Saturday, November 29, 2008

As Storage Costs Decline, Alamy Takes Mo' Money

Yes, as the costs of storage continue to decline, as well as the costs for server technology as well, it would stand to reason that your partner in stock image licensing would share in these cost savings by giving you, say, a greater piece of each sale? Then again, why bother. They've gotten to be so big that they can just do as they please, and take more of your money. What are you going to do about it? Go to Getty?

(Continued after the Jump)

Perhaps I am harkening back to days gone by where these organizations were "representing you", as your "agent", and looking out for your best interests. That notion was decimated by how Getty handled (and continues to handle) its' stable of photographers. We wrote about this back in September (Alamy, Oh My!, 9/28/08), about this same 5%, and they wrote on their blog here about the 5% from September, and here just recently, to remind you. The e-mail they just sent out, in part, reads:

The key changes are listed here: http://www.alamy.com/notice-board-1108.asp

We advise you to review the new contract here: http://www.alamy.com/terms.asp

The changes take effect on January 10th 2009, 45 days from November 26th 2008.

We recommend that you read through the changes thoroughly and print off a copy of the new contract for your records, there is no need for any further action on your part.

The key reason for issuing a new contract is the 5% increase in Alamy's commission on all commission schedules as announced on our blog.

The following commission splits will apply from January 10th:

- Alamy Blue: Alamy commission 40%, Contributor commission 60%
- Alamy Red: Alamy commission 20%, Contributor commission 80%
storage fees and submissionfees still apply
- Alamy Green: Alamy commission 30%, Contributor commission 70%
storage fees still apply

What is a mis-representation is that Alamy is not increasing their commission by "5%", they are increasing it by 5 percentage points, and there's a big difference.

Consider this. A sale of $100 where the commission was 40% to Alamy, that would mean they would get $40. a 5% increase in what they are getting would increase $40 by $2. A 5 percentage point increase would increase the $40 to $45. So, they are taking an additional 12.5%, not an additional 5%. They are playing games with statistics, making it appear like it's less of an increase than it is. What this means is that you won't see a 5% decrease in your actual dollars received, you'll see a 12.5% decrease in actual dollars received. So, for every $100 you used to get, you'll only be getting $87.50. Curb your holiday spending accordingly.

What's next? A Windows Home Server , which I wrote about (Microsoft Pro Photo Summit2008 - recap, 7/11/08) is something we've put in place here in the office. The box has four 1TB drives, and three Iomega 1.5TB drives, for about 7.5TB of storage space, all accessible to me from anywhere in the world. This is seperate and distinct from my ability to use "screen sharing" on my Mac and connect into the computers in my office.

What I think will be next will be that Alamy/et al will give you X% if they host it, and X% plus an additional percentage point or two if you host it - a sort of distributed computing/peer-to-peer network. All Alamy would need to do is set up a P2P solution and all of a sudden you are being required to host the images, and they become the distribution hub, and collect fees as the requests pass through their servers.

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Friday, November 28, 2008

Nikon D3x - It Has Arrived!

Whispers of a Nikon D3x have been floating around for some time. It was first rumored to be coming out in time for the Olympics, and was anticipated between March and June of this past year (Nikon D3x - impending announcement, 4/16/08). Sources suggest that there was a decision to delay that announcement. Some have suggested it was to give the D700 some legs and some suggest they wanted the excitement to be about the D90. Still others surmised that there were details they wanted to work out to ensure a timely delivery date after its announcement.

Regardless of the reason, official word has come out - the D3x has arrived in the form of NikonPro magazine with all the details and specs. Hit the jump for the specs, and more thoughts on what this means moving forward.

(Continued after the Jump)

The first thing that struck me was the statement that leads off the third paragraph - "The D3x was designed with medium format photographic applications in mind." This statement is two-fold in its' intentions. 1) Medium format photographers should welcome a 24.5MP chip as a suitable replacement for their medium format cameras. But, the real reason, in my estimation, is this: 2) to set expectations in that arena, and not expect a 24.5MP edition of the D3.

Everyone was blown away by the insanely high ISO of the D3, and the D3x had to make some accommodations for the larger chip, in the form of a reduced ISO range. A stated range of 100-1600, with low/boost settings allowing for 50-6400 illustrate some of the likely technical limitations of a chip this size at the higher ISO ratings.

