The Flickr Collection by Getty Images Announces Call for Artists

Thursday, November 5th, 2009

86378687 Floridapfe from S.Korea Kim in cherl/Flickr/Getty Images

It’s been over a year since Getty Images partnered with Flickr to launch the groundbreaking Flickr Collection on www.gettyimages.com.  We wanted to provide a quick update on how the Collection has grown and some of the exciting new developments in our partnership.

When launching the Flickr collection, our goal was to choose photos that created a commercially viable collection, while preserving the inspirational and unexpected nature of the kinds of images that are so prevalent on Flickr.  We’re proud to announce that today the collection has grown to over 60,000 images, many of which have been license by customers from around the world.

As you may remember, for the last few months, editors at Getty Images has been busy exploring the Flickrverse to find the right photos to be part of the collection.  While we know they’ve enjoyed viewing your work, with over four billion images, it can sometimes be an overwhelming experience!

In the past, the Flickr community could set their account settings to reflect that they wanted to be contacted by Getty Images, but could not proactively present a portfolio of photos for consideration. We know how eager Flickr members have been to showcase their work and wanted to develop a solution.

That’s why, today, we’re very excited to announce a formal Call for Artists, meaning ANY Flickr member can submit their work to be considered for the collection through the Call for Artists group on Flickr.

Detailed guidelines can be found here but a submission should include exactly 10 images that represent what they consider to be the best of their work.  The Getty Images create team will evaluate submissions based on style, subject matter and technical skill.  If some or all of the photos – or other images from that member’s photostream — are selected for the Flickr Collection on Getty Images, they will receive an invitation via Flickrmail.  This invitation will clearly show Getty Images’ initial selection of images and introduce the enrollment process.

When we first launched, we aimed to create a “living collection” — one that mirrored the vibrant Flickr community itself.  Now, with the community’s help, the collection will continue to grow and bring a new flavor of photography to Getty Images and its customers — an authentic view into the daily lives of people around the world.

We at Getty Images truly can’t wait to review the portfolios of the accomplished and experienced photographers that contribute to Flickr. With the community’s help, the collection will better represent, what is, in effect, the world’s image library.

Andy Saunders

Vice President of  Creative Imagery for Getty Images

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Shadowing U.S. troops in Taliban country

Monday, November 2nd, 2009

The Army had this elaborate plan to find the caves. Dozens of soldiers would be dropped via helicopter into an isolated valley in Taliban country, each carrying enough equipment, food and water for several days of marching.  From there, they would target ten or so suspected cave sites that had been reconnoitered by air, dotted into a nearby mountain range.  It sounded fun, so I tagged along, and jumped off the helicopter onto the muddy farm field with everyone else. Almost before we had a chance to hit the soil, the Blackhawk lurched up again into the sky, the roar of the rotors quickly fading away.  Soon it was quiet. The rising sun was just peeking over the horizon.

Chris Hondros/Getty Images

The platoons regrouped, and then headed off for their objectives. The one I stayed with was lead by an ebullient and witty staff sergeant from Indiana named Steven Caldwell, whose platoon was a motley group of young men from across America.  They irreverently cracked jokes as they marched, mostly banter about their girlfriends back home or discussions on the bathroom habits of local Afghans.  Also along for the ride was a somber Air Force dog handler named Schwartz and his pride and joy, a black German Shepherd named Bleck, who was trained to sniff out explosives.  All of them were hauling huge packs full of 100 pounds or more of gear, along with their heavy weapons and ammunition.

The entire first day of the mission was earmarked for finding the first two caves, but a short walk took us to the spot where they were, and it turned out they weren’t caves at all, just natural ridges in the rock that apparently looked like caves from the air.  Caldwell shrugged, entered the information on a rugged handheld GPS-type device that he was using to find the targets, and we continued on to look for the rest, some miles ahead on a windy path.

We passed through several villages along the way, the Pashtun tribalists regarding us with curious stares as we walked by.  A few hours of hiking brought us to a road that hugged the base of a long, imposing cliff face.  Caldwell glanced down as his computer and back up at the moutainside.

“Looks like the next few caves are right up there,” he said, pointing to a spot on the cliff far above us. He looked over at his men, “Who’s coming with me?”

No volunteers. Caldwell rolled his eyes, and muttered several unprintable things. Then he drooped his pack with a thud onto the dirt.

