Business Tips from 14 Photographers
There are many ways to participate as a photographer in the stock imagery marketplace. Some photographers are 'factory' stock shooters - it is a full-time job and they are incredibly focused in running their businesses. Others are commercial assignment or other types of full-time shooters who sell stock for side income. And others are just photography enthusiasts who want to push their hobbies to another level.  

Not surprisingly, there are as many ways to approach shooting stock as there are photographers doing it. We've tried to cherry pick the best insights from our talks with 14 photographers to give you a sense of what to shoot, how to find models, what to budget for a shoot, how to edit, and what to expect in terms of agency selections and sales.

Thanks again to the many photographers who spent so much time with us in exploring the business, life and art of professional photography!

Figuring Out What to Shoot
  "I base it on diversifying my portfolio financially -- I have 6 portfolios (Lifestyle, Beauty, Portrait, Entertaining, Kids, Travel) and I am always trying to round them out. I will keep in mind the stock requests that I get consistently and make sure those are covered." - Thayer Gowdy

 "I will search stock sites and look for gaps. I also come across great talent or a great location and will plan a shoot around them. I pay attention to what sells and go forward from that. Create imagery that speaks to a lot of people and that has a lot of concepts attached to it. Timeless is key. Also, read magazines and stay current on what's out there in terms peoples' concerns - the economy, etc." - Inti St. Clair

"I'm not the most scientific when it comes to deciding what to shoot. The shoots where I've spent a lot of money producing and organizing have been the least successful. The most successful have been when I shoot things I really want to shoot - if it's people putting apples on their heads and playing William Tell, cool - I just need 2 guys, a bow and arrow, an apple and a field." - Eric O'Connell

"I get ideas and lists from editors and agencies and then think about what I can use for my own portfolio. I don't think I could shoot people in doctors' offices without the photos looking hoaky, and it takes a huge production. What I like about stock is being able to come up with my own ideas - I'm very clear about what I'm doing. Also, I never just go off an agency stock list - they will send the images back to you and say they're too literal. Be careful when you use shotlists - your images have to have an authentic feel. It doesn't matter if an image is right on the shotlist, if it doesn't feel authentic, they are not going to want it." - Kathy Quirk-Syvertsen

Overview

For those of you used to managing your businesses as assignment photographers, licensing existing imagery (or stock) can be confusing. Understanding the differences between Rights-Managed and Royalty Free pricing is the first place to start, along with trying out different tools built to help photographers properly quote clients looking to license their images.

Rights-Managed

Rights-Managed photography is the traditional model of licensing whereby the licensing fee is derived from a specific usage. For example, a quarter page ad in a North American publication with a circulation of 500,000 for one month yields a fee that is different from a single billboard running for three months.

Rights-Managed images are associated with higher fees, and also have the ability to be licensed with various forms of exclusivity. For example, a bank might use an image of a person at an ATM and ask for categorical exclusivity to prevent a competitor from using the same image. Exclusivity adds another component to the price of the license, but it can be very important to certain clients.

Rights-Managed "calculators" are used to derive pricing of an image. The calculator is a large matrix of various usages with an associated price. PhotoShelter's rights-managed calculator is based on the ubiquitous and highly regarded FotoQuote program developed by Cradoc Corp.

 

photo by Paul Treacy / #PSC000001105

Overview

Stock photography is one of the most basic components of marketing and advertising and is completely ubiquitous to the modern world. Businesses of all shapes and sizes license stock photos for specific uses that have been previously created to illustrate concepts, services, situations, etc.

Every time you read a magazine or whenever you look at newspapers, billboards, textbooks, book covers, blogs, brochures, direct mail, or corporate literature of any type - and even when you watch TV and see stills incorporated into the programming - you are probably looking at stock photography.

The images that companies use in their media (whether it's for marketing, creative or educational purposes) come from basically two sources: 1) they hired a photographer to shoot it; or 2) they purchased a pre-existing image. When someone purchases a pre-existing image, they are purchasing STOCK PHOTOGRAPHY.

What is the subject matter?
You could take a picture of almost anything and call it stock photography. Here is a range of potential subjects and uses:

• An advertising agency is doing an international print campaign for a consumer goods client and needs a picture of two kids brushing their teeth in their pajamas.

• A general interest magazine needs a picture to help illustrate 'green living.'

• A music magazine needs a picture of a Michael Jackson concert from 1984

• A travel agency needs a picture of a very specific castle in Ireland to use in a brochure.

• A book publisher needs a photo that somehow conveys 'reckless experimentation' for a book cover.

• A bank needs 10 pictures of African wildlife to hang on the walls in their new branch.

• A celebrity magazine needs a picture of J. Lo working out.

• A newspaper needs a 'cut-out' picture of empty pill bottles against a white background to use in a story on rising drug costs

Stock photography covers almost anything you could think of - from everyday objects, to people in every age, color and situation imaginable, families, business settings, travel, concepts, landscapes, nature, underwater, sports, news, and entertainment.


How is stock different than other photography?
There are no hard and fast rules regarding the aesthetics of stock photography, but there are some considerations for the photographer.

First, commercial stock photography isn't photojournalistic in nature. Stock photography doesn't have a brooding quality that is sometimes characteristic of documentary photography. "Light and airy" is a phrase that is frequently used to describe contemporary stock photography. The goal is to make things visually appealing.

Stock photography is also frequently used with embedded marketing messages, and therefore, the experienced stock photographer thinks about composing the shot in such a way that it can appear in an ad or publication.

Also, stock photography is used commercially and requires a certain level of production quality. Rarely can you just casually take a picture of something or someone and sell it for use in an advertisement. Why?

First, because you probably don't even have permission (aka a model release) from the model to use their image commercially.

And second, because of the production details. The lighting might not be right, the person's clothes might not be presentable enough, the person might not be model-quality, the background might be too cluttered, the expression on someone's face might not clearly evoke an emotion - there are so many considerations taken into account when photographers shoot stock.

This is why we've created the School of Stock - to help teach photographers how to turn their photography into totally sellable and effective stock imagery.

Who are the buyers?
Stock photography is roughly a $2 billion industry. The types of buyers include:

• Advertising Agencies
• Magazines
• Publishing houses (fiction, non-fiction, textbook)
• Corporations (in-house communications departments etc.)
• Websites + blogs
• Non-Profits + government agencies
• Graphic designers
  

How much do buyers pay for stock images?
There is a huge range of prices in stock photography - and prices depend entirely on usage.

In most cases buyers are not actually purchasing an image, they are purchasing the right to use that image for a very specific format, period of time, and audience circulation. If a website runs a thumbnail size image for 4 hours, it will be a lot cheaper than an ad agency blowing it up for billboards and running it in an international campaign for 6 months.

That said, a typical magazine sale might be between $150-500, where an advertising sale might be $5,000 and as high as $50k or up. A web usage might be $50. For most major purchases, the stock site will manage the negotiation for you - you do not need to develop an expertise in pricing. You should though educate yourself on the basic license types (Rights Managed and Royalty Free) - and get familiar with general usage-based pricing.

