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Bill Brooks

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Everything posted by Bill Brooks

  1. Here is my posting to another thread regarding size of personal and presentation uses. The two P U s as in stinky. I would like to see personal use and presentation use restricted to 2000 pixels on the long side. This is big enough for 99 % of the genuine users of these categories, but not big enough for the 99% of a subset of users who may be gaming the system by choosing the lowest price categories regardless of use. Even if it is for personal use. If someone wants a 8000 pixel personal use image as wall decor in their castle, then they should pay a higher price for the higher resolution. There was a lawsuite in the USA where the art director of a large book publisher testified under oath that it was company policy to buy the lowest price category, and then subsequently use the stock image for any and all purposes, exceeding the license limits. https://law.justia.com/cases/federal/appellate-courts/ca9/10-36010/10-36010-2014-03-18.html See bottom of page 7
  2. Simplicity makes sense to me. However I would like to see personal use and presentation use restricted to 2000 pixels on the long side. This is big enough for 99 % of the genuine users of these categories, but not big enough for the 99% of a subset of users who may be gaming the system by choosing the lowest price categories regardless of use. Even if it is for personal use. If someone wants a 8000 pixel personal use image as wall decor in their castle, then they should pay a higher price for the higher resolution. There was a lawsuite in the USA where the art director of a large book publisher testified under oath that it was company policy to buy the lowest price category, and then subsequently use the stock image for any and all purposes, exceeding the license limits. https://law.justia.com/cases/federal/appellate-courts/ca9/10-36010/10-36010-2014-03-18.html See bottom of page 7
  3. If you are on a Mac using Safari. Open a window in the Mac program TexEdit, that comes with the Mac OS. In Safari Zoom the image. Drag and drop the Zoomed image from the Safari window into the TexEdit window. You will get the image URL as text in the TextEdit window. In TexEdit Select and Copy the URL. In Safari on the Alamy Forum, paste the TexEdit URL into the insert image from URL box. The image should appear in your post. If you are not on a Mac, probably any word processing software would work.
  4. RF $$ for presentation. 50% exclusive to Alamy. This illustration by me was moved to Alamy from another stock photo agency that had STOPPED PAYING PHOTOGRAPHER ROYALTIES, but kept making sales. We hear a lot about that these days. Be careful who you sign up with. So nice to get that regular royalty deposit from Alamy.
  5. Editorial RF no property release $$$ exclusive to Alamy direct sale.
  6. When Artificial intelligence becomes aware. The singularity. A rework of an old cyberpunk 3D illustration I did in the 1990's.
  7. Fantastic shots, edge of the storm, into the light. The highlights on the fallen leaves on the roads and dark shadows overall, give a texture that one thinks one could feel, if one rubbed their hand against the image. Highlights, shadows, and lighting really important, when you are converting a real 3D scene, to a flat 2D surface.
  8. Here is a business news story about crunch time at Getty. It seems that over the years Getty has been only servicing massive debt of billions, but not paying it off. There is also a definition of what type of image constitutes Getty stock, and what constitutes Getty editorial. Getty has Getty owned editorial/news photography shot by Getty photographer employees. Could it be that this material will remain RM and the rest, submitted by unwashed stock photographers to Getty stock, will be made RF? If so 50% of Getty sales volume is stock photography and will become RF. Will unwashed stock photographers be able to submit to Getty editorial RM? It also has a lot of business information that pertains to the entire stock photo business, not just Getty. https://www.seattletimes.com/business/technology/its-crunchtime-for-seattle-based-photo-giant-getty-images-and-for-photographers/
  9. Warmer than -10C I am OK with dressing in layers under a normal warm winter jacket. Going from -10C to room temperature with a digital camera has never been a problem for me. I shoot normally in any cold, except I use the battery switching technique detailed below. Your head and body core temperature is the most important to your survival, so your system will withdraw heat from your not so important extremities, such as fingers toes ears nose. This is to protect your head and body core. So dress in layers over your body core, and cover your head, to the point that your core and head is warm and toasty. Then your extremities will be much warmer. You still need to use a glove. If you get too cold your brain does not function as well, and you will start making mistakes. Allow for this. Time to get inside and warm yourself. Any temperature below -10C I wear an older version of this parka over layers. Overkill maybe, but not when you are standing around at -15C in a high