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Toda la información en https://stockeros.com/podcast-fotografia-stock/ En el último videopodcast nos visita Philippe Degroote, un reconocido stockero que nos hablará de su estrategia en el mercado del stock. Parece que Philippe ha dado con la tecla. ¿Quieres saber cómo ha llegado a ganar 1500 euros al mes? ¡Acompáñanos! Si quieres ver el videopodcast, pincha en nuestro canal de Youtube: https://www.youtube.com/c/stooock

Hi Wicked Hunters,  Welcome back to another week of The Art of Photography Podcast.  José Ramos is a landscape photographer and psychiatrist based in Lisbon, Portugal. His photographic career began in 2004, with a body of work strongly focused on long exposure technique and storytelling. His images are multi-layered, starting with the immediate attention-grabbing landscapes bathed in exquisite light, moving to the symbolic detail of archetypical natural elements, and then completed with the written reflections accompanying each artwork. José divides his time between his artistic and medical career, strongly feeling that there is a creative synergy between both crafts, where the commonalities and differences of each discipline mutually enrich and foster his artworks. His photos have been featured in National Geographic printed editions and many other international photography magazines, exhibited in collective and individual shows, and sold as large format fine art prints and NFTs.   You can learn more about Jose: https://www.joseramos.com https://instagram.com/joseramosphotography https://twitter.com/jose_ramos https://linktr.ee/joseramosphotography Other ways to listen and subscribe to the podcast: • Spotify - http://bit.ly/twhspotify   • Apple Podcast - https://bit.ly/Theartofphotography   • Google Podcast: https://bit.ly/TheArtOfPhotographyWithStanleyAr   • Website: https://podcast.thewickedhunt.com      • Tune In (Alexa) - https://bit.ly/TuneInTheArtOfPhotographyPodcastWithStanleyAr     For those of you who want to learn more about The Wicked Hunt Photography by Stanley Aryanto: • Instagram: https://www.instagram.com/thewickedhunt/    • Facebook: https://www.facebook.com/thewickedhunt/  • Twitter: https://www.twitter.com/thewickedhunt/  • Photo prints: https://www.TheWickedHunt.com/ Don't forget to leave a review on the podcast if you enjoy this conversation. It would help us to get found and help to inspire other photographers.    ------------------ Transcription: Jose Ramos  0:00   summing up the purpose is to ever voice trying to convey the things that are important that I really want to share with others. We are all together in this so I think every one of us as kind of the duty I would say to try to enrich the world we are in and photography seems like a beautiful way to do it Stanley Aryanto - The Wicked Hunt  0:29   Hey, wicked hunters Welcome back to The Art of Photography podcast, where we share photographers journey and how photography have given us hope, purpose and happiness. And today, we have someone who been very inspiring to his voice to me, as well as his photography, he take amazing sunset sunrise as well as photography in general. So today, we have Jose, hey, Jose, how you doing? Hi there, how are you? It's very good to be here. I'm pretty excited. And thank you for the invitation. Jose Ramos  1:03   And I greatly admire your work. I want to apologise to everyone because of my English. I'm not a native English speaker, but I'm doing my best. And I hope everyone understands me well. And so I'm pretty excited to be here today. And to have a conversation with you. Stanley Aryanto - The Wicked Hunt  1:21   Oh, man, you're just too humble. Your English is perfect. Jose Ramos  1:26   Sometimes I struggle with words, I'm very used to my Portuguese, which has a very rich vocabulary. And sometimes I get a little bit lost with English, but I'm doing my best. Stanley Aryanto - The Wicked Hunt  1:37   Fair enough. Fair enough. So, you know, like, I've been following you for a while look at your photography, and they are just incredible. Like, you know, it really speak to you. Right? It really pops. But before we get into your photography, give us a little bit background about you know, who you are and how you come about photography. Jose Ramos  2:01   Okay, sure, I could give you the short version or the very long one. So I'll just try to find a balance not to bother our listeners. But I usually say that first of all, long before photography, I was passionate about nature. I was born in Portugal, in a small town in the south of Portugal. So we were quite used to go to nature, I used to do a lot of mountain biking, I always felt these instinctive needs to be in quiet places, beautiful places, forests, etc. And right from the beginning, I've always lived in nature. I didn't have any artistic background in my in my family, unfortunately. But I know that from quite early, I wanted to express myself and I wanted to use art in some way. I used to live literature, philosophy, spirituality. But then I got into music. Actually, as a rock band still in this small own town when I was still a teenager and heavy metal bands. We are we were kind of the outcasts in our town. But already had this need to, to express something. And I used to use music to do this. At the same time, I continued my ventures into nature with no artistic purpose. Then, when I was 18 years old, I had to go to college and I went to medical school in Lisbon. And I found myself all of a sudden, completely overwhelmed with 10s of things to study, and barely no time to devote to music. We used to play electric guitar. And I was really struggling with that because I needed an outlet. Medicine was extremely demanding 10s of mental work and not that much in terms of expression. And as if that wasn't enough, I was in a big town I was in Lisbon and contact with nature was greatly reduced. So it was absolutely everything. A big big angle over of both nature and creation. And my encounter with photography. It was extremely spontaneous. Digital Photography just became a thing. This was probably 18 years ago. Yeah, I'm now 14. This was 18 years ago, I was in the middle of my of my graduation. And I asked my parents to buy me to offer me a digital camera. It was a three megapixel compact camera, no artistic purpose at all. I just wanted it to be as small as possible. I didn't care about megapixels, anything like that. But the interesting thing is that when I got the camera, which I just wanted to capture some snapshots of my daily life, it just made me so starts looking for things that were special things that were beautiful and inspiring. And as soon as we, as I realised, I was starting to venture much more into nature than before I started capturing images. Still, I didn't have any artistic purpose in debt, but the images were just kept on my harddrive, I was starting to feel the pleasure of capturing the beauty that I was seeing and recording it with the camera. And that was until a friend of mine suggested me. This wasn't so long ago, 1817 years ago, to share some of my nature images on online. There were no there was no social media back then we already had photo communities. So I started posting in a website, which still exists today, which is DeviantArt. It had an absolutely incredible photo community back then, every one was there incredible artists. So I just accepted to put one or two terrible photos there. And I was extremely surprised with the community energy. I got comments, I commented on other people's photos, it was extremely clean in terms of energy, there was not the current vibe, numbers and everything else. So all of a sudden, I was finding the creative outlets, which joined both my my wish to express what I felt, and also my love for nature. So it was kind of a perfect combination. It replaced music, it became my favourite form of expression. And so I just got absolutely addicted to it. Then I entered my specialty in psychiatry, when I officially finished graduation. And things just kind of exploded from there. Because I got extremely even more fascinated with photography, when I learned about its power, not only for expression, but also for wellbeing for so many things. And then publications, exhibitions, photo tours, and social media and everything else started appearing. So I just found myself having to kind of divide my time between practising medicine and doing photography. So I just got fully addicted. And we are here today because I'm continue. I still continue to be addicted to photography. Stanley Aryanto - The Wicked Hunt  7:31   That's incredible, man. Like, this is why I love like, you know, this podcast because like, in just six minutes, I know you more than I would have, you know, following you for all this time. And so yeah, that is so cool. You used to play in a band. I used to be a drummer, actually. So, Jose Ramos  7:49   so that's awesome. What musical style may I make? Stanley Aryanto - The Wicked Hunt  7:54   I used to like a punk rock. That was okay. It's like cool. That's just like the blink 182 sort of a thing. But it's really interesting because you you say you used to like music, and then you kind of found photography and you shift across you still like music or kind of what makes photography take over from being able to express yourself through music instead? Jose Ramos  8:25   Yeah, that's a very, very interesting question. And I would give a superficial first answer, which would be convenience. And I'll explain why. Because most of the members of the bands, they actually also came to Lisbon to study. We were all 18 years old, and we tried several times to reunite the band and continue rehearsals. But the thing is that doing rehearsals in Lisbon is totally different from doing in our small hometown, where we were the garage of one of them, we just anqing we just hang out there, or virtually all afternoons. And in Lisbon, all of a sudden, we had to book a studio, we had to have a schedule, we had to pay, and we tried multiple times, and it just did not happen. So the thing is, all of a sudden photography gives me something that I love, which is my own space, my own silence my way of doing things of breathing, of taking my time. And even though I lost kind of the teamwork part of it, which is important. I gained a lot with photography. So firstly, it was convenience. But then I felt that I was gaining much more. expressing myself through photography, and the potential of sharing, communicating and discovering other people's work was incredibly it was more amplified. So that's why in a very smooth way photography replaced music in I live. Stanley Aryanto - The Wicked Hunt  10:00   That is awesome. Thanks for sharing that. And it's really interesting how you say that, you know, you can't have the superficial reason to start photography, but you get deeper and I feel like it's a common occurrence, you know, after like, interviewing over 45 people in my podcast, that's kind of what I see, you know, like most people start just just go on a holiday take photo, but they got really into deep on it. And it it seems like photography habits way to do that. Now, one thing that I'm interested in to hear from you is, you know, expressing your you say this notion about expressing yourself to photography, right? So how does that different between expressing yourself to photography versus expressing yourself in the music? Jose Ramos  11:00   Okay. First of all, I want to just a little compliment to you, because you mentioned that we've interviewed a lot, a lot of people, I was quite terrified when I saw all the big names you have already interviewed. So I congratulate you for that, because it's a very important thing that you are doing for photographers and, and also because I read your very interesting manifesto about the emotions that photography brings to our own lives, including some periods and when you have struggled, and you are clearly one of those that s photography need his life to express something in to get a deeper purpose and meaning. So I just wanted to congratulate you, first of all because of that, and it's good, because I listened to many of your podcasts. And yeah, you always seems to search for these common threads, that people are not doing photography just for the sake of it, which is quite important. So go into your question about expressing myself through music and through photography. Once again, photography was so much smoother and elegant for me than music. In music, you have the craft parts, you need to practice a lot, you need to be extremely obsessive. If you want to play well, you probably felt that we did drums, I don't know if you felt that as deep. Because it's a punk rock. And sometimes punk bands want to be more spontaneous. Our metal band was kind of technical. So it got kind of complex. So you were to spend hours and hours and hours practising scales and everything else. And I just hated it. Because I already had the discipline for the studies. And I wanted for the expression in arts to be something more effortless, more spontaneous. So expressing myself with music, it was extremely empowering. It felt extremely good. It was fantastic when we were playing together when we were giving concerts. But there's something deeper and more profound in artistic expression through photography for me, okay, so probably many people, mostly musicians will feel the opposite. But for me, the whole process, the slower thought process and creating process and the travelling and being in the middle of nature, and thinking about what you want to do. And all the time you have in the world to look at your images and try to understand what they're telling you and write about him. For me. It's a much much richer experience. So music is more like in your face. My visual filling is this one. I'm filling it right now. Please take hits, and you can go into the mosh pit right now insert at all. And photography is kind of a more, I would say existential craft. It's a slower one. And well I like it more right now. Stanley Aryanto - The Wicked Hunt  14:13   Oh, amen. That is That is awesome. I love hearing that, you know. And I appreciate what you said earlier that you know, that's very kind of you. At the end of the day i i look for people who who have inspiring stories and one of the reason why I want you to be here is because the way you you tell story not only through your photography, but also through your words. So, you know, I don't just speak anyone who big have a big following. But you know that what you just said earlier just shows you know why I want you to be here because you really take meaningful approach to your photography right now, it's really interesting how you say that In music, you kind of have to work hard to get good at it. And then you become you burn out, right? You hated what you're doing, because you're just practising too hard. Now, when it comes, I mean, with anything in life, right? If you want to be good at it, you gotta learn. And then you got to practice. And I'm sure you've had a lot of practice a lot of trial and error with your photography as well. So how, how is that different with your experience in music? And what sort of advice you could give for people who are feeling that way, you know, who are feeling like, they've been at this photography for so long they practice and practice and practice and they hit a wall, and they just burn out? Jose Ramos  15:47   Yeah. It's also a great question. And I love this kind of interviews, not just the typical technical questions, I prefer these ones. Yeah, first of all, I didn't want to send out the message that for me, photography is absolutely easy, because it's not, I have already struggled a lot with photography, not in terms of creative block, because I have kind of a controversial opinion about that. I don't think that there's creative block when our subject that we capture is nature, which is something kind of endless, in its beauty and possibilities. But I think we can F inner blocks. So photography, it took me a long time to get to where I am right now. But it was not as hard and as tough as it used to be music because with music with the practice of the instrument when I was practising, I didn't feel like I was doing something inspiring. And when I'm learning photography, I'm in the middle of nature, or not closed inside my room, looking at nothing and trying for my fingers to move as they should. I'm in the middle of a beautiful forest, taking terrible photos, or in a seascape doing terrible photos, but I'm there. So the act of doing photography is just a small part of everything, just a small part of hiking, of looking at the sunset of chatting with friends while you are doing a walk sharing with your partner. So we just became extremely spontaneous, because I just loved everything about the process, not just the click of the button. But all the process was good right from the beginning. And just like you said, my first images were not satisfying at all. I'm one of the few that still has this whole portfolio online. If you go to my Deviantart, you can see my terrible photos from 18 years ago. And I think it's kind of a small legacy that I have just to show how terrible one can be in the past, and how one can kind of improve, but I still have a long way to go. So if someone feels stuck going to your main question. I would say and probably this is kind of related with my practice in psychiatry, and also with my notions of how photography