What´s Stock Libraries Electroy The Livelihoods Of Photographers?
Introduction
Implicit in the question “Stock libraries destroy the livelihood of photographers”, is a reference to both commercial and academic consideration. In order to answer the question therefore, it is necessary to understand the possibilities of the image in the context of general market conditions, then to understand the specific market for images in today’s market terms.
This essay’s secondary research methodology has its basis for reference in Paul Frosh’s Image Factory, principally sections of the book centred around the services of stock agencies as suppliers of images predominantly to advertising agencies and marketing departments as a focal point in order to understanding the current market for stock photographs. The essay
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Once you know the purpose and the size needed, you then negotiate a specific price in advance with a picture library or with the creator direct.”
RF = Royalty Free
“Created to offer more flexibility to buyers, an image can be used on lots of different platforms: website/ brochures and leaflets for example. Under RF, images are often priced by digital file size, rather than for specific usage. The smaller the file size, the less you can do with the image. An RF image may be used multiple times for multiple projects without incurring additional fees, but only by the same user. There will be some restrictions how an RF images is used commercially.”
MS = Microstock
“An offshoot of Royalty Free. MS differs from traditional stock photography as images are sourced almost exclusively via the internet representing content from amateur as well as professional photographers. The pricing structure of MS photography is simplistic and varies from company to company, but generally most Micro Stock (MS) agencies offer single images from a pound upwards. You can also buy subscription packages allowing you to download a set number of images every
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In this scenario the Photographer retains copyright of the image in doing so bares the financial and creative risk associated with its production. The advantage here is essentially eliminating the marketing and distribution costs the image can set up in order that the photographer receives a passive income from the repeated sales of the same image. This in theory means that associated costs of production are recouped over time. Significantly however in the process the photographer is, and remains
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