wind with night coming on. Watch out for cheaper counterfeits, if you intend to buy one. https://www.canadagoose.com/ca/en/snow-mantra-parka-9501L.html#q=parka&cmpid=918366382&medium=cpc&source=google&agp=45546741346&cre=393822942398&kid=%2Bcanada+%2Bgoose+%2Bparka&mtype=b&pla=&merchant_id=&product_id=&country=&gclsrc=aw.ds&gclid=EAIaIQobChMI8d6LuNyS5gIVFHiGCh1YaAPlEAAYASAAEgJNKvD_BwE&start=1 Read the reviews at the bottom of the page. I always start out with a fully charged battery in the camera and a second fully charged battery under my parka warming in a shirt pocket. When the camera indicates an uncharged battery, switch the cold camera battery with the warm one in your pocket. When that replacement battery gets cold, and indicates a need to charge, switch batteries again. When you warm the cold battery in your pocket it will revive and be good for more shooting. Switch back and forth. You may want to carry a third fully charged battery. Use a high capacity memory chip so you do not have to switch memory chips with cold fumbling fingers. Watch the histogram for lenses that are not stopping down to shooting aperture, or focal plane shutters, mirrors, that are too slow in operation. Clean your lens and camera contacts before your trip at home. Never had this happen at any temperature with a digital camera, but something to watch for anyway. Below -10C going rapidly between cold to hot environments will cause condensation on your gear. The solution is to plan to shoot in your cold environment all at once. Zip up your cold gear in a padded camera case, bring into the warm environment and let sit for an hour or so. Go to lunch while your gear warms up slowly. Then towel off any condensation, then shoot inside. In -40C weather I once had a camera so cold that when I brought it inside at +19C the condensation turned to ice immediately, on the outside of the camera. The camera was encased in a block of ice. In desperation, I used a hand warmer in a nearby toilet. The camera, a film Nikon, was functional once it was deiced.
  10. Editorial RF $$ Exclusive to Alamy. Maui street scene at dusk taken hand held with always available SonyDSCRX100 version 1 ISO 400 when returning from dinner. The best camera to use, is the one you have available at the time.
  11. Summertime in Canada RF $$ personal use. Taken without a flare inducing UV filter on lens
  12. I like it too John. Looking at an attractive person, an idea reenforced by the sign.
  13. RF, exclusive to Alamy, $$. Iconic timeless image with room for type. Shot on film late 1980s Pentax 6X7 400mm lens - 200mm equivalent. This image was part of a part time 3 year image collection maintenance scanning project that is still paying dividends. Collection maintenance, such as scanning film, updating keywords, deleting weaker images, and trying new things, is really important. Even if the photographer only started with digital. Sunrise behind the west mitten butte in Monument Valley, a Navajo Tribal Park on the Navajo reservation in Arizona USA
  14. Royalty-free exclusive to Alamy $$ Calendar; Print run: 20,000; Start date: 1st Jan 2020; Duration: 1 year; Worldwide; Includes thumbnail use on the back page Sunrise on one of my favorite beaches on Maui just 5 minutes down the road from our rental condo. I easily cloned out a distracting photoshoot taking place up against the distant hedge. 30 years ago I used to have these early morning beaches to myself but with pros shooting families for facebook page, or weddings, or commercial clothing shoots, or selfies, or the pesky stock photographers breeding like flies, no more. Maybe Alan Beastall (see above) and are in the same calendar
  15. About 5 KM from home. November 7 and an early snowfall when the last of the autumn leaves are still on some trees. A rare occurrence for Toronto, as first snowfalls are usually not as early as they were this year.
  16. Editorial royalty-free $$ exclusive to Alamy 50% direct to client sale Usage: Single company - multiple use editorial only. Local landmark about 15 KM from home. Took shot in 2007 when building was new. Converted from RM to RF editorial only in AIM. Today nothing has changed from this vantage point. Always try to arrange composition so that the image does not date itself. People on sidewalk for scale. The car is starting to date the image, so maybe it is time to get out the ultra wide angle lens for a reshoot. Maybe at dusk/night around 5:15 PM at this time of year.
  17. Agreed, and no sense for a photographer being left to pick over the RM rubble. Expect Getty to run a expensive social media public relations campaign with big time art directors and influencers extolling RF. Probably not the price, but rather the convenience of pay only once and no record keeping or having copyright problems, and the vast choice of RF. The ability to put an RF on the client's internal databases for use in multiple offices worldwide. Also if the buyer wants to, it is always possible to buy an exclusive for a new RF image that has not been sold previously. This will help sales of all RF images across the industry, not just the RF images on Getty. It may even raise average prices for RF. There is always opportunity in change, if you can get ahead of it when it is new.
