Video is starting to become the new essential for stills libraries.  Although the two majors have had motion divisions for years, most UK photo-libraries avoided video for a number of reasons: technical complexity, bandwidth and the uncertainties of a new market, compounded by the economic difficulties of the past few years.

However there has been a steady move towards footage from UK libraries including Alamy, Robert Harding World Imagery, Science Photo Library (SPL), Bridgeman Art Library, and others.  Two recent London events confirmed this: fotofringe,and footageMarketplace.  There was a crossover of libraries at both events, which is surely a trend, as previously there was a distinct separation between stills and motion-based suppliers.  Perhaps the long-foretold convergence between stills and moving pictures is actually on the way?

One of the first to dip their toe in the market was SPL in 2009.  Ben Jones, their Head of Motion, said, “The world was quite different from the world of stills, which we knew very well, so there was no easy way to segue into footage.  It was a challenge for us, but we spent about two years planning the move and getting the content and technical operations into place.”  The recession had slowed the development of the marketplace, but it seemed that 2013 was the year when footage was really taking off.  Darrell Hodgetts, Digital Account Manager at the Press Association echoed this, “We have had a 400% year-on-year growth in video”.

There was a remarkable unanimity amongst the exhibitors at footageMarketplace that educational publishers were now seeking video content.  Ben Jones noted that there were various monetization strategies, including subscription models, single clip sales, and also complete mini-programmes a few minutes long, about different aspects of  chemistry, for example.

Barcroft Media, which was originally a news agency based around stills and text, have had success in specializing in what might be termed the extreme side of news video, unusual people, animal antics and somewhat freakish subjects.  Ping Kwan, their Sales Manager, extolled their You Tube channel as a top marketing tool.  They have had 91 million hits.  She was not worried about unauthorized uses – reckoning that the exposure was worth it, and they have a system in place for tracking infringements.

Two notable medium sized libraries which have added footage to their stills offerings are Robert Harding World Imagery, famed for their travel content, and Bridgeman Art Library, known for their licensing of fine art images, including hard-to-find material in private collections.

Harding acquired environmental library Specialist Stock in early 2012, which had a lot of filmed material in its archive.  Robert Harding said, “It was a steep learning curve.  If you are not technically-minded, you need someone who is.  They are big files, they need special processing. you need a lot more time than you think you are going to need.”  Integrating the footage, cataloguing and ensuring there was sufficient content for users needs has taken Harding a year to get their offering into a shape where they are happy to market it. Michael Kelly, Digital Asset Manager, said that the lack of global industry standards for footage was a big problem, and that coming from the world of stills, where this is well-defined, was quite eye-opening.  Kelly said he found the lack of standards “archaic” although he now thought that there would be move towards a set of globally-recognized video standards which would benefit both the industry and the customer.

Robert Harding cautioned that now having Standard Definition material was worthless, as everyone wanted HD, and that also undigitized film was less valuable than sellers might think, because of the costs of digitization, and that also a lot of it was in a 4:3 format which no longer fits the move to wider framings in many applications.  There were significant costs, both financial and in personnel time, involved in moving into the footage world, which should not be underestimated.

It also seems that the move to video means broadening the content offering.  That can be most clearly seen with Bridgeman, whose video clips include not just artists at work, which is to be expected, but also film of the First World War, including trench warfare and aerial combat, and a tranche of Dutch colonial material going back to the 1920′s, from the Netherlands Institute for Sound and Vision.

The advantage of footage is that, as a broad generalisation the fees are higher, and that the market is expanding rapidly – all sorts of end-users want to have more rich media, as opposed to the saturated market for stills.

The other significant industry pulse from both fotofringe and footageMarketplace seemed to be that the industry was cautiously optimistic about the future. It was felt by many different stills and footage vendors that the worst of the economic effects had bottomed-out and while the economy was not great, it was slowly improving and better times were ahead for those suppliers who were flexible in their approach to the marketplace.

Julian Jackson is a writer with extensive experience of picture research, whose main interests include photography and the environment.  His website is www.julianjackson.co.uk.  He also runs a Picture Research by Distance Learning Course www.picture-research-courses.co.uk.  Linked-in profile.

