You say in your letter to Apple that “Three months is a long time to go unpaid”. But you seem happy to restrict us to being paid once, and never being able to earn from our work ever again, while granting you the rights to exploit our work for your benefit for all eternity….
How are you any different to Apple?
The headline on Gizmodo says it all: “Adobe Now Supplies Terrible Stock Images Right in Photoshop.”
But it’s also unquestionably a ripoff to sell people things for $1,735 (the price for getting a Corbis license to a public domain LoC image in TV and online) and not bothering to mention that you can get exactly the same image, absolutely free, from the Library of Congress itself.
I totally understand the perspective that photo blogs are exploiting photographers by running their stuff without payment. That’s one way to look at it. I see that. Though I disagree with it.
With the competition among many new platforms comes a bit of confusion about how the sites differ from one another, and what audiences they serve. And there are questions about their actual value: How much are photographers really benefiting? By self-publishing, do photographers attract clients and opportunities? Or are they just providing free content to platform owners, who will reap most of the revenue benefits if and when the owners figure out how to monetize the sites?
I find it very interesting that a company like Adobe has chosen a microstock model to license images. For a company that has made much of its glory thanks to pro photographers via Photoshop, it is ironic that they chose the lowest pricing point, almost as a slap in their faces. In effect, there has been no backlash from the pro-photographers community so I guess it doesn’t matter
I think of myself as a journalist who chooses the art of photography to bring awareness to the world. Art is a powerful means of expression, but combined with journalism it has the ability to bring awareness to issues that can elevate the public’s understanding and compassion. It’s the basic reality of why I do what I do.
David Alan Harvey’s artist talk on the main stage at LOOK3 in Charlottesville on Saturday included several surprises: a peek at some of Harvey’s precocious early work, images from his latest project (called Beach Games, an exploration in black and white of beach sports culture in Rio), his insistence (against much evidence to the contrary) that he doesn’t consider himself a color photographer or an extrovert–and a heartwarming guest appearance by a long-lost subject from a project he shot when he was 22.
Of course, Fink has continued to work. One recent project, called Flesh and Stone, explores questions of mortality. “I’m 74. Mortality really starts to move into your consciousness. I no longer want to change the world, I just want to hang on. I want to give as much as I can until I die.”
In honor of Photoshop’s 25th Anniversary, we’ve been searching far and wide for 25 of the best visual artists under the age of 25. Four months into this celebratory year, we’ve already spotlighted eight brilliant young artists, each representing the future of digital artistry and the power of Photoshop as seen around the world. I hope you’ve all been following along as we share the art that celebrates our 25th year, but also the unique stories behind these artists, who range in age from 16 to 24 years old.
“It was never a plan to be kingmakers or talent scouts,” Hughes says. Yet, for many photographers, the recognition has marked a career turning point.
both Instagram and Pinterest announced the addition of a “buy” button next to images. The latter has gone a step further, as it made it live for iOS devices with web and Android in the pipeline
am in the habit of marking my photography books with yellow and pink Post-it notes, flagging the images that I find most influential for my own work. Yellow means good, pink means best. Most of the Post-its are in books by Norman Mauskopf—a black-and-white documentary photographer I assisted during his workshops in Santa Fe, New Mexico, and have since developed a friendship with.
while male photographers saw a 25% increase, female photographers exploded by 85% in that same time frame
Photographer Nikki MayDay Guardascione tells us that she got quite a surprise yesterday when a seemingly-simple photo request from Miller Lite turned out to be for much more usage than she originally thought.
Michelle Groskopf AKA @dailystreet take over our own feed for the week, May 4 – 10, 2015. We spoke about the challenges of shooting suburban strips, the compulsion to shoot every day, and what happens when you constantly get up close in a stranger’s face with your camera and flash.
This year, the Guggenheim Foundation recognized 12 photographers working in a wide range of styles, but TIME noticed a strong concentration of work in the landscape photography genre. Here, we highlight some of the best.
Those traditional gatekeepers in the world of street photography—the museum curators, the gallerists, the newspaper and magazine editors—still hold significant sway. But through Instagram, photographers have found that amassing a vast following can provide a fast track to those power players who, in previous generations, would have been elusive, if not impossible, targets.
Regardless of what any teacher might say, there are two ways to become a photographer : take a lot of pictures and look at a lot of pictures. Everything else is secondary. And that is exactly what our teenagers are doing. In a recent study done by Facebook on teens and Instagram, “growing up in a visual world”, the social media giant reveals some very noteworthy information.