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Pricing Stock

Lesson 44 from: The Outdoor Enthusiast's Guide to Photography & Motion

Ian Shive

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Lesson Info

44. Pricing Stock

Lessons

Class Trailer
1

Bootcamp Introduction

06:35
2

Storytelling with Stills and Motion Overview

14:35
3

Elements of a Well-told Story

22:12
4

Storytelling in Motion

34:19
5

Choosing the Best Gear for Your Outdoor Project

16:24
6

Gear for Drones

02:53
7

Gear for Motion

05:23
8

Inside Ian's Gear Bag

20:07
9

General Advice for Preparation

14:19
10

Virtual Scouting

03:54
11

Weather

10:17
12

Permits and Permission

03:09
13

Model and Property Releases

04:43
14

Health and Fitness

03:04
15

Checklist

03:20
16

Location Scouting Overview

15:18
17

Location Scouting in the North Cascades

15:24
18

Drone Introduction

14:59
19

Drone Safety

03:26
20

What Kind of Drone Should I Buy?

02:58
21

FAA Part 107 Test: How to Prepare

06:18
22

Telling a Story With a Drone

06:15
23

Drone Camera, Lenses and Movements

04:34
24

Selling Drone Footage

02:39
25

Why Does a Photographer Need Motion?

10:59
26

Establish the End User

06:35
27

Identify Your Audience

03:12
28

Build a Production Plan

05:28
29

Create the Story Structure

04:26
30

The Shooting Script

07:08
31

Production Quality

08:37
32

Composition for Stills

08:04
33

Composition for Stills: Landscape

08:15
34

Composition for Stills: Telephoto Lens

14:48
35

Composition for Stills: Macro Lens

07:50
36

Techniques for Capturing Motion in the Field

25:15
37

Lenses and Filters for Outdoor Photography

26:20
38

Capturing Landscapes - Part 1

28:12
39

Capturing Landscapes - Part 2

23:36
40

Capturing Movement in Stills

32:17
41

Shooting Water, Sky and Panorama

29:40
42

Understanding Stock

20:45
43

Editorial vs Commerical

03:57
44

Pricing Stock

05:40
45

Producing Stock

14:49
46

Shooting for Social Media vs Stock

11:37
47

Choosing an Agency

08:58
48

Assignments and Capturing Stock

13:49
49

Stock Photography Market

05:28
50

Create A Style Guide

05:30
51

Stock Shoot Analysis

21:29
52

Workflow for Selecting Final Stills

27:43
53

Initial Editing in Adobe Bridge

21:02
54

Reviewing and Selecting Motion Footage

11:02
55

Keeping Track of Your Story Ideas

22:40
56

Script and Story Structure Evolution

04:34
57

Editing to the Content

05:00
58

Music as a Character

05:41
59

Business Diversification

07:07
60

Business Strategy

04:57
61

Pillars of Revenue

17:09
62

Branding

06:36
63

Partnerships and Brand Strategy

05:12
64

Galleries and Fine Art

03:11
65

Budgeting

05:21
66

The Future of Photography

26:12
67

Q&A And Critique

1:09:39

Lesson Info

Pricing Stock

This is how it typically works. This is from our site. We're in the process of changing that, and I'll tell you why. But essentially, you know, people find an image in the library and they use it by searching tags. Who what you tag your images is very important because you're the only one who is there. You're the only one who knows exactly where you were. What makes it special. You want to have some tags? There's a standardized way of doing it. Um, and there's lots of resource is online for how to go about tagging. Really, the most important thing is having a good, accurate caption following a certain style, whether that's the, you know, like a journalistic style. So you might want to start with, you know, Los Angeles comma California, um, and then say, you know, city skyline of downtown Los Angeles in summer. And you know, we have things like the date and so on in case skylines typically changed very much. Do you want to have all that information? But this is essentially what a rights...

