3.2 Picture Libraries & Agencies and Picture Researchers
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Picture Libraries & Agencies and Picture Researchers
Picture Libraries hold collections of images, ranging from a few hundred to many thousands or millions of images. Libraries generally tend to specialise, either in the work of a particular Photographer, or in a specific subject area drawing on the work of many Photographers and Artists.
Photographers may operate their own libraries to represent their work, or they may sign up with third parties. Technology has made it easier and cheaper for Photographers to set up their own Libraries, and many are doing so, but successfully marketing and running a Library as a business requires time, effort and skill and does not always provide significant income. Many Photographers therefore seek to have their work held non-exclusively in a number of Libraries as well as (or instead of) their own in an effort to maximise their income and visibility to potential purchasers.
Agencies - as well as Picture Libraries - represent both individual Photographers and other Agencies or Libraries, looking after, protecting, and selling their images.
Both Agencies and Libraries exist to market images to clients and potential clients in order to maximise their usage and create income for their photographers. They licence the images they represent for the maximum fee possible to ensure that both they and the photographers get an appropriate cut of the income. Both Libraries and Agencies are pro-active in selling images to end-users, who are usually (but not exclusively):
The job of a Picture Researcher is to source appropriate images on behalf of their employer or an end-user client. Professional Picture Research is a highly skilled job, requiring a wide and varied range of high-level expertise as well as practical and technical skills. However, whereas traditionally this role has been held within Picture Libraries, the Internet has made it far easier for clients to find images for themselves; hence the role is increasingly to be found within client-side organisations. It is also frequently subsumed into other roles; so there may be many individuals undertaking the work of a Picture Researcher without actually being identified by that job title.
There are serious concerns in industry14 that these changes are leading to the skill being eroded from the role and that quality standards are suffering as a result. Lack of knowledge about the breadth and range of available images limits choice and can lead to overuse, or inappropriate use, of certain images. In addition unskilled researchers rarely have sufficient understanding of the legal framework within which image usage is transacted.
Within Picture Libraries, the role of Picture Researcher now tends to be an extension of the sales function, more akin to an account handler responding to client requests than proactively sourcing and selling images. Although clients may frequently make their own image selections from web catalogues, experienced Picture Researchers can add value to this process by suggesting alternatives or providing further choices, ensuring the client gets the image that best meets their needs. It therefore remains a specialised function, but one that frequently includes digital administration, encompassing image scanning, processing, keywording and archiving, and requires extensive knowledge of the Library's collection.
However, the role is becoming increasingly fragmented and is often divided, especially in larger Libraries, across a number of individuals given titles such as Picture Technician, Digital Keyworder, or Image Editor.
Another increasingly important role within Libraries is that of the Digital Imaging Specialist. This computer-based role is constantly evolving alongside advances in technology, but normally involves scanning, colour management, digital manipulation, colour correction, and technical metadata input (but not keywording). The Digital Imaging Specialist is responsible for ensuring that digital files are correctly stored and can be provided to end-users in a format that is appropriate for their intended use.
Industry Issues
The last few years have seen huge market changes, with end-users increasingly preferring to source images from a 'one stop shop'. There has been consolidation amongst Agencies and Libraries, with a handful of large companies expanding through acquisitions and smaller organisations seeking to survive by working non-exclusively with several larger ones.
Digitisation has also had a significant impact. Traditionally both Libraries and Agencies have dealt with 'analogue' photographic media - film and prints. However most Libraries now hold their collections in digital form, or are working towards doing so, mainly in response to client expectations and demands. The global reach and speed of communication offered by the Web and the increasingly widespread availability of broadband Internet connectivity have meant that most images are now sought, sold and delivered online.
The need to digitise old analogue archives is frequently a substantial burden for many Libraries, largely due to the cost of equipment and the sheer time involved in processing a large collection. Many Libraries are digitising assets only on an on-demand basis, in response to client requests; however, this still requires time and increases the real cost of providing an image in digital format. There are reports that some Libraries have even ceased trading due to the overwhelming task of digitising their archive .15 There are also serious concerns about the longevity of digital media formats (which are frequently replacing, rather than complementing, analogue archives, in order to save storage space) and whether the data they contain will remain readable in decades to come. Further, there are potentially on-going costs, and staffing implications, brought about by the process of migrating image data from old storage media to newer formats as they become available. This presents new job opportunities but also a need for appropriate skills and training.