Today’s insatiable consumerism with the latest, greatest digital devices has brought us every feasible type of entertainment and media at our fingertips. Cell phones older than a year are incredulously considered Jurassic technology. We could hardly imagine a world without must-have applications; such as iTunes; delivering every song, movie and novel on demand. Hot items such as the iPad and Kindle ensure that we will always have or favorite newspaper and stay on top of the best sellers. These streamlined digital tools are making our lives less cluttered and more efficient. What more could people want? The constant acquisition of the hottest new gadget seems to be leaving us wanting something more, something else, something tangible.

(c) Alisa Steck/Rocketroom

A nostalgic desire for a simplified, tactile world has found it’s way back into our hearts. The age of soulless homogenous branding has had it’s cage shaken. Although the “always on brand, always on message” perfectly manicured corporate brands aren’t going to completely disappear anytime soon, we are seeing a deep need to return to what is truly important and timeless. Perhaps it’s the recession that has reminded us about what we are yearning fo to feed our souls? The desire for texture, for awakening our senses, for the scrumptious tactile feeling of fine paper under our fingertips. There is truly a visual feast found in artisan craftsmanship.

(c)Alisa Steck/Rocketroom

(c) Alisa Steck/Rocketroom

As  creative professionals, increasingly more of our work has become digitized, so every trip to the printer fills me with a strange joy. I’ve missed the unmistakable scent of printers ink. The perfection in the imperfection of beautifully handset type, and the almost musical sound of an old foot operated letterpress. Knowing that someone has put care, thought and creativity into their craft, results in pure treasure. It’s the human connection one feels in such objects; not just to the craftspeople who forge these things, but to the generations to come; that these ideas and objects will also come to touch. And with this renewed desire for human connection, there has been a resurgence of the tangible.

(c)Alisa Steck/Rocketroom

Independent bookshops are miraculously popping back up. Communities such as Briar Press have sprouted from a common dedication to the preservation of the art of letterpress. Handcrafted and individually packaged food items, such as the delectable chocolates by Brooklyn’s Mast Brothers Chocolate (cacao nibs are even transported by sailboat!) are more cherished than commercially mass produced brands. People have no problem standing in long lines to sample the artisan cheeses at Mt. Townsend’s Creamery and small craft beer breweries such as Sound Brewery have loyal imbibers that savor the lovingly brewed liquid gold. In a time when communication has been reduced to ‘twitter’ and feels more like chatter, the deep desire for the human connection has once again blossomed.

(c)Alisa Steck/Rocketroom

Alisa Steck is photographer, producer and editor for Rocketroom, LLC in the Seattle, WA region. Rocketroom’s photographic work is represented by Getty Images, Alamy & iStockphoto. In addition to photography, Rocketroom is a boutique graphic design & hosting firm, with an emphasis on branding.

musicThe use of music in a production – whether film, television, games or advertising – is about connecting the right song with the right moving image. It’s about emphasizing a storyline, intensifying a scene and augmenting an emotion, all while staying true to the style and vibe of the project.

But there is also a logistical side to including music in your production; that includes budgets, research, negotiation and licensing. Songs, like all intellectual properties, are protected by copyright.

Let’s say your dream song is called “I Love You,” and you want to use this piece during, say, a pivotal car chase scene in your movie: you know you need a license (unless you have suddenly become an adept composer!), but you just don’t know where or how to get one…?

The good news is that with a little detective work, and a basic understanding of licensing, this shouldn’t be an impossible task.

Song Research:

The first thing you’ll need to know is who wrote and recorded “I Love You.” This information is relatively easy to obtain if you have a CD copy or (legitimate) MP3. Check the liner notes, or digital file, and you’ll find the writer and performer listed beneath the song title. For example:

I LOVE YOU

Written by John Smith

Performed by JS Band

If you don’t have the recording (perhaps you heard the song online or on the radio) an app like Shazam or SoundHound will at least be able to uncover the performer. A quick internet search (“I Love You by JS Band”) will reveal the composer.

The next step is determining what type of licenses you need. In the world of music clearance, there are two types of licenses.

