I’m pleased to welcome Veteran Travel Microstocker, Dmitry Rukhlenko (click here for his IG channel) for an exclusive interview here at the Brutally Honest Stock Blog to continue our extensive Stock Wizards interview series.

We met up twice in the past few weeks and this is a great chance to put what we discussed in writing, including tips for new contributors, and share with the world – let’s get started!

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Hi Dmitry, welcome to the blog! Can you tell us how you got started as a Travel Microstocker?

Hi Alex, thanks and great to be here!

I embarked on my photography journey as a hobby back in 2006, right after purchasing my first DSLR, a humble Canon 400D. Considered it quite an expensive camera back then as it cost around $800 (I wasn’t fully aware at the time that it’s relatively affordable compared to professional lenses and camera bodies). I began exploring ways to make money with my photography in order to support my hobby. This led me to discover microstock sites like Shutterstock.

I started uploading in February 2007, and by the end of that month I got my first sale for $1 at Dreamstime.

By April of that year, I passed the exams on Shutterstock and iStock (which weren’t easy at that time) and started to earn regularly through these platforms.

We all remember our first sales! How else did you improve your craft as a microstocker?

A few years later I became a moderator of the largest Russian microstock community – Microstock.ru/forum. This role provided me with deep insights into the industry, as I was responsible for publishing microstock news (at that time they indeed were exciting in a good sense of that word, not “exciting” ones they became nowadays), writing blog posts about the industry, as well as participating in discussions and offline meetings with other contributors.

Please do tell us about your travel experiences and how you ended up in Portugal?

From 2009 to 2013, I was based in Chennai, India, where I traveled extensively throughout the country. During this time, I also conducted travel photography workshops in India for fellow photographers.

I had my share of ups and downs. For instance, I endured a three-year hiatus until around 2017 from traveling due to a back injury I sustained in Myanmar.

Then, when was everything was back to normal and I was travelling again, COVID-19 came which was a real sucker punch for my stock earnings from travel imagery. I was also unable to leave Belarus during this period due to travel restrictions.

Subsequently, so-called presidential elections followed in Belarus, which led to protests and repressions, and I just wasn’t able to work for half a year. And the last straw for me was the war of Russian against, in which Belarus participated/participates – a situation I am totally against.

As a result of the war, I made the decision in 2022 to relocate to Portugal with my family, where I am currently am trying to pull myself together after all this tension and stress and catch up with my work.

You mentioned on your website that your mentor, Vadim Kachan, had a great influence on your photography style and approach to the art. Can you please elaborate on his influence on your work?

Vadim is a classical photographer, if I may say so, his work predominantly revolves around black and white photography, though he does sometimes shoot color images too. Through his mentorship, I gained a good understanding of composition rooted in the traditions of Henri Cartier-Bresson, André Kertész, Ansel Adams and other prominent photographers of that era.

I also received formal training in studio lighting which gave me solid understanding of\ how light works so that I can use this knowledge in my travel photography.

However, what truly sets Vadim apart is his remarkable ability to inspire. Every conversation I have with him leaves me motivated to capture more moments and to keep progressing in my photographic journey. And I love just to bring some of my recent images to him to discuss and to receive some honest critique. I like to think that he, too, enjoys from our exchanges.

Your portfolio includes a wide range of subjects, from travel and landscapes to Indian classical dance and more. What draws you to such diverse photography subjects?

While I primarily identify as a travel photographer I do shoot different subjects. In my early days of stock photography, I mostly did product photography because my travel opportunities were limited at that time.

Those were indeed good times in the industry, as the market was far less saturated than it is today. To illustrate, a simple shot of a Santa Claus hat on a white background earned me more than $6,000.  This is a screenshot from those good old days (in fact, this image was in top 100 selling images on Shutterstock Back then, Shutterstock used to have such list of, although now it doesn’t exist anymore).

Another product shot that was selling surprisingly well was this one of darts. I bought a premium dart board, quite an expensive one, and shot several images of it from a tripod not even using studio lights. Remarkably, this simple photograph generated over $2,000 in revenue.

My wife was keen on Indian Classical Dance (more on this later) and then yoga, so during my time in India, I had the opportunity to capture numerous dance concerts later shot some yoga.

Surprisingly, one of my images from dance concerts was directly purchased from me by Intel. Although it required some effort to track down the performer and obtain a model release from him, the image was used on billboards all over the India (not sure about other countries).

I even did some food photography, which turned out quite successful. However, I found it to be somewhat monotonous and not as engaging as my other photography pursuits.

Indeed, good old days! Your portfolio showcases stunning images of India, including various states and cultural elements. What inspired your deep connection with India as a photography subject?

