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Interview with photographer Tom Stock Grill
John: I bet you have more experience in stock photography live any another photographer. You are a founder of Comstock, a founder of Blend Images, the founder and owner of the Tetra images. It has also been truly generous with their knowledge and to have spoken with countless photographers time to share their rich experience.
Not only the photo agency photographer more experienced ever, you are also one of the most successful and innovative as well. Over the years I've also been impressed with their thorough and methodical approach to everything, from cameras to sales of data to trigger approach.
I know of no other that has a broad knowledge and deep as the stock photo. Me I feel very honored to have this opportunity to interview you.
Can you share with us some of their experience and how that experience can give you some unique ideas in the business of stocks?
Tom: Probably the most important aspect of my experience is that I am a stock photographer who also has spent most of his career in the brokerage sector. So I have a point of view of the brokerage business to share as seen from a photographer point view.
John: The world of values has changed almost beyond comprehension since I first started shooting. What do you see as the most significant changes and their impact on us all?
Tom: The two most dramatic changes in the securities business came from an opening customer base due to technological advances. The first was the arrival of making duplicate copies of transparencies and catalog marketing. The second, more recent was the advent of Internet marketing. With each of these changes there was a huge leap in the customer base. This was also through the increased the use of color images in advertising, which was caused by lower printing costs and, ultimately, the commercialization of the Internet itself.
Both changes increased the demand for commercial stock images, but the offer is finally out to keep pace with demand as the advancement of technology in cameras became more easy to take pictures.
John: Collection of Micro and crowd sourcing are the big buzzwords right now. Can you give us Micro Share your ideas and long-term implications?
Tom: Micro stock has been around long enough to have established a permanent presence. I liken the advent of micro-actions and their impact on population traditional and what happened when the advent of RF was in MRI when he first arrived on the scene. The new product prices were absurdly low and marketing models – RF then micro now – are working on a swipe uphill to raise prices. You'd think they would have realized from the beginning that it is always easier to lower prices, but very difficult to raise them. Anyone who bought a $ 1 image probably would have bought for $ 5 if it had been the starting price. Now the buses are caught in a hard work of slowly raising their prices, what is happening in all areas.
We tend to forget that in its initial offer, the prices were about to RF $ 9.95-$ 19 per image. They have come a long way since then to a point where the average income of RF and RM are almost identical.
For micro and survive successfully, you have to raise prices substantially. His greatest success will depend on its ability to attract high quality materials. This means that images higher value of production. The value can not be done by the photographers, unless they receive financial returns from their efforts. Simply does not make sense as a model business.
John: You have at least do some research participation in Micro, what have you learned so far So plan on getting even more for Micro?
Tom: At this point in my career, I see no advantage to me much more involved in microenterprises. This does not mean it is not a profitable scenario. Maybe, if you understand how it works as a complement to their traditional work. I have been advising new photographers to make a micro part of its portfolio. But I advise you to be very aware of the return on investment in regard to their production costs. Basically, I advise them to produce high quality of traditional material. So if you have any images left over or can play a script shoot in a cheaper way, they can be micro. In this way they can actually increase their RPI over all, which leads to the following question ….
Juan: I know that in the past you have been a big proponent of tracking RPI. Is that still the case, and if so, can you share your thinking on this?
Tom: Do not lose sight of the RPI is more important now than ever as a guide line to a successful career in stock photography. RPI have been in a fall off in the last two years. I doubt this will be reversed anytime soon anyway. photographers will have to learn to build their models business in a smaller number of RPI. just briefly that one such strategy. I call it work towards RPI "situational."
We tend to put a lot of work in planning prior to the production of our offspring. They also tend to produce the same or similar scripts over time. If we a script from good stock, which is to fire two or three times using different models, accessories, places, etc. In the first outbreak, we use the best of everything and submit to the traditional agency, where you get the highest RPI. The second time we produce the script a little cheaper. This time is going to an agency where our RPI is solid, but less than our agency. Finally, it triggers the same script very good price, perhaps with friends as a source of free models, etc while you go to a group of 6-10 micro organisms.
Say for the sake of our example our IPC with the top agency is $ 10 per month, $ 5 per month in the second agency, and $ 2.50 with the micros. That means shooting the script three times the same with the decrease in cost each time, RPI gives a "situation" of $ 17.50 per month little more effort and expense.
John: I'm hearing a lot of rumors about the resurgence of Rights Protected Securities. Do you think there really is a resurgence? Are you spending all their production to the RM?
