What I Do, How I Help
To learn more about how I can help you, please read the September 2008 interview with me on After Capture's Metaforum.Memberships
American Society of Picture Professionals
Authors Guild
Canon Professional Services
PLUS Advisory CouncilVisuals on this Site
I work diligently to post only permissioned, licensed, creative commons, widgets, gydgets, cover art or my own visuals on this site!
Taos for a week in July painting abstracts? You know you want to go!
I know it’s been a while since you’ve heard from me. But I could not let another day go by without letting you know about the Gwen Fox artist workshops taking place in Taos this month and again in September. Below you can register for classes or sign up for Gwen’s inspirational newsletter. If a week of creating successful art isn’t for you, please forward this to a painter in your life, or simply click on the unsubscribe link below. Thanks for taking a look! ~ Jain
Expand your creativity with Gwen Fox
Join renowned international artist and teacher Gwen Fox in Taos, New Mexico this July. Relax in the New Mexico sun. Watch the light caress the adobe walls filling the air with a soft apricot glow. Allow a new personal vision to emerge while learning skills that will propel you in the direction of your heart. Affordable, transformational and productive |
Taos Summer Workshops with Gwen Fox. All classes will be held in the Stables Gallery, just off the main plaza (in the heart of downtown Taos) and within walking distance of many eateries and lodging facilities. Two fabulous groups of casitas are secured on a first come, first served basis. Lodging links and additional workshop information can be found on www.gwenfox.com or call (719) 594‐4232.
Citrus Walk
Last week when the weather was California-stunning, I snapped a few photos for my very neglected blog. These are some of the sights on my regular beach walk. I made friends with a cat I call Citrus. He seems to respond to that and so now this is the Citrus Walk.






Bully for You!
If you’ve ever wondered how long it takes from shoot to publication for a major national magazine, here’s one answer. On June 17, 2009, my post, Assignment Day!, shared great news from photographer Dr. Susan K. McConnell, who had just landed her dream assignment to document bull elephants in Namibia. That was almost 17 months ago.
Fast forward to November, 2010:
Dear Jain, Well over a year after I shot the elephant pictures, Smiths has scheduled the story and gave it the cover on the November issue!! Fascinating to see the art editors at work. **Thank you** for your help — practical, strategic, and emotional — in making this happen!!! I *do* remember our conversations about shooting covers!! And I’m pleasantly surprised by the image they chose — I do see how it suits the text they needed to add. It’s all soooo interesting… More soon and once again, thank you for all your help and support! — Susan
I am so happy for Susan! She advanced her idea, used all of her talents in the field, understood how much there was to learn, endured the long editorial process incredibly well and by doing all this and more, she achieved the top reward. To see more of Susan’s photos from her assignment, visit the gallery on Smithsonian’s site, How Male Elephants Bond.
Now I’m REALLY back!
It’s been so long since I posted I nearly forgot how the dashboard works! Like riding a bike, I’ll be warmed up in no time.
I’m so excited to share the fantastic news about being ASPP’s next Executive Director. My thanks to Cathy Sachs, Michael Masterson and the ASPP Board for sweeping me into the position. A Presidential Appointment!
I will be in transition for the next several weeks but count on seeing and hearing from me here on my blog and throughout the photo community. Hooray!
I’m Back (Well, at least on Jim Pickerell’s Blog)
Use-Based Pricing: Is Rights-Managed Licensing on Way Out?
Posted March 8th, 2010 by Jim Pickerell
In response to “Use-Based Pricing: Corbis Moves in Right Direction,” Jain Lemos said: “I am not convinced that the rights-managed model should disappear entirely, and promoting that idea too soon could have a negative impact that Corbis and others don’t intend. Perhaps rights-managed and [traditional] royalty-free are going away on their own, but they have worked well for many years, and I’d hate to see the baby thrown out with the bath!”