Types of Licenses:

A Synchronization license covers the use of the composition, whether recorded or not . A sync. license is generally granted by a music publisher.

A Master license covers the use of a recording of a song by a specific artist. A master license is generally granted by a record label. You do not need a master license if you are recording your own version of “I Love You”.

Locating the Music Publisher:

If you’re lucky, the music publisher will be listed on the song’s liner notes (for example, “I Love You” written by John Smith, performed by JS Band, @Best Music Publisher Inc). If you don’t have this information and need to find the publisher, there are several online databases you can use.

CMRRA, ASCAP and BMI are music societies which allow you to search using the song name, writer/composer or performer. Once you locate “I Love You” by John Smith you will find the publisher information listed on the song’s page. If the contact details are not available, a quick internet search should provide further information. Other resources include: iTunes, Amazon and Wikipedia.

Locating the Record Label (or master owner):

Again, this information should be easily located on the recording. If you do not have access to these details, there are a number of helpful databases online, such as: allmusic.com, MySpace and Artist Direct  (also see resources for locating the music publisher).

Getting the License:

Now that you have completed your research on “I Love You,” you are ready to contact the publisher and label to request a license. Before doing this though, you will need to put together certain details about your project, including:

• A short synopsis of your production
• The length of “I Love You” and how many times you are going to use it in your project
• How “I Love You” is being used (background, instrumental, performance on screen, etc.)?
• A description of the scene “I Love You” is used in and if you are using it over the credits
• What rights, territory and term are required?
• Will “I Love You” be covered by a composer (no master required)?

Once you have gathered all these details, it is time to send in your license request. The publisher and/or record label should get back to you within a few business days with a quote. If you agree to their fee and terms, a license will be issued.

And you’re done! You can now use “I Love You” by John Smith in that car chase scene. Other than submitting a cue sheet to the relevant performance society there is nothing left to do… except to sit back and enjoy that creative marriage between song and visuals.

Music Matters are clearance experts with over 15 years experience. Kathryn knows where to look for and clear the music you want for your next project.

Designed for and limited to professional picture buyers, registration is free and attendees are encouraged to submit questions in advance for the Panel. Visual Connections has held image expos for many years in New York and Chicago and are thrilled to bring the Expo to Toronto.

Registration and more information for both the Copyright Session and the Expo can be found here.

See you there!

Over the course of 2012, over 250 world wide image suppliers(still, illustrations and motion) responded to a survey, resulting in 3 separate reports;

Report 1: Players, Products and Business generating a solid estimate of global market volume

Report 2: Marketing, Distribution, Performance which assesses economic performances of different strategies

Report 3: Regions, Trade, Divisions of Labor highlighting geographic dimensions and the importance of both central and peripheral regions.

All reports are available for free downloads here: http://www.stockimagemarket.uni-hd.de/

Enjoy!

View of a member of Wilfred Thesiger’s travelling party looking out across the Wadi Sayfam towards Jebel Kawr, Oman, March 30 – April 2, 1949 (b/w photo), Wilfred Patrick Thesiger, (1910-2003) / Pitt Rivers Museum, Oxford, UK/Bridgeman Art Library

Located in the heart of Oxford, the Pitt Rivers Museum has collected photographs ever since its foundation in 1884 by Lieutenant-General Augustus Pitt Rivers. Particularly strong in images from the nineteenth and early twentieth century, the collection contains important fieldwork archives, including the photographs of adventurers such as Sir Wilfred Thesiger.

Portrait of Wilfred Thesiger sitting in the Wadi al ‘Ayn, Oman, February 8–16, 1949 (b/w photo), Salim Bin Kabina, (20th century) / Pitt Rivers Museum, Oxford, UK/Bridgeman Art Library

Sir Wilfred Thesiger belongs to a long tradition of English explorers who had one foot in the world of colonial rule and the other in a deep fascination of other cultures. An adventurer at heart, he left the rarefied world of Oxford University for the exotic allure of East Africa at the earliest opportunity and spent the following decades absorbed in the exploration of foreign lands.