The cost of digitising images means that Libraries are often under pressure to maximise use of their digital assets. This in turn requires further investment, for example in a web site and associated online promotion in order to reach a global audience. For many Libraries, their own sales are frequently subsidised by a significant source of income from non-exclusive deals with a number of larger agencies. However, it is reported that end-user clients often instruct their Picture Researchers and Image Buyers to use particular agencies with whom they have price deals16 and consequently many collections are 'falling below the radar', remaining hidden to end-users. The resulting restricted access to a wider repertoire of visual media also has wider implications for cultural diversity.
Although usage volumes are increasing - especially as emerging markets such as China increase their media consumption - the price of images is dropping. While this may be good for larger agencies, it does not benefit smaller ones - costs remain high, so margins are being squeezed.
There are concerns that the ease with which clients can now undertake their own picture research has resulted in a 'dumbing down' of the content presented to the public17. This is felt to have resulted in a lowering of expectations regarding quality and, combined with a perception that 'digital is cheaper', reduced willingness to pay for professionally shot images.
There is additionally felt to be a lack of awareness amongst end-users of intellectual property rights, with a perception that many are failing to act legally in their use of images; with the result that images may be used without permission, credit may not always given where due, and end-users may make unreasonable contractual demands regarding rights ownership. Indeed, improving recognition of, and adherence to, licensing and copyright laws is reported as a priority by over two thirds of small and micro-businesses in this sub-sector.18
14 Skillset Picture Libraries Focus Group, July 2005
15 Skillset Picture Libraries Focus Group, July 2005
16 Skillset Picture Libraries Focus Group, July 2005
17 Skillset Picture Libraries Focus Group, July 2005
18 Photo Imaging Employer Survey 2005, Pye Tait for Skillset, September 2005
Picture Libraries & Agencies and Picture Researchers
Picture Libraries hold collections of images, ranging from a few hundred to many thousands or millions of images. Libraries generally tend to specialise, either in the work of a particular Photographer, or in a specific subject area drawing on the work of many Photographers and Artists.
Photographers may operate their own libraries to represent their work, or they may sign up with third parties. Technology has made it easier and cheaper for Photographers to set up their own Libraries, and many are doing so, but successfully marketing and running a Library as a business requires time, effort and skill and does not always provide significant income. Many Photographers therefore seek to have their work held non-exclusively in a number of Libraries as well as (or instead of) their own in an effort to maximise their income and visibility to potential purchasers.
Agencies - as well as Picture Libraries - represent both individual Photographers and other Agencies or Libraries, looking after, protecting, and selling their images.
Both Agencies and Libraries exist to market images to clients and potential clients in order to maximise their usage and create income for their photographers. They licence the images they represent for the maximum fee possible to ensure that both they and the photographers get an appropriate cut of the income. Both Libraries and Agencies are pro-active in selling images to end-users, who are usually (but not exclusively):
- The Media - books, journals, magazines, TV etc.
- Advertisers - promotions, brochures, point-of-sale etc.
- Paper product developers - cards, calendars, gift items etc.
The job of a Picture Researcher is to source appropriate images on behalf of their employer or an end-user client. Professional Picture Research is a highly skilled job, requiring a wide and varied range of high-level expertise as well as practical and technical skills. However, whereas traditionally this role has been held within Picture Libraries, the Internet has made it far easier for clients to find images for themselves; hence the role is increasingly to be found within client-side organisations. It is also frequently subsumed into other roles; so there may be many individuals undertaking the work of a Picture Researcher without actually being identified by that job title.
There are serious concerns in industry14 that these changes are leading to the skill being eroded from the role and that quality standards are suffering as a result. Lack of knowledge about the breadth and range of available images limits choice and can lead to overuse, or inappropriate use, of certain images. In addition unskilled researchers rarely have sufficient understanding of the legal framework within which image usage is transacted.