can have meaning to you. I think that if you if you are genuine, when we're trying to really express something that's inside you, you need to have a purpose, you can just want to share the beauty of nature, this is a very deep purpose. It's not something superficial. But as long as you want to do something and reach something, I think you will always channel all your insight into it. So it will just appear people that are struggling, usually, they feel blocked, because there are some outside expectations from them. For them that kind of overwhelmed them. Beat numbers beat many beat survival beat anything. And all of a sudden, when you start being absolutely genuine towards your goals, your body will react Your body knows it. There's some sorts of this is controversial also, scientifically speaking, and I should only say scientific accurate things. But your body just signals, the stress, it signals the lack of genuine unity. And some people ever very natural talents to enter into some sort of false self state where they pretend to be something but most artists, they just can't do it. So if someone has a big, big creative block, I would mostly suggests for them to stop a little bit, turn out the noise of social media, the numbers, the competition the game and just think about what they want to bring to the table what they need to channel from the inside. And I think this makes a huge difference. Okay, it's easier said than done. But well, I think it's the best advice I can give now. Stanley Aryanto - The Wicked Hunt  20:08   Wow, that is one whole lot of wise words in just few minutes. Yeah, listeners, if you, you know, you probably going to have to go through this few minutes over and over again, if you hit a roadblock or a mental block, because I think what you just say there really hits in the nail. And as you were just saying that I, I was I was, I was thinking about the time when I hit a burn out. And actually, you're right, at that time always Like, going up with the expectation to shoot something that is, you know, that is appealing to the social media mass, right, not really the thing that but not not really shooting for myself. So that's really interesting. I'm glad that you share that, because I think a lot of people might not realise that until either, you know, come across this, several podcasts talking, you know, with someone like you or actually being told. So, thanks for sharing that. And I'm glad I'm talking to you today for sure. Because I'm sure other people out there will draw inspiration from this. Now, Jose Ramos  21:25   it's my pleasure. And just sorry for interrupting you just a little bit because I just wanted to add something, which is probably also quite important to the people that might be listening to us. It's that I've also been there, I don't want to come across as the guy that knows it all that I'm the psychiatrist. So I'm protected for from all kinds of mental illness. I usually say this to my patients. In the middle of all medical specialties psychiatry, as the the most the most increased prevalence of mental illness problems, okay. So I just want to transmit that doctors also suffer, just like photographers and artists. And I've also been there I've been in the game number, I felt, I wouldn't say burnt out but and successful. And I remember plenty of times of trying to enter what I mentioned as kind of a false self state, where I wanted to emulate something or someone when every image at to be absolutely epic and bombastic. And it just doesn't work. Because that's not how we were, how we are wired. And it's extremely, it's extremely harmful for everyone. So I want people to know that I've also endured and struggled quite a lot with those kinds of feelings. Perhaps I had some extra tools to think about it. So I'm still finding my way, truth be set. I'm currently in the process of trying to reconceptualize many things that I've been doing this is mostly related with the controversial NFT space, which has some very good things along with it, but I'm also in the path. So I haven't found the solution at all. I'm just trying to learn how to protect myself as much as possible to make this path genuine. So that that's the main message. Sorry for interrupting, you can continue. Stanley Aryanto - The Wicked Hunt  23:30   No thanks for having that. I think that's really important to hear that, you know, even the best of us gone through all that. I feel like the social media have this notion that makes people who are in the social media looks perfect, right? But at the end of it, we are just human. Now, you say something really interesting, earlier about, you know, you go into this as well. And, you know, you have this this issue as well. But you know, like you say you are trained, right, you have the tools, but something that I realised from my own experience is when when we look at someone else we could, we could clearly see it, right? It's like oh, okay, you're, you're you're you're having this struggle, this challenge and you should you should do this a, b and c because you should show it from you see it from the outside. Now for ourselves, it's different because we are part of it, we are emotionally attached to the problem to whatever it is like you know, the survival method or sorry, the survival state that you mentioned, for example. So what is your advice to be able to take to be able to recognise your own state and to be able to give, take your own advice and actually implement it as if you are talking to us someone else, Jose Ramos  25:01   when once again another extremely challenging, but interesting question, the kinds of questions that I like. Because there's a reason why I said it's easier said than done. Because it's all extremely, I wouldn't say easy, but it's more comfortable when I'm sitting in the doctor's chair, and quite difficult when I'm on the other side. So that's why I said that I have some tools to help me navigate it. But that doesn't always make it easier. It's like, it's like diagnosing or treating someone from your family, you just don't do it. Because you aren't attached emotionally to this person, you cannot have lack of biases that will kind of contaminate your, your evaluation. So sometimes it's even harder for a psychiatrist to be suffering mentally, because it will start creating all sorts of theories, it will start triggering lots of alarms of what's going on with me, am I becoming a patient? Will I need medication, and then all the brain process to approach this sometimes becomes harder when it's related with ourselves. So the thing is, most of all, I always try to build back to what I mentioned before, which is the feeling that on your inside, you feel comfortable, you feel pleasure, while you're trading your art, you feel that there's some sort of narrative that is related with you, it's aligned with your goals, it's aligned with who you want to be in this very short life. It's aligned with what you want to transmit to other people. And it's only when I do this, and this is completely unrelated with psychiatry itself, it's only when I do it is that I probably get a little bit more grounded, and managed to look at things from the outsides. I also have some further tools, because I've been doing a lot of research about using psychedelics for treatment of psychiatric illness. And I tried to bring a lot of that also for my creative expression to my photography. And I mentioning this because in the end, we are all so immersed in our own selves in our rigid ways of thinking, in our rigid ways of feeling that when we get out of this huge bubble, and we look from the outside, it's so much easier to fix things. And this is achievable through therapy through medication through other means. But we can also do it ourselves, as long as we are not mentally Hill, as long as it's not absolutely uncontrollable, we can stop and look at our insight, we can meditate, we can think about what we're doing, once again, the purpose. So that's what I had to do with myself, I could not be my own psychiatrist, I had to be used, they're thinking about why it's just they're suffering so much, and what's wrong? And what kind of external forces are being toxic? And what did I want it to transmit with my time spent with art. So this was kind of the path that I was able to, to follow. Stanley Aryanto - The Wicked Hunt  28:32   Fantastic, thanks for sharing that and explaining that. Now. You mentioned something very interesting in the answer the the you know, you in order to get away from this, what they call it the burnout, you are focusing on your purpose, right? In photography. So share with us a little bit what is your purpose? What is photography to you, and why do you take them? Now I know in the beginning, you have an entirely different reason. But now you are here, and it gives you a lot of fulfilment. How does that do to you? Jose Ramos  29:13   Yeah. Well, photography, just like I told you before, I think I'm still in the middle of the path. I probably will never reach the end of the path because it's all about the journey. This sounds like a little bit of a cliche, but it's the absolute truth. But yeah, the the initial purpose it was just to capture spontaneous moments. And then all of a sudden it became a channel to to express things that weren't inside me. You could ask Why have I chosen nature? Why not go to portrait photography, street photography, documentary, photojournalism, etc. But just like I said, In the beginning, I've always been fascinated with nature. I think there's so much more More to nature than what's immediately apparent. And for me, images have a lot of layers. I know that someone that looks at my portfolio, if someone doesn't spend more than 30 seconds on my portfolio, like probably 99% of people do on social media, because it's everything is so quick and accelerated. But if people look at my portfolio, they'll see lots of Hi Candy, as I usually say, very captivating images, lots of colour, I'm not afraid at all to work with colour. And I know this is also a little bit controversial. But if people look at my images, they will see intense slide long exposure, immersive compositions, and people would think, okay, there's another guy just doing pretty nature images. And that said, let's move on, let's look at something else. But the thing is, be it with me or with any other photographer, his images will always have more layers. And when you stop to look at an image, when you look at the intent, when you look at the biography of the person, when you look at the purpose, you'll see that there's the immediate aspect of looking at it and being captivated. And when you grab someone's attention, and that person wants to spend some time trying to understand what you're doing, that person will see that there are more elements on the image, there are potential symbolisms in the image. And if the person the artist wants to write something about it, you will probably see that there's a story attached to it. So my meaning right now, my purpose is most of all, to grab those subjects, which are extremely important to me, and channelled him as well as possible through nature. I think photography gives me the privilege of being able to get someone's attention in a very beautiful and spontaneous way. And channel, something that is meaningful to me, it can be just the image, someone might choose not to read anything at all about it. And that's perfectly valid. Or it can go much further than that. So my purpose is to captivate to show how beautiful is the ecosystem we live in, and then try to pass the message regarding conservation, regarding mental health regarding purpose, meaning, relationship between mankind human kinds, and the planet we live in, not taking things for granted spirituality 10s of things that are very, very important to me. That's why I say I'm still in the middle of the path, because I can say that I have some kind of branding, and I hate this word branding. I think people should not need to emphasise branding at all, because they are so much more than a brand. But I'm kind of all over the place, conceptually speaking, and I'm trying to channel this message in a more effective way. But while this is a spontaneous conversation, and summing up the purpose, is to ever voice trying to convey the things that are important that I really want to share with others. We are all together in this. So I think every one of us has kind of the duty, I would say to try to enrich the world we are in. And photography seems like a beautiful way to do it. Stanley Aryanto - The Wicked Hunt  33:35   What a beautiful word. Word that is Jose, I think what you say there on that last sentence, you know, to enrich the world, you know, whether it's through your photography, or music, or whatever it may be, you know, or simply just expressing yourself, I think that is an absolute important thing to do. So you know, what you said is just incredible about conservations and mental health. It's all the things that not always been talked about, but it's so important to focus on. Now, one thing that I want to ask you is going back to what you say, right? In order, we don't want to get caught in this numbers game about Instagram, or Twitter or whatever it may be right sales, whatnot. But at the same time, they are important, especially for artists who are doing it full time, right, because they are a way for them to get seen and to share the message. So one thing that I'm interested to hear your thought on is how do you find that balance? How can you focus on the numbers so that it can support you to do more Have what you love, instead of crushing your true purpose, or your initial purpose on why you want to do photography in the first place? Jose Ramos  35:11   Yeah, that that's very interesting. And I want to do another important disclaimer, which is my income also comes from photography. Unfortunately, in Portugal, doctors wages, they're not good at all. I know, this happens in a lot of countries. But we get lots of invitations to go work to the north of Europe and other countries. And there's absolutely no comparison in terms of income. So right now, I'm kind of splitting my time between photography and psychiatry, I'm doing private practice, only to have time for art. So it's like I care about it. I care about how people view my work, I care about income, I care about how to transform this also into business, and this is a business. So reaching that balance, once again, it's easier said than done. Because when you are really struggling to pay the bills, when you need to put food on the table, you just need to have the numbers, you need to have the exposure, you need to have the licencing you need to have the collaborations, and it can be extremely challenging. And the problem is that most of social media of the social media game, it kind of obeys to preconceived aesthetic notion of what's good, what's of what results, there's this great example of Instagram, Instagram kind of revolutionised, the way that photos should look. Before Instagram, it used to be the classical old school photography, landscape photography, with its strong colours, like I mentioned before, and then all of a sudden, you had a revolution, strongly attached to travel photography, and not to classical landscape photography, even though there's a strong overlap in this, but people who want it to survive, most of them had to adapt. Now the thing is, can you keep being genuine, while changing part of your outputs and your colours and your countries? And the way you edit your images? I think it's possible. I think there's always a balance, because as long as you have some further purpose, they're not just making money for the sake of it. I think it comes naturally. So the way I try to handle all of that is exactly by having something that I need to transmit to other people, and hoping that this resonates with enough people that will get me the much needed income, if that didn't happen. And sometimes I wonder what if I went full time. The main reason why I don't go full time, is because not only I love doing psychiatry, I also feel it's absolutely essential for the arts, just the way I feel that art is essential for my psychiatry. But if I went full time, and all of a sudden, I could not pay the bills, I would not have any problem at all to jump into something that would be a little more profitable, both in the photography field or in other areas, as long as I add enough time to continue being genuine, and creating my arts, because once you stop doing it, then I think it's kind of a rune. So it's probably a matter of balance. And even though I'm against the game number, I understand why it happens. I think we need to play it just don't be too caught up in it. Otherwise, if we all of a sudden start thinking that our value is fully placed in the numbers. That just means we lost contact with our insight, but I obviously like to have comments. I love to have exposure. I like to have followers, I like to be contacted by brands because it's kind of an extension that you are doing work that it's being noticed. But most of all I want the main purpose of being not just to be because people resonate with the message and the rest is kind of a bonus that spontaneously comes Stanley Aryanto - The Wicked Hunt  39:28   that is really really good way of putting it and I love how you say, you know, the most important thing is about people resonate with your message and then everything else if that fits