Thesiger is best known today for his travel writing: Arabian Sands (1959) and The Marsh Arabs (1964) are particularly well-loved by those who hanker after a golden age of intrepid discovery. Now, with the digitization of thousands of negatives bequeathed to the Pitt Rivers Museum, Thesiger’s cherished journalism is matched by an extraordinary collection of photographs which vividly portray the splendor and romance of travel.

View of men in boats, spear fishing on Umm al Abid, Iraq, 1958 (b/w photo) by Thesiger, Wilfred Patrick (1910 – 2003); Pitt Rivers Museum, Oxford, UK / Bridgeman Art Library

The endless sand dunes of Arabia’s legendary Empty Quarter presented Thesiger with his severest privations and perhaps his most stunning photographic opportunities. But what emerges most clearly from this collection is how often the explorer turned his lens on his guides and travelling companions. Thesiger respected his Bedouin friends tremendously, adopting their dress and becoming willingly absorbed into their way of life.

Portrait of a boy, a herder, leaning on a pole, Iraq, 1956 (b/w photo) by Thesiger, Wilfred Patrick (1910-2003); Pitt Rivers Museum, Oxford, UK/Bridgeman Art Library

The same can been said of his travels amongst the Madan of the Iraqi marshlands, where his photography goes beyond the documenting of traditional customs to bring his subjects to life through candid, even affectionate, portraits. Whether in Africa, Arabia or Mesopotamia, Thesiger managed to capture a timeless charm in the people and places that he loved, and a dazzling record of his own wanderlust.

View all images from the Pitt Rivers Museum collection on the Bridgeman website available for licensing.

For over 40 years, Bridgeman Art Library has worked with museums, artists and photographic archives to make the best of the world’s fine art, cultural and historical imagery available for reproduction. With works from over 8,000 collections and 30,000 artists, every subject, concept, style and medium is represented. In 2013 Bridgeman launched a footage platform, allowing creative professionals to search clips alongside more than 500,000 stills on www.bridgemanart.com to create a complete visual package.

Today if you wanted to find out more about Diophanti Alexandrini you might start by going to Wikipedia to read about this Greek mathematician. You can even begin with Google Images to see pages from his 1670 book on Arithmetic. The woman who introduced me to photo research at the beginning of my career brought me to Harvard University’s Houghton Library. Here we waited patiently until the librarian retrieved the original 17th century Greek edition from the stacks and carefully placed it on a velvet-covered podium for our review. How thrilling to be allowed to turn the pages of a book more than 400 years old!

Here’s my advice for new Photo Researchers:

Don’t Miss Seeing the Originals

Early in my career a good deal of my research time was spent searching through primary source material: broadsides at Antiquarian Societies, posters, postcards, bound copies of Harper’s Weekly, Puck, Godey’s Lady’s Books, original engravings and black and white prints.

The Museum of American History at the Smithsonian owns unique artifacts from the earliest presidential campaigns. Planning a trip to Washington, DC I asked and was given a tour of the political history memorabilia not on view to the public. They brought out trade cards with portraits of President Cleveland and his wife, photographs of ten foot tin balls rolling down the street to promote Whig party candidates, matchbox covers with Locofoco Democratic party slogans, little brass buttons made for George Washington’s 1789 inauguration, Teddy Roosevelt bandannas, etc. The most difficult decision was deciding which objects to have photographed for an American government project.

Have you ever read Faith Ringgold’s childhood story, Tar Beach? Over the years I have seen many photographs of Ringgold’s story quilts. It wasn’t until I had the opportunity to see “Bitter Nest #5: The Homecoming” at the Currier Museum of Art that I could truly appreciate that Ringgold’s quilts are beautiful in the own right with exotic colors and patterns. After hand sewing the pieces, Ringgold applied her acrylic painting on top of the cloth right over the stitches! It’s so much more impressive when you are standing in front of this large work of art than when you bring up a digital version online.

Become a Documentalist

I remember being told that in France Photo Researchers consider themselves documentalistes highlighting their research skills. Can you image being fortunate enough to spend several days in the Bibliotheque Nationale in Paris? One of my colleagues went there to review their unique collection of medieval books of hours. Seeing the brilliant details of the original illustrations with silver and gold leafing made it very clear to her why the images in these manuscripts were called illuminations.