Here's the basic spec rundown:
  • 24.5-megapixel shooting at up to 5fps; cropped 10-megapixel shooting at up to 7fps
  • Custom-built Expeed 16-bit processing to handle detail on the 75MB image files
  • ISO range of 100-1600 with a Lo1 (equivalent to ISO 50) with boosts up to ISO 6400
  • Writes files to dual CF slots at 35MB/s
  • Same lithium-ion battery as D3
  • 51-point MultiCAM3500FX autofocus system
  • Scene Recognition System
  • 3-inch, 922,000-dot LCD
  • 35.9mm x 24mm FX format sensor (If you can't think in metric, that's 1.4" x 0.94")
  • Weather-resistant magnesium body
  • Designed for medium-format shooting
  • 12ms start-up time; 41ms shutter-release lag time
  • USB 2.0, HDMI and AV-out jacks, with 10-pin terminal for GPS and other accessories
  • World’s highest-res SLR with Live View at 922,000 dots in the LCD
One of the points missed and I think is of value (I talked about its benefits when reviewing the D700 here- Nikon D700 Report) is that you can use the new GP-1 GPS Unit with this (goes back to the D200 as well) to geo-tag your images.

Also worth noting is the compatibility with the D3 batteries. It seems Nikon is finally happy with their battery configuration, and isn't changing it again. Also unchanged (and would you expect any less?) is the lens mount. Yes, you can go back to any F-mount lens you'd like. On top of that- Nikon's EXPEED engine is designed to minimize the effects of color fringing for those lenses specifically. How's that for taking care of legacy customers? That's a definitive pro-consumer decision - enhancing the ability of lenses they've already sold which might otherwise cause someone to decide now is the time to upgrade a lens. Nice move Nikon.

What does this portend for Canon?

Well, this chip-size is larger, by about 3.5MP. Ok, so what. The pixel game is essentially over. What continues to be the battleground will be clarity of files (can you say Foveon technology anyone?), high-iso noise (and Nikon, with the D3, set the equivilent of Kodachrome 25 as the benchmark for future noise measurements) concerns. What the Wikipedia article notes (and a citation is indicated it's needed) is that a Kodachrome 25 slide on 35mm will hold detail equivilent of 25MP or more of image data. This is in line with information I gleened from meetings over a decade ago with people in the production department at National Geographic, who gave as a guidepost the maximum size of an RGB 8-bit file from a 35mm slide as being 60MB, or 20MP. Thus, at more than 20MP, in my estimation, size is no longer the issue. What's next? Video.

So, why no video on the D3x? We can guess a lot of reasons. My guess is that it's a fun pro-sumer capability that is getting tested in the D90, and when the D800 comes out, it will have video capabilities comparable to the 5D Mark II. As throughput on CF/SD cards gets better, and the price of cards plummets to a negligible amount, it might be a feature that a pro would want, but I am guessing that the jury is still out on that for the flagship editions of Canon and Nikon cameras. I for one am not bothered one iota at video missing from the D3x DSLR.

The one remaining question is one of price. The D3 was introduced at $4,999, and you can get one for around $4,100. Competitors the Sony A900 with a 24.6MP chip is the low-price point here, at $2,999. While Sony has made significant inroads in Europe (see our video interviews here and here from PhotoPlus on the A900), I surmise that they are coming in very low to get into the US market, because traditionally Sony is the premium brand premium priced product. Canon, on the other hand, has dropped down to under $7k, with demo and other used excellent-rated used systems at the $5,600 range. I think we'll know much more come Monday, when Nikon has scheduled announcements. We can only guess that that announcement will be the same as what the mailbag brought to doorsteps today in the form of the Nikon Pro magazine. We just await pricing and delivery dates. Nikon Rumors is reporting one UK retailer suggesting £5,500 as the price, which equates to $8,466 USD.

Look for a head-to-head like we did just a year ago(Nikon - a first look, 12/8/07) when we concluded that the D3 beat out the EOS 1Ds Mark III. So, it's time for a re-match in the ring.