Tom: I do a work MRI bit because a previous contract I have, but left to my own devices, I would fire anyone. My alternate strategy is to take a quality picture FR MR. This makes my RPI very high and short RF any competition I would like to micro.
On the occasionally making what I call a lottery, "" sale through a MRI acquisition, I do those anyway. Every year I receive several requests for purchases of one of my images RF. I will not agree with the sale unless the agency moves on the MRI and I get a royalty rate RM.
John: For someone just starting out in the action you recommend trying to secure contracts with Getty, Corbis and the like … or to scroll through Micro … or another approach? If it is important to get a contract with a major agency, a advice on how to accomplish that?
Tom: I'm constantly training new photographers and always desires to various agencies including outlets for their work. Today I am recommending that cause a large agency (Getty, Corbis, etc) of the contract, a contract with the agency as an aggregator of mixing or Tetra, or preferably both. Finally, I suggest you develop a portfolio of 6-10 micro organisms. Micro is probably more important in the future is now so you must have a toe.
All this is aimed at increasing their situational RPI as set out above.
John: Do you see sales photographers direct an increasingly important piece of the puzzle … say that through Google Image Search or similar?
Tom: It takes a lot of money and effort to initiate and maintain this type of marketing. Photographers will have to wonder if that same time and effort could not provide better performance by increasing the output of the agency they already have.
John: I've always known as someone who has always "found holes "in the collections of values and prepared to fill these gaps. Are there holes left, and if so, how does one find them?
Tom: Holes are constantly coming into existence as the change of styles. So the images may exist on a specific topic, but the style of the images may be out of date. This presents an opportunity to re-fill a hole brought into existence through obsolescence.
John: What are some of the features of a big picture?
A great stock photo must address a specific concept in an industry commercial. If you can imagine to use the photo, and what title that could apply to it, you are probably looking for a Photo successfully.
John: What do you see as the common mistake photographers make stock?
Tom: Shooting without a plan.
A photographer should know before you get the camera, exactly why he or she is taking the photo.
John: I once heard you say that whatever your plan is, stick to it. Do you still feel that way?
Tom: Yes, but that does not mean endorsing a plan date. We instituted an annual plan at the beginning of each year and have a semi-annual change June meeting to refine the plan. The plans are adapted to changes in industry conditions that have been observed to be true over time. You do not want change each new trend.
John: What advice would you give the shooter aiming values, and give him different advice veteran shooters?
Tom: With the decrease of RPI is becoming more difficult to make substantial life stock photography. Now is a good access time for honesty talents and resources in relation to what it takes to get ahead in difficult times ahead.
Juan: I know you keep on your computer. Can you share with us some of your favorite essential things?
Tom: That's easy: Nikon, Nikon, Nikon, Nikon and – and by that I mean that the entire professional Nikon D3, D3x, D700, D300 and in that order. I have all of them. Each chamber is filled a niche different shooting area.
The D3 is my workhorse. It has an excellent quality, a super fast motor 9fps a large image buffer size (45 images with the upgrade option of Nikon), and is perfect for capturing fast moving subjects. I've always said that a model in motion always sell more than a static model. The D3 enables me to keep in constant motion model and motion capture spontaneous moments that had lost a camera with a slower motor and less focus system. The D3 has increased the number of outlets to receipt of a shooting and probably has paid for itself right there.
The D3x with its 24mp sensor is I use for landscapes and still life. Once I saw how good he was D3x, sold my medium format Hasselblad. That more than paid for the D3x.
The D700 has the same the D3 sensor, but in a much smaller body. I use it for travel photography when I do not want a camera that would take me. You can also attach a battery Cheap auxiliary motor in the D700 which increases their speed of 8 fps. That makes it a good backup, less expensive to D3.
The D300 is the same body as the D700, but has the smaller DX sensor. It also has the same engine as the D700 assistant. Multiple image factor of 1.5 x dx makes a good choice for photography animals. 300 mm lens becomes a standard 450 mm and 8 fps is more than enough to capture any action in motion.
What I like Nikon cameras is that their function as a well thought out – each facing a separate need. Shoot a variety of topics. In addition, Nikon has done wisely of these cameras work similarly to matched controls. So it is very easy to switch between them. As a result, I use the four Nikon along with an excellent set Nikon lens.
John: Any other thoughts, advice or comments you would like to leave us?
Tom: Follow the old stock market adage out when the market is high and jump in when the market is low. NOW – at this time of severe economic downturn – is the time to buy stocks in the stock market, as well as images pour into the photography market.
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