Posts Tagged ‘fotoLibra’
Up To 20Mbps Broadband
March 10th, 2010In fotoLibra’s offices in London and Harlech we use Zen as our service provider, and we have no complaints about them at all. In fact we can heartily recommend them, having used them for the past five years.
They’ve just upgraded our broadband service from 8Mbps to “up to 20Mbps”, which is very exciting.
Before they upgraded us I tested our speeds. It averaged 4.79Mbps download, and 0.36Mbps upload. That’s ADSL for you; if we had straightforward Digital Subscriber Lines like they do in Germany instead of Asymmetric Digital Subscriber Lines,we’d be able to upload and download at the same speed.
That’s why downloading an image from fotoLibra is over 13 times faster than uploading an image to us. We’re sorry, but unless you’ve got DSL there’s not a lot we can do about it.
Back to our “up to 20Mbps” upgrade. It came on stream this morning, so I tested our speeds again.
6.23Mbps download, 0.67Mbps upload. Not as thrilling as I’d hoped. That’s 31% of the potential speed. We were getting 60% of our potential speed on the previous deal. Why should the percentage decrease so greatly?
Still, it’s a little faster, so that is a good thing.
But have you noticed that “UP TO” always actually means “LESS THAN”?
fotoLibra 2009 Pro Blog Index
January 7th, 2010by Gwyn Headley
Managing Director
Tags: Aaron's Apps, Aaron's Time Machine, Adobe, Amazon, Apple, BAPLA, book publishing, books, CS3, CS4, drag and drop, easy upload, ebook, ebooks, Encyclopedia of Fonts, fotoLibra, Google, heritage, iphone, iphone apps, Macintosh, marketing photographs, Microsoft, Model releases, photography, Photoshop, picture library, picture sales, Prices, property releases, rights, selling photographs, selling pictures, stock agency, territories, upload checker, user experience
Here’s an index to the fotoLibra Pro Blog for the whole of 2009.
As I complained 6 months ago, it takes a surprising amount of time to compile, so if there are any WordPress experts out there who know how to automate this process, we’d love to hear from you.
If you’re new to fotoLibra, welcome, and may we suggest you read through the HINTS & TIPS section, and if nothing else read Great Expectations. If you enjoy a bit of controversy, read BAPLA Shock Horror.
Comments are welcome, even on old posts, and will be read and often responded to.
HINTS & TIPS
- Three hundred pixels per inch
- Shots of Redemption
- How To Take Aerial Photographs When You Haven’t Got An Aeroplane
- Compression
- Great Expectations
- RSVP
ABOUT FOTOLIBRA
- New fotoLibra
- BOMBSHELL
- Most Popular Searches
- White Labelling
- A Third of a Million
- Picture Calls
- fotoLibra DND & Checker 2.1 Released
- Drag ‘n’ Drop Upload Checker
- The New Picture Call Tab
- SPQR
- Search Engines and fotoLibra
- Yahoo Blocks Our Emails
- It’s got to be today
- 300,000 up!
ADOBE
BAPLA
CUSTOMERS
E-BOOKS & PUBLISHING
- Free iPhone App: Aaron’s Time Machine: London Lyte!
- Orphan Books
- The Killer eBook Is Nearly Here
- UK Politicians Not Entranced by eBooks
- Primary School Books
- Getting ready for e-books and Graphics
- Kindle 2
- More Kindling
- The Killer Book for e-books
IT
LAW
MISCELLANY
- Winterval
- Reunited
- Prophecies & Prophets
- Unpleasant Comments & Spam
- Proto-foto-Libra
- Cancelled Air Show
- Giving It Away For Free
- A heritage in photography
- Farewell Kodachrome
- The perils of publishing
- Happy New Year
NETWORKING
NEWS
PICTURE CALLS
SECURITY
TRADE FAIRS
Orphan Books
December 23rd, 2009by Gwyn Headley
Managing Director
The New York Times has published its annual list of ‘buzzwords of the year’. Two have been derived from book publishing, in which fotoLibra has a vested interest as publishers constitute our largest single market.
