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  1. Well done on your first sale. Not all zooms are registered and any images added to a lightbox by clients don't register if they zoom in the lightbox.
  2. Hi Allan I originally chose Zenfolio as a customer proofing and finished file delivery system, I shoot a job, upload low res proofs the client selects images to be "finished" which when done are uploaded for customer collection. The plus point of this is that the clients can visit their folders years later and select more proofsd for finishing. This works well for me and the clients and generates reorders with little effort. It is worth the money for this alone. But other benefits soon grew on my such as UNLIMITED STORAGE this makes zenfolio a great offsite back up area. (I believ
  3. I agree John, when i compare my sales from smaller suppliers to Alamy i would think that Alamy's collection is to big to be seen for the photographer with a average sized collection here., therefore it should not be such a rush to upload multiple times. Moving away from the OP but it surprises me that any of us with "smaller collections" on Alamy sell/licence anything. Back to OP I agree with Alamy's strategy re QC and the holding/blocking period for fails, and I have had a few, but would also like to know earlier what had failed and why. Even if I could still not upload more un
  4. I agree John, when i compare my sales from smaller suppliers to Alamy i would think that Alamy's collection is to big to be seen for the photographer with a average sized collection here., therefore it should not be such a rush to upload multiple times.
  5. I'm OK with the way that Alamy do the QC and put the onus on the photographer to submit work that meets the published standards. They're not going to be checking every single image to make sure that we've done it properly, so if a fault gets picked up in one photo, I should expect a longer 'time out' than perhaps a fault in a single image would justify. The one thing I'd like Alamy to change is to provide feedback that a batch has failed as soon as they know. That way, the longer period for QC that happens sometimes, and appears to have become more common recently, is no longer so much of
  6. I agree. I have an iPhone and hadn't used the camera much at all recently so have tried a few uploads of topical "snaps" in Hay on Wye (which is a subject that gets sales). All rejected. No idea what, if anything, I should aim for. John
  7. Plant Breeders Rights (PBR) only covers propogation for sale and commercial distribution. Photography is not covered. Species - unaltered from the wild - cannot be covered by PBR and most older varieties of garden plants are free of PBR. You wouldn't need releases for photography sales unless there is identifiable property which might need a release.
  8. I think I prefer an intermediate crop somewhere between the full frame and the closer crop! As you say, sometimes you just have to go for the shot you have with the equipment you have to hand. I find it useful sometimes to do a square crop, as I think some clients like this, particularly for use on the web. I have found that with some subjects, a square crop can totally change the impact of the image, so creating a stronger composition to the regular 3/2 aspect ratio.
  9. A bit screwy recently. I've had two double sales booked. Spurious alas.
  10. It looks like Alamy has now resolved the problem and taken out the corrupted zoom data from older searches. I noticed a big drop in my rolling zooms today and, looking back over the problem days, note that the figures have been amended to reflect the correction. Ian D
  11. I would have cropped, but slightly less - placed the head (nose, eyes) in the Golden Section / Ratio - perhaps composed in camera before shooting... I think this is also, more or less, what Bryan meant...
  12. Thanks Joseph and Allan. Certainly not a competition. I am really just trying to find out who bought all of my own recent photo sales listed as 'textbooks'. I haven't seen my own name in any of these credits yet. Bunnies & Kitties By Cate Holly Published on March 11, 2014 (Amazon - Books) p. 85 Arco Images GmbH/Alamy Edit: Sorry Allan, I didn't spell your name correctly. By the way, Bunnies & Kitties really has some adorable photos for you animal lovers out there. Paulette in New York, if you see this, you should check them out. I thought of you as I was pag
  13. I bought the NEX to have a compact camera capable of meeting QC requirements that I could throw in my purse. It's a nice little camera that would be perfect for most stock photographers. But I want a camera that can handle more and my stock sales just don't support the investment. Now that Alamy is opening the door to cell phone photography there is no reason for me to keep the NEX. I want to upgrade my phone this year but I'm holding off on purchasing an iphone in the hopes they will come out with an Android app. The new Samsung Galaxy has some powerful features including a 16mp camera,
  14. Sharpness has been fine but the noise has been more than an annoyance. With the 5D I can recover images in post but not so with the NEX. I've lost a great many images that might have been very good for stock. I'm sure it's in part user error but every time I ask myself which camera to sell, the answer is the same. Couple that with lackluster sales and I'm questioning my investment. I could use the money elsewhere and with the unrolling of Stockimo the need for a pocket camera is greatly diminished (although I probably won't participate unless and until an Android app is released).