UPDATE:
The D3x has an estimated street price of $7,999 USD, and you can learn everything you need to know (atleast officially) here - Nikon D3x Official webpage.They also have a micro-site here.
The delivery date is stated to be December of 2008, and it has been suggested that it will be before Christmas.

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A Free Read: Best Business Practices for Photographers

For those of you looking for specific guidance on a particular point, Amazon has put my book in their AmazonOnlineReader - Best Business Practices for Photographers, so you can read it online to your hearts' content for free.

You can search for any term or word, browse the table of contents, and generally just browse it. It remains among the top ten books in "Books > Arts & Photography > Photography > Professional" (thank you very much dear readers), and, for under $20, you can buy it at this link - Best Business Practices for Photographers
- and have it laying around your house to enjoy at your leisure.

(Comments, if any, after the Jump)


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Wednesday, November 26, 2008

And The Battle Rages On

There is a lot going on in the great and nebulous cloud in the sky, and not all of it is good. Yes, some taste the sweet nectar of power, and are driven to corruption for their own personal gain. Some try and fail to succeed, and blame the system. What is key, as I sit and contemplate how this applies to the future of photography and it's many aspects, is that there must be a mutual effort to be made - one is the success of one both personally and professionally, and the other is the success of this ever-changing field of photography. The two are not mutually exclusive, lest you subvert the good of the whole for your own gain.

There are those that are the lap-dogs of the status quo, unwilling to take a principled position, or fight the good fight. They take the easy road, without confrontation or sincere criticism, simply interested in making it just one more day.

Then there are the turncoats. They profess to be the do-gooders, the righteous, and are indignant that anyone question them. They may do some good, but all-the-while they are seeking their own expanded power base, and are undermining those they profess to want to help. In the end, there's a net deficit to the collective good that is laid at their feet, and they kick it away, saying it wasn't their doing, knowing all-the-while that anything that stands in the way of their success is to be climbed over, not realizing that it will be their undoing.

On the other hand, there are the titans of industry, who profess to know more than the little people, and who believe that the masses are to be lead, like lemmings, to whatever shifting destination they desire, and which serves their own greater good. Yet they lead, to a degree, not a body of passionate "soldiers", but of a somewhat conscripted army ill-equiped to fight, and then blame the solders for their own demise, unwilling to accept any blame for failure to ready those soldiers for battle.

Then there are the outposts of resistance. Those that are deemed to be the gnats and flies, to be swatted away. The David to Goliath, the John Conner to SkyNet, Luke and Leia to the Empire. History is repleat with stories of the swattable interlopers affecting change and making a difference.

Unbeknownst to many, these outposts are out there, fighting the good fight, each and every day for the profession they love. The rag-tag group of people of singular focus on what is good and right. They are well educated, and they have their mission clear. Attempting to silence one only grows the resistance that much stronger. A modern day Knights Templar if you will (with a more positive outcome some 700 years later, one can only hope.)

The battle indeed rages on. You may not see it, hear it, or feel it, but you hopefully will be the beneficiary of the wins, and insulated from the losses. While there are many things to be thankful for, to paraphrase Robert Frost, "there are miles to go before you sleep". Reflect in your quiet moments of all the good things in your life, but know that all the while, those that are working to undermine you are not pausing to reflect - they are gathering their strength for coming battles. This may be metaphorical, but its effects, if ignored, will be real.

(Comments, if any, after the Jump)


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Tuesday, November 25, 2008

Marketing: Success Depends on the Details



How often are you reminding your clients that you are still alive? That you still want their business? As the playing field continues to evolve, reminding clients that you are still out there, working hard, and looking forward to working for them, is important.

Many people who find themselves a bit slow, are (hopefully) finding the time to do some much needed marketing. And for those who are still busy? You should be marketing when you're busy - in fact, you shouldn't stop marketing at all. The key, is to be thoughtul about your promotional campaign.

So, what details will help you be the most effective? How frequently? When? How?

(Continued after the Jump)

We've done a fair amount of research on the subject, and here are some significant statistics that have born themselves out to be true from multiple sources. You can find more stats at EmailStatCenter.