manage. We call it right specific. It's basically it's a version of rights manage, and you have different kinds of use. Editorial magazine, books, nonprofit, etcetera, etcetera, the prices air ultimately determined based on use. Whether this is royalty free or rights manage. And you don't even really need to know the technical. The general rule is the broader the use, the more expensive it is, the more people who see it, the more expensive it is. These air typically starting points for prices. So this is printed marketing materials. You know that might be like, Let's say you're creating a brochure 5000 pieces local $360. 50% would go to the photographer. Now, if you're buying all often durably bulk discounts and better rates and so on, so forth. These rates are all generally speaking, starting to come down. What you're starting to see is your starting to see a standardization based on either file size or market. Um, so you might see small, medium and large at $75.250 dollars and $ or thereabouts, kind of averaging it out, um, or you may see editorial, commercial and custom or something like that, where they're different prices. Everybody's got a different way of doing it, Um, you know, we're in the process of revising ours because there's a lot of changes happening in the industry, and we're seeing more and more people looking for a fast and easier buying process versus having to go through different steps. So as you move into the stock market, you're gonna want to figure out what you're most comfortable with. Um, one thing I will say. And I'll talk a little more about royalty free in a minute, but it's toothpaste. Once you go, you can't get it back in the tube. That's how it works. Once you've given away the rights and the royalty free, you cannot grant an exclusive. You can't have a car company say we want this image in perpetuity for our campaign, and we're gonna give you $25,000 for it. And it does exist. I assure you it exists. You will not be able to do that if you've already gone royalty free at any point in that image is passed. So it's an important thing to make Now. A lot of people say I can sell a lot more royalty free images because they're gonna sell a lot more often. How often by really getting that $25,000 car ad, only you can determine that, right, depending on what it is. There's a lot of 3 60 work and a lot of other kinds of new licensing as well. That's happening, and especially in the car ad space, where they want to be able to control the lighting of an entire scene and so on. Um, but generally speaking, talking about still photography, that's that's where things are headed. Just a thought per se share. I mean, you see a lot of photographers out there, uh, throw their images on Facebook once they're on Facebook royalty free. Ah, yeah, it's a good question. So once they're on any sort of social media platform, um, but not royalty free. Just because they're out there doesn't mean the royalty free. You're not giving away your rights to somebody to use them commercially. When you post it, you're sharing. You are publishing it. So there is an implication for copyright and punitive damages. So essentially someone would ever use that image that you've put on Facebook. And it's never appeared anywhere before that they will use it illegally, and you haven't copyrighted it prior to publishing it on social media. You'll be limited in your damages if you copyrighted prior to publication, your by law entitled to more damages. So there's that. Whether it becomes royalty free or not, that's not really based on posting. Um, that said, the fine print of a lot of organizations will say, Well, if you post, we can use it in ads and we don't need your permission. I think that's what you're asking. Maybe. You know, I've never seen it tested ever in my history. So if they are entitled to that, it's never been tested. Um, there may be some liability there, but I'm not 100% sure. But you're not limited posting things on social media, posting them on your own website. Absolutely not. That's your right. It's your copyright, and you have the sole and exclusive right toe license that to whomever you want. Until you give that right to another agency and you allow them to license it on your behalf. No one can take that away from you. It's not royalty free for to be royalty free, it has to go into an agency and theoretically and easy it licensed to because then when somebody has it and they've paid for a royalty free license, then they can use it any time again in the future. That's what royalty free is there. No future royalties essentially, and royalty free has restrictions built in as well, but not enough and not enough to grant an exclusive license somewhere down the road.

Class Materials

Bonus Materials with Purchase

Slides

Ratings and Reviews

monica4
 

Ian was an amazing instructor.; very fun, enthusiastic, encouraging, and comprehensive. I hope to be able to return as an audience member for another of his classes. It is a privilege and a gift to have access via Creative Live to such a wealth of expertise. Thank you!

Cindee Still
 

Ian Shive is a dynamic speaker with a wealth of knowledge he is willing to share. He has had a magical path that led to his success. He touches on so many aspects of making, selling and creating images as well as how to market them and make an income from your work. It is so much fun to be part of the studio audience. The Creative Live staff are always so warm and friendly and they feed you like your on a cruise ship! Wonderful experience.

Cindy
 

What a great class this has been. Thank you Ian Shive and Creative Live! Recently retired, I have set out to learn everything I can about photography and pursue this passion to capture the beauty in the outdoors. Creative Live has served as an amazing educational platform to help me learn everything from how to use my camera, the fundamental technicals, and learn about software and tools. This class brought it all together. At the end of this class my approach to photography and my images are different. Ian shares so much valuable knowledge that will change the way you go about taking a picture; from scouting a location, to thinking through the story and adding elements to an image to evoke an emotional response. My personal growth has been significant and I have changed to the way I approach creating an image from an Outdoor Landscape to an Outdoor Experience. Loved every minute of it, sad the class is over.

Student Work