The answer to your question is straightforward: India, in my opinion (and I believe I’m not alone in this sentiment), is one of the best countries in the world for various types of photography. It offers an array of captivating opportunities, making it a photographer’s paradise. India is fantastic for street photography, with its rich culture and traditions that provide a wealth of subjects.

The country boasts magnificent architectural wonders, from temples to palaces to forts, providing a lot of opportunities for architectural and landmark photography. Furthermore, India’s diverse landscapes, from the stunning mountains to evergreen tea plantations and serene beaches, offer a wide range of options for landscape photography. You can enjoy safaris in its National Parks, capturing images of diverse wildlife, including the majestic tigers. Here’s a slideshow of some of my fav images from India.

Bharatanatyam

As I mentioned earlier, my wife was in love with Indian classical dance called Bharatanatyam, led to her acceptance into the Indian Council for Cultural Relations program.

This prompted me to make a life-changing decision in 2009. I quit my office job as a software developer and, inspired by Steve McCurry’s advice that “If you want to be a photographer, first leave home,” I moved to Chennai, India. India for 4 years, where I matured as a travel photographer. There I became a full-time stock photographer collaborating with both microstock and traditional stock agencies.

Ever since, I have returned to India twice, and hope to do so again. After all, India comprises of 24 states, and I’ve explored less than half of them so far. I dream of resuming my travel photography workshops in India, this time catering to an English-speaking audience.

You’ve convinced me to visit India! As a professional microstock photographer, what advice would you give to aspiring photographers looking to capture the essence of a place or culture in their travel photography?

I can offer seven pieces of advice:

1. Train your photography and technical skill so that they don’t hinder your creative process;
2. Research and Prepare: Thoroughly research the destination, its culture, and traditions before your trip to better understand the context for your photography; and
3. Engage with Locals: Build relationships with locals to gain insights and create authentic photo opportunities. For example, one of my strongest portrait images (not for stock) was shot only because I was allowed to enter the monastery and interacted with monks. Below is a Jain monk of Digambara sky-clad sect – they wear no clothes and have only two possessions: peacock feather broom and a water gourd.

4. Tell a Story and Convey feelings: Focus on storytelling through your images, conveying daily life and traditions.

5. Be Respectful and Ethical: Always seek permission before photographing individuals and respect cultural sensitivities.

6. Capture Details and Traditions: Pay attention to small details and traditions that define the culture.

7. Continuous Learning: Invest in improving your photography skills and learn from experienced travel photographers.

Excellent advice. Post-processing plays a crucial role in your work. Could you share some insights into your digital workflow and the key steps you take to enhance your images?

1. First, I try to do as much work as possible during RAW conversion. I initially used Lightroom but switched to CaptureOne when I purchased a Fujifilm camera since Lightroom wasn’t good for X-Trans demosaicing (sorry if it’s too technical). However, with the introduction of recent Lightroom features, particularly AI Noise reduction and AI Subject selection, I returned to Lightroom. The reason is that everything you do in RAW processing is non-destructive, easy to adjust, and ensures the best quality by utilizing the most information contained in a RAW file
2. I apply my understanding of composition, which essentially serves as a tool to direct the viewer’s attention as intended by the author. I use this knowledge when cropping an image, adjusting the lighting and darkness, and fine-tuning colors to enhance contrast or create harmony. I also strive to add more depth to an image by enhancing perspective through adjustments in colour, tone, and contrast.
3. I frequently replace the sky in my photos. I maintain a library of skies that I’ve captured over the years, taken at different times of the day, and import them into Photoshop.

And quite often I add some sun flares, light leaks, etc. Here are three examples of before and after.

Since becoming an official Fujifilm X-photographer in 2018, how has this affiliation influenced your photography and the gear you use? What advantages do you find in the Fujifilm X-system for your work?

As mentioned previously, my photography was on hiatus for several years after back injury and birth of my first child in 2016. I was using an older Canon 5D Mark II camera (in fact two of them), but it was certainly outdated: the video capability, while revolutionary at the time of the camera release, no longer met modern standards, and in general it was to heavy and bulky.

Consequently, I began researching mirrorless cameras, as it had become evident that the era of DSLRs was drawing to an end, and opted for an APS-C Fujifilm. It offered superior image quality compared to my full-frame Canon, along with impressive 4K video capabilities.  Perhaps if Canon had introduced their mirrorless cameras earlier, I might have remained with the brand. However, Canon’s transition was relatively slow, and the Fujifilm option was not only lighter and more compact but also more budget-friendly. I made the switch in 2017.

Following my transition to Fujifilm, I had the privilege of being invited by Fujifilm to deliver lectures and workshops on travel and stock photography. They eventually offered me to become an official Fujifilm X Photographer, which I gladly accepted. Regrettably, many of these activities came to a halt due to COVID-19 pandemic and consequently the war.

