In the Fall of 2007, we launched the PhotoShelter Collection with a six city tour around the US comprised of forums amongst photographers and buyers to create a dialogue between these two groups. Our on-going research suggests that there is a disconnect between these populations which we are seeking to bridge through an on-going discussion.

Download these for your iPod

Chase Jarvis Keynote

Catherine Talese Keynote

The American Society of Picture Professionals hosted a discussion regarding alternative markets for licensing stock in the Fall of 2007, and invited me to join the discussion.

Panel Discussion

Vendor Presentations

photos by Clint Blowers


1. OVERVIEW
"Silo" or "cut-out" imagery is an interesting category in the sense that its monetary value and its future as a dedicated profession for stock photographers are debated.

Many photographers consider being able to light an object effectively on white seamless a core skill that is learned during one's days as an assistant. There are basic technical challenges in this photographic task; one must learn how to control reflections, keep backgrounds distinct from the objects, and make a clean image.

However, most would also agree that market value has decreased for silos- mainly due to the proliferation of digital cameras and in-house studios at magazines and advertising agencies. Even photographers support that silos are appropriately priced RF and at a relatively low price point.

Regardless, silo imagery continues to be used in massive volumes across all industries in stock purchasing. Photographers who can achieve perfection in this category will still be able to generate a solid revenue stream from their work - even if it means selling the same picture of an apple 500 times in one year.

To learn more about how to light a silo, see our silo lighting tutorial.



photo by Nicholas Eveleigh


2. DEFINITIONS
'Silo' generally refers to any object shot in a straightforward fashion on white seamless. There is nothing conceptual or artistic about silos - indeed, if any conceptual elements enter the shot, it becomes 'still life.' The point here is to show the object as cleanly and simply as possible. For example, if you shoot a coffee cup on white - that's a silo. If you show rings on the table and a book of matches next to it - that's a still life.

A typical usage for silo is when an editor 'cuts out' the image from its background and inserts it into a page. One reason silos are most often shot on white is because the typical usage is in a magazine, where the pages are white - so the edges will match.

Other attributes of silos or cut-outs include:

• The entire object is in focus

• The object is not backlit - it is not a silhouette.

• There is typically a soft shadow around the object created by lighting on the set (not Photoshopped in later)

• The image has an inherent flexibility- it could be placed on either side of the page or inverted, and can typically be used at a variety of sizes.

• There is no need for copy space - since typically the image is cut out of the background

• There are typically no logos on the objects (although this could occasionally be appropriate)

• Typically priced Royalty Free.

Lastly, while silos are to some degree commodities, buyers do indicate that lighting, composition, and the quality/look of the object clearly differentiate images amongst a set of search results.








3. INTRODUCTIONS
This was a very interesting set of interviews - thanks so much to our experts, who were so generous with their time!

BUYERS

• Annie Etheridge - Photographer, Photo Editor, and Producer
• Josephine Solimene Rustin - CosmoGIRL! (Photo Editor)

PHOTOGRAPHERS

• Clint Blowers
• Nicholas Eveleigh

photo by Jon Ragel


1. OVERVIEW
In our recent buyer survey, business was cited as one of the weakest categories across all of stock - and the buyers we spoke to in person seemed to agree.

Buyers told us that much of the available business stock is lifeless, homogeneous, dated, and overly-corporate. Most photographers don't even consider shooting in this category. Why is this?

If we look to the real world, we see rich source material: people of all shapes and sizes are working on building their personal futures and the future of our society in every industry and working environment imaginable. And we know that commercially speaking, high quality business imagery is one of the most in-demand and lucrative categories in stock photography.

Photographers, we're giving business a bad rap -- and missing out on huge sales potential. Let's bring this diverse and energetic world alive for our buyers, and capture humanity at work!




2. DEFINITIONS
The sky is the limit here - the definition of a business person is really just someone who is performing a perceivable role in a professional capacity of some type. People portrayed can range from mid-20s to early 60s. The category includes concepts (teamwork, working against a deadline) as well as literal situations like meetings and working on a computer.

You should also consider a range of occupations and scenarios:

• A local realtor outside with clients.

• An edgier person working in a creative field.

• A Baby Boomer providing advice in a suit from behind a desk.

• A local shop keeper dealing with risk.

• An IT worker or the concept of global connectivity.

• The concept of problem solving.

• The concept or demonstration of excellent customer service.

• Blue collar workers are also generally needed - especially construction + builders.

10. The image that came straight out of your camera is probably not good enough to be sold
Since the advent of photography, photographers have toiled over their images after the image was taken. In the film days, this meant hours in the darkroom. Today, it means Photoshop. That doesn't mean you need to manipulate the image beyond the point of recognizability (in fact, that's usually a sign of a bad photographer), but it does mean you need to understand about the basics of contrast, curves and levels.

Take time to retouch skin blemishes, fix fabric wrinkles, and remove the stray twig or gum wrapper.  Advertising agencies will pay more for these images, not only because they'll save retouching money, but because they just look better in the first place. Image sales are all about perception. If the image is perceived as being professional, the price will be received as being reasonable.

9. You need to become proficient in editing (and get a second opinion)
National Geographic photographers typically shoot 10,000 images per assignment for stories that only use 30 images in publication, and these are some of the best photographers in the world. If you are submitting the bulk of your images from a given shoot, you probably need to have a professional edit to unemotionally select the best images and get a dose of reality. Picture editing is as much an art as photography, and you can't get good at it without practice.

8. Have patience
Sales of some types of images can take months if not years. That's not to say that you will be waiting ten years for a sale, but think of your photos as some sort of farm crop. Depending on what you plant, they may be sold soon, like lettuce, or they may take years to mature, like Christmas trees.  Just remember that they are of no value at all if they are not online. And they're of even less value if you don't shoot them at all. Get out and plant shoots.

7. Real people love to sign releases
Really, they do. It makes them feel like "models".  It makes them feel beautiful. Don't hesitate to ask for a release because it opens up more avenues for licensing your images. They might not always consent to sign, but the worst they can say is no...

6. Consider the lowly thumbnail
How many times have you seen a store or restaurant with a crappy sign, and wondered why they don't realize that cleaning it up is the most important thing they could do to increase sales? It's just like that with your photos. The thumbnail is the first thing the client sees before "entering" your beautiful image. If it doesn't pop, it won't get a click. Start thinking about this when you are composing the image. Then think about it again when you're processing RAW's. Look at the thumbnails as you adjust for color. Make' em pop.