Amanda Rohde’s Insights in the Microstocks
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(link to the first part of the interview)
More About Microstocks
Often work in microstocks is viewed as an evil that devalues photography and the work of photographers due to the low payment rates and imperfect royalty payment systems. What do you think about this, being a part of microstock?
If you can’t handle the pressure, it’s best to step aside. If a photographer who earns more takes better photos than I do, then I see no problem — his work will sell anyway. If that’s not the case, then why should he earn more?
Stock photography was once expensive because of the high costs of medium-format shots and the need for companies to distribute expensive photo catalogs to potential clients.
The internet and digital photography changed the situation, so why shouldn’t the price of images change for the same reason?
What’s your opinion on micropayments? Are you disappointed when a buyer pays only $1 for a photo that generates significantly more profit for them in an advertisement?
If that were the case, I’d be incredibly disappointed! 🙂 “This is just how the market works, and it’s pointless to argue that ‘the designer made more money from the campaign than I did.’
You need to ask yourself which you value more: one sale for $500 or 500 sales at $1 each? Personally, I’d prefer 500 sales…
This option is more reliable and has lower risks.
Microstocks are very popular now. Are you not afraid that with the increasing number of young photographers, your income will decrease to the point that you won’t be able to live on it?
Definitely not. I believe the number of buyers is growing as quickly as the number of works, if not faster. Add to that the fact that the increasing size of the image database and its thematic expansion will attract even more buyers to photo banks like iStockphoto (and to photo banks in general).
In any case, I think that the work of a good photographer will always be in demand by buyers. I am confident in the future of what I do now.
It’s obvious that you are a talented stock photographer. Don’t you think you could earn more in traditional Royalty Managed photo agencies than in microstock?
No, I don’t think so. For four reasons:
- I believe iStockphoto pays more than most people realize, especially for exclusive photographers with a high volume of sales.
- No Royalty Managed photo agency would have wanted to collaborate with me when I was just starting my career. I had a 3-megapixel camera, and I hardly knew how to use it.
- As soon as I learned something, I was already starting to earn a good income from iStockphoto. So I didn’t want to trade that for something I was completely uncertain about.
- iStockphoto is practically perfect for me. It has given me things like a good income, helpful advice, and excellent support. The photo bank tracks the legality of the use of my work and does everything humanly possible to help me. They are wonderful people I love working with.
In general understanding, stock photography often seems tedious and uncreative. Do you have the same impression? Do you sometimes feel like a “photo production factory”?
A photo production line? That sounds pretty uninspiring. I find satisfaction in my work; I love mentally constructing the shot that I will later see on my computer screen.
For me, this is not “art” in the purest sense, which distances the author from the mass audience. I like photos that are accessible to everyone; that’s precisely what stock photography is for. If it’s hard to understand the essence of a photograph, then it will be difficult for a photo stock to sell it well.
What I like most about photography is the simplification and idealization. That is, getting a “concentrated” image that expresses what I aspire to in a clear way.
Maybe I’m just not that complicated 😉
Your Work Process
As we mentioned, you have quite a large portfolio. I assume that means a lot of work regarding preparation, keyword selection, and uploading photos. Do you navigate this challenging path on your own? Or do you have an assistant?
Yes, I’m working a lot right now. Sometimes my husband helps me select keywords, but so far, that’s only been with a few photos.
I’m thinking of hiring someone, but iStockphoto hinted that in the future, they might offer their authors a keyword selection service (for a separate fee, of course).
So I’m waiting for news from them and continue to work with the words myself.
What requires the most effort from you during photo preparation?
Definitely, keywords, even though it’s the quickest part of the entire process. I think this happens because by that stage, the image preparation itself is already done.
What equipment do you use?
I usually work with a Canon 1Ds Mark II camera paired with a 24-70mm f/2.8 L lens. I also have a 1D Mark II and several other lenses, including a 50 mm f1.8 and 70-200 f4 L USM.
Additionally, I have a set of transmitters and two Canon 550Ex flashes for working outside the studio, as well as a set of studio lights.
I love my computer (with 3GB of RAM, a 30-inch Apple monitor, and a couple of nice accessories).
I also use a Wacom Intuos graphic tablet. And, of course, I use Photoshop (currently the CS version).
Do you have a separate studio?
Yes and no. I have converted a room in the lower level into a studio. However, it is objectively small.
I’m currently in the process of purchasing land to build a larger house with space for a studio, but that’s still a ways off.
I’ve noticed many of your photos feature people. Do you pay your models? How much does this contribute to your overall income?
Sometimes I do. I collaborate with aspiring models, as well as friends, family, and acquaintances. I pay the models I want to work with.
Usually, if they ask me to work with them, they receive a disc with their portfolio; if I ask, then I pay. I try to reinvest a portion of my income into the business.
This applies not only to models but also to equipment, props, and materials.
Currently, I reinvest 15% of my income into the business, though this percentage was higher in the past.
About your photos
Which photo surprised you the most in terms of sales?
Some of my earliest works that sold very well really surprised me. And I think after that, it’s not so easy to surprise me anymore.
In general, I am hopeless at predicting which of my works will be popular and which will be ignored by buyers.
What was the biggest advertising campaign that used your image?
I encounter my work quite often, but none of them have stood out. I saw my work on 15 posters hanging on a newsstand for Mother’s Day, and that was really nice for me.
Are there any works you’re particularly proud of?
Probably, it’s several photos of my mother’s hands. Hands have always been somewhat of an obsession for me, and my mother’s hands have always been particularly special.
About the future
Recently, the stock agency iStockphoto offered all exclusive diamond photographers a contract with Getty Images. Do you think this will affect your future in any way?
At the moment, I am still unsure about that. I have decided to wait and see what comes of it.
So far, I’m feeling quite skeptical, but anything is possible. In any case, I don’t think it will change much.
Will stock photography be your final calling? Or do you plan to explore other areas of photography?
No, this is my final calling (as far as photography is concerned). But who knows, as I said earlier, maybe in a decade we will all be using holograms or something else.
In our world, the only constant is change.
About advice
Amanda, I have one last question for you. What advice would you give to those taking their first steps in stock photography?
First of all, you need to understand that good stock photography (in most cases) is quite simple to execute, but it always has a strong concept and appeals to the audience.
Secondly, don’t get discouraged if you can’t afford expensive studio equipment yet. Approach the process creatively!
Stock photography is not just about objects on a white background. Some of the best-selling works are lit with regular light bulbs.
And I’m sure you can create great work even using a candle.
And finally, observe how images are used and what they try to convey. Learn to think like a designer. After all, the buyer is always right.
Source: www.perrush.be/art_hidesy_02.html
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