Monthly emails and content and frequency options positively impacted a company's reputation. - Habeas (2008)

Wednesday was the best day of the week in the third quarter of 2007 to send email in terms of click (3.9%) and open rates (25.4%). - eROI (2007)

Most marketers send email to their customers once a week. - Shop.org, State of Retailing Online 2007 report (Sept. 2007)

45% of small businesses execs want to receive the (email) newsletter weekly, 34% said monthly. - Bredin Business Information (2007)

63.8% of retailers conduct up to three email campaigns each month. - Internet Retailer (Aug 2006)

79% of the respondents said they hit the "report spam" button when they don't know who the sender is. - Email Sender and Provider Coalition (2007)

21% of the emails reviewed appeared completely blank when images were turned off, or stripped inside a variety of email clients. - Email Experience Council (2007)

44% of email users said email inspired at least one online purchase and 41% said it prompted at least one offline purchase. - JupiterResearch's The Social and Portable Inbox (2008)

66% of those surveyed said they had made a purchase because of a marketing message received through email. - ExactTarget, "2008 Channel Preference Survey" (2008)

For advertising-oriented lists, 57% of marketers surveyed said that "emailing unique content by segment" produced routinely justifiable results. - MarketingSherpa "Email Marketing Benchmark Guide 2008" (2008)

69% of at-work email users usually view emails in their preview panes. - MarketingSherpa (2007)

80% of at-work users in the US rely on Outlook, which offers preview panes. - MarketingSherpa (2007)

Most common screen resoltion is 1024 X 768. - OneStat.com (April 2007)

64% of key decision makers are viewing your carefully crafted email on their BlackBerrys and other mobile devices, according to new data. - MarketingSherpa, in partnership with SurveySampling (2007)

64% of online merchants keep key points of content high up in the body of the message. - Internet Retailer (2007)

Utilizing a professional company and/or their tools to test your image rendering across multiple email clients often helps to increase response up to as much as 87%. - Email Experience Council - Email Rendering Report (2007)

A typical landing page visitor spends only 5 seconds on the page. - Marketing Experiments

Seven in 10 US Internet users said they judged these "from" and "subject" lines when deciding whether to report an email as spam. - E-Mail Sender and Provider Coalition and Ipsos (December 2006)

64% of small businesses execs said they decide whether or not to open the (email) newsletter based on who it's from. - Bredin Business Information (2007)

40% of marketers restrict their personalization efforts to the salutation. - Responsys Survey: The State of Personalization (2006)
While there is a lot more insightful information at EmailStatCenter, these are several of the items that are applicable to what we do. Keep in mind while reading items, that there's a difference between B2B and B2C, and you need to know which of these markets you are reaching out to, and segmenting and designing your outreach specific to them. Also take note - some of the above details are about retail marketing, so consider how that might be different from your efforts, if it is.

While it may seem obvious to many, for example, that sending a B2B e-mail at 10pm on a Friday night is a bad idea, knowing how to fine-tune your delivery time and day is important. Knowing as many details as possible helps increase the efficacy (and thus ROI) on your marketing campaign.

As to the "How?" There are several photo-centric services. Adbase, which we've mentioned and reviewed before, as well as AgencyAccess. Read their FAQ's, their white papers, their help pages, their how-to's. Getting it right in your outreach to new and old clients is critical. Put your best foot forward, and do things right, it's your future we're talking about.

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Friday, November 21, 2008

Star-Ledger: It's a Team Effort

There have been a variety of comments on the subject of Assistant Deputy Photo Editor Mitchell Seidel (LinkedIn: Profile), as reported in Editor & Publisher (Buyout-Depleted 'Star-Ledger' Reassigns Two Journos -- To Mailroom, 11/19/08) now working in the mailroom.

Many reports and comments I've heard centered around the ha ha, isn't that funny, and the is this what they went to college for, kind.

As I sit back and contemplate the evolution and the changes that are taking place, I see Seidel doing exactly what he should - pitching in WHEREVER he is needed.

(Continued after the Jump)

Feel free to mock him if you'd like (and I'll watch your karmic savings account self-deplete), but in this downturn, what Mitchells' actions are saying is "I will do anything - whatever it takes - to keep my job and my paper alive." His actions most definitely are speaking louder than words. Mitchell is not above this "type" of work. None of us are above it. Heck, next they should slash the cleaning crew, and let everyone on their way out of the office at night empty their own trash. What a cost savings that would be.