PhotoShelter makes pricing very easy for you. We provide pricing tutorials and pre-configured pricing profiles (low, medium, high) for you to choose from on a per-image basis.

For more information on pricing and licensing, please read the "Stock Image License Types" article.

What qualifications do you need to shoot stock?

1. You need an imagination, creative vision, basic photography skills, and a decent camera.

2. You need to educate yourself. Read the School of Stock from start to finish, and especially the article on Production Value . Start obsessing over magazines and other forms of print media and start to train your eye on the aesthetic of commercial imagery.

3. You need to get out there and start shooting and submitting work. The best way to learn is just to do it - and to understand which images get accepted, which get rejected, and which ones SELL.

We hope PhotoShelter and the School of Stock can help you get both excited and prepared to dive into stock photography. There is nothing cooler than seeing your image run in major magazines or advertisements - it is a chance to participate in pop culture and international media, and develop your photography career, from anywhere in the world.

We look forward to seeing your work!








 

Joel Barhamand

Minimalightist

Having worked as a lighting assistant for over six dozen photographers, I have seen enough lighting set-ups it makes my mind melt.  I have worked with some of the best photographers and assistants, the biggest crews and by myself, worked out of one shoulder bag and out of cube trucks packed to the ceiling, in a studio and on location. However, I am a minimalist at heart.  A great picture can be made using the sun, your 35mm flash, or a simple two light kit.  I hope that I can share with you some knowledge I have gained and some tips and tricks to help make your next shoot a more freeing experience. One where you're not worrying about intricate lighting set-ups and are instead able to concentrate on getting your next great shot.

Photo School (you can ignore this if you went to one):
Before we can dive into lighting examples we have to talk about a few basic concepts behind lighting. 

Ratios:
The secret to successful and repeatable lighting is in the ratios.  When you understand lighting ratios you can recreate nearly anything you see in a magazine, or repeat your own successful set-ups.

Lighting ratios are always expressed in regards to the key light (main light source) as it relates to the fill or shadow areas.  When you double a ratio you are adding a one-stop change between the highlights and shadows.  So a 1:1 ratio means the shadows are completely filled with light and are the same exposure as the key light side.  A 2:1 ratio means the shadow side is one stop darker than your key light (half as bright to your eye balls, which if you don't have a light meter can be trained to guesstimate).  A 4:1 ratio would mean there is a two stop difference (four times darker to your eyeballs), 8:1 would be a three stop difference (eight times darker) etc. etc. etc. 

For those that have never used a light meter whether that be built in to your camera or hand held, I would encourage you to invest in one or at the very least start paying attention to your cameras. 

We are so grateful to all of our buyers and photographers who were so generous with their time and made these topics come alive.

We would also like to extend a special thanks to the photographers, who provided us with so many beautiful images to use to illustrate the articles. Thanks guys!


Buyers

• 
  Anthony Annandono - MTV (Designer)
  As a graphic designer for MTV, Anthony develops creative for MTV's merchandise and advertising pieces - including the Video Music Awards and other original programming. Anthony has been with MTV for two years and holds a design degree from NYC's School of Visual Arts (SVA).
• 
  Chris Benton - LyonHeart  (Art Buyer)
  Chris is an Art Buyer at LyonHeart, a NYC-based healthcare/pharmaceutical advertising agency. He earned a degree in advertising/journalism but has worked on the visual/creative side of the industry his entire career.  Previous roles have included graphic design and production. He was born to an ex-nun and a farmer. He is also the former guitar player for a major label band that shall remain nameless.
• Martin Berman - G2 (Associate Creative Director)
  Martin is an Associate Creative Director at G2, a NYC-based advertising agency and subsidiary of Grey Global. Martin runs the BMW and Mini Cooper accounts for G2. Among other responsibilities, he oversees procurement of photography through both stock purchasing and commission shoots.
• 
  Kellie Bingman - McKinney (Art Buying Supervisor)
  Kellie is the Art Buying Supervisor at McKinney, a national advertising agency based in Durham, NC. Kellie has been with McKinney for eight years, working on clients including Travelocity, Virgin Mobile, Virgin Atlantic, Nasdaq, SoCo, and Qwest. Prior to McKinney, Kellie worked as the marketing director and producer for Raleigh-based photographer Jimmy Williams. In a past life, she also worked as a freelance and fine arts photographer. Kellie earned her degree in Advertising and Photography from the University of Kentucky.
• 
  Leah Hamilton -  Senior Art Buyer at NYC advertising agency
  Leah is the Senior Art Buyer for all Print Photography Production and Stock Purchases fora NYC-based advertising agency with a specialization in youth, sports and branded entertainment marketing. Leah comes from a production and artist management background. She has commissioned and worked with several prominent photographers including Marc Baptiste, Matthew Jordan Smith, and Kwaku Alston; fine artists including Kedar Nelson and Jon Bergerman; and the illustrator team, I love dust. At her current agency, she handles all photo production: finding and hiring talent, creating budgets, producing shoots and buying stock.
• Susan Hennessy - Family Circle (Assistant Photo Editor)
  Susan is the Assistant Photo Editor for Family Circle magazine, a property of Meredith Corporation. She assists with all research, shoots, contracts, layouts, and image tracking and crediting. As part of her role, Susan procures photography through both commission shoots and stock purchases. She earned a degree in photography and still shoots on the side.
• Michele Holcomb - Major Insurance Agency (Production Artist)
  Michele works for a large insurance company as a Production Artist in the Creative Services department, an in-house agency responsible for producing all marketing and advertising campaigns and materials for the company. Michele has been in the production and design industry for 32 years. She started life as a typesetter - the ultimate in street cred!
• 
  Whitney Lawson, Photo Editor, Travel & Leisure
  Whitney Lawson is deputy photo editor at Travel + Leisure magazine. After graduating from Yale, she began her photography career in fine art, working at the Museum of Modern Art and Whitney Museum in New York City. Lawson later held photography positions at The New Yorker and New York magazines before joining Travel + Leisure in 2005.She has never eaten an oyster until this year, but is now busy making up for lost time.
• 
  Karalyn Leavens - AgencyRX (Art Supervisor)
  Karalyn is an Art Supervisor for AgencyRX, where she manages creative for a major pharmaceutical brand. Prior to joining AgencyRX, she worked in consumer advertising with a focus on travel and leisure. She is originally from Boston and earned her design degree from Northeastern University.
• 
  Jess Levey - CosmoGirl (Photo Editor)
  Jess has been in the photography industry for over 10 years, including almost five years in her current role as Photo Editor for CosmoGirl magazine. She spent the previous five years as Photo Editor at Good Housekeeping magazine, and  prior to that, as an editor at a fine arts stock agency. Jess studied photography with Thomas Roma at Columbia University and received a BA from Barnard College. She is currently working towards her MFA at Hunter College.
• 
  Moya McAllister, Photography Director, Story Worldwide
  Moya McAllister currently produces and directs photography for many of Story Worldwide's publications especially travel magazine Endless Vacation and clients such as UPS, Bank of America, ILORI, Unilever, RCI and others. She is involved in concepting shoots, hiring photographers & stylists, casting models & directing shoots on-location. Prior to Story Worldwide, she was Photo Editor for Lexus magazine and Hallmark Magazine's launch issue. She works as both a photographer & photo editor and received her Bachelor of Fine Arts in Photography from the School of Visual Arts. Clients have included Workman Publishing, USA Networks/Sci-Fi Channel, Roger Black Studio, Newsweek/Special Issues, InStyle, Thirteen/WNET, Harry N.Abrams.
• 
  Christina Micek, Photo Editor, Grand Circle Travel
  Christina Micek is a picture researcher, art buyer, photo editor and photographer for publishing, travel, editorial and creative clients. She also lectures on photography topics for local colleges and universities, and has been an internationally exhibiting artist since2001. Her experience as a photo editor for the stock photography industry, a contributing writer for the magazine MacTribe, and as a board member of the American Society of Picture Professionals has pointed to a deep interest in photography.
  