So far, I’ve been satisfied with the Fujifilm X-System. It’s a lightweight, compact, and cost effective system with a robust selection of lenses. The camera excels in color rendition and color science for both photography and videography. It shoots good quality photos (the only area it is a little behind of full frame cameras is astrophotography) and it produces excellent 4K video. Furthermore , it has reliable weather sealing (I tested it myself in rain and snow on Lofoten Islands).

Moreover, the recent decision by Fujifilm to open their communication protocols to third party lens manufacturers has expanded the lens options even further, I am really looking forward to see more lenses from Sigma, Tamron, etc.

Now let’s get to the juicy details that most people have been waiting for…microstock earnings! Many photographers are naturally curious about the earning potential in microstock photography. Could you share some insights into how photographers can maximize their earnings on platforms like Shutterstock, Adobe Stock and iStockphoto, etc.?

Although I’ve earned over half a million dollars from micros over 16 years, let me begin with a rather pessimistic statement: the earning potential in microstock photography is not promising, especially in the realm of travel. If you haven’t started yet – it may be wise to refrain from doing so avoid potential disappointment.

Agencies have been reducing royalties to mere cents and squeeze everything from the authors, competition is fierce, and AI (fortunately just generative AI, not Skynet… yet) is attacking (more on this later). However, if you’re still determined to pursue stock photography after considering all these challenges, here are some ideas:

1. Shoot video: Don’t try to shoot both photo and video, it is virtually impossible, you’ll end up with neither images nor video. In some cases, you can shoot 4K and then extract frames and upload them as images, but it depends on your shutter speed and action happening. This is a still from video that I am selling as an image. Despite the reductions in royalties, video continues to be more profitable. For example, this month, I had two video sales for $165 and $73, for images it almost never happens anymore.

2. Don’t go into travel: Travel is expensive (especially nowadays), oversaturated and doesn’t sell as well as categories like lifestyle, health, and business.

3. Build a large and diverse portfolio of images.

4. Seek a niche that sells well: For example, if you have photogenic group friends, consider photographing them. If you’re involved in sports, focus on sports photography. If you have a background (or a friend with such) in science and access to a scientific lab, capture images there. Try to photograph something that is not very common but still holds a strong market.

5. Use photoshop to your advantage: See here the difference between the RAW and final version for these two. If you don’t know Photoshop, you can learn with many tutorials on YouTube, for example.

Indeed, this is becoming a more challenging industry. What strategies do you employ to ensure your stock images continue to generate revenue over time? Are there specific types of images that tend to perform better in the microstock market?

• Sell not an image but a concept. For example, camels silhouettes image is not just about camels but about a safari, adventure, travel.
• Images that have diverse applications tend to perform better in the stock photography market. When your photos can be utilized in various contexts, you increase their marketability. For example, a beach image can be used not only for travel brochures but also in advertisements, articles about relaxation, and wellness promotions.
• Images that are challenging to capture and reproduce. Unique and intricate shots, such as those requiring specialized equipment, precise timing, or exclusive access, have a higher market value. These images offer something distinctive and compelling, and will continue to sell over time.
• Invest in a drone to obtain some unique angles.

Can you discuss the role of keywording and metadata in making your images more discoverable on microstock platforms? Any tips for photographers looking to improve their image tagging?

Keywording is a vital part of the process, although I admit it’s the least enjoyable for me. However, it’s absolutely essential since, without keywords and descriptions, buyers won’t be able to find your image. Describe not only what’s in the image but also the concepts it illustrates.

1. It is necessary to find the right balance between being too general and overly descriptive is. For instance, avoid using “hand” if there’s a person in the image unless the hand plays a significant role in the action. I recommend studying keywording guides on platforms like Shutterstock, Adobe (which has an excellent guide), and Getty.
2. Consider the concepts and emotions conveyed by your image, and include keywords that capture these elements. For instance, if your image depicts a beach, include keywords like “vacation,” “relaxation,” and “holidays.”
3. I’m unsure whether it’s better to fill all available keyword slots, which is 49 for Adobe, or use only a few essential keywords. Personally, I try to include as many keywords as possible, even though it can create issues with some third-tier, low selling agencies that attempt to stand out and create problems for contributors by limiting the number of keywords to 40 or even 20.
4. There was a time on Shutterstock (and some other stock agencies) when keywords in the image description carried greater weight in search results. We can’t be certain because almost no agencies disclose their search algorithms, but it seemed to be so. Some individuals exploited this by using descriptions with a single repeated word, flooding searches with low-quality images. Thankfully, this unethical practice was put to an end. However, I still believe it helps if you can include your most crucial keywords in the description, just do it tastefully.