Within Picture Libraries, the role of Picture Researcher now tends to be an extension of the sales function, more akin to an account handler responding to client requests than proactively sourcing and selling images. Although clients may frequently make their own image selections from web catalogues, experienced Picture Researchers can add value to this process by suggesting alternatives or providing further choices, ensuring the client gets the image that best meets their needs. It therefore remains a specialised function, but one that frequently includes digital administration, encompassing image scanning, processing, keywording and archiving, and requires extensive knowledge of the Library's collection.
However, the role is becoming increasingly fragmented and is often divided, especially in larger Libraries, across a number of individuals given titles such as Picture Technician, Digital Keyworder, or Image Editor.
Another increasingly important role within Libraries is that of the Digital Imaging Specialist. This computer-based role is constantly evolving alongside advances in technology, but normally involves scanning, colour management, digital manipulation, colour correction, and technical metadata input (but not keywording). The Digital Imaging Specialist is responsible for ensuring that digital files are correctly stored and can be provided to end-users in a format that is appropriate for their intended use.
Industry Issues
The last few years have seen huge market changes, with end-users increasingly preferring to source images from a 'one stop shop'. There has been consolidation amongst Agencies and Libraries, with a handful of large companies expanding through acquisitions and smaller organisations seeking to survive by working non-exclusively with several larger ones.
Digitisation has also had a significant impact. Traditionally both Libraries and Agencies have dealt with 'analogue' photographic media - film and prints. However most Libraries now hold their collections in digital form, or are working towards doing so, mainly in response to client expectations and demands. The global reach and speed of communication offered by the Web and the increasingly widespread availability of broadband Internet connectivity have meant that most images are now sought, sold and delivered online.
The need to digitise old analogue archives is frequently a substantial burden for many Libraries, largely due to the cost of equipment and the sheer time involved in processing a large collection. Many Libraries are digitising assets only on an on-demand basis, in response to client requests; however, this still requires time and increases the real cost of providing an image in digital format. There are reports that some Libraries have even ceased trading due to the overwhelming task of digitising their archive .15 There are also serious concerns about the longevity of digital media formats (which are frequently replacing, rather than complementing, analogue archives, in order to save storage space) and whether the data they contain will remain readable in decades to come. Further, there are potentially on-going costs, and staffing implications, brought about by the process of migrating image data from old storage media to newer formats as they become available. This presents new job opportunities but also a need for appropriate skills and training.
The cost of digitising images means that Libraries are often under pressure to maximise use of their digital assets. This in turn requires further investment, for example in a web site and associated online promotion in order to reach a global audience. For many Libraries, their own sales are frequently subsidised by a significant source of income from non-exclusive deals with a number of larger agencies. However, it is reported that end-user clients often instruct their Picture Researchers and Image Buyers to use particular agencies with whom they have price deals16 and consequently many collections are 'falling below the radar', remaining hidden to end-users. The resulting restricted access to a wider repertoire of visual media also has wider implications for cultural diversity.
Although usage volumes are increasing - especially as emerging markets such as China increase their media consumption - the price of images is dropping. While this may be good for larger agencies, it does not benefit smaller ones - costs remain high, so margins are being squeezed.
There are concerns that the ease with which clients can now undertake their own picture research has resulted in a 'dumbing down' of the content presented to the public17. This is felt to have resulted in a lowering of expectations regarding quality and, combined with a perception that 'digital is cheaper', reduced willingness to pay for professionally shot images.
There is additionally felt to be a lack of awareness amongst end-users of intellectual property rights, with a perception that many are failing to act legally in their use of images; with the result that images may be used without permission, credit may not always given where due, and end-users may make unreasonable contractual demands regarding rights ownership. Indeed, improving recognition of, and adherence to, licensing and copyright laws is reported as a priority by over two thirds of small and micro-businesses in this sub-sector.18
14 Skillset Picture Libraries Focus Group, July 2005
15 Skillset Picture Libraries Focus Group, July 2005
16 Skillset Picture Libraries Focus Group, July 2005
17 Skillset Picture Libraries Focus Group, July 2005
18 Photo Imaging Employer Survey 2005, Pye Tait for Skillset, September 2005