  Christina was trained in photography at Massachusetts College of Art and is now a degree candidate for a Masters in the History of Art and Architecture at Harvard Extension School, specializing in Photo History.
• 
  Lisa Mullenholz - McGraw Hill (Image Editor)
  Lisa is an Image Editor for the educational division of McGraw Hill, where she procures imagery for Primary and Secondary Level textbooks. She earned a degree in photography and has worked editorially and as an Account Executive at Corbis.
• 
  Thu Nguyen - American Express Publishing/Custom Solutions (Deputy Art Director)
  Thu is the Deputy Art Director for American Express Publishing, Custom Solutions, a division of American Express Publishing that prints numerous custom magazines per year for private clients to send out for loyalty and prospecting marketing initiatives. The magazines range from down-market retail to high-end lifestyle, private real estate opportunities, and financial advising. Thu's role is to manage design and research and procure all photography from commission shoots and stock purchases. She has been in graphic design for 12 years and worked in photography in various capacities including fashion, web design, non-profit, and editorial (at Latina magazine and Child magazine).
• Josephine Solimene Rustin - CosmoGIRL! Magazine (Photo Research Editor)
  As a Photo Research Editor at CosmoGIRL!, Josephine is responsible for finding any photography that is not shot in-house for the magazine, including lifestyle, still life and celebrity images. She studied photography in NYC at FIT and ICP, and still finds time to shoot on the side.
• 
  Doug Schneider - Benchmark Education Company (Director of Photography)
  Doug is the Director of Photographer for the Benchmark Education Company, a children's educational publisher that produces literacy supplements across a broad spectrum of subjects. As DOP, Doug oversees the research, procurement and editing of photography (both stock and commission). He previously worked in the stock industry for 10 years, including several years at Getty Images, where he managed the research department. Doug is also a photographer; you can see his personal work for sale on the PSC here: http://my.photoshelter.com/dougschneider.
• Ana Suarez - Grey Worldwide (Senior Art Buyer)
  Ana Suarez is an Art Producer at Grey Worldwide, where she has worked in various capacities for 11 years. Her clients include Playtex, Wyeth, Eli Lily, and Smuckers. Ana earned a degree in fashion, spent one year in the fashion industry, then jumped ship to advertising - where she has been ever since. She is Brooklyn born and raised and lives in the NYC metro area.
• Mitch Tepper - AgencyRx (Sr. Art Buyer)
  Mitch has been an Art Buyer at AgencyRx for almost two years, and has worked in photo buying for parent company Cline Davis & Mann for six years. CDM is one of the leading healthcare advertising agencies in the world; as such Mitch has developed an expertise in producing photography for globally-oriented pharmaceutical branding and advertising.
• 
  Lexi Walters - BabyZone.com (Senior Editor)
  Lexi is a Senior Editor at BabyZone.com, a subsidiary website of Kaboose, Inc., whose combined entities represent the largest independent online media destination for moms-to-be, moms, and kids. Lexi's role includes developing new baby and toddler editorial content and tools for BabyZone's more than 4 million visitors monthly. Lexi has worked as a writer and editor for multiple major parenting websites and magazines, including AmericanBaby.com, HealthyKids.com, BHG.com, Parents.com, LadiesHomeJournal.com, Wondertime magazine, and American Girl magazine, among others.
• 
  Karen Weiss - MTV (Project Manager, Off-Air Creative)
  Karen oversees photography for MTV's Off Air Creative Department (i.e., print advertising, OOH and online marketing along with home entertainment). In this capacity she both produces shoots and oversees stock image purchasing. Karen has been with MTV for 4 years and previously worked as a photo producer for an agency. She is also personally a photographer and recently joined the PSC as a contributor.
• 
  Susan Wetherby - Discovery Communications (Lead Art Buyer)
  As the Lead Art Buyer for Discovery Communications, Susan and her teammates manage photography research, editing and procurement for Discovery's extended media platform - including the Discovery Channel, TLC, Plant Green, Animal Planet, The Science Channel, Military Channel, and Discovery Kids. As such, her photography searches extend across a wide variety of genres. Susan has worked for Discovery in various capacities of media editing and management. She also has a personal interest in photography; she studied photography in high school, holds a film degree, and can't believe she gets paid to look at pictures all day!
• 
  Michael Wichita - AARP Bulletin (Photo Editor)
  Michael is the photo editor for AARP Bulletin, a 23-million circulation news magazine published 10 times a year by AARP in Washington, DC. He has been with AARP since 2005, managing photo research and assignments for both the print and online versions. Michael previously worked as a photo editor and professional photographer, and his work has appeared in DC's Metro Weekly, as well as the Village Voice, the Advocate and the New York Daily News. He graduated from the Rhode Island School of Design. You can see his work at http://www.michaelwichita.com. (PHOTO CREDIT: Todd Franson/Metro Weekly)
  

Production

• 
  Joel Barhamand - Photographer, Lighting Assistant
  Joel Barhamand's photography education began in his high school darkroom in Naperville, Illinois, and continued with a BFA in photography from the University of Ohio. He now lives in Brooklyn, New York working on assignment, assisting and showing work in galleries, including several traveling Tiny Vices shows and the Mahan Gallery in Columbus, Ohio. His photographer client list includes Andrew Hetherington, Blossom Berkofsky, Tina Tyrell, Marili Forastieri, Mary Ellen Mark, Eric Ogden, and Mark Heithoff. He is with a camera always and usually waits for just-so moments of visual irony, but sometimes can't resist the just plain beautiful. You can license his images at http://psc.photoshelter.com/user/joelbarhamand
• Cameron Cooper - Stylist
  Cameron is a NYC-based stylist who works on editorial and commercial shoots for clients including Some, Highlights, and And Men. He earned a degree in film and video and began his career in various creative freelance capacities including as a prop stylist and art director for small films, as a fashion stylist and visual merchandiser, and eventually as a stylist for still photography. He works with art directors and photographers to realize their creative visions for shoots with a specific focus on wardrobe. You can contact him at stopcameron@yahoo.com.
• 
  Annie Etheridge - Photographer, Photo Editor, Producer
  Annie is currently the Collection Manager for the Pro Stock Creative Collection at PhotoShelter. Her background includes several years experience on all sides of the industry: as a photographer, producer, and photo editor. She began her career as a photojournalist, gravitated to travel and music portraiture, moved to film production, and then worked extensively as a Photo Editor for several commercial magazines including Men's Health, InStyle, and Real Simple.