To discuss whether it is time to get rid of the rights-managed model, we need to identify its two basic elements: the ability to license exclusive rights and the ability to license rights based on use. In today’s market, it does not benefit most photographers to try to keep all their images available for exclusive licensing, since the vast majority will never license an image for exclusive use. Nearly all licensing of rights-managed images is for non-exclusive use. I will acknowledge that rights-managed licensing does benefit agencies, and those rare photographers who are lucky enough to hit the jackpot, to be able to license exclusive rights to images.
The problem with the rights-managed strategy is that no more than 1% to 2% of all the images licensed around the world today are licensed as rights-managed, and that share is declining every day. Everything else is being licensed as royalty-free or subscription. Thus, those sticking with the rights-managed model are severely limiting the number of customers who will even be aware that their images exist, let alone license them for use.
On the other hand, the ability to license rights based on use rather then file size is absolutely critical to ever being able to maximize revenue from one’s production. What we need is not to keep rights-managed licensing alive, but a new model that separates licensing exclusive rights from use-based licensing. The salvation of use pricing will be when the microstock sellers—who already own the customers—recognize that they need to do a better job of pricing based on use in order to grow revenue. The chance that the rights-managed model is going to come back in all its 1990s glory is gone much like the chance of typewriters coming back into general use.
Microstock sellers do recognize that, in order to grow revenue, they need to find some way to limit certain uses for their base file size prices. That is what their Extended Licenses are all about. Microstock sellers price some things by use in a very limited way. They just do not put enough use types into the Extended Licenses category. They are also trying to raise prices on some images by offering higher priced premium collections. On the other hand, they are severely hampering themselves by trying to build use modifications around a file size model and would be better off if they could go to a new model that is completely based on use.
Part of the argument for sticking with file size is that the royalty-free sellers want to keep pricing simple, but if customers were to really read the microstock licensing agreements, they would find that in most cases the rights they have purchased are harder to understand and track than the average rights-managed license. It would also be possible to build a model based entirely on use that is simpler for the customer to understand than the existing microstock model, but microstock does not appear to be moving in this direction.
The world is changing, and what everyone needs to do is think outside the box, rather than hold onto the old ways of doing things and justify long-held beliefs.
Lemos responds: “That rights-managed licensing handles the issue of exclusivity is only one of the model’s components. If you want to talk about pricing structures, that is another matter, too. Rights-managed licensing conveys who was granted rights and for what purpose exactly. While total exclusivity is seldom sought, industry and format exclusivity (i.e., no other billboard sales) is often a factor to clients. Tracking is also the only method for agents and photographers to analyze trends. Even if only a small percentage of the collection’s sales are rights-managed, information can be extracted. Rights-managed licensing builds the very type of statistics that a business such as yours utilizes.”
In my opinion, industry and format exclusivity are seldom sought, even when we are just talking about rights-managed sales, and sales with such exclusivity represent an infinitesimal percentage of total sales. So it comes down to: do you want to ignore 99% of potential customers in order to be able to address the needs of one-one-hundredth or one-one-thousandth of 1% of the customers? You cannot address all the customers, because a very large percentage will not even consider rights-managed images. You have got to address one group or the other, and it makes more sense to address the infinitely larger group.
Of course, tracking types of uses can be very valuable in analyzing trends, but that can be accomplished by switching from a file-size system of pricing to a use system—and the use system does not have to include exclusivity. In addition, while microstock and royalty-free sellers cannot provide use information, the statistics they do provide to photographers are of much more value than that provided by rights-managed agencies, because the rights-managed agencies hide so much of the really useful information.
Lemos said: “I don’t see any reason why we should not hold onto and promote the existence of rights-managed licensing as an option, while we test and embrace new ways of doing business. To start declaring that it is over or soon will be is unnecessary and potentially damaging chatter. The rights-managed model helps photography retain value. Let it stand!”
To allow rights-managed to continue to exist until it dies a normal death is fine, but to promote it among photographers is to encourage them to sell their new images in this manner. That is probably doing the photographers a disservice. At some point, it made sense to stop promoting typewriters and film cameras even when a few were still being sold. The same may now be true of the rights-managed licensing model as it is currently defined.