  18. Getty was the first agency to restrict photographer submissions to digital files. Photographers could no longer submit film. Getty was the industry leader, so within 6 months all major agencies had followed Getty's digital only lead. Photographers with a never digital, only film business plan were very disappointed. Getty is the industry leader and has been working with major RM suppliers on this RM to RF changeover for several years. Getty recently sold their PicRights copyright enforcement division, another sign of diminished expectations for RM. As many of you have pointed out, Alamy has been selling RM images with RF terms. Why not call it what it is? Sign of the times. Like it or not, for stock sales RM is on life support industry wide. I am talking about stock photography above, not news photography.
  19. For consistency in post processing it is important that all of your lenses give the same colour balance. So this is why all of your UV filters should have the same colour. If you change lenses you do not want the colour balance to change because of one particular UV filter on one particular lens, even if you can correct it in post. This is also the argument for having all of your lenses from the same brand, as those lenses should give the same colour balance. In high end video productions with big budgets, cinematographers will pay extra to use a colour matched set of lenses. This is so that no matter how much the colour is changed in post processing it all starts from the same lens colour no matter which lens they use. A unannounced switch in colour balance by switching lenses can be a big problem in post. Here is a set of Zeiss prime cinema lenses, encompassing 21mm to 135mm, with all kinds of things including consistent colour balance. A steal at US$ 192,225.00 Note B&W recommends protective filters. https://www.bhphotovideo.com/c/product/1473964-REG/zeiss_2329_639_supreme_prime_9.html
  20. Here is a pixel peepers site that deals with UV filters on lenses. https://diglloyd.com/articles/Filters/neutrality.html One thing that he brings up is that UV filters can have slightly different colours on page 4. Also be sure to read page 3 where he deals with sharpness. I once had a 15 year old B&W polarizor go warm over time. It started out neutral but warmed up over the 15 years. My other B&W polarizors were still neutral. So I had one lens warmer than the others. I took it to the Canadian distributor more as a curousity than anything. After all it was 15 years old. They saw the change and gave me a new one on the spot! It might be a good idea to look at all of your UV filters together on top of a light balance light box or a white background on a light balance monitor. If there are differences in colour temperature between filters it will be obvious. You want all of your lenses to create the same colour temperature. I agree with MDM the most important filter problem is flare.
  21. One way to prevent this duplication, and eliminate the subagents cut, would be to have images exclusive to Alamy. This is probably why Alamy photographers are given the option. The other problem not mentioned is Alamy collecting on stolen copyright for images not in the public domain. It becomes almost impossible if they are all over multiple sites. Another reason to be image exclusive to Alamy. The term is image exclusive so you could have different images with a different agency. Just not the same images.
  22. Test files are long gone, but the methodology is as follows Brick wall shot with filter. Second brick wall shot with no filter. The no filter shot should be refocussed as the filter could change the focus point slightly. Best if you are a long way away from the wall. Load the two shots as two layers in a single file in Photoshop. Align the layers in photoshop to take care of any possible camera movement and slight change in magnification when you refocussed. Change the layer blend mode to "difference" on the top layer. If there is no difference between the two shots the image should be entirely dead black. Where there is a slight difference in one area of the image then that particular area of difference will be slightly lighter. Maybe a value of 10 instead of black 0. I noticed higher values near the edges of the image. You have a flat piece of filter glass in front of the lens. This means a light ray coming in from the side transverses more filter glass thickness than a ray coming straight in. Particularly in a wide angle lens. The front element of the lens has a slight curvature to compensate. The filter does not. So maybe this can be a problem. Maybe not. Speculating. Calibrated monitor, dark room, let eyes adjust. Measure with your info panel and the curser at a big sample setting to allow for changes due to different noise in each layer. I have also used this method to judge the amount of JPG compression changes for different jpg settings on the same image.
  23. Forget CTR the most important measure is V/S. That is Views divided by sales. How many views do you have to have, to make a sale? If the figure is low then your images are great, and your keywording is also great. If the figure is high then you are wasting the clients time as well as your own. So take the number of views for a year, and divide by the number of sales in that year. What is your V/S 200? 400? 800? 10,000? V/S may be the secret sauce in the Alamy calculation. It should be anyway.
  24. RF $$ editorial only, non exclusive, public domain image. Usage: Magazine, editorial print and digital use, up to 1/8 page, inside, repeat use within a single issue I hand held photographed this painting of Montcalm. A Canadian historic figure that is on display in a museum, with my Sony RX100 version 1. The problem was when I lined up the camera square with the painting there was a white reflection of the ambient lighting on the surface of the painting. I moved to the side to eliminate the reflection. Shooting from offside at an angle resulted that the painting was no longer square. I squared it back to normal with the lens module in Adobe Camera Raw and then cropped the painting's frame. The other problem was colour balance. In a second image I underexposed the white information sign beside the painting giving me a grey reference for Adobe Camera Raw.
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