Photographers

• Cedric Angeles, Photographer
  Cedric Angeles as born in the Phillippines. Growing up in the farming village of Santiago, his first exposure to travel and images was through his father's collection of National Geographic magazine. Fast forward to 1995, and Angeles enrolled at the Art Center College of Design. In 2000, PDN named him a 30 under 30. Angeles regular contributor to GQ, Glamour, Bon Appetit, Food&Wine, Vogue, and Time Inc., among others.
• 
  Clint Blowers
  Clint is a Philadelphia-based still life photographer. His characteristic style incorporates natural and studio-built environments, which he proudly attributes to his rural-Michigan upbringing and summer jobs in construction. Clint graduated from the University of the Arts' photography program and now shoots full time on assignment for clients including Newsweek, INKED Magazine, Philadelphia Magazine, University of Pennsylvania, Wyeth Healthcare Systems, Merck, PINK Spirits, LUCID Absinthe, and Sailor Jerry Rum. You can see his work at http://www.clintblowers.com/ and for sale on the PSC at http://psc.photoshelter.com/user/clintblowers.
• 
  Nicholas Eveleigh
  
  Born in Oxford England, Nicholas is a NYC-based photographer whose clients include Chiat Day, DDB Worldwide, Digitas, Draft Worldwide, Gray, Hill Holliday, Saatchi & Saatchi, NY Times Magazine, Fortune, Forbes, Time, Microsoft, Ralph Lauren, Sony, and UPS. He is a graduate of the University of Delaware's Visual Communications program with studies in advertising, graphic design and commercial photography. He is a husband to a photo editor, a father to a first grade student, and a servant to two house cats - and has been happily living and working in New York City for the past 16 years. You can see his work at http://www.eveleigh.com/ and for sale on the PSC at http://psc.photoshelter.com/user/eveleigh.
• 
  Erica Freudenstein
  Erica is an NYC-based assignment photographer whose clients include Newsweek, Forbes, the Washington Post, Metropolis, Dwell, AT+T, Charles Schwab, GE, SAP America, McDonald's, and Simon & Schuster. Originally from New Jersey, Erica attended RIT for two years and completed her degree at the University of the Arts in Philadelphia. She got her first break out of school shooting assignment work for Philadelphia Magazine and then moved to NYC, where she has lived and worked professionally for the past 15 years. You can see her work at http://www.efreudenstein.com and for sale on the PSC at http://psc.photoshelter.com/user/efreudenstein.
• 
  Glenn Glasser
  Glenn was raised in rural Pennsylvania where he spent his days playing kick the can & getting mandatory days off from school for the first day of fishing season.  He first became enchanted with photography in the 6th grade by getting suspended for documenting the truth or dare game in the back of the bus on the way back from Gettysburg with his kodak disc camera.  Glenn fled PA several years later for New England and matriculated at Brown University to pursue a concentration in Anthropology. Glenn currently resides in the Williamsburg area of Brooklyn.  He shoots regularly for clients including Real Simple, Town & Country, New York Magazine, Nerve, and Walmart. You can see his work at http://www.glennglasser.com and for sale at http://my.photoshelter.com/glennglasser
• 
  Thayer Gowdy
  Born and farm-raised by chefs in Vermont, Thayer is now a San Francisco-based lifestyle photographer working for clients including Williams Sonoma, Pottery Barn, Land's End, Johnson & Johnson, Gymboree, Travel & Leisure, Self, Real Simple, Parents, and Sony. Thayer has also produced work for several books including Elegant Entertaining (Town and Country) and Healthy Baby (Chronicle Books). She has been working professionally since 1995.  You can see her work at http://www.thayerphoto.com/ and for sale at http://my.photoshelter.com/thayergowdy.
• 
  Emiliano Granado, Photographer
  Emiliano was born in La Plata, Argentina but has lived most of his life in the US. He grew up in Houston and Miami and received his BA in Massachusetts. He worked for an ad agency for FAR too long while he took photo classes and assisted every chance he could. Now a full-time commercial/editorial photographer, he was just named one of PDN 30 Photographers in 2008. His clients include Travel + Leisure, People En Espanol, Dazed + Confused, Mass Appeal (RIP), Mike's Hard Lemonade, Big Lots!. He lives in NYC and spends lots of time in Miami and Buenos Aires.  See more of his work at  www.emilianogranado.com and http://psc.photoshelter.com/user/emiliano
• 
  Lauri Lyons
  Lauri Lyons was born in the Bronx, New York, in 1971. She earned a BFA for Media Arts from the Minneapolis College of Art and Design. In the years following, Lyons worked as a Photo Editor for Magnum Photos, The Source, B.E.T, and Essence magazine. She has created and photographed essays in Brazil,Europe, Mexico, West Africa, and the United States. Her photographs and writing have appeared in Fortune, Stern, Trace, and The London Observer. Lauri's work has been exhibited in the International Center of Photography, Brooklyn Museum of art, and the Civil Rights Museum. Flag: An American Story is her first published monograph (2001). Her latest book is Flag International (www.blurb.com 2008).
  