Mitchell - hats' off to you and your 28 years of service to the Star-Ledger. You epitomize what it means to be a team player.

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Wednesday, November 19, 2008

Speedlinks - 11/19/08

Today's Speedlinks.

  • The Perfect Storm Has Arrived - From Vincent Laforet - THIS ONE'S A MUST-READ FRIENDS.

  • Magazine Death Pool - A sad take on the death of the pulp printing industry, but it's worth a bookmark!

  • Paul Melcher on Getty - Paul's got an interesting open letter to Marc Getty. Within the rant, it's a good read. UPDATE: It seems Paul's post is gone. Interesting...

Now go! Check 'em out, and come back soon!


(Comments, if any, after the Jump)



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The Wizard of OZMO (Caution: Look Behind the Curtain)

As the story goes, the Wizard of Oz was thought to be the end-all-be-all solution to those in need in the land of Oz. Yet, the truth was that the Wizard was nothing more than a charlatan. Take a quick look at one of the Wizards behind the curtain pulling those levers, and pushing those knobs for OZMO - it's Creative Commons.

Ozmo is "a new web-based service focused on helping photographers, bloggers, and other content creators license their work for commercial use", according to a blog post on Creative Commons' website. ASMP wrote is their latest Member Update email. "There are no set-up fees with Ozmo and content creators can license as much content as they want. Payment is collected from the buyer when the rights are purchased. Ozmo even helps sellers track and manage sales and buying trends."

Fatal Error #1 – On its first day in business, OZMO has likely offended and alienated every professional photographer in the industry.

(Continued after the Jump)

You realize this once you learn that Ozmo is a licensing service offered by the Copyright Clearance Center, an organization that has collected hundreds of millions of dollars in royalties on the reprographic usage (photocopying) of photographs and other creative works contained in publications, and has consistently rejected appeals by photographers and their organizations to distribute those funds to the rightful owners.

To add insult to injury, the CCC’s Ozmo service has adopted a stock photo licensing scheme developed by Creative Commons, an organization whose leadership has consistently promoted “free culture” which in plain english means the weakening of the copyright protections on which pro photographers depend for their livelihoods. Creative Commons has demonstrated a commitment to encouraging open sharing and free usage of photographs and other copyrighted works.

The particular flavor of Creative Commons adopted by OZMO is “CC+” a new and untested commercial extension of Creative Commons license packages. Creative Commons has received millions of dollars in support from free culture advocates and has used that support to develop CC and CC+ without participation of the professional photography industry, while every photography organization in the country has been actively engaged in collaborating with image buyers on the development of PLUS (Picture Licensing Universal System), a comprehensive system of standards designed to simplify and facilitate image licensing. While ASMP’s announcement refers to the adoption of PLUS by OZMO, the CCC’s marketing materials indicate that OZMO has adopted Creative Commons CC+ licensing.

While amateur and hobbiest photographers might find Creative Commons to be a convenient way to share their works, few professionals would consider the use of Creative Commons in any form. The reason: Creative Commons is a dysfunctional system. Images offered under Creative Commons licenses are routinely used beyond the defined scope of use, resulting in widespread infringement.. Attribution is not provided where required. Derivatives are made despite prohibitions on derivatives. The Creative Commons definition of “commercial use” is nothing more than an unfunny joke.

Fatal Error #2: Ozmo customers are required to pay for image licenses using Amazon Payments. From the Ozmo website (here)
Why Amazon Payment Services?
Amazon Payments is built on top of Amazon's reliable and scalable payment infrastructure.

With almost 70 million active customer accounts worldwide, Amazon.com is a trusted resource for third-party payments online, allowing for instantaneous payments and anti-fraud protection.
Yet, checking the Amazon Payments website (here) reveals:
"At this time, payments can be made only in U.S. Dollars...You can also use a bank account to make payments using Amazon Payments. Only U.S. bank accounts can be used, and a verification process must be completed before the bank account can be used as a payment method."
So, unless you're using a credit card (and the nationality requirement of those cards is unclear at this time), you've got to be a US bankholder, payable in US dollars. So, while Ozmo touts "70 million active customer accounts worldwide", it's just US bankholders that apparently can make payments.

According to that same ASMP update that arrived via e-mail yesterday, "ASMP members are encouraged to investigate and evaluate this service (OZMO) as one piece of a photographers marketing arsenal."

