Archived posting to the Leica Users Group, 2013/07/03

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Subject: [Leica] Re; Accidental photojournalist
From: kanner at acm.org (Herbert Kanner)
Date: Wed, 3 Jul 2013 12:22:14 -0700
References: <8D04628C1C94D7D-1A60-75327@webmail-m299.sysops.aol.com> <3F97A6C7-E99F-483B-9C22-CAAEC58B7645@mac.com> <C4227838-EE01-484B-990B-22537F2001AB@acm.org> <CA+yJO1C1pS0e=dDw6m=VG6HDT8s_aGOn4Y7-VMWkPEiU7Lzk4A@mail.gmail.com>

Thanks, Tina. I'll study the included web site.

Herbert Kanner
kanner at acm.org
650-326-8204

Question authority and the authorities will question you.




On Jul 3, 2013, at 11:51 AM, Tina Manley <images at comporium.net> wrote:

> Herbert -
> 
> This might help:
> 
> http://www.alamy.com/contributor/help/sell-images.asp
> 
> I've been leasing stock since 1980.  The stock market slumped considerably
> after RF and Micro-stock started taking over the market, but things have
> improved quite a bit lately with some really good prices.  My average is
> back up to about where it was 10 years ago, thank goodness.  I know people
> with Alamy who make over $25,000 a month, but they have many more photos up
> than I do.
> 
> Hope this helps.
> 
> Tina
> 
> 
> On Wed, Jul 3, 2013 at 2:12 PM, Herbert Kanner <kanner at acm.org> wrote:
> 
>> I would like some enlightenment on how stock photography works. I had been
>> under the impression that it is no longer a viable source of income 
>> because
>> of the existence of a population equipped with cameras on their phones.
>> Then, I read Tina's piece about income from stock photography, including
>> mention of a student of her's who quit a job because of stock photography
>> income; this appeared to be a current event. Also, as a docent at the
>> Computer History Museum, I met a school teacher who told me that a
>> substantial part of his income was stock photography.
>> 
>> So, if any of you has the patience to explain to me a bit about how it
>> works, or to refer me to a web site that would explain, I'd appreciate it.
>> 
>> Thanks,
>> 
>> Herb
>> 
>> Herbert Kanner
>> kanner at acm.org
>> 650-326-8204
>> 
>> Question authority and the authorities will question you.
>> 
>> 
>> 
>> 
>> On Jul 3, 2013, at 10:50 AM, George Lottermoser <imagist3 at mac.com> 
>> wrote:
>> 
>>> 
>>> On Jul 3, 2013, at 12:20 PM, lrzeitlin at aol.com wrote:
>>> 
>>>> For every artist who is exhibited, I know 10 equally talented artists
>> who never found an outlet. Look at the LUG. The Gallery is replete with
>> excellent photographs, most taken by "non-professionals" whose pictures
>> will be seen only by close friends and on the web. Ted, Tina, and some few
>> others have managed to break the barrier but there are plenty of other
>> LUGGERS whose work is equally as good.
>>>> 
>>>> 
>>>> In my day if you wanted to get paid for taking pictures, you did one of
>> two things. You worked for a media outlet, newspaper or magazine, or you
>> tried to establish an independent freelance or "professional" business.
>> While some "professionals" managed to live quite nicely, most barely
>> scraped by or failed completely. I bought most of my cameras from failed
>> professionals. Sometimes "security" is better than starving.
>>> 
>>> Larry,
>>> 
>>> We seem to be talking past one another a bit; not unusual as we've had
>> different experiences.
>>> 
>>> I began my visual art career at 14, in 1960, as an assistant in a
>> successful commercial studio.
>>> The studio catered to Advertising Agency and Corporate Clients.
>>> Between 1967 and 1972 or 3 I earned my living, and my way through college
>>> as a free lance photo journalist, and graphic designer, selling to local
>> newspapers and magazines.
>>> 
>>> Since 1973 and through the late 90s I managed to earn fairly well doing
>> a combination of;
>>> editorial photography, corporate photography and graphic design, gallery
>> shows and print sales.
>>> 
>>> Each of those markets has had its ups and downs over the years and
>> decades.
>>> 
>>> In every case protection of the right to use and license the work
>> remained important;
>>> not only to me but to all of my peers working in photography,
>> illustration and graphic design.
>>> At the height of my career I was a member of both ASMP and the Graphic
>> Artists Guild.
>>> Both organizations have worked tirelessly at protecting and valuing
>> creative work.
>>> 
>>> My first wife, of 25 years, also made a good living as a fine art
>> painter.
>>> I have many friends who are professional artists, photographers,
>> painters, sculptors, metal workers, and musicians.
>>> I know how the art markets have worked historically as well as currently.
>>> 
>>> Tina's career or mine or many others do not fit the model that you seem
>> feel is the only rigid view of how things worked
>>> "in your day" "my day" or "to day."
>>> 
>>> We could discuss any creative market in terms of blue chip international
>> "history book" success,
>>> regional success and/or local success;
>>> as well as several other parameters and paradigms.
>>> 
>>> Regards,
>>> George Lottermoser
>>> george at imagist.com
>>> http://www.imagist.com
>>> http://www.imagist.com/blog
>>> http://www.linkedin.com/in/imagist
>>> 
>>> 
>>> 
>>> 
>>> 
>>> 
>>> _______________________________________________
>>> Leica Users Group.
>>> See http://leica-users.org/mailman/listinfo/lug for more information
>> 
>> 
>> _______________________________________________
>> Leica Users Group.
>> See http://leica-users.org/mailman/listinfo/lug for more information
>> 
>> 
> 
> 
> -- 
> Tina Manley
> http://tina-manley.artistwebsites.com
> 
> _______________________________________________
> Leica Users Group.
> See http://leica-users.org/mailman/listinfo/lug for more information



In reply to: Message from lrzeitlin at aol.com (lrzeitlin at aol.com) ([Leica] Re; Accidental photojournalist)
Message from imagist3 at mac.com (George Lottermoser) ([Leica] Re; Accidental photojournalist)
Message from kanner at acm.org (Herbert Kanner) ([Leica] Re; Accidental photojournalist)
Message from images at comporium.net (Tina Manley) ([Leica] Re; Accidental photojournalist)