  Lauri is a faculty member of the International Center of Photography, and the Rhode Island School of Design. She currently lives in New York City. You can see her work at www.laurilyons.com (photo credit: Jamel Shabazz).
• 
  Emily Nathan
  Emily is a San Francisco-based commercial, editorial and travel photographer whose clients include Apple, The New Yorker, Travel + Leisure, Real Simple, Bon Appetit, Gourmet, Budget Travel, Every Day with Rachael Ray, and Dwell. She was included in the PDN Photo Annual in 2002 and 2008 and named to their Emerging 30 list in 2005. You can see her work at http://www.emilynathan.com/ and for sale at http://my.photoshelter.com/emilynathan.
• 
  Brad Nelson
  Brad has worked in photography for 17 years, including the past seven years as an independent photographer. He began his career in LA as an assistant and later with his own production company. He moved to NYC to kick start his solo career and has since developed a roster of editorial, commercial and celebrity portrait clients including GQ, Esquire, Tribeca Film Festival, Time Out NY, Men's Journal, Pfizer and Time Warner. You can see his work at http://www.bradnelsonphoto.com.
• 
  Nancy Ney
  After graduating with a Psychology Degree from American University in D.C. Nancy took a job as an  Executive Assistant for a Manhattan-based film production house. When they found out she had taken a photography course while at school, her duties were expanded to include taking production stills at every shoot. She discovered she loved taking pictures of people, left the company, and began what has become a successful and rewarding career as a fashion and advertising photographer. Appreciated by her many clients as well as the major stock houses for "getting the shot," Nancy is always finding new ways to make people look interesting, often using her psychology background to  help them portray just the right emotion. Nancy works out of her live-work loft in SoHo when not traveling to client assignments, or shooting stock on location. Visit Nancy's Web site at www.nancyney.com to see more of her work.
• 
  David Nicholas, Photographer
  David Nicolas received his BFA photography from The Art Center College of Design in 2004, and has been working as a commercial photographer since. Nicolas was selected as a PDN 30 in 2004, a group of selected photographers to watch, and was also featured in the Communication Arts Design Annual 2003. He has exhibited his work at PowerHouse Gallery and Milk Studios, among others, and has shot many editorial and advertising assignments. His clients include Food & Wine, Departures, Fortune, Men's Journal, Microsoft, and Travel & Leisure. See more of his work at http://www.davidnicolas.com/.
• Eric O'Connell
  Eric is an editorial, commercial and stock photographer whose clients have included Cadillac, Canon, Forbes, Pepsi, Outside Magazine, Time, Wired, Newsweek, the New York Times, Oracle, Intel and IBM. He has been shooting professionally since 1990 and has developed a focus in Lifestyle photography. He has an undergrad degree in photojournalism with an emphasis in Anthropology. You can see his images at http://www.ericoconnell.com/.
• 
  Kathy Quirk-Syvertsen
  Kathy is a Minneapolis-based Stock and Assignment photographer who grew up in NYC and began her career on the other side of the camera - as a child model and then as a Ford model in the 1970's. Her work focuses on location portraits, particularly involving children. Her images are listed on PhotoShelter, Getty Images and Masterfile. You can see her work at http://www.quirkphotography.com/ or for sale on the PSC at http://my.photoshelter.com/quirk.
• 
  Jon Ragel
  Jon is a commercial and editorial photographer whose clients include Reebok, Coors, Grey, DDB, Nike, Procter & Gamble, Footlocker, Conde Nast Traveler, New York Magazine, In Style, Rolling Stone, and Interview. He has been putting food on the table with photography since 1989 and began his career freelancing for prominent LA photographers including Annie Liebowitz. His major influences include Weegee, Doisneau and Helmut Newton. He grew up in Tucson and earned his BFA in photography from Art Center in Pasadena. You can see his work at http://www.jonragel.com/.
• 
  Inti St. Clair
  Inti is a Seattle-based photographer who shoots primarily stock, with a balance of commission work. Prior to working for herself, she worked for Andersen Ross as a Producer and Studio Manager. She has an undergrad degree in something totally unrelated and learned photography by assisting great photographers and by taking the summer intensive program at the Rocky Mountain School of Photography. You can see her work at www.intistclair.com.
• 
  Alex Tehrani
  Alex Tehrani became obsessed with photography in high school and never let go. He was born in Berkeley, California and now splits his time between the Bay Area and Brooklyn. He shoots extensively for commercial and editorial clients including Outside Magazine, Details, Interview, Time, ESPN, Ogilvy & Mather, TBWA Chiat/Day, Arnold, Nike, and McCann Erickson. You can see his work at http://alextehrani.com/.
• 
  Andrea Wyner
  Andrea is a travel, lifestyle and portrait photographer whose clients include Parenting Magazine, GQ, Travel + Leisure, Paper, Yoga Journal, and Wine Spectator. She was named a PDN 'Emerging 30' photographer in 2007 and is currently celebrating the release of the 'Outstanding in the Field' cookbook, which includes several of her images. Andrea lives bi-coastally between San Francisco and New York City, and travels extensively for her work. She received her BFA from the Academy of Art in San Francisco. You can see her work at http://andreawyner.com/.
• 
  Stephen Zeigler
  Stephen was born in Los Angeles in 1970. He grew up in Manhattan Beach, California, where as a teenager he was submerged in beach culture. He began taking pictures after attending a show of the documentary photographer W. Eugene Smith. A hybrid of photojournalism, portraiture, and fashion, Stephen's work is marked by vivid color, movement, and a focus on global subcultures. His photographs have appeared in Vogue Hommes International, The Fader, Details, and Newsweek as well as advertising campaigns for Quicksilver, Microsoft, Roxy, and Converse. He currently lives with his wife in downtown Los Angeles. You can see his work at http://stephenzeigler.com/ and for sale at the PSC here: http://my.photoshelter.com/szeigler.

One would think that if it's snowing outside and the holidays are approaching, magazines would be looking for images of families unwrapping presents in cozy living rooms. Or if it's the last week of June, that photo researchers everywhere are furiously hunting for images of kids running around with sparklers at Fourth of July picnics.
 
Not true! Magazines generally work 3-4 months ahead of schedule, so if you want to sync up your shooting to their buying needs, you need to be on their schedule as well. Check out our guide below to give you an idea what buyers are searching for. And get ready to shoot some turkey dinners in July!
 
JANUARY THRU MARCH
 
photo by Goss Images / #PSC000018175

Magazines are working on their spring issues. Time to think about:

• Fitness season
• Diet
• Spring cleaning
• Home Renovation
• Moving
• Gardening
• Kids/Spring Break

APRIL + MAY

photo by Don Smith / #PSC000972456


Magazines are working on their summer issues. Time to think about:

• Kids/Summer vacation
• 4th of July
• Family Vacations
• Pets
• Allergies
• Road trips
• Summer music festivals
• Picnics + BBQs
• Staying cool
• Swimming
• Sailing
• Green issues:
• Water conservation
• Black outs
• Ways to save energy
• Air conditioning
• Gas prices

 

JUNE THRU AUGUST

photo by Ryan Benyi /  #PSC000914284

Magazines are working on their fall issues. Time to think about:

• Back to School
• Halloween
• Thanksgiving
• Winterizing your home
• Holiday Meals - fall foods
• Thanksgiving dinner
• Soup
• Squash
• Cranberries
• etc.
• Back to work after summer, career issues/financial 
  

SEPTEMBER + OCTOBER

photo by Igor Kisselev / #PSC000062271

Magazines are working on their holiday issues. Time to think about:
 

• Different religious holidays
• New Year's
• Shopping/spending money
• Holiday Foods/Cocktails (great to shoot silo's for)
• Snow
• Sledding
• Skiing
• Warm Travel (like carribean)
• New Year's Resolutions (quit smoking, join the gym)
• Home Insulation
• Heating Bills
• Oil
• Colds/Getting Sick/Preventing Colds/Natural Remedies

 
NOVEMBER + DECEMBER

photo by Matthias Hauser / #PSC000030140

Magazines are working on their late winter/early spring issues. Time to think about:

• Valentine's Day
• Relationships/Sex/Romance
• Seasonal Depression
• Taxes
• Mardi Gras
• Jazz Festival
• Easter

 

photo by John Ragel

1. OVERVIEW
One of the keys to creating great commercial photography is achieving high production value.

A photographer not accustomed to shooting stock might spend a month shooting family and friends and expect the resulting images to fly off the shelves. In some cases, this could lead to sales-- if your friends are near-models and totally hip, or if your family picnics look like Martha Stewart's.