then it's good. If not, then it's okay sort of thing you know, well as you know, it's different compared to trying to please every single person out there. So I think that is a really good thing to to notice or to recognise when you are a photographer or anyone no matter as a matter of fact, right? It's never good trying to please everyone. Now, one thing that I am, I'd love to hear your thought on, you touch on photography community back then how genuine it was right. And in today's world, I feel like a lot of that genuinely, sort of disappear. It's more about like you say, you know, a numbers game, the exposure. More often than not, we interact with other accounts for the algorithm instead of for the genuine expression of our feeling towards the art. So one thing that I'm interested in is to hear your thoughts about how the community was before, and how do you feel the community is today? And what do you think we can do to make, you know, whatever we have today, a better place a better community a better interaction with each other. Jose Ramos  41:11   Okay, well, thinking about the community before. And using the example of sites like DeviantArt, like I mentioned, I was in another site, which was photo seek, which does not even exist anymore. It had a very interesting rating system where people had to write proper, thorough comments, detailed comments on each other's images that then would be voted by the community. And people who actually went through the effort to write meaningful critiques, they were benefited with this, because then they could post other comments, they could post their own photos. And the system kind of Fed itself in a very healthy way. The same happened with DeviantArt. Not with this ingenious system. But there was a big, big sense of community there were journaling there, there was journaling, there were very detailed comments, people established very meaningful relationships. There, there was already some kind of a draft of the numbers game, it existed, but it was not as focused as now because right now, it's kind of hectic and frantic, fast machine of media consumption. So when you have more time to look at things, we're not constantly being overwhelmed with stimuli. And social media sites are fully engineered to get not only your attention, but just your short attention, they don't want your long spent attention working because that means less viewing less ads, less profit. So regarding what we could do, I have a good example right now, which is a very controversial example. And you know that I'm going to bring this up, because we we kind of met also through Twitter, which is the NFT space, which, in the middle of all, its big toxicity, it brought something very interesting, which is once again, the focus on the message and the focus on the relationship between photographers, as a community that needs to support itself and beyond the same boat to have success as a wall as a whole, and the relationship with collectors. Because all of a sudden, I realised that mostly regarded with landscape photography. It's not a respected genre of photography. In the fine art gallery world, obviously, some people make it, but the big, big bucks, they are made with other styles of photography. And many people are realising through the democratic zation of the access to the NFT space, the collectors already sent traditional collectors, that landscape photography also has a place in these big gallery world in this big museum world. Where probably we can have a good balance between not being constantly exploited by Microstock, photography website, websites not being exploited by brands who want everything in exchange of not that much. Possibly, we have a place in this whole ecosystem of this all economic ecosystem where if we have a message, if we have something different, that we want to show to the world, perhaps we can have a sense of community, we can have time to interact with other photographers, artists collectors, and that will have the added bonus the Edit essential bonus of getting an income from this. So I would mostly love to see all the websites shifting from a perspective Have not just focused on quick profits and quick visualisation, but on taking the time to be with people and to be with art, obviously, this is wishful thinking, this is probably not going to happen. There's way too much money in all social media websites, probably the voice of the people can make itself heard. It's happening with all the backlash against reels on Instagram. And I think that's, it's good that it's happening. But I don't know how strong of a voice we can have to make that much of a difference. But at least we need to try. And I usually never did podcasts, I just love being this behind behind the camera. And I think that we need to start being a little bit more activists of our own craft, and of the place we deserve. In the global landscape, no pun intended, in the global landscape of the art world. To make things better, and to make interactions much better and out here, most of all, Stanley Aryanto - The Wicked Hunt  46:05   that was a good point, I must say. Yeah, that's, thanks for sharing your thoughts on that, it is quite interesting how to see your perspective on this whole, how everything kind of fit in, you know, with the NFT with the landscape photography, and with just other photography in general, I think that's, that's quite an interesting take that you have in there. So one thing that I want to get into is that, you know, you kind of do photography, and psychiatry, being psychiatrists at the same time. And I love how you say that, you each each one of them need each other, and each one of them support each other. Right. And I think that's, that's really interesting, because I can totally resonate with that right. Now. One thing that I I'm sure the audience would like to hear, right, a lot of them love photography, you know, a lot of photographer love photography, that's why they got into it. That's why they buy they buy, spend all their money on these really expensive things. Now. If there is a chance for them to, you know, earn back and just get a side income or whatnot, to be able to fund their next travel or to be able to upgrade their next camera. How based on your experience, how would you advise? How would you recommend them to look into being able to find those side incomes? Jose Ramos  47:50   Well, first of all, if I focus mostly on nature, photography, and landscape photography, looking at the overall situation of most photographers that I know, and I will say, unfortunately, once again, because I would love that landscape photography would be recognised as a type of art, which is worth by itself, in art by other kinds of side gigs. But most of all, as long as you have a good portfolio, as long as you are inspiring, as long as you know your way around editing, as long as you have good quality images to show, you have the classical photo tour route to follow, which is extremely profitable when when done, right. And it has a very interesting purpose specially for the people who live to teach. It's an absolutely beautiful way to practice photography. I'm more of the solitary kind of person that likes to have its own space to do his photography. But for people want to have a side income with their images, as long as they have good visibility. And there we go with the numbers game. If they have good visibility, if they establish meaningful contacts with people, they will probably start being invited to show them to show them those places to show them how they capture those images. And in a very spontaneous way, they will be able to get a good income from that. And even more important than that, even more important than the numbers, the good old technique of taking people to your website where you can show much more about who you are not be totally dependent on social media but use it as a way to channel people into your own place. The place that you were you chose the design you chose how you present yourself and you are not just someone else in the middle of 1 million trade photographers. And when you do that, you get the chance for them to subscribe potentially a newsletter and then all of a sudden we have this privilege access to show to these people. What you really like to do, what are your messages, what you can offer them, and in a very spontaneous way, as long as you put your art into everything, and assuming your artwork inspires other people, I think site income will always appear. The big question is if it's stable, and if it can become the main income, but getting side gigs, as long as you put some effort into it, I think it's, it's doable. Stanley Aryanto - The Wicked Hunt  50:32   Fantastic. That is great advice. And I want to segue to I know that, you know, you've your photo have been published in National geography in, in Spain, right. And, you know, first of all, congratulations, that That photo was incredible. Now, I know that for many photographers, that has been, you know, their dreams, including mine. Now, I'd love to just hear right while I have you here. What? How did you What are your journey to get your photo published with magazine like, NatGeo? And how, what advice would you give for someone who want to have their photo published with Nigeria? Jose Ramos  51:15   Okay? Before and i Unfortunately, once again, I'm always regretting things, it's kind of like a pattern, I need to analyse this as a psychiatrist. But I was going to say that unfortunately, I lost a huge opportunity to be noticed by NatGeo, which was their website, the your shot photographer, from NatGeo. And I didn't used to pay attention at all to it. And I know plenty of photographers that's kind of noticed by them, and add some sort of special place to not only publish in magazines worldwide, but also to be featured on their huge Instagram pages. So I missed that opportunity. And the way I got into NatGeo, was mostly, it was locally related. So there were these big groups. In both Portugal and Spain where people used to share their images, these groups were kind of scouted by the editorial team of Nachteile. And going towards the guidelines of Nachteile. I think they identified with some of my works, because NatGeo is still one of the few who once again, I know I'm constantly repeating myself, but they put lots of focus on the message. It's not just about 3d images, I would actually go as far as saying that most of my images, they are not natural or material, because they are usually I would say less edited less impactful. They want to be a little bit more immediately related with the perceived reality. And I usually like to give some artistic expression on my images. But some of them they possibly could potentially fit the magazine. And I think that it was along with the story along with the fact that I always put great effort into describing why that image was different white at some meaning, why I captured it, why the viewers can relate with it, that I got the first context to publish with them. And as soon as you get the first publication, then it becomes easier, you have just opened a communication channel. And right now I have the privilege that I can reach out to them when I think I have something different and relevant to show them like a photo of the volcano that I did, like the Milky Way over an Ancient Bridge in the south of Portugal, which has never been photographed before. When I have something that I think that brings value to readers, I contact them and ask them if they're interested in publishing it. If I started bombarding them with every image that I had, probably they would just block me and shut down our email contact. So it's I think it's mostly related with trafficking and adapting the message to the medium where we want to be published. And I also need to do another disclaimer, I've been featured on their visions of the earth section, which is just one single image with a small description. But I've never done editorial work for them because the work with lots of extremely talented photographers with a specific photo photographic purpose to show something and I didn't follow that path. But it's also another very valid pass to be able to be published there. So adapt what you're doing as long as it's genuine. Anyone identify with it to the place where you want to get published. Stanley Aryanto - The Wicked Hunt  55:01   fantastic advice, that is really good way to put you know how people can pursue that path. So thanks a lot for sharing that and congratulation to you. Now we are kind of coming into the last hour, you know, the one hour mark. And one thing that I always ask my guests in this podcast is that if there was one advice, whether it's photography or life advice that you would give to your younger self or to other people in general, what would that be? Jose Ramos  55:36   Okay, you save the toughest question for for for the end of the podcast. So let me just put my neuron my brain neurons firing and thinking about what could be potentially inspirational. But, well, taking from some of the things I've said during this podcast, I would tell and recommend people to first of all, look after their mental health. And I'm not saying this in that classical paternalistic style, of like, some cliche phrase, but most of all, feel comfortable when you are doing art, feel that there's something you are showing of yourself, which is genuine, and which is good towards others when you are trading your heart, your art, and most of all, don't get lost in the number game and value meaningful connections with people that will bring you way more satisfaction, if I could. And I've said before, during the podcast, that it's easier said than done. And I find myself also caught up in the game of numbers every now and then the main message, I would stream to myself and tell myself to stop looking at the numbers and establish meaningful artwork and meaningful connections. That's the most important and I think that will always bring something good, be it money being well being. I think it's the path to go to choose. Stanley Aryanto - The Wicked Hunt  57:11   That is a fantastic advice. Jose, thank you very much for sharing that. All right. Well, you know, it's been great talking to you. I love you know, just chatting with you. And I hope we get to meet in real life one day, Jose Ramos  57:26   that will happen we need to make sure that will happen. Stanley Aryanto - The Wicked Hunt  57:30   Yeah, let's go. So for people who want to learn more about you your story, your mission as well as your beautiful photography, what is the best way to connect with you? Jose Ramos  57:44   Okay, I think the easier way and just like I said before, it's kind of the, the the ideal starting point is to go to my website, which is www dot Josie Josie rammos.com I'm gonna say it in English and not in Portuguese. Or you can go to my Instagram page, which is Jo Jo's there Ramos photography or to Twitter, which is Josie underscore, Ramos. Okay, so these are the best places to find out about my work. And feel free to reach out if you search by Tracy, psychiatrist photographer from Portugal, you'll probably also find me on Google. So feel free to find me in any way you prefer. Stanley Aryanto - The Wicked Hunt  58:31   Fantastic. Thanks a lot for sharing that and don't worry listeners, you will get the link on the description. So if you are listening to this and you're not sure if it's Jose or Josie, you know, just go on the link you'll get you know exactly the exact link so that you know how to find him. Well, thank you very much for being here. Jose, that's how you say in Portuguese, isn't it? Jose Ramos  58:57   Actually not. It's juicy? Juicy. Okay. It's not easy to pronounce. So I was telling you I prefer to give the the English Americanized version or people would not probably translate it properly to the right characters. So it's using in Portuguese juicy. Is that Is that right? Yeah, that that's pretty pretty close. Oh, wow. Yeah. Stanley Aryanto - The Wicked Hunt  59:24   I used to live in LA right. And all I have a lot of friends from Mexico and basically Latin America, but they think there's pronounced Jose. So it's different between Hispanic and Portuguese. Okay, well, that's good to know. But yeah, thanks a lot for being here. Thanks for sharing all of your wisdom as well as your story. And hopefully, listeners you can find a lot of wisdom, a lot of inspiration from not only the journey but the advice that juicy Is that? Jose Ramos  1:00:01   How almost I can say it's perfect? Stanley Aryanto - The Wicked Hunt  1:00:05   Yeah. All right, well, um, listeners, if you haven't subscribed yet, subscribe yet, make sure you hit the subscribe button. We'd love to hear your feedback. If you do enjoy this podcast and if you know other photographer who you'd love to have in this podcast, please reach out to me on my instagram or facebook, which is or Twitter, which is just at the weekend, and let me know who I should bring to to the podcast. But thank you very much for being here. I know, your time is important. And you have shared that time with me and I very much appreciate that. Jose Ramos  1:00:44   Thank you for my absolute pleasure. And thank you for the opportunity. Stanley Aryanto - The Wicked Hunt  1:00:49   All right, well, weekend, as always, I'll see you again next week. But for now, make sure that you keep shooting keep creating and don't forget to stay smiling. Until next time