“Fine, just watch the road. I need the K-9, though,” and with that, he started clamoring up the mountain. Schwartz and Bleck scrambled up after him.  Soon they were all over the ridge and out of sight.

Chris Hondros/Getty Images

I hesitated for a few minutes, trying to convince myself there was something productive to photograph right where I was, without venturing up into the heights. The platoon laughed and loudly started back with their discussion about the Afghan’s toilet habits.  I sighed, slung my camera over my shoulder, and headed up the mountain.

It was ridiculously dangers; the route up ranged from a steep incline to nearly vertical, and the rock itself was a grey shale of some kind that had a disquieting tendency to disintegrate as you searched for a foothold on it.  One slip on this thing and you’d go for a long, painful tumble onto jagged rocks somewhere below.  Eventually, I caught up with Caldwell, Schwartz and Bleck on a narrow ridge.  They were barely sweating.

Chris Hondros/Getty Images

“Caldwell, you’re from Indiana,” I said, panting. “Where did you learn how to climb mountains?”

He smiled without looking up from his computer.

“Man, I’ve been stationed in Alaska for five years. We do this stuff all day… a-ha, it’s over by that crevasse.” He bolted off and started making his way literally across the base of the long vertical crack that wound down the cliff face.  Schwartz and Bleck gamely followed after him.

Chris Hondros/Getty Images

The way they went looked nearly impossible to me, so I hiked up a bit instead, looking for a better place to cross the crack. But there was nothing a few feet up either, and I couldn’t go down because I couldn’t see, so I went up still farther.  Still there was no way to cross. Before long, I couldn’t go up any more and the sides were nothing but an inclined slope of loose pebbles. Somehow I’d gotten 50 feet over the others, and was completely stuck.

After a few minutes of self-pity, I lunged to the left and danced across the crumbly slope like a barefoot teenager on the hot sands of vertical beach.  I made it to the crevasse and awkwardly landed on my rear, and instantly started sliding down.  But inside the crack I could use my feet to slow myself and it was actually kind of fun, like a waterslide.  (My pants would disagree; I shredded them and, as they were my only pair, an Afghan tailor working on the Army base later laboriously put them back together.)  Finally, I tumbled to a stop at the bottom, landing with a cloud of dust right next to Caldwell, who was still absorbed in his GPS.

“Hey there,” he said. “Man, this ain’t no cave here, either. You about ready?”

“Whenever you are.”

It is moments like these in foreign lands that always prompt me to get philosophical, even existential: Why am I here? How did this happen? Why exactly am I hanging on the side of a mountain in Afghanistan this morning? I’m not in the Army, I didn’t sign up for this. I should be back home, watching TV or canoodling in bed of having a strong espresso in Brooklyn. Or just about anywhere else.

But in the end, things tend to work themselves out, I find, and the satisfaction of photographing and documenting the most important issues of our time far outweighs any temporary discomfort, or even fear.  In the end, I found a way down by quickly dancing across the inclined slope like a barefoot teenager bouncing on the hot sands of a vertical beach, and continued on with the mission.

Chris Hondros/Getty Images

Chris also writes for dscriber.com about his experiences in Afghanistan. To read more about this particular day, click here.

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License Powerful Imagery For Your Social Media Campaigns

Tuesday, September 29th, 2009

90445909. STOCK4B-RF/Getty Images

Social media has upended the traditional promotional methods of engaging with customers, leaving you left to explore which of the social media channels are best for your marketing and communications plans. Do you engage through a branded Facebook group? A Twitter feed? Or do you create customer awareness through a viral YouTube video or design your own personal page for a fresh look? Whatever your strategy, imagery will continue to remain integral to creating an engaging user experience for any of your social media programs.

Getty Images recognizes that our customers need to be more nimble than ever, and our licensing must continue to evolve accordingly. Today, Getty Images has introduced two new licensing options designed specifically for social media use. When licensing any creative image under our rights-managed licensing model, customers can now select “Other Web & Mobile Uses” category to find:

  • Web – Social Media for advertising or promotional use*
  • Web – Social Media for non-commercial, editorial use*

* Price is determined on duration of use, territory

Now, you can take advantage of the social networking buzz with the use of compelling imagery from our premium rights managed collections, complete with indemnification.