But for most of us, the life we lead will not have polished enough details for buyers. Buyers notice EVERYTHING - hair, makeup, fingernails, skin quality, details on furniture or walls, floors, food-- and the slightest hint of grime or poor styling could disqualify your image from use. This is why most stock photographers set up fake situations to look real.

We hope this article will help bring commercial-quality production value to your work so that your images truly will fly off the shelves.


2. DEFINITIONS
'Production Value' mainly refer to:

• Casting

• Styling (wardrobe, hair, makeup, props, food)

• Location

• Lighting (See the 'Lighting - Lifestyle' article under 'Tools of the Trade')
  

• Framing + other aspects of shooting - angles, crops, etc.

3. INTRODUCTIONS
Every single photographer and buyer we spoke to referenced production values in some way - and most of them had similar input. We asked two of our favorite production experts to sum it all up for us. We are so grateful to them for their help!

• Cameron Cooper - Stylist
• Annie Etheridge - Photographer, Photo Editor, Producer

4. CASTING
Casting is square one. If you don't get this right, the rest of your shoot is doomed. But get it right - and you give yourself a huge margin for error in many other areas. Here are Cameron + Annie's top tips.

• Don't cast posers. The best models - whether actual models or real people - can inhabit a storyline and play in front of the camera without being self-conscious and without posing. Actors can often be a good source of models for this reason.

• Do test shots. For any model you are considering, have them do something, such as pretend to set a table, clean a counter, or eat something-- and take test shots. See how relaxed and un-posed they can be. And how do they look on camera?

• Attractive but REAL. You want to find models who are attractive and pleasing to the eye, but who look real. You do not want someone who looks like a fashion model. Models cannot be too soap-opera good looking, and they cannot have a personal style that will date your image or make it look 'cheesy.' Big red flags include people who are overly-tan, wear a lot of makeup, have overdone hair, show you a fashion portfolio, are overly-buff and muscular, or otherwise have made-up appearances that prevent an everyday person from relating to them.

• Charisma. You need people with palpable personal energy that can translate to your images. Do the test shots. Talk to them. Are they fun? Will they bring positive energy to your shoot?

HERE ARE SOME EXAMPLES OF POOR CASTING:






photos (l-r): Thayer Gowdy, Andrea Wyner, and John Ragel


Editor's Note:

5. STYLING YOUR MODELS
Personal styling primarily includes wardrobe, makeup and hair. You can hire a stylist or brave it alone. If you are doing your own styling, spend some time educating yourself by looking through magazines or your intended target outlet for your images. Notice down to the smallest details how the models are styled.

• Know your character + storyline. As Cameron says, if you're shooting a mom, is she urban and in her 30's, a working mom in her 40's, or younger and more traditional? Your styling would be completely different in all three cases. Annie similarly points out, if you are showing a woman having morning coffee, don't do her hair like she is going to a wedding. This seems obvious - but do some searches for women having coffee and you will see at least a few pictures making this exact mistake.

• Get a timeless look. The rule of thumb is to use clothing that will last (i.e., not look dated) for 5 years. To walk the fine line between looking modern (good) and looking trendy (bad), Cameron recommends to be aware of trends but not be literal to them. If kids are wearing denim and hoodies now, that's probably also what they'll be wearing in 5 years, but the details and colors will be different. So don't pick out a bright psychedelic hoodie - take what's going on now, step back, and make it more understated.

• Classic simple clothing is safe. If you don't have a strong sense of how to style, stick with J. Crew, Banana Republic or the Gap. Pick neutral colors and simple styles. Nice jeans on a man, or Capri pants or a simple dress for a woman.

• No patterns. Patterns kill your image. No florals.

• No black or white. In most cases stay away from strictly black or white clothing too. It doesn't photograph so well.

• Fresh and ironed. Clothing should look fairly new but not crisp and just off the rack. Bring an iron or a steamer to the shoot. Everything should look clean and fresh out of the wash. No wrinkles. 
  

• Accessories? Stay away from them! Unless they are basics - little hoop earrings for women or a wedding ring - then lose the accessories. No dangling earrings on women. No jewelry at all on men. Unless you are specifically shooting something formal (i.e., New Year's Eve) then stay very simple.
  

• Belts, Glasses, Watches? Also stay very simple. Buyers typically want things to look a little high-end, so if you have everyday items that are going to be seen, make sure they don't stick out and that they are of a good basic quality. Look out for weird or large belt buckles or over-stylized glasses. If a watch sticks out, take it off.

• Manicures + Pedicures! Make sure the cast members have clean hands and well kept fingernails and skin. No long fingernails. No nail polish except for clear. No dry skin. No French manicures. Keep the nails short and clean.
  

• Hair? The styling of hair on-set is really important. Always bring a hairbrush to a shoot. And again, stay simple. No trendy haircuts unless that is your specific subject matter. For dyed hair you don't want to see bad dye jobs and you don't want to see roots. No over-bleached or fried hair, nothing too permed. Hair and skin both need to look healthy. On the shoot, make someone responsible for keeping strands out of the models' faces. Long hair can be worn back or down. Just make sure the style is appropriate to the story you are telling. You generally don't want hair to be over-styled - it should not look fashion-y.
  

• Bring multiple outfits. Test shoot different colors and styles if possible to see what works on camera and with your model's body.

• Wardrobe on a budget? Cameron recommends H&M, Macy's, Banana Republic, Urban Outfitters and similar stores that have good basics and more liberal return policies. Yes, This is what stylists do-- they buy clothes from stores and then return anything that is in sufficient condition to be ethically returned after the shoot. Sometimes they will keep key pieces to have as part of their styling wardrobe. Stylists also have borrowing arrangements with stores and designers but this likely will not be an option for many photographers working without stylists. For blue jeans and other basics, thrift stores can also be great sources. You might even find some good stuff in the model's own wardrobe, so start there.

photos by Thayer Gowdy

Editor's Note:

Again, stock is not fashion! Never dress your models like they're going for a strut down the catwalk. When styling your subjects avoid busy patterns and over accessorizing. Jewelry tends to overpower the look, and can get dated fast. Never dress all your models in the same color. Stick to simple, varied lighter colored classic clothing that all works together as an ensemble.



6. PROP STYLING
Making sure the environment is appropriately styled is also critical. Here are some things to keep in mind. And again, the best way to train your eye is to read magazines constantly and pay attention to the nuances of prop styling.

• Prop styling a shoot is like staging a house to sell it. This is the best general rule of thumb we can offer. On a funded shoot, truckloads of furniture are brought to locations and the prop stylist re-props the entire house. They remove the owner's furniture and re-prop so that the house is clean and uncluttered and well-designed. It needs to look live-able and lived-in, but not messy and not personally specific. Scan the room and if you see any mess or anything ugly to the eye, anything cluttered or unnecessary to the story - get rid of it.

• Remove all personal items. No family pictures, souvenirs or kids toys - remove all of these items from the shot.
  

• Tell the story. Just as with styling a model, know the scene you are setting, and set it accurately. A family in a living room after dinner doing homework requires different props and styling than a family in a living room in the morning getting ready for school. Make sure you have props to indicate the story and make sure they are the right props. A lot of images are shot in too sparse a setting.