Toda la información en https://stockeros.com/podcast-fotografia-stock/ Carles Navarro y José Luís Carrascosa contestarán diferentes preguntas del consultorio Stockero. Hablamos de exclusividad, agencias, estrategias y mucho más. ¡No te pierdas un episodio muy didáctico!

Toda la información en https://stockeros.com/podcast-fotografia-stock/ Primer episodio del Podcast Fotografía de stock 2022 ¿De qué vamos a hablar hoy? Hablamos de agencias de microstock y estrategias de diversificación del portfolio para crecer en microstock. Repasamos las agencias que mejor funcionan y… ¿descubriremos alguna agencia nueva?

The story of an amateur video maker who started selling historical footage purchased on Ebay in microstock agencies such as Pond5 and Shutterstock, achieving 1000 euros a month earnings after his first year in the microstock businessIn the 19th episode of Sell Your Photos and Videos Online, Daniele Carrer also talks about:- A tool that tells which keywords buyers of a stock image have entered- Why the same buyer should buy photos of a specific contributor multiple times- How to go from being a contributor to being an entrepreneur- The best software and marketplaces for 3D graphics- Why agencies are selling new content faster- How to shoot a hyperlapse properly- A good DSLR for shooting 8K stock footage- The new iStockphoto API key for Microstock Plus- Why can't you upload stolen videos to YouTubeFind the text of the podcast and all the links and resources mentioned on this page:https://www.microstockguru.com/selling-historical-footage/

La storia di un appassionato di riprese video che ha iniziato a vendere filmati storici acquistati su Ebay nelle agenzie di microstock come Pond5 e Shutterstock, finendo, dopo una anno, a guadagnare circa 1000 euro al mese.Nel 107esimo episodio di "vendere foto e video online" Daniele Carrer parla anche di:- Uno strumento che dice quali keyword i compratori di una certa immagine hanno digitato- Perché lo stesso compratore può acquistare più volte le foto di un contributor specifico- Come passare dall'essere contributor all'essere imprenditori- I migliori software e marketplace per la grafica 3D- La maggiore velocità con cui le agenzie stanno vendendo contenuti- Come girare hyperlapse a regola d'arte- Una buona reflex per girare stock footage 8K- Le nuove API key di iStockphoto per Microstock Plus- Perché non si possono caricare video rubati su YouTubeTrovate il testo del podcast e tutti i link e le risorse citate in questa pagina:https://stockfootage.it/vendere-filmati-storici/

Unreal Engine is a free software that allows you to create photos and videos that portray people who do not exist, but made in such a photorealistic way that it is difficult to notice that they have been generated on the computer.In the 17th episode of "Selling Photos and Videos Online", Daniele Carrer also talks about:- why outsourcing titles and keywords can increase your earnings- how long it takes to sell a newly published video- Shutterstock's increasingly insane policies- how to make money by exploiting the shortage of supply for content- Depositphotos changes ownership and business model- professional photographers' faultsFind the text of the podcast and all the links and resources mentioned on this page:https://www.microstockguru.com/photographing-people/

Unreal Engine è uno strumento gratuito che permette di creare foto e video al computer che ritraggono persone che non esistono, ma realizzate in modo talmente fotorealistico che è difficile accorgersi che sono state generate al computer.Nel 105esimo episodio di "vendere foto e video online" Daniele Carrer parla anche di:- perché delegare titoli e keyword può far scalare i propri guadagni- quanto tempo ci vuole per vendere un video appena pubblicato- le politiche sempre più folli di Shutterstock- come guadagnare sfruttando la carenza di offerta (prima ancora della domanda)- Depositphotos cambia proprietà e business model- le colpe dei fotografi professionaliTrovate il testo del podcast e tutti i link e le risorse citate in questa pagina:https://stockfootage.it/fotografare-persone/

Andrea Delbò is a professional photographer who works in the publishing world and for some important brands.A few years ago, he started uploading content to microstocks, starting with Shutterstock, and he obtained great sales with the latter, starting with a single video of 8 seconds that has grossed 4200 dollars to date.In the 15th episode of Sell Your Photos and Videos Online, Daniele Carrer also talks about:- iStockphoto and the kind of stock images that sells on it- EyeEm that reshapes the royalties it pays to photographers and video makers- a contributor who tried BlackBox as an editor- how to create model releases efficiently- why microstock is a passive income- when it's convenient to create stock footage with a fluid head tripod- how to shoot an Ironman event- why the photography business is changing- selling your photos directly on ArcadinaYou can find the text of the podcast and all the links and resources mentioned on this page:https://www.microstockguru.com/photographer-4200-dollars-stock-footage/