Learn to Be Visually Literate

One important skill for Photo Researchers is to learn to comprehend and appreciate the visuals created by others. Don’t be afraid to ask questions and go straight to the source.

Looking at a science magazine a few years ago I came across an unusual photograph of brain cells from a transgenic mouse which were called “brainbows”. Out of curiosity I called the source, Dr. Jeff Lichtman at Harvard’s Center for Brian Science. Serving as Co-President of ASPP New England at the time, I asked if we could come in as a group to learn more about this interesting work. Not only did Dr. Litchtman present a slide show with a brief history on visualizing the nervous system, he also allowed us into the lab where his graduate students were using a dissecting microscope with laser scanning.

Check Out New Images Sources

Last summer I traveled to Westminster, Massachusetts for a local fair. Never one to miss an opportunity to explore a historical society, I dropped in to see what treasures they had. To my surprise I found they had a collection of lovely portrait miniatures by sisters Sarah and Eliza Goodridge ca. 1830. Among Sarah Goodridge’s most interesting and personal works is a miniature portrait of her own bared breasts, entitled Beauty Revealed. The original of this work is now in the Metropolitan Museum of Art in New York. Executed in 1828, it was presented by the artist to her close friend, correspondent, and occasional subject, Daniel Webster.

So my advice is to step away from the computer once in a while; leave your electronic devices at home. Be a photo documentaliste, visit a museum, a library or a local historical society. Advance your visual literacy by talking with an art curator, a scientist or an archivist.

I welcome your comments.

Sharon Donahue
Photo Editor
sharon.donahue@gmail.com

  http://photoeditor61.wordpress.com

The Smithsonian Institution Center for Folklife and Cultural Heritage in Washington D.C. acquired Folkways Recordings in 1896 upon the passing of founder Moses Asch with the condition that all of the firm’s titles would remain in print forever. As Mr. Asch said, “Just because the letter J is less popular than the letter S, you don’t take it out of the dictionary.”

Smithsonian Folkways has expanded on this invaluable legacy, adding record labels and adding over 375 new recordings capturing and celebrating the sounds of world.

Global ImageWorks now has over 45,000 of these recordings available for commercial licensing. A quick look and listen to the vast offerings uncovers gems like Louie Armstrong at the National Press Club singing Hello Dolly, a 1973 recording of Che Guevara and a little Cotton Eyed Joe.

Also worth noting is that as a non profit, Smithsonian shares licensing revenue with the artists and supports creation of new content.

A truly enjoyable experience and valuable resource for researchers everywhere.

About Global ImageWorks: With the flexibility of an independent business and the resources of a large corporation, Global ImageWorks (GIW) represents footage from award winning filmmakers, cinematographers, correspondents and production companies. The GIW archive contains both deep content and stock shots. Formats include film, HD, SD, RED and a growing collection of 3-D material.

Now that the economy is showing signs of life again, we’re seeing more job postings and opportunities. With the avalanche of resumes hiring managers receive for each opening, it’s a challenge to make yours stand out and catch someone’s eye. It’s your first and maybe only chance to make an impression. Of course, your experience must match the job and your CV should be well written and designed, but a nicely crafted cover letter can really help.

Or it can really hurt. Hiring managers review hundreds of applications and they don’t like “padding.” They will quickly toss aside a letter and its accompanying resume if they sense that. Here are some guidelines to help you put together a solid, targeted cover letter.

1. Do your research.

If you’re not already familiar with the company, find out as much as you can. This sounds like a no-brainer, but applicants often don’t take the time because they may be applying for many different positions. But, displaying knowledge of the company, its products and the role you’re applying for is critical in impressing a potential employer. Explore its Web site, check out its LinkedIn page (where you can also see who works there) and do general online research at Monster.com, Hoovers Online, etc. Make the time to do your homework and then reference details you learn such as recent company news in your letter.  This shows your interest in the employer and sets you apart from other applicants.

