Microsoft AI examines the relative value of images captured at equestrian events

The relative value* of equestrian event imagery
©Harveywetdog

* in this context value is defined as the amount of money each type of content is likely to earn for the videographer or photographer.

Following my review of British Eventing's revised media accreditation policy, I had another think about my views on the relative value of the imagery we capture at equestrian events as shown in the above slide. I then asked Microsoft Co-Pilot to critique my thoughts - the results are set out below.

1. Controversial Content as Top Earner

Strongly supported. Exclusive footage of incidents commands premium prices from news outlets and media agencies. The Charlotte Dujardin whipping video went from a private recording to global mainstream media coverage overnight — that kind of footage is essentially priceless to whoever holds it. ABC's 7.30 segment showing alleged mistreatment of retired racehorses in 2019 triggered a massive public backlash against the Melbourne Cup, demonstrating the editorial demand for this material. News organizations will pay top dollar for exclusive controversial footage because it drives viewership spikes and dominates news cycles. A single clip of a fatality or welfare incident at a major event like the Grand National or Kentucky Derby can be licensed globally — far exceeding what a photographer might earn from an entire season of routine event coverage.

2. Live Streaming Ranked Second

More nuanced than the slide suggests. Live streaming revenue is projected at $119.1 billion in 2026, but most of that flows to platforms and rights holders, not individual videographers. For a freelance operator, live streaming earnings depend heavily on whether they hold broadcasting rights or are contracted by event organizers. The FEI and major racing bodies increasingly manage their own streams, which limits freelancer opportunity. That said, if a videographer is contracted for live production, day rates for live event crews run $850–$7,000 for basic streams and $8,000–$50,000+ for broadcast-grade production — significantly more than post-event editing work. So the ranking holds, but with the caveat that access to these contracts is limited.

3. Long-Format Over Short-Format Recorded Video

Reasonable but increasingly contested. Traditionally, long-format event recaps, training documentaries, and competition highlights were sold to broadcasters or event organizers at higher rates because of the production effort involved. However, the rise of creator culture in equestrian media is shifting this. Short-form content on TikTok and Reels is now where equestrian brands spend marketing dollars — and creators who produce short-form are monetizing through brand partnerships, not licensing fees. The distinction may come down to who's paying: event organizers and broadcasters still pay more for long-format deliverables, while brand sponsorship and influencer deals increasingly favor short-form creators. The slide's ranking likely holds for traditional event videography but is eroding fast.

4. Still Imagery Ranked Last

This is where the slide is most defensible — and most outdated simultaneously. On one hand, the photography market at equine events has been under pressure for years. The barrier to entry is lower, smartphones have commoditized casual event photos, and print media budgets have shrunk. A freelance equine photographer typically earns through participant photo sales (riders buying shots of themselves), editorial licensing, and event contracts — all of which have tightened. However, the slide undersells the sponsorship and commercial photography angle. Professional equine imagery remains essential for sponsor pitch decks, brand campaigns, and publications. Equestrian marketing agencies specifically call professional photography a "strategic necessity" that drives sponsorship renewals. A skilled equine photographer with commercial clients may actually outearn a videographer who only shoots event recaps.

Updated Assessment

• The ranking is broadly defensible under this definition — controversial footage has the highest per-piece earning potential, and still imagery has the most commoditized market
• The biggest gap is between items 2 and 3 — the jump from contracted live production rates to post-event video editing fees is steeper than the slide implies
• Still photography's floor is low, but its ceiling isn't — commercial and sponsorship photography can be highly lucrative, so ranking it last oversimplifies
• The slide would benefit from distinguishing one-off windfalls (selling controversial footage) from sustainable income (contracted live production, ongoing brand partnerships)

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Harveywetdog/Author - David Robinson CEng FIET 

David spent approaching 50 years in Her Majesty's Electricity Supply Industry before retiring

He was part of the highly successful design team on the Sizewell B Nuclear Power Station Project before spending 25 years producing safety cases to keep our aging AGR fleet generating for the good of the nation

He is responsible for the Harveywetdog YouTube Channel which he maintains as an outlet for his creative talents

David has twice experienced blood cancer treatment but absolutely refuses to be a victim

All views are of course his own but might be influenced by the medication he's having to take