The words are ‘Vook’ and ‘Orphan Books’. ‘Vook’ is a neologism and ‘Orphan Books’ is a phrase rather than a word, but we’ll let that pass. Let’s deal with Vook first: its etymology is a combination of Video and bOOK content, in other words the killer ebook I described in this blog post without using the word vook. More recently, I got rather excited by this ad for Sports Illustrated which pretty accurately delivered what I was looking for in an ebook, only as a magazine. So what would this be? A vazine? Videodical? A Vag (Video mAGazine)?
Anyway, the first time I ever heard the term ‘vook’ was when I read the article this morning. So I’m not aware of it as a buzz word.
Orphan Books are defined by the New York Times as “volumes still in copyright but out of print and unavailable for sale, and whose copyright holders cannot be found.” The article says that the term ‘Orphan Book’ first rose to prominence in 2007, but “peaked this year with the fierce discussion over the proposed Google Books settlement.”
Orphan Book has a completely different meaning for me and many other authors and publishers. The real Orphan Book is one that is orphaned at birth, a tragedy shared with genuine orphans.
When an editor commissions a book and leaves the firm before the book is published, that creates an orphan book. Within a publishing house, the editor’s rôle is to deliver the best product he can, and to do that he has to talk up his babies to publicity, sales, marketing and of course the board. His books are better than the books from the other editors in the house; they are more marketable, better written, more intelligent, bigger sellers, indeed seminal. Few can remain unimpressed at the sight of an editor firing on all 16 cylinders to promote a favoured author or title at a sales conference.
But if that editor is no longer there to defend and promote the title, what happens to the book? I can tell you from bitter experience — it’s forgotten. There’s a contract, so the company is obliged to issue the book, but because no one remaining in the company is interested, it is not so much published as released into the community.
Three of my books were orphan books: Follies: A National Trust Guide: commissioned by Robin Wright (died shortly afterwards) and Liz Calder (left to found Bloomsbury). Eventually published by Jonathan Cape, 1986.
Architectural Follies In America: commissioned by Buckley Jeppson of the Preservation Press. Buckley left, the company was acquired by John Wiley & Son and the book was eventually published by them in 1996.
The Encyclopaedia of Fonts: Commissioned by Jane Ellis. Jane left over a year before a new managing director eventually allowed the book to trickle out in mid-December. Eventually published by Cassell Illustrated, 2005.
So where does the New York Times get Orphan Books from, to mean this quasi-legal grey area? From Google, of course. Google is not a book publisher and does not use a book publishing vocabulary, so it created this term to describe what is in fact a minute sector of the market. How many titles are we talking about in Google’s definition of an ‘orphan book’? How many books are there where the copyright holders cannot be found? Who is looking for them? How hard are they looking?
If I owe somebody money, they always manage to find me. But if money is owed to me, the difficulty of tracking me down becomes exponentially greater. Creating a snappy phrase — even by appropriating one that’s already in use within the trade for a common occurrence — gives visibility to an otherwise overlooked and unimportant sector of the market.
And interestingly it might help to divert attention from much larger, yet less transparent, activities being carried on elsewhere.
Reunited?
November 5th, 2009by Gwyn Headley
Managing Director
99% of our Support queries ask “How do I make my pictures 300 ppi?”
Well here is the answer, but this morning we had a support query of a different nature:
I am trying to trace Rock Hardplace, who was a friend of mine in New York 40 years ago and on doing a yahoo search found some photos by him on your site – when I knew him he was a budding fashion photographer. I don’t expect you to give out personal information, but is there a way I could track him down through you?
Fifi L’Amour
Well, we don’t disclose our members’ contact details, but of course we’re more than happy to forward emails, especially ones like this.
I hope it’s a nice surprise. Maybe it’s an invitation to the triplets’ 40th birthday celebrations?
Of course, the names have been changed to protect the innocent.
BAPLA’s response to our complaint
October 30th, 2009by Gwyn Headley
Managing Director
If we were astonished when we heard BAPLA’s plans to go into business on Tuesday, we were grateful and even more astonished by the overwhelming flood of support from so many people to our last blog posting.
