After I started building my online photo archive several years ago, it wasn’t long before an unanticipated group of followers came to light and began e-mailing me with specific photo inquiries: scale model race car car builders are always on the lookout for photos of auto racing’s past to use as reference when they are assembling their projects.
Photos that show paint schemes, sponsors for specific events, decal positioning and size, etc. are invaluable in assuring the accuracy of a given finished model.
Over the past couple of years, I’ve filled several print orders for scale modelers and have incorporated a special print pricing structure with these clients in mind.
My print price schedule includes low-priced 4x6 and 5x7 prints for these folks who need accurate reference prints, but don’t want to break the bank when acquiring them.
The photo archives at bcpix.com include, but are not limited to the following: 1980’s NASCAR, Indy Car (IRL & CART), and the IMSA glory days of the GTP era. Of course I’m always updating my online catalogs as more images from the past are digitally archived!
The photo database is fully searchable, making it easy to find just the pictures you’re looking for.
Begin your search today by entering search terms in the box below:
If you can’t find what you’re looking for, don’t hesitate to drop me an e-mail at: firstname.lastname@example.org
With the over-saturated stock photography market that the advent of digital photography and the ever-improving line of digital cameras has created, many of us photo veterans, who date back to the days of film, are having a hard time coming to terms with ultra- low commissions that the microstock houses are paying.
With that in mind, have somewhat limited options when it comes to marketing our work at prices with which we are comfortable.
One route is to build your own online archive and portfolio at places like Photoshelter, where I house an ever-growing collection of rights-managed and royalty-free photography. One problem with this approach is that it is extremely tough to even get noticed in the sea of photography that is now online, which makes it very difficult to attract enough traffic to build a steady income.
There is another interesting option that has been around for a few years that I have recently discovered.
There are now several sites out there where merchants can sell their digital downloads, with the site proprietor taking a percentage of the sale price. While many people use these sites to market e-books, mp3’s, software, etc, it is also a viable platform from which to sell royalty-free stock photography and royalty-free video clips.
The site with which I am currently experimenting is the German=based Tradebit.com.
There are several things I like about the Tradebit model:
1) Tradebit is highly ranked with Alexa (as of today, 2381st in the US), ensuring a built-in traffic flow. While not all of these visitors will be looking for stock photography, at least you have a chance to get your tagged, keyworded files in front of thousands of potential buyers.
2) Tradebit offers several ways to get the URL of your homepage in front of the visitors to their site.
3) You can set the price for your offerings at whatever you want. If I’m not comfortable accepting the 30 perc ent of $1 sales that many of the microstock sitesw are offering, I can post the same photo at Tradebit at any price I wish. I may not make any sales, but I can always adjust the price as I see fit and don’t have to be frustrated at seeing my work being used while I pocket a 30 cent commission!
4) There are no monthly fees involved in dealing with Tradebit. Amazingly, you do not pay for them to house you uploads, they work only for a percentage any sales.
5) You are your own editor. There is no long curation process, where you are often told that your work is not suitable for sale on a particular site. You decide exactly what you want to post for sale, upload it and it is online, usually within a day and often almost instantly!
6) The offerings on Tradebit show up very quickly and competitively ranked in google searches.
7) Buyers on Tradebit are not required to maintain a user account. They simply find what they are looking for and download it, paying via PayPal. I’ve always felt that the easier it is for someone to buy something, the more likely they are to buy it.
8) You can easily create a variety of embedable widgets from your projects and place them in blog posts, on web pages, etc. (see example below):
So those are a few of the Pros to the Tradebit model. Are there any Cons? Of course. The Tradebit platform is sort of a self-serve process for both buyers and sellers. While the owner, Ralf, is very helpful and responsive to questions, it is often a process of feeling around the site to make things look and work the way you’d like. I’ve discovered a few amazing little hidden perks in my exploring (the ability to insert a clickable-to-my-site banner on my pages, for example).
Tradebit is only one of several options for merchants looking to do business on one of the digital download sites, and I selected it due to its traffic ranking and favorable reviews that I was able to find online.
The jury is still out on the effectiveness of marketing royalty-free stock photos on Tradebit, as I’m only about a week into my experiment, but could this be the new wave for photographers to battle the online microstock mega-sites?