The story of a video maker who started the digital business by selling stock footage in the various microstocks and, after obtaining good results, expanded his projects by becoming a bitcoin miner and a podcaster.In the 14th episode of Sell Your Photos and Videos Online, Daniele Carrer also talks about:- Listeners who write books and launch digital tools for microstock contributors- Getty Images buying a site where they give away photos- How to open two contributor accounts in the same agency- Photos that are accepted by one microstock and rejected by another one- How convenient it is to keep detailed track of sales statistics- A review of iStockphoto made by a contributorYou can find the text of the podcast and all the links and resources mentioned on this page:https://www.microstockguru.com/microstock-producer-bitcoin-miner/

এক্সপার্ট গ্রাফিক্স ডিজাইনারদের চাহিদা আগে ছিল, বর্তমানে আছে এবং ভবিষ্যতেও থাকবে। আর এই ইন্টারনেটের কল্যাণে গ্রাফিক্স ডিজাইনার হিসাবে অনলাইনে আরনিং এর ক্ষেত্রও এখন অনেক বেড়ে গেছে। তাই আপনি আমাদের Adobe Photoshop and Illustrator এর কম্বিনেশনে তৈরি কমপ্লিট গ্রাফিক ডিজাইন কোর্সটি ভালোভাবে কমপ্লিট করার মাধ্যমে নিজেকে এই সেক্টরে এক্সপার্ট হিসাবে গড়ে তুলতে পারবেন। ফ্রিল্যান্সিং এবং ৮টিরও বেশি Microstock সাইট থেকে প্যাসিভ ইনকাম করার গাইডলাইন সহ ১৫০০ ডলার সমমূল্যের ডিজাইন রিসোর্স এই কোর্সে দেয়া হবে। কোর্স লিঙ্ক চেক করুন, আরও বিস্তারিত জানার জন্যঃ https://www.msbacademy.com/course/graphic-design-mastery

Tienes la entrada de este capítulo en el bloghttps://quieroserrico.com/193-curso-microstock-carles-navarroCurso de MicroStock: https://quieroserrico.com/curso/stock/Acceso a la academiahttps://quieroserrico.com/suscripcion-pro/Visita https://quieroserrico.com para más información.Si quieres recibir consejos, trucos y otros métodos para ahorrar apúntate a mi lista. https://quieroserrico.com/apuntate-a-mi-lista/Mis Libros:Quiero ser rico: https://quieroserrico.com/libro-qsr/Guía del Crowdfunding: https://amzn.to/2DWYvzbQuieres que te ayude a llevar tus finanzas al siguiente nivel:https://quieroserrico.com/sesiones-privadas/Dicho todo esto aquí tienes el capítulo de hoy:------------------- 1:43 Presentación; ¿Quién es Carles Navarro?6:51 Cómo definirías el MicroStock12:10 ¿Que se necesita para empezar en el microstock?18:30 Que hay en el curso de Microstock de Quiero Ser Rico25:42 un saludo a Jose Luis26:44 Especializarte en un nicho, ir a la parte más comercial, encontrar el hueco ¿Cual es la clave? 32:53 Más información de Carles - Momento Spam Proyectos: antigua web https://fotodinero.com nueva web https://stockeros.com y https://vivedistinto.com Los podcast “fotografía de stock” y “nómada digital”Libros: La vida que yo quiero https://amzn.to/3m1gV51Nómada Digital: La Libertad del S. XXI https://amzn.to/3m2ucKqY esto es todo por hoy. Si tienes alguna duda o sugerencia. Te puedes poner en contacto conmigo en https://quieroserrico.com/contacto o en hola@quieroserrico.com .Un saludo y hasta la semana que viene

Adobe Stock, in ritardo rispetto ad altri microstock, ha iniziato ad accettare stock images e stock footage editoriali, ma solo dai contributor con più di 1000 download e, comunque, non consentendo di caricare foto e video di persone riconoscibili, ma solo di loghi e altri elementi protetti da copyright.Nel 100esimo episodio di "vendere foto e video online" Daniele Carrer parla anche di:- "Fare il fotografo dopo il virus", il mio secondo libro- un illustratore che vende nei microstock- come aumentare le proprie vendite trovando una nicchia- idee concrete da realizzare per i soggetti dello stock footage- come vedere le proprie statistiche su Pond5- limitazioni nel vendere stock images e stock footage di siti archeologici- strategie per indicizzare meglio i propri contenuti- contenuti del genere still life- Istockphoto e le opportunità per i fotografi e i videomakerPotete acquistare il libro di Daniele Carrer su Amazon in questa pagina:https://amzn.to/376ixTNTrovate il testo del podcast e tutti i link e le risorse citate in questa pagina:https://stockfootage.it/adobe-stock-accetta-foto-editoriali/

Etsy consente a fotografi e illustratori di guadagnare vendendo le loro creazioni sia come stampe che come file digitali. Un illustratore racconta come con poco lavoro si sia aperto una nuova fonte di monetizzazione realizzando nel tempo libero illustrazioni con l'Ipad che poi rivende su Etsy.In questo episodio di "vendere foto e video online" Daniele Carrer parla anche di:- un produttore che ha venduto un'immagine incassando 112 dollari- come possono avvenire i furti di immagini e filmati stock- una nuova funzione aggiunta da microstock.plus- la differenza tra paga tradizionale e le royalty delle agenzie- un contributor che ha deciso di aprire la partita IVA- quanto conviene diluire il caricamento dei contenuti- come vendere cinemagraph nei microstock- Adobe Stock che inizia ad accettare contenuti editoriali (in alcuni casi)- un fotografo che vende 40 mila foto al meseTrovate il testo del podcast e tutti i link e le risorse citate in questa pagina:https://stockfootage.it/guadagnare-vendere-foto-etsy/

Il microstock è il business digitale più facile per gli amanti della fotografia che vogliono guadagnare, ma è solo il primo passo per far soldi con internet.In questo episodio un fotografo non professionista di Firenze spiega come vuole mettere in piedi un business con i turisti che visitano la sua città.Poi si parla di:- Quanto è difficile fare il fotografo professionista oggi- Produrre contenuti con la reflex, ma vendere i video dell'Iphone- EyeEm che condivide le foto su altri microstock- Associarsi a un altro fotografo per caricare nelle agenzie- Creare video partendo da una foto a cui si applica l'effetto parallax- Consigli per soggetti meno inflazionati delle città- Come diventare fotografi professionisti- Un telegiornale e il presunto furto di una foto- Guadagni di un produttore che carica contenuti da 10 mesiTrovate il testo degli episodi e i link citati in questa pagina:https://stockfootage.it/microstock-business-digitale/

Il microstock per i fotografi non serve solo a guadagnare, ma permette di continuare a lavorare imparando come fare business con la fotografia e la ripresa video nel mondo digitale.Nel 97esimo episodio di vendere foto e video online, Daniele Carrer racconta le storie di diversi produttori, alcuni con guadagni di migliaia di euro alle spalle, altri con incassi irrisori, ma che grazie al microstock hanno trovato stimoli per portare avanti attività che li arricchiscono (a differenza di altre che si fanno nel web).Si parla poi di:- Opinioni negative sul microstock Freepik- Pixta che adesso punta sulla vendita di abbonamenti- Perché il tempo è la risorsa più importante di quest'epoca- Pond5 che ha un software per riconoscere se caricate contenuti a un prezzo più basso in altre agenzie- Perché bisogna delegare i lavori più ripetitivi e noiosi- Una strategia per compilare più velocemente i model release- Perché bisogna puntare sullo stock footage 4K- Shutterstock, che per alcuni vende più di prima- Come scalare il proprio business digitaleTrovate il testo del podcast, e tutti i link citati in questa pagina:https://stockfootage.it/scattare-speranza-fotografi/

Un appassionato di fotografia e videomaking che ha iniziato 8 mesi fa, nel suo tempo libero, a caricare contenuti nei microstock, ha raggiunto 500 dollari di incasso. Ne vale la pena o è meglio fare altro se la fotografia o la ripresa video sono il proprio hobby preferito?Nel 96esimo episodio di "Vendere foto e video online" Daniele Carrer parla anche di:- Come vendere stock images sull'agenzia Freepik- Perché i compratori di Adobe Stock non cercano il prezzo migliore- La politica di prezzi di Pond5- Shutterstock che vende video a 0,77 dollari- Come guadagnare con la partnership Youtube- Lo stabilizzatore software di Premiere e After Effects- Come vendere foto e video delle Dolomiti- Stock coalition che fa accordi con Pond5- Un produttore che ha guadagnato 150 dollari con una vendita su IstockphotoTrovate il testo del podcast insieme a tutti i link citati nell'episodio in questa pagina:https://stockfootage.it/50-dollari-mese-vendere-immagini-stock/

Un appassionato di fotografia e videomaking che ha iniziato 8 mesi fa a caricare contenuti nei microstock nel suo tempo libero, ha raggiunto 500 dollari di incasso. Ne vale la pena o è meglio fare altro se la fotografia o la ripresa video sono il proprio hobby preferito?Nel 96esimo episodio di "Vendere foto e video online" Daniele Carrer parla anche di:- Come vendere stock images sull'agenzia Freepik- Perché i compratori di Adobe Stock non cercano il prezzo migliore- La politica di prezzi di Pond5- Shutterstock che vende video a 0,77 dollari- Come guadagnare con la partnership Youtube- Lo stabilizzatore software di Premiere e After Effects- Come vendere foto e video delle Dolomiti- Stock coalition che fa accordi con Pond5- Un produttore che ha guadagnato 150 dollari con una vendita su IstockphotoTrovate il testo del podcast insieme a tutti i link citati nell'episodio in questa pagina:https://stockfootage.it/50-dollari-mese-vendere-immagini-stock/

Shutterstock dopo la rimodulazioni delle commissioni che assegna a fotografi e videomaker, e il lancio degli abbonamenti low cost, sta ricevendo elogi e critiche dai produttori.Tra chi si lamenta, c'è chi fa notare che Shutterstock ha anche alzato insensatamente il livello della selezione delle immagini e dei filmati che accetta per la vendita, nonché che i guadagni in questi ultimi mesi sono diminuiti parecchio.In questo episodio di "vendere foto e video online" Daniele Carrer parla anche di:- perché gli algoritmi influenzano così tanto il microstock- un videomaker che ha venduto un video una sola volta incassando 80 dollari- un microstock che crea immagini stock su misura combinando sfondi e soggetti- perché non si può utilizzare un filtro ND negli hyperlapse- luoghi migliori riprendere a Bologna- come comportarsi se un cliente chiede contenuti su misura- una strategia per vendere le foto e i video del proprio archivio- consigli per una nuova fotocamera da acquistareTrovi il testo del podcast e tutti i link e le risorse citate in questa pagina:https://stockfootage.it/shutterstock-alti-bassi-fotografi-videomaker/