• Green lawns. If you are outside, the lawn should be green, the plants healthy, no grimy or dirty areas.

• New appliances. If any of your props involve appliances (kitchen or bathroom) or technology - make sure everything is new, clean, and modern.

• Modern furniture. Use up to date furniture, not overly-used, and clean.

• Table settings matter. If you are shooting a table, pay attention to everything: the dishes, the silverware, the salt and pepper shakers, the candles. You don't want to see an old grungy melted candle, but it also shouldn't be brand new.

• No lace! Don't use lace to style a table or any other aspect of a home.

• Think graphically. Design your environment in terms of color blocks and composition. For a picnic, use a graphic red and white tablecloth with white plates and white napkins and that's it. Don't go wild - think graphic, clean, simple.

• Props on a budget? Prop stylists are the same as wardrobe stylists - they have arrangements with stores, and when desperate, buy items and return them. If you want to buy props, stay mainstream. Think Pottery Barn and Ikea.

HERE ARE SOME EXAMPLES OF POOR PROP STYLING:





HERE ARE SOME EXAMPLES OF GREAT PROP STYLING:


photos by Augustus Butera, Andy Caulfield and Susan Pittard


Editor's Note:

When propping a set, try to create an environment that looks real, but not sloppy or overdone. Keep it simple, but not too sparse or under propped. Propping is a fine line and much thought should go into this when setting up a shoot. The idea is that the environment appears like that of a real home, patio, bedroom, picnic table, etc. Pay close attention to the details and placement of props in the frame


7. FOOD STYLING
Again, scour magazines and see what standards and fashions exist in food styling. If you don't quite get it and want to shoot food, you should hire a food stylist to at least show you some basics.

• Food always needs to be styled. The food should look beautiful, edible, and delicious - and this usually takes knowledgeable cooking and preparation, good selection of colors and produce, clean and picturesque arrangement on a plate, spraying or misting during the shoot to keep everything fresh looking-- total attention to detail.

• Don't just buy a platter from the Italian restaurant. You can always tell if a photographer just bought something from the local restaurant - that never works. The style of the tomato or lettuce give it away! The food needs to look homemade and have that loose feeling, but still be beautiful.

• Don't over style. Again, don't put lace and gems on the table. You are not feeding the Royal Family! Keep your food classic and simple.

HERE ARE SOME EXAMPLES OF POOR FOOD STYLING:




HERE ARE SOME EXAMPLES OF GREAT FOOD STYLING:


photos by Quentin Bacon, Marie-Louise Avery, and Ryan Benyi

Editor's Note:

Food should always look freshly prepared and delicious!  Simple and clean styling is better when it comes to most food.  Avoid the over use of garnishes and elaborate plating. It is a good idea to reference food magazines for ideas. 


8. PICK A GOOD LOCATION
Location scouting is a must. This is a critical part of pre-production, and depending on the scale of your shoot, can require a significant amount of time and thought. Here are some basics to consider.

• Good light. Visit your location at various times of the day and know the light - know the right hours to shoot. Which way does the light face and what are its qualities? Take test shots. Typically you don't want to shoot outside from 11.30-3.30 unless you are in the shade or have silks to diffuse the brightness.

• Lots of room. You should be looking for a location where you have room to shoot. Don't box yourself into a space where you can't move around. Make sure there is plenty of room for any of your team members, places for models to change, and a kitchen if you need to prepare food.

• Get permits. If you are shooting in a public space you will likely need a permit - this is especially true for parks, beaches and in some cases city streets. Permits are typically easy to get but sometimes you need a couple of weeks to line them up - so think about it in advance. Also, you can often pull off shoots without permits if you are keeping things casual. If you have a crew, any kind of lighting equipment, and if you are using a tripod - you will probably need a permit - your shoot could get shut down if you don't have one.

• Consider insurance. Some locations or permits will actually require you to have insurance - usually $1M of insurance that covers your crew, damage to a location - floors, etc. Again, if you are shooting casually this is probably a step you will skip.

• Location fees. Many private locations will charge you a fee to shoot there. Occasionally parks and other public spaces might also charge a fee. Learn about this as part of your scouting efforts. Many photographers refuse to pay location fees and just won't use locations that charge them. It's up to you!

photos (l-r): Thayer Gowdy, John Ragel and Thayer Gowdy


Editor's Note:

Avoid busy locations without a background to place your model. When shooting indoors, it is imperative that the surroundings are free of clutter. The viewer's eye should focus on what is happening with your model, not the clumsy furniture in the background. Choose locations that are open and airy and give you several set up options. Pay attention to the quality of light in each location and plan accordingly when deciding on your lighting set up. The location should look real and lived-in, but not cluttered.




9. FRAMING + SHOOTING STYLE
The angles and style of your shooting also contribute to the commercial viability of your image. There is obviously room for a massive range of styles - and this entire topic is subjective. But even at the risk of incurring debate and ire, we respectfully offer some basic guidelines here.

• Move around. One of the biggest mistakes in stock photography is that photographers stand back and don't physically connect with their subjects. You are trying to capture un-moments and real expressions. You can't do this standing still! The reason most lifestyle photography is shot with natural lighting is because it's too hard to move around elaborate lighting set ups. Set up your situation, make the models really do the action and go through the scenarios, and move in and out of the situation as the photographer. Make your models really laugh, and capture those moments instead of doing something stationary and stiff. Lifestyle photography is supposed to feel loose and real - that's the whole point.

• Don't go too wide on framing. Going too wide can distort a little bit. Don't be afraid to move in close on your subject.
  

• Shooting straight on? Not so much! You want your pictures to look like you're not there - like you're witnessing something that is real and you are a fly on the wall. So don't shoot straight on so much - that can really look staged.

HERE ARE SOME EXAMPLES OF POOR FRAMING:




photos (l-r): Inti St. Clair,  and Emily Nathan for Apple

Editor's Note:

Keep in mind the feeling of intimacy in most lifestyle photography, that the viewer should feel like they're part of the moment (and want to be!). Don't be afraid to get right in the action. But remember to leave some space in your images. Art directors like to have areas that aren't too busy to lay down their copy.  It is important for the imagery to feel loose and not posed or set up even though it may be.  All the elements need to come together to create a real moment.




10. PARTICIPATE
Are you a buyer or photographer with extensive experience relevant to this category? We'd love to hear from you! Please email us with any additions to the Shotlist, Tips, or any other sections of this article. We look forward to it!

Although the need for a release is ultimately determined by how the image is used, model & property releases have become commonplace in the stock photography world irrespective of end usage -- particularly with the large stock houses, which often have indemnification clauses with their customers.

The laws concerning model and property releases and stock photos are confusing and vary wildly from place to place. Stock agencies often set their own policies regarding releases that in many cases are stricter than the laws themselves.  

Only a lawyer can tell you whether or not a model and/or property release is actually required for your images. However, it is strongly recommended for photographers to obtain releases whenever possible.

