ASPP’s Newsfeed is a curated set of stories for the image-creating and -buying public. Items are sourced from various feeds, blogs and industry magazines, in the hope that there is news you can use. Some stories will appear in their entirety; others will be linked to their sources, sometimes behind a paywall. Your comments are welcome below. If you know of other sources, please forward them to firstname.lastname@example.org
Shutterstock has released its annual Creative Trends report, which is developed from analyzing the information from millions of searches and downloads.
Born in Poughkeepsie, New York in 1907, Lee Miller was an amazing woman who led an incredible life, then drifted into obscurity: a 1920’s supermodel, she gave it up to go to Paris and work with Man Ray, becoming a surrealist photographer in her own right. Returning to New York to set up a studio, she was soon in great demand for portrait and fashion photography. After a period in Egypt she became a freelance photographer for British Vogue as World War 2 broke out, photographing the bombing of London known as the Blitz. In 1944 she became a combat correspondent for the US Army, accompanying the troops into Europe – one of the first female war photographers. She photographed conflict extensively, including the grim Siege of St Malo in August 1944 and the Liberation of Paris, and was among the first to take pictures of Nazi concentration camps and their victims.
Her archived images now available for licensing.
Lee Miller Archives:www.leemiller.co.uk
Supply And Demand: A Possible Explanation of the Decrease in Usage Pricing
Twenty-five to 30 years ago there was a large demand for stock images relative to supply. Prices to use a stock image — while reasonable when compared to what it cost to hire a photographer for an assignment — were much higher than they are today. It was possible for a professional photographer to produce a lot of images that no one wanted to buy, and still earn a decent living from the few that did sell.
Image theft seems to grow and expand. Here, we find out what options are available for recourse and hear of success in protecting one’s copyright.
Guest Post by Julian Jackson
David Hoffman is a UK photographer, and a bulldog who chases copyright infringers. While I was on the phone, interviewing him for this article, a British city council coughed up 12,500 pounds ($16,000) for stealing his images and using them for four years. That is a pretty big victory. He chases infringers in any jurisdictions he thinks he can get a result, which includes the USA. I am going to outline his methods later on in the article but first let me tell you a bit about his career.
He says, “The commercial photography industry is losing billions in unpaid fees.” He cites Google Images and Facebook as companies which are effectively using other people’s’ creative work for commercial advantage without payment.
Those of us who work with professional photography have long thought that professional, talented photographers gain more attention for their images than amateur ones. This was just a gut feeling, but why would magazine editors take special care over their cover images otherwise, and see increases in sales?
Recently there has been some powerful confirmation of this. The National Press Photographers Association (NPPA) – a US professional photographers’ organisation, funded an academic study at the University of Minnesota, which showed professional photos create much more of an impact on readers than amateur ones. They used eyetracking, so they had an objective measure of how long 52 people looked at photos from newspapers and news organisations for.
Resource Magazine readers sent in what they were reading, and the Editors made their list. Check it out here.