Simon Cliffe, the BAPLA Director, used the fotoLibra blog to post his refutation of our complaints, happily writing “The great thing about blogs is that you get an opportunity to respond, which is what I’m doing now.”
He subsequently posted an intemperate attack on fotoLibra on the BAPLA site, accusing us of posting
“a blog that was full of misconceptions that led to many inaccurate statements. Due to the potentially destructive and libellous accusations, BAPLA is forced to respond to reassure members and the industry that fotoLibra is completely mistaken in its perception of BAPLA’s future plans.”
Destructive? Libellous? The great thing about a closed website like BAPLA is that no one gets an opportunity to respond. So we can’t comment on what Simon wrote in the way that Simon could on our blog. We have to reply here.
We are not remotely worried by the sale of mugs and mousemats. That’s an irrelevant diversion. What concerns us is, as we wrote in Wednesday’s blog, is that
“The BAPLA Academy will be directly competing for the subscriptions of the same photographers who supply fotoLibra with its top images. The same graduates, keen amateurs, semi-pros, wedding and studio photographers we work hard to attract, encourage and foster. It’s not about print and mousemat sales versus rights sales, it’s about diverting a body of good, keen and potentially great photographers to ally with BAPLA rather than fotoLibra. That’s not BAPLA’s remit.”
Yet Simon missed that. He writes
“This is the only part of the BAPLA Academy which they seem to have registered; the sale of prints to the public.”
That doesn’t concern us in the least, Simon. We’ve already said that.
What truly concerns us is this: The public purse is only so deep. Who is going to want pay a subscription to fotoLibra as well as to BAPLA? You don’t buy Nike and Reebok, you buy one or the other.
We agreed with Simon at the AGM that we would meet up to discuss this when he returned from his holiday. We’re still expecting to. As we wrote on Wednesday:
“But if they’re determined to do it, then they should talk to us — once we’ve overcome our horror and dismay. We are better placed than any other organisation to help them.”
So Simon posted (on our blog):
“I have agreed a deal with our commercial partners who under my instruction, are getting the project up and running (including full market research), promoting the project and managing the project going forward.”
So it’s a fait accompli. Our participation, advice, help, whatever will clearly not be required. We don’t know who these commercial partners are, or what experience they have in setting up, maintaining and growing a subscription-based roster of photographers.
What is a Trade Association for, if not to listen to and act on behalf of its members? We’re astounded by a move that threatens our livelihood, and our own trade association — to whom we pay subscriptions which presumably go to fund their ‘commercial partners’ — responds to our justifiable concerns by describing them as “destructive and libellous”.
Is that supportive?
BAPLA Shock Horror
October 28th, 2009by Gwyn Headley
Managing Director
Yesterday was the Annual General Meeting of the British Association of Picture Libraries and Agencies, our trade body. BAPLA represents the interests of picture libraries large and small, and fotoLibra has been a member since before we started trading. There is a link to the BAPLA web site on every single page of the fotoLibra site.
Nothing prepared us for what we heard at the AGM. Times are tough for everyone, BAPLA as well as fotoLibra. They’ve lost about 50 members over the past year or two, and as the annual fees are substantial, that makes a hefty dent in their finances.
So they have cast around for a way to improve their cash flow. And they’ve come up with the same idea that we came up with seven and a half years ago.
They’ve invented fotoLibra.
More precisely, they have created something called the BAPLA Academy. The idea is that photographers pay an annual fee and get to upload their images to the BAPLA web site where they can be viewed and made available for “non-commercial sales” (a wonderful oxymoron on a par with business ethics, or military intelligence).
I don’t have all the details to hand, because all this came from the BAPLA Director’s presentation and we don’t have a hard copy. But as I stared slack-jawed in amazement at the screen he blithely described the business plan of fotoLibra — except we provide commercial sales; our members make money from their photographs. That’s the whole point of fotoLibra; otherwise they might as well be on Flickr.