For example one of my best selling images is below:

I believe only the inclusion of holiday and vacation keywords in title helped it to get good sales by these keywords. By the way, on Shutterstock, the order of keywords on an image page is determined by the number of sales for each keyword (if they have accumulated enough sales). Therefore, you can discover which keywords are contributing to the image’s sales.

5. I utilize tools like QuickMeta in StockSubmitter or https://imstocker.com/en/keyworder for keyword generation. You input a few keywords, select images similar to the one you’re keywording, and receive a list of keywords that you can edit and use.

6. Now we can leverage AI to our advantage. For instance, you can use ChatGPT to generate keyword ideas by providing it with an image description. Additionally, there are AI tools designed for keyword generation, such as ImStocker Vision or the Pixify keywording tool.

Let’s now talk about the elephant in the room, Artificial Intelligence…how do you see Ai impacting the photography industry, especially in the context of stock photography?

I am fairly sure that AI will impact all aspects of our lives. It’s scary how quickly it develops – a year ago, nobody had heard about ChatGPT, but now everyone is using it in their daily work or even personal lives.

I believe AI can be of great help to photographers. For example, you can ask ChatGPT to generate ideas for a photoshoot. You can also ask Midjourney to generate images on a specific topic for use as a mood board.

And of course, it will help relieving the photographers from mundane tasks like writing description or keywords, creating invoices for clients, etc. Furthermore, AI can assist in relieving photographers from mundane tasks like writing descriptions, adding keywords, creating invoices for clients, and more. We will all have to learn how to use AI sooner or later, so it’s better to start integrating AI into our workflows now to gain an advantage.

Some photographers have concerns about the potential for Ai-generated content to replace human photographers. What are your thoughts on this, and how can photographers stay relevant and unique in an AI-influenced industry?

I share the same concerns, particularly in light of the fact that agencies are utilizing our images to train their AI, which clients can then use to generate their own images. The compensation offered by microstock agencies in exchange for using our images is, in fact, quite meager. For instance, one from Canva, initially announced with great fanfare, turned out to be more than ten times smaller compared to Adobe’s offering.

AI has shown remarkable capabilities in food photography and illustrations. However, when it comes to portraits of people, the results can be unsettling and a bit eerie. It seems there is still a long way to go in this regard. Lifestyle images are also not quite at the same level. Yet, for small-sized images used in blog posts or on Instagram, they are probably acceptable.

For now, travel photography appears to be less threatened by AI, as it is unable to perfectly replicate a specific location (though it can create beautiful landscapes). However, I believe it won’t be long before you can upload a simple phone image taken at noon, and AI will transform it into a stunning image with great lighting and a dramatic sunset sky. Google StreetView or Google Earth 3D models, or similar technologies, may soon be used for precise reproduction of specific places.

These were “created” for Lisbon – sure, it is a beautiful city and great sunset, and some even have a river and a bridge, but it is not Lisbon for sure:

On the other hand, creating a good prompt for AI is not straightforward, and I believe that many buyers either lack the knowledge or are too lazy to do so.

In this context, video seems to be a safer option. I estimate that it will take 3-5 years before AI can consistently produce video content of acceptable quality. Anyway the market is evolving and we have to adapt. I myself have a second small portfolio where I put AI generated images.

However, I want to emphasize once more that I don’t endorse the idea of replacing creative professionals with AI generation, even though it might be the dream of some microstock CEOs.

Now that you’re settled permanently in Portugal, have you made any specific travel plans for let’s say 2024?

Not really. I’m still waiting for my residential permit to be ready (Portuguese bureaucracy is legendary), and I cannot leave the country until it’s ready. Once it’s ready, I may start with some neighboring countries like Spain, France, Italy, and Morocco. And as I mentioned before, I’m really looking forward to resuming my travel photography workshops in India. If you’re interested in joining me, just let me know!

Wow, that’s one of the longest interviews we’ve had here…so much great info to digest, thanks a lot Dmitry and wish you happiness and success in Portugal. Let’s plan a trip soon!

Thanks Alex, it’s been fun answering these questions to bring me back nice memories, especially from India. Looking forward to traveling with you and share more ideas!

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About Alex

I’m an eccentric guy, currently based in Lisbon, Portugal, on a quest to visit all corners of the world and capture stock images & footage. I’ve devoted eight years to making it as a travel photographer / videographer and freelance writer. I hope to inspire others by showing an unique insight into a fascinating business model.

I’ve gone all in on submitting book cover images to Arcangel Images and flying my DJI Mavic 2s drone regularly.

I’m proud to have written a book about my adventures which includes tips on making it as a stock travel photographer – Brutally Honest Guide to Microstock Photography