With all the news these days about NASCAR’s “boys having at it”, namely Ryan Newman and Juan Pablo Montoya mixing it up at Richmond and then the spectacularly entertaining Kyle Busch vs. Kevin Harvick dust-up at Darlington, my mind drifts back to some of the more humorous NASCAR scuffles down through the years.
Since the 1960’s I’ve missed only a handful of Daytona 500’s, one of which was the 1979 event which featured the famous last lap crash and subsequent rumble between the Alison brothers and Cale Yarborough. After listening to that race on the radio, I vowed to never skip another Daytona 500 and, in fact, I’ve only missed one since then. It’s sentiments like these that NASCAR banks on to bring fans to the racetrack, and so while they punish the fighters on the one hand, they are actually quite thrilled with the free PR that goes along with any on-track run-ins.
I find it amusing how these fights unfold and what it tells you about the drivers and there senses of humor, or lack there-of.
A few years ago after Sterling Marlin and Greg Biffle crossed paths during a race at Watkins Glen, a radio reporter caught up Marlin in the garage and asked him what happened. I still remember Sterling’s amusing reply: “I got wrecked by a bug-eyed idiot!”, reported Sterling.
Similarly, after a Kyle Petty-Bobby Hillin Jr., encounter during the 1993 Daytona 500 resulted in a pit road confrontation (see photo above), some asked Kyle Petty what happened. “Don’t know”, said Kyle, “Go ask the ‘blind boy’ in the 90 car”. Inferring the Hillin, who drove the #90 Ford T-bird at the time, was having trouble seeing his way around the speedway. It is also interesting to note that Bobby elected to keep his helmet in place, while Kyle entered the fray unprotected.
I’ve also noticed that some driver/fighters prefer strapped-in, stationary targets, as when Michael Waltrip poked Lake Speed through the window net as he sat in his race car or who can forget the Jimmy Spencer’s through-the-window punch at Kurt Busch after a Michigan run-in.
Other drivers take aim at moving targets, as when Robby Gordon nailed Michael Waltirp’s car with his helmet as it passed by him after he climbed from his wrecked race car at New Hampshire.
More recently, The Kyle Busch-Kevin Harvick Darlington bout was telling in that Harvick was eventually willing to climb from his mount and stalk back to confront Busch before he climbed from his car. Kyle, however, wanted no part of that and drove off, although he had to shove Kevin’s driverless car out of the way to do so. No matter who you sided with in that incident, you have to admit that the sight of the #29 Budweiser Chevy rolling nose first into the pit wall was fairly amusing once we determined that no one had bee injured as a result.
So, while the racing is good, and all want to know who wins each weekend, the periferal action keeps us coming back for more and also makes for good photos!
The year was 1994. Richard (The King) Petty was a recently retired driver and fairly new full-time team owner. Jeff Gordon was a young, upcoming driver and not yet the iconic superstar the he is today.
About a year and a half earlier Richard Petty had wrapped up his driving career in Atlanta on the same day that Gordon had made his “big league” debut.
I was trolling the Winston Cup garage at Talladega in May 1994 looking for a picture when I noticed the two men sitting atop the work bench talking. Not wanting to intrude, I employed my best “fly-on-the-wall” technique, putting on a longer lens and lurking unnoticed int he corner of the garage, I snapped a few shots.
As often happens, the moment dissipated quickly, with the two stars wrapping up their conversation and going their separate ways. But this picture remains one of my favorites, as I feel it illustrates the changing of the guard that took place a generation ago when the Pettys, Peasons, Parsons and Allisons were vacating their spots atop the sport and the Jeff Gordon was moving in.
Marketing a photo archive online can be a difficult task, especially with things moving so fast in today’s world. For this reason, BCPix.com is happy to announce the creation of a new product: a unique collection of stock video clips created form the still photo archive of Florida-based freelance photographer Brian Cleary.
This collection is intended for use by documentary filmmakers, webmasters, video producers and anyone else in need of unique video content for their projects, and is offered for royalty-free sale online at:
At the collection’s new online home, you can browse the clips, search for specific content, purchase and instantly download the files.
The clips are uploaded in the HD1080 format at a 1920x1080 resolution, but other formats are available by contacting Brian Cleary (email@example.com)
Check the samples on this page and then hurry over to firstname.lastname@example.org to see if we might have just the clip to round out your newest production!