PDN Asks: Is Motion Stock Photography the Next Big Thing?


“We believe that as technology in advertising advances and as print moves toward motion capable devices, motion stock will continue to grow and mature. In terms of content, motion stock is still in its infancy and there are a lot of holes in collections that need to be filled. This is good news for the stock shooter who is currently competing in an over-saturated stills market. We are currently shooting motion on every stock shoot, and on assignments as requested by the client. It can be challenging switching back and forth between stills and motion on the same shoot day; often times the motion piece will suffer when your focus is on getting the stills. We are looking forward to turning the tables and doing some dedicated motion shoots soon so we can make that the priority, grabbing stills of the important shots along the way.” —Trinette Reed & Chris Gramly, luxury resort, spa, fashion and lifestyle photographers, San Francisco, California

“I plan to compete in the RR/RM categories where the potential returns are much greater and the competition will be less. I am also going slowly. I am being very careful about shooting footage, keeping my eyes out for unusual opportunities. A couple of examples of video that has done well for us: A pan across Buenos Aires from the top of the second highest building in the city, footage of a rock concert we staged for a still shoot and young children running and tumbling by the camera.” —John Lund, conceptual stock, fine-art and animal photographer, Sausalito, California

“I am fortunate to be shooting with the stock photography agency Image Source because they moved full force into cross media. Although it has become a lot more work for the photographer, once I put away the strobes to work with continuous lighting, I could then do both formats simultaneously. The advantage over stills is that you can express more emotion with music, voice and movement, telling more of the story behind the single image. My advice to any photographers considering motion is that lighting is key.” —Christopher Robbins, advertising and editorial lifestyle photographer, New York, New York



PDN August 2016: The Fine-Art Photography Issue



Tout VTS



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