Many major buyers will not even consider an image that is not model released. Advertising agencies, in particular, will categorically refuse to view non-released images. This can be a major impediment to generating revenue because commercial usage can frequently run into the thousands of dollars. A release also offers you legal security as a photographer.

The following guidelines do not constitute legal advice, but can serve as an educational starting point.

Keywording is probably the single most important step of preparing your images for sale on a stock site. 

You may have taken a beautiful image that fits a buyer's needs perfectly, but if your keywords are inadequate, it will never be found or licensed. Fortunately, there are ways to improve your keywording skills. Here are the top tips from the PhotoShelter resident linguist, Kate Thomas.

Think like a buyer
Since of course buyers are who you want to find your images, it makes sense to keyword with that audience in mind.  Try to anticipate the ways in which your image could be useful to a buyer, and reflect that in your keywording.

Buyers search for images by both subject (actual content) and concept (ideas or mood).  They might also have technical requirements, such as the type of shot (aerial, close up, etc) or the amount of copy space.  It's a good idea to keep all these concerns in mind while keywording.

Have a System
Keywording is commonly referred to as both an art and a science.  This is because while good keywording requires creativity and flexibility, it can and should be approached in a systematic way.  Many photographers find it simplest to tackle visual descriptions first, moving on to concepts and technical keywords later.

Visual Description
Imagine yourself describing your image to someone who can't see it.  Try to forget any contextual information you know about how and where it was taken and focus only on the visual information.  The first words that come to your mind will probably be some of the more relevant and important ones to include as keywords. Literally describe all aspects of the image:

• Are there people in the picture? If so, describe them specifically.
• What colors are prominently represented?
• What objects are prominently included in the picture - as key subjects of the picture?
• Is the location relevant/worth mentioning? If so, be both specific and general: city street, and 5th Avenue
• Are you using a special angle or other technical points worth mentioning? Panoramic etc.

On a second pass, list some of the items you may have missed.  Continue to look at the image holistically, and do not list insignificant details.  With each keyword you apply, put yourself in the shoes of a buyer.  If you searched on this keyword and found this picture in the search results, would you find it appropriate... or distracting?



Do: man, woman, seniors, kissing, couch, couple, living room, Caucasian, sitting, affection, marriage, romance, retirement, love, color, horizontal, 70s
Don't:  socks, jewelry, floral patterned pillow, eyes, hands, ears, nose

People
Pay special attention to any people in the image- their clothing, hair color, build, and other aspects of their appearance might be important to a buyer. Think of the diverse markets buyers might want to target, and always indicate the ethnicity and age range for the subjects of your photos.  Age range is especially useful for children!

Also, describe the physical position of the people in your image.  Are they sitting?  Walking?  Looking at the camera with their arms crossed?

Here are some specific questions to ask yourself:

• Age Range (newborn, baby, kid, toddler, teen, tween, 20s, 30s, 40s, senior (and/or mature adult) etc.)
• Generation (Gen X, Baby Boomer etc.)
• Ethnicity (Caucasian, White, Black, African American, Hispanic, Latino etc - cover your bases on what buyers might use in their searches)
• Gender (man, woman, guy, girl, boy etc.)
• How many people generally? (group, crowd, friends, etc.)
• Is a family role relevant? (parent, sibling, sister etc.)
• Is an occupation relevant? (postman, businessman etc.)
• What action are they doing? (sitting, standing, throwing, etc.)
• What is their emotional state? (happy or sad but also more subtle: concerned, disappointed)
• Is an interaction being portrayed? (parent, scolding, child etc.)

girl, toddler, 2-3 years old, preschooler, child, African-American, black, bikini, bathing suit, pigtails, curly hair, black hair, smiling, looking out window, cute, playing, color, vertical




boy, teenager, young man, European-American, Caucasian, white, camouflage jacket, short hair, brown hair, hands in pockets





 

One of the founding motivators of the PhotoShelter Collection was that buyers were unhappy with the stock imagery industry, in terms of both insufficient content and reports of unfair treatment of photographers. In marketing the PhotoShelter Collection to high-end buyers over the last 7 months, we've had literally thousands of conversations with habitual stock image buyers about their feelings on the state of the industry, and this dialogue has proven these frustrations to be very real.

In order to quantify this sense of general discontentment, we created a survey and sent it out to several thousand people who use stock photography every day. The result was a summary of image buying habits that was completed by 700 people, which demonstrated that the PhotoShelter Collection is more needed than ever.

Let's start with the most telling statistic:

We asked buyers how they felt about the following statement: "When it comes to the images I search for most often, I think I've seen all of the content available within the major stock houses."

Three-quarters of the buying population (399 of 536 people) agreed with this statement.




They went on to specify a number of major categories in which the "availability/quality/diversity (usefulness) of images typically found" was "poor to average". The following categories were pinpointed as the top 10 weakest (% indicates share of responders who indicated dissatisfaction with this particular area):

1. Healthcare. 88% (391 people)
2. Multicultural/Diversity. 86% (380 people)
3. Seniors. 86% (334 people)
4. Technology & Products. 85% (371 people)
5. Interior Décor. 84% (316 people)
6. Eco-Friendly. 81% (361 people)
7. Business Situations & Settings. 72% (422 people)
8. Celebrity. 72% (271 people)
9. Sports/Activities. 71% (340 people)
10. Children/Young Adults. 72% (283 people)

BUYER SURVEY 2008 - DETAILED RESULTS
Image Categories

Buyers provided us with tons of great information on their habits and opinions on particular image categories. Please check out the following info graphics for a detailed look at their responses.

In the last 90 days, within which of the following image categories have you licensed or searched?



Please rate the availability/quality/diversity (usefulness) of stock images typically found in your key image categories.



Please list the TOP FIVE image subjects that you search for but can never find, or constantly wish there were more of, if any. (Consider all possible stock photography sources!)

We've organized buyer responses to this question by category. Please see below for the breakdown:



A few notes on Lifestyle (General):
We hear it constantly. Buyers really want pictures of real life: candid, non-posed imagery that depicts its subjects behaving naturally (and not waiting for the camera to snap). The quality must still be professional - read: no snapshots! - in order to be used in a stock context.

A few other interesting trends we saw in this category:

• Responses in the "non-posed action" category often referred to walking or jogging (with and without dogs). Multiple buyers referenced a need for subjects walking in non-urban settings.
• There aren't enough pictures of people drinking water (particularly men!) in a non-workout context.
• It's difficult to find images that don't paint obese subjects unfavorably.
• Many end clients, particularly in the healthcare sector, prefer normal or average-looking subjects instead of professional models. "People with flaws" was another repeated request.

A few notes on Technology & Communications:

• Technology pictures date quickly, so any stock of the most current models will sell quickly. It has a shorter shelf life but often a higher immediate payout.
• Buyers are actively seeking images that depict technical support in new ways. (The friendly guy with the headset isn't cutting it anymore!)
• Many buyers indicated a need for women using technology, particularly computers.
• Stories on the Nintendo Wii are popular.
• Again, any imagery that appears non-posed is very much in need!

Who are these buyers, anyway?

Please see below for profile stats on the 700+ buyers who responded to our survey.