My advice to photography trade organizations: think twice before aligning yourself with an organization (CCC) that is in the business of withholding royalties from photographers, and a service (OZMO) that has partnered with an organization (Creative Commons) dedicated to destroying the livelihood of your photographer members.

I think that OZMO might just be DOA. Not sure? Consider Pixish. We wrote critically of them - Pixish, Stupid is, as Stupid Does (2/12/08), and less than a year later, we reported on their demise - Pixish - Finally Down the Tubes (11/7/08). Sometimes, it takes several quarters to burn through all that "great idea money", before people arrive at the reality of a bad idea materialized and now worth jettisoning. So, perhaps DOA could save everyone some cash and some trouble.


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It's GAME OVER for NYT's Play Magazine

Yes, friends, publishing is sadly not about what's good or great, when it comes to ink and pulp, it's about what sells ads,what keeps the hallway lights on, the cleaning crew emptying the trash bins, and the IT department updating your Microsoft Office Suite with the latest patch to keep the viruses away.

The New York Times reports (Times Shuts Down Sports Magazine, 11/17/08) "Catherine Mathis, a spokeswoman for The New York Times Company, confirmed the closing. Mr. Bryant said that the magazine “was more or less breaking even,” but only because of an Olympics issue in which all the ad space was bought by Nielsen."

Here's where we begin to see tricky staffing though.

(Continued after the Jump)

The article at the end, states that almost all the staffers - including the editor - were contractors. Thus, they likely did not participate in retirement plans, healthcare, or other benefits usually reserved for employees. If they did get those things, that's a rare occurrence indeed. The notion of publishing an entire publication almost entirely with contractors - especially by an employee-laiden company like the New York Times, belies a new paradigm - or atleast the front-and-center of it for all to see.

Let's set aside the "gosh, that's too bad" thoughts, because we all have them. Instead, let's look at how and why.

The Times, looking to capitalize on those well-off readers put forth a luxury-styled magazine centered on sports, for the jet-set and well-heeled. It was a quarterly magazine, so even though it started on February of 2006, that means they probably published fewer than a dozen issues. Yet, even with the likely tie-ins to pre-existing advertising in the papers' Sports section for select high-dollar products, they couldn't make a go of it. The mighty NYT Co, with an ad department that has the weight of that same name behind it, couldn't make it happen in the media capitol of the world. It's a business venture gone south. Nothing new to see here, move along.

As papers downsize, and produce new ventures, both with ink and pulp as well as the online flavors, continue to look at the staffing as an indicator of their commitment. Employees with benefits and so forth are one good indicator that someone is trying to do something right. Yet, more and more publications are moving even their existing positions from staff to freelance. Why? Because it's cheaper. Period.

The reality of this is that what happened is business. Period. When people tell you they want you to work for them for free or cheap, "because of the love of the subject matter", or "because of the love of {insert altruistic concept here}", look closely at the organization. If everyone else is doing it as a volunteer, and they're doing it out of a scrappy office in a strip mall on the outskirts of town, and there's no corporate conglomerate listed as the projects' owner, then maybe it's worth considering pro bono. Otherwise, they're trying to pull at your heartstrings while you're feeling, and your pursestrings when you're not looking.


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Sunday, November 16, 2008

10 Questions for: PhotoShelter

In light of the demise of Digital Railroad, a few readers have written expressing concern about the future of PhotoShelter, and what their
closing of the PhotoShelter Collection means. So, we thought we'd ask them how things are going, and we turned to Grover Sanschagrin for answers.

1) Some readers were concerned about the closing of the PhotoShelter Collection and seem to be confusing that with the entire PhotoShelter service. Can you shed some light on this?