The concept of fotoLibra was to provide a platform for any photographer to make money selling his pictures. No tortuous submission procedure, no minimum upload, no “professionals only” barriers, no elitism — just raw market forces. Display and sell. And we provide all the advice and tools the photographer needs to achieve that aim. Jacqui Norman does an astounding job of advising, chivvying, helping, correcting, and pushing fotoLibra member photographers to make their images as saleable as possible. The web site and the Submission Guidelines are packed with information, advice, hints and tips.
Now our own Trade Association — the guys we pay to represent our interests — have announced that they are setting up in direct competition to us. Yvonne and I could not believe what we were hearing. Up went Yvonne’s hand. She was ignored. From personal experience I knew that was a bad move on BAPLA’s part — you ignore Yvonne at your peril. And indeed after the AGM she cornered the BAPLA President, the BAPLA Chairman and the BAPLA Director and subjected them to a withering blast. If they’d forgotten about fotoLibra — as they obviously had — then they were left in no doubt whatsoever that one section of their happy community was disaffected by news of the BAPLA Academy.
They attempted to placate us. The BAPLA Academy was no threat or competition to fotoLibra whatsoever. They’d trialled it with focus groups, and it wasn’t going to be a problem. But looking into their troubled eyes, we could see this was going to be a BIG problem. They simply hadn’t thought of us.
We’ve done this. We’ve sweated blood to set fotoLibra up and it has cost us a fortune. We know how hard it is. It’s a full time job for eight people. And there are only five of us. Without the help of a company like ours, a company that has already ploughed this unique furrow, BAPLA with its 2.5 staff and its capital derived entirely from member subscriptions is going to have a hell of a hard time running this Academy.
The BAPLA Academy will be directly competing for the subscriptions of the same photographers who supply fotoLibra with its top images. The same graduates, keen amateurs, semi-pros, wedding and studio photographers we work hard to attract, encourage and foster.
It’s not about print and mousemat sales versus rights sales, it’s about diverting a body of good, keen and potentially great photographers to ally with BAPLA rather than fotoLibra. That’s not BAPLA’s remit.
But if they’re determined to do it, then they should talk to us — once we’ve overcome our horror and dismay. We are better placed than any other organisation to help them.
New fotoLibra
October 1st, 2009by Gwyn Headley
Managing Director
We’ve kept our heads down over the past few weeks but now, finally, it’s complete.
The new fotoLibra web site was launched a couple of hours ago. It looks great, it has a host of new features and it’s just as reliable and fast as it ever was.
Now we’re going to go out and party. So I’ll describe it to you tomorrow. But if you can’t wait, then explore fotoLibra.com right now.
Frankfurt Appointments
September 16th, 2009by Gwyn Headley
Managing Director
I’m booking myself appointments at the Frankfurt Book Fair. I don’t bother with my old pals, because I’ll run into them anyway. I will check with the contacts I already have to see if they’ve got a few spare minutes so we can catch up.
But what I’ll concentrate on is the publishers we don’t already have relationships with; in other words, I’m cold calling.
And a more fatiguing, depressive, unwelcoming task is hard to imagine. There must be some, I suppose.
At least I’m not getting rejected on the phone. I’m emailing these people, and I’m selecting publishers who specialise in illustrated books and who therefore presumably need a good supply of images.
THEN I get rejected. No comprende.
Of course, I get a slew of appointments out of it. Most people are polite and happy to fix a meeting. That’s great. Many simply don’t respond. Fair enough. Some reply and they’re all booked up. Fair enough. Some reply saying they’re the wrong person. Fair enough.
But I am constantly surprised by the steady minority of business people who are shocked and appalled by an unsolicited approach. How dare I contact such important people and suggest they soil their hands by shaking mine? What possible reason would a publisher of illustrated books have for meeting someone from a picture library? What temerity!
These aren’t casual rejections. They’ve often done a little bit of research so they can mention a competitor, or refer to a field in which we have little expertise (increasingly rare nowadays). There is a basic intent to wound.
I don’t know if it makes us less important and them more so. It can’t be that, because it doesn’t work.
Human nature I guess, hitting blindly out at someone unknown, on a par with my impotent raging at voicemail and bank security questions.