  15. Same boat here - 5 submissions ranging between 2nd to 5th March, all still awaiting QC. Nothing to do with QC, but zooms and sales seem to be down by about 50% from my running average in the later months of 2013. Since around Christmas/New Year, things have been much quieter than I would have expected based on past performance - many a day now with no new zooms, which rarely happened last year, let alone on successive days as is now happening not infrequently. I guess this is happening elsewhere, because I am not seeing a dramatic decrease in my CTR relative to the whole of Alamy averag
  16. Somehow, for commercial contribs to Getty, I doubt this will make any real difference. The previous scheme was greeted with similar aghast and yet sales have continued, the sky has not fallen in as predicted. The basis is this scheme seems to be those sites which either are nicking images or are poor users of GI material. No site that uses ad revenue for it's monies is going to allow GI to place their own ads in the link. Since the only way to stop that is by severing the link...... Imagine the HuffPo suddenly having all it's images via embedded links, the GI revenue raising adverts then c
  17. Actually photographers can probably expect as low as a penny per two...maybe Web site valuations are actually determined by how many hits a site gets.Some clicks on sites are valued more,some less.Most are less. This will be like subscription sales but probably less money after G takes their cut.
  18. I've been in an agency situation that 'shared' revenue on subscription sales. What you get is a crappy lump sum divided up to pay many many photographers. You will find you have THOUSANDS of images published (they don't tell you to what outlets or which images)and receive less than $70 a month.I don't know how 'G' plans on doling out or trying to figure out how or who to pay. I was shocked to read that istock went back to contributors saying they overpaid them and getting their money back. So,hope their book keeping methods are much better for this scheme. http://petapixel.com/2014/02/25/istoc
  19. I've been in an agency situation that 'shared' revenue on subscription sales. What you get is a crappy lump sum divided up to pay many many photographers. You will find you have THOUSANDS of images published (they don't tell you to what outlets or which images)and receive less than $70 a month.I don't know how 'G' plans on doling out or trying to figure out how or who to pay. I was shocked to read that istock went back to contributors saying they overpaid them and getting their money back. So,hope their book keeping methods are much better for this scheme. http://petapixel.com/2014/02/25/istoc
  20. Thank you for the replies ! Jill...no,you have to be online with whatever device you have it installed on...if you have it on two devices, say a desktop and a laptop, just being on the laptop will not count for the desktop as well, you would need to be online on both at some point ! Patriotic Alien.....correct ! After posting, I called Adobe and selected the sales team option....funny how quickly I got through that time ! I posed as a potential sign up and asked the question....it seems that it will try and validate you every thirty days but in reality, you can be off line for ninety days be
  21. I was with an agency that was later acquired by Getty a few years after I left. They allowed the general public to subscribe for $5 a month and download,'all they can eat.' What did the photogs get from this money wise? NOTHING! I left that agency MANY years ago and to this day I find tons of infringers that downloaded and resold my work on CD's,print sales,merchandise and numerous websites. I took one infringer to court and that agency could not provide me if the infringer had downloaded or paid for a subscription. Other agencies in that genre that have these subscription sales,the photograph
  22. Another bad part of the Getty debacle for photographers is their Getty images losing value. Many photo researchers still would like an image that has not been used all over the place. If you have a rare photo of say Madonna that is now appearing 149,000 times on social media sites and blogs,no publication in their right mind will ever pay a decent license fee for it. Fine art sales...pretty doubtful if the photo has become so common place it's now considered by the uneducated to be public domain clip art. Sad for us all,even non-Getty photographers. I really feel that pirates won't
  23. My digital only sales are minimal (I'm not a Getty guy, though). I've long thought that for editorial photographers, the only worthwhile markets left are traditional print ones (e.g. textbooks, retail books, and some magazines) that still respect the notion of copyright and where the laws remain enforceable. If these markets disappear altogether, then it's probably game over IMO. Photographing or writing for the Web on a freelance basis has essentially become philanthropy, which is fine but tough if you want to make a living from these pursuits.
  24. Yes, we have the content, and I also believe we would have all the technology and technical knowhow that we need. But the key to making money is sales and marketing. Photographers generally are not good salesmen. If we were, we wouldn't be poxing around with stock libraries in the first place. I would be very interested in the idea of a collective and could contribute technology, but it simply wouldn't work, for the reason I've given above. And if we're going to hire a team of sales/marketing people who know anything at all about the photography market... well, we might as well just stick with
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