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OUR 2004 HONOREE
Each year, PhotoMedia recognizes a person in the photography industry who has best demonstrated exceptional artistic and business accomplishments, photographic passion, devotion to the industry, inspiration to colleagues and humanitarian achievements in the community.
Each year, PhotoMedia recognizes a person in the photography industry who has best demonstrated "exceptional artistic and business accomplishments, photographic passion, devotion to the industry, inspiration to colleagues and humanitarian achievements in the community." For his dedication to the above ideals and his commitment to the education of the nest generation of digital photographers, PhotoMedia is proud to honor George D, Lepp with our Photography Person of the Year award.
STOCK PHOTOGRAPHY GLOSSARY
To understand what's happening in the stock industry, it helps to become familiar with the different pricing models used by the major agencies. Here are the four main models:
Rights-managed imagery (RM): Also known as rights-protected imagery, this includes work that is licensed via a pricing model that tracks client usage, in order to retain the right to charge higher prices for restricting that usage to a particular industry. Pricing is determined by negotiating various parameters, such as print run, image (file) size, distribution, placement and image sophistication. For example: "One-time, nonexclusive, North American, two languages, textbook, ¼ page, inside," or "Advertising brochure, ½ page, inside, 2 million print run, one-year, nonexclusive, worldwide.
" Royalty-free imagery (RF): Does not restrict rights of usage, so the image can be published in perpetuity by the licensing client. RF is usually offered in three or four resolutions, which limits its usability and determines its price. Some average examples:
- Low-res (2MB): $59 to $129
- Medium-res (10MB to 18MB): $179 to $289
- High-res (30MB to 50MB): $249 to $359
- Super-high-res (70MB+): $359 and above
- Range of prices for a disc with up to 100 images: $399 to $599 Subscription stock: Usually royalty-free stock, offered in bundles for restricted periods of time at one price rate, allowing numerous downloads. Business models vary with competing companies. A client may choose from a collection of several thousand images for one month (or six months or one year) for $99 to $2,400. File resolutions vary depending on the business model. This model works well for designers with strict budgets who work only with broad-subject images.
Wholly owned imagery: Collections of imagery that give the copyright holder control of their use. Whether created by image production companies or custom-photographed by work-for-hire individuals, the material is owned by the controlling agents, who collect 100 percent of the revenues.
— P.H.
THE RISE AND FALL OF THE COOPERATIVE AGENCY
Understanding the structures of today's wire and news service agencies requires some knowledge of the industry's long and storied past. From nearly the moment that photography was invented, news agencies have been around to help manage the public's access to photojournalism.
The three oldest agencies are Associated Press (AP), Reuters and Agence France-Presse (AFP), all of which are still thriving.
AFP was founded in 1835, followed by AP about a dozen years later and Reuters in 1851.
Around the turn of the 20th century, commercial picture transmission using radio waves began and, by 1921, Western Union began sending the first electronically transmitted photographs. A decade later, AP introduced a wire photo service, and the agency has dominated the field ever since. Most major city newspapers in the 1930s had an AP photo desk, staffed by an AP employee who received and printed photos for the paper and shared shots taken by the paper's staff with other AP members around the world.
With AP in New York, Reuters in London and AFP in Paris, photographers began furiously submitting news images for their agencies to distribute globally. The big three cashed in on the fact that a single image could now be quickly reproduced hundreds of times in one day.
As news photography was spurred on by further advancements in telephone transmission of images, a new breed of photojournalistic entrepreneur arose to take advantage of the demand for newsworthy photos. Photographers who wanted control over their images began forming alliances with reps who knew the business andpromoted photo stories as packaged sets. In 1946, photographers Robert Capa, Henri Cartier-Bresson, David Seymour and George Rodger formed Magnum Photos, a cooperative agency that was owned by all of its members, a model that many other agencies tried to emulate.
Over the next 30 years, numerous news-oriented photo-story agencies were launched, such as Black Star, Contact Press Images, Gamma Liaison, Matrix, Saba, Sipa Press and Sygma.
These reportage-style boutique agencies significantly advanced the photo-story cause. They fought for rights and day rates as their photographers covered wars, natural disasters, and poverty and human rights issues, often on a self-assigned basis.
As government censorship laws relaxed following World War II, the public was able to view some of the most gripping and hardhitting images of the century. In those analog days, film flew back and forth across continents to labs and service bureaus, and news publications were busy competing with the recent innovation of live television.
In the mid- to late-1960s, AP started using faxes to transmit photos, which saved costs but compromised quality. Papers also received photos from the now-defunct United Press (UP) and International News Service (INS), but many syndicates sent prints though the mail. "We had access to hundreds of photos every day, even some in color, and way more than we could possibly use," recalls Wilson Locke, news editor at The Oakland Tribune and then The Los Angeles Times from 1957 to 1991. When scanning technology was introduced, newspaper conglomerates such as The New York Times News Service, Knight Ridder and Tribune Media Services got into the business of recycling their daily photo contributions.
During this period, news and feature magazines were still presenting photographs the way they were meant to be seen: reproduced large and untouched, with noticeable credits for the shooters. Photojournalists were starting to be in demand by name, but the rules of engagement were about to change.
By the late 1980s, a more technical world had emerged, and soon a giant web was holding everything together. Internet-born photo agencies Corbis and Getty Images recognized that photography was the perfect digital vehicle.
Leading the way with stock shots galore, they also wanted that editorial edge and went after it obsessively. When the dust settled, Corbis had bought Sygma and Saba, and Getty had claimed Gamma Liaison. Both agency giants spent fortunes on shooters, strategies and technologies to make sure that news photos could be delivered hourly to the monitors of picture editors everywhere.
It is in this daunting environment, in which only a few huge photo conglomerates and wire services have been left standing, that today's new independent agencies are forced to compete.
OUR 2008 HONOREE
Each year, PhotoMedia recognizes a person in the photography industry who has best demonstrated exceptional artistic and business accomplishments, photographic passion, devotion to the industry, inspiration to colleagues and humanitarian achievements in the community.
For her collaborative efforts to bring to light issues of social concern, as well as her establishment of the Julia Dean Photo Workshops in Venice, Calif., PhotoMedia is proud to name Julia Dean (at left) as our Photography Person of the Year for 2008.
Her recent socially conscious photo projects include "Child Labor and the Global Village: Photography for Social Change" (see childlaborphotoproject.org for more information) and "Documenting America's Social Challenges: Five Pressing Issues," a five-year project to be funded by an auction of photographic images each year.
OUR 2009 HONOREE
Each year, PhotoMedia recognizes a person in the photography industry who has best demonstrated exceptional artistic and business accomplishments, photographic passion, devotion to the industry, inspiration to colleagues and humanitarian achievements in the community.
For his success over the decades as a photographer, his ability to manage the work of a diverse array of photojournalists, and his daring thematic and technological innovations in the photography book publishing business, PhotoMedia is proud to name Rick Smolan our Photography Person of the Year for 2009. For more information about Smolan's impressive catalog of books and images, visit MyAmericaatHome.com.
OUR 2002 HONOREE
Each year, PhotoMedia recognizes a person in the photography industry who has best demonstrated exceptional artistic and business accomplishments, photographic passion, devotion to the industry, inspiration to colleagues and humanitarian achievements in the community.
By devoting most of his career to warning the public about the consequences of global warming, Oregon-based wildlife and nature photographer Gary Braasch is trying not to change the world, but to help save it from changing too much.