This entry was posted on Monday, March 8th, 2010 at noon and is filed under Commentary. You can follow any responses to this entry through the RSS 2.0 feed. You can skip to the end and leave a response.
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I Shall Return
I am going to be busy with something else for awhile, at least until the end of this year. I may post from time to time, so if you care to be notified of those, please scroll down to the bottom of the page and add your email to the “subscribe” box. Until then, stay on the good course and if you drift downwind too far, remember to go back to basics: One photo, one post, one call per day! ~ Jain
1750 Images to Look Through
I’ve finished viewing the entries of the 175 top finalists for this year’s Photolucida Critical Mass. Each artist submits 10 images and a statement. This year the judging scale was:
NO (= 0) “Someone may be interested in this work but it’s not me.”
YES (= 1) “I’m glad that I’ve seen this.”
YES + (= 3) “Strong work, but not quite wowed by it.”
WOW (= 7) “Amazing — I can’t wait to show this to someone.”
I like the work of Jason Demarte, Lauren Henkin and Ara Oshagan. I’ll share more artists with you and explain what I liked and didn’t like about their submissions in some future posts.
BROKEN LINKS FIXED!
A page for every species on the planet

Twirling Saguaro. Photo by Jain Lemos.
Can you provide a few images to help build the Encyclopedia of Life? It is an incredible global partnership between the scientific community and the general public to record every species on the planet, about 1.8 million. (This is NOT the type of image they are looking for.) As of late August, almost 40% of EOL’s 33,000 images are from five photographers: from Portugal, Australia (2), Spain and Austria. You can see a showcase of the best here.
If you want to provide images you agree to do so under a Creative Commons license, so be sure to read the Licensing Policy first. I suggest selecting CC‐BY‐NC (Attribution‐NonCommercial). Start by viewing the instructions on contributing photos via the EOL Flickr group on their How To Slideshow. There are 18 slides; open to full screen mode. Let me know if you decide to participate and what you will be contributing. I am going to submit some shots of the friendly, small white lizards that hang out by our front door.
Field Trip!

Toward Los Angeles, Calif., March 1937. By Dorothea Lange.
Yesterday, Jamie Williams and I arranged for a private print study session at The University of Arizona’s Center for Creative Photography. We selected a box of gelatin silver prints by Dorothea Lange, and a Magnum group portfolio. This image was one of my favorites of the whole lot we viewed, about 50 in all, with the patient help of Art Historian Shana Lopes. I say patient, because Jamie and I wanted to see many of the prints in the best light and position, and Shana was more than accommodating.
The Center has 80,000 works by 2,000 photographers. We know we’ll be back for another session soon. The Center is also exhibiting a large Robert Mapplethorpe show in the main gallery and we toured the walls with plenty of opinions!
Copyright Alliance’s Letter to the White House
I’m passing on this call to action from the APA and the Copyright Alliance and I hope you will pass it on, too. I also suggest watching the video “Copyright in the Classroom” on the homepage. If you teach or have children in school, their study courses and teaching aids are excellent.
©©©©©©©©©©
September 29, 2009
Dear Friend of APA,
Advertising Photographers of America is partnering with the Copyright Alliance in asking you to sign a letter that is being sent to President Obama and Vice President Biden. APA’s advocacy efforts to support strong copyright protections for photographers and all owners of intellectual property are a vital component of our mission. With the threat of further erosion of copyright protections on the horizon, sending a message now to the President is an opportunity that should not be missed.
The Copyright Alliance is a non-partisan coalition of associations, creators and copyright industry leaders that give a voice to individual authors of creative content including photographers. This letter allows your voice to be heard in cooperation and inclusion with creatives from all areas of intellectual property.
Let the White House know that their support is critical to the protection of the rights of artists and the continued value of creative efforts in today’s society.
Go to www.copyrightalliance.org/letter/ to sign the letter. It is an easy process of entering your name, city, state, type of artist and email address. Click the sign button and you’re all done.
Once you have signed the letter please forward it on to your colleagues and friends in all areas of creative output.
Thank you.
