pictures editors here and there, the South Kordofan story was published in Le Monde, but I’m hoping to have it published in other places soon. The other one isn’t ready at all, so I’ll wait until I feel I have some good material to pitch that too.
In general, what is life like for a photographer like you in South Sudan?
Life isn’t easy, really. Everything is very expensive here, I used to rent a tent at a hotel for 600$ a month. Now I live in a local house far from the town and without electricity, but it’s only 200$ a month. I obviously don’t have AC or a fan, so the temperature can go up to 38 degrees at night. I got used to it though, and now whenever I go to the field, which should normally be more rough, I have more comfort. I always think it’s quite amusing.
At the moment, we are only two photographers in the country so we can quite easily get assignments with NGOs and UN agencies, but I only do so to pay my bills and finance other reportages.
At first, people here are seriously reluctant to be photographed. They get very very aggressive, I even had my life threatened a few times when I wanted to photograph people. I’ve learnt how to approach them, so it’s becoming easier and easier every time. But it takes time!
Are there many other photographers there? Are they staying as long as you?
We were four only a few months ago, now we’re two only. I think just like most foreign correspondants, stringer photographers stay between one and two years. There are also some people who come over for a one week or two on assignment.
What is the benefit to staying longer?
You get a much better understanding of the place. Especially in a country like South Sudan where everything is logistically complicated, you need to know the rules, to understand the ‘un-said’, discover how to approach people, to make them trust you too. After six decades of war, the South Sudanese are very suspicious of spies, and they remain in this ‘war spirit’ when you know at any time things can go wrong if you say something they didn’t want to hear. On top of that, it’s really a fascinating place, they are so many stories to tell, and it takes time to get proper insights of it.
What is one story that you wish you could be covering in South Sudan that you so far have not been able to, due to access or due to resources?
Apart from the Blue Nile story that I previously mentioned, I’ve been meaning to go and spend some time with the Murle tribe in their cattle camp in Jonglei state. Cattle camps are huge areas where armed kids are keeping hundreds of cows (cows show the wealth of a family and often are used for securing a bride). Traditionally the Murle go and raid other camps to steal their cattle either as an initiation into adulthood or to simply increase ther ‘wealth’. They often end up in very violent fights between the tribes unfortunately. The Murle are also said to be sterile, so at the same time they steal children from other tribes; but there is very little documentation on the Murle, so I’d like to see it with my own eyes. I haven’t managed to cover it yet as the UN are forbidding journalists to go to Jonglei state because of security issues, and no NGOs are able to facilitate journalists to go there because the area is too sensitive.
What is your background in photography, where is your home?
I don’t really have any photography background. I studied print journalism, but was more than often interested in the visual part in each story. It clicked about one year ago, what I was really into was photojournalism and I decided to go for it. When I arrived in South Sudan, I introduced myself as a photojournalist, despite my very meagre portfolio at the time. I think people didn’t take me very seriously at first, but I worked hard and still do, so I think they see me a little differently now. and I’m from France!