Shutterstock dopo la rimodulazioni delle commissioni che assegna a fotografi e videomaker, e il lancio degli abbonamenti low cost, sta ricevendo elogi e critiche dai produttori.Tra chi si lamenta, c'è chi fa notare che Shutterstock ha anche alzato insensatamente il livello della selezione delle immagini e dei filmati che accetta per la vendita, nonché che i guadagni in questi ultimi mesi sono diminuiti parecchio.In questo episodio di "vendere foto e video online" Daniele Carrer parla anche di:- perché gli algoritmi influenzano così tanto il microstock- un videomaker che ha venduto un video una sola volta incassando 80 dollari- un microstock che crea immagini stock su misura combinando sfondi e soggetti- perché non si può utilizzare un filtro ND negli hyperlapse- luoghi migliori riprendere a Bologna- come comportarsi se un cliente chiede contenuti su misura- una strategia per vendere le foto e i video del proprio archivio- consigli per una nuova fotocamera da acquistareTrovi il testo del podcast e tutti i link e le risorse citate in questa pagina:https://stockfootage.it/shutterstock-alti-bassi-fotografi-videomaker/

L'offerta commerciale di Pond5 verso i clienti presenta molte differenze rispetto a quella di Shutterstock, soprattutto in tema di immagini stock che, a differenza dello stock footage, Pond5 vende pochissimo.Questo si ripercuote anche nel rapporto con fotografi e videomaker che vendono i loro contenuti e ai quali Pond5 garantisce royalty maggiori e un rapporto di lavoro più improntato alla correttezza.Nel 94esimo episodio di vendere foto e video online, Daniele Carrer parla anche di:- Caratteristiche degli abbonamenti che Pond5 propone ai clienti- Come un business digitale che funziona può finire presto- Vantaggi e svantaggi di lavorare in un mercato globalizzato- Quanto più difficile sia fare business da soli (rispetto a fare i dipendenti)- Vendite di stock footage a meno di un dollaro su Shutterstock- Partnership tra diversi microstock- Come usare Microstock.plus e Stocksubmitter.com al meglio- Cosa fare con lo stabilizzatore della fotocamera quando si usa il cavalletto- Vendite di video su Depositphotos.com- Come scaricare gratis i video e le foto di ShutterstockTrovate il testo del podcast e tutti i link citati in questa pagina:https://stockfootage.it/pond5-shutterstock/

L'offerta commerciale di Pond5 verso i clienti presenta molte differenze rispetto a quella di Shutterstock, soprattutto in tema di immagini stock che, a differenza dello stock footage, Pond5 vende pochissimo.Questo si ripercuote anche nel rapporto con fotografi e videomaker che vendono i loro contenuti e ai quali Pond5 garantisce royalty maggiori e un rapporto di lavoro più improntato alla correttezza.Nel 94esimo episodio di vendere foto e video online, Daniele Carrer parla anche di:- Caratteristiche degli abbonamenti che Pond5 propone ai clienti- Come un business digitale che funziona può finire presto- Vantaggi e svantaggi di lavorare in un mercato globalizzato- Quanto più difficile sia fare business da soli (rispetto a fare i dipendenti)- Vendite di stock footage a meno di un dollaro su Shutterstock- Partnership tra diversi microstock- Come usare Microstock.plus e Stocksubmitter.com al meglio- Cosa fare con lo stabilizzatore della fotocamera quando si usa il cavalletto- Vendite di video su Depositphotos.com- Come scaricare gratis i video e le foto di ShutterstockTrovate il testo del podcast e tutti i link citati in questa pagina:https://stockfootage.it/pond5-shutterstock/

La posizione lavorativa migliore in cui si può mettere un fotografo è quella del professionista che è in balia delle decisioni degli altri, siano questi le agenzie di microstock o la concorrenza low cost che svaluta la sua professionalità. Riuscirci non è per niente facile, perché richiede investimenti in termini di studio, ore lavorate e soldi.Nel 91esimo episodio di vendere foto e video online, Daniele Carrer parla anche di:- Differenza tra guadagnare con le foto grazie ai social e con il microstock- Perché insegnare fotografia online può essere una nuova opportunità- Un video che ha fatto guadagnare 128 dollari su Shutterstock- La prima vendita di un produttore su Pond5- I webinar di Adobe Stock per i produttori- Una nuova agenzia italiana che ha commissioni sopra la media- Perché è fondamentale condividere le informazioni per migliorare- Effetti indesiderati degli stabilizzatori elettronici- Pro e contro di DreamstimeTrovate il testo del podcast e tutti i link e contenuti extra citati in questa pagina:https://stockfootage.it/shutterstock-chiudere-domani/

La posizione lavorativa migliore in cui si può mettere un fotografo è quella del professionista che è in balia delle decisioni degli altri, siano questi le agenzie di microstock o la concorrenza low cost che svaluta la sua professionalità. Riuscirci non è per niente facile, perché richiede investimenti in termini di studio, ore lavorate e soldi.Nel 91esimo episodio di vendere foto e video online, Daniele Carrer parla anche di:- Differenza tra guadagnare con le foto grazie ai social e con il microstock- Perché insegnare fotografia online può essere una nuova opportunità- Un video che ha fatto guadagnare 128 dollari su Shutterstock- La prima vendita di un produttore su Pond5- I webinar di Adobe Stock per i produttori- Una nuova agenzia italiana che ha commissioni sopra la media- Perché è fondamentale condividere le informazioni per migliorare- Effetti indesiderati degli stabilizzatori elettronici- Pro e contro di DreamstimeTrovate il testo del podcast e tutti i link e contenuti extra citati in questa pagina:https://stockfootage.it/shutterstock-chiudere-domani/

En los últimos días ha saltado la alarma en el sector fotográfico que trabaja dentro de las agencias de microstock. Y es que Shutterstock ha decidido bajar las comisiones que se llevan los fotógrafos en las ventas de sus fotografías. Y vamos a analizar la situación. Shutterstock, una de las agencias de microstock más importantes. Shutterstock es una de las fuentes de ingresos más importantes de todo fotógrafo o fotógrafa que trabaja en el microstock. Por eso los cambios que ha anunciado la agencia ha enfadado tanto a la gente con su bajada de precios. Cada vez han ido surgiendo más agencias de micro, que para hacerse un hueco en el mercado, han empezado a bajar los precios y por tanto pagan menos a sus colaboradores por cada venta de fotografías. Y shutterstock, mediante su nuevo CEO, mando un email a todos los colaboradores diciendo los cambios que iban a afectarles. Obviamente, endulzando la realidad. Los fotógrafos se han puesto a hacer cálculos y tienen miedo de ver reducido sus ingresos en más de 50%. Las nuevas comisiones de Shutterstock Para resumir, diremos que a partir de ahora se cobrara un % de la venta de una fotografía. Y ese % varia en función del volumen de fotografías que hayas vendido. ¿Y qué quiere decir esto? Básicamente, que Shutterstock quiere bajar sus precios para igualarse al resto de agencias de microstock, y quieren que esas perdidas las asuman los fotógrafos que colaboran con ellos. Tabla con los cambios de comisiones por venta Nivel 1 (0-100)Nivel 2 (101-200)nivel 3 (251-500)nivel 4 (501-2.500)nivel 5 (2.501-25.000)Nivel 6 (25.000-∞)Precio por pack15%20%25%30%35%40%4,9€0,74€0,98€1,23€1,47€1,72€1,96€2,5€0,38€0,50€0,63€0,75€0,88€1,00€0,4€0,10€0,10€0,10€0,12€0,14€0,16€0,27€0,10€0,10€0,10€0,10€0,10€0,11€9,8€1,47€1,96€2,45€2,94€3,43€3,92€7,6€1,14€1,52€1,90€2,28€2,66€3,04€Comisión mínima fijada en 0,10€ Otra parte mala es que cada año el contador de fotografías que has vendido vuelve a cero. Esto hace que afecte sobre todo a gente que esta muy bien posicionada y que lleva muchos años en este tipo de agencias de microstock. Ya que por mucho que vendas, o hayas vendido, el día 1 de enero volverás a cobrar el mínimo del 15% de comisión. ¿Qué se puede hacer antes estos cambios en agencias de microstock? Si sigues el Hashtag #boycottShutterstock verás que hay iniciativas para meter presión a la agencia. Estas iniciativas barajan desde borrar todo el catálogo de fotografías que tengas y no volver con ellos o desactivarlas (para que durante unos días no puedan vender tus fotos y así provocarles perdidas). Lo malo que aunque salgan adelante esas «huelgas» trabajar para una agencia de microstock o de macrostock quiere decir que no tienes el control de tu negocio. Esto no es malo, es como trabajar para una empresa, pero lo que si es cierto que solo queda adaptarse alas nuevas realidades. Las claves a tener en cuenta ante estos cambios de Shutterstock Este contenido está restringido a suscriptores. Suscríbete para verlo y disfrutar del resto de cursos. O inicia sesión si ya eres suscriptor. Resumen Hay que analizar la situación sin entrar en pánico y ver como va funcionando el mercado en los próximos meses para así poder reaccionar y enfocar tu estrategia para que tus ingresos no se vean afectados o incluso poder aumentarlos. Como siempre decimos análisis y estrategia. Gracias por suscribirte a los cursos, por tus valoraciones en Apple Podcasts, comentarios y me gusta en Ivoox, Youtube, por escucharnos y seguirnos en spotify. Un saludo y hasta el próximo lunes a las 07:00.

Puntata dedicata al microstock e a vendere foto e video di viaggio on line.