Theresa Raffetto, President APA National
Stephen Best, CEO APA National
My Organic Competitor is Paul Michael Glaser
I believe we’ve reached a point of Internet Osmosis.
My website, www.jainlemos.com appears on SpyFu. Their motto is “Spy on Your Online Competitors.” An alert this morning led me there for the first time.
This is the link to my site’s listing on SpyFu. Notice the webpage’s tab header is my URL. Towards the bottom of the page, there are two boxes with information. One is for Organic Keywords, obviously gleaned from my posts. The other box provides a list of Top Organic Competitors. A bar next to each of my competitors measures the overlap. Today, my highest competitor site is the Official Website of Paul Michael Glaser. No surprise that David Soul would be second.
In 1987, I worked on the feature film, The Running Man as an assistant to actor Yaphet Kotto. Paul was the film’s director (he was called in to take over the project as director a few weeks into production). I remember the moment he arrived on location. We were at California Steel Industries in Fontana, Calif. on a hot and dusty day. More chaos than usual. The movie is set in the year 2019, only 10 years from now.
So anyway, that is a coincidence. But why else would my site overlap so high with Paul’s? The movie is based on the Stephen King novel (written under his pseudonym Richard Bachman).
In 1997, I worked for Headland Digital Media, a division of Penguin Putnam (Pearson, PLC) in Novato, Calif. Our project team created online communities surrounding major book launches, including Tom Clancy’s Politika and… Stephen King’s Dark Tower IV: Wizard and Glass. Here is a press release announcing the site we built.
In 2007, I updated my LinkedIn profile. I know this because of a recommendation date. This is one of the few (I think) places where I list my full resume details. It reads:
Content Strategist Consultant, Headland Digital Media, Pearson PLC: Developed and launched effective and innovative online marketing Web sites to rollout and promote new books by authors Tom Clancy and Stephen King, increasing site stickiness with the Dark Tower IV: Wizard and Glass trivia game, exclusive screensaver, and sweepstakes, and the Politika exclusive online game that allowed readers to enter Clancy’s world and encouraged repeat site visits with online prizes.
In 2017, I will check back with SpyFu.
Meanwhile, I will watch the 1977, Season 2, Episode 13 of “Starsky and Hutch” for some clues.
Unclear About Copyright?

Mask Warning. Photo by Jain Lemos
Apparently some folks still are. Beate Chelette, who continually amazes me with her capacity for having her eyes on all things photography, gives us this Noteworthy Update on her Photosecrets blog. It’s the tale of an LA Times reporter, an attorney from Getty, a Long Beach travel agency owner, a website design firm and a “generic shot of a woman sitting in front of a computer.”
I took this photo at an antique mall last weekend, considering a new mask for my collection. I was wondering how I might use it in a little post.
Prepare for Chance
Lighting Essentials for Photographers is building their article archives about all things lighting. I like the tech sheets section. Their recent interview with photographer Daron Shade mentioned me and I’m happy to reciprocate.
Daron said, “By chance meeting, I met portfolio consultant Jain Lemos and happened to have a few prints with me. She saw clear consistencies across a number of very different images, helping me realize and refine my own style. She really set me on the right path to redefining myself.”
Daron gives a good reminder to keep some type of portfolio with you at all times.


Hi Jim,
I think Jain has quite a valid discussion going on here. What I’ve found interesting about your articles is that they too often leave out the smaller agencies in their statistics. I doubt too that we are the only part of the 1 % out there… Just today I met with a client to discuss a rights managed license agreement that has the range of payment going from $4000-$8000 per image, based on how they are going to use the multiple images. This client has been licensing images for some time and personally told me they thought microstock was dangerous and would never touch it. Further, another client just told me how grateful they were to me for working out an agreement so they wouldn’t have to go to “those damn microsites” again. The licensing models may be evolving, but there are still plenty of clients that license rights managed images for a particular use, often paying extra for an industry and time period. Cheers! Danita
I agree that RM licensing has a place in stock photography. Even if it is a fraction of 1% that fraction will still be a much larger percentage in terms of dollar volume. At Acclaim Images we have no plans of abandoning RM image licensing.