We closed down the PhotoShelter Collection because it wasn't cost-effective to keep it running considering the current economic climate. The last thing we wanted to do was put the PhotoShelter Personal Archive in jeopardy. This is the product we started with over 3 years ago, with over 35,000 photographers subscribing to it. It was a difficult decision at the time, but it was the right decision. Doing so allowed us to cut the burn rate - and "cutting the burn" is the key to survival right now.
(Continued after the Jump)
2) So, the PhotoShelter Collection was an effort for PhotoShelter to get into the photo agency business, marketing and licensing images collectively for those PhotoShelter users that wanted to participate?
Exactly. A global search across all archives has always been possible with PhotoShelter. But the Collection added photo editors, a sales staff, research people, and a beefed-up marketing department. It was free for photographers to participate, and when sales were made, PhotoShelter's take was 30%.
3) When Digital Railroad was in its' final death throws, PhotoShelter was very active behind the scenes trying to figure out a way to help stranded photographers rescue their images. Do you feel that most photographers were able to get their images off the DRR servers in time?
Unfortunately, most people didn't get their images off in time. The longer someone waited to get their images, the less likely they were to experience successful transfers. The people who jumped on it the moment you started writing about it on your blog were able to get their entire archives safely ported over to PhotoShelter.
4) Of the reportedly 1,400 or so active DRR photographers, about how many are now PhotoShelter customers?
This may sound like a non-answer, but we really don't know for sure which of our newest customers are from DRR. I can tell you, however, that signups have *definitely* increased. If I were to make a rough estimate, I'd say that somewhere around 35% of the total DRR population have signed up with PhotoShelter since the news first broke.
5) Prior to the demise of DRR, it was said that PhotoShelter (as separate from the PhotoShelter Collection) was a cash-flow positive business, so it would stand to reason that the addition of that 35% who migrated from DRR would make PhotoShelter even more stable moving forward. Can you expand on this?
I can't really expand on that at all, at least not with the kind of specific details that I know you want. But I will say that I am proud of our management team, and that the decisions made were difficult but right, and the company, and product, has never looked better as a result. As a company that takes its archiving responsibilities very seriously, we're not interested in taking chances. We're interested in long-term survival, and putting the company in a position it can happen -- even during an economic downturn.
6) What growth areas do you see for PhotoShelter in the future?
Now that the Collection isn't such a large focus anymore, we've turned our full attention to the Personal Archive. We plan to continue with our aggressive development calendar, and respond to the ideas and suggestions of our customers. Making the product stronger is our main focus.
7) We've previously highlighted the new embed-able galleries features, as well as the incredible shoot-to-live-online capabilities. Are there any exciting new features you can tip us off to in the near future?
Are there exciting new features coming? Yes. Will I tell you what they are? Not exactly. I'm not sure if people realize just how amazing our engineers are, and how fast they can turn an idea into a reality. With their full attention on the Personal Archive, my job has never been more exciting.
8) What can the average photographer be expecting to spend each month on your service?
We've got several different price points, starting with a Free account (with only 150mb of storage) to allow people to get in there and check it out for as long as they'd like. We've got accounts at $9.99/mo (10GB), $29.99/mo (35GB) and $49.99/mo (100GB). Adding more storage can be done on-the-fly and at extremely affordable rates.
9) Shouldn't that nominal amount either be an easily absorbable figure into a small businesses' overhead, or billable out as "online image delivery" to a client when an assignment is delivered that way? (in other words, are other photographers doing it that way?)
Considering what you're getting for your monthly subscription, it's an absolute bargain. A serious photographer using PhotoShelter to drive their business has no problem covering these costs. Wedding photographers can charge a bride/groom for an online digital archive; Retouchers can avoid the costs of DVDs by selling archiving space to their customers; Photographers of all kinds can open up brand new revenue streams with print sales or by making personal-use downloads available, etc.
10) What seems to be the one stumbling block that a potential user is not surpassing that is precluding them from signing up, and what would you tell them if you were talking to them one-on-one?
Many photographers think that in order to make use of PhotoShelter, they'd first have to spend hours and hours uploading their entire archive, and this is time they do not have. I regularly tell photographers to just get started today, and worry about the past later. Tomorrow will eventually be yesterday, so the longer you wait to get started, the more of a chore it will be when you finally get around to it.

I also think that many photographers look at PhotoShelter and ask themselves if it can do everything they need it to do in terms of how they are running their business, instead of how PhotoShelter can, through innovation, actually improve HOW the are running their business.

My favorite PhotoShelter user is anyone who is curious, willing to experiment and try new things, sees the Internet as an opportunity, and is innovative in their business strategy. This kind of attitude and outlook is critical to success and long-term stability - something we should all be thinking about.


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