Il microstock è un business che fotografi e videomaker possono usare anche per trovare nuovi clienti. Un produttore che carica le sue immagini su Shutterstock ci spiega come, grazie a un'impostazione della sua area utente, sia riuscito a lavorare per una multinazionale israeliana che commecializza cosmetici e che aveva apprezzato gli scatti che aveva fatto a quel genere di soggetto.In questo episodio di vendere foto e video online, Daniele Carrer parla anche di:- Istockphoto che secondo alcuni non è poi così male- cosa compra un cliente che paga una licenza estesa- un fotografo professionista che ha trovato nuovi stimoli grazie al microstock- come trovare il soggetto giusto sotto casa- perché Shutterstock vuole la licenza editoriale per la foto di un palazzo storico- il formato migliore per vendere video online- La triste decadenza dell'agenzia tedesca EyeEmTrovi il testo del podcast e tutti i link citati in questa pagina:https://stockfootage.it/trovare-clienti-internazionali-microstock/

Il microstock è un business che fotografi e videomaker possono usare anche per trovare nuovi clienti. Un produttore che carica le sue immagini su Shutterstock ci spiega come, grazie a un'impostazione della sua area utente, sia riuscito a lavorare per una multinazionale israeliana che commecializza cosmetici e che aveva apprezzato gli scatti che aveva fatto a quel genere di soggetto.In questo episodio di vendere foto e video online, Daniele Carrer parla anche di:- Istockphoto che secondo alcuni non è poi così male- cosa compra un cliente che paga una licenza estesa- un fotografo professionista che ha trovato nuovi stimoli grazie al microstock- come trovare il soggetto giusto sotto casa- perché Shutterstock vuole la licenza editoriale per la foto di un palazzo storico- il formato migliore per vendere video online- La triste decadenza dell'agenzia tedesca EyeEmTrovi il testo del podcast e tutti i link citati in questa pagina:https://stockfootage.it/trovare-clienti-internazionali-microstock/

Toda la info con fotos: https://fotodinero.com/freepik-agencia-microstock-esta-moda/ Hoy estamos con José Luís Carrascosa y hoy traemos un invitado de lujo. Ya hace días que teníamos este Podcast en mente puesto que siempre es interesante conocer la visión de la otra cara de la moneda: las agencias. Hoy traemos a los responsables de Freepik, agencia de stock española. Hablaremos con Marina Lara, del departamento de adquisición de contenido, y a Gustavo Muñoz, responsable del programa internacional de contribuidores. Nosotros vendemos las fotos, pero en realidad son las agencias las que realmente las venden al consumidor. Es por eso que su visión es esencial para entender cómo funciona el stock, qué se vende y qué buscan las agencias y los consumidores.

Toda la info con fotos: https://fotodinero.com/freepik-agencia-microstock-esta-moda/ Hoy estamos con José Luís Carrascosa y hoy traemos un invitado de lujo. Ya hace días que teníamos este Podcast en mente puesto que siempre es interesante conocer la visión de la otra cara de la moneda: las agencias. Hoy traemos a los responsables de Freepik, agencia de stock española. Hablaremos con Marina Lara, del departamento de adquisición de contenido, y a Gustavo Muñoz, responsable del programa internacional de contribuidores. Nosotros vendemos las fotos, pero en realidad son las agencias las que realmente las venden al consumidor. Es por eso que su visión es esencial para entender cómo funciona el stock, qué se vende y qué buscan las agencias y los consumidores.

Istockphoto negli anni è diventata un'agenzia talmente irrispettosa dei fotografi e dei videomaker che oramai vende immagini e filmati ad un prezzo irrisorio.Un ascoltatore del podcast in un anno ha venduto 1450 foto che gli sono state pagate solo 21 dollari a causa di partnership che la stessa Istockphoto ha con servizi online low cost che, tra quanto propongono ai loro clienti, hanno anche immagini stock e stock footage.In questo 87esimo episodio di "vendere foto e video online" Daniele Carrer parla anche di:- limitazioni alle licenze di foto e video acquistabili su Canva - andamento delle vendite di un produttore da 200 euro al mese- perché Adobe Stock non abbasserà i prezzi- nuovi abbonamenti di Shutterstock- tipici problemi con le licenze editoriali- caricamento dei file su Pond5- come selezionare i migliori luoghi da immortalare- strani comportamenti dei revisori di Shutterstock- come superare i limiti dell'interfaccia di Stocksubmitter.Trovi il testo del podcast e tutti i link citati in questa pagina:https://stockfootage.it/1000-foto-vendute-21-dollari-istockphoto/

Istockphoto negli anni è diventata un'agenzia talmente irrispettosa dei fotografi e dei videomaker che oramai vende immagini e filmati ad un prezzo irrisorio.Un ascoltatore del podcast in un anno ha venduto 1450 foto che gli sono state pagate solo 21 dollari a causa di partnership che la stessa Istockphoto ha con servizi online low cost che, tra quanto propongono ai loro clienti, hanno anche immagini stock e stock footage.In questo 87esimo episodio di "vendere foto e video online" Daniele Carrer parla anche di:- limitazioni alle licenze di foto e video acquistabili su Canva - andamento delle vendite di un produttore da 200 euro al mese- perché Adobe Stock non abbasserà i prezzi- nuovi abbonamenti di Shutterstock- tipici problemi con le licenze editoriali- caricamento dei file su Pond5- come selezionare i migliori luoghi da immortalare- strani comportamenti dei revisori di Shutterstock- come superare i limiti dell'interfaccia di Stocksubmitter.Trovi il testo del podcast e tutti i link citati in questa pagina:https://stockfootage.it/1000-foto-vendute-21-dollari-istockphoto/

L'equivoco a cui molti credono è che per guadagnare con internet si debba diventare influencer. Di fatto però ci sono mille modi migliori per riuscirci, molti dei quali hanno basi solide e sono conseguenza di una comunicazione basata su fotografie e riprese video.In questo episodio di "vendere foto e video online" Daniele Carrer parla anche di:- Un microstock low cost che Pond5 sta per lanciare- Una disavventura avuta con un sito di acquisti online- Registrare video con un Dji Osmo a 50 fps- Un Italiano che vuole aprire un'attività di riprese con i droni a New York- Un app per tracciare la posizione del sole con lo smartphone- Le vendite sul microstock Offset di ShutterstockTrovate il testo dell'episodio e i link citati in questa pagina:https://stockfootage.it/business-internet-influencer/

L'equivoco a cui molti credono è che per guadagnare con internet si debba diventare influencer. Di fatto però ci sono mille modi migliori per riuscirci, molti dei quali hanno basi solide e sono conseguenza di una comunicazione basata su fotografie e riprese video.In questo episodio di "vendere foto e video online" Daniele Carrer parla anche di:- Un microstock low cost che Pond5 sta per lanciare- Una disavventura avuta con un sito di acquisti online- Registrare video con un Dji Osmo a 50 fps- Un Italiano che vuole aprire un'attività di riprese con i droni a New York- Un app per tracciare la posizione del sole con lo smartphone- Le vendite sul microstock Offset di ShutterstockTrovate il testo dell'episodio e i link citati in questa pagina:https://stockfootage.it/business-internet-influencer/

La storia di un'appassionata di fotografia che ha venduto la sua prima immagine stock solo 4 giorni dopo averla caricata su Adobe Stock.In questo podcast, Daniele Carrer parla anche di:- quanto tempo bisogna attendere prima di fare i produttori a tempo pieno,- profili colore che Adobe Stock accetta,- un microstock che dichiara ufficialmente i soggetti che vendono di più,- perché su Pond5 alcuni contenuti sono contrassegnati da una stella,- quali sono le regole per imbarcare gli slider negli aerei,- cosa bisogna fare per contrassegnare come editoriale un contenuto,- abbonamenti Storyblocks che sono sempre più aggressivi.Trovi il testo del podcast e tutti i link citati in questa pagina:https://stockfootage.it/prima-foto-venduta-quattro-giorni-adobe-stock/

La storia di un'appassionata di fotografia che ha venduto la sua prima immagine stock solo 4 giorni dopo averla caricata su Adobe Stock.In questo podcast, Daniele Carrer parla anche di:- quanto tempo bisogna attendere prima di fare i produttori a tempo pieno,- profili colore che Adobe Stock accetta,- un microstock che dichiara ufficialmente i soggetti che vendono di più,- perché su Pond5 alcuni contenuti sono contrassegnati da una stella,- quali sono le regole per imbarcare gli slider negli aerei,- cosa bisogna fare per contrassegnare come editoriale un contenuto,- abbonamenti Storyblocks che sono sempre più aggressivi.Trovi il testo del podcast e tutti i link citati in questa pagina:https://stockfootage.it/prima-foto-venduta-quattro-giorni-adobe-stock/

Il microstock, ovvero la vendita di foto e video online, si divide tra notizie che danno grande speranza a fotografi e videomaker, come i continui aumenti dei fatturati delle agenzie, ed eventi che fanno preoccupare, come l'introduzione di politiche commerciali aggressive di certi siti e il lancio di strumenti che sembrano essere in grado di sostituire una parte del lavoro degli stessi fotografi, come generated.photos.Nell'81esimo episodio del podcast, Daniele Carrer parla anche di:- un fotografo che ha venduto più di 8 mila foto lo scorso anno,- la nuova collezione di Pond5 che vende video a 285 euro l'uno,- Shutterstock che ha iniziato a geo-localizzare le vendite dei video,- il codec H.264 creato da Adobe Premiere per Adobe Stock,- Amazon che impedisce di utilizzare il suo cloud a Multcloud,- strumenti che interpretano le foto e creano le keyword,- la curva di gamma S-LOG nelle fotocamere SonyIl testo del podcast e tutti i link citati sono disponibili in questa pagina:https://stockfootage.it/catastrofisti-microstock/

Il microstock, ovvero la vendita di foto e video online, si divide tra notizie che danno grande speranza a fotografi e videomaker, come i continui aumenti dei fatturati delle agenzie, ed eventi che fanno preoccupare, come l'introduzione di politiche commerciali aggressive di certi siti e il lancio di strumenti che sembrano essere in grado di sostituire una parte del lavoro degli stessi fotografi, come generated.photos.Nell'81esimo episodio del podcast, Daniele Carrer parla anche di:- un fotografo che ha venduto più di 8 mila foto lo scorso anno,- la nuova collezione di Pond5 che vende video a 285 euro l'uno,- Shutterstock che ha iniziato a geo-localizzare le vendite dei video,- il codec H.264 creato da Adobe Premiere per Adobe Stock,- Amazon che impedisce di utilizzare il suo cloud a Multcloud,- strumenti che interpretano le foto e creano le keyword,- la curva di gamma S-LOG nelle fotocamere SonyIl testo del podcast e tutti i link citati sono disponibili in questa pagina:https://stockfootage.it/catastrofisti-microstock/

Grazie al microstock migliaia di fotografi e videomaker guadagnano online. Tanti però ottengono meno di quello che potenzialmente potrebbero incassare perché, nella scelta dei soggetti, fanno l'errore di voler credere che i compratori vogliano il genere di foto e video che a loro piace creare. La stessa cosa accade con tutti gli altri aspetti della produzione (keywording, scelta delle agenzie, prezzi, ecc.). Perché i fotografi possano ambire a guadagnare almeno centinaia di dollari al mese anziché spiccioli, come fa la maggior parte di loro, bisogna saper valutare la realtà in maniera più oggettiva.In questo episodio, Daniele Carrer parla anche di:- difficoltà per i grafici di adattarsi ai tempi che cambiano,- perché 2500 dollari di incassi sono meno di quanto sembra,- la differenza abissale tra follower e finanziatori,- il microstock come punto di partenza del business online,- le API key di Istockphoto e Getty Images,- servizi di caricamento multiplo come Microstock+ e Everypixel DAM,- la soddisfazione di produrre anche guadagnando poco,- una scappatoia legale per fotografare con il cavalletto su suolo pubblico,- le vendite degli abbonamenti su Storyblocks,- le diverse categorie di compratori di contenuti,- con quanti fps è meglio girare,- danni che stanno facendo siti come Pixabay e Unsplash,- semplici strategie per guadagnare molto di più.Puoi trovare il testo dell'episodio e i link citati in questa pagina:https://stockfootage.it/microstock-fotografi-videomaker/