2. Make it look good.

The way your letter looks says a lot to the hiring manager. Having a well-designed resume and cover letter are even more critical when you’re applying for a position with a creative company. Be sure to format it in the traditional business letter style with the date, title, company, and address (if known) at the top. Choose a clean font, perhaps one that matches your resume, and be sure to leave plenty of white space so the overall effect is uncluttered and easy to read.  If it looks sloppy or too busy, the odds are that it will go unread.

3. Customize your pitch.

Your letter for each position should be different. You know how quickly you discard a form letter. If you don’t have a specific name, make your salutation “Dear Hiring Manager” or “Dear Human Resources Director” rather than addressing it to “Sir/Madam,” etc. Be sure to reference the specific position at the top of the letter. Make an immediate connection between the role and what you’d bring to it. Why are you the best fit for this job? It takes time to write an effective letter, but it may be your only chance to let a potential employer know why you’re a good prospect.

4. Edit yourself.

Your cover letter shouldn’t be a duplicate recitation of your resume. There’s no need to reiterate your specific work experience here. What’s important is to highlight your relevant strengths, previous track record of success and motivation for wanting this job. Your goal is to break through to the hiring manager and get an interview. That person may have reviewed dozens or hundreds of resumes for this role already. They’re very good at scanning letters and CVs for the relevant words and phrases that tell them you’re an excellent candidate. Make your point as succinctly as possible. You’ll stand out from the crowd and they’ll appreciate it. You might even consider a few bullet points to make their job easier. And proofread! Mistakes in grammar and punctuation are unacceptable and will often result in an immediate rejection. They indicate you aren’t careful and attentive, not qualities an employer is looking for.

5. Write a strong closing.

Your last paragraph should be proactive. Let them know you’re very interested in an interview and will follow up shortly to make sure they’ve received your information. This alerts them that you’ll be in touch again and gives you the opportunity to maintain a dialogue with the hiring manager about meeting in person. Your closing should be a simple “Sincerely” or “Best regards.” And be sure that your contact information is included after your signature so they can get in touch if the letter gets separated from your accompanying resume.

Happy job hunting!

Michael Masterson has a broad range of experience in marketing, business development, strategic planning, contact negotiations and recruiting in the photography, graphic design and publishing industries. In addition to his long experience at the Workbook and Workbookstock, Masterson owned and was creative director of his own graphic design firm for several years.

Masterson has been a speaker or panelist at industry events such as Seybold, PhotoPlus Expo, Visual Connections and the Picture Archive Council of America (PACA) national conference. He is currently the national president of the American Society of Picture Professionals (ASPP). He also serves on the board of the Silver Lake Neighborhood Council in his Los Angeles community. He chaired the marketing committee for the Los Angeles Conservancy, a historic preservation advocacy group, for many years.

He currently heads Masterson Consulting, working on projects ranging from business development for creative companies and sourcing talent for them to promoting and marketing industry events as well as providing resume and professional profile services for job-seekers. He can be reached at michaeldmasterson@gmail.com.

This compulsion led to a two-year project funded by the New York State Council for Arts to photograph 19^th Century New York State Asylums: Silent Voices.

Jon’s relationship with Willard began in earnest when he visited an exhibition in the New York State Museum in the early 2000s. The Asylum had been converted to a prison facility and, during the renovation, roughly 400 suitcases, belonging to patients, were discovered, spanning the 20s-60s. The cases and their contents were meticulously cataloged and recorded by the museum.

Jon was granted access to photograph the cases, launched a Kickstarter Campaign and raised close to $20,000 to cover his expenses.

The project and the resulting images have created a stir; garnering attention in the media and inclusion in an upcoming exhibit at San Francisco’s Exploratorium* that opens April 17.

The images are delicate and reverential, never appearing to be exploitive, only respectful.

For more on Jon and this project, please see:

• http://joncrispin.wordpress.com/tag/willard-suitcases/
• http://www.slate.com/blogs/behold/2013/02/25/jon_crispin_suitcases_from_the_willard_asylum_for_the_insane_photos.html
• http://www.telegraph.co.uk/culture/photography/9853380/Emotional-baggage-the-secret-lives-hidden-in-500-suitcases.html

All images reproduced with permission and © Jon Crispin.