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5 hours ago, wiskerke said:


Thank you for that depressing read!




Glad I don't read Dutch. B)


Actually, I think I can figure out what this line means: "Werken voor een kratje bier..."

Werken voor een kratje



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10 hours ago, funkyworm said:



More frustrating is that on stock agency forums an income which will cover one beer, not even the crate, gets greeted by whoops and high fives.


That said, whilst we can concentrate on the negatives... there are some postives. The fact that all the creative organisations are getting together to lobby and are being heard is a positive. The bickering amongst rival organisations is disappearing. To talk in acronyms that probably Dutch photographers understand... the NVF is now cooperating with DuPho and the NSP has openly supported one 'togs court case (backed by the NVF) against one of our press groups vis a vis tarifs.


The meeting I was at in the week at a large publisher here in Amsterdam was about open access science. I went along mainly to lobby our case (ok... moan...), but it was interesting in other ways. There is a correlation between the scientists and our positions. They are overly dependent on one party who can then dictate terms and conditions. That party seems to have now overplayed their hand (41% profit, €10,5 million for the CEO whilst charging large amounts public institutions for access to publications financed by public institutions) and the scientists are looking to take them out of the equation. The shame is that they could/should be partners.


I wish I could say there would be a positive outcome for stock agencies but I am not so sure. I have the feeling that many suppliers are so heavily invested in channels involved in the race to the bottom that they see no way out.





Such is the nature of crowdsourcing. I've seen this movie before as I did freelance travel writing for magazines and newspapers for many years. When the Web opened the floodgates, the freelance business model -- such as it was -- became so eroded by people willing to work for virtually nothing and sign ludicrous contracts with publishers that there was no point in pursuing writing any longer, at least not from a financial POV.

Edited by John Mitchell
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