Let us know what you think about our continued efforts to develop simplified licensing models. We want to help you do your best work.

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Getty Images grant winner, Kai Wiedenhöefer, completes project

Wednesday, September 23rd, 2009

Winner of a Getty Images Grants for Editorial Photography, Kai Wiedenhöefer has recently completed his project entitled Sharon’s Wall: Holy Land, Divided Lands
Photo courtesy of Kai Wiedenhöefer
In his project summary, Kai writes, “During a sunset in August 2005 I was standing in a hole next to the Neve Dekalim settlement in the Gaza Strip. I was digging out an exploded Qassam rocket that Palestinian militants had shot there from the neighbouring Khan Yunis Refugee Camp, when I received the call from Getty Images that I had received the Getty Images Editorial Grant. The rocket ended up as a decoration in the apartment of a friend of mine in Tel Aviv, the Getty Images Grant resulted in a book publication.  The Grant was a major financial help to bring this project to fruition. The grant was feeding the hungry mouth of the panorama camera with 220 rolls of film which made the project very expensive. It helped me also to return for another two trips each for a month and close the project in spring 2006. In 2007 Steidl published my book Wall. Altogether it was the project I enjoyed most in my life as a photographer so far and the Getty Images Grant played a mayor role in it.”

See Kai’s finished photo essay at Getty Images.

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Getty Images grant winner, Scott Lewis, completes project

Thursday, September 17th, 2009

Scott Lewis, winner of a Getty Images Grants for Editorial Photography, recently completed the project where he documents immigration and the influx of new religions, faiths and worships.

Photo courtesy of Scott Lewis

In his summary, Lewis writes “Since the 1960s, a new wave of immigrants, largely from Latin America and Asia, has brought new faith traditions and practices. I’ve spent time documenting a selection of religious communities from the oldest, Quakers, to the newest at the China Buddhist Association whose temples serves mostly new Chinese immigrants to the active and flourishing Hindu Temple Society of North America (the first Hindu Temple in the U.S.).  I have tried to steer clear of what I feel is previously known or understood as well as trying to dispel some stereotypes, all the while tapping into the intense beliefs and joyous celebration of believers.  I have tried to steer clear of what I feel is previously known or understood as well as trying to dispel some stereotypes, all the while tapping into the intense beliefs and joyous celebration of believers.”

See Scott’s completed photo essay project at Getty Images.

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Getty Images grant winner, Andrew Testa, completes project

Tuesday, August 18th, 2009

Andrew Testa, winner of a Getty Images Grants for Editorial Photography, has recently completed his project entitled New Beginning for Kosovo.
Photo Courtesy of Andrew Testa
In his project summary, Testa writes, “With Kosovo’s widely expected independence delayed by Russian opposition and bogged down in diplomatic wrangling, I set out to make a portrait of this tiny corner of Europe, a province of Serbia, but under the jurisdiction of the United Nations, it’s population of two million besieged by power cuts and water shortages, its infrastructure in tatters and it’s financial institutions and businesses unable to function normally due to it’s unclear status.”

He continues, “During the three trips that I made with the grant money I had a mantra running through my head; it came from a long ago review of Waiting for Godot that described it as ‘a play in which nothing happens, twice.’  This seemed to me to be the perfect summation of Kosovo at that time, a place in limbo, a country in waiting that was completely hamstrung by the fact that it was not actually a country.”

See Andrew’s finished photo essay at Getty Images.

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Getty Images grant winner, Rena Effendi, completes project

Tuesday, August 11th, 2009

Rena Effendi, winner of a Getty Images Grants for Editorial Photography, recently completed her project entitled Pipedreams: a chronicle of lives along the pipeline in Azerbaijan, Georgia and Turkey. 

 Photograph courtesy of Rena Effendi

Effendi writes, “Pipedreams is my first book that evolved from a long-term project documenting my country’s post-Soviet turmoil in which corruption, poverty and war were all related to, and fed by, oil and gas.  What I witnessed in this journey is that initial promises and expectations of trickle-down wealth still remain unfulfilled. Pipedreams is dedicated to the neglected people of Azerbaijan, Georgia, and Turkey, linked by the pipeline, and their faded hopes for a better future.” 

See Rena’s finished photo essay at Getty Images.

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