Grazie al microstock migliaia di fotografi e videomaker guadagnano online. Tanti però ottengono meno di quello che potenzialmente potrebbero incassare perché, nella scelta dei soggetti, fanno l'errore di voler credere che i compratori vogliano il genere di foto e video che a loro piace creare. La stessa cosa accade con tutti gli altri aspetti della produzione (keywording, scelta delle agenzie, prezzi, ecc.). Perché i fotografi possano ambire a guadagnare almeno centinaia di dollari al mese anziché spiccioli, come fa la maggior parte di loro, bisogna saper valutare la realtà in maniera più oggettiva.In questo episodio, Daniele Carrer parla anche di:- difficoltà per i grafici di adattarsi ai tempi che cambiano,- perché 2500 dollari di incassi sono meno di quanto sembra,- la differenza abissale tra follower e finanziatori,- il microstock come punto di partenza del business online,- le API key di Istockphoto e Getty Images,- servizi di caricamento multiplo come Microstock+ e Everypixel DAM,- la soddisfazione di produrre anche guadagnando poco,- una scappatoia legale per fotografare con il cavalletto su suolo pubblico,- le vendite degli abbonamenti su Storyblocks,- le diverse categorie di compratori di contenuti,- con quanti fps è meglio girare,- danni che stanno facendo siti come Pixabay e Unsplash,- semplici strategie per guadagnare molto di più.Puoi trovare il testo dell'episodio e i link citati in questa pagina:https://stockfootage.it/microstock-fotografi-videomaker/

I risultati per chi inizia a vendere stock images e stock footage non si vedono subito. Possono anche trascorrere mesi per la prima vendita. Ma i fotografi e videomaker che tengono duro e continuano a produrre hanno buone possibilità di ottenere risultati, come un produttore di cui si parla nel podcast che, dopo due anni di produzione, guadagna 1100 euro al mese, in costante crescita.Daniele Carrer, in questo episodio parla anche di:- model release di Shutterstock- uso del cavalletto su suolo pubblico- I guadagni del microstock di un fotografo professionista- perché Adobe Stock può pagare 113 euro una singola vendita- Micorstock+ e Everypixel DAM- le scarse vendite di IstockphotoPuoi trovare il testo dell'episodio e tutti i link citati in questa pagina:https://stockfootage.it/microstock-maratona/

I risultati per chi inizia a vendere stock images e stock footage non si vedono subito. Possono anche trascorrere mesi per la prima vendita. Ma i fotografi e videomaker che tengono duro e continuano a produrre hanno buone possibilità di ottenere risultati, come un produttore di cui si parla nel podcast che, dopo due anni di produzione, guadagna 1100 euro al mese, in costante crescita.Daniele Carrer, in questo episodio parla anche di:- model release di Shutterstock- uso del cavalletto su suolo pubblico- I guadagni del microstock di un fotografo professionista- perché Adobe Stock può pagare 113 euro una singola vendita- Micorstock+ e Everypixel DAM- le scarse vendite di IstockphotoPuoi trovare il testo dell'episodio e tutti i link citati in questa pagina:https://stockfootage.it/microstock-maratona/

Adobe Stock regala, fino a fine anno, ai produttori di stock images o di stock footage che riescono a farsi selezionare almeno 300 foto o 300 video, l'intera Creative Cloud, o alcuni software di questa.In questo episodio di "vendere foto e video online", Daniele Carrer parla anche di:- Burocrazia e business,- Come sfruttare il successo di un Canale YouTube,- Problemi con l'incasso di assegni su Shutterstock,- Stocksubmitter che diventa Microstock +,- Depositphotos e Eyeem per vendere foto,- Quali software utilizzare per esportare i time-lapse,- Come comportarsi quando un microstock invita un produttore,- Quale agenzia vende più stock footage,- La velocità con cui crescono i microstock.Trovi il testo del podcast, tutti i link citati e i contenuti extra in questa pagina:https://stockfootage.it/adobe-stock-regala-creative-cloud/

Adobe Stock regala, fino a fine anno, ai produttori di stock images o di stock footage che riescono a farsi selezionare almeno 300 foto o 300 video, l'intera Creative Cloud, o alcuni software di questa.In questo episodio di "vendere foto e video online", Daniele Carrer parla anche di:- Burocrazia e business,- Come sfruttare il successo di un Canale YouTube,- Problemi con l'incasso di assegni su Shutterstock,- Stocksubmitter che diventa Microstock +,- Depositphotos e Eyeem per vendere foto,- Quali software utilizzare per esportare i time-lapse,- Come comportarsi quando un microstock invita un produttore,- Quale agenzia vende più stock footage,- La velocità con cui crescono i microstock.Trovi il testo del podcast, tutti i link citati e i contenuti extra in questa pagina:https://stockfootage.it/adobe-stock-regala-creative-cloud/

Image Professionals ist die neue Dachmarke der Firma, die sich bislang StockFood GmbH nannte und unter deren Dach zuletzt sieben verschiedene Bildagenturen aus den Bereichen Food, Wohnen, Medizin, Reise, Beauty und Garten ihr Zuhause fanden. Der Geschäftsführer Martin Skultety geht mit mir im Gespräch die Entwicklung von der analogen Bildagentur StockFood hin zur internationalen Dachmarke Image Professionals durch und wir reden ausführlich über die drei großen Umbrüche in der Bilderbranche. Der Wechsel von der analogen zur digitalen Fotografie, das Aufkommen von Microstock sowie das Erstarken der Gratis-Bildplattformen und einiges mehr ist Thema in dieser Podcast-Folge. PORTFOLIO der Agenturen von Image Professionals: Hochzeitstorte (Naked Cake) mit pastellfarbenen Sommerblüten (Foto: Michaela Hartwig/StockFood) Rote-Bete-Burger mit Linsen (Foto: Lilia Jankowska/StockFood) Klassischer Negroni Cocktail mit Campari (Foto: Jane Saunders/StockFood) Screenshot der Webseite von StockFood Studios Heart bypass graft (Bild: Alfred Pasieka/Science Picture Library) Junge blonde Frau in blauem Langarmshirt (Foto: Kristiane Vey/seasons agency) Pfannkuchentorte mit Lemon Curd (Foto: PhotoCuisine) Wald von oben bei Kitzbühel, Winter in Tirol, Österreich (Foto: Thomas Stankiewicz/look) Verschiedene Sitzmöbel, Beistelltische, Couchtisch-Set und Grünpflanze im Wohnzimmer (Foto: living4media) Holzbank im Beet neben Paeonia lactiflora 'Glory Hallelujah' (Edel-Pfingstrose), Tanacetum (Rote Margerite) und Lupinus (Lupinen) (Foto: Friedrich Strauss/Gartenbildagentur) SHOWNOTES: https://www.imageprofessionals.de

Saper fotografare e saper far riprese video è la chiave per avere successo nel business, in un mondo che comunica sempre più con le immagini e i filmati. E il microstock è la palestra migliore per capire i meccanismi con cui avere successo nel web.Con il lancio dell'area abbonamenti di Storyblocks molti sostengono che i guadagni di fotografi e video maker potrebbero scendere. In realtà, indipendentemente da quello che succederà, imparare a vendere stock images e stock footage, che è un'attività il cui successo non è solo legato alla qualità tecnica di quello che si produce, è il primo passo di un business che può permettere a tantissimi fotografi di vivere facendo quello che amano.In questo episodio di "vendere foto e video online", Daniele Carrer parla anche di:- Perché tanti consigliano di non aderire al programma di abbonamenti di Storyblocks,- Come mettersi al riparo da quello che non si può controllare,- Tecniche per creare più contenuti in minor tempo,- Come fare business con video e turismo,- Usare gli slide show come stock footage,- Perché, nel dubbio, conviene selezionare la licenza editoriale,- Contenuti venduti a prezzi molto alti,- Pond5 che non dà più libertà di determinare il prezzo dei video (ai produttori non esclusivi).Puoi leggere il testo della puntata e accedere a tutti i link citati in questa pagina:https://stockfootage.it/microstock-business-online-fotografi/

Saper fotografare e saper far riprese video è la chiave per avere successo nel business, in un mondo che comunica sempre più con le immagini e i filmati. E il microstock è la palestra migliore per capire i meccanismi con cui avere successo nel web.Con il lancio dell'area abbonamenti di Storyblocks molti sostengono che i guadagni di fotografi e video maker potrebbero scendere. In realtà, indipendentemente da quello che succederà, imparare a vendere stock images e stock footage, che è un'attività il cui successo non è solo legato alla qualità tecnica di quello che si produce, è il primo passo di un business che può permettere a tantissimi fotografi di vivere facendo quello che amano.In questo episodio di "vendere foto e video online", Daniele Carrer parla anche di:- Perché tanti consigliano di non aderire al programma di abbonamenti di Storyblocks,- Come mettersi al riparo da quello che non si può controllare,- Tecniche per creare più contenuti in minor tempo,- Come fare business con video e turismo,- Usare gli slide show come stock footage,- Perché, nel dubbio, conviene selezionare la licenza editoriale,- Contenuti venduti a prezzi molto alti,- Pond5 che non dà più libertà di determinare il prezzo dei video (ai produttori non esclusivi).Puoi leggere il testo della puntata e accedere a tutti i link citati in questa pagina:https://stockfootage.it/microstock-business-online-fotografi/

Toda la info con fotos: https://fotodinero.com/estrategia-microstock/ Un podcast dirigido a marcar una buena estrategia para vender en Shutterstock, la agencia de microstock por excelencia. Un episodio muy interesante para muchos de vosotros, recién estrenados en el mundo de la fotografía de stock. ?Un podcast grabado entre Carles y Jose Luis, que ?explicaremos lo que es, desde nuestro punto de vista, una buena estrategia para los que comienzan, basada en nuestra experiencia y errores cometidos.

Toda la info con fotos: https://fotodinero.com/estrategia-microstock/ Un podcast dirigido a marcar una buena estrategia para vender en Shutterstock, la agencia de microstock por excelencia. Un episodio muy interesante para muchos de vosotros, recién estrenados en el mundo de la fotografía de stock. ?Un podcast grabado entre Carles y Jose Luis, que ?explicaremos lo que es, desde nuestro punto de vista, una buena estrategia para los que comienzan, basada en nuestra experiencia y errores cometidos.